Academic literature on the topic 'Femme fatale'
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Journal articles on the topic "Femme fatale"
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Porter, Roy. "Femme fatale?" Nature 383, no. 6603 (October 1996): 781–82. http://dx.doi.org/10.1038/383781b0.
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Schreiber, Falk. "femme fatale." tanz 14, no. 2 (2023): 4–7. http://dx.doi.org/10.5771/1869-7720-2023-2-004.
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Kim, Gongsook. "The Archetype of Femme Fatale Character in K-drama: Focusing on the Heroine of Misty." Korean Society of Culture and Convergence 45, no. 4 (April 30, 2023): 291–308. http://dx.doi.org/10.33645/cnc.2023.04.45.04.291.
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The archetype of the femme fatale character of Go Hye-ran, the heroine of the K-drama Misty, was analyzed by applying the Greek mythology archetype theory of the Jungian School of Bolen and the discussion of the femme fatale character in literature. A femme fatale is a female type that maximizes the negative aspects of the archetype of the goddess Aphrodite. Misty shows the tragedy that can happen when an goddess Aphrodite-archetypal woman rushes for her desire through the modern success-oriented femme fatale Go Hye-ran. She reproduces the archetype of femme fatale as a beautiful and menacing villainess, an unknown woman wrapped in a veil, and the incarnation of narcissistic desire. The femme fatale's counterpart is an immature and weak male type. Lee Jae-young is analyzed as the archetype of Ares, the goddess Aphrodite's lover, Myung-woo Ha as the archetype of Hephaestus, the husband chosen by Aphrodite, and Tae-wook Kang as the archetype of Apollo. Go Hye-ran can be said to be a true femme fatale in K-drama, which completed Misty as an archetypal drama by embodying femme fatale characters in myths and classics in a modern way.
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Hasanah, Ferli. "REPRESENTASI FEMME FATALE DALAM NOVEL CANTIK ITU LUKA KARYA EKA KURNIAWAN." Jurnal POETIKA 5, no. 1 (July 31, 2017): 14. http://dx.doi.org/10.22146/poetika.25446.
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ABSTRAKPenelitian ini bertujuan untuk memaparkan karakteristik-karakteristik femme Fatale yang terdapat dalam novel Cantik Itu Luka. Melalui tokoh-tokoh perempuan yang berbeda, ciri-ciri tersebut dapat ditemukan. Dengan menggunakan konsep femme fatale dari Yvonne Tasker dan Edwards, lima tokoh perempuan, yaitu Dewi Ayu, Alamanda, Adinda, Maya Dewi, dan Si Cantik dapat dikategorikan sebagai femme fatale. Citra ini diperkuat juga dengan membandingkan ciri-ciri tersebut pada citra tokoh perempuan yang berbudi luhur. Simpulan akhir mengungkapkan bahwa pada diri tokoh-tokoh perempuan tersebut terdapat ambiguitas antara protagonis dan antagonis, femme fatale dan perempuan berbudi luhur. Dengan demikian dapat dikatakan bahwa ada citra baru perempuan yang dibangun oleh dekonstruksi seksualitas pada novel ini.Kata kunci : femme fatale, perempuan, seksualitasABSTRACTThis study aims to describe the characteristics of femme Fatale contained in the novel Cantik Itu Luka. Through different female characters, these characteristics can be found. Using the femme fatale concept of Yvonne Tasker and Edwards, five female characters, Dewi Ayu, Alamanda, Adinda, Maya Dewi, and Si Cantik, can be categorized as femme fatale. This image is also strengthened by comparing such characteristics in the image of a virtuous woman. The final conclusion reveals that in the female characters there is and ambiguity between the protagonist and the antagonist, the femme fatale and the virtuous woman. Thus it can be said that there is a new image of women built by the deconstruction of sexuality in this novelKeywods: femme fatale, woman, seksuality
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Hasanah, Ferli. "REPRESENTASI FEMME FATALE DALAM NOVEL CANTIK ITU LUKA KARYA EKA KURNIAWAN." Poetika 5, no. 1 (July 31, 2017): 14. http://dx.doi.org/10.22146/poetika.v5i1.25446.
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ABSTRAKPenelitian ini bertujuan untuk memaparkan karakteristik-karakteristik femme Fatale yang terdapat dalam novel Cantik Itu Luka. Melalui tokoh-tokoh perempuan yang berbeda, ciri-ciri tersebut dapat ditemukan. Dengan menggunakan konsep femme fatale dari Yvonne Tasker dan Edwards, lima tokoh perempuan, yaitu Dewi Ayu, Alamanda, Adinda, Maya Dewi, dan Si Cantik dapat dikategorikan sebagai femme fatale. Citra ini diperkuat juga dengan membandingkan ciri-ciri tersebut pada citra tokoh perempuan yang berbudi luhur. Simpulan akhir mengungkapkan bahwa pada diri tokoh-tokoh perempuan tersebut terdapat ambiguitas antara protagonis dan antagonis, femme fatale dan perempuan berbudi luhur. Dengan demikian dapat dikatakan bahwa ada citra baru perempuan yang dibangun oleh dekonstruksi seksualitas pada novel ini.Kata kunci : femme fatale, perempuan, seksualitasABSTRACTThis study aims to describe the characteristics of femme Fatale contained in the novel Cantik Itu Luka. Through different female characters, these characteristics can be found. Using the femme fatale concept of Yvonne Tasker and Edwards, five female characters, Dewi Ayu, Alamanda, Adinda, Maya Dewi, and Si Cantik, can be categorized as femme fatale. This image is also strengthened by comparing such characteristics in the image of a virtuous woman. The final conclusion reveals that in the female characters there is and ambiguity between the protagonist and the antagonist, the femme fatale and the virtuous woman. Thus it can be said that there is a new image of women built by the deconstruction of sexuality in this novelKeywods: femme fatale, woman, seksuality
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Romero López, Alicia. "Herodías: la olvidada "femme fatale" = Herodias: the forgotten "femme fatale"." Signa: Revista de la Asociación Española de Semiótica 25 (January 1, 2016): 1007. http://dx.doi.org/10.5944/signa.vol25.2016.16941.
