布南史鐸克的吸血鬼是英美文學史上最有名的吸血鬼故事，就它的再版次數、被翻譯成他國語言、及讀者人數來說，幾乎是英美文學史上無可匹敵的－除了聖經之外。同樣地在學術研究圈子裡，研究吸血鬼入手的角度之多、及之熱烈程度，吸血鬼的研究竟成了一個熱門的手工業。學者們研究的角度很是多元，其中有作者論、精神分析、女性主義、同志論、殖民論，但是這些研究或許受限於文學研究的規範所限，大多侷限於想像的層次及文字的分析，而較缺乏社會歷史事實的佐證。本篇論文旨在彌補這種缺憾，以文學論述－拉崗的鏡像論來梳理文本，輔以社會歷史事實的證據，本論文作者意欲去拉起文學和社會的橋樑，並試圖去證明文本後頭社會現實的影響，以及文學創作想像並非架空於現實或超越現實層次的。
本篇論文分為四章。第一章為序言，主要為文獻探討，討論本論文對學術界可做的傳承與創新，並確定經濟危機影響文本創作意念的問題意識。第二章 “Drawing Boundaries: Dracula” 以吸血鬼的原作為討論焦點，討論書中主角因經濟危機，所引發一連串的排除他者－東方異族、女性－的行為。第三章 “Identifying with the Authority: Nosferatu” 則是探討吸血鬼電影改編Nosferatu中，也是經濟危機所引發的一連串認同的行為。相同於吸血鬼的原作，經濟危機在Nosferatu中，同是事件發生及情節安排的原發動力。相異於吸血鬼，Nosferatu中的主角人物所處的一次大戰後的德國，則因經濟力的全面崩潰，急欲去認同一個權威的形象，而無力再思自我和他人的界線。最後再重申，研究Dracula和Nosferatu二項文本中的經濟動力和認同現象的聯繫，有助於我們了解文學和社會的關係。

Bram Stocker’s Dracula is the best known literary work of the vampire myth. Not only has the book been reprinted many times, there are also numerous dramatic and cinematic adaptations which draw public attention and arouse academic interests. However, one can hardly attribute Dracula’s success to a conventional sense of literary strength. Dracula’s greatest power, instead, lies in the way in which it mirrors the bourgeoisie’s fear of the troublesome issues such as mysticism, the New Woman, and colonialism. In the novel, theses controversial social problems are represented as evil power embodied by vampirism, which threatens to undermine the stability of the society and to contaminate the Western civilization. By reasserting the arbitrary dominant ideology of good overcomes evil, man overpowers woman, west defeats east, Victorian bourgeois readers can control their fear and secure the status quo. Conversely, Dracula’s cinematic adaptation Nosferatu is a work representing the pervasive fear in the post-war Germany yet offers no resolution at all. The devilish vampire Nosferatu is depicted as an unstoppable tyrant like the foreboding of Hitler in real life. Both Dracula and Nosferatu deploy vampirism as metaphors for their social crisis respectively.
So far academia has managed to research in the aspects of phychoanalysis, feminism and colonialism, but none of them goes beyond the cultural analysis of superstructure. No one has ever researched on what is beneath the superstructure, i.e. the base. I propose that Marx’s idea of the social crisis pinpoints the cause of these phenomena and offers us a greater picture. The vampirism in Dracula and Nosferatu are different social crises disguised as monsters and these crises result from an economic factor—the mode of production.

Adams, Hazard, ed. Critical Theory Since Plato. New York: Harcourt Brace
Jovanovich, Inc., 1971. .
Althusser, Louis. “Ideology and Ideological State Apparatus.” Critical Theory
Since 1965. Eds. Hazard Adams and Leroy Searle. Tallahassee: Florida
State UP, 1986. 239-50.
Andrew, Dudley. “Adaptation.” Mast 420-28.
Appleby, Robin S. “Dracula and Dora: The Diagnosis and Treatment of
Alternative Narratives.” Literature and Psychology 39.3 (1993): 16-37.
Arata, Stephen D. “The Occidental Tourist: Dracula and the Anxiety of Reverse
Colonization.” Victorian Studies 33.4 (1990): 625-45.
Aristotle. “Poetics.” Adams 48-66.
Auerbach, Nina. “Magi and Maidens: The Romance of the Victorian Freud.”
