Search results for: seductress

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seductress</title> <meta name="description" content="Search results for: seductress"> <meta name="keywords" content="seductress"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="seductress"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 3</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: seductress</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Questioning the Predominant Feminism in Ahalya, a Short Film by Sujoy Ghosh</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Somya%20Sharma">Somya Sharma</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ahalya, the critically acclaimed short film, is known to demolish the gender constructs of the age old myth of Ahalya. The paper tries to crack the overt meaning of the short film by reading between the dialogues and deconstructing the idea of the pseudo feminism in the short film Ahalya by Sujoy Ghosh. The film, by subverting the role of male character by making it seem submissive as compared to the female character's role seems to be just a surface level reading of the text. It seems that Sujoy Ghosh has played not just with changing the paradigm, but also trying to alter the history by doing so. The age old myth of putting Ahalya as a part of the five virgins (panchkanya) of Hindu mythology is explored in the paper. God's manoeuvre cannot be questioned and the two male characters tend to again shape the deed and the life of the female character, Ahalya. It is of importance to note that even in the 21st century, progressive actors like Radhika Apte fail to acknowledge the politics of altering history, not in a progressive way. The film blinds the viewer in the first watch to fall for the female strength and ownership of her sexuality, which is reflected in the opening scene itself where she opens the gate for the police man Indra Sen (representing God Indra who seduced her) who is charmed by her white dress. White, in Hindu mythology, stands for mourning, and this can be a hint towards the prophecy of what is about to come. Ahalya, bold, strong, and confident in this scene seems to be in total ownership of her sexual identity. Further, as the film progresses, control of Ahalya over her acts becomes even more dominant. In the myth of Ahalya, Gautama Maharishi, her husband, who wins her by Brahma's courtesy, curses her for her infidelity. She is then turned into a stone because of the curse and is redeemed when Lord Rama's foot brushes the stone. In the film, it is with the help of Ahalya that Goutam Sadhu turns Indra Sen into a stone doll. Ahalya is seen as a seductress who bewitches Indra Sen, and because the latter falls for the trap laid by the husband wife duo, he is turned into a doll. The attempt made by the paper is to read Ahalya as a character of the stand in wife who is yet again a pawn in the play of Goutama's revenge from Indra (who in the myth is able to escape from any curse or punishment for the act). The paper, therefore, reverts the idea which has till now been signified by the film and attempts to study the feminism this film appropriates. It is essential to break down the structure formed by such overt transgressing films in order to provide a real outlook of how feminism is twisted and moulded according to a man鈥檚 wishes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deconstructing" title="deconstructing">deconstructing</a>, <a href="https://publications.waset.org/abstracts/search?q=Hindu%20mythology" title=" Hindu mythology"> Hindu mythology</a>, <a href="https://publications.waset.org/abstracts/search?q=Panchkanya" title=" Panchkanya"> Panchkanya</a>, <a href="https://publications.waset.org/abstracts/search?q=predominant%20feminism" title=" predominant feminism"> predominant feminism</a>, <a href="https://publications.waset.org/abstracts/search?q=seductress" title=" seductress"> seductress</a>, <a href="https://publications.waset.org/abstracts/search?q=stone%20doll" title=" stone doll"> stone doll</a> </p> <a href="https://publications.waset.org/abstracts/114519/questioning-the-predominant-feminism-in-ahalya-a-short-film-by-sujoy-ghosh" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114519.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">253</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> A Three Step Approach Analysis of the Portrayal of Images of Women in Three Ghanaian Newspapers: Newsone, Ebony and the Mirror </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.%20K.%20Bonsu-Owu">H. K. Bonsu-Owu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Media portrayal of women in traditional stereotypical roles such as mothers, or seductress has been the norm for years. However, the changing socioeconomic and political environment and advancement of women in today鈥檚 society have given rise to questions on the appropriate portrayal of women in the media today. The purpose of the study is to analyze the portrayal of women in Ghanaian newspapers and find women鈥檚 perception on the issue. The study uses a three step approach in gathering data for analysis. Using the stratified sampling method, it analyzes front page images of women from 210 issues of the selected newspapers. Further, it administers questionnaires to 100 female students to find out how they relate to the images of women in the selected newspapers. Finally, editors of the newspapers are interviewed to find their rational for portraying women as seen on their front pages. The findings suggest that the newspapers portray women for varied reasons such as promoting sales and influencing the public agenda. Further, the female students claim that in spite of women鈥檚 vast contribution to the growth of society, the media continue to marginalize them. They add that such portrayals promote and reinforce social construct, however, refuse to see themselves through the male gaze concept. The study concludes that the stereotyped portrayal of women is likely to continue if the government, regulatory bodies, the media and society do not make a conscious effort to address this problem. