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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.
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Grimmer, Jessica H. "From Femme Ideale to Femme Fatale: Contexts for the Exotic Archetype in Nineteenth-Century French Opera." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384426378.
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Tauman, Louise. "Döden klär henne : En studie om symbolen femme fatale under dekadensen." Thesis, Uppsala universitet, Institutionen för idé- och lärdomshistoria, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-322629.
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Den här uppsatsens syfte är att undersöka den estetiska symbolen femme fatale. Det är en symbol som fick sitt starkaste fäste i sekelskiftets Frankrike, och allra starkast inom de dekadenta litterära och konstnärliga kretsarna. Det är en syndig och dålig kvinna, en motsatsbild till den kyska och moderliga hemmafrun utan egen vilja eller begär som idealiserades i slutet av 1800-talet. Jag studerar i denna uppsats symbolen femme fatales utveckling och förändring från tidig till sen dekadens. Detta gör jag med bakgrund i litteraturprofessorn Mario Praz stilbildande The Romantic Agony från 1933, och hans beskrivning av ”den fatala kvinnan”. Mitt källmaterial består av Charles Baudelaires klassiska Det ondas blommor från 1857, som kom att påverka all senare dekadenslitteratur. Där söker jag efter beskrivningar av kvinnan som kan liknas vid Praz fatala kvinna, och sedan jämför jag denna tolkning med hur kvinnan beskrivs i två senare dekadenta författarskap: Paul Verlaine och Stéphane Mallarmé. Jag kan på så sätt skönja om det skett en förändring i beskrivningen och attityden till femme fatale från tidig till sen dekadens, och vad den kan tänkas vara. Jag utvecklar mina resonemang med bakgrund både i en historisk och mytologisk kontext kring den fatala kvinnan, och gör sedan min egen tolkning. Jag kommer fram till att det finns två huvudspår i förändringen av femme fatale från tidig till sen dekadens, varav den ena har jag valt att omnämna som ”det moraliska dilemmat”, och den andra för ”hora-madonna-dikotomin”. Keywords: estetik, dekadens, symbolik, idéhistoria, litteraturvetenskap, diktanalys.
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Domingues, Chirley. "João do Rio :: a femme fatale dos palcos da belle époque /." Florianópolis, SC, 1998. http://repositorio.ufsc.br/xmlui/handle/123456789/77522.
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Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.Made available in DSpace on 2012-10-17T05:01:20Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T23:15:44Z : No. of bitstreams: 1 139825.pdf: 15654468 bytes, checksum: 71e422d5cdda58bbb3956ec5327db155 (MD5)
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Rummel, Andrea. ""Delusive beauty" femmes fatales in english romanticism." Göttingen V & R Unipress, 2007. http://d-nb.info/990829685/04.
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Jones, Jordan Benjamin. "Fantastic Sexism? Subverting the Femme Fatale and Femme Fragile in the Fantastic Fiction of Machado de Assis." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5523.
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Joaquim Maria Machado de Assis, arguably the most famous Brazilian author, has been studied perhaps more than any other figure in Brazilian literature. Because Machado's novels are so exceptional, many of his good short stories have been neglected by scholars, particularly those categorized by some as “fantastic.” This study attempts to fill that gap by analyzing the most prominent female characters in Machado's fantastic fiction. After providing a brief overview of the term fantastic and explaining how the stories used qualify as fantastic, this study identifies several tropes into which their female characters fit. Chapter 1: The Femme Fragile analyzes the tropes of woman as foil for rational man and woman as manipulable possession, while Chapter 2: The Femme Fatale examines the tropes of woman as siren and woman as fantastic other. Although these tropes seem to expose Machado's misogyny, in reality they function as his dramatization of the erroneous chauvinist thinking of nineteenth-century Brazil. Machado employs these tropes only to subvert them and the patriarchal thinking on which they are based, allowing his readers to come to more productive ways of seeing gender relations in Brazil.
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Restel, Thony. "Femme fatale oder femme fragile : Die Darstellung der Frau bei Bernhard Schlink Der Vorleser und Uwe Timm Die Entdeckung der Currywurst." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100609.
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This thesis examines the novels Die Entdeckung der Currywurst, written by the German author Uwe Timm in 1993 and Der Vorleser, written by the German author Bernhard Schlink in 1995. In each story the main protagonist is a woman. Incorporating the ideas of the feminist movement, the thesis focuses on the notion that the literary role of women does not coincide with realistic representations of women rather it derives from traditionally stereotypical images of a femme fatale or a femme fragile. The goal is to analyse the depiction of women as literary protagonists in both novels. Do they truly comply with the traditional images of feminism or are there certain traits that deviate?
