In Angela Carter’s collection of re-written fairy tales, The Bloody Chamber stands as the opening narrative, offering rich ground for exploration through the lens of ekphrasis. This paper delineates three types of women images: the being gazed woman, the imprisoned woman, and the new women through the analysis of three categories of ekphrasis: pornographic art collections, spatial scenes, and the characters’ images. Through extensive employment of ekphrasis, Carter vividly reproduces what the heroin sees through what she says, sharply satirizing the stereotypical images of traditional women in classic fairy tales, subverting the binary opposition where men are the subject and women the object, and deconstructing the moral constraints imposed on women in fairy tales.

Liu Sailian. Ekphrasis in Angle Carter’s The Bloody Chamber. Academic Journal of Humanities & Social Sciences (2024) Vol. 7, Issue 6: 31-36. https://doi.org/10.25236/AJHSS.2024.070606.

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