Journal articles on the topic 'Maid's tragedy'

Abstract Attention to the ways in which Homeric epic is shaped by its engagement with choral lyric reveals continuities between epic and tragedy that go beyond tragedy’s mythical subject matter and the characteristics of tragic dialogue: both poetic forms rework the circumstances of choral performance into fictional events. This point can be illustrated through the figure of Penelope in the Odyssey who, like many tragic heroines, is in effect a displaced chorus leader. Penelope’s situation and her relations with her serving women, especially with the twelve disloyal maids whose punishment takes the form of a distorted choral dance, anticipate the circumstances of the tragic stage, in which individual characters act and suffer in the constant presence of choral groups.

Abstract This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the theater industry and audience I argue that female characters became one of the means by which different groups promoted partisan interests based on class and social status. In Part III, I show how the Maiden solicits the competing interests of the theater audience. After discussing the centrality (as a heroine from an aristocratic family) and marginality (as a woman and associated with other marginal social groups) of the Maiden's character, I draw upon the funeral oration as a comparative model with which to understand the quite different role of self-sacrifice in tragedy. In addition to representing and mystifying the interests of elite, lower class and marginal groups, the play glorifies a subordinate character whose contradictory social status (both subordinate and elite) embodies the social position of other ““marginal”” members of Athenian society. The play stages a model for taking political action to transform the social system and for commemorating the tragic costs of such undertakings.

The article deals with the essence and meaning of Oralkhan Bokei’s stories and narratives. The ways of creating images of heroes in the Oralkhan Bokei’s stories and narratives are analyzed. The writer poses an issue going through time and remaining relevant. O. Bokei, through a contemporary hero, presents the problems of contradictory person who is eager to know the meaning of life. O. Bokei was able to show a deep and dramatic processes of destruction of harmony in the relationships, leaving of man from the earth. The characters of such heroes as Aka, Alma, and Kumyray are depicted in tense moments of crisis: choice, self-knowledge, memories, and frustration. The search for answers to eternal questions about the meaning of life and the continuity of generations requires the writer to analyze the feelings and innermost spiritual experiences of a contemporary. In the spiritual and moral quest, each of the characters shows their own nature. The modern Bokei’s hero reflects the situation of moral and cultural vacuum: traditional values developed by the millennial way of life were devalued in the eyes of young people. This is the reason for the tragedy of a whole generation of our contemporaries, masterfully reflected in the Oralkhan Bokei’s wok.

This article deals with a fairy-opera-film and its specifics. The author reveals traits of mystery (miracle play) in a fairy-opera-film, basing upon a notion of mystery of Carl Orffs theory, in the way as Orff meant it. Syncretism in different kinds of art, specifics of word as an art facility (meaning of a word and a word as sound) are specified. As examples the following films are taken: Bluebeard's Castle (composer Bela Bartok, filmmaker W. Golovin,1968), Iolanta (composer Pyotr Tchaikovsky, filmmaker W. Gorriker,1963) and animated musical The Snow Maiden (composer Nikolai Rimsky-Korsakov, filmmaker I. Ivanow-Vano,1952). Special attention is drawn to the opera film The Queen of Spades (composer Pyotr Tchaikovsky, filmmaker R. Tihomirov,1960). The author discloses in fairy-opera-film elements of commedia dell'arte, that is improvisation and masks. For example in films The Love for three Oranges (composer Sergei Prokofiev, filmmakers W. Titov and J. Bogatyrenko,1970) and The Magic Flute (composer Wolfgang A. Mozart, filmmaker I. Bergman,1975). The author comes to the conclusion concerning the targets and tasks of a fairy-opera-film. Through watching fairy-opera-films children should live cultural and psychological history of humanity step by step in its development through music, dance culture and drama (theater). The main task of fairy-opera-film is to save an entity of a human being, to prevent a childs mutation into either a superman (or bermensch in F. Nietzsches term) or degeneration.