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Negovanovic, Catherine. "Phèdre et la femme de Putiphar dans les littératures des XIXe et XXe siècles : deux figures de tentatrices à l'épreuve de la condition féminine." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040184.
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Si rapprocher Phèdre et la femme de Putiphar peut sembler surprenant, cette étude a mis en évidence la gémellité structurelle de leurs histoires et une probable origine commune : l’affrontement d’Ishtar et Gilgamesh au 2e millénaire av. J.C. Le motif de la tentatrice refoulée qui se venge s’est ensuite décliné en deux branches d’évolution, l’une proche-orientale donnant l’épisode de la femme de Putiphar, et l’autre grecque produisant le mythe de Phèdre. Si l’histoire littéraire privilégie parfois l’une ou l’autre, une bipartition finit par s’observer, la femme de Putiphar s’arrogeant le 19e siècle et Phèdre le 20e. L’origine de la tentatrice biblique explique en partie le phénomène. Proche-orientale à une époque où s’exerce une fascination pour l’Orient, héritière d’une misogynie chrétienne séculaire et d’une influence sadienne, la figure entre en résonance avec le mythe de la femme fatale qui s’élabore dans la deuxième partie du siècle. Car face aux premiers soubresauts féministes, les hommes répondent à ce qu’ils ressentent comme une invasion par la fabrication de toutes pièces d’une figure féminine fantasmée et caricaturale : les avatars de l’Egyptienne deviennent des séductrices frénétiques. Mais la Première Guerre mondiale procède à un rééquilibrage et Phèdre revient en force. Investie de nouvelles croyances, elle se fait l’écho de la condition féminine. Agent du bouleversement, elle incarne le Désir et la réalisation globale du sujet féminin. Revendiquant une nouvelle place dans la société, balayant l’ordre ancien, portant des valeurs politiques et humaines éternelles, cette nouvelle Phèdre brille dans un 20e siècle chaotique comme une héroïne intemporelleEven if comparing Phaedra and Potiphar’s wife seems to be strange, this study has pointed out the structural similarity of their stories and probably a same origin : the confrontation between Ishtar and Gilgamesh in the 2nd millennium B.C. The pattern of the rejected temptress who takes revenge has split and has taken two directions. In the Near East, it became the Potiphar’s wife motif and in the Greek area Phaedra’s myth. Through literary history, the preference has gone sometimes to one, sometimes to the other, until this amazing situation : Potiphar’s wife overruns the 19th century and Phaedra the 20th. The origin of the biblical temptress explains the phenomenon. She’s oriental during a period in which Europe is fascinated by Orient and Orientalism. Furthermore, she has inherited Christian ancestral misogyny and Sade’s influence. Finally, the figure meets the myth of the femme fatale born in the second part of the century. In fact, in reaction to the beginnings of feminism as if it were an invasion, men build a phantasie of feminine Evil. And Potiphar’s wife and its avatars become lustful seductresses. But first Word War balances the situation and Phaedra comes back. Embodying new beliefs, she echoes back the female condition. Subversive, personifying Desire and the fulfilment of the feminine, claiming for a new place in society, sweeping ancient rules, embodying political and timeless human values, this new Phaedra is in the middle of this chaotic 20th century a bright and eternal heroine
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Bernier, Joanne. ""Maricide" au Canada français (1867-1940) : le syndrome de la femme fatale." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/10437.
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Nous avons etudie les cas de femmes quebecoises condamnees a mort a la fin du XIXe et debut XXe siecle; notre objet etait de voir si le fait de deroger au modele de la femme de cette epoque a pu jouer sur les executions des femmes au Canada francais. Avant meme de se plonger dans l'analyse des proces, nous avons tout d'abord etudie le contexte social quebecois de la fin du XIXe siecle et milieu XXe siecle, plus particulierement la place de la femme quebecoise a cette epoque. Il en est ressorti que la femme avait deux principaux roles, celui de mere et celui d'epouse. La reproduction etait la mission de la creature feminine sur terre. La femme mariee avait ainsi pour role d'avoir des enfants et egalement de soulager les besoins de l'epoux. L'etude de nos proces nous amenait donc a rechercher les references faites par les hommes de loi, dans leurs allocutions, au modele de la femme quebecoise de l'epoque. Cette analyse nous a permis de constater que les discours des juges et avocats etaient bel et bien empreints de jugements de valeurs, et qu'ils mettaient en cause des faits reproches a ces femmes accusees qui n'etaient nullement relies au crime commis. Ces femmes furent accusees d'avoir ete de mauvaises epouses, des etres infideles ayant trahi leurs serments religieux envers leur epoux. Bon nombre d'entre elle se sont vues egalement reprocher le fait de ne pas avoir d'enfant ou de ne pas avoir ete de bonnes meres pour ceux-ci. Ces femmes ont ete jugees comme etant tout ce qu'une femme ne devait pas etre: desobeissantes, insoumises, infideles, indecentes, manipulatrices,$\...$ bref, elles etaient considerees comme des etres demoniaques qui n'avaient plus leur place dans la communaute. (Abstract shortened by UMI.)
