dracula

 

  • One called it the best vampire story ever written.

  • [31] A short story written by Stoker and published after his death, “Dracula’s Guest”, has been seen as evidence of Carmilla’s influence.

  • For instance, they indicate that the novel’s vampire was intended to be a count, even before he was given the name Dracula.

  • [103] Dracula became the subject of critical interest into Irish fiction during the early 1990s.

  • The novel, although reviewed well, did not make Stoker much money and did not cement his critical legacy until after his death.

  • [23] In 2000, Miller’s book-length study, Dracula: Sense and Nonsense, was said by academic Noel Chevalier to correct “not only leading Dracula scholars, but non-specialists
    and popular film and television documentaries”.

  • Nina Auerbach and David J. Skal, in the Norton Critical Edition of the text, posit that Stoker thought the line would render the novel unpublishable in 1897 England, and that
    “the America that produced his hero Walt Whitman would have been more tolerant of men feeding on men”.

  • [126][o] Other works about Dracula, coincidentally also published in 1972, concur; Gabriel Ronay says the novel was “recognised by fans and critics alike as a horror writer’s
    stroke of genius”,[127] and Anthony Masters mentions the novel’s “enormous popular appeal”.

  • [109][n] A review appearing in The Bookseller notes that the novel could almost have been written by Collins,[111] and an anonymous review in Saturday Review of Politics,
    Literature, Science and Art wrote that Dracula improved upon the style of Gothic pioneer Ann Radcliffe.

  • [21] A book that Stoker used for research, The Book of Were-Wolves, does have some information on Báthory, but Miller writes that he never took notes on anything from the
    short section devoted to her.

  • In the preface, Stoker writes that the events contained within the novel are true, and that “for obvious reasons” he had changed the names of places and people.

  • [60] Stoker began writing the novel one month following the imprisonment of his friend Oscar Wilde for homosexuality.

  • [18] Gothic critic and lecturer Marie Mulvey-Roberts writes that vampires were traditionally depicted as “mouldering revenants, who dragged themselves around graveyards”,
    but—like Báthory—Dracula uses blood to restore his youth.

  • [14][d] Raymond McNally’s Dracula Was A Woman (1983) suggests another historical figure as an inspiration: Elizabeth Báthory.

  • [98] These narrative styles also highlight the power struggle between vampire and his hunters; the increasing prominence of Van Helsing’s broken English as Dracula gathers
    power represents the entrance of the foreigner into Victorian society.

  • [50] John Edgar Browning, a scholar whose research focuses on Dracula and literary vampires, conducted a review of the novel’s early criticism in 2012 and determined that
    Dracula had been “a critically acclaimed novel”.

  • The novel, which is in the public domain, has been adapted for film over 30 times, and its characters have made numerous appearances in virtually all media.

  • [94] John Seward, Mina Murray and Jonathan Harker all keep a crystalline account of the period as an act of self-preservation; David Seed notes that Harker’s narrative is
    written in shorthand to remain inscrutable to the Count, protecting his own identity, which Dracula threatens to destroy.

  • [114][50] Many of these early reviews were charmed by Stoker’s unique treatment of the vampire myth.

  • Scholar David Seed notes that Harker’s accounts function as an attempt to translocate the “strange” events of his visit to Dracula’s castle into the nineteenth-century tradition
    of travelogue writing.

  • [55] Although scholars had been aware of the translation’s existence since the 1980s because of Stoker’s preface, none had thought to translate it back into English.

  • Many of the book’s characters have entered popular culture as archetypal versions of their characters; for example, Count Dracula as the quintessential vampire, and Abraham
    Van Helsing as an iconic vampire hunter.

  • Reviewers frequently compared the novel to other Gothic writers, and mentions of novelist Wilkie Collins and The Woman in White (1859) were especially common because of similarities
    in structure and style.

  • [12] Academic and Dracula scholar Elizabeth Miller calls the link to Vlad III “tenuous”, indicating that Stoker incorporated a large amount of “insignificant detail” from
    his research, and rhetorically asking why he would omit Vlad III’s infamous cruelty.

  • Had Stoker completed his original plans, a German professor called Max Windshoeffel “would have confronted Count Wampyr from Styria”, and one of the Crew of Light would have
    been slain by a werewolf.

  • [104] Dracula is set largely in England, but Stoker was born in Ireland, which was at that time part of the British Empire, and lived there for the first 30 years of his life.

  • [43] According to Bierman, Stoker always intended to write an epistolary novel, but with an original setting of Styria instead of Transylvania; this iteration did not explicitly
    use the word vampire.

  • [121] Modern critics frequently write that Dracula had a mixed critical reception upon publication.

  • They were less fond of the parts set in England, finding the vampire suited better to tales set far away from home.

  • Later prominent portrayals of the character by Béla Lugosi (in a 1931 adaptation) and Christopher Lee (firstly in the 1958 film and later its sequels) built upon earlier versions.

