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Relevant bibliographies by topics / Femmes fatales in art

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Academic literature on the topic 'Femmes fatales in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Femmes fatales in art"

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Brandow-Faller, Megan. "Man, Woman, Artist? Rethinking the Muse in Vienna 1900." Austrian History Yearbook 39 (April 2008): 92–120. http://dx.doi.org/10.1017/s0667237808000060.

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Veni, CreatorSpiritus! From the triumphant chorus of Gustav Mahler's Eighth Symphony to the muse-choir adorning Gustav Klimt's Beethoven Frieze, the Vienna Moderns celebrated the inspirational powers of the feminine. Muses, or the spiritual forces guiding acts of artistic and literary creation, have long been associated with the creative output of the Vienna Moderns, the groups and individuals responsible for the development of modernism in the arts and literature in Vienna from 1890 to 1910. These inspiring women—commonly personified as femmes fatales, femmes fragiles, and femmes savantes—played a crucial role in bringing the art, architecture, and writing of Viennese Modernism to fruition.

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Higashi, Sumiko. ": Femmes Fatales: Feminism, Film Theory, Psychoanalysis . Mary Ann Doane." Film Quarterly 45, no. 4 (July 1992): 35–36. http://dx.doi.org/10.1525/fq.1992.45.4.04a00130.

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Buonanno, Milly. "Femmes fatales, saints, empowered women: Female biopics in Italian public television." Journal of Italian Cinema & Media Studies 11, no. 2 (March 1, 2023): 239–54. http://dx.doi.org/10.1386/jicms_00177_1.

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Joining the current scholarly dialogue between biopic studies and gender/feminist/media studies, this work is meant to retrace the evolution of gender politics as expressed in the biographical genre which has played the role of the mainstay of domestic television drama since the origin of Italian broadcasting. Through a historical perspective that aims to track continuity and change over time, this work places a major focus on the 2000s, during which time women’s biographies experienced considerable growth on Italian television and more importantly began to replace traditional figures of saints and femmes fatales with female professionals in positions of leadership (journalists, politicians, entrepreneurs, scientists and artists). Based on the examination of several biopics and the close analysis of the most watched recent biopic about an ‘empowered woman’ (Luisa Spagnoli [2016]), this article seeks to explore whether the new wave of female biopics breaks crystallized generic conventions and foregrounds new representational strategies influenced by feminism or post-feminism.

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Atzmon, Leslie. "Arthur Rackham's Phrenological Landscape: In-betweens, Goblins, and Femmes Fatales." Design Issues 18, no. 4 (October 2002): 64–83. http://dx.doi.org/10.1162/074793602320827451.

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Higashi, Sumiko. "Review: Femmes Fatales: Feminism, Film Theory, Psychoanalysis by Mary Ann Doane." Film Quarterly 45, no. 4 (1992): 35–36. http://dx.doi.org/10.2307/1212870.

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Swarts, Lynne. "Femmes Fatales, Biblical Heroines, and Sensual Beauties: Who Is the Modern Jewess in the Art of Ephraim Moses Lilien." Shofar: An Interdisciplinary Journal of Jewish Studies 39, no. 3 (2021): 109–53. http://dx.doi.org/10.1353/sho.2021.0041.

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Sayi, S. "TROPING WOMEN AND RETHINKING GENDER STEREOTYPES IN SELECTED NDEBELE FICTIONAL WORKS." Southern African Journal for Folklore Studies 26, no. 2 (March 9, 2017): 38–51. http://dx.doi.org/10.25159/1016-8427/1891.

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There exists a dearth of scholarship on gender relations in Ndebele literary works from Zimbabwe. The present study sets out to analyse the literary troping of women in Umhlaba Lo! a play by B. C Makhalisa and Lifile, a novel by O.S Mlilo, two works of art that destabilize the perception of women. To begin with, by centring the narratives on protagonists who are prostitutes, these works move these figures from the margins to the mainstream of the literary universe. Moreover, the narratives give voice and agency to these prostitute protagonists in such a manner that they are able to speak for themselves and give the perception of their lives through their own eyes. The image of the prostitute challenges the stereotype that women cannot be active sexual agents but are rather framed as passive sexual objects. Moreover, it dislocates the private/public dichotomy, since sexuality, which is normally viewed as a private issue, is brought into the public sphere through the mise en scène of the sexualized body that imposes itself in the public space. Ultimately, the study argues that instead of viewing women who take charge of their sexualities as femmes’ fatales, there is need to look at the multifaceted issues that lead women to use their bodies and sexualize them in a bid to earn a living.

