To prevent this we must lay them to rest properly, propitiate them, and, when all else fails, kill them a second time. The most widely recognized method of killing a vampire was by staking him through the heart. As the heart is organ which contains and pumps blood, it is a logical place to strike to kill a vampire that sucks away blood and life.
Among the ancient Egyptians, the heart was considered the seat of the soul and organ or both emotions and intelligence. It may be that this idea of the heart containing the soul carried over or was already existent in other cultures. As vampires were often believed to be animated by a soul still in the body, 73 staking the heart may have been seen as a way of releasing the trapped soul from the body. Staking the heart also had another level of complexity, in that the stake itself was an important part of the ritual.
While there were various beliefs as to what the stake should be made of, a large majority of stakes were made from a thorn tree. These included blackthorn, hawthorn, or whitethorn. Staking the heart both released the soul and pinned down evil. Decapitation and dismemberment, however, may have been connected with punishment for crimes. Some criminals were beheaded, including traitors, who were also dismembered. Doing these acts to a corpse may have been symbolic of meting out justice or revenge on that dead person who has turned on his own family and murdered them.
Burning was also an old and widely practiced method of killing witches. The final step in combating the vampire was by thwarting it. Although the victim lived through this first attack, survival was by no means guaranteed. In fact, only when certain steps were taken, certain measures applied, did the victim continue to live.
It would seem that it wasn't enough to merely kill the vampire to survive the illness his attack brought on. The only way to cure the illness was to consume part of the vampire. When slaughtered, a great deal of blood pours from this voracious vampire, which is mixed with flour and made into bread.
If this bread is eaten then one is free from vampire persecution. This "ritualistic vampirism" is the vampire's actions in reverse. Where the vampire takes life by drinking the victim's blood, so here the victim takes the vampire's life by drinking his blood, thus taking back that which was lost.
The significance of how the blood is consumed must not be forgotten either. The mixing of blood and bread is very much like the sacrament. In this case the blood and "body" of the vampire give or restore life. In the case of ashes, rather than blood, there is simply a reverse; the ashes represent the vampire's body while the water they are mixed in is the "blood.
For many years this was applied to anthropology and history, where, while looked at with interest, older or previous cultures were looked at as primitive. The idea behind cultural evolution was that people began with simple social groups and worked up into complex social structures, including patriarchy and monotheism. This way of thinking about past people has led to many misconceptions, including concerning those who believed in vampires. It is true that Christianity rested very lightly on the mass of peasantry, which was illiterate and superstitious.
The vampire is one of them. In the second quote, superstitions are part of a pagan religion that slipped through the cracks and are left in more modern cultures like outdated clothes missed when the wardrobe was updated to something new. In dealing with vampires, many elements of Christianity can be found.
It seemed to be used about equally with older customs. In tracing vampire characteristics, as may can be attributed to Christian ideas as "pagan" ones. It would seem then that the Eastern European peasantry were not just slightly converted Christians, but true Christians who married older beliefs to new ones. A more correct view on how the two faiths coincide is as follows: [Folklore] is strongest among the more pious adherents of the [Christian] religion.
This is not at all surprising. Those who seek comfort and power in belief are often strengthened by the act of belief itself. The exact substance of the belief is not always significant. Vampires are not a threat to Christianity; they give it a practical application. Priests did not fight against the belief in vampires, they fought against the vampires themselves.
It must be thought that the people did not have two religions warring for their faith, but two religions joined to fight a common enemy. If vampires were not just a traditional remnant of an archaic, pre-Christian religion, then what purpose did they serve? Paul Barber explains vampires as As it happens, their interpretations of such phenomena, from our perspective, are generally quite wrong. What makes them interesting, however, is that they are also usually coherent, cover all the data, and provide the rationale for some common practices that seem, at first glance, to be inexplicable.
People used their knowledge of traditional methods and Christian practices, along with what they observed in the natural world to explain these events and try to control them. It cannot truly be known what the medieval Eastern European people thought about when they integrated vampires into their lives. More than likely, the characteristics that were chosen for the vampire were as much selected by instinct as careful thought to the traditions of previous beliefs and the symbolism that can be inferred from connections with present day life and religion.
