Exploring Schematic Deviance in Bram Stocker’s Dracula and Its 1992 Film Adaptation | ||
| بحوث فى تدريس اللغات | ||
| Article 4, Volume 28, Issue 28, July 2024, Pages 161-206 PDF (670.77 K) | ||
| Document Type: المقالة الأصلية | ||
| DOI: 10.21608/ssl.2024.306631.1221 | ||
| Authors | ||
| Dalia Mansour* 1; Nesreen Tarek Allam Allam2 | ||
| 1Faculty of Language Studies - Arab Open University | ||
| 2كلية الدراسات اللغوية بالجامعة العربية المفتوحة بمصر | ||
| Abstract | ||
| In this respect, this paper aims at introducing the main theories employed in the illumination of the dehumanizing/ humanizing processes of the character of the vampire in Bram Stoker’s Dracula and its 1992 film adaptation. It initially explores the origins of the construction of vampires in folktales, literature and films and their common character traits. These stereotypical representations constitute a fixed schema in the minds of the audiences and readers that can either be reinforced or reconstructed through different texts and films. Therefore, this entails the introduction of Guy Cook’s schema theory, George Lakoff’s and Mark Johnson’s cognitive metaphor theory, along with Harold H. Kelley’s, Edward E. Jones and Keith’s E. Davis’s models of attribution theory and their role in illuminating schematic deviance. This schematic deviance often stems from the humanized representation of the usually dehumanized vampires. This juxtaposition of the humanizing/dehumanizing processes is further explored in the light of Sigmund Freud’s “the uncanny”, and the theory of the Anti-self. Since the focus is on Bram Stoker’s Dracula and its film adaptation, a definition of the adaptation theory and cinematic techniques are highlighted. | ||
| Keywords | ||
| Schematic Deviance; Schema; Cinematic Techniques | ||
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