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Stoker also had a personal relationship to several third identities. As an Anglo-Irishman, he often proved to be too Irish to be truly English, yet too English to be merely Irish. This lack of an easy national identity is mirrored, as we shall see, in Stoker's own sexuality. It is difficult to label him as simply heterosexual or homosexual; at the very least, Stoker, like Harker, can be said to participate in a homoerotic lifestyle. Finally, and perhaps most influentially, Stoker saw a new definition of homosexuality based around the idea of a thirdspace become popular in the aftermath of his friend Oscar Wilde's trial and conviction in 1895.
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Transylvania is also a site of gender inversion for Harker. Throughout his stay at the castle Harker is feminized. Dracula takes Harker's possessions from him, doling out food, money, and correspondence as he determines Harker needs it. Dracula also controls Harker's movements around the grounds and his access to the entrances and exits of the castle. Harker also notes his feminisation in his journal. He notices that he writes his journal, "sitting at a little old oak table where in old times possibly some fair lady sat to pen" (36), and sleeps "where of old ladies had sat and sung and lived sweet lives whilst their gentle breasts were sad for their menfolk away in the midst of remorseless wars" (37).
This feminisation of Harker is in line with one kind of prevalent belief about homosexuality at that time, primarily that of John Addington Symonds, who talked of male homosexuality as an inversion. For Symonds, male homosexuals were men with an internal spirit of women, male biological bodies with the emotions and essence of a female (100). As Craft writes, inversion still worked on the model of

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