Many still avoid the number thirteen when it occurs in daily activities; it is said that it is bad luck. While these all have a basis into why thirteen is unlucky, people hardly think about them when they generalize the unluckiness of thirteen. Who is to say how much self-analysis the medieval people did on why they had vampires or why vampires did certain things, especially when there was a precedent for it.
If it cannot be known what the people were thinking, then the second best thing is to learn about the background in which these things came from, and what led to those "gut feelings" or subconscious thoughts that brought the vampire myth into its full form. The vampire, in fact, may have never been a popular belief, though evidence points to it being widespread across most of Eastern Europe.
Because the vampire was strictly a rural, peasant phenomenon, believers would have been few in number. It is not until the West gets involved in the 's that the vampire gains its notoriety. Bodies were exhumed, records kept, stories written down.
It is hard to tell if vampires were "discovered" often prior to written records, or if an obscure legend found root and flourished with the written word. Certainly the vampire's fame and popularity as a literary and film figure has grown since that time. It is only through putting away a modern notion of the vampire and studying sources that were will be an answer to where the vampire originated and how it flourished.
Without a word for it, the concept of the vampire surely did not exist. Likewise the word did not exist without the concept. Putnam's Sons, , Putnam's Sons, , 4. Bibliography Barber, Paul. Vampires, Burial and Death: Folklore and Reality. Bray, R. Cohn, Norman. New York: Basic Books, Inc. Dundes, Alan.
Alan Dundes. Dundes, Alan, ed. The Vampire: A Casebook. Durham, Edith. Hicks, David and Margaret A. Cultural Anthropology, Second Edition. Melton, J. Detroit: Visible Ink Press, Masters, Anthony. The Natural History of the Vampire. New York: G. Putnam's Sons, Perkowski, Jan. Vampires of the Slavs. Cambridge: Slavica Publishing, Inc. Mercatante, Anthony S. Good and Evil in Myth and Legend. Oinas, Felix. Opie, Iona and Moira Tatem, eds. A Dictionary of Superstitions.
New York: Oxford University Press, Columbus, OH: Slavica Publishers, Senn, Harry. Were-wolf and Vampire in Romania. New York: Columbia University Press, Stavrianos, L. The Balkans Since Summers, Montague. The Vampire: His Kith and Kin. New York: University Books, Wilson, Katherine M. Wright, Dudley, The History of Vampires. New York: Dorset Press, This essay is 32 printed pages more or less. The inspiration for this essay comes from the following web site: Urban Legends Research Centre When I was writing my thesis, my advisor asked me how widespread the belief in vampires was; who all believed in it; did they actually believe in vampires.
I couldn't give him an answer because no one, it seems, has ever asked that question. Did people in the middle ages believe in vampires? While surfing the internet I came across a really good site on urban legends see link above and some of the red flags for identifying urban legends sounded familiar.
It was then that I started thinking about vampires in terms of an urban legend. I think it is quite possible that the vampire myth was, in fact, an urban or would that be rural? Even today, these vampire stories are interesting. In the middle ages, the supernatural aspects of the vampire were not so improbable. The Church whether Catholic or Orthodox taught that the Devil was a very real creature, that could come to Earth, and could manipulate things as he chose.
Witches and demons could do any number of incredible things that ordinary people could not. Vampire legend certainly had a wide audience. See my map After , the belief escaped Eastern Europe and spread like wildfire into all of Western Europe and even into America, before finally dying out by the 's in most places and certainly by the 's in all but the most remote sections of Eastern Europe.
So why is that significant, you ask? Well the traffic flow was not one way into the East. Those soldiers who went into Eastern Europe also came back out of it. And when they did come back home, they came back with tales of the living dead and plagues that killed off whole villages and attacks in the form of sex and blood drinking.
So it is very significant that the explosion in vampire beliefs comes at the exact same time that people are traveling between an area that had the myth and one which did not. Vampire myth also conforms to the urban legend in that it has several forms. In fact, vampire legends have so many different forms that they are often contradictory.
