Angela Carter deconstructs the boundaries between high and low culture, makes anything authorized, righteous and divine, agitated and unstable through citation, allusion, and de/remythologization of past literary texts. Therefore, Carter regards the literary texts as a kind of literary criticism and bricolage. Carter uses various canons, folk tales, myths, and pop cultures to expose how feminine mythologies such as motherhood, female sexuality and morality works in phallocentric cultures. Carter’s “The Bloody Chamber,” one of her revised fairy tales might be read as a rebuttal against Marquis de Sade. This literary text reconstructs fairy tales, transforming the original tale’s passive and helpless female character into an active and autonomous sexual subject. Carter takes Charles Perrault’s “Bluebeard,” which appeared in the late seventeenth century, and renames and rewrites as “The Bloody Chamber.” Also, Carter tries to trace Sade’s perspective—about the culturally determined nature of women and the relations between men and women in an authoritative and patriarchal society—in her non-fiction book The Sadeian Woman. What Carter admires in Sade’s text is his unlimited disclosure of sexual power dynamics and all the mythic versions of women. Carter points out Justine as the “holy virgin” and Juliette as the “profane whore” in The Sadeian Woman. Defying objectification, Carter calls the latter a “blasphemous guerilla of demystification,” who becomes a new autonomous sexual subject. Therefore, this paper aims to demythologize feminine sexuality through rereading feminine mythologies, fairy tales, and pornography in Angela Carter’s “The Bloody Chamber” and The Sadeian Woman.