Dougherty 1 Andrew Dougherty1 HUM 396 Dr. Peever February 21, 2012 The Evolution of the Vampire: How Society Changes the Legend Horror stories are a view into the fears, concerns, and presiding ideals of a society. People must relate to film and literature in order for the works to be widely accepted. The works are also created by people of the time-period and therefore are inevitably influenced by their society and culture. This influence shows in the end product. One of the clearest examples of this is the legendary vampire. Vampire legends stretch back in time to ancient Greece and Homer’s sheeted dead “who can speak only once they have drunken from a trench of blood” (Holland 40). There are stories of vampire-like creatures in early Christianity spanning to present day interpretations. The characteristics defining a vampire have changed and evolved over time, mirroring cultural and societal changes. What once used to be described as a bloated animated corpse is now shown as a wealthy, intelligent individual. Vampires are used to show societal concerns ranging from economic inequalities, fears of disease, perceived or actual, and general paranoia. The source of the modern vampire, Stoker’s Dracula (1877), shows characteristics of the economic stratification of the Nineteenth Century. Count Dracula is an aristocrat from Transylvania who, at the beginning of the story is living in an old castle then relocates to London. The Count is described as polite and accommodating illustrating the traditional 1 Student Andrew Dougherty gave DrP written permission to use this paper as a sample. It remains Andrew’s intellectual property. DrP Dougherty 2 aristocratic behavior. Vampires use people in order to stay alive and suck the life out of them. This is consistent with the revolutionary viewpoint of the wealthy aristocrats. As Leith notes, “vampires are about hierarchies, tradition, bloodlines. They have mittel-european honorifics, live in castles, dress up and have manners. Vampires are the blood-and-soil nationalists of the undead world” (74). Vampires reproduce by exchanging blood, prolonging the reach of their line in the same fashion that the Royalty and aristocrats maintained pure blood lines. While Royalty and the wealthy hand down power and wealth to their descendants, vampires pass along the curse of the undead and drinking blood, preying on individuals. One modern example of the blood lines in vampirism is the Underworld series. In this series of movies all vampires, and werewolves for that matter, can trace their lineage back to one original vampire, the descendant of the last immortal. The original vampire maintains his overarching power and control by saying that if he is killed all other vampires will die as well. Vampires also traditionally find their roots in old world Europe where .

1. Dougherty 1
Andrew Dougherty1
HUM 396
Dr. Peever
February 21, 2012
The Evolution of the Vampire: How Society Changes the
Legend
Horror stories are a view into the fears, concerns, and presiding
ideals of a society.
People must relate to film and literature in order for the works
to be widely accepted. The works
are also created by people of the time-period and therefore are
inevitably influenced by their
society and culture. This influence shows in the end product.
One of the clearest examples of
this is the legendary vampire. Vampire legends stretch back in
time to ancient Greece and
Homer’s sheeted dead “who can speak only once they have
drunken from a trench of blood”

2. (Holland 40). There are stories of vampire-like creatures in
early Christianity spanning to
present day interpretations. The characteristics defining a
vampire have changed and evolved
over time, mirroring cultural and societal changes. What once
used to be described as a bloated
animated corpse is now shown as a wealthy, intelligent
individual. Vampires are used to show
societal concerns ranging from economic inequalities, fears of
disease, perceived or actual, and
general paranoia.
The source of the modern vampire, Stoker’s Dracula (1877),
shows characteristics of the
economic stratification of the Nineteenth Century. Count
Dracula is an aristocrat from
Transylvania who, at the beginning of the story is living in an
old castle then relocates to
London. The Count is described as polite and accommodating
illustrating the traditional
1 Student Andrew Dougherty gave DrP written permission to
use this paper as a sample. It remains Andrew’s intellectual
property. DrP

