Showing posts with label Media. Show all posts
Showing posts with label Media. Show all posts

Wednesday, March 4, 2015

Book Review: Encyclopedia of Eastern Europe

HABSBURG Review 2000/28 8 November 2000

Making Eastern Europe's Complexity Accessible to Non-Specialists

Richard Frucht, editor. _Encyclopedia of Eastern Europe: From the Congress of Vienna to the Fall of Communism_. New York and London: Garland Publishing, 2000. xvi + 958 pp. Maps, index, $ 145 (library binding). ISBN 0-8153-0092-1

Reviewed for HABSBURG by Hugo Lane <hlane@duke.poly.edu, Polytechnic University New York

An encyclopedia of this type has long been wanting. While specialists may know two or three, and sometimes more languages due to the necessity of their work, they are still likely to find themselves with a question about a person, event, or region that is not likely to be in either an English language encyclopedia, or in an encyclopedia in a language they may know. Nor is it just specialists that have been hindered by this absence. As Richard Frucht explains in the introduction, as a member in a project sponsored by AAASS to encourage greater attention to Eastern Europe in secondary schools, the most widely sited obstacle sited by secondary school educators was the absence of a general reference guide about Eastern Europe. Given this experience, it is not surprising that Garland Publications asked him to what became the volume at hand, or that he felt he could not refuse, and I suspect that many of the Eastern Europeanists on HABSBURG would have reacted the same way.

The results of Frucht's efforts are considerable. With the help of 215 specialists, he has compiled a single volume chocked full of information about East European geography, culture, history, and politics, which will give secondary school teachers a logical and informative base to set up a unit on Eastern Europe. This is particularly true of the articles surveying the history of Albania, Bulgaria, Czechoslovakia, Hungary, Poland, Romania, and Yugoslavia, which are intended to be the centerpieces of the work, and contain brief but solid bibliographies for further reading, as well as quite lengthy lists of entries about other relevant, but more specific topics. Noteworthy among this second type of articles are a number of articles that appear intended to break the national boundaries that make it difficult for non-specialists to gain a grasp for the similarities that exist between different countries, exemplified by articles on "peasant parties," "right-wing radicalism," and other strings of articles like those on the Communist parties, economic development, and women in the seven countries named above. Beyond that there are biographies of major historical and cultural figures, brief accounts of significant events and concepts, and geography to be expected in such a volume, which specialists are most likely to refer to.

That is not to say that specialists will be 100% satisfied with the content of the articles. They will spot items that could or should have been included in entries with just a few more words. For the most part these are minor, however, and do not affect the overall value of the information for non-specialists. After all, how important is it that high school students know there were two peasant parties in the Second Polish Republic prior to 1931, when their teachers may only get a week to talk about all of Eastern Europe. Browsing through the articles this reader has spotted several small factual errors, but desirable as an error-free encyclopedia might be, it is also the rarest of rarities, and the errors spotted by this reviewer are not very harmful. Thus much as it may pain this reader's heart to learn that the university in L`vov (sic) was founded in 1656 and not 1661 as was long claimed at the university, or 1784 the date Joseph II established a university there favored by Ukrainian nationalists, the existence of a moderately old university in that city is likely to be news to many.

What may well frustrate laypeople is the decision to conclude the historical surveys for Poland and Romania in 1989, and Albania in 1990. While this can be justified by the encyclopedia's title to go to the fall of Communism, it leaves the difficulties of post-Communist transition a blank spot only partially filled by more specific entries. Had this been a consistent editorial decision, it would have been easily justified, since 1989 is certainly a turning point. But it is not, and the narratives for Bulgaria and Hungary carry through to the late 1990s. Similarly, for obvious reasons, Czechoslakia's goes until its break-up into independent Czech and Slovak Republics in 1993 and it is supplemented by brief narratives about the two new states, a tack also followed in dealing with the fall of Yugoslavia.

But overall it is not content, but conceptualization and organization that weakens the value of this compendium of knowledge. For the most part this is something scholars are likely to be most sensitive to than lay people, but some seem to be a surprising blindness to some of the basic problems non-specialists are likely to encounter when they try to learn something about Eastern Europe. This is best exemplified by the decision to use proper diacriticals for all East European languages, but without any instruction as to how they should be pronounced. True, this is usually the province of dictionaries, but given American's general unfamiliarity with languages other than English, it would have been particularly useful here, given that now even ten years after he became a well-known figure, one still regularly hears people pronounce the first name of the president of Czechoslovakia, as "vaklav."

