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Biting into the Global Myth
Svitlana Krys

This article discusses the manner in which the vampire fiction of contemporary Ukrainian author Halyna Pahutiak enters into a dialogue with the global vampire discourse whose core or ‘cultural capital’ finds its origins largely in Bram Stoker’s novel Dracula (1897). Through discussion of thematic, stylistic, and structural similarities and differences between Pahutiak and Stoker’s portrayals of the vampire myth, my paper sheds light on the conscious mythmaking strategies that Pahutiak employs to return the vampire symbolically from the West to Eastern Europe where it originated, and reassess the core characteristics of the Dracula myth.

Gothic Studies
Professional Integrity in Peril at the Fin de Siècle
Debbie Harrison

This essay positions the drug-using doctor at the intersection between traditional Gothic horror and a new fin-de-siècle medical realism, embedding the cultural anxieties at the fin de siècle in relation to the ethical and theological boundaries of scientific knowledge. The objective is to provide a framework for reading and interpreting the medico-gothic narrative of addiction. The essay examines the writings of three pioneering physician-scientists: one historical – Sigmund Freud – and two fictional – Dr Jekyll, in Robert Louis Stevenson‘s Strange Case of DrJekyll and Mr Hyde (1886), and Dr Seward in Bram Stoker‘s Dracula (1897).

Gothic Studies
Naomi Booth

). The most famous vampire text, Dracula (1897), coincides with the early development of psychoanalysis; its swoon-states express deep anxieties about interference and thought transference, anxieties that also dogged the development of psychoanalysis and Freud's treatment of swooning hysterics. I propose a set of correspondences between the vampiric swoon-states of Dracula , the early hypnotic treatment of hysteria, and psychoanalysis's anxious relation to telepathy and occult modes of thinking. I argue that the swoon iconises a pleasurable softening into

in Swoon
Vampirism, Victorianism and collage in Guy Maddin's Dracula – Pages from a Virgin's Diary
Dorothea Schuller

This chapter discusses one of the most recent and – despite the absence of dialogue and anything resembling realistic acting – most faithful adaptations of Bram Stoker's Dracula (1897), Guy Maddin's 2002 film of the Royal Winnipeg Ballet's dance adaptation, set to the music of Gustav Mahler, Dracula –Pages from a Virgin's Diary. Maddin's 'Victorian' interpretation of Dracula is marked by an emphasis on the turn-of-the-century cultural contexts of the novel (gender, medicine, race, imperialism). The film presents 1890s England as seen through the eyes of a knowledgeable 21st century viewer whose close reading of the source text is shaped by critical discussions of the novel and the Dracula myth in popular culture. Vampirizing various cultural artifacts from Caligari to Coppola, Maddin's palimpsestic film ultimately manages to be both highly original and collage, both – in the words of Jonathan Harker's diary – ‘up-to-date’ and ‘nineteenth century […] with a vengeance’.

in Monstrous media/spectral subjects
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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Rechnological necromancy and E. Elias Merhige’s Shadow of the Vampire
Carol Margaret Davison

exploring the inherent vampirism of this new technology’ (2007: 62). That Murnau does this in a film based on Bram Stoker’s Dracula (1897) is especially fitting given that novel’s preoccupation with modern technologies, ranging from the typewriter and the telegraph to the phonograph, the Kodak camera, and the Winchester rifle. 1 As Jennifer Wicke has observed in her seminal article

in The Gothic and death
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Queering the Gothic
William Hughes and Andrew Smith

depicted throughout Poppy Z. Brite’s Lost Souls (1992). Lost Souls , Hughes argues, represents a significant departure from the association between vampirism and a diseased degeneracy popularised by Bram Stoker’s Dracula (1897), its imitators and its subsequent adaptations. In place of the vision of the vampire as a deficient, debased and Othered human, Lost Souls constructs a parallel

in Queering the Gothic
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Monstrous media/spectral subjects
Fred Botting and Catherine Spooner

-de-siècle gothic canon, including The Strange Case of Dr Jekyll and Mr Hyde (1886), The Picture of Dorian Gray (1888), The Island of Dr Moreau (1896) and Dracula (1897), deploy effects reminiscent of filmic techniques such as reverse motion and double exposure. Foster concludes that ‘if there was something “gothic” about emergent cinema, there was something “cinematic” about

in Monstrous media/spectral subjects
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Listening in terror
Richard J. Hand

’s Dracula (1897), Mary Shelley’s Frankenstein (1818) and R. L. Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde (1886). These have included many audio readings of the novels through to, in recent years, frequently inventive adaptations by distinctive dramatists such as Nick McCarty’s seven-part (2004) and Liz Lochhead’s two-part (2007) versions of Dracula; Nick Stafford’s two

in Listen in terror
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Lesbian Gothic horror
Gina Wisker

predates Bram Stoker’s Dracula (1897). 10 A homeless itinerant noblewoman is left at and supported in the homes of a series of young women. But the young traveller, Marcella/Carmilla, is a vampire and her nature demands that she drains young women for her own survival. Feminist and queer theorists and critics might be troubled by the conventional critique of Carmilla as deviant, disgusting, to be

in Queering the Gothic