Dracula X -- XVIII Response Due 11/17/10

1. Discuss the roles of Lucy Westenra and Mina Harker in the novel. How are the two women similar? Different? What accounts for their differences? To what extent does the novel depend on both of these women to propel the narrative forward? 
2. In these chapters, sexuality becomes a topic of interest.
• Would you say that Dracula attempts to reproduce himself sexually or by some other means? In what ways does the figure of Dracula subvert conventional notions of heterosexuality? Consider, for instance, his predilection for drinking blood.
• How does Stoker bring stereotypical ideas about female sexuality in the Victorian era to light?  How are the sexual overtones in Chapter 16 significant in development of and in contrast to the notion of the chaste Victorian woman?

Dracula I-X. Response Due Nov.10th

1. In Chapter 1 of Dracula, Brom Stoker takes great detail to describe Jonathan's travels from the city to the countryside.  At one point Jonathan says, "The impression I had was that we were leaving the West and entering the East."  How is this significant?  What could this represent figuratively in the book as far as a broad-reaching theme that has been seen in the other Gothic novels that we have read?  How does this theme develop more clearly in Chapter 2?
2. Stoker gives some very nice images in both Chapters 7 and 8 that foreshadow events to come in the book.  Discuss.
3. How does the function of the fragmentation of this epistolary novel give the reader a different perspective than the characters in the book?  Why do you think Stoker chose this kind of technique?
4. How is Van Helsing a symbol of the bridge between East and West? (Consider the theme discussed in Question 1.)

Please only choose 1 to discuss.  Also, the incorrect date of submission on last week's questions was unintentional.  I changed it as soon as it was brought to my attention.  We will adhere to the one-week rule except in cases of Holiday.  Please feel free to go back and answer from last week.

Who is the monster? Where does the reader's sympathy lie? -- Due NOV. 3, 2010

So sorry for the date mix-up.  These questions are due on Nov. 3, not Dec. 3.  The questions will follow the same weekly due date schedule as we have had  all throughout the rest of the semester, excluding holidays.

Scholars have debated for many years over two very fundamental questions about this the novel, Frankestein.  Have fun joining in the discussion.

1. What is a "monster"?  Who is the "monster" in this book?
2. With whom does your sympathy lie?  Why?

Meeting the Creature -- Answers Due Oct. 27, 2010

1. On page 361-362, Victor says "Alas! Why does man boast of sensibilities superior to those apparent in a brute; it only renders them more necessary beings.  If our impulses were confined to hunger, thirst, and desire, we might be nearly free?"  Do you agree with this statement?  What significance does this have in terms of Victors actions and the experiences of the creature?  Is the creature free? Victor?
2. Beginning on Chapter 10, the creature is introduced.  What, if any, evidence is there that the dialogue between the creature and Frankenstein could be a statement about creation and God? How might Darwin's theories be reflected in the argument? Examples.

Frankenstein: Creation of Presence in Robert Walton

I am interested in how the idea of presence is constructed on many layers in the first section of Frankenstein, particularly with the narrator and how he affects the theme of the book in any way.  Also, how does his function in the novel parallel the "presence" of the other characters in the book, and is the way the narrator function in any way tied to the "creation" and "presence" of the monster?  We must consider: Why is Robert Walton Important?

1.  How do Robert Walton's letters at the beginning the novel get us ready for the story that he about to tell us?  Would the novel be any different without the letters, especially in the way that the reader perceives and reacts to the events that take place?

2.  What kind of person would you say Walton is in terms of his personality and character? Is he anything other than a story teller in the novel, or does he merely serve a mechanicanistic function as narrator?  Does he play any part in thematic development?

Freedom and Chains -- Response by Oct. 6th

1. The final few chapters in The Monk have left me with questions about Ambrosio. In chapter nine, do you think that he still believes that he can be saved?  Does he, at this point, have any remaining virtues?   By the end of the book, does he believe in salvation.  Do you think, as in Macbeth, that there may be some redemption for him at the end of the novel?
2. Rousseau said that man is born free, but exists everywhere in chains. How is this idea illuminated through the character of Ambrosio? Also, through the characters of Matilda and Antonia? Is this a theme that we can apply to this novel as a whole, and is this theme consistent with the Romantic aesthetic?

Dreams and Romantic Aesthetics

1. Is Lewis commenting on romantic aesthetics on pages 172-173? What is accepted about the poem, and what is not accepted? Did other romantic writers have similar views?
   
2. Dreams and nightmares harbor an element of fantasy, as well as psychological implications for some literary critics. Their mention often illustrates a state of sub-conscious desire or unconscious knowing of events to come. One very apparent reason to look at dreams in The Monk is that they often work as foreshadowing. From what we have read so far, how do dreams function as a method of foreshadowing, and how does this function enhance the Gothic element of the novel? In addition, how does the mention of and discussion of dreams give insight into the speaker or deepen the Gothic elements? For your convenience, I have noted pages that mention dreams or other words that can mean the same. The citations are taken from the online version of the book, presented through NetLibrary, provided by the AUM Online Library service (http://aumnicat.aum.edu:2079/).