  • He found the name Dracula in Whitby’s public library while holidaying there, picking it because he thought it meant devil in Romanian.

  • [125] Other critical works have rejected the narrative of Dracula’s mixed response.

  • [51] Charlotte Stoker, Bram’s mother, gushed about the novel to the author, predicting it would bring him immense financial success; she was wrong.

  • [50] In 2002, Barbara Belford, a biographer, wrote that the novel looked “shabby”, perhaps because the title had been changed at a late stage.

  • Stoker’s earliest notes indicate that Dracula might have originally been intended to be a detective story, with a detective called Cotford and a psychical investigator called
    Singleton.

  • [138] Dracula has been adapted a large number of times across virtually all forms of media.

  • [134][r] Christopher Lee as the title character in Dracula (1958) Visual representations of the Count have changed significantly over time.

  • In a letter to Walt Whitman, Stoker described his own temperament as “secretive to the world”, but he nonetheless led a relatively public life.

  • Dracula is one of the most famous pieces of English literature.

  • The Daily Telegraph’s reviewer noted that while earlier Gothic works, like The Castle of Otranto, had kept the supernatural far away from the novelists’ home countries, Dracula’s
    horrors occurred both in foreign lands—in the far-away Carpathian Mountains—and at home, in Whitby and Hampstead Heath.

  • Stoker himself wrote the first theatrical adaptation, which was presented at the Lyceum Theatre on 18 May 1897 under the title Dracula, or The Undead shortly before the novel’s
    publication and performed only once, in order to establish his own copyright for such adaptations.

  • [24][e] Aside from the historical, Count Dracula also has literary progenitors.

  • [131] Critic Wayne E. Hensley writes that the film’s narrative differs significantly from the novel, but that characters have clear counterparts.

  • Jack Halberstam points to one scene in which an English worker says that the repugnant odour of Count Dracula’s London home smells like Jerusalem, making it a “Jewish smell”.

  • [37] H. P. Lovecraft wrote that he knew “an old lady” who was approached to revise the original manuscript, but that Stoker found her too expensive.

  • Following its publication, Dracula was positively received by reviewers who pointed to its effective use of horror.

  • The primary sexual threat posed by Count Dracula is, Christopher Craft writes, that he will “seduce, penetrate, [and] drain another male”,[62] with Jonathan Harker’s excitement
    about being penetrated by three vampire women serving as a mask and proxy for his homosexual desire.

  • Comparisons to other works of Gothic fiction were common, including its structural similarity to Wilkie Collins’ The Woman in White (1859).

  • [107] Reception Upon publication, Dracula was well received.

  • [2] Stoker supplemented his income from the theatre by writing romance and sensation novels,[3][4][b] and had published 18 books by his death in 1912.

  • [64] In the British version of the text, Harker hears the three vampire women whispering at his door, and Dracula tells them they can feed on him tomorrow night.

  • She explains that, at the time of the novel’s composition and publication, the “threatening degenerate was commonly identified as the racial Other, the alien intruder who
    invades the country to disrupt the domestic order and enfeeble the host race”.

  • [81] Stoker’s description of the Slovaks draws heavily from a travel memoir by a British major.

  • [22] In a facsimile edition of Bram Stoker’s original notes for the book, Miller and her co-author Robert Eighteen-Bisang say in a footnote that there is no evidence she inspired
    Stoker.

  • [89] Jewish people were frequently described, in Victorian literature, as parasites; Halberstam highlights one particular fear that Jews would spread diseases of the blood,
    and one journalist’s description of Jews as “Yiddish bloodsuckers”.

  • [69] Race Dracula, and specifically the Count’s migration to Victorian England, is frequently read as emblematic of invasion literature,[70] and a projection of fears about
    racial pollution.

  • [53] Since its publication, Dracula has never been out of print.

  • [117] The British magazine Vanity Fair noted that the novel was, at times, unintentionally funny, pointing to Dracula’s disdain for garlic.

  • [h] According to Showalter, Lucy represents the “sexual daring” of the New Woman, evidenced by how she wonders why a woman cannot marry three men if they all desire her.

  • The legal case lasted two or three years,[q] and in May 1924, Prana agreed to destroy all copies of the film.

  • [57] Sexuality and seduction are two of the novel’s most frequently discussed themes, especially as it relates to the corruption of English womanhood.

  • Ignoring the Count’s warning, Harker wanders the castle at night and encounters three vampire women;[a] Dracula rescues Harker, and gives the women a small child bound inside
    a bag.

  • [45] Stoker likely found the name Dracula in Whitby’s public library while holidaying there with his wife and son in 1880.

  • [30] According to author Patrick McGrath, “traces of Carmilla” can be found in the three female vampires residing in Dracula’s castle.

