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Journal articles on the topic 'Filippo Tommaso'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Vinall, Shirley W., and Giusi Baldissone. "Filippo Tommaso Marinetti." Modern Language Review 84, no. 4 (1989): 1006. http://dx.doi.org/10.2307/3731238.

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2

Marnoto, Rita. "[Recensão a] Giusi Baldissone, Filippo Tommaso Marinetti." Estudos Italianos em Portugal, no. 4 (2009): 275–77. http://dx.doi.org/10.14195/0870-8584_4_19.

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Blum, Cinzia Sartini. "Filippo Tommaso Marinetti: the artist and his politics." Journal of Modern Italian Studies 21, no. 5 (2016): 800–802. http://dx.doi.org/10.1080/1354571x.2016.1242279.

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Bragato, Stefano. "Filippo Tommaso Marinetti: The Artist and His Politics." European Legacy 22, no. 3 (2017): 356–58. http://dx.doi.org/10.1080/10848770.2016.1278118.

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5

Ialongo (book author), Ernest, and Luca Somigli (review author). "Filippo Tommaso Marinetti. The Artist and His Politics." Quaderni d'italianistica 38, no. 2 (2019): 214–18. http://dx.doi.org/10.33137/q.i..v38i2.32242.

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6

Aimassi, Giorgio, Claudio Pulcher, and Luca Ghiraldi. "Type specimens of Birds in the Museo Regionale di Scienze Naturali (Torino, Italy)." Journal of the National Museum (Prague), Natural History Series 189, no. 1 (2020): 65–154. http://dx.doi.org/10.37520/jnmpnhs.2020.007.

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Since the 1990s, the Museo Regionale di Scienze Naturali di Torino houses the ornithological collection formerly belonging to the Zoological Museum of the University of Turin (MZUT). This collection includes about 20,500 specimens, mostly dating from the second half of the nineteenth century or early twentieth. The high number of type-specimens gives it great historical and scientific significance. The types have been described mainly by Tommaso Salvadori (171 taxa, 282 specimens) and, to a lesser extent, by other Italian authors such as Enrico Festa, Filippo de Filippi, Orazio Antinori, Enric

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7

Ialongo, Ernest. "Filippo Tommaso Marinetti: the Futurist as Fascist, 1929–37." Journal of Modern Italian Studies 18, no. 4 (2013): 393–418. http://dx.doi.org/10.1080/1354571x.2013.810800.

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8

Lista, Giovanni. "Filippo Tommaso Marinetti ou la guerre comme œuvre d’art totale." Inflexions N°44, no. 2 (2020): 111. http://dx.doi.org/10.3917/infle.044.0111.

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9

Goldman, Sasha. "Ernest Ialongo, Filippo Tommaso Marinetti: The Artist and His Politics." Forum Italicum: A Journal of Italian Studies 51, no. 3 (2017): 843–45. http://dx.doi.org/10.1177/0014585817726511.

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10

Tutupary, Victor Delvy. "MANIFESTO FUTURISME FILIPPO TOMMASO MARINETTI DAN PROGRESIVISME AGRESIF DALAM SEJARAH." DIALEKTIKA 12, no. 2 (2019): 158. http://dx.doi.org/10.33477/dj.v12i2.1104.

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Abstrak  Penulisan karya ilmiah yang berjudul “Manifesto Futurisme Filippo Tommaso Marinetti dan Progresivisme Agresif dalam Sejarah” bertujuan untuk memaparkan pemikiran Marinetti mengenai filsafat sejarah dan bagaimana konsekuensinya bagi kesadaran ontologis manusia sebagai makhluk yang menyejarah. Tulisan ini dilatarbelakangi oleh kegelisahan eksistensial mengenai modernitas yang menawarkan perubahan dan kemajuan dengan cepat namun menyisakan lubang kehampaan di dalam diri manusia modern. Penelitian ini merupakan penelitian kepustakaan, yang dilaksanakan melalui tahapan inventar

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11

Kašparová, Jaroslava, and Jana Konečná. "French Provenance in the Personal Library of the Art Critic and Theorist Karel Teige in the National Museum Library." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 83–92. http://dx.doi.org/10.1515/amnpsc-2017-0023.

