Science, Modernity & Superstition

Science, Modernity and Superstition

The 19th century saw a multitude of developments - both scientific and technological - many of which were on display at the Great Exhibition of 1851.

Seward and the phonograph

Of all the characters, Seward perhaps embodies the themes of science and modernity.
He records his diary using a phonograph - a state-of-the-art recording device for the time period - something Mina, in another allusion to the ‘new woman, is greatly interested to see for the first time in Chapter 18.

Development of the railway

The 19th century also saw the establishment of the railway as a fast, efficient mode of transportation first in Great Britain, then mainland Europe, beginning with Belgium.
This enables the band of heroes to gain ground on Count Dracula, who symbolically relies on the more traditional mode of transport - horse-drawn carriage.

Dracula and Van Helsing - science

Another parallel is highlighted between Dracula and Van Helsing in terms of their scientific prowess.
Van Helsing “knows what he is talking about better than anyone else” and, demonstrating his in-depth knowledge of Dracula (ironically actually supplied by his friend, Arminius - reflecting Seward’s own admiration of Van Helsing) that “He was in life a most wonderful man. Soldier, statesman and alchemist - which latter was the highest development of the science-knowledge of his time.”

Dracula - an alchemist

Dracula was, too, a man of science - an alchemist, whose primary aim was often the search for the fabled philosopher's stone.
This legendary substance could, alchemists believed, turn both base metals into valuable ones. Furthermore, the stone was also equated with the elixir of life a potion which, if drunk, could sustain life. Even in his human form, metamorphosis and immortality were of great interest to Count Dracula.

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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