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UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title La comunita' mutilata: Embodiment, Corporality, and the Reconstruction of the Italian Body Politic in the Works of F.T. Marinetti and Gabriele D'Annunzio Permalink https://escholarship.org/uc/item/492903f9 Author Martire, Anthony John Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California La comunità mutilata: Embodiment, Corporality, and the Reconstruction of the Italian Body Politic in the Works of F.T. Marinetti and Gabriele D'Annunzio By Anthony John Martire A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Barbara Spackman, Chair Professor Mia Fuller Professor Harsha Ram Spring 2012 Abstract La comunità mutilata: Embodiment, Corporality, and the Reconstruction of the Italian Body Politic in the works of F.T. Marinetti and Gabriele D’Annunzio By Anthony John Martire Doctor of Philosophy in Italian Studies University of California, Berkeley Professor Barbara Spackman, Chair “La comunità mutilata: Embodiment, Corporality, and the Reconstruction of the Italian Body Politic in the works of F.T. Marinetti and Gabriele D’Annunzio”, is a study in how discourses of technological modernism, nationality, and woundedness operate on the longstanding metaphor of the body politic. It focuses on the writings of two of Italy’s most controversial, and influential, figures during and after the First World War. I show how mutilated and prosthetic bodies become powerful political metaphors for both Marinetti and D’Annunzio, which upend and transform the notion of the body politic in posthuman, postliberal and antidemocratic ways. -
Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930)
Jennifer Wild, “‘Are You Afraid of the Cinema?’” AmeriQuests (2015) ‘Are you Afraid of the Cinema?’: Du Cinéma and the Changing Question of Cinephilia and the Avant-Garde (1928-1930) In December 1928, the prolific “editor of the Surrealists,” La Librairie José Corti, launched the deluxe, illustrated journal Du Cinéma: Revue de Critique et de Recherches Cinématographiques.1 Its first issue, indeed its very first page, opened with a questionnaire that asked, “Are you afraid of the cinema?” (Fig. 1, 2) The following paragraphs describing the questionnaire’s logic and critical aims were not penned by the journal’s founding editor in chief, Jean- George Auriol (son of George Auriol, the illustrator, typographer, and managing editor of the fin-de-siècle journal Le Chat Noir); rather, they were composed by André Delons, poet, critic, and member of the Parisian avant-garde group Le Grand Jeu. “This simple question is, by design, of a frankness and a weight made to unsettle you. I warn you that it has a double sense and that the only thing that occupies us is to know which you will choose,” he wrote.2 1. Cover, Du Cinéma, No. 1. Pictured: a still from Etudes Sur Paris (André Sauvage, 1928) 2. Questionnaire, “Are You Afraid of the Cinema?” Du Cinéma, No. 1. 1 Unless otherwise noted, all translations are my own. 2 André Delons, “Avez-Vous Peur du Cinéma?” Du Cinéma: Revue de Critique et de Recherches Cinématographiques, 1st Series, no.1, (December 1928), reprint edition, ed. Odette et Alain Virmaux (Paris: Pierre Lherminier Editeur, 1979), 3. -
Rosaleen Norton's Contribution to The
ROSALEEN NORTON’S CONTRIBUTION TO THE WESTERN ESOTERIC TRADITION NEVILLE STUART DRURY M.A. (Hons) Macquarie University; B.A. University of Sydney; Dip. Ed. Sydney Teachers College Submission for Degree of Doctor of Philosophy School of Humanities and Social Science University of Newcastle NSW, Australia Date of submission: September 2008 STATEMENT OF ORIGINALITY This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. Signed: Date: Neville Stuart Drury ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this Thesis is the result of original research, the greater part of which was completed subsequent to admission for the degree. Signed: Date: Neville Stuart Drury 2 CONTENTS Introduction 5 Chapter One: Rosaleen Norton – A Biographical Overview 16 Chapter Two: Sources of the Western Esoteric Tradition 61 Chapter Three: Aleister Crowley and the Magic of the Left-Hand Path 127 Chapter Four: Rosaleen Norton’s Magical Universe 214 Chapter Five: Rosaleen Norton’s Magical Practice 248 Chapter Six: Rosaleen Norton as a Magical Artist 310 Chapter Seven: Theories and Definitions of Magic 375 Chapter Eight: Rosaleen Norton’s Contribution to the Western Esoteric Tradition 402 Appendix A: Transcript of the interview between Rosaleen Norton and L.J. -
Of the Omnipotent Mind, Or Surrealism
