The New Woman and Dracula: Feelings about Changing Gender Norms

In the late 19th century while the revolutionary novel Dracula was being made and published, there was also great social change happening, particularly with gender norms. A new term was coined to describe some of these changes, "The New Woman." Ruth Bordin (2) says this phrase was made to refer to women who asserted autonomy in aspects of their life such as the personal, economic, and social. Women having control of any of these things, even though they were directly affected by them, was an ideal that challenged traditional expectations of women and their role in society during Victorian times. As a result, intense debates about morality, gender, and sexuality were sparked with some viewing this as a sign of societal progress and others viewing this as a sign of societal threat. 

The "New Woman" in Late Victorian Society & Media

(Fig 1) Poster for The New Woman Comedic Play

According to Vicente Clemons, "in the 1880s, the New Woman emerged in the literature of feminist authors such as Sarah Grand, Olive Schreiner, and George Egerton" (1). Unlike the idealized Victorian women, who were expected to prioritize home and family, the New Woman prioritized their education, career, and individuality. Like most feminist movements, the goal of these women was to be equal to men. And like most feminist movements, this desire was bastardized into something misandrist. As Clemons (1) describes it, the Victorian media twisted the New Woman into a man-hating, domineering figure, using exaggerated portrayals to exasperate anxieties about female rights. Patricia Murphy (1) notes the popular belief that "the Gothic emerges in literature during periods of cultural anxiety" which means that Gothic fiction became a popular avenue to explore the New Woman by both its supporters and naysayers. In Dracula, Bram Stoker tapped into this societal tension by writing female characters that reflected societies fascinations and fears revolving around the New Woman. 

The "New Woman" in Dracula

Through Lucy Westenra, Stoker exemplifies the consequences of unchecked desire associated with the New Woman. Initially portrayed as the epitome of Victorian femininity—emotional, domestic, beautiful, and pure—Lucy's flirtatious nature and openness to multiple marriage proposals hint at something less ideal beyond the surface. Her transformation into a vampire amplifies these subconscious desires into conscious pursuals, making her overtly sexual and aggressive, defying societal norms. This shift serves as a cautionary tale, illustrating the potential downfalls believed to be possible if women were allowed to pursue their wants. As Lizzie Arellano notes, "By isolating and exaggerating Lucy's flirtatious tendencies, Stoker calls attention to the possible destruction that is caused by the sexualized New Woman."

With Mina, Stoker shows a more balanced portrayal of the New Woman, showing ways they can exist within patriarchal boundaries. Mina is not only emotional, domestic, beautiful, and pure but she is also intelligent, educated, and resourceful. However, her desire to learn new things is directly associated with her desire to be a good wife. Thus, her actions demonstrate how women's desire for evolving roles can be accommodated without disrupting the existing social order of the time.

Conclusion

(Fig 2) Their First Quarrel by Charles Dana Gibson

The term "New Woman" represented women who prioritized personal desires over societal and masculine expectations, challenging traditional Victorian norms. Stoker’s portrayal of Lucy and Mina presents this archetype as both alluring and threatening, reinforcing fears of female autonomy while also acknowledging the strengths of educated and capable women. Ultimately, the novel neither fully endorses nor condemns the New Woman, allowing for multiple interpretations that continue to spark discussion. The anxieties Stoker explored remain relevant today, illustrating how literature both shapes and responds to the evolving attitudes towards gender and identity. 

Works Cited

Bordin, Ruth Birgitta Anderson, excerpt from “Alice Freeman Palmer: the evolution of a new woman,” Digital Public Library of America, https://dp.la/item/61122e6aa1279a1b82af4add9cf9c814

Clemons, Vincente Edward. “The New Woman in Fiction and History: From Literature to Working Woman.” Digital Commons, Pittsburg State University, Pittsburgh State University, 2016, https://digitalcommons.pittstate.edu/etd/76. Accessed 24 Mar. 2025. 

Fig 2. Gibson, Charles Dana. The First Quarrel. Wikimedia Commons, Hugh Manatee, https://commons.wikimedia.org/wiki/File:Their_First_Quarrel,_Gibson.jpg. 

Murphy, Patricia. The New Woman Gothic: Reconfigurations of Distress. Vol. 1, University of Missouri Press, 2016. 

Fig 1. Morrow, Albert George. The New Woman. Yaneff, Greg Yaneff, https://www.yaneff.com/products/the-new-woman.