Dr Maree Macmillan RMIT University Melbourne, AUSTRALIA maree.macmillan@rmit.edu.

au

Beyond the femme fatale: The mythical Pandora as cathartic, transformative force
Introduction The Pandora myth lies at the very heart of our cultural self-definition. The phrase Pandoras box is commonly used to denote any form of multiple/uncontrolled disaster, continually reinscribing, at least at the unconscious level, the idea of femininityand of female sexuality in particularas alluring and desirable, but also dangerous, irrational, uncontrolled and chaotic, the source of all the worlds ills. Of the myriad of textual and artistic manifestations of Pandora since her inception, those that portray her as femme fatale have received the most attention; the fact that Pandoras box also offers positive potential in the form of hope, has largely been neglected. This paper reports on a study that re-examines the received reading of the Pandora myth, to propose an idea of Pandora that is much more complex and multi-faceted than her traditional casting as early femme fatale.1 Drawing broadly on Kristevas notion of intertextuality and Butlers concept of identity and gender as performatively constructed, multiple and even contradictory, it interrogates a cluster of interconnected twentieth-century works drawn mainly from the cinema, all of which feature a Pandora figure who challenges the derogatory stereotype perpetuated by conventional interpretations of the myth. The study, by incorporating the positive possibilities offered by the hope in Pandoras box, demonstrates that Pandora cannot be dismissed merely as a harbinger of unmitigated disaster; rather, Pandoras chaos, through exceeding her traditional framing as femme fatale, acts as a cathartic, transformative force, a source of energy with the potential for both good and evil. I argue that thus, Pandoras box does not necessarily signify death and destruction, but can also act as a creative, life-affirming force that can be productive, generative and even redemptive. The Pandora myth The particularly misogynist interpretation of the Pandora myth that pervades Western consciousness can be traced back to the rendition of Archaic Greek poet, Hesiod, in Theogony and Works and Days, dating from around 700 BC.2 In Hesiods account of the myth, Pandora, the first woman, is created as the outcome of a protracted contest for power, played out as a game of witsa series of deceptions and concealmentsbetween Prometheus and Zeus. Their conflict is ultimately centred around Prometheuss theft from heaven of the phallic fire torch or firestick: an ember transported in a hollow reed. Pandora, (the all-gifted or all-giving), was fashioned out of clay, inspired with life and endowed with beauty and beguiling ways, thus emerging as a beautiful evil. Pandora was created by the gods to seduce and destroy Prometheus in revenge for his deception of Zeus
1

Maree Macmillan, Beyond the Femme Fatale: The mythical Pandora as cathartic, transformational force in selected Lulu, Lola and Pandora texts (unpublished doctoral dissertation: The University of Melbourne, 2009). 2 Hesiod, Works and Days, lines 57-101 and Theogony, lines 570-590, ed. by H. G. Evelyn-White (Cambridge: Loeb Classical Library, 1950), cited in Dora and Erwin Panofsky, Pandora's Box: The Changing Aspects of a Mythical Symbol (Princeton: Princeton University Press, 1991), pp. 4-6.

