Journal articles on the topic 'Futurism (Literary movement) Italy'
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1
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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Ascunce, Arantxa. "BUILDING BRIDGES: JOAN SALVAT-PAPASSEIT’S CONTRIBUTION TO THE AVANT-GARDE IN MADRID." Catalan Review 17, no. 2 (January 1, 2003): 9–33. http://dx.doi.org/10.3828/catr.17.2.1.
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In the summer of 1920 Joan Salvat-Papasseit (1894-1924), arguably the best-known poet of the Catalan avant-garde, published a series of five poems in Castilian in one of Spain’s most influential literary magazines of that time: Grecia (Sevilla-Madrid, 1918-1920). Interestingly, these poems which comprise his only verse in Castilian do not appear in any of the anthologies of Salvat’s completed poetic works. The purpose of this essay, then, is threefold: (1) To present and reproduce the five poems; (2) To contextualize the circumstances under which they appeared in addition to analyzing their content; and (3) To suggest that Salvat-Papasseit’s role as a bridge between Barcelona and Madrid so as to offer at least a glimpse of an alternative, more unified version of the history of the Spanish avant-garde. Since the poets in Madrid never fully developed a Castilian version of Futurism but rather by 1919 fused some of its ideals into the mélange that was Ultraísmo, these five Castilian poems by Salvat may be seen as emblematic of what could have been a Castilian Futurist movement. Catalan Futurism was not Italian Futurism, but it shared many of its principles, and poets like Salvat tried to put those principles into practice. The publication of these poems in Madrid at this particular point in time proves that Salvat-Papasseit’s contribution to Ultraísmo and, more generally, to the spirit of the avant-garde in Madrid, was considerably more important than literary histories have so far led us to believe.
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Daly, Selena. "‘The Futurist mountains’: Filippo Tommaso Marinetti's experiences of mountain combat in the First World War." Modern Italy 18, no. 4 (November 2013): 323–38. http://dx.doi.org/10.1080/13532944.2013.806289.
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Filippo Tommaso Marinetti's first experience of active combat was as a member of the Lombard Battalion of Volunteer Cyclists and Motorists in the autumn of 1915, when he fought in the mountains of Trentino at the border of Italy and Austria-Hungary. This article examines his experience of mountain combat and how he communicated aspects of it both to specialist, Futurist audiences and to the general public and soldiers, through newspaper articles, manifestos, ‘words-in-freedom’ drawings, speeches and essays written between 1915 and 1917. Marinetti's aim in all of these wartime writings was to gain maximum support for the Futurist movement. Thus, he adapted his views to suit his audience, at times highlighting the superiority of the Futurist volunteers over the Alpine soldiers and at others seeking to distance Futurism from middle-class intellectualism in order to appeal to the ordinary soldier. Marinetti interpreted the war's relationship with the natural environment through an exclusively Futurist lens. He sought to ‘futurise’ the Alpine landscape in an effort to reconcile the urban and technophilic philosophy of his movement with the realities of combat in the isolated, rural and primitive mountains of Trentino.
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Mancebo Roca, Juan Agustín. "El mito aéreo en el futurismo italiano: del periodo heroico a la espiritualidad aérea (1909-1944) The aerial myth of Itanian futurism: from the heroic period to the aerial spirituality (1909-1944)." Ars Longa. Cuadernos de arte, no. 29 (May 12, 2021): 219. http://dx.doi.org/10.7203/arslonga.29.17102.
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La poética de lo aéreo atravesó transversalmente la historia del futurismo italiano. El undécimo punto de su manifiesto y fundación en 1909, hizo referencia al aeroplano como una máquina esencial para comprender que la vida y el arte se debían someter a un mundo en permanente transformación. Lo aéreo y sus implicaciones compusieron proclamas y manifiestos determinando la creación literaria y artística del periodo heroico. En los años treinta, cuando el futurismo planteaba su supervivencia en el complejo contexto social y político italiano, la aeropintura se convirtió en su línea oficial. Un perfil que, desde ese mismo momento, se bifurcó en dos tendencias complementarias: la dedicada a una praxis orgánica de las variables de la mirada aérea y la de una política representacional que superaba lo aéreo para penetrar en lo trascendente. Con la desaparición de las líneas de identificación entre estética y política, la temática aérea adquirió el rol de propaganda del régimen, celebración de la guerra-fiesta, que recuperaba el discurso intervencionista de la Primera Guerra Mundial y que, tras un periodo de manifestaciones de escaso valor plástico, concluyó abruptamente con el deceso del futurismo que coincidió con el nuevo ciclo histórico que se inició en Italia.
The poetics of the aerial went through the history of Italian futurism. In 1909, the eleventh point of his manifesto and foundation referred to the airplane as an essential machine for understanding that life and art should be submitted to a world in permanent transformation. The aerial and its implications composed proclamations and manifestos which determined the literary and artistic evolution of the heroic period. In the 1930s, when futurism was planning its survival in the complex social and political context of Italy, aeropainting became its official line. A profile that bifurcated into two complementary tendencies from that very moment: one devoted to an organic practice of the aerial gaze variables and the other to a representational policy which went beyond the aerial to penetrate the transcendent. With the disappearance of the lines of distinction between aesthetics and politics, the aerial theme acquired the function of the regime's propaganda. It was the celebration of the war-fest that restored the interventionist rhetoric of the First World War and which, after a period of demonstrations of little plastic interest, ended abruptly with the death of Futurism, coinciding with the new historical cycle that began in Italy.
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Trento, Giovanna. "From Marinetti to Pasolini: Massawa, the Red Sea, and the Construction of "Mediterranean Africa" in Italian Literature and Cinema." Northeast African Studies 12, no. 1 (April 1, 2012): 273–307. http://dx.doi.org/10.2307/41960565.
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Abstract Postwar Italian historiography tended for decades to exclude colonialism from national history, and the country largely forgot its colonial past. The interconnections between the academic schools and anthropological scholarly theories that focused on the Horn of Africa during Italian colonialism and twentieth century Italian literary and cinematic representations of the Horn and the Red Sea have been understudied and underestimated. This article will argue that during Italian colonialism, Italy and the Horn of Africa were interconnected through the Mediterranean and Red Sea by scholarly, literary, cultural religious, and imaginary links that contributed to the construction of a "Mediterranean Africa," based on genetic continuities and the legacies with Latin antiquity and ancient Roman values. Such baggage affected or was affected by the building of Italian-ness after the country’s unification, Italy’s self-representation, the country’s Southern question, and its articulation of "modernity." As this article will show, the construction of "Mediterranean Africa" influenced the Italian literary and cinematic representations of Northeast Africa, throughout the 20th century; from the founder of Futurism—the Egypt born writer Filippo Tommaso Marinetti—in the first four decades of the century, to the leftist writer and filmmaker Pier Paolo Pasolini, in the 1960s and 1970s. The problematic transnational links constructed between Italy, the Horn of Africa, and the Red Sea would also surface in the works of the most prominent film directors during Fascism, Alessandro Blasetti and Mario Camerini, and other important writers, like Giovanni Comisso, Ennio Flaiano and Giorgio Manganelli.
