Coppola and Stoker’s Dracula differ on several fronts, but it should not be said that one of them is better than the other. Even though there are differences, it should be noted that Coppola stays relatively true to Stoker’s Dracula as the title would indicate (Bram Stoker’s Dracula). The main difference between the book and the film is the fact that in Stoker’s version, Dracula is nearly completely a monster. He has little motive for killing except that he needs to feed on and stalk his victims, killing them horrifically. He is only concerned with feeding, and is depicted much as being a complete animal. Even though he has the basic motive to kill and feed on his victims, he does this in a way that is distinctly human, and he completes his tasks in an almost cool type of way. However, Coppola depicts Dracula as being a very passionate lover. In this newer version there is more sexuality included, and he is essentially acting on a very disturbed version of the male gaze, where he is not only acting out the sexualization of the male fantasy, but also on a twisted primal murderous sense of the male gaze. Coppola delves more into a wider spectrum of the human primal instinct, as he plays on the fantasies that are completely disturbing and are embedded in the human psyche. This is perhaps why Coppola is so successful in many of his films, because he uses gender roles, concepts embedded deep into our psyches to appeal to his audience. In doing so, he gives Dracula a more humanized characterization than Stoker’s version.

Due to the fact that John has three sweethearts that he is deciding which to marry, he creates a test for them so that he could make up his mind.

He can only marry one of them and so he needs to decide who it will be.

The story involves John being the high-status individual, and the girls being lower status. Immediately, there is a gender imbalance that is presented in the story, as the girls are essentially competing for his affection. He is given status over these girls.

John is basically making the girls do whatever he wants when he convinces Mary to go to the graveyard and get the walking stick that will allow her to marry John.

The story also has an interesting religious aspect to it, and this is in relation to the material about the Holy Water.

“The Blood-Drawing Ghost” is a very conformist piece of literature as it is closely in line with both Christianity and the powerful role that men have in society in relation to women. The Holy water that is contained in the story is an indication that God can protect people from evil. The story provides a look into what is considered to be religious.

Essentially, with the protection of Holy water, people would not have to suffer from the evil that surrounds them. Also, John is saved by Mary, who feeds him the bloody porridge and then makes them have Holy water in their house after they are married.

There are similarities in the works of Leslie Robertson and Maria Campbell. Robertson discusses the ideas of the home and place and makes this a component of the narrated realities of the 14 women who used drugs and lived with HIB in Vancouver’s Downtown Eastside. The story refers to the transgressions, negotiations, and accommodations that they make in their specific social area. It is through this community identification of one’s community. “Taming Space: Drug use, HIV, and homemaking in Downtown Eastside Vancouver,” takes a very grassroots approach to the information about the subject matter. It discusses the nuances in the community that works to create a primary source piece of literature.

This is similar to the way that Maria Campbell completes her novel “Stories of the Road Allowance People.” In this book, she uses the stories of the elders to tell her tales of the community in which she grew up. Both of the texts use storytelling to paint a picture for the reader and to help communicate the various ideas that are present in the text. Through this form of storytelling, both texts are able to identify many of the challenges that these First Nations people were experiencing in their lives. They show the options, or lack of options, that are available to these people, and this is accomplished in both texts through their ability to gain input from the people who are experiencing the challenges.

Author Maria Cambell’s Stories of the Road Allowance People, discusses the non-normative, anti-state, anti-institutional, interrelation and the relativizing. She marries the father and mother to weave closely the narrative that is a reflection of the genesis of the Metis People from which she was raised, and their language. It also takes a look at the importance of the “membering” as being a performance of the Metis peoplehood. In Cambell’s motivation for translating the stories of her Metis community who lived in northern Saskatchewan, she uses the Michif English code to translate the stories. This was not used to claim and create intellectual sovereignty. Instead, it was used to follow her feelings in relation to her sense of community and to her ear for the people’s storytelling, which is a major component to her Metis culture. The readings of Stories of the Road Allowance People is a considered to be a performance of stories that generate a function and meaning that is outside the standard English and Euroamerican thought. This could be regarded as being an expression of intellectual independence. It is through the voices of her people that Campbell community. Campbell was faced with the task in writing Stories of the Road Allowance People with textualizing in English the stories of her people as they were told through the elders’ ancestral Michif. She does not end up translating the stories directly into English, however, and this is where her Metis roots really begin to show in her writing. She refers to the way that she translates as being a dialect and rhythm of her village and of her father’s generation. She says that this is considered to be very broken English.