Similarly, while the Encyclopedia has a good index, there are none of those useful guideposts in the body of the book to direct readers looking for an article on a particular topic that it is located elsewhere. This is annoying enough when the subject is something with multiple nomenclature, like film, which here is listed as cinema, but it is really a problem when after being referred to the entry for Milan Obrenovic at the end of the article Yugoslavia, one heads to the O's and finds nothing since it is to be found in the M's as are the articles on Milos Obrenovic and his son Mihailo. Also, helpful as the lengthy lists of specific articles at the end of the big historical surveys are meant to be, they are likely to overwhelm readers as help them. Ordered in strict alphabetical order, these cross reference make it difficult to find the entries that might be relevant for a particular time period. Far more manageable and useful for readers would have been for such notification to be made directly in the text as topics come up, or at least at the end of each historical sub-heading.

Indeed, it has occurred to this reader that in the case of Eastern Europe, a purely alphabetical order may not be the most friendly to lay users. Since the encyclopedia is structured around the lengthy articles about each of the seven "major" nations, it might have been good to order the book along national lines, with all articles concerning a particular country following the main article with an eighth section for topics that are relevant to the whole region or several countries. This would avoid the major page turning one has to do if one wants to read about two related topics that are not close together in alphabetical order like for example the "Polish November Uprising" and "Prince Adam Czartoryski." Be that as it may, the encyclopedia is organized strictly on alphabetical terms, and non-specialists will for the most part find what they are looking for and be satisfied.

East European specialists perusing this encyclopedia can likewise live with those problems, but will be more troubled by a degree of randomness in what was deemed important and what was not. In particular, there is a striking inconsistency in the way Eastern Europe is conceptualized. In tbe introduction Frucht briefly informs readers that the value of the term "Eastern Europe" is debated among scholars, and then explains that for the purposes of this book, it will refer to those countries, excluding the Soviet Union, that were part of what was known as the East Bloc until 1989. In as much as this is what non-specialists in the United States understand as Eastern Europe, this is acceptable, although specialists and others with familiarity with Yugoslavia and Albania will bristle at the failure to mention its peculiar position vis-a-vis the Soviet-Bloc. Still, some acknowledgement of the problem of defining Eastern Europe would have been useful, including the differences between political and cultural borders and the difficulties that has posed, as well as some mention of Russia and the Soviet Union's relationship with these other countries.

But this is not just a matter of something not said, because Frucht deviates from this narrow, but defensible principle when it suits him. Thus, there is an article on the establishment of the independent state of Moldova--indeed Moldova is included on the map of Eastern Europe 1945-1989 as an apparently independent entity. No similar treatment is given to the Baltic republics, which unlike Bessarabia were fully independent entities between 1918 and 1940.

Similar editorial decisions have left this encyclopedia without any articles about either Byelorussians or Ukrainians. The omission of the Byelorussians can be justified since the only time they were not under direct Russian influence between 1815 and 1991 was during the interwar period when a substantial portion lived in the second Polish Republic. This excuse does not work in respect to the Ukrainians. While the majority of Ukrainians, as subjects of the Russian Empire and later citizens of the Soviet Union, may never have had a direct connection to the cultural currents of Eastern Europe, the minority living in Galicia did and played a disproportional role in the shaping of Ukrainian culture.

By the same token, the antagonism between Poles and Ruthenian/Ukrainians was sufficiently important both under Austrian rule and later in interwar Poland to warrant a presentation from their prospective. Such neglect runs close to appearing to be an intentional snub when there is a two-page article on Russia, a further article of more than two pages on the historically much less significant, Carpatho-rusyns. This is topped off by the decision to use the Russian variant for as the heading for the article on the former Galician capital now in Western Ukraine rather than the Ukrainian one Lviv.

Equally problematic for specialists, and particularly historians, is the decision to place the vast majority of historical information in the seven major articles. While this presumably was seen as the best way to deal with what scholars all know are complex and intertwined histories, it tends to reinforce national historical narratives that are no longer as universally accepted as they once were. But the most troublesome aspect of this weighting of the seven main historical essays is how it has led to inconsistency regarding regional entities of historical importance. Thus, while entries for the Banat, Moldavia, Wallachia, and the United Provinces add significant depth to the article covering Romanian history, the articles on Bukovina and Galicia provide no explanation of their places within the Austrian Empire or anything about nationalities issues besides brief surveys of census statistics. Even less satisfying are the articles for Bohemia and Moravia, which focus only on contemporary geographic and demographic information, with no discussion of them as long-standing historical units that had real meaning for the first century covered in this encyclopedia.

