THE DIURNAL ORDER OF THE IMAGE IN DRACULA, BY BRAM STOKER

The article proposes a reading of Bram Stoker’s Dracula analyzing the imagery in the novel in accordance with the Diurnal Order of the Image (DURAND, 1999), a perspective that encompasses images within three antithetical dichotomies: the theriomorphic and diæretic images (respectively related to an...

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Bibliographic Details
Published inOrganon Vol. 33; no. 65; p. 14
Main Author Claudio Vescia Zanini
Format Journal Article
LanguagePortuguese
Published Porto Alegre Universidade Federal do Rio Grande do Sul, Instituto de Letras 14.12.2018
Subjects
Anxiety
Fiction
Imagery
Motion pictures
Novels
Sociology
Stoker, Bram (1847-1912)
Vampires
Victorian period
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Summary:The article proposes a reading of Bram Stoker’s Dracula analyzing the imagery in the novel in accordance with the Diurnal Order of the Image (DURAND, 1999), a perspective that encompasses images within three antithetical dichotomies: the theriomorphic and diæretic images (respectively related to an animal archetypology and to the devices and weapons of the hero), the nyctomorphic and spectacular images (related to darkness and light) and catamorphic and ascensional images, which are connected to falling and rising. The conclusion highlights the universality in the imagery Stoker employs in his work, which explains Dracula’s timelessness and power. KEYWORDS : Dracula; Victorian literature; diurnal order of the image; vampire fiction. ">
ISSN:0102-6267
2238-8915
DOI:10.22456/2238-8915.86330