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Stephan, Megan A. "Monstrous likenesses : British women novelists and the 'femme fatale' figure, 1847-97." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399463.
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Korb, Elisa. "Edward Burne-Jones and his fantasy of the femme fatale : Maria Zambaco." Thesis, University of Birmingham, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442625.
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Jaber, Maysaa Husam. "Sirens in command: the criminal femme fatale in American hardboiled crime fiction." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/sirens-in-command-the-criminal-femme-fatale-in-american-hardboiled-crime-fiction(a6a35b81-665e-4f1a-9f3c-a8c286fe3796).html.
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This thesis challenges the traditional view of the 'femme fatale' as merely a dangerous and ravenous sexual predator who leads men into ruination. Critical, especially feminist, scholarship mostly regards the femme fatale as a sexist construction of a male fantasy and treats her as an expression of misogyny that ultimately serves to reaffirm male authority. But this thesis proposes alternative ways of viewing the femme fatale by showing how she can also serve as a figure for imagining female agency. As such, I focus on a particular character type that is distinct from the general archetype of the femme fatale because of the greater degree of agency she demonstrates. This 'criminal femme fatale' uses her sexual appeal and irresistible wiles both to manipulate men and to commit criminal acts, usually murder, in order to advance her goals with deliberate intent and full culpability. This thesis reveals and explains the agency of the criminal femme fatales in American Hardboiled crime fiction between the late 1920s and the end of World War II in the works of three authors: Dashiell Hammett, Raymond Chandler and James M. Cain. The criminal femme fatales in the narratives of these authors show a subversive power and an ability to act - even though, or perhaps only if, this action is a criminal one. I show that these criminal femme fatales exhibit agency through their efforts to challenge not only the 'masculine' genre and the criminal space that this genre represents, but also to undercut the male protagonist's role and prove his failure in asserting control and dominance. Hammett's narratives provide good examples of how the criminal femme fatales function on a par with male gangsters in an underworld of crime and corruption. Chandler's work demonstrates a different case of absent/present criminal women who are set against the detective and ultimately question his power and mastery. Cain's narratives show the agency of the criminal femme fatales in the convergence between their ambition for social mobility and their sexual power over the male characters. To explain how these female characters exhibit agency, I situate this body of literature alongside contemporaneous legal and medical discourses on female criminality. I argue that the literary female criminal is a fundamentally different portrayal because she breaks the 'mad-bad' woman dichotomy that dominates both legal and medical discourses on female criminality. I show that the criminal femme fatales' negotiations of female agency within hardboiled crime fiction fluctuate and shift between the two poles of the criminalized and the medicalized women. These criminal femme fatales exhibit culpability in their actions that bring them into an encounter with the criminal justice system and resist being pathologized as women who suffer from a psychological ailment that affect their control. The thesis concludes that the ways in which the criminal femme fatales trouble normative socio-cultural conceptions relating to docile femininity and passive sexuality, not only destabilize the totality and fixity of the stereotype of the femme fatale in hardboiled crime fiction, but also open up broader debates about the representation of women in popular culture and the intersections between genre and gender.
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Hanson, Helen. "Painted women : framing portraits in film noir and the gothic woman's film of the 1940s." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364751.
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Wong, Wai-yee. "Returning the gaze the femme fatale in the film noir of the 90s /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B31952884.
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Wong, Wai-yee, and 黃慧儀. "Returning the gaze: the femme fatale in the film noir of the 90s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952884.
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Scattolin, Marta <1993>. "Da strega a femme fatale: analisi di un archetipo letterario dall'antichità al Novecento." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12731.
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La tesi si propone di analizzare la figura delle strega nella letteratura, valutandone l'evoluzione nel corso dei secoli. L'analisi, cominciando dalle origini greco-latine fino a giungere al Novecento, tenta di evidenziare un nesso tra la strega e la femme fatale.
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Weitmann, Susan. "Tenebrous femme fatale : the making of the métisse in nineteenth-century metropolitan French literature." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/2147.