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Reich, Nicholas. "Mathematical Femmes Fatales." Math Horizons 9, no. 4 (April 2002): 20–22. http://dx.doi.org/10.1080/10724117.2002.11975158.

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Muller, Martin N. "Chimpanzee Violence: Femmes Fatales." Current Biology 17, no. 10 (May 2007): R365—R366. http://dx.doi.org/10.1016/j.cub.2007.03.037.

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Beezer, Anne. "Femmes fatales: feminism, film theory, psychoanalysis." Women's History Review 2, no. 2 (June 1, 1993): 279–91. http://dx.doi.org/10.1080/09612029300200054.

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Dissertations / Theses on the topic "Femmes fatales in art"

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Rummel, Andrea. ""Delusive beauty" femmes fatales in english romanticism." Göttingen V & R Unipress, 2007. http://d-nb.info/990829685/04.

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Nielsen, Bianca. "Werewolves, mothers and femmes fatales: Girl power movies." Thesis, University of Canterbury. American Studies, 2004. http://hdl.handle.net/10092/4792.

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This dissertation analyses a collection of contemporary girl power movies and places these texts within an historical generic context. In "Pleasures and Problems of the ‘Angry Girl,’" Kimberley Roberts defines the phenomenon of girl power as "a structure of beliefs and a set of consumer practices that centre on the individual teenage girl's power to effect change in her universe" (217-8). Roberts outlines that the "heroines of the girl power era of the 1990s are 'pissed off and ready to do something about it'" and that "they are fighters who combat the forces against them, unapologetically and often violently" (217). Since Roberts's analysis of girl power in Freeway, there has been little academic discussion on the phenomenon in Hollywood products. While the idea that "women's films" exhibit the potential for social criticism is not new, there is yet to be a substantial project that explores female characters and their "combat" with the "forces against them" in recently released film products. Roberts's definition of girl power can be applied to a series of films produced during the mid to late nineties and first few years of the new millennium. Many films produced during this timeframe depict strong female protagonists who fight the forces of patriarchal culture "unapologetically and often violently."

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Brinker, Gretchen. "The Alluring and Manipulative "Spider Women" of the Silver Screen: Femmes Fatales of the Hard-Boiled Fiction, Classic Noir and Contemporary Noir Periods." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/887.

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This thesis delves into three categories of femmes fatales: the ones of hard-boiled fiction/classic noir and contemporary noir. Moreover, it generates several comparisons among those aforementioned categories, and extrapolates on them. Third wave feminism and how it draws relevance/is significant to the Bound and The Last Seduction films is additionally explored in this thesis. This thesis will discuss the similarities of the femmes fatales of the '30s/1940s-50s and contemporary noir (1980s-90s), while delving into differences between them.

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Leroux, Corinne. "Images de la femme infernale dans la littérature romantique de Balzac à Flaubert." Paris 3, 1990. http://www.theses.fr/1990PA030086.

