This project is about Dracula, you can create a Newspaper or something else as your project style, the topic and the project style can be chosen as the details described, and there is only one topic o

Instead of being angry and defensive as a modern woman would, her response is the same as any idealistic Victorian woman : to do “what they told me to.” The characteriz ation of Mina Harker is further complicated through her representation of not only the traditional Victorian woman but also the “new woman.” Her portrayal of the “new woman” i s through the presentation of her intellect and her vast contributions to the ultimate demise of Count Dracula. During her first interaction with Van Helsing, Mina says, “I could not resist the temptation of mystifying him a bit – I suppose it is some of the taste of the original apple that remains “Aesthete at Home.” Caption: Algernon (to his Sisters, his Cousins, and his Aunts) : "My dear Creatures, if you want Equality among the Sexes, you must learn to be independent of Us, as we are of You. Now we Men live chiefly to please ourselves first, and then each other; whereas you Women live entirely to please Us! " still in our mouths” (Stoker 220). Mina steps away from her social expectatio ns for a moment to display her cleverness by deliberately handing Van Helsing a document in shorthand for him to have trouble reading. Mina compares herself to the biblical figure of Eve when she notes “the taste of the original apple” still being present. This illustration defies the conventional standards of Victorian womanhood by placing the woman in control over the man as Eve had influence with Adam. Later on, a fter displaying her proficiency with modern technology and once again proving herself useful in contribution to the vampire hunter’s ambitions, Mina is admired for her intelligence as having a “man’s brain” (Stoker 274). She is distinguished from the rest of women in society for her cleverness which shows her “new woman” characteristics; however, her male comrades still view her as the gentle and faint -hearted woman unfit to take part in the destruction of the monster.

This dichotomy that makes up her entire characterization is what truly makes Mina Harker the perfect Victorian woman. First Edition of Dracula 5 JUNE 1897 / / SATURDAY / / TWENTY -FIRST ISSUE THE INSIGHT PAGE 2 FEATURED I Letter to Bram Stoker A literary critique COMMENTS Anonymous : The “frivolous ” representation of women that this so -called gentleman has accused Stoke r of is contradicted by the author’s depiction of one such character named Lucy who undergoes a horrific transformation . The relationship between her beauty and goodness with her compliance with Victorian social standards prior to the transformation as well as the correlation between her sexu ality and evil nature afterwards ultimately supports the notions of conventional Victorian womanhood . At the exposition of the novel, Lucy is described as “looking sweeter and lovelier than ever” (Stoker 95). She embodied the traditional Victorian woman with her beauty, kindness, and purity until her untimely corruption. The depiction of h er “sweetness” changed to “adamantine, heartless cruelty” and her “purity” to “voluptuous wantonness” conveys how she has irrevocably been tainted by her vampirism (Stoker 249) . Lucy’s previous embodiment of beauty and innocence represe nts the ideals of women that remain an important aspect of social decorum. However, t he infectious disease that ultimately ta kes over Lucy’s entire existence deprives her of her life just as women who are guilty of sexual immorality are revoked the right to take part in societal events . Her “voluptuous wantonness” that develops as a result of her corruption underlines how her monstrosity and evil characterization is directly related to her defiance of Victorian social standards. As much as the author of this letter would like to clai m that Stoker does challenge the notions of conventional Victorian womanhood, in reality, Stoker supports the standards that are placed on women in our society by displaying the character of Lucy as corrupted and evil once those societal principles are aba ndoned. JOHNATHAN HARRIS Dear Mr. Stoker, I have many concerns regarding your recent publication of your work identified as Dracula . In this absurd narrative, your portrayal of Victorian women is not only grossly inaccurate but also puts into question the sexual propriety of the English gentleman.

The first instance of misrepresentation is during Jonathan Harker’s description of the three female vampires he encounters at Castle Dracula. Harker’s character challenges the preconceived notions of conventional Victorian standards regarding sexuality when he states, “All three had brilliant white teeth, that shone like pearls against the ruby of their voluptuous lips. There was something about them that made me uneasy, some longing and at the same time some deadly fear. I felt in my heart a wicked, burning desire that they would kiss me” (69). The vampires’ physical appearances are sexualized by Harker through his depi ction of their “brilliant white teeth” and voluptuous lips” which reveals his corrupted morality as he transgresses the boundary of proper social interaction by lusting over the girls. The combination of his “longing” and “deadly fear” in the presence of the women conveys his struggle to exercise sexual restraint which is imperative to maintaining the image of a Victorian gentleman. Despite his fear of violating social conduct, he expresses an attraction towards them that makes him willing to defy his previ ously established values. By describing his “burning desire” for the women to kiss him as “wicked,” Harker further denotes the internal conflict that arises between his moral responsibilities and his sexual appetite. He understands that his actions are i niquitous and socially unacceptable, but still, he is willing to disregard the societal requirement of sexual suppression in order to satisfy his lust. The traditional roles of women in Victorian society are also challenged when he notes, “ I lay qui et…the fair girl advanced and bent over me” (Stoker 69). The illustration of the three women describes them as being in possession of the power and influence in their interaction with Harker. As “he lay quiet,” they become the dominating figures that prima rily maintain control over Harker during their encounters with him. Even though Vi ctorian women’s admirable characteristics lie within their gentle and submissive nature, the female vampires defy this representation by exerting influence over Harker and ag gressively pursuing him. They further contradict conventional standards between men and women by attempting to kiss him rather than waiting for him to act first which is the prescribed course of action to be taken in this particular instance. As the first girl “advances” upon him, she illustrates how Harker’s characterization of the women transgresses the social boundaries regarding sexuality and Victorian womanhood. Your intent in presenting these characters in such a nonsensical manner leads me to b elieve that your ignorance on the matter of Victorian womanhood and sexuality is quite extensive. I do hope that you reconsider your decision to challenge the conventional standards of our society and might even seek direction from wiser men such as myself . Sincerely, An English Gentleman 5 JUNE 1897 / / SATURDAY / / TWENTY -FIRST ISSUE THE INSIGHT PAGE 3 Works Cited “Corset Advertisements. ” Gallery#14a , staylace.com/gallery/gallery14/index.html. Du Maurier, George. "Aesthete at Home." Cartoon. Pauls -Room: Punch Cartoons from 1881 -1911 . “First Edition of Dracula.” The British Library , The British Library, 8 Apr. 2014, www.bl.uk/collection -items/first -ed ition -of-dracula. Ruskin, John. Sesame and Lilies . London: Dent, 1907. Stoker, Bram, and Glennis Byron. Dracula . Broadview Press, 2000.