Essays On Vampire Literature

Essays On Vampire Literature-38
It is unsurprising, then, that they have eagerly embraced the Gothic’s themes of the liminal and the monstrous, as well as its fixation on romance and sex.Another significant element of the current YA Gothic revival is the emergence of the girl monster.Most significantly, Meyer’s Twilight series about human Bella Swan and “sparkling” vampire Edward Cullen, combined this staple figure of Gothic fiction with the teen romance novel.

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This is a crucial moment in Stephenie Meyer’s Twilight novel series, published from 2005 to 2008.

Meyer’s books heralded a new, and continuing, wave of Gothic fiction for Young Adult readers, which revisits familiar literary Gothic conventions: ancient, ruined buildings and monstrous supernatural figures like the vampire, werewolf, ghost and witch.

The world that Mead has conceived revolves around a battle between the 'good vampires', otherwise known as Moroi, and 'bad vampires, known as Strigoi.

Mead was intrigued by and researched Romanian folklore prior to writing the novel and based the series on traditional Romanian folklore on vampires.

Cassandra Clare’s Shadowhunter Chronicles, a cross-media franchise that includes the Infernal Devices and Mortal Instruments novel series, charges angel-blooded humans with the task of protecting regular humans from a range of supernatural beings.

The Nephilim, or Shadowhunters, are busy controlling demons, warlocks, werewolves, faeries and vampires, but critically, it is their part-supernatural status that enables them to serve as protectors.In each subsequent revival of Gothic fiction, the genre has been reworked and reinvented to address current cultural concerns.In particular, the monsters that haunt the pages of Gothic novels are transformed with shifting fears and anxieties.Surprisingly, it has proved to be the ideal genre for exploring the grotesque and frightening aspects of coming of age, and metaphorically representing pressing social issues such as racism and gender inequality.The phenomenally popular YA genre, targeted at readers between 12 and 18 years old, evolved from realist novels of the 1960s.In contemporary YA Gothic, girl monsters, who can constitute a threat to others and themselves, disrupt the plotline of male monster and female victim. Its popularity signalled a warm embrace of fantasy fiction that confronted the eternal dilemma of the battle between good and evil, charging a child - and later teenage protagonist - with the ability to save the world.The most obvious catalyst for the embrace of Gothic conventions in literature for young people is J. While Hogwarts School of Witchcraft and Wizardry was not necessarily Gothic, the Potter phenomenon opened the way for the publication of numerous titles that embraced the possibilities of young protagonists with supernatural abilities.She becomes entangled in a forbidden romance with her instructor as St Vladimir’s Academy, while learning how to defeat evil vampires named Strigoi.The YA Gothic revival has also embraced a wide range of supernatural entities.In earlier manifestions of the “female Gothic”, first published in the 18th century by women writers, female protagonists were often courageous, but simultaneously passive and victimised.The plots of the female Gothic reflected the comparative powerlessness of women at the time and their fears about their vulnerability and entrapment within domestic roles and patriarchal society.

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