Critical Inquiry 8.2 (Winter 1981): 281-300.
---. Our Vampires, Ourselves. Chicago: The U of Chicago P, 1995.
Barlow, John D. German Expressionist Film. Boston: Twayne Publishers,
1982.
Bazin, Andre. What Is Cinema? Berkeley: U of California P, 1967.
Bentley, C.F. “The Monster in the Bedroom: Sexual Symbolism in Bram
Stoker’s Dracula.” Literature and Psychology 22 (1972): 27-34.
Bergstrom, Janet. “Sexuality at a Loss: The Films of F. W. Murnau.” Poetics
Today 6.1-2 (1985): 185-203.
Boone, Troy. “He is English and Therefore Adventurous: Politics, Decadence
and Dracula.” Studies in the Novel 25.1 (1993): 76-91.
Bourdieu, Pierre. Language and Symbolic Power. Trans. Gino Raymond &
Matthew Adamson. Ed. John B. Thompson. Cambridge: Polity Press,
1991.
Bristow, Joseph. Empire Boys: Adventures in a Man’s World. London: Harper
Collins Academic, 1991.
Case, Alison. “Tasting the Original Apple: Gender and the Struggle for
Narrative Authority in Dracula.” Narrative 1.3 (1993): 223-43.
Chatman, Seymour. “ What Novels Can That Film Can’t (and Vice Versa).”
Mast 403-19.
Cohen, Ed. “The Double Lives of Man: Narration and Identification in the Late
Nineteenth-Century Representation of Ec-centric Masculinities.” Victorian
Studies 36.3 (1993): 333-52.
Collick, John. Shakespearean Cinema and Society. Manchester: Manchester
UP, 1989.
Cook, Pam, ed. The Cinema Book. New York: Pantheon Books, 1985.
Craft, Christopher. “Kiss Me with Those Red Lips: Gender and Inversion in
Bram Stoker’s Dracula.” Representations 8 (1984): 107-33.
Cunningham, A. R. “The New Woman Fiction of the 1890’s.” Victorian
Studies 17 (1973): 177-186.
Cunningham, Gail. The New Woman and the Victorian Novel. New York:
Banesand Novel, 1978.
Cranny-Francis, Anne. “Sexual Politics and Political Representation in Bram
Stoker’s Dracula.” Nineteenth-Century Suspense: From Poe to Conan
Doyle. Clive Bloom. Ed. N.Y.: St. Martin’s Press, 1988.
Day, William Patrick. In the Circles of Fear and Desire: A Study of Gothic
Fantasy. Chicago: The U of Chicago P, 1985.
Dingley, R.J. “Count Dracula and the Martians.” The Victorian Fantasists.
Kath Filmer. Ed. N.Y.: St. Martin’s Press. 1991. 13-24.
Eagleton, Terry. Literary Theory: An Introduction. Oxford: Blackwell
Publishers, 1983.
---. Marxism and Literary Criticism. London: Methuen, 1976.
Eidsvik, Charles. “Toward a ‘Politique des Adaptations’.” Literature/Film
Quarterly Summer (1975): 260-65.
Eisenstein, Sergei. “ Dickens, Griffith, and the Film Today.” Mast 395-402.
Eisner, Lotte H. The Haunted Screen: Expressionism in the German Cinema and
the Influence of Max Reinhardt. Berkeley: U of California P, 1989.
Ellis, John. “ The Literary Adaptation: An Introduction.” Screen 23 (1982):
3-13.
Elsaesser, Thomas. “Film History and Visual Pleasure: Weimar Cinema.” Cinema Histories, Cinema Practices. Eds. Patricia Mellen Camp and Philip Rosen. U.S.A.: U P of American Inc., 1984. 47-84.
---. “German Silent Cinema: Social Mobility and the Fantastic.” Wide Angle
5.2 (1988): 14-25.
Fernando, Lloyd. New Women in the Late Victorian Novel. University Park:
Pennsylvania State U P, 1977.
Foucault, Michel. Madness and Civilization. N.Y.: Vintage Books, 1988.
Gelder, Ken. Reading the Vampire. London: Routledge, 1994.
Glover, David. “Bram Stoker and the Crisis of the Liberal Subject.”
New Literary History 23. 4 (1992): 983-1002.
---. Vampires, Mummies, and Liberals: Bram Stoker and the Politics of
Popular Fiction. Durham: Duke U P, 1996.
