Our Vampires Ourselves

This “vigorous, witty look at the undead as cultural icons in 19th- and 20th-century England and America” examines the many meanings of the vampire myth (Kirkus Reviews). From Byron’s Lord Ruthven to Anne Rice’s Lestat to the black bisexual heroine of Jewelle Gomez’s The Gilda Stories, vampires have taken many forms, capturing and recapturing our imaginations for centuries. In Our Vampires, Ourselves, Nina Auerbach explores the rich history of this literary and cultural phenomenon to illuminate how every age embraces the vampire it needs—and gets the vampire it deserves. Working with a wide range of texts, as well as movies and television, Auerbach follows the evolution of the vampire from 19th century England to 20th century America. Using the mercurial figure as a lens for viewing the last two hundred years of Anglo-American cultural history, “this seductive work offers profound insights into many of the urgent concerns of our time” (Wendy Doniger, The Nation).

Working with a wide range of texts, as well as movies and television, Nina Auerbach locates vampires at the heart of national experience and uses them as a lens for viewing the last 200 hundred years of Anglo-American cultural history.

Insatiable bloodlust, dangerous sexualities, the horror of the undead, uncharted Trannsylvanian wildernesses, and a morbid fascination with the `other': the legend of the vampire continues to haunt popular imagination. Reading the Vampire examines the vampire in all its various manifestations and cultural meanings. Ken Gelder investigates vampire narratives in literature and in film, from early vampire stories like Sheridan Le Fanu's `lesbian vampire' tale Carmilla and Bram Stoker's Dracula, the most famous vampire narrative of all, to contemporary American vampire blockbusters by Stephen King and others, the vampire chronicles of Anne Rice, `post-Ceausescu' vampire narratives, and films such as FW Murnau's Nosferatu and Bram Stoker's Dracula. Reading the Vampire embeds vampires in their cultural contexts, showing vampire narratives feeding off the anxieties and fascinations of their times: from the nineteenth century perils of tourism, issues of colonialism and national identity, and obsessions with sex and death, to the `queer' identity of the vampire or current vampiric metaphors for dangerous exchanges of bodily fluids and AIDS.

"Blood Read is a fresh look at an old form, offering lively, lucid insights into the contemporary explosion of vampire fiction. Nothing else like it exists. This book should set the terms for discussion about vampires for some time to come."--Brian Attebery, Idaho State University

Postmodern Vampires: Film, Fiction, and Popular Culture is the first major study to focus on American cultural history from the vampire’s point of view. Beginning in 1968, Ní Fhlainn argues that vampires move from the margins to the centre of popular culture as representatives of the anxieties and aspirations of their age. Mapping their literary and screen evolution on to the American Presidency, from Richard Nixon to Donald Trump, this essential critical study chronicles the vampire’s blood-ties to distinct socio-political movements and cultural decades in the late twentieth and early twenty-first centuries. Through case studies of key texts, including Interview with the Vampire, The Lost Boys, Blade, Twilight, Let Me In, True Blood and numerous adaptations of Dracula, this book reveals how vampires continue to be exemplary barometers of political and historical change in the American imagination. It is essential reading for scholars and students in Gothic and Horror Studies, Film Studies, and American Studies, and for anyone interested in the articulate undead.

Analyzes the Victorian conception of both demonic and divine nature of women in Victorian art and literature

Before Bella and Edward; Stefan and Damon Salvatore; and Abraham Lincoln, Vampire Hunter, there was Lestat and Louis, The Lost Boys, and Buffy Summers. Before True Blood and Let the Right One In, there was Dark Shadows and Anne Rice’s Vampire Chronicles. And then there is the most prominent of them all: Dracula, immortalized by Bram Stoker in 1897. Whether they’re evil, bloodsucking monsters or sparkling like diamonds in the sunlight, vampires have been capturing our imagination since their modest beginnings in the rustic fantasies of southeastern Europe in the early eighteenth century. Today, they’re everywhere, appearing even in movies in Japan and Korea and in reggae music in Jamaica and South Africa. Why have vampires gone viral in recent years? In The Rise of the Vampire, Erik Butler seeks to explain our enduring fascination with the creatures of the night. Exploring why a being of humble origins has achieved success of such monstrous proportions, Butler considers the vampire in myth, literature, film, journalism, political cartoons, music, television, and video games. He describes how and why they have come to give expression to the darker side of human life—though vampires evoke age-old mystery, they also embody many of the uncertainties of the modern world. Butler also ponders the role global markets and digital technology have played in making vampires a worldwide phenomenon. Whether you’re a fan of classic vampire tales or new additions to the mythology, The Rise of the Vampire is a fascinating look at our collective obsession with the undead.