3. Dougherty 2
aristocratic behavior. Vampires use people in order to stay
alive and suck the life out of them.
This is consistent with the revolutionary viewpoint of the
wealthy aristocrats. As Leith notes,
“vampires are about hierarchies, tradition, bloodlines. They
have mittel-european honorifics, live
in castles, dress up and have manners. Vampires are the blood-
and-soil nationalists of the undead
world” (74). Vampires reproduce by exchanging blood,
prolonging the reach of their line in the
same fashion that the Royalty and aristocrats maintained pure
blood lines. While Royalty and
the wealthy hand down power and wealth to their descendants,
vampires pass along the curse of
the undead and drinking blood, preying on individuals. One
modern example of the blood lines
in vampirism is the Underworld series. In this series of movies
all vampires, and werewolves for
that matter, can trace their lineage back to one original vampire,
the descendant of the last
immortal. The original vampire maintains his overarching
power and control by saying that if he

4. is killed all other vampires will die as well. Vampires also
traditionally find their roots in old
world Europe where people usually think of aristocracies. In
most modern vampire tales, there is
at least one vampire that has been alive for centuries and has
more wealth than the world
showing the divide between the ultra-rich and the rest of the
population. Vampires can be used
to personify perceived inequalities and injustices and the
damaging effects that they have on
people.
Vampires are also used to illustrate dangers and fears of
diseases, not all of which are
actually dangerous or real. As Skal says, there was “a blood-
testing frenzy…testing for AIDS,
testing for drugs, testing for killer cholesterol” (345). Blood
has been associated with medicine
since Hippocrates. He thought that there were four components
of blood that must be in balance
in order for someone to be healthy. The blood was examined
for color and viscosity to
determine if the blood components were in the correct ratio. If
they were not, the patient would

5. Dougherty 3
be bled with the thinking that the excessive component would
be removed and the balance
restored. These early vampiristic treatments would develop into
blood tests once more was
understood about human physiology. AIDS is one of the largest
epidemics of the present time
and with that comes a tremendous amount of fear and
speculation. The gay community was
demonized and related to vampires. Anita Bryant, a pop singer
said of the situation “the male
homosexual eats another man’s sperm. Sperm in the most
concentrated form of blood. The
homosexual is eating life” (Skal 346). There is of course little
truth in this statement, but it
idealizes the popular beliefs of the period. Ironically the
negative characterization was embraced
by the gay community with several gay vampire plays. Vampire
can also be analogous to other
viruses, blood diseases, and parasites. Groups may be
perceived as dangerous or damaging by
some and be stereotyped and compared to vampires, but those
same groups can choose to

6. embrace to romanticism of the genre as well.
The most recent, modern vampires have left the castles and
moved to the suburbs
showing a more personal connection and wariness about
neighbors. Movies and television such
as True Blood, Twilight, The Gates, and Being Human have all
brought vampires into small town
neighborhoods where they try to make a living within the
normal human population. These
domestic undercover vampires can be symbolic of several
characteristics of modern society.
They may be analogous to the Red Scare during the Cold War
and paranoia. The Red Scare is
one of the most notorious examples of xenophobia in recent
history with accusations and
suspicions of communism widespread throughout the United
States. People who were accused
of being communists were given the choice of prison sentences
or giving the government the
names of their “co-conspirators.” This policy led to many
people being wrongly accused, but the
nation was changed by the atmosphere of suspicion surrounding
the Cold War. The fear of

7. Dougherty 4
monsters living next door has also been revived with the
terrorist attacks on September 11, 2001.
People became more suspicious of their neighbors particularly
Muslims, Arabs, and people from
the Middle East. Modern vampires stories also tend to have a
“good” vampire theme where
there is at least one ethically sound vampire trying to live
harmoniously with the human
population. These tamed vampires have a tendency to be
involved in relationships with humans
showing how culture has acclimated to what was once horrific
and unimaginable. These
relationships also are the ultimate in illustrating teenage
rebellion by becoming close to someone
who parents would clearly not approve and is potentially
dangerous. The dangerous side of the
situation also portrays the increasingly extreme nature of
culture. People are constantly seeking
more intense forms of entertainment from action and adventure
sports to the increasing speed
and recklessness that people have a tendency to travel.
Vampires have changed from being the

