Dracula

Notă: 5.00 · 6 note - 1 recenzie

en Limba Engleză Paperback – noi 1983

One of the most popular stories ever told, Dracula (1897) has been re-created for the stage and screen hundreds of times in the last century. Yet it is essentially a Victorian saga, an awesome tale of thrillingly bloodthirsty vampire whose nocturnal atrocities reflect the dark underside of a supremely moralistic age. Above all, Dracula is a quintessential story of suspense and horror, boasting one of the most terrifying characters in literature: centuries-old Count Dracula, whose diabolical passions prey upon the innocent, the helpless, the beautiful. Bram Stoker, who was also the manager of the famous actor Sir Henry Irving, wrote seventeen novels. Dracula remains his most celebrated and enduring work -- even today this Gothic masterpiece has lost none of the spine-tingling impact that makes it a classic of the genre.

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Specificații

ISBN-13: 9780553212716
ISBN-10: 0553212710
Pagini: 448
Dimensiuni: 106 x 174 x 19 mm
Greutate: 0.21 kg
Editura: Random House

Recenzii de la cititorii Books Express

Ioana Andreia Sandru a dat nota:

Dracula, o carte gothică care a inspirat multe filme și chiar alți autori. Bram Stoker rămâne un icon când vine vorba despre Dacula și originile vampirilor ce sunt prezenți în literatura modernă, cu toate că nu multă lume știe că acesta nu a fost primul autor ce a scris despre vampiri. Carmilla, scrisă de Sheridan Le Fanu în anul 1871, a fost publicată cu 26 de ani înainte de Dracula. Ea este prima nuvelă apărută cu vampiri și totodată o sursă de inspirație pentru Bram Stoker. Ambele cărți merită citite. Povestea care a deschis porțile, Carmilla, și cea care a pavat drumul spre mai departe, Dracula. Povestea Dracula este spusă prin scrisori, articole din ziare, notițe din jurnale, toate adunate ca o evidență a existenței acestuia. Prin intermediul acestor evidențe, aflăm despre Dracula din diferite surse, din punctele de vedere ale unor diferite personaje. Cu toate că nu sunt mari diferențe între personaje, multe dintre ele lăsând de dorit, la fel ca evoluția lor inexistentă, am ajuns să mă atașez de unele din ele pe durata lecturii. Am fost plăcut surprinsă să descopăr câte învelișuri are de fapt acestă carte, de la aspectele legate de cultură și la perspectivele istorice, până la temele taboo incorporate (taboo pentru oamenii din acea perioadă). Luând în considerare când a fost scrisă, mă așteptam la o formă de cenzură cum ar fi violență reprimată și inuendo sexual, dar Stoker a găsit o modalitate de a le incorpora pe acestea, fie modificând câteva sintagme, fie inducând acea atmosfera erotică atunci când vampirii se hrăneau. Aura pe care o emană un vampir a contribuit la acestă atmosfera, de asemenea. Pot să înțeleg cum aceste aspecte au ajutat la crearea vampirilor de astăzi, cum au luat naștere cărțile și filmele ca Twilight și Vampire Diaries. După preferințele mele, rămân la sursa acesta, la vampirul gothic fără pic de umanitate și superior muritorilor de rând. Atmosfera întunecă pare să se plieze mai bine cu vampirii, tot ce se rezumă la Dracula, Van Helsing și chair și Blade. Cu toate că această carte nu a fost așa cum mă așteptam, mi-a plăcut și o voi reciti în curând. Am ales varianta originală, în engleză, crezând că o voi înțelege mai bine în comparație cu o versiune care își poate pierde farmecul și înțelesul prin traducere. Sunt sigură că indiferent de limbă sau ediție, Dracula poate fi savurată oricum. Recomand cu toată încrederea.

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Recenzii

"Those who cannot find their own reflection in Bram Stoker's still-living creation are surely the undead."

From the Trade Paperback edition.

Notă biografică

Irish novelist, short-story writer, biographer, essayist and critic--Bram Stoker was born in Dublin on November 8, 1847. Although he claimed that the idea for his classic tale of Count Dracula came to him in a nightmare, Stoker was doubtless influenced in part by Arminius Vambéry, the celebrated Hungarian adventurer and folklore expert who introduced him to the vampire legends of Eastern Europe. The author wrote several other works of gothic fiction and romances. He died in London in 1912.

From the Hardcover edition.

Extras

Chapter I
Jonathan Harker’s Journal
(Kept in shorthand.)

