TheVampire Assignment Questions

FemaleVampirism differences from Male Vampirism

Socialtheorists and feminists have continued to human body’s naturalness,arguing that human bodies in their extreme states are not whollynatural.1Vampires are also argued to revolve around a disciplinary process,which cultivates their physical strength since their power andstrength are without practice. For example, when Kendra, the vampireslayer, makes an appearance in Sunnydale, as she approached from theairplane, it was evident that her lipstick and eyeliner had beenapplied perfectly, with clothing that was quite provocative andlacked a single sign of wrinkle, despite her long journey from milesaway. How is female vampirism different from male vampirism? Thepaper will attempt to answer the question drawing examples fromrelevant sources.

Traditionalfemale vampirism ideals are depicted as bearing a staunch differencefrom representation of male vampires or what would be widely termedas “vampire aesthetic.”2First, the difference is separated from the numerous beauty practicesrarely seem from male vampirism. Female vampirism in escaping fromthe pesky mortal aging, and adapt the youthful immortality so as todisguise as being seductive and innocent for them to get constantsupply of mortal blood.3Taking into mind the fact that the reflection of all vampires doesnot exist, there is a high likelihood of them taking concern of theirappearance and reflection.

Theirlack of concern for their appearance draws different attributes forthe female vampirism from male vampirism since female empires possessyouthful and non-aging bodies due to their graceful elegance andsupernatural skills. Female vampirism emphasizes on movement unlikemale vampirism. Smooth and suggestive movement on the part of femalevampirism follows the traditional femininity.4Male vampirism also depicts graceful movements that are directedtowards assisting the seduction of their victims into sucking itsblood, and more so shadows the supposed thin line betweendifferentiating femininity from masculinity.

Femalevampirism is differentiated from male vampirism since the two aresexualized heavily. There are talks about vampire stories, forinstance tales of sexual sensationalism, which has is main focus on“pleasurable pain, the kiss that is the bite, and love that isdeath.”5Based on a thin sexual aggressiveness veil, there exists adistinction between female and male vampirism on the basis of thirstfor blood. The difference is also based on female and male vampirismmethods of seducing their victims to a point of willingly embracingthe thought of participating. The bite of the female vampire is arepresentation of its vampirism state that is directed towardsattaining pleasure from both the vampire and the victim.6Unlikethe male vampirism results in discomfort, female vampirism seems tocause gasps of orgasm as the bite takes place.

Whenfinding its victims, female vampirism state focuses more on thesmell, which is different from male vampirism state. Indeed there isa propensity, which in narratives that dwell on generating comparisonbetween the odors gotten from female vampires and from its smells andbody that shares similarities with the flower.7What could be noted as being among the major differences is what isculturally comprehended as being the “delicate” and passivesophistication of the female vampire. States of female vampirism arecomprehended to portray more femininity, compared to male vampirism,and therefore are prescribed to acculturated “olfactory notions”.8

Inhuman organization, any relationship construction, the smell is themain ingredient. The development of relationships among male andfemale vampirism is mainly dependent on the separation of dichotomousestablishment of good and bad smells. Nonetheless, the interpretationof their smell is not very well conceived universally. Of valueknowing is that female vampirism present a code that is moreolfactory and is depicted uniquely when presented in two “differenthabits.” It was notable that in a socio-cultural setting, scentcategorization on the basis of gender, inevitable situations, orclass is perceived as being either positive or negative. Femalevampirism is different from male vampirism in terms of symbolism,which is used to express “identity themes.”9

Inconclusion, female vampirism has a great impact on members of herspecies than the male vampirism, which is also a way of establishinga stand on her control position. Female vampirism exercises adifferent niche when it comes to feminine conceptions. This categoryis regarded as an inclusion of having any woman defies societalrules, which are dominated by men. To understand vampirism olfactoryis important when parameters of authority comes into play. The powerof elite is differentiated when there is governed olfactoryneutrality in vampirism.

Aubrey’sinability in break his vow to Lord Ruthven

RomanticOpera involves a subject obtained from the tale of Lord Ruthven andusing the same name. The scene is undertaken in Scotland in the 17thCentury and depicts the old vampire legend from Scotland, a phantommonster, whose only source of existence is blood sucking fromsleeping mortals.10Lord Ruthven is a perfect empire. Well known to victimize and tormentmaidens and Satan is the sole owner of his soul, it comes as nosurprise that the demons have availed him a one year breather.However the respite is on condition that Lord Ruthven avails a trioof young and pure brides. Prominent Sir John Berkley’s daughterbecomes the first victim.11When he becomes aware of this, Sir John Barkley stabs Lord Ruthvenafter finding him with his daughter. Rendered immobile by pain, EdgarAubrey, a relative to Laird of Davenant, comes to his rescue andhelped him and is also brought to the spot without his knowledge.

