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York University
EN 3170
Peter Paolucci

"Dracula" January 13 1. What is the self (Who am I)? 2. What is gender? 3. What configuration of values/anxieties/impossibilities does the vampire represent?  Literary form/genre: the epistolary novel (it's written in the form of letters); results in ability for multiple narrators, different opinions/views/accounts--> seen through different eyes; Dracula is a novel about perceptions--it's also a novel about senses, particularly smell  None of these narrators (these are dramatic narrators) are reliable because they are not omniscient  Epistemology, Erotetic  Certain problems emerge in the beginning, and are addressed in the latter parts of the book  As Harker crosses through Buda into Pesth, he starts to hear and see odd things; he crosses into the world of the exotic--even the people look weird to him; also, the spices and clothes there are weird/foreign/exotic  Dracula's castle is real, but not known--> it is not on a map; Harker is journeying into disorientation; the longer he's in the castle, the more confused and feminine he becomes  What is bad needs to be killed off  Watch for pairs of things  "A Dracula Handbook," Elizabeth Miller  "Bram Stoker's Notes for Dracula: A Facsimile Edition," Elizabeth Miller  Stoker made a note not to include mirrors in Dracula's castle; mirrors are an affirmation of our physical existence; he's journeying into the unknown/what you can't see  Authorial intent=what the author intended  In Coppola's "Bram Stoker's Dracula," there's a moment where Dracula's shadow does something different from him--brilliant.  John Polidori, "The Vampyre"; Sheridan Le Fanu, "Carmilla"  Stoker wanted the notion of no shadow to be in the novel; interesting notion that something that's not there exists (the vampire appears to be there, but he has no shadow--how do we know that he exists?)  Stoker also wanted the idea of painters being unable to paint Dracula/him always looking like someone else in paintings to be in the novel  Vampire represents something that is real but not tangible  Johari's Window: Known to Self Not Known to Self Known to Others OPEN (we all know) BLIND (others know, but I don't) Not Known to Others HIDDEN/PRIVATE (I know, but UNKNOWN (I don't know and you don't; a secret) you don't know; experience over time teaches us that something is there) Conscious Mind Unconscious Mind  Jung and Freud try to explain why t
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