DOCSLIB.ORG

UNIVERSITY of CALIFORNIA Los Angeles Fillia's Futurism Writing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIVERSITY of CALIFORNIA Los Angeles Fillia's Futurism Writing UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils. This led to a period of extreme left-wing communist-futurism. In the mid-1920s, following Marinetti’s lead, Fillia moved toward accommodation with the fascist regime. This shift to the right eventually even led to a phase ii dominated by Catholic mysticism, from which emerged his idiosyncratic and highly original futurist sacred art. The purposes of my study are the following: to analyze and contextualize Fillia’s oeuvre; to highlight his importance for a more nuanced and comprehensive understanding of the futurist movement and the European avant-garde; to demonstrate his crucial aesthetic contributions to late futurism; and to bring critical attention to his radical political ideology. I also draw out the influence that his early communist activities continued to have even in his later fascist years, as well as his unprecedented interest in questions of gender and feminism. Based on the evidence that emerges from my reading of Fillia’s oeuvre, in my conclusions I show how my work contributes to a more thorough and nuanced understanding of futurism’s complexity, and I discuss Fillia’s importance to Italian intellectual life immediately before and under the fascist regime. Studying Fillia’s ideological swing from left-wing radical to right-leaning conservative provides crucial clues about the intellectual and cultural climate in interwar Italy, and forwards scholarly understanding of the pressures and constraints that led so many Italian intellectuals to active participation in Mussolini’s regime. Finally, using the evidence presented in the dissertation, I suggest some possible new perspectives for the comparative study of modernism and the avant-garde in Europe. iii The dissertation of Adriana Marie Baranello is approved. Massimo Ciavolella Thomas Harrison Claudio Fogu, Co-Chair Lucia Re, Co-Chair University of California, Los Angeles 2014 iv TABLE OF CONTENTS LIST OF FIGURES vii ACKNOWLEDGEMENTS viii VITA ix INTRODUCTION 0. Scope, Methodology, and Organizational Logic 1 1. Who was Fillia? 3 2. General Characteristics of Fillia and His Works 6 3. Forming a Futurist Identity: Literary Basis 13 4. Forming a Futurist Identity: Pictorial Basis 21 5. Chapter Breakdown 27 6. Images 31 CHAPTER 1: Proletarian Dynamite: Politics, Poetry and Theater in Fillia’s Early Works 0. Introduction 34 1. Setting the Scene 36 2. Fillia’s Earliest Works: Communism, Futurism and the Poems of 46 1+1+1=1 – Dinamite – Poesie Proletarie – Rosso + Nero 3. Sensualità—Teatro d’eccezione 58 4. Related Projects: The Teatro Novatore, 92 Early Paintings and Journalism 5. Images 100 CHAPTER 2: New Lyric and New Lust Under a New Regime: I nuovi poeti futuristi and Lussuria radioelettrica—Fillia’s Poetry Projects 0. Introduction 103 1. General Characteristics of and Issues with I nuovi poeti futuristi 105 2. Fillia’s New Lyricism 116 3. Nuovo Lirismo, Nuovo Poeta: 120 Close Readings from I nuovi poeti futuristi 4. Lussuria radioelettrica: Poetry +Science 138 5. Conclusions 159 CHAPTER 3: The Experimental Novels 0. Introduction 162 1. Women in Italy 1880-1920: 165 v Feminism, Socialism, and Communism 2. Novel Summaries 168 3. Publication History, Technical Aspects of the Texts 185 and Stylistic Analysis 4. Fillia’s Novels in Context 195 5. Fillia’s “Social Darwinism” 204 6. The Futurist War on Love 216 7. Gender, Sexuality and Breaking Down Social Constructs 222 8. Spirituality and Religion 233 9. (Communist) Conclusions 238 CHAPTER 4: Fillia’s Distant, Disintegrating Bodies and the Loss of a Dream 0. Introduction 244 1. Futurism, Fascism and Aesthetics 248 2. Aeropittura, the Arte Sacra Futurista and 256 the Spiritual Currents in Futurism 3. An Art That Was “Both Traditional and Modern”: 264 The Return of Perspective and Symbolic Form 4. Fillia’s Nudes 271 5. The Holy Family and Religious Icon(ographie)s 276 6. Conclusions 287 7. Images 291 CONCLUSION 306 BIBLIOGRAPHY 310 vi LIST OF FIGURES Figure 1: Fillia, Nudo meccanico, 1925. 31 Figure 2: Photo of Fillia, 1924-25 31 Figure 3: Fillia, Autoritratto parolibero, 1926 (?) 