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Approche psychanalytique des portraits de femmes infernales apparaissant dans les oeuvres de balzac (la rabouilleuse 1842 et la cousins bette 1846). Gautier (les contes et les recits fantastiques de la caferiere 1831 a spirite 1866), baudelaire (les fleurs du mal 1857) et flaubert (salammbo 1862 et herodias 1877). Hantes a des titres divers par la fixation maternelle, ces auteurs trouvent dans leurs oeuvres une satisfaction fantasmatique de leurs desirs : ils goutent les delices du paradis preoedipien dans un orient fabuleux. Obsedes par l'inceste ils pretent a leurs heroines les caracteres maternels. Mais, figures substitutives, les amantes heritent aussi des emblemes dissuasifs de la mere interdite. Bardee de symboles phalliques la diabolique maitresse distille une dangereuse seduction. L'amant se croit autorise a se defendre et persecute a son tour la femme aimee sans savoir que l'oedipe reactive les sadismes initialement diriges contre le coprs maternel aux stades primitifs du developpement libidinal. "la volupte meme a la ferocite" et l'amour semble une impasse. Cependant les theories esthetiques permettent un depassement de la morale oedipienne et une rehabilitation de la femme infernale dans la mesure ou la souffrance feconde le genie et ou les amantes sataniques, parees d'une aura negative, offrent aux lecteurs la riche palette de leurs vices et malefices
A psycho-analytic approach to the portraits of fiendish women as they appear in the following literary works by balzac (la rabouilleuse 1842 and la cousine bette 1846), gautier (les contes and les recits fantastiques from la cafetiere 1831 to spirite 1866), baudelaire (les fleurs du mal 1857) and flaubert (salammbo 1862 and herodias 1877). Haunted for various reasons by their maternal fixation, these writers do find in their works a phantasmatic fulfilling of their desires : they enjoy the delights of a pre-oedipian heaven in a fabulous orient. Obsessed by incest they credit their heroines with maternal idiosyncracies. But, as figures of substitution, these mistresses are adorned too with the dissuasive emblems of the forbidden mother. Covered with phallic symbols these demoniac mistresses distill a dangerous seductive charm. Their lovers think they are entitled to defend themselves and start persecuting the woman they love without knowing that their oedipus complex brings to life again their sadistic tendencies which were originally aimed at their mothers' bodies at the earley stages of tehri libidinal growing. Yet aesthetical theories enable us to go beyond mere oedipian ethics and to rehabilitate these devilish womenn in so far as sufferings fecundate genius and these satanic

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Lam, Karen Kar Wai. "Images of women in Ming (1368-1644) fiction, The femmes fatales in Sanyan Erpai." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/MQ46984.pdf.

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Hofmann, Ingrid. "Deadly seductions : femme fatales in 90's film noir." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.

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Wong, Wai-yee. "Returning the gaze the femme fatale in the film noir of the 90s /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B31952884.

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Lacroix, Green Pascale. "L'image de la femme fatale dans le double miroir de la littérature et de la peinture fin-de-siècle." Paris 4, 1997. http://www.theses.fr/1996PA040090.

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Dans cette thèse nous nous proposons d'étudier le mythe de la femme fatale confronté à l'esprit de décadence à travers la littérature de la fin du dix-neuvième siècle en France, en Angleterre et en Belgique. Nous évoquerons plusieurs représentations exemplaires du mythe tels l'idole, la satane, Viviane, la sphinge, Messaline, la gynandre et la prostituée et nous observerons leur évolution à travers divers phénomènes propres à l'esprit de la fin de siècle : l'amalgame, la parodie, l'inversion, la banalisation et la caricature. Nous soulignerons l'importance et les conséquences d'un phénomène d'"inter esthétisme" entre la littérature et la peinture sur l'appréhension du mythe. Chaque figure choisie nous permettra de voir que le décadentisme puise dans des sources aussi variées que le merveilleux, la mythologie, la décadence romaine, le symbolisme, le naturalisme, l'ésotérisme et le féminisme pour arriver à une véritable décomposition de l'image de la femme fatale
The topic of this research is the myth of the "femme fatale" as influenced by the spirit of decadence in Belgian, English and French literature and painting at the end of the 19th century. Several types of representation, or iconographs, of the femme fatale are considered - the idol ; "la satane" ; vivien ; the sphinx ; Messalina ; "la gynandre" ; and the prostitute. The research analyses their evolution across various phenomena evident during the "fin de siècle", namely : stylistic amalgam, parody, narrative inversion, banalization and caricature. It highlights the importance of the phenomenon of exchanges between painting and literature, and the influence of one upon the other, in the portrayal of the myth. The choice and description of each type reveals how inspiration is drawn from a variety of sources - the supernatural, mythology, roman decadence, symbolism, naturalism, esotericism and feminism - and how, progressively, these representations reveal the decomposition of the image of the "femme fatale"

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O'Neil, Megan. "Indigenista Heroes and Femmes Fatales: Myth-Making in Latin American Literature and Film." UKnowledge, 2016. http://uknowledge.uky.edu/hisp_etds/29.