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Karam, Savo. "The Uncanny Aura of the Femme Fatale’s Icon in Byron’s DonJuan." Advances in Social Science and Culture 2, no. 3 (July 17, 2020): p25. http://dx.doi.org/10.22158/assc.v2n3p25.
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The femme fatale trope, the incarnation of the artistic ideal of the writer’s creative imagination, is one of the most captivating female facades to haunt the Western literary tradition. Defined by her liminality, the femme fatale embraces an uncanny appearance that is terrifying but concurrently enthralling. Such oxymoronic combination defines her threatening and sublime representation which echoes Freud’s phenomenon of the uncanny that Lord Byron incarnates through his portrayal of the fatal woman motif. As a dark Romantic poet, Byron perceived beauty in the bizarre, unrestrained attitude of the fatal woman’s figure which shakes the rigid moral dimension of Victorian literature. What is intriguing about Byron’s depiction of his fatal woman is the supernatural, eerie power of her erotic appeal which she adroitly deploys to consume and haunt her victim’s imagination. Many researches tackled Byron’s contribution to the Gothic lore such as the initiation of the male vampire theme; other areas that were of interest to scholars depicted Byron’s homme fatal (the Byron seducer) trope. However, little critical attention pertaining to Byron’s femme fatale motif has been paid, and since his delineation of the femme fatale remains ambivalent and incomplete, this untouched area deserves substantial attention. Although Byron did not initiate the fatal woman figure, it is feasible to study how he conceives this archetype and the extent to which he incorporates Freud’s theory of the uncanny in his Gothic portrayal of two fatal females, Adeline and Catherine, in Don Juan.
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ÖZDİNÇ, Tuğçe. "FEMME FATALE 101: THE BASIC CHARACTERISTICS OF THE FEMME FATALE ARCHETYPE." Journal of International Social Research 13, (13/73) Language-Literature (January 1, 2020): 175–86. http://dx.doi.org/10.17719/jisr.11124.
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Hasan, Haris. "The Lethal Film Noir Femme Fatale : A Precursor To Bond Girls In James Bond Films." Journal of Women Empowerment and Studies, no. 21 (December 23, 2021): 21–25. http://dx.doi.org/10.55529/jwes.21.21.25.
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Film noir as a film making style gained prominence in a post world war II world. The filming style of noir with its unique americanization became a force of sorts in the mid 1940’s and in much part of the post war booming decade of 50. One of the interesting contribution of film noir apart from aesthetics of visual and lighting techniques is the depiction of female characters which came to be known as femme fatale. Femme fatale in its synonyms and various contours came to be recognized as a character with its diabolical charm and fatal attraction became the reason for the ultimate demise of the male protagonist. The development of femme fatale chracters also paved way for future fetishization of female characters in cinema. The highly popular 007 Bond series is an excellent nursery of sorts where the female characters often found themselves to be either femme fatale or femme atrappe. The paper aims to establish some of the occurrences of this sort of character in Bond films and how their resemblance with the ones in the film noir era was an experiment in creating fierce female characters on the celluloid. The depiction and celluloid portrayal in a way helped establish and explore the various contours of female characters.
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Chakravarty, Prerana. "Dangerous Femininity: Looking into the Portrayal of Daphne Monet as a Femme Fatale in Walter Mosley’s Devil in a Blue Dress." IAFOR Journal of Arts & Humanities 9, no. 1 (July 29, 2022): 62–72. http://dx.doi.org/10.22492/ijah.9.1.05.
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The phrase “femme fatale” is a well-known figure in the literary and cultural representations of women. Associated with evil temptation, the femme fatale is an iconic figure that has been appropriated into folklore, literature, and mythology. In the twentieth century, the figure finds space in literary and cinematic endeavours, particularly in crime fiction and noir thrillers. The progenitors of the hard-boiled genre of detective fiction popularised the figure of a sexually seductive and promiscuous woman who betrays men for material gain. Walter Mosley, an African American detective fiction writer, adapted the hard-boiled formula popularised by Dashiell Hammett and Raymond Chandler, but altered it to address socio-political issues concerning the condition of African Americans in the post-World War II era. Mosley followed Chandler’s lead in weaving a quest narrative around femme fatale Daphne Monet in his first novel, Devil in a Blue Dress (1990). The purpose of this paper is to look at Mosley’s treatment of the femme fatale figure in this novel. The methodology employed is a close analysis of the text, as well as an analysis of the figure of the femme fatale in its function as catalyst for men’s behaviour. The purpose of this study is to examine how the femme fatale was created, specifically what elements contributed to Daphne Monet’s transformation into a femme fatale.
