how does vampire fiction affect our treatment of victims?

What is the role of the vampire in fiction?

The basic role of the vampire in fiction is the disruption of normal reality; human “hunters” work to regain a sense of normality through destroying the vampire. Vampire fiction falls into the horror gothic category due to the (often disturbing) violence perpetrated by or upon the vampire.

What are some examples of vampire fiction?

Such central European locations became a standard feature of vampire fiction. Another important example of the development of vampire fiction can be found in three seminal novels by Paul Féval: Le Chevalier Ténèbre (1860), La Vampire (1865) and La Ville Vampire (1874).

Are emotional vampires envious of their victims?

Emotional vampires on the higher end of the narcissistic spectrum tend to be pathologically envious of their victims. When they see that you’re thriving and successful, it sparks jealousy in them. They want your resources for themselves and they covet whatever you have.

What is vampiric literature?

Vampire literature covers the spectrum of literary work concerned principally with the subject of vampires. The literary vampire first appeared in 18th-century poetry, before becoming one of the stock figures of gothic fiction with the publication of Polidori's The Vampyre (1819), which was inspired by the life and legend of Lord Byron.

Why do vampires have a fear of death?

While these conditions might have fueled a fear of the undead, the root causes of vampire lore are most likely psychological rather than physical. Death is one of the most mysterious aspects of life, and all cultures are preoccupied with it to some degree. One way to get a handle on death is to personify it -- to give it some tangible form. At their root, Lamastu, Lilith and similar early vampires are explanations for a terrifying mystery, the sudden death of young children and fetuses in the womb. The strigoi and other animated corpses are the ultimate symbols of death -- they are the actual remains of the deceased.

What are the myths of Dracula?

The Dracula legend, and the modern vampire legend that came out of it, was directly inspired by the folklore of eastern Europe. History records dozens of mythical vampire figures in this region, going back hundreds of years. These vampires all have their particular habits and characteristics, but most fall into one of two general categories: 1 Demons (or agents of the devil) that reanimated corpses so they could walk among the living 2 Spirits of dead people that would not leave their own body

What is the vampire mythology?

According to the predominant mythology, every vampire was once a human, who, after being bitten by a vampire, died and rose from the grave as a monster.

What happens if a vampire bites a human?

It is believed that when a vampire bites a human being, if the human does not die, they become a vampire themselves.

Where did Dracula come from?

The Dracula legend, and the modern vampire legend that came out of it, was directly inspired by the folklore of eastern Europe. History records dozens of mythical vampire figures in this region, going back hundreds of years. These vampires all have their particular habits and characteristics, but most fall into one of two general categories:

What is the blood sucking creature?

Legends of bloodsucking creatures are present in many cultures around the world. One vampire-like creature with a considerable amount of notoriety in Central and South America is , literally translated as "the goat sucker." Click here to learn more about this modern monster.

Do vampires have reflections?

Vampires don't cast a reflection, and they have superhuman strength. This vampire figure, with its particular combination of characteristics and governing rules, is actually a fairly recent invention. Bram Stoker conceived it in his 1897 novel Dracula.

What is Carmilla subjected to?

As vampire lore is expounded, and her tomb discovered, Carmilla is subjected to the traditional measures of decapitation and a stake through the heart, a perfectly natural end in a story in which superstition, legend and folklore are part of the everyday reality.

How are Dracula's fragments recorded?

