Sex and Sexuality in Dracula

As Leonard Wolfe discussed, Bram Stoker 's novel "Dracula" was published in 1897 to explore the possibilities of sexual pornography with vampire hugs. This novel faces the fear of homosexuality in the Victorian era; it was the latest for the trial of the playwright Oscar Wilde. Vampire hugs can also be explained by Victorian concerns about the transformation of women's role. It is therefore important to take into account: the historical background of the novel, the Victorian concept of "new women", in particular the character of Lucy Wester, the reversal of the role of sex, the concept of sexuality, and the castration of a male by male The power, novel by Dracula.

In Dracula, Bramstock wrote a face-to-face relationship with sexuality - sexual oppression is the center of this theme. When Jonathan Harker witnessed the thought and action of Dracula Castle during his imprisonment, both men and women received sexual oppression. His sexual oppression was best explained by the following quote: 'I was afraid to lift the eyelids, but looking out, I saw it completely under the eyelashes . The girl crouching while squatting down and crouching. When she archured his neck she was actually licking her lips like an animal ... I was waiting with my eyes closed and I was waiting - I was waiting.

The fear of Dracula 's vampire depiction is generally accepted as a metaphor of suppressed Victorian sexuality. But this is only one of many interpretations of Dracula 's metaphor. Judith Halberstam assumed many of them in her article "Monster Techniques: Vampires of Bram Stoker". She wrote: Halberstrom clearly expressed his view on Dracula, and it shows that people are considered to be an evolved and outdated concept increasingly defeated. A depiction of a multinational lead band that quickly shares, organizes, and processes new information using the latest technology (such as telegrams) is the cause of the vampire being destroyed. This is one of many interpretations of the metaphor of the core character of the horror novel model, since analysis has a lot of potential metaphor from religion to anti-Semitism.

When Dracula changes, Lucy's sexual desire is released. Her desire for blood and sex is irrevocable and unsatisfactory making it incredible for him to be afraid of her three pursuers and Van Helsing. Before he died, Lucy was already a quiet sexual woman, and when she died, she must understand that she began to eat humans. Although not an ordinary person, Stoke showed her painfully and clearly that she broke one of her motherhood instincts, stealing her child. She did not notice directly that Lucy had fallen on a child's tooth and threw a rumpled child on the floor, but accused her as a fate / label, without the dirty conscience and the imagination of the reader . Recalling the dying Lucy, she seems to be fighting her inner devil and her pure and innocent self (probably her potential sexual hunger). On the one hand, she wants Homewood. "Arthur, ah, my love, I am very pleased that you are here!