Dissertations / Theses on the topic "Femme fatale"
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Björk, Chanda. "En femme fatale i sagoboken." Thesis, Södertörns högskola, Estetik, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29968.
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Silva, Antônio Márcio da. "The femme fatale in Brazilian cinema." Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617799.
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This thesis examines the portrayal of the femme fatale in Brazilian cinema. It shows that although such a character is well known in cinema, her presence in Brazilian cinema has so far been neither acknowledged nor theorised. The thesis argues that this is a result of the ways the femme fatale has been constructed and understood in popular culture and cinema: as a beautiful heterosexual Caucasian woman. Therefore, the main objective herein is not only to identify the femme fatale in Brazilian film production but also to show the different guises in which she appears in order to decolonise the ideal type of her that has been propagated in film history: the blonde bombshell. To do so, it proposes that this figure be understood as a 'performance' that threatens and challenges hegemonic roles rather than in terms of its biologically born body. Consequently, 'femme fatale ' denotes, in this thesis, a female as well as a male body that challenges pre-established social boundaries through its performativity. The thesis focuses on a sample of six films to illustrate the di verse ways the femme fatale has been configured in Brazilian cinema. It concentrates on three main topics in these films: race, gender (and sexuality) and social class. These are discussed through a qualitative analysis of each film that mainly explores three features besides their narrative: the iconography of image, the visual style and the language the characters use. Moreover, the analysis is supported by a theoretical framework that is essentially interdisciplinary because such an approach opens up more possibilities to understand the various themes associated with the portrayal of the femme fatale in Brazilian cinema. The results show that reading the femme fatale as a performance instead of focusing mainly on her look is a productive way to uncover various guises in which this complex figure has appeared in Brazilian cinema. Furthermore, they show that this can help to identify and theorise other femmes fatales in contexts beyond Brazil as the analysis indicates that she is a potential transnational figure. The thesis also identifies areas of Brazilian cinema that need to be addressed in future research (particularly gender and sexuality and their different facets). Key Words: Brazilian Cinema, Femme Fatale, Race, Gender, Sexuality, Social Class
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Redkozubova, Žana. "Femme fatale w literaturze polskiego modernizmu. Wybrane aspekty." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120807_123434-16048.
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Celem mojej rozprawy magisterskiej jest wyeksponowanie obrazu femme fatale w kategoriach modernistycznych na podstawie inspirujących utworów literatury polskiej. Główne zadania niniejszej pracy sformułowałabym następująco: 1. Scharakteryzowanie „wampiryzmu” jako punktu „wyjściowego” badań obrazu kobiety fatalnej w literaturze europejskiej. 2. Wprowadzenie kategorii femme fatale w pole semantyczne polskiej literatury modernistycznej. Napisana przeze mnie rozprawa magisterska składa się ze wstępu, trzech rozdziałów i zakończenia. W pierwszym rozdziale niniejszej pracy pt. Zagadnienia teoretyczne są przedstawione główne kategorie literaturoznawcze, wykorzystane w rozprawie. W części drugiej, zatytułowanej Kobieta fatalna w kontekście europejskiego wampiryzmu, jest przybliżona historia pojawienia się wampiryzmu w kulturze i literaturze europejskiej, ze szczególnym uwzględnieniem aspektów polskich. Analizowane są także utwory o tematyce wampirycznej, które weszły do historii literatury. Są to Narzeczona z Koryntu Johanna Wolfganga Goethe, Wampiryzm Ernsta Theodora Amadeusza Hoffmanna, Rodzina wilkołaka Aleksego K. Tołstoja oraz Dracula Brama Stokera. Wyeksponowane są zmiany w kobiecej tematyce w literaturze wieku XIX. Rozdział trzeci został bezpośrednio poświęcony tematyce femme fatale w literaturze Młodej Polski, analizie wybranych przeze mnie utworów literackich. W zakończeniu podaję wnioski niniejszej rozprawy.Magistrinio darbo Femme fatale lenkiškojo modernizmo literatūroje. Parinkti aspektai tikslas atvaizduoti femme fatale modernistiniuose kategorijuose remiantis inspiraciniais lenkiškos literatūros kūriniais. Pasiekti šį tikslą yra įmanoma išsprendus šias užduotis: apibudinti “vampirizmą” kaip “ išeinamąjį” fatališkosios moters vaizdo europos literatūroje tyrimų punktą bei įvesti kategoriją femme fatale į lenkiškos modernistinės literatūros semantikos rėmus. Darbas susideda iš įvado, trijų skyrių ir išvadų. Įvade yra pateikta bendroji informacija apie Jaunosios Lenkijos epochą, šio laikotarpio naują požiūrį į moterį ir jos situacija socijalinėje ir literatūrinėje sferoje. Pimame skyriuje Teorijos pagrindai yra pateikta pagrindinė informacija apie hermeneutikos ir gender literatūros disciplinas. Antrajame skyriuje, pavadintame Fatališkoji moteris europietiško vampirizmo kontekste, priartinama vampirizmo atsiradimo istorija europos kulturoje ir literatūroje, atsižvelgiant į lenkiškus aspektus. Parodomi moteriškos tematikos pokyčiai XIX amžiaus litaratūroje. Trečioji dalys Modernistiniai atvaizdavimai femme fatale lenkiškoje literatūroje yra paskirta tematikai femme fatale Jaunosios Lenkijos literatūroje, išrinktu kūrinių analizei. Išvadose yra apibendrinti tyrimo rezultatai.