Though alluding to the Gothic devices of lost manuscripts and letters, Dracula’s fragments are recorded in the most modern manner: by typewriter, in shorthand and on phonograph. There are other indicators of modern systems of communication: telegrams, newspaper cuttings, train timetables are all signs of contemporaneity as are the medical and psychiatric classifications, the legal documents and the letters of commercial transaction. Not only useful in recording the story, these systems provide the information necessary to follow Dracula’s trail and investigate his plot. The modernity of the novel’s setting is also signalled by the professional status of the men who combine against the vampire: apart from the aristocratic leftover, Arthur Holmwood, they are lawyers and doctors at the centre of late Victorian commercial life. Even Mina, by no means a ‘New Woman’, acknowledges in her secretarial abilities shifts in the nature of work within and outside the family. Van Helsing is a combination of professor, doctor, lawyer, philosopher and scientist. Like his former student, Dr Seward, and his systems for classifying psychiatric disorders in his asylum, Van Helsing is well versed in contemporary theories: the criminology of Lombroso and Nordau is cited, as are the ideas of Charcot concerning hypnotism and the notion of unconscious cerebration. Dracula’s archaic, primal energy is reformulated in scientific terms: his ‘child-brain’ a sign of criminal regression which is also characterised by his egocentricity (p. 389). Renfield, the inmate of Seward’s asylum and ‘index’ of the Count’s proximity, also displays the characteristic criminal traits of secrecy and selfishness. In his strange eating habits, progressing from flies to spiders, sparrows and, he hopes, kittens, Renfield selects a bizarre food chain which links animal to human life in a caricature of Darwinian theory. Reconstructing natural events with its scientific explanations, modernity also supplants the myths, the explanations of the past, with its own version of things: the occult powers of Dracula’s castle, Van Helsing suggests, might well be natural, mysterious forces of geological and chemical origin (p. 411).

What is the setting of Dracula?

The place of a heroine, however, is taken by the naïve young lawyer Harker. Throughout the novel ruins, graveyards and vaults —all the macabre and gloomy objects of morbid fascination and melancholy—signal the awful presence of the Gothic past. Dracula is more than a Gothic villain, however, more than the mercenary and mundane bandit that they too often turn out to be. As the sublime synthesis of the human and supernatural terrors of Gothic writing, he is both villain and ghostly diabolical agent whose magic and power cannot be reduced to mere tricks or effects of overindulgent, superstitious imagination: more than rational, he serves to elicit rather than dispel superstitious beliefs, demanding, not a return to reason and morality, but a reawakening of spiritual energies and sacred awe. The form of the novel testifies to the excessive, unpresentable nature of this demand. The letters and journal entries telling different but connected parts of the same story compose a whole whose immensity, like the unrepresentable horror of Dracula’s unreflecting image, remains obscure.

What is the Gothic romance in Dracula?

Dracula recuperates the Gothic romance in making men the primary subjects of terror and horror, thereby addressing and attempting to redress, in its movement between figures of the past and present, the uncanny mobility of normal, natural and sexual boundaries in the 1890s.

What is the vampire narrative?

Vampire Narrative. The play between mythological and modern significance, between mystical and scientific visions of horror and unity, sexuality and sacred violence, is focused in the figure of the vampire. In Mary Braddon ’s ‘ Good Lady Ducayne ’ (1896) the vampire theme signals the barbarities that result from human vanity ...

What is the sexuality of Carmilla?

The story’s sexual images, none the less, have a resonance in the context of the late nineteenth century. Female sexuality, embodied in Carmilla’s languor and fluidity, is linked, in her ability to turn into a large black cat, with witchcraft and contemporary visions of sexual, primitive regression and independent femininity: feline, darkly sensual and threatening in its underlying, cruel violence, Carmilla’s unnatural desires are signalled in her choice of females as her victims and the alluring as well as disturbing effects she has on them. Exciting amorous emotions in Laura that are far from innocent, the attraction is shadowed by an incomprehensible fear and anxiety when Carmilla’s romantic passions are articulated in terms of blood, sacrifice and fatal possession. Laura’s susceptibility to Carmilla’s disturbing charms is finally interrupted by the reassertion of a male order of meaning and sexual differentiation. The secrets of Carmilla’s behaviour and her resemblance to an old portrait are explained as vampiric immortality. Her changing yet singular identity is disclosed as a play on words: she has masqueraded under names that are anagrams of Carmilla. The curiously ambivalent power, the superstitious allure of the vampire herself, lingers in the memory of Laura, haunted by the dual images of ‘beautiful girl’ and ‘writhing fiend’ (p. 314), images that only partially described the polymorphous representations of female sexuality.

How is Laura saved from Carmilla?

Oblivious, Laura soon becomes the prey of Carmilla. Laura is saved however, by the intervention of the guardian of one of Carmilla’s other victims.

How do vampires die?