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This thesis examines representations of the ‘métisse’ in nineteenth-century metropolitan French literature to determine the figure’s function and significance in the texts that display her and the larger society that imagines her. By ‘métisse’, I refer specifically to a woman of ‘black’ and ‘white’ ‘racial’ mixture whose identity, in the context of the texts that figure her, both legitimates and deconstructs distinct and discrete ‘racial’ identity. As such, she is a useful figure through which to investigate and unpack conceptions of ‘race’. I will suggest that her innate performative ability – a product of her deceptively white exterior – demonstrates the discursive nature of identity that can be seen as constructed and parodied rather than as a simple ontological category. I use the term ‘tenebrous’ to describe the ‘métisse’ because it conjoins the two constitutive aspects of her signification – her ambiguity and her colour. Her fundamentally ambiguous identity is crucial to her figuration as an erotic and dangerous femme fatale. Unknowable and protean, she attracts and simultaneously disconcerts or terrifies her prey. Concurrently, the term ‘tenebrous’ highlights the explicit colouring of her body by all of the authors who imagine her so as to mark her as identifiably different, and to explain her essential bestial, primitive, and dangerous sexuality. This thesis locates the ‘métisse’ at the crossroads of discourses of race, class, gender, and sexuality. In an era when fears of personal and social degeneracy and decline were capturing the collective imagination, the ‘métisse’, as a figure of frightening alterity and deceptive similitude, embodies deviancy. Primarily portrayed as a natural courtesan due to her essential yet hidden ‘black’ blood, the ‘métisse’ attracts ‘white’ men with her seductive body, but her malign sexuality corrupts, dilutes, or kills them. Associated with the working-class, the prostitute, the criminal, and the savage, the ‘métisse’ fits into a larger discourse that seeks to postulate the normative identity of ‘white’, bourgeois masculinity. Her ability to dilute the ‘purity’ of her ‘white’ male victim articulates a general contemporary fear of pathological sexuality and, through it, invisible degeneration. Using the comparative framework of ‘case studies’, I will examine Eugène Sue’s Les Mystères de Paris, Émile Zola’s Thérèse Raquin, Arthur Gobineau’s Essai sur l’inégalité des races humaines, Pierre Loti’s Le Roman d’un spahi, a selection of poems from Charles Baudelaire’s Les Fleurs du Mal, as well as the critical and biographical studies centring around the figure of Jeanne Duval, Baudelaire’s long-time and muchmaligned ‘métisse’ partner. The wide variety of texts and the diverse list of authors will demonstrate the surprising currency of this literary figure in the collective imagination of nineteenth-century metropolitan France, as well as twentieth-century literary criticism. By focussing upon well-known and significant French authors, I will reexamine the cultural heritage to which these writers contributed with specific attention to the investigation of cultural assumptions, desires, and fears pivoting around the theme of mixed-race.
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Whiteleather, Hagan Faye. "FROM RIVETER TO RIVETING: THE REBIRTH OF THE FEMME FATALE IN POST-WAR AMERICA." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431360238.
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Hales, Barbara. "Dark mirror: Constructions of the femme fatale in Weimar film and Hollywood film noir." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187445.
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The femme fatale is a marker for the past is evident in the film noir work of German exile directors. These directors created a femme fatale character similar to Weimar examples of the sexual woman icon, using Weimar cultural constructions as a template for their work in Hollywood. The femme fatale figure in film noir is specifically an enigma or duplicitous mystery, a woman with a gun who threatens the male protagonist. She represents a piece of the male character's past often seen through the structure of the voice-over and flashback. These narrative devices enable the male protagonist to rework this jaded past vis-a-vis his relationship to the femme fatale and his fatal attraction to her. The film noir femme fatale is linked to German exile directors' desire to review a past that has been lost and cannot be recuperated. In the case of the Weimar femme fatale, she is a sign for the trauma of World War I and the ensuing political/social crises of the Weimar republic. The femme fatale in her castrating capacity is a marker for historical upheaval and male subjectivity in flux. She is ultimately the scapegoat for male questions of self and a split subjectivity brought on by historical events such as war and the experience of exile. Her various guises include the criminal woman, the technological entity, and the double.
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McNally, Amanda. "The Gendering of Death Personifications in Literary Modernism: The Femme Fatale Symbol from Baudelaire to Barnes." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3669.
