Cultural Stereotypes- From Dracula's Myth to Contemporary Diasporic Productions

Abstract

CULTURAL STEREOTYPES: FROM DRACULA'S MYTH TO CONTEMPORARY DIASPORIC PRODUCTIONS by Ileana Florentina Popa A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University, 2006 Director: Marcel Cornis-Pope, Chair, Department of English This study is focused on a highly topical theme, which belongs to the pluralist practice of cultural studies, and aims at investigating a remarkable phenomenon of identity-shaping and cross-cultural exchange. Starting from an analysis of Dracula as the epitomized image of the Balkans (and of Romania, more specifically) abroad, this paper provides a comprehensive historical and (con)textual analysis of the myth, enlarged to incorporate it into the fictions of exile and to draw the reader's attention to the "demonic" dimension of the Balkan area in general, and the Romanian area in particular. The first chapter provides a theoretical overview meant to clarify the production of racial, ethnic, and gender stereotypes, as well as to suggest a more accurate delimitation of these from the generous (and generously used notion of) cultural encounters. While most stereotypes result from common experience, generally acquired in a direct way, due to education, geographic proximity, work relations, political alliances and hostilities, colonial domination, etc. the cultural stereotypes are imposed upon us in an indirect way, by means of oral or written literature, visual arts, music, and other widely-spread recording means. The second chapter aims at exemplifjrlng their mechanism and spreading force by analyzing probably the oldest cultural stereotype, contemporary with the appearance of Guttenberg's printing press: the South-Eastern European myth of Dracula. With this goal in mind, I begin by considering the historical origins of the myth, and then explore closely its proliferation through German, Russian, Romanian, Italian, and Byzantine channels as early as Vlad the Impaler's lifetime. Moving across centuries to Bram Stoker's Dracula, I pay special attention to the cultural environment that made possible the instant success of his novel. I also offer a brief survey of the main directions taken by the impressive interpretive corpus on Bram Stoker's novel, with a particular focus on exploring the main ideas promoted by the Hibernian school of criticism. The chapter ends with an analysis of the Gothic romance and the current vogue of vampire stories in popular culture, be it written, cinematic, or electronic. In the last chapter, I broaden the discussion by analyzing Dracula's stereotypical correlation with the Transylvanian area as a cultural