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This dissertation explores myth-making in Latin America by focusing specifically upon four Amerindian and mestizo figures: Doña Bárbara, mestiza protagonist of Rómulo Gallegos’ 1929 novel; Anacaona and Hatuey, Taíno caciques who first appeared in Bartolomé de las Casas’ Brevísima relación de la destrucción de las Indias (1552); and Andrés Chiliquinga, indigenous protagonist of Jorge Icaza’s Huasipungo (1934). The present analysis examines the evolution of these myths from their original appearance to literary and film versions throughout the 19th, 20th, and 21st centuries in the Caribbean and Andean regions. The project focuses upon the ways in which artists have interpreted these myths, their embedding in society’s collective memory, and their mythical functions in anti- and postcolonial discourse. By breaking down each myth into its most basic structure, this project identifies the core connotations contained within that reveal each myth’s function as a cultural foundation in Latin America. It also examines how the versions of a myth depart from one another, thus underscoring possible critiques of the myth. Finally, it examines the ways in which some of these myths have become commodities, particularly in contemporary popular culture. By examining these figures as cultural myths—bridging past and present—, this research argues that a mythic-interpretive model proves effective as it leads us to a deeper understanding of the universal connotations contained not only within the stories chosen here, but the Latin American narrative as a whole.

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Burzlaff, Mary Caroline. "Chaste sexual warrior, civic heroine, and femme fatale three views of Judith in Italian renaissance and baroque art /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147989193.

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Thesis (M.A.)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Judith; Holofernes; Italian; Renaissance; Baroque; Michelangelo; Donatello; Botticelli; Giovanni della Robbia; Giorgione; Palma Vecchio; Artemisia Gentileschi; Allori; Apocrypha. Includes bibliographical references.

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Books on the topic "Femmes fatales in art"

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Cummins, Maureen. Femmes fatales. [Brooklyn, N.Y.]: M. Cummins, 2001.

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van, Os H. W., Groninger Museum, and Koninklijk Museum voor Schone Kunsten (Belgium), eds. Femmes fatales, 1860-1910. Antwerp: Koninklijk Museum voor Schone Kunsten Antwerpen, 2002.

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Paris, Juan Francisco Pastor. Femme fatale: Imágenes de la bella diabólica. Madrid: Archivos Vola, 2019.

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Risto, Borges Jerez Pavel, ed. La femme fatale: Ses origines et sa parentèle dans la modernité. Paris: L'Harmattan, 2013.

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Iunco, Francesco. Francesco Iunco: La danza delle ninfe : dipinti, disegni e brevi scritti saffici e metafisici. Padova: Il poligrafo, 2019.

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Gil, Alberto. Perversidad: Mujeres fatales en el arte moderno, 1880-1950 : 30.Mar-8.Sep.2019. Málaga: Museo Carmen Thyssen, 2019.

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Zuffi, Stefano. Le donne che amano sono pericolose. Milano: Rizzoli, 2008.

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Nakamura, Keiko. Mashō no onna irasutorēshon: Taishō--Shōwa shoki no bungaku ni tōjōshita yōen na akujotachi. Tōkyō: Kawade Shobō Shinsha, 2013.

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Carla, Cotti, and Istituto geografico De Agostini, eds. La donna fatale. Novara: Istituto geografico De Agostini, 1991.

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author, Carpita Barbara, ed. L'abisso negli occhi: Lo sguardo femminile nel mito e nell'arte. Pisa: Edizioni ETS, 2016.

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Book chapters on the topic "Femmes fatales in art"

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Kano, Ayako. "Feminists and Femmes Fatales." In Acting Like a Woman in Modern Japan, 183–217. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1007/978-1-349-63315-9_8.

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Metlić, Dijana. "Kubrick's and Klimt's Femmes Fatales." In Gender, Power, and Identity in the Films of Stanley Kubrick, 146–65. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-10.

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Jaber, Maysaa Husam. "The Duality of David Goodis’s Criminal Femmes Fatales." In Criminal Femmes Fatales in American Hardboiled Crime Fiction, 113–28. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137356475_7.

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Grossman, Julie. "Film Noir’s “Femmes Fatales”: Moving Beyond Gender Fantasies." In Rethinking the Femme Fatale in Film Noir, 21–40. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230274983_2.