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The time of modernity, defined here as 1850-1940, contributed to massive changes in the representation of the feminine in literature. Societal paradigm shifts due to industrialism, advances in science, psychology, and a newfound push for gender equality brought transformation to the Western World. As a result of this, male frustrations revived the ancient trope of the femme fatale, but the modern woman—already hungry for agency, tired of maligned representation in heinous portrayals of skeletons, sirens, and beasts—saw a symbol begging for redemption rather than the intended insult. Women of the nineteenth century infused texture to a two-dimensional accusation that argued the only good female sexuality was one that could be contained. The redemption of the femme fatale is traced in this thesis through Charles Baudelaire’s The Flowers of Evil (1857), Gabrielle D’Annunzio’s The Triumph of Death (1901), and Djuna Barnes’s Nightwood (1936).
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Chon, ChuYoung. "AN UNINVITED PARTY: POWER, GAZE, AND WEDEKIND’S LULU." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1070577246.
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Bremmer, Jessica. "Jazz Babies, a Femme Fatale, and a Joad: Women and the Automobile in the American Modernist Era." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04162006-150750/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Audrey Goodman, committee chair; Thomas McHaney, Chris Kocela, committee members. Electronic text (84 p.) : digital, PDF file. Description based on contents viewed June 19, 2007. Includes bibliographical references (p. 82-84).
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Kulperger, Shelley. "The femme fatale : theorising female power and subjectivity in Margaret Atwood's Alias grace and the robber bride /." Title page, contents and conclusion only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09ark963.pdf.
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Bledsoe, Paul Walker. "Beyond the femme fatale and flapper : the roles of women in selected stories of F. Scott Fitzgerald." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1277980522.
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Drezza, Giorgia <1986>. "Femme Fatale e Donna Angelo in Gabriele d’Annunzio. L’innovativa rappresentazione del doppio femminile nella Trilogia della Rosa." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21119.
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Tra gli artisti che hanno celebrato il mito della femme fatale spicca Gabriele d’Annunzio a cui va riconosciuto l’innato talento di aver “psicanalizzato” ante litteram l’universo femminile, in tutte le sue opere dal teatro, ai romanzi fino alla poesia.
Musa o demone, amore platonico o carnale, madre, sorella o amante, in d’Annunzio la donna è poliedrica e viene infatti «vista come un personaggio mutevole, che assume valenze diverse a seconda delle fasi creative e dei generi letterari toccati dall’autore».
In altri termini, cambia forma a seconda dell’uso creativo che deve farne il poeta che come vedremo più avanti parte sempre da una base autobiografica.
D’Annunzio va oltre però: supera la dicotomia donna angelo/femme fatale (che resta comunque l’asse portante di tutta sua poetica) descrivendo le mille sfaccettature femminili, i loro pensieri, i loro sentimenti entrando con loro in perfetta sintonia ed empatia.
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Hermel, Audrey. "Don Juan et Carmen: du séducteur à la femme fatale : comparaison de deux mythes de la séduction." Versailles-St Quentin en Yvelines, 2007. http://www.theses.fr/2007VERS020S.
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Cette étude se propose de comparer deux mythes de la séduction: Don Juan et Carmen. La première partie se compose d'une étude historique afin de recontextualiser l'émergence de ces deux figures séductrices et d'en comprendre l'évolution. La seconde s'attache à une étude thématique dont l'illusion et la liberté constituent les principaux axes de recherche. L'approche psychanalytique voire psychiatrique de ces deux mythes littéraires permet de saisir la dimension fantasmatique qu'incarnent Don Juan et Carmen, archétypes de la perversion et de l'hystérie. Enfin, la troisième partie s'inspire de la théorie de Jauss et retrace le parcours de ces deux mythes à travers différents supports (théâtre, roman, cinéma). Elle s'interroge, pour finir, sur le devenir possible de ces deux figuresThis study proposes to compre two seduction myths: Don Juan and Carmen. The first part is composed ofen historical study that aims to recontextualise the emergence of these two seducer figures and to understand their evolution. The second concerns a thematic study whose main objects of inverstication are illusion and liberty. The psychoanalytic, even psychiatric, approach to these two literary myths allows us to grasp the fantasy dimension that Don Juan and Carmen, archetypes of perversion and hysteria, represent. Finally, the third part is inspired by Jauss' reception theory and traces these txo myths through different media (theatre, novels, film). It ultimately explores the possible futures of these two figures
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Chon, ChuYoung. "An uninvited party power, gaze, and Wedekind's Lulu /." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1070577246.
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Lacroix, Green Pascale. "L'image de la femme fatale dans le double miroir de la littérature et de la peinture fin-de-siècle." Paris 4, 1997. http://www.theses.fr/1996PA040090.
