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This paper analyzes themes of male insecurities and distrust of the exclusive culture of female sexuality and reproduction in E. T. A. Hoffmann's Vampirism, one of the earliest psychologically sophisticated female vampires in Western literature. The doomed heroine, Aurelia, escapes a life of maternal abuse and sexual trauma by marrying the wealthy Count Hippolytus, but his attraction warps into suspicion when she becomes pregnant and loses her appetite for his food. Worried that losing her virginity has activated promiscuity inherited from her late mother, he begins following her and thinks he sees her conspiring with a coven of female ghouls who train her to satisfy her pregnancy cravings by feeding on a male corpse. Real or imagined, this vision confirms his suspicions and leads to their mutual destruction. In my analysis, I explore vampire literature's early history, its place within Gothic literature, the prominent role of female vampires, their relationship to gender anxieties exacerbated by the Romantic Era's subversive political movements, and the way in which Hoffmann's cynical story operates as a misogynistic conspiracy theory aimed at the secret female space of reproduction, symbolized by Aurelia's cannibalistic pregnancy cravings. As such, it contributes to the destructive folklore of social distrust. [ABSTRACT FROM AUTHOR]

Copyright of Revista Cuadernos de Literatura del Caribe e Hispanoamerica is the property of Revista Cuadernos de Literatura del Caribe e Hispanoamerica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Comparing Dracula to contemporary YA literature, including the Blue Bloods and House of Night series, this paper traces a variety of vampiric characteristics that have survived the eras these works have crossed. These include the use of gender, the vampire's attitude towards their victims, and how these change through the ages, as well as vampiric sexuality. As more vampire literature is written by women, the fanged fiends become very modern young women and the result loses nothing of the danger or sex appeal their nineteenth-century ancestors had. Female voices, both of authors and narrators, constitute an important shift in vampire literature that combines the old femme fatale trope with women's independence. This paper will document this development and show that as horror brings the vampire to school the genre takes its next step to immortality that is by no means boring, creating complex vampire characters that can be heroines and demons alike. [ABSTRACT FROM AUTHOR]

Prior to Bram Stoker's Dracula, vampires were never represented in literature as reanimated or 'undead' humans capable of transforming into bats. The source of Stoker's innovation may be traced to his personal acquaintance Sir Richard Francis Burton, who in his adaptation of a South Asian anthology of 'Gothic' tales of horror and adventure had identified its hero's antagonist, called a vetāla in Sanskrit, as both a male vampire and a giant bat. This article surveys a number of ancient, medieval, and early modern Asian and European precursors of Stoker's vampire lore, noting that unlike Stoker's shape-shifting Transylvanian Count, predatory 'vampires' were most often female in gender in these traditions, and their victims male; and reviews the shifting interface between the taxonomical and cultural categories of 'vampire' and 'bat' in Europe, Asia, and the Americas. [ABSTRACT FROM AUTHOR]

The article focuses on the Black vampires portrayed in the film "Blacula" and the queer feminist novel "The Gilda Stories," by Jewelle Gomez, as a metaphor for the afterlife of slavery. The author discusses fugitive slave narratives, examines the the blaxploitation of "Blacula," and explores the bloody relationship between slavery and vampires.

In his poem "Die Braut von Corinth" (1797), Goethe introduces the figure of the vampire as an early agent of his concept of "Weltliteratur." As such, his female vampire challenges critical assumptions of a cultural divide between Christian and "pagan" religions, vampire believers and non‐believers, and finally Western and Eastern literatures. Instead, Goethe's "Braut" offers herself as a specimen of literary and cultural hybridity in a textual format entertained by Goethe for its liminality and heterogeneity—that of the "Ballade." As a genre of originality without origin, the "Ballade" features a, in Homi Bhabha's sense of the term, "traumatic" encounter with the unfathomable—the living dead, monstrous affection, and transcultural alterity—that can not be reconciled with one's own world view, but only endured. Once endured, however, the disparate starts to form alliances across boundaries that Goethe will later refer to as "Weltliteratur." [ABSTRACT FROM AUTHOR]

The article presents literary criticism of the book "Le Vampire dans la poesie francaise" by Giovanni Dotoli and Mario Selvaggio. It reflects on the use of vampires in French poetry. It also presents history of existence of vampires in nineteenth and twentieth centuries and highlights their evil impact on human beings.