and for the theft of fire. However, Prometheus ('forethought') was wary of this gift from Zeus and would not accept Pandora, also warning his brother Epimetheus ('afterthought') about the dangers of gifts from Zeus. Epimetheus failed to heed this warning and married Pandora. Out of curiosity or wilful disobedience, Pandora opened a fateful forbidden box, releasing into the world all the evils and vices that have since afflicted it. Hope alone remained at the bottom of the box. According to Hesiods rendition, both the box and Pandora herselfher beautiful exterior masking the peril of insatiable appetites lurking withinembody the deception characterising the rivalry between Zeus and Prometheus. Pandoras very raison dtre is thus a pawn in a game of male sexual rivalry, power and ownership of the phallic firestick, sometimes dubbed the ember in the member. Pandora, although an instrument of divine retribution, is blamed for her very existence and for qualities given to her by the gods. She is forced to play out a femininity constructed for her by patriarchal myth, yet her active curiosity in opening the box is seen as usurping male power. In every sense then, Pandora herself is boxed, spawned as a result of male enmity, created as an instrument of punishment fashioned to appeal to male desires, constricted by male definition and blamed for all of the worlds ills. Since Hesiods time, Pandora has assumed many different guises. As first woman deemed answerable for human suffering, she is aligned with Eve in the Judaeo-Christian tradition, who is held responsible for the expulsion of humankind from paradise and the release of evil into the world through tempting Adam to eat the fruit of the Tree of Knowledge, whereby he becomes aware of his sexual nature. Freud explicitly connects the container with female sexuality, noting that the English word box has many German translations, including der Kasten (chest) and die Bchse (receptacle), which is used as a vulgar term for the female genitals.3 Pandoras enticing faade simultaneously engenders fascination and repulsion, erotic obsession coupled with fear of castration. Connoting a lack, a void, an abyss, the feminine threatens to engulf and subsume, or even to castrate in its most horrifying guise as vagina dentata; it must be conquered, contained or safely fetishised (by the male) in order to avert chaos and destruction. Klees painting, Pandora as Still Life, dating from 1920, portraying a vase resembling female genitals and emitting noxious vapours, is extraordinarily evocative of the evil thought to pertain to female sexuality.4 As Mulvey suggests, Pandora, as an artifice, prefigures erotic female androids and, as an enchantress, serves as a prototype for that ubiquitous figure of late Romanticism, the femme fatale,5 pervading the work of the symbolists and the surrealists in France, and the decadents in England. But although the vast majority of the textual and artistic manifestations of Pandora present her as alluring but dangerous fatal woman, Pandora has many other guises. Indeed, Pandora, by her very nature as the all-giftednotwithstanding her origins dating back at least to Archaic Greecestrangely embodies and pre-empts the post-modernist critique of the master discourse of phallocentrism. The Panofskys extensive study of Pandoras mythical representation documents her association with abundance and nurturing, noting that in the very earliest accounts of the myth, Pandoras box was in fact a big immovable storage jar used for preservation or burial, and often contained all good rather than all evil;6 it could be regarded as part of Pandora and
3

Sigmund Freud, The Interpretation of Dreams (London: Hogarth Press, 1953), p. 154. Freuds famous analysis of Dora and the jewel-case, a container representing the secret of female sexuality, is particularly Pandora-like. See Sigmund Freud, Fragment of an Analysis of a Case of Hysteria in Standard Edition, vol. 7 (London: The Hogarth Press, 1953), p. 69, cited in Laura Mulvey, Fetishism and Curiosity (Bloomington: Indiana University Press, 1996), pp. 57-58. 4 Panofsky, Pandora's Box, p. 113. 5 Mulvey, Fetishism, p. 55. 6 Panofsky, Pandora's Box, cited earlier.

