Abstract
Abstract. This essay focuses on the fifteenth episode of James Joyce’s Ulysses (1922), „Circe”, which is written in the form of a drama script. My claim is that in „Circe” Joyce subverts the traditional Western view of drama, established by Aristotle in Poetics (c. 335 BCE), particularly with respect to the principles of imitation, the plot structure, the process of interpretation, and the role of dramatis personae . Yet, the focal point of the analysis is Joyce's vision of the categories of time and space categories and their implementation in „Circe”.
Highlights
If any of the episodes may be called central in Ulysses, it would definitely be “Circe”
I will concentrate upon the juxtaposition of the classical unities of time and space and the dimensions of time and space in “Circe”
As Fargnoli notes, this dramatic technique “indicates a radical departure from the prose style of the rest of the novel and from most conventional narratives” (2006, 201). It is a text in which Joyce plays with the classical dramatic conventions and, with the readers’ expectations
Summary
If any of the episodes may be called central in Ulysses, it would definitely be “Circe”. James Joyce’s Play with Dramatic Conventions in Ulysses (1922): Episode 15 “Circe” 91 “Circe” is a “drama which consists of several mini-plays”1, varying in size and importance, which evoke different problems and are arranged together by the unifying consciousness of two main characters: Bloom and Stephen (Khorouji 2013, 873).
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