Is Phaedra Embodies The Stereotypical Femme Fatale?

Artemis recognizes Phaedra’s nobility and honour, telling Theseus she came also for, “…[his] wife’s frenzied lust, or in a way, / nobility.” (Euripides, 1300-1301) Artemis recognizes Phaedra’s concern to maintain her reputation, as well as her struggle to fight off the emotional attachment to Hippolytus instilled in her by the goddess Aphrodite.

These three brides represent the femme fatale, the fatal woman. The over sexualised women whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. These women serve as monstrous reminders of what happens if the boundaries of proper behaviour and traditional gender roles are crossed. These women, although beautiful, possess the wrong type of beauty, one of which brands them as evil, openly sexual and seductive women. Who, in addition lack the chaste passivity and fragility of the ideal Victorian lady, thus making them deserving of some form of punishment in order for them to be returned to their pure, innocent, albeit dead, human form.

The biggest obstacle in this play occurs when the power of love is challenged by authority. The play starts with Theseus, duke of Athens, being eager to marry Hippolyta, who he wooed with his sword in combat. Although Theseus promises Hippolyta that he will wed her “with pomp, with triumph, with reveling,” true love between them is questionable. By starting the play with Theseus and Hippolyta, Shakespeare hints the audience of the authority involved in their marriage and leaves the audience wonder if they actually love each other. The focus is then shifted to the four lovers: Hermia, Lysander, Demetrius and Helena - by establishing the story of Hermia being forced by her father, Egeus, to marry Demetrius, when the person she actually wants to marry is Lysander. However, Egeus

Early on in the play, Phaedra does not yet fit the model of the deceitful

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.

Ten years after the fall of Troy, the victorious Greek hero Odysseus has still not returned to his native land Ithaca. A band of rowdy suitors, believing Odysseus to be dead, has overrun his palace, courting his faithful—though weakening—wife Penelope, and going through his stock for food. With permission from Zeus, the goddess Athena, Odysseus' greatest immortal ally, appears in disguise and urges Odysseus' son Telemachus to seek news of his father at Pylos and Sparta. However, the suitors, led by Antinous, plan to ambush him upon return.

The subject of morality has been of much interest in many human societies. Many scholars have been involved in this field in helping people to understand the subject even more. Among the much known contributions in this field, the works buy Aristotle, Kant and Mill stands out. There is a connection between the theories of these scholars and these theories can be aligned to a person’s cultural identity as discussed in the subsequent paragraphs that follows below.

Following the play Agamemnon we will examine the three female characters and how their stereotypes apply to the current day society.

As a specialist in the telecom field, an aspect of my responsibilities requires that I climb our TV transmitting poles to watch that the structure is OK, watch that the links are in great request, and to check for air spills. The vast, empty 150mm measurement links are pressurized with dry air to keep them free of dampness. We now and again need to climb these poles with a jug of children air pocket blowing liquid, and a paintbrush, and we paint the blend onto joints and territories of the link that could be broken or punctured. On the off chance that there's an air spill, you can see the air pockets framing.

Throughout many pays and novels, women have had important roles of helping form the main characters, in the way they think, move or change the story. Women have always been subordinate to men all through history, but in plays, novels, short stories, etc, they have been given large enforcing roles, showing the power within women. William Shakespeare and Sophocles use guilt, pride, and influence to demonstrate the importance of the women’s role to support the main characters in both the plays of Macbeth and Antigone.

Throughout history, violent women and women with violent intent have starkly emerged from many countries, carving their niches in myths and legends. The creation of these stories suggests that men began to notice lethality in feminine charm centuries back.

Femme fatale. Every culture has a mystical femme fatale that is known for being beautiful, enticing and deadly. A female being that has the ability to entice a man with the intent to destroy his very being. The Mermaids, Nymphs, Undines and Sirens, these beautiful and deadly creatures are known all over the world. The alluring charms of these creatures are legendary and have been known globally for centuries. The femme fatale is known for being able to charm and lure wayward men for safety into an out of element location. These men have been away from the company of women or just wanting the female company. The idea of a beautiful and seductive female looking for carnal pleasure is usually desired when a person is in need of physical and

Since the 1940’s, movies have predominately portrayed women as sex symbols. Beginning in the 1940’s and continuing though the 1980’s, women did not have major roles in movies. When they did have a leading role the women was either pretreated as unintelligent and beautiful, or as conniving and beautiful: But she was always beautiful. Before the 1990’s, men alone, wrote and directed all the movies, and the movies were written for men. In comparison, movies of the 90’s are not only written and directed by women, but leading roles are also held by older and unattractive women. In this paper I will show the variations and growth of women’s roles in movies from the 1940’s though the 1990’s.

One of the most exhilarating moments of my entire life was my very first time at a roller coaster theme park. Growing up I would always see commercials on television of children and adults alike having a sparkling Colgate smile on their faces and enjoying themselves, so when my family decided we were going to Islands of Adventure for vacation. I was like a child who just received a cookie out of the cookie jar. Even though I was 21 years old at the time, I was extremely trilled. I packed my luggage like a stuff turkey on Thanksgiving Day and I was ready to take on this adventure.

The presentation of women on screen is another highlighted issue in many of the gathered sources. Because men were ultimately in control of what went on the screen much of what the audience perceived were women from the male imagination or fantasy. Bernard Beck elaborates in his article Where the Boys Are: The Contender and other Movies about Women in a Man’s World that, “…women have been used to dress up a male story or motivate a male character” (Beck 15). Women were often insignificant and trivial characters. Although, Kathe Davis disagrees to a point. In her article, Davis offers a dissonant opinion to the fore-mentioned insignificance of the female character. She instead describes many female characters as “predators,” and analyzes the roles of lead women in three prominent films of the nineteenth century. In each film, she finds parallels and similarities of cases of “female emasculation” and instances where “women are turned into objects of male desire” (Davis 47-48). Davis does not perceive female characters as being insignificant, just stripped of their power and misrepresented. She discusses how females of power are often portrayed as crazy