32 Figure 4: Fillia, Autoritratto, 1926 32 Figure 5: Fillia, Studio per autoritratto, 1925-6 33 Figure 6: Fillia and T. A. Bracci, 100 Tessera d'iscrizione ai Sindacati Artistici Futuristi, 1923. Figure 7: Fillia, Ballerina -- Paesaggio scenografico, 1926 101 Figure 8: Fillia, Set and Costumes for Quarta dimensione del cuore, 1926 102 Figure 9: Fillia, Notte di Estate: caffè - chantant affollatissimo 122 Figure 10: Cesare Simonetti, Treno in corsa 130 Figure 11: Fillia, Treno 132 Figure 12: Fillia, Caffè chantant (quarta dimensione di me stesso) 153 Figure 13: Fillia, Femminilità, 1928 291 Figure 14: Fillia, Valori Plastici di un nudo, 1928 292 Figure 15: Fillia, Figure nello spazio (Senza titolo), 1930 293 Figure 16: Fillia, Riposo, 1930 294 Figure 17: Fillia, Gli innamorati, 1930 295 Figure 18: Fillia, Misteri d’ambiente, 1929 296 Figure 19: Fillia, L’Eternità, 1934 297 Figure 20: Fillia, S. Antonio da Padova, Probably 1931 298 Figure 21: Fillia, La città di Dio, 1931 299 Figure 22: Fillia, Divinità della vita aerea, 1933-34 300 Figure 23: Fillia, L’Adorazione, 1931 301 Figure 24: Fillia, Natività – Morte – Eternità, 1931 302 Figure 25: Fillia, Aeropittura, 1931 303 Figure 26: Fillia, Paesaggio (Senza titolo), 1931 304 Figure 27: Fillia, Superamento terrestre, 1931 305 vii Acknowledgements: I would like to express my deepest thanks first to my advisor, Lucia Re, for the guidance, the support, the immeasurable amount of help and feedback she has given me, and her seemingly endless patience. I likewise thank Claudio Fogu for taking on the role of co-chair of my committee, for his guidance and for his insightful feedback as I wrote my dissertation. Professor Re and Professor Fogu have been endlessly generous to me of their time and energy, and for that I am very grateful. Both have helped me develop as a scholar and an educator, and I hope to show respect for them by continuing to pursue both roles, and to continue to improve, as they have pushed me to do. My thanks to Professor Thomas Harrison, and the UCLA Department of Italian for the resources, opportunities, funding, and support that made my project possible. Without the generous financial support of the department, and the foundations that awarded me grants through the graduate division, this project would not have been possible. I would also like to thank Professor Günter Berghaus for his generous responses to my inquiries. Professor Berghaus provided me very valuable assistance at multiple stages of my work, and with information that greatly facilitated my research. Thanks are due, of course, to my parents, James and Catherine, to Dr. Sarah Parkinson, to Kathleen O’Leary, and to the group of dear friends who have become a vital support network for me, without all of whom this process would have been a much longer and more difficult a road. Per ultimo, ai parenti italiani: questo itinerario pazzesco è stato iniziato con voi. Vi ringrazio con tutto il cuore. viii Vita: May 2004 B.A. in Italian and Art History Johns Hopkins University August 2006 M.A. in Italian Literature Middlebury College C.V. Starr Schools Abroad 2008-2014 Doctoral work in Italian Literature Department of Italian University of California, Los Angeles ix Introduction 0. Scope, Methodology, and Organizational Logic The goal of this introduction is to provide a synthetic portrait of Fillia (Luigi Colombo 1904-1936) through a brief discussion of his personal identity politics and his futurist theories of expression. This will serve as a preface to my subsequent study of his literary and visual works produced between 1922 and 1935. In section 1, I outline Fillia’s biography and his major life events to orient the reader. This task continues in section 2, in which I explore general characteristics of Fillia and his works that will form an important base for my later analyses. Sections 3 and 4 analyze Fillia’s exploration of his self-perception and his identity as a futurist, first through poetry and prose, then through painting. Finally, in section 5, I provide a brief outline of each of my chapters. Beginning in 1909, with the “Fondazione e Manifesto del Futurismo,” and lasting until 1944, futurism championed the awakening of a new, modern consciousness bound to the infinite possibilities of technology and its manifestations in the automobile, the airplane, and other mechanical marvels.1 Early futurist art was primarily concerned with the depiction of the physical sensations of speed, movement and “mechanical splendor” and, in literature, the “destruction of the self” as F.