The destruction of the vampire Lucy follows the three-part process enjoined by Van Helsing (staking, decapitation, and garlic in the mouth). Traditional vampire folklore, followed by Stoker in Dracula, does not usually hold that sunlight is fatal to vampires, though they are nocturnal. It is also notable in the novel that Dracula can walk about in the daylight, in bright sunshine, though apparently in discomfort and without the ability to use most of his powers, like turning into mist or a bat. He is still strong and fast enough to struggle with and escape from most of his male pursuers. Fatal exposure to sunlight of a vampire in their coffin dates at least as far back as The Story Of Yand Manor House (1898) by E. and H. Heron; such scenes in vampire films however, most especially 1922's Nosferatu and the closing scene of the 1958 film Dracula in which Count Dracula is burnt by the sun, were very influential on later vampire fiction. For instance, Anne Rice's vampire Lestat and Chelsea Quinn Yarbro's Count Saint-Germain both avoid the lethal effects of daylight by staying closeted indoors during the day.

What is the first vampire story?

The first mention of vampires in English literature appears in Robert Southey 's monumental oriental epic poem Thalaba the Destroyer (1801), where the main character Thalaba's deceased beloved Oneiza turns into a vampire, although that occurrence is actually marginal to the story. It has been argued that Samuel Taylor Coleridge 's poem Christabel (written between 1797 and 1801, but not published until 1816) has influenced the development of vampire fiction: the heroine Christabel is seduced by a female supernatural being called Geraldine who tricks her way into her residence. Though Coleridge never finished the poem, some argue that his intended plot had Geraldine eventually trying to marry Christabel after having assumed the appearance of Christabel's absent lover. The story bears a remarkable resemblance to the overtly vampiric story of Carmilla by Joseph Sheridan Le Fanu (1872).

What is vampire literature?

Vampire literature covers the spectrum of literary work concerned principally with the subject of vampires. The literary vampire first appeared in 18th-century poetry, before becoming one of the stock figures of gothic fiction with the publication of Polidori 's The Vampyre (1819), which was inspired by the life and legend of Lord Byron.

Which vampires avoid daylight?

For instance, Anne Rice's vampire Lestat and Chelsea Quinn Yarbro's Count Saint-Germain both avoid the lethal effects of daylight by staying closeted indoors during the day. A well-known set of special powers and weaknesses is commonly associated with vampires in contemporary fiction.

What is the name of the woman that seduces Christabel?

It has been argued that Samuel Taylor Coleridge 's poem Christabel (written between 1797 and 1801, but not published until 1816) has influenced the development of vampire fiction: the heroine Christabel is seduced by a female supernatural being called Geraldine who tricks her way into her residence.

How many movies have been made of the book The Last Man on Earth?

The novel was adapted into three movies: The Last Man on Earth starring Vincent Price in 1964, The Omega Man starring Charlton Heston in 1971, and I am Legend (film) starring Will Smith in 2007. The latter part of the 20th century saw the rise of multi-volume vampire epics.

How many books are there in White Wolf?

These series of novels were released in 13-book sets, each corresponding to one of the 13 clans of vampires in their game universe.

How does Dracula narrate the crisis?

This article sets out to explore how Dracula narrates the crisis that the novel as a genre faces by the end of the nineteenth century. The fictional female characters play a particular role in such process: whereas the status of women in Bram Stoker’s piece has been widely studied in terms of how their vampiric sexualisation affects their position in society and their relationships with men, there has been little analysis of their condition as writers and their relation to the novel as a genre. In Dracula, Mina Harker is a character who manages to record in her journal the events that unfold in the work of fiction, as well as her analysis of them. Similarly, her fiancé Jonathan Harker, the vampiric Count’s solicitor, documents their adventures in order to keep some sanity in the light of the sexual, psychological and social disorder Dracula triggers. This chaos gains special significance in fin-de-siècle Great Britain, sieged by the decadence of the empire and the conflicts brought about by industrialisation. While Jonathan’s accounts display features of the realist novel, Mina attempts to create a new narrative that entails a particular conception of the woman writer: a bourgeoning member of the middle class whose insights into reality are analytically critical and who incipiently acknowledges her sexual dimension, as suggested by the process of vampirisation she experiences. It is through writing that she becomes different from other highly sexualised vampires in the novel, namely her friend Lucy Westenra and the three women who inhabit the Count’s castle. Mina’s chronicles destabilise the novel as a form by proposing a new language for women and, specifically, for the woman writer. This proposal is one of the greatest threats that Dracula poses to the Victorian period through the use of the gothic. All male main characters in Stoker’s piece put in constant effort to counter such menace. Given these men’s success, Mina’s writing does not thrive and, as the anticipatory note to the novel promises, a “sequence will be made manifest”, which will realistically organise the events unchained by the vampire. In this way, both Mina’s writing and Stoker’s narrative, made up of fragments of different genres that can be nevertheless, appreciated as a whole, undergo an interrupted process of vampirisation.