One look at vampire legends See Step 2 will show you two dozen different ways to find a vampire and a dozen more ways to kill it. Even the goal of a vampire is not certain: sometimes he kills at random with disease, at other times he personally attacks specific people, namely family members, whom he seems to have a vendetta against, and sometimes vampires come back home and actually turn out to be nice guys, playing the role of a loving and helpful husband.
Now how can you possibly rationalize that? A simple myth, one that people actually believe in-- say the story of George Washington and the cherry tree-- stays the same, no matter where it goes. In Oregon, George Washington chopped down a cherry tree and then confessed the deed to his father. In Vermont, George Washington chopped down a cherry tree and then confessed the deed to his father. No matter where you go in the U. George didn't chop down a cherry tree and confess to it in one version and chop down a cherry tree and turn it into a soap box racer in another version.
However, urban legends are known for evolving to fit the situation the situation being the time, place, and persons participating. Compare the following vampire "fact" to George's story: In the Balkan states, the vampire roams from dusk until dawn. In Poland and Russia, the vampire roams from noon until midnight. How about the offspring of vampires: 1. Vampires only have sons.
Vampires may have male and female offspring. Like with urban legends, the vampire legend can be changed to fit the situation, which is why certain aspects of vampire legend can be localized and unique to each individual village, while at the same time, as a whole, be spread across most of Europe. An Urban Legend can be based on a true story. In these circumstances, what makes the story an Urban Legend is how it's told -- i. Until the 's, all vampire myth was told from a third person point of view.
Even after , vampire myth was something of a second-hand account. Did this really happen? It is questionable. The people who wrote these stories down might have actually witnessed this vampire hunt. Or they might have simply heard tale of such an event from someone they believed to be a reliable source and they wrote it down as if they were the ones who witnessed it; it's hard to say.
People in Eastern Europe were seen as unedcuated, backwards, rural peasants, so tales of this kind would fit that stereotype. A native urban legend may have been embellished by Western outsiders to illustrate the ignorance of the people who believed in it. The only thing is that when these respectable army officers and doctors told such tales, they were taken for gospel truth, much in the same way people today blindly trust the newspaper or nightly news on t. What is evident is there is no first-hand accounts of a vampire attack.
No one has ever written down, "I was attacked last night by a vampire. But this never seems to happen. Robert Pollock, author of "Good Luck, Mr Gorsky," suggested that we are prone to accepting stories that do not directly contradict our personal experiences as being true because we have an underlying need to increase our understanding of the world in which we live.
Where formal methods of information have been lacking in educating us about the world, we rely on informal methods, such as the oral stories we hear from others. This is quite possibly the best explanation for why the vampire myth was so wide spread and persisted for such a long time whereas modern urban legends come and go rather quickly, as soon as someone reports them as being false.
Before the Scientific and Industrial Revolutions, people's understanding of the world was limited to what they could see. Things like germs and viruses, which cannot be seen, were unknown. When a plague came through, people did not link it to an unseen bacteria, poor hygiene or contaminated food or water. They tried to rationalize what was happening based on what they could observe. This is how smell came to be linked with the plague.
Bad smells were thought to cause disease though, in actuality, they were the result of disease , so it was thought that good smells would prevent disease. Thus we get: "Ring around the rosy, a pocket full of posies, achoo, achoo, we all fall down. People were intimately acquainted with the disease, though they didn't know its true cause. So vampires were linked with this devastating illness as a way to explain it.
People could see dead bodies lying around easier than they could see a virus in a flea's bloodstream. And yes, I did enjoy crushing your sweet memories of innocent childhood. It's interesting to note that often people will tell or distribute an Urban Legend as being true when they don't wholly believe it.
This is best demonstrated by the large number of chain e-mails that promise wealth from companies such as Microsoft for being forwarded, or warnings about a new gang initiation ritual etc. We may recognize that the claim is unlikely, but we distribute it any way, just in case. We don't have enough information to entirely discredit the story, so we keep our bases covered. I call this the "What if it is true? Although the supernatural forces at work behind witches, demons, and vampires are all closely related, there is a fundamental difference between vampires and those elements controlled by the devil, such as witches and demons.
