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The treatment and reception of female characters in mid-century American cinema has undergone significant scholarly review in previous decades; yet the existence of disabled female characters within film noir remains unacknowledged. Taking The Man with the Golden Arm (1955) as its case study, this essay unravels the construction, fault lines, function, and symbolism of impairment in the history of early cinema and postwar America. It focuses in on the peculiar positioning of Zofia Machine as a disabled femme fatale—an inherent contradiction within the universe of noir cinema. By reconstructing the historic meanings, ideas, and assumptions, embodied in the imagery of disabled womanhood, the present work introduces the novel archetype and narrative of the crip fatale, occupying a space between existing conceptions of hegemonic femininity and corporeal normalcy. [ABSTRACT FROM AUTHOR]

Even though they grew up in different geographies, Nâmık Kemal and Muhammed-i Hicâzî, two prominent writers of Turkish and Iranian literatures respectively, witnessed the political and social changes that occurred in the lands where they lived. Kemal and Hicâzî wrote important works under the influence of the westernization and modernization movements brought about by the Reformation and the Constitutional Monarchy in their societies. One of these works is Kemal's Intibah, and the other is Hicâzî's Perîçehr. In these novels, under the influence of the concept of "femme fatale" moral corruption in society and changes in the role of women were discussed, while the negative aspects of the West were also criticized. The fatal women in the two works are Mahpeyker and Perîçehr, respectively. In our study, the focus will be generally on the emergence of the Reformation and Constitutional Monarchy movements and observed on literature. Following a discussion of the respective styles and literary personalities of Nâmık Kemal and Muhammed Hicâzî, plots of the two works will be provided to gain insight into the subjects of the works. Then Mahpeyker and Perîçehr, the female characters in the two novels, will be analyzed in terms of the concept of "femme fatale." [ABSTRACT FROM AUTHOR]

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RESUMEN: Katia Loritz es una actriz de reparto del cine español cuya carrera se concentró entre los años 50 y 60 y se caracterizó por interpretar numerosos papeles de femme fatale. La intérprete encarna en Manos sucias (José Antonio de la Loma, 1957), su primer film en el cine español, a una de las femme fatale más paradigmáticas del género criminal. El arquetipo fatal será reelaborado y reinterpretado por la actriz a lo largo de su carrera, desde el cine negro hasta la comedia desarrollista. Mediante la perspectiva metodológica de los Star Studies se analiza cómo la star image de Loritz se relaciona con el arquetipo. Para ello se seguirán las teorizaciones sobre "personificación" e "imitación," términos que se refieren respectivamente a la revelación u ocultación de la supuesta personalidad "real" de las estrellas en sus interpretaciones. De esta forma, se comprueba cómo Loritz "personificó" el arquetipo al identificarse con sus personajes tanto en la prensa como en las películas y al encarnar "mujeres fatales" de forma recurrente en diversos géneros cinematográficos. Katia Loritz is a supporting actress in Spanish cinema whose career was concentrated in the 1950s and 1960s and characterized by her numerous femme fatale roles. She portrayed one of the most paradigmatic femme fatale of the crime genre in her first film in Spanish cinema, Manos sucias (José Antonio de La Loma, 1957). Loritz reinterpreted the fatal archetype throughout her career, from film noir to developmental comedies (comedias desarrollistas). The present paper examines how Loritz's star image relates to the archetype through the methodological perspective of Star Studies. Specifically, use is made of the theories on personification and impersonation, terms that refer respectively to the revelation or concealment of stars' supposed "real" personality in their performances. This research demonstrates that Katia Loritz's personification of the archetype is produced by an identification with her characters in the press and films, embodying femme fatale recurrently across different cinematic genres. [ABSTRACT FROM AUTHOR]

