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Womens role in the bible
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Since the beginning of time, women have been seen as different from men. Their beauty and charms have been interpreted as both endearing and deadly to men. In the Bible, it was Eve’s mistake that led to humanity’s exile from the Garden of Eden. However, unlike in the Bible, in today’s world, women who drive men to ruin do not do so through simple mistakes and misunderstandings, they do so while fully aware of what effects their sexuality can cause. One thing remains constant through these portrayals of women, and that is that they are portrayed as flawed creations and therefore monstrous. It is a woman’s sex drive and sexuality that can lead to her monstrosity. The femme fatale is an enticing, exquisitely beautiful, erotic character who plays the ultimate trick of nature: she displays her beauty, captures the man and goes in for the kill. Films such as Adrian Lyne’s Fatal Attraction and stories such as Geoffrey Chaucer’s The Wife of Bath’s Tale, and Sir Gawain the Green Knight use the femme fatale as a means of making a woman into a monster; the femme fatale can never win in the battle of the sexes. But what is it that makes the femme fatale such a dangerously character for the hero as well as the readers or viewers?
In the movie Fatal Attraction, Dan has an extramarital affair with Alex Forrest one weekend while his wife and daughter are away. After spending the weekend with Alex, Dan tells her that they must break things off because he loves his wife. Alex, however, has different ideas and refuses to take a no for an answer by telling him, I will not be ignored, Dan. Alex uses her sinister attraction to inflict chaos by stalking Dan, kidnapping his daughter, boiling the family’s rabbit, and trying to murder his wife, thus becom...
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...e Review of English Studies 49.193 (1998): 1+. Academic OneFile. Web. 9 Feb. 2014.
Ellis, Kate. “Fatal Attraction, Or The Post-Modern Prometheus.” Journal of Sex Research 27.1 (1990): 111-22. Academic Search Complete. Web. 9 Feb. 2014. .
Fatal Attraction. Dir. Adrian Lyne. Perf. Michael Douglas, Glenn Close, and Anne Archer. Paramount Pictures, 1987. At School.
Straus, Barie Ruth. "The Subversive Discourse of the Wife of Bath: Phallocentric Discourse and the Imprisonment of Criticism." ELH 55.3 (1988): 527-54. JSTOR. Web. 9 Feb. 2014. .
The reading by Barbara Creed titled “Horror and the Monstrous-Feminine: An Imaginary Abjection”, is an in-depth examination on the role of women in horror films. Creed challenges the commanding patriarchal view, which frequently puts the woman in the position of the helpless victim. She argues that when the feminine is constructed as monstrous, it is frequently done in conjunction with its mothering role and function. Creed’s main thesis supports that the prototype of all cinematic definitions of monstrosity related to the feminine is linked to the woman’s reproductive body. Creed elects to use the term “monstrous feminine” instead of female monster, because for Creed it is the “femininity itself that is monstrous” (41). It has been unfairly
The phrase ‘femme fatale’ originated during early twentieth-century in the English language but existed as an image during the nineteenth-century in French literature, it implied that women consciously seduced and ruined men by using their potent sexual charms for evil. The ‘femme’ was given more distinct qualities by Virginia M. Allen in her book The Femme Fatale. The ‘femme’ is described as a beautiful, erotic, seductive,
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
This essay explores the blurring of gender roles within Bram Stoker’s Dracula and Angela Carter’s The Lady of the House of Love, focusing on the presentation of a sexually assertive female and its threat to the patriarchal society, and the duality of the female characters as they are presented as enticing and thrilling, but also dangerous and somewhat repulsive.
Leicester, Jr., H. Marshall. "Public and Private Feminism in the Wife of Bath's Tale." Women's Studies 11.1-2 (1985): 157-78.
It is undeniably true that an equality of the sexes exists today that was not even imagined in the medieval era. However, this rise in respect for women does not guarantee that all of the prejudices and stereotypes from preceding centuries have fallen by the wayside; on the contrary, most of the same archetypes are alive and well, even if modified to suit a new world. From the unattainably perfect virgin to the sexually insatiable temptress, these images appear throughout modern culture-but the disturbing nature of their existence is made far worse by the complacency with which women accept and further them. In many places, control of the image of women has passed into their own hands, yet broad generalizations and negative suggestions continue to fill daily life.