Resumo: Este artigo aborda como é atualizado, no Grande sertão: veredas, um motivo fundamental para a tragédia Rei Lear: a escolha amorosa envolvendo três mulheres relacionadas ao ouro, à prata e ao chumbo. A simbologia subjacente aos metais é determinante para a caracterização das personagens femininas tanto do romance quanto da tragédia, analisadas, aqui, em perspectiva comparativa. Em Rei Lear, os metais preciosos, o ouro e a prata, estão associados a Goneril e Reagan, as filhas más que herdam o reino, enquanto Cordélia, a filha bondosa e preferida do rei, é representada pelo chumbo e acaba deserdada. Em Grande sertão: veredas, o ouro e a prata figuram na caracterização de Nhorinhá, a prostituta por quem Riobaldo se apaixona, e Otacília, sua esposa, enquanto Diadorim, o verdadeiro amor, está relacionado ao chumbo e permanece sublimado. Assim, os metais preciosos simbolizam, em ambas as obras, o equívoco amoroso, enquanto o chumbo guarda a mulher certa – Cordélia na tragédia, e Diadorim no romance. Diadorim e Cordélia possuem, ainda, outras analogias: ambas são filhas de grandes líderes, dedicam fidelidade irrestrita ao pai, possuem ligação com o arquétipo da donzela-guerreira e suas mortes representam momentos de anagnórisis para Riobaldo e Lear.Palavras-chave: literatura comparada; Grande sertão: veredas; João Guimarães Rosa; Rei Lear; William Shakespeare.Abstract: This article discusses how it is updated, in Grande sertão: veredas, a fundamental theme for the tragedy King Lear: the love choice involving three women related to gold, silver and lead. The symbology related to the metals is decisive for the characterization of the female characters of both the novel and the tragedy, analyzed here, in a comparative perspective. In King Lear, the precious metals, gold and silver, are associated with Goneril and Reagan, the evil daughters who inherit the kingdom, while Cordelia, Lear’s kind and preferred daughter, is represented by lead and ends up disinherited. In Grande sertão: veredas, gold and silver emerge in the characterization of Nhorinhá, the prostitute with whom Riobaldo falls in love, and Otacília, his wife, while Diadorim, the true love, is related to lead, and remains sublimated. Thus, the precious metals, in both works, symbolize the loving mistake, while the lead keeps the right woman – Cordelia, in the tragedy, and Diadorim in the novel. Diadorim and Cordélia also have other analogies: both are daughters of great leaders, dedicate unrestricted fidelity to their father, have a connection with the warrior-maiden archetype, and their deaths represent moments of anagnorisis for Riobaldo and Lear.Keywords: comparative literature; Grande sertão: veredas; João Guimarães Rosa; King Lear; William Shakespeare.

The paper explores personification of common nouns and their imaginative-philosophical semantisation in the transition to the class of proper nouns. This stylistic device is systemic for the creative work of P. G. Antokolsky, one of outstanding Russian literary artists. The aim of the study is to identify the nature and contensive-semantic parameters of the personification of names because the poet’s process and result of world perception are concentrated in these parameters. The structural-semantic, holistic-systemic, historical-functional methods in conjunction with elements of the motif and hermeneutic analyses of literary texts in a variety of contexts (mythopoetic, historical-cultural, ethico-aesthetic) were employed to achieve this goal. The phenomenon of ontologisation of the concepts micro- and macrocosm is a characteristic feature of P. G. Antokolsky’s poetry. These concepts become independent poetic images possessing anthropomorphic qualities. Such images (e. g. Life, Time, History, Tragedy) emerged as a result of the author’s artistic generalisations. They accumulated concepts which are not infrequently verbalised with abstract vocabulary. The images acquired human qualities, became a crucial part of the narrative structure and were incorporated in broader paradigmatic and syntagmatic relations in the poet’s literary work. The most striking example of name personification is found in P. G. Antokolsky’s poem "Maiden Offence". In this piece, the mythosemantics of the main image (i. e. the author’s lyrical addressee) is determined in close connection with the artist’s historiosophic stance.