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Sully, Jess. "Challenging the Stereotype: The Femme Fatale in Fin-de-Siècle Art and Early Cinema." In The Femme Fatale: Images, Histories, Contexts, 46–59. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230282018_4.

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Fahden, Melanie, and Anja Gebauer. "With AI to Art!" In Edition Museum, 265–72. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-025.

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In this article, Melanie Fahden and Anja Gebauer present a participatory project in which young students collaborated in the development of an AI-based chatbot. How can artworks from the nineteenth to the twenty-first century be communicated to young people in a compelling way, and how can they be interrogated with respect to their current relevance and debated in light of recent socio-political discourse? These were a few of the initial questions for a sophisticated art mediation program within the framework of the special exhibition FEMME FATALE: Gaze-Power-Gender (9 December 2022 to 10 April 2023) at the Hamburger Kunsthalle.

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Jaber, Maysaa Husam. "Introduction." In Criminal Femmes Fatales in American Hardboiled Crime Fiction, 1–11. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137356475_1.

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Jaber, Maysaa Husam. "The “Mad-Bad” Criminal Woman." In Criminal Femmes Fatales in American Hardboiled Crime Fiction, 12–31. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137356475_2.

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Jaber, Maysaa Husam. "Narratives of the Underworld." In Criminal Femmes Fatales in American Hardboiled Crime Fiction, 35–51. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137356475_3.

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Jaber, Maysaa Husam. "Narratives of Detection." In Criminal Femmes Fatales in American Hardboiled Crime Fiction, 52–72. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137356475_4.

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Conference papers on the topic "Femmes fatales in art"

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Campos, Letícia Badan Palhares Kanuer de. "Corpos subjugados: o masculino como vítima impotente da beleza fatal das mulheres." In Encontro da História da Arte. Universidade Estadual de Campinas, 2013. http://dx.doi.org/10.20396/eha.9.2013.4442.

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A figura feminina, tema central de diversas obras do âmbito artístico e literário, ganha, ao fim do Século XIX, um novo olhar, voltado para a fatalidade e seu poder de destruição. Dentre as tantas imagens de femmes fatales produzidas durante esses anos, uma composição específica parece exaltar a monstruosidade e exuberância da figura impassível da mulher – aquela cujos homens, vitimados, revelam-se lançados aos seus pés. Nas linhas que se seguem, trataremos sobre esta iconografia.

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Jackai, Louis. "Mustards are veritable "femmes fatales" for the harlequin bug (Murgantia histrionica): Exploiting the interaction between mustards, glucosinolates, and trap cropping to protect collard." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.109205.

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Feng, Xiaohan, and Makoto Murakami. "Character Archetypes in an Online Creative Course Setting: The Case of Femme Fatale." In 11th International Conference on Signal Image Processing and Multimedia. Academy and Industry Research Collaboration Center (AIRCC), 2023. http://dx.doi.org/10.5121/csit.2023.130912.

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Creative writing courses have flourished in recent years. However, the accuracy of the content of some courses has yet to be examined. Character archetypes are an unavoidable topic in most courses requiring character creation. We found that some online creative courses include characters whose character archetypes are debatable. For example, the Femme Fatale is often considered a character archetype, but some scholars believe it is a stereotype bias. While the use of character archetypes and stereotypes in creative work is a matter of personal freedom, it is inappropriate to educationally disseminate content that is still controversial in the academic community. This study explores the history and reasons for the generalization of the Femme Fatale, the differences between the Femme Fatale and other character archetypes, and derives three reasons why the Femme Fatale is inappropriate as a character archetype in creative work. This study is intended to call attention to the rigor of the content of online creative writing courses.

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Sances, Anthony, Srirangam Kumaresan, and Richard Clarke. "Biomechanical Analysis of Side Release and Top Release Seat Belt Buckles." In ASME 2003 International Mechanical Engineering Congress and Exposition. ASMEDC, 2003. http://dx.doi.org/10.1115/imece2003-42711.

