Video 1: Gothic Sexuality and Tradition
Hello and welcome to week eight lectures on Dracula in today's session. I will be continuing the discussion on Gothic sexuality that I began in the previous lecture. I'll further be discussing the Gothic tradition. And throw some light on the Gothic metaphors used in the novel Lucy, the one pilot talking about this particular, uh, character in the previous session.And I wanted to complete the discussion on this figure. Lucy dies. She arrives as a one pile as a vampire. She is even more beautiful that in life, but no longer the Lucy they had known the sweetness was done to adamantine. Heartless cruelty and the purity to the lectures, wantonness Lucy's eyes have become I'm clean and full of health fire. Instead of the pure gentle OBS. We knew the place with unholy light and she is as callous as a devil again, then again, say, but uses the buds one thing and voluptuous to describe undead Lucy's smile. Her tones. Diabolically sweet until she's watered. At which point she becomes overtly monstrous her eyes, throwing out sparks of hell fire. The brows wrinkled as though the phones of the flesh were the coils of Medusa's snakes. This set of ideas are from the critic, Kaplan else, Spencer. And she. Captures the change in Lucy, the ones peel Lucy has now become one thing and will actually, she has become the undead. It's very significant to note that man prism is associated with sexuality. And I think that is outside of the bounds of normalcy is to, um, The extraordinary, um, the suspect, the diabolical and vampiric Lucy, when she is taught it. She becomes overtly apparently wants stress until then she tries to be diabolically weed. It's very difficult to pin down the evil qualities. Even though there are suggestions of the devil, look at them, a phrase is used to describe her physical, the appearance, um, the unholy light in her eyes. She is as cruel as the devil. So even the sweetness of that character is diabolical it's, um, associated with the devil. So the comparisons that are used to capture Lucy, the vampire's qualities are interesting in themselves. Um, in fact, she's compact to Medusa's, um, Medusa as well. Uh, The the, she, her brows are freezing cold as, as though the folds of the flesh boils of Medusa snakes, Minnesota, the mythical character had a, the snakes for here and now Lucy, similarly, um, through her appearance, through the folds of the flesh and its wrinkles suggests the right presence of Medusa snake. So you can see the extent to which you see is pushed out, outside the bounds of normalcy. These same images are repeated with a four man dr. Van Helsing and Lucy's three suitors return the next day to free Lucy's soul to save her by killing her. She seemed. Like a nightmare of Lucy, she laid there pointed to the bloodstain voluptuous mouth, which it made one shutter to see the whole carnival and unspiritual appearance seemed like a devilish mockery of Lucy's sweet, pure when, um, You'll see converts in two of them, par not, she doesn't really die. In fact, when dr. Van Helsing and use three sutures successfully destroy her, that's the final depth for Lucy. That's the, uh, time, uh, English, her soul could be free from the clutches of the rant direct nature. So what are these men are trying to do is, um, Rescue her symbolically rescue her from the devil. And, uh, she is not the real Lucy that they knew. She is a nightmare and she is a terrifying creature, uh, who, uh, barely resembles the Lucy that they knew and the list of, um, physical attributes, the pointed teeth, the bloodstain voluptuous mouth, make them shutter, make them terrified to look at it. So this is the horror. This is pure aquatic horror. Um, she is completely carnival and there was no, uh, godly, um, uh, spirit in her. There's, there's no benediction of God in her physical presence. And she is an utter mockery of Lucy's original, pure and sweet soul in depth. Lucy becomes again, the angel, she had been in life. She also becomes a bond between her three rivals wife. She could only have been a source of division despite their personal grief. It is for them an ideal solution. The problem she represented in sacrificing Lucy for men purge not only they fear a female sexuality generally offered she's the monstrous expression. But also, and more importantly, they fear of their own sexuality and their capacity for sexually prompted wildland against each other. Lucy's death is ideal for this matter. No, it's really solves the problem between her three rivals all of them. Aren't in love with NuSI. So with her dad, um, the problematic. Sexuality that is representative bye. Lucy is eliminated. In fact, you see becomes what a Kathleen L spends of calls, expression of monstrous sexuality. And normally that Lucy also, uh, represents, uh, the men it's fear of their own sexuality and their capacity to harm one another prompted by sexual jealousy. So for all these reasons, um, It becomes imperative for this not or who, uh, destroy, uh, Lucy and her problematic, uh, sexuality. Now let's look at the Gothic tradition and Dracula's, um, position in this trajectory. Dracula looks back to the tradition of Gothic fiction, accepting the newness in the world. It locates itself simultaneously in the tradition of the explained supernatural, a tradition, but gone and, and Radcliffe and culminating in the deductive fiction of polo. And in that other opals tradition that uses supernatural horror as a slow motion of the secret