A female in film noir is typically portrayed in one of two ways; she’s either a dependable, trustworthy, devoted, and loving woman, or she’s a manipulative, predatory, double crossing, and unloving temptress. Noir labels the cold hearted and ruthless woman archetype as a Femme Fatale. A femme fatale is walking trouble, and she’s aware of it. This woman is gorgeous, refined, eloquent, and commands the attention of any room she’s in. When the femme fatale desires something, she pursues it. If there’s an obstacle in her way, she overcomes it. If she can’t handle it herself, all she needs to do it bat her eyelashes and the nearest man is all too willing to take care of it for her. In essence, the most dangerous thing about the femme fatale is her
Huppé, Bernard F. "Rape and Woman's Sovereignty in the Wife of Bath's Tale." Modern Language Notes 63.6 (1948): 378-81. The Johns Hopkins University Press.
...ey frequently prove themselves smarter than the men around them, picking up on subtleties much quicker, and making efficient, if ruthless, decisions. The women are unfailingly ambitious, always in search of power, money, and control for themselves, and their husbands by accessory. Lady Macbeth and Serena control the men and situations around themselves, through sexual or other means, earning admiration. These femme fatales are indeed dangerous, and yet they are captivating in their experiences, perhaps becoming fatal to those that care about them.
...n, Lesley. (1994). Feminist Readings in Middle English Literature: The Wife of Bath and All Her Sect. Routledge: London. (pgs 72-73, 196-203)
From the beginning of time in history, women have always been portrayed as and seen as the submissive sex. Women especially during the time period of the 1800s were characterized as passive, disposable, and serving an utilitarian function. Mary Shelley’s Frankenstein is a prime example displaying the depiction of women. The women in Frankenstein represent the treatment of women in the early 1800’s. Shelley’s incorporation of suffering and death of her female characters portrays that in the 1800’s it was acceptable. The women in the novel are treated as property and have minimal rights in comparison to the male characters. The feminist critic would find that in Frankenstein the women characters are treated like second class citizens. The three brutal murders of the innocent women are gothic elements which illustrates that women are inferior in the novel. Mary Shelley, through her novel Frankenstein, was able to give the reader a good sense of women’s role as the submissive sex, through the characters experiences of horrific events including but not limited to brutal murder and degradation, which is illuminated by her personal life experiences and time period of romanticism.
Of all the numerous females depicted in literature throughout the centuries, Geoffrey Chaucer’s Wife of Bath has inspired more in-depth discussion and gender-oriented analysis than the majority. She is in turn praised and criticized for her behavior and her worldview; critics can’t seem to decide whether she is a strong portrayal of 14th century feminism or a cutting mockery of the female sex. Both her tale and its prologue are riddled with themes of conflict and power struggle between the sexes, and the victor of this battle is not made explicit. Chaucer’s Canterbury Tales being a parody of various societal conceptions and literary conventions, it is likely that this ambiguity was entirely intentional. By comparing the Wife of Bath and her husbands to the characters presented in the tale, Chaucer makes the subtle but sharp implication that there is no true winner in the battle of the sexes; the essential qualities of men and women are equally unsavory, and harmony between the two can only be achieved when an illusion of triumph has been constructed separately for both parties.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
The article expounds upon the characters: Harley Quinn, Catwoman, and Poison Ivy. The author discusses how these female fatales were seen as a threat because of their power and authority. They are objectified because they used their sexuality in order to achieve their goals. For example, Batman recounts to Albert, his butler how Harley Quinn used her sexuality in order to advance her goals to become a psychiatrist during graduate school. In the franchise, the characters exhibit a defiance of societal norms. As a result, the women are portrayed as dangerous and monstrous. However in order to survive in society, they each rely on their displays of sexuality and seduction to advance their motives. For example, Poison Ivy uses her feminine symbols such as kisses and flowers for destructive purposes. The author adds how there are differences between male and female villains, especially when it comes to verbal connotations of labeling. They are often underestimated, especially when fighting men, who are hindrances in the women’s path. However, they are also punished when they are seen as “too powerful”. For example, the Joker punishes Harley Quinn when she comes closer than hi to defeating Batman. These female fatales exemplify what
Edwards, T (Writer). (1985). The science of sexual attraction [Q.E.D]. T. Edwards (Producer). UK: BBC.