Load more

Recommended publications
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils.
    [Show full text]
  • 6. Poesia Del Futurismo: Marinetti, Folgore E Soffici Il Paroliberismo E Le Tavole Parolibere Futuriste
    6. Poesia del futurismo: Marinetti, Folgore e Soffici Il paroliberismo e le tavole parolibere futuriste PAROLIBERISMO = parole in libertà → è uno stile letterario introdotto dal Futurismo in cui: le parole che compongono il testo non hanno alcun legame grammaticale-sintattico fra loro le parole non sono organizzate in frasi e periodi viene abolita la punteggiatura i principi e le regole di questa tecnica letteraria furono individuati e scritti da Marinetti nel "Manifesto tecnico della letteratura futurista" dell' 11 maggio 1912 TAVOLE PAROLIBERE: La tavola parolibera è un tipo di poesia che visualizza il messaggio o il contrario del messaggio anche con la disposizione particolare grafico-tipografica di lettere, parole, brani di testi, versi o strofe. (tradizione lontana di Apollinere) FILIPPO TOMMASO MARINETTI (1876-1944) Fu un poeta, scrittore e drammaturgo italiano. È conosciuto soprattutto come il fondatore del movimento futurista, la prima avanguardia storica italiana del Novecento. Nacque in Egitto, trascorse i primi anni di vita ad Alessandria d'Egitto. L'amore per la letteratura emergeva dagli anni del collegio: a 17 anni fondò la sua prima rivista scolastica, Papyrus La morte di suo fratello minore era il primo vero trauma della vita di Marinetti, che dopo aver conseguito la laurea a Genova, decise di abbandonare la giurisprudenza e scelse la letteraratura. Dopo alcuni anni aveva un altro grave lutto familiare: morì la madre, che da sempre lo incoraggiava a praticare l'arte della poesia. Le sue prime poesie in lingua francese, pubblicate su riviste poetiche milanesi e parigine, influenzavano queste poesie Mallarmé e Gabriele D’Annunzio e componeva soprattutto versi liberi di tipo simbolista Tra il 1905 e il 1909 diresse la rivista milanese Poesia.
    [Show full text]
  • Italian Futurism, 1909–1944: Reconstructing the Universe Published on Iitaly.Org (
    Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Italian Futurism, 1909–1944: Reconstructing the Universe Natasha Lardera (February 21, 2014) On view at the Solomon R. Guggenheim Museum, until September 1st, 2014, this thorough exploration of the Futurist movement, a major modernist expression that in many ways remains little known among American audiences, promises to show audiences a little known branch of Italian art. Giovanni Acquaviva, Guillaume Apollinaire, Fedele Azari, Francesco Balilla Pratella, Giacomo Balla, Barbara (Olga Biglieri), Benedetta (Benedetta Cappa Marinetti), Mario Bellusi, Ottavio Berard, Romeo Bevilacqua, Piero Boccardi, Umberto Boccioni, Enrico Bona, Aroldo Bonzagni, Anton Giulio Bragaglia, Arturo Bragaglia, Alessandro Bruschetti, Paolo Buzzi, Mauro Camuzzi, Francesco Cangiullo, Pasqualino Cangiullo, Mario Carli, Carlo Carra, Mario Castagneri, Giannina Censi, Cesare Cerati, Mario Chiattone, Gilbert Clavel, Bruno Corra (Bruno Ginanni Corradini), Tullio Crali, Tullio d’Albisola (Tullio Mazzotti), Ferruccio Demanins, Fortunato Depero, Nicolaj Diulgheroff, Gerardo Dottori, Fillia (Luigi Page 1 of 3 Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Colombo), Luciano Folgore (Omero Vecchi), Corrado Govoni, Virgilio Marchi, Filippo Tommaso Marinetti, Alberto Martini, Pino Masnata, Filippo Masoero, Angiolo Mazzoni, Torido Mazzotti, Alberto Montacchini, Nelson Morpurgo, Bruno Munari, N. Nicciani, Vinicio Paladini
    [Show full text]
  • Aeropittura (Aeropainting) Watercolour, with Touches of Silver Pen, with Framing Lines in Green Ink, on Paper Laid Down Onto a Black Card (The Cover of a Notebook?)
