La femme, fatale or fallen?
Mitchell, Katharine (2017) La femme, fatale or fallen? Opera Magazine, 2017 (Octobe). pp. 1271-1276.
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Embodying the central female role in Bizet’s Carmen and Wagner’s Parsifal (in Kundry), in ‘realist’ opera from France and Germany at the fin de siècle the femme fatale looms large. According to Bram Dijkstra’s landmark interdisciplinary study of misogyny in European culture from this period (OUP, 1986), she functioned as an apparent warning sign of women’s supposedly threatening and all-engulfing sexuality and agency. While the archetype is presented in Italian realist fiction–for example in the eponymous protagonists of Tarchetti’s Fosca (1869) and Verga’s Eva (1873)–she is curiously absent as a central character in Italy’s fin de siècle operatic repertoire. Why?
ORCID iDs
Mitchell, Katharine
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Item type: Article ID code: 65611 Dates: DateEvent1 October 2017PublishedKeywords: la femme, femme fatale, italian opera, Visual arts (General), Visual Arts and Performing Arts Subjects: Fine Arts > Visual arts (General) For photography, see TR Department: Faculty of Humanities and Social Sciences (HaSS) > School of Humanities > Italian
Strategic Research Themes > Society and PolicyDepositing user: Pure Administrator Date deposited: 02 Oct 2018 11:25 Last modified: 01 Jan 2021 03:34 Related URLs: URI: https://strathprints.strath.ac.uk/id/eprint/65611