Relevant bibliographies by topics / Futurism (Literary movement) Italy

Academic literature on the topic 'Futurism (Literary movement) Italy'

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Published: 10 December 2022
Last updated: 10 March 2023

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Journal articles on the topic "Futurism (Literary movement) Italy"

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Donátková, Zuzana. "Futurismus a fašismus." Historica. Revue pro historii a příbuzné vědy 12, no. 2 (December 2021): 197–218. http://dx.doi.org/10.15452/historica.2021.12.0009.

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The article maps the relationship between the Italian Futurist movement and fascism from a general perspective. It deals with the relationship between the leader of Futurism F. T. Marinetti and Benito Mussolini from the beginning of their cooperation in 1915 to the end of the Second World War. Throughout its era, Futurism identified itself with Italy’s social and political climate. Futurism was one of the ideological sources for fascism and it was one of the movements that formed Fasci di Combattimento in 1919. But after Mussolini came to power, fascist cultural politics aesthetically preferred traditionalism, order, and a return to the achievements of history, a contemporary rappel à l’ordre, and Futurism found itself in cultural dissent. Marinetti thus spent the rest of his life trying to improve the position of modernist artists in fascist Italy, which would earn Futurism recognition of the official state art of the fascist regime.
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Berghaus, Günter. "Fulvia Giuliani: Portrait of a Futurist Actress." New Theatre Quarterly 10, no. 38 (May 1994): 117–21. http://dx.doi.org/10.1017/s0266464x00000282.

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Despite the importance of Italian Futurism to the modernist movement in Europe during the early inter-war period, it has suffered a bad press – initially because of its association with the emergent fascist movement, and more recently because of the feminist concern with apparently misogynistic elements in the writing of the acknowledged leader of the movement, F. T. Marinetti. However, Günter Berghaus argues that this is to ignore not only the roots of Marinetti's own anti-feminism – in contempt for the very aspects of subservient womanhood now condemned by feminists themselves – but also the support that Futurism enjoyed from a number of women artists in Italy at the time. Certainly, the early career of the actress Fulvia Giuliani affirms both her strong endorsement for and participation in the movement, and her contempt for women who passively accepted the roles assigned to them by the patriarchy. Günter Berghaus, who teaches in the Drama Department of the University of Bristol, here outlines Giuliani's role in the Futurist movement and documents it from previously unpublished sources.
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Bleifuss, Gerhard. "The Life and Death of a Futurist Poet: Speculations on The Hairy Ape." Eugene O'Neill Review 43, no. 2 (September 1, 2022): 153–71. http://dx.doi.org/10.5325/eugeoneirevi.43.2.0153.

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ABSTRACT What might O’Neill have made of futurism, the Italian movement that had been creating a sensation in the artistic world since 1909? The Hairy Ape perhaps provides the answer. In that play O’Neill arguably transformed Marinetti’s prose “Manifesto of Futurism” into a dramatic text that presented futurism as destructive, misogynist, and inherently bound to fail. An intertextual examination suggests that one might profitably read The Hairy Ape as O’Neill’s negative answer to Marinetti’s ideas about poetry and art. If the futurists had a free rein, O’Neill seems to imply, they would reduce cultural life to a new level of primitiveness. This, in turn, suggests a critique of the futurists’ affinity with fascism.
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Kholodynska, Svitlana. "Personalized History of Futurism: the Experience of Reconstruction the Mikhail Semenko’s Literary Milieu." Culturology Ideas, no. 14 (2'2018) (2018): 140–47. http://dx.doi.org/10.37627/2311-9489-14-2018-2.140-147.

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The theoretical significance of formal and logical structure of “personalized history of futurism” is considered within the context of biographical method, as it was the literary milieu of M. Semenko who played specific role in establishment and development of Ukrainian futurism model. The methodology of the study is defined by the following general theoretical principles applied to analyse humanitarian problems: systematization, historicism, and objectivism. The novelty lies in systematization of M. Semenko’s literary milieu as well as in defining the significance of the role that some representatives of futurism played in its history. For the first time in Ukrainian humanities moral and legal approaches within biography factor are employed to analyse M. Semenko’s literary milieu. Conclusions. 1. It is shown that personalization as a constituent of biography method and fundamental principle of culturological analysis enables to reconstruct adequately personal aspect within logics of ‘construction’ the aim and goals of any radically new literary and artistic group and evaluate creative contribution of each member unbiased. 2. It is emphasized that literary men surrounding the founder of Ukrainian futurism M. Semenko came in gradually shaping Ukrainian model of futurism as an integral and original phenomenon in the culture of the 1910s–1930s. 3. Gradually widening the circle of Ukrainian futuristic movement members, this study reveals life and creative work of D. Buzko, V. Polischuk, O. Vlizko and O. Slisarenko.
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Miranda, Carolina Izabela Dutra de. "Diálogos a partir de Walter Benjamim: a figura de Maiakovski como elo de ligação entre o cubofuturismo e o formalismo russo." Cadernos Benjaminianos 14, no. 1 (January 30, 2019): 51. http://dx.doi.org/10.17851/2179-8478.14.1.51-72.

