In order to become a vampire, one must go through a ritual where each drinks the others blood. There is a scene where this ritual is shown in a sexual light. A woman drinks the blood of a man by opening a wound on his chest. Another scene where three female vampires are shown nude, seducing and sexually teasing a man. He is terrified, but seems to enjoy it.
A woman drinks the blood of a man by opening a wound on his chest. Loiperdinger, Sign me up! Banks and Brothers. Later in life, he would have consulted his three physician brothers, particularly Thornley. Is there anything inherently erotic about Lucy as vampire? The terrible task was over. Reading the Vampire. At the same time, her actions remain on display for the viewers in the theatre, allowing an Bram stoker dracula nude between the audience and Mina; in effect, the audience sees what Mina has chosen to make private. Bram stoker dracula nude some cases, words have been twisted to yield new meanings, whole passages have been examined out of context, and gaps in the text have been declared intentional omissions.
Confessions platinum pussy. 15. Bram Stoker’s Dracula
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In order to become a vampire, one must go through a ritual where each drinks the others blood. There is a scene where this ritual is shown in a sexual light. A woman drinks the blood of a man by opening a wound on his chest. Another scene where three female vampires are shown nude, seducing and sexually teasing a man. He is terrified, but seems to enjoy it. Decapitations, blood pouring from inanimate as well as animate objects, people are impaled in silhouette.
There is a scene where Dracula is shaving another man and he cuts him with the razor. Vampires are beheaded, off screen, but we see Anthony Hopkins throwing their heads off a cliff.
Be aware that while we do our best to avoid spoilers it is impossible to disguise all details and some may reveal crucial plot elements.
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Switch to classic view. Readers of Dracula have been assured repeatedly that the novel is all about sex. Indeed, every sexual practice, fantasy and fear imaginable has been thrust upon its pages: rape including gang rape , aggressive female sexuality, fellatio, homoeroticism, incest, bestiality, necrophilia, pedophilia, and sexually transmitted disease.
Words have been twisted to yield new meanings, passages have been examined out of context, and gaps in the text have been declared intentional omissions. The preponderance of such readings of Dracula demands re-assessment. While it would be folly to deny any erotic content in a novel about biting and sucking, the incessant pursuit of this path has led us down the slippery slope of revisionist biography and reductive textual nit-picking. Imagine a Dracula in which wooden stakes are wooden stakes, and blood is merely blood.
This is not an easy task when we consider the extent to which the text has been pushed to the brink of total libidinal abandon. If we take Bram Stoker at his word, we must assume he did not deliberately intend his novel to be concerned with sex.
Scholars disagree on whether the author of Dracula was aware of any sexual subtext of his novel. On the one hand, Maurice Richardson doubts that Stoker had any inkling of the erotic content of the vampire superstition Indeed, every imaginable sexual practice, fantasy and fear has been thrust upon the pages of the novel: rape including gang rape , aggressive female sexuality, fellatio, homoeroticism, incest, bestiality, necrophilia, paedophilia, and sexually transmitted disease.
In some cases, words have been twisted to yield new meanings, whole passages have been examined out of context, and gaps in the text have been declared intentional omissions. The incessant pursuit of sexual innuendo has led some down the slippery slope of reductive textual nitpicking and revisionist biography.
This initiated an avalanche of psychoanalytical readings of Dracula during the s. Later scholars began to explore the novel as an expression of the specific concerns of late Victorian England with regard to issues of sex and gender.
Feminist critics, focusing in part on what the text reveals about Victorian attitudes towards women, borrowed heavily from psychosexual readings. Not surprisingly, some of these critics read the text as misogynous. Judith Weissman, for example, sees it as a representation of the male fear of female sexuality:.
Their fight to destroy Dracula and to restore Mina to her purity is really a fight for control over women. According to this reading, Dracula is feared because of his ability to release unbridled female sexuality.
Every possible variation has been explored. Others have viewed sexuality in the novel in terms of late Victorian anxieties about degeneration, atavism, evolutionary theory, and reverse colonization. While it would be folly to deny any erotic potential in Dracula it is, after all, a novel about biting and sucking , it is possible to go too far. Arthur took the stake and the hammer, and when once his mind was set on action his hands never trembled nor even quivered [ Then he struck with all his might.
The Thing in the coffin writhed; and a hideous, blood-curdling screech came from the opened red lips. The body shook and quivered and twisted in wild contortions; the sharp white teeth champed together till the lips were cut. And the mouth was smeared with a crimson foam.
