La femme, fatale or fallen?

Research output: Contribution to specialist publicationFeatured article

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?

Fingerprint

Femme Fatale
Fin De Siècle
Realist
Warning
Italy
Archetypes
Protagonist
Sexuality
Parsifal
Fiction
Germany
Repertoire
Misogyny
Interdisciplinary Studies
France
Opera
Landmarks
European Culture

Keywords

  • la femme
  • femme fatale
  • italian opera

Cite this

Mitchell, K. (2017). La femme, fatale or fallen? 2017(October), 1271-1276.
Mitchell, Katharine. / La femme, fatale or fallen?. 2017 ; Vol. 2017, No. October. pp. 1271-1276.
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Mitchell, K 2017, 'La femme, fatale or fallen?' vol. 2017, no. October, pp. 1271-1276.

La femme, fatale or fallen? / Mitchell, Katharine.

Vol. 2017, No. October, 01.10.2017, p. 1271-1276.

Research output: Contribution to specialist publicationFeatured article

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Mitchell K. La femme, fatale or fallen? 2017 Oct 1;2017(October):1271-1276.