8. terrifying invader to a neighbor interacting normally with
others. Vampires have also created
their own community of people who call themselves real
vampires and “believe that they must
either consume blood or feed on "subtle" energy in order to
maintain their physical, mental, and
spiritual health” (Laylock 4). The vampire community attracts
people searching for a connection
to others in the same manner that similar people band together
in the general population.
Modern society has, to a certain extent, accepted vampires and
romanticized their existence.
Vampires have evolved to relate to culture and society, whether
it is xenophobia,
economic inequality, or teenage rebellion. Vampires originated
thousands of years ago but
remain a constant tale changing to adapt to what society needs
them to portray. The horror of the
vampire has deteriorated over time as it was domesticated.
Vampires will continue to be a part
of entertainment and may resume their former role of
overpowering aristocrat preying on
innocent people as an allegory to the current financial crisis.
The vampire will also continue to

9. Dougherty 5
serve as a common rallying point for rebellious teenagers
looking to relate to something
dangerous. Ultimately, the vampire myth will continue to
change as culture evolves and new
teachings and terrors are adapted.

10. Dougherty 6
Works Cited
Being Human. British Broadcasting Company. 2008-2012.
Television.
Dracula. Dir. Tod Browning. 1931. DVD. Universal Home
Entertainment, 2004.
Holland, Tom. “A Sure Fang.” New Statesman. N.p., 19
February 2001. Web. 12 February 2012.
Laylock, Joseph. “Real Vampires as an Identity Group.” Nova
Religio: The Journal of Alternative &
Emergent Religion. 1 August 2010. Web. 18 February 2012.
Leith, Sam. “Cultural Notebook.” Prospect. N.p., 1 December
2009. Web. 12 February 2012.
Skal, David. The Monster Show. New York: First Faber and
Faber, 2001. Print.
True Blood. Home Box Office. 2008-2012. Television.
The Gates. American Broadcasting Company. 2010. Television.
Twilight. Dir. Catherine Hardwick. 2008. DVD. Summit Home
entertainment. 2009.

11. Underworld. Dir. Len Wiseman. 2003. DVD. Columbia TriStar
Home Video, 2004.
Bibliography
Leith, Sam. Cultural Notebook. Prospect, December 2009.
Laylock, Joseph. From Parasite to Symbiote: The Genealogy of
the Psychic Vampire. Proteus,
Fall 2009.
Cooper, Brian. The Word Vampire: Its Slavic Form and Origin.
Journal of Slavic Linguistics,
Summer/Fall 2005.
Holland, Tom. A Sure Fang. New Statesman, 02/19/2001.
Teampau, Gelu. Faces of the Vampire in Comic Books. Caietele
Echinox, December 2011.
Mutch, Deborah. Coming Out of the Coffin: The Vampire and
Transnationalism in the Twilight
and Sookie Stackhouse Series. Critical Survey, 2011.
Dougherty 7
Bey, Aysha. The Vampire: “I Too Can Love” Enticing Parasite
and Social Signifier. Proteus

12. Fall 2009.
Dunkel, Kurt. Utilizing the Image of the Vampire in Counseling
Gothic Teens. Proteus, Fall
2009.
Aikens, Kristina. Battling Addictions in Dracula. Gothic
Studies, November 2009.
Stevens, Kirsten. Conformity Through Trangression: The
Monstrous Other and Virtual
Vampires. Proteus, Fall 2009.
Laylock, Joseph. Real Vampires as an Identity Group. Nova
Religio, August 2010.
Crossley, Ceri. Anglophobia and Anti-Semitism: The Case of
Alphonse Toussenel (1803-1885).
Modern & Contemporary France, November 2004.
UNIT-3-Clinical Practice
Preparing for Clinical Practice
Critical Thinking in Nursing Practice
Medical treatment stabilized Mr. Lawson's condition. He had a
pulmonary embolus, but he is now on anticoagulants,
medications that will reduce likelihood of more clot formation.
Knowing that Mr. Lawson is on anticoagulants and has had
recent surgery and the processes of normal wound healing
(see Chapter 48 (Links to an external site.)Links to an external
site.), Tonya believes that the patient is at risk for bleeding
from his surgical wound. She acts by increasing assessments of

