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In Fatal Females, investigative psychologist and former police profiler Micki Pistorius examines the minds and motives of women who kill. Throughout history the view seems to have prevailed that it is not in women's nature to commit violent crime, but Pistorius shows that this is not in fact the case. Women, givers of life, are indeed capable of ruthlessly taking life. She examines more than fifty documented cases of South African female killers, categorised according to the nature of the crime - for example, infanticide, spree killings, stalkers, poisoners - and she presents her new hypothesis to explain the psychology of that rare individual, the female serial killer.
Tony Rawlins does not think he is a stupidly gullible man. Forlorn and desperate to extricate himself from the aftereffects of a bad marriage, he attempts to find romance by answering a provocative personal ad. Unfortunately, Rawlins is about to find himself victimized by the woman he had hoped would cure his loneliness. Now she has accused him of killing her husband. Innocent but convicted on her convincing testimony, Rawlins heads to jail. Soon, and much to his relief, new evidence is uncovered that casts his accusers story in doubt. She vanishes, and the conviction is set aside until she can be found. Vindicated at least for the time being, Rawlins returns to work where he unwittingly uncovers an illegal business that soon reveals the real reason for the murder. But now others are turning up deadincluding the woman who accused him of murder. In a mystery trilogy of novellas filled with surprising twists and turns, Rawlins must decide who he can trustand who he cannotas he attempts to untangle himself from a dangerous and very determined web of fatal females.
Incarnations of fatal women, or femmes fatales, recur throughout the works of women writers in the Romantic period. Adriana Craciun demonstrates how portrayals of femmes fatales or fatal women played an important role in the development of Romantic women's poetic identities and informed their exploration of issues surrounding the body, sexuality and politics. Craciun covers a wide range of writers and genres from the 1790s through the 1830s. She discusses the work of well-known figures including Mary Wollstonecraft, as well as lesser-known writers like Anne Bannerman. By examining women writers' fatal women in historical, political and medical contexts, Craciun uncovers a far-ranging debate on sexual difference. She also engages with current research on the history of the body and sexuality, providing an important historical precedent for modern feminist theory's ongoing dilemma regarding the status of 'woman' as a sex.
Gender, Supernatural Beings, and the Liminality of Death: Monstrous Males/Fatal Females examines representations of the supernatural dead to demonstrate shifts in the manifestation of gender. Including readings of East Asian detectives/cyborgs, Iranian vampires, and African zombies, among others, This collection offers a multi-faceted look at myth, legend, and popular culture representations of the gendered supernatural from a broad range of international contexts. The contributors show that, as creatures pass through the liminal space of death, their new supernatural forms challenge cultural conceptions of gender, masculinity, and femininity.
Women are supposed to be tender and loving – not cold-hearted killers, knife-wielding vampires or gun-toting hijackers. Yet throughout history, there’s been no shortage of less than law-abiding ladies. Let journalist Libby-Jane Charleston take you on a chilling journey through a true crime gallery of women who have smashed our perceptions of the stereotypical feminine persona: from meek Russian librarian Lucy Dudko, who commandeered a helicopter to break her boyfriend out of prison; to suburban sex goddess Michelle Burgess, who hired a hit man to take out her lover’s wife; and Katherine Knight, who killed, skinned and cooked her partner to serve to his children. Read these true stories and delve into the dark and disturbing lives of Australia’s most fatal females. Former TV reporter Libby-Jane Charleston began her career in her teens as one of Australia’s youngest newspaper columnists. She has worked extensively in radio, papers and magazines as well as on TV – appearing on-camera for every television network in Australia, as a finance news anchor, current affairs reporter and general news reporter at Channels Ten, Nine, Seven, SBS & ABC.
The shocking story of one of the most notorious female serial killers in American history from “an author who shows real mastery of the true crime genre” (NPR). In 1891, Jane Toppan, a proper New England matron, embarked on a profession as a private nurse. Selfless and good-natured, she worked for some of Boston’s most prominent families, but they had no idea what they were welcoming into their homes. Her dark past of tragedy, abuse, and mental illness was carefully hidden. No one who knew Jane as a nurse had any idea that she was morbidly obessed with autopsies, or that she conducted her own after-hours experiments on patients, deriving sexual satisfaction in their slow, agonizing deaths from poison. Self-schooled in the art of murder, Jane was just beginning her career as the most prolific domestic fiend of the nineteenth century.
Self-sabotaging behavior holding you back? Want to break free and achieve career defining results? Aimee Cohen delivers the advice all women wish they had and the motivating call to action they need.
A groundbreaking and provocative look at how violent women have been represented in literature, plays, film, and performance Fatal Women builds a complex and original theory of how the shadow of the lesbian animates representations of violent women, from the Victorian novel to films depicting women who kill. Starting from the historical link between criminality and sexual deviancy, Lynda Hart critiques constructions of gender, race, class, sexualities, and the cultural politics of the 1990s. Her introductory chapter constructs a theory of female violence across the discourses of sexology, criminology, and psychoanalysis. Subsequent chapters detail this theory in the Victorian novel and stage sensation Lady Audley’s Secret; Frank Wedekind’s Lulu Plays, which introduced the “invert” to the European stage; the films Thelma and Louise, Mortal Thoughts, and Basic Instinct; the political intersection of race and gender in Single White Female; the performance art of Karen Finley in the context of the censorship debates; the fate of Aileen Wuornos, dubbed the first “female serial killer” by the FBI; and the Split Britches’ performance Lesbians Who Kill. A major contribution to lesbian theory and cultural studies, Fatal Women is certain to be read widely by scholars, students, and anyone interested in the politics of representation.
One of today’s most original thinkers on gender offers a provocative take on the current feminist movement, exploring “desire as the force shaping our identifies, the paradoxes of liberation politics, and her own gender transition” (Bookforum). “[Females] is always smart, sometimes sincere, and unpredictable about when it will pinch your arm or clutch its nails around your heart.” —Vice Everyone is female, and everyone hates it. Females is Andrea Long Chu’s genre-defying investigation into sex and lies, desperate artists and reckless politics, the smothering embrace of gender and the punishing force of desire. Drawing inspiration from a forgotten play by Valerie Solanas—the woman who wrote the SCUM Manifesto and shot Andy Warhol—Chu aims her searing wit and surgical intuition at targets ranging from performance art to psychoanalysis, incels to porn. She even has a few barbs reserved for feminists like herself. Each step of the way, she defends the indefensible claim that femaleness is less a biological state and more a fatal existential condition that afflicts the entire human race—men, women, and everyone else. Or maybe she’s just projecting. A thrilling new voice who has been credited with launching the “second wave” of trans studies, Chu shows readers how to write for your life, baring her innermost self with a morbid sense of humor and a mordant kind of hope.
"examines the changing social and economic status of women from the 1860s through the 1880s, and rejects the stereotypical mid-Victorian femme fatale portrayed by conservative ideologues critiquing popular fiction by Wilkie Collins, Mary Elizabeth Braddon, Honore de Balzac, and William Makepeace Thackeray. In these book reviews, the female protagonist is simply minimized to a dangerous woman. Refuting this one-dimensional characterization, this book argues that the femme fatale comes to represent the real-life struggles of the middle-class Victorian woman who overcomes major adversities such as poverty, abusive husbands, abandonment, single parenthood, limited job opportunities, the criminal underworld, and Victorian society's harsh invective against her." --publisher description.