The Futurists: Avant-Gardes 1909 – 2009 Programme (29.6.2009)
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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. -
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. -
The Legacy of Futurism's Obsession with Speed in 1960S
Deus (ex) macchina: The Legacy of Futurism’s Obsession with Speed in 1960s Italy Adriana M. Baranello University of California, Los Angeles Il Futurismo si fonda sul completo rinnovamento della sensibilità umana avvenuto per effetto delle grandi scoperte scientifiche.1 In “Distruzione di sintassi; Imaginazione senza fili; Parole in lib- ertà” Marinetti echoes his call to arms that formally began with the “Fondazione e Manifesto del Futurismo” in 1909. Marinetti’s loud, attention grabbing, and at times violent agenda were to have a lasting impact on Italy. Not only does Marinetti’s ideology reecho throughout Futurism’s thirty-year lifespan, it reechoes throughout twentieth-century Italy. It is this lasting legacy, the marks that Marinetti left on Italy’s cultural subconscious, that I will examine in this paper. The cultural moment is the early Sixties, the height of Italy’s boom economico and a time of tremendous social shifts in Italy. This paper will look at two specific examples in which Marinetti’s social and aesthetic agenda, par- ticularly the nuova religione-morale della velocità, speed and the car as vital reinvigorating life forces.2 These obsessions were reflected and refocused half a century later, in sometimes subtly and sometimes surprisingly blatant ways. I will address, principally, Dino Risi’s 1962 film Il sorpasso, and Emilio Isgrò’s 1964 Poesia Volkswagen, two works from the height of the Boom. While the dash towards modernity began with the Futurists, the articulation of many of their ideas and projects would come to frui- tion in the Boom years. Leslie Paul Thiele writes that, “[b]reaking the chains of tradition, the Futurists assumed, would progressively liberate humankind, allowing it to claim its birthright as master of its world.”3 Futurism would not last to see this ideal realized, but parts of their agenda return continually, and especially in the post-war period. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
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 -
Plastic Dynamism in Pastel Modernism: Joseph Stella's
PLASTIC DYNAMISM IN PASTEL MODERNISM: JOSEPH STELLA’S FUTURIST COMPOSITION by MEREDITH LEIGH MASSAR Bachelor of Arts, 2007 Baylor University Waco, Texas Submitted to the Faculty Graduate Division College of Fine Arts Texas Christian University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2010 ! ""! PLASTIC DYNAMISM IN PASTEL MODERNISM: JOSEPH STELLA’S FUTURIST COMPOSITION Thesis approved: ___________________________________________________________________________ Dr. Mark Thistlethwaite, Major Professor ___________________________________________________________________________ Dr. Frances Colpitt ___________________________________________________________________________ Rebecca Lawton, Curator, Amon Carter Museum ___________________________________________________________________________ H. Joseph Butler, Graduate Studies Representative For the College of Fine Arts ! """! Copyright © 2009 by Meredith Massar. All rights reserved ! "#! ACKNOWLEDGMENTS I am grateful to all those who have assisted me throughout my graduate studies at Texas Christian University. Thank you to my professors at both TCU and Baylor who have imparted knowledge and guidance with great enthusiasm to me and demonstrated the academic excellence that I hope to emulate in my future career. In particular I would like to recognize Dr. Mark Thistlethwaite for his invaluable help and direction with this thesis and the entire graduate school experience. Many thanks also to Dr. Frances Colpitt and Rebecca Lawton for their wisdom, suggestions, and service on my thesis committee. Thank you to Chris for the constant patience, understanding, and peace given throughout this entire process. To Adrianna, Sarah, Coleen, and Martha, you all have truly made this experience a joy for me. I consider myself lucky to have gone through this with all of you. Thank you to my brothers, Matt and Patrick, for providing me with an unending supply of laughter and support. -
The T Ransrational Poetry of Russian Futurism Gerald J Ara,Tek
The T ransrational Poetry of Russian Futurism E Gerald J ara,tek ' 1996 SAN DIEGO STATE UNIVERSilY PRESS Calexico Mexicali Tijuana San Diego Copyright © 1996 by San Diego State University Press First published in 1996 by San Diego State University Press, San Diego State University, 5500 Campanile Drive, San Diego, California 92182-8141 http:/fwww-rohan.sdsu.edu/ dept/ press/ All rights reserved. -', Except for brief passages quoted in a review, no part of thisb ook m b ay e reproduced in an form, by photostat, microfilm, xerography r y , o any other means, or incorporated into any information retrieval system, electronic or mechanical, withoutthe written permission of thecop yright owners. Set in Book Antiqua Design by Harry Polkinhorn, Bill Nericcio and Lorenzo Antonio Nericcio ISBN 1-879691-41-8 Thanks to Christine Taylor for editorial production assistance 9 8 7 6 5 4 3 2 1 Acknowledgements Research for this book was supported in large part by grants in 1983, 1986, and 1989 from the International Research & Ex changes Board (IREX), with funds provided by the National En dowment for the Humanities, the United States Information Agency, and the US Department of State, which administers the Russian, Eurasian, and East European Research Program (Title VIII). In addition, I would like to express my gratitude to the fol lowing institutions and their staffs for aid essential in complet ing this project: the Fulbright-Bayes Senior Scholar Research Program for further support for the trips in 1983 and 1989, the American Council of Learned Societies for further support for the trip in 1986, the Russian Academy of Sciences, and the Brit ish Library; iri Moscow: to the Russian State Library, the Rus sian State Archive of Literature and Art, the Gorky Institute of World Literature, the State Literary Museum, and the Mayakovsky Museum; in St. -
