the Other who both attracts and threatens from the outside.

Any logocentric dependence upon "the thing in itself" is thoroughly

undermined in this postmodern universe of continuously shifting bodies
and perspectives.
Carlsen's wife, Jelka, on the other hand, is a modern version of the
Victorian angel in the house. The text's references to Goethe's principle
of the ewig weibliche, the eternal feminine which "draws us upwards
and on" (quoted, p. 56), draws the reader downwards, back into the
sexual politics of Dracula, which also separates the good woman from
the sexual woman
I would like to return now to Foust's contention that the Other is
created through the projection of undesirable psychic material.
Can be read as a metaphorical dramatization of the return of the
repressed, an expression of the anxiety of the divided self which has
constructed a reality defined through binary oppositions such as inside
vs. outside, human vs. alien, masculine vs. feminine.
Roger C. Schlobin has suggested that many contemporary treatments of
the vampire have "emasculated" this traditionally potent figure, and he
cites works by Chelsea Quinn Yarbro (the six-volume Saint-Germain
Chronicles [1978-83]) and Suzie McKee Charnas (The Vampire Tapestry
[1980]), among others, to support his contention (p. 30). To this
particular list should be added the works of Anne Rice, Angela Carter,
Tanith Lee, and Jody Scott. What these writers have effected is a
rejection of the vampire as what we might term a "metaphorical rapist."
Schlobin makes it clear that the vampire, as it functions within the
framework of the conventional horror story or film, threatens its
victims, whether male or female, with a kind of violation that has its
clearest analogue in the act of physical rape.
he is developed from outside the conventional male perspective (i.e., he
is emasculated)"emasculation" of the "fantasy antagonist" in all these
instances is alsoand results ina "feminization."

There can be little incentive for women writers to contribute to the

literary tradition of the "monstrous adversary" as rapist.