In paranormal romances, one can witness a significant transformation of a vampire from a multifaceted monstrosity into the figure of an adorer who becomes an object of desire, fascination, and an object of erotic imagining. This very transition seems to have been triggered by a shift in the literary convention regarding vampires. So, it no longer contributes to a typical gothic narrative, but to a form of romance seasoned with a little fantasy, thereby depriving this archetypical blood-sucker of their nefarious image and qualifying them unequivocally as adorers. In that regard, any traditional means of defining vampirism become secondary to those less associated with gothic and more with romance narratives. Consequently, vampiric sexuality emerges as a substantial part of the plot, along with descriptions of physical intercourses that are even wont to verge on pornography.
A note in the chapter states that a "Polish version of this paper was published in “Orbis Linguarum” (2015)." and more details about that can be found here.
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The specificity of paranormal romance results from a resignation from typically strictly love-oriented themes in favour of fantasy and a world-creative element. Many writings that belong to this sub-type become extensive series taking place in universa which are constructed in every detail. It is possible to notice this tendency in three series of vampire novels, which will serve as exemplifications: Love at Stake by Kerrelyn Sparks, Guardians of Eternity by Alexanry Ivy or Midnight Breed by Lary Adrian. (144)
[typos are in the original article.]
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the vampire functions as an almost ideal creation, thus contaminating all the attributes characteristic of a perfect lover: brutality directed at enemies, subtlety and sensitivity reserved for the chosen one, decidedness and determination both in fighting foes and winning woman’s favours, sentimentality, yet ruthlessness or the lack of inhibitions while confronted with danger. The traits of a vampire-lover include the embodiment of women’s representations about an ideal partner – both in physical and psychological dimensions; nevertheless, the dark secret (kept hidden by each hero up to a point) eventually constitutes a form of aphrodisiac which makes relationships additionally attractive.
At the same time, the vampire in a paranormal romance embodies “soft” emotions and “macho”-like behavioural patterns and the blend results in an almost spectacular expertise in the art of love. Satisfying a partner’s needs is the supreme principle behind intercourse, the relevant drive being underlined with full narrative force as well as in the
internal monologues of the vampiric lovers. (148)
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vampiric adorers are portrayed in compliance with popular beliefs relating to female fantasies about men who represent a set of determined external features, such as being well-built and muscular, arrestingly handsome or generously endowed (this being as essential in paranormal romance designed for adults as in professional pornographic movie productions). In this drive towards creating an ideal partner, the objectification of a man’s body is clearly seen: it becomes invested exclusively with values serving the purpose of giving pleasure – aesthetic as well as erotic. (149-150)
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vampires are shown as super-lovers, whose erotic potential is far superior to that of humans and whose sensuality and, simultaneously, sensitivity to women’s needs (including emotional ones), determines their perception as ideal models. (154)
Here's the abstract:
A note in the chapter states that a "Polish version of this paper was published in “Orbis Linguarum” (2015)." and more details about that can be found here.
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[typos are in the original article.]
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