The decisions about what political and cultural figures should be included in such a work are likely always to be subjective. Given the intended audience the inclusion of entries for significant people of East European origin that emigrated to the U. S was wise. But other factors that might make an entry warranted do not seem to have been established beforehand. Thus, Polish literature's first Nobel laureate, Wladyslaw Remont has no entry, although it is precisely lists like those of Nobel prize winners that are likely to prompt non-specialists to seek out information about figures who are not otherwise widely known. Also missing is an entry for Bohumil Hrabal, who was long the symbol of the persistence of Czech culture despite Communist rule, and many of whose works have been translated into English.

Over a century ago, Ralph Waldo Emerson wrote that consistency is the hobgoblin of small minds. This is not a relevant dictum for the compilation of an encyclopedia, but it is also true that given the complexity of Eastern Europe, however defined, such an encyclopedia was likely to be quirky and appear inconsistent. What ever faults this book may have, it is the kind of single volume reference guide that was needed, containing a great deal of basic information about Eastern Europe, that hitherto has not been easily accessible in public and secondary school libraries. In so doing, Frucht, his editorial advisors, and contributors have blazed a trail suitable for broadening and straightening out at some future time, and as such we owe them thanks.

Copyright (c) 2000 by H-Net, all rights reserved. This work may be copied for non-profit educational use if proper credit is given to the reviewer and to HABSBURG. For other permission, please contact <reviews@h-net.msu.edu.

Underworld: Rise of the Lycans


Underworld: Rise of the Lycans (also known as Underworld 3) is a 2009 American film directed by Patrick Tatopoulos. It is the third installment (chronologically the first) in the Underworld series, focusing primarily on the origins of some characters and the events leading to the Vampire-Lycan war, depicted in the previous films Underworld and Underworld: Evolution.

Plot
The film tells the story of Lucian (Michael Sheen), the first werewolf able to take human form and to be called a Lycan. Viktor (Bill Nighy), a ruthless elder vampire, raises the child. Viktor kills Lucian's werewolf mother but envisions a race of werewolf slaves for his clan that could keep guard during the day and toil for the vampires. As Lucian grows up, he and Viktor's young daughter Sonja (Rhona Mitra) develop an attraction that blossoms into love in their adult years, though they keep their relationship hidden.

Viktor has a relationship with the humans of the area; he protects them from the werewolves that roam the countryside in exchange for a tithe. As human nobles meet with the vampire council for protection from the werewolves, Sonja guards them. Lucian hears the werewolves near Sonja and orders Death Dealers sent to help her. When his orders are denied, he steals a horse and sword from a nearby Death Dealer. Werewolves proceed to kill the nobles, causing Lucian to battle them. When Lucian changes into a Lycan in order to protect Sonja, the werewolves back down. Viktor, despite acknowledging that Lucian saved his daughter, feels betrayed by his favorite pet and locks Lucian away after having him brutally whipped.

With the help of the scheming vampire Andreas Tanis, Sonja orchestrates Lucian's release in exchange for her seat on the vampire council. Lucian escapes, kills several of the vampires and begins liberating the other Lycans. The guards begin slaughtering the escapees. Sonja remains behind, but when Viktor discovers that she has had a forbidden relationship with Lucian, he imprisons her. Lucian and some of the freed Lycans roam the countryside recruiting many of the labourers of the human nobles to their fight for freedom. He also travels to a cavernous location that is teeming with werewolves, attempting to contact them. The vampire nobles are outraged by the escape and growing chaos, demanding that Viktor recapture Lucian. Viktor however, knows that Lucian will come to him.

Lucian learns about Sonja's imprisonment from one of her attendants and sets out to rescue her. Lucian orders his followers to wait, but be prepared to attack if he does not return. Lucian rescues Sonja from the fortress but they are attacked by the Death Dealers. Sonja confronts Viktor and tries to get him to call off his guards by revealing that she is pregnant with Lucian's child. Disgusted, Viktor overpowers her and imprisons both her and Lucian. Sonja is sentenced to death at a trial presided over by her father and the council. Lucian is forced to witness Sonja's death, in which she is burned to death by sunlight.

Lucian awakens when Viktor comes in to view his deceased daughter. As Viktor removes the pendant necklace he gave Sonja, an enraged Lucian transforms and overpowers Viktor. Lucian takes Sonja's pendant, escaping out a window. The escape is stopped at the castle walls by Death Dealers who shoot Lucian with crossbows. With a thunderous howl, Lucian summons the freed Lycans and werewolves, who attack the coven. Viktor sends Tanis to remove the slumbering Amelia and Markus from their crypts before joining the battle with his personal guard. The council, meanwhile are overwhelmed and butchered by the rampaging werewolves.

