Examensarbeit, 2012
81 Seiten, Note: 2,0
1. Introduction
2. The Image of Vampires in Contemporary Fiction
2.1 From Evil Monsters to Sympathetic Creatures
2.2 Sympathetic Vampires
2.3 Humanised Vampires
2.4 Romantic Heroes
2.5 The Changing Role of Women
3. Plot and Important Characters of The Vampire Diaries
4. The Image of Vampires in The Vampire Diaries
4.1 Origins
4.2 Physical and Psychological Traits
4.3 Weaknesses and Death
4.4 Powers and Abilities
4.5 Socialisation
4.6 Relationships
4.6.1 Vampires and Humans
4.6.2 Vampires Among Themselves
5. Conclusion
6. Bibliography
This thesis examines the evolution of the vampire archetype in contemporary fiction, specifically analyzing the first three seasons of the television series The Vampire Diaries to demonstrate how modern vampires have transitioned from demonic, purely evil entities to complex, anthropomorphic characters that mirror human struggles.
4.1 Origins
Approximately one thousand years ago, an ordinary family called Mikaelson, originally from Eastern Europe, moved to a town in the United States that is now called Mystic Falls. As stated above, this family became the first and therefore the oldest vampire family in the world, responsible for the genesis of the entire vampire race. While living together with people who become werewolves during a full moon Henry, one of the siblings, was attacked and killed by a werewolf. Ever since, werewolves and vampires have been natural enemies.
Esther, mother of five living siblings and a powerful witch, attempted to find some form of protection from the werewolves for her family. Eventually, with the help of one of Bonnie’s ancestors, she found a spell to make her husband and children immortal as well as stronger against the werewolves but without knowing the consequences of her action upon nature. Esther excluded herself from this spell because a witch is always nature’s servant and can never be a vampire or any other powerful creature at the same time.
In order to become a vampire a human is required to drink vampire blood. In this very first ritual, the siblings had to drink human blood as there were not any other vampires in existence before them. The human blood they consumed was the blood of Katherine and Elena’s ancestor, who went by the name of Tatia. After drinking the blood, it is necessary to be killed within twenty-four hours because the consumed blood does not remain in the system for any longer than that. The undead body awakens in a state of transition. To ensure survival, it is essential to feed on human blood within the following twenty-four hours (Will 171). The consumption of blood makes the undead body reborn. When they are in transition, it is virtually impossible for humans to combat their bloodlust and hunger.
1. Introduction: Introduces the vampire as a powerful, evolving archetype in popular culture and establishes the scope of the thesis regarding the television series The Vampire Diaries.
2. The Image of Vampires in Contemporary Fiction: Explores the historical evolution of vampire representations in literature and film, focusing on the shift from evil monsters to humanised, romanticised figures.
3. Plot and Important Characters of The Vampire Diaries: Provides an overview of the series' plot, settings, and the key relationships among the central characters to support the subsequent analysis.
4. The Image of Vampires in The Vampire Diaries: Investigates the specific characteristics of vampires in the show, covering their origins, physical traits, vulnerabilities, social dynamics, and relationships.
5. Conclusion: Summarises the findings by reiterating how the show uses the vampire as a mirror for human nature and as a bridge between the horror and romance genres.
6. Bibliography: Lists the academic and literary sources referenced throughout the analysis.
Vampires, The Vampire Diaries, Contemporary Fiction, Supernatural, Mythology, Gothic, Romance, Humanisation, Duality, Predator, Socialisation, Identity, Elena Gilbert, Stefan Salvatore, Damon Salvatore
The work focuses on analyzing the representation of vampires in the television series The Vampire Diaries and how it reflects the broader evolution of the vampire archetype in 21st-century popular culture.
Key areas include the historical shift from monstrous depictions to sympathetic ones, the psychological complexity of vampires, their physical constraints, and the dynamics of their relationships with humans and other supernatural creatures.
The main objective is to show that the contemporary vampire in the analyzed series is not just a demonic antagonist, but a complex, multi-dimensional character that combines both good and evil qualities similar to humans.
The author conducts a qualitative literary and media analysis, examining the first three seasons of the series against the backdrop of historical and contemporary vampire narratives in literature and film.
The main body examines the origins of the vampire race within the show, their physical and psychological traits, weaknesses (like sunlight and vervain), unique abilities, and their integration into society through social and personal relationships.
Key concepts include the "humanisation" of vampires, the conflict between predatory instinct and conscience, the role of "original" vampires, and the evolution of the vampire genre from horror to teen drama/romance.
The brothers represent two sides of the same coin: Stefan struggles with moral restraint and his identity as a "good" vampire, while Damon acts as his metaphorical double, exploring the more dangerous and destructive aspects of their nature.
The original vampires, specifically the Mikaelson family, are depicted as the foundation of the species, created through a witch's spell as a protective measure, which ultimately backfired, creating a new, dominant species that is inextricably linked to their creator's bloodline.
The series depicts this relationship as complex and ambiguous, often based on trust, equality, and mutual need, where vampires are not merely predators but also protectors and friends to humans.
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