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The National Museum Library contains the personal library of an outstanding Czech critic and modern art theorist, Karel Teige. From the 1920s, he was in touch with the founders and important representatives of modern art movements, mostly from France, whose relations and cooperation are i.a. demonstrated by the books donated to him. The article presents several dedications by André Breton, Tristan Tzara, Filippo Tommaso Marinetti, Le Corbusier and Salvador Dalí.

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De Aldama Ordóñez, Celia. "1936. La pluma y la espada. Marinetti, Puccini y Ungaretti en el PEN Club argentino." Anuario de Estudios Americanos 76, no. 1 (2019): 329. http://dx.doi.org/10.3989/aeamer.2019.1.13.

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El artículo propone una lectura en clave política del desembarco en Buenos Aires de tres ilustres escritores —Filippo Tommaso Marinetti, Giuseppe Ungaretti y Mario Puccini— con motivo de la celebración del XIV Congreso Internacional del PEN Club argentino. Con el propósito de discernir si los intelectuales viajan como embajadores de las letras italianas o bien como propagandistas del régimen de Mussolini, se reconstruyen los respectivos calendarios de viaje, se rescatan de las notas de prensa de la época las conferencias dictadas durante las tournées y se recogen las impresiones vertidas sobre

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13

Schnapp, Jeffrey T. (Jeffrey Thompson). "Gorilla Art: On an Unpublished Letter from Karl Vossler to Filippo Tommaso Marinetti." Modernism/modernity 9, no. 4 (2002): 667–73. http://dx.doi.org/10.1353/mod.2002.0079.

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14

Sáenz, María Olga. "El pensamiento de Nietzsche en la construcción de la estética del futurismo y de la pintura metafísica." Estudios Nietzsche, no. 14 (December 1, 2014): 95–113. http://dx.doi.org/10.24310/estudiosnieten.vi14.10748.

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En el siglo XIX , Francia desplazó a Italia de su secular trayectoria como centro generador de las artes. Frente a este hecho, tanto Filippo Tommaso Marinetti, creador del Futurismo italiano, como Giorgio de Chirico, de la Pintura Metafísica, aportaron su particular poética al arte moderno europeo. Ambos recibieron una influencia decisiva del pensamiento filosófico de Friedrich Nietzsche: Marinetti conceptualizó la creación artística bajo la premisa «arte=vida» intentando trascender la crisis del mundo de Occidente. De Chirico construyó su obra pictórica trastocando su significado original, co

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15

Daly, Selena. "Arrigo Boito’s Legacy to Futurism:Re Orsoand its influence on Filippo Tommaso Marinetti’sLe Roi Bombance." Romance Studies 34, no. 2 (2016): 101–13. http://dx.doi.org/10.1080/02639904.2016.1151259.

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16

Daly, Selena. "‘The Futurist mountains’: Filippo Tommaso Marinetti's experiences of mountain combat in the First World War." Modern Italy 18, no. 4 (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 g

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17

De Blasi, Nicola. "SCHEDE SULLA DIFFUSIONE DEL NEOLOGISMO «SCUGNIZZO» (CON TESTI DI FERDIANDO RUSSO, FILIPPO TOMMASO MARINETTI, FRANCESCO CANGIULLO)." Forum Italicum: A Journal of Italian Studies 40, no. 2 (2006): 394–427. http://dx.doi.org/10.1177/001458580604000212.

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18

Paniconi, Maria Elena. "Italian Futurism in Cairo." Philological Encounters 2, no. 1-2 (2017): 159–79. http://dx.doi.org/10.1163/24519197-00000019.