EdgarAubrey promises to keep Lord Ruthven’s state a secret. This isafter Lord Ruthven implores him to take to the hills as a last favordone to a dying man.12As a result, Aubrey finds it hard to break his vow promised to LordRuthven. First, Aubrey is unable to break his vow with Lord Ruthvenbecause of his laidback nature. For instance, when Lord Ruthvenentered London society, Edgar Aubrey, who is a young man accompaniedby his younger sister were in London simultaneously. Aubrey is unableto break the vow because he finds himself withdrawn, emotionless, andcool.

Secondly,the kind of friendship nurtured between Lord Ruthven and Aubrey isstrong enough to not withstand any kind of forces. The kind offriendship between the twoforced Aubrey to accompany Lord Ruthven toLondon, despite Lord Ruthven’s attempt to take advantage of a localgirl.13Aubrey may have fled to Greece after the incident, but it is therethat he gathered information about vampires. Having fallen in lovewith his innkeeper, it is through her that she became aware of thefearsome vampires. Connecting Lord Ruthven’s appearance with thevampires, he finds it hard to believe about their resemblance. It isthere that he started to fear about breaking his vow with him.

TheGreece’s vampires also contributed to his inability to break thevow since the resemblance drove him out of Greece. Not known to him,he crosses paths again with Lord Ruthven. Numerous unfortunate eventsforced Aubrey to decide whether to keep his promise, considering hewas at its weakest moment, or break the vow and save the life of theone he dearly loves.14In addition, having crossed paths with Lord Ruthven, Aubrey attentionis pulled to a scar by the hand and instantaneously becomes morestrongly bound by his earlier oath of secrecy to Lord Ruthven.

Onanother scene, Aubrey finds it hard to break the vow following hisattempt to renounce Malvina, her love, from Lord Ruthven. LordRuthven threatens Aubrey, telling her that an attempt by him to breakthe vow would mean that he is condemned and transforms to a vampire.15He went ahead and threatens that Aubrey will be depicted in glowingand bright colors of a vampire spirit and eventually cursed.

Thedeath of Emma also contributed to Aubrey’s inability to break thevow. While Aubrey hesitates on what he would do next. Prior to this,Lord Ruthven approaches Emma, and he succeeds in convincing andwinning her over.16Emma’s consent is won, and as a result, she follows him towards hisden, where she lost her life at Lord Ruthven’s hands. Aubrey mournsEmma’s death unable to get away from Lord Ruthven’s powerfulforces. In addition, it took a lightning strike for Lord Ruthven tolose his powerful forces, and thus Aubrey finally breaks free.


Heinrich,August, Ossenfelder. 1748. The Vampire (Der Vampir). Madrid:Ediciones Jaguar pp. 1&lt

McClelland,Bruce. 2006. Slayersand their vampires a cultural history of killing the dead.Ann Arbor: University of Michigan Press. Pp 176-178 &lt

Bartlett,W. B., and Flavia Idriceanu. 2006. Legendsof blood: the vampire in history and myth.Westport, Conn: Praeger. Pp12-37

Righi,Brian. 2012. Vampiresthrough the ages: lore &amp legends of the world`s most notoriousblood drinkers.Woodbury, Minn: Llewellyn Publications. Pp 46-53

Dixon,J. M. 2009. TheWeiser field guide to vampires: legends, practices, and encountersold and new.San Francisco, CA: Weiser Books. Pp137-147

Regan,Sally. 2009. Thevampire book.London: Dorling Kinderslet. Pp234-235

Hawkins,Colin, Jacqui Hawkins, and Enid Von Bluoton. 1985. Vampires.Morristown, N.J.: Silver Burdett Co. pp76-81

  1. 1Heinrich, August, Ossenfelder. 1748. The Vampire (Der Vampir). Madrid: Ediciones Jaguar pp. 1

  2. Heinrich, The Vampire, 1

  3. Bartlett, W. B., and Flavia Idriceanu. 2006. Legends of blood: the vampire in history and myth. Westport, Conn: Praeger. Pp12-15



  1. 4Bartlett, Flavia, Legends of blood, 23-27

  2. Righi, Brian. 2012. Vampires through the ages: lore &amp legends of the world`s most notorious blood drinkers. Woodbury, Minn: Llewellyn Publications. Pp46-48

  3. Righi, Vampires through the ages, 51-53

  4. Hawkins, Colin, Jacqui Hawkins, and Enid Von Bluoton. 1985. Vampires. Morristown, N.J.: Silver Burdett Co. pp 76-77




8. Hawkins, Jacqui, Enid, Vampires, pp79-81

9. Dixon, J. M. 2009. The Weiser field guide to vampires: legends, practices, and encounters old and new. San Francisco, CA: Weiser Books. Pp137

10. Dixon, The Weiser field guide to vampires, pp146

11. Dixon, The Weiser field guide to vampires, pp147

12. Regan, The vampire book. London: Dorling Kinderslet. Pp234


13. Regan, The vampire book, Pp235

14. McClelland, Bruce. 2006. Slayers and their vampires a cultural history of killing the dead. Ann Arbor: University of Michigan Press. Pp176

15. McClelland, Slayers and their vampires, pp 177

16. McClelland, Slayers and their vampires, pp 178