  • [84] Manifesting also in other works aside from Stoker’s novel, narratives of reverse colonisation indicate a fear of the “civilised” world being invaded by the “primitive”.

  • [19] Recent scholarship has questioned whether Báthory’s crimes were exaggerated by her political opponents,[20] with others noting that very little is concretely known about
    her life.

  • [105] As a result, a significant body of writing exists on Dracula, Ireland, England, and colonialism.

  • [51] In the 1930s when Universal Studios purchased the rights to make a film version, it was discovered that Stoker had not fully complied with US copyright law, placing the
    novel into the public domain.

  • In the first extensive study of the notes,[42] Joseph S. Bierman writes that the earliest date within them is 8 March 1890, for an outline of a chapter that “differs from
    the final version in only a few details”.

 

Works Cited

[‘1. Romanian academic Grigore Nandris describes them as “sorceresses”.[1]
2. ^ Sensation fiction is a genre characterised by the depiction of scandalous events—for example murder, theft, forgery, or adultery—within domestic settings.[5]
3. ^ Although
published in 1898, Miss Betty was written in 1890.[8]
4. ^ Miller presented this article at the second Transylvanian Society of Dracula Symposium,[15] but it has been reproduced elsewhere; for example, in the Dictionary of Literary Biography in
2006.[16]
5. ^ Other critics have concurred with Miller. Mathias Clasen describes her as “a tireless debunker of academic Dracula myths”.[25] In response to several lines of query as to the historical origin of Dracula, Benjamin H. Leblanc reproduces
her arguments in his critical history on the novel.[15]
6. ^ Lisa Hopkins reproduces the previous quotation, and confirms Farson’s relation to Stoker, in her 2007 book on Dracula.[28]
7. ^ In their annotated version of Stoker’s notes, Eighteen-Bisang
and Miller dedicated an appendix to what the novel might have looked like had Stoker adhered to his original concept.[48]
8. ^ “New Woman” is a term that originated in the 19th century, and is used to describe an emerging class of intellectual women
with social and economic control over their lives.[66]
9. ^ Dracula is one of three figures Zanger links to the popular anxiety surrounding Jewish migration to England; the others are Jack the Ripper, who was often imagined as a Jewish butcher,
and Svengali.[73]
10. ^ For further reading on the last point, Zygmunt Bauman writes that the perceived “eternal homelessness” of the Jewish people has contributed to discrimination against them.[76]
11. ^ In the novel, Harker specifies that the
Slovaks are a type of gypsy.[79]
12. ^ Laura Sagolla Croley expands: “Arata fails to see the class implications of Dracula’s racial invasion. Social reformers and journalists throughout the century used the language of race to talk about the very
poor”.[83]
13. ^ There is some evidence that Bram Stoker died as a result of syphilis; Daniel Farson argues that he may have caught the disease while writing Dracula.[92]
14. ^ The full text of all contemporary reviews listed in the bibliography’s
“contemporary critical reviews” can be found, faithfully reproduced, in John Edgar Browning’s Bram Stoker’s Dracula: The Critical Feast (2012).[110]
15. ^ This footnote provides the page number for the 1994 edition; In Search of Dracula was first
published in 1972.
16. ^ This was necessary under the Stage Licensing Act of 1897.[129]
17. ^ Some sources say the legal battle lasted only two,[131] while others give the number as three.[133][134]
18. ^ Some sources say that “all prints were
ordered destroyed”.[133]
19. ^ Meaning “before Stoker” and “after Stoker”.
20. Nandris 1966, p. 367.
21. ^ Hopkins 2007, p. 4.