    Domenico (Mino) DELLE SITE (Lecce 1914 - Rome 1996) Aeropittura (Aeropainting) Watercolour, with touches of silver pen, with framing lines in green ink, on paper laid down onto a black card (the cover of a notebook?). Signed with monogram, inscribed and dated DSte FUTURISTA / 1932/ LF/ X in white gouache on the backing card, below the image. Titled AERO/ PITTURA on a separate sheet of paper cut out and pasted onto the lower right of the image. Further inscribed Delle Site Domenico / Alunno 4oCorso on the backing card. 93 x 103 mm. (3 5/8 x 4 1/8 in.) [image, at greatest dimensions]. 241 x 175 mm. (9 1/2 x 67/8 in.) [backing card] In September 1929 the Futurist theorist and founder Filippo Tomasso Marinetti published an article entitled ‘Perspectives of Flight and Aeropainting’ in the Gazzetta del Popolo in Turin, signed by Giacomo Balla, Fortunato Depero, Enrico Prampolini and several other Futurist painters. Republished in a revised and more complete version in 1931, the text served as a manifesto of the nascent branch of Futurism known as aeropittura, or Futurist aeropainting: ‘We Futurists declare that: 1. The changing perspectives of flight are an absolutely new reality that has nothing to do with the traditional reality of terrestrial perspectives. 2. The elements of this new reality have no fixed point and are built out of the same perennial mobility. 3. The painter cannot observe and paint unless he experiences the same speed as these elements. 4. Painting this new reality from the air imposes a profound contempt for detail and a need to summarize and transfigure everything…7.
    [Show full text]
  • Futurism's Photography
    Futurism’s Photography: From fotodinamismo to fotomontaggio Sarah Carey University of California, Los Angeles The critical discourse on photography and Italian Futurism has proven to be very limited in its scope. Giovanni Lista, one of the few critics to adequately analyze the topic, has produced several works of note: Futurismo e fotografia (1979), I futuristi e la fotografia (1985), Cinema e foto- grafia futurista (2001), Futurism & Photography (2001), and most recently Il futurismo nella fotografia (2009).1 What is striking about these titles, however, is that only one actually refers to “Futurist photography” — or “fotografia futurista.” In fact, given the other (though few) scholarly studies of Futurism and photography, there seems to have been some hesitancy to qualify it as such (with some exceptions).2 So, why has there been this sense of distacco? And why only now might we only really be able to conceive of it as its own genre? This unusual trend in scholarly discourse, it seems, mimics closely Futurism’s own rocky relationship with photography, which ranged from an initial outright distrust to a later, rather cautious acceptance that only came about on account of one critical stipulation: that Futurist photography was neither an art nor a formal and autonomous aesthetic category — it was, instead, an ideological weapon. The Futurists were only able to utilize photography towards this end, and only with the further qualification that only certain photographic forms would be acceptable for this purpose: the portrait and photo-montage. It is, in fact, the very legacy of Futurism’s appropriation of these sub-genres that allows us to begin to think critically about Futurist photography per se.