It is easier to believe that the Devil could evoke the worst in people and thus make them witches or something of the sort than it is to believe that the dead just get up and do whatever they want. Where would they get the power from? Witches got their power from the Devil, who, in turn, ultimately gets his power from God, but vampires were once ordinary people in the majority of cases, at any rate.
It would seem that the vampire myth might have been a bit harder to swallow than tales of wicked men and women who did things contrary to Christianity. Urban legends are simply the modern version of traditional folklore. In most cultures of the world, folklore has always existed alongside, or in place of, recorded history.
In this tradition, the storyteller will usually add new twists and turns to a story related by another storyteller. Just as with modern legends, old folk tales often focus on the things a society found frightening. Many of the "fairy tales" we read today began life as believable stories, passed from person to person. Instead of warning against organ thieves and gang members, these tales relayed the dangers of the forest. In old Europe, the deep woods were a mysterious place to people, and there were indeed creatures that might attack you there.
If the vampire myth is a cautionary tale, what is it warning against? Actually, there are a variety of different warnings among vampire folklore. In some accounts, eating an animal killed by a vampire can turn the eater into a vampire. Warning: don't eat animals that you didn't kill yourself.
This is an important warning because eating the meat of animals that die from disease, or that have been dead a while can cause any number of illnesses. The single biggest reason for people becoming vampires was sin. If you were a bad person in life, you would be forced to walk the earth as the undead. Warning: don't lead a wicked life.
Another element that is common in vampire stories is that a poor woman gets married to a wealthy stranger who turns out either to be a vampire or turns into a vampire as soon as he dies. Warning: don't marry outside your village or close acquaintances; you never know what kind of person you might end up with. Illegitimate children were also likely to become vampires. Warning: don't have sex outside of marriage or you'll curse your children.
This was very true because, even if they didn't become vampires, illegitimate children were outcasts from society. Vampires could also be created when a body was handled properly. Warning: do your social duty and respect the dead.
The list, of course, goes on further, as it seems that most anything could turn someone into a vampire. The vampire was not created by any person or group in particular to accomplish this, but somewhere along the way it got twisted into a form of propaganda that urged people to stay faithful to the Church and live good lives. Conclusion So, after comparing vampire legend from the middle ages to modern day urban legends, can it be said with certainty that the vampire story at the time was just an urban legend?
But it cannot be refuted either. Of course, we can't refute that people actually believed there were vampires out to get them, or even that there really were vampires, so perhaps we're not any closer to getting into the heads of medieval peasants than we were to begin with. Though, if you want my opinion, I think the vampire was an urban legend. Like the story of Blood Mary if you say her name three times while looking into a mirror, you will see her reflection in the mirror and suffer because of it , the tale of the vampire's deeds was told on long winter nights around the fire for entertainment.
And though most people treated it as a story they didn't make it a habit to go around staking dead bodies , there was something there-- a little twinge of truth-- that kept them a little afraid to completely discount the possibility of vampires, somewhere, being real in the same way that I have had too many strange ghost encounters to take it upon myself to prove the Bloody Mary legend wrong. Having decided that, is the vampire legend any less intriguing?
Certainly not-- at least it's not for me. I think this study just calls for us to give the people of rural Eastern Europe a little more credit for common sense and rationality than was previously rewarded them. Women may be victims or vampires themselves. The third level of attachment to the vampire world VW is an outside attachment, and that belongs to the women who are mere observers, such as anyone who reads a vampire book and is drawn to it. Though harder to analyze, a woman's attraction to vampire movies or literature speaks something for the appeal of the vampire in this culture, which this essay series is all about.
Unfortunately, this the category that the majority of fictional women, as well as those in the ancient and medieval world-- where vampires were thought to really exist-- fall into. How to approach defining a victim when some women consent, some do not, and some consent only under persuasion, of which vampires are masters of?
Well, for the purposes of this essay, I shall define a victim as anyone who serves a vampire, either through meals or companionship or actual servitude. A woman need not always be the blood donor of a vampire to find herself ensnared by him and unable to escape. A vampire's needs for a companion or servant to help him can be as taxing as being fed from nightly.
