Depictions of Eve and Bathsheba as temptresses similarly warned women on "bad" behavior.
|
|
My studio was/is often filled with beautiful temptresses and large bowls of candy.
|
|
Seamless and eating out are the saucy temptresses of our city-dwelling, exhaustion-inducing, working lives.
|
|
Pliny the Elder is said to have recommended coral to protect against the allure of temptresses.
|
|
Women were almost exclusively portrayed as temptresses who could not control their sexuality and therefore could not be trusted.
|
|
Critics have argued that this approach reduces women to sexual temptresses and precludes men from working with women on an equal basis.
|
|
It penalizes women by closing off access to a professional relationship that can help one's career and creates an impression of women as temptresses.
|
|
Where Dr. Dibs is chilly as a petri dish, Selena is bright and earthy — but both rule their films as temptresses equally tender and intimidating.
|
|
Although Beardsley is best known for portraying sexually aroused men and wraithlike female temptresses, he was far more versatile than is generally assumed, Dr. Zatlin said.
|
|
According to a report on food trends issued by Google, people have been doing deep dives into rigatoni, spaghetti, and other temptresses of the pasta world.
|
|
Teen girl sexuality is often packaged as a dangerous, irresistible elixir wielded by wiser-than-they-seem temptresses in bikinis, lustily grooming themselves poolside. Coquettish. Precocious.
|
|
While some of Bible's women were portrayed as paragons of family goodness, others were portrayed as harlots and hussies, purveyors of sin, deadly temptresses, and seductresses.
|
|
The moon glimmered through the mist, and the minstrels sang of courtly love to the king and his people: a wondrous assemblage of noble knights, cruel temptresses, and impossible loves.
|
|
It was rumored that in a scene in Act II, the Flower Maidens under the spell of the demonic sorcerer Klingsor are presented as temptresses in Islamic dress covering skimpy undergarments.
|
|
Wendy is jealous of Tiger Lily's perceived seduction of Peter, a storyline that plays into an insidious trope of women of color as temptresses, while white women are virginal and pure.
|
|
THE BEGUILED The gender politics of Don Siegel's "The Beguiled" (403), in which Clint Eastwood played a Union soldier holed up at a boarding school filled with temptresses, always seemed a bit reactionary.
|
|
While some were portrayed as saving their people, paragons of family goodness and repenting their sins for lives of virtue, others were portrayed as harlots and hussies, purveyors of sin, deadly temptresses and seductresses.
|
|
Experts say there is no shortage of factors contributing to the abuse, its cover-up and the lack of action inside the Vatican, including the medieval idea that holy men are preyed upon by seductive temptresses.
|
|
When he wrote of the women in his life, he did not treat them as trophies to capture or vile temptresses that had betrayed him, as many male rock songwriters in the era did (and still do).
|
|
Rape was made a capital punishment in 1285 in England, but jurors were always reluctant to convict people of the crime because women were perceived of as temptresses who asked for or deserved assault, according to historian Sean McGlynn.
|
|
"Sexuality" follows these sad threads through the following centuries, when Christianity demonised all non-reproductive sex under the protean capital crime of sodomy, and women were alternatively viewed as either insatiable temptresses or meek creatures "not very much troubled by sexual feelings of any kind".
|
|
When: Thursday, April 21960, 250–83pm Where: Craft & Folk Art Museum (28 Wilshire Boulevard, Mid-Wilshire, Los Angeles) From images of buxom temptresses that adorn the walls of dimly lit bars to majestic portraits of late-period Elvis, black velvet paintings hold a special place in the culture of kitsch and camp.
|
|
The reader doesn't even see Odysseus until the fifth of the poem's 24 books, where we learn that he has been living on an island with Calypso, a goddess, for seven years; that, earlier, he was detained by another goddess, Circe, with whom he also shared a bed; that the Sirens, as he navigates, call to him, desiring him; that a young princess falls in love with him; that, on all sides, women are temptresses, and whereas he submits, we are to understand that Penelope, alone, assailed, remains faithful.
|
|
I think women should be pleased > when strength is found to withstand their wonderful wiles. Antiquity is all > the other way." > "From Paris to Patagonia -- universal allegory pictures sirens, > temptresses, as woman. If you suppress allegory you suppress all > intellectual effort.
|
|
Any women who broke this mold were evil temptresses in the vein of Eve. Women were encouraged to model themselves after Mary, the mother of Jesus. Women were taught to be asexual beings. Women in Francoist Spain had problems meeting their own heterosexual desires, required through state indoctrination to forgo female sexual expression.
|
|
Nicole started a charity called Lengths for Love, similar to Locks of Love, which encourages people to donate their hair to be fashioned into wigs for pediatric patients in need. She has posed in a lettuce bikini on behalf of PETA, encouraging people to become vegan.Daniel Dale, "Lettuce-Clad Vegan PETA Temptresses Coming to Rob Ford Weigh-In," The Toronto Star, April 11, 2012.
