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Journal articles on the topic 'Femme fatale'

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Published: 4 June 2021
Last updated: 28 July 2024

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1

Porter, Roy. "Femme fatale?" Nature 383, no. 6603 (October 1996): 781–82. http://dx.doi.org/10.1038/383781b0.

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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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.
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11

Sanchez, Mercedes Rodrigues. "Desvestindo a fatalidade." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda, no. 35 (July 29, 2022): 30–54. http://dx.doi.org/10.26563/dobras.i35.1549.

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Este artigo apresenta um estudo sobre a construção do arquétipo da femme fatale cinematográfica através do design do vestuário, desde a aparição da personagem da vamp no cinema mudo, até as femmes fatales do thriller erótico dos finais de 80 e 90, passando pelas mulheres que protagonizaram o film noir clássico da década de 40. A autora realiza uma seleção de filmes levando em consideração não apenas a qualidade do filme, mas fundamentalmente baseada na importância do design do figurino para a construção de personagens icônicas e a repercussão que determinados fatos tiveram, quer nas tendências da indústria da moda, quer na construção do arquétipo da mulher fatal no imaginário coletivo.
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12

Queffelec, Lise. "Inscription romanesque de la femme au XIXe: le cas du roman-feuilleton sous la Monarchie de Juillet." Revue d'histoire littéraire de la France o 86, no. 2 (February 1, 1986): 189–206. http://dx.doi.org/10.3917/rhlf.g1986.86n2.0189.

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Résumé A travers les multiples figures de femmes qu'inventent les romans-feuilletons de la Monarchie de Juillet se dessine le rôle idéologique et imaginaire de la femme à cette époque. Peu caractérisée socialement, si ce n'est pour noter son appartenance exclusive à la vie privée, elle est dans l'action l'enjeu du désir de l'homme et l'instrument de son pouvoir. A cette passivité fonctionnelle correspond sa définition comme « nature ». Miroir du désir masculin affronté à la Loi, elle en joue, dans son ambivalence (femme fatale/femme idéale) et ses ambiguïtés, les contradictions internes. Gardienne de la Loi, elle doit aussi, en effet, être celle qui permet de la transgresser. Mais elle reste, double rassurant dans sa fictive altérité, l'espace d'inscription du pouvoir masculin - ce que démontre a contrario la figure de la femme fatale, mortelle et mortifère parce que semblable à l'homme et son concurrent
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13

Sakwa, Mediatrix M., and Oluoch Obura. "Femme Fatale Poetics in Elechi Amadi’s the Concubine and Ngugi wa Thiong’o’s Petals of Blood." East African Journal of Education Studies 5, no. 2 (September 7, 2022): 435–41. http://dx.doi.org/10.37284/eajes.5.2.829.

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In this article, we focus on unravelling the femme fatale poetics in Elechi Amadi’s and Ngugi wa Thiong’o’s, The Concubine and Petals of Blood, respectively. It is premised on the knowledge that the femme fatale is a shifting personage in interpreting feminist politics beyond national borderlines and the social procedures that frame relational contradistinctions of gender and its convergence with sexuality. It is believed that the term femme fatale refers to an archetypal female personality whose wicked features compel her to either unknowingly be destructed or consciously seek retribution. In light of this, Jung additionally submits that a femme fatale is often depicted as a lady who is stunningly gorgeous, has a sexually enchanting voice, is a thought-provoking figure, and has multiple character traits. She is both attractive and intelligent, and she frequently articulates in a soft voice and dresses in unconventional and attractive ways to attract men’s admiration. In line with Jung’s submission, the central concern of this paper is to unravel how the femme fatale has become a source of anxiety in the male domain. This article reveals that the femme fatale quest for individual sexual equality is emphasized as the fundamental source of conflict between patriarchal and feminist conceptions. Therefore, this article concludes that in order to solve the puzzling conundrum paused by the femme fatale, a need for a gender-equal regime should be advocated among all the gender cadres. The principal assertions made in this study serve to highlight an adequate solution to the problem of essentialism by the post-modern and post-feminist view context concerning the modern femme fatale as a threat to male dominance. This work was carried out by the use of close textual analysis to gather sufficient data for the phenomena under investigation and description of the significant claims.
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Subbi, Arsha, and Dr Balakrishnan Kalamullathil. "Rewriting Dalit Gender Paradigms through the Viranganas and Femme Fatale Archetypes." Journal of University of Shanghai for Science and Technology 23, no. 05 (May 25, 2021): 594–602. http://dx.doi.org/10.51201/jusst/21/05180.