For women, understanding how the brain works during the key stages of life - in utero, childhood, puberty and adolescence, pregnancy and motherhood, menopause and old age - is essential to their health. Dr Sarah McKay is a neuroscientist who knows everything worth knowing about women's brains, and shares it in this fascinating, essential book. This is not a book about the differences between male and female brains, nor a book using neuroscience to explain gender-specific behaviours, the 'battle of the sexes' or 'Mars-Venus' stereotypes. This is a book about what happens inside the brains and bodies of women as they move through the phases of life, and the unique - and often misunderstood - effects of female biology and hormones. Dr McKay give insights into brain development during infancy, childhood and the teenage years (including the onset of puberty) and also takes a look at mental health as well as the ageing brain. The book weaves together findings from the research lab, case studies and interviews with neuroscientists and other researchers working in the disciplines of neuroendocrinology, brain development, brain health and ageing. This comprehensive guide explores the brain during significant life stages, including: In utero Childhood Puberty The Menstrual Cycle The Teenage Brain Depression and Anxiety Pregnancy and Motherhood Menopause The Ageing Brain

“Vampires. Why do we care? In these pages you will find what is very simply, the most literate, imaginative, and just plain fascinating answer to that question ever written.” ?Whitley Strieber In a culture that does not do death particularly well, we are obsessed with mortality. Margot Adler writes, “Vampires let us play with death and the issue of mortality. They let us ponder what it would mean to be truly long lived. Would the long view allow us to see the world differently, imagine social structures differently? Would it increase or decrease our reverence for the planet? Vampires allow us to ask questions we usually bury.” As Adler, a longtime NPR correspondent and question asker, sat vigil at her dying husband’s bedside, she found herself newly drawn to vampire novels and their explorations of mortality. Over the next four years—by now she has read more than 270 vampire novels, from teen to adult, from gothic to modern, from detective to comic—she began to see just how each era creates the vampires it needs. Dracula, an Eastern European monster, was the perfect vehicle for 19th-century England’s fear of outsiders and of disease seeping in through its large ports. In 1960s America, Dark Shadows gave us the morally conflicted vampire struggling against his own predatory nature, who still enthralls us today. Think Spike and Angel, Stefan and Damon, Bill and Eric, the Cullens. Vampires Are Us explores the issues of power, politics, morality, identity, and even the fate of the planet that show up in vampire novels today. Perhaps, Adler suggests, our blood is oil, perhaps our prey is the planet. Perhaps vampires are us.

A re-assessment of the Gothic in relation to the female, the 'feminine', feminism and post-feminismThis collection of newly commissioned essays brings together major scholars in the field of Gothic studies in order to re-think the topic of 'Women and the Gothic'. The 14 chapters in this volume engage with debates about 'Female Gothic' from the 1970s and '80s, through second wave feminism, theorisations of gender and a long interrogation of the 'women' category as well as with the problematics of post-feminism, now itself being interrogated by a younger generation of women. The contributors explore Gothic works from established classics to recent films and novels from feminist and post-feminist perspectives. The result is a lively book that combines rigorous close readings with elegant use of theory in order to question some ingrained assumptions about women, the Gothic and identity.Key FeaturesRevitalises the long-running debate about women, the Gothic and identityEngages with the political agendas of feminism and post-feminismPrioritises the concerns of woman as reader, author and criticOffers fresh readings of both classic and recent Gothic works

Nina Auerbach examines both the life of Daphne du Maurier as it is revealed in her writings and the sensibility of a vanished class and a time now gone that haunts the fringes of our own age.

A collection of essays that demonstrates--and thus advances--a more sophisticated and analytically-based form of gay and lesbian film criticism through the incorporation of queer and feminist film theory.

