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Journal articles on the topic 'Temptress'
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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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Worobec, Christine D. "Temptress or Virgin? The Precarious Sexual Position of Women in Postemancipation Ukrainian Peasant Society." Slavic Review 49, no. 2 (1990): 227–38. http://dx.doi.org/10.2307/2499482.
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Ukrainian peasant women of the postemancipation Russian Empire, like their Russian counterparts, faced an oppressive patriarchal system in both family and village. Over the ages peasants strictly delineated tasks and functions according to gender and age in order to meet the demands of a predominantly agricultural economy. The precariousness of subsistence agriculture and the peasantry's burdensome obligations to family, community, and state reinforced inflexible and oppressive power relations in the village. Ukrainian peasants feared that any departure from the subordination of woman to man, child to parent, young to old, and weak to strong would threaten the existence of their society and culture.
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Rosen-Zvi, Ishay. "Bilhah the Temptress: The Testament of Reuben and "The Birth of Sexuality"." Jewish Quarterly Review 96, no. 1 (2006): 65–94. http://dx.doi.org/10.1353/jqr.2005.0098.
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Syahputra, Oky Irawan, and Teguh Kasprabowo. "THE HERO’S JOURNEY IN MATTHEW VAUGHN’S MOVIE: KICK-ASS." Dinamika Bahasa dan Budaya 15, no. 1 (June 19, 2020): 58–66. http://dx.doi.org/10.35315/bb.v15i1.7896.
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Kick-Ass is a superhero movie. The study aimed to find out about the main character hero’s journey patterns and the characters archetype that occurs in this movie. The data of this study is from watching and analyzed the Kick-Ass movie. This study employed Hero’s Journey from Joseph Campbell to find the patterns with the support from Christopher Vogler for the characters archetype. There are the differences between the hero’s journey Campbell and Kick-Ass movie. In this Study the researcher find 9 stages; The Call to Adventure, Supernatural Aid, The Crossing of the First Threshold, Refusal of the Call, The Meeting with the Goddess, Woman as the Temptress, The Belly of the Whale, Apotheosis and The Ultimate Boon. As for the characters archetype that appearing in this movie are; The Hero, Mentor, Ally, Threshold Guardian, Shape shifter, Trickster and Shadow.
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DeWall, C. Nathan, T. William Altermatt, and Heather Thompson. "Understanding the Structure of Stereotypes of Women: Virtue and Agency as Dimensions Distinguishing Female Subgroups." Psychology of Women Quarterly 29, no. 4 (December 2005): 396–405. http://dx.doi.org/10.1111/j.1471-6402.2005.00239.x.
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A two-part study investigated the dimensional structure of stereotypes of women. In one sample ( n = 258), participants sorted traits according to the likelihood that they would co-occur in the same woman. In a separate sample ( n = 102), participants were given the same traits and were asked to judge the traits' desirability and to judge the moral virtue, sexual liberalism/conservatism, warmth, competence, and power of a woman who possessed high levels of each trait. Results from hierarchical cluster analysis indicated that participants perceived women in terms of six subgroups: professional, feminist, homemaker, female athlete, beauty, and temptress. Large differences among these subgroups were identified based on ratings of their moral virtue and sexual conservatism (i.e., virtue) and competence and power (i.e., agency). The implications of a virtue-agency model of female subgroups for gender stereotyping research are discussed.
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Woodman, Marion. "The Role of the Feminine in the New Era." Journal of Baha’i Studies 2, no. 1 (1989): 59–65. http://dx.doi.org/10.31581/jbs-2.1.4(1989).
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The unveiling of the Persian poet, Táhirih, at the conference of Badasht in 1848 actualizes the larger symbolic unveiling of Fátimih destined to lake place on the Day of Judgment as she crosses the bridge “Sirat.” That larger unveiling, announcing the promised Day of God, may, in terms of Táhirih’s bold actualization of Fátimih’s symbolic act, be identified with the emergence in this century of the feminine from the relative obscurity to which the feminine has been patriarchally subjected throughout the now-ended Adamic cycle. The alliance between Eve and the serpent, her role as temptress, images the feminine in the Adamic cycle as the “shadow” side of the human person that is now being creatively absorbed into the light of a new global consciousness. Indeed, the Maid of Heaven addressing Bahá’u’lláh as the “Most Exalted Pen” would appear to be an initiator or instigator of that consciousness. Working in partnership with the masculine (the inner marriage of the masculine and feminine in both sexes), the unveiled feminine announces a long-awaited coming of age or psychic integration.