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The true identity of the Femme Fatale character type has not yet been discovered despite the growing interest of authors and writers in this lethal woman archetype, whose extensive presence was seen in nineteenth and twentieth century literary and cultural texts. The Femme Fatale has acquired numerous forms since her arrival into the literary arena. Although typically villainous, or at least morally confusing, and always associated with a sense of mystification and unease, Femme Fatales have also appeared as an anti-heroine in some stories. Some narratives also end with a repenting Femme Fatale, who regrets her past villainy. Some Femme Fatales also pave way for greater good by ensnaring the villain and reforming him through her lethal treatments. Dalit viranganas are a group of warrior women characters who are comparatively novel portrayals within the arena of literature. These characters refurbish the entire ideologies governing the conventional patriarchy which often put women under the control of these patriarchal figures. She denies fitting into the roles of a dutiful wife and nurturing mother that the mainstream society prescribes for her. In these representations there is a blending of history and present and these women become symbols of pride for the community. They are often dressed in masculine manner and displays physical prowess, which is a quality often ascribed to men. She leaves behind a strong picture of an unremorseful, bold and daring woman who adheres to her own ideals rejecting the rules put forward by society.
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Cuzovic-Severn, Marina. "The Geopolitics of Emilia Pardo Bazán’s La Quimera: Femme Fatale as Split Feminist Subject." Mediterranean Journal of Social Sciences 8, no. 5 (September 1, 2017): 31–40. http://dx.doi.org/10.1515/mjss-2017-0021.

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AbstractThis paper analyzes the representation of the femme fatale in Emilia Pardo Bazán’s La Quimera (1905). Femme fatale is described by many critics as an expression of masculine anxieties and fears, caused by political crisis and growth of feminine independence in the nineteenth century. Male authors employed this figure to preserve patriarchal structure and the existent power balance between prescribed gender roles. I argue that Pardo Bazán, through imitation of male writers and manipulation of hidden meanings in La Quimera, employs this masculinist projection to express latent feminist ideas and a critique of the contemporary social position of women. In her novel, Pardo Bazán creates a feminist femme fatale and, through her geopolitically split formation (France/Latin America/Spain), criticizes Spanish patriarchy, domesticity and non-modernity. She achieves this without overtly violating masculine narrative structure or demeaning patriarchal order, as she appropriates the originally masculinist imagery of fatal woman. Nevertheless, the eventual fate of Pardo Bazán’s femme fatale—especially the elaboration of internal dialogs and her presentation not as antagonist and invasive Other but as protagonist and subject—demonstrates fundamental differences of a feminist perspective within her elaboration of this masculine fantasy. In this way, in a time and space where feminism as a movement did not yet exist or was in its formative years, Pardo Bazán immensely contributed to the development of European/Spanish feminist thought.
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16

Pyle, Marcus R. "The Rhetoric of Seduction; or Materiality under Erasure." 19th-Century Music 43, no. 3 (2020): 194–208. http://dx.doi.org/10.1525/ncm.2020.43.3.194.