13. the wound and teaching Mr. Lawson how to avoid placing stress
on the wound
1. Describe the critical thinking skill that Tonya is
demonstrating.After Tonya assesses the wound, she enters a
note in the medical record. She describes the appearance of the
incision in detail, reports on the length of the incision, and
notes that one suture is loose but there is no drainage.
2. Identify the three intellectual standards that Tonya uses in
making a note in the record.
3. Mr. Lawson complains of more discomfort after lying on his
right side for 30 minutes. Tonya asks him to describe the pain;
it is focused more on his right shoulder and ribs. Tonya sees
that the drainage tubing exiting the surgical wound is caught
underneath the patient. She moves it, questions the patient
further to find out that he has a history of arthritis in the
shoulder, and then repositions and aligns him. This is an
example of which critical thinking competencies?
Nursing Assessment
Tonya is planning to return to Mr. Lawson's room and spend
more time discussing his concerns about going home and what
to expect. She knows that Mrs. Lawson usually comes to visit
around 11 AM, just before lunchtime. Tonya believes that Mrs.
Lawson will be an important source of support in providing Mr.
Lawson's ongoing home care. The surgeon has ordered
directions for wound care and standard activity restrictions.
1. Tonya goes to Mr. Lawson's room and asks the patient, “What
concerns do you and your wife have about cleaning the wound?”
Which type of assessment question is this and why has Tonya
asked it?
2. Tonya and Mr. Lawson have the following interaction:
Tonya: Mr. Lawson, What do you understand about the reason
for the activity restrictions your doctor ordered?
Mr. Lawson: I think it will prevent me from not hurting
myself.Tonya: Uh huh … go on
Mr. Lawson: I think the doctor said I could pull my stitches.
Tonya's phrase “uh huh … go on” is an example of which

14. interviewing technique? Explain why it is useful.
3. Tonya returns to Mr. Lawson's room to discuss his discharge
instructions, but she notes as she enters the room that the
patient is grimacing. She asks him, “Tell me where the pain is.”
Mr. Lawson is asked to rate the pain on a scale of 0 to 10 and
rates it a 6. Tonya looks at the patient's surgical wound and
notes that the area of separation is still inflamed. Match the
assessment technique on the left with the type of measurement
on the right.
1. Patient rates pain 6 on a 0 to 10 scale.
___ A. Determining location of a symptom
2. Tell me where the pain is.
___ B. Observation
3. Patient is seen grimacing.
___ C. Inspection
4. Nurse looks at condition of wound.
___ D. Determining severity of a symptom
Managing Patient Care
You are a staff nurse on a 32-bed cardiac step-down unit. You
are assigned as the preceptor for Tony, RN, a new graduate
nurse, who just started his nursing career on your floor.
1. You and Tony just received morning shift report on your
patients. You are assigned the following patients. Which patient
do you and Tony need to see first? Explain your answer.
1. Mr. Dodson, a 52-year-old patient who was admitted
yesterday with a diagnosis of angina pectoris. He is scheduled
for a cardiac stress test at 0900.
2. Mrs. Wallace, a 60-year-old patient who was transferred out
of intensive care at 0630 today. She had uncomplicated
coronary artery bypass surgery yesterday.
3. Mr. Workman, a 45-year-old patient who experienced a
myocardial infarction 2 days ago. He is complaining of chest
pain rated as 6 on a scale of 0 to 10.
4. Mrs. Harris, a 76-year-old patient who had a permanent
pacemaker inserted yesterday. She is complaining of incision
pain rated as a 5 on a scale of 0 to 10.