This paper deals with the cult and myths of the daughters of the mythical king of Athens, Erechtheus, who lived on the Acropolis. The myth, preserved in Euripides’ tragedy Erechtheus, establishes the deceased daughters as goddesses who are owed cult by the Athenians. It further equates them with the Hyades, a prominent star cluster in the constellation of Taurus, which they form after their deaths. We examine here the possibility that this myth not only narrates the placement of the girls after their death in the sky in the form of the Hyades, but also may have bound the constellation to certain festivals held on the Acropolis, which through their aetiological myths were connected to the daughters of Erechtheus and in which the participation of young girls (arrhēphoroi) was important. To explicate this cult, we explore its context on the Acropolis as fully as possible, through the visual arts, the literary myth, the festival calendar, and the natural landscape and night sky, so as to determine whether the movement of the Hyades was indeed visible from the Acropolis during the time when the young maiden cult rites were performed on the hill. This study investigates for the first time the role of the night sky and astronomical observations in the performance of the nocturnal festival of the Arrhēphoria.

The article reflects the main historical stages of the formation of Ukrainian Pentecostal theology over the past thirty years: from the “birth” of the first church schools to the defense dissertations of doctoral level. Author has presented connection between post-soviet Pentecostal dogmatic system with evangelical traditional of dispensationalism and literal hermeneutic method in study of the Bible. Obviously, that Pentecostal Churches were strongly influenced through the Baptist Bible Courses in Moscow, because many Pentecostal leaders completed them. The author demonstrated the role of Bible Seminaries founded in independent Ukraine by western missioners of leading church`s unions, like the Assembly of God and the Church of God. The article identifies two models of the Pentecostal education (“church” and “academic” approaches) that address to the different needs of church society. “Church” type of theological education tries to teach important topics connected with applied questions of church ministry. However, this approach has a weak side hidden in methodology of research. As a result, not all research papers completed by graduates of the church-oriented school are interesting for Ukrainian scientific society. For control of quality in Ukrainian theological schools, EAAA was founded. Another direction of the development of the Ukrainian pentecostal theological model thinking is the “academic model” of theological education, that today develops in cooperation with state institutions. Through the analysis of the topics of defended dissertations, the author identifies key trends in the development of the Ukrainian Pentecostal movement. Among key topics, there is introspective research of the own roots, reasons of spreading alternative church movement in USSR, and its place on the World religious map. Like prognostic conclusion of all the text, the author identified several topics that may be interesting for Western academic partners, like “theology of Maidan”, “Church peaceful strategies for East of Ukraine” and “Ecological theology in light of Chernobyl’s tragedy”.

ABSTRACTThis year marks the 101st anniversary of the sinking of the “unsinkable” RMS Titanic. On April 15, 1912, the Titanic struck an iceberg in the North Atlantic Ocean on its maiden voyage from Southampton, UK, to New York City. There was no single cause for the loss of the Titanic, rather the improbable combination of errors in human design and decision combined with unforeseeable circumstance lead to the loss of over 1,500 lives. The failure appears to have occurred over a range of spatial and temporal scales – from the atomic-scale process of embrittlement of iron rivets to global-scale fluctuations in climate and ocean currents. Regardless of the specific combination of causes, this failure in design and practice led to impressive improvements in both. Disaster and tragedy are harsh teachers, but critical to improvement and progress.The important question for the nuclear waste management community is how do we learn and improve our waste management strategies in the absence of being able to fail. A geologic repository “operates” over a very distant time frame, and today’s scientists and engineers will never have the benefit of studying a failed system. In place of a failure that is followed by improvement and progress, we can only offer a general consensus on disposal strategies supported by a wide array of evidence and risk assessments. However, it may well be that consensus leads to complacency and compromise, both of which are harbingers of disaster. With this concern in mind, this is the time to review our fundamental approach, particularly the methodologies used in risk assessments that have us calculate risk out to one million years. The structure of standards and implementing regulations, as well as the standard-of-proof for compliance, should be reexamined in order to determine whether their requirements are scientifically possible or reasonable. The demonstration of compliance must not only be compelling, but must also be able to sustain scientific scrutiny and public inquiry. We should benefit from the sobering reality of how difficult it is to anticipate future failures even over a few decades. We should be humbled by the realization that for a geologic repository we are analyzing the performance, success vs. failure, over spatial and temporal scales that stretch over tens of kilometers and out to a hundreds of thousands of years.