Epimetheus domestic establishment, and might even have been unsealed by the husband, thus symbolising marital deflowering rather than female transgression. The hope left in Pandoras box/urn may signify the child in the womb, denoting new life rather than death and destruction. Similarly, Pandoras urn may serve as a powerful symbol for the female deity, identifying her with the myth of the Mother-Goddess;7 thus she is linked to the Archaic Mother, situated beyond good and evil, creator of the heavens and earth, positioned as the all-giver rather than the all-gifted.8 More recently, Goethe, in his incomplete play about Pandora, portrays her as the embodiment of cosmic beauty, a grandly benevolent emissary of the gods to man,9 reflecting Pandoras divine origins. Goethes portrayal of Pandora as redeeming goodness desired rather than as evil spurned, as in Hesiodextols the idea of the Eternally-Feminine that draws us towards spiritual perfection and to salvation rather than damnation,10prefiguring the Christological overtones of Pandoras representation as redeemer in some of the twentiethcentury texts examined in this study. Theoretical approach My own project draws in broad terms on the work of Butler and Kristeva (and more specifically on Littau), to explore a notion of Pandora that extends beyond her boxing and framing as the prototype of the destructive femme fatale, to incorporate more positive attributes and potentialities largely ignored in popular interpretation: Hope, the one quality that remains in the box; favourable endowments from Pandoras divine origins; and even beneficial aspects of her curiosity.11 It examines a cluster of interrelated literary, operatic and cinematic works that present manifestations of Pandora as the figure of Lulu, or her derivative, Lola, or as a version of Pandora who shares the characteristics of these Lulu/Lola figures. In these texts, the Pandora figure continually resists (with varying degrees of success) any endeavours to reify her within the (male) terms of the myth, or within the texts, via the (male) author/writer/composer/director, by the (usually male) characters, by the narrative, by musical/literary structure and/or cinematic techniques, and (in the case of the films), even by the cinematic apparatus itself, often exceeding the frame of the film to achieve ongoing iconic status. However, the most significant way that the female protagonist challenges her framing as femme fatale is through multiple performances of identity, manifested on several levels. Indeed the all-gifted Pandora, through her very nature, plays out the central idea of Butlers classic text, Gender Trouble12that gender and identity are performatively constructed, contingent, multiple and even 'contradictory'through the array of Lulu/Lola/Pandora textual manifestations depicted in this study. This occurs on both the macrocosmic and the microcosmic level. On the macrocosmic level, the collage of Lulu/Lola/Pandora works that my project investigates can be viewed collectively as performances/expressions of diverse facets of Pandora that are mutually illuminating. On the microcosmic level, a multiplicity of versions of Pandora frequently appears within an individual text. In addition, Butler's concept of identity as performance is played out literally in that in all these Lulu/Lola/Pandora texts, the protagonist performs physically within the diegesis, usually
7 8

Erich Neumann, The Great Mother (New Jersey: Princeton University Press, 1963), pp. 39-54. Panofsky, Pandora's Box, p. 4. 9 Erich Heller, From Love To Love: Goethes PANDORA and Wedekind-Alban Bergs PANDORA-LULU, Salmagundi, 84 Fall (1989), 94108 (p.100). Heller remarks that Wedekinds Lulu plays, on which Bergs Lulu is based, both allude to Goethe. 10 Heller, From Love To Love, p. 100. 11 I adopt a suggestion from Mulvey of reformulating Pandoras supposedly transgressive and dangerous female curiosity as feminist curiosity and critique. See Fetishism, p. 62. 12 Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990), p. 16.

as a performing artist of some description. In many of these works, the female voice is pivotal, and often itself acts as a mode of performance as well as a force of transformation, especially in the Lola texts. Further, Kristevas notion of intertextuality implies that all the Pandoraderived Lulu and related Lola texts in my investigation mutually interrogate one another and so contribute to the overall construct Pandora.13 More specifically pertinent to my study is Littaus work on the monstrous transformations of Lulu.14 Drawing on Irigarays writing on the multiple nature of Woman, Littau formulates the idea of Pandoras box as representing the infinite excess and endless regenerative potential of a mise-en-abyme, a container for the uncontainable.15 Offering a positive interpretation of chaos and abyss compared with Hesiods and Freuds expositions, whereby Pandora/Woman is portrayed as a chaotic and dangerous breacher of boundaries,16 Littaus account evokes the life-giving potential of Pandoras association with chaos erupting (and life emerging) from the primordial void, echoing the idea of the hope in the box/urn representing a child.17 Texts addressed My Pandora journey began with a fascination with Alban Bergs mysterious and confronting opera, Lulu, which features a young cabaret performer who supposedly lures a series of husbands to their deaths and is reduced to supporting herself as a prostitute on the street, before eventually falling victim to Jack the Ripper. The discovery of a parallel depiction of Lulu in Georg Wilhelm Pabst's silent film classic Die Bchse der Pandora/Pandora's Box led to my broader cross-disciplinary, intertextual exploration of the mythical Pandora as she manifests in the selected interconnected twentieth-century Lulu/Lola/Pandora texts, linked through their Teutonic origin or association, which are set out in the diagram on the following page.18