15. 2. As you work with Tony on your unit, you notice that he has
trouble with time-management skills when providing patient
care. Which strategies will you suggest to Tony to help him
improve organization of his delivery of patient care?
3. Sonya, a nursing assistive personnel (NAP), is paired to work
with you and Tony. You overhear Tony giving Sonya directions
for what she needs to do. Tony says, “Sonya, assist Mrs. Harris
in room 418 with her afternoon walk. Take her pulse before and
after she walks and record it in her chart. I'll check with you
when you're finished to see how she did.” On the basis of what
you know about delegation, did Tony give appropriate or
inappropriate directions to Sonya? Provide rationale for your
answer.
Keener 1
Danielle Keener1
Dr. A. Peever
HUM 396
7/9/2013
Investigation of the Femme Fatale in Fatal Attraction, Sir
Gawain and the Green
Knight, and Gustav Klimt's Judith I
Jules Claretie first used the phrase “femme fatale” in "La Vie a

16. Paris" in 1896.
He said, "a fatal woman [femme fatale] is a woman that causes
misfortune" (Harper).
American audiences were confronted by femme fatales in film-
noir movies in the
early 20th century. This kind of character is as ancient as the
Bible and is still used as
a plot device in contemporary story telling. To be more specific,
the femme fatale is
not just any female that might cause harm: she is a threatening
figment of the male
ego. According to Barbara Hayes, due to an inability to create a
unified identify after
World War I, men created the femme fatale characters in film-
noir in order to make
sense of and "transfer" their damaged psyches (227). She is
alluring, deceiving,
harmful, volatile, enigmatic, and independent. Femme fatales
kill, lie, and essentially
anger and scare men. Through patriarchal perspectives, she can
also convince females
of their selfish malevolence (Sherwin 174). Yet there are
different types of femme
fatales. Some act on revenge, some are power hungry, some are

17. inexplicably crazy,
some are just evil for evil's sake, and others might describe
even some as heroes.
Most of these kinds of characters depict "paranoid fantasies
about the threat" to
manhood "as posed by weakened manhood and female
sexuality" (Babener 25). An
1 Student Danielle Keener gave DrP written permission to use
this paper as a sample. It remains Danielle’s intellectual
property. DrP
Keener 2
investigation of the different nuances of this archetype can be
observed in three
distinctive femme fatales including Alex Forrest in the film
Fatal Attraction, Lady
Bertilak in Sir Gawain and the Green Knight, and in Gustav
Klimt's painting Judith
I. Each of these women emulate the femme fatale in the way
that "[she] entertains a
narcissistic pleasure at the deployment of her own ability to
dupe the men who fall for
her, even as she is merciless in manipulating them for her own

18. ends" (Bronfen).
Alex Forrest nearly destroys the Gallagher family in the 1987
film Fatal
Attraction. Alex Forrest is the career woman that the Gallagher
family patriarch, Dan,
has an affair with. Almost automatically she is cast in the
position of the home
wrecker in a film that has firmly established its glorification of
the family. She entices
the patriarch with flirtatious smiles and promises of prudence
with a sultry tone. Dan
thinks he has a free shot at guiltless, great sex, but instead his
decisions catapult him
into an alarming assault on his emotional health and family.
When Dan tries to leave
Alex she becomes hysterical and suicidal. The femme fatale
demands respect and
demands control. After several attempts at trying to be with
Dan, Alex continues her
depression and starts to behave more irrationally, threateningly,
and violently. She
tells Dan that she is pregnant and that she will keep the baby,
and she demands his
responsibility for the child. He denies her further until she

19. starts becoming harmful to
his family. The film ends with Alex becoming insane and being
killed by Dan's wife
after a terrifying fight among the three.
Alex's character is a vivid encapsulation of the essence of every
femme fatale.
She is sexy. She is strong. She is a murderous, masochistic,
stalking psychopath. She
comes off as completely insane by the end of the movie. Until
then she is
characterized by a borderline personality, which according to
Scott Snyder is the
epitome of the femme fatale personality. The patriarchal frame
of this movie holds
Keener 3
Alex to be at a total fault and yet she is a victim of Dan's
irresponsible and vague
behaviour (Babener 29, 30). However, Alex remains a femme
fatale in her ability to
convince Dan that she is sexually independent and desirable,
and she threatens to
endanger everything that he esteems and loves: his family, his

