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Femme Fatale In Jun'ichirō Tanizaki’s short story “The Tattooer”, Tanizaki features an ambitious tattoo artist who yearns to create a masterpiece on the skin of his ideal woman. Initially, this woman is anticipated as the one who holds the potential to achieve the status of a twisted goddess. Moreover, the artist’s process of forging his masterpiece on this particular woman acts as a stepping-stone to his imminent demise; she is a lethal double-edged sword. The tattoo, which takes the form of a black widow, metaphorically transforms the woman into a Japanized “black widow” herself. Accordingly, the dual nature of woman is portrayed as timeless beauty and infinite destruction. The main interest in this short story is further elucidated when delving into a more profound level of the woman regarding her potential in acquiring timeless beauty. This potential, which transcends the careful inspection of reigning beauties, is only determined with a simple glimpse of her barefoot as evidenced by her, “Exquisitely chiseled toes, nails like the iridescent shells along the sore at Enoshima…” (Tanizaki 100). Her foot, which represents nothing but a small portion of the body, overshadowed the complete existence of other beauties. Only a glimpse of the woman’s barefoot was required for the confirmation to be delivered; a confirmation which ascertain her potential in blooming to a divine entity capable of infinite destruction. This definition of infinite destruction refers to the potential of the woman in having absolute control over men. Progressively, the woman’s potential is eventually seen with greater clarity when the artist was “scrutinizing her intently” during their encounter, and consequently, it has escalated to the sky in the sense th... ... middle of paper ... ... was wreathed in flames” (Tanizaki 103). The fate of the first victim was sealed. He was overwhelmed by her beauty, and thus, became her victim. The black widow will now yearn on consuming other men. In retrospect, the woman is portrayed as a femme fatale, as she is initially regarded as the one who can attain infinite beauty and destruction. The artist’s resolution of forging a masterpiece on her is interpreted as him digging his own grave. Also, the woman metaphorically transform into a black widow; a creature symbolizing beauty and destruction. The woman is indeed portrayed as destruction. Work Cited Jun'ichirō, Tanizaki. “The Tattooer”. 603-102-04 Eastern Literature. Jeffrey Fyfe. Toronto, ON: CSPI – Coursepack, 2012. Print Ray, Pratt. Projecting Paranoia – Conspiratorial Visions in American Films. 2592 Westbrooke Circle, Lawrence, 2001. Print
In the story “The Tattoo”, Chris McKinney’s book is about a set in contemporary Hawai’i. The story is revealing a side of paradise about the main character, Kenji “Ken” Hideyoshi. It’s mostly about a young man with a troubled past. There is 2 other main character’s besides Ken. There is Koa Pauhi Puana and Matthew “Cal” Brodsky. These three characters have very interesting life stories. There are reasons why these three characters are important in the story.
Saikaku, Ihara. Life of a Sensuous Woman. The Longman Anthology of World Literature. (Vol. D) Ed. Damrosch. New York: Pearson, 2004. 604-621. [Excerpt.]
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
Suid, Lawrence. "The Pentagon and Hollywood: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)." American History/ American Film: Interpreting the Hollywood Image. Eds. John E. O'Connor and Martin A. Jackson. Boston: Frederick Ungar Publishing Co., 1979.
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?
Saikaku, Ihara. Life of a Sensuous Woman. The Norton Anthology of World Literature. 3rd Ed. Volume D. Ed. Martin Puchner. New York: Norton, 2013. 591-611. Print.
It was a dark, menacing night as she stood there in the shadows. Waiting for the finale of the show that was playing, she glanced toward the exit through which people would soon be leaving. The rich, as patrons of the theatre house, promised her a salary at least for today. Her tattered clothes revealed the effects of personal destitution; the emaciated frame, that presently existed, harked back upon a body she must have once possessed. Driven by poverty to the realms of "painted cohorts," she makes up her face daily, distinguishing her life from the respected (264). She is an outcast, a leper, a member of the marginalized in society; she envelops the most degraded of positions and sins against her body in order to survive. As she looks up, her eyes reflect a different kind of light, a glimmer of beauty that has not yet faded despite her present conditions. She was, at one time, a "virtuous" woman, most likely scorned by a dishonest love. Finding no comfort or pity for her prior mistakes, she must turn to the streets and embrace the inevitable - the dishonor and shame from her previous engagement will follow her unto death. Shunned from society she becomes the woman who sells herself for money and sadly finds no love. She is the abandoned, the betrayed, and the lost, embarrassed girl; she is "of the painted cohorts," the female prostitute of the streets (264).