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Pawłowska-Jądrzyk, Brygida. "Gdy Rylski spotyka się z Nabokovem… („Dziewczynka z hotelu <<Excelsior>> i fenomen nimfetki)." Załącznik Kulturoznawczy, no. 1 (2014): 396–409. http://dx.doi.org/10.21697/zk.2014.1.17.
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Eustachy Rylski’s story – A Little Girl from the Hotel ‘Excelsior’ – can be read as an example of psychological prose with a distinctive existential outline – as a literary study of alienation, aging and gradual loss of connections with life. There is a temptation to see in it a work that, in a discreet way, refers to the outstanding achievements of Polish prose (such as Iwaszkiewicz’s Tatarak) and world prose (such as Vladimir Nabokov’s Lolita, Thomas Mann’s Death in Venice, Truman Capote’s Miriam and even some works of Edgar Allan Poe). The specific artistic character of Rylski’s work is based on the processing of various ideas linked with the illusion of the femme fatale (including the Young Poland idea of the women-animal), nymphet figures and the ‘odd child’ and introduce them into the caricatured scenery of the Polish People’s Republic. In this broad intertextual context, one can see in Inte – this ‘beautiful temptress’ but also an ordinary ‘little whore’ – something more than a literary manifestation of misogyny, a contemporary crisis of masculinity or a battle of the sexes...
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Emslie, Barry. "Woman as image and narrative in Wagner's Parsifal: A case study." Cambridge Opera Journal 3, no. 2 (July 1991): 109–24. http://dx.doi.org/10.1017/s0954586700003438.
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In much nineteenth-century European art ‘The Woman’ appears as an essentially symbolic figure saturated with ‘higher’ significance. Perhaps only in those literary forms that depend heavily on narrative does ‘she’ have any real chance of escaping a passive role. Otherwise, the female figure was used by male artists in an almost de-personalised manner that invariably emphasised abstract characteristics. At times The Woman is ‘elevated’ – so it would have appeared – to the highest symbolic level: to Liberty, Virtue, Humanity, Science, Art, Europa, etc. ‘She’ is, in aesthetic production, frequently a normative and seldom a narrative figure. Indeed her status as the former helps preclude her from active participation in the latter, so that even in narratives she often appears merely to observe the stories in which she is nominally involved. In artistic discourse, her best chance of liberation from an essentially symbolic identity and of breaking into the realm of active ‘life’ is to assume those qualities that lie most at odds with her conventional, morally uplifting status. The ‘bad’ woman – whore, temptress, manipulator of men – has a better chance than her ‘good’ Doppelgänger of playing a role rather than of merely assuming an ideological part.
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Wang, Xin. "Enchantress or Victim?—The Deprived Voice in “La Belle Dame sans Merci: A Ballad”." English Language and Literature Studies 12, no. 1 (January 17, 2022): 70. http://dx.doi.org/10.5539/ells.v12n1p70.
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According to the knight’s narrative in “La Belle Dame sans Merci: A Ballad”, “la belle dame” is a deceptive temptress, who has a mysterious tryst with him and forsakes him mercilessly. Apparently, in his narrative, he falls victim to the mysterious lady. However, the truth tends to be ignored that the lady is rarely heard in the poem since her voice of resisting the knight’s fantasy world is deprived and covered by his narrative. As to the motivations, critics usually attribute Keats’s deprivation of female voice to his fear of Fanny Brawne, his charming lover’s sexual beauty. However, a close reading of textual details in the poem provides more interpretations of the deprived female voice. First, through the deprivation, Keats suggests his resistance against the power of a female lover as well as a female reader, and thus exhibits his endeavor and ambition to establish a masculine poetic identity among women readers. Besides, it indicates his combat against the anxiety of influence from George Gordon Byron’s literary success.
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Vosmer, Susanne. "‘The Stone Mother Revisited’: A female group analytic reflection on working within male low-secure forensic inpatient settings in the United Kingdom." Group Analysis 51, no. 4 (August 13, 2018): 500–514. http://dx.doi.org/10.1177/0533316418764173.
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This reflective account offers a female group analytic perspective on working with male inpatients within low-secure forensic settings. Viewed through the metaphor ‘Stone Mother’, I suggest that this setting is especially challenging for female group analysts because of its paternalistic matrix and the unflattering portrayal of women as ‘seductive temptress’ or ‘evil stepmothers’ in our inherited cultural foundation matrix. Females and female bodies therefore evoke distinct transferences and projections. In the sexual and gendered matrix of violence on the forensic male ward, these may be particularly malignant due to the aetiology and perpetuation of violence in a male-dominated world of power relations. Clinical vignettes are presented to demonstrate the many challenges female group analysts face in this setting. These are analysed through the lens of group analytic concepts and practice. Gender expectations are problematized. I shall suggest that therapy groups can instil a sense of belonging, acting as anti-shaming strategy and make a difference. However, due to the complexity of the sexual and gendered dynamic matrix of violence, violence cannot be treated in isolation on forensic wards by a predominantly female workforce. It must be addressed globally through dialogues in communities and beyond. Group analysis could take on this challenge.
