Abstract: "Dracula's Crypt" unearths the Irish roots of Bram Stoker's gothic masterpiece, offering a fresh interpretation of the author's relationship to his novel and to the politics of blood that consumes its characters. An ingenious reappraisal of a classic text, "Dracula's Crypt" presents Stoker's novel as a subtly ironic commentary on England's preoccupation with racial purity. Probing psychobiographical, political, and cultural elements of Stoker's background and milieu, Joseph Valente distinguishes Stoker's viewpoint from that of his virulently racist, hypermasculine vampire hunters, showing how the author's dual Anglo-Celtic heritage and uncertain status as an Irish parvenu among London's theatrical elite led him to espouse a progressive racial ideology at odds with the dominant Anglo-Saxon supremacism. In the light of Stoker's experience, the shabby-genteel Count Dracula can be seen as a doppelgnger, an ambiguous figure who is at once the blood-conscious landed aristocrat and the bloodthirsty foreign invader. Stoker also confronts gender ideals and their implications, exposing the 'inner vampire' in men like Jonathan Harker who dominate and absorb the women who become their wives. Ultimately, Valente argues, the novel celebrates a feminine heroism, personified by Mina Harker, that upholds an ethos of social connectivity against the prevailing obsession with blood as a vehicle of identity. Revealing a profound and heretofore unrecognized ethical and political message, "Dracula's Crypt" maintains that the real threat delineated in Dracula is not racial degeneration but the destructive force of racialized anxiety itself. Stoker's novel emerges as a powerful critique of the very anxieties it has previously been taken to express: anxieties concerning the decline of the British empire, the deterioration of Anglo-Saxon culture, and the contamination of the Anglo-Saxon race.

Abstract: Abstract ‘Vampire bats practice reciprocal altruism.’ I have that on the authority of a study by the socio-biologist Gerald Wilkinson, published in 1984. Herodotus, I feel, would not have been surprised. Vampire bats, Wilkinson tells us, ‘regularly regurgitate blood to each other ... in a reciprocal fashion such that each partner enjoys a net benefit from the exchange’: the gift of blood ensures that they do not starve to death. The trading of altruistic acts and the rules that govern it are the subject of this lecture.

Abstract: Popular Culture ReviewVolume 12, Issue 1 p. 79-98 Article Deconstructing Buffy: Buffy the Vampire's Contribution to the Discouse on Gender Construction Kate Harts, Kate Harts Phoenix, ArizonaSearch for more papers by this author Kate Harts, Kate Harts Phoenix, ArizonaSearch for more papers by this author First published: 01 February 2001 https://doi.org/10.1002/j.2831-865X.2001.tb00534.xCitations: 1Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinkedInRedditWechat Works Cited Abrams, M. H. 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Abstract: This article looks at Angela Carter’s prescient revival of vampirism in her novels from the late 1960s through the early 1980s as a paradigmatic example of the fascination with vampires in the contemporary moment. Rehearsing all that gives the vampire an essentially contradictory nature—representing both fear and desire, simultaneously voracious and insatiable, confusing the roles of victim and predator, combining dependence and rapaciousness, wedged, as Carter herself indicates, in the gap between art and life—her representation of vampires is distinguished by this article from Victorian and modern figurations in that she also uses vampiric tropes to examine gendered behavior and heterosexual power relations. The essay argues that Carter was ahead of her time in both her irony and her insistence upon appetite, transgression, and instability. In some ways it is surprising that this figure has not been taken up more by feminist writers, given that it offers a revolutionary possibility—an active, penetrative, and vengeful role model. Then again, the element of dependence and the parasitic in the vampire may be off-putting for other women writers. Ultimately, however, as the essay argues, it may well be vampirism’s deconstruction of the oppositions it spans, as much as the interest in sexual or ontological risk, that makes the vampire such a compelling and undying figure.

Abstract: Forget Bela Lugosi's Count Dracula. In nineteenth-century New England another sort of vampire was relentlessly ravishing the populace, or so it was believed by many rural communities suffering the plague of tuberculosis. Indeed, as this fascinating book shows, the vampire of folk superstition figures significantly in the attempt of early Americans to reasonably explain and vanquish the dreaded affliction then known as consumption. In gripping narrative detail, folklorist Michael E. Bell reconstructs a distant world, where on March 17, 1892, three corpses were exhumed from a Rhode Island cemetery. One of them, Mercy Brown, who had succumbed to consumption, appeared to have turned over in her grave. Mercy's family cut out her heart, which still held clots of blood, burned it on a nearby rock, and fed the ashes to her ailing brother. To Mercy's community she had become a vampire living a spectral existence and consuming the vitality of her siblings. From documents written as early as 1790 to a recent conversation with a descendant of Mercy Brown, Bell investigates twenty cases in which the vampiric dead were exhumed to save the ailing living. He also explores a widespread folk tradition that has survived generations, as ordinary people today strive to battle extraordinary diseases like Ebola or AIDS with a deeply rooted belief in their power to heal themselves. "Bell's absorbing account is ...a major contribution to the study of New England folk beliefs. "Boston Globe "Filled with ghostly tales, glowing corpses, rearranged bones, visits to hidden graveyards...This is a marvelous book. "Providence Journal

