Related Papers
The Evolution of the Vampire Figure in English and American Literature as Social and Economic Symbol of Contemporary Western Masculine Identity
2016 •
Kristian Pérez Zurutuza
El vampiro ha fascinado a toda civilizacion como constructo cultural desde tiempos inmemoriales. Como imagen del lado oscuro de la naturaleza y del hombre, el mito se ha desarrollado incesantemente para explicar la psique humana a traves su propia existencia. Desde personificar la imagen de la naturaleza y su poder destructivo, hasta la construccion social de diversos ordenes del ser humano, el vampiro ha sabido resurgir con todo su vigor hasta nuestros dias. Esta Tesis se basa en la premisa de comprender el vampiro como la imagen de la masculinidad del hombre blanco occidental en su aspecto capitalista, analizando su construccion y evolucion dentro de la literatura gotica inglesa y americana en lengua inglesa. La critica marxista analiza el vampiro como elemento parasitario del capital dentro de la lucha de clases, pero esta Tesis ahonda en la imagen del vampiro como la construccion de la masculinidad del capital, o mejor dicho, del hombre occidental de raza blanca, bajo el supuest...
Resurrecting Two Melodramatic Vampires of 1820
2016 •
Ryan D Whittington
Scapegoats and Demons (Ph.D. Dissertation Chapter 7)
Bruce A . McClelland
Us versus them, or we? Post-2000 vampiric reflections of family, home and hospitality in True Blood and The Originals
2018 •
Verena Bernardi
THESIS CALL OF CTHULHU AND VAMPIRE: THE MASQUERADE: INVOCATION, SPATIALITY, AND RITUAL TRANSCENDENCE IN TWO TABLETOP ROLE-PLAYING GAMES Submitted by
2015 •
Tyler Brunette Brunette
CALL OF CTHULHU AND VAMPIRE: THE MASQUERADE: INVOCATION, SPATIALITY, AND RITUAL TRANSCENDENCE IN TWO TABLETOP ROLE-PLAYING GAMES In 1974 the world's first Tabletop Roleplaying Game (TRPG) was published, Dungeons and Dragons. Since that time hundreds of TRPGs have been published in multiple genres. In this thesis I explore the rhetoric of two of the most popular horror-themed TRPGs: Call of Cthulhu and Vampire: the Masquerade. I focus on explaining how these games came to be, how they serve their players as equipment for living, how they rhetorically (re)construct real-world places and spaces, and finally, how they encourage transcendence and jamming through ritual play and participation. This thesis hopefully helps to show the complex multi-layered rhetoric taking place in a relatively ignored form of media. Additionally, I introduce the concept of textual invocation as a complimentary theoretical construct to that of textual poaching as an explanation for how players and design...
Oceánide
Villains and Vixens: The Representation of Female Vampires in Videogames
Miriam Borham-Puyal
Vampires populate our culture and have become a recurrent presence in fiction and the media. In all cases the inclusion of the vampire has given voice to “socio-culture issues faced in particular times and places; issues that may otherwise remain repressed” (Dillon and Lundberg 2017, 47). This socio-cultural subtext is complicated when the vampire is female, for she is now doubly othered by her gender. Her monstrosity is seen as twofold: as a vampire and as a transgressive woman. While many studies address female vampires in popular culture, their portrayal in videogames has been recurrently overlooked. Games potentially help shape gender attitudes in thousands of players; therefore, it is particularly relevant to examine the varied representations of these monstrous or othered female figures and to understand how they adhere to or challenge misogynistic readings of women and their bodies. In light of this, and interpreting videogames as a narrative medium, this article provides an ...
Dracula Metaphysics. Exploring the Vampire Motif in Contemporary Women's Fiction
Georgeta Moarcas
Vampires in the Sunburnt Country: Adapting Vampire Gothic to the Australian landscape
2007 •
Jason Nahrung
I first became enamoured with vampire Gothic after reading Bram Stoker’s Dracula in high school, but gradually became dissatisfied with the Australian adaptations of the sub-genre. In looking for examples of Australian vampire Gothic, a survey of more than 50 short stories, 23 novels and five movies made by Australians reveals fewer than half were set in an identifiably Australian setting. Even fewer make use of three key, landscape-related tropes of vampire Gothic – darkness, earth and ruins. Why are so few Australian vampire stories set in Australia? In what ways can the metaphorical elements of vampire Gothic be applied to the Sunburnt Country? This paper seeks to answer these questions by examining examples of Australian vampire narratives, including film. Particular attention is given to Mudrooroo’s Master of the Ghost Dreaming series which, more than any other Australian novel, succeeds in manipulating and subverting the tropes of vampire Gothic. The process of adaptation of vampire Gothic to the Australian environment, both natural and man-made, is also a core concern of my own novel, Vampires’ Bane, which uses earth, darkness and a modern permutation of ruins to explore its metaphorical intentions. Through examining previous works and through my own creative process, Vampires’ Bane, I argue that Australia’s growing urbanisation can be juxtaposed against the vampire-hostile natural environment to enhance the tropes of vampire Gothic, and make Australia a suitable home for narratives that explore the ongoing evolution of Count Dracula and his many-faceted descendants.
American Quarterly 65.3
“Of Course There Are Werewolves and Vampires”: True Blood and the Right to Rights for Other Species
2013 •
Dale Hudson
Often dismissed as superficial, vampire films and television series have been a dominant mode by which Hollywood has negotiated the ever-shifting contours of social difference in the United States since the 1920s and 1930s. Remarkably, critical analysis has paid little attention to the interconnections between racism, sexism, and speciesism—and almost no attention to ways that difference affects nonhuman animals. Drawing on work in animal studies and the posthumanities, this article explores the extent to which HBO’s True Blood (2008–present) can contribute to the ongoing process of decolonizing thinking from the everyday habits defined by anthropocentrism. By featuring supernatural species, it questions unwitting complicity with forms of cinematic and televisual realism in reifying political realism. The series is premised on the political organization of vampires who advocate for the right to the right of citizenship, exploring ongoing asymmetries in social and political power through resurrected Confederate soldiers, ghosts of murdered women and children, and terrorism in the form of rebel vampire groups exploding the factories where synthetic blood is manufactured and multiracial hate-groups of male and female humans wearing rubber “Barack Obama” masks and murdering shapeshifters. If the animal turn follows the postcolonial turn, then this article asks whether True Blood might suggest ways for humans to live ethically with other species and to think interspecies relations in ways that consider what interspecies ethics might also mean to humans still defined in terms of race, sex, nativity, and religion.
