Relevant bibliographies by topics / Futurism

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Academic literature on the topic 'Futurism'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 May 2024

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Journal articles on the topic "Futurism"

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Berghaus, Günter. "The Futurist Banquet: Nouvelle Cuisine or Performance Art?" New Theatre Quarterly 17, no. 1 (February 2001): 3–17. http://dx.doi.org/10.1017/s0266464x00014287.

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The Futurist movement was not only an artistic but also a social and political force for innovation, conceived as a total and permanent revolution encompassing all aspects of human life. One such aspect was food. Banquets had been a highly developed performative art in the Italian Renaissance and were again placed in a theatrical framework by the Futurists after the First World War. They founded three night clubs, where food and drinks were served in Futurist fashion, and opened several restaurants dedicated to a renewal of Italian culinary habits. In the 1930s, the Futurists focused on the creation of a new lifestyle called aerovita, which included cooking and dining as paratheatrical arts. Many of the recipes (or rather scenarios) in the Futurist cookbook La cucina futurista of 1932 derived from banquets that Marinetti, the driving force of Futurism, had organized as a kind of savoury-olfactory-tactile theatre accompanied by music and poetry recitations. The highly imaginative table scenery and food sculptures were complemented by inventive lighting effects and an amazing mise en scéne of interior decor, furniture, and waiters' garb. This essay describes and analyzes some of the Futurist experiments with culinary theatre, the manifestos dedicated to Futurist cuisine, and some of the Futurist concepts of dining as a performative art. Günter Berghaus is Reader in Theatre History and Performance Studies at the Drama Department, University of Bristol, and has published a dozen books and a large number of articles on theatre anthropology, Renaissance and Baroque theatre, dance history, and avant-garde performance. Directing a number of Futurist shows led to the publication of The Genesis of Futurism (1995), Futurism and Politics (1996), Italian Futurist Theatre (1998), and International Futurism in the Arts and Literature (2000).
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Adamson, Walter L. "Fascinating futurism: The historiographical politics of an historical avant-garde." Modern Italy 13, no. 1 (February 2008): 69–85. http://dx.doi.org/10.1080/13532940701765908.

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The Italian futurist movement and its founder, F.T. Marinetti, have stimulated a vast historiography. Why has futurism fascinated so many and how, in particular, have the futurism-fascism and Marinetti-futurism relationships been conceived? To answer such questions, this article surveys nearly five decades of scholarship on futurism. It shows how futurism's fascist trajectory has polarised it and led scholars to a wide variety of positions. Some scholars limit themselves to the ‘heroic years’ up to 1916; others focus on ‘second futurism’ after 1915 without much reference to Marinetti; and still others treat futurism's ‘multiplicity’ using a centre-periphery model with Marinetti at the centre. Similarly, some insist on futurism's continuously ‘revolutionary’ character, others limit that claim, and still others deny it altogether. It is argued that recent biographical work on Marinetti has helped to clarify how one ought to approach and resolve these differences, but that scholarship on futurism nonetheless remains intensely politicised.
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Castrillón Vizcarra, Alfonso. "Un automóvil de carrera es más bello que la Venus de Samotracia: notas sobre la primera generación futurista." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 22–33. http://dx.doi.org/10.31381/illapa.v0i14.1877.

