Relevant bibliographies by topics / Temptress

Academic literature on the topic 'Temptress'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Temptress"

1

Tidswell, Toni. "Zulaykha: Temptress or True Love." Australian Religion Studies Review 19, no. 2 (September 2006): 207–19. http://dx.doi.org/10.1558/arsr.2006.19.2.207.

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Da, K., H. Farish-Williford, and B. Flinn. "ACCLIMATIZATION OF MICROPROPAGATED ICELANDIC POPPY 'TEMPTRESS' PLANTLETS." Acta Horticulturae, no. 988 (April 2013): 93–98. http://dx.doi.org/10.17660/actahortic.2013.988.9.

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GANZ, ARTHUR. "Transformations of the Child Temptress Mélisande, Salomé, Lulu." Opera Quarterly 5, no. 4 (1987): 12–20. http://dx.doi.org/10.1093/oq/5.4.12.

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Sweeney, Michelle. "Chapter 11 Lady as Temptress and Reformer in Medieval Romance." Essays in Medieval Studies 30, no. 1 (2014): 165–78. http://dx.doi.org/10.1353/ems.2014.0011.

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Bratcher, J. T. "Lolita: A Probable Source of Nabokov's Name for his Temptress." Notes and Queries 56, no. 3 (August 5, 2009): 427. http://dx.doi.org/10.1093/notesj/gjp076.

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Bohn, Babette. "RAPE AND THE GENDERED GAZE: SUSANNA AND THE ELDERS IN EARLY MODERN BOLOGNA." Biblical Interpretation 9, no. 3 (2001): 259–86. http://dx.doi.org/10.1163/156851501317072710.

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AbstractIn the course of its long history, pictorial representations of Susanna changed dramatically, ranging from her characterization as a model of female virtue and chastity to her portrayal as a nude and eroticized temptress. Around the turn of the seventeenth century, the Bolognese painter Ludovico Carracci rejected the eroticism of contemporary depictions, reviving the theme of Susanna's virtue and turning to the patristic literature for an understanding of the moral issues raised by the Susanna text.
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Davies, Malcolm. "The temptress throughout the ages: further versions of Heracles at the crossroads." Classical Quarterly 54, no. 2 (December 2004): 606–10. http://dx.doi.org/10.1093/clquaj/bmh061.

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Grossman, Kathryn M. "Woman as temptress: The way to (br)otherhood in science fiction dystopias." Women's Studies 14, no. 2 (August 1987): 135–45. http://dx.doi.org/10.1080/00497878.1987.9978692.

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Persaud, R. A. J. "Flirting with the media — Should psychiatry marry or divorce a fickle temptress?" European Psychiatry 11 (January 1996): 215s. http://dx.doi.org/10.1016/0924-9338(96)88629-9.

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Gough, Melinda J. "Tasso’s enchantress, Tasso’s captive woman*." Renaissance Quarterly 54, no. 2 (2001): 523–52. http://dx.doi.org/10.2307/3176786.

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This essay offers two discoveries concerning lasso's poetics. First, it identifies in theDiscourses on the Heroic Poema critique of allegory on both aesthetic and moral grounds, one that explainsJerusalem Delivered'sabandonment of the “temptress-turned-hag” motif Second, it demonstrates that Armida and Erminia are closely linked to the “captive woman “ topos used by Jerome and Boccaccio to justify Christian adaptations of pagan literature and rhetoric. It is the hermeneutic dimension of this motif that allows Tasso plausibly to convert these beautiful pagan women (and the poetic pleasures they embody) to the exigencies of Christian epic.
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Dissertations / Theses on the topic "Temptress"

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Dinas, Heather, and com au heather@heatherdinas. "The Virgin and the Temptress: Scintillae." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070111.164249.

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'The virgin, the temptress and the godess' is a visual exploration of love, longing and beauty from the carnal though to the sublime. The narrative of the research has several subtexts: one that explores female archetypes, the muse as figurative source of inspiration and also beauty as a transcendental catalyst. I have sought to represent a comprehensive vision of the female muse that embraces both the spiritual and the sensual and explores the duality of corporeal and metaphysical yearning. This is done through photographic imagery; the journey that it evokes is an interior landscape that takes place in the purgatory that is longing and ascends to a sublime state of stillness and peace through the experience of the divine.
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Snyder, Kathryn Elizabeth. "Temptress of the Stage: Whither the Widow-Woman?" W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539626769.

