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| critical writings filippo tommaso marinetti: Critical Writings F. T. Marinetti, 2007-04-07 The Futurist movement was founded and promoted by Filippo Tommaso Marinetti, beginning in 1909 with the First Futurist Manifesto, in which he inveighed against the complacency of cultural necrophiliacs and sought to annihilate the values of the past, writing that there is no longer any beauty except the struggle. Any work of art that lacks a sense of aggression can never be a masterpiece. In the years that followed, up until his death in 1944, Marinetti, through both his polemical writings and his political activities, sought to transform society in all its aspects. As Günter Berghaus writes in his introduction, Futurism sought to bridge the gap between art and life and to bring aesthetic innovation into the real world. Life was to be changed through art, and art was to become a form of life. This volume includes more than seventy of Marinetti's most important writings—many of them translated into English for the first time—offering the reader a representative and still startling selection of texts concerned with Futurist art, literature, politics, and philosophy. |
| critical writings filippo tommaso marinetti: The Manifesto of Futurism Filippo Tommaso Marinetti, 2016-04-04 Filippo Tommaso Emilio Marinetti (22 December 1876 – 2 December 1944) was an Italian poet, editor, art theorist, and founder of the Futurist movement. The Manifesto of Futurism written by the Italian poet Filippo Tommaso Marinetti, initiated an artistic philosophy, Futurism, that was a rejection of the past, and a celebration of speed, machinery, violence, youth and industry; it also advocated the modernization and cultural rejuvenation of Italy. Marinetti wrote the manifesto in the autumn of 1908 and it first appeared as a preface to a volume of his poems, published in Milan in January 1909. It was published in the Italian newspaper Gazzetta dell'Emilia in Bologna on 5 February 1909 then in French as Manifeste du futurisme (Manifesto of Futurism) in the newspaper Le Figaro on 20 February 1909. Translated by Jason Forbus |
| critical writings filippo tommaso marinetti: Futurism and the Technological Imagination , 2016-08-09 This volume, Futurism and the Technological Imagination, results from a conference of the International Society for the Study of European Ideas in Helsinki. It contains a number of re-written conference contributions as well as several specially commissioned essays that address various aspects of the Futurists’ relationship to technology both on an ideological level and with regard to their artistic languages. In the early twentieth century, many art movements vied with each other to overhaul the aesthetic and ideological foundations of arts and literature and to make them suitable vehicles of expression in the new Era of the Machine. Some of the most remarkable examples came from the Futurist movement, founded in 1909 by Filippo Tommaso Marinetti. By addressing the full spectrum of Futurist attitudes to science and the machine world, this collection of 14 essays offers a multifaceted account of the complex and often contradictory features of the Futurist technological imagination. The volume will appeal to anybody interested in the history of modern culture, art and literature. |
| critical writings filippo tommaso marinetti: The Taste of Art Silvia Bottinelli, Margherita d’Ayala Valva, 2017-06-01 The Taste of Art offers a sample of scholarly essays that examine the role of food in Western contemporary art practices. The contributors are scholars from a range of disciplines, including art history, philosophy, film studies, and history. As a whole, the volume illustrates how artists engage with food as matter and process in order to explore alternative aesthetic strategies and indicate countercultural shifts in society. The collection opens by exploring the theoretical intersections of art and food, food art’s historical root in Futurism, and the ways in which food carries gendered meaning in popular film. Subsequent sections analyze the ways in which artists challenge mainstream ideas through food in a variety of scenarios. Beginning from a focus on the body and subjectivity, the authors zoom out to look at the domestic sphere, and finally the public sphere. Here are essays that study a range of artists including, among others, Filippo Tommaso Marinetti, Daniel Spoerri, Dieter Roth, Joseph Beuys, Al Ruppersberg, Alison Knowles, Martha Rosler, Robin Weltsch, Vicki Hodgetts, Paul McCarthy, Luciano Fabro, Carries Mae Weems, Peter Fischli and David Weiss, Janine Antoni, Elżbieta Jabłońska, Liza Lou, Tom Marioni, Rirkrit Tiravanija, Michael Rakowitz, and Natalie Jeremijenko. |
| critical writings filippo tommaso marinetti: Italian Futurism 1909-1944 Solomon R. Guggenheim Museum, 2014 February 21-September 1, 2014 The first comprehensive overview of Italian Futurism to be presented in the United States, this multidisciplinary exhibition examines the historical sweep of the movement from its inception with F.T. Marinetti's Futurist manifesto in 1909 through its demise at the end of World War II. Presenting over 300 works executed between 1909 and 1944, the chronological exhibition encompasses not only painting and sculpture, but also architecture, design, ceramics, fashion, film, photography, advertising, free-form poetry, publications, music, theater, and performance. To convey the myriad artistic languages employed by the Futurists as they evolved over a 35-year period, the exhibition integrates multiple disciplines in each section. Italian Futurism is organized by Vivien Greene, Curator, 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum. In addition, a distinguished international advisory committee has been assembled to provide expertise and guidance. |