in the petite alien, a tradition begun in monk Lewis and culminated in the Arabic of code. What Ronald Schaeffler here argues is that Dracula positions itself in between the two wearing today of the God thing on the one hand behalf, the tradition of the Gothic by the supernatural explain the way. Um, and that seems to be the case with Anne Radcliffe's works and. Uh, it goes on until the, uh, detective fiction of Paul. It transformed itself into the detective fiction, all the clues and, um, details are harnessed by the detective and everything is neatly explained the way. So that tradition is altered Gothic and the other's hand behalf of supernatural horror type of topic where, um, the narrative. I saw that there is something supernatural in the everyday in the world that is sacred in the ordinary, right? There is supernatural elements are prevalent in society and we have a monthly was and Paul, um, belonging to that category. So Dracula follows, uh, both, uh, traditions, uh, in, in a very, very interesting, uh, manner. Both of these traditions assert some sort of sense in and for the world, whether it be horror or otherwise, they assert the significance of things. Deciding self is a things as they do for the detective or in their depths as they do for the magician Schaeffler, I guess that what these traditions have something interesting and significant, just say to the world to society, but the horror got thick and Terrell got thick. They explained, got back. Uh, they explained supernatural, have something to communicate to the readers. The meaning can be on the surface of things can be superficial, quote unquote, it could be temporal. And that kind of deport reality is communicated by the detective to the society. On the other hand, The meaning could be in the depths. It could be in the sound city. It could be in the unexplainable site of law if on earth. And this is it's significant for the psychologist, for the priest, for the magicians. So the unexplained supernatural, the, uh, the really super nice to do also personally, a lot of significance for the society to the reading public. Dracula combines these in it's very Epic story form breast since Regulus, double the suit of priests, Dr. Van Helsing who knows through our gains study, what has happened and like the initiate refuses to tell, and the detective doctor one health thing, Anita, who can discover the meaning of the mystery symbol lead by marshaling facts and combined various modest groups that formed the story. The traditions that we have been talking about that explain supernatural tradition and in explaining tradition are captured in a very, uh, resonant manner. Not very often. Okay. Tomorrow in the characterization of dr. Ron Helsing, dr. One health and can be seen as a Cedar priest, he, he can be, um, A magician figure. If you, if you want to put it that way, he can also be the detective. Dr. Van Helsing knows a lot about the occult. He knows about, um, Really niche are domains of knowledge. Uh, and, uh, he has an instinctive understanding of how things are panning out in relation to directly. At the same time, he also plays the detective, um, along with the assistance of Mina and they Marshall, a lot of facts and details, and they put together a lot of documents and manuscripts that structure, the not Adobe. So you can see the dual roles played by dr. Van Helsing and that kind of, um, role that duality, uh, has something to say about the two traditions of the Gothic in regular reading knows he sees things and into things before the characters do, because the texts are already compiled the hints already. Marshaled. Never does keep out the veracity of her. Cause story is written in general in the way of Hartford doubts his own experience. This is a comment about the position of the reader. The reader is in a more knowledgeable position. That reader is in the more harder to position the reader has. No doubt. Uh, in fact, uh, Haruka himself can doubt his own experience and assumptions, but the reader doesn't because he is in a powerful position. He trusts in the texts that have been already compiled for, uh, the eyes of the reader. Now let's talk about hound, Dracula or I'm stopping world is presided over by County, regular. The past walking the earth governing even dreams. And it does articulate. He did buy a host of Narcos more. What the book Dracula is presided over by writing the transcription of living speech. It sells metaphorically on debt and at the very end of the novel Jonathan notes that no authentic document remains only the transcription one might call it the transfusion of the experience. This is a very significant point raised by, uh, Shai FLIR. And he makes a connection between count Dracula and the book itself. The nada itself, Dracula represents the past hunting though present it haunts even the dreams. And that past is communicated by a CDs of narrators. It's a cold sleep presence. The pastor said go sleep, but very, very healthily precedence. Likewise, the highlighting itself is vampiric and in some ways it's undead. Uh, the writing is also ghostly. There is no authentic, uh, document and there's no, uh, PO uh, document, no original document, but. But there is a transcription of the experience, a noting down, okay. Experience a transfusion of the experience. So it is second hand in a way just as NGOs are just as the past also is, uh, in the present. So you can see the connection between count Dracula and the narrative itself.

