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Edvard Munch's Fatal Women: A Critical ApproachBimer, Barbara Susan Travitz 12 1900 (has links)
This study is the first comprehensive analysis of the fatal woman motif in the writings and art of Edvard Munch from the early 1890s to 1909. It uses a background of the women in the artist's life as well as the literary and artistic worlds in which Munch participated. Following separate accounts of Munch's relationships with five women, the manner in which the artist characterizes each as a fatal woman in his writings and art is discussed and analyzed. Next, the study describes the fatal woman motif in late nineteenth century art and literature. It begins with a discussion of the origin of the Symbolist and Decadent Movements and an ideological examination of the fatal woman motif as it is manifested in the writing and art of these two groups. In addition, it compares Munch's visual manifestations of the femme fatale with the manner in which the artist's contemporaries depicted her. Finally, this study describes two groups of men with whom Munch was particularly close: the Christiania Bohéme and the Schwarzen Ferkel Circle. An examination of the literary works of these men helps to determine the way in which they affected Munch's pictorial perception of the fatal woman.
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Representação do elemento narrativo mulher fatal : construção das personagens Zahara e Juan no filme Má Educação, do cineasta espanhol Pedro Almodóvar / Representation of fatal woman element narrative: construction about Zahara and Juan like characters in Bad Education movie, by spanish filmmaker Pedro AlmodovarSILVA, Naira Rosana Dias da 13 August 2008 (has links)
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Previous issue date: 2008-08-13 / My study is about the representation of fatal woman narrative element in Pedro Almodóvar s
movie Bad Education (2004). This element is composed by two characters: the transvestite
Zahara and the actor Juan. These characters act as reflective points in the movie because they
have transgression characteristics referring to the fatal woman, whose character was
introduced in the narratives of detective stories from the literature in the hard-boiled
American crime fiction that on the other hand influenced Americans noir films in the early of
1940s to 1950s. Almodóvar with inspired those movies to compose his neo-noir Bad
Education and also to introduce this narrative element, fatal woman, innovating. My study
focuses especially on the character Zahara, however, this is not a woman on the biological
point of view, but a transvestite who is being staged in the film within the film by Juan, a
reference to metalanguage movie. I refer the film noir context for the search and the
emergence of women in fatal noir universe, treatment of construction of such characters in
terms of language film and feminist research that connect gender, identity and queer theory,
talking about the body, narrative and construction of the characters on the scene as points of
discussion to subvert the narrative / Abordo neste estudo a representação do elemento narrativo mulher fatal no filme Má
Educação (2004) de Pedro Almodóvar. Tal elemento está constituído em duas personagens: a
travesti Zahara e o ator Juan. Essas personagens funcionam como pontos reflexivos no filme
porque possuem características transgressoras, já que, remetem à mulher fatal, personagem
que foi introduzida nas narrativas das histórias de detetive da literatura de ficção criminal
americana, hard-boiled, e que influenciaram os filmes noirs americanos das décadas de 1940-
1950. Filmes que Almodóvar se inspira para compor seu neo-noir Má Educação e, também
para inserir o elemento narrativo mulher fatal, inovando. Meu estudo foca especialmente, a
personagem Zahara que não é uma mulher do ponto de vista biológico, mas, uma travesti que
está sendo encenada no filme dentro do filme por Juan, numa referência à metalinguagem do
cinema. Aponto o filme noir para contextualizar a pesquisa e o surgimento da mulher fatal no
universo noir, trato da construção de tais personagens do ponto de vista da linguagem
cinematográfica e de pesquisas feministas que arrolam gênero, identidade e teoria queer,
dialogando a respeito do corpo, da narrativa e da construção das personagens em cena como
pontos de reflexão que subvertem a narrativa
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