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Operatic versions of the femme fatale, the preeminent figure of European modernist aesthetics, compel and allure because we witness her coming into material presence through the course of her opera. Through vocalizing, the femme fatale manifests her corporeality under imminent threats of erasure by coopting and manipulating the offstage world as represented by the orchestra. The Seguidilla seduction scene in George Bizet's Carmen and the “Dance of the Seven Veils” in Richard Strauss's Salome raise the question of how subjectivity and material presence, especially of the femme fatale character, are depicted sonically, dramaturgically, and metaphysically.
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17

Minowa, Yuko, Pauline Maclaran, and Lorna Stevens. "The Femme Fatale inVogue: Femininity Ideologies in Fin-de-siècle America." Journal of Macromarketing 39, no. 3 (May 7, 2019): 270–86. http://dx.doi.org/10.1177/0276146719847748.

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This article explores how marketing influences ideologies of femininity. Tracing the evolution of femme fatale images in Vogue magazine in 1890s America, we develop a typology around four archetypal forms of the femme fatale that prevailed during this period. In doing so we respond to calls for more critical historical analyses on femininity. While studies on masculinity ideologies proliferate, there is a paucity of research on dissonant representations of femininity in popular culture media. The femme fatale, often a self-determined seductress who causes anguish to the men who become involved with her, is an intriguing and enduring challenge to traditional notions of femininity. Thus, in studying the femme fatale in her historical context and revealing the multiplicity of feminine ideologies contained within this trope, we contribute to a deeper understanding of marketing’s role in both reflecting and reinforcing societal assumptions, attitudes and problematics around gender norms.
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18

Wautier, Camille Riquier. "Nana, femme fatale, mythe macabre." Revue de la BNF 60, no. 1 (2020): 137. http://dx.doi.org/10.3917/rbnf.060.0137.

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19

Bródka, Szymon. "Lilith jako prefigura femme fatale." Civitas. Studia z filozofii polityki 21 (December 29, 2017): 139–53. http://dx.doi.org/10.35757/civ.2017.21.07.

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20

Judd, Catherine Nealy. "A Greco-Roman Femme Fatale." Film International 16, no. 1 (March 1, 2018): 46–54. http://dx.doi.org/10.1386/fiin.16.1.46_1.

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21

Merow, Katharine. "Math Is My Femme Fatale." Mathematical Intelligencer 34, no. 1 (February 1, 2012): 42–43. http://dx.doi.org/10.1007/s00283-011-9268-6.

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22

Kleine-Gunk, Bernd. "Die Femme fatale als Fetisch." gynäkologie + geburtshilfe 24, no. 2 (April 2019): 59. http://dx.doi.org/10.1007/s15013-019-1706-0.

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23

Piechucka, Alicja. "“You Avenge the Others”: The Portrait of a Femme Fatale in Gladys Huntington’s Madame Solario." Text Matters, no. 5 (November 17, 2015): 111–27. http://dx.doi.org/10.1515/texmat-2015-0009.

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The article deals with the concept of femme fatale as presented in Gladys Huntington’s 1956 novel Madame Solario. The eponymous protagonist, Natalia Solario, displays several characteristics of this female archetype, omnipresent in literature, culture and visual iconography. As a femme fatale, Natalia is beauty, danger and mystery incarnate. The cause of tragedies, but also a tragic figure herself, Madame Solario is both victim and victimizer. The article explores the interplay between innocence and experience, life and death, the erotic and the thanatic, as well as the motifs of transgression, ambiguity, love, passion, desire, perversion, dominance and control crucial to Huntington’s novel. Madame Solario reminds us that, paradoxically, the femme fatale usurps certain stereotypically masculine traits. This, in turn, brings us to the novel’s feminist dimension: the femme fatale is victimized by men, but she is also the agent of female revenge and, ultimately, liberation, symbolically marking the transition from patriarchy to women’s emancipation.
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Feng, Xiaohan, and Makoto Murakami. "Archetype or Stereotype: The Femme Fatale in Online Education." International Journal on Integrating Technology in Education 12, no. 02 (June 27, 2023): 31–39. http://dx.doi.org/10.5121/ijite.2023.12203.

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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 creative work. This study is intended to call attention to the rigor of the content of online creative writing courses.
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Semenyuk, Xenia A., and Anton P. Semenyuk. "The image of femme fatale in Dostoevsky's work through the prism of the structural psychoanalysis of Jacques Lacan." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 140–48. http://dx.doi.org/10.17223/22220836/46/11.