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Shliakhova, Galina I. "Usual and Individual Authorial Functioning of Lexemes “Dream” and “Reverie” in Igor-Severyanin’s Poetry." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 4 (December 15, 2019): 1106–15. http://dx.doi.org/10.22363/2313-2299-2019-10-4-1106-1115.
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The article contains the analysis of the mental sphere lexis in Igor-Severianin’s poetry. The lexemes “dream”, “reverie” belong to mental field and represent leitmotifs, sense-making components of the ego-futurist’s literature. The frequency of their use in Severianin’s poetic texts is several times higher than is modern Russian language, which allows to notice their particular role. Moreover, the comparison of contextual and usual (dictionary) meaning shows that in poems the word-picture acquires new senses and expands the semantic field. This is visibly demonstrated by the examples of author’s use given in the article. The mental sphere lexemes help to perceive Igor-Severianin’s individual style as well as his worldview that reflects principles of ego-futurism, the literary movement aestheticizing reality and bringing human imagination into the foreground.
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Ilnytskyi, Mykola. "If really “without school and inheritors”?" Слово і Час, no. 6 (November 26, 2020): 47–56. http://dx.doi.org/10.33608/0236-1477.2020.06.47-56.
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The paper analyzes the return of Bohdan Ihor Antonych’s name to the literature after several decades of suppression and prohibition by the Soviet totalitarian regime. The author also focuses on the interpretation of the poet’s work in Ukrainian and foreign literary studies.
The researcher points out the following historical and cultural factors: partial liberalization of the communist regime in the Soviet Union; high appreciation of Antonych’s work by leading poets and literary critics in Ukraine and the Ukrainian diaspora; translations of works into foreign languages, in particular, Slavic ones; the influence of the poet’s work on the generations of the 1960s—1980s.
Special attention is paid to the cooperation of American scholars and translators Watson Kirkconnell and Constantine H. Andrysyshen in translating the Ukrainian poet’s texts into English.
The researcher traces the changes in views on Antonych’s poetry: the claims that he was a talented poet who did not have time to fully realize his talent due to his early death were eventually substituted by recognition of his poetry’s kinship with the works of Western European modernist poets such as R. M. Rilke, T. S. Eliot, F. G. Lorca, Cz. Miłosz.
The paper also highlights the discussion on the stylistic dominant of Antonych’s poetry and focuses on the elements of different literary movements, namely futurism, imagism, and surrealism. It is emphasized that the poet was not only interested in the issues of style but also shaped the different styles of the time with his special features. He characterized impressionism as the relation of color to light, pointed out the idea of movement in futurism, focused on the geometric outlines of real objects in cubism, appreciated pure harmony of geometric patterns in suprematism. Moreover, Antonych’s poetry was related to creating myths, based on the tradition of the national folklore worldview.
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Puzyrkova, A. "Features of the avant-garde directions of European modernism during 1900–1910 in the Ukrainian avant-garde." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 208–14. http://dx.doi.org/10.33838/naoma.27.2018.208-214.
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During 1900–1910, there was a process of intensive cooperation and mutual enrichment between artists in Western European artistic centers and representatives of the Ukrainian and Russian avant-garde. At the same time, the avant-garde, both in Europe and in the territory of the Russian Empire, forms its own face and features that are reflected in the specificity of the artistic expression of specific groups and trends. The art of the 1900–1910 became a turning point in the history of avant-garde in Europe and in the Ukrainian lands, finally affirming the irreversibility of the phenomenon of avant-gardism. The avant-garde movements evolved rapidly during the period from 1900 to 1930, however, despite certain differences in manifestations, the revolutionary gains of cubism, expressionism and futurism became the foundation of the entire Ukrainian avant-garde. The publication, using examples of cubism, futurism and expressionism, which, deriving from European centers, laid the foundation for the artistic expression of the Ukrainian, as well as Russian avant-garde – cubofuturism, suprematism, constructivism, scrutinizes the features of the avant-garde on Ukrainian territories in the European context. For the first time, it is focused on the differences between the manifestations of Cubism, Futurism, and expressionism in the Ukrainian and European avant-garde. There is a lack of formed groups and program documents of cubism, futurism, and expressionism in the Ukrainian fine art of the 1900-1910, with absolute domination of these areas of artistic expression and formulation. It focuses on the specific manifestations of the Ukrainian and Russian avant-garde that emerged on their base, as well as on the specific manifestation of the Ukrainian avant-garde, the neoprimitivism, which includes the school of Mykhailo Boichuk. The publication emphasizes the importance of suprematism in the Ukrainian avant-garde as a classical avant-garde movement, which had such distinct features as breaking with tradition and well-formed ideological principles outlined in the program documents, which was generally not typical for the Ukrainian avant-garde in the fine arts. As it is known, even the ideological foundations of cubofuturism were not clearly formed by its representatives, Oleksandr Bohomazov and Oleksandra Ekster. It is possible to speak of a formed and declared platform only with respect to the Ukrainian literary avant-garde, where it were the futurists who most clearly positioned themselves.
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Palma, Marco. "No Dal Molin: The Antibase Movement in Vicenza." South Atlantic Quarterly 111, no. 4 (October 1, 2012): 839–46. http://dx.doi.org/10.1215/00382876-1724219.
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In 2006 the citizens of Vicenza, Italy, discovered that for three years US authorities, the Italian government, and city officials had been negotiating secretly to approve the construction of a new military base on the only large undeveloped area in the northern part of the city and the largest aquifer in northern Italy. Beginning in the adjacent neighborhoods, a mobilization arose against the construction of the military installation. In a few months hundreds of thousands of residents were demonstrating in the city, and various forms of direct action against the base became a daily occurrence. Thus was born an extraordinary experiment in democratic political participation.
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De Vincenti, Gloria. "From Childhood Experience to ARS Poetica: Forming Substitutes." Forum Italicum: A Journal of Italian Studies 46, no. 1 (March 2012): 38–52. http://dx.doi.org/10.1177/001458581204600102.
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In 1915 Sigmund Freud began a series of three sets of introductory lectures on psychoanalysis, at the University of Vienna. During the 23rd lecture, delivered in 1917, he engaged in a discussion on the conflict between the realm of phantasy and the reality-principle. Towards the conclusion, though, he envisaged a resolution and declared that “there is a path from phantasy to reality — the path, that is, of art.” In 1915 the artist and writer Arnaldo Ginna, one of the prominent figures of the Second Florentine Futurism avant-garde movement, had been investigating the function of artistic creation in relation to dreams, namely “to evoke in the most real reality the visions that have been dreams so far.” This paper explores the significance of the creative process and the mechanisms involved in the shift from phantasy to reality. Taking a Freudian standpoint, the analysis brings the Futurists' theoretical contribution into the discussion. The study demonstrates how the artist reconnects the self, on a public ground, with the legacy of childhood which endures within us.
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Bryan-Wilson, Julia. "Simone Forti Goes to the Zoo." October 152 (May 2015): 26–52. http://dx.doi.org/10.1162/octo_a_00215.
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In 1968, choreographer and dancer Simone Forti moved from the United States back to Italy. During her brief stay in Rome, she spent time observing animals in the zoo, as well as working and performing among Arte Povera sculptures. This article investigates how Forti's encounters in Italy with new methods of movement and materiality, including models of collaboration between animate subjects and inanimate objects, became pivotal to her procedures of constructing dance.
