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Dracula, going by an inversion of his name, " Alucard", serves as the main character of the anime and manga series Hellsing and Hellsing Ultimate, where he serves Integra Hellsing, Abraham's great-granddaughter, as an anti-vampire warrior devoted to the British Crown. Kane, Michael (1997). "Insiders/Outsiders: Conrad's "The Nigger of the "Narcissus" " and Bram Stoker's "Dracula" ". The Modern Language Review. 92 (1): 1–21. doi: 10.2307/3734681. ISSN 0026-7937. JSTOR 3734681. Stoker, Bram. "Chapter 2, Jonathan Harker's Journal". Dracula (PDF). p.9. 'Ordog'—Satan, 'Pokol'—hell, 'stregoica'—witch, 'vrolok' and 'vlkoslak'—both mean the same thing, one being Slovak and the other Servian for something that is either werewolf or vampire.

Most critics agree that Dracula is, as much as anything else, a novel that indulges the Victorian male imagination, particularly regarding the topic of female sexuality. In Victorian England, women’s sexual behavior was dictated by society’s extremely rigid expectations. A Victorian woman effectively had only two options: she was either a virgin—a model of purity and innocence—or else she was a wife and mother. If she was neither of these, she was considered a whore, and thus of no consequence to society. Dracula can also manipulate the weather and, within his range, is able to direct the elements, such as storms, fog and mist. [28] Shapeshifting [ edit ] Miller, Elizabeth (2006). "Filing for Divorce: Count Dracula vs. Vlad Tepes". Dictionary of Literary Biography. 394: 212–217. Curran, Bob (2005). Vampires: A Field Guide to the Creatures That Stalk the Night. Career Press. ISBN 1-56414-807-6.

Stevenson, John Allen (1988). "A Vampire in the Mirror: The Sexuality of Dracula". PMLA. 103 (2): 139–149. doi: 10.2307/462430. ISSN 0030-8129. JSTOR 462430. S2CID 54868687. Masters, Anthony (1972). The Natural History of the Vampire. New York: G. P. Putnam's Sons. ISBN 9780399109317.

Miller presented this article at the second Transylvanian Society of Dracula Symposium, [14] but it has been reproduced elsewhere; for example, in the Dictionary of Literary Biography in 2006. [15] He must, indeed, have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. (Chapter 18, pp.145) Harker admits while writing this description that he is 'not in heart to describe beauty', as he has realised that he is a 'prisoner' in the castle, with 'doors, doors, doors everywhere'. The repetition of 'doors' emphasises the impact the setting of the castle is having on Harker. He feels as though he is slowly being driven to insanity, with no escape in sight - just more doors. Christianity / good versus evil The first film to feature Count Dracula was Károly Lajthay's Drakula halála ( transl. The Death of Dracula), a Hungarian silent film which allegedly premiered in 1921, though this release date has been questioned by some scholars. [132] Very little of the film has survived, and David J. Skal notes that the cover artist for the 1926 Hungarian edition of the novel was more influenced by the second adaptation of Dracula, F. W. Murnau's Nosferatu. [133] Critic Wayne E. Hensley writes that the narrative of Nosferatu differs significantly from the novel, but that characters have clear counterparts. [134] Bram Stoker's widow, Florence, initiated legal action against the studio behind Nosferatu, Prana. The legal case lasted two or three years, [p] and in May 1924, Prana agreed to destroy all copies of the film. [136] [q] Christopher Lee as the title character in Dracula (1958)

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McNally, Raymond T.; Florescu, Radu (1973). Dracula: A Biography of Vlad the Impaler. New York: Hawthorne Books. Craft, Christopher (1984). " "Kiss Me with those Red Lips": Gender and Inversion in Bram Stoker's Dracula". Representations (8): 107–133. doi: 10.2307/2928560. ISSN 0734-6018. JSTOR 2928560. Because of the many strange and supernatural events which take place in the novel, characters often question whether they might be going mad and imagining things. When Harker reunites with Mina after escaping from Dracula’s Castle, he does not know whether or not he can trust his memories: “I do not know if it was all real or the dreaming of a madman.” The character of Renfield, an inmate in Dr. Seward’s asylum, further reinforces how madness can make it difficult to see Dracula’s evil schemes at play. When Seward overhears Renfield saying “I shall be patient, Master. It is coming—coming—coming,” Seward assumes the man is raving mad, when Renfield is actually speaking with Dracula and foreshadowing the dangers to come. Seward even doubts his own ability to think logically, wondering “if my long habit of life amongst the insane is beginning to tell upon my own brain.” Confronted with an evil that seems impossible to understand, characters find it easier to believe they might be going insane and that their problems are entirely internal. Fear of Outsiders

