Postsecularism, burial technologies, and Dracula

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Carlie Wetzel
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引用次数: 0

Abstract

Click to increase image sizeClick to decrease image size AcknowledgementsThank you to the faculty advisors who so generously gave their time to help with the development of this article.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 D. Bruno Starrs adds, “In analyzing Stoker’s characterization of his eponymous star, both Ken Gelder and Judith Halberstam argue the Count is antisemitically modeled on stereotypical images (Gelder 13, Halberstam 248)” (Citation2004, 1).2 D. Bruno Starrs offers a reading of Stoker’s Dracula that is explicitly pro-Catholicism. The arc of the novel seems to promote the “proselytization of Protestants to Catholicism” even though such a theme might endanger Stoker in a tense religious climate (Citation2004, 1).3 It is worth noting the similarities between Lucy’s un-dead appearance and Dracula’s own uncanny appearance in the novel. First, Arthur observes that Dracula appears both dead and alive laying in a box of earth, noting his “eyes were open and stony, but without the glassiness of death – and the cheeks had the warmth of life through all their pallor; the lips were as red as ever. But there was no sign of movement, no pulse, no breath, no beating of the heart” (Stoker [Citation1897] Citation1997, 51). Second, Arthur observes the uncanny seeming reversal of age when he sees Dracula after feeding on blood, noting that the Count looked “as if his youth had been half renewed, for the white hair and moustache were changed to dark iron-grey; the cheeks were fuller, and the white skin seemed ruby-red underneath; the mouth was redder than ever” (54).4 Much debate about cremation refers to the burial service text in The Book of Common Prayer, which reads, “Forasmuch as it hath pleased Almighty God of his great mercy to take unto himself the soul of our dear brother here departed, we therefore commit his body to the ground; earth to earth, ashes to ashes, dust to dust, in sure and certain hope of the resurrection to eternal life, through our Lord Jesus Christ, who shall change out vile body, that it may be like unto his glorious body, according to the might working, whereby he is able to subdue all things to himself” (Church of England Citation1758, 305).5 Even in part of the cancelled manuscript the Count’s castle explodes like a volcano; there was “black and yellow smoke volume upon volume in rolling grandeur” and “From where we stood it seemed as though the one fierce volcano burst had satisfied the need of nature and that the castle and the structure of the hill had sank again into the void. We were so appalled with the suddenness and the grandeur that we forgot to think of ourselves” (Stoker [Citation1897] Citation1997, 325, note 5).Additional informationNotes on contributorsCarlie WetzelCarlie Wetzel earned her B.A. from Colgate University and her Ph.D. in English Literature from the University of North Carolina at Chapel Hill. Her research interests include nineteenth-century elegiac poetry and mourning practices.
后世俗主义,埋葬技术和德古拉
点击增大图片尺寸点击减小图片尺寸感谢指导教师,他们慷慨地抽出时间帮助编写本文。披露声明作者未报告潜在的利益冲突。注1 D.布鲁诺·斯塔尔斯补充说:“在分析斯托克对他的同名明星的描述时,肯·盖尔德和朱迪思·哈尔伯斯坦都认为伯爵是反犹主义地以刻板印象为模型(盖尔德13,哈尔伯斯坦248)”(Citation2004, 1)布鲁诺·斯塔尔(D. Bruno Starrs)对斯托克的《德古拉》(Dracula)进行了明确的亲天主教解读。小说的弧线似乎促进了“新教徒对天主教的皈依”,尽管这样的主题可能会危及斯托克在紧张的宗教气氛中值得注意的是,小说中露西不死的外表和德古拉自己的神秘外表有很多相似之处。首先,亚瑟注意到德古拉躺在一个土盒子里,既死又活,注意到他的“眼睛睁着,像石头一样坚硬,但没有死亡的玻璃感——脸颊苍白,但却有生命的温暖;她的嘴唇和以前一样红。但是没有任何运动的迹象,没有脉搏,没有呼吸,没有心跳”(斯托克[Citation1897] Citation1997, 51)。其次,当亚瑟看到吸血后的德古拉时,他注意到他的年龄似乎发生了不可思议的逆转,他注意到伯爵看起来“好像他的青春得到了一半的更新,因为白发和胡子变成了深铁灰色;脸颊更丰满了,白皙的皮肤看起来像红宝石一样红;嘴巴比以前更红了。关于火葬的很多争论都涉及到《公祷书》中的葬礼仪式文本,其中写道:“因为全能的上帝很高兴他的伟大仁慈将我们亲爱的兄弟的灵魂带走,因此我们将他的身体交给地面;地归地,土归土,土归土,借着我们主耶稣基督复活得永生的盼望,耶稣基督将改变我们卑贱的身体,使之像他荣耀的身体,按着他能使万有归服他自己的大能”(英国教会引文1758,305)甚至在被取消的部分手稿中,伯爵的城堡也像火山一样爆发了;“黑色和黄色的烟雾滚滚滚滚,气势磅礴”,“从我们站的地方看,似乎那座猛烈的火山爆发满足了大自然的需要,城堡和山丘的结构又沉入了虚空。”(斯托克[Citation1897] Citation1997, 325,注释5)。补充信息撰稿人卡莉·韦泽尔卡莉·韦泽尔在科尔盖特大学获得学士学位,在北卡罗来纳大学教堂山分校获得英国文学博士学位。她的研究兴趣包括19世纪的挽歌诗歌和哀悼习俗。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
46
期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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