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Ijeoma Sokwaibe, Queen, Ijeoma Genevieve Anikelechi, and T. D. Thobejane. "Feminisation of Sin : A Cultural Challenge on Womanhood." African Journal of Gender, Society and Development (formerly Journal of Gender, Information and Development in Africa) 10, no. 2 (June 1, 2021): 77–96. http://dx.doi.org/10.31920/2634-3622/2021/v10n2a5.
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In Genesis 2-3, the story of Eve in the Garden of Eden has served as a major tool in the justification of women as evil, seductive, temptress, and the subordination of women. This paper explores the concept of creation and fall (sin) of humanity both in the biblical and some African creation myths. It also underscores the prevalent belief of all subsequent women as daughters of Eve and thus, responsible for bringing evil and death into the world. This perception of women and Eve has endured with remarkable tenacity and persists today as a major stumbling block in attempts by women to correct gender-based inequalities. The paper argues that the downgraded status of women stemmed from the patriarchal society of the Hebrews and the African cultural worldview at large. It examines the African biblical interpretation method which is a biblical interpretation that analysis the biblical text from the perspective of African worldview and culture and has set out to examine the perceived role of Eve and subsequent women in the introduction of original sin both biblical and at the African cultural level. This paper explores this methodology in order to re-appraise ancient biblical tradition, African cultural worldview and life experience with the purpose of correcting the effect of the negative cultural ideological conditioning to which women have been subjected. This paper advocates for a feminist reconsideration along with the existing traditional interpretation of the fall of man in the biblical book of Genesis 2-3 and in African myths on the origin of sin.
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van Veldhuizen, Michiel. "BACK ON CIRCE'S ISLAND." Ramus 49, no. 1-2 (December 2020): 213–35. http://dx.doi.org/10.1017/rmu.2020.12.
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The reception of Circe's island in and through Classical Antiquity has largely focused on the enigmatic sorceress herself. The long literary chain of interpretive topoi—Circe the witch, the whore, the temptress—stretches from Apollonius, Virgil, Ovid, and Dio Chrysostom to Spenser, Calderón, Joyce, Margaret Atwood, and Madeline Miller. Her role as Odysseus’ benefactor, so unmistakable in Homer, is soon forgotten; to Virgil, she is above all dea saeva, (‘the savage goddess’, Aen. 7.19). One distinguishing feature of Circe and her reception is the focus on representation: the enchantment of Circe, as Greta Hawes puts it, is above all a study in allegory. From the moment Circe put a spell on Odysseus’ companions, transforming them into animals in Book 10 of the Odyssey, Circe has invited analogical reasoning, centered on what the transformation from one being into another represents. More often than not, this transformation is interpreted according to a dualist thinking about humans and animals: subjects are transformed from one being into another being, thus representing some moral or physical degradation. This article, by contrast, concentrates on Circe's island through the lens of becoming-animal, the concept developed by Gilles Deleuze and Félix Guattari in the tenth plateau of A Thousand Plateaus, ‘1730: Becoming-Intense, Becoming-Animal, Becoming-Imperceptible…’. I explicate the concept of becoming-animal by applying it to a Deleuzian encounter with Circe's island, both in its ancient articulations and in its various receptions, including H.G. Wells's science fiction novel The Island of Dr. Moreau.
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Dole, John M., Frankie L. Fanelli, William C. Fonteno, Beth Harden, and Sylvia M. Blankenship. "Post harvest Handling of Cut Dahlia, Lupinus, Papaver, and Rudbeckia." HortScience 40, no. 4 (July 2005): 1123C—1123. http://dx.doi.org/10.21273/hortsci.40.4.1123c.