In the twenty-first century, the Gothic has experienced a cultural resurgence in literature, film, and television for young adult audiences. Young adult readers, poised between childhood and adulthood, have proven especially receptive to the Gothic’s themes of liminality, monstrosity, transgression, romance, and sexuality (James, 2009, p. 116). As part of the Gothic’s incorporation into a broad range of texts for young people, the school story—a conventionally realist genre—has begun to include supernatural gothic characters including vampires, witches, angels, and zombies, and has once again become a popular genre for young readers. In the past decade, in particular, a large number of Gothic young adult series with female protagonists set in boarding schools have been published (These include Shadow Falls (2011-2013) by C.C. Hunter, Covenant (2011-2013) by Jennifer L. Armentrout, House of Night (2007-2014) by P.C. Cast, Mythos Academy (2011-2014) by Jennifer Estep, The Dragonian (2013-2015) by Adrienne Woods, The Morganville Vampires (2006-2014) by Rachel Caine, Blue Bloods (2006-2013) by Melissa de la Cruz, and Fallen (2009-2012) by Lauren Kate). In this article, we will consider the first books in three such supernatural Gothic series that feature vampires and witches: Richelle Mead’s Vampire Academy (2007), Claudia Gray’s vampire romance Evernight (2008) and Rachel Hawkins’ Hex Hall (2010). These books are significant for the ways in which the traditional school story is adapted and transformed by the Gothic to define models of contemporary girlhood. Although Diane Long Hoeveler suggests that “the ‘body’ that emerges from female gothic textuality is a highly gendered one” (1998, p. 18), what we see in these texts is how the school story setting enables Gothic female protagonists who are unique, disruptive, and potentially transformative, despite the limitations enforced by the heterosexual romance plot. We argue that these novels, while conservative in some respects, rework the school story genre in that they foreground the sexual and romantic desires of girl protagonists regardless of the threat they constitute to the institution and the safety of others. [ABSTRACT FROM AUTHOR]

Richard Matheson explores the demography of vampirism in a hybridic last human on earth and vampire apocalypse novella, I Am Legend (1954). The survivor Robert Neville explores the legend and science of vampirism, grappling with the rhizomatic ontology of the gothic creatures; in turn, Matheson offers a dual portrait of monstrosity of the predator vampires and of Neville as a gothic hunter and slayer of vampires. Narratively, imagistically, and thematically, Matheson presents a Malthusian demographic dynamic (and struggle) as Neville deepens his understanding of vampirism, allowing him to refine his vampire-slaying techniques. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various reports published within the issue on topics including monsters in literature, Richard Matheson's novel on vampire "I Am Legend," and beast-embodying military human genre fiction.

Vampire stories and folklores have originated from a range of sources; however, it is rather certain that the repulsive but attractive vampiric monster images in present popular culture are primarily derived from Anne Rice's novel Interview with the Vampire. That being said, it was around the end of the eighteenth century that vampires first invaded the popular literary world, with literary vampires growing noticeably more powerful and perpetual than any of their monstrous predecessors in the years since the publication of John Polidori's successful short story The Vampyre in 1819 (Punter and Byron 2004, 268). Due to associated aesthetic transformations, vampirism itself has become increasingly popular, to the extent that it now commands some followers who even worship vampiric rituals and lifestyles in spite of there being no solid, physical evidence of actual vampires, but rather only literary and imaginary examples of the creatures. In order to grasp how this fascination with vampires has turned into a quasi-religious phenomenon and ideology, a proper investigation of vampiric mechanisms and aesthetics should be empirical in nature. Utilizing Interview with the Vampire as an example due to its clearly substantial influence on current vampire imagery, this article examines how the paradoxical interchange between aversion and attraction plays its role in the visceral religion of the vampire-immersed world. [ABSTRACT FROM AUTHOR]

