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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]

Discusses the parallelism between William Shakespeare's Coriolanus character and Ovid's Cadmus character from the drama `Metamorphoses.' Transformation of Coriolanus and Cadmus into peace-loving men; Comment on the allusions to Ovid by the Menenius character in `Coriolanus.'

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]

Cadmus' episode opens book III of Ovid's Metamorphoses and puts him in the crossing of a double foundation: that of the Theban Cycle and that of a poetics of transgression that extends over the whole text. Such poetics is based on the gaze as a factor of sacrilegious behaviours. In this sense, the main components of Cadmus' story are scattered through the other narrations of Metamorphoses III, which develop them according to their own plot. The profanation of the nemora sacra constitutes the departure point of the cycle of misfortunes of the Theban family. It's closure is the final metamorphosis of Cadmus and his wife Harmonia into serpents. In this paper we intend to explore the construction of this poetics founded on prohibition in Metamorphoses III. We will make emphasis on the idea of transgression related to the metamorphic process suffered by its characters. [ABSTRACT FROM AUTHOR]

This article offers a look at the book "Finnegans Wake," by James Joyce. The author focuses on the use of metaphors involving children and parenting in this work by Joyce, who creates mythological tales, including those about the characters Cadmus and Thoth.

The royal lineage of the founder of the city of Thebes, the Tyrian Cadmus, is represented in seven tragedies written by the three Athenian tragedians whose works have come down to our time: Aeschylus, in The Seven against Thebes; Sophocles, in Antigone, Oedipus Rex and Oedipus at Colonus; Euripides, in The Suppliants, The Phoenician Women and The Bacchae. The objective of this thesis work was to verify the presence of autochthony in these seven Athenian plays acclimated in Thebes, from the Theban myth of autochthony starring by Cadmus, and the influences on this tragic fate that desolated the successive generations of kings from the founder's oikos and his city. The autochthony is the noun that refers to the quality of autochthon assigned to that people inhabiting the same land since time immemorial, or in a mythical context, one who sprang from the earth. In both contexts, autochthony became a very important aspect of social and political organization of the Greek city-states, especially in relation to Athens. In this city, between the seventh and fourth century B.C., autochthony became an important criterion in the assignment of citizenship, besides being used as an ideological tool in the formulation of laws and in the conduct of domestic and foreign policy of Attica. In addition to these two concepts, the present investigation, however, pointed to a third sense in which autochthony set up as a 'sense of belonging' between autochthon and patris, characterized as a congenital connection, innate, emotional and mysterious which unites them unconditionally. This relationship between son and mother earth turned out to be something that has great influence in the shaping of the identity and in the both their lives. In the seven tragedies of the Theban cycle, such influences are evident in relation to the formation of collective identity and tragic fate that falls on Thebes during the domain of Cadmus' oikos represented on the course of the seven plays. Yet we verified that, in the case of Thebes, contrary to what is seen in the ancient Athenian history, autochthony is not represented in its positive values, but as the thread of a resulting curse of the nemesis of Ares, initiated by the actions of Cadmus which form the Theban myth of autochthony, and that befell the royal lineage of the founder and his city in the form of several killer actions. So autochthony became a miasma polluting the Theban soil, is transmitted to the descendants of the first king Thebes and condemns the city to the suffering and ruin uninterrupted until the founder's lineage comes to an end. Ultimately, it is apparent that the understanding of the reasons why Thebes suffers misfortunes followed passes through the joint reading of these seven tragedies of the Theban cycle that came to us, because only in this way is possible to see in full the saga of the oikos of Cadmus, which proved to be the protagonist of its own tragedy, which was not written as a play by the ancient dramatists, but reveals interspersed in the body of these seven tragedies. [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.'