The purpose of this research, which is called Femme fatale in polish literature of modernism was to exhibit the image of femme fatale on the basis of inspiring works in polish literature. This task can be resolved by completing the following assignments: describing “vampirism” as “initial” point of inquiry of fatal woman in European literature, introduction of category of femme fatale into semantic field of polish modernism. This dissertation consists of introduction, three chapters and conclusion. In introduction is given the main information about Young Poland époque, its look upon new situation of woman in social and literary ranges. In first chapter called Theoretical basis is represented the main information about hermeneutics and gender literature. Second chapter Fatal woman in context of European vampirism is approached the appearance of vampirism in European culture and literature with taking into consideration polish aspects. Into prominence are brought feminine subjects in literature of 19th century. Chapter three was concentrated on subjects of femme fatale of Young Poland and analysis of chosen literary works. The results of analysis are summarized in conclusion.
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McMahon, Gary. "The femme fatale in 20th century British Century." Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528129.
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There is no study of the scope of the British film femme fatale: her nature and heritage have not been documented. That's what this thesis does. How does British society and history modify this figure? Does she reflect the social fortunes of British women, or is she such a fantasy that there is no correlation? I reject the psychoanalytic model that customarily interprets this subject and this field, so I borrow some Jungian magical thinking and follow an interdisciplinary trail of associations to test her merit as an archetype. And since archetypes are supposed to be unchanging, I am on a collision course with a Cultural studies model that ordinarily expects social adaptation. She is conspicuously absent from the British new wave and realism, but this reflects an ideological disparity between a left-wing aesthetic and the sovereign, dictatorial demeanour of the femme fatale. There are transcending archetypal consistencies: they relate to her embodiment of man's ambivalence about Mother Nature, acting out inevitable death from a cellular to a macrocosmic scale, inherited from mythological predecessors in media such as literature, painting and music. Not a figure to be trifled with, then. It turns out she does change with the times, progressively more physical in sexuality, aggression and mobility. Only Britain's war genre was closed to her, as her specialism moved from melodrama and crime to spy and horror films. She goes where the money is (box office), but her motivation ranges from materialism to vengeance to power to sadism. She is now sometimes construed as an assertive feminist role-model, but this contrivance applies only to the degree that might apply to the first British woman Prime Minister. Her masculine adaptation now demonstrates the devaluing of femininity, in both genders, in a ruthless, martial, capitalist culture, so that the term I find objectionable in my review is now objectionably valid: 'Phallic Woman' enjoys equal opportunity as anti-hero. You watch a film, take notes as you go looking for contrasting patterns with representations of the subject in this and other genres and other media. Notes loosely structured by headings categorise some observations at a stroke: costume; mobility; animalistic motifs; recurring characteristics that gradually coalesce into clusters to suggest sub-types offemmes fatales; mythological or psychological imagery. in turn resolved into sub-headings; same with themes. The categories make comparisons cogent. Other notes are freeform, open to any intuited observation, inviting dissociation, insuring against boxing yourself into presumptions. Then you can on a curator of special collections or a censor or a manager sitting on an archive at Pinewood Studios, and with a view to access all areas try to get them as enthused about this research as you are ... which requires an appreciation of storytelling that this chapter affirms as a research framework. To be transparent about it the moment you look for a beginning, middle or en~ or present a paper or otherwise share your work, you're into a storytelling narrative. That standard candid snapshot of one strategy extends to news footage and period television in my case, and organises my eclectic reading of art, mythology~ religion history, literature, music ... trawling for associations on the understanding that some conclusions in the humanities are found objects, so tangentially do they appear in the researcher's perceptual field. That's how W,J.T. Mitchell came to the fore from a supervisor's recommendation in art theory, and a Playboy interview came to qualify a psychoanalytic disquisition on 'the monstrous female.' This unconventional lateral research aims to show how transcendental themes and figures bind an unlikely grouping. An international comparison of films would do that, but the scope would rob the attention to British cinema that this thesis establishes as a unique radius for studying the femme fatale. I court creative accidents with a non-quantitative strategy of making an empty folder of 'Case Studies.' Pragmatic - but premeditated in the weighting on highly active, symbolic portrayals. My thematic approach gathers pertinence with incidences: themes define themselves by recurrence to make the case for the persistence of vision that any Jungian would associate with an archetype of the collective unconscious if there is one, and that anyone attuned to Aby Warburg would expect from a primal figure in art.