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The interest of psychoanalysis to Dostoevsky's work is due to the consonance of theoretical and literary discourses in the interpretation of unconscious motives that determine human behavior. The most vivid embodiment of Freud's ideas, which influenced modern philosophy, we find in Jacques Lacan, whose concepts of the subject absorbed in language and pleasure allow us to explicate the construction of femme fatale, which can describe a number of female characters of Dostoevsky. In fact, we can talk about Freud's discovery of a hysterical subject, which will later be described by Lacan no longer as a mental pathology, but as one of the structures of the psyche, along with psychotic and perverse. Removing the veneer of simplifying biologism from Freud's ideas, Lacan gives them a new sound in the light of structural linguistics, which fits them into the mainstream of the linguistic turn of philosophy. The interpretation of a number of female images of Dostoevsky carried out in this article through the prism of the Lacanian categorical apparatus allows, on the one hand, to explicate one of the constructs of his novels, and on the other - to draw parallels between the writer's intuitive insights and theoretical findings of the second half of the XX century. The phenomenon of femme fatale is considered on the material of two female characters of Dostoevsky (NastasiaFilippovna and Grushenka), whose obvious hysterical and narcissistic character traits most fully correspond to the image of femme fatale. In addition, the authors argue that femme fatale is primarily a phenomenon of language, that is, the more people talk about it, the more fatal it becomes in the eyes of others. Femme fatale realizes the enjoyment of speech and the capture of the subject by language. The authors consider the aspect of enjoying speech to be an obligatory structural component of this construction. Femme fatale is one of the faces of a Beautiful lady, who, as Lacan writes, is inaccessible to male desire, so the only pleasures that he can afford are fantasy and the enjoyment of speech. However, when he speaking about a woman, a man puts his subjectivity on the line, since the pleasure of the fullness or the pleasure of Another is outside the field of the imaginary and symbolic, and only in them can the subject exist. The desired meeting according to Lacan ends with madness or death, which Dostoevsky demonstrates to us with virtuosity in the scene after the murder of NastasiaFilippovna by Rogozhin. In his heroines, Dostoevsky, with the flair of a psychoanalyst, fixes the mechanism that triggers the utterance of a symptom and the enjoyment of speechwhich provoke the desire to possess and at the same time do not allow its realization, forcing the male heroes to circle around the object of desire in endless repetition and involving more and more victims in this circle. Signifiers cling to signifiers, finding the axis of rotation in the symbolic phallus - the femme fatale.
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Liu, Siwei. "The Research on the Representational Strategies of Femme Fatale in Contemporary Chinese Film-noir." BCP Education & Psychology 8 (February 27, 2023): 314–22. http://dx.doi.org/10.54691/bcpep.v8i.4346.

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In 2014, Chinese director Diao Yinan’s feature Black Coal, Thin Ice wins the Golden Bear Award for Best Director at the 64th Berlin Film Festival, sparking enthusiastic discussion on the prospect of the so-called 'Chinese film-noir'. Among the classic noir elements that sparked discussion in these films, the lethal woman, or the ‘femme fatale’ stands out to be the one that attracts the most attention. In the span of a decade, the Chinese femme fatale varies quite enormously in her role in the narrative and the gender implication her relationship with the noir hero represents. This essay will build on Mark Conrad’s definition of film-noir, Jack Boozer’s categorization of femme fatale, and Elisabeth Bronfen’s tragic theory to analyze the construction of femme fatale in 2010s Chinese film noir. Equipped with these theoretical tools, this essay will focus on recent Chinese films-noirs and draw connections between their different representational strategy of the femme fatale to complete their noir narrative. This essay argues that while films like the Hunt Down (2019) and Long Day’s Journey Into Night (2018) approaches the lethal woman in the classic androcentric or even misogynist way, Black Coal, Thin Ice (2014) and the Wild Goose Lake (2019) endows her with more subjectivity and agency while complicating her relationship with the noir hero.
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Jankowiak, William, and Angela Ramsey. "Femme Fatale and Status Fatale: A Cross-Cultural Perspective." Cross-Cultural Research 34, no. 1 (February 2000): 57–69. http://dx.doi.org/10.1177/106939710003400104.