22. ^ Eighteen-Bisang & Miller 2008, p. 301: “Most of his novels are sentimental romances in which the hero tries
to win the love of a woman.”
23. ^ Jump up to:a b Belford 2002, p. 269.
24. ^ Rubery 2011.
25. ^ Hopkins 2007, p. 1.
26. ^ Belford & 2002, p. 363.
27. ^ Belford 2002, p. 277.
28. ^ Caine 1912, p. 16.
29. ^ Ludlam 1962, p. 100: “Bram
sought the help of Arminius Vambery in Budapest … Vambery was able to report that ‘the Impaler,’ who had won this name for obvious reasons, was spoken of for centuries after as the cleverest and the most cunning, as well as the bravest of the
sons of the ‘land beyond the forest.'”
30. ^ Dearden 2014.
31. ^ Jump up to:a b Leblanc 1997, p. 360.
32. ^ McNally & Florescu 1994, p. 150: “Unfortunately, no correspondence between Vambery and Stoker can be found today. Moreover, a search
through all of the professor’s published writings fails to reveal any comments on Vlad, Dracula, or vampires.”
33. ^ Miller 1996, p. 2: “If Stoker knew as much about Vlad as some scholars claim (for example, that he impaled thousands of victims),
then why is this information not used in the novel? This is a crucial question, when one considers how much insignificant detail Stoker did incorporate from his many sources.”
34. ^ Jump up to:a b Leblanc 1997, p. 362.
35. ^ Miller 2006.
36. ^
Fitts 1998, p. 34.
37. ^ McNally 1983, pp. 46–47.
38. ^ Mulvey-Roberts 1998, pp. 83–84.
39. ^ Kord 2009, p. 60.
40. ^ Stephanou 2014, p. 90.
41. ^ Miller 1999, pp. 187–188: “The closest we have is that there is a short section on Bathory
in Sabine-Gould’s The Book of Were-Wolves which is on Stoker’s list of books that he consulted. But a careful examination of his Notes shows that while he did make a number of jottings (with page references) from this book, nothing is noted from
the Bathory pages. And there is nothing in the novel that can be attributed directly to the short Bathory sections.”
42. ^ Eighteen-Bisang & Miller 2008, p. 131.
43. ^ Chevalier 2002, p. 749.
44. ^ Jump up to:a b Clasen 2012, p. 379.
45. ^
Signorotti 1996, p. 607.
46. ^ Farson 1975, p. 22.
47. ^ Hopkins 2007, p. 6.
48. ^ Farson 1975, p. 144.
49. ^ Milbank 1998, p. 15.
50. ^ McGrath 1997, p. 43.
51. ^ Jump up to:a b Senf 1982, p. 34.
52. ^ Milbank 1998, p. 14.
53. ^ Curran
2005, p. 64.
54. ^ Curran 2000.
55. ^ Bierman 1998, p. 152.
56. ^ Barsanti 2008, p. 1.
57. ^ Lovecraft 1965, p. 255; Eighteen-Bisang & Miller 2008, p. 4.
58. ^ Ludlam 1962, pp. 99–100.
59. ^ Eighteen-Bisang & Miller 2008, p. 3.
60. ^
McNally & Florescu 1973, p. 160.
61. ^ Jump up to:a b Eighteen-Bisang & Miller 2008, p. 4.
62. ^ Jump up to:a b Bierman 1977, p. 40.
63. ^ Belford 2002, p. 255.
64. ^ Eighteen-Bisang & Miller 2008, p. 15.
65. ^ Eighteen-Bisang & Miller 2008,
p. 245.
66. ^ Eighteen-Bisang & Miller 2008, p. 318.
67. ^ Eighteen-Bisang & Miller 2008, p. 320.
68. ^ Belford 2002, p. 241.
69. ^ Jump up to:a b c Davison, ‘Introduction’ 1997, p. 19.
70. ^ Jump up to:a b c Belford 2002, p. 272.
71. ^
Stoker & Holt 2009, pp. 312–313.
72. ^ Belford 2002, p. 274.
73. ^ Jump up to:a b Davison, ‘Introduction’ 1997, p. 21.
74. ^ Davison, “Blood Brothers” 1997, pp. 147–148.
75. ^ Escher 2017.
76. ^ Spencer 1992, p. 197.
77. ^ Kuzmanovic
2009, p. 411.
78. ^ Craft 1984, p. 107.
79. ^ Schaffer 1994, p. 382.
80. ^ Schaffer 1994, p. 381.
81. ^ Jump up to:a b Craft 1984, p. 110.
82. ^ Craft 1984, p. 109.
83. ^ Demetrakopoulos 1977, p. 106.
84. ^ Auerbach & Skal 1997, p. 52.
85. ^
Bordin 1993, p. 2.
86. ^ Jump up to:a b Showalter 1991, p. 180.
87. ^ Wasserman 1977, p. 405.
88. ^ Senf 1982, p. 44.
89. ^ Kane 1997, p. 8.
90. ^ Arnds 2015, p. 89.
91. ^ Zanger 1991, p. 33.
92. ^ Zanger 1991, p. 41.
93. ^ Zanger
1991, p. 34.
94. ^ Halberstam 1993, p. 337.
95. ^ Bauman 1991, p. 337.
96. ^ Halberstam 1993, p. 338.
97. ^ Tchaprazov 2015, p. 524.
98. ^ Tchaprazov2015, p. 527.
99. ^ Arnds 2015, p. 95.