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Optimum postharvest handling procedures were determined for Dahlia `Karma Thalia', Lupinusmutabilis ssp. cruickshankii`Sunrise', Papaver nudicaule `Temptress', and Rudbeckia`Indian Summer.' Dahlia harvested fully open had a vase life of 7–10 days in deionized (DI) water that was increased by 1.5–2 days using commercial holding solutions (Chrysal Professional 2 Processing Solution or Floralife Professional). Neither floral foam nor 0.1–1.0 ppm ethylene had any effect on vase life. One week of cold storage at 1 °C reduced vase life up to 2 days. The longest vase life, 12–13 days, was obtained when floral buds, showing a minimum of 50% color, were harvested at the breaking stage (one petal open) and placed in 2% or 4% sucrose or a commercial holding solution. Lupinus flowers held in DI water lasted 8–12 days; 1 week cold storage at 1 °C reduced vase life by 3 days. Florets and buds abscised or failed to open when exposed to ethylene; STS pretreatment prevented the effects of ethylene. Commercial holding solutions increased Papaver vase life to 7–8 days from 5.5 days for stems held in DI water. While stems could be cold stored for 1 week at 1 °C with no decrease in vase life, 2 weeks of cold storage reduced vase life. Flowers were not affected by foam or ethylene. Rudbeckia had a vase life of 27–37 days and no treatments extended vase life. Stems could be stored at 2 °C for up to 2 weeks and were not ethylene sensitive. Floral foam reduced the vase life over 50%, but still resulted in a 13-day vase life.
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Dole, John M., Zenaida Viloria, Frankie L. Fanelli, and William Fonteno. "Postharvest Evaluation of Cut Dahlia, Linaria, Lupine, Poppy, Rudbeckia, Trachelium, and Zinnia." HortTechnology 19, no. 3 (January 2009): 593–600. http://dx.doi.org/10.21273/hortsci.19.3.593.
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Vase life of ‘Karma Thalia’ dahlia (Dahlia ×hybrida), ‘Lace Violet’ linaria (Linaria maroccana), ‘Sunrise’ lupine (Lupinus hartwegii ssp. cruickshankii), ‘Temptress’ poppy (Papaver nudicaule), ‘Indian Summer’ rudbeckia (Rudbeckia ×hybrida), ‘Jemmy Royal Purple’ trachelium (Trachelium caeruleum), and ‘Benary's Giant Scarlet’ and ‘Sun Gold’ zinnias (Zinnia elegans) was determined after being subjected to postharvest handling procedures. Cut dahlia, lupine, poppy, rudbeckia, trachelium, and ‘Sun Gold’ and ‘Benary's Giant Scarlet’ zinnia flowers could be held in unamended tap or deionized (DI) water with no effect on vase life. Vase life of linaria was longest when placed in DI water with 8-hydroxyquinoline citrate and a solution pH of 3.5. A vase solution of 2% sucrose without foam extended consumer vase lives for linaria, trachelium, and ‘Benary's Giant Scarlet’ zinnia. Floral foam or 2% or 4% sucrose had no effect on the consumer vase life of dahlia, lupine, rudbeckia, and poppy. Trachelium and rudbeckia did not tolerate a 20% sucrose treatment for 24 h, whereas linaria and ‘Benary's Giant Scarlet’ zinnia had a longer vase life with a 10% sucrose pulse than a water-only pulse. For trachelium, the longest (17.5 days) consumer vase life occurred when the Chrysal Professional 2 Processing solution (CP2) was used after pretreatment with DI water. Either of two commercial holding solutions, CP2 or Floralife Professional (FLP), similarly extended the vase life of linaria. The use of FLP or CP2 improved consumer vase life of dahlia, lupine, and poppy compared with DI water. Dahlia, trachelium, and zinnia flowers could not be cold stored at 2 °C. Lupine and poppy could be stored at 2 °C wet or dry for 2 weeks. Linaria and rudbeckia could be cold stored for 3 weeks. Lupine and trachelium were susceptible to 1 μL·L−1 exogenous ethylene, which induced floret abscission in lupine and stopped floret opening in trachelium. 1-Methylcyclopropene and silver thiosulfate similarly suppressed the ethylene effect. Cut linaria, zinnia, dahlia, rudbeckia, and poppy flowers were unaffected by exogenous ethylene.
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Bankauskaitė-Sereikienė, Gabija. "The Portrayal of Women in the Periodicals of the First Lithuanian Republic." Respectus Philologicus 21, no. 26 (April 25, 2012): 71–85. http://dx.doi.org/10.15388/respectus.2012.26.15413.