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Laubser, Liza-Marie. "La femme fatale : une reconsideration d'un archetype negatif." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71718.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: The stereotypical figure of the femme fatale as irresistible seductress, who inevitably brings about death, is well known. This figure is nevertheless strangely absent from Afrikaans literature. This is what makes the appearance of the character of Nicolette in André Brink’s novel, The Ambassador (1963), so remarkable. Not only is she a complex femme fatale, she also adds a new dimension to the cliché. The striking similarities between Nicolette and Kathe, the female protagonist in Henri-Pierre Roché’s novel Jules et Jim (1953), justify a comparative study between these two novels. Although both of them bring about death, it seems that the presence of these femme fatale characters has positive rather than negative consequences. Contrary to the stereotypical evil temptress, Nicolette and Kathe are more natural, spontaneous and unpredictable – apparently free from the constricting qualities of the bloodthirsty femme fatale. In this comparative study, the image of the femme fatale is investigated through the close examination of its role and function in Jules et Jim and The Ambassador. By examining the philosopher René Girard’s theories on mimetic desire, violence and sacrifice as well as Georges Bataille’s ideas on eroticism and death, the nature of the femme fatale in these two novels is analysed in order to determine to what extent the image of the femme fatale as negative archetype could be reconsidered.
AFRIKAANSE OPSOMMING: Die stereotipiese figuur van die femme fatale as onweerstaanbare verleidster wat noodwendig die dood teweegbring, is alombekend. Tog blyk daar 'n opvallende afwesigheid van dié gevaarlike karakter in die Afrikaanse letterkunde te wees. Dit is waarom die verskyning van die karakter van Nicolette in André P. Brink se roman, Die Ambassadeur (1963), so merkwaardig is. Nie net is Nicolette 'n komplekse femme fatale karakter nie, maar bring sy ook 'n nuwe dimensie tot die geykte stereotipe. Dit is dan veral die treffende ooreenkoms tussen Nicolette en Kathe, die vroulike protagonis in Henri-Pierre Roché se roman Jules et Jim (1953), wat 'n vergelykende studie tussen hierdie twee romans regverdig. Alhoewel albei die dood teweegbring, blyk dit dat die teenwoordigheid van hierdie femme fatale karakters eerder positiewe as negatiewe gevolge het. Anders as die stereotipiese bose verleidster, is Nicolette en Kathe meer natuurlik, spontaan en onvoorspelbaar – oënskynlik vry van die beperkende eienskappe van die bloeddorstige femme fatale. In hierdie vergelykende studie word die beeld van die femme fatale ondersoek deur die rol en funksie daarvan in Jules et Jim en Die Ambassadeur in diepte te bestudeer. Deur die filosoof René Girard se teorieë oor mimetiese begeerte, geweld en offergawe asook Georges Bataille se idees oor erotisme en die dood te ondersoek, word die aard van die femme fatale in hierdie twee romans vergelykend ontleed om sodoende te bepaal tot watter mate die beeld van die femme fatale as negatiewe argetipe heroorweeg kan word.
RESUME: La figure stéréotypée de la femme fatale comme séductrice irrésistible et malfaisante qui entraîne inévitablement la mort, est bien connue. Néanmoins, nous constatons une absence frappante de cette figure dans la littérature de langue afrikaans. Voilà ce qui rend d’autant plus remarquable et surprenante l’apparence du personnage de Nicolette dans le roman L’Ambassadeur d’André Brink (1963). Non seulement est-elle une femme fatale complexe, mais Nicolette apporte aussi une nouvelle dimension à la figure rebattue. Ce sont surtout les similarités évidentes entre Nicolette et Kathe, la protagoniste féminine du roman Jules et Jim d’Henri-Pierre Roché (1953), qui justifient une étude comparée de ces deux romans. Bien que ces deux personnages féminins provoquent la mort d’un homme, il semblerait que la présence de ces femmes fatales ait des conséquences positives plutôt que négatives. Contrairement au stéréotype de la séductrice maléfique, les personnages de Kathe et de Nicolette sont plus naturels, spontanés et imprévisibles – apparemment libres de toute étiquette restrictive attribuée à la femme fatale assoiffée de sang. Dans cette étude comparée nous nous pencherons sur l’image de la femme fatale en examinant son rôle et sa fonction dans les romans Jules et Jim d’Henri-Pierre Roché et L’Ambassadeur d’André Brink. En considérant les théories sur le désir mimétique, la violence et le sacrifice que propose René Girard ainsi que les idées de Georges Bataille sur l’érotisme, nous essayons enfin d’établir dans quelle mesure on pourrait reconsidérer la définition étriquée de la femme fatale comme archétype négatif.
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Farrimond, Katherine M. "Beyond backlash : the femme fatale in contemporary American cinema." Thesis, University of Newcastle Upon Tyne, 2012. http://hdl.handle.net/10443/1381.