100. ^ Croley 1995, p. 107.
101. ^ Tchaprazov
2015, p. 525.
102. ^ Jump up to:a b Croley 1995, p. 89.
103. ^ Arata 1990, p. 622.
104. ^ Arata 1990, p. 623.
105. ^ Arata 1990, p. 630.
106. ^ Tomaszweska 2004, p. 3.
107. ^ Willis 2007, pp. 302–304.
108. ^ Halberstam 1993, p. 341.
109. ^
Halberstam 1993, p. 350.
110. ^ Clasen 2012, p. 389.
111. ^ Stevenson 1988, p. 148.
112. ^ Willis 2007, p. 302.
113. ^ Seed 1985, p. 64.
114. ^ Seed 1985, p. 65.
115. ^ Jump up to:a b Moretti 1982, p. 77.
116. ^ Case 1993, p. 226.
117. ^
Seed 1985, p. 70.
118. ^ Hogle, ‘Introduction’ 2002, p. 12.
119. ^ Miller 2001, p. 150.
120. ^ Miller 2001, p. 137.
121. ^ Arata 1990, p. 621.
122. ^ Spencer 1992, p. 219.
123. ^ Keogh 2014, p. 194.
124. ^ Glover 1996, p. 26.
125. ^
Keogh 2014, pp. 195–196.
126. ^ Ingelbien 2003, p. 1089; Stewart 1999, pp. 239–240.
127. ^ The Daily Mail 1897, p. 3.
128. ^ Review of PLTA, “Recent Novels” 1897; Lloyd’s 1897, p. 80; The Academy 1897, p. 98; The Glasgow Herald 1897, p. 10.
129. ^
Browning 2012, Introduction: The Myth of Dracula’s Reception.
130. ^ The Bookseller 1897, p. 816.
131. ^ Saturday Review 1897, p. 21.
132. ^ Publisher’s Circular 1897, p. 131.
133. ^ Browning 2012, Introduction: The Myth of Dracula’s Reception:
“Dracula’s writing was seen by early reviewers and responders to parallel, if not supersede the Gothic horror works of such canonical writers as Mary Shelley, Ann Radcliffe, and Edgar Allan Poe.”
134. ^ The Daily Telegraph 1897.
135. ^ The Advertiser
1898, p. 8.
136. ^ Of Literature, Science, and Art 1897, p. 11.
137. ^ Jump up to:a b Vanity Fair (UK) 1897, p. 80.
138. ^ TMG 1897.
139. ^ Land of Sunshine 1899, p. 261; The Advertiser 1898, p. 8; New-York Tribune 1899, p. 13.
140. ^ San
Francisco Wave 1899, p. 5.
141. ^ Browning 2012, Introduction: The Myth of Dracula’s Reception: “That the sample of reviews relied upon by previous studies […] is scant at best has unfortunately resulted in the common misconception about the
novel’s early critical reception being ‘mixed'”.
142. ^ Browning 2012, Introduction: The Myth of Dracula’s Reception: “Rather, while the novel did receive, on the one hand, a few reviews that were mixed, it enjoyed predominantly a critically
strong early print life. Dracula was, by all accounts, a critically-acclaimed novel.”
143. ^ Browning 2012, Introduction: The Myth of Dracula’s Reception: “That the sample of reviews relied upon by previous studies […] is scant at best has unfortunately
resulted in [a] common misconception about the novel’s early critical reception […]”
144. ^ Browning 2012, Introduction: The Myth of Dracula’s Reception: “firstly, generally positive reviews that include perhaps one, sometimes two negative remarks
or reservations, of which I have discerned ten examples; secondly, generally mixed reviews in which scorn and praise are relatively balanced, of which I have found four examples13; and, thirdly, wholly or mostly negative reviews, of which I managed
to locate only three examples. What remains are some seventy positive reviews and responses. And, in addition still are thirty-six different laudatory press notices”.)
145. ^ McNally & Florescu 1994, p. 162.
146. ^ Ronay 1972, p. 53.
147. ^
Masters 1972, p. 208.
148. ^ Jump up to:a b Buzwell 2014.
149. ^ Stuart 1994, p. 193.
150. ^ Jump up to:a b Skal 2011, p. 11.
151. ^ Hensley 2002, p. 61.
152. ^ Jump up to:a b c Stoker 2011, p. 2.
153. ^ Jump up to:a b Hensley 2002, p.
63.
154. ^ Jump up to:a b c Browning and Picart 2011, p. 4.
155. ^ Cengel 2020; The Telegraph 2015.
156. ^ Sommerlad 2017.
157. ^ Clasen 2012, p. 378.
158. ^ Retamar & Winks 2005, p. 22.
159. ^ Browning and Picart 2011, p. 7.
160. ^
Jump up to:a b Miller 2001, p. 147.
161. ^ Beresford 2008, p. 139.
162. ^ Doniger 1995, p. 608.
163. ^ Miller 2001, p. 152.
164. ^ Miller 2001, p. 157.