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28

Alaabed, Abdullah Abdulhaq Hussien. "The Seduction of Femininity: A Critical Scrutiny of Oscar Wilde’s Salomé." Advances in Social Sciences Research Journal 9, no. 4 (April 29, 2022): 313–25. http://dx.doi.org/10.14738/assrj.94.12230.

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This study covers how the femme fatale image is constructed socially, literarily and culturally. The femme fatale character, which has been the target of works in a variety of literary and visual fields, including painting, writing, and film, from the nineteenth century to the present, incorporates conceptual lines that enable us to explore the gender regime and body policies of contemporary society. The construction of the femme fatale originated as a result of the patriarchal structure’s anxieties, fears, and reflexes toward female subjectivity, which has become more prevalent in public life as a consequence of modernization. Traditional ideological tools that associate women’s bodies with mystery, cruelty, and tragedy have been replicated as a result of the debates surrounding this image, and gender-based regulatory policies targeting women have been used to gain discursive legitimacy using these tools. In this regard, the femme fatale has been portrayed as a feminine-other who is negatively associated with patriarchal society’s gender regime. The dialogue between context and text will be used to analyse the plays. This research is historically contextualized by taking into account Victorian women's ideology. The historical and cultural context in which the femme fatale image originated was first analysed, and then the femme fatale representations in Oscar Wilde’s one-act play Salomé, which was created in this context, were studied from a feminist discourse as a sample. The current inquiry mirrors another dimension of women’s serious vicissitudes they had to put up with back then which imperceptibly laid the foundation for reawakening women all around the world of their natural and basic rights they have been deprives for centuries under patriarchy. The feminist theory will be utilized to examine Wilde’s play.
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29

Demeule, Fanie. "Rousseur fatale dans La peau blanche de Joël Champetier." Voix Plurielles 17, no. 1 (April 27, 2020): 34–47. http://dx.doi.org/10.26522/vp.v17i1.2469.

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L’article s’intéresse à la figure de la femme fatale rousse dans le roman d’horreur québécois La peau blanche (2003) de Joël Champetier. Si les criminelles de Champetier reprennent des traits stéréotypiques liés à la rousseur genrée au féminin, tels que la sexualité perverse et la criminalité, nous observons comment ces personnages offrent aussi un potentiel féministe progressiste, entre autres parce qu’ils constituent un groupe féminin non repentant et victorieux. C’est cette tension entre persistance et subversion de la figure de la femme fatale rousse que nous proposons d’analyser chez Champetier. Mots-clés : Femme fatale ; figure rousse ; succube ; littérature populaire ; littérature de l’imaginaire ; littérature québécoise ; Joël Champetier ; La peau blanche
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30

Stewart, Jemma. "‘She shook her heavy tresses, and their perfume filled the place’: The Seductive Fragrance of ‘that awful sorceress’: H. Rider Haggard's femme fatale, Ayesha." Gothic Studies 22, no. 3 (November 2020): 246–65. http://dx.doi.org/10.3366/gothic.2020.0060.

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This paper explores perfume, scent, and floriography as an aspect of the archetype of the femme fatale, specifically in the context of the late-Victorian Gothic and its afterlives. As an expansion of the concept of a masculine-Gothic language of flowers, this article analyses H. Rider Haggard's Ayesha, a central character within his popular romance, She, by reviewing the significance of the artificially floral in her development. Perfume and floriography in She convey not only the aura of mystically seductive danger intrinsic to the creation of the femme fatale, but also suggest the longevity, originality and power imbued in this archetype. The article argues that much of Ayesha's complexity and continued appeal rests on the idea that the Gothic and perfume significantly influence her portrayal as a femme fatale whilst allowing for her individuality.
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31

Smagina, Svetlana A. "The Image of Femme Fatale in German Films of the 1920s as Evidence of the Process of Society Renewal." Journal of Flm Arts and Film Studies 10, no. 3 (September 15, 2018): 97–106. http://dx.doi.org/10.17816/vgik10397-106.