“Confronted by the expressive, powerful or victimized images of Gentileschi’s women, writers have been unable to fit her paintings into the usual feminine stereotype: they cannot trace the expected signs of femininity, weakness, gracefulness or delicateness. Thus, unable to put her work into a stereotype, they turn instead to the dramatic events of her life” (10)
Every day, tattoos have become apart of almost everyones daily life. Wether it be simply seeing someone with some on the street, to giving hundreds of them a day. While admiring their beauty, however, many people don’t think about the history behind the practice and how they have developed over the centuries. Tattoos have been around for thousands of years. One of the earliest evidence of tattoos being practiced was from the Iceman found with tattoos from the area of the Italian and Austrian border and was carbon dated to be around 5200 years old. Matching it's time, they use long one stakes dipped in soot.
Givens, Ron. “The United States of Paranoia: A Conspiracy Theory.” American History 48.5 (2013): 77 Middle Search Plus. Web. 21 Jan. 2014
The picture is a scale in which the female side is higher than the male side. Women have always been since as less than a man, an outlook that can be traced all the way back to the bible. According to the bible, Eve was created from Adams rib, which was supposed to be construed as his loving her because she was made of his flesh has been corrupted that women are less than a man. Even the United States, the pioneer of freedom and rights, still pays a woman less than a man. A women’s opinion is still doubted or in some cases not even listened to especially when they hold positions of power. In third world countries, if a woman is attacked or raped it is her fault, just because she is a woman. Infanticide, the killing of female babies, is still predominant in areas all over the world. Mothers rid themselves of girl children so that they don’t have to worry about dishonor or providing a dowry. This killing of females is also represented in the art. This artwork should remain on Tejon Street as a reminder as how far we have come as women and how we have much work ahead of us in order to get true
Frida Kahlo’s honest, often bizarre, self-portraits reflect a beauty beyond the physical--- an impishness in the wide eyes, a small smirk teasing at the corners of her mouth. In her renderings, her cheeks are always heavily rouged, and exotic flowers adorn her raven hair. Self-Portrait in a Velvet Dress uses the contrast of light --- Kahlo’s glowing skin --- and dark--- the black background, and in doing so, this painting not only communicates the subject’s outward beauty. It also points to an unspoken turmoil inside of the painter: as dark as the night sky and as deep as rolling sea.
...e multiplicity of meaning embedded in these works suggests the importance of the body as a liminal site, a site of inscription and meaning making, in both historical-contemporary and more recent feminist work. It is, of course, unlikely that Antin or Kraus draws directly upon any singular theory explicated in this essay. Both artists are, however, undeniably interested in the formations, constructions, and shifts of subjectivity. Both Carving: A Traditional Sculpture and Aliens and Anorexia address the body’s uncontained boundaries, exploding the dual Cartesian model of interior/exterior self. As feminist artists, both Antin and Kraus are also surely aware of the complexity of discourses around food, self, and the body. Through the artists may not be speaking “to” or “through” any particular theoretical model, they are contributing to these discourses all the same.
...s this shows her feminity as a women it also portrays her as being a temptress because of the exposure of her breast. Unlike the woman being almost completely covered but being shown in a tempting way in relation to her feminity, the man on the other side is completely exposed in order to demonstrate the youthfulness and strength of his body. Which the Romans used in artworks as a form of political advertising to show that a man that had a masculine body, young and strong, could be a leader. The man’s exposure of skin is considered as positive form of dispaying his masculinity while the woman’s lack of exposure except for her breast can be viewed as tempting through her feminity and disapproved. This shows the gender indiffernece of feminity and masculinity, where masculinity is portrayed in positive forms while femininity has only negative aspects to be protryed in.
While a quick glance at the painting reveals a soft, gentle female form with a background of intriguing landscape, further study introduces an added layer of mystery. The way the woman glances slightly to the side as well as her small smile makes viewers feel that she knows some secret. Yet, at the same time, she appears to be a very kind, friendly and approachable.