This study of Polidori's story, The Vampyre, written at the beginning of the 19th century aims at relocating the social relevance of both the story and Gothic literature in the contentious zone between the private and public sphere. The story vacillates between private and public realms, drawing its vampiric theme from such vacillations. It expresses the horrors of vampiric intimacy inherent in private life, which opposes the moral character of the public realm. The most dangerous sites of private life are represented as the realm of the imagination and that of intersubjective intimacy. The story also contains several prominent Romantic tropes, including nature and orientalism, all pointing to the intimate dangers of the private realm. Lord Ruthven, Polidori's "vampire" is an explosive figure at the fraught intersection between a private life that demands secrecy for its private pleasures, and a public realm that demands exposure to regulate and control. [ABSTRACT FROM AUTHOR]

The current stage of culture development is usually defined as post-postmodern. Although this term is not well established and is interpreted differently, in any case it involves the overcoming of postmodernism. In Russian literature we should mention Victor Pelevin among the authors, whose works demonstrate the post-postmodernist tendencies most clearly. The evolution of his prose testifies that the postmodern worldview and the very mechanism of postmodern writing has become the subject of critical reflection in the late works of the writer. The novel by V. Pelevin "Empire V" (2006) is the material of the analysis in the article. The aim of the study is to reveal the nature and the forms of postmodernism reflection manifested in this work. During the analysis the authors established that Pelevin plays with a popular genre of mass culture - a novel about vampires, using it as a kind of metaphorical way to clarify the nature of postmodern literature, which appropriates, absorbs and exploits the forms, ideas and motives earlier developed in culture. Postmodernists, like vampires, borrow information from different sources and use "someone else's blood" for their own purposes. Combining the "languages" of mass and elite cultures, activating the intertextual links, Pelevin eventually pursues antipostomodernist goals: he reveals the totality of the simulativity, proves that mass culture is ready to absorb postmodernism, and turn it into an empty signifier. This can be defined as a kind of cultural reflection, as a form of the self-reflection and writer's cognition on the state of modern culture. [ABSTRACT FROM AUTHOR]

Beginning from an underexplored intertextual link between Baudelaire's poem 'Les Métamorphoses du Vampire' and Racine's play Athalie, I argue that the contrast between the two works underlines the fundamental conjunction between religion and sexuality in Les Fleurs du Mal. Transgression, in both the religious and sexual spheres, is an engine of literary creation for Baudelaire, and 'Les Métamorphoses du Vampire' operates in both at once. The analysis is supported by a set of readings of other poems from Les Fleurs du Mal, along with the poem's allusions not only to Athalie but also to the Bible. 'Les Métamorphoses du Vampire' enacts a scene of divine punishment for both blasphemy and fornication, yet as this punishment is visited on the vampire, the poet loses the text. This differentiates Baudelaire's view of religion from Racine's hidden God, and also connects the poem to the wider themes of Les Fleurs du Mal, expressed in 'Au Lecteur' and revisited throughout. [ABSTRACT FROM AUTHOR]

This article argues that the vampire is the metaphorical vehicle for literary representations of “oceanic lifespans,” or lived temporalities that derive from liberal humanist dispossession. Octavia Butler’s Fledgling (2005) and Jewelle Gomez’s The Gilda Stories (1991) are vampire novels that interrupt conventional narratives about temporality—which include historical time, chronological time, and national time—to explore oceanic narratives, such as the artificial time of adulthood or the immortal time of girlhood. Through such an interruption, the vampires that Gomez and Butler invent explore alternatively nonhegemonic versions of what living history means. [ABSTRACT FROM AUTHOR]

This article investigates the links between the vampire novels and the archetypal theory. The vampire novels gained popularity from nineteenth century. In early period, the figure of vampire novels mostly induced fear and desire and now there is a transition taking place in vampire novels as romance genre rather than traditional horror. In spite of fear, desire, and disgust, there is love, romance, and humor which are figured out by the researchers. Reading the vampire genre presents a new formula. This review will research the riddle of vampire literature and the situation changing over into its prevalent form now. [ABSTRACT FROM AUTHOR]

