Femme Fatale : An Overview

The nymph, Calypso, is a prime example of the use of sexuality by women in this story. Calypso has Odysseus held captive on her island, and attempts to make him stay there and become immortal, to be her mate. Calypso is looked upon negatively by the gods for having slept with a mortal man, but Calypso wishes for Odysseus to be made immortal by the gods and to stay with her on the island, as was done for Dawn. Calypso is a nymph, described as lustrous and queenly. Since she has kept him captive, Odysseus won’t believe her at first when she tells him he is being let go to journey home. She has kept him on her island, and in her bed, and kept him from the wife he loves. And even before he leaves the island, she makes him sleep with her one last time.

She is a “bewitching nymph” and “lustrous goddess” (206). She forces Odysseus to stay with her as her lover for many years. Odysseus was able to escape from the Cyclops’ cave. However, neither his strength nor his cunning can free him from Calypso. He is doomed to remain there until the gods intervene. Women’s irresistible charm leads Odysseus to disaster.

Stemming from a desired standpoint, Aphrodite, a gorgeous, perpetual young woman with a beautiful body is known as the goddess of love and beauty. Graciously assisting men charm their desired spouse with love enchantments, Aphrodite herself was no stranger to divine lovers as she held various relationships with both gods and mortals. Yet, despite her dynamic desirability and mixed personality, Aphrodite had to overcome her weak and frightful self (http://www.greek-gods.info/greek-gods/aphrodite/) due to her jealousy. Even though it was thought that she was born the daughter of Zeus and Dione, it was more frequently believed that she was born of the foam in the sea off of island Cyprus. Later on, Aphrodite went to marry lame smith Hephaestus, Olympian god of Iron, but was quietly acquiring a private affair with Ares, god of War.

The gods are constantly involved with mortal women and are not shamed for it, Zeus’ being especially guilty of this. However, Calypso argues that when an immortal women such as herself sleeps with a mortal man she is berated and the man is whisked away. She refers to the gods as “scandalized” in result of her involvement with Odysseus, yet they are unimpeded to sleep with any women they desire. Calypso wishes the power to be held to the same standard as the gods, but the etiquette of a goddess is to not freely become involved with mortals, as it is of a god. Calypso angrily must give up Odysseus, and in book six he finally makes his way onto another island after a near death experience awash in the sea. On this island lives Princess Nausicaa who also must undergo gender roles. The goddess Athena, disguised as a friend of the princess, convinces Nausicaa that she should take a trip to the river to wash and bathe her clothes as a plan to get her and Odysseus to meet up. Odysseus finds Nausicaa at the stream, and first she is scared because he is dirty and very fatigued. He then talks to her, and she offers him help. She asks that he accompany her back to the palace where he can get help of her parents, the king and queen. He is about to ride in the Nausicaa's wagon, but then she asks that Odysseus must follow behind, telling him about what would possibly happen if the were to ride

This woman of surpassing beauty provides an emotional test for the hero along his journey. This role is filled by Calypso in the epic, a gorgeous nymph whose love for Odysseus makes him her captive for seven years. Ulysses’s trek to his homeland is significantly altered by the appearance of the Sirens down at the river, three women who try to capture the men for the bounty through physical attraction. The Sirens of Homer’s work are a challenge along the hero’s travels, but they do not play such a profound role like Calypso. The nymph’s love for Odysseus was true, her heart fixated on the hero that landed upon her isle. The Sirens of Ulysses’s tale used sexual temptation to drag the men in, their intentions driven by greed. Both Odysseus and Ulysses face these women as their sensuous powers delay them from reaching their treasured goal: home. The presence of these characters helps establish the protagonists’ humanity, demonstrating how love and temptation also linger within the hearts of heroes. The contrast between the motivation of Calypso and the film’s Sirens shows two distinct characters: the temptress moved by love and the temptress moved by

In Greek mythology, each god or goddess has a unique affinity. For example, Athena is the Goddess of war, Poseidon is the God of the sea, and Aphrodite is a famous goddess known for representing beauty, love, and fertility. Aphrodite is quite popular in our world as she is the symbol of the infinitely desirable female.

