透過安潔拉．卡特的短篇小說《染血的房間》，本論文旨在解構童話故事中深植的女性形象。卡特改編的童話故事加入了性與暴力於那些經典的童話故事中，像是白雪公主, 灰姑娘, 藍鬍子和美女與野獸，推翻了在父權思想體制下被壓抑的女性形象。卡特運用情色文學的元素，打破深根蒂固地男尊女卑的關係。藉由卡特的改編故事，女性從她們壓抑的性慾望中解放並且更進一步地提高了女性在歷史中的地位。

首章透過《雪孩》以及《掃地娘和母親的鬼魂》兩個改編《白雪公主》以及《灰姑娘》的故事顛覆了傳統童話故事中的二元對立以及對女性的刻版印象。我帶入瑪莉．達利的理論分析童話故事以及傳說中的父權對女性心理和身體的欺騙以及支解。這些對女權的壓制與統治是卡特於她的改編小說中致力解構的。

第二章分析卡特的《染血的房間》中的性慾與暴力，根據Cixous女性書寫的理論: 女性應該大膽的表現對性的慾望。藉由Cixous的理論，卡特應用性語言以及暗示於故事中進而解構了女性在兩性關係之間的不平等的性關係。在故事中的對性的想像以及書寫是卡特建構新女性的第一步。

第三章繼續討論在《獅子求偶》以及《老虎新娘》性的設置，兩位女主角透過轉化她們的身體以及暴力成為力量，得以生存在父權的統治之下。藉由不斷的改編童話故事，卡特免除了傳統對女性壓抑的論述並解放了對於女性性的壓抑

性與暴力的設置補足了在父權統治下女性書寫中被禁止而遺失的部份。卡特改編故事中的性與暴力，推翻以及動搖了女性既有的形象。女性有權利表達自己對性的渴望而不被傳統的道德束縛所挾制。女性不是歷史的奴隸而是它的創造者。卡特在故事中建構了新的女性形象：那些大膽表達自己對性的慾望與衝動的先驅。

Through reading Angela Carter’s collection of short stories, The Bloody Chamber, this thesis aims to deconstruct the fixed female images in the traditional fairy tales. By appending sexuality and violence in the classic stories, such as Snow White, Cinderella, Blue Beard, and Beauty and the Beast, Carter’s revisions overturn the repressive images and ideology of patriarchy which oppress women in every aspect. Carter regarded herself as a “moral pornographer” to utilize pornographic materials to break the fixed relationship between men and women. By her revisions, women are emancipated from the repression of their sexual desire, and moreover, create their own discourses in the history. 
      The first Chapter overturns the binary oppositions and the stereotypes of women in Carter’s “The Snow Child” and “Ashputtle and the Mother’s Ghost,” two revised stories of Snow White and Cinderella. By using Mary Daly’s theory, I points out the deception and dismemberment of patriarchy through myths and fairy tales which Carter endeavors to deconstruct in her revisions. 
The second chapter analyzes the device of sexuality and violence in Carter’s “The Bloody Chamber,” the revision of “Blue Beard.” In terms of Hélène Cixous’ theory of feminine writing, women should express their sexuality and desire without shame. Carter, like Cixous’ idea of feminine writing toward sexuality, exercises the device of sexual language and implication to deconstruct the ideology of sexual slavery in men and women relationship. This device of sexual imagination is the rite of passage for Carter to develop an image of new women who speaks out their sexual desire courageously.  
With the other two revisions, “The Courtship of My Lyon” and “The Tiger’s Bride,” based on Beauty and the Beast, the third chapter keeps on analyzing the device of sexuality of the variations. The female protagonists survive within their narratives to express their body and transform the violence into power to fight against the patriarchy. Through repeating and revising the traditional fairy tales which are designed by patriarchal authority, Carter discharges the power of discourse within the traditional stories and liberates the repression of sexuality.
The device of sexuality and violence gathers the missing elements of feminine writing, such as voluptuous language, the intercourse, the corpse, and the bloody amputated bodies, which are unfamiliar in female writing due to the fact that women are banished from certain themes and topics in patriarchal society. However, Carter’s revisions utilize the device of sexuality and violence to shatter and overturn the repression and stereotype of women. According to Carter, women have the right to freely express their sexuality and bodies and should neither be defined nor confined by patriarchal rules or social standard. “Women are not the slaves of history, but its makers,” she develops a new image for women to speak out their bodies and desire without shame.

Introduction................................................................................................................1                                                        

Chapter One: Angela Carter and the Fairy Tales……………………………….11                                       

Chapter Two: “The Bloody Chamber”…………………………………………..41

Chapter Three: Lion and Tiger …………………………………………..............70

Conclusion …………………………………………………………………………101

Works Cited ……………………………………………………………………….106

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