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This article aims to add to the study of the culture, advertising history, and conception of woman of the first Republic of Lithuania. It examines articles and advertisements for women published from 1920–1940 in the periodicals “Naujoji romuva”, “Moteris” and “Naujas žodis.”The image of woman demanded by the traditional society was in large part formed by the Lithuanian Catholic women’s society through the newspaper “Moteris.” The patriarchal society wanted women to appear modest, healthy, and naturally beautiful, cherishing folk traditions and the image of the village girl with blonde braids. The image of woman-as-sacrificial-hero was also popular. Connotations of femininity were applied to the good, moral mother, the unconditionally loving wife, the guardian of the home, the saviour of the nation, the tutor and teacher who follows the word of God. However, the desire to also see women as active, determined, educated people who were able to hold jobs and take care of themselves demonstrates the broad outlook of the female Catholics.The image of the free-willed Lithuanian woman, as dictated by Western culture, appeared in “Naujoji romuva” and “Naujas žodis.” At its core it emphasised the cult of the body, fashion, external beauty, and personal and sexual freedom. The modern woman was always young, active, dominant in her relationships with men, and took an active interest in cultural events. Emancipated women were not necessarily married, and could raise children without husbands just as well. Yet femininity and faithfulness were valued.The study of the sources shows that women’s individuality, self-identity and need to be active were most likely to be expressed in the social, cultural and artistic spheres. These provided women not only with the opportunity to be educated and emancipated, but also with a place for self-expression, a chance to open their inner world, to form a well-rounded world-view. It is likely that the interwar Lithuanian woman – a middle-class city dweller – was in search of harmony and freedom: to be a bit of a temptress, to be beautiful, to create a happy family, and to make these differing social feminine roles work with her own economic and spiritual emancipation.
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Orringer, Nelson R. "Married Temptresses in Falla and Lorca." Bulletin of Spanish Studies 88, no. 7-8 (November 2011): 201–17. http://dx.doi.org/10.1080/14753820.2011.620317.
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Bluestine, Carolyn. "Traitors, Vows, and Temptresses in the Medieval Spanish Epic." Romance Quarterly 33, no. 1 (February 1986): 53–61. http://dx.doi.org/10.1080/08831157.1986.9925759.
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Hwang, Maria Cecilia, and Rhacel Salazar Parreñas. "The Gendered Racialization of Asian Women as Villainous Temptresses." Gender & Society 35, no. 4 (July 14, 2021): 567–76. http://dx.doi.org/10.1177/08912432211029395.
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What explains white male animus against Asian women? We address this question by examining the murders in Atlanta, GA, which reflect a larger global pattern of violence against what are perceived as hypersexualized Asian women. Dominant discourses on these murders promote either a narrative of racial xenophobia or a stance for or against sex work. Neither discourse adequately accounts for the simultaneous racial and gendered determination of Asian women’s experiences. In this commentary, we provide a racial–gender analysis and underscore how the gendered racialization of Asian women as hypersexual can result in their perception as disposable bodies for white male rage. As we explain, hypersexualization implies immorality, which in turn threatens the social order and thereby justifies Asian women’s disposability. This commentary establishes Asian women’s hypersexualization as a century-old view in American society perpetuated in cinema and the law.
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Jones, Miriam. "“THE USUAL SAD CATASTROPHE”: FROM THE STREET TO THE PARLOR INADAM BEDE." Victorian Literature and Culture 32, no. 2 (September 2004): 305–26. http://dx.doi.org/10.1017/s1060150304000518.
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A shocking child murder has just been committed at Nottingham. A girl named Wragg left the workhouse there on Saturday morning with her young illegitimate child. The child was soon afterwards found dead on Mapperly Hills, having been strangled. Wragg is in custody.—Matthew ArnoldTHE ONLY SURPRISING THINGabout the above concise narrative is its location, not in a broadside or newspaper, but in Matthew Arnold's “The Function of Criticism at the Present Time” (1865). Six years after the publication of George Eliot'sAdam Bede, Matthew Arnold finds, or postulates, an “infanticidal woman” named “Wragg” and uses her as a symbol of all that is imperfect in Great Britain. He offers her in answer to the “retarding and vulgarising” (21) self-satisfaction he sees about him, the falsity, jingoism, and hyperbole of politics. But he is not using her as a symbol of the oppressed, ground under by those politics; rather, she represents the dreary reality that gives lie to the nationalist smugness of the Philistines, both of which necessitate the role of the critic. And the first thing upon which he focuses, rather than her actions, is her name: “Wragg! If we are to talk of ideal perfection, of ‘the best in the whole world,’ has any one reflected what a touch of grossness in our race, what an original shortcoming in the more delicate spiritual perceptions, is shown by the natural growth amongst us of such hideous names. Higginbottom, Stiggins, Bugg!” (23–24). Her worst crime, it becomes apparent, is being plebian: of being, in fact, poor. Her next is a consequent lack of taste: “And ‘our unrivalled happiness;’–what an element of grimness, bareness, and hideousness mixes with it and blurs it; the workhouse, the dismal Mapperly Hills,–how dismal those who have seen them will remember;–the gloom, the smoke, the cold, the strangled illegitimate child!” (24). Eliot's Hetty Sorrel has a much prettier name, and for most of the narrative her surroundings are bucolic. Eliot, however, is no more a Romantic than Arnold. She reacts against the stock sentimental image of the “infanticidal woman” as victim, and while at first glance Hetty Sorrel may seem a prototype, or rather, a culmination, of the outcast wanderer figure so common in both Romantic texts and popular literature, she is nevertheless part of the same field of representation as Arnold's wretched Wragg. Eliot's biographer Frederick Karl makes direct comparison between her elitism and that of Matthew Arnold (423); in fact, he draws a series of comparisons throughout the volume. A sense of beleaguered conservatism, a nostalgic nationalism, and anxiety about the laboring classes and working-class sexuality as a troubling marker of that worrisome group, all come together in the figures of both Wragg and Hetty. Eliot's text is not sentimental. It reinterprets the familiar wrenching tale of the abandoned woman, alone on her doomed journey, but with close attention to realistic psychological detail. Hetty is simultaneously the beautiful heroine of the folkloric ballad, the lonely outcast of Romantics such as Wordsworth, and the temptress and even murderess of the lurid “good nights” sold on the street, but she is transmogrified by the parameters of the realist novel and fixed, like a specimen ready for study, by Eliot's avowedly dispassionate eye.