The article reveals the possibilities of implementing the doctrine of three "S": social forecasting, social planning and social management in the formation of strategies for regional development of Luhansk and Donetsk regions and Ukraine as a whole. The main components of budgetary federalism of the unitary state with definition of coordinated borders of financial independence of Ukrainian Donbass and state regulation by reproduction of economic and vital activity of the population are considered. The results of the study, the subject of which were the leading components of scientific and methodological support of socio-economic recovery of Ukrainian Donbass, are presented in the form of a memoir-analytical review of fateful state and possible alternative solutions. The object of the study was the chronology, essence, content and validity of decisions. The working hypothesis of the review was to find out the origins of the civil-military conflict between the national authorities in 2014 and the population of Ukrainian Donbass, identifying the causes and factors of the tragedy of both sides 7 years ago in the context of "terror" and "terrorism". The features of state and international terrorism sanctified by Wikipedia are considered and their manifestation in the national economy in the processes of introduction of Anglo-Saxon model of open market economy is generalized. The reduction of the role of state influence on regional development in the development of long-term development strategies to achieve the 7th Millennium Development Goals (MDGs) by 2015 and 17 Sustainable Development Goals (SDGs) for the period up to 2030 is revealed. The absence of a "goal tree" in the hierarchy and in the time of its coordination with the MDG, SDG and human development indicators was revealed. The close connection of International Geopolitical Business with the holding of the First (2004) and Second (2014) Maidans in Kyiv, the launch of the "ATO" project was revealed. Author's versions of state decisions on the transition of unitary Ukraine to model of budget federalism to strengthen its independence and sovereignty as an alternative to the "ATO" project are revealed. In contrast to the deliberately falsified information on the rating of 2013 of regional human development in Luhansk and Donetsk regions according to the National Methods of 2001, 2012, it is possible to predict 33 indicators of the Regional Human Development Index: 22 growth stimulators and 11 development disincentives. Thanks to this, the strategic and operational goals of the socio-economic reconstruction of Luhansk and Donetsk regions of Ukrainian Donbass have been determined.

The article explores the feminine images of Martha from D. Hnatko’s novel «The Impious Soul» and Irena from N. Gurnitskaya’s novel «The Рurple Colour of Eternity» against the background of historical events. The actions in D. Hnatko’s novel take place at the beginning of the eighteenth century in the Left Bank Ukraine – in Poltava, in the city of Baturin, in Kiev. The author highlights the events related to the Baturyn tragedy and the Battle of Poltava. In the novel by N. Gurnitskaya the events covering all the twentieth century are reproduced as well as the modern time, namely pre-war pre-Soviet Lviv, Lviv during the Second World War, modern Lviv and Kiev with events on the Maidan. The author notes that the work is dedicated to her grandmother's sister, Anna Lozynsky (Burdan), and to all families who were repressed by the Stalinist regime. Against the background of these dramatic events for Ukraine, the complicated life of the main characters of the novels is shown. Martha's hardships are losing children, disappointment in love, feeling sick for the fate of sisters, mental anguish over hatred of her father, contemplating the terrible destruction of Baturin, perceiving war as a divorce, rescuing beloved man. The main meaning of life for Martha was love. Irenа studied in a private women’s gymnasium, loved to draw and had many plans, but fate prepared for the test: the loss of first love, the troubled times of the Soviets in Lviv, the arrest of beloved husband, the inhuman tortures of the Stalinist, burial of the eldest daughter and unsuccessful search for the younger daughter. Irena had a good family, a caring husband and children, but because of obstacles she could not achieve the desired happiness. These complicated destinies of Martha and Irena intertwined with those of other Ukrainians and are the expressions of the sufferings that have befallen these generations in different historical periods. The image of Martha shows the transition from a patriarchal representation of a woman to a strong-willed woman who defies social norms in the struggle for her feminine happiness. Martha is the prototype of Irena, which is the result of the evolution of the role of women in society. Martha has a rebellious temper, and therefore strives to choose her own destiny, even though she sees her happiness in love and motherhood. Irena is socially active, responsible for her life, unbreakable in all circumstances of life. Martha and Irena are found to embody the images of «woman-mother» and «beloved woman», since their existential need is precisely family values. This component forms a special spiritual atmosphere in the novels and presents the mentality of the Ukrainian people. Historical novels are an artistic reflection of the past, and they also enable to get acquainted with some tragic pages of the Ukrainian history. Therefore, they have their special value on the way to developing self-awareness of the Ukrainian nation.