This article presents nineteenth-century Romanian folklore about vampire-like creatures which is analysed in reference to two literary representations of the vampire Dracula. I argue that the folklore tradition establishes a body-oriented perspective, conducive to a feminist analysis of the role of vampire creatures in socializing the otherness of nature echoed in the sexualized powerful female body. The perspective emerging from the folkloric material is subversive in relation to the social and sexual controls enabled across the axes of gender and class by the use of vampire figures in industrial urban cultures of the late nineteenth century. [ABSTRACT FROM AUTHOR]

The article presents Chicana feminist mappings of the short story "Refugio" by Terri de la Peña and the book "Anita Blake: Vampire Hunter" by Laurell K. Hamilton. It argues against de la Peña's Mexican immigrant, shape-shifting lesbian vampire as it disrupts mainstream hetero-racist narratives with alternative signifiers grounded in politico-cultural resistance. It also looks at the politics of race and sexuality in Hamilton's series.

Broadly, this is an article about queerness and its relationship to Stephanie Meyer's gothic romance series, Twilight--a narrative about a supposedly odd and out-ofplace girl meeting and falling in love with a vampire (or, more appropriately, a rich, white (super)man living with vampirism). In this article, I engage with both common and uncommon representations of queerness. Following an elucidation of the various conceptualizations of the term 'queer' to make clear how the term will be deployed throughout the article, I trace a history of queerness within the vampire genre to locate Meyer's conceptualization of the vampire within this practice. Aligning vampirism with queerness, I explore the often homosocial and homoerotic histories of the vampire figure. Claiming that Meyer's heteronormative or, perhaps more appropriately, homonormative vampire largely deviates from a tradition of associating the vampire with the Queer (position), I demonstrate how the construction of Edward Cullen still feeds on the popularly imagined construction of queerness. I argue that Meyer's hetero-romantic Twilight series can be regarded as participating in the century-old tradition of associating the vampire figure with queer identities and ways of being. [ABSTRACT FROM AUTHOR]

The author presents a literary criticism of the Irish novel "Dracula" by Bram Stoker. He discusses whether the character Jonathan Harker has been bitten by Dracula, the pervading theme of darkness, and the issue of characters leaving themselves or others vulnerable to evil.

A literary criticism is presented for "Dracula" by Bram Stoker. Topics discussed include the depiction of a vampire in the book, the novel's depictions of Slovaks and Gypsies, and the ways in which these ethnic minorities were necessary for the book's main character, Count Dracula, to move in space.

The article presents literary criticism of the book "Fledgling" by Octavia Butler. Particular focus is given to the agency of the protagonist, a vampire named Shori, and to themes of belonging, trauma, and consent in the novel. Details on conceptions of consent and agency within the BDSM community are presented. Other topics include desire, naming, bisexuality, and identity.

Following the work of Freud, psychoanalysis reveals an unconscious state the characters in a fiction may develop. We have decided to study a gothic vampire short story by Sheridan Le Fanu: Carmilla. Horror fiction can be considered as a projection in a heavily codified form of deeply instinctual drives. In Carmilla, we will first study the dream dimension as the main action occurs at night. Then, the character of Carmilla may be opposed to reality because she belongs to the realms of fantasy and monstrosity. She has then the appropriate quality for enjoying desire outside the law, outside the symbolic, outside the reality principle Victorian society defends. Through ambivalence and problems of representation, we will suggest that Carmilla embodies an original archetype trying to reach back the inorganic. The vampire, as the woman, is excluded by language. [ABSTRACT FROM AUTHOR]

The article discusses the relationship between medical science and vampires from the 18th century through the 20th century, including in regard to medical science's research into the existence of vampires, the conception of death and the depiction of vampires in horror literature. An overview of the fictional character of Count Dracula, including within the book "Dracula," by Bram Stoker, is provided.

'Salem's Lot (1975) by Stephen King and Let the Right One In (2004) by John Ajvide Lindqvist offer truly horrific interpretations of the vampire child and the nursing mother that add a nuanced element of terror to the texts. In light of contemporary discussions about the medical establishment and birth and care for a child, 'Salem's Lot and Let the Right One In emerge with a frightening message that spans the 1970s through the 2000s, from America to Sweden: nursing can exist as a scene of horror. While the more obvious horror emerges in the figure of the vampire in each of these texts, and is accompanied by gory imagery and moments of terror, a more sinister undercurrent surfaces with the vampire child-mother relationship in these two novels, which can be viewed through a Marxist lens. [ABSTRACT FROM AUTHOR]

Copyright of Oceánide is the property of Spanish Society for the Study of Popular Culture (SELICUP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article critiques the book “The Gilda Stories" by Jewelle Gomez, focusing on the two characters Gilda and the girl who are vampires and victims of racial prejudice and oppression of the real world.

