Introduction: Future Imperfect—Italian Futurism between Tradition and Modernity
2009; Taylor & Francis; Volume: 14; Issue: 7 Linguagem: Inglês
10.1080/10848770903363870
ISSN1470-1316
AutoresPierpaolo Antonello, Marja Härmänmaa,
Tópico(s)Italian Fascism and Post-war Society
ResumoClick to increase image sizeClick to decrease image size Acknowledgments We would like to thank our contributors for their enthusiasm, hard work, and patience in pursuing this project with us; the Editors of The European Legacy, for granting us the privilege of putting together this issue to celebrate the centenary of Futurism, and Rachel Ben-David for her constant editorial help. Special thanks go to Günter Berghaus for his invaluable comments and suggestions, as well as to Diana Ben-Aaron, Robert Gordon, Katherine Mitchell, and Paola Sica for further comments, stylistic tips and corrections. Notes NOTES 1. For instance Manifeste Naturiste (1897) by Saint-Georges de Bouhelier; Le sentiments unanimes et la poesie (1905) by Julien Romains; Program für die Brücke 1906) by Ernst Ludwig Kirchner; cf. Bonner Mitchell, Les manifestes littéraires de la Belle Époque, 1886–1914, Anthologie critique (Paris: Seghers, 1966). 2. Cf. Thomas Hunkeler, “Cultural Hegemony and Avant–Gardist Rivalry: The Ambivalent Reception of Futurism in France, England and Russia,” in The Invention of Politics in the European Avant–Garde (1906–1940), ed. Sascha Bru and Gunther Martens (Amsterdam: Rodopi, 2006), 203–15. 3. Luciano De Maria, “Introduzione,” in F. T. Marinetti, Teoria e invenzione futurista, ed. Luciano De Maria (Milan: Mondadori, 1968), xix. 4. See the chapter “Prodromes” in Perry Anderson, The Origins of Postmodernity (London: Verso, 1998), 3–6. 5. Andrew Webber, The European Avant–Garde (Cambridge: Polity, 2004), 22. 6. Webber, The European Avant–Garde, 9. 7. Webber, The European Avant–Garde, 6–7. 8. Colin Rhodes, Primitivism and Modern Art (London: Thames & Hudson, 1994), 9. 9. Claudia Salaris, Marinetti: Arte e vita futurista (Rome: Editori Riuniti, 1997), 8–10. 10. Andrew Hewitt, “Fascist Modernism, Futurism, and ‘Post–modernity,’” in Fascism, Aesthetics, and Culture, ed. Richard J. Golsan (Hanover: University Press of England, 1992), 42. 11. Peter Bürger, Theory of the Avant–Garde (1974), trans. Michael Shaw (Minneapolis, MN: University of Minnesota Press, 1984), 49. 12. Bürger, Theory of the Avant–Garde, 47–48. 13. This is Claudia Salaris's position. See the entry “Religion” in her Dizionario del fututismo: Idee, provocazioni e parole d’ordine di una grande avanguardia (Rome: Editori Riuniti, 1996), 118–24. 14. Salaris, Marinetti, 64–65. 15. Cf. Giusi Baldissone, “Beatrice e Marinetti: Da Dante a ‘Venezianella,’” in Il personaggio nelle arti della narrazione, ed. Franco Marenco (Rome: Edizioni di Storia e Letteratura, 2007), 121–38. 16. Salaris, Marinetti, 61. 17. Their praise of the irredentist war against the Austro–Hungarian rule over some of the northeastern corners of the Italian peninsula (Trentino and Trieste) and their unconditional enthusiasm for the nascent Italian imperialism (starting with the 1911 Italian invasion of Tripolitania, Fezzan, and Cyrenaica), are based on evident ambiguity. As Andrew Hewitt remarked, the “logic of irredentism is one of closure and plenitude” and its aesthetic is “essentially, an aesthetic of harmony, a non avant–garde aesthetic projecting Italy as a unified and autonomous work of art. Imperialism, meanwhile, draws upon a quite different logic … it clearly displays contempt for traditional notions of autonomy and national ‘closure’”; on the “integrity” of the nation itself: “Politically reactionary, this imperialist strain of nationalism nevertheless corresponds more profoundly to Marinetti's avant–garde project, for he took imperialism to be predicated on the logic of dissemination and self–destruction that questions the very logic of national self–identity that seems, superficially, to impel it” (46–47). 18. Jeffrey T. Schnapp, “Epic Demostrations: Fascist Modernity and 1932 Exhibition of the Fascist Revolution,” in Golsan, Fascism, Aesthetics and Culture, 3. For a general historical account on the relationship between Futurism and politics, see Günter Berghaus, Futurism and Politics: Between Anarchist Rebellion and Fascist Reaction, 1909–1944 (Providence, RI: Berghahn Books, 1996). 19. See, for instance, Raffaele Carrieri, Il Futurismo (Milan: Edizioni del Milione, 1961; English edition, 1963); Rosa Trillo Clough, Futurism—The Story of a Modern Art Movement: A New Appraisal (New York: Philosophical Library, 1961); Futurism, Exhibition Catalogue, ed. Joshua C. Taylor (New York: The Museum of Modern Art, 1961); Maria Drudi Gambillo and Teresa Fiori, eds., Archivi del Futurismo, 2 vols. (Rome: De Luca, 1958–62); Renato Poggioli, The Theory of the Avant–Garde (Cambridge, MA: Belknap–Harvard University Press, 1968); Enrico Crispolti, Il mito della macchina e altri temi del futurismo (Trapani: Celebes, 1969). For an extensive bibliography on Futurism, see Günter Berghaus, International Futurism in Arts and Literature (Berlin: De Gruyter, 2000), 487–596. 20. See Willard Bohn, The Aesthetics of Visual Poetry, 1914–1928 (Chicago, IL: Chicago University Press, 1993); Marjorie Perloff, The Futurist Moment: Avant–Garde, Avant Guerre, and the Language of Rupture (Chicago, IL: Chicago University Press, 1986). 21. See Paul Hegarty, Noise/Music: A History (New York: Continuum, 2007). 22. See Richard Goldberg, Performance Art: From Futurism to the Present (London: Thames & Hudson, 1979); Günter Berghaus, “From Futurism to Neo–Futurism: Continuities and New Departures in Twentieth–Century Avant–Garde Performance,” in Avant–Garde/Neo–Avant–Garde, ed. Dietrich Scheunemann (Amsterdam: Rodopi, 2005), 195–224. 23. Donna Haraway, Simians, Cyborgs and Women: The Reinvention of Nature (New York: Routledge, 1991); N. Katherine Hyles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (Chicago, IL: University of Chicago Press), 1999. 24. Cf. Roberto Tessari, Il mito della macchina: Letteratura e industria nel primo Novecento italiano (Milan: Mursia, 1973); Giorgio Celli, “In margine al futurismo: storia di una ambivalenza,” Il Verri 33/34 (1970): 118–23. 25. Paraphrasing Bruno Latour, what needs to be done from a critical standpoint is perhaps to produce an “anthropology of the modern world” in order to realize that, after all, “we have never been modern”; cf. Bruno Latour, We Have Never Been Modern, trans. Catherine Porter (Cambridge, MA: Harvard University Press, 1993).
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