13

Kristevas notion of intertextuality is interpreted by Tambling thus: at each stage in a text's fissured and discontinuous history, it enters into new relationships, it meets other texts, it changes as it is placed in these new positions. And clearly the idea of the privilege to be accorded to the original text comes in [sic] question. Jeremy Tambling, Opera, Ideology and Film (Manchester: Manchester University Press, 1987), p. 23. 14 Karen Littau, Refractions of the Feminine: The Monstrous Transformations of Lulu, MLN , 110.4 (1995), 888-912. 15 Littau, Refractions of the Feminine, p. 899. 16 Elaine Showalter highlights the traditionally negative interpretation, clearly linking Woman qua Woman with chaos and breaching of boundaries in a way that evokes the limen of the sphinx: As the political historian Carole Pateman has observed, women have traditionally been perceived as figures of disorder, potential disrupters of masculine boundary systems of all sorts. Womens social or cultural marginality seems to place them on the borderlines of symbolic order, both the frontier between men and chaos, and dangerously part of chaos itself, inhabitants of a mysterious frightening wild zone outside of patriarchal culture. Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin-de Sicle (New York & London: Viking Penguin, 1990), pp. 7-8. Musicologist, Leo Treitler, also refers to this passage of Showalter in his discussion of Lulu the opera and the association of both the character of Lulu and of music in general with decadence and the breaching of masculine order. See his article, History and archetypes, Perspectives of New Music, 35 .1 (Winter 1997), 115-127 (p. 124). 17 Resonances of three distinct but inter-related notions of chaos inform this studys exploration of the Lulu/Lola/Pandora texts: the emergence of the world out of a state of primordial chaos; Kristevas notion of the abject in connection with bordersespecially of the feminine bodyand with the construction of identity; and the set of concepts relating to the area of scientific (and latterly, social) investigation actually named Chaos Theory. 18 Eves Jewish predecessor Liliththe bad Eveprovides another possible link between Pandora and the name Lulu.

Pandora myth

Wedekinds Lulu plays: Earth Spirit (1898) Pandoras Box (1904)

Heinrich Manns novel

Professor Unrat (1905)

Sternbergs film Bergs opera Lulu (1928-35) Pabsts film The Blue Angel (1930)

Pandoras Box (1929)

Lewins film Pandora and the Flying Dutchman (1951) (set mainly in 1930) Fassbinders film Lola (1981) (set in the 1950s)

Austers film Lulu on the Bridge (1998)

Tykwers film Run Lola Run (1998)