In Beaumont and Fletcher’s The Maid’s Tragedy, we find Evadne, a female revenger who violently acts, avenging herself and the men around her. This article argues that the representational strategies of the play trouble our understanding of Evadne's gender, showing it as constructed via a nexus of sometimes contradictory fixations, fixations which are articulated through a rhetoric of bodies. Throughout this consideration, I connect this nexus with Evadne's proximity to, and enacting of, revenge.

IntroductionTraditionally, the femme fatale has been closely associated with a series of noir films (such as Double Indemnity [1944], The Maltese Falcon [1941], and The Big Heat [1953]) in the 1940s and 50s that necessarily betray male anxieties about independent women in the years during and following World War II. However, the anxieties and historical factors that precipitated the emergence of the noir femme fatale similarly existed in the sixteenth century and, as a result, the femme fatale can be re-imagined in a series of Elizabethan and Jacobean plays. In this context, to re-imagine is to imagine or conceive of something in a new way. It involves taking a concept or an idea and re-imagining it into something simultaneously similar and new. This article will argue, first, that the noir femme fatale’s emergence coincided with a period of history characterised by suspicion, intolerance and perceived vulnerability and that a similar set of historical factors—namely the presence of a female monarch and changes to marriage laws—precipitated the emergence a femme fatale type figure in the Renaissance period. Second, noir films typically contain a series of narrative tropes that can be similarly identified in a selection of Renaissance plays, which enables the production of a new, re-imagined reading of these plays as tragedies of the feminine desire for autonomy. The femme fatale, according to Rebecca Stott, is not unique to the twentieth century. The femme fatale label can be applied retrospectively to seductive, if noticeably evil women, whose seduction and destruction of men render them amenable to our twenty-first century understanding of the femme fatale (Allen). Mario Praz similarly contends that the femme fatale has always existed; she simply becomes more prolific in times of social and cultural upheaval. The definition of the femme fatale, however, has only recently been added to the dictionary and the burden of all definitions is the same: the femme fatale is a woman who lures men into danger, destruction and even death by means of her overpowering seductive charms. There is a woman on the Renaissance stage who combines adultery, murder, and insubordination and this figure embodies the same characteristics as the twentieth-century femme fatale because she is similarly drawn from an archetypal pattern of male anxieties regarding sexually appetitive/desirous women. The fear that this selection of women elicit arises invariably from their initial defiance of their fathers and/or brothers in marrying without their consent and/or the possibility that these women may marry or seek a union with a man out of sexual lust.The femme fatale of 1940s and 50s noir films is embodied by such women as Brigid O’Shaughnessy (Maltese Falcon), Phyllis Dietrichson (Double Indemnity), and Ann Grayle (Murder, My Sweet), while the figure of the femme fatale can be re-imagined in a series of Elizabethan and Jacobean plays, including The Changeling (1622), Arden of Faversham (1592), and The Maid’s Tragedy (1619). Like the noir femme fatale, there is a female protagonist in each of these plays who uses both cunning and sexual attractiveness to gain her desired independence. By focusing on one noir film and one Renaissance play, this article will explore both the historical factors that precipitate the emergence of these fatal women and the structural tropes that are common to both Double Indemnity and Middleton and Rowley’s The Changeling. The obvious parallels between the two figures at the centre of these narratives—Phyllis and Beatrice-Joanna respectively—namely an aversion to the institution of marriage and the instigation of murder to attain one’s desires, enable a re-imagined reading of Beatrice-Joanna as a femme fatale. Socio-Cultural AnxietiesThe femme fatale is a component of changing consciousness: she is one of the recurring motifs of the film noir genre and takes her place amongst degeneration anxieties, anxieties about sexuality and race and concerns about cultural virility and fitness (Stott). According to Sylvia Harvey, the emergence of the femme fatale parallels social changes taking place in the 1940s, particularly the