How does Dracula relate to the narrative?

Accordingly, Dracula relates narrative crises as the main characters engage in a contest to validate themselves as narrators. The budding professional Jonathan Harker endeavours to behave as an omniscient narrator who tries to make some sense of the chaotic environment which entraps him.

What is the problem of Dracula?

Bram Stoker’s Dracula engages in a problem of narration. As it tells about the adventures of a vampire and the group which chases it, the novel revolves around literature-specific concepts and processes such as the status of the narrator, the organisation of narrative material, the construction of verisimilitude, and the relation of the literary text to its context of production, as well as to its immediate context of reception. This complexity is evinced through the archival method by means of which the novel is composed, as summarised by Radick:

How does Mina's chronicles destabilise the novel as a form?

Mina’s chronicles destabilise the novel as a form by proposing a new language for women and, specifically, for the woman writer . This proposal is one of the greatest threats that Dracula poses to the Victorian period through the use of the gothic.

What is Mina's role model?

Mina attempts to create a different narrative, which she manages to unfold by developing a new language once she starts to be vampirised.

Why does Lucy confess to Mina?

As far as Lucy is concerned, she writes as a mechanism to release repressed sexual desires. She confesses to Mina after having been proposed by Holmwood, Quincey and Dr. Seward: “Why can’t they let a girl marry three men, or as many as want her, and save all this trouble? But this is heresy, and I must not say it” (Stoker, 2000, p 51). Through her written complaint, she lets her friend know about her multiple sexual attraction. Immediately, she reprimands her words, aware of “sexual morals which ] condemned female sexual appetites” (Guy, 2001, p 464). Her truth cannot be written, unlike Jonathan’s, as he does not hesitate when writing about “some longing and at the same time some deadly fear” (Stoker, 2000, p 33) for the three vampires who approach him while locked in Dracula’s castle: “I felt in my heart a wicked, burning desire that they would kiss me with those red lips. It is not good to note this down, lest some day it should meet Mina’s eyes and cause her pain, but it is the truth” (p 33). Acknowledging sexual desire through writing seems to be a male prerogative: “double standards […] exonerated male promiscuity” (Guy, 2001, p 464). It is this privilege that Lucy’s epistolary prose challenges when she poses a threat to sexual mores, as well as to a style of writing which is expected not to subvert the status quo. She rejects art’s “primary function of […] socialis [ing] individual readers […] into the moral values of their culture” (p 314). This young woman contests that function, which renders her liable to vampirisation: her polyandric thirst and writing about it are already perceived as unnatural. This process is the visible sign of her double menace: she discloses a sexuality not admitted for women and a type of writing which does not intend to reproduce the conventions that hold the social order together. By means of her written word, Lucy exposes what that order represses to be kept as such.

What did the Victorians value in their novels?

It should therefore come as no surprise that in defining their criteria of aesthetic value, the Victorians tended to judge a novel ] primarily in terms of[& its representational qualities –that is, in terms of its verisimilitude or its ability to embody ‘real life’. It followed from such a view that realism was the mode of writing ] which the Victorians valued most, and that the novel […] w [as] their most popular art-form. (pp 314–315)

What is an emotional vampire?

Emotional vampire is a colloquial term for toxic people who drain us of our energy and leave us feeling emotionally exhausted. They have a parasitic quality in that they provoke emotional reactions in others and “feed off” their emotions as well as resources. Empaths and highly sensitive people tend to be targeted by emotional vampires due to ...