Video 2: Gothic Metaphors
The central metaphor of Dracula is the grave, the crypt and the space of the novel. Despite all its continental movements is defined by closing ends and confinements. The mystery of Dracula is defined. What already is there hidden within the grave or simply spelled out to be decipher in the diaries and records of the participants or on the gravestone itself on it was, but one good Dracula. The eloquence of the empty grave is the fact that regular walks the earth and needs only to be followed and trapped discovered spelled out the meaning of his name made manifest. There is mystery. There is confinement. There are closings in all. These are classic attributes of the Coptic. Not though. There is a lot of claustrophobia. That's also a key rustic of God. Not yet. That's despite a lot of continental travel. One oldest gets a sense that there's Laura confinement. A lot of entrapments. Everything is dead in the nodder though in the grave. It's there for the detectives to unravel for the policy was to find out and destroy. So what is evident is that Dracula has to be followed directly. It has to be trapped, discolored and laid bare. The meaning of Dracula needs to be made apparent. To the audience. So there's an element of the chase as well. A chase that reminds us of maybe Shelley's Frankenstein. So this novel has all the classic cues of the Gtech narrative. The world of Dracula is a world already, too, for where the dead walk and leave no room, even in dreams for the living Atlanta, the past Transylvania coexist. With the modern world and threatened and Gulf it from Jonathan's first diary entry on his trip East, there was an uncanny sense. There is more to know than possibly can be known. And his first bushing of the console is oppressive because the building, the remnant of the past is so impulsive. He'll be happy. Again, the contrast between two different entities. On the one hand, we have the land of the past. Represented by Transylvania and the modern world by London, by the United Kingdom by great Britain. And there was a sense that this past this past is trying. The past of Transylvania is trying to Trump and golf destroy the modern world. And. Jonathan Harko is constantly aware that the risk, an element of the uncanny to the world of Dracula, he knows that there are things hidden, uh, That can be known if tried. Right. And he is oppressed by the image of the causal of the building. And that kind of, so is an embodiment of the past. It is a remnant of the past and that past is imposing, it's threatening. It is dangerous to this modern individual and to the modern society. And it has to be put down while Huntley, if need be. This is a description about, um, the view of the castle. This is a quote from the novel. I think I must have fallen asleep and kept dreaming of the incident for, it seemed to be repeated endlessly. And now looking back, it just like a sort of awful nightmare. Where I could see again, the driver was climbing into the Kalish and the wolves had disappeared. This was all so strange and uncanny that it, Sophia came upon me and I was afraid to speak or move is the time seemed income winnable, as we swept on a way now in almost complete darkness for the ruling clouds, obscured, the moon. Again, this setting is very, very most fear. It's a very, uh, threatening wall, very dark gloomy world. Very Gothic again, that references to the night, man, there are references to obvious fear, dreadful fear, the reference to complete darkness because absence of the moon, which is engulfed by ruling plow. So all these attributes. Of the weather also country, the beauty to orchestrating ghostly, ghastly, most fear in which the castle is presented for view, you can see that, um, courage Kelly. She has the courage. It's, it's climbing two words. Um, the castle, and this is the view that Jonathan, her gut gets of that, uh, environment. There are wolves as well. Dangerous, um, predators and they are somehow, um, for short I'm the notion dark, the real predator. The more powerful predictor is, um, out there in inside the castle. We kept on ascending with occasional periods of quick descent, but in the main, always ascending. Suddenly I became conscious of the fact that the driver was in