| critical writings filippo tommaso marinetti: Back to the Futurists Elza Adamowicz, Simona Storchi, 2017 This collection of essays aims to reassess the activities and legacy of the Italian Futurist movement from an international and interdisciplinary perspective. |
| critical writings filippo tommaso marinetti: Filippo Tommaso Marinetti Ernest Ialongo, 2015-03-06 Filippo Tommaso Marinetti: The Artist and His Politics is a full-length political biography of the leader of the Italian Futurist art movement Filippo Tommaso Marinetti from the foundation of Futurism in 1909 through its end in the Fascist regime in 1944. |
| critical writings filippo tommaso marinetti: The Charm of Egypt Filippo Marinetti, 2022-07-27 Filippo Tommaso Marinetti, born in Alexandria in the Khedivate of Egypt in 1876 to an Italian couple, came of age during the turn of the 20th Century. He witnessed the rapid advancement of industrial society, observed the struggles of Europe's Great Powers as a war reporter, and saw firsthand the cataclysmic events of the Great War while a soldier in the Italian army. Marinetti founded the Italian Futurist movement, which emphasized dynamism, speed, technology, youth, and violence, finding inspiration in the automobile, the airplane, and the industrial city, and aimed to liberate Italy from the weight of its past. Futurism's key figures were Marinetti himself, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. He would also gain some influence outside of Italy, notably with the Englishman Wyndham Lewis, whose Vorticist style drew heavily on Futurism. Marinetti found the world of the Great Powers, tied down by their immense histories, to be suffocating and moribund: like an open-air museum. He loved above all else the world of action and fire, machine-guns, cannons, and ironclad vessels. On this shared love of action, he drew close to Mussolini's Fascists, though this relationship was often troubled by Marinetti's criticism of what he perceived to be Fascism's reactionary tendencies. Originally published in 1933 as Il Fascino dell'Egitto, Marinetti's The Charm of Egypt is both a diary and an artistic rendering of his adventures among the Egyptian dunes. Marinetti paints the world as he saw it, through his unique Futurist perspective. His reflections on the land of his birth, and the changes wrought upon it by the forward march of technology, come together in this fascinating homage to that ancient and beautiful land. After nearly a century, Antelope Hill is proud to present The Charm of Egypt for the first time to the English reader. We hope that this beautiful account by one of Europe's most radical thinkers and artists will become a timeless artifact to be studied and enjoyed by many future generations to come. |
| critical writings filippo tommaso marinetti: Hearing Things Angela Leighton, 2018-05-07 Drawing on the writings of critics and philosophers and on the comments of poets and novelists who have pointed to the role of the ear in writing and reading, Angela Leighton offers a reconsideration of literature as an exercise in hearing things, and renews a call for criticism that is creatively attentive to sound’s work in every literary text. |
| critical writings filippo tommaso marinetti: A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 , 2019-02-04 A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 is the first publication to deal with the avant-garde in the Nordic countries in this period. The essays cover a wide range of avant-garde manifestations: literature, visual arts, theatre, architecture and design, film, radio, body culture and magazines. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective that includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field but in a broader cultural and political context: the pre-war and wartime responses to international developments, the new cultural institutions, sexual politics, the impact of refugees and the new start after the war. |
| critical writings filippo tommaso marinetti: Marinetti; Selected Writings Filippo Tommaso Marinetti, 1972-01 |
| critical writings filippo tommaso marinetti: The Futurist Cookbook Filippo Tommaso Marinetti, 2014 Part manifesto, part artistic joke, Fillippo Marinetti's Futurist Cookbook is a provocative work about art disguised as an easy-to-read cookbook. Here are recipes for ice cream on the moon; candied atmospheric electricities; nocturnal love feasts; sculpted meats. Marinetti also sets out his argument for abolishing pasta as ill-suited to modernity, and advocates a style of cuisine that will increase creativity. Although at times betraying its author's nationalistic sympathies, The Futurist Cookbook is funny, provocative, whimsical, disdainful of sluggish traditions and delighted by the velocity and promise of modernity. Filippo Tommaso Marinetti was born in 1876 to Italian parents and grew up in Alexandria, Egypt. He studied in Paris and obtained a law degree in Italy before