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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.
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The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.
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Strokina, Anastasia. "AN INTERVIEW WITH GUIDO SGARDOLI." Children's Readings: Studies in Children's Literature 21, no. 1 (2022): 246–49. http://dx.doi.org/10.31860/2304-5817-2022-1-21-246-249.
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At the request of Children’s Reading, Russian writer Anastasia Strokina interviewed Guido Sgardoli, one of the most famous Italian children’s writers today. In Italy the name of Sgardoli needs no introduction: his books have been translated into many languages, are loved by readers and have been awarded various prizes for achievements in children’s literature. Sgardoli is also known for his social activities — he is a member of the Writers with Children movement, which fights for the rights of refugee and migrant children.
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Cipriani, Anna Maria. "The impact of censorship on the translation and publication of Virginia Woolf in Italy in the 1930s." Translation Matters 2, no. 2 (2020): 83–96. http://dx.doi.org/10.21747/21844585/tm2_2a5.
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Defined as “the decade of translations”, the 1930s saw the publication of Virginia Woolf’s novels Orlando, Flush, and To the lighthouse in Italian. In the cultural and political context of Fascism, this is unexpected, given the peculiarities of Woolf’s experimental prose. Italian literary criticism was firmly founded on a normative anti-modernist canon, supported by both the Catholic Church, which decried modernism and excommunicated some modernist writers, and by the literary movement led by the anti-Fascist and liberal philosopher Benedetto Croce. This de facto intellectual dictatorship complemented the official cultural policy of the Fascist regime by generating another dimension of censorship that invariably affected the publication of periodicals and books. The present work focuses on the effects of this triple (political, moral, and literary) censorship on the first translation of To the lighthouse.
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Prosvetov, I. V. "Unknown Siberian Poems by Vasily Yan." Studies in Theory of Literary Plot and Narratology 17, no. 1 (2021): 209–27. http://dx.doi.org/10.25205/2410-7883-2021-1-209-227.
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The first publication of poems by the Soviet writer-historian, 1st degree Stalin Prize laureate Vasily Yan (Yanchevetsky), composed in 1920–1923, when he lived and worked in Siberia. Source – handwritten miscellany “Poems of Wanderings”, recently discovered in the Yanchevetskys’ family archive. The publication is accompanied by detailed biographical comments. In the civil war, V. Yanchevetsky took part on the side of the whites as one of the main propagandists of the Kolchak army – the head of the Informative Department of the Special Chancellery of the Supreme Commander’s Staff, editor of the front newspaper “Vperyod”. After the collapse of the white movement, V. Yanchevetsky had to hide his past, changing occupations and places of residence (Achinsk, Uyuk, Minusinsk). The Siberian po- etic cycle, created at this time, makes it possible to understand not only the mood of the author in the last years of the turning point in Russian history, but also literary searches, and the atmosphere of the time in general. The main themes are homeland, revolution, freedom, atheism, building a new life, preserving the personality in the face of political upheavals. Obviously, the influence on the poetic style of the author of such trends as symbolism and futurism, which he was interested in. In Omsk V. Yanchevetsky closely communicated with the writer, poet and avant-garde artist Anton Sorokin, attended his literary evenings at home. Probably, as a result, some of the Siberian poems were written in free verse, to which V. Yanchevetsky had never used before.
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Feshchenko, Vladimir V. "Language-Centered Poetry in the USA and in Russia: Trajectories of Interaction." Literature of the Americas, no. 12 (2022): 66–101. http://dx.doi.org/10.22455/2541-7894-2022-12-66-101.
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To date, it becomes obvious that “language writing” is one of the largest trends in American literature and poetic thought of the last decades, and among the avant-garde trends, it is probably the most significant, extensive and innovative. American literature has spawned several significant schools and communities over the 20th century, from Imagists and beatniks to the San Francisco Renaissance and the New York school. Language poetry in this row, on the one hand, is an equally powerful literary movement (in the number of authors, published books, magazines, etc.), but on the other hand it is marked not so much by collectively shared aesthetic principles (as in the case of objectivists or Black Mountain poets), as by the general ideology of poetic work with language as a social institution and an aesthetic medium. The paper analyzes the points of divergencies and convergencies in American and Russian “language-centered writing.” The linguistic concepts of Russian Futurism (“the word as such,” “language breeding,” etc.) and Russian Symbolism (A. Bely’s “poetry of language”) have made their way — through the theory of Russian Formalism — to the theories of American language poets of the 1970s. The study looks more closely into how this cultural transfer exactly happened. Apart from that, this study juxtaposes the language-related concepts in the theory and practice of Russian Conceptualists and Metarealists, on the one hand, and the conceptual writing of American language poetry. These literary movements, as this paper claims, are part of the general linguistic turn which manifested itself in poetic theory and experiment in several phases over the 20th century.
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Milin, Melita. "Sounds of lament, melancholy and wilderness: The Zenithist revolt and music." Muzikologija, no. 5 (2005): 131–44. http://dx.doi.org/10.2298/muz0505131m.
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The aim of writing this article is to analyze how the articles published by Zenith magazine (1921-1926) reflected the role of modern music within the framework of Zenithism - a movement relating to Dadaism and Futurism. The founder of the movement Ljubomir Micic and the Croatian composer Josip Slavenski both settled in Serbia and shared similar views concerning the Zenithist role of art. They sought to create a novel artistic expression free from Western influence, rooted in primitive and intrinsic creative forces of Eastern, and more specifically, Balkan peoples. Nevertheless, the intellectual sophistication and radicalism of their ideas differed somewhat whereas Micic was inclined towards experiment and provocation (i.e. his announcement of a Balkan "Barbarogenius"), Slavenski's aim was to revise and transform the archaisms preserved in old layers of folk music (primarily that of the Balkans), thus yielding an original modernist language. When in 1924 Micic moved from Zagreb to Belgrade, Slavenski was already there, only to leave for Paris in winter of the same year and remain there until the following summer. This may explain Slavenski's single contribution to Zenith, a piece composed before he met Micic. Zenith's articles on music included a positive account of Prokofiev, whose works were seen as representative of the movement's intentions. The article was an abridged translation of Igor Glebov's (pseudonym of Boris Asafiev) text printed in V'esc (in German). Micic himself was the author of another contribution - a concert review, which served as an opportunity to express his views on contemporary music, one being an appraisal of Stravinsky whose music was felt to correspond to Zenithist aesthetics. He was labeled a musical 'Cubist', who composed music of 'paradox and simultaneity'. In the same article Antun Dobronic (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micic, who obviously had little or no musical education, was unable to find any musical critics who would adhere to his views. Several other articles in Zenith, such as concert reviews and literary texts with reference to both old and new composers, shed more light on the spirit of the movement and contribute to our understanding of it.
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Revest, Clémence. "The Birth of the Humanist Movement at the Turn of the Fifteenth Century." Annales (English ed.) 68, no. 03 (September 2013): 423–56. http://dx.doi.org/10.1017/s2398568200000029.
