Hell Hath No Fury: A Gothic Analysis

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In this pre-rational, I’ll be exploring the Gothic genre in regards to its history, development, the key elements that classify certain literature as Gothic and the authors that made this genre successful. Next, I’ll examine the themes and content of my chosen text, Dracula and how it classifies as gothic literature in regards to the key elements. I’ll also discuss a handful of adaptations made based on Stoker’s Dracula over the centuries and how well they did regarding their interpretation as well as what I have learned from them. Finally, I’ll explain the development of my creative piece, Hell Hath No Fury; outline the premise of the story, how I’m changing the gothic genre, the research I have done so far and will need to do, and why I …show more content…
It is a battle between good, represented by the group of humans, and evil in the form of sexual liberty and vampires. The remoteness of Dracula’s castle, suggesting an abandonment of reality as it is so far away from any form of civilization with the sense of ‘others’ and barbarism. The damsels in distress in this tale are Mina Murray and Lucy Westenra, it can be speculated that the Three Sisters classifies as well because in the end they are saved from the monsters they have become. However, only Mina remains among the living, despite showing potential as a New Woman, she ultimately conforms to the convention of a Victorian woman whereas Lucy dies due to her release of energies and desires that are normally repressed in the interest of both social and psychic stability. The presence of vampires is the opposing force that good must fight, contrasting with the clash between modern London, ancient Transylvania and the archaic significance of blood. Thus, this satisfies the gothic criteria and “created one of the most potent of all literary myths.” (Buzwell, Dracula: The Victorian Vampire …show more content…
She heard the mayhem Dracula caused back in the Carpathian Mountains, Transylvania and arrived in England with every intention of berating Dracula. With Ilona away, all he had for company before the arrival of Jonathan Harker, were the Three Sisters and since Stoker never specifies that they are Dracula ‘brides’ I’m taking that lack of confirmation and designating them as Dracula and Ilona’s vampiric daughters. The events so far have been a part of an elaborate and extensively planned hoax because as an immortal with eternity in hand, I won’t be surprised if Dracula came up with such a scheme to pass the

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