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ResumenEn junio de este año el público limeño tuvo la suerte de ver una gran exposición titulada Futurismo y velocidad, auspiciada por la Embajada de Italia y el Instituto Italiano de Cultura en Lima, en el tradicional Museo Italiano, como si las obras hubiesen sido escogidas ad hoc para sus salas. Sinembargo, la extraordinaria colección solo reunía cuadros de una segunda generación de pintores futuristas, presentados por un acertado estudio de Maurizio Scudiero. Animado por esta circunstancia, decidí escribir unas notas sobre el primer futurismo, el de su creador F. T. Marinetti y sus seguidores, sus ideas estéticas, políticas y sus aportes, con el fin de dar al lector los datos para que establezca el puente entre las dos generaciones. Palabras clave: futurismo, pintura futurista, manifiesto, Marinetti, Mussolini Abstract In June of this year, the Lima public was lucky enough to see a large exhibition entitled “Futurismo y velocidad” (Futurism and speed”), sponsored by the Italian Embassy and the Istituto Italiano di Cultura in the traditional Italian Museum, as if the works had been chosen ad hoc for their rooms. However, the extraordinary collection only brought together paintings by a second generation of Futurist artists, introduced by an accurate study by Maurizio Scudiero. Encouraged by this circumstance I decided to write some notes on the first futurism, that of its creator F.T. Marinetti, and his followers, his aesthetic ideas, policies and contributions, in order to give the reader the data to establish the bridge between the two generations. Keywords: Futurism, Futuristic Painting, Manifesto, Marinetti, Mussolini.
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Biasiolo, Monica. "Marinetti e Zola." Italogramma, no. 20 (May 25, 2022): 1–14. http://dx.doi.org/10.58849/italog.2022.bia.

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One of the names in Marinetti’s ranks of futurism’s predecessors is Émile Zola. The author of the famous J’accuse is one of those read by the undisputed leader of the futurist avant-garde in his youth, and is, if not constantly, fairly frequently present in his writings. Zola serves Marinetti as a basis for self-staging, that is as a practice to build pieces of his own identity, as well as a not secondary intertextual reference. Like Zola’s texts, those of Futurism provoke. The aim of the following contribution is to reconstruct the Marinettian path in respect to the French writer, especially regarding the still missing tiles of a mosaic that presents itself as an extraordinary kaleidoscope not only on Marinetti’s production. This can be evidenced, for example, by reading Flora Bonheur’s Diario d’una giovane donna futurista where, alongside the name of the father of the Futurism, that of the author of Nana appears. Nella schiera dei predecessori del Futurismo compare in Marinetti anche il nome di Émile Zola. L’autore del famoso J’accuse rientra tra quelli letti già negli anni giovanili dal capo indiscusso dell’avanguardia futurista e diventa presenza, se non costante, abbastanza frequente dei suoi scritti. Zola serve a Marinetti come palcoscenico per la messa in scena di se stesso, come pretesto per costruire tasselli della propria identità e come rimando intertestuale. Alla pari dei testi di Zola poi, anche quelli del futurismo hanno spesso un intento provocatorio. Con il seguente contributo ci si pone di ricostruire il percorso marinettiano di fronte allo scrittore francese, riportando alla luce le tessere ancora mancanti di un rapporto sfaccettato e complesso che riguarda non solo la produzione di Marinetti, come testimonia, ad esempio, anche il Diario d’una giovane donna futurista di Flora Bonheur dove, accanto al nome del padre dell’avanguardia, compare ancora una volta quello dell’autore di Nana.
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Ioannidou, Eleftheria. "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism." Classical Receptions Journal 16, no. 1 (January 1, 2024): 35–55. http://dx.doi.org/10.1093/crj/clad028.

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Abstract The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.
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Tonn, Bruce. "Religion, futures, and futurism." Futures 36, no. 9 (November 2004): 1045–48. http://dx.doi.org/10.1016/j.futures.2004.02.010.

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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 crucial location for the noises of early Italian Futurism. Not only was this city the Futurists' base, but it also inflected their representations of noise both through its symbolic architectural sites (above all the Galleria Vittorio Emanuele) and the buzz of its human multitudes. In this latter respect, late-nineteenth-century positivist crowd psychology can provide an illuminating context because it shares with Futurism the notion of modern, urban crowd united by a collective unconscious—one that could, moreover, be heard by the attentive listener on a city's streets. This article tracks this historical mode of listening from Russolo's manifesto until the reception of his first concert for an entire orchestra of newly wrought noise intoners—his “Gran concerto per intonarumori,” held at Milan's Teatro Dal Verme in 1914—and explores what was, in this case, a slippery (but critical) distinction between “audience” and “crowd.” Russolo's clamorously received premiere forced its listeners and performers to attend to off- (rather than on-) stage noises, thus raising still-vital questions about where to locate Futurism's noise, influence, and politics.
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Cesaretti, Enrico. "'Il Giocattolo Futurista':Futurism andFumetti." Romance Studies 21, no. 3 (October 2003): 191–202. http://dx.doi.org/10.1179/ros.2003.21.3.191.

