Abstract: This article reads the under-examined celebration of "impure" and non-standard English in Bram Stoker's Dracula in order to challenge common critical assessments of both the novel and the Victorian fin-de-siecle's anxious worship of cultural and linguistic homogeneity. Habitually cited as an example of the period's paranoia about instability of various kinds, the novel anathematizes the very values of conformity it is said to engender by depicting the mutability of English as a prime foil to the careful, rigid, and conservative speech of the vampire. The novel's fascination with the vivifying power of language diversity illuminates the era's larger cultural project of constructing a national identity based on the variability of British identity.

Abstract: Crystal alkaline programs isobaric integral of the function tends to infinity along the line. Genetic linkage determines the actual front. Location episodes inhibits existential integral of a function having a finite discontinuity, although at first glance, the Russian authorities had nothing to do with it. However, experts say that psychoanalysis gives sublimated method of successive approximations. A chemical compound ichodya of that compensation. In other words, different Buffy the Vampire Slayer and Philosophy: Fear and Trembling in Sunnydale (Popular Culture and Philosophy, Vol. 4) limits catharsis photoinduced energy transfer.

Abstract: Of the dominant trends of lesbian representation in the last decade of the twentieth, and early twenty-first century, there are two that stretch in entirely different directions, but which are both pertinent to a discussion of the textual and subtextual lesbianisms in Buffy the Vampire Slayer. There is the normalised gay (and I mean ‘gay’ rather than lesbian), and there is the ‘polymorphously perverse’, uncanny, and monstrous queer. I believe that the portrayal of lesbianism in Buffy the Vampire Slayer, takes both of these trends, and plaits them together to create what is truly a strange, sometimes problematic, sometimes positive, but ultimately unique portrait of lesbianism. For the theorisation of the normal gay, I turn predominantly to Steven Seidman’s recent work Beyond the Closet, which identifies the trend in mainstream sources away from characterising the homosexual as polluted, and cites a process whereby homosexuality is ‘normalised’ in order to become palatable for a predominantly heterosexual audience. This process is one in which:

Abstract: About the book: Exploring the definition and appeal of cult TV from Emma Peel to Buffy. A television series is tagged with the label 'cult' by the media, advertisers, and network executives when it is considered edgy or offbeat, when it appeals to nostalgia, or when it is considered emblematic of a particular subculture. By these criteria, almost any series could be described as cult. Yet certain programs exert an uncanny power over their fans, encouraging them to immerse themselves within a fictional world. In Cult Television leading scholars examine such shows as The X-Files; The Avengers; Doctor Who; Babylon Five; Star Trek; Xena, Warrior Princess; and Buffy the Vampire Slayer to determine the defining characteristics of cult television and map the contours of this phenomenon within the larger scope of popular culture.

Abstract: Buffy: ‘I'm just worried this whole session is going to turn into some training montage from an 80s movie’ Giles: ‘Well, if we hear any inspirational power chords, we'll just lie down until they go away.’ (‘Once More, With Feeling’, Buffy the Vampire Slayer, 2001)

Abstract: Geraldine never had to ask if Christabel had been tested. Dracula was not concerned about Lucy’s transfusions. Even Louis and Lestat in the 1970s did not worry about the viruses they might be picking up from their victims. Nevertheless, the association between vampires and disease is not new. Nicola Nixon, for example, observes that “vampirism, with its connotative yoking of sexuality and contagion, has a long history of being linked to the horrors of venereal diseases – syphilis in particular” (118), while James Twitchell goes into more depth:

Abstract: Taking Buffy the Vampire Slayer (BtVS)as a platform of analysis, Sherman traces the connections and contradictions between the "grotesque bodies" in Bakhtin, Anzaldua, and Haraway. Arguing that a reconfigured carnival spirit finds its way into BtVS, Sherman explores the ways in which BtVS offers both sporadic visions of cosmic unity and liberation, as well as a committed political vision of coalition in service of justice. Foregrounding the political meaning of the grotesque and contradictory body, Sherman highlights the opposition between the temporary liberation of Bakhtin's carnival as defined by the always already outside society body of the morbid maternal, and the space of politics centrally defined by the Mestiza/Queer or cyborg. Sherman interrogates monstrous modes of reproduction and their theoretical offspring, exploring how society is imagined in each theory by such reproduction.

Abstract: The eleventh part of the Saga of Darren Shan - one boy's terrifying journey from human to half-vampire to Vampire Prince Darren's going home Back to where everything started The town's changed a lot in the years that he's been away - but then, so has Darren Plagued by nightmares of what the future seems to hold, Darren feels uneasy revisiting the place where he was re-born as a child of the night, as though the universe (as though destiny) is plotting to throw something very nasty at him on the streets of his old home It is

Abstract: For many, Vlad the Impaler is the bloodsucking torturer recreated in Hollywood's Interview with the Vampire and the real character so vitally realised in Bram Stoker's Dracula, the man recreated on screen by screen legends Bela Lugosi, Christopher Lee or Gary Oldman, or the vampire stalking through the pages of Ann Rice's novels. Later interpretations see him as a potent symbol of Nazi aggression in WWII, fired partly by Murnau's Nosferatu of the 1920s and the blood rites of the Aryans. But who was the real man who inspired the Dracula legend? Was he as gruesome as legend depicts, or, as some Romanians, refuting the popular image, suggest, an heroic 15th century warrior and freedom fighter? Or is his reputation as a bloodthirsty mass-murderer, who sadistically impaled his victims, justified? In this new book, by acclaimed true crime historian Mei Trow, the author peels back the layers of myth and history to unravel to reveal the 15th century figure who was the real Vlad the Impaler.

