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This essay reconsiders the often remarked-upon queerness of Euripides' Bacchae through the lens of the play's unique deployment of chorality, read with the help of Jack Halberstam's conceptualization of wildness. I argue that the play exhibits a tragic "hyperchorality," that is, a systematic collapse of distinctions between chorus and character, leading to the erosion of boundaries between the dramatic world and the spectators' world, and the suffusion of the narrative with a kind of queer choral time. I trace these dynamics in the play's destabilizing kommos between the chorus and Dionysus, in the Theban women's queer ecofeminist scene on the mountain described in the first messenger speech, and finally in Dionysus' unsettling prophecy to Cadmus. Finally, I argue that the Bacchae defies literary historical inscription, operating instead as, in Halberstam's formulation, "a chaotic forcefield of un-art." [ABSTRACT FROM AUTHOR]

This article aims to examine one of the myths belonging to the first part of Nonnus' Dionysiaca, i.e., that of Io. Starting from the philological analysis of the passages dealing with this myth and adopting an intertextual approach, I will argue that the Panopolitan assimilates Io to Isis following Lycophron, one of the authors employed as a model in his poem. Finally, I will also explain the meaning of this choice inside Nonnus' work, taking into account its historical context. Nonnus wants to emphasize the role of Dionysus' lineage in the civilization process, giving it an historical relevance. Therefore, the allusion to Lycophron assimilates Cadmus (Dionysus' grandfather) to Alexander the Great, who is celebrated as a peacemaker in the Alexandra. Furthermore, Cadmus and his offspring can be connected to the Romans, who, at the time of Nonnus, played the same role in the rising Byzantine empire. [ABSTRACT FROM AUTHOR]

The physical or scientific state and cultural symbolism of the tooth can be used to creatively interrogate personal and collective identities. This research seeks to foreground the tooth and progress the ways in which it is used as a physical embodiment of identity in literature, as the tooth is the often forgotten body part of literary scholarship concerning identity and the body, despite its frequent presence in literature as an exploration of identity from the Greek myth of Cadmus to contemporary creative writing. Understanding the tooth as a physical embodiment of identity is a result of interdisciplinary research into contrasting spaces: scientific evidence, cultural traditions, and the poetry of Katherine Stansfield and Paul Farley. Through the foregrounding of the tooth in these contrasting spaces, the tooth as a physical embodiment of identity becomes a multifaceted location, or heterotopia, both physically and conceptually. In my poetry the tooth's heterotopia is performed through a more explicit and experimental use of language and white space, as a physical embodiment of the tooth's identity. The language of teeth provides access to new ways of further negotiating and progressing representations of identities within the field of creative writing. [ABSTRACT FROM PUBLISHER]

Various mythical 'exiles', gods (Cronus), heroes (Cadmus), and other individuals (Ophion, Typhon, Ogygus, Briareus) or groups (Cyclopes) were conceived as exiled for various reasons, but mainly because of a struggle with Zeus. Locations of their mythical exile were regularly conceived as distant, extreme, inaccessible, and, sometimes, out of this world. Consequently, the terms sometimes associated with those mythical exiles are ..., ..., and ... Most of the exiles were at some point placed in Tartarus, a term more or less applicable to a section of Hades; but they were regularly conceived as continuing their existence by the shore of the mythical 0ceanus, most probably in the farthest West. In a number of cases, both versions of the story existed, and they probably referred to the same thing: one can be at the ..., ..., or ... both under earth and at its western extremity. This fact is explained by the existence of two mythical models accounting for the diurnal solar movement. [ABSTRACT FROM AUTHOR]

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Because the myth of Cadmus makes striking use of the image of teeth and involves the issue of foreign cultural penetration, it offers a productive vantage point from which to view So Long a Letter, for the latter too pays distinctive attention to teeth and of course to the issue of colonialism. This article takes the myth as a point of departure in order to highlight the narrator Ramatoulaye's unacknowledged inconsistencies and conflicts both in the cultural and emotional domains. This allows for an increased appreciation of the text's subtleties in characterization, narration, and genre classification, and it adds to questions about Ramatoulaye's narrative reliability and about too facile an interpretation of this novel's progressive inspiration. [ABSTRACT FROM AUTHOR]

Examines the allusion made to Cadmus and Mammon in Pliny the Elder's compendium of classical lore `Naturalis Historia,' and John Milton's poem `Paradise Lost.' Background on the two poems; Role of Mammon in `Paradise Lost'; Gifts of Milton's Mammon and Pliny's Cadmus; Milton's allusion to Cadmus in `Paradise Lost.'