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Paniconi, Maria Elena. "Italian Futurism in Cairo." Philological Encounters 2, no. 1-2 (January 9, 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 emblematic of the Italian community in Cairo; and third, as representative of the complexities of Egyptian cosmopolitanism. His writings allow us to reframe the relationships between the Egyptian arabophone scene and the often multi-lingual, eclectic foreign community. Morpurgo negotiates a position between the ideologically incongruous cultural lives of Marinetti and the local surrealist vanguard.
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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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Dissertations / Theses on the topic "Futurism"

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Brooks, Crispin. "The futurism of Vassilisk Gnedov." Thesis, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287880.

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Dadswell, Sarah Julie. "The spectacle of Russian futurism : the emergence and development of Russian futurist performance, 1910-1914." Thesis, University of Sheffield, 2005. http://etheses.whiterose.ac.uk/3571/.

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In this thesis Russian Futurist performance is considered in the wider context of the emergence and development of the initial phase of the Russian Futurist movement, 1910-14. Futurism emerged at a time of increasing commodification and diversification within the arts. New commercial enterprises, private art galleries, publishing companies and the arrival of cinema, combined with a growing urban population and expanding middle class who sought new forms of leisure activities, I provided fertile ground for new artistic ventures. As such, Futurism constituted a part of the newly forming art and entertainment market. Crucial to Futurism's survival in this competitive market was its need to secure a guaranteed source of funding. In many ways, then, the early phase of Russian Futurism, 1910-14, can be interpreted as a struggle to use all means and all artistic creativity possible to secure that funding. Part I describes the competitive artistic situation, socio-economic context and cultural networks of the 1910s. It identifies the key figures who helped to shape Futurism's development, from patrons and impresarios to artists and critics, and analyses the various marketing strategies which they employed to engage an audience. Part II examines the interaction between Futurist and audience. It focuses on the sites of Futurist performance, the public's perception of and associations with these sites, and questions of affordability and accessibility. The final two chapters deal specifically with the critical reception of Futurism: the public's attitude to the Futurists; the critics' interpretation of the Futurists and the public; and the Futurists' attitude to different sections of the public. The final section explores the possibility of a socio-political subtext in Futurist art of this period and draws conclusions concerning the provocative nature of Futurist performance and its function as a medium to express the Futurist aesthetic, that is, to effect change in all aspects of daily life.
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Cibin, Alberto. "I futuristi alle Esposizioni Biennali Internazionali d'Arte di Venezia (1926-1942)." Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426760.