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This thesis is the first comparative reading of the femme fatale in contemporary American cinema, and makes a significant contribution to a field that has previously limited its focus to film noir of the 1940s and the neo noirs of the 1980s and 1990s. To date, critical examinations of the femme fatale figure in contemporary cinema have centred on issues of post-second wave backlash, and on a very narrow range of films, most notably Fatal Attraction (1987), Basic Instinct (1992), Disclosure (1994), and The Last Seduction (1994), (Kate Stables, 1998; Yvonne Tasker, 1998; Helen Hanson, 2007). This project builds upon this work by taking a thematic approach which allows for a reading of a wider range of film texts which have not yet received much critical investigation in terms of the deadly beautiful woman. Through looking at films from period drama, teen cinema, neo-noir and science fiction film, I consider the implications that the resurgence of this provocative figure across a multitude of cinematic genres has for our understanding of contemporary cultural anxiety about women, and argue that a renewed examination of the femme fatale opens up new avenues of discourse between theorisations of cinematic archetypes and feminist theory. This thesis furthers the work of Mary Ann Doane (1991), E. Ann Kaplan (rev. ed. 1998), and Julie Grossman (2009) which sought to interrogate and question the implications of American cinema’s fascination with the femme fatale in noir texts, by investigating the ways in which the figure brings into focus questions of sexual agency, femininity and power outside of those generic parameters. Significantly I consider how the widening of the critical lens through which the femme fatale is viewed allows new patterns, tensions and anxieties to be traced across a variety of popular genres and modes of production from the Hollywood blockbuster to smaller independent films, to chart thematic tendencies, such as the bisexual femme fatale, the hybrid femme fatale, and the dead femme fatale. In particular, I provide a unique critical assessment of the position of the femme fatale figure in contemporary cinema, and in doing so interrogate the idea of the femme fatale’s sexual mystery, and the myriad ways in which this trait foregrounds issues about sexual fidelity and safety, and both encourages and critiques a patriarchal sense of entitlement to complete knowledge about women’s bodies, intentions and desires. In addressing the ways in which the femme fatale figure operates across cinematic genres and themes in ways which reveal the limits of femme fatale criticism as it currently stands, this study identifies the femme fatale’s ability to move across and between genres, in ways which complicate and disrupt contemporary understandings of femininity and film. By exploring the occurrence of femme fatale figures in films not exclusively concerned with anxiety deriving from the increased economic opportunities for women following second wave feminism, this study offers ways of viewing the beautiful duplicitous woman which move beyond backlash. The thesis is comprised of four chapters. The first is an account of the femme fatale in the retro noir film, and interrogates the tensions between the nostalgic impulses of the retro noir genre and the more complex gender politics centred on the films’ re-presentation of the femme fatale figure. In the second I consider the new teen femme fatale films as both teen updates of the ‘mature’ femme fatale narrative in the burgeoning genre of teen cinema, and as more complex explorations of contemporary anxieties about young femininity. The third chapter interrogates the significance of the frequent cross-genre pairings of female bisexuality with the femme fatale figure, and considers the potential of such figures for feminist meaning beyond patriarchal pornographic fantasy. Finally, chapter four engages with science fiction cinema, and specifically with the figure of the femme fatale whose body is not entirely human, and considers its ramifications for feminist theorisations of the body, agency and femininity.
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Naumovska, Frosina. "The Diversity of the Femme Fatale Character in Film." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202867.
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Tato práce bude zkoumat rozmanitost filmové postavy zvané "femme fatale", od jejího vzniku na počátku filmu noir přes její vývoj v současné kinematografii. Budu sledovat její vyhled napříč časového horizontu osmdesáti let, odhalím rozmanitost jejích fyzických projevů, jakož i různých taktik používaných ve svém nepřetržitém boji proti mužům. Udělám to na základě analýzy jednoho prototypu femme fatale a následně dalších šest ženských postav, z nichž všichni byli kritiky nazváni "femme fatale", nebo "ďáblovy ženy" v rámci různých filmových žánrů. Tyto postavy jsou LOLA-LOLA z roku 1930 z německého filmu Blue Angel jako typická femme fatale; BABY DOLL z roku 1956 z americké černé komedie stejného jména; VARLA z roku 1965 z amerického filmu Faster, Pussycat! Kill! Kill!; ANNIE WILKES z roku 1990 v americkém thrilleru / hororu Misery; LOLITA z roku 1997 z francouzsko-amerického melodramatu stejného jména; VERA z roku 2007 z ruského dramatu Banishment a LISBETH SALANDE-
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Formoso, Assunção Luisa. "La femme fatale dans la littérature brésilienne : échos d'un mythe décadent." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA090.
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Cette étude vise à mettre en lumière le mythe de la femme fatale, mythe issu de l’imaginaire décadent français de la fin du XIXe siècle, dans la littérature brésilienne. À travers l’analyse des personnages féminins de trois romans d’importance majeure dans l’imaginaire brésilien: Dom Casmurro de Machado de Assis (1899), Gabriela Cravo e Canela de Jorge Amado (1958) et Hilda Furacão de Roberto Drummond (1991), nous étudierons, à partir d’un traitement herméneutique, leur dimension mythique en tant qu’héroïnes femmes fatales. Dans les trois récits, la femme entraîne la chute de l’homme. Les trois héroïnes évoquent les grandes valeurs symboliques du mythe de la femme fatale et des archétypes qui l’engendrent, soit par rapport à l’homme, soit par rapport à leur milieu, époque, idéologie et société. Cette recherche permet davantage une réflexion sur le mythe de la fatalité féminine menant à une compréhension des constructions imaginaires et des réseaux symboliques qui affleurent les romans et, dans un contexte plus ample, l’imaginaire brésilien. En tête de notre démarche méthodologique il y a la méthode structurale de Gilbert Durand (et son « entourage » : Carl Gustav Jung, Mircea Eliade, Lévi-Strauss, Gaston Bachelard) qui rend compte de la réflexion sur les aspects du mythe. La théorie littéraire côtoie l’herméneutique des images, des symboles et des archétypes afin d’assurer la qualité de la réflexion autour du mythe et de son rapport avec la littérature et l’imaginaire individuel et collectif dans le contexte brésilienThis study aims to highlight the myth of the femme fatale, myth created out of the imagination of the French decadents in the late nineteenth century, in the Brazilian literature. Through the analysis of the female characters from three Brazilian novels of major importance in the Brazilian imagination: Dom Casmurro Machado de Assis (1898), Gabriela Cravo e Canela Jorge Amado (1958) and Hilda Furacão Roberto Drummond (1991), we will study, from a hermeneutic perspective, their mythical dimension as heroines and femmes fatales. In the three stories, the woman causes the fall of the man. The three heroines evoke the great symbolic value of the myth of the femme fatale and the archetypes elaborated relative to men, relative to either their environment, time, ideology or society. This research reflects upon the myth of female fatality leading to the understanding of imaginary constructions and symbolic networks nourished in the novels and in a broader context, in the Brazilian imagination. Ahead of our methodological approach, the structural method of Gilbert Durand emerges (and his "entourage": Carl Gustav Jung, Mircea Eliade, Levi-Strauss, Gaston Bachelard) contemplating on the aspects of the myth. The literary theory navigates alongside the hermeneutics of images, symbols and archetypes to ensure the quality of the reflection on the myth and its relationship with literature and the individual and collective imagination in the Brazilian context
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Jackson, Rachel. "The Ghostly Femme Fatale : Meta-textuality, Desire, and Homo eroticism." Thesis, University of the West of England, Bristol, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.495456.