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Nelson Morpurgo was born to a Histrian family in Cairo. Raised between Cairo and Milan, he met Filippo Tommaso Marinetti and several other Futurists and, ultimately, helped secure a place for futurism in Cairo from the 1920s through to his departure in the 1940s. He organized theatrical performances, painting exhibitions, radio shows, cultural events and debates. My paper analyzes the cultural and linguistic bilingualism that this interstitial figure developed. Morpurgo’s activity is understood in three different ways: first, as the trans-national experience of a Futurist vanguard; second, as

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19

Schnapp, Jeffrey T. "On Disciplinary Finitude." PMLA/Publications of the Modern Language Association of America 132, no. 3 (2017): 505–12. http://dx.doi.org/10.1632/pmla.2017.132.3.505.

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The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinet

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20

Edwards. "“Then he kissed it with his bumper”: The Autovehicular Posthumanisms of Filippo Tommaso Marinetti and William Carlos Williams." William Carlos Williams Review 33, no. 1-2 (2016): 42. http://dx.doi.org/10.5325/willcarlwillrevi.33.1-2.0042.

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21

Edwards, Christopher. "“Then he kissed it with his bumper”: The Autovehicular Posthumanisms of Filippo Tommaso Marinetti and William Carlos Williams." William Carlos Williams Review 33, no. 1-2 (2016): 42–62. http://dx.doi.org/10.1353/wcw.2016.0014.

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22

Zumbo, Nino Sottile. "Testimonianze e chiose sul futurismo: Nino Pino Balotta e Umberto Boccioni." Forum Italicum: A Journal of Italian Studies 54, no. 1 (2020): 354–76. http://dx.doi.org/10.1177/0014585820910650.

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L’avanguardia futurista ha compiuto la rivoluzione copernicana delle arti; la sua grammatica, che ha innovato la lingua italiana, è stata un modello per la letteratura del tempo. Specchio della modernità, ha creato il mito dell’industrializzazione, della civiltà delle macchine, della tecnologia, del dinamismo universale, del vitalismo titanico, del bellicismo, del riscatto sociale, dell’italianismo, contro ogni nostalgia passatista. Come non si può staccare un fiore dalle radici, così nel movimento futurista non è possibile scindere nettamente il momento estetico dal contesto politico in cui è

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23

Williams, Gavin. "A Voice of the Crowd: Futurism and the Politics of Noise." 19th-Century Music 37, no. 2 (2013): 113–29. http://dx.doi.org/10.1525/ncm.2013.37.2.113.

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Abstract In his 1913 manifesto “L'arte dei rumori” (The Art of Noises), Futurist painter Luigi Russolo exhorted readers to “walk across a great modern metropolis with ears more attentive than eyes.” For Russolo, attentive listening to the urban environment enacted a visionary aurality: the city was a mine for “new” noises, such as rumbling motors and jolting trams. However, Russolo's embrace of noise—much like that of Futurist painter Umberto Boccioni and Futurist poet Filippo Tommaso Marinetti—was undeniably a product of its time and place. This article excavates the sounds of 1913 Milan as a

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24

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

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25

Villa Prieto, Josué. "Crónicas urbanas e historiografía en la Toscana bajomedieval. Urban chronicles and Historiography in medieval Tuscany." Territorio, Sociedad y Poder 13, no. 13 (2018): 101. http://dx.doi.org/10.17811/tsp.13.2018.101-126.

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Este trabajo propone una aproximación a la historiografía urbana en Toscana durante la Baja Edad Media. Su cronística se interpreta como resultado de dos fenómenos: la consolidación de Florencia como autoridad política hegemónica en la región y como principal foco cultural del humanismo italiano. Cada epígrafe está dedicado a las historias realizadas sobre una ciudad concreta, interpretándose el contexto de su elaboración, la relación existente entre el autor y los hechos narrados, las características literarias de la obra, su contenido, y las posibilidades y límites que ofrecen para el conoci

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26

Viceconti, A., T. Geri, S. De Luca, et al. "THU0474 NEUROPATHIC SYMPTOMS IN ITALIAN PATIENTS WITH FIBROMYALGIA: RESULTS FROM A NATIONAL ON-LINE SURVEY." Annals of the Rheumatic Diseases 79, Suppl 1 (2020): 474.1–474. http://dx.doi.org/10.1136/annrheumdis-2020-eular.3547.