The article discusses the book "The Gilda Stories" by Jewelle Gomez, focusing on how the book portrays a queer neo-slave narrative. Other topics include how the sexual vulnerability of slaves impacted their gender identity, the role vampirism plays in the main character, Gilda's, liberation from slavery, and how the immortality of vampires represents the lingering presence of slavery in the U.S.

My paper deals with the implications of the transnational circulation of one of the most popular literary myths of the last century - the legend of the vampire, and investigates whether this myth has more to do with forays into Romanian national history or with a globalized legend, since the persona of Dracula, be it a vampire or a historical character, has never ceased to fascinate the lovers of literature, readers and writers alike from several countries. The two novels I will be looking at are remarkable examples of the deep earnestness with which the myth has been approached fictionally in contemporary times. Looking back to the original source of inspiration, Bram Stoker's Dracula, my paper proposes to discuss the efficacy of historical knowledge in exploiting this age-old myth. While Kostova's novel is a modern popular reworking of Stoker's endeavor, Ekstrom's contribution to the topic is less well-known but equally fascinating in reviving the magnetic personality of the "dark prince" of Wallachia. In this context, Stoker's book may be called a transnational canonic work of literature, being the source of inspiration for the efforts of such contemporary writers as my paper discusses, whose works allow the reader generous insights into history as well as into the local habits and folklore from the South-East of Europe. The dilemma which confronts the readers of these novels could be the following: is the myth just a pretext for delving into the delicacies of history or does history ultimately become the victim of the blood-thirsty myth? [ABSTRACT FROM AUTHOR]

A diachronic analysis of the way the literary vampire has been characterised from the Victorian era up to the contemporary period underlines a clear evolution that seems particularly relevant from the perspective of ageing studies. One of the permanent features characterising the fictional vampire from its origins to its current manifestations in literature is precisely the vampire's disaffection with the effects of ageing in spite of its old chronological age. Nonetheless, even though the vampire's appearance does not age, the way it has been presented in literature has significantly evolved from a remarkable aged look during the Victorian period in John Polidori's "The Vampyre: A Tale" (1819), Joseph Sheridan Le Fanu's Carmilla (1872) or Bram Stoker's Dracula (1897) to young adulthood in Anne Rice's An Interview with the Vampire (1976) and Charlaine Harris' Dead Until Dark (2001), adolescence in Stephenie Meyer's Twilight (2005-2008), and even childhood in John Ajvide Lindquist's Let the Right One In (2004), thus underlining a significant process of rejuvenation through time despite the vampire's apparent disaffection with the effects of ageing. This article shows how the representations of the vampire in literature reflect a shift from the embodiment of pathology to the invisibility, or the denial, of old age and how this, in turn, reflects cultural conceptualisations and perceptions of ageing. [ABSTRACT FROM AUTHOR]

This article uses content and discourse analysis to identify parallel narratives in the HBO series True Blood and American society, then applies Young's politics of difference to identify counternarratives suggesting that knowledge, culture, and customs are not universal. The three primary characteristics of the politics of difference-democratic cultural pluralism, equality, and postmodernism-provide a lens to explore the identified narratives. It is argued that American discourse, like True Blood, is embedded with strategies of Othering that shape policy design and implementation in such a way as to benefit those deemed advantaged. [ABSTRACT FROM AUTHOR]

This article seeks to challenge the conventional reading of the Twilight saga as a regressive influence on young women. We argue that by drawing on themes of governmentality and fantasy, it is possible to open up the debate to consider Twilight as a text offering a fantasy space of transcending the limitations of neoliberal subjecthood. In particular, the article focuses on the figure of the vampire Edward Cullen as the carrier of anxieties around the boundaries of the autonomous subject and highlights the ways in which Bella Swan’s desire for transformation to vampire speaks to a specific set of normative neoliberal ideals for young women in the 21 st century. [ABSTRACT FROM PUBLISHER]

