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Applying Julia Kristeva's theories of abjection reveals both the development of the character of Heathcliff and his actions within Wuthering Heights. Heathcliff exhibits common attributes of abused children, which is exacerbated when the Earnshaw family treats him as a liminal 'Other'. As a result of his abjection, Heathcliff exhibits borderline personality traits. He abuses human beings and animals, and constantly rejects social laws. Longing for fulfilment and connection, Heathcliff becomes enmeshed with Catherine Earnshaw. Unable to separate himself from Catherine, despite her death, Heathcliff increasingly spends his time searching for signs of her absent presence in the natural world. Although he seems to realize his abject state and reject his carefully planned revenge at the end of his life, Heathcliff cannot move away from abjection. Instead, Emily Brontë creates a character who fails to construct a boundary between himself and the Other and exemplifies Kristeva's definition of abjection.

Over the last forty years, scholars have interpreted the early modern public execution ritual variously as an affirmation of state power, a chance for victims to fashion a memorable identity on the scaffold, and a site of festivity for those gathered to witness. What, though, do we make of the public execution of a dog? This article considers the 1677 hanging of a dog and its female owner for the crime of bestiality, focusing on early modern English beliefs about animals, human sexuality, and punishment. In sixteenth- and seventeenth-century England, reasons for killing animals involved in bestiality found their basis in interpretations of biblical texts, anxieties about animal familiars, fears of crossbreeding, and a desire to maintain boundaries between beasts and humans. This dog's execution, which occurred publicly and was memorialized in print, complicates the usual understandings of public execution, effectively queering the ritual by destabilizing its meaning.

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