What does it mean when a vampire sees you as successful?

Emotional vampires on the higher end of the narcissistic spectrum tend to be pathologically envious of their victims. When they see that you’re thriving and successful, it sparks jealousy in them. They want your resources for themselves and they covet whatever you have. Rather than celebrating your success, they attempt to diminish it, undermine it or subtly detract from it in whatever way they can.

How do you know if you are dealing with an emotional vampire?

1. They deplete you physically and emotionally so you’re unable to care for yourself or be productive. Being around a toxic person is like being weighed down by heavy black tar.

What does it mean to be around a vampire?

Being around an emotional vampire can cause us to feel depressed, anxious, frightened, confused and in pain. It can affect our productivity, our ability to focus and our overall mental, physical and emotional well-being. This term is commonly used to describe narcissists and sociopaths who psychologically bleed us dry.

What is the effect of being surrounded by emotional vampires?

Severe anxiety is common for empaths who’ve been “touched” by the impact of an emotional vampire. Depression is often inevitable side effect of being surrounded by emotional vampires for long periods of time. 3.

How long does it take to detox from a toxic person?

3. You start to feel energetic after you are away from them for a few days or a few weeks, however long it takes you to fully “detox” from them. When you’ve removed yourself from the toxic person and have had time to psychologically “reset,” you feel much lighter, happier and more productive.

What does it mean when a person refuses to give you straight answers?

They refuse to give you straight answers and they refuse to honor you as a person who deserves consideration and respect. They project their toxic traits onto you, they become overly defensive about their uncalled for behavior, and they are indifferent to the pain you may be experiencing due to their neglect or abuse.

What are vampire powers?

Vampire Powers and Abilities in Fiction. Vampires are beings from folklore who subsists by feeding on the life essence of the living. This list was inspired by the List of Vampire Traits in Folklore and Fiction on Wikipedia, albeit a few modifications. Immortal – The power to never age and recover from almost any injury.

What are vampires most closely associated with?

Vampires are most commonly closely associated with werewolves. Non-Vampire Lovers. Rest in Coffins – If there is one thing that vampires are known for resting in coffins at night. Vampire Society or Organization – This focuses on if there is a coalition for vampires.

How did Julia become immortal?

Reproduction via Transfusion – In 2012s Dark Shadows, Julia becomes immortal after having several blood transfusions from the vampire Barnabas.

What are vampires in Crimson City?

Known to Human Society – Sometimes vampires are creatures that hide in the shadows, in the darkest parts of the human imagination . In the Crimson City series, vampires are known by the public.

How do vampires die?

Stake – Vampires are typically terminated by a use of a stake to the heart. But then again, most living creatures would die with a stake to the heart.

What are the abilities of vampires?

Animal Control – Some vampires have exercised the ability to control animals; bats, wolves, rats, etc. Telepathy – Vampires can sometimes read/sense another person’s thoughts, communicate with them mentally and/or influence their minds/thoughts. Telekinesis – Manipulate objects/matter with the mind.

What are vampires' senses?

Unnatural Senses – Vampires have uncanny senses. They better sight, smell, hearing, taste, and sense of touch.

Why is trauma crime important?

It is because of the trauma crime victims face that our response to them is paramount. Of the millions of people who are victimized each year, only a small percentage actually get the help and services to which they are entitled. Historically, the criminal justice system's focus has been on apprehending and punishing the offender, but little attention was paid to helping victims; thankfully this is changing. There has been a shift in morale, professionalism and training of officers and how they are responding to crime victims. Being that law enforcement are typically the first responders on a crime scene, their approach and support can be very empowering for the victim. Curricula like the 21st Century Strategy For Enhancing Law Enforcement Response to Victims prepare officers to be more effective in working with victims of crime. The training focuses on topics like empathy, vocal tone, nonverbal cues, etc. Overall, it can teach officers to be more aware of their attitudes or personal biases towards others.

What is the crisis reaction in crime?

Bard is an author of a book titled The Crime Victim's Book in which he describes what's called the crisis reaction. The crisis reaction is how victims of crime respond to the act itself.