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This article provides an overview of how humanism evolved into a “cultural movement” in Italy during the pivotal years between 1400 and 1430. It examines the very notion of “movement” as a specific and challenging concept for intellectual history. It also identifies a significant threshold effect that resulted from related memorial, sociological, and literary processes. The emergence of a collective consciousness grounded in a reflexive relationship to history, the development of practices and references connected to the creation of a dynamic form of sociability, and the establishment of several distinctive markers of inclusive identity all converged to produce a powerfully symbolic “space of possibles” based on the paradigm of the “return to antiquity.” The development of an enduring cultural phenomenon was at work through the circulation and interaction of ideas, social practices, and elements emerging from the collective imagination. This phenomenon flourished well beyond the works of the period’s major authors and created a certain “topicality.”
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Ali, Ashna. "Activist by Default." Minnesota review 2020, no. 94 (May 1, 2020): 157–66. http://dx.doi.org/10.1215/00265667-8128491.
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This interview with Igiaba Scego, renowned Italian author and journalist of Somali descent, explores the relationship between letteratura della migrazione, the italophone migrant literary movement of the 1990s and early 2000s, and migritude, a burgeoning global literary genre and field of scholarship that addresses contemporary discourses of migration and their colonial histories. Scego discusses her resistance to the category of “migrant writer” and the challenge of retelling stories of postcolonial African diaspora to Italy in the context of Italian colonialism in the Horn of Africa. She discusses what it means to claim the city of Rome as one’s own as a black Italian, and places stories of flight and belonging in a global and historical context. This interview was conducted over WhatsApp, transcribed, and translated into English in February 2019.
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Biggs, Thomas. "Varro of Atax in Lucan’s Gallic Catalog." Mnemosyne 72, no. 6 (October 31, 2019): 972–93. http://dx.doi.org/10.1163/1568525x-12342595.
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AbstractAt Bellum civile 1.403-404, Lucan makes a subtle reference to Varro of Atax. Through this metapoetic gesture, he suggests that Varro’s Argonautae and Bellum Sequanicum are topics abandoned in favor of the civil war that the Bellum civile is bold enough to depict. This article first discusses the philological evidence for recognizing the reference and the implications of seeing Varro and the Argonautae in Lucan’s poem. The second section focuses on the idea of Varro’s Bellum Sequanicum and the distinctive dynamic of departure found in the catalog of Bellum civile 1. In particular, it suggests that the movement of Roman troops from Germany and Gaul into Italy represents the movement from textual Bella Gallica and Sequanica to Bellum civile. The qualities of ferocity and gentleness are also shown to play important roles in the metapoetics of the epic.
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Ali, Ashna, Christopher Ian Foster, and Supriya M. Nair. "Introduction." Minnesota review 2020, no. 94 (May 1, 2020): 54–66. http://dx.doi.org/10.1215/00265667-8128407.
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The first of its kind, this special focus section examines a relatively understudied concept and brings together new literary works and scholarship across continents and languages. Contemporary authors and activists like Fatou Diome, Shailja Patel, Abdourahman Waberi, and Igiaba Scego contribute to a new literary, cultural, and political genre called migritude. Migritude initially indicated a group of younger African authors in Paris but has since expanded to include Europe beyond France, such as Britain and Italy, as well as South Asian and Caribbean diasporas. This body of work reveals intersections between complex histories of colonialism, immigration, globalization, and racism against migrants and highlights differences in region, class, gender, and sexuality that constrain the movement of many people. In an era characterized by openly belligerent nationalism and anti-immigrant and anti-LGBTQ rhetoric, this special focus section aims to unpack migritude cultural production in an international context to study and combat these violent trends.
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Bradley, Guy. "Mobility and Secession in the Early Roman Republic." Antichthon 51 (2017): 149–71. http://dx.doi.org/10.1017/ann.2017.10.
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AbstractOne consequence of the globalisation of the modern world in recent years has been to focus historical interest on human migration and movement. Sociologists and historians have argued that mobility is much more characteristic of past historical eras than we might expect given our modern nationalistic perspectives. This paper aims to contribute to this subject by surveying some of the evidence for mobility in central Italy and by examining its implications for early Rome. I will focus primarily on the plebeian movement, which is normally seen in terms of an internal political dispute. Our understanding of the ‘Struggle of the Orders’ is conditioned by the idealising view of our literary sources, which look back on the early Republic from a period when the plebeians provided many of the key members of the nobility. However, if we see the plebeian movement in its contemporary central Italian context, it emerges as much more threatening and potentially subversive. The key plebeian tactic – secession from the state – is often regarded as little more than a military strike. Instead, I argue that it was a genuine threat to abandon the community, and secessions can be seen as ‘paused migrations’. This paper also considers two other episodes that support this picture, the migration to Rome of Attus Clausus and the Claudiangensand the proposed move to Veii by the plebs.
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Bolongaro, Eugenio. "Tondelli and the 1980s: Four Keywords for a Reassessment." Quaderni d'italianistica 39, no. 1 (May 9, 2019): 11–34. http://dx.doi.org/10.33137/q.i..v39i1.32630.
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This article challenges the interpretation of the 1980s in Italy as a period in which a large section of the population and, especially, the younger generation, turned away from politics and a retreated into the private sphere after the revolutionary ebullience of the 1960s and 1970s. The discussion centres around the figure of Pier Vittorio Tondelli whose collection of short stories Altri libertini (1980) inaugurated a new understanding of the cultural role of literature, and a new relationship between authors and readers. While devoid of the ideological preoccupations that characterized the protest movement(s) of the previous decades, Tondelli’s work, it is argued, is anything but escapist and rather seeks to provide a sensitive and thoughtful account of the transformations taking place in Italian society and culture during a critical decade in which Italy, like other mature Western societies, was precipitously projected into the post-Fordist phase of contemporary capitalism. From this vantage point Tondelli’s opus demonstrate the constant and sustained engagement of its author with a disorienting new world in which the contradictions between personal and collective desires and aspirations are increasingly mobilized to fuel the “society of spectacle” Guy Debord had foreseen. It can hardly be questioned that Tondelli’s struggle raises ethical issues, but it is important to see that this ethical dimension is inherently connected with a political horizon, albeit a politics of desire that traditional Marxist approaches have some difficulty identifying as politics, let alone as revolutionary politics. In order to appreciate fully the significance of Tondelli’s cultural contribution and disentangle it from the debates that it originated, the author proposes a fresh approach. Mindful of Raymond Williams’s eminent example (Keywords: A Vocabulary of Culture and Society, 1976), the analysis focuses on four keywords that can help us traverse Tondelli’s work and identify its strengths as well as some of its weaknesses. Affect, Commitment, Postmodernism, and Theory are intersecting vectors in a reassessment that through Tondelli reopens the discussion on an entire decade, and its aftermath.
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Quint, David. "Humanism and Modernity: A Reconsideration of Bruni's Dialogues." Renaissance Quarterly 38, no. 3 (1985): 423–45. http://dx.doi.org/10.2307/2861078.
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The spread of humanism in fifteenth-century Italy was extraordinarily rapid and complete, so much so that it could instill an uncritical complacency in its adherents and practitioners. By midcentury, humanist Latin had become the language of the Roman Curia, and it soon became the language of peninsular diplomacy. Humanists filled positions in the bureaucracies of princely courts and city-republics, and they took jobs as teachers and secretaries in the houses of the powerful. While humanists kept alive the bogeyman of the unlettered scholastic, whose barbarous Latin threatened a return to an age of gothic ignorance, there were, in fact, few obstacles which might slow down their cultural and professional advancement. The way to a career in the clerisy now began in the grammarian's classroom, and the successful humanist rarely cared to question the assumptions of the literary and educational movement to which he owed his livelihood.
