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Until recently, the Russian editions of Dracula have not received any attention and study. Within the framework of research for my book Dracula di Bram Stoker – il mistero delle prime edizioni (2014), I have looked into the earliest Russian-language editions, as well as the later publications, both in the Soviet Union era and afterward. The confusion about the authorship of the novel turned out to be a red thread: Dracula was originally attributed to Marie Corelli (Mary Mackay), while works by Corelli were attributed to Stoker. Almost a century after the release of Dracula in 1897, this error reappeared in republications of Corelli’s and Stoker’s work in regions formerly belonging to the Soviet Union.
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The discussion about Bram Stoker’s possible contribution to Mörkrets maktter, the Swedish version of Dracula, and about the identity of the anonymous Swedish editor/translator, has reached no definitive conclusions yet. This paper addresses a series of minor mysteries linked to the Swedish variants: the possible connections between the Budapest, the Chicago, and the Stockholm serialisations; the use of certain names (Draculitz, Mary Wood, Valentini’s, Zolyva, Koromeszo); references to the Whitechapel Murders and the Thames Torso Mysteries, among others. Although these observations provide no definitive proof regarding the authorship of Mörkrets maktter, taken together, they seem to show subtle support for the idea that these Dracula modifications were created entirely in Sweden.
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This paper, after listing some translations of Stoker’s novel into Bengali, chooses to focus on two adaptations that totally Indianize the novel and its characters, particularly the titular antagonist, placing them, in one case, in newly-independent India and Calcutta, and in the other, in an India and a Calcutta around two decades after the independence of 1947. In the process, the vampire is queered in both adaptations, and, in the earlier one, so are its human opponents, whereas the later adaptation follows a more homophobic opposition of a queer alien and unambiguously heterosexual humans, despite there being no major feminine presence in it. We attempt some deductions regarding why the two Bengali adaptors took their respective stances.
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The present work aims to present a brief analysis of the films Noseferatu (1922), Dracula (1931), and Dracula (1958). Our hypothesis is that these productions are the core of cinematic vampirical mythology in our culture. The idea of what would be a vampire can be traced through ancient myths along with different cultures and was highlighted through urban legends in the middle ages. But it was only after Bram Stoker’s Dracula (1897) that this character started to take o more delimited form. If Stoker’s novel can be a species of the basis for the vampire myth, cinema would take this entity to a whole new level. In an audio-visual medium, Dracula stood as the most famous vampire and these three films would be the most important to start to form the figure of mediatic (and most of all, cinematic) vampire.
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This paper looks at how the three Nosferatu films by Friedrich Wilhelm Murnau, Werner Herzog, and E. Elias Merhige have influenced presentations of vampires and established the Nosferatu figure as a cinematic counterpart to the literary Dracula. In addition, all three films establish the pandemic theme early on in a genre-defining scene, featuring the female protagonist and one or more cats. The significance of the cut scenes is analyzed both in terms of the final film versions as well as in relation to the original scripts and other source materials, which show the significant changes that were made. Spanning the full spectrum of genre films from their experimental to their baroque stages, the three Nosferatu films present a unique type of vampire, which is particularly relevant for our present times.
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In this paper, through bibliographical research and debate, we intend a filmic and artistic analysis of the feature film ‘Bram Stoker’s Dracula’ (Francis Ford Coppola, 1992), specifically its costume design, signed by the Japanese designer and art director Eiko Ishioka 石岡 瑛子 (1938 – 2012). The film’s critical reception as well as its consequent elevation to a ‘canon’ status among the adaptations of the homonymous novel by Bram Stoker were taken into consideration. This paper proposes a new approach to Ishioka's costume design legacy, that flirts significantly with the Parisian ‘Haute couture’ for its uniqueness. Our intention is to develop an in-depth study on the elements that make the costumes of this movie so singular, such as its intentional lack of historical accuracy and the ode to an overly exaggerated symbolism and decay.
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This research addresses the universal question of evil through an intertextual focus between Bram Stoker’s Dracula as a traditional Gothic production and its neo-Gothic counterpart, The Historian by Elizabeth Kostova. Through investigating the relationship between two ensuing genres, it explores the understanding of human nature and its transformative capacity for evil in Gothic and neo-Gothic fiction, as well as protagonists’ need, temptation, and failure to exorcise the Revenants of the past. With a theoretical framework supported by Jacques Derrida and his concept of hauntology, the present research further revolves around revealing how the monsters of the (neo-)Gothic fiction function as the manifestations of history itself by analysing the way the past haunts humanity’s present and future.
