Cover

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Title page, Copyright

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pp. i-iv

Contents

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pp. v-vi

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Preface

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pp. vii-x

As with any story that exists primarily in the realm of commercial entertainment, taking vampire stories seriously is almost as risky as confronting the nosferatu in the crypt. The modern vampire, as opposed to his folklore ancestor, is a performer, and the cape, the evening clothes, even the fangs are...

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Introduction

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pp. 1-10

If you put on evening clothes, a cape, and rubber fangs everyone will recognize you; they'll compliment you on how elegant, sexy, mysterious, and scary you are. You can do this because in the one hundred years since Bram Stoker published Dracula, the vampire and its stories have...

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1 Vampire History

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pp. 11-32

Since this is a book about vampire stories at the end of the twentieth century rather than the meaning of older vampire stories for their original audiences, one might wonder why it is necessary to address the history of the vampire story at all. My argument is not that there is a...

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2 The Vampire Liberation Front

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pp. 33-60

The central event in vampire stories over the last thirty years is the vampire's transformation from monster or object of covert fascination into a protagonist embodying our utopian aspirations to freedom, self-acceptance, self-expression, and community outside the restrictions...

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3 The Dracula Variations: Part I

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pp. 61-80

Though Hammer's use of Dracula in recreating the nineteenth century as a spectacle of sex and violence bears only an indirect relation to Stoker's novel, by using Stoker as a source the studio renewed Dracula and Dracula for other contemporary storytellers. But Hammer's...

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4 Post-Human Vampires: "We Are Animals"

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pp. 81-104

The vampires of Martin (1976), Nosferatu (1979), The Hunger (the 1981 novel and 1983 film), The Vampire Tapestry (1981), Vampire's Kiss (1983), Habit (1996), and The Addiction (1996) are images of the "post-humanity'' we are becoming.1The "post-human" vampire is the disturbed and disturbing...

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5 The Dracula Variations: Part II

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pp. 105-128

Though the vampire had never left the public eye entirely, the early 1990s saw an upsurge of interest in Dracula and Stoker. The accumulation of vampire stories over the previous twenty-five years had created a stream of continuing interest that needed the right conditions to be tapped. Stoker's novel...

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6 Return of the Slayer

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pp. 129-166

During the ascendance of the vampire as protagonist, slayers began getting some distinctly bad press; Stoker's heroes and their descendants were, by the 1960s, being transformed into antiques, exemplars of Victorian repression and sentimentality even in the Hammer movies. Slayers...

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Conclusion: The Persistence of Legend

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pp. 167-172

I know that I appear to have created an allegory for the imaginative and ethical history of our era, taming the vampire story by tracing the movement from vampire protagonist to the post-human to the return of the slayer. But the history of the vampire story is not really so neat. After all,...

Notes

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pp. 173-182

Bibliography

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pp. 183-188

Index

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pp. 189-192