Emily Brontë’s Wuthering Heights is layered with texturized commentary that disowns the constrictions placed on female characters. Brontë pairs a desire for unconventionality with the hyper-fixation on mobility, landscape, and character relationships as an effective technique to shed light on the tension between female autonomy and domestication.

Bram Stoker utilizes the boundaries set up by Gothic literature to craft a novel filled with subverted transitional spaces—transforming the concept of terror altogether. In pursuing blurred boundaries within Dracula, scholars might begin to expose spatiality surrounding anxieties of progress, gendered spaces, boundaries of the body, and a culture’s sense of self.

. . . he seldom considered his body or his circumstances—or anything else, for that matter. The business of being took up all his time. (Díaz 216)