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Sally Ledger and Roger Luckhurst\u2019s \u201cReading the \u2018Fin De Siecle\u2019\u201d they note that the historicization of sexuality in the Victorian Era as a thoroughly social rather than natural category encouraged further research. In 1885\u00a0<\/span>the act of \u201cgross indecency\u201d between men was criminalized. Meanwhile, the characters in Dracula seem to display such acts of \u201cgross indecency\u201d between men throughout the entire book. The Count himself seems to hold tendencies of one who is interested in the same sex, his words often revealing his true intent.<\/p>\n \u201cHow dare you touch him,\u00a0<\/span>any of you? How dare you cast eyes on him when I had forbidden it?\u201d Dracula questions in a moment of anger when his man is \u2018stolen\u2019. Yes, his man. Count Dracula claims that Jonathan Harker is his property, which seemingly puts Jonathan in a female role. During this time period, women were often seen as the property of their husbands, only furthering the issue that Count Dracula views his prisoner Jonathan Harker as his property. Although never explicitly stated by the Count, Dracula often displays many tendencies of someone who is inter<\/span>ested in men rather than women. According to <\/span>the Fin De Siecle<\/span><\/i> \u201cMany literacy histories have begun to seek hidden lines between contemporary \u2018queer\u2019 identities and those of the late Victorian period, \u2026 emerging modern sexualities.\u201d\u00a0<\/span><\/p>\n Throughout the beginning chapters of the novel, the Count shows various forms of forcing Jonathan Harker into what was seemingly a feminine role. During the time that Harker stays with the Count, he is forced to stay in the house at all times. Women held a role in the house, while men were expected to work. The Count proves that he can provide for Harker, cooking meals, cleaning, and maintaining financial stability all at the same time without any help from his male companion. By treating Harker in this r<\/span>ole, the count would be deviating from normalcy, which in Ledger and Luckhurst\u2019s terms would consider him a degenerate.<\/p>\n Without Harker\u2019s compliance, the Count easily manipulates him into a feminine role in which he is seen as only good for amusement or perhaps penetrating. Later in the scene in which the female vampires try to suck Harker\u2019s blood, the count saves him and claims \u201cI promise you that when I am done with him you shall kiss him at your will.\u201d This put Harker, not in a state of property, but a state of property that has no true owner. The Count doesn\u2019t see Jonathan as a human being that needs dedication, yet a human that can be disposed of when he grows bored with him, just as many men of the time had seen women.<\/span><\/p>\n One other moment where the Count\u2019s<\/span>\u00a0sexuality is questioned is when the female vampires claim that he does not love, yet he turns to Harker and claims that the fact is untrue. \u201cYou yourself never loved; you never love!\u201d The women claim, clearly resenting the fact that he does not love them as they are female. Yet without hesitation, Dracula turns to face Harker, claiming \u201cYes, I too can love\u201d as if to prove himself or reassure Harker, the\u00a0one he seems to see as his partner.<\/p>\n The topic of emerging sexuality in Ledger and Luckhurst\u2019s article is key in <\/span>Dracula <\/span><\/i>as it brings to light the con<\/span>flict that Count Dracula is dealing with. As they coin Oscar Wilde as \u2018Queer as Fuck\u2019 perhaps, Dracula too, is \u201cQueer as fuck\u201d Sally Ledger and Roger Luckhurst\u2019s \u201cReading the \u2018Fin De Siecle\u2019\u201d they note that the historicization of sexuality in the Victorian Era as a thoroughly social rather than natural category encouraged further research. In 1885\u00a0the act of \u201cgross indecency\u201d between men was criminalized. Meanwhile, the characters in Dracula seem to display such acts of \u201cgross indecency\u201d … Continue reading Dracula is “Queer as Fuck”<\/span><\/a><\/p>\n","protected":false},"author":3884,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[125359],"tags":[],"class_list":["post-660","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\/660","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\/3884"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/comments?post=660"}],"version-history":[{"count":0,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/posts\/660\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/media?parent=660"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/categories?post=660"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/britishlit\/wp-json\/wp\/v2\/tags?post=660"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/blogs.dickinson.edu\/britishlit\/files\/2018\/09\/download-1.jpg\")
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