3 May. Bistritz.1–Left Munich at 8:35 p. m., on 1st May, arriving at Vienna early next morning; should have arrived at 6:46, but train was an hour late. Buda-Pesth seems a wonderful place, from the glimpse which I got of it from the train and the little I could walk through the streets. I feared to go very far from the station, as we arrived late and would start as near the correct time as possible. The impression I had was that we were leaving the West and entering the East; the most western of splendid bridges over the Danube,2 which is here of noble width and depth, took us among the traditions of Turkish rule.
We left in pretty good time, and came after nightfall to Klausenburgh.3 Here I stopped for the night at the Hotel Royale. I had for dinner, or rather supper, a chicken done up some way with red pepper, which was very good but thirsty. (Mem., get recipe for Mina.) I asked the waiter, and he said it was called “paprika hendl,” and that, as it was a national dish, I should be able to get it anywhere along the Carpathians.4 I found my smattering of German very useful here; indeed, I don’t know how I should be able to get on without it.

Having had some time at my disposal when in London, I had visited the British Museum,5 and made search among the books and maps in the library regarding Transylvania: it had struck me that some foreknowledge of the country could hardly fail to have some importance in dealing with a nobleman of that country. I find that the district he named is in the extreme east of the country, just on the borders of three states, Transylvania, Moldavia and Bukovina,6 in the midst of the Carpathian mountains; one of the wildest and least known portions of Europe. I was not able to light on any map or work giving the exact locality of the Castle Dracula, as there are no maps of this country as yet to compare with our own Ordnance Survey maps;7 but I found that Bistritz, the post town named by Count Dracula, is a fairly well-known place. I shall enter here some of my notes, as they may refresh my memory when I talk over my travels with Mina.

In the population of Transylvania there are four distinct nationalities: Saxons in the South, and mixed with them the Wallachs, who are the descendants of the Dacians; Magyars in the West, and Szekelys8 in the East and North. I am going among the latter, who claim to be descended from Attila and the Huns. This may be so, for when the Magyars conquered the country in the eleventh century they found the Huns settled in it. I read that every known superstition in the world is gathered into the horseshoe of the Carpathians, as if it were the centre of some sort of imaginative whirlpool; if so my stay may be very interesting. (Mem., I must ask the Count all about them.)

I did not sleep well, though my bed was comfortable enough, for I had all sorts of queer dreams. There was a dog howling all night under my window, which may have had something to do with it; or it may have been the paprika, for I had to drink up all the water in my carafe, and was still thirsty. Towards morning I slept and was wakened by the continuous knocking at my door, so I guess I must have been sleeping soundly then. I had for breakfast more paprika, and a sort of porridge of maize flour which they said was “mamaliga,” and egg-plant stuffed with forcemeat, a very excellent dish, which they call “impletata.” (Mem., get recipe for this also.) I had to hurry breakfast, for the train started a little before eight, or rather it ought to have done so, for after rushing to the station at 7:30 I had to sit in the carriage for more than an hour before we began to move. It seems to me that the further east you go the more unpunctual are the trains. What ought they to be in China?

All day long we seemed to dawdle through a country which was full of beauty of every kind. Sometimes we saw little towns or castles on the top of steep hills such as we see in old missals; sometimes we ran by rivers and streams which seemed from the wide stony margin on each side of them to be subject to great floods. It takes a lot of water, and running strong, to sweep the outside edge of a river clear. At every station there were groups of people, sometimes crowds, and in all sorts of attire. Some of them were just like the peasants at home or those I saw coming through France and Germany, with short jackets and round hats and home-made trousers; but others were very picturesque. The women looked pretty, except when you got near them, but they were very clumsy about the waist. They had all full white sleeves of some kind or other, and the most of them had big belts with a lot of strips of something fluttering from them like the dresses in a ballet, but of course there were petticoats under them. The strangest figures we saw were the Slovaks, who were more barbarian than the rest, with their big cow-boy hats, great baggy dirty-white trousers, white linen shirts, and enormous heavy leather belts, nearly a foot wide, all studded over with brass nails. They wore high boots, with their trousers tucked into them, and had long black hair and heavy black moustaches. They are very picturesque, but do not look prepossessing. On the stage they would be set down at once as some old Oriental band of brigands. They are, however, I am told, very harmless and rather wanting in natural self-assertion.