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Curwen, Emma. "Mother, wife, temptress, virgin and tyrant defining images of feminine power in medieval queenship and modern politics /." [Denver, Colo.] : Regis University, 2009. http://165.236.235.140/lib/ECurwen2009.pdf.

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Bullough, Kathryn Mary. "Temptress, virgin and whore : icons of sexuality - a comparative investigation of the religious significance of the figures Eve, the Virgin Mary and Mary Magdalen in the work of Dante Gabriel Rossetti, Edward Burne-Jones and George Frederick Watts." Thesis, Lancaster University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369551.

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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 intemporelle
Even 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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Books on the topic "Temptress"

1

Copyright Paperback Collection (Library of Congress), ed. Temptress. New York, NY: Berkley, 1988.

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Copyright Paperback Collection (Library of Congress), ed. Temptress. New York: Sonnet Books, 1999.

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Jackson, Lisa. Temptress. New York: Penguin USA, Inc., 2009.

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Temptress. Waterville, Me: Thorndike Press, 2005.

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Haught, Jean. Island temptress. New York: Zebra Books, 1988.

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Blake, Veronica. Cheyenne temptress. New York: Zebra Books, 1991.

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Deveraux, Jude. The Temptress. New York: Pocket Books, 1986.

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Deveraux, Jude. The temptress. New York: Pocket Books, 1986.

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Deveraux, Jude. The Temptress: Montgomery / Taggart - 14. New York: Pocket Books, 1987.

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Copyright Paperback Collection (Library of Congress), ed. The temptress. New York, NY: A Dell Book, 2001.

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Book chapters on the topic "Temptress"

1

O’Brien, Daniel. "The Temptress from Beyond." In Classical Masculinity and the Spectacular Body on Film, 124–30. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137384713_8.

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El-Ali, Leena. "Eve Is Not Blamed for the Fall from Eden, Nor Are Women Guilty by Association." In Sustainable Development Goals Series, 63–68. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-83582-8_6.

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AbstractThe Qur’an blames Adam and Eve equally for the Fall from the Garden, on one occasion reproaching Adam specifically, no doubt as the symbol of the human race, which is often referred to as the Children of Adam. Eve is never singled out for particular blame nor depicted as the temptress who lured Adam to sin. In the Qur’anic account, rather, Satan whispers to both Adam and Eve and leads both astray, and both are equally accountable.
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Edwards, Karen L. "The Mother of All Femmes Fatales: Eve as Temptress in Genesis 3." In The Femme Fatale: Images, Histories, Contexts, 35–45. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230282018_3.

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Appleton, Naomi. "Temptress on the Path: Women as Objects and Subjects in Buddhist Jataka Stories." In New Topics in Feminist Philosophy of Religion, 103–15. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-6833-1_7.

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Pilon, Juliana Geran. "The First Temptress." In Soulmates, 95–118. Routledge, 2017. http://dx.doi.org/10.4324/9781315130057-5.

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"Chapter 11. Darwin’s Temptress." In Why Men Won't Ask for Directions, 192–200. Princeton: Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400850693.192.

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"Laura Palmer: Intertextual Temptress." In Re-visiting Female Evil, 165–92. Brill | Rodopi, 2017. http://dx.doi.org/10.1163/9789004350816_011.

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Downes, Stephen. "The Muse as Temptress and Redemptress." In The Muse as Eros, 88–111. Routledge, 2017. http://dx.doi.org/10.4324/9781351218382-4.

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"The Two Sides of the Temptress." In The Israelite Woman. Bloomsbury T&T Clark, 1985. http://dx.doi.org/10.5040/9780567663122.0017.

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Morse, Holly. "Gallery Two Sin." In Encountering Eve's Afterlives, 10–63. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198842576.003.0002.

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Eve is, according to popular views held in Western culture, the original temptress. In this section or ‘gallery’ of the book, my aim is to explore some of the textual and intertextual hooks and triggers that have allowed for the transformation of the first woman into the first femme fatale. For centuries, she has been framed as a negative ‘everywoman’, with countless interpreters claiming Genesis 2–3 as a prooftext for viewing women as inherently more sinful than men. Cumulatively, I consider how the image of Eve as a dangerous temptress has gained such considerable cultural currency, and question its damaging dominance over, and corruption of, equally viable images of her as a subversive wise woman or a mourning mother, which I explore in Galleries Three and Four.
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