UvA-DARE (Digital Academic Repository) The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism Bauduin, T.M. Publication date 2012 Link to publication Citation for published version (APA): Bauduin, T. M. (2012). The occultation of Surrealism: a study of the relationship between Bretonian Surrealism and western esotericism. Elck Syn Waerom Publishing. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 four Introduction: The unfortunate onset of the 1930s By the end of the 1920s, life was FO turning sour for Breton. Financially, he was floundering. Amorously, he found himself in dire straits: his marriage with Simone Kahn was over, a love affair UR with Lise Meyer had ended badly, his involvement with Nadja had been tragic and the affair with Suzanne Muzard— introduced as ‘X’ at the end of Nadja— The ‘Golden was not going well. -
Jan Feb Mar 2018
JAN FEB MAR 2018 FROM THE DIRECTOR A collaborative effort between Findley Elementary School students, their teacher Lisa Hesse, and artist Dave Eppley, whose major site-specific installation is included in the In late September, The Links, Drawing in Space exhibition, resulted in Mile-a-Minute Rainbow Incorporated, a not-for-profit corporation Ivy, 2017, being installed on the Richard Meier building during of African-American women leaders, held the month of November. their 60th anniversary celebration at the Art Center. The evening also showcased the many works by African-American artists in our permanent collections. It was an especially rewarding collaboration for everyone involved. The Links is now continuing this special partnership with a gift of $1,000 to support an education- based internship at the Art Center in 2018 for African-American students. The Art Center, like many museums across the country, is striving to introduce young persons of color to employment in the field in an attempt to increase their numbers in the museum career pipeline. This project will help do so. Another exciting partnership occurred in October with the Iowa Civil Rights Commission. The group held a board meeting at the Art Center where the members toured our recent exhibition, I, too, am America, with Assistant Curator Jared Ledesma. Later in October, the Iowa Civil Rights Commission organized a public symposium, which featured a break-out session entitled, I, too, am America, inspired by the show. This is a wonderful example of the power of art to inspire, illuminate understanding, and engage broad audiences. In early November, the Art Center celebrated the creation of a temporary, large-scale mural on the exterior of the Richard Meier building with a public reception. -
Networking Surrealism in the USA. Agents, Artists and the Market
151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh. -
Anarcho-Surrealism in Chicago
44 1 ANARCHO-SURREALISM IN CHICAGO SELECTED TEXTS DREAMS OF ARSON & THE ARSON OF DREAMS: 3 SURREALISM IN ‘68 Don LaCross THE PSYCHOPATHOLOGY OF WORK 19 Penelope Rosemont DISOBEDIENCE: THE ANTIDOTE FOR MISERABLISM 22 Penelope Rosemont MUTUAL ACQUIESCENCE OR MUTUAL AID? 26 Ron Sakolsky ILL WILL EDITIONS • ill-will-editions.tumblr.com 2 43 AK Press, 2010, p. 193. [22] Laurance Labadie, “On Competition” in Enemies of Society: An Anthology of Individualist and Egoist Thought (Ardent Press, San Francisco, 2011) p. 249. The underpinnings of Labadie’s point of view, which are similar to those of many other authors featured in this seminal volume, are based on the assumption that communitarian forms of mutual aid do not necessarily lead to individual emancipation. Rather, from this perspective, their actual practice involves the inherent danger of creating an even more insidious form of servitude based upon a herd mentality that crushes individuality in the name of mutuality, even when their practitioners intend or claim to respect individual freedom as an anarchist principle. [23] The Invisible Committee. The Coming Insurrection. Los Angeles: Semiotext(e), 2009. [24] Anonymous. “Taking Communion at the End of History” in Politics is not a Banana: The Journal of Vulgar Discourse. Institute for Experimental Freedom, 2009, p. 70. [25] Anonymous. Desert. St. Kilda: Stac an Armin Press, 2011, p 7. [26] Ibid, p 68. [27] James C. Scott. The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia. New Haven: Yale University Press, 2009. [28] PM. Bolo Bolo. Brooklyn, NY: Autonomedia, 1995, pp 58–60. [29] Richard Day. -
Documents (Pdf)
Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada. -
Art for People's Sake: Artists and Community in Black Chicago, 1965
Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago. -
Surrealism-Revolution Against Whiteness