It was on the dark side of twilight when we got to Bistritz, which is a very interesting old place. Being practically on the frontier–for the Borgo Pass leads from it into Bukovina–it has had a very stormy existence, and it certainly shows marks of it. Fifty years ago a series of great fires took place, which made terrible havoc on five separate occasions. At the very beginning of the seventeenth century it underwent a siege of three weeks and lost 13,000 people, the casualties of war proper being assisted by famine and disease.
Count Dracula had directed me to go to the Golden Krone Hotel, which I found, to my great delight, to be thoroughly old-fashioned, for of course I wanted to see all I could of the ways of the country. I was evidently expected, for when I got near the door I faced a cheery-looking elderly woman in the usual peasant dress–white undergarment with long double apron, front, and back, of coloured stuff fitting almost too tight for modesty. When I came close she bowed and said, “The Herr Englishman?” “Yes,” I said, “Jonathan Harker.” She smiled, and gave some message to an elderly man in white shirtsleeves, who had followed her to the door. He went, but immediately returned with a letter:–
“My Friend.–Welcome to the Carpathians. I am anxiously expecting you. Sleep well to-night. At three tomorrow the diligence9 will start for Bukovina; a place on it is kept for you. At the Borgo Pass my carriage will await you and will bring you to me. I trust that your journey from London has been a happy one, and that you will enjoy your stay in my beautiful land.

“Your friend,
“Dracula.”

From the Trade Paperback edition.

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Part of the Legend Classics series The English solicitor, Jonathan Harker, travels to a castle in the Carpathian Mountains to see the Transylvanian noble, Count Dracula. At first, Harker is intrigued by the eccentric count, but as more mysterious and terrifying events occur, he realizes he's now a prisoner in the castle. When Dracula leaves Harker behind and travels to England, Harker's beloved fianc Meena and her friend Lucy Westenra are put in grave danger, and a group of adversaries, led by the vampire hunter Abraham van Helsing, must do whatever it takes to stop Dracula.
Featuring one of the most famous vampires in literature, Dracula is considered a masterpiece of the horror genre.
The Legend Classics series:
Around the World in Eighty Days
The Adventures of Huckleberry Finn
The Importance of Being Earnest
Alice's Adventures in Wonderland
The Metamorphosis
The Railway Children
The Hound of the Baskervilles
Frankenstein
Wuthering Heights
Three Men in a Boat
The Time Machine
Little Women
Anne of Green Gables
The Jungle Book
The Yellow Wallpaper and Other Stories
Dracula
A Study in Scarlet
Leaves of Grass
The Secret Garden
The War of the Worlds
A Christmas Carol
Strange Case of Dr Jekyll and Mr Hyde
Heart of Darkness
The Scarlet Letter
This Side of Paradise
Oliver Twist
The Picture of Dorian Gray
Treasure Island
The Turn of the Screw
The Adventures of Tom Sawyer
Emma
The Trial
A Selection of Short Stories by Edgar Allen Poe
Grimm Fairy Tales

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CONTENTS

INTRODUCTION

I. Jonathan Harker's Journal

II. Jonathan Harker's Journal

III. Jonathan Harker's Journal

IV. Jonathan Harker's Journal

V. Letter from Miss Mina Murray to Miss Lucy Westenra

VI. Mina Murray's Journal

VII. Cutting from The Dailygraph, 8 August

VIII. Mina Murray's Journal

IX. Letter, Mina Harker to Lucy Westenra

X. Letter, Dr Seward to Hon. Arthur Holmwood

XI. Lucy Westenra's Diary

XII. Dr Seward's Diary

XIII. Dr Seward's Diary

XIV. Mina Harker's Journal

XV. Dr Seward's Diary

XVI. Dr Seward's Diary

XVII. Dr Seward's Diary

XVIII. Dr Seward's Diary

XIX. Jonathan Harker's Journal

XX. Jonathan Harker's Journal

XXI. Dr Seward's Diary

XXII. Jonathan Harker's Journal

XXIII. Dr Seward's Diary

XXIV. Dr Seward's Phonograph Diary, spoken by Van Helsing

XXV. Dr Seward's Diary

XXVI. Dr Seward's Diary

XXVII. Mina Harker's Journal

LITERARY ALLUSIONS AND NOTES

CRITICAL EXCERPTS

SUGGESTIONS FOR FURTHER READING

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This revision of the popular critical edition of Bram Stoker's late Victorian gothic novel presents the 1897 first edition text along with critical essays that introduce students to Dracula from contemporary cultural, psychoanalytic, gender, queer, and postcolonial perspectives. An additional essay demonstrates how various critical perspectives can be combined. The text and essays are complemented by contextual documents, introductions (with bibliographies), and a glossary of critical and theoretical terms.

New to the second edition are essays that reflect cultural, queer, and postcolonial perspectives, plus an essay that combines several critical perspectives. The cultural documents section features new topics (the lesbian vampire, the new woman), and the updated editorial matter includes a selective bibliography of Dracula films of note.

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