Along with Arthur and Quincey, they set out to destroy the undead girl. Lucy's eyes in form and color, but Lucy's eyes unclean and full of hell fire, instead of the pure, gentle orbs we knew. Dracula is not only a story about vampires, but a story about feminism in the Victorian Era. who desires to be educat ed, as well as sexually . The vampiric aversion to Christian iconography, the post-death transformation of one smitten by a vampire's bite, the method of vampire destruction — all are seen in Dracula, together and subtly executed for the first time. There has been, thankfully, a great shift since the chastened "New Women" of Bram Stoker's Dracula, as noted by critic Phyllis A. Roth"For both the Victorians and twentieth century readers, much of the novel's great appeal comes from its hostility toward female sexuality"1That hostility has been a source for female transformation from the post feminist era of the 1960's to the . She dies as a result and is transformed into a vampire, which is quite a dramatic change for her. Lucy Lucy (Sadie Frost, left) and her friend Mina Murray (Winona Ryder). Her teeth sharpen, and while she sleeps she cannot bear the scent of garlic. Bram Stokers presents women in Dracula in two way. Lucy starts sleepwalking and develops anemia. One of the most telling portrayals of Lucy Westenra is through Bram Stoker's Dracula (1992) within this cinematic production of novel, Lucy is intensely sexualised both when she is human, during transformation and as a vampire. Before Lucy was transformed into a vampire by Count, she was a good woman who respected men (Stoker, 178). Lucy's purity is sought after because this is how a traditional Victorian woman should act in the eyes of society. queering) is detailed in the climactic episode involving the seduction of Lucy Westenra. Both of Dracula's preys, Lucy and Mina, are best friends since childhood though everything opposes them: Lucy is wealthy, beautiful, adventurous, uninhibited, flirtatious, and free-spirited - she represents the fading world of old aristocracy; Mina is middle-class, conservative, hard-working, dutiful, down-to-earth, and interested in science and progress - she represents the Victorian . The dynamics of sexuality and gender are important in the following in Dracula. In his novel Dracula, Bram Stoker uses the vampires as a metaphor to show some central societal fears of the time: foreign immigrants, flamboyant sexuality, and disease. Once Lucy completes her vampirism, there is a drastic change in attitude towards her transformation. As such, it portrays a reversal of the temporary transformation and a restoration to her earlier sweet and pure essence. Dracula Transformation Essay. Dracula's first victim in England is Mina Harker's beautiful friend, Lucy Westenra. The Transformation Of Lucy In the beginning of the novel, Lucy is a beautiful young woman. First, gender dynamics in Dracula are used by women to gain some favours. The collection appraises the impact of Stoker's Gothic predecessors, provides new readings of his fictions and explores transformations of the Gothic. Thus, critics assert that texts like Dracula reveal 'male novelists' anxieties about the sexual and social repercussions of feminism, fears reflected in predatory and monstrous females'.1 In this reading, female characters like Lucy Westenra are seen to be 'positioned outside Victorian normativity'2 and thus her transformation into a . A special mention must also go to Chiara Gonzalez's depiction of Lucy. Mina vs Lucy Mina and Lucy are best friends who spend time together and also write each other letters. After Lucy's transformation the men watch vigilantly over Mina, fearing that they will lose another epitome of Victorian womanhood to the depraved world of vampires (and hence lose them to freedom. 5. to get full document. "Sending to me such a lover, such a husband, such a friend". Lucy is only described as voluptuous by Stoker after she has been turned into a vampire which implies that voluptuousness is a quality unique to vampires and a point that Stoker . Lucy is a young woman in her early twenties, with long red hair. This voluptuousness suggests unchastity, the "fate worse than death", represented by the fate of being undead. Innocent, in the prime of her youth, engaged to be married, and loved by many. However, when the women begin to transform into vampires, they are seen to take on traditional male roles, which undoubtedly horrified the Victorian reader. the physicality of the vampire transformation to connect the New Woman with the concept of monstrosity. It becomes particularly interesting that Mina's later transformation is conveniently implied to be a result of Dracula's attack. Lucy's transformation from the traditional Victorian woman to a impure Victorian woman began as soon as she became Dracula's first victim. Her soul is trapped inside of her body and she becomes a sort of foil to Mina. The centuries old vampire Count Dracula comes to England to seduce his barrister Jonathan Harker's fiancée Mina Murray and inflict havoc in the foreign land. Lucy's precarious nature is evident throughout the novel and when she transforms into a creature, which is argued to exemplify a manifestation of sexual desire, an extreme form of her true nature is revealed (Weissman 402). Lucy Westenra is a flirty Victorian socialite turned to a vampire by Dracula and killed when she attacks a child victim. In this