The biblical account of Salome has been marked throughout history by two main themes: on the one hand, the princess's dance in front of the main rulers of Galilee, and on the other hand, the request for the head of John the Baptist to King Herod, instigated by his mother Herodias. The reading of this passage has been strongly marked by the different patriarchal exegetical approaches, which have modulated the reception of both female characters being traceable through the visual and literary arts, to the point of taking on the concept of femme fatale. Really, in both moments Salome is the executor of the actions, not as a result of her capacity for agency, but due to her influenceable character. Through a critical–historical analysis of the biblical passage, Herodias and Salome emerge with characteristics quite different from what 19th-century Art History inherited. The methodology of feminist rhetorical criticism allows for an approach to the visual re-imaginings of this biblical passage that have shaped the iconography of these two figures. The field of visual arts, particularly the production of the late 19th and early 20th centuries, will be the great receptacle for the genesis of the fatality and assimilation of these female biblical figures. [ABSTRACT FROM AUTHOR]

The system of ideas, Sophiology and philosophy of love of Vladimir Solovyov had a significant influence on the religious philosophy and formation of aesthetic views of the Russian Silver Age. Although the Nobel Prize-winning Russian writer in exile, Ivan Bunin, consciously distanced himself from the ideological and poetic tendencies of Russian Symbolism, the philosophical roots of Bunin's prose after 1910 can be traced in Russian religious philosophy and Eastern religious teachings (Buddhism and Taoism). Bunin's philosophy of love is also imbued with the dualistic vision that is fundamental to his philosophy of being, and the dichotomy of 'heavenly' and 'earthly' love is reflected in the 'angelic' and 'demonic' opposites of his female figures. Yet the former is the embodiment of the unattainable ideal of the Eternal Feminine, the latter, the Femme Fatale, the bearer of the earthly promise of carnal pleasures, of sexuality. The author's female heroines also include the avatar of the Wise Woman (the embodiment of some ancient, archaic wisdom) or the Emanation of Isis (as the embodiment of cosmic energy, standing above the earthly laws of life and death). And like the symbols of yin and yang in Chinese philosophy, in the depths of each of Bunin's female figures lurks something of its opposite. [ABSTRACT FROM AUTHOR]

El término Femme Fatale comenzó a escucharse, metafóricamente, luego de la película A foll there was (1915) con el personaje representado por la actriz Theda Bara, que mostraba a una mujer ambiciosa, peligrosa y cautivante para los hombres. A partir de allí, se construye el imaginario arquetipal de la femme fatale que luego adquirió otras formas y estilos muy distintos a los de su progenitora bíblica: Lilith, la Diosa de la noche para los judeo babilónicos. El propósito de este artículo es identificar el arquetipo de Lilith en los productos culturales que ofrecen la literatura y el cine. Se utilizó el método hermenéutico focalizado en la comparación e interpretación de rasgos, tanto físicos como psicológicos de los personajes ficcionales, con los rasgos del personaje mitológico Lilith y sus correspondientes narrativas. De igual forma, se hicieron lecturas del Talmud y la Biblia, a fin de definir los rasgos del personaje base. También se revisaron obras como Carmilla (1872) y Drácula (1897), cotejando estos personajes con los de films en los que se destacan mujeres vampiras como Lilith de La Familia Monster (1964) y Morticia de la Familia Adams (1964), así como la película El Ansia (1983), entre otras. Se revisaron leyendas que denominan Femme Fatale a mujeres reales como la legendaria espía Mata Hari. En conclusión, son muchas las valoraciones que se le han otorgado a Lilith, reproducidas y actualizadas en historias audiovisuales y textuales, que, sin perder su esencia fatalista, se alejan de su original diseño religioso. Lilith en su versión de mujer fatal continúa transgrediendo la norma, para convertirse, en algunos casos, en un modelo de independencia femenina, como se observa en la novela Doña Bárbara, del escritor venezolano Rómulo Gallegos.

