Despite featuring more humor and a warmer color palette, New Moon also centers its narrative on scenes of Bella at the lowest point she reaches in the entire series when Edward leaves her alone with no explanation of his absence.
Fortunately, Bella's overwhelming depression is eventually lifted by a new arrival in her life as this sequel also sees the introduction of the third part of Twilight 's love triangle, Jacob. The darkest of Bella's depression lifts as she meets Jacob, and as he's a werewolf the end of her new moon is contrasted with the start of his transformation, with the character's condition gives the title its double meaning.
The strongest standalone movie in the Twilight franchise, Eclipse sees 30 Days of Night director David Slade take over the directorial reins and inject some real action and horror into the series. Thus Breaking Dawn refers to the light at the end of what has been three novels worth of darkness for Bella and Edward, and this theme of new beginnings is reinforced by Jacob imprinting on Renesmee. This finally ends his rivalry with Edward and, when paired with the disappointingly bloodless defeat of Aro, Marcus , and the rest of the Volturi makes the events of Breaking Dawn a new day not only for the main characters but for everyone in the Twilight universe at large too.
Cathal Gunning has been writing about movies and TV online since His obsessions include The Simpsons, Stephen King, the Scream series, and the horror genre in general.
Moreover, both works portray female sexuality as monstrous. In displaying Lucy, the vampiric wives as well as Bella as overtly sexual and demanding, this paper argues that the process of becoming a vampire can be interpreted as the way of a woman towards emancipation as well as sexual liberty. What one finds is, again, a threat to the norm and because Bella and Lucy threaten the norm of the traditional pure virgin with their sexuality and emancipation, they have to be destroyed in order to reestablish the balance.
While including overtly sexual women on one hand, both works on the other hand include pure and chaste women, who emphasize motherhood, such as Mina and Rosalie. The female vampire is at this point used to contemplate the traditional gender roles. Additionally, this paper argues that both works can be considered Gothic novels, although academic works suggest that Twilight represents pure teenage- Romance.
But as will be shown, these two genres do not exclude each other, instead this paper argues that both novels merge the vampire narrative and the romantic tradition. Lastly, Dracula and Twilight both include a scientific discourse. The vampire is included as a tool to address current anxieties about scientific developments. While it is the rapid incline of scientific theories and medical procedures in the Victorian times of Dracula , Twilight addresses increasing doubts about the medical profession as well as current anxieties about the power of science.
In addition, many works focus on the movie adaptions instead of the literary novels. According to him, Stoker parallels the Count because they both work their way from the bottom to the top; the Count from tomb to metropolis, Stoker from childhood illness to author.
This was left out by this paper intentionally, since it does not want to favor a biographical reading of the novel.
Further, it is him who argues how Lucy falls for the Count and has to die because of her sexuality, while Mina survives because she presents what men want of women. Lastly, Jung touches on the discourse of homosexuality, something this paper only touched on briefly. He argues that the sexual reading stems from the restrictive Victorian society and therefore, the vampire represents the repressed sexual desires. Points that encourage this, according to Hurst, are that kisses in Dracula become bloody kisses with erotic qualities, that sadism and masochism reflect the complementary relationship of vampire and victim and that blood signals defloration and menstruation.
He also bases this on the character of Lucy, as Jung did before and many others do. Apart from that does Gelder in argue for a capitalist reading of the novel and draws on Karl Marx notion of matching vampirism to capitalism. In , Butler makes the same point of colonization but further links it to globalization, arguing that the capitalist theme still contains relevance today. What he adds is the medial reading of the novel by linking vampirism to consumer culture, since Dracula includes many new technological developments of its time, such as the gramophone, stenography or Kodak photography.
For him, the vampire is a consumer since he consumes blood and sex but in order to do so he must turn others into consumers as well. He further argues that the novel can be read as the clash of social classes, especially the middle class with lower classes.
Smith in this regard presents the Count as unable to adapt to the modern world that the vampire hunters surround themselves with.
Finally, they conclude that this shows the cultural uneasiness with artificial art opposed to natural grown art. So far, one sees that the main discourses the former research papers focus on are sexuality, religion, capitalism and science — discourses this paper will touch on as well.
He presents Twilight as matching Coming-of-Age literature and argues that vampires are now super-humans in an exclusive vampire circle. Here, she argues that vampirism is successful in Twilight, because the readers make the association to the figure of the vampire anyways, although the traditional ones are not portrayed, and further that vampirism is portrayed as a mental disorder or a form of disease.