turning to literature. In 1909 he wrote the infamous Futurist Manifesto, which championed violence, speed and war, and proclaimed the unity of art and life. Marinetti's life was fraught with controversy: he fought a duel with a hostile critic, was subject to an obscenity trial, and was a staunch supporter of Italian Fascism. Alongside his literary activities, he was a war correspondent during the Italo-Turkish War and served on the Eastern Front in World War II, despite being in his sixties. He died in 1944. Lesley Chamberlain is a novelist and historian of ideas. Her thirteen books include Nietzsche in Turin, The Secret Artist: A Close Reading of Sigmund Freud and The Food and Cooking of Russia. Suzanne Brill is an art historian and writer. She has translated several books for Italian art historians including Caro Pedretti's Leonardo: Architect, which was nominated for the John Florio prize. 'A paean to sensual freedom, optimism and childlike, amoral innocence ... it has only once been answered, by Aldous Huxley's Brave New World' Lesley Chamberlain |
| critical writings filippo tommaso marinetti: MAVO Gennifer Weisenfeld, 2002-02-25 Mavo were aJapanese group of artists active in Tokyo from 1923-1925. |
| critical writings filippo tommaso marinetti: Iliazd Johanna Drucker, 2020-12-15 A captivating portrait of futurist artist Iliazd infused with the reflections of his accidental biographer on the stickiness of the genre. The poet Ilia Zdanevich, known in his professional life as Iliazd, began his career in the pre-Revolutionary artistic circles of Russian futurism. By the end of his life, he was the publisher of deluxe limited edition books in Paris. The recent subject of major exhibitions in Moscow, his native Tbilisi, New York, and other venues, the work of Iliazd has been prized by bibliophiles and collectors for its exquisite book design and innovative typography. Iliazd collaborated with many major figures of modern art—Pablo Picasso, Sonia Delaunay, Max Ernst, Joán Miro, Natalia Goncharova, and Mikhail Larionov, among others. His 1949 anthology, The Poetry of Unknown Words, was the first international anthology of experimental visual and sound poetry ever published. The list of contributors is a veritable Who's Who of avant-garde writing and visual art. And Iliazd's unique hands-on engagement with book production and design makes him the ideal case study for considering the book as a modern art form. Iliazd is the first full-length biography of the poet-publisher, as well as the first comprehensive English-language study of his life and work. Johanna Drucker weaves two stories together: the history of Iliazd's work as a modern artist and poet, and the narrative of the author's encounter with his widow and other figures in the process of researching his biography. Drucker's reflection on what a biographical project entails addresses questions about the relationship between documentary evidence and narrative, between contemporary witnesses and retrospective accounts. Ultimately, Drucker asks how we should understand the connection between the life of an artist and their work. Enriched with photographs from the Iliazd archive and a wealth of primary documents, the book is a vivid account of a unique contributor to modernism—and to the way we continue to reevaluate the history of twentieth-century culture. Accounts of Drucker's research during the mid-1980s in the personal archive of Madame Hélène Zdanevich, the poet's widow, lend the narrative an incredible intimacy. Drucker recounts how, sitting in the studio that Iliazd occupied from the late 1930s until his death in 1975, she was drawn into the circle of scholars who had made him their focus and were doing foundational work on his significance. She also coped with the difference between the widow's view of the artist as a man she loved and Drucker's own perception of Iliazd's significance within a critical approach to history. Iliazd is at once a rich study of a significant figure and a thoughtful reflection on the way a biography creates an encounter with its always absent subject. |
| critical writings filippo tommaso marinetti: Mafarka the Futurist F. T. Marinetti, 1998 Dazzling and disturbing, Marinetti's 'great fire-brand novel' recounts the erotic and exotic exploits of the warlord Mafarka in a torrid and highly stylised North Africa. When the novel was first published (the French version in 1909, the Italian in 1910), it was banned for obscenity.--cover. |
| critical writings filippo tommaso marinetti: The European Avant-Garde Selena Daly, Monica Insinga, 2013-02-21 The European Avant-Garde: Text and Image is an interdisciplinary collection of thirteen essays relating to the study of European Avant-Garde movements between 1900 and 1940. The essays cover both literary and artistic subjects, across geographical, linguistic and disciplinary boundaries. Various aspects of the English, Irish, German, French, Italian, Spanish, and Polish avant-gardes are explored, examining both diverse literary genres such as prose, poetry and drama, and specific avant-garde movements such as Futurism and Surrealism. The volume includes a lengthy introductory essay by Prof. John J. White, Emeritus Professor of German and Comparative Literature at King’s College London. Avant-garde studies can be enhanced and developed through dialogue with other disciplines, such as translation, gender, exile and comparative studies. Thus, the volume is divided into four sections: Representations of the Body; Translating the Avant-Garde, Identity and Exile; and Comparative Perspectives and the Legacy of the Avant-Garde. |
