This thesis is to parallel the otherness of Dracula, who is not incorporated into the fixed category but freely metamorphoses across all boundaries, with a postmodern subjectivity which is not reduced to a unitary identity but consistently re-constructed within the network of differences. Having no singular (gender) identity, Dracula questions about the rigid gender ideology which subordinates women to men and shakes the ground on which (Victorian) patriarchal culture is based. By doing so, Dracula shares the potential to overcome the oppressive Western phallogocentrism with the femininity as a signifier of difference. This is why Dracula infected only women in the text: Lucy and Mina. Lucy, who expressed her secret sexual desire and violated the gender norm, was regarded as a dangerous other and destroyed by the male characters. Mina, representing the ambivalent position between the traditional proper lady and the positive maker of a polyphonic text, shows the contradiction and limits of the Cartesian subject whose violent binary oppositions suppress or appropriate the other. The son of Mina, however, proves that all subjects are the intersection of the discontinuous and heterogeneous flows of otherness. Having the multi-layered blood of all characters―his parents, the Dracula pursuers who transfused Lucy, and even Dracula who bit Lucy and forced Mina to drink his blood, he is rather the sign of the postmodern subjectivity than the symbol of the restored peace and order after Dracula's disappearance. Dracula reveals that the postmodern subject-in-progress always becomes something else upsetting the logic of sameness, like a vampire who infects the world with the otherness of differences.