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The article deals with representation of female characters in the German cinema of the 1920s focusing on the femme fatale as the exponent of the spirit of the age and its numerous inner problems. Then and there, the femme fatale appears as a revolutionary image challenging the traditional life style. tte author analyses the most exemplary films with such a heroine: Genuine, die Tragdie eines seltsamen Hauses, Dirnentragdie and Asphalt.
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32

Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/ahr.2021001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).
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33

Leonard, Suzanne. "The Femme Fatale: Images, Histories, Contexts." Feminist Media Studies 11, no. 4 (December 2011): 511–12. http://dx.doi.org/10.1080/14680777.2011.615589.

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34

Bronfen, Elisabeth. "Femme Fatale--Negotiations of Tragic Desire." New Literary History 35, no. 1 (2004): 103–16. http://dx.doi.org/10.1353/nlh.2004.0014.

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35

Scheepers, Léon. "Longitudinal Study of a Femme Fatale." Homoeopathic Links 19, no. 4 (December 2006): 180–85. http://dx.doi.org/10.1055/s-2006-924684.

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36

Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/2753-7080/1/ahr_001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).
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37

Mellard, James M. "Lacan and the New Lacanians: Josephine Hart's Damage, Lacanian Tragedy, and the Ethics of Jouissance." PMLA/Publications of the Modern Language Association of America 113, no. 3 (May 1998): 395–407. http://dx.doi.org/10.2307/463348.

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Read through Lacan and such new Lacanians as Slavoj Žižek and Juliet Flower MacCannell, Josephine Hart's Damage (1991) illustrates how an ethics of jouissance founds a tragic action emblematic of postmodern narcissism. New Lacanians stress drive, jouissance, the real, the primordial father, and the femme fatale. Typically, they find these elements in film noir. Transforming noir into love story, Damage foregrounds an unnamed narrator whose sadomasochistic affair with his son's fiancée precipitates the son's death. Beginning with the narrator in the guise of the traditional oedipal father, the affair unveils the fiancée as a femme fatale who constitutes the narrator as what MacCannell would call the destructive, narcissistic brother become primordial father. Enacting an ethics of jouissance because the narrator will not abandon his drive to enjoyment beyond the pleasure principle, primordial father and femme fatale participate in a narrative that must be called Lacanian tragedy.
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38

Souza, Tatiana, and Sueder Souza. "O Anjo do Lar e Femme Fatale: a representação da mulher vitoriana na obra Carmilla, de Le Fanu." Revista Ártemis 25, no. 1 (August 1, 2018): 130. http://dx.doi.org/10.22478/ufpb.1807-8214.2018v25n1.37047.

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Este trabalho analisa o discurso acerca da representação da mulher vitoriana no final do Século XIX, por meio da obra literária Carmilla: a vampira de Karnstein, de Sheridan Le Fanu, de 1872. A representação angelical e meiga, o Anjo do Lar (PATMORE, 1864), uma mulher sem desejos, totalmente reprimida sexualmente e objeto do homem, é representada pela personagem Laura. Ao passo que Carmilla representa a libertação dessa mulher, correspondendo à imagem da Femme Fatale, em sendo sedutora e dominadora, se encaixaria no padrão da Femme Fatale, rompendo com os padrões sociais deste período.
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39

McGrail, Peter. "Eroticism, Death and Redemption: The Operatic Construct of the Biblical Femme Fatale." Biblical Interpretation 15, no. 4-5 (2007): 405–27. http://dx.doi.org/10.1163/156851507x194224.