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This research explores the history of the Futurist Group (led by Filippo Tommaso Marinetti) and its involvement in the International Biennale Art Exhibition of Venice between 1926 and 1942. The Futurists involvement during this period was continuous and exhibitors always formed a collective, at times with over thirty artists. The exhibitions in Venice during the 30s took on a major role in the reform of contemporary art events in line with the Fascist regime. This new process aimed, through subsequent selection processes, to open doors at a local level, then on to Rome’s National Quadrennial Exhibition and finally onto the international stage of the Biennale Art Exhibition of Venice where they should have represented the best of Italian art, to be viewed by and compared with foreign nations. The Venetian exhibitions give a privileged viewpoint of not only the various phases of Futurist art and its relationship with art critics of the time, but also the often conflicting and complex relationships between Marinetti’s followers and heads of the Biennale under the forced harmony of the Fascist regime.
La ricerca indaga la storia del gruppo futurista, guidato da Filippo Tommaso Marinetti, alle Esposizioni Biennali Internazionali d’Arte di Venezia tra il 1926 e il 1942. Le partecipazioni dei futuristi in questo arco temporale fu costante e avvenne sempre in forma collettiva, tanto da contare in alcune edizioni anche più di trenta espositori. Le mostre veneziane nel corso degli anni Trenta assunsero un ruolo primario nella riforma del sistema espositivo fascista in relazione all’arte contemporanea. Tale sistema prevedeva, attraverso successivi gradi di selezione, l’accesso degli artisti dapprima a manifestazioni sindacali, provinciali e interprovinciali, poi alle Quadriennali nazionali di Roma e, infine, alle Biennali internazionali di Venezia, che avrebbero dovuto rappresentare al meglio l’arte italiana in vista del confronto con nazioni straniere. Le esposizioni veneziane sono state quindi un osservatorio privilegiato per indagare non solo le varie fasi dell’arte futurista e le reazioni della critica coeva, ma anche il complesso e talvolta conflittuale rapporto tra i seguaci di Marinetti e i vertici della Biennale, sotto l’egida forzatamente armonizzante dello Stato fascista.
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Fantino, Luca. "F.-T. Marinetti : une avant-garde entre la France et l’Italie." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040227.

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Le futurisme aurait pu n’être qu’une école littéraire parmi les autres, fort nombreuses au début du XXème siècle. Il devient, par contre, un mouvement artistique pluridisciplinaire et international, s’appuyant sur une activité éditoriale frénétique et une stratégie publicitaire sans précédent. Le futurisme est plutôt un rêve, un idéal que Marinetti a essayé de réaliser pendant trente-cinq ans, c’est-à-dire de 1909 jusqu’à sa mort. Le mouvement futuriste n’est qu’un ensemble de tendances et d’idées constamment soumises à des changements dus aux tensions internes, à des phases de ruptures. Le mérite de Marinetti est d’avoir su rassembler des artistes différents, par tempérament ainsi que par histoire personnelle, des groupes éloignés soit du point de vue géographique que par leur sensibilité expressive, dans le but de créer une culture de la modernité spécifiquement italienne, jouant ainsi un rôle fondamental en ce qui concerne le renouvellement de la culture italienne
Futurism might have been a literary school among the others, very numerous in the early twentieth century. It becomes, on the contrary, a multidisciplinary and international art movement, based on a frenetic publishing activity and a brand new advertising strategy. Futurism is a dream, an ideal that Marinetti sought to make for thirty-five years, from 1909 until his death. The Futurist movement is a set of trends, and ideas are constantly subject to change due to internal tensions, breakdowns in phases. The merit of Marinetti is to have put together different artists, either by temperament or by personal history, also distant groups according to the geographical point of view or their expressive sensitivity, to create a culture of modernity, specifically Italian, thus playing a fundamental role in the renewal of Italian culture
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Glenn, Max D. "Baby's First Steps: A Microhistory of The Chicago Neo-Futurists." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1417526782.

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Harrison, Andrew. "D.H. Lawrence's futurism : influence and innovation after Sons and Lovers." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302088.

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Adams, Christopher David. "More alive than ever? : futurism in the 1940s." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19110/.

