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The study of the "Circe" episode of Ulysses has been underserved with regard to one of its most significant sources, the sadomasochistic magazine Bits of Fun, which has never been fully examined. This source is followed more closely by Joyce in the novel's Bella/Bello scene than has been realized, as well as in the "Ithaca" episode and Finnegans Wake. The exact issues that Joyce used have not yet been correctly identified, and the "Circe" notesheets have consequently been misdated. Joyce drew on Bits of Fun not only for his theme of forced feminization in this episode, but also for more extreme details of bondage and torture, including even cannibalism and slavery. Based on this source, the text of Joyce's early draft material in both his "Circe" notesheets and Ulysses notebooks should be emended in several places. [ABSTRACT FROM AUTHOR]

The article discusses character Circe, the minor goddess with magic powers who enjoyed transforming men, usually her discarded lovers, into animals in classical mythology in machine plays and tragic operas composed during the seventeenth century in France. It notes theme of dis-enchantment as Circe's magic is overruled by a more powerful god to change men back into their original shapes. It presents humans as powerless, subjected to alteration but annulled by exterior forces such as gods.

The present paper discusses the account of Circe that was put forward by an unknown author in the treatise De Homero. When analyzing how the enchantress transmogrifies from an allegory of pleasure into an allegory of metempsychosis, this article shows that Pseudo-Plutarch utilizes various Pythagorean, Platonic and Stoic views, as he moves from a Platonizing account of the story (Odysseus personifies renunciation of the flesh, Circe symbolizes reincarnation) to a Stoicizing one (the hero represents the self-sufficiency of virtue, the sorceress stands for pleasure). The study argues that Pseudo-Plutarch's goal is more rhetorical than philosophical and that his approach is better characterized as "encomiastic" rather than "syncretic" or "eclectic." [ABSTRACT FROM AUTHOR]

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Circe’s presence inA Masque Presented at Ludlow Castle(Comus) invites readers to read both Milton’s Circe and Milton’s own poetic activity through long and intertwined traditions of theology and literary commentary. Stretching from Augustine and Aquinas to the commentaries and translations of Homer and Ovid by Sponde, Sandys, and Chapman, these traditions use Circe to explore and conflate the possibility, the permanence, and the experience of both human and literary transformation. Taken up by Townshend and Jones in their Caroline court masqueTempe Restored, they become essential intertexts for Milton’sMasque. Milton embeds this discourse in his masque – a genre that places metamorphosis at the heart of its poetics – to examine the nature of Renaissance intertextuality and the authorial self and interrogate his own use of Renaissance practices ofimitatioandaemulatio. In Comus’ wood, Circean transformation becomes a touchstone for the virtuous soul and the virtuous poet alike. [ABSTRACT FROM PUBLISHER]

The article presents chapter 4 of the book "Psychoanalytic Scholia on the Homeric Epics" which explores the travel of Odysseus after the Nekyia. Topics discussed include Odysseus plea with Kirke to keep her promise and send him home after her capture for one year, relation of thanatos and hypnos to Greek mythology, and address of Teiresias to Odysseus.

Rousseau's mission as an author was to make his readers see what he saw in his philosophical “illumination,” yet his task is a paradoxical one, for he must persuade his readers that they are deceived by what they see before their own eyes and must learn to see anew. In order to transform the perspective of his reader, Rousseau throughout his works uses visual imagery and rhetorical devices invoking vision that represents both the correct view of human nature and virtue and the obstacles to learning to see ourselves properly. As a former engraver's apprentice, he was particularly interested in educating his reader through actual images such as frontispieces or illustrations. The aim of this article is to offer an interpretation of the engravings that illustrate Emile, or On Education, in order to investigate how Rousseau educates his reader through challenging the reader's preconceptions concerning human nature and replacing traditional exemplars of human nature and virtue with a new exemplar seen in his imaginary pupil. [ABSTRACT FROM PUBLISHER]

The article explores "Circe" episode of James Joyce's novel "Ulysses" which was composed based on the rhythm of locomotor ataxia brought on by syphilitic infection.

