In London, Dracula emerges as a wolf-like creature amid a fierce thunderstorm and hypnotically seduces, then rapes and bites Lucy Westenra, with whom Mina is staying while Jonathan is in Transylvania. His arrival is foretold by the ravings of Renfield, now an inmate in Dr. Dracula leaves Jonathan to be seduced by his brides and sails to England with boxes of his native soil, taking up residence at Carfax Abbey. Jonathan meets Dracula, who discovers a picture of Harker's fiancée, Mina, and believes that she is the reincarnation of Elisabeta. Jonathan travels to Transylvania to arrange Dracula's real estate acquisition in London, including Carfax Abbey.
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In 1897, newly-qualified solicitor Jonathan Harker takes the Transylvanian Count Dracula as a client from his colleague R. Enraged at the notion of his wife being damned for committing suicide, Dracula desecrates his chapel and renounces God, declaring that he will rise from the grave to avenge Elisabeta with all the powers of darkness. In 1462, Vlad Dracula, a member of the Order of the Dragon, returns from a victory against the Turks to find his wife, Elisabeta, has committed suicide after receiving a false report of his death. The film's score was composed by Wojciech Kilar and featured " Love Song for a Vampire" by Annie Lennox as the closing credits theme. It stars Gary Oldman as Count Dracula and Winona Ryder as Mina Harker, also featuring Anthony Hopkins as Professor Abraham Van Helsing, Keanu Reeves as Jonathan Harker, and Sadie Frost as Lucy Westenra.ĭracula was greeted by a generally positive critical reception and was a box office hit.
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Here, Hemingway’s technique is in keeping with that of many modernist writers (although Hemingway himself is hardly ‘modernist’ in the usual sense that the term is understood) in being so ambiguous in its significance.Dracula (also known as Bram Stoker's Dracula) is a 1992 American Gothic horror- romance film directed and co-produced by Francis Ford Coppola, based on the novel Dracula by Bram Stoker.
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Phil’s glance at himself in the glass at the end of ‘The Sea Change’ suggests he has learned something about himself, but whether it is something he is happy to have learnt remains unstated by the narrator. Indeed, it sometimes even occurs when a character beholds their own reflection in a mirror, as in some of the stories of James Joyce and Katherine Mansfield. But if so, then what is the precise nature of that change: realisation that he cannot accept her bisexuality, or a slow coming-to-terms with it? Certainly the last line, spoken by James the barman, strikes us as ironic: after the conversation and farewell we have just witnessed, he probably will not look back on this as a good summer.Ī key element of many modernist short stories is the epiphany, whereby a character in a story comes to realise something: this epiphany might be considered a revelation, a mini-awakening.
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Is it simply the change in the relationship between the man and woman, or is it the inner ‘sea change’ that her infidelity has brought about within the man? It’s almost certainly the latter. In the last analysis, then, ‘The Sea Change’ is a story in which we are invited to ask what the title of the story refers to.