Abstract: "An alchemical mix of Borges, Raymond Chandler and Buffy the Vampire Slayer."-Salon.com (Best of the Year) "A delightful collection."-Cleveland Plain Dealer "My favorite fantasy writer."-Alan Cheuse, All Things Considered "Link's stories defy explanation, or at least, brief summary, instead working on the plane between dream and cognitive dissonance. They are true to themselves: witty, beautiful, funny, and startling."-Rain Taxi "Link uses the nonsensical to illuminate truth, blurring the distinctions between the mundane and the fantastic to tease out the underlying meanings of modern life."-Booklist "The 11 fantasies in this first collection from rising star Link are so quirky and exuberantly imagined that one is easily distracted from their surprisingly serious underpinnings of private pain and emotional estrangement." -Publishers Weekly Kelly Link's collection of stories, Stranger Things Happen, really scores. -Daniel Mendelsohn, New York Magazine "A tremendously appealing book, and lovers of short fiction should fall over themselves getting out the door to find a copy." -Washington Post Book World "Stylistic pyrotechnics light up a bizarre but emotionally truthful landscape. Link's a writer to watch." -Kirkus Reviews "A set of stories that are by turns dazzling, funny, scary, and sexy, but only when they're not all of these at once. Kelly Link has strangeness, charm and spin to spare. Writers better than this don't happen." -Karen Joy Fowler "Kelly Link is probably the best short story writer currently out there, in any genre or none. She puts one word after another and makes real magic with them-funny, moving, tender, brave and dangerous. She is unique, and should be declared a national treasure, and possibly surrounded at all times by a cordon of armed marines." -Neil Gaiman "Kelly Link is the exact best and strangest and funniest short story writer on earth that you have never heard of at the exact moment you are reading these words and making them slightly inexact. Now pay for the book." -Jonathan Lethem The eleven stories in Kelly Link's debut collection are funny, spooky, and smart. They all have happy endings. They were all especially written for you. A Best of the Year pick from Salon.com, Locus, The Village Voice, and San Francisco Chronicle. Includes Nebula, World Fantasy, and Tiptree award-winning stories. Kelly Link is the author of three collections of short fiction Stranger Things Happen, Magic for Beginners, and Pretty Monsters. Her short stories have won three Nebula, a Hugo, and a World Fantasy Award. She was born in Miami, Florida, and once won a free trip around the world by answering the question "Why do you want to go through the world?" ("Because you can't go through it.") Link lives in Northampton, Massachusetts, where she and her husband, Gavin J. Grant, run Small Beer Press, co-edit the fantasy half of The Year's Best Fantasy and Horror, and play ping-pong. In 1996 they startd the occasional zine Lady Churchill's Rosebud Wristlet.

Abstract: Abstract:The play Cathleen ni Houlihan, which W. B. Yeats and Lady Augusta Gregory wrote in 1901, was significantly moulded by Gregory during its composition. She introduced several discourses into the play and into Yeats's thought; these included a distancing of the author from active involvement, and an association of Irish sovereignty with the peasantry. It does this by joining together two discrete, well-established and very different figures: beautiful young Cathleen ní Houlihan and the legendary aged Cailleach Bhéarra. Gregory also introduced a particularly destructive and asexual theme in the portrayal of Cathleen, one which parallels the vampire legends of Le Fanu and Stoker. Cathleen provides an escape from ordinary life but that escape is paid for with a terrible forfeit. Whatever allure she possesses is that of death. Cathleen's portrayal as a quasivampiric figure echoes Gregory's perception of one particular figure she saw preying on Yeats: Maud Gonne; the play temporarily helped to distance Yeats and Gonne.

Abstract: (2001) 'Things are Different Now'?: A Postcolonial Analysis of Buffy the Vampire Slayer The European Legacy: Vol 6, No 6, pp 731-740

Abstract: This study of the vampire in literature from the early nineteenth century to the present analyzes its metaphorical characteristics. The vampire is the perfect figure of disorder and entropy, and its dominance as a literary figure/monster, an instigator of chaos of all kinds, makes it worthy of study for readers interested in an emerging theory of literary disorder as well as horror literature. Entropy, the most intriguing root metaphor of our time, and the vampire, figure of decadence, degeneration, and perverse physics, illuminate each other as Michael J. Dennison examines such famous works as Dracula and The Fall of the House of Usher, as well as works that have unjustly fallen into near obscurity.

Abstract: (1) The Prophecy, the Hellmouth, The Brethren of Aurelius, The Master, The “Anointed” One, the “Chosen” One, a vampire with a soul—the very language used in Buffy the Vampire Slayer suggests an adherence to a conception of the vampire defined by superstition and tradition. Given the changes within the vampire genre in recent years with modern hybrid films such as Kathryn Bigelow’s Near Dark (1987), Joel Schumacher’s The Lost Boys (1985) and Steve Norrington’s Blade (1998), it is interesting to note that Joss Whedon’s vampires seem to mark a return to a pre-modern representation of vampirism.