| critical writings filippo tommaso marinetti: The Artist and the Book in Twentieth-century Italy Ralph Jentsch, Mirella Bentivoglio, 1992 |
| critical writings filippo tommaso marinetti: Futurist Cinema Rossella Catanese, 2018 Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era. |
| critical writings filippo tommaso marinetti: Italy and the Environmental Humanities Serenella Iovino, Enrico Cesaretti, Elena Past, 2018-03-27 Bringing together new writing by some of the field’s most compelling voices from the United States and Europe, this is the first book to examine Italy--as a territory of both matter and imagination--through the lens of the environmental humanities. The contributors offer a wide spectrum of approaches--including ecocriticism, film studies, environmental history and sociology, eco-art, and animal and landscape studies--to move past cliché and reimagine Italy as a hybrid, plural, eloquent place. Among the topics investigated are post-seismic rubble and the stratifying geosocial layers of the Anthropocene, the landscape connections in the work of writers such as Calvino and Buzzati, the contaminated fields of the ecomafia’s trafficking, Slow Food’s gastronomy of liberation, poetic birds and historic forests, resident parasites, and nonhuman creatures. At a time when the tension between the local and the global requires that we reconsider our multiple roots and porous place-identities, Italy and the Environmental Humanities builds a creative critical discourse and offers a series of new voices that will enrich not just nationally oriented discussions, but the entire debate on environmental culture. Contributors: Marco Armiero, Royal Institute of Technology at Stockholm * Franco Arminio, Writer, poet, and filmmaker * Patrick Barron, University of Massachusetts * Damiano Benvegnù, Dartmouth College and the Oxford Center for Animal Ethics * Viktor Berberi, University of Minnesota, Morris * Rosi Braidotti, Utrecht University * Luca Bugnone, University of Turin * Enrico Cesaretti, University of Virginia *Almo Farina, University of Urbino * Sophia Maxine Farmer, University of Wisconsin-Madison * Serena Ferrando, Colby College * Tiziano Fratus, Writer, poet, and tree-seeker * Matteo Gilebbi, Duke University * Andrea Hajek, University of Warwick * Marcus Hall, University of Zurich * Serenella Iovino, University of Turin * Andrea Lerda, freelance curator * Roberto Marchesini, Study Center of Posthuman Philosophy in Bologna * Marco Moro, Editor-in-Chief of Edizioni Ambiente, Milan * Elena Past, Wayne State University * Carlo Petrini, Founder of International Slow Food Movement * Ilaria Tabusso Marcyan, Miami University (Ohio)* Monica Seger, College of William and Mary * Pasquale Verdicchio, University of California, San Diego |
| critical writings filippo tommaso marinetti: Handbook of International Futurism Günter Berghaus, 2018-12-17 The Handbook of International Futurism is the first reference work ever to presents in a comparative fashion all media and countries in which the movement, initiated by F.T. Marinetti in 1909, exercised a particularly noteworthy influence. The handbook offers a synthesis of the state of scholarship regarding the international radiation of Futurism and its influence in some fifteen artistic disciplines and thirty-eight countries. While acknowledging the great achievements of the movement in the visual and literary arts of Italy and Russia, it treats Futurism as an international, multidisciplinary phenomenon that left a lasting mark on the manifold artistic manifestations of the early twentieth-century avant-garde. Hundreds of artists, who in some phase in their career absorbed Futurist ideas and stylistic devices, are presented in the context of their national traditions, their international connections and the media in which they were predominantly active. The handbook acts as a kind of multi-disciplinary, geographical encyclopaedia of Futurism and gives scholars with varying levels of experience a detailed overview of all countries and disciplines in which the movement had a major impact. |
| critical writings filippo tommaso marinetti: The Anatomy of Fascism Robert O. Paxton, 2007-12-18 What is fascism? By focusing on the concrete: what the fascists did, rather than what they said, the esteemed historian Robert O. Paxton answers this question. From the first violent uniformed bands beating up “enemies of the state,” through Mussolini’s rise to power, to Germany’s fascist radicalization in World War II, Paxton shows clearly why fascists came to power in some countries and not others, and explores whether fascism could exist outside the early-twentieth-century European setting in which it emerged. A deeply intelligent and very readable book. . . . Historical analysis at its best. –The Economist The Anatomy of Fascism will have a lasting impact on our understanding of modern European history, just as Paxton’s classic Vichy France redefined our vision of World War II. Based on a lifetime of research, this compelling and important book transforms our knowledge of fascism–“the major political innovation of the twentieth century, and the source of much of its pain.” |