But Arthur never faltered. He looked like a figure of Thor as his untrembling arm rose and fell, driving deeper and deeper the mercy-bearing stake, whilst the blood from the pierced heart welled and spurted up around it [ And then the writhing and quivering of the body became less, and the teeth seemed to champ, and the face to quiver. Finally it lay still. The terrible task was over.
Others read it as a perverse orgasm, or even as gang rape Bentley 30; Leatherdale Is there anything inherently erotic about Lucy as vampire?
The text of Dracula has been subjected over the years to a painstaking search for linguistic fig-leaves as words are squeezed for every erotic potential. When Dr. Is the missing word sperm or merely blood? Does he plan to feed on a male? Is it for sexual gratification? Or should we take the text literally and conclude that he needs Harker to facilitate his journey to England? Surely Dracula has had sex thrust upon him. Film versions notwithstanding, the Count offered to us by Stoker is anything but erotic.
Consider the movies of the s, which redefined the Count in romantic-erotic terms, giving us Jack Palance, Louis Jourdan, and Frank Langella. In contrast, Stoker offers Dracula as the embodiment of evil, supported by the textual overlay of biblical and Christian discourse.
Then the soul of the poor lady whom we love shall again be free [ Approaching a novel, especially one with such widespread appeal as this one, from different critical perspectives including sexual readings is a healthy academic exercise. Certainly till I was about seven years old I never knew what it was to stand upright.
The bloodletting would have been experienced by him first as being eaten up, and then as a castration threat. He would have experienced the birth of four brothers before he was seven, thus being afforded ample opportunity for seeing his mother pregnant and his brothers nursing, and shaping his rivalrous and angry feelings about the babies at the breast. Bierman draws additional support for his theory from another problematic source.
Bierman is by no means alone. Dracula, we need hardly be told, is the Doctor! Stoker says plenty about the actor in Personal Reminiscences of Henry Irving , published in , nine years after the appearance of Dracula.
If one takes the contents of Reminiscences at face value, there is no doubt about how he felt about his employer. He worshipped him. For many, this was a cue to explore Irving as the prototype for Count Dracula. If so, does that explain the homoeroticism so prevalent in Dracula assuming, of course, that one accepts that the novel is homoerotic? The notion that Oscar Wilde was a major influence on the writing of Dracula has been around since the s. But the eagerness to make the connection has led to some serious distortion of the facts.
The Oscar Wilde case erupted at the very moment when Stoker was writing his novel [ Wilde spent two famous years in prison [ Yet the misinformation continues.
On the other hand, one would be foolhardy to deny that Stoker was aware of the Wilde trials. All of Britain was mesmerized by them. As both were theatre men, their paths would surely have crossed from time to time. We do not know. How reliable is such information, dependent as it is on family folklore? While Stoker may have neglected his wife—he must have spent hours, days and weeks away from home—her frigidity is a matter of conjecture.
Nor does it all end there. Stoker is supposed to have in desperation turned to prostitutes with the result that he contracted syphilis. The rumour spread like wildfire. He turned to prostitutes [ From his dalliances he contracted syphilis. But it is quite another thing to support such a contention using flimsy or even non-existent biographical information.
Even had Stoker contracted the disease, it would not likely have occurred early enough to have been an influence on Dracula. This revelation provided a new bandwagon for others to jump on. A counter-strike has been launched by Leslie Shepard, an antiquarian and long-time Stoker scholar living in Dublin.
The evidence is inconclusive. Given that ashes tell no tales, we may never know. That Stoker knew of what may have happened to Vlad while he was imprisoned in Turkey about which, incidentally, existing historical records are vague is highly improbable. Stoker supplemented this with scraps of Romanian history from other sources which he carefully listed in his notes and fleshed out a history for his Count Dracula. Everything else is speculation. Consequently, the Victorians become the villains while the vampires promise the sexual liberation that Victorian England supposedly denied.
But in the flush of excitement to validate the novel, to give it relevance in a postmodern world, one can too easily fall victim to distortion or even the creation of information to support a theory. That is where, in the view of this writer, we should pull back.
For sometimes a wooden stake is just that—a wooden stake. While the description of the staking of Lucy is considerably abridged in the dramatic reading, the blood exchange between Mina and Dracula remains in its entirety. See Starshine. Surely he knew what was wrong; he was too inquisitive a man not to ask what and why. Later in life, he would have consulted his three physician brothers, particularly Thornley. Was he really bedridden all that time? Or was being an invalid a romantic fantasy fed by Byronic poetry?
The evidence is shaky at best. Did Dracula even have its origin in a nightmare? Some dismiss the dream outright. Assuming that Stoker invented the story, it may have served as a pose, following in the tradition of many Gothic writers whose works were supposed to have been inspired by nightmares. Some even claim to know when he had this nightmare.