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Resumo: O presente trabalho aborda as especificidades do futurismo russo, nomeado cubofuturismo, a partir das colocações de Walter Benjamim, presentes nos textos “A nova literatura Russa” (1927) e “O agrupamento político dos escritores na União Soviética” (1927). Embasando-se na discussão desses textos, pretende-se esclarecer a relação deles com o formalismo russo, importante movimento crítico que ocorreu contemporaneamente ao cubofuturismo. Para tanto, pretende-se explicitar como a figura de Vladimir Maiakovski estabeleceu um elo de ligação entre esses dois movimentos – o crítico e o literário – e de que forma o poeta tornou-se importante marco para ocubofuturismo russo e para engajamento político social do movimento literário. Este trabalho pretende expandir as informações e as visões apresentadas por Benjamim em seus textos, sobretudo em relação à atualização acerca do progresso destes movimentos literários e à importância deles, que dificilmente poderiam ser antevistos pelo teórico alemão no momento de produção de seus escritos.Palavras-chave: Cubofuturismo; Futurismo; Formalismo russo; Maiakovski.Abstract: This study aims to deal with the singularities of Russian futurism, named Cubo-Futurism, based on the writings of Walter Benjamin, exposed in the texts “New Russian Literature” (1927) and “The Political Groupings of Russian Writers” (1927). Based on the discussion of these texts, it is intended to clarify their relationship with Russian formalism, an important critical movement which happened contemporaneously with Cubo-Futurism. For this purpose, it aims to explain how the figure of Vladimir Mayakovsky established a connecting link between these two movements – the critic and the literary – and how the poet became an important symbol for Russian Cubo-Futurism and also for the social and political engagement of the literary movement. This study intends to expand the information and the aspects exposed by Benjamin in his texts, especially in relation to the update on the progress of these literary movements and the importance of them, which could hardly be foreseen by the German theorist at the time of his writings.Keywords: Cubo-Futurism; Futurism; Russian formalism; Mayakovsky.
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Caracchini, Cristina. "Laughter and the Manifesto: Aldo Palazzeschi’s Counter-Futurist Futurist Il controdolore." Quaderni d'italianistica 36, no. 2 (July 27, 2016): 103–26. http://dx.doi.org/10.33137/q.i..v36i2.26901.

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Literary history made a Futurist out of Palazzeschi, and he himself said about his manifesto, Il controdolore (published in Lacerba in 1914) that it represented his “modest and direct” contribution to Marinetti’s movement. This article situates Il controdolore among other mainly contemporary texts devoted to laughter. Referring to theories of manifestos, it looks at Palazzeschi’s text as a theatrical space, underlining its literary and non-pragmatic nature. I intend to show that, in this iconic work, we start to recognize certain recurring features and ideas that position Palazzeschi’s very anomalous avant-garde experience among the ranks of the Futurists, in a space of autonomous opposition to both poles of the binary Futurism/non-Futurism. As a matter of fact, his position, liminal, and somewhat anarchic, makes his work a convincing antecedent of avant-garde movements to come, especially Dadaism.
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Skrobanović, Zoran. "A SOULLESS CAMERA: THE PERCEPTION OF ITALIAN FUTURISM IN EARLY CHINESE MODERNIST POETRY." Folia linguistica et litteraria XIII, no. 39 (February 2022): 85–103. http://dx.doi.org/10.31902/fll.39.2022.5.

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Considering the fact that there are certain similarities between the cultural endeavours of the early Chinese modernists and Italian futurists, at first glance, it seems strange that futurist ideas mostly failed to take root in Chinese literary modernism. From the outset, Chinese literary modernism was a heterogeneous movement, but the common denominator in these different movements in post-dynastic China was a radical antitraditionalism that bears similarities to the goals of Italian futurism that was often called the down-with-the-past movement (antipassatismo). Contemporary literary studies usually recognize three distinct waves of Chinese modernism: the first wave refers to the new literary scene in China’s Republican era (1911-1949), but due to the eclecticism of early Chinese modernists who were deriving inspiration and ideas from a broad and diverse range of sources, this initial stage of Chinese modernism includes the authors whose work was inspired by the pre-modern Western movements such as romanticism, symbolism etc. The second wave of Chinese modernism emerged on Taiwan in the 1950s, and the final wave brought modernism back to mainland China at the end of the 1970s. This paper attempts to examine the reception of Italian futurism in early Chinese modernist literature, therefore our research is chronologically focused on the first wave of Chinese modernism.
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Zanotti, Pierantonio. "Beyond Naturalism: Sōma Gyofū, Italian Futurism, and the Search for a New “Art of Force”." Archiv orientální 85, no. 2 (September 18, 2017): 283–303. http://dx.doi.org/10.47979/aror.j.85.2.283-303.