| critical writings filippo tommaso marinetti: Words in Revolution Anna M. Lawton, Herbert Eagle, 2005 In her extensive Introduction, Lawton has highlighted the historical development of the movement and has related futurism both to the Russian national scene and to avant-garde movements worldwide. |
| critical writings filippo tommaso marinetti: Speed Destruction Noise War F.T. Marinetti, Luigi Russolo, Francesco Balilla Pratella, 2013-06-19 Founded in 1909 by the Italian writer Filippo Tommaso Marinetti, Futurism was a radical art and social movement that glorified modernistic concepts of speed, destruction, noise, machines, cities and war. Marinetti's obsession with the future even extended to the abolition of libraries and museums, which he demanded be burned to the ground in a vortex of incendiary violence. Over 100 years later, Futurism stands as a key conceptual movement of the 20th century, one whose ideas are still ominously relevant in the age of rampant technological progress, suicide bombers and unmanned drone strikes. This special ebook volume in the Radical Manifesto series collects nine of the most challenging manifestos of the early Futurist Movement, from Marinetti's founding charter and subsequent calls to war to the seminal noise theories and machine music blueprints of Luigi Russolo and Balilla Pratella. It also contains as a bonus the first manifesto of Russian Futurism, written by Vladimir Mayakovsky and others. |
| critical writings filippo tommaso marinetti: Let's Murder the Moonshine F. T. Marinetti, 1991 A selection of polemical writings and memoirs by the founder of the Futurist art movement. |
| critical writings filippo tommaso marinetti: On Slowness Lutz Koepnick, 2014-10-07 Speed is an obvious facet of contemporary society, whereas slowness has often been dismissed as conservative and antimodern. Challenging a long tradition of thought, Lutz Koepnick instead proposes to understand slowness as a strategy of the contemporaryÑa decidedly modern practice that gazes firmly at and into the presentÕs velocity. As he engages with late-twentieth- and early-twenty-first-century art, photography, video, film, and literature, Koepnick explores slowness as a critical medium to intensify our temporal and spatial experiences. Slowness helps us register the multiple layers of time, history, and motion that constitute our present. It offers a timely (and untimely) mode of aesthetic perception and representation that emphasizes the openness of the future and undermines any conception of the present as a mere replay of the past. Discussing the photography and art of Janet Cardiff, Olafur Eliasson, Hiroshi Sugimoto, and Michael Wesely; the films of Peter Weir and Tom Tykwer; the video installations of Douglas Gordon, Willie Doherty, and Bill Viola; and the fiction of Don DeLillo, Koepnick shows how slowness can carve out spaces within processes of acceleration that allow us to reflect on alternate temporalities and durations. |
| critical writings filippo tommaso marinetti: Poetry of the Revolution Martin Puchner, 2006 Martin Puchner tells the story of political and artistic upheavals through the political manifestos of the 19th and 20th centuries. He argues that the manifesto was the genre through which modern culture articulated its revolutionary ambitions and desires. |
| critical writings filippo tommaso marinetti: The History of Futurism Geert Buelens, Harald Hendrix, Michelangela Monica Jansen, 2012 Addresses the history and legacy of what is generally seen as the founding avante-garde movement of the twentieth century, exploring the Futurism movement as a multidisciplinary movement mixing aesthetics, politics, and science with a particular focus on the literature of the movement |
| critical writings filippo tommaso marinetti: Arts of Incompletion , 2021-07-19 Incompletion is an essential condition of cultural history, and particularly the idea of the fragment became a central element of Romantic art. Through its resistance to classicist ideals it continued being of high relevance to the various strands of modernist and contemporary aesthetics. The fourteen essays in this volume, based on the 2017 Stockholm conference of the International Association for Word and Music Studies (WMA), for the first time address incompletion in a wide range of literary and musical texts, from Baudelaire and Flaubert through Tolstoy and Henry James to Bachmann, Jelinek and Janet Frame, from Nietzsche and Chopin through Russolo and Puccini to Rihm and Kurtàg. Two further essays deal with topical general issues in the field of word and music studies. Contributors: Delia da Sousa Correa, The Open University, United Kingdom. Peter Dayan, The University of Edinburgh, United Kingdom. Ivan Delazari, HSE University in St. Petersburg, Russia. Rolf J. Goebel, The University of Alabama, USA. Michael Halliwell, The University of Sydney, Australia. Christin Hoene, Maastricht University, The Netherlands. Ruth Jacobs, The University of Edinburgh, United Kingdom. Lawrence Kramer, Fordham University, USA. Bernhard Kuhn, Bucknell University, USA. Margaret Miner, The University of Illinois Chicago, USA. Beate Schirrmacher, Linnaeus University, Sweden. David Francis Urrows, Hong Kong Baptist University, Hong Kong. Laura Vattano, The University of Edinburgh, United Kingdom. Erik Wallrup, Stockholm University, Sweden. Werner Wolf, University of Graz, Austria. |