165. ^ McGrath 1997, p. 45.
166. ^ Hughes 2012, p. 197.
167. ^ Hughes 2012, p. 198.
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• Kord, Susanne (2009). Murderesses in German Writing, 1720-1860: Heroines of Horror. New York: Cambridge University Press. ISBN 978-0-521-51977-9. OCLC 297147082.
• Leblanc, Benjamin H. (1997). “The Death of Dracula: A Darwinian
Approach to the Vampire’s Evolution”. In Davison, Carol Margaret (ed.). Bram Stoker’s Dracula: Sucking through the Century, 1897-1997. Toronto: Dundurn Press. ISBN 978-1-55488-105-5. OCLC 244770292.
• Ludlam, Harry (1962). A Biography of Dracula:
The Life Story of Bram Stoker. W. Foulsham. ISBN 978-0-572-00217-6.
• Lovecraft, H. P. (1965). Derleth, August; Wandrei, Donald (eds.). Selected Letters. Vol. 1. Arkham House. ISBN 9780870540349.
• Masters, Anthony (1972). The Natural History
of the Vampire. New York: G. P. Putnam’s Sons. ISBN 9780399109317.
• McGrath, Patrick (1997). “Preface: Bram Stoker and his Vampire”. In Davison, Carol Margaret (ed.). Bram Stoker’s Dracula: Sucking through the Century, 1897–1997. Toronto: Dundurn
Press. ISBN 978-1-55488-105-5. OCLC 244770292.
• McNally, Raymond T.; Florescu, Radu (1973). Dracula: A Biography of Vlad the Impaler. New York: Hawthorne Books.
• McNally, Raymond T. (1983). Dracula Was a Woman: In Search of the Blood Countess
of Transylvania. New York: McGraw-Hill. ISBN 9780070456716.
• McNally, Raymond T.; Florescu, Radu (1994). In Search of Dracula: The History of Dracula and Vampires. Boston: Houghton Mifflin. ISBN 9780395657836.
• Miller, Elizabeth (2001). Dracula.
New York: Parkstone Press.
• A New Companion to the Gothic. David Punter. Hoboken: Wiley-Blackwell. 2012. ISBN 978-1-4443-5492-8. OCLC 773567111.
o Hughes, William (2012). “Fictional Vampires in the Nineteenth and Twentieth Century”. In Punter,
David (ed.). A New Companion to the Gothic. Hoboken: Wiley-Blackwell. ISBN 978-1-4443-5492-8. OCLC 773567111.
• Ronay, Gabriel (1972). The Truth About Dracula. New York: Stein and Day. ISBN 9780812815245.
• Showalter, Elaine (1991). Sexual Anarchy:
Gender and Culture at the Fin de Siècle. Penguin. ISBN 978-0-14-011587-1.
• Spooner, Catherine (2006). Contemporary Gothic. Reaktion Books. ISBN 978-1-86189-301-7.
• Stephanou, Aspasia (2014). Reading Vampire Gothic through Blood: Bloodlines.
Houndmills: Palgrave Macmillan. ISBN 9781137349224. OCLC 873725229.
• Stuart, Roxana (1994). Stage Blood: Vampires of the 19th Century Stage. Popular Press. ISBN 978-0-87972-660-7.
• Auerbach, Nina; Skal, David J., eds. (1997). Dracula: Authoritative
Text, Contexts, Reviews and Reactions, Dramatic and Film Variations, Criticism. W.W. Norton. ISBN 978-0-393-97012-8.
• Stoker, Dacre; Holt, Ian (2009). Dracula The Un-Dead. Penguin Publishing Group. pp. 312–13. ISBN 978-0-525-95129-2.
Journal and
newspaper articles
• Arata, Stephen D. (1990). “The Occidental Tourist: “Dracula” and the Anxiety of Reverse Colonization”. Victorian Studies. 33 (4): 621–645. ISSN 0042-5222. JSTOR 3827794.
• Bierman, Joseph S. (1 January 1977). “The Genesis
and Dating of ‘Dracula’ from Bram Stoker’s Working Notes”. Notes and Queries. CCXXII (jan): 39–41. doi:10.1093/notesj/CCXXII.jan.39. ISSN 0029-3970.
• Caine, Hall (24 April 1912). “Bram Stoker. The story of a great friendship”. The Daily Telegraph.
p. 16.
• Case, Alison (1993). “Tasting the Original Apple: Gender and the Struggle for Narrative Authority in “Dracula””. Narrative. 1 (3): 223–243. ISSN 1063-3685. JSTOR 20107013.
• Cengel, Katya (October 2020). “How the Vampire Got His Fangs”.
Smithsonian Magazine.
• Chevalier, Noel (2002). “Dracula: Sense & Nonsense by Elizabeth Miller (review)”. ESC: English Studies in Canada. 28 (4): 749–751. doi:10.1353/esc.2002.0017. ISSN 1913-4835. S2CID 166341977.
• Clasen, Mathias (2012). “Attention,