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Marzano, Arturo. "The Migration of the Italian Jews to Israel and their Perception of the “Arab Problem” (1945‐1958)." European Journal of Jewish Studies 4, no. 2 (2010): 285–314. http://dx.doi.org/10.1163/102599911x573378.
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AbstractThis article sheds light on the way Italian Zionism addressed the so-called “Arab problem” in British Palestine and later in Israel in the years following the Second World War, when a small—yet proportionally relevant—migration took place after an extremely lively revival of Zionist life and activities in Italy. In particular, four different approaches towards the “Arab problem” are presented, i.e. its dismissal, its under-estimation, the formulation of naïve proposals to solve it, the recognition of an inevitable confrontation. These approaches clearly recall the way in which the Zionist movement had already addressed the “Arab problem,” specifically in the decades before and after the First World War. The article also presents what can be considered an alternative discourse to these approaches, carried out by a few individuals who proposed different solutions to the “Arab problem” based on co-existence and cooperation.
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Sabadash, Ju. "ITALIAN MODEL OF POSTMODERNISM (BASED ON GIORGIO FALETTI’S WORKS)." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 20 (2020): 87–94. http://dx.doi.org/10.34079/2226-2830-2020-10-20-87-94.
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The article presents the vital and creative path of the famous Italian writer Giorgio Faletti, who successfully transformed the foundations of European postmodernism into the context of national traditions. There has been reproduced the specifics of the Italian cultural space in the article, where for a century both literature and other forms of art went through complex and contradictory path: from the “verism” by J. Vergi, “futurism”, “metaphysical painting”, “neorealism” to “intellectual irony” by Umberto Eco. There has been analyzed the fundamental principles of postmodernism, in the context of which Giorgio Faletti’s literary works, on the one hand, inherit the requirements of European postmodernism, and on the other hand, are marked by the originality of the Italian historical and cultural movement. The topicality of the article is determined by the personality of G. Faletti, because of, on the one hand, which is interesting in itself, a prominent place he occupies in the European culture of the late XX – early XXI century, and on the other hand, his creative activity, the analysis of which, allows us to represent more fully the cultural processes which take place on the Italian territory. In the context of this topicality, the purpose of the article is to consider, first of all, the literary heritage by G. Faletti, which organically “fits” the developing trends of European “postmodernism” as an independent Italian model. In our opinion, to perform an objective analysis of the creative heritage by G. Faletti with an emphasis on its literary component, it is necessary to make several research procedures, namely: 1) to determine the cornerstones of aesthetic and art criticism modification of postmodernism; 2) to reproduce the Italian artistic experience that was accumulated during the twentieth century and – in one way or another – influenced the formation of Faletti’s artistic tastes and creative orientation; 3) to show how the traditions of Italian literary creativity and the requirements of postmodern aesthetics intersect both in the writer’s worldview and in his professional techniques. Today, it is well known that the logic of the development of European humanistics, starting from the mid-70s of the last century, has included a wide range of issues related to both the philosophical understanding of postmodernism and the definition of its influence on the fundamental changes that took place in the practice of developing – in fact – all types of art. As for the philosophical analysis and assessment of postmodernism, it was presented in the Ukrainian open spaces both in the philosophical discourse itself and in the aesthetic and art history. Being based on the material we have reconstructed, it can be stated that postmodernism quite naturally began to establish itself in the Italian cultural space at first cautiously, and then more and more confidently. Now, this obliges us to present the literary works by G. Faletti holistically in the future, as well as not finally depleted analysis of aesthetic and art history factors that confirm him as a postmodern writer.
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Camatsos, Efrosini. "Performance and subversion under the Colonels’ gaze: changing notions of identity in the different editions of Dido Sotiriou's Οι νɛκροί πɛριμένουν." Byzantine and Modern Greek Studies 44, no. 2 (October 2020): 289–300. http://dx.doi.org/10.1017/byz.2020.7.
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This article examines the different editions of Dido Sotiriou's first novel Οι νɛκροί πɛριμένουν, whose first edition was published in 1959 and the definitive edition, one hundred pages shorter, in 1971, when the military junta ruled Greece and strict censorship was being exercised. The first edition depicts details of the resistance movement against the Axis powers, whereas this has been cut from the definitive edition, which ends just as Greece enters the war against Italy. It will be argued that the revisions, on the one hand, address criticisms of the first edition, in an attempt to improve the novel. On the other hand, the omission of descriptions of resistance against a tyrant (something the colonels resented, for fear of comparisons being drawn to their regime) and the shifting depiction of identities of two main characters, from one that is stable (1959 edition) to one that is subtly performative (1971 edition), also inform discussions of censorship and identity during the years of the military regime.
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Vizmuller-Zocco, Jana. "(Un)Human Relations: Transhumanism in Francesco Verso’s Nexhuman." Quaderni d'italianistica 37, no. 2 (January 27, 2018): 211–26. http://dx.doi.org/10.33137/q.i..v37i2.29236.
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Transhumanism is an international movement which espouses the idea that any human organ, function, sense, ability, can be augmented and ameliorated with the judicious use of technology. The ethical, cultural, social, biological, economic implications for this view are far-reaching and point to a number of complex questions whose solution eludes researchers so far. One of the possible sources for answers to these is found in science fiction. While transhumanism is a relatively recent phenomenon (last 25 years or so), science fiction published in English that mirrors some of its issues and ideas has been flourishing for at least as long. In Italy, science fiction is starting to enjoy popularity and critical depth in no small measure due to the untiring abilities of a number of authors. This article analyzes the intersections between human and machine as they are portrayed in Francesco Verso’s Nexhuman. Francesco Verso has published 4 award-winning science fiction novels and a number of short stories. Nexhuman offers a considerable narrative construct which paints a dystopian future where trash is formed and re-formed, sold and reworked; however, strong emotions are not absent, since love may flourish in this “kipple”-laden setting, as well as violence and obsession. Transhumanist ideas explicitly dealt with in the novel include the end of death, the question of the soul, mind uploading, limb prosthesis, the co-existence of humans with mind-uploaded beings. The amalgam between human and machine does away with the Self and the Other(s) as separate entities and constructs a completely different Weltanschauung. Nexhuman is not only a transhumanist trailblazer within the flourishing arena of Italian science fiction, but also a springboard for deeper understanding of what makes us human and the extent to which binary categories need to be overcome in order to create a more accommodating world.
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Ferraro, Eveljn. "Space and Relic in Frank Paci’s Black Madonna." Quaderni d'italianistica 39, no. 1 (May 9, 2019): 173–94. http://dx.doi.org/10.33137/q.i..v39i1.32638.