From the definition of a victim, we can then break it down further to willing and unwilling. But again, due to the arts of a vampire-- which I see as being a refined hunting technique-- willing and unwilling becomes a blurred line. So we will leave it at this: a willing victim is one who has 1, the ability to leave the vampire's grasp of influence at any time and 2, the knowledge that he is a vampire, that he is using her, in whatever form as a means of sustaining himself, and despite this knowledge the woman stays anyway and gives herself freely to him.
This being defined, assigning characteristics to an unwilling victim is much easier. Even a woman who is coaxed into agreeing to a vampire's demands does not usually know the full nature of the vampire, nor is she able to escape, precisely because the vampire in question is keeping her under some form of control. Let's explore first the willing victim.
This victim may have willingly gone to the vampire from the start, or may have been tricked or deluded by the vampire, but eventually was given freedom of choice and chose to stay with the vampire. The character of Anita Blake in Laurell K. Anita is very clearly not coerced into being a vampire victim. In the first few books she is very hard-nosed concerning her dealings with the vampires; she is unwilling to compromise and unaffected by their hypnotic abilities due to her own inner power.
But, over the course of the eight books, she slowly becomes entangled with the Master vampire of the city, becoming his lover and something of a hired thug, keeping all his underling vampires and vampire rivals in line, as well as being pretty persuasive over the wereleopards and werewolves. With such a tough customer, one has to worry if she or the vampire is the victim! Now, while it may seem that Anita has Jean-Claude wrapped around her finger, and that she is in complete control of the situation, she is, in fact, a victim.
Being a vampire hunter leaves her in a precarious situation. Certainly one can't make enemies out of the entire vampire population, given their great numbers. And allying herself to Jean-Claude has forced her deeper into his debt, more attached to him and most noticeably, he seems to end her up in increasingly desperate situations where she begins to turn into a "monster" herself. Let us look first at how she has wound up in his debt.
Master vampires in Hamilton's book may take a human servant, who become nearly as hard to kill as the vampire himself. To keep the peace and help out her close friends, Anita finds herself slipping further into the dark world of the predators. It eventually comes to the point that Jean-Claude has to make her his human servant to keep her from being killed by those who are of the same element as himself.
After being made a human servant, Anita finds herself drawn in more to the vampire world. While she could renounce herself as his servant, she can not remove the marks that bind her to him. Nor is he very willing to let her appear out of his control, as it sets a bad precedent and makes him look weak to his rivals. However, he's rather lucky in that Anita is emotionally attached to him and prefers not to have a showdown with him, which everyone secretly believes she could win.
But the problem of being tied to a vampire is larger than that for Anita. A Christian, she was raised to believe in the evilness of vampires. Though she herself is an animator voodoo priestess of sorts , she tries to keep her supernatural abilities out of her life, Unfortunately previous run-ins with bad vampires led her to become a vampire executioner. And as her survival instincts slowly took over, so did her ruthlessness.
And being thrust into the dark side of the non-human nature, she finds herself having to kill more and more people, and do it with less forethought and more gut reaction. And the more she kills the more detached she gets from those she is killing. Though as of yet they are all self defense killings, to a degree, she is intelligent enough to realize what she is becoming. Edward, a friend of hers, is a mercenary-- a hired gun who would kill anyone for a price. With Edward in her life to act as a mirror, she can see the darkness into which she is descending, loosing her humanity by constantly siding with the "monsters" and fighting in their battles.
As can be seen, Anita falls victim to the VW. Jean-Claude is not the only culprit, but his whole way of life is to blame for changing Anita. While she entered it willing, she seems to be stuck about getting out. Certainly she has the abilities and the potential to kill her vampire "captor" and break free without repercussions, but she does not have the will power.
And that lack of initiative stems not from the vampire or any of his tricks, but her own emotions. Having delved into how a person with either good intentions or willingness or both may find herself sinking into a world that is not her own, let us examine those women who are forced into the VW. I choose to show both women because, though they are both victims, they show two levels of victimization, giving a broader example of the numerous ways a woman can fall prey to a vampire.