Lucian sees Viktor entering the fray and fights his way to him. Viktor and Lucian battle their way to the catacombs. The fight continues until Lucian overcomes Viktor. Viktor's 'final' words attest to his regret at not having killed Lucian the moment he was born, to which Lucian sarcastically agrees before forcing his sword through Viktor's mouth and head and letting the body fall into the water below. Lucian emerges to the courtyard which is ringed with the surviving Lycans, werewolves and freed slaves. He declares this victory as only the beginning of what will become a war between the races. Tanis is leading a very alive Viktor into a hibernation chamber on a boat.

The film ends with the opening scene of the first Underworld, with the audio from the scene where Kraven tells Selene that it was Viktor who murdered her family, rather than the Lycans, and that Viktor spared her because she reminded him of the daughter he condemned to death; Selene replies to Kraven, "Lies."

Cast
Michael Sheen as Lucian: Enslaved as a baby, Lucian has only been able to imagine the full extent of his Lycan powers. In the evolution from werewolf to Lycan, Lucian feels the responsibility of the Lycan race resting on his shoulders. At the same time, his love for the vampire, Sonja, complicates his desire for freedom from the Vampires.

Bill Nighy as Viktor: One of three ruling Vampire Elders, Viktor is a haughty, ostentatious Vampire overlord more than 1,000 years old. Like most Vampires, he has a severe hatred for werewolves but also a fascination with their unique strengths. Through slavery, he has created a small but mighty force of Lycan slaves. Despite his best efforts to govern the Coven, the Council members have begun to question his leadership.

Rhona Mitra as Sonja: Sonja is the daughter of the powerful Vampire Elder, Viktor. Beautiful and brave, her nightly patrols defend the Coven from the hordes of ferocious werewolves. Despite her father's hatred for the Lycan race, she has fallen in love with the Lycan slave, Lucian. She battles between the desire to fulfil the responsibilities that come with her lineage and her willful nature. Because of her love for Lucian, she is sympathetic to the enslaved Lycans' plight.

Steven Mackintosh as Andreas Tanis: Deceptive and conniving, Andreas Tanis serves the Elders as advisor and historian of the Coven. His desire for power, wealth and status lead him to do nearly anything to stand in Viktor's good favor. Often tasked with managing the strong-willed Sonja, he discovers the secrets held in the dark corridors beneath the castle, intending to use them to his advantage.

Kevin Grevioux as Raze: Lucian discovers Raze's amazing bravery and strength as he rescues him from near-certain death. The two become friends and after Raze is turned into a Lycan, he joins Lucian's struggle for freedom.

Craig Parker as Sabas

Jared Turner as Xristo

David Aston as Coloman: a Vampire Councillor often questioning and criticizing Viktor's actions.

Elizabeth Hawthorne as Orsova: a Vampire Councillor who also asks and points out the flaws with Viktor's actions.

Kate Beckinsale as Selene: Beckinsale did not film new footage, a scene from Underworld was used to bookend the film. Beckinsale also provided a monologue for the beginning of the film.

Shane Brolly as Kraven: Like Beckinsale, Brolly did not film any new footage but lines of his dialogue from the first film are used for the film's ending.

Tania Nolan as Luka: Sonja's lady in waiting who gave the news to Lucian that Sonja had been captured.

The Female Vampire in Recent Fiction

Picture kindly provided by MariaLombide Ezpeleta.

As in the movies, Dracula and his male vampire kin dominated twentieth-century vampire fiction writing. However, some females vampires gained a foothold in the realm of the undead. Many of these have been the imaginary product of a new crop of female writers, though some of the most popular female vampire authors—Elaine Bergstrom, P. N. Elrod, and Anne Rice—have chosen male vampires for their protagonists.

The century began with an assortment of short stories featuring female vampires, including F. G. Loring’s “The Tomb of Sarah”, Hume Nisbet’s “The Vampire Maid”, and E. F. Benson’s classic tale, “Mrs. Amworth.” Female vampires regularly appeared in short stories through the 1950s but were largely absent from the few vampire novels. Among the first novels to feature a female vampire was Peter Saxon’s 1966 The Vampires of Finistere. Three years later Bernhardt J. Hurwood (under the pseudonym of Mallory T. Knight) wrote Dracutwig, the lighthearted adventures of the daughter of Dracula coming of age in the modern world.

