{"id":627,"date":"2018-09-29T22:31:59","date_gmt":"2018-09-30T02:31:59","guid":{"rendered":"http:\/\/blogs.dickinson.edu\/britishlit\/?p=627"},"modified":"2018-09-29T22:31:59","modified_gmt":"2018-09-30T02:31:59","slug":"in-my-feelings","status":"publish","type":"post","link":"https:\/\/blogs.dickinson.edu\/britishlit\/2018\/09\/29\/in-my-feelings\/","title":{"rendered":"In My Feelings"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-630 aligncenter\" src=\"http:\/\/blogs.dickinson.edu\/britishlit\/files\/2018\/09\/Dracula-4-300x169.jpg\" alt=\"\" width=\"478\" height=\"269\" srcset=\"https:\/\/blogs.dickinson.edu\/britishlit\/files\/2018\/09\/Dracula-4-300x169.jpg 300w, https:\/\/blogs.dickinson.edu\/britishlit\/files\/2018\/09\/Dracula-4.jpg 550w\" sizes=\"auto, (max-width: 478px) 100vw, 478px\" \/><\/p>\n<p>Perhaps one of Sigmund Freud&#8217;s most critiqued assertions was the sexual distinction between men and women. Namely, all of women&#8217;s desires could be traced back to some aspect most carnal. His conviction was so strong that it even seeped its way into works such as <em>Creative Writers and Day-Dreaming<\/em>.<\/p>\n<p><strong>&#8220;[Motivating forces] are either ambitious wishes, which serve to elevate the subject&#8217;s personality; or they are erotic ones. In young women the erotic wishes predominate almost exclusively, for their ambition is as a rule absorbed by erotic trends&#8221; (423).<\/strong><\/p>\n<p>Aside from cringing, what do we do with this? I will focus on the beginning chapters of <em>Dracula<\/em> to analyze Freud under the contexts of classic literature of his day (both because I find <em>Dracula<\/em> endlessly fascinating, as well as the fact that there simply <em>are<\/em> no women in <em>The Island of Dr. Moreau<\/em>).<\/p>\n<p>Firstly, we have Lucy Westenra, best friend of Mina Harker. Lucy struggles with the very first-world problem of having three male suitors vying for her hand in marriage. Lucy struggles immensely with the power that choosing a husband gives her; \u201cThree proposals in one day! Isn\u2019t it awful!\u201d (64). Lucy does not know how to choose a husband, nor does she seem to want to. She laments, \u201cWhy can\u2019t they let a girl marry three men, or as many as want her, and save all this trouble?\u201d (67). This seems to follow Freud\u2019s point; here we have a woman who does not have the ambition to marry in a way that will best suit her (or marry none of them if that would be the best scenario).<\/p>\n<p>What diverges from Freud is seen in Lucy\u2019s motives. Lucy does not seem to register that marrying three men would also imply a sexual attachment to all of them. Lucy is a dreamer; she wants to marry for love, like Mina has. She even mentions to Mr. Morris, \u201cYes, there is one I love, though he has not told me yet that he even loves me\u201d (67) and seems to be quite sincere in her belief about the way to pick a spouse. Lucy is not thinking about sex and does not seem to even view it as the most prudent aspect of marriage.<\/p>\n<p><em>Dracula<\/em> often makes quite explicit feelings of a sexual nature. For example, Jonathan Harker feels \u201cin [his] heart a wicked, burning desire that [the women of Dracula\u2019s castle] would kiss [him] with those red lips\u201d (45). It is purposeful that Lucy is so pure and unaware of sexuality, and at the same time a woman with desires that do not dip beneath the surface of love and loyalty, seeking protection from a man, is a direct contrast to Freud and his claims.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Perhaps one of Sigmund Freud&#8217;s most critiqued assertions was the sexual distinction between men and women. Namely, all of women&#8217;s desires could be traced back to some aspect most carnal. His conviction was so strong that it even seeped its way into works such as Creative Writers and Day-Dreaming. &#8220;[Motivating forces] are either ambitious &hellip; <a href=\"https:\/\/blogs.dickinson.edu\/britishlit\/2018\/09\/29\/in-my-feelings\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">In My Feelings<\/span><\/a><\/p>\n","protected":false},"author":3626,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[125359],"tags":[],"class_list":["post-627","post","type-post","status-publish","format-standard","hentry","category-2018-blog-post"],"_links":{"self":[{"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/posts\/627","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/users\/3626"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/comments?post=627"}],"version-history":[{"count":0,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/posts\/627\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/media?parent=627"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/categories?post=627"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/tags?post=627"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}