Life under the Dictatorship 1915–1945, London 2006, pp.
Ignazio Silone, The Abruzzo Trilogy, South Royalton, VT 2000 Ĭesare Pavese, The Political Prisoner, London 1955. See, for example, Carlo Levi, Christ Stopped at Eboli, New York, NY 2006 Wandlungen in der Einstellung zum Soldatentod vom Siebenjährigen Krieg bis zum II. 71–6 and Klaus Latzel, Vom Sterben im Krieg. See Behrenbeck, Der Kult um die toten Helden, pp. Reshaping the Memory of the World Wars, New York, NY 1990. The Nature of Religion, Orlando, FL 1959 Īnd René Girard, Violence and the Sacred, Baltimore, MD 1979. Mircea Eliade, The Sacred and The Profane. The Anthropology of Ancient Greek Sacrificial Ritual and Myth, Berkeley, CA 1986 Berger, The Sacred Canopy: Elements of a Sociological Theory of Religion, Garden City, NY 1967 Nationalsozialistische Mythen, Riten und Symbole, Vierow bei Greifswald 1996, p. Sabine Behrenbeck, Der Kult um die toten Helden. 53–69.īernhard Giesen, Triumph and Trauma, Boulder, CO 2004. Ursachen und Folgen des italienischen Kriegseintritts im Mai 1915,” in ibid., pp. 13–52 and Holger Afflerbach, “Vom Bündnispartner zum Kriegsgegner. Warum sich Italien für den Eintritt in den Ersten Weltkrieg entschied,” in Johannes Hürter/Gian Enrico Rusconi (eds.), Der Kriegseintritt Italiens im Mai 1915, Munich 2007, pp. On the negotiations and motivations behind the Protocol, see Gian Enrico Rusconi, “Das Hasardspiel des Jahres 1915. Enrica Bianchetti and Roberto Forcella, Milan 1965, pp. Takács, “Kybele,” in Hubert Cancik/Helmuth Schneider (eds.), Der Neue Pauly, vol. On the Archigallus and his role in the Kybele cult of antiquity, see Sarolta A. Renzo De Felice/Emilio Mariano (eds.), Carteggio D’Annunzio–Mussolini (1918–1938), Milan 1971, p. Vier Versuche zu Aby Warburg, Göttingen 2003, pp. On Warburg’s study of the Florentine nymphs, Ulrich Raulff, Wilde Energien. Gabriele D’Annunzio, “L’ala sul mare,” in Id., Laudi del cielo, del mare, della terra e degli eroi, Libro Terzo Alcyone, Milan 1956, p. Studi su Gabriele D’Annunzio, Florence 1985, pp.
On the background and references of the Icarus poems, especially the Ditirambo IV, di Icaro, see Pietro Gibellini, “Il volo di Icaro,” in Gibellini (ed.), Logos e Mythos. D’Annunzio erobert Fiume, Munich 1996, pp. See also Wolfgang Ernst, “Museale Kristallisation: Il Vittoriale degli Italiani,” in Hans Ulrich Gumbrecht/Friedrich Kittler/Bernhard Siegert (eds.), Der Dichter als Kommandant. The villa-museum also houses the D’Annunzio Archive. This process is experimental and the keywords may be updated as the learning algorithm improves. These keywords were added by machine and not by the authors. Il Vittoriale, his villa near Gardone on Lake Garda, is one token of this.
#ICARUS RISING HOW TO#
Far from shunning the limelight, D’Annunzio knew well how to attract it. Despite the undisputed quality of his work, Il vate (the “Bard”) - as he is widely known in Italy - commanded so much attention because of his extravagant lifestyle and amorous adventures, which turned him into a media icon during his lifetime. Yet D’Annunzio remains as a literary point of reference - if only for those who wish to mark a distance from his exalted Symbolist style. 138 The British journalist Sisley Huddleston had already singled him out in 1924 as Mussolini’s John the Baptist, and consequently his reputation suffered after the Second World War on account of his affinity with Fascism. He was not only a renowned lyrical poet, dramatist and novelist, but also a notorious playboy and dandy, as well as a politician and war hero. Gabriele D’Annunzio, born in 1863 in Pescara, Abruzzo, is the best-known and most controversial Italian writer of the fin de siècle.
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