The article analyzes the novel "Carmilla" by Sheridan Le Fanu from the collection "In a Glass Darkly." It examines how unlike other vampire tales, "Carmilla" does not clearly identify a figure that should be feared as the characters Bertha and the General are victimized. Particular attention is given to who or what Matska is in the story, as the author notes interpretations suggesting it is the devil as well as translations from Syrian languages indicating it is a term for a large cat.

Taking Bram Stoker's Dracula as its starting point, this essay examines the vegetarian and vegan politics and identities that are both implicitly and explicitly present in three contemporary popular cultural representations of vampires, Joss Whedon's 1997-2003 television series Buffy the Vampire Slayer, Stephenie Meyer's 2005 novel Twilight and Catherine Hardwicke's 2008 adaptation of it, and Alan Ball's HBO series True Blood (based on The Southern Vampire Mysteries novels by Charlaine Harris), which first aired in 2008. These texts highlight a shifting cultural discourse of rights, violence, and identity that indicates a moment of profound uncertainty with regard to what it means to be human in a supposedly post-feminist, post-racist, and post-human world. [ABSTRACT FROM AUTHOR]

An introduction to the journal is presented which discusses various papers published within the issue, including one on fungus as a form of literary monstrosity in Arthur Machen's "The Hill of Dreams," one on human-centered critical analysis of vampirism in Bram Stoker's "Dracula," and another on the human and nonhuman elements of Irish bogland in Stoker's "The Snake's Pass."

I undertake a nonanthropocentric discussion of vampirism in Dracula, employing an EcoGothic approach to examine how the relation between the consumption of nonhuman flesh and blood reflects the evolving meaning of species, nation, and gender in nineteenth-century European society. I argue that flesh consumption plays an important role in the development of nutritional allegories and nonhuman vampirism. I show how Jonathan Harker's adherence, and the Count's resistance, to the dominant, meat-eating ideology destablise the carnal borderline between the species and how the distinctions between carnivorism and cannibalism trope the nonhuman and unhuman bodies as specular sites of death and horror. [ABSTRACT FROM AUTHOR]

By utilizing devices of cognitive science and psychology which can be found in the works of Bradd Shore, Jean Piaget, and Sigmund Freud this article strives to delineate the significance of the cognitive model of the vampire, which has found an outlet in all forms of artistic and popular expression, ranging from mainstream fiction to marginalized forms of self-expression. The article explains the ways in which the cognitive model of the vampire inhabits our cultural foundational schemas and interacts with our intersubjective realities and how it is accommodated within the changing socio-cultural context. The article briefly summarizes the history of the accommodation of the cognitive model of the vampire, starting from its early use in folklore and romantic literature and continuing on to twentieth-century pop culture. Two cultural/cognitive models are identified, each with its distinct cultural and literary tradition. One is the "antagonist" model of the vampire, with its roots in Eastern European folklore, utilized by writers such as Bram Stoker; the other, "sympathetic" model of the vampire, comes from Byronic and Victorian Gothic traditions and finds its expression in the contemporary works of writers such as Anne Rice. [ABSTRACT FROM AUTHOR]

The article presents literary criticism of the books in Stephenie Meyer's Twilight series, including "Twilight," "New Moon," and "Eclipse". Particular focus is given to the roles of abuse, codependency, and white privilege in the relationship between the teenage female protagonist and her vampire love interest. Details on the role of Meyers' Mormon faith in the book and its messages are also presented. Topics discussed include the Gothic and female subordination.