What is the 21st century strategy for enhancing law enforcement response to victims?

Curricula like the 21st Century Strategy For Enhancing Law Enforcement Response to Victims prepare officers to be more effective in working with victims of crime.

What is CSP in the court system?

CSP is made up of many different programs, including victim and witness assistance programs. Victim Advocates are based in various courthouses throughout the county and provide assistance services to crime victims.

How does a crime impact a victim?

How a crime impacts a victim is generally based on the severity of the crime committed and the mental state of the crime victim at the time. Then there's the financial damages that can occur if property is stolen or destroyed.

What does Lisa feel when she asks a suggestive question?

In asking such a suggestive question, Lisa may feel as though she's to blame. She would likely feel hurt and ashamed. The secondary injuries are not the ones you can visibly see, but they are the additional mental scars that are caused by untrained and sometimes insensitive people. Lesson.

What are the effects of crime?

The effects of crime on a victim typically fall under three categories: physical, psychological/emotional, and financial. The physical effects can be anything from scars and bruises to more serious visible wounds on the body. The psychological effects pertain to the emotional damage that occurs after a victim experiences a criminal act.

Why is the vampire face facial called vampire face?

What is the Vampire Facial? The Vampire Facial has its name due to the blood-speckled appearance of the treatment that uses a person’s own blood. It’s why it’s also known as the ‘Blood Facial’. Cosmetically, the Vampire Facial is a type of PRP (platelet-rich plasma) therapy, also known as collagen induction therapy.

How long does it take for a vampire facial to work?

People who have gotten the Vampire Facial should refrain from vigorously touching the treated surface area and avoid direct sun exposure for a period of 3 to 5 days. Since skin is different from person to person, the results from the facial can appear anywhere between days to weeks from the initial treatment.

How does PRP work?

This is a process that uses tiny needles that puncture the outer layer of the dermis. This is done on the parts of the face that naturally slow the production of collagen and elastin. Once inside, the PRP helps the proteins heal, ultimately making them produce new cells at a much faster pace.

How long does a collagen treatment last?

Because it’s using the body’s natural self-regeneration process, which increases the production of collagen and elastin, the results from the treatment can last up to a year. If not done regularly, the natural aging process continues. That is why multiple treatments are recommended for more consistent and lasting results.

What are the two components of youthful skin?

Youth is a vital part of our lives. At the skin level, two main components give our faces a bouncier, brighter appearance – collagen and elastin. These two vital elements work to provide the skin with elasticity, tightness, and a smoother texture.

Is vampire facial invasive?

However, the Vampire Facial is one of the longer-lasting, non-invasive cosmetic procedures.

How long does a blood test last?

Depending on the surface area, the treatment can last anywhere between 30 minutes to 1 hour. Since it’s a process that involves using the person’s own blood, there’s no real risk of serious adverse effects or cross-contamination, however, there are critical guidelines that should be considered and must be followed.

History

• 18th century
  Vampire fiction is rooted in the "vampire craze" of the 1720s and 1730s, which culminated in the somewhat bizarre official exhumations of suspected vampires Petar Blagojevich and Arnold Paole in Serbia under the Habsburg monarchy. One of the first works of art to touch upon the su…
• 19th century
  The first mention of vampires in English literature appears in Robert Southey's monumental oriental epic poem Thalaba the Destroyer (1801), where the main character Thalaba's deceased beloved Oneiza turns into a vampire, although that occurrence is actually marginal to the story. I…

See more on en.wikipedia.org

Traits of Vampires in Fiction

Literature

Fiction Series

Juvenile Fiction

Vampire Fiction Based on TV Series

Comic Books

Magazines

See Also

Bibliography

The Novel as A Vampire

• Bram Stoker’s Draculaengages in a problem of narration. As it tells about the adventures of a vampire and the group which chases it, the novel revolves around literature-specific concepts and processes such as the status of the narrator, the organisation of narrative material, the construction of verisimilitude, and the relation of the literary tex...

See more on nature.com

Fighting Off Vampires in Defence of The Novel

The Real Threat: The Woman Writer

Final Reflections

Data Availability