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Dans cette thèse nous nous proposons d'étudier le mythe de la femme fatale confronté à l'esprit de décadence à travers la littérature de la fin du dix-neuvième siècle en France, en Angleterre et en Belgique. Nous évoquerons plusieurs représentations exemplaires du mythe tels l'idole, la satane, Viviane, la sphinge, Messaline, la gynandre et la prostituée et nous observerons leur évolution à travers divers phénomènes propres à l'esprit de la fin de siècle : l'amalgame, la parodie, l'inversion, la banalisation et la caricature. Nous soulignerons l'importance et les conséquences d'un phénomène d'"inter esthétisme" entre la littérature et la peinture sur l'appréhension du mythe. Chaque figure choisie nous permettra de voir que le décadentisme puise dans des sources aussi variées que le merveilleux, la mythologie, la décadence romaine, le symbolisme, le naturalisme, l'ésotérisme et le féminisme pour arriver à une véritable décomposition de l'image de la femme fataleThe topic of this research is the myth of the "femme fatale" as influenced by the spirit of decadence in Belgian, English and French literature and painting at the end of the 19th century. Several types of representation, or iconographs, of the femme fatale are considered - the idol ; "la satane" ; vivien ; the sphinx ; Messalina ; "la gynandre" ; and the prostitute. The research analyses their evolution across various phenomena evident during the "fin de siècle", namely : stylistic amalgam, parody, narrative inversion, banalization and caricature. It highlights the importance of the phenomenon of exchanges between painting and literature, and the influence of one upon the other, in the portrayal of the myth. The choice and description of each type reveals how inspiration is drawn from a variety of sources - the supernatural, mythology, roman decadence, symbolism, naturalism, esotericism and feminism - and how, progressively, these representations reveal the decomposition of the image of the "femme fatale"
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Burzlaff, Mary Caroline. "Chaste sexual warrior, civic heroine, and femme fatale three views of Judith in Italian renaissance and baroque art /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147989193.
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Thesis (M.A.)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Judith; Holofernes; Italian; Renaissance; Baroque; Michelangelo; Donatello; Botticelli; Giovanni della Robbia; Giorgione; Palma Vecchio; Artemisia Gentileschi; Allori; Apocrypha. Includes bibliographical references.
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BURZLAFF, MARY CAROLINE. "CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE: THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147989193.
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Ruane, Richard T. "Performing "Camp, Vamp & Femme Fatale": Revisiting, Reinventing & Retelling the Lives of Post-Death, Retro-Gothic Women." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2239/.
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This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.
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Michaud, Julie-Mélanie. "L'Hétaïre ensorceleuse, les représentations de la femme fatale dans Une vieille maîtresse et Les diaboliques de Jules-Amédée Barbey d'Aurevilly." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0028/MQ33718.pdf.
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Alfonso, Kristal L. M. "Femme fatale : an examination of the role of women in combat and the policy implications for future American military operations /." Maxwell AFB, Ala. : School of Advanced Air and Space Studies, 2008. https://www.afresearch.org/skins/rims/display.aspx?moduleid=be0e99f3-fc56-4ccb-8dfe-670c0822a153&mode=user&action=downloadpaper&objectid=9fa236b6-82fe-4be7-951f-1f172da0dcdf&rs=PublishedSearch.
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Danneman, Lundkvist Manne. "Neoformalistisk analys av Sin City." Thesis, Örebro University, Department of Humanities, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1556.
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Syftet med min analys är att se via en neoformalistisk stilanalys vilka grepp som filmen Sin City har hämtat från film noir. Jag ser även via intertextuella kopplingar vad Sin City har hämtat från serietidningen som filmen baseras på. Fokus i analysen ligger dock på fyra grepp som jag anser är de mest klassiska film noirgreppen; Ljussättning, Femme fatale, en mörk värld och protagonisten. Jag kommer bl.a. fram till att Sin Citys använder sig av klassiska film noirstilgrepp men drar dem till det extrema, kanske för att passa in på den serievärld som filmen är länkad till. Filmen använder sig även flitigt av hypermarkerade objekt för att leda in åskådaren på mer estetiska tankebanor.
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Gohn, Merritt. "The Pretty and The Deadly." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1080.
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The Pretty and The Deadly is a visual essay exploring the role of the Femme Fatale in the classic Film Noir film and how this depiction relates to the treatment of female ambition today. It creates a narrative through a mashup of different scenes with Femme Fatales and is juxtaposed by a mashup of original audio from the film and modern audio in order to critique the treatment of women and their ambition.