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Background:Fibromyalgia (FM) is the second most frequent disorder in rheumatic patients. Other than widespread pain, fatigue, sleep disturbance and cognitive impairments, patients complain also symptoms of suspected neuropathic origin, like burning pain, thermal sensitive skin, hyperalgesia, pins and needles sensations. Recent studies highlighted the presence of small- fibers pathology (SFP) and/or large-nerve fibers involvement in about 50% of FM patients, which could be the cause of neuropathic pain.Objectives:The aim of the study was to investigate the prevalence of neuropathic pain and sym

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27

Lukežić, Irvin. "O talijanskom futurizmu u Rijeci 1919. godine." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 225–33. http://dx.doi.org/10.14746/pss.2020.18.13.

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The article discusses the short-lived emergence of Italian futurism in Rijeka, just after the end of World War I, in the context of the political adventure of Gabrielle DʼAnnunzio, who, with the help of his supporters, an ardite, tried to annex the city to the Kingdom of Italy. At that moment, the avant-garde spirit of Italian futurism could manifest itself here in all its main features: activism, antagonism, nizilism and agonism. In addition to the founder of Italian futurism, Filippo Tommas Marinetti, Mario Carli, Guido Keller and Giovanni Comisso stayed and worked in Rijeka during 1919. The

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28

Pisani, Mario. "FILIPPO TOMMASO MARINETTI STUDENTE DI GIURISPRUDENZA A PAVIA." Istituto Lombardo - Accademia di Scienze e Lettere - Rendiconti di Lettere, September 4, 2019. http://dx.doi.org/10.4081/let.2015.525.

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Filippo Marinetti, the founder of Futurism, was born on December 22, 1876, in Alexandria (Egypt) and in that town he accomplished also his course of classical studies, first in a jesuit college and last year attending a detachment of the Academie de Paris. In 1894 he moved to Italy, and entered the Faculty of Law at the University of Pavia, where he attended till the third course with scant success. On november 1897 he was transferred to the University of Genova.

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Pisani, Mario. "FILIPPO TOMMASO MARINETTI STUDENTE DI GIURISPRUDENZA A PAVIA." Istituto Lombardo - Accademia di Scienze e Lettere - Rendiconti di Lettere, September 4, 2019. http://dx.doi.org/10.4081/let.2019.525.

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Filippo Marinetti, the founder of Futurism, was born on December 22, 1876, in Alexandria (Egypt) and in that town he accomplished also his course of classical studies, first in a jesuit college and last year attending a detachment of the Academie de Paris. In 1894 he moved to Italy, and entered the Faculty of Law at the University of Pavia, where he attended till the third course with scant success. On november 1897 he was transferred to the University of Genova.

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30

Schmidt-Bergmann, Hansgeorg. "Der "Stählerne Mensch"- Filippo Tommaso Marinettis Programm des Italienischen Futurismus." Nietzscheforschung 10, no. 1 (2003). http://dx.doi.org/10.1515/nifo-2003-0108.

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31

Benedetti, Andrea. "The War Diaries of Filippo Tommaso Marinetti and Ernst Jünger." International Yearbook of Futurism Studies 2, no. 1 (2012). http://dx.doi.org/10.1515/futur-2012.0014.

