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They both adapt big screen movies and pictures that are scary and with intent. Medusa is more cryptic unlike Circe. They are fear-representation arts in human life. For instance, it is common to note the similarities of the two pieces of art in what takes place in the big screens
The description of Circe is very scary to the audience. She is a daughter of Titans Hyperion and Perseis. She is a powerful witch that hails from the family of Colchis. She is violet-haired, beautiful, and red-eyed sorcerer. She is a known creature that turns people into animals. As Medusa did, she had innate powers that transcended to her from the family protocols. She turns people into animals called Bestiamorphs. Moreover, she has the ability to control the minds of the people. She lives in the island of Aeaea. Circe has been a devoted follower of the goddess Hecate for thousands of years. She is known to have inherited a portion of capability to control human world in general. She is married and has three sons just like human beings. As compared to Medusa, Circe has common features that relate it with Medusa. She is artistic in nature. Everything that happens in the world of the two creatures is scary and influential to the human life.
Reference list
Bade, Patrick. Femme fatale images of evil and fascinating women. New...
1979
Binias, Silke. Symbol and symptom: the Femme Fatale in English poetry of the 19th century and feminist criticism. Heidelberg: Winter. 2007
Federici, Corrado, Leslie Anne Boldt-Irons, and Ernesto Virgulti. Beauty and the abject:
interdisciplinary perspectives. New York: P. Lang. 2007.
Bade, Patrick. 1979. Femme fatale images of evil and fascinating women. New York: Mayflower Books
Binias, Silke. Symbol and symptom: the Femme Fatale in English poetry of the 19th century and feminist criticism. Heidelberg: Winter. 2007
Bade, Patrick. 1979. Femme fatale images of evil and fascinating women. New York: Mayflower Books
Federici, Corrado, Leslie Anne Boldt-Irons, and Ernesto Virgulti. Beauty and the abject: interdisciplinary perspectives. New York: P. Lang. 2007
Binias, Silke. Symbol and symptom: the Femme Fatale in English poetry of the 19th century and feminist criticism. Heidelberg: Winter. 2007
Federici, Corrado, Leslie Anne Boldt-Irons, and Ernesto Virgulti. Beauty and the abject: interdisciplinary perspectives. New York: P. Lang. 2007
Binias, Silke. Symbol and symptom: the Femme Fatale in English poetry of the 19th century and feminist criticism. Heidelberg: Winter. 2007
Reference list
Bade, Patrick. Femme fatale images of evil and fascinating women. New York: Mayflower
Books. 1979
Binias, Silke. Symbol and symptom: the Femme Fatale in English poetry of the 19th century and feminist criticism. Heidelberg: Winter. 2007
Federici, Corrado, Leslie Anne Boldt-Irons, and Ernesto Virgulti. Beauty and the abject:
In "Piaf," Pam Gems provides a view into the life of the great French singer and arguably the greatest singer of her generation -- Edith Piaf. (Fildier and Primack, 1981), the slices that the playwright provides, more than adequately trace her life. Edith was born a waif on the streets of Paris (literally under a lamp-post). Abandoned by her parents -- a drunken street singer for a mother and a
Conventional literature would come to see Cleopatra as an exploitive whore, responsible for the downfall of virtuous men like the Ptolemies, Julius Caesar and, inevitably, Marc Antony as well. So is this reported by historical accounts such as that by Cassius Dio who reflected that "Indeed she so enchanted and enthralled not only Antony but all others who counted for anything with him that she came to entertain the hope that she would rule the