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Gardner, Julia. "“Neither Monsters nor Temptresses nor Terrors”:Representing Desire in Charlotte Brontë's Shirley." Victorian Literature and Culture 26, no. 2 (1998): 409–20. http://dx.doi.org/10.1017/s1060150300002485.
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Although romance QUA romance is often seen as leading to the grim finality of the Victorian marriage plot, Charlotte Brontë's second novel, Shirley (1849), thwarts readerly expectations. Brontë cautions the reader that “if you think, from this prelude, that anything like a romance is preparing for you, reader, you never were more mistaken,” but also teases that “it is not positively affirmed that you shall not have a taste of the exciting” (39; ch. 1). This disavowal, coupled with contradicting hints of romance, appears in the second paragraph of Shirley and establishes the vexed dynamic surrounding the marriage plot present throughout the novel.
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Kandiyoti, Deniz. "Slave girls, temptresses, and comrades: Images of women in the Turkish novel." Feminist Issues 8, no. 1 (March 1988): 35–50. http://dx.doi.org/10.1007/bf02685592.
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Teal, Laurie. "Batlike Souls and Penile Temptresses: Gender Inversions in "A Portrait of the Artist as a Young Man"." NOVEL: A Forum on Fiction 29, no. 1 (1995): 63. http://dx.doi.org/10.2307/1345540.
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Humfress, Caroline. "‘Cherchez la femme!’ Heresy and Law in Late Antiquity." Studies in Church History 56 (May 15, 2020): 36–59. http://dx.doi.org/10.1017/stc.2019.3.
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In contrast with contemporary heresiological discourse, the Codex Theodosianus, a Roman imperial law code promulgated in 438, makes no systematic gendered references to heretics or heresy. According to late Roman legislative rhetoric, heretics are demented, polluted and infected with pestilence, but they are not seductive temptresses, vulgar ‘women’ or weak-minded whores. This article explores the gap between the precisely marked terrain of Christian heresiologists and (Christian) legislators. The first part gives a brief overview of early Christian heresiology. The second explores late Roman legislation and the construction of the heretic as a ‘legal subject’ in the Codex Theodosianus. The third turns to the celebrated account crafted by Pope Leo I of anti-Manichaean trials at Rome in 443/4, arguing that they should be understood as part of a much broader developing regime of ecclesial power, rather than as concrete applications of existing imperial anti-heresy laws.
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Ropa, Anastasija. "Intertextuality and Arthurian Women in David Lodge’s Small World (1984)." Baltic Journal of English Language, Literature and Culture 11 (2021): 98–120. http://dx.doi.org/10.22364/bjellc.11.2021.07.
Full textAbstract:
The present article analyses intertextual references in David Lodge’s Small World. An Academic Romance (1984), focusing on allusions to the corpus of medieval and twentieth-century Arthuriana in the representation of women characters. An analysis of Arthurian allusions in the portrayal of women characters shows that Lodge introduces Arthurian women to his academic ‘Camelot’ in response to medieval and post-medieval literature about King Arthur and the Grail quest. In this respect, his representation of academic women in Small World is different from the way they are described in Lodge’s other academic novels, Changing Places and Nice Work. Lodge rarely recasts Arthurian women characters as his heroines with the exception of Prof Fulvia Morgana, who is modelled on the Arthurian sorceress Morgane/Morgause. Nevertheless, in Small World, women appear in the traditional roles of being the object of a ‘knight’s’ quest, such as Persse’s beloved Angelica and Swallow’s lover Joy, and wise advisors (Miss Maiden). Alternatively, women are portrayed as antagonistic or negative characters, the so-called ‘whores’ or ‘demonic temptresses’: such are Angelica’s twin sister Lily and the lusty Fulvia Morgana.