Glut, Donald F. “ Nosforatu, A Symphony of Horror and Nosferatu the Vampyre.” The Dracula Book. Metuchen, N. J.: The Scare Crow Press Inc.,
1975. 177-229.
Guillermo, Gilberto Perez. “F.W. Murnau” Film Comment 7.2 (Summer 1971):
4-17.
Golsan, Richard J. Rene Girard and Myth. New York: Garland Publishing Inc.,
1993.
Girard, Rene. The Scapegoat. Baltimore: The Johns Hopkins U P, 1986.
Halberstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters.
Durham: Duke University Press, 1995.
---. “Technologies of Monstrosity: Bram Stoker’s Dracula.”
Victorian Studies 36.3 (1993): 353-67.
Hegel, G. W. F. Phenomenology of Spirit. Trans. A.V. Miller. Oxford:
Oxford U P, 1977.
Henderson, Brian. “The Long Take.” Film Comment (Summer 1991): 63-71.
Hobsbaum, E. J. Industry and Empire: From 1750 to the Present Day.
Harmondsworth: Penguin Books, 1969.
---. The Age of Empire 1875-1914. N. Y.: Vintage Books, 1989.
Howes, Marjorie. “The Mediation of the Feminine: Bisexuality, Homoerotic
Desire, and Self, Expression in Bram Stoker’s Dracula.” Texas Studies in
Literature and Language 30.1 (1988): 104-19.
Huaco, George. A. The Sociology of Film Art. New York: Basic Books Inc.,
1965.
Hume, David. “Of the Standard of Taste.” Adams 314-23.
Jame, Henry. Notes and Reviews. Cambridge: Dunster House, 1921.
Jann, Rosemary. “Saved by Science? The Mixed Messages of Stoker’s Dracula.”
Texas Studies in Literature and Language 31.2 (1989): 273-87.
Johnson, Alan. “Bent and Broken Necks: Signs of Design in Stoker’s Dracula.”
Victorian Newsletter 72 (1987): 17-24.
Johnson, Judith E. “Women and Vampires: Nightmare or Utopia.” Kenyon
Review 15.1 (1993): 72-80.
Kaes, Anton, Martin Jay, Edward Dimendberg, eds. The Weimar Republic Source Book. Berkeley and Los Angeles, California: University of California Press, 1994.
Kawin, Brace. “Nosferatu.” Film Quarterly 33 (Spring 1980): 45-47.
Kracauer, Siegifried. From Galigari to Hitler: A Psychological History of the
German Film. Princeton: Princeton UP, 1974.
Lacan, Jacque. Écrits: A Selection. N.Y.: W. W. Norton & Company, 1977.
Leger, Sally. The New Woman: Fiction and Feminism at the fin de siècle. Manchester: Manchester UP, 1997.
Luhr, William. “Nosferatu and Postwar German Film.” Michigan-Academician
14:4 (Spring1982): 453-58.
Manvell, Roger, Heinrich Fraenkel. The German Cinema. N.Y.: Praeger, 1971.
Marcus, Millicent. Filmmaking by the Book: Italian Cinema and Literary.
Adaptation. Baltimore: The John Hopkins UP, 1993.
Martin, Philip. “The Vampire in the Looking Glass: Reflection and Projection in
Barm Stoker’s Dracula.” Nineteenth-Century Suspense 80-92.
Marx, Karl. “The German Ideology.” Adams 632-33.
Mast, Gerald, Marshall Cohen and Leo Braudy. Eds. Film Theory and
Criticism. Oxford: Oxford UP, 1992.
Mayne, Judith. “Dracula in the Twilight: Murnau’s Nosferatu (1922).” German
Film and Literature. Eric Rentschler. Ed. New York: Methuen, 1986.
25-39.
McDonald, Beth E. “The Vampire as Trickster Figure in Bram Stoker’s
Dracula.” Extrapolation 33.2 (1992): 128-44.
Moretti, Franco. “The Dialectic of Fear.” New Left Reviews 136 (1982): 67-
85.
---. “A Capital Dracula.” in Dracula: Norton’s Critical Edition. New York: W. W. Norton & Company, 1997. 431-43.
Morris, David B. “Gothic Sublimity.” New Literary History 16 (1985): 299-
319.