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The 1940s are undoubtedly the years most neglected by scholars of Italian Futurism. The movement had long supported Fascism, but its vocal endorsement of Mussolini’s regime and its military adventures at this time is widely considered to represent Futurism’s ultimate betrayal of those ‘progressive’, counter-cultural values popularly associated with the avant-garde. For many, the movement’s apparent engagement with the forces of reaction and conservatism is reflected in the work produced by its artists throughout the war years, which is invariably presented in terms of propaganda imagery, characterised by an unchallenging and retrogressive figurative vocabulary. However, this thesis argues that the 1940s cannot be said to reveal a rupture in either the ideological or aesthetic foundations of the movement, and that common assumptions regarding the crude, rhetorical and one-dimensional nature of Futurist painting (and poetry) during this period are not necessarily borne out by the works themselves. The text also examines the movement’s status within the cultural establishment at this time. It challenges the notion that the reverberations within Italy of Nazism’s campaign against modern art during the late 1930s were irrevocably to prejudice the Fascist regime and its institutions against Futurism. Indeed, it is argued that one can no more consider the 1940s a period of decline from the point of view of the movement’s political fortunes than one can from an artistic perspective. Of course, Futurism did not survive the war. However, it is suggested that whilst the cataclysmic events of 1943-44 were to seal its fate, they also served to liberate the imaginations of Marinetti and his followers, reawakening the movement’s original, visionary spirit, and inspiring a final burst of creativity that anticipated ‘the future of Futurism’.
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Pires, Joana Carolina Teixeira. "Branding Literário: a imagem dos autores da Geração de Orpheu no século XXI." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2018. http://hdl.handle.net/10400.5/17038.

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Dissertação de Mestrado em Comunicação Social, na vertente de Jornalismo
A história da literatura portuguesa faz-se de autores, grupos, movimentos e obras que contribuíram para a afirmação da identidade do país no mundo. A edição da revista Orpheu, que representou um dos períodos de encontro entre a Língua e a Arte portuguesas, cumpriu o seu primeiro centenário em 2015. O branding dos autores desta geração, inicialmente trabalhado pelos próprios, é hoje planeado e desenvolvido pelas editoras que detêm os direitos das suas obras, que pretendem republicar esses títulos, ou publicar obras inéditas. Este estudo pretende compreender o papel dos órgãos de comunicação social impressos no processo de divulgação dos autores futuristas portugueses e das suas obras, analisar a evolução da imagem desses autores através da promoção desenvolvida pelas editoras e de que forma esse trabalho contribui para a valorização das obras no mercado livreiro em Portugal. Nesse sentido, procedeu-se à análise de conteúdo das 71 peças jornalísticas com referência a Orpheu e aos autores desta geração (Cesário Verde, Fernando Pessoa, Álvaro de Campos, Mário de Sá-Carneiro, José de Almada Negreiros e Raul Leal), resultado da aplicação da técnica de clipping em 120 edições de cinco órgãos de comunicação social impressos, generalistas e especializados, com diferentes periodicidades (Revista LER; Jornal de Letras; Time Out Lisboa; Expresso e Público). A recolha feita através de clipping permitiu também proceder à análise iconográfica das imagens presentes nas peças jornalísticas onde se identificaram referências à Geração de Orpheu. Pudemos verificar que, ao longo do período considerado para este estudo, Fernando Pessoa foi o autor da Geração Orpheu mais referenciado pelos órgãos de comunicação social analisados. Por outro lado, as referências a Raul Leal são quase nulas. Estes resultados mostram-nos a disparidade de tratamento e divulgação dos autores em apreço nos media. O Público e o Jornal de Letras, Artes e Ideias souberam capitalizar o centenário de Orpheu para aumentar as referências aos autores desta geração e à própria revista, valorizando este período histórico-cultural da literatura portuguesa.
The history of Portuguese literature is made up of authors, groups, movements and works that contributed to the affirmation of the country’s identity in the world. The Orpheu magazine, which represented one of the periods between the Portuguese Language and Art, fulfilled its first centenary in 2015. The branding initially worked on by the authors is now planned and developed by the publishers who own the rights of their works or want to republish them. This research intends to comprehend the role of the media in the process of communication of the futurist Portuguese authors and their works, analyze the evolution of the image of those authors through the promotion developed by publishers and how that image has contributed to maintain the sales of the works on the book market in Portugal. In this sense, we analyze the content of 71 journal entries with references to Orpheu magazine and the futurist authors under study (Cesário Verde, Fernando Pessoa, Álvaro de Campos, Mário de Sá-Carneiro, José de Almada Negreiros and Raul Leal), in result of the application of clipping on 120 editions of five portuguese printed media, general and specialized, with different periodicities (Revista LER, Jornal de Letras; Time Out Lisboa, Expresso and Público). The collection made by clipping also allowed to carry out the iconographic analysis of the images present in the journalistic pieces/journal entries where references about Orpheu and the authors considered were identified. It could be verified that, during the period considered for this study, Fernando Pessoa was the most referenced author of the futurists authors by the media analyzed. On the other hand, the references to Raul Leal are almost null. These show us the disparity of treatment and divulgation of the authors in the media. The portuguese newspapers Público and Jornal de Letras, Artes e Ideias capitalized on the centenary of Orpheu to increase the references to the authors of this generation and the magazine itself, valuing this cultural period of the Portuguese literature.
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Cook, C. "Towards a Greater Britain : a political biography of Oswald Mosley, 1918-1947." Thesis, Oxford Brookes University, 2000. http://radar.brookes.ac.uk/radar/items/4c1e5ac3-156c-9d67-8ab9-f05ab3c7acdc/1.