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Averbuch, Alex. "ORIENTALIZING FEMININITY: NOTIONS OF IMPURITY IN UKRAINIAN MODERNIST LITERATURE." Слово і Час, no. 1 (February 3, 2022): 82–98. http://dx.doi.org/10.33608/0236-1477.2022.01.82-98.
Full textAbstract:
The paper examines the interconnectedness of feminity with ethnonational otherness in Ukrainian modernist literature in the context of European misogyny and ethnophobia. It demonstrates how the representation of female sinful otherness, impurity, and disloyalty was cemented in misogynistic imagery, in which women appeared as witches and heterodox temptresses through sexual and cultural differentiation. The otherizing of Orientalized ethnic groups in Eastern Europe — typically Jews, Roma, and Tatars — involved their conceptual feminization as well. Specifically, the paper analyzes the topic of the decay of the Slavic/Orthodox/masculine ‘race’ and the range of concomitant tropes and ideas found in Ukrainian modernist literature, such as castration, celibacy, and obsession with ‘tainted’ blood, which reflected ‘racial’ anxieties that went hand in hand with misogynistic ideas of the feminine role in spiritual and physical decline. The study performs close readings of works by Olha Kobylianska, Mykhailo Yatskiv, and Natalia Livytska-Kholodna, in which women appear as demonic-vampiric, heterodox seductresses and heresiarchesses, who threaten to ruin the ethno-androcentric culture of the modernist epoch. Orientalized femininity and the ambivalence it brought to Ukrainian modernism harbored the ethnoreligious fears and inherent sinfulness that encompassed traditional descriptions of the femme fatale, as well as such associated figures as the fallen angel and seductive adulteress – the initiatrix of moral, sexual, national, and religious transgression, which invariably alluded to a perceived crisis in patriarchy and reproductivity. The analysis focuses on the three thematic aspects of sin and sinfulness: temptation, heterodoxy, and betrayal.
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Mirza, Sanaa. "The Fall of Man in Shakespeare’s Macbeth Comparing to That in A Creation Story: A Study from Qur’anic Perspective." Journal of Duhok University 23, no. 2 (December 19, 2020): 1–16. http://dx.doi.org/10.26682/hjuod.2020.23.2.1.
Full textAbstract:
Inspired and motivated by our conviction that “Shakespeare is a gift of Heaven to all of Mankind, for every creed, in every age" (Lings, 1998, 12), this research aims at studying William Shakespeare’s Macbeth from a Qur’anic perspective instead of a biblical one, as has usually been done so far. The study utilizes Islamic pedagogy to examine Macbeth, a European masterpiece, hypothesizing that Islam offers a uniquely different view of the world from that of the European one. For its textual analysis, the study relies on verses translated from the Noble Qur’an as well as Hadiths (the prophet’s traditions) from Sunnah, in addition to the text of Macbeth. The axiomatic question that is raised here is whether or not we have the right to categorize Shakespeare's Macbeth into “sacred art”. The study answers positively to this question since the thematic framework of the play revolves around “the essence of religion” (Lings, 1998, 12). The study attempts to analyze and compare the fall of man in Shakespeare’s Macbeth to that in the story of man’s creation from Qur’anic perspective according to five axes. The first axis is about the temptation of the evil power in both stories, Adam’s creation in Quran and Shakespeare’s Macbeth. The second axis examines the role of Hawaa (Eve) and Lady Macbeth as temptresses. The third axis is about the feeling of remorse for the evil actions that they take and the punishment of God. The fourth axis presents a study of the nature of some encounters between humanity and evil forces. The fifth axis presents a brief study of the types of human soul (Nafs) from Quranic perspective to diagnose the role of the soul in determining the characteristics of each personality. Yet, the study concludes that Shakespeare presents Macbeth with a narrow perspective to represent only the inherent weakness of humanity in the face of evil forces, ignoring his charitable nature to encounter evil forces, and his fall is cursed eternally because of his insistence on evil; while Adam (peace be upon him) represents humanity in all of his conditions, and his fall is not eternal because of his remorse and repentance.