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses the TikTok trends on deified forms of (post)femininities posted under the regularly co-occurring hashtags: #darkfemininity, #divinefemininity, and #feminineenergy. Through digital methods in tandem with feminist critical discourse analysis, this research clarifies, construes, and contextualizes these trends and developments in their historical as well as contemporary contexts. It addresses the current multimodal discourses and network around dark and divine femininities on TikTok as well as how these post-femininities dialectically relate to the (post)modernist episteme and its theological heritage of Christianity, questioning if this postfeminist affective public leads to subversion or subjugation of these subjective positions and systemic inequalities. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranean Journal of Gender & Women's Studies (KTC) / Akdeniz Kadın Çalışmaları ve Toplumsal Cinsiyet Dergisi is the property of Mediterranean Journal of Gender & Women's Studies (KTC) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Film Quarterly / Kwartalnik Filmowy is the property of Kwartalnik Filmowy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article takes as its subject the trials of Amanda Knox, Raffaele Sollecito and Rudy Guede for the murder of the English student Meredith Kercher in Perugia on 2 November 2007. Through a Foucauldian discourse analysis, the article explores the discursive strategies that are employed – through the interplay of the media and the legal system – to reinsert the disruptive figure of 'the woman who kills' within normative and sanctioned forms of femininity and female sexuality. Furthermore, the analysis shows how the Knox case is central for understanding Italian culture, which is characterised by an anxiety towards, and rejection of, a novel facet of young femininity in post-feminist culture: the phallic subjectivity and sexuality incarnated by Knox. [ABSTRACT FROM AUTHOR]

Copyright of Dynamis is the property of Dynamis - Facultad de Medicina de la Universidad de Granada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work proposes to observe the appropriation of the myth of the femme fatale, the great guiding myth of French decadence and its system of symbols in the Brazilian imaginary. Three Brazilian heroines, which fall under the theme of fatality in women, constitute the main corpus of this research: the oblique Capitu, the heroine of Machado de Assis in the novel Dom Casmurro (1900); Gabriela, la mulâtresse de Gabriela, cravo e canela (1958) by Jorge Amado, and Hilda Furacão, the prostitute from the homonymous novel by Roberto Drummond (1991). The echoes of the myth allow us to see that these heroines are fatal women par excellence, their figures moving within an evolving patriarchal society in Brazil.

English Romanticism, albeit extensively studied by scholars, has not been entirely explored with a gendered perspective: this is why Anne Bannerman has been excluded from the canon of literature. This paper explores, through a feminist perspective, three poems from her two collections of poetry. As a result, a proto-feminist intention can be seen. In these three poems a desire of change for the condition of women can be seen, and it is expressed by using different Gothic figures, which can be included in the 'femme fatale' archetype. This feminist Gothicism is enhanced with the use of symbols and uncanny appearances with the productive goal of denouncing the pervasive patriarchy of the society she lived in. Although further research about Anne Bannerman's writings should be done to get a deeper knowledge of the early feminist manifestations, in this paper her writing proves to be rich enough to be introduced in later studies of 19th century poetry, Gothicism, and proto-feminism. [ABSTRACT FROM AUTHOR]

This article aims to show the relationship between the woman in the social context of nineteenth-century France and the female portrait presented in symbolist poetry. Allegiances between the philosophical influence of Schopenhauer and Baudelaire, the woman of the theatre as well as the femme fatale and the mermaid, her mythological prototype, are proven. The presented portrait is based on woman's primal relationship with nature and with artificiality depending on the development in society; the main elements are the dependence of the woman on the man and their mutual manipulation. [ABSTRACT FROM AUTHOR]

Książka Patrycji Włodek „Wszystko noir?”. O inspiracjach i wariantach – życie po życiu film noir (2022) jest analizą wybranych aspektów czarnego kryminału łączącą refleksję nad kinem klasycznym z omówieniem najnowszych dzieł gatunku. Autorka ogranicza perspektywę do kina amerykańskiego i szuka powtarzalnych tropów (np. femme fatale i homme fatale) oraz przykładów tematycznego i narracyjnego wykorzystania pojęcia gaslighting. Na szczególną uwagę zasługują rozważania autorki o filmie noir jako nurcie osadzonym w konkretnych przestrzeniach (np. rural-noir, Cal-noir) i podatnym na mariaż z innymi podgatunkami (stoner noir). Ograniczenie pola badań do kina amerykańskiego uniemożliwia jednak głębsze osadzenie filmu noir w kontekście globalnym. Włodek nie stawia przy tym pytania o przyczyny niesłabnącej popularności czarnych kryminałów i ich dzisiejszą funkcję kulturową oraz ideologiczną. Wartością pracy jest jednak odwołanie się do licznych dzieł spoza kanonu filmu noir.

