Todays lesson..........

So we started on page 7, looking at the way our narrator has "exiled" herself from the everyday world, which suggests almost she will endure almost a punishment through the transition into her new life; for shadowing what is about to come.

We then explored the arousal she experiences around her new husband; "the train began to throb again as if on delighted anticipation", "my heightened, excited senses". She is inexplicitly expressing her sexual awakening again, through her language, not directly addressing it.

Following this is another description of her husband, and the pervasive deathly imagery is inescapable. His "dark, motionless" eyes are void of any life, and interestingly, a "sarcophagi" reference is included; a mask used to cover up the dead, reinforcing this aura of death surrounding him. He is also describes as having "too much in common" with white lilies, the funeral flower, again highlighting his connection with death.

The "male-gaze" theory concerning the objectification of women is prevalent in the pages we read earlier. Our narrator constantly mentions how men look at her; on page 7 she catches him "gazing" at her, the chauffeur "eyed" her, yet she seems to enjoy this sexual objectification. This is highlighted in the bedroom, after he has stripped her "as if he was stripping the leaves off an artichoke", or unwrapping his "bargain". She is objectifying herself, but instead of feeling degraded, she is only "disgruntled" and frustrated when her husband does not bed her after. This implies the narrator does not embody feminist qualities or views, yet embraces her status.

"Visual Pleasure and Narrative Cinema"

Voyeurism is the sexual interest in or practice of spying on people engaged in intimate behaviors, such as undressing, sexual activity, or other activity usually considered to be of a private nature, In popular imagination the term is used in a more general sense to refer to someone who habitually observes others without their knowledge, with no necessary implication of sexual interest.

Feminist Film Thoery: In considering the way that films are put together, many feminist film critics have pointed to the "male gaze" that predominates in classical Hollywood filmmaking.

What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance."

Laura Mulvey's "Visual Pleasure and Narrative Cinema" expands on this conception of the passive role of women in cinema to argue that film provides visual pleasure through scopophilia, and identification with the on-screen male actor.

"In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness," and as a result contends that in film a woman is the "bearer of meaning, not maker of meaning." Mulvey argues that Freud's psychoanalytic theory is the key to understanding how film creates such a space for female sexual objectification and exploitation through the combination of the patriarchal order of society, and 'looking' in itself as a pleasurable act of voyeurism, as "the cinema satisfies a primordial wish for pleasurable looking.

"Psycho" 1960; One of the most notable horror films, the female victim is indeed, attractive.

This theory is highlighted in film series such as the "James Bond", and "Indiana Jones" series. The extensive list of ""Bond Girls", all attractive and objects of the male characters desire proves many of Mulvey's arguments concerning the perceptions of women in films.

Mulvey identifies three "looks" or perspectives that occur in film which serve to sexually objectify women.
1) The perspective of the male character on screen and how he perceives the female character.
2) The perspective of the spectator as they see the female character on screen.
3) The third perspective allows the male audience to take the female character as his own personal sex object because he can relate himself, through looking, to the male character in the film.

In the paper, Mulvey calls for a destruction of modern film structure as the only way to free women from their sexual objectification in film, arguing for a removal of the voyeurism encoded into film by creating distance between the male spectator and the female character. The only way to do so, Mulvey argues, is by destroying the element of voyeurism and "the invisible guest" Mulvey also asserts that the dominance that men embody is only so because women exist, as without a woman for comparison, a man and his supremacy as the controller of visual pleasure are insignificant. For Mulvey, it is the presence of the female that defines the patriarchal order of society as well as the male psychology of thought.

Mulvey calls for an eradication of female sexual objectivity in order to align herself with second-wave feminism. She argues that in order for women to be equally represented in the workplace, women must be portrayed as men are: as lacking sexual objectification.

Feminism in the first few pages of The Bloody Chamber

Initially, there is a subtle feminist metaphor portrayed through the young female narrator's language. The sexual language, such as the "ecstasy of excitement", "thrusting", "pounding", "teasingly caressed me", is used to describe matters other than sex. These sexual connotations are repressed beneath a surface of alternative meanings, which could symbolise how a women's sexuality must also be repressed; a factor which enrages many feminists.

The passage of the young women from "her child", referring to her mother, to "his wife", suggests the girl is merely an object of possession, passed from person to person, holding no identity or true freedom for herself, which is another matter attacked by feminists.

However the Mother stands as a feminists champion, as she embodies the powerful female, who "shot a man-eating tiger with her own hand". Also, the fact that her husband left her an "antique service revolver" highlights the power the matriarchy holds, which should belong to a man. This elevates her to a position equal to men, under no repression at all; the epitomising the feminist ideal. The fact that she offers her daughter a choice in marriage; a pleasure not enjoyed by many poor women of the time, which suggests she believes in a women's right to free will and Independence.