Pabsts and Bergs Lulus are virtually contemporaneous and can both be traced directly back to Frank Wedekind's fin-de-sicle Lulu plays, Earth Spirit (1898) and Pandora's Box (1904). Pabst's classic film Pandora's Box starring American actress Louise Brooks (1928) is based on Wedekind's plays,19 albeit in a much truncated form; Berg's opera Lulu commenced in 1928 and incomplete at the composers death in 1935derives from both Wedekind and Pabst.20 Just one year after Pabsts film was released, an even more iconic film inspired by Wedekind's Lulu character appeared: Josef von Sternberg's 1930 film, The Blue Angel, also featuring a cabaret performer (Marlene Dietrichs Lola-Lola), was based originally on Heinrich Mann's 1905 novel, Professor Unrat.21 The Blue Angel was itself remade as Lola (starring Barbara Sukova) by Rainer Werner Fassbinder in 1981, but set in post-war rather than prewar Germany.22 Sternbergs and Fassbinders texts, in particular, feature the female voice as an important force for transformation. As this brief account indicates, two early Lulu/Pandora sources at the turn of last centuryWedekinds Lulu plays (1898 and 1904) and Heinrich Manns novel (1905)together spawned a whole chain of interconnected works, each of which features a cabaret performer, Lulu, or her derivative, Lola, as the Pandora-like protagonist. In all of these works, the Lulu/Lola figure is generally regarded as a form of femme fatale, alluring but dangerous. The two classic films from the Weimar period, Pabsts Pandoras Box and Sternbergs The Blue Angel, are paralleled by an end-of-millennium pair of Lulu/Lola texts, which portray Pandora in her redemptive guise: Paul Auster's Lulu on the Bridge and Tom Tykwers Lola Rennt (Run Lola Run). Both were released in 1998. Austers film (featuring Harvey Keitel and Mira Sorvino), alludes explicitly to Wedekinds Lulu and features yet another remake of the Pabst/Louise Brooks version of Pandora's Box, this time using the device of the film-within-afilm as part of its re-examination of the myth. The latest incarnation of the German Lola figure addressed in this project is Tykwers Run Lola Run (starring Franka Potente); like the earlier Lola texts it foregrounds Lolas physical performance, and particularly her voice, as a significant force in the film, but this time not in a cabaret setting.23 Central to my study, both in chronology and in mode of portrayal of Pandora, is a text whose central female is actually named Pandora: Albert Lewins 1951 film, Pandora and the Flying Dutchman (starring Ava Gardner and James Mason).24 It is set (mainly) around 1930 when Pabsts and Sternbergs films appeared, but was made closer to the time in which Fassbinders film was set. Lewins 1951 Pandora, situated at the mid-point of this collage of Lulu/Lola/Pandora works spanning the twentieth century, and encompassing both destructive and regenerative aspects of Pandora, straddles the earlier and later texts of the study. Lewins female protagonist, presented initially as an alluring and dangerous cabaret performer (as in the femme fatale texts), goes on to explore the spiritual dimensions, time/space fracturing and multiple levels of reality that characterise Austers and Tykwers end-of-millennium films, to ultimately prefigure their portrayal of Pandora as redeemer. Pandora as cathartic, transformative force, for good or evil My study first conducts a detailed interrogation of the Pandora myth, illuminating
19 20

Pabsts film was made in 1928 and premired in 1929. There is also evidence that Berg went to see Pabsts film several times while working on Lulu. (See Tambling, p. 78.) 21 Josef von Sternberg, Fun in a Chinese Laundry (London: Secker and Warburg, 1966), p. 230. Heinrich Mann was the brother of the more famous Thomas Mann. 22 Fassbinders film shows Lola the cabaret artistes response to the period of the so-called economic miracle that occurred in 1950s Germany. 23 Lola races against the clock, pounding the pavements of Berlin three times in an attempt to save the life of her boyfriend Manni/Man. Her ear-splitting scream at the casino overrides the laws of chance, enabling her to win the money to save Mannis life. 24 The film is eclectic in origin, combining Greek myth, German legend andlike Pabsts filman American star.

