The present article is an analysis of three short stories of Angela Carter’s The Bloody Chamber in terms of Julia Kristeva’s major theoretical concepts closely related to “the semiotic”. It considers Kristeva’s notion of dialectical oscillation between the semiotic and the symbolic and their consequences in The Bloody Chamber, The Tiger’s Bride and Wolf-Alice. For Kristeva, dialectical oscillation between the semiotic’s disruptive and revolutionary aspects and the symbolic’s terms puts the subjects always in process. In this regard, this article examines and demonstrates Kristeva’s major critical concepts related to the semiotic such as the subject in process, difference and identity, and the significance of mother. As a result, by the application of Julia Kristeva’s outstanding views in Angela Carter’s masterpiece, this article not only intends to discover their common ideas but also to demonstrate how Kristeva’s philosophical and psychological theories of the semiotic differentiate from the other critics and philosophers in the way they cover a range of various discourses in our life.