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Sōma Gyofū (1883–1950), one of the most influential literary critics in Taishō Japan (1912–26), published a short essay called “Gendai geijutsu no chūshin seimei” (The central life in contemporary art) in the March 1913 issue of Waseda bungaku (Waseda literature). In it, after illustrating the shortcomings of a number of outlooks on modern life provided by European writers and philosophers, he praised Italian Futurism as the sole movement that came closest to his own ideal of an “art of force” able to cope with the anguished condition of man in a modern technological society. By combining historical research and a textual overview on publications that shaped Gyofū’s knowledge of Futurism, I show how Gyofū’s reception of Futurism was mediated by his philosophical background, which was characterized by an attempt at going beyond Japanese naturalism (shizenshugi). In that, “Gendai geijutsu no chūshin seimei” can be seen as representative of a transition in the Japanese literary scene, which, in the shift from the Meiji to the Taishō era, was experiencing a crisis of naturalism and the rise of discourses centred on “life,” the “self,” and their creative potential.
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Pizza, Antonio. "La ciudad en el futurismo italiano (1909-1915) | Cities in italian futurism (1909-1915)." ZARCH, no. 6 (September 16, 2016): 10. http://dx.doi.org/10.26754/ojs_zarch/zarch.201661444.

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El 20 de Febrero de 1909 aparece en primera página en Le Figaro, como anuncio pagado, el auténtico punto de arranque del movimiento: el texto “Le Futurisme”, firmado por Marinetti. En la ciudad futurista no se detectan presencias humanas y sobretodo faltan las masas urbanas; justamente aquellas muchedumbres ondeantes y enardecidas, glosadas por los pintores futuristas que además, en sus cuadros, retrataban los cascos antiguos o las primeras periferias proletarias existentes en Italia.On 20th February 1909 the real starting point of the movement was published on the front page of LeFigaro, in the text “Le Futurisme” signed by Marinetti. In the futurist city no human presence is detected and theurban masses are particularly conspicuous by their absence; precisely those pulsating, bustling crowds depictedby the futurist painters whose paintings portrayed the ancient city centres of the first proletarian suburbs thatexisted in Italy.
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Zayarna, Iryna. "DMITRO CHIZHEVSKY AS A RESEARCHER OF THE STUDY OF FUTURISM IN RUSSIAN LITERATURE: A DIACHRONIC VECTOR." Polish Studies of Kyiv, no. 35 (2019): 127–34. http://dx.doi.org/10.17721/psk.2019.35.127-134.

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The article deals with the fundamental development directions of futurism studying in Russian poetry in the D. Chizhevsky’s scientific heritage. The author determined the methodological significance of the futurism analysis initiated by the Ukrainian scientist just as organic and valuable artistic phenomenon in the history of Russian literature. His research «On the poetry of Russian futurism» (New York, 1963) was published on the contrary to the total silencing of the avant-garde in the USSR and its almost complete erasure from the historical map of the development of literature. The scientist connects there a number of distinguishing tenden- cies of the futuristic poetics with the preceding stage (the literature of symbolism), and predicts the appearance of studies of this aspect of literary continuity. Author of this article analyses works of similar subjects that have replenished science at the late twentieth – early twenty- first centuries (Bobrinskaya, Kling). D. Chizhevsky pays the most attention to the peculiarities and innovations of the poetic language of the futurists, defines various ways of word creation in their poetic practice – morphological word forms, innovations, morphemic and phonetic «zaum», violations of grammatical norms. As a specialist in comparative literary studies, he drew attention to the connection between the Russian avant-garde and both the Polish (the Scamander group) and the Czech avant-garde in the works of individual authors (V.Nesval). While studying Russian futurism and in a number of works on baroque literature, D. Chizhevsky traces the diachronic connection of Russian futurism with the baroque tradition, reveals the typological affinity of many events in time distant literatures. The baroque dimension of futuristic poetics clearly observed in the conceptual position of Chizhevsky when it comes about «complexity», the opacity of the poetic language of such artists as Mayakovsky, Pasternak, about lan- guage game, the experiment of an abstruse language, intentional stylistic opacity, and the «incomprehensibility» of futurist texts. The profound idea of outlining diachronic typological processes in various literatures turned out to be quite productive and had further literary development, just as a scheme of the «wave» movement of styles proposed by Chizhevsky in the es- say «Cultural and historical eras». In support of this thesis, in this article it was analyzed a number of philological works of the late twentieth – early twenty-first century, where the analogies between the baroque and avant-garde artistic paradigms were traced. To a large extent, the works of the Ukrainian philologist and culturologist have contributed to the formation of broad historical and literary views on typological processes in various literatures, on the study of the genesis of individual literary phenomena and historical typology in the diachronic aspect.
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Dissertations / Theses on the topic "Futurism (Literary movement) Italy"