In 1969, possibly the most important modern female vampire character appeared, not in a novel, but in comic books. Vampirella, an impish, voluptuous vampire from the planet Drakulon, originated in a comic magazine from Warren Publishing Company at a time when vampires had disappeared from more mainstream comic books. Vampirella was an immediate success and ran for 112 issues before it was discontinued in 1983. The stories were novelized in six books by Ron Goulart in the mid-1970s. Most recently, the character has been revived by Harris Comics and is enjoying new popularity.

Female vampires have continued to emerge as the subject of novels. From the 1970s one thinks of The Vampire Tapes by Arabella Randolphe (1977) and The Virgin and the Vampire by Robert J. Myers (1977). These were followed by the reluctant vampirism of Sabella by Tanith Lee (1980) and the celebrative vampirism of Whitley Strieber’s The Hunger (1981). Through 1981 and 1982, J. N. Williamson wrote a series of novels about a small town in Indiana that was home of the youthful-appearing but very old vampire Lamia Zacharias. The books describe her various plots to take over the world. In spite of some real accomplishments in spreading her vampiric condition, she never reached her loftier goals. Other significant appearances by female vampires occurred in Live Girls(1987) by Ray Garton, Black Ambrosia (1988) by Elizabeth Engstrom, and the first of Nancy A. Collins’s novels, Sunglasses after Dark (1989), which won the Bram Stoker Award for a first novel from the Horror Writers of America.

The 1980s ended with the appearance of the “Olivia” novels by Chelsea Quinn Yarbro. Olivia had first appeared in Blood Games, one of the more famous Saint-Germain vampire novels. However, beginning in 1987 Yarbro produced four lengthy explorations of Saint-Germain’s former love living on her own. These novels included A Flame in Byzantium (1987), Crusader’s Torch (1988), A Cradle for D’Artagnan (1989), and Out of the House of Life (1990).

Also memorable during the 1980s was Vamps (1987), an anthology of short stories of female vampires compiled by Martin H. Greenburg and Charles G. Waugh. It included some often-ignored nineteenth-century tales, such as Théophile Gautier’s “Clarimonde,” and Julian Hawthorne’s “Ken Mystery,” as well as more recent stories by Stephen King and Tanith Lee.

Novels featuring female vampires continued into the early 1990s. Traci Briery, for example, wrote two substantial novels, The Vampire Memoirs (1991) and The Vampire Journals (1992), chronicling the lives of two female vampire heroines, Mara McCuniff and Theresa Allogiamento. Kathryn Meyer Griffith’s The Last Vampire looked into the future to explore the problems of a reluctant vampire after a wave of natural disasters had wiped out most of the human race. And not to be forgotten is The Gilda Stories, a lesbian vampire novel by Jewelle Gomez, an African-American author.

Bram Stoker’s Dracula

Bram Stoker’s fictional Dracula, the vampiric count from Transylvania, was hardly the first vampire story ever written, but it is beyond a doubt the grandfather of modern vampire literature in English- speaking countries, as well as a source for innumerable vampire stories that followed in its wave of success. Although Stoker researched the myths of the vampire, as an author he justifiably used artistic license to create his own vampire, one that would be more suitable and terrifying to his audience.

In regards to species, Dracula was not any one particular type of vampire, but a conglomeration of several different types, many of which were not even native to the part of the world that the vampire comes from.

In the novel, for the few pages that he actually appears in it, Dracula is described as a tall, pale man, sporting a thick, white Victorian moustache. He has a very full and substantial head of HAIR, bushy eyebrows, and even HAIR on the palm of his hands. His teeth are caninelike, his fingernails overly long, and his beautiful blue eyes turn red whenever he grows angry. Dressed in black, he is initially old when first encountered in the book; however, as the story progresses, he becomes increasingly younger looking.

The count has an array of vampiric abilities, such as weather control; shape- shifting into a bat, dog, and wolf; and “control over the meaner things,” such as bats, foxes, owls, rats, and wolves. He can also procreate his species in that he can create other vampires, such as his vampiric brides. Although it is not truly an “ability,” it is a misconception that Count Dracula would shrivel up and die if exposed to sunlight. This is not true; daylight has no such ill effect on the Count.