essay, Demetrakopoulos focuses on Mina and the "New Woman" role she encompasses. As Dracula repeatedly drains Lucy of her transfused blood, he comes to possess not only Lucy's body but also the bodies of all the men who have offered her their blood. Lau sees Lucy's transformation as the perfect metaphor for another major medical controversy in the Victorian era: vaccines. Her father is mentioned in the novel when Mina says he was a sleepwalker, and her elderly mother is simply stated as being Mrs. Westenra. Dr. Seward, the director of an insane asylum, notes the following after witnessing Lucy's transformation himself: "Lucy Westenra, but yet how changed. Lucy becomes the victim of Count Dracula, and she is turned into a vampire. Thus, critics assert that texts like Dracula reveal 'male novelists' anxieties about the sexual and social repercussions of feminism, fears reflected in predatory and monstrous females'.1 In this reading, female characters like Lucy Westenra are seen to be 'positioned outside Victorian normativity'2 and thus her transformation into Lucy is jealous that Jonathan is Mina's fiance, because of her feeling for Mina. We also get the old, wise vampire hunter (Van Helsing), the doomed female vampire victim (Lucy Westenra), the vampire . In an age full of sexual repression, Bram Stoker brought real life issues into his novel. Analysis: Here, midway through Stoker's text, he begins to draw together in a more decisive way the two plots he has largely been developing separately: Jonathan Harker's encounter with Dracula and its aftermath, and Lucy Westenra's transformation into a vampire at Dracula's hands. She subsequently transforms into a vampire and is eventually destroyed. Proceeding her transformation, Lucy's appetite becomes an indication that she encapsulates more of the New Woman image. Bram Stoker and the Gothic takes its cue from Dracula's warning to the group of vampire hunters that his 'revenge is just begun.'. Dracula is a British-American horror drama television series. She is introduced as Mina Murray's best friend, the 19-year-old daughter of a wealthy family. Mina is always seen as the mother figure in the novel and vampire Lucy proves to be the in inverted version of a mother. This article is about the character in the movie adaptation Bram Stoker´s Dracula (1992). The use of intertexuality in Shadow of the Vampire is a key aspect which allows it to echo; themes, the gothic mode and issues that are present in the other two texts. Also, the transformation, compromises her purity, thus becoming into a sexier and scandalous woman. Dracula did this because he is in love with Mina and will punish anyone who hurts her. Dracula's interactions with Jonathan have sexual overtones, and Jonathan is both repelled and fascinated. She is described by Stoker as remarkably beautiful, with golden hair and a sweet disposition. Her clothes . She thanks God for Arthur. The Count turned her into the exact opposite of the ideal nineteenth century woman. Dracula is a fictional character appearing in American comic books published by Marvel Comics.He is based on the vampire Count Dracula from the novel of the same name by author Bram Stoker.After the initial run of the series The Tomb of Dracula, the character has been depicted primarily as an antagonist to superheroes in the Marvel Universe.. He show these ideas through the character of Dracula and his culture, the contrast between the main characters and vampires, and the transformation from human to vampire. Looking to Dracula, the process of conversion (i.e. The fact that Lucy's body seemed to actually physically Rogers 8 change shows indicates a conversion into voluptuousness that happens during vampiric transformation. As Dracula's infection spreads through Mina, her repressed thoughts, just like Lucy's, begin to surface. While she exemplifies the Victorian woman, she is equal in intelligence and bravery to her male counterparts. of Dracula as refl ecting the anxieties of Bram Stoker's Victorian society about women's sexuality. The Staking of Lucy Westenra. Sellers argues (2001, 80) that the killing of Lucy is an act against female emancipation and the New Woman ideal. Lucy: An Innocent Character In Bram Stoker's Dracula 548 Words | 3 Pages. The series, a reimagining of Bram Stoker's 1897 novel Dracula, was produced by London-based Carnival Films; it aired in the United States on NBC and in the United Kingdom on Sky Living from October 25, 2013, to January 24, 2014. As a vampire, Lucy exhibits typically masculine behavior, thus emasculating Stoker's male characters and illustrating society's anxieties concerning the New Woman. Lucy, who wishes she could marry all of her suitors, seems almost liberated by her transformation from a woman to a vampire (the "Bloofer Lady"). Nevertheless, Dracula attacks Lucy's house one final time, killing her mother and transforming Lucy herself into one of the undead . Bram St oker‟s novel Dracula was published in 1897, an era whic h. brought wit h it t he idea o f a powerful woman, the "New Woman", a woman. Stoker's "Dracula" addresses these concerns regarding womanhood as detailed by Stoker and Kline, and contains examples of it, through the "brute force" and "sexual wantonness" of the vampire females that assault Jonathan, along with Lucy's transformation and the "masculine aggressiveness" represented by Mina's abilities. 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