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. -
Cubo-Futurism
Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet. -
Constructivist Book Design: Shaping the Proletarian Conscience
Constructivist Book Design: Shaping the Proletarian Conscience We . are satisfied if in our book the lyric and epic Futurist books were unconventionally small, and whether Margit Rowell evolution of our times is given shape. —El Lissitzky1 or not they were made by hand, they deliberately empha- sized a handmade quality. The pages are unevenly cut One of the revelations of this exhibition and its catalogue and assembled. The typed, rubber- or potato-stamped is that the art of the avant-garde book in Russia, in the printing or else the hectographic, or carbon-copied, early decades of this century, was unlike that found any- manuscript letters and ciphers are crude and topsy-turvy where else in the world. Another observation, no less sur- on the page. The figurative illustrations, usually litho- prising, is that the book as it was conceived and pro- graphed in black and white, sometimes hand-colored, duced in the period 1910–19 (in essentially what is show the folk primitivism (in both image and technique) known as the Futurist period) is radically different from of the early lubok, or popular woodblock print, as well as its conception and production in the 1920s, during the other archaic sources,3 and are integrated into and inte- decade of Soviet Constructivism. These books represent gral to, as opposed to separate from, the pages of poetic two political and cultural moments as distinct from one verse. The cheap paper (sometimes wallpaper), collaged another as any in the history of modern Europe. The covers, and stapled spines reinforce the sense of a hand- turning point is of course the years immediately follow- crafted book. -
235-Newsletter.Pdf
The Poetry Project Newsletter Editor: Paul Foster Johnson Design: Lewis Rawlings Distribution: Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 The Poetry Project, Ltd. Staff Artistic Director: Stacy Szymaszek Program Coordinator: Arlo Quint Program Assistant: Nicole Wallace Monday Night Coordinator: Simone White Monday Night Talk Series Coordinator: Corrine Fitzpatrick Wednesday Night Coordinator: Stacy Szymaszek Friday Night Coordinator: Matt Longabucco Sound Technician: David Vogen Videographer: Andrea Cruz Bookkeeper: Lezlie Hall Archivist: Will Edmiston Box Office: Aria Boutet, Courtney Frederick, Gabriella Mattis Interns/Volunteers: Mel Elberg, Phoebe Lifton, Jasmine An, Davy Knittle, Olivia Grayson, Catherine Vail, Kate Nichols, Jim Behrle, Douglas Rothschild Volunteer Development Committee Members: Stephanie Gray, Susan Landers Board of Directors: Gillian McCain (President), John S. Hall (Vice-President), Jonathan Morrill (Treasurer), Jo Ann Wasserman (Secretary), Carol Overby, Camille Rankine, Kimberly Lyons, Todd Colby, Ted Greenwald, Erica Hunt, Elinor Nauen, Evelyn Reilly and Edwin Torres Friends Committee: Brooke Alexander, Dianne Benson, Will Creeley, Raymond Foye, Michael Friedman, Steve Hamilton, Bob Holman, Viki Hudspith, Siri Hustvedt, Yvonne Jacquette, Patricia Spears Jones, Eileen Myles, Greg Masters, Ron Padgett, Paul Slovak, Michel de Konkoly Thege, Anne Waldman, Hal Willner, John Yau Funders: The Poetry Project’s programs and publications are made possible, in part, with public funds from The National Endowment for the Arts. The Poetry Project’s programming is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The Poetry Project’s programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. -
Carte Italiane
UCLA Carte Italiane Title Futurism's African (A)temporalities Permalink https://escholarship.org/uc/item/9nj8s8mx Journal Carte Italiane, 2(6) ISSN 0737-9412 Author McKever, Rosalind S Publication Date 2010-10-20 DOI 10.5070/C926011388 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Futurism’s African (A)temporalities Rosalind McKever Kingston University According to the anthropologist Marc Augé, a society’s way of symboli- cally treating space constitutes the given from which any individual born into that society’s experience is constructed; surely the same import applies to the symbolic treatment of time.1 This, in addition to Peter Osborne’s notion that the comprehension of modernity as a period of time should not be separated from the experience of time within that period, support the importance my research attributes to the under- standing of temporalities when addressing Futurism’s relationship with the past.2 This paper marks a widening of the spatio-temporal borders of this research from the Italian past of the Roman Empire, Renaissance and Risorgimento to the colonial present in what Gabriele d’Annunzio termed Italy’s “quarta sponda,” the fourth shore, Africa. In the genesis of this paper a conversation with a South African friend threw up an interesting phrase: “Africa Time.” It refers to the slow pace at which things are done due to a relaxed attitude and inef- ficient systems. This phrase is a clear parallel to the notion of “Italian Time” that I was told about before my first visit to Italy. On the level of quantitative scientific clock time, Italy may only share a time zone with about a third of the African continent, but with regards to a subjective temporality they may share a lot more.