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32

Ventra, Stefania. "Tommaso Riario Sforza, Filippo Agricola, Giovanni Regis e una lettera anonima per il restauro del Ratto d’Europa di Paolo Veronese della Pinacoteca Capitolina nel 1844." 8 | 2019 | CELEBRATING RUSKIN! Reconsidering the Venetian Masters of the Renaissance in the 19th Century, no. 1 (July 31, 2019). http://dx.doi.org/10.30687/mdccc/2280-8841/2019/01/003.

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The present paper takes the cue from an anonymous letter sent in 1844 to the camerlengo Tommaso Riario Sforza to denounce the poor conservative conditions in which Veronese’s Rape of Europe, in the Pinacoteca Capitolina in Rome, was placed. Considered one of the gems of the Roman collections, as the contemporary sources attest, especially due to the scarcity of works by Venetian masters in Rome, the large canvas was important above all as a model for young artists to exercise on colouring. Following this complaint, the painting will be taken over by the under-inspector Filippo Agricola, who wi

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33

"GEOGRAFIE GIULIANE DEL MOVIMENTO FUTURISTA." Studia Polensia 01, no. 01 (2012): 69–78. http://dx.doi.org/10.32728/studpol/2012.01.01.04.

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Il Futurismo di Filippo Tommaso Marinetti, indubbiamente uno tra i più impetuosi movimenti letterari italiani del ventesimo secolo, ha voluto raccogliere le fila di un vasto movimento della modernità che attendeva a porre le basi dell’arte del nuovo secolo, imprimendo ad essa un moto sempre più veloce e cadenze di sempre più marcato distacco dal passato. Nel nuovo clima di restaurazione della letteratura italiana degli anni Venti, alcune realtà periferiche, tra le quali Trieste, hanno risentito di un avanguardismo tardivo, e una parte della produzione letteraria giuliana vivrà la propria stagi

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34

Baldini, Anna. "Allies and Enemies: Periodicals as Instruments of Conflict in the Florentine Avant-garde (1903-15)." Journal of European Periodical Studies 3, no. 1 (2018). http://dx.doi.org/10.21825/jeps.v3i1.8103.

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In 1903 Giovanni Papini, a 22 year-old aspiring philosopher who would soon channel his rampant ambition into literary writing, was a founder of the philosophy magazine Leonardo (1903-7). A group of young intellectuals and artists, here defined as the Florentine avant-garde, gathered around this periodical and its successors, La Voce (1908-1916) and Lacerba (1913-15). By drawing on Bourdieu’s sociological theory of cultural fields, this essay explores how the intellectuals writing for these periodicals established a powerful intellectual network and criticized the cultural institutions of the p

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35

D´Ugo Júnior, Roberto, and Vanessa Beatriz Bortulucce. "O RÁDIO NA ESTÉTICA DO FUTURISMO ITALIANO: O MANIFESTO LA RADIA." Revista Lumen - ISSN: 2447-8717 4, no. 7 (2020). http://dx.doi.org/10.32459/revistalumen.v4i7.97.

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<p>Este artigo apresenta, pela primeira vez em língua portuguesa, o Manifesto <em>La Radia</em>, escrito em 1933 por Filippo Tommaso Marinetti e Pino Masnata, nomes do Futurismo italiano. O manifesto em questão assinala um dos elementos importantes na poética da vanguarda naquele momento, a saber, a celebração da máquina, porém desta vez não mais tendo o automóvel ou o avião como únicos paradigmas, mas abarcando todos os aparelhos e dispositivos que caracterizam a sociedade moderna. Neste sentido, o Futurismo passou a se dedicar a aspectos que transcenderam o caráter material

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36

"Erratum." Journal of British Studies 51, no. 4 (2012): viii. http://dx.doi.org/10.1017/s0021937100003907.

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We regret that in the review of Ruth Hoberman, Museum Trouble: Edwardian Fiction and the Emergence of Modernism (Charlottesville: University of Virginia Press, 2011), published in the Journal of British Studies 51, no. 3 (July 2012): 770–72, a quotation attributed to Ezra Pound (772) should have been attributed to Filippo Tommasso Marinetti.

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