    [Show full text]
  • Indice Generale Aggiornato Al 25.11.2020
    BIBLIOTECA BOCCIONI Indice generale 1 - L'opera completa di Boccioni, presentazione di Aldo Palazzeschi (apparati critici e filologici di Gianfranco Bruno), editore Rizzoli Editore Milano, 1969, formato 24x31, pag. 120. 2 - Boccioni - Catalogo completo, Giorgio Verzotti, editore Cantini Editore, 1989, formato 15,5x21, pag. 159. 3 - Umberto Boccioni, Disegni 1907-1915 (dalle civiche raccolte d'arte di Milano), editore Nuove Edizioni Gabriele Mazzotta srl, 1990, formato 24x22,5, pag. 96. 4 - Umberto Boccioni - Catalogo ragionato delle incisioni, degli ex libris, dei manifesti e delle illustrazioni, Paolo Bellini, editore Silvana Editoriale spa, 2004, formato 23x28, pag. 207. 5 - Boccioni - Catalogo generale, Maurizio Calvesi - Alberto Dambruoso, editore Umberto Allemandi Torino, 2016, formato 25x34,5, pag. 575. 6 - Boccioni - Incisioni e disegni (scelti e annotati da Maurizio Calvesi), editore La Nuova Italia Editrice, 1973, formato 12x20, pag. 92. 7 - Le origini romagnole di Boccioni e la scultura omaggio di Arnaldo Pomodoro, Guido Ballo, editore Nuove Edizioni Gabriele Mazzotta Milano, 1984, formato 20x20, pag. 120. 8 - Boccioni, Gabriella Di Milia, Art dossier, editore Giunti Editoriale Firenze, 1998, formato 20,5x28,5, pag. 50. 9 - Umberto Boccioni - Diari, a cura di Gabriella Di Milia, editore Abscondita Milano, 2003, formato 13x22, pag. 184. 10 - Umberto Boccioni - Disegni e Incisioni della Galleria Nazionale di Cosenza, a cura di Nella Mari, consulenza scientifica di Maurizio Calvesi, editore Silvana Editoriale Milano, 2003, formato 23x28, pag. 144. 11 - Boccioni - I classici dell'arte - Il Novecento, presentazione di Aldo Palazzeschi, editore Rizzoli Gruppo Skira, 2004, formato 17x21, pag. 191. 12 - Boccioni - Pittore scultore futurista, a cura di Laura Mattioli Rossi, editore Skira Editore Milano, 2006, formato 24x28, pag.
    [Show full text]
  • HARD FACTS and SOFT SPECULATION Thierry De Duve
    THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between.
    [Show full text]
  • Caffeina E Vodka Italia E Russia: Futurismi a Confronto Claudia Salaris
    Caffeina e vodka Italia e Russia: futurismi a confronto Claudia Salaris Il viaggio di Marinetti in Russia Negli anni eroici del futurismo il fondatore Filippo Tommaso Marinetti era noto con il soprannome di “Caffeina d’Europa” per l’energia con cui diffondeva la religione del futuro da un paese all’altro. Uno dei suoi viaggi memorabili è quello in Russia all’inizio del 1914 1. Invitato a tenere un ciclo di conferenze a Mosca e a Pietroburgo, Il poeta ha accettato con entusiasmo, pensando a un patto d’unità d’azione con i fratelli orientali. Infatti nella terra degli zar il futurismo è nato con caratteristiche proprie,ma è sempre un parente stretto del movimento marinettiano. Nelle realizzazioni dell’avanguardia russa non sono pochi gli echi delle teorie e invenzioni del futurismo marinettiano. Ma, al contrario degli italiani che formano una specie di partito d’artisti omogeneo, i russi sono sparsi in diversi gruppi. Nel 1910 è uscita a Pietroburgo l’antologia Il vivaio dei giudici , a cui hanno collaborato, tra gli altri, i fratelli David e Nikolaj Burljuk, Elena Guro, Vasilij Kamenskij, Viktor Chlebnikov. A costoro presto si sono uniti Vladimir Majakovskij, Benedikt Livshich, Alexandr Kruchënych e alla fine del 1912 il gruppo, che intanto ha assunto il nome di Gileja, pubblica il volume Schiaffo al gusto corrente , che nel titolo rivela la matrice marinettiana, ricalcando il “disprezzo del pubblico” promulgato dal poeta italiano. Il libro collettivo contiene un editoriale-manifesto in cui i gilejani, rifiutando il passato e le accademie, esortano i giovani a “gettare Pushkin, Dostoevskij, Tolstoj, ecc.