interpretative possibilities beyond Hesiods reading, to suggest how even in this traditional version, the seeds of a more hopeful, life-affirming Pandora may be perceived, as briefly outlined earlier. It then examines texts in which Pandora is commonly regarded as femme fatalefeaturing Lulu and Lola figures dating mainly from the fin-de-sicle and from the Weimar periodto argue that the female protagonist acts a cathartic, transformative force, offering positive, life-affirming, even redemptive outcomes as well as fatality and destruction. Essential elements of the mythmale rivalry and projection of desire and dreadplay a major part in each of these texts. The final part of the study addresses the mid-century Pandora film and the end-ofmillennium Lulu/Lola films in which Pandoras cathartic, transformative force works primarily towards redemption. These texts bring to fruition the redemptive potential present in embryonic form in the so-called femme fatale works, showing the central Lulu/Lola figure of the femme fatale texts as precursor to the more positive, redemptive Pandora persona featured in the films examined in the latter part of this study. Thus a focus on Pandoras redemptive aspects not only illuminates the Redeemer texts and enhances the overall conception of Pandora and the myth, but also adds resonance to the understanding of the femme fatale texts themselves. Pandora as femme fatale My reading of the femme fatale texts shows how each of these works implicitly critiques the repression and hypocrisy of a society that creates Woman as a scapegoat for its own corruption. An intertextual interrogation of the Weimar Lulu texts, Pabsts Pandoras Box and Bergs Lulu (with reference to Wedekinds fin-de-sicle Lulu plays), argues that Lulu the cabaret dancer and high-class call girl, rather than acting as fatal woman responsible for the death and destruction around her, has this role projected on to her as a result of masculine fears and desires. My analysis shows that Lulu is in fact fated to act as scapegoat and sacrificial victim to atone for and perhaps to redeem the social corruption of which she is a product. The next part of the study examines the Mann, Sternberg and Fassbinder texts, featuring Lola figures that are primarily cabaret singers rather than dancers. Each uses her physical charms, and especially her voice, to create a point of catharsis for her respective male counterpart. The broader range of life experience she affords offers him an opportunity for self-examination and transformation, for good or ill. Although the Lola figures in the latter group of works demonstrate more effective agency than their Lulu progenitors, both male and female protagonists remain confined by their patriarchal social context, as in the Lulu texts. In Manns fin-de-sicle novel, Professor Unrat, the male rivalry and revenge elements of the myth are paramount, with the central female acting as an instrument in a male socio-political game that eventually leads to the male protagonists derogation. Even in Sternbergs The Blue Angel (1930), featuring Dietrichs iconic Lola-Lola, it is the male protagonist who retains narrative control and orchestrates his own death, subsuming Sternbergs leading lady into the world created and projected by him. Likewise, in the much later post-war tribute to The Blue Angel, Fassbinders Lola (1981), while the eponymous protagonist consciously performs contradictory roles to play up to powerful rival malesthereby successfully achieving her own endsthe film shows Lola as nevertheless continuing to be confined by the patriarchal strictures of the society within which she operates. Pandora as redeemer Lewins mid-century Pandora, and the end-of-millennium Lulu and Lola of Auster and Tykwer, respectively, more explicitly present Pandora as a primarily redemptive rather than a destructive force, evoking the more positive aspects of the myth, such as Pandoras connection with the divine and the Hope that remains at the bottom of her box, referred to

earlier. In these films Pandoras broader breaching of identity boundariesacross time and space, multiple and/or co-existent levels of reality, and existential/spiritual dimensions encompass situations where the physical or spiritual salvation of the central male is overtly at stake. It is notable that in these redeemer texts, both male and female protagonists, rather than just the woman, are sacrificed in order to achieve redemption/liberation. As noted earlier, Lewins Pandora and the Flying Dutchman (1951) is pivotal as a midcentury text in which Pandora moves from femme fatale to Redeemer, sacrificed for the Dutchmans salvation. Although primarily a work about male quest for redemption and atonement, where male rivalry is still prominent and Pandora remains a projection of the central males fears and desires, there are also signs that the male protagonist is more willing to take responsibility for his own transformation, thus presaging the wider range of performances of both masculinity and femininity suggested by the later texts in this project. The end-of-millennium pair of Lulu and Lola works present Pandora as even more unequivocally redemptive and regenerative than in Lewins film. Again both central females perform (as an actor and an athlete, respectively, rather than as a singer). Although each is initially devoted to the service of her male partner, each ultimately transcends this role to some degree. At the same time, in both texts, the central males play at least some part in their own salvation. Austers Lulu on the Bridge (1998), like Lewins Pandora a film about a male spiritual journey, also revisits the idea seen in the earlier Lulu texts, of the projection of male needs and desires on to Woman/Lulu, who yet again is sacrificed for the salvation of the male protagonist. Tykwers Run Lola Run (1998) is the first work in this study where Lola/Pandora/Woman is indisputably the central figure for the first time. Lola finally makes the quest her own, exploring more positive possibilities of Chaos Theory, destiny/fate, chance and simultaneous performances of identity, in a complex post-modern construction of Pandora that points toward the twenty-first century. Continuing to reinvent herself and, like the earlier Lolas of Sternberg and Fassbinder, using her physical presenceand the power of her voice in particularas a force of transformation, Tykwers Lola saves the life of her male partner (and indirectly creates the wherewithal for him to also save himself). Moreover, Lola transcends the game of wits to spiral out of the orbit of traditional patriarchal framings of narrative, myth, film genre/s, and perhaps even beyond the physical frames and time-frame of the film itself. Drawing on the creative, inspirational elements of both the masculine firestick and the feminine urn/womb, and demonstrating a self-determination possibly greater than any of her Lulu/Lola predecessors, Tykwers quasi-cyber Lola/Pandora demonstrates at least the potential to finally break free of her box. Conclusion In these Lulu/Lola/Pandora texts traversing the twentieth century, the redemptive potential that Pandora displays as scapegoat/femme fatale is fulfilled in her guise as saviour/redeemer, who affirms rather than destroys life. Furthermore, Pandoras resistance to attempts to frame her as femme fatale, exhibited in these multiple performances of identity, culminates in the re-examination of the traditional binary opposition between the feminine and the masculine, represented respectively by the box and the firestick. The engagement with the hopeful aspects of the box, together with an acknowledgement of the creative attributes of the firestick, provide the opportunity for a greater range of constructions of identity for both females and males, including more active, centre-stage roles for women, and more introspection/reflection on the part of men, evident today both on and off the screen.