There is no moral Conflict in Van Helsing’s speech, encapsulating the strong divide between good and evil in the novel. Van Helsing knows he is right because he is good and Dracula is evil, underpinned by his language of absolutes. Sexuality Further, if Dracula or any vampire has had their fill in blood upon feeding, they will be caused to rest in this dead state even longer than usual. [46] Other abilities [ edit ] Poenari Castle teeters on a clifftop above the canyon carrying the Transfăgărășan highway. Vlad repaired the castle and lived there for some years. It's a crumbling ruin, even more so after 20th century earthquakes, you come for the views and the fun of lumping up 1480 steps. In their annotated version of Stoker's notes, Eighteen-Bisang and Miller dedicated an appendix to what the novel might have looked like had Stoker adhered to his original concept. [47]New Woman" is a term that originated in the 19th century, and is used to describe an emerging class of intellectual women with social and economic control over their lives. [66] Willis, Martin (2007). " "The Invisible Giant," 'Dracula', and Disease". Studies in the Novel. 39 (3): 301–325. ISSN 0039-3827. JSTOR 29533817. Schaffer, Talia (1994). " "A Wilde Desire Took Me": the Homoerotic History of Dracula". ELH. 61 (2): 381–425. doi: 10.1353/elh.1994.0019. ISSN 1080-6547. S2CID 161888586. There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes and sacramental bread. Count Dracula is the main character of the Hotel Transylvania franchise, voiced by Adam Sandler in the first three movies and by Brian Hull in the fourth movie.

The novel is about the vampire Count Dracula and his attempts to move from Transylvania to England to spread the undead curse. Miller, Elizabeth (August 1996). "Filing for Divorce: Vlad Tepes vs. Count Dracula". The Borgo Post: 2. Warren, Louis S. (2002). "Buffalo Bill Meets Dracula: William F. Cody, Bram Stoker, and the Frontiers of Racial Decay". The American Historical Review. Washington DC: American Historical Association. 107 (4): 1124–57. doi: 10.1086/ahr/107.4.1124. ISSN 0002-8762– via Oxford Journals Online.

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Other critics have concurred with Miller. Mathias Clasen describes her as "a tireless debunker of academic Dracula myths". [24] In response to several lines of query as to the historical origin of Dracula, Benjamin H. Leblanc reproduces her arguments in his critical history on the novel. [14] Stoker, Bram. "Chapter 20, Jonathan Harker's Journal, Letter, Mitchell, Sons, and Candy to Lord Godalming". Dracula (PDF). p.329. The novel's characters are often said to represent transgressive sexuality through the performance of their genders. The primary sexual threat posed by Count Dracula is, Christopher Craft writes, that he will "seduce, penetrate, [and] drain another male", [62] with Jonathan Harker's excitement about being penetrated by three vampire women serving as a mask and proxy for his homosexual desire. [62] His excitement also inverts standard Victorian gender roles; in succumbing to the vampire women, Harker assumes the traditionally feminine role of sexual passivity while the vampire women assume the masculinised role of acting. [63] Sexual depravity and aggression were understood by the Victorians as the exclusive domain of Victorian men, while women were expected to submit to their husband's sexual wishes. Harker's desire to submit, and the scene's origin as a dream Stoker had, highlights the divide between societal expectations and lived realities of men who wanted more freedom in their sexual lives. [64] In the British version of the text, Harker hears the three vampire women whispering at his door, and Dracula tells them they can feed on him tomorrow night. In the American version, Dracula insinuates that he will be feeding on Harker that night: "To-night is mine! To-morrow is yours!" Nina Auerbach and David J. Skal, in the Norton Critical Edition of the text, posit that Stoker thought the line would render the novel unpublishable in 1897 England, and that "the America that produced his hero Walt Whitman would have been more tolerant of men feeding on men". [65]