評論家多把布蘭‧史多克的《卓九勒伯爵》視為維多利亞時期因過度性壓抑而產生的奇幻小說，而該書所反應的是維多利亞人因過度性壓抑而將無法言說的慾望投射於吸血鬼的傳說上。因此，多數評論家皆著墨於該書中性壓抑的議題。相較之下，史多克的敍事技巧較少被討論。然而，在該書中，性議題和敍事技巧實為息息相關。因此本文試圖探討該書中所觸及的性議題及史多克的敍事技巧間的關聯性。首先，本文將討論性、書寫和個人及社會警戒之間的關聯。然後，討論的重點將放在有關卓九勒伯爵的「事實」如何被建構並且流通以達成自我防衛的大業。換言之，即「他者」卓九勒如何在《卓九勒伯爵》書中成為論述的中心。

Dracula is generally seen as a fantastic text which critical readings are inclined to treat as a sexual fantasy, one that is of repression in nature. Consequently, it is generally believed that Dracula brings up issues of sexuality which the Victorians saw as taboo and which could only be expressed in the disguise of vampirism. Numerous attempts thus have been made by critics to demonstrate the repressed sexuality reflected in Dracula. Compared to the attempts made to analyze Dracula in terms of sexual repression, less attention has been given to Stoker’s narrative method in telling the story. However, an analysis of the issues of identities and the narrative method of Dracula is not necessarily divorced from the much-done sexual theme. This essay therefore aims to take into consideration at the same time both the issue of sexuality and the narratives that proliferate in forms and in quantities in Dracula. In this essay, I will explore the connections between sexuality, writing, and individual and social vigilance. My first concern is to examine how writing activity becomes a means to preserve one’s selfhood and the deteriorating social identity. Then I will accentuate how an enterprise takes form to construct and circulate the “truth” of Dracula in the name of self-defense, that is, how the “culturally marginal” Dracula is made “discursively central” in Dracula.