Predation, Counterintuition: Why Dracula Won’t Die”. Style. 46 (3–4): 378–398. ISSN 0039-4238. JSTOR 10.5325/style.46.3-4.378.
• Craft, Christopher (1984). “”Kiss Me with those Red Lips”: Gender and Inversion in Bram Stoker’s Dracula”. Representations
(8): 107–133. doi:10.2307/2928560. ISSN 0734-6018. JSTOR 2928560.
• Croley, Laura Sagolla (1995). “The Rhetoric of Reform in Stoker’s “Dracula”: Depravity, Decline, and the Fin-de-Siècle “Residuum””. Criticism. 37 (1): 85–108. ISSN 0011-1589. JSTOR
23116578.
• Curran, Bob (2000). “Was Dracula an Irishman?”. History Ireland. 8 (2).
• Dearden, Lizzie (20 May 2014). “Radu Florescu dead: Legacy of the Romanian ‘Dracula professor'”. The Independent. Archived from the original on 12 January
2021.
• Demetrakopoulos, Stephanie (1977). “Feminism, Sex Role Exchanges, and Other Subliminal Fantasies in Bram Stoker’s “Dracula””. Frontiers: A Journal of Women Studies. 2 (3): 104–113. doi:10.2307/3346355. ISSN 0160-9009. JSTOR 3346355.
• Fitts,
Alexandra (1998). “Alejandra Pizarnik’s “La condesa Sangrienta” and the Lure of the Absolute”. Letras Femeninas. 24 (1/2): 23–35. ISSN 0277-4356. JSTOR 23021659.
• Doniger, Wendy (20 November 1995). “Sympathy for the Vampire”. The Nation. pp. 608–612.
• Halberstam,
Judith (1993). “Technologies of Monstrosity: Bram Stoker’s “Dracula””. Victorian Studies. 36 (3): 333–352. ISSN 0042-5222. JSTOR 3828327.
• Hensley, Wayne E. (2002). “The Contribution of F. W. Murnau’s “Nosferatu” To the Evolution of Dracula”.
Literature/Film Quarterly. 30 (1): 59–64. ISSN 0090-4260. JSTOR 43797068.
• Ingelbien, Raphaël (2003). “Gothic Genealogies: Dracula, Bowen’s Court, And Anglo-Irish Psychology”. ELH. 70 (4): 1089–1105. doi:10.1353/elh.2004.0005. ISSN 1080-6547.
S2CID 162335122.
• Kane, Michael (1997). “Insiders/Outsiders: Conrad’s “The Nigger of the “Narcissus” ” and Bram Stoker’s “Dracula””. The Modern Language Review. 92 (1): 1–21. doi:10.2307/3734681. ISSN 0026-7937. JSTOR 3734681.
• Keogh, Calvin
W. (2014). “The Critics’ Count: Revisions of Dracula and the Postcolonial Irish Gothic”. Cambridge Journal of Postcolonial Literary Inquiry. 1 (2): 189–206. doi:10.1017/pli.2014.8. ISSN 2052-2614. S2CID 193067115.
• Kuzmanovic, Dejan (2009). “Vampiric
Seduction and Vicissitudes of Masculine Identity in Bram Stoker’s “Dracula””. Victorian Literature and Culture. 37 (2): 411–425. doi:10.1017/S1060150309090263. ISSN 1060-1503. JSTOR 40347238. S2CID 54921027.
• Miller, Elizabeth (August 1996). “Filing
for Divorce: Vlad Tepes vs. Count Dracula”. The Borgo Post: 2.
o Miller, Elizabeth (2006). “Filing for Divorce: Count Dracula vs. Vlad Tepes”. Dictionary of Literary Biography. 394: 212–217.
• Miller, Elizabeth (1999). “Back to the Basics: Re-Examining
Stoker’s Sources for “Dracula””. Journal of the Fantastic in the Arts. 10 (2 (38)): 187–196. ISSN 0897-0521. JSTOR 43308384.
• Moretti, Franco (1982). “The Dialectic of Fear”. New Left Review. 13: 67–85.
• Nandris, Grigore (1966). “The Historical
Dracula: The Theme of His Legend in the Western and in the Eastern Literatures of Europe”. Comparative Literature Studies. 3 (4): 367–396. ISSN 0010-4132. JSTOR 40245833.
• Retamar, Roberto Fernández; Winks, Christopher (2005). “On Dracula, the
West, America, and Other Inventions”. The Black Scholar. 35 (3): 22–29. doi:10.1080/00064246.2005.11413319. ISSN 0006-4246. JSTOR 41069152. S2CID 147429554.
• Schaffer, Talia (1994). “”A Wilde Desire Took Me”: the Homoerotic History of Dracula”.
ELH. 61 (2): 381–425. doi:10.1353/elh.1994.0019. ISSN 1080-6547. S2CID 161888586.
• Seed, David (1985). “The Narrative Method of Dracula”. Nineteenth-Century Fiction. 40 (1): 61–75. doi:10.2307/3044836. ISSN 0029-0564. JSTOR 3044836.
• Senf, Carol
A. (1982). “”Dracula”: Stoker’s Response to the New Woman”. Victorian Studies. 26 (1): 33–49. ISSN 0042-5222. JSTOR 3827492.