The biblical account of Salome has been marked throughout history by two main themes: on the one hand, the princess’s dance in front of the main rulers of Galilee, and on the other hand, the request for the head of John the Baptist to King Herod, instigated by his mother Herodias. The reading of this passage has been strongly marked by the different patriarchal exegetical approaches, which have modulated the reception of both female characters being traceable through the visual and literary arts, to the point of taking on the concept of femme fatale. Really, in both moments Salome is the executor of the actions, not as a result of her capacity for agency, but due to her influenceable character. Through a critical–historical analysis of the biblical passage, Herodias and Salome emerge with characteristics quite different from what 19th-century Art History inherited. The methodology of feminist rhetorical criticism allows for an approach to the visual re-imaginings of this biblical passage that have shaped the iconography of these two figures. The field of visual arts, particularly the production of the late 19th and early 20th centuries, will be the great receptacle for the genesis of the fatality and assimilation of these female biblical figures.

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.

This text addresses the artistic theme of women as the embodiment of death through the motif of the female corpse in the film The Autopsy of Jane Doe (André Øvredal, 2016). The construction of the character of the dead woman is based on the stereotype of the fatal woman, connecting with misogynistic iconographies that demonize female sexuality through the link between evil and carnality. In the iconographic analysis, cultural products are critically analyzed from a feminist approach that find their reason for being in a gendered condition of evil, becoming aware of the ideology that permeates them. Beauty is conceived as a trap or artifice, relating the female body with temptation, danger, death and corruption. Under the cover of a fantastic narrative, old moralistic clichés are updated that rest on aesthetic definitions of beauty/ugliness loaded with patriarchal implications. [ABSTRACT FROM AUTHOR]

Copyright of Siglo Diecenueve: Literatura Hispánica is the property of Universitas Castellae and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study aims at exploring the portrayal of women in “Train to Pakistan” by Khushwant Singh. It is aimed to understand the way the female characters are represented as seductress, femme fatal, and as the angels by a male author through the lens of Reader-Response Theory along with the Anti-Feminist Theory. Being an anti-feminist, Khushwant Singh has presented the women traditionally in negative roles, negating all kinds of freedom and liberation to them. The study examines the ideological assumptions of patriarchy through the representation of women as being seductive and angelic characters. The writer has presented the women as alluring and charming whose purpose is to get the attention of the men for the sake of getting money, by completely negating the lustful and manipulative nature of the men who are exploiting women by taking benefit of their weakness. He has presented Nooran as unfaithful and disloyal to her father because of having an illicit relationship with a dacoit. Haseena is presented as a sixteen-year-old prostitute, serving a man as old as her father just to get money. Juggut’s mother is a good woman who is serving her child, enduring his all kinds of disrespect, insults, and humiliations. The study proves to be significant in order to understand the general and typical view of the men towards the women as the ones whose primary and only role is to serve their male counterparts socially, physically, emotionally, and sexually and to be faithful and loyal to them.

Este texto aborda el tema artístico de la mujer como encarnación de la muerte a través del motivo del cadáver femenino en la película La autopsia de Jane Doe (The Autopsy of Jane Doe, André Øvredal, 2016). La construcción del personaje de la mujer muerta se apoya en el estereotipo de la mujer fatal, entroncando con iconografías misóginas que demonizan la sexualidad femenina mediante el vínculo entre maldad y carnalidad. En el análisis iconográfico se analizan críticamente desde un enfoque feminista productos culturales que encuentran su razón de ser en una condición generizada de la maldad, tomando conciencia de la ideología que los impregna. La belleza es concebida como trampa o artificio, relacionando el cuerpo femenino con la tentación, el peligro, la muerte y la corrupción. Bajo la cobertura de una narración fantástica, se actualizan viejos clichés moralistas que reposan sobre definiciones estéticas de la belleza/fealdad cargadas de implicaciones patriarcales.