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As Carol Senf suggests (“Dracula: The Unseen Face in the Mirror” 1979), one of the greatest dangers which Bram Stoker’s characters have to face is the evil inside them. This theme was developed in different ways in 20th-century British literature. An interpretation of the background, setting, and story in William Golding's Lord of the Flies can be very useful forthe understanding of the darkness of one's soul and the way in which people can dreadhuman nature. The digital tool EVOLI offers a chance for teachers and students alike toteach and learn about Lord of the Flies by transgressing the borders of language and turningaffected spirituality into a reason for analysing the depths of cultural codifications. Theelements connected to the novel are taken into account using various views onmethodological hermeneutics so that meanings may be made transparent and the messageof the author can be rendered without any bias. The importance of this approach is shownby students’ feedback to this kind of a perspective on a theme of evilness, terror and death.The presence of a Beast in the midst of the action and of an overall Beelzebub influencing allcharacters helps one create a scale of human corruption which determines a gradation ofthe connotations of what haunting is.
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Dracula: An International Perspective – Marius-Mircea Crișan - 2017 Palgrave Macmillan, 291p. ISBN 978-3319633657
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Postmodern Vampires. Film, Fiction, and Popular Culture Sorcha Ní Fhlainn – 2019. London: Palgrave Macmillan, 264 p. ISBN 978-1-137-58376-5
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Der Autor kommt von der These heraus, dafß die Kroaten vor der Vereinigung mit den Serben ( 1918) ein gesellschaftlich verifiziertes System der Rechtsterminologie gehabt haben. Nach der Vereinigung wurde sie in einem grofßen Mafße serbisiert: Die Merkmale der serbischen Rechtsterminologie wurden auf verschiedenen Weisen bevorzugt. In der sozialistischen Periode wurden viele Rechtsbenennungen wegen der ideologischen Gründe aus dem Gebrauch ausgeschlossen und die neue, der kapitalistischen Welt notige Benennungen, sind nicht entstanden. Nach der Verselbständigung haben die Kroaten die Kontinuität mit der kroatischen Rechtstenninologie vor dem Jahre 1918 hergestellt. Die Herstel lung der Kontinuität mit der Tradition wurde doch nicht mechanisch durchgeführt. Der Autor bekräftigt das alles mit den repriisentativen Beispielen.
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U prvoj polovici prošle godine netko me je zapitao: Zašto Antark¬tika kad je Arktik? Nisam mogao odmah odgovoriti jer ni sam nisam znao.
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Nastavnika D. M.-a zbunjuje to što je u proljeće i ljeto 2002., u vrijeme svjetskoga nogometnoga prvenstva u Japanu i Koreji, nailazio u tisku i na televiziji na ime Korea, pa pita nije li ipak točno Koreja.
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Tea Šapina iz Zagreba pita kako se hrvatski kaže okov koji nosi prozorska ili vratna krila. Zna da se govori pant, ali misli da to nije hrvatski, ali drugu riječ ne zna.
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This Croatian philologist of wide views and interest was an outstanding lexicographer and a compiler of ltalian-Croatian and Croatian-Italian dictionaries. As a follower of the Zagreb philological school after the prevailing of the Vuk Karadžić 's followers he became forgotten. Since his dictionaries are still valid, the author describes Parčić 's contribution to lexicography and orthography.
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The author considers critically the present state of the codification norm of the Croatian standard language and points out the differences among the normative rules in language handbooks which clash with the principle of systematicity. She also points out the discord between the codified norm and usage suggesting the necessity of revising the norm.
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Following the fresh attempts to delimit the meaning of the words \krst\ and \krštenje\ the author considers the meaning of those words and some others close to them from the oldest Slavonic texts to the present day. He pays special attention to the way the word \krst\ was entering the Croatian usage and concludes that that word is not necessary in the Croatian literary language.
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Dans le present article l'auteur analyse les doublets accentuels: svećenik et svećenik, svećenica et svećenica etc. et conclut que petite préférence ont les formes avec l'accent médial: svećenik, svećenica et ainsi de suite.
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"Svaka upotreba jezika između roditelja i njihove djece temelj je opstanka nekog jezika. Već za dva naraštaja neki jezik može potpuno nestati ako ga roditelji ne budu prenosili svojoj djeci."
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