Continuum ( IF 2.139 ) Pub Date : 2021-06-18 , DOI: 10.1080/10304312.2021.1936829 Terrie Waddell 1
ABSTRACT
Screen vampires define themselves through dominant or subliminal variations on the loss of, and desire for, fertility. Taking the gender-fluid figure of Dracula from Bram Stoker to the 2020 Netflix series as prototypical of traditional vampirism, it will be argued that while simulating youth, beauty and menstruation through biting and sucking, the Count defaults to a state of dehydrated infertility. As male-female shape-shifters, Dracula and the vampire more generally present as regressive constructs of the feminine. They return us to romantic ideals of the youth-desire equation, signifying both its ubiquity and the terror of its passing. As bodies unable to generate their own blood yet craving the bleeding of others, vampires harness the irrational fear of female ageing. They are, in effect, politically symbolic spectres of postmenopausal anxiety.
中文翻译:
滋润德古拉干燥的嘴唇:绝经后焦虑和拟态生育能力
摘要
屏幕吸血鬼通过对生育能力的丧失和渴望的显性或潜意识变化来定义自己。以从布拉姆·斯托克到 2020 年 Netflix 系列的德古拉的性别流动人物作为传统吸血鬼的原型,有人会争辩说,在通过咬和吮吸来模拟青春、美丽和月经的同时,伯爵默认为脱水不孕状态。作为男女变形者,德古拉和吸血鬼更普遍地表现为女性的回归结构。它们将我们带回到青春-欲望方程式的浪漫理想中,既象征着它的普遍性,也象征着它逝去的恐怖。由于身体无法产生自己的血液但渴望他人的血液,吸血鬼利用对女性衰老的非理性恐惧。实际上,它们是绝经后焦虑的政治象征幽灵。