This work proposes to observe the appropriation of the myth of the femme fatale, the great guiding myth of French decadence and its system of symbols in the Brazilian imaginary. Three Brazilian heroines, which fall under the theme of fatality in women, constitute the main corpus of this research: the oblique Capitu, the heroine of Machado de Assis in the novel Dom Casmurro (1900); Gabriela, la mulâtresse de Gabriela, cravo e canela (1958) by Jorge Amado, and Hilda Furacão, the prostitute from the homonymous novel by Roberto Drummond (1991). The echoes of the myth allow us to see that these heroines are fatal women par excellence, their figures moving within an evolving patriarchal society in Brazil. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In The Robber Bride and its sequel, “I Dream of Zenia with the Bright Red Teeth,” Margaret Atwood underscores the complex feminine identity through the femme fatale, who is depicted using mythic Gothic figures, such as the vampire. Atwood contradicts socially-sanctioned roles for women. She shapes newer and more complete social and personal female identities, questioning how inadequately the patriarchal system represents their multiplicity. The author describes how the protagonists challenge the patriarchal definition of the feminine Self on their Jungian journey towards individuation, for which the fatal woman, as the Shadow Self, acts as a catalyst.

The article explores the stories of Lilith and Salome in relation to the construction of the “femme fatale” image in the Middle Ages (for Lilith) and in the 19th century (for Salome). Myths, history and artistic representations of both women are studied in order to reveal the similarities in treatment of Lilith and Salome in Christianity and Judaism. [ABSTRACT FROM AUTHOR]

This article examines the transformation of the femme fatale figure from classic noir to neo-noir film and to contemporary television. Exploring the reasons for this transformation and its implications yields fresh revelations about the new femme fatale. Using Billy Wilder's Double Indemnity (1944) as the focal point, we examine the intertextual allusions to this classic in two postmodern neo-noir films – Lawrence Kasdan's Body Heat (1981) and John Dahl's The Last Seduction (1994) – and in one of Netflix's earliest original television series, House Of Cards (2013–2018), created by Beau Willimon. In addition, this article queries in what ways these filmic reincarnations offer a revolutionary re-envisioning of the femme fatale figure. Unlike the classic femme fatale, the new femme fatale 'gets away with murder', thus posing a monstrous threat to the capitalist and patriarchal economy in which she operates. The subversive potential of these neo-noir films lies in their parodic and witty undercutting of societal norms, especially at the height of today's #MeToo Movement. [ABSTRACT FROM AUTHOR]

The study aims to explore the characteristics of the phenomenon of Katalin Karády, one of the greatest stars of the Hungarian film industry between 1939 and 1944. Karády's on-screen characters often represented modern, independent women who questioned the gender roles instituted by the strongly-conservative patriarchal Hungarian society of the time. This aspect of her characters is examined with the help of the concepts of 'new woman' and 'modern girl' widely used in contemporaneous media discourses, and compared to other types of female figures present in the Hungarian film production of the time. The narratives of her films are analysed with special focus on women's position and male-female relationships. Some aspects of her erotic appeal, such as sensuality, nudity and an attractive voice are described with a special attention to her songs. Her star persona is analysed considering possible international models and similarities with certain Western stars. Emphasising specific elements of her private life, the study shows that her on-screen characters and her off-screen personality strongly blended in the imagination of the public, and gender ambiguity inherent to her character contributed to the birth of the 'Karády phenomenon'. [ABSTRACT FROM AUTHOR]

Celem niniejszej pracy jest analiza i interpretacja obrazów kobiecości w powieści Daphne du Maurier Moja kuzynka Rachela, które odzwierciedlają reprezentacje psychiczne narratora-protagonisty. Analiza dotyczy wybranych czynników potencjalnie mających wpływ jego percepcję głównej postaci kobiecej, takich jak: 1) mizoginia bohatera, 2) stany emocjonalne i somatyczne protagonisty, 3) wyobrażenia na temat kobiet funkcjonujące w wiktoriańskiej Anglii.