Like one might expect, holy items have an adverse effect on Dracula as they do with many species of mythical vampires, items such as rosary beads with a CRUCIFIX, and the EUCHARISTIC WAFER. Many types of vampires must return to their graves or some dark place in which to spend their daylight hours. This is not the case for Dracula, who is unaffected in that respect by sunlight, but yet, he is still linked to his grave. The Count must lie in rest in his native soil, and so travels with COFFINS lined with Transylvanian soil. Dracula also requires an invitation to enter someone’s home, somewhat reminiscent of the GREEK VAMPIRE BARABARLAKOS, if not quite as literal. Of all the vampires that the various histories and mythologies have offered us, only one lore speaks of any type of vampire that casts no reflection in a mirror—the ZEMU from the Moldavia region of Romania. This distinct and unique disability is so obscure, compounded with the fact that the ZEMU is such a little- known species of vampire, it causes one to wonder if it is at all possible that Stoker heard of this tale or if it was a creation by the author himself.

It is a popular misconception that at the novel’s end Count Dracula was staked through the heart with a nicely shaped sliver of wood. The truth is that Dracula was simultaneously beheaded by Jonathan Harker and stabbed in the heart with a bowie knife by Quincey P. Morris.

Source: Eighteen-Bisang, Bram Stoker’s Notes for Dracula; Leatherdale, Dracula: The Novel and the Legend; Senf, Science and Social Science; Stoker, Dracula

Count Dracula

A pinnacle of Gothic characterization, Count Dracula, Bram STOKER’s parasitic Boyar vampire, and his loathsome appetites have generated extreme terror among readers and movie fans. A prototypical loner, he is an exotic patrician in the medieval lineage of Attila the Hun and is endowed with magical powers of SHAPE-SHIFTING. Suitably, the count resides among subservient plebeian Transylvanians in Castle Dracula in the Carpathian Mountains. With its hairy palms, pointed ears, gleaming red eyes, bushy brows, pale skin, and knife-blade nose, his physique is a perversion of manhood. Because his appearance, like that of all vampires, is not reflected, he hangs no mirrors in Castle Dracula. When he opens his cruel mouth, beneath a long white mustache are sharp protruding teeth and breath fetid with a charnel stench. In explanation of his repellent mouth, Stoker has him utter scripture from the Christian communion ritual, which identifies the vampire’s sustenance as a demonic reverse of bread and wine that the faithful partake of as symbols of Christ’s body and blood.

In an extended parody of Christ, the count displays his anathema through a mastery of easily cowed peasants and by a veiled warning of OTHERNESS to Jonathan HARKER, the OUTSIDER: “Our ways are not your ways, and there shall be to you many strange things,” a warning that he enlarges with a prediction of bad dreams for any who wander his castle (Stoker, 22). He explains away his strangeness as an aspect of an old and prestigious family: “We transylvanian nobles love not to think that our bones may lie amongst the common dead” (ibid., 24). He piles on additional peculiarities: a lack of mirth, an avoidance of sunshine and sparkling water, and a love of shadow and solitude, qualities that he shares with the dour BYRONIC HERO. Boasting ends on a biblical note. Like the apostle Peter denying Christ for the third time, Dracula hears the cock crow and recedes from advancing sunrise to rest up for the next night’s prowl for blood.

Dracula gives evidence of sexual predations and DIABOLISM, particularly an aversion to communion wafers and crucifixes, both embodiments of Christian sanctity that derail the vampire’s satisfaction of primitive hungers. As proof of shape-shifting, Stoker pictures the count arriving at Whitby in the form of a dog that plunders the graves of drowned sailors and suicides. In London, he visits Lucy Westenra’s quarters in the form of a large black bat or bird, which the madman R. M. Renfield views through the window of his cell in an asylum. After Dracula’s nightly bloodsucking from Lucy’s throat, an unspeakable sex act producing a morbid version of orgasm, the attending physician Dr. Seward looks out and catches sight of the dark creature. Escaping dawn, Dracula resembles a silent ghost flapping determinedly toward the west, the source of night and everlasting death.

A sexual triad forms with the vampire at one apex opposite the normal male characters and their women at the other two points. Like a boastful seducer, the demon brags to his pursuers that he offers a satanic form of eros, a bestial lust for blood that paradoxically invigorates and dooms the women he has lured away from their impotent male protectors. Concerning the gender split in Stoker’s novel, Bela Lugosi, the actor who turned the sensational vampire into a cinema idol, re marked on his fan mail, 91 percent of which came from females who admire terror for its own sake. He concluded: “For generations [women] have been the subject sex. This seems to have bred a masochistic interest—an enjoyment of, or at least a keen interest in, suffering experienced vicariously on the screen” (Wolf, vii). A subsequent matinee Dracula, Christopher Lee, concurred with Lugosi that men admire the hero-villain for his power; women swoon at the female victim’s complete surrender to a male tormentor.