Yet, we see from the young bride more qualities feminists disagree with, such as the fact her priority is to "bare an heir" for her new husband. This illuminates how women embrace the stereotypical version of adult femininity, losing any purpose in life but to bare children. Again, what delights her the most is that she is purely an object of desire; "how he must want me!". She sacrifices her own sexual identity for the wants of a man, a very 'un-feminist' characteristic.

"She was suprised as the prince came into her" BAHA: themes in Fairytails

- Use of the number "3": Repetition three times.
- Beauty, especially within young women
- Evil Matriarch
- Conditions/Oaths
- Desire for children/ loss of children.
- Climbing the social and financial ladder
- Weak paternal figure
- Forests
- Magic
- Night/sleep
- Names serving only as roles
- Stealing
- Sexual undertones
- Clear perception of good and evil
- Gruesome, yet overlooked deaths
- Virtue
- Greed
- Marriage
- Instant love
- Talking animals

Evil Matriarch
Freud holds that tensions between a mother and daughter stem from the fact all daughters are in love with their fathers, thus jealousy on the mothers part drives a wedge between them and their child. These tensions between women and daughters are highlighted within most fairy tales: In "Hansel and Gretel" the step-mother wants to leave the children to starve, in Snow White, and Cinderella there are evil mothers and step-mothers both of whom hate their daughters and are jealous of their beauty. Plenty of fairy-tales do include a female villain.

The desire for children, and the fear of losing them.
Before the development of pensions, safe childbirth and treatments such as IVF, many children died in childbirth, aswell as their mothers. It was even more important to produce a healthy child as a women's primary role was to provide children. Children also were the sole carer for their parents when they became too old to care for themselves. All of these reasons made adults even more desperate to conceive and deliver, and there was a genuine fear of the loss of a child. Fairy tales often address this fear. Rapunzel's parents were desperate for a child, the woodcutter in Rumpelstiltskin was immensely proud of his child. Also, Fairy tales often include the taking of a child, usually through a previous deal, again addressing the fear of losing a child in previous years.

Beauty and virtue of women
A women's virginity and virtue were sometimes the only credit they possessed, and virginity was sacred to women and young girls; often a compulsory asset for marriage. Freud's "Madonna/Whore complex" underlines the importance of virtue and beauty, as once a women loses her virginity, she is an evil whore. Fairy tales often accentuate the beauty, good nature and virtue of the young women; Beauty's beauty and kindness is emphasised in "Beauty and the Beast", explicitly through her name.

The number "3"
There is a common use of the number three in many classic fairy tales; three main characters, three incidents or three tasks. in "The three little pigs", there are three main characters. In "Cinderella", there are three daughters, Cinderella and her two stepsisters. In "Snow White", the Queen tries three times to kill Snow White. In practice, the number "three" symbolizes perfection and completeness. For instance, the Holy Trinity is made up of three members: God, Christ and the Holy Spirit. In Geometry, a figure cannot be formed without three distinct points. Also, "three" is considered as the basic unit of a family- father, mother and child. The number gives security to the narrator, and the reader,because it is a "perfect and complete figure"

Forests
Forests are, in stories, a place of magic and the supernatural. Most contemporarily seen in "Harry Potter", where the students are scared to enter the "Forbidden Forest" in fear of the magical creatures who live there. Vast forests are an ideal setting to place magic, as you are isolated, away from civilisation, and allows verisimilitude to occur, especially as most fairy tales include magical elements such as witches and talking animals. "Hansel and Gretel", "Goldilocks", and "Beauty and the Beast" all are set in forests, perhaps for this purpose.

Introductions

Introductions are a major part of the essay, primarily because they set out the key concepts, ideas and arguments you will address within the essay; giving you a clear vision of what you are going to write about. You can refer back to your introduction to help structure the essay, and a precise introduction will prevent you form going off on a tangent, so basically, keeping you focused on the task of the essay.
Also, if the introduction shows sophisticated, relevant vocabulary with clear, precise ideas and a good grasp of the concepts the title is asking you to address, the examiner may initially realise you are a strong candidate, and perhaps will mark positively throughout the essay.

A good introduction needs:
- If relevant; background to the concepts referred to. For instance, in Dracula, when considering science and religion, it would be useful to acknowledge the tensions between these two ideas at the time of writing.
- The main arguments you will debate within the essay.
- Precise, focused, yet sophisticated vocabulary.
- Ideas you will address within the arguments?

Elements of the Gothic in Chapter 21

Firstly, the whole action ridden chapter takes place at night, setting up the scene in the classic Gothic setting.

The aspect of religion and the supernatural is introduced initially through the operation Van Helsing conducts on Renfield. The trephening reminds us that both Dr Steward and Van Helsing are medical surgeons, as well as natural philosophers; a reality check used by Stolker to perhaps prevent the reader get lost in the supernatural elements of the novel. Other connotations to religion are the pronouns used for Dracula. Renfield ironically refers to him as 'Lord and Master', a reference to the Christian deity or God, suggesting implications of Dracula epitomising the anti-Christ. This therefore, would make Renfield a practitioner of devil-worship, clearly threading more Gothic elements into the chapter.

