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Carol A. Senf uses a critical theory lens when she picks apart Bram Stoker's Dracula. Nearly all literary critics translate this popular myth to be the resistance of good and bad, they turn a blind eye on the more specifically literary things like way of narration, characterization, and style. Carol Senf's critical essay "Dracula: the Unseen Face in the Mirror" she believes that Stokers book "contrasts, not on the conquest of Poor by Great, but on the similarities between both" (Senf 421). Her argument is as follows: '' In Senf's essay she points out that most modern readers of Stokers book are more inclined to be amazed by this edition of Dracula. In Stokers novel most of the action happens in nineteenth-century London. Senf also shines a light on the reality that Stoker has made it so he cannot comment directly on his characters' failures in conclusion, or their lack of self knowledge with the type of narration choice he has selected, Dracula as well is never permitted a voice in this publication. Stoker chooses to put some clues out for the readers to be able to help them translate Dracula. The distinct warning introduced on the page before the debut saying the narrators composed to the very best of the knowledge the truth that they watched. This really is the chapter in which Jonathan Harker openly questions the band's interpretations of those unsettling events that exist from fulfilling Dracula, and the sanity of the whole. Several characters could be considered emotionally unstable. Senf indicates that Stoker created the central normal characters hunting Dracula ill-equipped to gauge the extraordinary events with which they had been faced. The central characters were made two dimensional and had no distinguishing characteristics other then the...