Dracula (Oxford Playscripts)

£5.495
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Dracula (Oxford Playscripts)

Dracula (Oxford Playscripts)

RRP: £10.99
Price: £5.495
£5.495 FREE Shipping

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Description

The original story is not written like a normal novel, but through diaries, letters, telegrams and reports. This allows several narrators to tell the story from their own point of view. Riverkeepby Martin Stewart. Wull’s father has been possessed by an evil spirit. It’s up to Wull to hunt down a potential cure. Library copies available.

Access-restricted-item true Addeddate 2021-10-09 14:06:35 Associated-names Balderston, John L. (John Lloyd), 1889-1954; Stoker, Bram, 1847-1912. Dracula Boxid IA40257410 Camera USB PTP Class Camera Collection_set printdisabled External-identifier

Reviews

The Vampire Handbook by Robert Curran is a non-fiction book explaining the myths about vampires from around the world, and a guide to protecting yourself, just in case. Library copy available. The individuals who united to destroy Dracula were not friends from the start- three of them had competed for the hands of one woman, and two had been saddened by her rejection. Yet there was no feeling of jealousy or resentment at the individual Lucy chose or on Lucy herself. Although they all came as competitors, Arthur, Quincy, and Seward ended up forging an undying bond with themselves, as well as with Harker, Mina, and Van Helsing. However, if you make the wrong choice of inviting him into your home, then prepare for him to take away your life and your soul. Ocr tesseract 5.0.0-beta-20210815 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 1.0000 Ocr_module_version 0.0.13 Ocr_parameters -l eng Old_pallet IA-WL-1200057 Openlibrary_edition Renfield quotes a poem by William Blake called Auguries of Innocence. You can read the whole poem here. Numeracy

Lust or overt sexual expression is an emotion displayed by only the corrupted or damned in Stoker’s world. Neither Lucy nor Mina displays any degree of sexual expression in their interactions with their respective significant others, but when Dracula forces Mina to drink his blood, Mina recalls being sexually drawn to him, and it is only when Lucy transforms into a vampire that she becomes an evil seductress. The normally gentlemanly Harker cannot help the feeling of overwhelming lust rushing through as he was assailed by the three female vampires in Dracula’s castle. The association of sexual expression to a sort of corruption or contamination of the mind and soul is therefore evident in the book. In Chapter XVII, when Van Helsing warns Seward that “to rid the earth of this terrible monster we must have all the knowledge and all the help which we can get,” he literally means all the knowledge. Van Helsing works not only to understand modern Western methods, but to incorporate the ancient and foreign schools of thought that the modern West dismisses. “It is the fault of our science,” he says, “that it wants to explain all; and if it explain not, then it says there is nothing to explain.” Here, Van Helsing points to the dire consequences of subscribing only to contemporary currents of thought. Without an understanding of history—indeed, without different understandings of history—the world is left terribly vulnerable when history inevitably repeats itself.

The fictional book ‘Dracula’by Bram Stoker contains a number of important themes that reflects Stoker’s philosophies and attitudes and, by extension the sensibilities of the period he lived in. Within the narrative, these themes are revealed in the manner in which the characters in ‘Dracula’ interact, as well as in the outcomes of certain events.

Jonathan Harker is warned by an old peasant woman in Bistritz against going on to Dracula’s castle. He accepts the gift of a rosary from her.

Mina Murray is the ultimate Victorian woman. Van Helsing’s praise of Mina testifies to the fact that she is indeed the embodiment of the virtues of the age. She is “one of God’s women, fashioned by His own hand to show us men and other women that there is a heaven where we can enter, and that its light can be here on earth. So true, so sweet, so noble. . . .” Mina stands as the model of domestic propriety, an assistant schoolmistress who dutifully studies newfangled machines like the typewriter so as to be useful to her husband. Unlike Lucy, she is not most noteworthy for her physical beauty, which spares Mina her friend’s fate of being transformed into a voluptuous she-devil. We might expect that Mina, who sympathizes with the boldly progressive “New Women” of England, would be doomed to suffer Lucy’s fate as punishment for her progressiveness. But Stoker instead fashions Mina into a goddess of conservative male fantasy. Though resourceful and intelligent enough to conduct the research that leads Van Helsing’s crew to the count, Mina is far from a “New Woman” herself. Rather, she is a dutiful wife and mother, and her successes are always in the service of men. Mina’s moral perfection remains as stainless, in the end, as her forehead. Motivating activities focusing on performance, close text analysis, language and structure, together with varied creative tasks Jonathan Harker, a young English lawyer, travels to Castle Dracula in the Eastern European country of Transylvania to conclude a real estate transaction with a nobleman named Count Dracula. As Harker wends his way through the picturesque countryside, the local peasants warn him about his destination, giving him crucifixes and other charms against evil and uttering strange words that Harker later translates into “vampire.”



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