• Signorotti, Elizabeth (1996). “Repossessing the Body: Transgressive Desire in “Carmilla” and “Dracula””. Criticism. 38
(4): 607–632. ISSN 0011-1589. JSTOR 23118160.
• Spencer, Kathleen L. (1992). “Purity and Danger: Dracula, the Urban Gothic, and the Late Victorian Degeneracy Crisis”. ELH. 59 (1): 197–225. doi:10.2307/2873424. ISSN 0013-8304. JSTOR 2873424.
• Stewart,
Bruce (1999). “”Bram Stoker’s Dracula: Possessed by the Spirit of the Nation?””. Irish University Review. 29 (2): 238–255. ISSN 0021-1427. JSTOR 25484813.
• Stevenson, John Allen (1988). “A Vampire in the Mirror: The Sexuality of Dracula”. PMLA.
103 (2): 139–149. doi:10.2307/462430. ISSN 0030-8129. JSTOR 462430. S2CID 54868687.
• Tchaprazov, Stoyan (2015). “The Slovaks and Gypsies of Bram Stoker’s Dracula: Vampires in Human Flesh”. English Literature in Transition, 1880–1920. 58: 523–535.
ProQuest 1684297393 – via ProQuest.
• Tomaszweska, Monika (2004). “Vampirism and the Degeneration of the Imperial Race: Stoker’s Dracula as the Invasive Degenerate Other” (PDF). Journal of Dracula Studies. 6. Archived (PDF) from the original on
15 November 2020.
• Wasserman, Judith (1977). “Women and Vampires: Dracula as a Victorian Novel”. Midwest Quarterly. 18.
• “Why Christopher Lee’s Dracula didn’t suck”. The Telegraph. 13 June 2015. Archived from the original on 11 January 2022.
• Willis,
Martin (2007). “”The Invisible Giant,” ‘Dracula’, and Disease”. Studies in the Novel. 39 (3): 301–325. ISSN 0039-3827. JSTOR 29533817.
• Zanger, Jules (1991). “A Sympathetic Vibration: Dracula and the Jews”. English Literature in Transition, 1880–1920.
34.
Contemporary critical reviews
• “Recent Novels”. Review of Politics, Literature, Theology, and Art. London. 79: 150–151. 31 July 1897.
• “A Romance of Vampirism”. Lloyd’s Weekly Newspaper. London. 30 May 1897. p. 80.
• “Untitled review
of Dracula”. The Bookseller: A Newspaper of British and Foreign Literature. London. 3 September 1897. p. 816.
• “Book Reviews Reviewed”. The Academy: A Weekly Review of Literature, Science, and Art. London. 31 July 1897. p. 98.
• “Untitled review
of Dracula”. The Daily Mail. London. 1 June 1897. p. 3.
• “Untitled”. Publisher’s Circular and Booksellers’ Record of British and Foreign Literature. London. 7 August 1897. p. 131.
• “Review: Dracula”. Saturday Review of Politics, Literature,
Science and Art. London. 3 July 1897. p. 21.
• “Books of the Day”. The Daily Telegraph. London. 3 June 1897. p. 6.
• “Dracula”. The Glasgow Herald. Glasgow. 10 June 1897. p. 10.
• “Untitled review of Dracula”. Of Literature, Science, and Art
(Fiction Supplement). London. 12 June 1897. p. 11.
• “Current Literature: Hutchinson & Co’s Publications”. The Advertiser. Adelaide. 22 January 1898. p. 8.
• “Books to Read, and Others”. Vanity Fair: A Weekly Show of Political, Social, and Literary
Wares. London. 29 June 1897. p. 80.
• “Supped Full with Horrors”. The Land of Sunshine. June 1899. p. 261.
• “A Fantastic Theme Realistically Treated”. New-York Tribune (Illustrated Supplement). New York City. 19 November 1899.
• “The Insanity
of the Horrible”. The San Francisco Wave. San Francisco. 9 December 1899. p. 5.
• “Review: Dracula”. The Manchester Guardian. 1897.
Websites
• Escher, Kat (19 May 2017). “The Icelandic Translation of ‘Dracula’ Is Actually a Different Book”.
Smithsonian. Archived from the original on 15 December 2019.
• Buzwell, Greg (14 May 2014). “Bram Stoker’s stage adaptation of Dracula”. The British Library. Retrieved 13 June 2021.
• Rubery, Matthew (2 March 2011). “Sensation Fiction”. Oxford
Bibliographies. Oxford University Press. Retrieved 17 January 2021.
• Sommerlad, Joe (13 July 2017). “Celebrating Eiko Ishioka’s extraordinary costumes for Bram Stoker’s Dracula”. The Independent. Retrieved 13 July 2021.
Photo credit: https://www.flickr.com/photos/nahidv/14097328354/’]