This article aims to analyze the function and relevance of the Circe, Glaucus and Scylla episode in Ov. Met. 13.730-14.74. In disagreement with the judgements that ancient and modern criticism have given about the character of Circe, this paper wants to rehabilitate her figure, by showing that Ovid puts in Circe's mouth, in her talk with Glaucus, a fundamental message for the interpretation of the whole section: the importance of amor mutuus and the ineffectiveness of magic in matters of love. If only Glaucus had followed Circe's warning, the course of the Odyssey could have been very different. [ABSTRACT FROM AUTHOR]

Abstract: Encolpius' erotic failure, his inability, in other words, to perform sexually with Circe as his partner, seems to result, in terms of the immediate context at least, from his blasphemous attitude towards Jupiter, whom Petronius' figure crucially presents as sexually inactive due to old age, in direct opposition to the way Encolpius fashions himself, namely as a blessed lover, about to enjoy the erotic favours of a lady surpassing all other female beauty. A pagan sorceress is charged with healing the sexual side-effects of such an irreverent attitude towards the divine; however, the ritual she performs has Christian associations and, what is more, is comically administered by means of the infamous middle finger. All the above, along with the image of a hare to which an aroused Encolpius is likened as well as the various mythical figures and their unconsummated love-affairs with which both Encolpius and Circe are associated, further anticipate the negative outcome of Encolpius' erotic endeavours. [ABSTRACT FROM AUTHOR]

Bone chemical treatment for radiocarbon dating has drawn the attention of different laboratories because dates of bones and charcoals found in the same layer often disagree. Excluding diet-related reservoir effects, this observation is likely due to a nonoptimized procedure of contaminant removal from the extracted collagen. In this study, systematic work on the bone chemical treatment was performed with the aim to investigate the effect of each known procedure (i.e. AAA, GEL, and ULTR) on the collagen used for 14C dating. Isolation and purification of lipids from animal tissues were performed to estimate eventual offsets induced by the applied methods, by comparing the 14C ages of lipids with those of collagen. Moreover, cremated bones were treated for the first time at CIRCE. Measured 14C isotopic ratios on these samples were used to evaluate the accuracy of the applied procedure by comparing against the results for charcoals found in the same archaeological context as the bones. [ABSTRACT FROM AUTHOR]

The essay focuses on poet Augusta Webster. How she challenged the boundaries between public and private writing, idea of separate, gendered social spheres in the Victorian literary period, and adaptation of Greek literature and mythology in her writings is discussed. The female personas in her poems "Medea in Athens" and "Circe" are discussed in relation to their mythical counterparts. The 19th-century female identity and use of poetry as a social catalyst are noted.

Abstract: In Nabokovʼs texts among polygenetic motifs hidden mythological allusions play an important role. The less poetic attribute of Demeter, the image of the pig, is an ambivalent and archetypical complex code of fertility and dirt, divine and devilish. The pig-motif in Greek mythology is closely attached also to Circe, whose story (Odyssey, Song 10) has a system of references in Nabokovʼs Lolita, in “The Enchanted Hunters” chapter. These parallels raise the question of a further intertextual cluster, Joyceʼs Ulysses (Ch. 15), as biographical data prove that Lolita was commenced the same months when Nabokov launched his lectures on Joyce at Cornell. This coincidence gives a firm base to investigate the common poetic strategies in Lolita and Ulysses, among them – the textual metamorphoses and the development and function of the pig, dog and nymph images. [Copyright &y& Elsevier]

The article focuses on the metaphorical descents into comparable Greek underworlds which were featured in Hades and Circe episodes of the novel "Ulysses," by James Joyce. It states that Leopold Bloom,who was the novel's protagonist, played the role of both Orpheus and Eurydice. It mentions that the two episodes featured the struggle of Bloom to forgive himself for the death of his son named Rudy. It adds that the two episodes were both composed by rituals which were made under force.

The article discusses competing philosophies in the mythological play "El mayor encanto, amor," by Pedro Calderón. The author explains that the play follows the story of Homer's ancient Greek poem "The Odyssey." The article explores some of the man-to-beast transformations that occur in the play. How Calderón's depiction of the goddess Circe differs from Homer's is detailed. The author talks about how Calderón frequently depicted men who behaved like beasts who were controlled by their passions. The article also discusses the importance of the theme of appearances versus reality.

In the post-Homeric tradition the sea-monster Scylla is characterized by a duality that manifests itself both in her physical hybridity and in more abstract ways relating to textuality and to fictionality. Ovid, developing features of the Virgilian Scylla, exploits the dualities of Scylla; the self-division of Scylla then lends itself to the purposes of post-classical authors, Spenser, Shakespeare, Milton, who write to specific theological and allegorical agendas. [ABSTRACT FROM AUTHOR]

It will be argued in this paper that Odysseus does not descend into Hades even though he witnesses the punishment of certain sinners and that the latter are envisaged in the sky as constellations. This hypothesis explains the phrase “meadow of asphodels” and the repetitive action of the sinners. It will also be argued that the origin of this cosmology is Egyptian. The Homeric cosmos is divided into a diurnal and nocturnal world: a human habitation and one which lies beyond the sun's orbit and contains the heroes and the dead. [ABSTRACT FROM AUTHOR]

The article presents an analysis of the real reference and identity of the phrase magna perseis which is depicted in the conversation between Venus-Circe and Medea in the Book 7 of the epic poem "Argonautica," by Valerius Flaccus. It cites the scene where Venus disguised as Circe when she visited Medea to persuade Medea to help and marry Jason. It explores the possibilities that the phrase might refer to Perse, the grandmother of Medea or to Hecate, the daughter of Perses. Nevertheless, it highlights the argument that the phrase refers to Circe based on the implied quote of Medea in which she said that she would not follow the footsteps of her aunt Circe whose married life became miserable with a local man.