20. manhood, his life.
Lady Bertilak is the lady of Hautdesert and wife of Sir Bertilak
(also
characterized as the Green Knight) in the medieval poem Sir
Gawain and the Green
Knight. A very early example of a femme fatale in the last
millennium, Lady Bertilak
is known to be more beautiful than Lady Guinevere. She and her
maid are asked to
keep Sir Gawain entertained and engaged while her husband is
on a hunting trip. Each
day of the hunting she comes into the quarters of Sir Gawain
alone, intruding on his
privacy and imposing herself on him literally and figuratively.
Lady Bertilak teases
and chides Gawain about his chivalry and chastity several times
(she challenges his
manhood and knighthood). She tells him what an impressive
knight he is and offers
her body and to be his servant (she attempts seduction). Sir
Gawain, the faultless
knight, denies her sexually but allows her a kiss because it is
his knightly duty to be
courteous to ladies. Over the course of the days of the hunting

21. trip she spends time
with Gawain and shows that she is a lovely lady and an
excellent conversationalist. In
true femme fatale form, she holds her own in the presence of a
powerful man. She is
so good at banter, humor, and praise that she gets kisses out of
him every day. Sir
Gawain, however, maintains his ability to be knightly and never
succumbs to her
sexually while remaining honest in the giving game with her
husband (Weston). On
his last day Lady Bertilak offers Gawain a red and gold ring,
which he cannot accept
because of its material value, and a green and gold silk girdle,
which he accepts for its
"avowed ability to save his life" and lack of material value
(Cooke 7). Gawain keeps
the girdle from Sir Bertilak and goes off on his quest to the
Green Chapel. After his
Keener 4
encounter with the Green Knight we learn that Morgan le Fay,
who was most likely

22. disguised as Lady Bertilak's elderly handmaid, was possibly
behind the entire quest
trying to prove Gawain an unfit knight. Morgan le Fay, in this
sense, may be the
second femme fatale Sir Gawain encounters and fail to affect
his virtues. After the
truth about the game comes out, Gawain engages in a long rant
about the
deceitfulness of women. In his rage he reaffirms that women
like the temptress Lady
Gawain cannot be trusted, especially after being clued into the
fact that she was an
instrument in Morgan's manipulative scheme (Valdés Miyares
186).
Gustav Klimt's painting Judith I (see Appendix) depicts the
Biblical character
of Judith holding the decapitated head of Holofernes, an
Assyrian General. The
allegory states that Judith was a widow virgin who saved her
town from Assyrian
conquest by befriending Holofernes, a high-ranking general, and
beheading him while
she was in his tent late after a banquet. She is then praised by
her countrymen and

23. remembered as a saviour of God's people (USCCB. Bible.
Judith. 13.1-20). But in
Klimt's painting we have none of this information. What we are
confronted with in
this painting is a beautiful woman wearing a sheer garment that
exposes her torso all
the way down to her hips with a smug, seductive, pleasured
expression, holding the
head of a bearded man. It is even hard to tell that the man is
decapitated because half
of his face isn't even the painting; Judith surrounded by gold
leaf takes up most of the
painting. To an unsuspecting viewer, this woman could be
caressing the head of a
sleepy lover. The model, Adele Bloch Bauer, is painted with
raised eyebrows, raised
chin, and surrounded by gold. Her mouth is enticingly left open
exposing her teeth.
Her eyelids are ever so slightly open in a calm collectiveness.
She wears a wide
golden choker and gold armbands that suggest she was
accessorized in a way to
impress Holofernes. All these characteristics pose her
superiority and evoke a feeling

24. Keener 5
of terror in the presence of this woman holding a dead man's
head. The positioning of
Holofernes' head in the lower right corner of the painting
further expresses her
importance, her triumph, and her powerfully seductive nature.
She exposed herself
and seduced a formidable man in order to murder him and
completely cause his army
to retreat. This gave her great power and praise among her
people. Depicted as a
Biblical hero in history, Judith contradicts part of the femme
fatale archetype fate of
punishment and doom. Gustav Klimt's Judith I is especially a
femme fatale with her
domineering seductiveness. It is as though she is confronting
her audience and
interacting with the viewer to prove that she is a force of beauty
and vengeance that
cannot be stopped.
Femme fatales have both frightened and humbled every type of
audience for

