Abstract
Fascination is seductive. It captures and occupies the senses and directs the attention of readers or viewers to people or objects, which absorb their full responsiveness in a liminal state of desire and dread. As previously suggested, fascination, at least until the twentieth century, is also highly gendered. As a result, narratives of fascination often revolve around an archetype of dangerous female seduction, which also comprises the figure of Medusa: the femme fatale. Representations of the femme fatale are often used as pervasive and powerful images to create narratives of seduction, that is, narratives which are deeply invested in preserving the elicited yet essentially unfulfilled desire of beholding, conquering or overpowering the fatal woman, which is played out in favour of the (poetic) artefact.
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Notes
See Augustine, The City of God, II.27. This association, however, is not supported by the narrative of Genesis 3:1-8. Nonetheless, in some images of the Fall, for example Masolino’s Adam and Eve: The Fall (c. 1425) or Michelangelo’s Fall and Expulsion (1508), the snake was presented as having a woman’s face (see Bonnell [1917], 225).
See Gustav Dolphe Mossa, Pandora (1907).
Conte, La Casa delle Onde, 332. Quoted from Bandiera (2008), 96.
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© 2015 Sibylle Baumbach
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Baumbach, S. (2015). Facing the Femme Fatale: The Poetics of Seduction and the Fascination with Storytelling. In: Literature and Fascination. Palgrave Macmillan, London. https://doi.org/10.1057/9781137538017_4
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DOI: https://doi.org/10.1057/9781137538017_4
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-56516-0
Online ISBN: 978-1-137-53801-7
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