It does so by reading the story in the space between Sara Ahmed's theory of affective economies and Slavoj Ẑiẑek's Lacanian psychoanalysis. This paper provides a critical reading of the willful and speculative subjectivities of Octavia Butler's final novel, Fledgling (2005). In order to demonstrate the viability of the correlation between gender performativity and the figure of the vampire, This constant ontological divide is not only an intrinsic characteristic of the figure of the vampire in general, but it is also what makes the contemporary blood drinker the cultural figure which can most accurately represent modern issues pertaining to gender theory. This can be seen especially through to their undead countenance, but even more strongly when it comes to their fluid relationships with gender and sexuality. Indeed, since vampires are undead beings – they are neither dead nor alive –, they are always situated as being in between. The most potent example of the aforementioned statement relates to the correlation between the figure of the vampire and gender performativity and fluidity. However, the contemporary figure of the vampire has become even more malleable and therefore, embodies several other contemporary issues. They are also associated with the prohibition of sex and desire, especially in the case of Bram Stoker's Dracula.
Indeed, vampires are frequently perceived as being the cultural embodiment of fear – fear of the other, fear of unknown diseases, etc. From Dracula's creepy fingernails to Lestat's charm to " un-pires " that sparkle in the sunlight, the representations of the figure of the vampire often mold themselves to the current zeitgeist.
Blood drinkers have been an inherent part of occidental popular culture for centuries.
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