25. as long as stories have been told. They are the epitome of the
female villain. They
exude qualities that have terrified, threatened, and seduced men
even to the point of
death. Femme fatales are convincing and conniving which can
either lead them to
victory or to a dreadful and doomed fate. History is written by
the victors and that is
why Judith in Gustav Klimt's painting is unexpectedly
unnerving yet sensual, and
why Fatal Attraction audience members were delighted in
seeing Alex Forrest’s
death, and why Sir Gawain's temptress is only mildly
intimidating. The qualities
these women possess characterize the femme fatale. They are
seductive, strong, and,
most importantly, drive men to fear for their lives and
reputations.
Keener 6

26. Works Cited
Atzmon, Leslie. "Arthur Rackham's Phrenological Landscape:
In-Betweens, Goblins,
And Femmes Fatales." Design Issues 18.4 (2002): 64-83. MLA
International Bibliography. Web. 6 July 2013.
Babener, Liahna. "Patriarchal Politics In Fatal Attraction."
Journal Of Popular
Culture 26.3 (1992): 25-34. MLA International Bibliography.
Web. 6 July
2013.
Bible. United States Conference of Catholic Bishops. “Judith,
Chapter 13.” Judith
Beheads Holofernes. Web. 6 July 2013.
Cooke, Jessica. "The Lady's 'Blushing' Ring In Sir Gawain And
The Green Knight."
Review of English Studies: A Quarterly Journal of English
Literature and
The English Language 49.193 (1998): 1-8. MLA International
Bibliography. Web. 6 July 2013.
Green. “Klimt’s Women.” Artchooser. 21 February 2011. Web.

27. 6 July 2013.
Hales, Barbara. "Dark Mirror: Constructions Of The Femme
Fatale In Weimar Film
And Hollywood Film Noir." Dissertation Abstracts International
57.3
(1996): 1157A. MLA International Bibliography. Web. 6 July
2013.
---.. "Projecting Trauma: The Femme Fatale In Weimar And
Hollywood Film Noir."
Women In German Yearbook: Feminist Studies In German
Literature And
Culture 23.(2007): 224-243. MLA International Bibliography.
Web. 6 July
2013.
Harper, Douglas. “Femme Fatale.” Online Etymology
Dictionary. 2001-2013. Web. 6
July 2013.
Keener 7
Klimt, Gustav. Judith I. 1901. Oil. Jubilee Exhbition.
Österreichische Galerie
Belvedere, Austria.

28. Morgan, Gerald. "Medieval Misogyny and Gawain's Outburst
against Women in Sir
Gawain and The Green Knight." Modern Language Review 97.2
(2002):
265-278. MLA International Bibliography. Web. 6 July 2013.
---. "The Action Of The Hunting And Bedroom Scenes In Sir
Gawain And The Green
Knight." Medium Aevum 56.2 (1987): 200-216. MLA
International
Bibliography. Web. 6 July 2013.
Snyder, Scott. “Personality Disorder and the Film Noir Femme
Fatale.” Journal of
Criminal Justice and Popular Culture (155-168). 2001. Web. 6
July 2013.
Valdés Miyares, Rubén. "Sir Gawain And The Great Goddess."
English Studies: A
Journal of English Language and Literature 83.3 (2002): 185-
206. MLA
International Bibliography. Web. 6 July 2013.
Weston, Jessie. "Sir Gawain and the Green Knight." River
Campus Libraries. The
Camelot Project at the University of Rochester, May 1900. Web.
6 July

29. 2013.
Wikipedia contributors. "Judith and the Head of Holofernes."
Wikipedia, The Free
Encyclopedia. Wikipedia, The Free Encyclopedia, 22 Mar.
2013. Web. 6
Jul. 2013.
Keener 8
Appendix
Gustav Klimt: Judith I. 1901.