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Ancient Myths in the Making of Culture


Malgorzata Budzowska and Jadwiga Czerwinska

The reception of Mediterranean Antiquity heritage is one of the dominant research areas in contemporary classical studies. This issue has constituted the scope of the conference Reception of Ancient Myths in Ancient, Modern and Postmodern Culture, which took place at the University of Łódź (Poland) in November 2013. The volume consists of the selected articles based on the conference papers. They are divided into the main chapters: Literature, Visual and Performing Arts and Philosophy as well as Anthropology. The authors consider different methods of reception of ancient myths focusing on various cultural phenomena: literature, fine arts, theatre, cinema and pop culture.
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Gabriele D’Annunzio and Apollo


Gabriele D’Annunzio was undoubtedly a great figure in the Italian literary world. His attitude and approach to life, treated as works of art, introduced a fresh point of view to Italian literature. He proved to be a versatile artist, interested in new trends, but often quite changeable. He wrote prose, drama works for the stage, poetry, and also collaborated with the theatre. He began his literary activity as one of the main representatives of decadence in his country, but over the years he also managed to improve and develop his work directing it towards various concepts, such as aestheticism, a new vision of Übermensch and panism. He was a charismatic figure, very esteemed, and his words exerted a great influence on the society of his time. D’Annunzio was a sophisticated aesthete with a particular talent to appreciate all that was beautiful and uncommon. He demonstrated a tendency to hide himself in a fictitious world that was the essence of art and aesthetics. Although his prose is full of rich detailed descriptions, worthy of attention is his outstanding poetic work. In particular, the whole cycle of poetry entitled ‘Laudi del cielo, del mare, della terra e degli eroi’ presents the highest levels of artistry. Here his fascination with classic tradition and mythology is clearly visible. In the third book of poetry, entitled ‘Alcyone’, D’Annunzio repeatedly refers to both the mythological topoi and explicitly presents, reinterprets and adapts them to his needs. The period during which Alcyone was completed coincides...

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