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This thesis offers a post-structural, psychoanalytical investigation into the representation of, and relationship between, internal texts, ghosts, and versions oftransgressive desire in five long stories written between 1890 and 1925; Vernon Lee's 'Amour Dure'(1890), Algernon Blackwood's 'The Listener' (1907), Oliver Onions' 'The Beckoning Fair One' and 'Hie Jacet' (1911), and Walter de la Mare's 'The Green Room'(l925). Although referencing the significance of Henry James to the era and themes, the main focus ofthe thesis is non-canonical. I am considering the alternative discursive space hollowed out for subversive subjectivities by meta-texts, and how these can be 'spectrally' read. This thesis offers close textual and theoretical analysis, with less emphasis placed upon historical and biographical details, which have become somewhat overly determined signifiers of, particularly the fin-de-siecle, time bracket. The choice of era is not, however, arbitrary and I am examining the impact ofthe socio-cultural anxieties of the end of Victorianism and the First World War, and how these inform upon and affect themes ofboth desire and haunting. I am concentrating on the inherently selfreflexive nature oftextuality, and how internal representations of texts succeed in ghosting the subject's fraught, and fundamentally transgressive, desiring process. I am closely working with feminist theories, largely pertaining to the body, death, and sexuality, as well as 'queer' theories of same sex desire and its subversive textual encryptions. The synthesis is upon the fragile boundaries of texts, and how these are articulated through a discourse ofghostliness: how texts transgress dichotomies, most notably those of absence and presence, male and female, sanctioned and censored desire. The drive ofthis thesis is to illustrate how narrative is fundamentally haunted by the repetitive story of its owndisruptive, internal desires.
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Moss, Erin Zimmerman. "Bollywood Broads: Reconstructing the Femme Fatale in Popular Indian Film." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1509.
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Mumbai is currently one of the most prolific and lucrative film centers in the world. Its production of the "Bollywood" popular film has attracted billions in audience members outside the nation of India, many of whom do not belong to Indian culture in the Diaspora. The significance of this influence draws from the cross-cultural borrowings increasingly present in Bollywood cinema. The advent of Western investment in the production center has coincided with the diversification of the standard Bollywood film from "masala" musical to more genre specific action, horror and even romantic comedy musical. Within this genre expansion, a nod to a classicand specifically Westerncinema form has occurred. By borrowing the Femme Fatale from Film Noir and recreating her as the City Siren, Bollywood has achieved liberation for the heroine and from cultural emasculation in one. In this liberation, Bollywood has taken the Western implication of Eastern femininity and used a Western film form to turn that implication on its head. They have declared that the East may be masculine or feminine, easily utilizing either trait, as it is now fluent in both.
Books on the topic "Femme fatale"
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Hilmes, Carola. Die Femme Fatale. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03307-9.
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Copyright Paperback Collection (Library of Congress), ed. The flaxen femme fatale. New York: DAW Books, 2008.
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Ada, Neiger, Giordano Emilio, and Seminario All'insegna della femme fatale (1993 : Trento, Italy), eds. All'insegna della femme fatale. Trento: New Magazine, 1994.
Find full textBook chapters on the topic "Femme fatale"
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Hilmes, Carola. "Femme fatale." In Handbuch Populäre Kultur, 172–77. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05001-4_32.
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Helsel, Philip Browning, Curtis W. Hart, Jill L. McNish, Todd DuBose, Philip Browning Helsel, John Ryan Haule, Annette Peterson, et al. "Femme Fatale." In Encyclopedia of Psychology and Religion, 329. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_1010.
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Hays, H. R. "The Femme Fatale." In The Dangerous Sex, 211–22. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003392385-21.
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Hilmes, Carola. "Methodische Annäherung an das »Rätsel-Weib«." In Die Femme Fatale, 1–13. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03307-9_1.
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Hilmes, Carola. "Dämonisierung des Weiblichen im Fin de siècle." In Die Femme Fatale, 14–73. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03307-9_2.
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Hilmes, Carola. "Judith und Delila." In Die Femme Fatale, 74–101. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03307-9_3.
