In social science, seduction is the process of deliberately enticing a person, to lead astray, as from duty, rectitude, or the like; to corrupt, to persuade or induce to engage in sexual behaviour. The word seduction stems from Latin and means literally “to lead astray”. As a result, the term may have a positive or negative connotation. Famous seducers from history or legend include Lilith, Giacomo Casanova and the character Don Juan.^[1]

Seduction, seen negatively, involves temptation and enticement, often sexual in nature, to lead someone astray into a behavioral choice they would not have made if they were not in a state of sexual arousal. Seen positively, seduction is a synonym for the act of charming someone — male or female — by an appeal to the senses, often with the goal of reducing unfounded fears and leading to their “sexual emancipation”.^{[citation needed]} Some sides in contemporary academic debate state that the morality of seduction depends on the long-term impacts on the individuals concerned, rather than the act itself, and may not necessarily carry the negative connotations expressed in dictionary definitions.^[2]

Published in two volumes in 1843, Either/Or (original Danish title: Enten ‒ Eller) is an influential book written by the Danish philosopher Søren Kierkegaard, exploring the aesthetic and ethical “phases” or “stages” of existence.

Either/Or portrays two life views, one consciously hedonistic, the other based on ethical duty and responsibility. Each life view is written and represented by a fictional pseudonymous author, the prose of the work depending on the life view being discussed. For example, the aesthetic life view is written in short essay form, with poetic imagery and allusions, discussing aesthetic topics such as music, seduction, drama, and beauty. The ethical life view is written as two long letters, with a more argumentative and restrained prose, discussing moral responsibility, critical reflection, andmarriage.^[1] The views of the book are not neatly summarized, but are expressed as lived experiences embodied by the pseudonymous authors. The book’s central concern is the primal question asked by Aristotle, “How should we live?”^[2] His motto comes from Plutarch, “The deceived is wiser than one not deceived.”^[3]

The esthetic is the personal realm of existence. Personally you have the possibility of the highest as well as the lowest. The ethical is the civic realm of existence. You can be oblivious to everything going on around you or you can get involved. An individual can go too far in these realms and lose sight of him/her self. Only religion can rescue the individual from these two realms arguing with each other all day long. The spirit has to awaken in the single individual and this book, Either and Or, is written to the single individual. Kierkegaard’s challenge is for You to “discover a second face hidden behind the one you see”^[4] in yourself first, then in others.

Elena Fiore (born 26 July 1928) is an Italian film actress, best known for her roles in Lina Wertmuller films.

Born in Naples, Elena Fiore debuted in 1972 with the breakout role of Amalia Finocchiaro, a little attractive mature woman full of sexual desires, in Wertmuller’s The Seduction of Mimi;^[1] after similar roles in, among others, Love and Anarchy, Seven Beauties, Neapolitan Mystery and The Marquis of Grillo she retired from acting in the early eighties.^[1]

American Beauty is a 1999 American drama film directed by Sam Mendes and written by Alan Ball. Kevin Spacey stars as office worker Lester Burnham, who has a midlife crisis when he becomes infatuated with his teenage daughter’s best friend, Angela (Mena Suvari). Annette Bening co-stars as Lester’s materialistic wife, Carolyn, and Thora Birch plays their insecure daughter, Jane; Wes Bentley, Chris Cooper, and Allison Janneyalso feature. The film has been described by academics as a satire of American middle class notions of beauty and personal satisfaction; analysis has focused on the film’s explorations of romantic and paternal love, sexuality, beauty, materialism, self-liberation, and redemption.

Ball began writing American Beauty as a play in the early 1990s, partly inspired by the media circus around the Amy Fisher trial in 1992. He shelved the play after realizing the story would not work on stage. After several years as a television screenwriter, Ball revived the idea in 1997 when attempting to break into the film industry. The modified script had a cynical outlook that was influenced by Ball’s frustrating tenures writing for several sitcoms. Producers Dan Jinks and Bruce Cohen took American Beauty to DreamWorks; the fledgling film studio bought Ball’s script for $250,000, outbidding several other production bodies. DreamWorks financed the $15 million production and served as the North American distributor. American Beauty marked acclaimed theater director Mendes’ film debut; courted after his successful productions of the musicals Oliver! and Cabaret, Mendes was nevertheless only given the job after twenty others were considered and several “A-list” directors turned down the opportunity.

Spacey was Mendes’ first choice for the role of Lester, even though DreamWorks had urged the director to consider better-known actors; similarly, the studio suggested several actors for the role of Carolyn until Mendes offered the part to Bening without DreamWorks’ knowledge. Principal photography took place between December 1998 and February 1999 on soundstages at the Warner Bros. backlot in Burbank, California and on location in Los Angeles. Mendes’ dominant style was deliberate and composed; he made extensive use of static shots and slow pans and zooms to generate tension. Cinematographer Conrad Hall complemented Mendes’ style with peaceful shot compositions to contrast with the turbulent on-screen events. During editing, Mendes made several changes that gave the film a less cynical tone.

Released in North America on September 15, 1999, American Beauty was positively received by critics and audiences alike; it was the best-reviewed American film of the year and grossed over $350 million worldwide. Reviewers praised most aspects of the production, with particular emphasis on Mendes, Spacey and Ball; criticism tended to focus on the familiarity of the characters and setting. DreamWorks launched a major campaign to increase American Beauty‘s chances of Academy Award success; at the 72nd Academy Awards the following year, the film won Best Picture, Best Director, Best Actor (for Spacey), Best Original Screenplay and Best Cinematography.