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Since the publication of the first novel of Stephenie Meyer's Twilight saga in 2005, millions of readers all over the world, the majority of whom are teenage girls and women, have fallen for the love story of Bella and Edward. Furthered by the release of the movie adaptations of the first three volumes in 2009 and 2010, critics have started to wonder about the foundation of Twilight-mania, especially concerning the basic theme of the story, namely the vampire myth, which, throughout its literary history, is rather a reflection of "adolescent male fantasy" (Twitchell, Living 6). Still, the indisputably kitsny story of an inconspicuous teenager who falls in love with the vampire next door fascinates today's emancipated and independent females and thus can be regarded as an essential part of the success. It would seem that the attraction derives from Meyer's unique interweaving of different generic elements, a strategy which can be found in other late 20th- and 21st-century popular literature. Thus, for instance, the "Harry Potter books have been received with manic enthusiasm" because they, too, "uniquely combine several kinds of appeal" (O'Keefe 176), such as the mixture of public school story and fantasy. In the Twilight Saga, we find a similar amalgamation of various different literary genres - fantasy fiction for young adults, vampire story, gothic romance, and Arthurian legend. It is a medley, a generic crossing that is - not least due to its focus on an active young heroine - bound to entice a primarily female readership.
Through an analysis of the figure of the vampire in literature as well as in folklore it will be observed
to what extent Edward differs from the folkloric blood-sucking revenant and also from the master of all literary vampires, Dracula. Furthermore, it will be investigated how his knightly behaviour towards Bella contributes to the impression of a romantic transformation of the gothic form. Special attention will also be paid to the figure of Bella, who, on the one hand seems to be presented as the femme fragile or damsel in distress concerning her physicality, but, on the other hand, represents a figure of
identification for female readers as the independent, strong-willed hero of young adult fiction. The analysis seeks to prove that the combination of these various aspects of different genres and traditions allows Meyer to create a new kind of vampire love story.

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In 2005 the world was turned upside-down when twilight hit the shelfs, copies flying off the shelfs, the majority of whom are teenage girls and women buying them. The next two taking the world by storm in 2009 and 10.

The love story was truly magnificent.  Still, the story of an inconspicuous teenager who falls in love with the vampire fascinates today's  and independent females can be regarded as an essential part of the success. For instance, Harry Potter  has been received with manic enthusiasm" because they "uniquely combine several kinds of appeal." Through an analysis of the figure of the vampire in literature as well as in folklore it will be observed.

Dracula. Furthermore, it will be investigated how his knightly behaviour towards Bella contributes to the impression of a romantic transformation of the gothic form. Special attention will also be paid to the figure of Bella, who seems to be presented as the femme fragile or damsel in distress concerning her physicality, but, on the other hand, represents a figure of identification for female readers as the independent, strong-willed hero of young adult fiction.

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