| critical writings filippo tommaso marinetti: Echoing Voices in Italian Literature Teresa Franco, Cecilia Piantanida, 2019-01-08 This collection of essays explores the reception of classics and translation from modern languages as two different, yet synergic, ways of engaging with literary canons and established traditions in 20th-century Italy. These two areas complement each other and equally contribute to shape several kinds of identities: authorial, literary, national and cultural. Foregrounding the transnational aspects of key concepts such as poetics, literary voice, canon and tradition, the book is intended for scholars and students of Italian literature and culture, classical reception and translation studies. With its two shifting focuses, on forms of classical tradition and forms of literary translation, the volume brings to the fore new configurations of 20th-century literature, culture and thought. |
| critical writings filippo tommaso marinetti: The Untameables F. T. Marinetti, 2015 A reprinting of the famous novel by Italian Futurist poet F.T. Marinetti. |
| critical writings filippo tommaso marinetti: The Ego Made Manifest Wayne Bradshaw, 2023-09-07 From Karl Marx to Wyndham Lewis, this book examines Max Stirner's influence on the modern manifesto. Max Stirner has long proven to be an elusive figure at the fringes of 19th-century German idealism. He has been portrayed as the father of the philosophical dead end that was egoistic anarchism: a withered branch of an ineffectual movement, remembered largely because of its suggestion that crime was a valid form of revolutionary action. From this perspective, egoists subscribed to extreme forms of anarchism and defended acts of theft, assault, and even murder; egoism only held lasting appeal to rebels, nihilists, and criminals; and Stirner's ideas could – and should – be consigned to the dustbin of history accordingly. The Ego Made Manifest argues that many of the accepted truisms about Stirner and his reception are false and that his contribution to modernist and avant-garde manifesto-writing traditions has been overlooked. Beginning with his influence on Marx's Communist Manifesto, Wayne Bradshaw reinserts Stirner into the history of manifestos that not only rebelled against tradition but sought to take ownership of history, culture, and people's minds. This study documents the trajectory of Stirner's reception from mid-19th-century Germany to his rediscovery by German and American readers almost 50 years later, and from his popularity among manifesto writers in fin de siècle Paris to the birth of Italian Futurism. Finally, it considers how American and British interest in egoism helped inspire Vorticism's satirical approach to revolt, and how, in an age of extremism, Stirner's ideas continue to haunt the modern mind. |
| critical writings filippo tommaso marinetti: Killing the Moonlight Jennifer Scappettone, 2014 Tracks the pressures that modernity has placed on the legacy of romantic Venice, and the distinctive strains of aesthetic invention that resulted from the clash |
| critical writings filippo tommaso marinetti: The History of Futurism Geert Buelens, Ph.D, Harald Hendrix, Ph.D, Monica Jansen, Ph.D, 2012-08-31 The History of Futurism: The Precursors, Protagonists, and Legacies addresses the history and legacy of what is generally seen as the founding avante-garde movement of the twentieth century. Geert Buelens, Harald Hendrix, and Monica Jansen have brought together scholarship from an international team of specialists to explore the Futurism movement as a multidisciplinary movement mixing aesthetics, politics, and science with a particular focus on the literature of the movement. |
| critical writings filippo tommaso marinetti: After the Future Franco Bifo Berardi, 2011-09-20 After the Future explores a century-long obsession with the concept of the future, starting with Marinetti's Futurist Manifesto, tracing it through the punk movement of the early 70s, and into the media revolution of the 90s. The future, Bifo argues, has come and gone, the concept has lost its usefulness. Now it's our responsibility to decide what comes next. |
| critical writings filippo tommaso marinetti: Italian Modernism Luca Somigli, Mario Moroni, 2004-12-15 Italian Modernism was written in response to the need for an historiographic and theoretical reconsideration of the concepts of Decadentismo and the avant-garde within the Italian critical tradition. Focussing on the confrontation between these concepts and the broader notion of international modernism, the essays in this important collection seek to understand this complex phase of literary and artistic practices as a response to the epistemes of philosophical and scientific modernity at the end of the nineteenth century and in the first three decades of the twentieth. Intellectually provocative, this collection is the first attempt in the field of Italian Studies at a comprehensive account of Italian literary modernism. Each contributor documents how previous critical categories, employed to account for the literary, artistic, and cultural experiences of the period, have provided only partial and inadequate descriptions, preventing a fuller understanding of the complexities and the interrelations among the cultural phenomena of the time. Electronic Format Disclaimer: Images removed at the request of the rights holder. |