Lucy is the first female victim that we see in Dracula. Lucy is merely a meal for the Count, who visits her every night, slowing draining away her strength. He has no regard for her as a person or as a potential fledgling vampire. After Lucy's death, the Count himself takes no action to prevent her from rising from the grave, but leaves her to her own demise. Lucy wanders the moors, mindless, taking children to feed on until Van Helsing and the others lay her to rest permanently.
Lucy dies not only in life, but in her vampire afterlife as well. A young woman, she is cut down in her prime, and is left with no hope of surviving as a vampire. Lucy the woman and the vampire both suffer unjustly at the hands of the Count through his cold indifference and negligence.
Mina, on the other hand, is treated very differently than Lucy, who was only a meal ticket for the Count. Mina, for whatever reason, caught the Count's eye and his fancy, and she became his prize. He expressed wanting to turn her into a vampire as he was so that she could live with him forever. Through falling in love with Mina, the count threatened not only her soul, but her marriage, as well as her way of life. In the early part of the book, Jonathan's diary shows us the horrible conditions at the castle, and the life-style that the Count lives in.
For all his wealth and ancient lands, the Count is feared by the people, hunted, and living in crumbling squalor, even as the modern world slowly encroaches on his ancient ways. If his mistake with Lucy is any indication, the Count would not have been able to survive the transition into the modern world. For all the easy hunting in this new industrial society, devoid of superstition and based in science, in Van Helsing and a few obscure others there are enough to pass around the legends, and eventually even science would come to be questioned should the Count's vampire offspring grow in number.
This is the life he tried to drag Mina into-- certain death, even in her vampire state. Luckily for Mina, killing the head vampire, in this case Count Dracula, removes the curse from others, so that she will no longer be at risk for becoming a vampire in her death. Looking at women as vampires makes for a very interesting study. Namely because there aren't very many. Strangely enough, most vampires are male, including a very high percentage of the lead literary characters.
What does this mean for women? Well, it leaves fewer roles open for a vampiress to fill. And what roles may she find herself in? She may be a vampiress fulfilling the whims of a mortal man, or a male vampire. She may be a lesbian, where she is almost always in the dominant role in the relationship, as befits her abilities and general vampiric powers. Or she may be a dominant, independent, heterosexual vampiress with male consorts of either mortal or vampiric background.
But, there is one little problem; the latter does not exist as far as I have seen. I am not saying that there is no literature that portrays a vampiress in a lead role with male consorts, but the apparent lack has lead me to speculate as to why. We must first find out what it is about a vampire that makes him or her appealing to a reader. Let's look at the more popular male vampire character first.
Now certainly there is something charming or sexy about almost all male vampires. Lacking these qualities, he's at least mysterious and hypnotic. Give him any less and he would never be able to hunt effectively. Now, what does he fulfill in a female reader? Certainly women are nearly the complete audience for romance novels. And what is the overwhelming trait of the stud muffins in such books? Sex appeal. Certainly women can enjoy erotic stimulation as much as any man who has the blatant sex in Playboy and other magazines.
But, there are also a lot of men who are fascinated by the vampire. What is in it for him? A male may enjoy the sex appeal of the vampire, but in a different way. For men, the vampire tends to be a fantasy. Here is a vampire that gets all the women, is usually wealthy, dashing, sexy and most importantly, in all of those categories, he is powerful.
Does that mean that women enjoy the power as well that is possessed by the vampire? Does that mean women like to be dominated by men? Certainly not. Though a vampire may be powerful, he rarely needs to force domination. Rather he acts as an outlet for female fantasies of sexual freedom.
So we can safely say that both men and women appreciate the heterosexual male vampire. Now, the other trait lacking in literary male vampires is homosexuality. I have run across a few cases of male vampires being bisexual, for the purposes of mass orgies, but other than those rare instances, male vampires are straight. Seeing as how the modern vampire represents most of society's sexual urges that they tend to keep repressed, why do we not see more homosexuality in male vampires?
I think the main reason is that women have little interest in male homosexuals and that heterosexual men tend to be repelled by blantant homosexuality, though bisexual fantasies certainly get played out in the vampire world, which most men are comfortable with, although it is usually kept repressed.