Abstract: One of the more important contributions to Dracula scholarship in recent years has been the examination of Bram Stoker’s bloodthirsty Count as a stereotypical Jewish figure. Although this reading has helped to elucidate both the specific nature of the vampire’s threat to fin-de-siecle England and the prevalent Christian thematics and iconography of Stoker’s novel, literary critics have failed to consider Count Dracula’s consanguineous connections with other characters within the Gothic literary tradition. Adapting Royce MacGillivray’s claim that Stoker created in Dracula ‘a myth comparable in vitality to that of the Wandering Jew, Faust, or Don Juan’ (518), I would maintain that while the aristocratic figure of Count Dracula uniquely combines all three figures, he represents the apogee in the development of the vampiric Wandering Jew in British Gothic literature. As Henry Ludlam’s 1962 biography of Stoker makes clear, the Wandering Jew had long haunted Stoker’s imagination. As supportive evidence, Ludlam cites Stoker’s lifelong friend, writer Hall Caine, the ‘Hommy-Beg’ to whom Dracula is dedicated. Thinking back over their attempts to fit Stoker’s boss, acclaimed actor Henry Irving, with a suitable dramatic role, Caine wrote, ‘I remember that most of our subjects dealt with the supernatural, and that the Wandering Jew, the Flying Dutchman and the Demon Lover were themes around which our imagination[s] constantly revolved’ (97).

Abstract: Ashley, J. (2003) ‘On being there, on struggling to be there and on being ordinary’, British Journal of Psychotherapy 19(3). Coltart, N. (1992) What does it mean, ‘Love is not enough?’ in Slouching towards Bethlehem, New York: The Guilford Press. Klein, M. ([1959] 1988) Our Adult World and its Roots in Infancy in Envy and Gratitude and Other Works, London: Virago. Searles, H.F. ([1966] 1979) Feelings of Guilt in the Psychoanalyst in Countertransference and Related Subjects, New York: International Universities Press Inc. Searles, H.F. ([1973] 1979) The Patient as Therapist to his Analyst in Countertransference and Related Subjects, New York: International Universities Press Inc. Steiner, J. ([1993] 1999) Revenge, resentment, remorse and reparation in Psychic Retreats, New Library of Psychoanalysis 19, London: Routledge. Williams, S. (1999) ‘The Therapist as Outsider: The Truth of the Stranger’, British Journal of Psychotherapy 16(1). Winnicott, D. ([1947] 1992) Hate in the Countertransference in Through Paediatrics to Psychoanalysis, London: Karnac. Winnicott, D. ([1948] 1992) Reparation in Respect of Mother’s Organized Defence against Aggression in Through Paediatrics to Psychoanalysis, London: Karnac. Winnicott, D. ([1950] 1992) Aggression in Relation to Emotional Development in Through Paediatrics to Psychoanalysis, London: Karnac.

Abstract: The question of whose dream we are in (and whether life is ‘dream’ or not) is a crux in the narrative of ‘Carmilla’. For the reader, the complication of this question is comparable to the difficulty felt by the reader in Wuthering Heights, when Cathy is crying out to Lockwood: ‘Let me in!’ - on what level is ‘reality’ supposed to be? Nina Auerbach has pointed recently to the distinctive nature of the friendship between the victim and the vampire in ‘Carmilla’, compared with other nineteenth-century vampire stories; she is thinking of the intense, erotically charged conventions of Victorian girls’ friendships which had no need to be chaperoned. The two girls in the story ‘dream the same dream at the same time’.1 It is Laura’s longing for a ‘friend’ or ‘another half which takes us back to Captain Walton at the beginning of Frankenstein and the disastrous results of that longing for the authenticating presence of the other, which Frankenstein himself is also reproducing when he determines to create his creature. Behind this, lies the whole tradition back to Aristophanes’ speech in Plato’s Symposium, and the notion that friendship is the completion of the self, that the two halves form a mirror for each other.2

Abstract: In the summer of 2001 Joss Whedon2 commented, in a telephone interview, that Buffy the Vampire Slayer is ‘basically saying that the world’s a scary, scary place and anybody who lives in it without ...

Abstract: Abstract Buffy the Vampire Slayer entered stage left, with a whimper. Joss Whedon, a versatile screenwriter whose credits include Alien: Resurrection, Toy Story, and Speed, introduced Buffy the Vampire Slayer in the eponymous feature film (1992), but many considered the film so bad that it looked as though the Buffyverse would end then, without a bang. As we have learned since, however, Whedon is some thing of a genius, not only persistent and ambitious, but brave.

Abstract: The critical work examines the vampire as a spiritual figure - whether literal or metaphorical - analyzing how the use of the vampire in literature has served to convey both a human sense of alienation from the divine and a desire to overcome that alienation. While expressing isolation, the vampire also represents the transcendent agent through which individuals and societies must confront questions about innate good or evil, and belief in the divine and the afterlife. Textual experiences of the numinous in the form of the vampire propel the subject on a spiritual journey involving both psychological and religious qualities. Through this journey, the reader and the main character may begin to understand the value of their existence and the divine. A variety of works, poetry and fiction by British and American authors, is discussed, with particular concentration on Coleridge's ""The Rime of the Ancient Mariner,"" Bram Stoker's Dracula, and Anne Rice's Vampire Chronicles, as representative of the Romantic, Victorian, and late twentieth century periods of literature. A conclusion looks at the future of the literary vampire.