References
Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990) De Lauretis, Teresa, Alice Doesnt: Feminism, Semiotics, Cinema (London: Macmillan, 1984) Freud, Sigmund, Fragment of an Analysis of a Case of Hysteria in Standard Edition, vol. 7 (London: The Hogarth Press, 1953) Freud, Sigmund, The Interpretation of Dreams (London: Hogarth Press, 1953) Heller, Erich, From Love To Love: Goethes PANDORA and Wedekind-Alban Bergs PANDORA-LULU, Salmagundi, 84 (Fall 1989), 94-108 Hesiod, Works and Days, lines 57-101 and Theogony, lines 570-590, ed. by (Cambridge: Loeb Classical Library, 1950) H. G. Evelyn-White

Kristeva, Julia, Powers of Horror: An Essay on Abjection, trans. by Leon Roudiez (New York: Columbia University Press, 1982) Littau, Karin, Refractions of the Feminine: The Monstrous Transformations of Lulu, MLN (Modern Language Notes), 110.4 (1995), 888-912 Macmillan, Maree, Beyond the Femme Fatale: The mythical Pandora as cathartic, transformational force in selected Lulu, Lola and Pandora texts (unpublished doctoral dissertation: The University of Melbourne, 2009) Mann, Heinrich, Professor Unrat oder das Ende eines Tyrannen (Munich: Langen, 1905) Mulvey, Laura, Fetishism and Curiosity (Bloomington: Indiana University Press, 1996) Mulvey, Laura, Visual Pleasure and Narrative Cinema, Screen, 16.3 (Autumn 1975), 6-18 Neumann, Erich, The Great Mother (New Jersey: Princeton University Press, 1963) Panofsky, Dora and Erwin, Pandora's Box: The Changing Aspects of a Mythical Symbol (Princeton: Princeton University Press, 1991) Reeder, Ellen D., Pandora: Women in Classical Greece (Princeton: Princeton University Press, 1995) Showalter, Elaine, Sexual Anarchy: Gender and Culture at the Fin-de-Sicle (New York: Viking Penguin, 1990) Sternberg, von, Josef, Fun in a Chinese Laundry (London: Columbus Books, 1987) Tambling, Jeremy, Opera, Ideology and Film (Manchester: Manchester University Press, 1987) Treitler, Leo, History and archetypes, Perspectives of New Music, 35.1 (Winter 1997), 115-127 Wedekind, Frank, Five Tragedies of Sex, trans. by Frances Fawcett and Stephen Spender (London: Vision, 1952) Zeitlin, Froma I., 'The Economics of Hesiod's Pandora', in Ellen D. Reeder, Pandora: Women in Classical Greece (Princeton: Princeton University Press, 1995), pp. 49-56