|
|
She is given speaking lessons and a great deal of attention. Paul's wife, Sarah, is a bit jealous. Paul's preaching method includes having provocatively costumed women perform the parts of temptresses in the bible, such as Jezebel and Delilah. Increasingly attracted to Paul, Angel's devotion and passion is cemented when she is rescued by Paul after being attacked by Hoke for rejecting him due to her newfound piety.
|
|
In 1968, Dusay played a special agent in the TV series Hawaii Five-O in an episode titled "Twenty-Four Karat Kill", as well as appearing three times as seductive temptresses on Hogan's Heroes. Also in 1968-1969 she played Gloria in the CBS comedy Blondie. She made numerous guest appearances on popular television shows in the late 1960s and 1970s. She played alien Kara in "Spock's Brain", the first episode of season three of Star Trek.
|
|
Ann Powers of Los Angeles Times commented that the track reveals West's true feelings on women; > His tormenters are usually untrustworthy temptresses, though occasionally > they're authority figures who judge him as a criminal trespasser or a > cultural arriviste. And songs such as the porno fantasy "Hell of a Life" and > the siren-slaying "Devil in a New Dress" (featuring the consummately macho > Ross) revive familiar mythologies about women — that they're monsters, > killers, fallen angels — in language vibrant enough to fully revive these > old stereotypes.Powers, Ann (2010-11-23).
|
|
In 2007, AOL TV ranked Phoebe at number seven on their list of the Top TV Witches. She also ranked seventh on the same list the following year. Virgin Media placed Phoebe at number 11 on their list of TV Temptresses, writing "As one of the trio of glamorous witches on ghostly drama Charmed, Phoebe can use her psychic premonitions for all sorts of japery including romance." Milano was referenced in the 2002 teen comedy film Big Fat Liar due to her portrayal as a witch in Charmed.
|
|
A centerpiece of the second set was an eight-minute reworking of one of The River's casual rockers, "You Can Look (But You Better Not Touch)". Now it was recast into rockabilly mode, with a half-spoken, half-sung introduction detailing a youth's frustrations up to the iconic car parked with a girlfriend on a lovers' lane. Out come the horn section, sans horns, to do synchronized dancing and sing call-and-response. Out come Scialfa and two women from backstage, three temptresses for the six assembled men.
|
|
Incest, therefore, became the black sheep. By scaring people into believing all Creole and Africans could be related, white Europeans on the island made sure that mixing of races was still a better option than incest. Creole women were stuck in this ‘in between’ where whatever they did, they would be seen as erotic temptresses (if they slept with white people, they were driving good men away from potential good wives or their own wives and France would resent them but if they didn't, they would be accused of incest and perverted practices and local white men would resent them).
|
|
Bari's film career fizzled out in the early 1950s as she was approaching her 40th birthday, but she continued to work at a limited pace over the next two decades, playing matronly characters rather than temptresses. She portrayed the mother of a suicidal teenager in a 1951 drama On the Loose and a number of supporting parts. Bari's last film appearance was as the mother of rebellious teenager Patty McCormack in The Young Runaways (1968). She quickly took up the rising medium of television during the 1950s; she starred in the live television sitcom Detective's Wife, which ran during the summer of 1950.
|
|
She did not return to her homeland, and in 1982 emigrated to the United States, where she specialized in playing European temptresses, since her feature debut opposite William Hurt in Gorky Park (1983). She was praised by Roman Polanski for that role. She played in numerous American TV series and movies, including the Holocaust drama Escape From Sobibor (CBS, 1987),Rosenberg, Howard (1987) "In the Spotlight", Los Angeles Times, 12 April 1987, p. 3 (TV section) The Kiss (1988),Wuntch, Philip (1988) "Horror Role is a First for Polish Acretss Pacula", Dallas Morning News, 14 October 1988 E.A.R.T.H. Force (CBS, 1990), and the TV series, The Colony (ABC, 1996).
|
|
Madison's performances were based on an acting style she developed during her time as a vaudeville performer, relying on large gestures and melodramatic facial expressions. She did not avoid physical exertion in pursuit of convincing portrayal, as demonstrated in The Trey of Hearts (1914) in which her character endured a number of physical challenges such as being in a car crash, being shot at, and escaping a forest fire. Her characters often defied stereotypical roles of women in film and encompassed heroines, free-thinkers, villains, temptresses, and adventurers. Madison's acting style employed her total commitment and passion to each role, and her performances were often acclaimed as such.
|
|
The late summer saw her in Mario Monicelli's Casanova 70 playing one of Marcello Mastroianni's many love interests in the film followed by Luciano Salce's Slalom where Lončar and Daniela Bianchi appeared as tandem of temptresses weaving their web around the duo of pals, both of whom are married, played by Vittorio Gassman and Adolfo Celi. She rounded the year off with Massimo Franciosa's Il morbidone alongside Paolo Ferrari, Anouk Aimée, Sylva Koscina, and Margaret Lee. Her early roles in Italy revealed a theme that would continue throughout her career in the country as Italian directors and producers generally cast her in roles of exotic and mysterious seductresses within the commedia all'italiana genre.