| critical writings filippo tommaso marinetti: 2024 Günter Berghaus, 2024-12-02 The first part of Volume 14 of the Yearbook presents ten essays concerned with Futurism in Italy, Russia, Ukraine, Czechoslovakia, Romania and Germany, and two focusing on dance and typography. Among other things, this publication provides analysis of the futurist manifestos from late 1910 and 1911 and Velimir Khlebnikov’s futurist essays, as well as the networks of Futurism in Odessa. In the second part, a section on Caricatures and Satires of Futurism in the Contemporary Press examines five humorous images from five countries, in which the movement and its leader were lampooned. This section is followed by nine reviews of recent exhibitions, conferences and publications, and an annual bibliography with details of 128 new books on Futurism. Futurism from international, comparative and interdisciplinary perspectives Transcultural view of international avant-gardes |
| critical writings filippo tommaso marinetti: New Literary Hybrids in the Age of Multimedia Expression Marcel Cornis-Pope, 2014-11-15 Begun in 2010 as part of the “Histories of Literatures in European Languages” series sponsored by the International Comparative Literature Association, the current project on New Literary Hybrids in the Age of Multimedia Expression recognizes the global shift toward the visual and the virtual in all areas of textuality: the printed, verbal text is increasingly joined with the visual, often electronic, text. This shift has opened up new domains of human achievement in art and culture. The international roster of 24 contributors to this volume pursue a broad range of issues under four sets of questions that allow a larger conversation to emerge, both inside the volume’s sections and between them. The four sections cover, 1) Multimedia Productions in Theoretical and Historical Perspective; 2) Regional and Intercultural Projects; 3) Forms and Genres; and, 4) Readers and Rewriters in Multimedia Environments. The essays included in this volume are examples of the kinds of projects and inquiries that have become possible at the interface between literature and other media, new and old. They emphasize the extent to which hypertextual, multimedia, and virtual reality technologies have enhanced the sociality of reading and writing, enabling more people to interact than ever before. At the same time, however, they warn that, as long as these technologies are used to reinforce old habits of reading/ writing, they will deliver modest results. One of the major tasks pursued by the contributors to this volume is to integrate literature in the global informational environment where it can function as an imaginative partner, teaching its interpretive competencies to other components of the cultural landscape. |
| critical writings filippo tommaso marinetti: 2021 Günter Berghaus, Monica Jansen, Luca Somigli, 2022-01-19 This volume explores the fraught relationship between Futurism and the Sacred. Like many fin-de-siècle intellectuals, the Futurists were fascinated by various forms of esotericism such as theosophy and spiritualism and saw art as a privileged means to access states of being beyond the surface of the mundane world. At the same time, they viewed with suspicion organized religions as social institutions hindering modernization and ironically used their symbols. In Italy, the theorization of Futurist Sacred Art in the 1930s began a new period of dialogue between Futurism and the Catholic Church. The essays in the volume span the history of Futurism from 1909 to 1944 and consider its different configurations across different disciplines and geographical locations, from Polish and Spanish literature to Italian art and American music. |
| critical writings filippo tommaso marinetti: 2023 Günter Berghaus, Dalila Colucci, Tim Klähn, 2023-12-04 This thirteenth volume of the International Yearbook of Futurism Studies explores some of the many facets of Neo-Futurism from the second half of the twentieth century to the present day. It looks both at the revival and the continuation of Futurist aesthetics, whether in explicit or palimpsest form, in a variety of media: literature, visual art, design, music, architecture, theatre and photography. The essays delve into the broad spectrum of artistic research and offer a good dozen case studies that document, with a transnational and interdisciplinary orientation, the manifold forms of Neo-Futurism in various parts of the world. They investigate how historical Futurism's intellectual and artistic perspective was appropriated and developed further in a more or less conscious, faithful and original way, all the while confronting its progenitor's cultural, social and political misconceptions. Interdisciplinary contributions to neo-futurism as a global phenomenon |
| critical writings filippo tommaso marinetti: A Captive of the Dawn Joseph Sherman, 2019-01-22 Peretz Markish (1895-1952), one of Eastern Europe's most important Yiddish poets in the period between the two world wars, was a fiercely independent maverick who published work in all literary genres. Although emerging from the Kiev literary tradition, Markish always went his own way in a literary career spanning four decades and embracing almost |
CRITICAL Definition & Meaning - Merriam-Webster
The meaning of CRITICAL is inclined to criticize severely and unfavorably. How to use critical in a sentence. Synonym Discussion of Critical.
