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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
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Vampires, Lesbians, and Women of Colour
Victoria Amador

The lesbian community of colour in America has been largely overlooked amidst the current popular culture mania for all things vampiric. Yet the complex ambiguity of the lesbian vampire very readily lends itself to women of colour, who frequently explore in their gothic fiction the intersections of gender, sexuality, race, class, assimilation, and the transgressive significance of the vampire myth. This essay discusses two works by African-American Jewelle Gomez and Chicana- American Terri de la Pena as lesbian Gothic romantic fiction, as feminist affirmation, and as prescriptive, community-building activist discourse.

Gothic Studies
Stoker, Coppola and the ‘new vampire’ film
Lindsey Scott

critics such as Stephen D. Arata, Stoker’s Dracula clearly represents ‘a break from the Gothic tradition of vampires’, transforming elements of the vampire myth and ‘making them bear the weight of the culture’s fears over its declining status’. 6 For Conrad Aquilina, the Romantic, Byronic legacy that has informed the literary vampire is periodically interrupted through writers such as Stoker

in Open Graves, Open Minds
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Sam George and Bill Hughes

. Rousseau continued these sophisticated, cultural emphases on the origins of the vampire myth, taking up strands that appear in both Fortis and Ferrier. He has a Humean scepticism towards testimony: ‘if there is in the world an attested history, it is just that of vampires … Nothing is lacking – depositions, certificates of notables, surgeons, curés, and magistrates. … Yet with all this, who actually

in Open Graves, Open Minds
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Nineties’ gothica
Susanne Becker

(1992) has even been called ‘the end of Gothic’ by Fred Botting, who shows how its romanticism ‘presents its figures of humanity in attenuated and resigned anticipation of an already pervasive absence, undead, perhaps, but not returning’ ( 1996 , 180). Fay Weldon, whose own intertextual connectedness to Shelley as well as to the vampire myth has always played out the (neo

in Gothic Forms of Feminine Fictions
Conrad Aquilina

Woolley, The Bride of Science , p. 61. Twitchell argues that this blood-relation aspect of the vampire myth may have been important for the Romantics but that it has been lost in our twentieth-century retelling of the myth ( The Living Dead , p. 83). Nevertheless, Tom Holland’s historical fictions The Vampyre ( 1995 ) and Supping with Panthers ( 1996 ), and Jeanne Kalogridis’s The

in Open Graves, Open Minds
The rise of the cinematic vampire
Stacey Abbott

vampire myth. The cinematic Dracula came to dominate the modern understanding of the vampire, providing a face, costume and voice that are still recognisable today. Pale skin, dark lips, widow’s peak, tuxedo, cape, mannered performance, and Hungarian accent are the characteristics around which Bela Lugosi, star of Tod Browning’s Dracula (USA, 1931 ), constructed his interpretation of Bram Stoker

in Open Graves, Open Minds
Locating the globalgothic
Justin D. Edwards

intersects with, transforms (and is possibly transformed by) the diasporic Canadian-Caribbean narrative of Soucouyant : the liminal and contested spaces represented by Chariandy have the potential to combine Nosferatu with French vampire myths and West African narratives of spirit possession. Thus, although it draws on Trinidadian folklore, Soucouyant differs from those Caribbean works that represent

in Globalgothic
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Elisabeth Bronfen

‘bodies buried in ancient times, which fall to powder in the moment of being distinctly seen’. He further implicitly refers to the vampire myth by suggesting that she looked as if ‘the admission of the natural light of day would have struck her to dust’ (90). As Pip learns later on from one of her relatives, she was a rich, proud and spoilt heiress, who fell passionately in love

in Over her dead body
Catherine Spooner

Ruthven is transparently based on his employer and mentor, Lord Byron, and possesses all of Byron’s mythic charisma – as Conrad Aquilina describes in Chapter 2 above. Byron, widely described as the first celebrity in the modern sense of the word, provides a model that informs the development of the vampire myth in the succeeding two centuries: witty, aristocratic, intelligent, tormented and wildly

in Open Graves, Open Minds