increasing entry of women into the labour market. She also notes the apparent frustration of the institution of the family in this era and the boredom and stifling entrapment of marriage and how the femme fatale threatens to destroy traditional family structures. Jans Wager likewise notes that the femme fatale emerged as an expression of the New Woman, whose presence in the public sphere was in opposition to her adherence to traditional societal values, while Virginia Allen argues that the femme fatale came to maturity in the years marked by the first birth control campaigns and female emancipation movement. The Renaissance femme fatale similarly emerged in the wake of historical trigger factors occurring at the time, namely the presence of a female monarch and changes to marriage laws. In 1558, Queen Elizabeth I assumed the throne, which had a profound impact upon relations of gender in English Renaissance society. She occupied a privileged position of power in a society that believed women should have none by virtue of their inferior sex (Montrose). This was compounded by her decision to remain unmarried, which ensured the consolidation of her power that she would have otherwise forfeited to her husband. The presence of a female ruler destabilised established notions of women as passive objects of desire and, as I argue here, contributed to representations of powerful women in Renaissance drama. Men created femme fatales in their work as an expression of what they saw in women who were beginning to declare their sexual and political freedom. In addition, changing conceptions of marriage from arranged practices (unions for social and economic reasons) to romantic idealism (marriage for companionship and affective ties) saw the legitimation of desire outside the holy sacrament. Plays depicting femme fatales, including The Changeling (1622), Arden of Faversham (1592) and The Maid’s Tragedy (1619) to name a few, appear to have fed off the anxieties that resulted from the shift from arranged marriages to individual choice of a spouse. Similarly, in the noir period, “restrictions on women’s rights ensured that married women had comparatively fewer rights than single women, who could at least lay claim to their own property and wages” (Braun 53). As such, the femme fatale represented an alternative to domesticity, one in which a woman could retain her dignity without a man.Re-imagining the Femme Fatale James Damico proposes a model of film noir’s plot structure and character type. The male protagonist is hired for a job associated with a non-innocent woman to whom he is sexually and fatally attracted to. Through his attraction, either because the woman induces him to it or because it is a natural result of their relationship, the man comes to cheat, attempt to or actually murder a second man to whom a woman is unhappily or unwillingly attached (generally her husband or lover). This act invariably leads to the woman’s betrayal of the protagonist and either metaphorically or literally results in the destruction of the woman, the man to whom she is attached, and the protagonist himself. In Double Indemnity, Phyllis Dietrichson lures her hapless lover, Walter Neff, into committing murder on her behalf. He puts up minimal resistance to Phyllis’s plan to insure her husband without his knowledge so that he can be killed and she can reap the benefits of the policy. Walter says, “I fought it [the idea of murder], only I guess I didn’t fight it hard enough.” Similarly, in The Changeling, Beatrice-Joanna’s father, Vermandero, arranges her marriage to Alonzo de Piracquo; however, she is in love with Alsemero, who would also be a suitable match if Alonzo were out of the way. She thus employs the use of her servant DeFlores to kill her intended. He does as instructed and brings back her dead fiancée’s finger as proof of the deed, expecting for his services a sexual reward, rather than the gold Beatrice-Joanna offered him: “Never was man / Dearlier rewarded” (2.2.138-140). Renaissance fears regarding women’s desirous subjectivity are justified in this scene, which represent Beatrice-Joanna as willingly succumbing to DeFlore’s advances: she came to “love anon” what she had previously “fear’st and faint’st to venture on” (3.4.171-172). She experienced a “giddy turning in [her]” (1.1.159), which compelled her to seduce DeFlores on the eve of her wedding to Alsemero. Both Phyllis and Beatrice-Joanna localise contemporary fears and fantasies about women, sexuality and marriage (Haber) and, despite the existing literature surrounding the noir femme fatale, a re-imagining of this figure on the Renaissance stage is unique. Furthermore, and in addition to similarities in plot structure, noir films are typically characterised by three narrative tropes (masquerade, the polarisation of the femme fatale with the femme attrappe and the demise of the femme fatale) that are likewise present in The Changeling. 