La femme, fatale or fallen?

Mitchell, Katharine (2017) La femme, fatale or fallen? Opera Magazine, 2017 (Octobe). pp. 1271-1276.

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Abstract

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?

Author(s):Mitchell, Katharine
Item type:Article
ID code:65611
Keywords: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 Policy
Depositing user: Pure Administrator
Date deposited:02 Oct 2018 11:25
Last modified:30 Jan 2019 16:34
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URI:https://strathprints.strath.ac.uk/id/eprint/65611
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