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AbstractThis article explores the themes of eroticism, death and redemption as seen in the world of opera, through a particular lens. This lens is the construct of the femme fatale as drawn from the particular world of the Bible. This construct is of course largely the product of the composer's and/or librettist's own social, religious, political and philosophical world view; where the origin of the construct is a biblical narrative, a high degree of elaboration is always required, since the psychology and motivation of women in the Bible is particularly under-developed. The article first surveys the terrain—surprisingly limited to six chief operas, which together treat only four biblical subjects. The first of the operas, Verdi's early work Nabucco, is analysed in terms of the depiction of its—totally invented—femme fatale, a fictitious daughter Abigaille given to King Nebuccadnezzar. The development of the concept of femme fatale is then traced until it reaches its apotheiosis with the extraordinary character of Kundry, in Wagner's Parsifal. She is then used as the vehicle to explore the themes in depth.
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40

Pop, Christine. "Lou Andreas-Salomé – Rebellin oder Femme fatale?" »Alter/n« | »Islam« 30, no. 2 (December 2018): 119–28. http://dx.doi.org/10.30820/8241.09.

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Der Film hat die Biographie von Lou Andreas-Salomé, Psychoanalytikerin und Philosophin, wie sie in deren Memoiren mit Hilfe des Germanisten Ernst Pfeiffer verschriftet wurden, zum Inhalt. Cordula Kablitz-Post inszeniert dieses Biopic aus der Perspektive der 72-jährigen Lou Andreas-Salomé im Jahr 1933. Schwerpunkt ist hierbei die persönliche Entwicklung von Andreas-Salomé und deren Beziehungen zu und Einfluß auf (v.a.) Friedrich Nietzsche, Paul Rée, Carl Andreas, Rainer Maria Rilke und Ernst Pfeiffer. Die Filminterpretation zentriert auf die Emanzipationsbemühungen Lou Andreas-Salomés angesichts der Einschränkungen der intellektuellen Entwicklung von Frauen und deren Schwierigkeiten, als selbstbestimmte und eigenständige Individuen in der damaligen bürgerlichen, patriarchalen Gesellschaftsstruktur ihr Leben zu gestalten.
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41

Han, Aekyung. "Lady Susan : ‘Proper Lady’ vs. Femme Fatale." Gender and Culture 9, no. 2 (December 31, 2016): 27. http://dx.doi.org/10.20992/gc.2016.12.9.2.27.

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42

El-Shamy, Hasan. "TRADITIONAL ANIMUS IMAGES OF THE "FEMME FATALE"." Revista Mosaico - Revista de História 13 (August 19, 2020): 6. http://dx.doi.org/10.18224/mos.v13i0.7791.

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43

Jung Dong-Sup. "Femme Fatale in Vicente Aranda's Carmen (2003)." Korean Journal of Hispanic Studies 9, no. 1 (May 2016): 295–320. http://dx.doi.org/10.18217/kjhs.9.1.201605.295.

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44

Micali, Simona. "Bontempelli e la dissoluzione della femme fatale." Italica 73, no. 1 (1996): 44. http://dx.doi.org/10.2307/480029.

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45

최정화. "The Femme Fatale Image in Fashion Illustration." Research Journal of the Costume Culture 15, no. 3 (June 2007): 431–45. http://dx.doi.org/10.29049/rjcc.2007.15.3.431.

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46

Popovsky, Mark A., and Robertson D. Davenport. "Transfusion-related acute lung injury: femme fatale?" Transfusion 41, no. 3 (March 2001): 312–15. http://dx.doi.org/10.1046/j.1537-2995.2001.41030312.x.

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47

Lipisivitska, Alina. "Female images in the literature of Fin de Siècle." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 133–37. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-133-137.