1. Masquerade: Her Sexual Past Is the Central Mystery of the Narrative The femme fatale appropriates the signifiers of femininity (modesty, obedience, silence) that bewitch men and fool them into believing that she embodies everything he desires. According to Luce Irigaray, the femme fatale assumes an unnatural, flaunted facade and, in so doing, she conceals her own subjectivity and disrupts notions of what she is really like. Her sexual past is often the central mystery and so she figuratively embodies the hidden secrets of feminine sexuality while the males battle for control over this knowledge (Lee-Hedgecock). John Caleb-Hopkins characterises Phyllis as a faux housewife because of her rejection of the domestic, her utilisation of the role to further her agency, and her method of deception via gender performance. It is “faux” because she plays the role as a means to achieve her monetary or material desires. When Phyllis first meets Walter she plays up the housewife routine because she immediately recognises his potential utility for her. The house is not a space in which she belongs but a space she can utilise to further her agency and so she devises a plan to dethrone and remove the patriarch from his position within the home. Walter, as the last patriarchal figure in her vicinity to interfere with the pursuit of her desire, must be killed as well. Beatrice-Joanna’s masquerade of femininity (“there was a visor / O’er that cunning face” [5.3.46-7]) and her performance as a chaste virgin to please Alsemero, suggests that she possesses an ineffaceable knowledge that femininity is a construction that women put on for men. Having surrendered her virginity to DeFlores prior to marrying Alsemero, she agonises that he will find out: “Never was bride so fearfully distressed […] There’s no venturing / Into his bed […] Without my shame” (4.1.2-13). Fortunately, she discovers a manuscript (the Book of Experiments) that documents “How to know whether a woman be a maid or not” (4.1.41). Having discovered the book and potions, Beatrice-Joanna persuades her waiting-woman Diaphanta to take the potions so that she can witness its effects and mimic them as necessary. Thus instructed, Beatrice-Joanna is equipped with the ability to feign the symptoms of virginity, which leads us to the notion of female masquerade as a means to evade the male gaze by feigning virtue and thus retaining her status as desirable to men. Her masquerade conceals her sexual experience and hides the truth of female deceitfulness from the men in the play, which makes manifest the theme of women’s unknowability. 2. Femme Fatale versus Femme AttrappeThe original source of the femme fatale is the dark half of the dualistic concept of the Eternal Feminine: the Mary/Eve dichotomy (Allen). In film noir, the female characters fall into one of two categories—the femme fatale or woman as redeemer. Unlike the femme fatale, the femme attrappe is the known, familiar and comfortable other, who is juxtaposed to the unknown, devious and deceptive other. According to Jans Wager both women are trapped by patriarchal authority—the femme fatale by her resistance and the good wife by her acquiescence. These two women invariably appear side-by-side in order to demonstrate acceptable womanhood in the case of the femme attrappe and dangerous and unacceptable displays of femininity in the case of the femme fatale. In Double Indemnity, Phyllis is an obvious example of the latter. She flirts brazenly with Walter while introducing the idea of insuring her husband and when he finally kills her husband, she stares unflinchingly ahead and continues driving, showing very little remorse after the murder. Lola (Phyllis’s step-daughter and the film’s femme attrappe) functions as a foil to Phyllis. “Lola’s narrative purpose is to provide a female character to contrast with Phyllis to further depict her femininity as bad […] The more Lola is emphatically stressed as victim through Walter’s narration, the more vilified Phyllis is” (Caleb-Hopkins). Lola presents a type of femininity that patriarchy approves of and necessitates. Phyllis is the antithesis to this because her sexuality is provocative and open and she uses it to manipulate those around her (Caleb-Hopkins). It is Lola who eventually tells Walter that Phyllis murdered her mother and that her former boyfriend Nino has been spotted at Phyllis’s house most