Abstract

Il is an irony that the epic discourse in realm of western fantasy literature shows dualistic mode of epistemology of the western thought. The supernatural beings in the fantasy fiction are non but "the others" rejected by the occidental way of perception which comprises the representation of evil. And much of the popular visual art still continues to follow exclusive grammar of narratology. In Bram Stoker's Draculaand most of motion pictures based on his work, the representation modality of Dracula makes us ponder again over the mainstream of the occidental epistemology. According to such dualistic rationalism, good and evil, instinct and artifact center and circumference, reason and insanity are absolutely at the antipodes against each other. Our reserch, through the analyse of images and symbols, examines how the different "otherness" of B. Stoker and Coppolas' Draculas are figured out and what Coppola's cinema work acheved. Coppola identifies the conventional otherness of Dracula with the human and thus, finds in him love et suffering. That makes him acheve a romantic dream -a salvation of evil or a salvation of human soul- and arrive at a certain new understanding of the "otherness".