Dreams

1.a dream, a dreadful dreadful dream told me . . . . . . But where am I? (Page 201)

2.Become sensible of his danger, awakened from his dream of confidence, He resolved (Page 36)

3.in silence.  The Lady was the first to recover herself. 'It is no dream! (Page 159)

4.and then hope for mercy!  Then dream of heaven, and sigh for worlds of light, (Page 227)

5.just witnessed had been a dream, so strong an impression had it made upon his (Page 15)

6.and I to own? If such there be, in gentle dream  Instruct my feet to shun (Page 135)

7.deceitful vapors faded away like a dream. (Page 224)

Slumber

1.Mother, sank back upon the pillow. 'This slumber cannot be natural!' cried the (Page 159)

2.me in some degree tranquillized my spirits.  I fell into a sort of slumber (Page 86)

3.does her Spright. When Mortals in slumber are bound, (Page 166)

4.which I was so much in need.  I sank into a profound and tranquil slumber, (Page 87)

5.and place it upon her pillow.  A death-like slumber will immediately seize (Page 147)

6.minutes seemed perfectly overcome with slumber. (Page 61)

7.with caution.  Elvira was enjoying a profound and quiet slumber; Her cheek (Page 134)

8.the two Waiting-women unhurt, and buried in the same death-like slumber which (Page 65)

9.He then returned to his Bed, and resigned himself to slumber. He awoke, heated (Page 36)

10.all thy joys are torn from me! Ah me!  How oft will Fancy's spells in slumber (Page 116)

Fancied

1.his mind being conscious of their import. Such was his occupation, when He fancied (Page 177)

2.to influence his slumbers. He still fancied himself to be in the Church of the (Page 14)

3.that her dreams were pleasant, and as Antonia bent over her, She fancied that (Page 134)

4.sweetness which rendered her truly enchanting.  Lorenzo fancied that She (Page 108)

5.towards the door.  Bewildered by fear, He fancied that his flight was opposed (Page 160)

6.so far from the Ground but that I fancied I perceived a female figure with a (Page 83)

7.was recalled to his mind, and He almost fancied that He beheld Elvira's visionary (Page 178)

8.Sometimes his dreams presented the image of his favorite Madona, and He fancied (Page 36)

9.strength enough to quit the room: Suddenly She fancied, that She heard a low (Page 167)

10.of sorcery and Spirits, He fancied that some unquiet Ghost was wandering near (Page 145)

Romanticism Defined! Please read before answering for this week! :)

Although the definition of Romanticism in the late 1700's can be difficult, if not at all impossible.  I believe that at it's core was the concept of freedom from logic.  Rejection of Enlightenment ideals, a turn toward the irrational feeling and heart, as opposed to the rational mind was the prevailing ethos of the time.

Here is a description of Romanticism, and as you can see it is not easy, this topic.  Looking back at a period of literary history and describing the impulses, drives, and determinations of it's writer can be daunting.  This one serves as an adequate example:

The Romantic Era: Lecture 16

What is in a name? -- Question Responses by 9/23/10

1. The very first thing that appeared to me when beginning to read The Monk was the complete title. The Monk – A Romance. Although this novel is widely studied as possibly the best Gothic novel ever written, the author made a point to "name" it directly as a Romance in the title.  Do you think the title is to be taken literally or is some form of diversion from what the text ultimately delivers?
2. I find if difficult not to reflect on Vathek and our discussion of a bastardized Romanticism when reading this text. This text, unlike the prior, weaves an intricate web of love associations from the very beginning. The Gothic element is not overtly present. From the playful seduction in the church between Antonia and Lorenzo, to Antonia's lust for Ambrosio during his sermon, to the cloaked love of Matilda and Ambrosio's impious lusts (even for the Virgin Mary), this novel reads as many romances do. However, it is set in and around a church. Thus, the struggle between religion and sin is made present again, but not nearly as distinctly as in Vathek. Does the strength of the intricate web of love associations in this section of the novel pull it closer to Romanticism? Does it still seem to fall into the classification of a twisted Romanticism, or does it read more easily as a Romance, as the title might suggest?

 (Note: My questions to begin the novel are somewhat general in nature, but you may supply specific examples from the text.  As we proceed, we will go deeper into character and plot.)

Vathek: Counterfeit Romanticism? -- Questions Response by 9/15/10

1. Some see the Gothic as a counterfeit form of Romanticism. The structure of Romanticism is turned upside down: both "hero" and "heroine" become opposites of the typical romantic form, should we say, anti-heros and anti-heroines. They do not fight for goodness, nor do they have their wishes fulfilled. The Romantic vision of an unlimited human potential is castrated by a abuse of human power. The characters risk all, not for love, salvation, or redemption, but for self-gratification in many disguises. The result is a separation of character from what is considered good: nature, society, and God. After having read Vathek, do you agree or disagree with this notion of a bastardized Romanticism? It may be easy to see how the Caliph and Carathis fit the definition above; however, do Nouronihar and Gulchenrouz experience a complete separation from Romantic ideals?
   
2. Beckford's characters in Vathek seem blinded by a false sense of hope. Like characters in other Gothic novels, they are never free, although they deceive themselves with the dream of freedom through sensual, untruthful, and sadistic conduct. However, hope that their freedom will not be lost, and that their lives, no matter how illusory, will somehow be preserved or improved is ever present. In Vathek, a predilection for the occult shows that the Caliph has a strong desire to be free of mortal bonds at all costs. However, the text exposes the falsity of his hope through glimpses of the “pure at heart” and by presenting him with opportunities for “redemption.” How does a moral/spiritual war manifest itself in the Caliph and the text? In what circumstances does he reflect on purity?  Where is he given opportunities to turn from his “sinful” life? How do these opportunities and reflections seek to add depth to his character and the text?

(I thought it would be interesting to ask the same questions of the prior story, The Castle of Otranto, because I see some interesting likenesses and differences in light of above questions. Might be the beginnings of some good comparison contrast papers. Not required.)