Fatal Women of Romanticism. Adriana Craciun. Cambridge: Cambridge UP, 2003.

The fatal woman, or femme fatale, is a familiar archetype: an aggressive seductress who lures her enemies into compromising situations. Literature is full of vivid characterizations of this type: Eve, Pandora, Cleopatra, Salome, Lady MacBeth. Film noir has rendered indelible images of fast-talking dames in pencil skirts and seamed stockings, exhaling cigarette smoke as they misdirect our heroes. In this incarnation, the fatal woman is often celebrated, as in film reviewer Mick LaSalle's recently published Complicated Women, and can be seen, in the right smoky light, as a protofeminist. Academics such as Virginia Allen and Bram Dijkstra have dissected the history of the femme fatale as a male fantasy, an "erotic and fatal muse" (Allen) and an "idol of perversity" (Dijkstra). What interests Adriana Craciun in Fatal Women of Romanticism is not the issues or intentions of male authors who invoke the archetype, but the appearance of femmes fatales in the works of several women writers of the Romantic period.     

Alice Havergal Skillicorn,Principal of Homerton College,Cambridge, 1935-60: a study of gender and power

This article sharpens our understanding of the intersection of the discourses of gender and power in the woman principal's role by an in-depth study of Alice Havergal Skillicorn, Principal of Homerton College, Cambridge, 1935-60. Like previous principals, Skillicorn constructed a subjectivity which was dual gendered. In her public life as principal, she adopted a masculine discourse of power which subordinated feminine discourse into the private sphere. But this marginalisation of feminine discourse in her public role made her unable, except in her most intimate emotional relationship, to enact an appropriate femininity in her private life. After a theoretical and contextual introduction, it is shown how Skillicorn marginalised and negated her femininity through her body, by failing to adopt feminine standards of attractiveness in her appearance and clothes. She successfully wielded autocratic power in the public sphere with a masculine discourse of political skill, financial acumen and, most importantly, an instrumentality in her dealings with staff and students, which was entirely devoid of a feminine desire to be liked. The difficulties she faced in the private sphere - difficulties which were assuaged but not overcome by homoerotic friendship - are also discussed.