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This essay investigates Frank Paci’s dominant themes of death and life in Black Madonna and the author’s use of relics to retrace post-migrant spaces. I examine his connections between immigrant and post-immigrant generations in the microcosm of Sault Ste. Marie, Ontario, and the way he preserves memories of the past (family, work, religious practices) while refashioning an Italian regional identity from a deterritorialized position. My approach to the themes of death, life, Italianness, and gender relationships is shaped by Michel de Certeau’s theories of place and space. Relics are defined here as something that survives the passage of time––either at a specific location or across spatial movement––and is invested with a sense of devotion. My argument is that Paci’s writing is devotional insofar as it preserves the memory of immigrants by disseminating the text with different kinds of traces (e.g., human, behavioural, linguistic). In function, memories act as relics. However, Paci’s writing is ambivalent towards memory, since quests for emancipation are also forcefully voiced by the author as challenges to preservation. This tension is at the core of Black Madonna, where Italian immigrants, practices, and places are represented as outdated, dead, or doomed to disappear, and yet deserving recognition and affection. In my view, Paci’s writing is more compelling when the relic as “place” interacts with a narrative of practices (or operations) that defy stability and actualize “spaces.” I will refer to this as a narrative of mobilized relics. Relics are a valid analytical tool to investigate the ties with Italy and ethnicity in the passage from immigrants to post-immigrant generations, from one historical subject to another, both of which are liminally positioned between cultures. In this sense, Black Madonna’s exploration of an Italian-Canadian microcosm spurs further transnational investigations of contemporary Italian identity through the migrant intergenerational lens.
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Mariani, Giorgio. "The Red and the Black: Images of American Indians in the Italian Political Landscape." Studia Anglica Posnaniensia 53, s1 (December 1, 2018): 327–45. http://dx.doi.org/10.2478/stap-2018-0016.
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Abstract In Italy, over the last decades, both the Left and the Right have repeatedly employed American Indians as political icons. The Left and the Right, that is, both adopted and adapted certain real or often outright invented features of American Indian culture and history to promote their own ideas, values, and political campaigns. The essay explores how well-established stereotypes such as those of the ecological Indian, the Indian as victim, and the Indian as fearless warrior, have often surfaced in Italian political discourse. The “Indiani Metropolitani” student movement resorted to “Indian” imagery and concepts to rejuvenate the languages of the old socialist and communist left, whereas the Right has for the most part preferred to brandish the Indian as an image of a bygone past, threatened by modernization and, especially, by immigration. Indians are thus compared to contemporary Europeans, struggling to resist being invaded by “foreign” peoples. While both the Left and the Right reinvent American Indians for their own purposes, and could be said to practice a form of cultural imperialism, the essay argues that the Leftist appropriations of the image of the Indian were always marked by irony. Moreover, while the Right’s Indians can be seen as instances of what Walter Benjamin (1969) described as Fascism’s aestheticization of politics, groups like the Indiani Metropolitani tried to politicize the aesthetics.
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Kierans, Eilis. "Labor of love? Cooking, chaos, and consumption in Clara Sereni's Keeping House." Forum Italicum: A Journal of Italian Studies 56, no. 1 (February 4, 2022): 87–107. http://dx.doi.org/10.1177/00145858211070235.
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In Clara Sereni's (1946–2018) semi-autobiographical (cook)book, non-chronological recollections are evoked by a variety of recipes that mark crucial moments in the narrator's life. At first glance, Sereni portrays herself as a patient and perceptive housewife who learns how to read a room and cook accordingly. She describes her individuality and imagination in the kitchen as an adolescent, and later she depicts the pride and power she derives from her duties as a housewife. However, if we peer between the cracks, what emerges is a depiction of a woman who struggles to convince herself of her worth. Undoubtedly, cooking is one of Sereni's chosen means of communication and self-starvation is another. Food speaks volumes about the challenges she faces as a woman navigating the private, patriarchal sphere as well as the public, capitalist one at a crucial time when the Women's Movement was gaining momentum in Italy. In this article, I focus on Sereni's complex relationship to food, family, and freedom as she transitions from childhood, in the wake of the Second World War, to parenthood, on the heels of the Vietnam War. First, I illustrate how Sereni's account of adolescent bulimarexia in relationship to her father problematizes the mainstream eating disorder theory of the 1980s, which vilifies the role of the mother and largely overlooks the role of the father. Thereafter, I suggest that as an adult Sereni is spread thin in her conflicting roles as housewife and employee, and thus she struggles to negotiate the opposing demands imposed upon her. Consequently, Sereni experiences an eating disorder relapse. However, as an adult her anorexia is of a highly different nature, triggered by the larger social and cultural context of the 1970s, a time when the Italian feminist movement was arguably at its peak. In essence, I show how Sereni's eating disorder is shaped and reshaped over time, namely in line with a shifting patriarchal system.
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Carvalho, Luhuna. "A Violence Other than Violence." South Atlantic Quarterly 122, no. 1 (January 1, 2023): 73–86. http://dx.doi.org/10.1215/00382876-10242658.
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This article looks at several attempts to conceptualize a legitimate use of revolutionary violence in the anti-authoritarian revolutionary movements of the 1960s and 1970s. The central problem confronting the repertoire of action in this period lay in understanding how a violence deployed to fight power could avoid reproducing instances of this same power. Some, like Guy Debord, proposed a framework in which the revolutionary subject employs violence without becoming subject to such violence itself. Others, like Antonio Negri, sought to distinguish among various regimes of violence, arguing that true state violence was modally distinct from revolutionary violence, or the concrete materialization of a proletarian potentiality. Although opposed, both of these perspectives strive to mitigate or restrain the brutal subjectivation attending the exercise of violence. Placing this debate against the background of Walter Benjamin's claim, in his “Critique of Violence,” that a “divine violence” that would neither sustain nor uphold law is “undisclosed to human beings,” this article argues that the Autonomia movement in 1970s Italy reveals how such undisclosedness, such invisibility, becomes incarnated in a social form. If it is only by abandoning a concept of sovereign victory that a form of divine violence can appear, this is because its appearance coincides with the destitution of the cohesion of the social body upholding state sovereignty. Revolutionary violence is not nonviolence but, rather, a violence other than violence, a form of power whose content is a subjectivation beyond the problematic of sovereignty.
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Versiani dos Anjos, Carlos. "A Arcádia Romana e a Arcádia Ultramarina: diálogos literários entre a Itália e o Brasil na segunda metade do século XVIII / The Roman Arcadia and the Arcadia Ultramarina: Literary Dialogues between Italy and Brazil in the Second Half of the Eighteenth Century." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 3 (September 3, 2019): 83. http://dx.doi.org/10.17851/2358-9787.28.3.83-114.