She reflects on the vampire gaining empathy and readers suddenly identifying with the vampire figure, while further noticing the shift of focus to the relationship between humans and vampires. Bacon comes to the conclusion that the vampire is used to show the absurdity of what the twenty-first century society considers human, since while mimicking humans they are aware of how un-human they actually are.
Many works adapt the argument that The Twilight Series is pure romantic fiction. She further touches on current anxieties the novels touch on, such as unplanned pregnancies and the fear to grow up, and therefore further argues how the novels fit into the Teenage Romance genre.
He concludes with the notion that a re-romantization took place. They argue that Bella enforces the desire for self-transformation and therefore joins the Cullen vampires in hope to escape the pressures on women.
She was also a great source for the harsh dualism of good and evil in vampire fictions, which has the effect of questioning religious values, as she argues, since faith does not seem to contain power in contemporary vampire fictions.
Therefore, she again touches on the change of the vampire due to his physical attractiveness, and further contrasts Edward and Jacob by stating how Bella focuses on their looks. In it, she focuses on the notion of orality and argues for Bella suffering from dependency needs, which stem from the rejection by her mother.
Therefore, Bella, as the neglected child, is so overtly sexual, because she inhabits the desire of being looked after and develops attachment issues towards Edward. She concludes with the notion of Bella suffering from anorexia. Simply By Accident. For this, she uses the notion of rape culture and contradicts violence and desire. She argues that Edward depicts the perfect male and embodies ideal traits that women look for in order to make him a partner and to reproduce.
So far, one sees that the main discussion around The Twilight Series are about asserting a genre to it, religion or sexuality, just like it was done prior around Dracula. Contrasting to this paper but accompanying the other research papers, she argues that the vampire figure changed, since Count Dracula presents a disruptive presence that must be removed from society while the Cullens make their way to heaven, which results in God being reflected through the character of Edward.
They, too, argue for the metamorphosis of the vampire, which in turn shows a metamorphosis of individuals in general and society. The conclude by stating that the vampire now addresses the inner struggles of the contemporary reader by becoming mainstream, tamed and vulnerable. While Count Dracula embodies the dark, she argues for the Cullens being in the light. Ironically, many of the details that are one hundred percent reality are the ones that are called into question the most as illustrated by some of my angry Amazon reviews.
Personal story alert! In high school, I was a mousy, A-track wall-flower. Then I went to college in Provo, Utah. Let me tell you, my stock went through the roof.
See, beauty is a lot more subjective than you might think. In Scottsdale, surrounded by barbies, I was about a five. In Provo, surrounded by normal people, I was more like an eight. I had dates every weekend with lots of really pretty and intelligent boys some of whose names end up in my books. It was quite confusing at first, because I knew there was nothing different about me. High school is to be endured. College is fun. Back to Bella. It explains the excitement over her arrival:.
Today, all thoughts were consumed with the trivial drama of a new addition to the small student body here. It took so little to work them all up.
Just an ordinary human girl. The excitement over her arrival was tiresomely predictable—like flashing a shiny object at a child. Half the sheep-like males were already imagining themselves in love with her, just because she was something new to look at. I feel the best way to write believable characters is to really believe in them yourself. When you hear a song on the radio, you should know how your character feels about it—which songs your character would relate to, which songs she hates.
Know their favorite colors and their opinions on current events, their birthdays and their flaws. I think outlining—in a very non-structured, free-flowing form—can really help. I changed my outlines often as the writing led me in other directions—the outline is just a tool, not something mandatory that you have to follow.
She said if you want to be a writer as a profession, then treat it like a job. Put in the hours. Set aside time for writing, and then make yourself sit down and do it. With New Moon and Eclipse , I wrote out whichever scenes I was interested in, rather than starting at the beginning and working through to the end. I wrote most of the books in scenes, and then went back later and tied the scenes together. And it makes it easy to finish. By the time you get around to writing the less exciting transitions, expositions, and descriptions, you already have so much done!
But you really need an outline to work that way—to keep from getting lost! Here are my recommendations on getting published: first, finish your book completely. And try not to focus on the publishing part while you write—tell yourself a story that you really love. You have a better chance of getting someone to look at your query if you give them exactly what they want. Be brave, even when you get rejections.
All bestselling authors got rejections. All it takes is one person who wants to look at your manuscript. Good luck with your writing ambitions! I wish I would have believed in myself and started writing sooner.
Amazon has a list of all my favorite books here.
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