In the story, “The Little Mermaid” there are demonstrations that describe what a heroine is. A female character that is noted for special achievements represents the heroine in a story. Therefore, the youngest mermaid “Little Mermaid” represents the heroine throughout the story. The Little Mermaid is a mystical creature that longs only to seek the handsome prince she laid eyes on. “Once she became human, the witch said she could never become a mermaid again” (Anderesens 185). This is an example of how the Little Mermaid chose to do something incredible and dangerous just to accomplish something she only dreamt of. Not only is the Little Mermaid the heroine of the story, but she also exemplifies other archetypal characteristics. An

The term film noir was coined by French critics for 1940s-50s American films that shared a dark sensibility and a dark lighting style, such as Double Indemnity (1944), Out of the Past (1947), and The Postman Always Rings Twice (1946). Many theorists related the common noir attributes and aesthetic elements to a post war society characterised by insecurity about gender roles, the economy, changing definitions of race, and nuclear technology. One of the cultural problems the term genre attempts to address is the gender question. The familiarity of the femme fatale character across film noir is the predominant cause for discussion amongst feminist theorists. Feminist theorists became, and still remain, interested in the woman's portrayal in

Lisa Scottoline in the novel, Lady Killer, skillfully illustrates the reality between the law and relationships. Scottoline supports her demonstration by telling the story between Mary DiNunzio, her work, and friendships. Scottoline’s purpose is to capture the reader with realistic events that are normally not talked about in order to grasp the interest of her readers, and reveal the reality of criminal justice. Scottoline writes in a conversational tone for her young readers without previous knowledge about criminals nor law.

The siren is one of the most widely used “monsters” today. By definition they are beautiful yet dangerous creatures, who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. These creatures are described as an irresistible mixture of woman and bird. Sirens, or otherwise known as “muses of the

In applying this image to a female, and especially to a female playing a role in the realm of relationships gives the idea new meaning. To think of a woman as a siren is to impose the notion that she lures men into a trap to play with them, almost as a cat would toy with a mouse. Atwood's siren describes her song as, "…The song that forces men / to leap overboard in squadrons / even though they see the beached skulls," (ll 4-6). With those words, Atwood describes exactly the effect that this songstress has on her victims. It is as if those men that are lured into her clutches are well aware of the consequences of their involvement with her - as they can very well see the "beached skulls" - yet they cannot resist the temptation she presents. Just as the seafarers were to be broken on the rocks of the island inhabited by the sirens, the men that involve themselves with this modern-day siren will also be destroyed. The song remained the same over the centuries, lethal and beautiful as ever.

Mermaids are legends that have been among us for years; moreover, to understand the legends, one must look at their history, their mystical powers and their distinct descriptions. Mermaids, Mermen, and Merbabys are making more of an appearance in our waters than they ever have. These mystical creatures are swimming back into our world.

The “femme fatale” was a common theme in the 1940’s it is a female lead who uses sensuality and mystery to seduce and manipulate the male character of the film. No American detective novel written in the thirties would be complete without the figure of the "femme fatale," a French term meaning deadly woman. A femme fatale is an irresistibly beautiful woman who uses her sexuality to seduce men and lure them into dangerous situations to serve her own selfish interests. There is a fair few of these in The Big Sleep, but none of them is quite the dynamo that Vivian turns out to be. I also believe that Carmen Sternwood could be considered a femme fatale as well.

A love goddess is a deity associated with sexuality, love, fertility, beauty, and in some occasion’s death. These goddess are common in mythology and may be found in many polytheistic religions. Although there are vast differences among these goddess’, since they have to serve each particular culture’s needs, there are also many similarities that can be drawn to them. There are two love goddess’ that are believed to have many similarities, they are the Greek goddess Aphrodite and the Norse goddess Freya. Although these goddess’ have many differences some similarities are their appearance, lost lovers, a love of beautiful things, charm, an association with the sea, the day Friday and fish.

Throughout motion picture history, women have experienced more transition in their roles, as a result of changing societal norms, than any other class. At first, both society and the movie industry preached that women should be dependent on men and remain in the home, in order to guarantee stability in the community and the family. As time passed and attitudes changed, women were beginning to be depicted as strong willed, independent minded characters, who were eager to break away from convention. The genre of the crime film represents such a change in the roles handed to women. Two films that can be contrasted, in order to support this view, are: The Public Enemy by William Wellman (1931) and Bonnie