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This book considers how biblical women were read, appropriated and debated in a wide range of early modern texts. It traverses a range of genres and examines literature written by a variety of confessionally diverse writers. By considering literature intended for assorted audiences, the book showcases the diverse contexts in which the Bible's women were deployed, and illuminates the transferability of biblical appreciation across apparent religious divisions. The book has been split into two sections. Part One considers women and feminine archetypes of the Old Testament, and the chapters gathered in Part Two address the New Testament. This structure reflects the division of Scripture in early modern Bibles and speaks to the contemporary method of reading the Bible from the Old Testament to the New Testament. In spite of this division, the chapters regularly make cross references between the two Testaments highlighting how, in line with the conventions of early modern exegesis, they were understood to exist in a reciprocal relationship. Within each section, the chapters are broadly organised according to the sequential appearance of the women/feminine archetypes in the Bible. The biblical women studied extend from Eve in Genesis to the Whore of Babylon in Revelation. The chapters vary between those that examine dominant trends in appropriation to those that consider appropriations of a particular interest group or individual.

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Discovering biblical women in early modern literary culture, 1550–1700
Victoria Brownlee and Laura Gallagher

audiences, Biblical Women in Early Modern Literary Culture showcases the diverse contexts in which the Bible’s women were deployed, and illuminates the transferability of biblical appreciation across apparent religious divisions. The volume has been split into two sections: Part One considers women and feminine archetypes of the Old Testament and the essays gathered in Part Two address the New

in Biblical women in early modern literary culture 1550–1700
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Felicity Chaplin

cultures and periods, and on restoring much-needed context by exploring the transnational and historical origins and intertexts out of which this complex feminine archetype has arisen. Each manifestation of the femme fatale has to be studied in relation to its local context and history, as well as in relation to the ways it may have absorbed other traditions of representation. (3) With this in mind, then, it is possible to move beyond the narrow generic limits of film noir by opening up the concept of femme fatale to broader cultural histories and contexts. In the

in La Parisienne in cinema
Tom Scriven

sexual equality. Equally, the gallant and chivalrous depiction of women as intelligent companions who nevertheless were solely suited for domestic labour was a deep-​rooted aspect of British moral philosophy.154 By the end of the eighteenth century ‘the woman of benevolent virtue gradually overtook her hedonistic alter-​ego  67 Politics and everyday life in early Chartism  67 to become the feminine archetype of post-​Enlightenment gender ideology’ and evidently this was not undermined by the enthusiasm amongst male Radicals for sexual freedom –​and titillation.155

in Popular virtue
Breaking through the barriers of filmmaking
Deborah Shaw

, rebellious, imaginative, good-hearted heroine to counter the passive feminine archetype in the traditional fairy tale. In spite of this, there has been some debate over whether El laber­ into can be seen as a feminist film: Janell Hobson (2008: 242) argues that the film ‘maintains a feminist stance’, while Laura Hubner (2010: 52), despite reservations over some of the gender essentialism with­in the film, provides a mainly positive take on the feminist potential within the film. She argues that it ‘goes some way in subverting some of the fears of the female body in fairy

in The three amigos
Jonathan P. Eburne

species (feline and human) and animate and inanimate parts but in particular of the powers or capacities of these figures. The kinds of sphinxes that appear in Fini's paintings from the 1940s and 1950s, as well as in her later writings, combine life-giving powers of creation with the capacity for cruelty and destruction. For Fini, the sphinx can be viewed not only as the ambivalent Great Mother goddess but also as a parthenogenic creator. Yet beyond seeking to ‘trouble’ or subvert or otherwise recast the binary logic of many feminine archetypes that so often figure in

in Surrealist women’s writing