What of homosexual vampiresses? Well, they certainly appeal to homosexual women and bisexual women. This is true of homosexual male vampires appealing to gays and bisexuals. But, as has been pointed out, there is little market for homosexual vampires.
Belief in vampires has existed for thousands of year in many different cultures around the world. In original folklore and mythology, the traditional vampires tend to be inhuman and have no soul. They are truly monstrosities. They feed human? Some modern vampires are very human and beautiful creatures. They often drink animal. Vampires within literature and film traditionally follow a similar archetype of what a vampire consists of and the traits they harbor.
Many European and Western vampire narratives share similar appearances, habits and afflictions. Dracula is the quintessential example of modern vampires and has a significant and lasting impact on the genre of vampires. This creature is known as the vampire Scavone Vampires are creatures of the night with many powers and weaknesses, along with an insatiable craving for blood.
The overwhelming mass of vampire myths throughout the world has led many to believe that this creature exists. However, scientists believe that several real-life vampires, such as animals and human diseases, are the reason behind the vampire legends.
Through many books and movies, vampires have been glamorized as creatures the. Vampires are popular in contemporary culture. They are the go-to creatures, the phenomenon people love featuring in tv shows and movies such as The Vampire Diaries and True Blood. They both show modern depictions of what vampires would be like in this day-in-age. Though, both shows embodied the idealism of modern-age vampires; they each have their own depiction on how they should act, look, and how each plot of the show should be carried out.
They went from being heartless bloodthirsty killers to supernatural creatures that just want to live a normal life. We love the adrenaline high we get from chasing the next big wave. Vampires are the perfect mix of gentleman and monster. They hold this mysteriousness that is very alluring, it draws people in. The vampire is one of the oldest mythological creatures in the world.
It has been around for thousands of years and is found in nearly every culture. There are many different kinds, the red-eyed corpses from China, the Greek Lamia- a woman with the lower body of a winged serpent, the Penanggalang in Malaysia- a woman with a detachable head, etc. The most commonly known, however, is the Romanian vampire, it is used often in pop culture, from movies, to television, to literature.
The myth of the. Home Page Research Vampires Essay. Vampires Essay. Page 1 of 50 - About essays.
The vampire is a creature of the night, a monster that preys on the innocent. A scary legend then, and now a eligible boyfriend to the modern world. The vampire. Relationships between vampires and humans were forbidden. Humans were used for feeding purposes only. Of course, like in every society, there were the individuals who disobeyed set rules. Yoongi and Hoseok were one of them. When the world had discovered of their relationship, a secret kept quiet for many months, the backlash was tremendous.
A human dating a vampire was unheard of, but a human dating a vampire with such a social status like Yoongi's? Humans and vampires alike were in an uproar. They can come out of a bush in the night, they can attack you in a middle of a party and even be one of your closest friends. So you should be suspicious for everybody. To identify a vampire you should act in our three-stage plan.
Stage one: Identifying You can find the vampires around you by taking a close look into their eyes: there will be a dark colored ring around the iris of their eye, and there is generally a noticeably different color surrounding. Today, vampire is the hottest topic in novels, movies, and dramas around the world. Belief in vampires has existed for thousands of year in many different cultures around the world.
In original folklore and mythology, the traditional vampires tend to be inhuman and have no soul. They are truly monstrosities. They feed human? Some modern vampires are very human and beautiful creatures. They often drink animal. Vampires within literature and film traditionally follow a similar archetype of what a vampire consists of and the traits they harbor. Many European and Western vampire narratives share similar appearances, habits and afflictions.
Dracula is the quintessential example of modern vampires and has a significant and lasting impact on the genre of vampires. This creature is known as the vampire Scavone Vampires are creatures of the night with many powers and weaknesses, along with an insatiable craving for blood. The overwhelming mass of vampire myths throughout the world has led many to believe that this creature exists.
However, scientists believe that several real-life vampires, such as animals and human diseases, are the reason behind the vampire legends. Through many books and movies, vampires have been glamorized as creatures the. Vampires are popular in contemporary culture. They feed off of animals and try their best to protect humans from their inner monster.