Abstract: At its best, popular culture provides our society with opportunities to impose a narrative form on our cultural presuppositions and anxieties. It allows its creators and its audience an imaginative space to explore issues central to society's self-conception by reaffirming our cultural biases or illustrating alternatives to cultural presuppositions. In the latter mode, it can propose societal critiques within a safe, that is, non-political, environment and allow its audience a chance to engage in thought experiments. As a result, the audience can come to recognize forgotten possibilities for change and action as well as develop a better understanding of the social attitudes and forces that limit our conception of what the world can be and what role the individual can play. One pervasive set of social attitudes involves our understanding of and relation to technology. With the advent of modern technology and all of its revolutionary consequences, a philosophical critique of technology came into being. One particular theme prominent in that philosophical tradition is the notion of a technological society. On this view, technology and the social relations it requires have shaped our society in ways that are less than apparent and have restricted the scope of our imagination in ways that circumscribe the way we view our available actions. In this paper, I argue that several central themes in the television series Buffy the Vampire Slayer can be understood best against the background of philosophical discussions concerning technology and that by reflecting on the themes in the show we can understand more clearly the sources of our social relations as they are conditioned by technology. In brief, my thesis is that the "fantasy" world inhabited by Buffy Summers, the eponymous heroine of the show, is the technological world we inhabit, but one that vividly renders that world so we can better understand our own. Two quotations should provide us with an approach to thinking about technology in this context. The first passage is from Adorno's "Theses Against Occultism." Written in 1947, it remains a very succinct and useful work that neatly expresses some main themes of his thought, but also speaks to the still current cultural obsession with the occult: Panic breaks once again, after millennia of enlightenment, over a humanity whose control of nature as control of men far exceeds in horror anything men ever had to fear from nature. (128) The second passage is from Donald Phillip Verene's recent work, Philosophy and the Return to Self-Knowledge: Instinctively, the technological person knows that the idea of the hero is anathema to the technological society. There can never be true working together, because the individual, if he is not to be nothing, must cling to his cause-which is always the particular "mineness" he can work out in relation to the particular thing. (159) These two passages provide the parameters for the discussion below. First, the Adorno passage suggests that fear is a motif for understanding today's society. The control of nature and the control of others is so horrific that it is hard for us even to see it. Instead, we experience some vague panic that misses the underlying causes of these methods of control. If Adorno is right, it is worth considering how the horror about which he speaks is manifested in society and a consideration of a prototypical horror show should provide us with a good sample case. The Verene passage speaks to the consequences of a technological society: an exclusive sense of individual entitlement, the demand to treat others as means to an individual end, and a lack of authentic heroes. All of these consequences relate to the way in which technology and its attendant way of looking at the world have restricted the stage on which we can act. For the purposes of this paper, then, I want to stipulate that we live in a "technological society," as Jacques Ellul and others have argued; a world in which the use of machines is paramount and in which the "one best means" is constantly sought (Verene 141-91). …

Abstract: This is the fifth title in the compelling and chilling saga of Darren Shan, but the second part in a new trilogy, following Darren's initiation into the vampire clan. THE SAGA OF DARREN SHAN BOOK 5 Compelled by his loyalty to Mr Crepsley, Darren Shan, the vampire's assistant, agrees to prove his worthiness to the vampire clan by undertaking a series of trials. Each Trial is set by the Vampire Princes to test agility, cunning and intelligence. Failure means death. Whilst their attention is focused on Darren, the vampire clan fail to notice that the vampaneze have infiltrated their mountain stronghold. Who is the traitor helping the vampaneze, and will Darren survive the trials to oust the vampire's greatest foes? Another atmospheric and terrifying tale from the author of Cirque Du Freak.

Abstract: Until 1961, when Francisco Nieva wrote his play Aquelarre ynoche roja de Nosferatu ("Witches' Sabbat and Red Night of Nosferatu"), the theme of the vampire had not been treated in serious Spanish or Spanish American literature. With the play's belated publication in 1991 and production in 1993, the Spanish-speaking public was given an opportunity to experience, through the interpretation of one of its dramatists, a dark subject that had long fascinated many readers and filmgoers, Spaniards included. In order to achieve his end of informing and interpreting, Nieva steeped himself in the lore of the vampire, derived from sources which, by necessity, were external to Spain. That material, extensive and multifaceted though it is, affected Nieva's conception of the vampire in an unexpected manner, for he found therein an opening to a new view; his is substantially a heterodox stance, a departure from the canonicity established by the first assessors of the tradition.

Abstract: In this abstract we describe version 1.1 of the theorem prover Vampire. We give a general description and comment on Vampire’s original features and differences with the previously described version 0.0.

Abstract: Abstract If we are to believe bestselling novelist Anne Rice, vampires resemble humans in many respects but live secret lives hidden among the rest of us mortals. There are also vampires in the world of mathematics, numbers that look like normal figures but bear a disguised difference. They are actually the products of 2 progenitor numbers that when multiplied survive, scrambled together, in the vampire number. Consider 1 such case: 27 × 81 = 2,187. Another vampire number is 1,435, which is the product of 35 and 41.