nights. This leads Walter to conclude, logically, that she is arranging for Nino to kill him as well (Maxfield). The Renaissance subplot heroine has been juxtaposed, here, with the deadly woman at the center of the play, thus supporting a common structural trope of the film noir genre in which the femme attrappe and femme fatale exist alongside each other. In The Changeling, Isabella and Beatrice-Joanna occupy these positions respectively. In the play’s subplot, Alibius employs his servant Lollio to watch over his wife Isabella while he is away and, ironically, it is Lollio himself who attempts to seduce Isabella. He offers himself to her as a “most shrewd temptation” (1.2.57); however, unlike Beatrice-Joanna, who engages in a lascivious affair with another man, Isabella remains faithful to her husband. In so doing, Beatrice-Joanna’s status as a femme fatale is exemplified. She is represented as a woman who cannot control her desires and will resort to any and all means necessary to get what she wants. 3. The Femme Fatale’s Demise The femme fatale is characterised by the two-fold possession of desire: desire for autonomy and self-government and the desire for death. Her quest for freedom, which is only available in death, explains the femme fatale’s desire to self-destruct in these plays, which guarantees that she will never deviate from the course she alighted on even if that path leads inevitably to her demise. According to Elizabeth Bronfen, “the choice between freedom and death inevitably requires that one choose death because there you show that you have freedom of choice. She undertakes an act that allows her to choose death as a way of choosing real freedom by turning the inevitability of her fate into her responsibility” (2004).The femme fatale will never show her true intentions to anyone, especially not the hero she has inveigled, even if it entails his and her own death (Bronfen). In Double Indemnity, Phyllis, by choosing not to shoot Walter the second time, performs an act in which she actively accepts her own fallibility: “I never loved you Walter. Not you or anybody else. I’m rotten to the heart. I used you just as you said. That’s all you ever meant to me. Until a minute ago, when I couldn’t fire that second shot.” This is similarly the case with Beatrice-Joanna who, only at the very end, admits to the murder of Alonzo—“Your love has made me / A cruel murd’ress” (5.3.64-5)—in order to get the man she wanted. According to Bronfen, the femme fatale turns what is inevitable into a source of power. She does not contest the murder charge because a guilty verdict and punishment of death will grant her the freedom she has sought unwaveringly since the beginning of the play. Both Beatrice-Joanna and Phyllis apprehend that there is no appropriate outlet for their unabashed independence. Their unions, with Alsemero and Walter respectively, will nevertheless require their subjection in the patriarchal institution of monogamous marriage. The destruction of the sanctity of marriage in Double Indemnity and The Changeling inevitably results in placing the relationship of the lovers under strain, beyond the boundaries of conventional moral law, to the extent that the adulterous relationship becomes an impossibility that invariably results in the mutual destruction of both parties. ConclusionThe plays of the Elizabethan and Jacobean period, like the noir films of the 1940s and 50s, lament a lost past when women accepted their subordination without reproach and anxiously anticipated a future in which women refused submission to men and masculine forms of authority (Born-Lechleitner). While the femme fatale is commonly associated with the noir era, this article has argued that a series of historical factors and socio-cultural anxieties in the Renaissance period allow for a re-imagined reading of the femme fatale on the Elizabethan and Jacobean stage. In The Changeling, Middleton and Rowley foreground contemporary cultural anxieties by fleshing out the lusty details that confirm Beatrice-Joanna’s status a female villainess. Throughout the play we come to understand the ideologies that dictate the manner of her representation. That is, early modern anxieties regarding the independent, sexually appetitive woman manifested in representations of a female figure on the Renaissance stage who can be re-imagined as a femme fatale.ReferencesAllen, Virginia M. The Femme Fatale: Erotic Icon. New York: Whitson Publishing Company, 1983. Born-Lechleitner, Ilse. The Motif of Adultery in Elizabethan, Jacobean, and Caroline Tragedy. New York: Edwin Hellen Press, 1995.Braun, Heather. 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