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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 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]

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.

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.

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.

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]

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]

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.

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]

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.