Gothic Elements in "The Bloody Chamber"

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The Uses of the Gothic in “The Bloody Chamber” “And, ah! His castle. The faery solitude of the place; with its turrets of misty blue, its courtyard, its spiked gate [...] that castle, at home neither on the land nor on the water, a mysterious, amphibious place” (Carter 13) Gothic fiction has begun its battle of finding a place in literature with British writer Horace Walpole, whose remarkable novel, The Castle of Otranto, published in 1764, succeeded in establishing of a new genre, of a new literary tradition that involves castles, lofty towers, darkness, fear, torture, women in distress, and everything that causes terror in the eyes of the reader. The new genre was imitated throughout the years and this Gothic stream became so broad that it experienced an abrupt increase in popularity especially at the beginning of the twentieth century. Due to the flourish of the film market and mass media of the time, this admiration for horror texts continued even after World War II. Especially, among women writers who began to give life to such stories of terror. Daphne du Maurier’s Rebecca, Anya Seton’s Dragonwyck and Victoria Holt’s The Mistress of Mellyn are just a few novels that follow the same pattern: an innocent young girl marries a wealthy old and widowed man and suspects him of a murder. Angela Carter adopted the same theme in her short story published in 1979, “The Bloody Chamber”, but rather than being influenced by other female writers of the period, Angela Carter has stated that ‘“[her] intention was not to do ‘versions’ or, as the American edition of the book said, horribly, ‘adult’ fairy tales, but to extract the latent content from the traditional stories.”’ (Haffenden 80) and she certainly succeeded. She was mainly interested in folk tales and she began to write them down in the beginning of the 1970s, which is the period that corresponds to the era of the
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