From the author of the novel Swamplandia!—a finalist for the Pulitzer Prize—comes a magical and uniquely daring collection of stories that showcases the author’s gifts at their inimitable best. Within these pages, a community of girls held captive in a Japanese silk factory slowly transmute into human silkworms and plot revolution; a group of boys stumble upon a mutilated scarecrow that bears an uncanny resemblance to a missing classmate that they used to torment; a family’s disastrous quest for land in the American West has grave consequences; and in the marvelous title story, two vampires in a sun-drenched lemon grove try to slake their thirst for blood and come to terms with their immortal relationship. Named a Best Book of the Year by: The Boston Globe O, The Oprah Magazine Huffington Post The A.V. Club A Washington Post Notable Book An NPR Great Read of 2013

Uses mythical, literary, and film references to discuss the vampire archetype from a Jungian perspective and explore its relevance to personal relationships

Glory St. Clair loves soaking up Hollywood's vampire nightlife with her sexy Scottish lover, Jeremiah. Especially when she meets a vampire/ diet guru who promises to give her the body she's wanted for centuries. One problem: his clan and Jeremiah's are ancient enemies. But Glory's not about to let a stupid family feud come between her and slender bliss. Yet, she can't help but wonder...how much is she willing to risk for her hips? And how much (and precisely what) is she willing to lose?

Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1.7, University of Cologne, course: Gothic and Neo-Gothic Ficiton, 22 entries in the bibliography, language: English, abstract: Taking a look (an not even a close one) at movies or TV-series dealing with vampires, one immediately recognizes the vampire as a sexed-up figure, conveying the notion of the lascivious vamp as in Underworld, the noble alpha-male as in Blood Ties or the longed-for guardian and lover as in Moonlight. In her novels, Anne Rice describes the vampire's bite as a liturgical act (cf. Brittnacher 1994:131), Sheridan Le Fanu's female vampire Carmilla is actually a lesbian (cf. Leatherdale 1985, 54) and John Polidori's early story The Vampyre is considered to have successfully combined the vampire-motif with a seducing romanticism (Hurst 2002, 139; Leatherdale 1985, 51). There is a long tradition in sexing up vampire-figures, reaching back even to Bram Stocker's Dracula. Indeed, Bram Stoker combined different aspects of the literary vampire when he created Count Dracula (cf. Brittnacher 1994, 119ff; Hurst 141f). This mixture of well-tried elements may be one of the reasons why Bram Stoker's novel is widely seen as the "by far best-known literary treatment of the vampire myth" (Bentley 1972, 27). Amazingly, Dracula has never been out of print since it was first published in 1897 (Leatherdale 1985, 11; McNally et.al. 1994, 133) and can thus be said to have become the figurehead for the vampirism-phenomena. Consequently, James Twitchell asserts that "vampire and Dracula have become synonymous" (1981, 132).

These vampires don’t sparkle…they bite. Book 1 of the Blood of Eden trilogy by Julie Kagawa, New York Times bestselling author of The Iron Fey, begins a thrilling dark fantasy series where vampires rule, humans are prey…and one girl will become what she hates most to save all she loves. Allison Sekemoto survives in the Fringe, where the vampires who killed her mother rule and she and her crew of outcasts must hide from the monsters at night. All that drives Allie is her hatred of vampires, who keep humans as prey. Until the night Allie herself dies…a becomes one of the monsters. When she hears of a mythical place called Eden that might have a cure for the blood disease that killed off most of civilization, Allie decides to seek it out. Hiding among a band of humans, she begins a journey that will have unforeseen consequences…to herself, to the boy she’s falling for who believes she’s human, and to the future of the world. Now Allie must decide what—and who—is worth dying for…again. “A fresh and imaginative thrill ride.” —Publishers Weekly, starred review Books in the Blood of Eden series: The Immortal Rules The Eternity Cure The Forever Song

An authoritative new history of the vampire, two hundred years after it first appeared on the literary scene Published to mark the bicentenary of John Polidori’s publication of The Vampyre, Nick Groom’s detailed new account illuminates the complex history of the iconic creature. The vampire first came to public prominence in the early eighteenth century, when Enlightenment science collided with Eastern European folklore and apparently verified outbreaks of vampirism, capturing the attention of medical researchers, political commentators, social theorists, theologians, and philosophers. Groom accordingly traces the vampire from its role as a monster embodying humankind’s fears, to that of an unlikely hero for the marginalized and excluded in the twenty-first century. Drawing on literary and artistic representations, as well as medical, forensic, empirical, and sociopolitical perspectives, this rich and eerie history presents the vampire as a strikingly complex being that has been used to express the traumas and contradictions of the human condition.

Struggling with overwork and parenting angst, English village doctor Peter Radley endeavors to hide his family's vampire nature until their daughter's oddly satisfying act of violence reveals the truth, an event that is complicated by the arrival of a practicing vampire family member.