Imbued with the sin of hubris, the downfall of doomed protagonists from ancient Greek literature, in chapter 3, the count boasts of ancestry dating far earlier than the Prussian Hapsburgs and the Russian Romanovs, whom he dismisses as newly sprung like mushrooms. As an antichrist seeking to overthrow both decent womanhood and religiosity, he plots to create a race of vampires in England by purchasing Carfax, an estate at Purfleet named after the French Quatre Face, a suggestion of his range to the four points of the compass. Unlike his stay-at-home vampire predecessors, who preyed on their families, Stoker’s fiend is an itinerant who replenishes his supply of home soil by carrying earth from his grave like luggage. As the invader’s menace grows, in chapter 8, his insane apostle Renfield, like a Christ-crazed religious fanatic longing for the apocalypse, looks forward to the approach of the “Master” (Stoker, 106).

Symbolically, Stoker kills off his lurid count with a reduction of evil to dust, a reference to the Book of Common Prayer, which commits the dead to earth—the Hebrew adamah—to return to the common element—Adam—from which they sprang. As the cavalier stalkers—Harker, the appropriately named Arthur Holmwood, and Lucy’s former suitor Quincey P. Morris—corner Dracula’s 50th box of Transylvanian soil in the hands of gypsy sentries, they ward off female vampires and guards. With touches of the American West, two of the posse brandish Winchester rifles. At the coup de grâce, the Texan Morris wields a bowie knife to the throat, applying the savage invention of frontier warrior Jim Bowie, who died at the Alamo. The act is not without sacrifice. Stoker, employing the Arthurian death of the chivalric hero, salutes the English in the war against VAMPIRISM as Morris dies with a smile on his face. The onlookers, like knights of the Round Table, kneel to offer a benediction to the martyred gallant, a self-sacrificing gentleman who saves the orphan Mina Murray from the vampire’s curse.

Bibliography Auerbach, Nina. Our Vampires, Ourselves. Chicago: University of Chicago Press, 1995. Barber, Paul. Vampires, Burial, and Death: Folklore and Reality. New Haven, Conn.: Yale University Press, 1988. Hustis, Harriet. “Black and White and Read All Over: Performative Textuality in Bram Stoker’s ‘Dracula,’” Studies in the Novel 33, no. 1 (spring 2001): 18. Ronay, Gabriel. The Dracula Myth. London: W. H. Allen, 1972. Senf, Carol A. “Bram Stoker: History, Psychoanalysis and the Gothic,” Victorian Studies 42, no. 4 (summer 2000): 675. ———. “Dracula: The Unseen Face in the Mirror,” Journal of Narrative Technique 9 (1979): 170. Stoker, Bram. The Annotated Dracula. New York: Clarkson N. Potter, 1975. ———. Dracula. New York: Bantam Books, 1981. Twitchell, James B. The Living Dead: A Study of the Vampire in Romantic Literature. Durham, N.C.: Duke University Press, 1981. Wolf, Leonard. Introduction to The Annotated Dracula. New York: Clarkson N. Potter, 1975.

Website: Dracula Treasures.

LINK

Like all noble houses, the House of Dracula marks its possessions with a crest. To make sure you will not end up with an worthless imitation, the Treasures are endorsed as conforming to the collections of Castle Dracula by the Transylvanian Society of Dracula, by the House Dracula and by the Count Dracula Treasures Ltd.,- each with their own seals.

Tuesday, February 24, 2015

Transylvanian Society of Dracula


Red Tower.

Monument which defines the old border between Transylvania and Walachia.


The Transylvanian Society of Dracula (TSD), a cultural historical organization, was founded in the early 1990s by a group of leading Romanian historians, ethnographers, folklorists, tourist experts, writers, and artists, as well as non-Romanian experts in the field. Its goal has been the interpretation of Romanian history and folklore, especially as it relates to the fifteenth-century ruler Vlad the Impaler (the historical Dracula) and Romanian folklore concerning vampires. The group also attempts to identify dracularian traces of the myth in the folklore of other countries around the world. The founding president of the society was Nicolae Paduraru (1932–2009), who for many years had been an official with the Romanian Ministry of Tourism. He also was the general administrator of Count Dracula Treasures, Ltd.