CRITICAL | English meaning - Cambridge Dictionary
CRITICAL definition: 1. saying that someone or something is bad or wrong: 2. giving or relating to opinions or…. Learn more.
Critical Definition & Meaning | Britannica Dictionary
CRITICAL meaning: 1 : expressing criticism or disapproval; 2 : of or relating to the judgments of critics about books, movies, art, etc.
CRITICAL definition and meaning | Collins English Dictionary
To be critical of someone or something means to criticize them. ...a few dozen intellectuals who've been critical of the regime. He has apologised for critical remarks he made about the referee. A …
critical - Wiktionary, the free dictionary
Jun 8, 2025 · The critical component of the photosynthetic system is the “water-oxidizing complex”, made up of manganese atoms and a calcium atom. 2018 , VOA Learning English > …
What does critical mean? - Definitions.net
Critical can be defined as a thorough and analytical evaluation or examination of something, particularly by making judgments or forming opinions based on careful assessment and …
1004 Synonyms & Antonyms for CRITICAL - Thesaurus.com
Find 1004 different ways to say CRITICAL, along with antonyms, related words, and example sentences at Thesaurus.com.
Critical - Definition, Meaning & Synonyms | Vocabulary.com
The adjective critical has several meanings, among them, "vital," "verging on emergency," "tending to point out errors," and "careful."
Critical - definition of critical by ... - The Free Dictionary
Relating to or characterized by criticism; reflecting careful analysis and judgment: a critical appreciation of the filmmaker's work. b. Of, relating to, or characteristic of critics: a play that …
CRITICAL Definition & Meaning - Dictionary.com
inclined to find fault or to judge with severity, often too readily. Parents who are too critical make their children anxious. involving criticism, or skillful judgment as to truth, merit, etc.. The article …
CRITICAL Definition & Meaning - Merriam-Webster
The meaning of CRITICAL is inclined to criticize severely and unfavorably. How to use critical in a sentence. Synonym Discussion of Critical.
CRITICAL | English meaning - Cambridge Dictionary
CRITICAL definition: 1. saying that someone or something is bad or wrong: 2. giving or relating to opinions or…. Learn more.
Critical Definition & Meaning | Britannica Dictionary
CRITICAL meaning: 1 : expressing criticism or disapproval; 2 : of or relating to the judgments of critics about books, movies, art, etc.
CRITICAL definition and meaning | Collins English Dictionary
To be critical of someone or something means to criticize them. ...a few dozen intellectuals who've been critical of the regime. He has apologised for critical remarks he made about the referee. A …
critical - Wiktionary, the free dictionary
Jun 8, 2025 · The critical component of the photosynthetic system is the “water-oxidizing complex”, made up of manganese atoms and a calcium atom. 2018 , VOA Learning English > …
What does critical mean? - Definitions.net
Critical can be defined as a thorough and analytical evaluation or examination of something, particularly by making judgments or forming opinions based on careful assessment and …
1004 Synonyms & Antonyms for CRITICAL - Thesaurus.com
Find 1004 different ways to say CRITICAL, along with antonyms, related words, and example sentences at Thesaurus.com.
Critical - Definition, Meaning & Synonyms | Vocabulary.com
The adjective critical has several meanings, among them, "vital," "verging on emergency," "tending to point out errors," and "careful."
Critical - definition of critical by ... - The Free Dictionary
Relating to or characterized by criticism; reflecting careful analysis and judgment: a critical appreciation of the filmmaker's work. b. Of, relating to, or characteristic of critics: a play that …
CRITICAL Definition & Meaning - Dictionary.com
inclined to find fault or to judge with severity, often too readily. Parents who are too critical make their children anxious. involving criticism, or skillful judgment as to truth, merit, etc.. The article …