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"INTRODUCTION." Camden Fifth Series 44 (December 2013): 1–45. http://dx.doi.org/10.1017/s0960116313000201.
Full textAbstract:
Lady Anne Bacon (c.1528–1610) was a woman who inspired strong emotion in her own lifetime. As a girl, she was praised as a ‘verteouse meyden’ for her religious translations, while a rejected suitor condemned her as faithless as an ancient Greek temptress. The Spanish ambassador reported home that, as a married woman, she was a tiresomely learned lady, whereas her husband celebrated the time they spent reading classical literature together. During her widowhood, she was ‘beloved’ of the godly preachers surrounding her in Hertfordshire; Godfrey Goodman, later bishop of Gloucester, instead argued that she was ‘little better than frantic in her age’. Anne's own letters allow a more balanced exploration of her life. An unusually large number are still extant; she is one of the select group of Elizabethan women whose surviving correspondence includes over fifty of the letters they wrote themselves, a group that incorporates her sister, Lady Elizabeth Russell, and the noblewoman Bess of Hardwick, the countess of Shrewsbury.
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Rasmussen, Lene Kofoed. "ISLAMISERINGEN AF DEN NYE GENERATION: Rapport fra en islamisk skole i Kairo." Tidsskriftet Antropologi, no. 37 (May 1, 1998). http://dx.doi.org/10.7146/ta.v0i37.115250.
Full textAbstract:
Lene Kofoed Rasmussen: Islamization of
the New Generation. Report from an
Islamic School in Cairo
The article takes as its starting point the
attitudes towards education among female
Islamists who are active in an Islamic school
in Cairo. It is a private school that aims to be
more Islamic than the ordinary governmental
school. The women whose positions
are quoted in the article are all engaged in
Islamism and carry out da'wa, missionary
activities, as teachers and/or mothers. These
women argue for a moderation of Islamic
precepts such as the assertion of the absolute
authority of elders, the demand for
obedience, the requirement of the veil, and
the segregation of genders. Through their
work of Islamizing the new generation, the
women themselves undergo a process of
subjectification; they represent the Muslim
woman as an active and responsible subject
worthy of imitation. The author argues that a
potential effect of the process of subjectification
is a new image of the Muslim woman,
challenging other potent images prevalent in
the Egyptian public, such as the Muslim
woman as a temptress and disturber of the
public order, and the Muslim woman as a
passive victim.
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Amanda M. Rogus. "The Tempest of Tempting a Temptress: An Analysis of Cleopatra’s Growing Dominance With Antony’s Shrinking Masculinity Present in William Shakespeare’s Antony and Cleopatra." US-China Foreign Language 16, no. 9 (September 28, 2018). http://dx.doi.org/10.17265/1539-8080/2018.09.001.
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Shweta Bhatt and Dr. Nidhi Kesari. "Leadership Dichotomy: Women are more Efficacious in Working with Diverse People." International Journal of Indian Psychology 3, no. 1 (December 25, 2015). http://dx.doi.org/10.25215/0301.031.
Full textAbstract:
It is evident since ages that gender discrimination is a common feature in all societies. Even in developed countries, the prejudices and obstacles that women have had to encounter and surmount seem almost identical. The peculiar stigma attached to women all over the world is based on religious bias. “Woman” is depicted as a temptress and is warned against in almost all religions of the world. Woman’s basic stigma therefore originates in religion. The Rig Veda says, “The wife and husband, being the equal halves of one substance, are equal in every respect; therefore, both should join and take equal parts in all works, religious and secular.” The Upanishads clearly declare that we individual souls are neither male nor female. Rig Veda clearly proclaims that women should be given the lead in ruling the nation and in society, and that they should have the same right as sons over the father’s property. “The entire world of noble people bows to the glory of the glorious woman so that she enlightens us with knowledge and foresight. She is the leader of society and provides knowledge to everyone. She is symbol of prosperity and daughter of brilliance. May we respect her so that she destroys the tendencies of evil and hatred from the society. In ancient India, women occupied a very important position, in fact a superior position to, men. It is a culture whose only words for strength and power are feminine -“Shakti” means “power” and “strength.” All male power comes from the feminine. Literary evidence suggests that kings and towns were destroyed because a single woman was wronged by the state. For example, Valmiki’s Ramayana teaches us that Ravana and his entire clan were wiped out because he abducted Sita. Veda Vyasa’s Mahabharatha teaches us that all the Kauravas were killed because they humiliated Draupadi in public. Elango Adigal’s Sillapathigaram teaches us Madurai, the capital of the Pandyas was burnt because Pandyan Nedunchezhiyan mistakenly killed her husband on theft charges.