the act of pulling up the horses and the courtyard of a vast ruined castle from who's tall black women. Those came no ring of light and whose broken battlements shoot a jacket line against though moonlit sky suddenly. Um, the carriage is in front of the council and. There's no welcoming light. And the neat thing from this castle, which is worst yet when we always know that many of the hassles and big houses that are present in got the narratives are for the most part, ruined that you raped him falling apart. Um, or some do get destroyed at the end as is the case with, uh, one field hall in Jane Eyre. There is no Ray of light, uh, in this castle of Dracula and it is it's broken battlements show, a jacket blue line. It's a very, very visceral description, a scary description, a threatening description of that terrifying structure that the causal is. And it is, um, once again, a very, um, half or, uh, but classic. Symbol of the Gothic trope. And these structures are structures from the past remnants from the past, which are not very benign. They are dangerous to the health and safety and sanctity of the individuals in present society. This is the language of waking, waking into a world onto a world. So full of sentient creatures. But the very darkness of the landscape seems to contain almost everything deport in the larger significance of the places trans, trans worst there's something, or seems to be beyond behind the landscape. What there is Jonathan's dream later. He doesn't remember the experience described in this journal seems locked behind within his transcription of his experience. Should I flawless this description or interpretation of this scene, uh, suggest that the landscape is suggesting it's extremely suggestive. It seems to contain a larger significance. Um, then what is a parent to the eyes of the person viewing it? He argues that there's something behind and beyond that plant scape. Um, but it's not yet very clear what exactly, uh, wrestles right now. And in fact, Jonathan is a liter unable to remember this experience of, uh, witnessing the concept for the first time. And so there is a suggestion that everything is locked. Uh, somehow behind something, uh, and, uh, the pursuer, the adventurer has to strive very hard to get at the meeting. The castle is very surreal and this causal, uh, reminds us of the, like the castles that we have seen, uh, in the texts that we have read so far. Uh, we can talk about, um, Field hall, which I just referred to a torn field hall is also not very welcoming. There is also a gloomy, uh, ambiance to word. Um, you can, uh, remember the very first time when, uh, Jane Eyre approaches the castle and it is set in a very gloomy, bleak setting. Uh, the weather is, um, Not very conducive to come forward. And, uh, there is no Val coming gesture, uh, that symbolically arises from that. Awesome. So, uh, go ahead, consults, have a particular tendency of their own. They seem to repel people from it rather than attract people towards it with its sociality. So we need to, um, I think we're deeply about the nature and structure and ideological implications of such castles and Arctic narratives. We can also think about battering hides. It's not a massive costly, but it is a standard for the causal in that, uh, novel and wandering Heights. Again is more, very welcoming. Um, Lockwood is, uh, repelled, uh, almost by its inhabitants. And he really has to fight its way in to get comfort and warmth on a bleak windows day. So, um, console's do have certain tendencies, certain attributes, which are to be, uh, deeply, uh, probed and considered. The other parcels come to mind. It's not finger Abby. Uh, it is not physically very threatening, but, um, psychologically and, um, socially it's not a very, uh, uh, convenient or, uh, accommodate the, uh, space for the central female. Correct. So, uh, when. Thinking about all these structures, we need think that these causals are elements of the past. And the past always is in a kind of conflict with the present. They are destructive presences, which go against the spirit of the present. And in that battle, uh, there is some kind of resolution that is attained at the end of the, got the matter. Thank you for watching. I'll continue the next session.