Count Dracula: Different Literary Perspectives

Count Dracula and Different Literary Perspectives

Not only has Dracula’s representation in the media changed over time, but in Stoker’s novel too, as a result of different schools of literary criticism.

Post-colonial perspective

Post-colonial perspective: critics are concerned with literature produced by colonial powers (such as Britain in the 19th century) and works produced by those who were/are colonized.
In this light, Dracula’s treatment as a foreign invader and his – arguably – racist caricature (complete with an ‘ook nose and pointed beard) can be used to present him in a more sympathetic light.
He is merely doing to Britain what it has done to many countries across the world - imposing his rule.

Overview of Marxism

Marxism: based on the theories of Karl Marx (and so influenced by philosopher Georg Wilhelm Friedrich Hegel), this school concerns itself with class differences, economic and otherwise, as well as the implications and complications of the capitalist system.

Marxism and the Revolution

A key aspect of Marxism is The Revolution: the continuing conflict between the classes will lead to revolution by oppressed peoples and form the groundwork for a new order of society where capitalism is abolished.
According to Marx, the revolution will be led by the working class (others think peasants will lead the uprising) under the guidance of intellectuals.
Once the elite and middle class are overthrown, the intellectuals will compose an equal society where everyone owns everything.

Dracula - instigator?

In targeting Lucy Westenra, the fiancee of the future-Lord Godalming, Dracula could be viewed as the instigator of The Revolution.
The fact that he himself is a foreign aristocrat adds a further layer of irony.

Scourge-like figure

Of Capitalism, Marx said: “Capital is dead labour, which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks.”
In light of fears associated with the fin de siecle (end of the century), it's possible to regard Dracula as a scourge-like figure, sent to challenge the arrogance or “foul vanity” (Chapter 2) of the British Empire and its Capitalist system.

1Context - Gothic Literature

1.1Origins & Conventions of Gothic Literature

1.1.1Origins of Gothic Literature

1.1.2Key Ideas in Gothic Literature

1.1.3Gothic Genre Conventions in Dracula

1.2Vampires in Gothic Literature

1.2.1Vampires

1.3'Terror' & 'Horror'

1.3.1Ann Radcliffe & Lewis' The Monk

1.3.2'Terror' & 'Horror' in Dracula

1.4Narrative Features

1.4.1First-Person Narration & Epistolary Format

2Context - The Victorian Era

2.1The Victorian Era

2.1.1Fin de Siecle

2.1.2The 'New Woman'

2.1.3The Contagious Diseases Act

3Chapter Summaries & Analyses

3.1Chapter Summaries & Analyses

3.1.1Chapters 1-2

3.1.2Chapters 3-4

3.1.3Chapters 5-7

3.1.4Chapters 8-10

3.1.5Chapters 11-12

3.1.6Chapters 13-14

3.1.7Chapters 15-16

3.1.8Chapters 17-18

3.1.9Chapters 19-20

3.1.10Chapters 21-23

3.1.11Chapters 24-25

3.1.12Chapters 26-27

4Character Profiles

4.1Archetypal Gothic Characters

4.1.1Stock & Proppian Gothic Characters

4.2Count Dracula

4.2.1Count Dracula: Character Profile

4.2.2Count Dracula: Different Literary Perspectives

4.3Other Main Characters

4.3.1Jonathan Harker

4.3.2Dr Abraham Van Helsing

4.3.3Dr Jack Seward

4.3.4Mina Harker

4.3.5Lucy Westenra

4.4Minor Characters

4.4.1Arthur Holmwood & Quincey Morris

4.4.2Renfield

5Key Ideas

5.1Key Ideas

5.1.1Transgression of Boundaries

5.1.2The Supernatural & Un-dead

5.1.3Masculinity & Femininity

5.1.4Science, Modernity & Superstition

5.1.5Madness, Illness & Confinement

6Writing Techniques

6.1Writing Techniques

6.1.1Epistolary Form & Narrative Voice

6.1.2Intertextuality & Cultural References

6.1.3Structure

7Critical Debates & Interpretations

7.1Initial Reception of Dracula

7.1.1Initial Reception of Dracula

7.2Modern Reception of Dracula

7.2.1Modern Reception of Dracula

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