ENG 220: Dracula Library Instruction: Books and eBooks in the Collection

"The Companion to the Victorian Novel" provides contextual and critical information about the entire range of British fiction published between 1837 and 1901. Provides contextual and critical information about the entire range of British fiction published during the Victorian period. Explains issues such as Victorian religions, class structure, and Darwinism to those who are unfamiliar with them. Comprises original, accessible chapters written by renowned and emerging scholars in the field of Victorian studies. Ideal for students and researchers seeking up-to-the-minute coverage of contexts and trends, or as a starting point for a survey course.

A singular invasion : revisiting the postcoloniality of Bram Stoker's Dracula / William Hughes

Chapter 1 Gothic Monster Versus Modern Science in Dracula

Summary
With a main character who has become a cultural archetype, Dracula is a complex novel that goes beyond its surface portrayal of the battle between good and evil. For this volume of criticism, Lynch (English, Rutgers University Newark) has assembled essays that consider this Gothic masterpiece from a variety of viewpoints. Essay topics include how the novel shows the conflict between established Victorian values and an emerging modern era; the ways in which characters turn to sacred rituals as a way to avoid change; the connections that the novel makes to some of our deepest psychological fears; and analyses of Dracula from Marist, feminist, and post-colonialist perspectives. Annotation ©2010 Book News, Inc., Portland, OR (booknews.com)

Summary: This collection of 13 essays examines the work of Victorian authors Wilkie Collins, M.E. Braddon, Letitia Elizabeth Landon, Mary Wollstonecraft, J. Sheridan Le Fanu, Bram Stoker, Charles Dickens, Robert Louis Stevenson, Elizabeth Gaskell, Henry James and Charlotte Brontëet;. Each essay explores their use of archetypal Gothic elements, such as dark secrets and forbidden sensations, to depict nineteenth-century attitudes to class, gender, race, colonialism and imperialism. Book jacket.

Summary
The first full-scale biography of the complex man known today as the author of Dracula, but who was famous in his own time as the innovative manager of London's Lyceum Theatre, home of the greatest English actors of the day, Henry Irving and Ellen Terry. Barbara Belford tells the story of Stoker the hidden man. On the surface: the very model of Victorian modesty, reserve, and duty, the devoted husband and father. In actuality: a man whose emotional and working energies were in large part expended on the care and cultivation of the flamboyant, mesmerizing genius of the stage, Henry Irving. We see Stoker the writer of novels and stories that were imbued with sexuality, violence, and the celebration of death -- works at opposite poles from the decorum he presented in society. And Barbara Belford shows us in Dracula a mirror of the undercurrents of Stoker's own life, as well as a masked exploration of subjects utterly forbidden in his time -- seduction, rape, necrophilia, incest, voyeurism -- universal taboos dramatized with such a myth-making edge that the novel remains resonant and unsettling almost one hundred years later. We follow Stoker from his sickly childhood -entertained by his mother's twice-told tales of Irish hobgoblins and banshees -- to his years as a Dublin undergraduate and newspaperman, when he first wrote to his idol Wait Whitman, spilling out his innermost thoughts and beginning a lifelong correspondence that culminated in their meeting when Stoker traveled to America on tour with Irving and Ellen Terry. We see Stoker's childhood friendship with Oscar Wilde, and watch as the two young men compete for the hand of the beautiful Florence Balcombe, who became Stoker's wife. And we see Stoker in the literary and theatrical circles of Victorian London among such figures as Mark Twain, Arthur Conan Doyle, James Whistler, Lord Tennyson, and George Bernard Shaw. Belford gives us a vivid picture of the man, his time, his London -- the domestic and theatrical worlds he lived in -- and the dark imaginary realms that were the wellspring of all his writings, especially of his enduring and enduringly fascinating Dracula.

The "definitive " reference on literature in English, this handbook provides an alphabetical listing of more than 2,000 important terms and facts in literature, linguistics, rhetoric, criticism, printing, bookselling, and information technology. The website (www.prenhall.com/harmon) offers a handy glossary of key terms, a pronunciation key for select terms, pre- and post-tests on the terms, flash cards for key terms, a literary timeline, and links for all winners of the Nobel Prize and Pulitzer Prize. Covers a wide range of terms, centered in literature but extending into other areas, such as film, radio, TV, printing, linguistics, literary theory, music, graphic arts, classical studies, and information science. For anyone interested in literature and literary criticism.

Now in its fourth edition, A Handbook of Critical Approaches to Literature has become a standard introduction to the close reading of literature. It offers students and other readers a variety of ways to interpret a piece of literature, ranging from traditional approaches through the formalist, the psychological, the mythic and archetypal, and into such contemporary approaches as feminist criticism and cultural studies. Applying these diverse approaches to the same five works, the book shows students how various methods offer different insights, enriching their response to and understanding of the individual work. This fourth edition features a new chapter on cultural studies and the inclusion and interpretation of Alice Walker's singularly rich short story, "Everyday Use."

The Satanic Rites of Dracula

v. 2; p. 1188 supernatural fiction and ghost stories

p. 290 "... Romania, a country Stoker himself never visited, ...."
p. 952

Romania, 472+

Dracula, p. 169+

Dracula, p. 71 +

Dracula and Stoker have entries, but there are other entries to see like Wilkie Collins, an influence on Stoker.

New Woman discussion on page 247

v. 52

v. 5