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Guthrie, Neale D. "The impact of technological change on military manpower in the 21st century." Thesis, Monterey, California : Naval Postgraduate School, 1990. http://handle.dtic.mil/100.2/ADA232472.

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Thesis (M.S. in Management)--Naval Postgraduate School, June 1990.
Thesis Advisor(s): Thomas, George W. Second Reader: Steiner, Kenneth W. "June 1990." Description based on title screen as viewed on March 24, 2010. DTIC Identifier(s): Military Personnel, Manpower, Theses, Military Manpower, Technology, Technological Change, Futurism, 21st Century. Author(s) subject terms: Technology, Technological Change, Future, Military Manpower. Includes bibliographical references (p. 96-110). Also available in print.
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Papalas, Mary Laura. "A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211977685.

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Novero, Cecilia. "Eating bodies eating texts : metaphors of incorporation and consumption in Walter Benjamin, Dada, and futurism /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9965129.

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Syrimis, Michael. "Through a "futuristic" lens : aesthetics of technology and film in the works of Gabriele D'Annunzio and F.T. Marinetti, 1909-1920 /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3088794.

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O'Connell, Anne. "The embodiment of culture : medical fantasies in Avant-Garde modernism /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9943100.

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Books on the topic "Futurism (Literary movement) Italy"

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The other futurism: Futurist activity in Venice, Padua, and Verona. Toronto: University of Toronto Press, 2004.

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Mondello, Elisabetta. Roma futurista: I periodici e i luoghi dell'avanguardia nella Roma degli anni venti. Milano: Angeli, 1990.

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Of saltimbanchi and incendiari: Aldo Palazzeschi and avant-gardism in Italy. Rutherford: Fairleigh Dickinson University Press, 1990.

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Storia del futurismo: Libri, giornali, manifesti. Roma: Editori riuniti, 1985.

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Italian futurist theatre, 1909-1944. New York: Clarendon Press, 1997.

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Berghaus, Günter. Futurism and politics: Between anarchist rebellion and fascist reaction, 1909-1944. Providence, R.I: Berghahn Books, 1996.

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Die Zukunft der Katastrophe: Mythische und rationalistische Geschichtstheorie im italienischen Futurismus. Berlin: W. de Gruyter, 1985.

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Luciano, Caruso, ed. Poesia. Firenze: SPES, 1991.

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Perrone Burali d'Arezzo, Paolo, 1941- and Museo del futurismo "A. Viviani-Burali", eds. Giubbe rosse: Il caffè della rivoluzione culturale nella Firenze 1913-1915. 8th ed. Milano: Nuove edizioni culturali, 2007.

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Brooks, Crispin. The Futurism of Vasilisk Gnedov. Birmingham: Department of Russian, University of Birmingham, 2000.

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Book chapters on the topic "Futurism (Literary movement) Italy"

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Krpina, Zdravka. "La presenza della cultura italiana in riviste letterarie croate tra Ottocento e Novecento." In Biblioteca di Studi Slavistici, 179–85. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-910-2.20.

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This work explores the relationship between Croatia and Italy in a study of literary journals extending from the period of the Illyrian movement to Modernism (1835-1903). Moving away from a national and philological approach, we focus on interculturality and imagology. Our conclusions unfold at the intersection of these two fields, as well as “at the edge of literature and philosophy” (in Derrida’s terms), where the relationship between Croatian and Italian cultural has been shaped according to various factors – literary, political, historical and also psychological.
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Gilbert, Jane, Simon Gaunt, and William Burgwinkle. "The Movement of Books." In Medieval French Literary Culture Abroad, 158–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832454.003.0006.