Sexual references are strong within this chapter, another classic Gothic aspect. Mina describes how as Dracula began to bite her, she was in a "half-swoon", which evokes a romantic feeling despite the horrific setting. She also "did not want to hinder him", suggesting she also succumbed to Dracula's seduction, just as Lucy had. The exchange of bodily fluids, this time by both characters again shows strong connotations to sex. By Mina seeing the blood "spurt out", then being forced to "suffocate or swallow", Stolker exhibits a clear parody of oral sex. The emphasis on her mouth reinforces this reference, as afterwards Mina rubs her lips to try and remove the "pollution".

However, there is an element of force in this scene that suggests rape rather than seduction, which is an important distinction for Mina portraying the innocent victim, as women being presented as victims is another significant element of the Gothic. Dracula is "forcing her face down on his bosom" and restraining her by holding her arms away, all while Mina's sleeping husband is next to her. This is also significant, as Dracula has invaded a marital bedroom, and the sexual references therefore would implicate adultery; resulting in the corruption of marriage, and therefore the corruption of Christian tradition, another Gothic element.

Symbolism of light and dark is also used in this chapter. Mina is describes as a "white-clad figure", white symbolising innocence, whilst Dracula is "clad in black", the use of the word "clad" in both descriptions explicitly provokes the direct contrast between the natures of the characters; innocent and evil.

Fear, perhaps the most significant element of the Gothic, is also evoked to the reader through primarily the horror of Dracula. He is strong enough to overcome the "unnatural strength" of a madman, and then when finally, for the first time since Harker's experience in Transylvania, we see Dracula in the flesh. His "devilish passion", "white sharp teeth" and "blood-dripping mouth" portrays a horrific character designed to induce fear. His power is reinforced as his mouth is "champed together like those of a wild beast", animalistic references suggesting how dangerous he can be.

Dreamy Dreamy Dracula

The exploration of dreaming and sleep is a conventional feature of the Gothic. The metaphorical link between sleep, death and the supposed afterlife comes into Stoker's use of vulnerability of the sleeper.
Many of Stolker's characters have difficulty sleeping, and unusually this inability to sleep is especially prominent at times where Dracula is near. With Lucy's attacks by Dracula comes along not only the inability to sleep, but the fear of sleep itself. From the sleepwalking and disturbed sleep initially, when Dracula is merely hovering outside her window, to a "presage of horror" which comes with sleep. Sleep becomes something to be feared, Lucy describes her "pain of the fear of sleep, with such unknown horrors as it has for me"; this "unknown horror" referring to Dracula.

This fear of sleep around Dracula is reinforced when Harker adopts a "nocturnal existence" whilst he stays at Dracula's castle. He is unable to sleep at night when Dracula is at his most powerful, suggesting he is unconsciously aware of Dracula's power and it's relation to sleep. His unconsciousness links to Freudian idea's which constantly appear throughout the novel, including the theory that ones true desires emerge through their unconsciousness. This may relate to the incident with the three brides. Harker believes he is dreaming the incident of the sexual encounter with three beautiful women, where maybe his guilty fantasies are projected.

This encounter arouses the idea of the mixing of dreams and reality, a thread which Stolker weaves into the narrative. Harker is confused as to whether he was asleep or not; "I suppose I must have fallen asleep; I hope so... for all that followed was startlingly real". This merging of dreams and reality, revolves around the power of vampires. Dracula and his brides are elements of the supernatural, and are considered by readers, imaginary. Yet if the characters are dreaming the vampires, it reiterates the idea of verisimilitude, that it could actually be happening.

However, it is more likely that the dream like state the characters adopt when in the face of vampires is purely illuminating the connection between sleep and vampires. When Mina is running to save Lucy from Dracula she says how she "Must have gone fast, and yet is seemed to me as if my feet were weighted with lead". This dreamlike imagery is familiar; wanting to run but not being able to, illustrating vampires connection to sleep.

Distinguishing between sleep and death is another theme running throughout the novel. When Harker finds Dracula lying in his coffin, he cannot tell whether he is dead or asleep; "He was either dead or asleep, I could not say which- for the eyes were open and stoney, but without the glassiness of death". The "Un-Dead" are said to be sleeping in their tombs, and as vampires are neither dead, nor alive, sleep tends to bring out their true forms.

"We thought her dying whilst she slept
And sleeping when she died"

This reinforces the connection of vampires to sleep and death. Lucy, as a beautiful corpse, looks more alive and appears to be sleeping. This quote finally establishes the link between vampires "sleeping in their tombs", never dead even in sleep.