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Resumo: Este trabalho visa apresentar as relações literárias entre árcades brasileiros da segunda metade do século XVIII e a Arcádia Romana, a que alguns destes árcades eram filiados, ou a ela associados por intermédio da chamada Arcádia Ultramarina, academia criada no Brasil, na capitania de Minas Gerais, por Cláudio Manuel da Costa. O artigo analisa os primórdios da Arcádia Romana e seus teóricos precursores; o movimento dos poetas brasileiros na Europa e no Brasil, para a criação de uma colônia ultramarina daquela Academia; os esforços de Basílio da Gama, Seixas Brandão e Cláudio Manuel neste empreendimento; a participação do poeta Silva Alvarenga, também como crítico literário; e a recepção crítica sobre a existência e significado da Arcádia Ultramarina, nas suas relações com a Arcádia Romana, entre estudiosos contemporâneos da Itália e do Brasil.Palavras-chave: Arcádia Romana; Arcádia Ultramarina; século XVIII; Literatura Arcádica; História da Literatura.Abstract: We aim to present the literary relations between Brazilian arcadians in the second half of the eighteenth century and the Roman Arcadia, in which some of these arcadians were affiliated or associated to the so-called Arcadia Ultramarina, an academy created in Brazil, in the captaincy of Minas Gerais, by Cláudio Manuel da Costa. We analyze the beginning of the Roman Arcadia and its precursor theorists; the movement of Brazilian poets in Europe and Brazil, for the creation of an overseas colony of that Academy; the efforts of Basilio da Gama, Seixas Brandão and Cláudio Manuel in this venture; the participation of the poet Silva Alvarenga, also as a literary critic; and the critical reception on the existence and significance of the Arcadia Ultramarina in its relations with the Roman Arcadia among contemporary scholars from Italy and Brazil.Keywords: Roman Arcadia; Arcadia Ultramarina; XVIII Century; Arcadian Literature; History of Literature.
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Spiridonova, Lidia A. "On innovativeness of Maksim Gorky." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 211–20. http://dx.doi.org/10.37816/2073-9567-2021-62-211-220.
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In Soviet literary criticism, Gorky's innovation was usually associated with his revolutionary activity, calling him “the first proletarian writer in time and rank” and “the founder of socialist realism”. The cliches of Marxist-Leninist aesthetics were so tightly attached to the writer that they survived to this day. The paper considers the work of Gorky from new methodological standpoint, since the writer from the very beginning of his activity sought to create his own method of depicting life from the perspective of the future. Analyzing the novel “Mother”, which was considered the first work of socialist realism, the author shows that this novel was inextricably connected with a philosophical and aesthetic system of the Silver Age, and its genre (utopia novel) is consonant with the novels by A. Bogdanov “Red Star” and F. Sologub “Legend in the making”. The organic connection of Nietzscheanism with Marxism, and God-building with a realistic description of the revolutionary movement in the working settlement, was truly innovative. Gorky's sincere faith in socialism, which could become a new religion of the working person, was first expressed in an art work as a utopian dream of a happy future for Russia. Socialist mythology, combined with realism and romanticism, created an innovative method of depicting reality, which is characteristic of “Tales of Italy”, an autobiographical trilogy and “The Life of Klim Samgin”. Gorky's work came to be a link between the culture of the Silver Age and Soviet literature.
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Campioni, Giuliano. "Nietzche, Wagner y el Renacimiento italiano." Theoría. Revista del Colegio de Filosofía, no. 10 (June 1, 2001): 85–106. http://dx.doi.org/10.22201/ffyl.16656415p.2000.10.252.
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The purpose of this essay is to redefine Nietzsche’s relationship with the Renaissance, beyond some outstanding and terrible simplifications, and the literary and aesthetic creations of myths focused on the constellation superman, Renaissance-will-of-power, and Antichrist. Richard Wagner strongly conditions Nietzsche’s ideas with his valuations of the Renaissance. There is, in the young author of The Birth of Tragedy, a strong diffidence on the footsteps of the German ideology of the musician and of his rooted aversion to the Renaissance. The Italian Opera seems to be a false revival of the Greek Opera in its paradigmatic model of the artifice, and of the luxury of a selfish aristocracy, far from the feeling of the Volk. As a philologist and a promoter of a revival of the Greek world in Germany, Nietzsche had in the Italian Renaissance a necessary model of comparison. After an initial hostility followed a freer and more open evaluation that can be read in his posthumous documents, regardig the complexity of its experimental movement. The influence of Burckhardt in particular shows a progressive turning point, considerable for bringing a new definition of his relationship with the musician. The essay pauses on Nietzsche’s notes to the lessons dedicated to The Discovery of the Antiquity among the Italians, which turned out to be a mosaic of quotations from The Civilization of the Renaissance in Italy. It is certainly the most important document, largely ignored throughout history, of the close relationship between Nietzsche and Burckhardt. On the search for complexity and plurality that characterizes the superior culture, Nietzsche discovers and enhances the value of the Latin Renaissance in direct opposition to the German Renaissance impressed by Wagner’s illusion. With Burckhardt, he discovers the individual man and the poet-philologist, a prototype of the free spirit, putting into practice the detachment from the German myth of the Volk and opening the way to the culture of Romanticism.
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OUCHTATI, Zoubeida. "Verso una ricerca identitaria al femminile in “L’età del malessere” di Dacia Maraini." ALTRALANG Journal 2, no. 02 (December 31, 2020): 261–85. http://dx.doi.org/10.52919/altralang.v2i02.88.
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ABSTRACT: Writing allows the woman to express herself and talk about her life by emphasizing her interiority. Unlike the other female literatures (English or French for example), the Italian one has been for a long time put in the shadow of “men”. In Italy, the interest in the writing of women was born in the second half of the twentieth century thanks to the feminist movement and the feminine literary criticism. In this article, we study “L’età del malessere”; a novel written by Dacia Maraini who is one of the most known Italian feminists and intellectuals. The main purpose of this study is to show how Dacia Maraini manages to deal with the theme of female identity through her protagonist “Enrica”. The writer highlights both the family and the social context in which Enrica grows because they affect the process of building her identity. Eventually, Enrica gains her identity by gaining her freedom after various vital and bodily experiences.
RIASSUNTO: La scrittura permette alla donna di esprimersi e di parlare della sua vita mettendo in risalto la sua interiorità. A differenza delle altre letterature femminili (inglese o francese per esempio), quella italiana è stata per molto tempo messa all’ombra “maschile”. In Italia, l’interesse per la scrittura delle donne nasce nella seconda metà del XX secolo grazie al movimento femminista e alla critica letteraria a firma femminile. In quest’articolo, studiamo “L’età del malessere”; un romanzo scritto Dacia Maraini che è una delle più famose femministe e intellettuali italiane. Lo scopo principale di questo nostro studio è di mostrare come Dacia Maraini riesce a trattare il tema dell’identità femminile mediante la sua protagonista “Enrica”. La scrittrice mette in evidenza sia il contesto familiare sia quello sociale in cui cresce Enrica perché influiscono sul processo di costruzione della sua identità. Alla fine, Enrica conquista la propria identità ottenendo la sua libertà dopo varie esperienze vitali e corporali.
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Paul, Joanna. "Reception." Greece and Rome 61, no. 2 (September 12, 2014): 308–11. http://dx.doi.org/10.1017/s0017383514000151.