    [Show full text]
  • Refractory Migrants. Fascist Surveillance on Italians in Australia, 1922-1943
    Saggi Refractory Migrants. Fascist Surveillance on Italians in Australia, 1922-1943 Gianfranco Cresciani Ministry for the Arts, New South Wales, Australia There are exiles that gnaw and others that are like consuming fire. There is a heartache for the murdered country… PABLO NERUDA We can never forget what happened to our country and we must always remind those responsible that we know who they are. ELIZABETH RIVERA One of the more salient and frightening aspects of European dictatorships during the Twentieth Century, in their effort to achieve totalitarian control of their societies, was the grassroots surveillance carried out by their state secu- rity organisations, of the plots and machinations of their opponents*. Nobody described better this process of capillary penetration in the minds and condi- tioning of the lives of people living under Communist or Fascist regimes than George Orwell in his book Nineteen Eighty-Four, published in 1949 and warning us on the danger of Newspeak, Doublethink, Big Brother and the Thought Police. However, the process of mass surveillance of refractory sub- jects preceded the rise of totalitarianism. The Ochrana in Tsarist Russia and the Direzione Generale di Pubblica Sicurezza (hereafter DGPS, Directorate- General of Public Safety) in Liberal Italy, to give just two examples, had al- 6 © Edizioni della Fondazione Giovanni Agnelli gennaio-giugno 2004 ready begun this screening practice at the end of the Nineteenth Century1. However, it was in the Twentieth Century that the obsession for pervasive, absolute
    [Show full text]
  • Militante. Enrico Crispolti E Il Suo Archivio
    LA VERTIGINE DELL’ARCHIVIO - https://teca.unibo.it LUCA PIETRO NICOLETTI Un ‘cantiere’ militante. Enrico Crispolti e il suo archivio ABSTRACT The paper is about the archive of Enrico Crispolti (Roma 1933-2018), art critic and contemporary art historian, and about his militant idea of ‘dynamic’ archive and the methodological consequences: the researcher witch study contemporary art often is the ‘inventor’ of future archival source. KEYWORDS: Militant critic; History of contemporary art; Critical blockbuster notes; Correspondence; Rome. L’intervento si concentra sull’archivio del critico d’arte Enrico Crispolti (Roma 1933-2018), e soprattutto l’evoluzione di un’idea ‘militante’ di archivio ‘attivo’, con le sue conseguenze sul piano metodologico: lo storico dell’arte contemporanea, spesso, contribuisce alla creazione delle fonti d’archivio sui temi che costituiscono oggetto del suo studio. PAROLE CHIAVE: Critica militante; Storia dell’arte contemporanea; Taccuino critico; Carteggio; Roma. DOI: https://doi.org/10.6092/issn.2240-3604/11684 _______________________________________ rispolti, ricordava Enrico Baj nel 1983 nella sua Automitobiografia, entrò in contatto con me verso la fine del 1957 […]: gli mandai inoltre dei gran pacchi di documenti che lo resero felice. Crispolti infatti è una macchina raccoglitrice e nei suoi archivi trovi di tutto: anche quello che tu, che ne sei l’autore, non hai. […] Poi, a partire dal 1970, compilava per l’editore Bolaffi di Torino il catalogo generale delle mie opere, catalogo che vedeva la luce nell’ottobre del 1973 e che comprendeva tutti i miei quadri sino al Pinelli incluso. Fu appunto nella stesura critica e documentale di detta opera che la vastità e la varietà dell’informazione crispoltiana eccelse incontrastata.
    [Show full text]
  • Futurism-Anthology.Pdf
    FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F.
    [Show full text]
  • Film, Folders, and Mina Loy
    FORUM: IN THE ARCHIVES Live from the Archive: Film, Folders, and Mina Loy Sasha Colby In the nineteenth and early twentieth centuries, much of the talk around ideas of re-animation centred on the great archaeological expeditions where place names stood for sites of unimaginable recovery: Egypt, Mesopotamia, Greece, Pompeii. A body of literature arose around this reclamation, often imaginatively reconstituting the historical from its material remains. The unprecedented unearthing of the past also led to questions: how could material relics at once be past yet at the same time exist in the present; give rise to fantasies of reconnection; disorient the line between then and now? Writers from Pater to Nietzsche were preoccupied by these questions and also by the perceived dangers of being consumed by history—as well as the delusion of being able to reclaim it. Intriguingly, in our own moment, new versions of these debates have been taken up by Performance Studies scholars, on many counts an unlikely group of inheritors. Yet questions about the power of the object in the archive, its ability to summon the past, its place in the present, its relation to performance modalities, and the archiving of performance itself, in many ways bear the traces of these earlier discussions. Indeed, Mike Pearson and Michael Shanks’ Theatre/Archaeology (2001) situates itself at this border precisely in order to unpack the conceptual similarities of theatrical and archaeological projects, all of which gesture, as Rebecca Schneider (2011) has shown, to reenactment as a kind of end-point for rediscovery. When I put away my first book, Stratified Modernism (2009), about the relationship between archaeology and modernist writing, in order to start the second, Staging Modernist Lives, I thought—as we so often do—that I was putting one thing aside in order to start something entirely new: in this case, a treatise on the usefulness of biographical performance for modernist scholarship that includes three of my own plays about writers H.
    [Show full text]