From mythology, history, and religion to contemporary popular culture, Lilith has been represented in a variety of ways. As either an avenging vampire or a seductive temptress, or a fascinating combination of both, she has been understood as both an object of a patriarchal view of women and a liberated and liberating feminist icon. The meanings that are ascribed to Lilith are thoroughly interwoven with contemporary feminist discourse. We argue that it is precisely within the postfeminist media economy that the meanings and functions of various tropes of femininity are destabilised and renegotiated. In this article, we limit our focus to the appearance of Lilith in two recent television series, namely The Chilling Adventures of Sabrina (2018–) and Shadowhunters (2016–2019). Our aim is to highlight the ways in which the Liliths represented in each series negotiate one specific trope of femininity used in popular culture, namely the femme fatale. We show that whilst these manifestations of Lilith as postfeminist femme fatale may open up potentialities for feminist resistance, they are simultaneously trapped in an oppressive system of representation that constructs women as passive objects of heteronormative male fantasies. [ABSTRACT FROM AUTHOR]

O trabalho objetiva, a partir da análise do filme Milano Calibro 9, abordar a perspectiva hedonista do cinema noir italiano. Elegese o elemento femme fatale como foco central de observação. Observa-se, prioritariamente, a visualidade da obra, buscandose regularmente os elementos concretos e visíveis de trabalho da direção de arte. A análise é conduzida por uma construção metodológica compreendida a partir de alguns pressupostos da Análise Fílmica, destacando-se, para tal, os autores Jacques Aumont e Michel Marie, e, Francis Vanoye e Anne Goliot-Lété, e também da proposição metodológica de Diane Rose. A pesquisa permite apontar e refletir sobre o modo como a femme fatale, em seu potencial hedonista, direciona as demais personagens e funciona como elemento fundamental para a condução da narrativa.

The article is dedicated to one of the most talented and the most controversial modern Ukrainian writers Oles Ulianenko. However, his literary works did not receive the appropriate professional interpretation because the literary scholars and critics applied either the erroneous or unproductive professional methodology for many objective and subjective reasons. As a result, the writer’s works remain unread or read in an arguable way. Taking one of the most contentious novels of O. Ulianenko’s “Seraphim” as an example for analysis, the aim of this article is to suggest an alternative variant of theoretical and literary analysis based on the corporal-mimetic method to interpret fiction works. Due to the chosen approach, it is possible to draw the conclusion that the image of Seraphim is the image which only seemingly claims the status of the femme fatale; actually, the content of this image is а constant overcoming social, property, status, space, gender, corporal, sexual and other rules and norms. It says about overcoming in order to overcome, about complete overcoming which can be stopped only by death which, being unmotivated, is another variant of phenomenal, namely feminine transgression.

This article explores the symbolic connotations of cigarettes in Orson Welles's The Lady from Shanghai (1947). Although a common theme in film noir, the act of smoking can become a dynamic component of cinematic narrative. My work argues that Elsa Bannister's use of cigarettes in the film reinvents the object's role within the genre, as cigarettes move from being a "thing" to embodying Elsa's power. The article demonstrates this by examining valuable scenes through shot-by-shot analysis and thus challenging the characters' agency in relation to Elsa. [ABSTRACT FROM AUTHOR]

Noting striking similarities between two femme fatales – Lady de Winter in Alexandre Dumas's The Three Musketeers (1844) and Lady Audley in Mary Elizabeth Braddon's Lady Audley's Secret (1862) – I theorise that Dumas's tale is a hitherto unacknowledged influence on Braddon's iconic sensation novel. My reading of this influence focuses on three ways in which the French text anticipates important aspects of the British one. First, even though Braddon could not, as a Victorian woman writer, import the most risqué features of the French work, Lady de Winter provides an uncensored model of a female character who, like Lady Audley, uses her sexuality to achieve class mobility. Secondly, as a consummate actress who plays the role of virtuous woman for duplicitous ends, Lady de Winter prepares for Braddon's representation of femininity as artifice rather than intrinsic female nature. Thirdly, and most subtly, Braddon's revision of Dumas reproduces his text's ambivalence about both the femme fatale and the men who punish her. In each novel the ethically and legally dubious methods men use to punish the dissident woman unsettle the celebration of male homosociality and patriarchal ideology with which both tales conclude. [ABSTRACT FROM AUTHOR]

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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. [ABSTRACT FROM AUTHOR]