This article examines how vampires are depicted in four recent literary works by Colombian authors. It is divided in four sections. The first section proposes a set of common characteristics that appear in different depictions of vampires. This section also reflects on the transformations that these characters have suffered in western literary works during the past two centuries. The second section analyzes the way in which these depictions of vampires relate to the concepts of eros and agape. The third section examines the representation of vampires in Fernando Romero Loaiza's "Crónicas de vampiros" (1997), Andres García's short story "Los ojos de la noche" (2009), and Carolina Andujar's novels "Vampyr" (2009) and "Vajda, príncipe inmortal" (2012). The last section contains a set of conclusions. [ABSTRACT FROM AUTHOR]

This essay explores the first work in French devoted to pseudonyms, entitled Auteurs déguisez, written by the late seventeenth-century scholar and librarian, Adrien Baillet, and published in Paris in 1690. Unlike Latin works on pseudonyms of the period, Baillet does not simply unmask authors who have written under assumed names; instead he offers a history of the practices, civil and ecclesiastical, of naming and re-naming, as well as a reflection on and a limited justification for the motives and practices of self- naming and self-renaming. Not averse to writing under an assumed name himself, Baillet, a.k.a. 'A.B.', nonetheless exhibits serious unease about 'disguised authors', and that unease is registered in a series of very striking demonological metaphors which are the subject of this essay. [ABSTRACT FROM AUTHOR]

This article examines blood transfusion in vampire texts and its connections to vampirism in order to establish the different ways the body and identity of the vampire, and its victim, are constituted and affected by the dangerous circulation of blood. Vampire texts manifest anxieties about identity that arise through the symbolic value of blood, but also through its increasing medicalisation. Nineteenth-century vampire texts focus on blood's symbolisms while twentieth-century texts define blood as a neutral medium to be analysed and explained. In the late twentieth century, however, blood becomes the locus of biomedical interventions which affirm respect for tradition, selfish individualism and responsibility. [ABSTRACT FROM AUTHOR]

The article presents information on the study which examined young adult (YA) vampire literature and how the characters have evolved, based on young adult vampire themed books published from 1980 to 2011. It discusses the evolution of vampires in literature and the results of the study, including the data on YA literary works' publication years, characteristics and main characters and the formatting of the YA books.

A literary criticism of the book "The Gilda Stories" by Jewelle Gomez is presented. The author reflects on the history of black vampires in the African diaspora and Gomez's depiction of a black lesbian as the protagonist. Other topics include multicultural conservatism, Afrocentric homophobia, and literary representations of black freedom.

The vampire is still primarily a literary figure. The vampires we have seen on TV and cinema in recent years are all based on literary models. The vampire is at the same time a popular cultural icon and a figure that, especially women writers, use to problematize gender, sexuality and power. As a vampire story the Twilight series both produces and problematizes norms in regard to gender, class and ethnicity. As the main romantic character in Twilight, Edward Cullen becomes interesting both as a vampire of our time and as a man. In a similar way as in the 19th century novel the terms of relationship are negotiated and like his namesake Edward Rochester, Edward Cullen has to change in important ways for the "happy ending" to take place. In spite of a strong interest in sexuality and gender norms in relation to vampires very few studies have focused exclusively on masculinity. This article examines the construction of masculinity in relation to vampirism in the Twilight series. It offers an interpretation of Stephenie Meyer's novels and the character of Edward as part of a broader field of feminist (re-)uses of the vampire in modern literature with its roots in the literary tradition from Austen and the Brontä-sisters as well as from classic Gothic fiction. [ABSTRACT FROM AUTHOR]

This article will analyse (the lack of) telepathic connection between the characters of Edward and Bella in Meyer's Twilight Saga and compare it to the subliminal link between the Transylvanian vampire and Mina in Dracula. The lack of a telepathic bond between the two characters will be read as a contradiction of the original concept of telepathy. The Twilight Saga is interpreted as a postmodern representation of vampires which both reprises and subverts the precedent literary and cinematographic narratives of such 'monsters'. [ABSTRACT FROM AUTHOR]

The article presents a critical analysis of the television program and book series "The Vampire Diaries." Introductory details are given describing the unique characteristics of the series in both media forms, highlighting its creation under a series of authors led by its publishing house and the direct plot and characterization divergences seen between the book and television versions. The series' conventions as a collection of romance-adventure tales are examined. The postmodern elements of the series are also highlighted, including overt references to other vampire tropes, self-conscious and self-referential humor, and the promotion of a postmodern lifestyle where identity markers are not strictly adhered to or defined.