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This chapter consists of two manuscript case studies concerning Aberystwyth, National Library of Wales, MS 5667 and British Library Royal 20 D 1. The former is manuscript of the Tristan en prose that is confected from two parts, one made in France and one in Italy. The second is the earliest manuscript of the second redaction of the Histoire ancienne jusqu’à César, made in Naples but then moving from Italy to Spain and from Spain to France. Both artefacts, though in different ways, are the result of textual bricolage. We trace this bricolage in each instance and the movement of books that produce cultural networks.
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De Michelis, Cesare G. "Gorky at the Origins of Futurism." In Maxim Gorky and World Culture: A Collection of Scientific Articles (Materials of the Gorky Readings 2018 “World Value of M. Gorky (on the 150th Anniversary of the Birth)”, 104–16. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0693-2-104-116.

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At the beginning of the 20th century M. Gorky’s reputation was growing, most of all between the younger authors: A. Beltramelli made a literary falsification and published his novel Fedor Dobriski as his own translation of a Gorky novel. Early, in 1902, Gian Pietro Lucini drew one of the first Gorky’s portrait, and few years later he wrote with I. Cappa the drama Il tempiodella Gloria (1905), describing him as the ruler of the coveted synthesis between political and artistical revolution. When in Italy, Gorky met many italian intellectuals, also Beltramelli; Lucini, who was one of the first supporter of Marinetti, passed to the latter the idea of Gorky as a rebell, and also A. Gramsci spoked of the Marinetti’s destroing capacity as his more relevant feature. Gorky knew Lucini and Beltramelli, also Pascoli, d’Annunzio, but he was not engaged with futurism: it would had been possible, but didn’t happened, and this opportunity is a few studied question of the modernism.
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Bulson, Eric. "In italia, all’estero." In Little Magazine, World Form. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231179768.003.0004.

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Though F.T. Marinetti’s Futurism effectively transformed Italy into an international literary capital in the 1910s, the rise of Mussolini and his Fascist party after World War One had the opposite effect, gradually cutting writers, critics, and readers off from Europe. Riviste like La Ronda, Il Convegno, Il Baretti, and Solaria, were created to fight against a commercial and political “deprovincialization,” and it was done precisely by adapting the form to accommodate critical and literary transmission from beyond Italy’s borders.
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Hecker, Sharon. "Rosso, Medardo (1858–1928)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2066-1.

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Medardo Rosso was a pivotal yet enigmatic figure for the origin and development of modern European sculpture. In his fewer than 50 original subjects cast in plaster, wax, and bronze, he represented emotionally charged glimpses of introverted, sick, laughing, anxious, or smiling heads and figurines, especially of women, children, and the elderly. By modulating sculpture’s surfaces, he made his diaphanously modelled images receptive to subtle changes of light, expressing a radical idea of ‘dematerialising’ the three-dimensional object, as if it were subject to the influence of time and its surrounding atmosphere. Rosso began his career in Milan but spent three decades in Paris and was naturalised as a French citizen before returning to Milan in his final years. He was considered the founder of ‘Impressionist sculpture’, although his works also reflect the influence of Realism and Symbolism. In France, critics believed he was Auguste Rodin’s unacknowledged rival in the birth of modern sculpture and an influence on the 1898 Monument to Balzac. In Italy, he was hailed as the forefather of Futurism, prefiguring their experiments with movement and speed. Today, contemporary artists admire his precocious interest in materials and creative casting that left evidence of artistic process on his works.
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Thomas, Greg. "Concrete Poetry/Konkrete Poesie/Poesia Concreta." In Border Blurs, 19–64. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620269.003.0002.

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This chapter provides an overview of the international concrete poetry movement of the 1950s-70s, which frames the development of concrete poetry in England and Scotland. Concrete poetry first emerged in West Germany and Brazil in the early-to-mid 1950s, largely through the endeavours of Eugen Gomringer and the Noigandres poetry group. The earliest concrete poetry, defined in this text as ‘classical concrete’, was rooted in the aesthetics of constructivism, concrete art, modernist architecture, and literary modernism, as well as an interest in simplifying and clarifying language systems which was often connected to semiotics, especially information theory. A key impulse was the desire to develop transnational systems of linguistic communication, as the basis for post-war international dialogue. By the close of the 1960s, however, a different definition of concrete poetry, more connected to Dada, Futurism, and intermedia art, had taken hold worldwide. This variant of concrete was associated with the sixties counter-culture, and with a desire to tear down existing social institutions, expressed through non-linguistic or anti-linguistic impulses. To some extent this global narrative mirrors the story of concrete poetry’s development in England and Scotland, and can be traced by assessing the work of Finlay, Morgan, Houédard and Cobbing in turn.
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