summer 1998 number 9 $5 TREASON TO WHITENESS IS LOYALTY TO HUMANITY Race Traitor Treason to whiteness is loyaltyto humanity NUMBER 9 f SUMMER 1998 editors: John Garvey, Beth Henson, Noel lgnatiev, Adam Sabra contributing editors: Abdul Alkalimat. John Bracey, Kingsley Clarke, Sewlyn Cudjoe, Lorenzo Komboa Ervin.James W. Fraser, Carolyn Karcher, Robin D. G. Kelley, Louis Kushnick , Kathryne V. Lindberg, Kimathi Mohammed, Theresa Perry. Eugene F. Rivers Ill, Phil Rubio, Vron Ware Race Traitor is published by The New Abolitionists, Inc. post office box 603, Cambridge MA 02140-0005. Single copies are $5 ($6 postpaid), subscriptions (four issues) are $20 individual, $40 institutions. Bulk rates available. Website: http://www. postfun. com/racetraitor. Midwest readers can contact RT at (312) 794-2954. For 1nformat1on about the contents and ava1lab1l1ty of back issues & to learn about the New Abol1t1onist Society v1s1t our web page: www.postfun.com/racetraitor PostF un is a full service web design studio offering complete web development and internet marketing. Contact us today for more information or visit our web site: www.postfun.com/services. Post Office Box 1666, Hollywood CA 90078-1666 Email: [email protected] RACE TRAITOR I SURREALIST ISSUE Guest Editor: Franklin Rosemont FEATURES The Chicago Surrealist Group: Introduction ....................................... 3 Surrealists on Whiteness, from 1925 to the Present .............................. 5 Franklin Rosemont: Surrealism-Revolution Against Whiteness ............ 19 J. Allen Fees: Burning the Days ......................................................3 0 Dave Roediger: Plotting Against Eurocentrism ....................................32 Pierre Mabille: The Marvelous-Basis of a Free Society ...................... .40 Philip Lamantia: The Days Fall Asleep with Riddles ........................... .41 The Surrealist Group of Madrid: Beyond Anti-Racism ...................... -
Dada Surrealism and Expressionism
• Dada was an art movement formed during the First World War in Zurich in 1916 in negative reaction to the horrors and folly of the war. The art, poetry and performance produced by Dada artists is often satirical and nonsensical in nature. Dada artists felt war called into question every aspect of society and their aim was to destroy all traditional values and assumptions. Dada was also anti-bourgeois and aligned with the radical left. The founder of Dada was a writer, Hugo Ball and in 1916 he started a satirical night-club in Zurich, the Cabaret Voltaire. Dada became an international movement and was the basis of Surrealism in Paris after the war. Leading artists associated with it include Jean Arp (1886-1966), Marcel Duchamp (1887-1968), Francis Picabia (1879-1953) and Kurt Schwitters (1887- 1948). Duchamp’s questioning of the fundamentals of Western art had a profound subsequent influence. • Surrealism was founded by French poet André Breton in Paris in 1924 and it became an international movement including British Surrealism which formed in 1936. Surrealists were strongly influenced by Sigmund Freud (the founder of psychoanalysis) and his theories about the unconscious and the aim of the movement was to reveal the unconscious and reconcile it with rational life. Key artists involved in the movement were Salvador Dalí, Max Ernst, René Magritte and Joan Miró. Two broad types of surrealism can be seen: one based on dreamlike imagery and the other on automatism (a process of making which unleashed the unconscious by drawing or writing without conscious thought). Some (such as Max Ernst) used new techniques such as frottage and collage to create unusual imagery. -
D'annunzio at Fiume, Quaderni, Vol
Pamela Ballinger JOHN HOPKINS UNIVERSITY REWRITING THE TEXT OF THE NATION: D'ANNUNZIO A T FIUME P. BALL!NGER, D'Annunzio at Fiume, Quaderni, vol. Xl, 1997, p. 117- 155 119 Introduction: In the house of the nation Perched in the hills above the resort town ofGardone Riviera on the northern Jtalian Lago di Garda stands the ornate and idiosyncratic villa known as the Vittoria/e. Visitors invariably express astonishment upon first viewing the villa, which almost overflowswith statues, objets d'art, Persian carpets, religious icons, and war relics. Countless mottos and inscriptions decorate its walls and niches; garish reds and blues dazzle the eyes in this otherwise dusky building into which little sunlight penetrates. The villa stands as a self-created monument to the · lifework of its former owner, the poet and war hero Gabriele D'Annunzio, and to his vision of a revitalized Italian nation. Crossing the Vittoria/e 's threshold, the visitor enters the symbolic universe of this poet who, having fa i led to realize as political reality his vision of a new Italian identity fo unded upon a proto-fascist military ethos, subsequently dedicated himself to memorializing his efforts by transforming his residence into a literal museum and tempie. Pausing at the gateway portico fo rmed by two triumphal arches, the visitor's gaze first meets a fo untain whose inscription reveals D' Annunzio's aim: "Dentro da questa cerchia triplice di mura, ove tradotto e già in pietre vive quel libro religioso ch'io mi pensai preposto ai riti della Patria e dai vincitori latini chiamato Vittoria/e "(Mazza 1987: 22).