The society organizes tours of various sites in southern Romania associated with Vlad the Impaler and those in Transylvania (in the northern area of Romania) associated with the novel Dracula (1897). Some 300 people attended the World Dracula Congress sponsored by the Society in Romania in 1995, an event that marked its worldwide expansion. The American and Canadian chapters were founded during that week, headed by Drs. J. Gordon Melton and Elizabeth Miller respectively. Dr. Massimo Introvigne, who attended the Congress subsequently formed an Italian chapter. There is also a chapter in Japan and several chapters in other European countries.

In 1997, the American and Canadian chapters, along with the Count Dracula Fan Club, sponsored Dracula ’97: A Centennial Celebration the international Dracula commemorative event, August 14–17, 1997, in Los Angeles. Some 20 countries, including a delegation from Romania, attended and more than 90 scholarly papers were presented on Dracula and vampire studies. The various chapters sponsor different events, among which, the several Romanian chapters organize a symposium international Society sponsored the second Dracula World Congress, Dracula 2000, held at Poiana Brasov, Transylvania, the site of Vlad the Impaler’s attack upon the German Transylvanian community during his reign of Wallachia in the fifteenth century. The theme of the Congress was “Redefining the Diabolic from the Perspective of Contemporary Society.” The Society has continued to sponsor conferences in Romania at least annually in the years of the new century, as well as promoting tours of Dracula sites each October around Halloween through the Company of Mysterious Journeys, http://www.mysteriousjourneys.com/. It offers a variety of Dracula-related products through Count Dracula Treasures, http://www.draculatreasures.com/.

Outside of Romania, the most active chapter has been the Canadian chapter headed by Dr. Elizabeth Miller. It issues the Journal of Dracula Studies, and may be contacted through its webpage at http://www.ucs.mun.ca/~emiller/trans_soc_dracula.html or its mailing address, 2309-397 Front St W., Toronto ON, Canada M5V 3S1. The Italian chapter can be contacted by writing to Dr. Massimo Introvigne at cesnur_to@virgilio. it. It posts the electronic news bulletins of the TSD on its website at http://www.cesnur.org/Dracula.htm#Anchor-49575.

Wallachian Prince Michael the Brave & his Victories over the Ottoman Turks 2/2



 I got this film yesterday about 'Mihai Viteazul' aka Michael the Brave, Prince of Wallachia, Transylvania & Moldova, and i really liked it, especially the parts were he continuously defeats the Ottoman Turks vastly outnumbering him. The film is made in 1971, directed by Sergiu Nicolaescu & written by Titus Popovici and its packed with great battles, such as the Battle of Călugăreni 1595, the Battle of Şelimbăr 1599 & other great Victories of Michael the Brave.

Wallachian Prince Michael the Brave & his Victories over the Ottoman Turks 1/2



 I got this film yesterday about 'Mihai Viteazul' aka Michael the Brave, Prince of Wallachia, Transylvania & Moldova, and i really liked it, especially the parts were he continuously defeats the Ottoman Turks vastly outnumbering him. The film is made in 1971, directed by Sergiu Nicolaescu & written by Titus Popovici and its packed with great battles, such as the Battle of Călugăreni 1595, the Battle of Şelimbăr 1599 & other great Victories of Michael the Brave.

'Vlad Tepes' Prince Vlad III Dracula The Impaler vs Sultan Mehmet II 2/2



From the film 'Vlad Tepes' I decided to post these 2 vids showing the fighting scense of Prince Vlad III of Wallachia aka Vlad Dracula the Impaler of the Order of the Dragon against Sultan Mehmet II of the Ottoman Empire. He was nicknamed 'Vlad the Impaler' because of the 20,000 Turkish prisoners & other 1000s of Bulgarians he Impaled on pikes. Vlad was known & feared for his cruelty & nightraids harassing the Ottomans, even entering the Turkish camp dressed as a Turk in an attempt to kill the sultan & causing panic by burning their tents & equipment.

'Vlad Tepes' Prince Vlad III Dracula The Impaler vs Sultan Mehmet II 1/2






From the film 'Vlad Tepes' I decided to post these 2 vids showing the fighting scene of Prince Vlad III of Wallachia aka Vlad Dracula the Impaler of the Order of the Dragon against Sultan Mehmet II of the Ottoman Empire. He was nicknamed 'Vlad the Impaler' because of the 20,000 Turkish prisoners and other 1000s of Bulgarians he Impaled on pikes. Vlad was known and feared for his cruelty and night raids harassing the Ottomans, even entering the Turkish camp dressed as a Turk in an attempt to kill the sultan and causing panic by burning their tents and equipment.