This paper looks at the iconography of Circe, the sorceress who turned Ulysses' crew into beasts and who became the hero's lover. Making her first appearance in Homer's Odyssey, Circe became a much-loved mythological figure in literature and art through the ages. Taking the origin of the myth of Circe as a starting point and by analysing the various ways in which it has subsequently been interpreted, the paper shall discuss general aspects of the episode's depiction, an episode that provides the subject of a great many works through the ages, which have yet to be studied as a whole. The basic aim of this paper is, therefore, to provide a general overview of the subject and to outline the process involved in the configuration of Circean iconography and the creation of the attributes and characteristics by which she is now defined, either as a mythical goddess, a renowned sorceress or as the epitome of lust and a reminder of the perils of feminine seduction. [ABSTRACT FROM AUTHOR]

Following the traces of Circe in opera history: the sorceress can be found at the very beginning, as main character of a court spectacle, the Balet Comique de la Royne or Balet de Circé (1581), from Balthazar de Beaujoueulx; in baroque times in many titles, such as La Circe de Cristoforo Ivanovich, music by Antonio Ziani (1665); at the start of the development of the Spanish zarzuela in the Comedia con m·sica from Calderón and Hidalgo El mayor encanto, amor, (1635) and at the times of the flourishment of that musical genre in Circe from Ruperto Chapí on a libretto by Ramos Carrión (1902). We present a study of the scripts within their historical frame. The Balet Comique introduces the subject of the birth of ballet as theatre spectacle, and Calderón and Chapí that of the history of zarzuela in Spain. [ABSTRACT FROM AUTHOR]

The article describes the character of Circe in the Odyssey, emphasizing that she has not only an evil but a positive side to her character. The implications of her being a witch, swearing an oath to Odysseus and being a god are explored. She is also briefly compared with other characters in the Odyssey. [ABSTRACT FROM AUTHOR]

Jean Dorat (1508-88), the guide and mentor of several poets of the Pléiade, gave a series of lectures on books 10-12 of the Odyssey which were partially preserved in lecture notes taken by a student. These notes, now housed in the Ambrosian Library in Milan, provide a useful insight into his teaching methods. His discussion of the text is largely aimed at providing an allegorical interpretation of Homer, strongly grounded on principles of etymology which owe much to Cratylism. A very wide range of classical and medieval authors are adduced by Dorat in support of his interpretation of the Homeric text, and he includes all the traditional types of allegoresis: moral, physical, historical, metaphysical, and religious. A number of passages of the manuscript are discussed in some detail in the article, including sections on the rivers of the Underworld, Elpenor, Circe and Calypso, Scylla and Charybdis, and Odysseus' shipwrecks. [ABSTRACT FROM AUTHOR]

Examine's the powers and presence of the Greek legendary character Circe in literary works. Her powers of animal metamorphosis; Circe's relationship with Odysseus; Circe's mastery of the natural property of things; How Circe was used by Homer as a baneful and evil plot device.

Explores the text and composition of the episode on `Circe' in the book `Ulysses,' edited by Hans Walter Gabler. Importance of the episode in expanding the novel's form; Disadvantages of privileging records at the expense of the author's presence in the work; Reflection of the convoluted composition of the textual states of `Circe.'

The article analyzes the poem "Comus" by John Milton and the book "The Consolation of Philosophy" by Boethius. The author suggests that due to similarities such as the protagonists' trials, the theme of the Circe myth, and the intervention of divine grace in each work indicates that Milton was greatly influenced by Boethius.

Analyzes how William Shakepeare has incorporated Circean transformations in the last act of `The Comedy of Errors.' Circean transformations in Epheseus; Three locations in the play which symbolizes the types of transformations.

El artículo presenta algunos de los temas abordados en este número incluyendo la inexistencia del término 'suicidio' en el latín clásico y medieval, los espacios de los héroes de Sófocles y la presencia de la maga Circe en la historia de la ópera y del ballet. El artículo también menciona la producción de publicaciones específicamente para la comunidad académica.