|
|
I was fascinated with Guido who was going through a second adolescence when I was going through my first! As I grew I began to realize that there was room to explore the reactions of the inner workings of the women in Guido’s wake. I think that’s what opened the gateways of creativity for Nine—to hear from these extraordinary women. The great secret of Nine is that it took 8 1/2 and became an essay on the power of women by answering the question, “What are women to men?” And Nine tells you: they are our mothers, our sisters, our teachers, our temptresses, our judges, our nurses, our wives, our mistresses, our muses.
|
|
Snapshots From The Garden Of Eden (2017), was commissioned by the Contemporary Jewish Museum Of San Francisco for the group exhibit Jewish Folktales Retold: Artist as Maggid; based on 100 Jewish tales, collected and retold by folklorist Howard Schwartz, in the book 'Leaves From The Garden Of Eden'. For this Goldstein photographed a series of 11 large- scale black and white theatrical images, modernized scenes from each of the four primary types of tales: fairy tales, folktales, supernatural tales and mystical tales. The series features rich and ethnically diverse characters, made up of divine royalty, temptresses, supernatural spirits, and Hasidic figures. Goldstein uses dreamscapes and symbolism to explore, and subvert popular traditional Jewish themes like destiny, temptation, justice, wisdom, blind faith and circumstance.
|
|
However, the text can also be read as a counter narrative to the discourse of nineteenth-century Western literary orientalism that tends to emasculate Muslim men and represents Muslim women as always in the lookout for a gaze at Western Christian heroes only to sexually offer themselves to their supposed dream-lovers. Contrary to the image of emasculated Muslim man, Faizunnesa depicts an ‘athletic and strong’ Muslim hero of virility and valor who “grew so handsome at sixteen / That wherever he went, women were seen / Flocking around him; his manliness / Turned the meekest housewives into temptresses / And each of these women longed to be the one / To be loved by this handsome man!” (50) As opposed to orientalist representations, in Rupjalal it is a Muslim hero who is at the centre of Muslim women's imagination.
|
|
In the Anguttara Nikaya (5:33), the Buddha tells future wives that they should be obedient to their husbands, please them, and not make them angry through their own desires. Furthermore, the Buddha offers advice to married women in the Anguttara Nikaya (7:59; IV 91-94), where he tells of seven types of wives—the first three types are destined for unhappiness, while the last four, as they are imbued with long term self- control, are destined to be happy. These latter wives are characterised as caretakers (motherly-wife), companions (friend-wife) and submissives (sister- wife and slave-wife)—the Buddha thus endorsed a variety of types of wives within marriage. According to Diana Paul, Buddhism inherited a view of women whereby if they are not represented as mothers then they are portrayed as either lustful temptresses or as evil incarnate.
|
|
In 2017, her black bronze sculpture Water Woman, of which depicted a nguva, was placed at the foot of the amphitheater at the Contemporary Austins fourteen- acre sculpture park at Laguna Gloria. Based off of the East African folklore of the half woman and half sea creature is a representation of histories narrative of women as cunning temptresses. The exhibition ran from September 23, 2017 to January 14, 2018 where it became apart of the museums permanent collection. In September 2019, four female bronze sculptures by Mutu, "Seated I, II, III, and IV", were placed to occupy the empty niches always intended to house free standing sculpture in the facade of the Metropolitan Museum of Art in the first instillation and exhibition ("The New Ones Will Free Us" September 9 – Fall 2020) of what will be an annual commission meant to feature work by contemporary artists.
|
|
In Ludovico Ariosto's continuation of this tale, Orlando Furioso (1532), Morgana (also identified as Morgan Le Fay) is revealed as a twin sister of two other sorceresses, the good Logistilla and the evil Alcina; the latter appears after Orlando again defeats Morgana, rescuing Ziliante who has been turned into a dragon, and forces Morgana to swear by her lord Demogorgon to abandon her plots. It also features the medieval motif where uses a magic horn to convince Arthur of the infidelity of his queen (Geneura), here successfully. Bernardo Tasso's L'Amadigi (1560) further introduces Morgana's three daughters: Carvilia, Morganetta, and Nivetta, themselves temptresses of knights. Morgan's other 16th-century appearances include these of Morgue la fée in François Rabelais' French satirical fantasy novel Les grandes chroniques du grand et énorme géant Gargantua et il publie Pantagruel (1532) and of the good Morgana in Erasmo di Valvasone's Italian didactic poem La caccia (1591).
|
|
Tarasque at a Corpus Christi procession in Valencia The Tarasca (Spanish for Tarasque) is one of the statues of the Corpus Christi procession, paraded through a number of Spanish and Catalan cities, and elsewhere throughout the Iberian peninsula, for example, the cities of Granada, Toledo, and Valencia, and the city of Madrid. The first record of the tarasca legend in the peninsula comes from Seville in the year 1282, shortly after the reconquista of the city in the mid-13th century. The Spanish version is tinged with misogynistic elements, or rather repudiations against biblical and historical temptresses, with statues and statuettes of such female figures (called "") surmounted on top of the tarasca dragon. The figure atop the Granada dragon is a life-size doll resembling a retail store mannequin, and the tiny blonde-hair figurine set atop the papier-mâché tarasca of Toledo is supposed to represent Anne Boleyn.
|
|