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The article examines three models of female images in the literature of the Fin de Siècle era. During the analysis of literary studies by foreign scientists, it was found that three models of femininity dominate in the literary works of the foreign era: femme fatale, femme fragile and femme enfant. The scientific study provides a detailed description and comparison of the three above-mentioned artistic images of literature. The first image, the femme fatale, was found to be that of a demonic temptress who leads to ruin, lusts after a hedonistic lover and kills him in extreme cases. The image is mostly of a young woman with characteristically expressed sexuality. She is a very mysterious, attractive woman with wavy, lush blond hair, pale complexion and expressive eyes. A strong and viable figure, whose appearance causes a strong physical attraction in men. Self-confident, untamed, unapproachable, with typical "male" character traits. The characters of this image dominate men – their victim possess them but are at the same time the opposite of the image of the "new" woman of the era of realism, because they cannot get rid of the classical social hierarchy. The second image – femme fragile – depicts white, pure women, like Madonna, sinless. The image of a holy woman was a reproduction of the ideal of beauty of that time. In this image, women from the old aristocratic nobility were depicted (wealth and luxury were mandatory prerequisites for this female image), who led a life in a state of absolute passivity and peace. Characters of the image of a saint are usually exhausted, tired, nervous and sick in novels – mostly pulmonary tuberculosis (tuberculosis) or hysteria, which signals their "spiritual elevation" and elevates them to "unearthly spiritual beauty". The third image – femme enfant – shows an unusually beautiful, innocently attractive young girl with pronounced childlike features of appearance and character. The character of the image of femme enfant is similar to the character of the image of femme fragile, which causes the "defender instinct" in a man and, realizing her own attractiveness, tempts and seduces him, therefore, in fact, from the very beginning she is a potential representative of the image of femme fatale. Very direct and playful, has "unlimited sexuality" combined with childish timidity and narcissism. The three female images of femme fatale, femme fragile and femme enfant, in which the characters of the literature of Fin de siècle are represented, are closely intertwined and flow from each other. These three images are a reproduction of three stages of the development of femininity: woman-child, woman-saint, woman-whore. However, not every literary character is destined to go through all three stages of their female transformation.
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López Ramírez, Manuela. "Gothic Noir Filmic Male Gaze: Gender Stereotyping in Margaret Atwood’s “The Freeze-Dried Groom”." Ambigua: Revista de Investigaciones sobre Género y Estudios Culturales, no. 8 (December 14, 2021): 119–36. http://dx.doi.org/10.46661/ambigua.5899.

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Stereotyping has been crucial in artistic representations, especially cinema, in the construction of gender paradigms. Males and females have been portrayed by means of simplified unrealistic clichés with the purpose of controlling and constraining them into patriarchal roles and conventions, promoting societal normative ideologies. Noir women are projections of male anxieties about female sexuality and female independence. In “The Freeze-Dried Groom,” Atwood unveils gender stereotyping through a typically film noir male gaze in three of its stock characters: the femme attrapée, the “detective” and the femme fatale. Hence, Atwood depicts a femme fatale to reflect not just on this character in film noir, but also on female identity, gender dynamics and feminism. She exposes and questions the marriage-family institution, and the patriarchal society as a whole.
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Bella Ardya Garini, Hanum, and Winarti Winarti. "THE REPRESENTATION OF WOMAN AS FEMME FATALE IN ROALD DAHL'S LAMB TO THE SLAUGHTER." FRASA: English Education and Literature Journal 2, no. 1 (March 25, 2021): 15–21. http://dx.doi.org/10.47701/frasa.v2i1.2043.

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The purpose of this study is to know the representation of woman as femme fatale in Lamb to the Slaughter. The research methods of this study is a qualitative research method. The primary source of data is the Lamb to the Slaughter short story, and the secondary source of the data is the main character Mary Malony. The result of this study shows that Mary became as a femme fatale is actually triggered by the conflict that occur between her and her husband. Knowing the fact that her beloved husband asks for a divorce when she is pregnant is not the right time. Mary, who is originally an innocent and normal wife, suddenly turns into a dangerous woman.
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Мельник, Д. "Інтерпретація образу femme fatale у новелістиці Пауля Гейзе." Літературознавчі обрії. Праці молодих учених, Вип. 23 (2015): 109–15.

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