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Hilmes, Carola. "Geschichten der Salome: Blutige Bilder der Liebe." In Die Femme Fatale, 102–54. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03307-9_4.
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Hilmes, Carola. "Lulu — raffinierter Vamp und moderne Hetäre." In Die Femme Fatale, 155–76. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03307-9_5.
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Hilmes, Carola. "Allegorische Metamorphosen des Weiblichen." In Die Femme Fatale, 177–222. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03307-9_6.
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Hilmes, Carola. "Motive und Merkmale." In Die Femme Fatale, 223–48. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03307-9_7.
Full textConference papers on the topic "Femme fatale"
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Feng, Xiaohan, and Makoto Murakami. "Character Archetypes in an Online Creative Course Setting: The Case of Femme Fatale." In 11th International Conference on Signal Image Processing and Multimedia. Academy and Industry Research Collaboration Center (AIRCC), 2023. http://dx.doi.org/10.5121/csit.2023.130912.
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Creative writing courses have flourished in recent years. However, the accuracy of the content of some courses has yet to be examined. Character archetypes are an unavoidable topic in most courses requiring character creation. We found that some online creative courses include characters whose character archetypes are debatable. For example, the Femme Fatale is often considered a character archetype, but some scholars believe it is a stereotype bias. While the use of character archetypes and stereotypes in creative work is a matter of personal freedom, it is inappropriate to educationally disseminate content that is still controversial in the academic community. This study explores the history and reasons for the generalization of the Femme Fatale, the differences between the Femme Fatale and other character archetypes, and derives three reasons why the Femme Fatale is inappropriate as a character archetype in creative work. This study is intended to call attention to the rigor of the content of online creative writing courses.
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Ezzeldin, Hend Hamed. "Re-articulating the Femme Fatale Archetype: Snow white and the Evil Queen." In 4th World Conference on Research in Social Sciences. Acavent, 2022. http://dx.doi.org/10.33422/4th.socialsciencesconf.2022.06.200.
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Genck, Michelle. "Too Exotic to Enchant? How the Femme Fatale was sent on Retreat." In The Asian Conference on Cultural Studies 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2187-4751.2020.2.
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Doronina, Ksenia Nikolaevna, and Diana Vladimirovna Minets. "Concept «La femme fatale» and means of its representation in Dostoevsky’s texts." In 6th International Research and Practical Conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-115374.
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"A Femme Fatale Exposed: An anlylitical reading of Thomas Adès and Philip Hensher’s Powder Her Face." In The 2nd World Conference on Humanities and Social Sciences. Francis Academic Press, 2018. http://dx.doi.org/10.25236/wchss.2017.10.
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Lojo Tizón, Mª del Carmen. "El imaginario del agua en Rachilde (1860-1953)." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2952.
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Rachilde, escritora francesa que desarrolló su carrera literaria desde finales del siglo XIX hasta mediados del siglo XX, introduce de manera recurrente elementos acuáticos en sus novelas. La mare aux grenouilles, estanque situado muy cerca de la casa donde la escritora nació, es crucial para la formación del imaginario del agua en Rachilde, y muy a menudo este está presente en su producción literaria. En el prefacio de su obra À mort (1886), la escritora narra las pesadillas que sufría durante la adolescencia en las que un ahogado salía de dicho estanque e iba a su encuentro. En su novela autobiografíca Les Rageac (1921), Rachilde cuenta cómo su madre ahoga a sus mascotas en el mismo estanque. En consecuencia, Rachilde desarrolla una temprana asociación entre el agua y la muerte, debido a las primeras y negativas experiencias que mantiene con el universo acuático. Además, Rachilde perteneció a la corriente decadente de finales del siglo XIX, por lo que el agua siempre representa la impureza, el mal y la destrucción en las novelas publicadas durante tal periodo. Durante la Decadencia, la máxima representación del mal es la femme fatale. La femme fatale es la figura por excelencia del imaginario rachildiano, y en la obra de Rachilde existe una estrecha relación entre el agua y la mujer. Prueba de ello es La Tour d’Amour, novela publicada en 1899. En dicha novela, Rachilde lleva a cabo una personificación del mar que invierte la asociación tradicional mer/mère, pues en el caso de Rachilde, el mar se convierte en símbolo de la no maternidad. En conclusión, el agua nunca es para Rachilde fuente de vida, sino fuente de destrucción y muerte.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2952
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Campos, Letícia Badan Palhares Kanuer de. "Corpos subjugados: o masculino como vítima impotente da beleza fatal das mulheres." In Encontro da História da Arte. Universidade Estadual de Campinas, 2013. http://dx.doi.org/10.20396/eha.9.2013.4442.
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A figura feminina, tema central de diversas obras do âmbito artístico e literário, ganha, ao fim do Século XIX, um novo olhar, voltado para a fatalidade e seu poder de destruição. Dentre as tantas imagens de femmes fatales produzidas durante esses anos, uma composição específica parece exaltar a monstruosidade e exuberância da figura impassível da mulher – aquela cujos homens, vitimados, revelam-se lançados aos seus pés. Nas linhas que se seguem, trataremos sobre esta iconografia.
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Jackai, Louis. "Mustards are veritable "femmes fatales" for the harlequin bug (Murgantia histrionica): Exploiting the interaction between mustards, glucosinolates, and trap cropping to protect collard." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.109205.
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