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A recent special issue of the Classical Receptions Journal marked the twentieth anniversary of the publication of Charles Martindale's Redeeming the Text. Latin Poetry and the Hermeneutics of Reception. Although the rich and various examples of classical reception scholarship that have appeared over the past two decades are by no means all cut from Martindale's cloth, the ‘seminal’ and ‘influential’ nature of his study is surely not in doubt. It is fitting, then, that this issue's round-up of reception publications focuses on a small cluster of recent studies that, like Redeeming the Text, explore the complex reception histories of Latin literature, and do so with a keen eye to the theoretical underpinnings of such scholarship; fitting, too, that our first title, Romans and Romantics, features Charles Martindale among its editors. The eighteen essays in this collection in fact range well beyond literature, with visual culture and the physical fabric of the city of Rome playing an important role; but encounters with Latin texts are a central component of the book, and the overarching theoretical and methodological framework for examining them bears the clear imprint of Martindale's reception manifesto. The introduction emphasizes the importance of remaining alert to the two-way dynamics of reception: not only do the contributors explore the ways in which Romanticism was shaped by antiquity, but they also examine the impact that Romanticism has had on subsequent views of antiquity. Although the idea of reception as a two-way process is often parroted, its implications are not always interrogated and explained so carefully as they are here. Most valuably, Romans and Romantics acknowledges and confronts the overly simple ‘myths’ that attach to our ideas of both the classical and the Romantic, showing how notions of what Romanticism ‘is’ are just as contingent and subject to distortion as those of the classical. So, for example, Timothy Saunders' fascinating chapter on ‘Originality’ successfully challenges the assumption that Romanticism was in some way antithetical or inimical to Roman studies, and that it was responsible for the lasting negative impression of Latin (literary) culture as imitative and inferior. Instead, he argues, ‘Romantic notions of originality’ (85) were more complex than we might assume, and could certainly find space for recognizing and celebrating Rome's creative use of its Greek heritage. Other chapters offer useful studies of the ‘varied, vital, and mutually sustaining’ (v) interactions between Romantics and Romans, including accessible accounts of key authors such as Shelley, Byron, and de Staël. Particularly worthwhile, though, is the final section, ‘Receptions’. By focusing on post-Romantic material, it lays bare our own modern preconceptions of the Romantic movement and encourages contemplation of how receptions of Romanticism are as important as receptions of Rome. Ralph Pite's excellent chapter on Thomas Hardy, for example, shows how this author, and many of his late nineteenth-century contemporaries, might be disappointed by visiting Rome: their expectations of the city, shaped by their own Romantic inheritance, could be undermined by the revelation of the modernized capital of a newly unified Italy, ‘threaten[ing] the post-Romantic traveller's cherished idea of ‘an eternal city frozen in time’’ (328).
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AKHSAKHALYAN, ALEXANDER. "VALERY BRUSOV AND VLADIMIR MAYAKOVSKY: THE HISTORY OF AN ARGUMENT BETWEEN SYMBOLISTS AND FUTURISTS." Brusov Readings, November 22, 2018, 149–58. http://dx.doi.org/10.31377/brus.v0i0.240.
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The individual aspect of young Valery Brusov's project is decisive for the formation of the Russian Symbolist Movement. The specificity of Russian Futurism is indeed conditioned by the collective dimension of experience and an artistic expression in which the use of coarse parody often hides the subtle interplay of literary allusions. The reflexion hinges upon the image of poet Brusov who is caricatured in the founding article of Russian Futurism «A Slap in the Face of Public Taste».
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Pagliuca, Antonello, Donato Gallo, and Pier Pasquale Trausi. "A Modern “machine for living”. The Villa Girasole in Marcellise in Italy." Rivista Tema 8, N. 1 (2022) (May 9, 2022). http://dx.doi.org/10.30682/tema0801e.
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In the XX century, Italian architects experimented with the use of new European construction vanguards: concrete and steel materials for building frames, new cladding systems, and many other technologies for structures and envelopes. However, while other countries have imposed heavy economic sanctions on Italy, the Italian Government adopted an economic protection protocol to improve protectionist policies of self-production. This situation has led to the optimization of national resources and the creation of experimental models of architecture, often beyond the “limits of physics”. Villa Girasole in Marcellise (Verona, Italy) by Angelo Invernizzi is a current example of this innovation process, which has enhanced knowledge about construction techniques, domotics, and building energy systems. Villa Girasole has been described as a masterpiece of Italian Rationalism and Futurism architecture. In fact, the building can turn on itself with a revolving and circular rails system (as aeronautical engineering systems). With this movement, the building can follow the daily and seasonal orientation of the sun, improving the building’s energy performance. Moreover, the building adopted a futuristic cladding system (Alumàn), many insulating Italian materials (Eraclit), and important building systems like concrete framework (with Vierendeel beams) and steel frames. The construction and typological analysis of this masterpiece represent a necessary condition to improve the knowledge of the contemporary design process. In fact, from the heritage experience, the architects can design new building systems that follow the requirements of environmental sustainability and energy saving, with domotics systems and new building materials.
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Genova, Irina. "The Realism of Modernisms/The Modernism of Realisms: an Example from Bulgaria." Visual Studies 3, no. 1 (June 30, 2019). http://dx.doi.org/10.54664/hllw1926.
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In this short article I will try to outline the problematic use of the concepts of “realism“ and “modernism“ in Bulgaria during the twentieth century, and especially in two concrete moments – in the 1930s and in the 1960s. The main example is the artist Ivan Nenov (1902–1997) – one of those names that are associated with modernism in the canonical narrative of Bulgarian art from XX century. In the late 1920’s, when Nenov appeared on the art scene, the peak of the Native Art Movement had already passed. The return to the picture in the early 1930’s in Bulgaria was related to the association of the New Artists, to retrospective interest in Cézanne and introduction of the concept of “New Realism”. Nenov was one of the protagonists of this movement. In the same decade, in 1932–1933 and 1936–1937, he stayed in Italy – in Turin and Albisola Marina – with his friend, the artist Nicolay Diulgheroff. Diulgheroff was part of the second Italian Futurism and introduced Nenov to these circles. In Nenov’s works from that time – paintings, drawings, and sculptures – we recognize his enthusiasm for Fillia, Carlo Carrà, Enrico Prampolini, and Diulgheroff himself. After World War II, under the Communist rule in Bulgaria, Nenov initially found a “refuge“ in the field of ceramics. In 1950 he was forced to leave his teaching post at the Academy of Arts. Later, his work, along with the work of other central artistic figures from the 1930s, was appropriated by the invented genealogy of (Socialist) Realism in a broader, liberal understanding. Nenov himself wrote in support of figurative art. Thus, in the case of the artist Ivan Nenov, the concepts of futurism, valori plastici, new realism in the 1930s – at one moment of his career, and socialist realism, realism, figural art – during the Communist rule, paradoxically intertwine with each other and hold relation to phenomena elsewhere in Europe.
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Baron-Milian, Marta. "YY. Kryptonimy Jerzego Jankowskiego." Przestrzenie Teorii, no. 34 (December 15, 2020). http://dx.doi.org/10.14746/pt.2020.34.2.
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The article is an attempt to interpret the only book published by Jerzy Jankowski, a forerunner of Polish futurism who is often overlooked in literary history related to the beginnings of the avant-garde movement. Tram wpopszek ulicy (Tram crossways on the street), published in 1920, is presented in terms of innovative phenomena in Polish and European poetry. Such a point of view reveals its precursory character, despite its passeism repeatedly diagnosed by critics. The key word and the starting point of the analysis is the first word of the title – tram, whose ambiguity makes it not only a sign of a modern city but also a metaphor of the construction of the entire book and its historical location. Further analysis leads to conclusions that, on the one hand, reveal the complicated meaning of the vitalistic futurist concept of life and, on the other, indicate aporias and tensions between symbolism and avant-garde, originality and repetition, materiality and spirituality, as well as aesthetics and the social function of art. These seem to be a hidden dimension of Jankowski’s work.