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Poole, Judith G. "Towards a descriptive and explanatory stylistic analysis of thought presentation in drama: with special reference to Femme Fatale by Debbie Isitt." Thesis, Lancaster University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507931.
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Björk, Chanda. "Folksagans prinsessa - en god förebild än idag : ”Prins Hatt under jorden” genom illustrationer av Elsa Beskow." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-436.
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The text discusses the folk-tale princess as a good role model for both children and adults, from a feminist debate concerning this issue. Also an iconographic study, it compares women in folk-tale illustrations with women represented in fin-de-Siècle art concentrating on the Great mother goddess and the femme fatale, finding similarities between folk-tale illustrations and other art. Besides that, the text look at the interest for Swedish folk-tales in the 1890´s, the connection between women as illustrators of children’s books and ideas about nature and womanhood that might have had influence on the Swedish artist Elsa Beskow at the time.
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Stott, Rebecca Kathleen. "The kiss of death : a demystification of the late-nineteenth century 'femme fatale' in the works of Bram Stoker, Rider Haggard, Joseph Conrad and Thomas Hardy." Thesis, University of York, 1989. http://etheses.whiterose.ac.uk/4267/.
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The thesis takes its beginnings from the work of Mario Praz, The Romantic Agony and from Michel Foucault's The History of Sexuality, Vol. 1. Praz has argued that the construction of the 'femme fatale' as a recognizable type is a phenomenon of the late nineteenth century. Foucault proposes that the nineteenth century is characterised not by a repression of sexual discourses but by a multiplication of centres from which such discourses are produced. The thesis places the 'femme fatale' in the socio-historical context of the 90s and searches both for the plurality of discourses mobilised to define her, and for her presence in other non-literary discourses of the period such as those of evolutionary theory, craniology, criminology and imperialist discourses. It locates this figure in a wide range of contexts: late nineteenth-century debates about female sexuality, biological determinism, theories of decadence and degeneration, invasion anxieties and the censorship debate. It juxtaposes two 'popular' novelists (Stoker and Haggard) with two 'major' novelists (Conrad and Hardy) to demonstrate that the particular discourses mobilised to describe the 'femme fatale' are to be found in works of differing literary 'quality' and in different literary genres. Chapter One examines the representation of the female vampires in Bram Stoker's Dracula in the context of Foucauldian theory about the production of sexual discourses in medicine and science in this period. These 'sexualised' women are contagious and must be annihilated. Chapter No explores the conflation of sexual and imperialist discourses in Rider Haggard's adventure fiction, particularly in She and King Solomon's Mines. Ayesha is an invading sexual being and FET- 'death in the flames can be seen as a 'devolution' into a 'monkey woman': an unveiling. This chapter also examines the other female 'missing links' of Haggard's fiction. Chapter Three continues the exploration of sexual and imperialist discourses, here in the early novels of Conrad: Almayer's Folly and An Outcast of the Islands, in particular. It explores the way in which Conrad's native women merge into jungle landscapes and into twilight; they signify the threatening 'otherness' of the jungle and of language. This chapter concludes with an examination of Winnie Verloc of the Secret Agent as female murderess and as 'free woman'. Chapter Four focuses on Hardy's Tess as victim and as murderess. It proposes a reading of Tess of the d'Urbervilles as a response to the enforced censorship of the text (Tess) expressed via the moral censure and execution of Tess. A short theoretical Afterword draws on feminist theory and Derridean analysis of phallocentrism to propose that the 'femme fatale' of this period is a sign signifying a multiple or conflated 'otherness': a multiplicity of cultural anxieties.
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Day-Reiss, Charlotte. "‘Nadie la puede besar’: El Arquetipo Mujer Araña , de Ovidio a Manuel Puig." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/485.
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En esta tesina, investigo el arquetipo de la mujer araña . Empiezo en el primer capítulo con el prototípo--Aracne, joven tejedora de la mitología grecorromana, de cuyo nombre viene la raíz de todo lo “arácnido.” Según la fábula, Aracne, famosa tapicera, fue transformada en una araña por ofender a Minerva. Investigo el mito—como primero apareció, recordado por Ovidio en las Metamorfosis (8 a.D)--y su propia metamorfosis a lo largo de dos milenios. Me enfoco en la tradition exegética de L’ovide moralisé, nacida en Francia en el siglo XIV, como ejemplo del discurso moralista que ha envuelto a Aracne, y, por consiguente, la mujer araña. En el segundo capítulo, expongo, a grandes rasgos, el arquetipo de la araña que se ha desarollado. Pasando revista al arte y literatura hispánica tanto como lo francófono, estudio algunas representaciones claves de la mujer-araña. Ato los elementos en común para entretejer tres sub-arquetipos de la mujer araña: la blasfema (Aracne), la depredadora (Femme Fatale), y la storyteller (Grandmother Spider).En el tercer capítulo, propongo que El beso de la mujer araña presenta, refleja, cuestiona, invierte, y finalmente reconcilia estas tres caras para presentar una nueva version de la mujer araña. Es una historia de conciliación de polos opuestos, y también de re-lectura—igual que la de Aracne, y de toda la tradición araña.