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Various articles suggest that the maximum release force for buckle according to Federal Motor Vehicle Safety Standards (FMVSS) 109 of 133 N is beyond the capability of a large percentage of our population [1, 2]. Inversion studies with a large male in a three-point production belt showed he could not open a side release buckle [3]. Numerous articles and patents reference the potential for entrapment of inverted occupants unable to release the seat belt buckle [4–11]. Various articles and patents discuss the problems associated with entrapment of individuals in fires, water or emergency situations or where the occupant is deprived of oxygen due to positional asphyxia [12]. While the use of seat belts has increased markedly over the years [13], investigations indicate that rollover accidents showed fatally injured occupants in their seats which were entrapped in their vehicle. The forces to release the buckles under full load of the inverted occupants were beyond the physical capacities of the occupants involved. Canadian motor vehicle safety standard 209 (CMVSS 209) requires that a buckle must release with a force of 133 N to the button with a restraining loop force of 666 N. About 80 % of driver’s could not release a buckle that requires 133 N of force on the button [1]. Females could exert about 80 N with their fingers when opening child restraint buckles [14]. Females were generally found to have about half the physical capacity to open buckles compared to males. The maximum buckle release force of 133 N is not found in literature. Dreyfuss in his book indicates various forces for females and males [15]. European standards require that latch plate be ejected, therefore side release buckles are not allowed.

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Hammad, Anand, Anil Kalra, Prashant Khandelwal, Xin Jin, and King H. Yang. "Development of Upper Extremity Finite Element Model for Elderly Female: Validated Against Dynamic Loading Conditions." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-72026.

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Injuries to the upper extremities that are caused by dynamic impacts in crashes, including contact with internal instrument panels, has been a major concern, especially for smaller female occupants, and the problem worsens with increasing age due to reduced strength of the bones. From the analysis of 1988–2010 CDS unweighted data, it was found that risk of AIS ≥ 2 level for the arm was 58.2±20.6 percent higher in females than males, and the injury risk for a 75-year-old female occupant relative to a 21-year-old subjected to a similar physical insult was 4.2 times higher. Although injuries to upper extremities are typically not fatal, they can have long-term effects on overall quality of life. Therefore, it is important to minimize risks of injuries related to upper extremities, especially for elderly females, who are most at risk. Current anthropomorphic surrogates, like crash-test dummies, cannot be directly used to study injury limits, as these dummies were developed mainly to represent the younger population. The current study is focused on the development of a finite element (FE) model representing the upper extremity of an elderly female. This can be further used to analyze the injury mechanisms and tolerance limits for this vulnerable population. The FE mesh was developed through Computer Tomography (CT) scanned images of an elderly female cadaver, and the data included for validation of the developed model were taken from the experimental studies published in scientific literature, but only the data directly representing elderly females were used. It was found that the developed model could predict fractures in the long bones of elderly female specimens and could be further used for analyzing injury tolerances for this population. Further, it was determined that the developed segmental model could be integrated with the whole body FE model of the elderly female.

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Khan, M. Uzair, Moji Moatamedi, M’hamed Souli, and Tayeb Zeguer. "OOP Airbag Simulation Load Case via ALE Methodology." In ASME 2006 Pressure Vessels and Piping/ICPVT-11 Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/pvp2006-icpvt-11-93555.

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Abstract:

The deployment of an airbag is most fatal and dangerous to a passenger when they are in an out of position (OOP) situation, with the airbag making contact before it is fully inflated. This can lead to severe, if not life threatening, injuries to the passenger. This situation is more commonly associated with small females and children who are positioned near to the airbag module, i.e. in an OOP load cases. The aim of this research is to assess the response of a Hybrid III 5th Percentile female anthropomorphic dummy positioned in a FMVSS 208 low risk static airbag deployment OOP load cases using a transient dynamic finite element program called LS-DYNA. The simulation considers the standard procedures utilised in the LS-DYNA, where assumptions such as uniform airbag pressure and temperature are made, along with a more recently developed procedure that takes into account the fluid-structure interaction between the inflating gas source and the airbag fabric, referred to as Arbitrary Lagrangain Eulerian (ALE) theory. Both simulations were compared to test data received by Jaguar, indicating satisfactory results in terms of correlation, with the more recently developed procedure, ALE theory, showing the greatest accuracy, both in terms of graphical and schematic comparison, especially in the very early stages of the inflation process. As a result, the new simulation procedure model was utilised to research into the effects of changing the designs of the airbag module.

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