Nichols, Bill, ed. Movies and Methods: An Anthology. Berkeley: U of
California P, 1976.
Pick, Daniel. “Terrors of the Night: Dracula and the Degeneration in the Late
Nineteenth Century.” Critical Quarterly 30.4 (1988): 71-87.
Plato. “ Republic.” Adams 19-40.
Pope, Alanxander. “An Essay on Criticism.” Adams 278-86.
Pramer, S. S. Caligari’s Children. Oxford: Oxford UP, 1980.
Punter, David. The Literature of Terror: A History of Gothic Fictions from 1765
to the Present Day. New York: Longman, 1980.
Richardson, Robert. Literature and Film. Bloomington: Indiana U P, 1969.
Roth, Lane. “Dracula Meets the Zeitgeist: Nosferatu (1922) as Film Adaptation.”
Literature/Film Quarterly 7.4 (1979): 309-13.
Roth, Phyllis A. “Suddenly Sexual Women in Bram Stoker’s Dracula.”
Literature and Psychology 27 (1987): 113-21.
Ruskin, John. Sesame and Lilies. N. Y.: Charles E. Merrill, 1899.
Said, W. Edward. Orientalism. N.Y.: Vintage Books, 1979.
Satt, Barry. “From Caligari to Who?” Sight and Sound 48 (Spring 1979): 119-
23.
Seed, David. “The Narrative Method of Dracula.” Nineteen-Century Fiction
40.1(1985): 61-75.
Senf, Carol A. “’Dracula: Stoker’s Response to the New Woman.” Victorian
Studies 26 (1982): 33-49.
---. “Dracula: The Unseen Face in the Mirror.” The Journal of Narrative
Technique 9 (1979): 160-70.
---. Dracula: Between Tradition and Modernism. N.Y.: Twayne Publishers,
1998.
Shelly, Percy Byssche. “A Defense of Poetry.” Adams 499-513.
Showalter, Elaine. The Female Malady: Women, Madness and English Culture
1830-98. New York: Penguin, 1987.
Skal, David J. Hollywood Gothic: The Tangled Web of Dracula from Novel to
Stage to Screen. New York: Visual Cortex Ltd., 1990.
Smith, Evans Lansing. “Framing the Underworld: Threshold Imaginary in
Murnau, Cocteu, and Bergman Literature.” Film Quarterly 24.3 (1996):
241-54.
Sontag, Susan. “Fascinating Fascism.” Under the Sign of Saturn.”
New York: Fairer, Straus, Giroas, 1980. 73-105.
Spencer, Kathleen L. “Purity and Danger: Dracula, the Urban Gothic, and the
Late Victorian Degeneracy Crisis.” ELH 59.1 (1992): 197-225.
Stade, George. “Dracula’s Women.” Partisan Review 53-2 (1986): 200-15.
Stevenson, John Allen. “Vampire in the Mirror: the Sexuality of Dracula.”
PMLA 103.2 (1988): 139-49.
Stoker, Bram. Dracula: A Norton Critical Edition. 897. Eds. Nina
Auerbach and David J. Skal. New York: W. W. Norton & Company, 1997.
Truffaut, Francois. “A Certain Tendency of the French Cinema.” Nichols 224-
37.
Unrau, Rona. “Eine Symphonie des Grauens or the Terror of Music: Murnau’s
Nosferatu Literature.” Film Quarterly 24.3 (1996): 234-40.
Waller, Gregory A. The Living and the Undead: From Stoker’s Dracula to Romero’s Dawn of the Dead. Illinois: U of Illinois, 1986.
Watt, Ian. The Rise of the Novel. Berkeley: U of California P, 1957.
Wicke, Jennifer. “ Vampire Typewriting: Dracula and Its Media.” ELH 59 (1992): 467-93.
Williams, Anne. “Dracula Si(g)ns of the Fathers.” Texas Studies in Literature
and Language 33.4 (1991): 445-63.
Wolf, Leonard. Dracula: The Connoisseur’s Guide. New York: Broadway
Books, 1997.
Wood, Robin. “Burying the Undead: The Use and Obsolescence of Count Dracula.” Mosaic 161.2 (1983): 175-88.
---. “Murnau’s Midnight and Sunrise.” Film Comment 10.3 (1976): 4-19.
Wordsworth, William. “ Preface to the Second Edition of Lyrical Ballads.”
Adams 433-458.