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

Authors

  • Claudio Vescia Zanini Universidade Federal do Rio Grande do Sul

DOI:

https://doi.org/10.22456/2238-8915.86330

Abstract

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.

Downloads

Download data is not yet available.

Author Biography

Claudio Vescia Zanini, Universidade Federal do Rio Grande do Sul

Professor do Departamento de Línguas Modernas do Insituto de Letras da Universidade Federal do Rio Grande do Sul (UFRGS).

Downloads

Published

2018-12-14

How to Cite

VESCIA ZANINI, Claudio. THE DIURNAL ORDER OF THE IMAGE IN DRACULA, BY BRAM STOKER. Organon, Porto Alegre, v. 33, n. 65, p. 14, 2018. DOI: 10.22456/2238-8915.86330. Disponível em: https://seer.ufrgs.br/index.php/organon/article/view/86330. Acesso em: 3 sep. 2026.

Issue

Vol. 33 No. 65 (2018): LITERATURAS DE LÍNGUA INGLESA: O VITORIANISMO E SEUS DESDOBRAMENTOS

Section

Artigos

License

When submitting an article to Organon, the authors agree to give in, without any remuneration, the rights of first publication and the permission for Organon to redistribute this article and its metadata to the indexation and reference services that the editors may judge appropriate, which means they do not keep the copyright.