Vampires in television and movies have followed right along with literary trends. Some of the most popular vampire novels have been turned into hit shows and movies. A well-known movie, but more prominently a T. The movie, produced in , is a parody about a cheerleader destined to kill vampires, but the T.
It follows Buffy through high school troubles and battles with evil vampires bent on unleashing hell upon her hometown of Sunnydale. Ironically, Buffy falls for Angel, a vampire with a soul Whedon. Vampires have enjoyed popularity as an unlikely action hero in the film Blade. Blade is about a man who is half-human, half-vampire, and fights his urge to drink blood by injecting himself with a chemical substance. Ironically, he swears vengeance against his own race and becomes a vampire hunter, eventually dealing with an inter-vampire feud about those of pure blood and those who were merely created Blade: Trinity.
The associated press said this:. The dead used to be a world away, far beyond the realm of mortal existence. If they walked the Earth at all, they inhabited the night. But coffins and long black capes are gone. The destructive haunting is over. And forget about menacing the living, these days the dead are just like us.
They solve crimes, they give advice. The film version of Twilight has made the romantic vampire even more accessible to audiences, which has helped renew interest in vampires and reshaped our conceptions on the subject. Catherine Hardwicke, Director of the film Twilight points out:. What Twilight does offer is epic star crossed romance, peril, and attractive young cast and an action packed finale.
But mostly, it has arguably the most passionate fan base of any literary adaptation since Harry Potter. Society has contributed to the changes in the makeup of the vampire in popular culture in the last few decades. Some of these elements include gender and sexuality, isolation, scientific and psychological theories, and our fascination with immortality.
Each of these factors has provided the genre with smaller, more specific elements of lore, it is their combined impact that has created a new sense of the vampire archetype in the modern era. As the American culture continues to grow and change, the vampire will continue to mirror the development of the human species Auerbach. Vampires have become more human. They display thoughts, feelings, fears, hope, dreams and infinite sadness.
These vampires have allowed people to feel the alienation that these creatures have experienced for centuries. Through the scientific and psychological theories vampires have become more multifaceted. They are no longer simply an evil, supernatural force they display biological and psychological motivations for their actions. Vampires also have exhibited signs of human emotions. Sexuality has become an important facet of the vampire in the last few decades.
Female exploration of same-sex pairings has become a dominant element of vampire media. Because of this female artists will continue to explore the many aspects of sexuality in the coming years. Many scholars of the genre hold strong stereotypes about male-generated homosexuals in vampire media Auerbach.
As society becomes more comfortable with the idea of homosexual vampires we will see a growth in this type of vampire story line. As we work to abolish these stereotypes in relation to exploring other areas of sexuality opinions will begin to change. Women have become more powerful and influential in the genre then they had ever been before.
As many women continue or begin to use vampire media as a way to express their conceptualization of gender roles, their ideas of gender parity and gender fluidity will continues to diversify the genre. As humans, our quest for immortality has been a long persistent allure. To be young forever, endlessly repeating the pleasures of youthful irresponsibility has long been a desire of ours.
We see this in modern media. In everyday advertising and selling youth or how to become more youthful. It is something as a society we are obsessed with. Vampires possess immortality and we are drawn to that like a moth to a light. In the last three decades, we as a society have helped vampires to transform themselves from solitary, disorganized killers to the highly organized, complex predators that dominate current vampire popular culture.
Though we have come to understand and appreciate the impact society has had on these creatures, there remains one question begging to be answered. What does the future hold for the vampire genre? In conclusion, vampires have evolved alongside their creators, humans. Vampires are no longer seen as negative, but as more positive, more human.
They embody everything that we desire. As long as immortality and the supernatural enchant us vampires will be a staple in popular culture. As vampires make their way into the future, they will continue to grow and change in many interesting and dynamic ways. It is hard to predict the definite future of the genre. However, it is safe to assume the vampire will continue to be a vital and exciting archetype for years to come.
The Evolution of Vampires in Pop Culture. Accessed July 21, The associated press said this: The dead used to be a world away, far beyond the realm of mortal existence. Catherine Hardwicke, Director of the film Twilight points out: What Twilight does offer is epic star crossed romance, peril, and attractive young cast and an action packed finale.
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