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=women" title="women">women</a>, <a href="https://publications.waset.org/abstracts/search?q=newspaper" title=" newspaper"> newspaper</a>, <a href="https://publications.waset.org/abstracts/search?q=portrayal" title=" portrayal"> portrayal</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20construct" title=" social construct"> social construct</a> </p> <a href="https://publications.waset.org/abstracts/98943/a-three-step-approach-analysis-of-the-portrayal-of-images-of-women-in-three-ghanaian-newspapers-newsone-ebony-and-the-mirror" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98943.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">133</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Expounding the Evolution of the Proto-Femme Fatale and Its Correlation with the New Woman: A Close Study of David Mamet's Oleanna </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Silvia%20Elias">Silvia Elias</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The 'Femme Fatale' figure has become synonymous with a mysterious and seductive woman whose charms captivate her lovers into bonds of irresistible desire, often leading them to compromise or downfall. Originally, a Femme Fatale typically uses her beauty to lead men to their destruction but in modern literature, she represents a direct attack on traditional womanhood and the nuclear family as she refuses to abide by the pillars of mainstream society creating an image of a strong independent woman who defies the control of men and rejects the institution of the family. This research aims at discussing the differences and similarities between the femme fatale and the New Woman and how they are perceived by the audience. There is often confusion between the characteristics that define a New Woman and a Femme Fatale since both women desire independence, challenge typical gender role casting, push against the limits of the patriarchal society and take control of their sexuality. The study of the femme fatale remains appealing in modern times because the fear of gender equality gives life to modern femme fatale versions and post-modern literary works introduce their readers to new versions of the deadly seductress. One that does not fully depend on her looks to destroy men. The idea behind writing this paper was born from reading David Mamet's two-character play Oleanna (1992) and tracing the main female protagonist/antagonist's transformation from a helpless inarticulate girl into a powerful controlling negotiator who knows how to lead a bargain and maintain the upper hand. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Circe" title="Circe">Circe</a>, <a href="https://publications.waset.org/abstracts/search?q=David" title=" David"> David</a>, <a href="https://publications.waset.org/abstracts/search?q=Eve" title=" Eve"> Eve</a>, <a href="https://publications.waset.org/abstracts/search?q=evolution" title=" evolution"> evolution</a>, <a href="https://publications.waset.org/abstracts/search?q=feminist" title=" feminist"> feminist</a>, <a href="https://publications.waset.org/abstracts/search?q=femme%20fatale" title=" femme fatale"> femme fatale</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=Mamet" title=" Mamet"> Mamet</a>, <a href="https://publications.waset.org/abstracts/search?q=new" title=" new"> new</a>, <a href="https://publications.waset.org/abstracts/search?q=Odysseus" title=" Odysseus"> Odysseus</a>, <a href="https://publications.waset.org/abstracts/search?q=Oleanna" title=" Oleanna"> Oleanna</a>, <a href="https://publications.waset.org/abstracts/search?q=power" title=" power"> power</a>, <a href="https://publications.waset.org/abstracts/search?q=Salome" title=" Salome"> Salome</a>, <a href="https://publications.waset.org/abstracts/search?q=schema" title=" schema"> schema</a>, <a href="https://publications.waset.org/abstracts/search?q=seduction" title=" seduction"> seduction</a>, <a href="https://publications.waset.org/abstracts/search?q=temptress" title=" temptress"> temptress</a>, <a href="https://publications.waset.org/abstracts/search?q=woman" title=" woman"> woman</a> </p> <a href="https://publications.waset.org/abstracts/83217/expounding-the-evolution-of-the-proto-femme-fatale-and-its-correlation-with-the-new-woman-a-close-study-of-david-mamets-oleanna" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83217.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">455</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" 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Search results for: seductress