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Carlander, Maria Cecilia. "Les figures féminines de la décadence et leurs implications esthétiques dans quelques romans français et suédois." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040018.
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La thèse compare quelques romans suédois et français écrits entre 1884 et 1892 et comment ceux-ci sont imprégnés par les thèmes de la Décadence, et cela à partir de l’implication esthétique des portraits de femmes. Huit textes sont étudiés afin de comparer la littérature suédoise fin-de-siècle – en partie interprétée comme de la littérature de « percée moderne » – à la littérature française et la Décadence. L’étude est divisée en trois parties concernant : 1) la représentation de la femme indépendante ; 2) les nouveaux rôles des sexes ; 3) les rapports à l’esthétique et l’ontologie décadentes. Comme l’époque est concernée par de nouveaux rôles de sexes, l’attention attirée sur les figures féminines est fructueuse et originale, car la plupart des personnages principaux décadents sont masculins, un fait qui imprègne la recherche sur la Décadence littéraire. La première partie analyse aussi bien les apparences et les comportements, que l’approche de « la femme fatale » et le regard des femmes d’elles-mêmes. Dans la deuxième partie, des thèmes comme androgynie, sexualité et érotisme sont étudiés. Finalement, la thèse examine, dans la troisième partie, les relations entre les figures féminines et les idées liées à la sécularisation, à l’artifice et aux maladies fin-de-siècle. Plus les analyses évoluent, plus il devient clair que les œuvres suédoises sont marquées par les mêmes thèmes et idées que les œuvres françaises. Cependant, une différence est que les traits des figures féminines françaises sont plus souvent exagérés que ceux des figures suédoises – une différence que la thèse voit comme une influence du programme littérairement politique de la « percée moderne »This thesis compares Swedish and French literary prose fiction written between 1884 and1892 and its approach to Decadent themes, with focus on the female portraits and their aesthetic impact. Eight texts are analyzed in order to explore how the Swedish fin de siècle literature – partly interpreted as belonging to the political literary program of the ”Modern Breakthrough” – relates to the French literature and the Decadence. As the literary Decadence is concerned about the gender roles, the focus on the female characters is profitable and original; most main characters in Decadent literature are male, which has also influenced earlier research on this period’s literature. The study is divided into three major parts: 1) pictures of the independent woman; 2) gender roles and sexuality; 3) female characters and decadent ontology. In the first part, the analyses focus on features and behavior – as well as “la femme fatale” and the women’s look upon themselves. In the second part, themes such as androgyny, sexuality and eroticism are examined. In the third part, the study explores how the female figures relate to the ideas of degeneration and the feelings of loss: secularization, artifice and (non-)health. The more the analyses are developed, the clearer it becomes that the Swedish texts are influenced by the same decadent themes and ideas as the French texts. Nevertheless, a difference is that the French literature’s female characters more often are depicted with exaggerated traits than the Swedish characters, a difference that the thesis points out as connected to the Modern Breakthrough and its political program
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Snow, Megan Ashley. "The Unexpected Symbol of the New Woman: Ella Ferris Pell's Salome." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6371.
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This thesis argues that Ella Ferris Pell's 1890 painting, Salome, provides a unique interpretation of the ideals of the New Woman, specifically in terms of reclaiming female power through Salome's confidence in her sexuality. By examining the cultural context in which Pell exhibited her painting, as well as her background as an artist, I hope bring to the light the significant ways in which Pell's Salome participates in the construction of the New Woman in late nineteenth-century culture. Since Pell was an American woman who trained and exhibited in both the United States and France, this paper explores the significance of the New Woman in both countries. Through the examination of these ideas, we can better appreciate the way in which Pell approached her painting and why it was not well received in Paris—despite its popular subject matter, technical execution, and relevance to the popular topic of the women's movement. Drawing upon the rich visual culture of this era, I offer a comparative study of how both images of women and actual women embraced sexuality and femininity as a means of exerting influence over men, and by so doing, carved out a sphere of influence in a male-dominated society.