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This thesis examines the major stages in the political career of Oswald Mosley and argues that a continuity existed in his diagnosis of contemporary history from the moment he entered political life at the end of the First World War as a zealous parliamentarian till his last days as an unrepentant fascist. An ideal type of the 'esoteric' core of Mosley's ideology is used to identify a consistent thread which resolves the contradictions in Mosley's political agitations into paradoxes. Drawing on a theory of ideology which distinguishes between its fundamental and operative dimensions, Mosley's core (fundamental) ideology is depicted ideal typically as the ambition to realize Bntain's potential for national greatness conceived in a future oriented, modernizing rather than a nostalgic or conservative perspective. The structure of the biography follows the chronological narrative of Mosley's life, episodically, illuminating it through pivotal moments in his career. Through a textual and contextual analysis of these moments it identifies the performance of the operative dimension of Mosley's fundamental ideology in order to bring out its internal consistency. Each chapter highlights a theme which may have manifested itself at other moments in Nlosley's life but is especially distinct at one stage of Nlosley's career. These themes are the myth of the airman, leadership, economics, unemployment, the New Party, the nation and Greater Britain, anti-Semitism and violence, philosophical idealism and the philosophy of apologia. The thesis draws on the vast published textual output from Mosley along with reports of his speeches, supported by many contemporary writings relating to chapter topic. These resources are used to demonstrate and shed light on the esoteric mainspring of Mosley's politics. In addition the thesis demonstrates and argues in favour of a biographic methodology which does not construct the inner machinations of the subject's psychology or 'mind' as an explanation of behaviour but looks pragmatically to the significant products of the subject and constructs, ideal typically, a consistent ideological matrix the centre of the subjects politics. This thesis contributes to knowledge of the subject by presenting a pragmatic understanding of Mosley's political motivations and identifying a consistent core to his political pronouncements. The thesis also brings to biographical studies a phenomenological methodology which dispenses with the postulation of a knowable core personality or 'real' psychological life in order to demonstrate the inner coherence of the subject's personality for the purpose of historical reconstruction.
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Lima, Rodrigo Nogueira. "A situação construída." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-20062012-155720/.

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A dissertação analisa a trajetória da Internacional Situacionista durante o período de sua existência, de 1957 até 1972, salientando as ressonâncias dos ideários das vanguardas do Futurismo, Dadaísmo e Surrealismo, no ideário da I.S.. Sua importância está vinculada a reinvenção do espaço público como lugar de criação cultural e ação política, além do fato de serem recorrentes na arte contemporânea as ideias de obra coletiva, participação, construção efêmera e de evento, que nos remete as ações da I.S. e dos movimentos citados. O objetivo da pesquisa é analisar e compreender a ideia de situação construída, a qual era o propósito fundamental dos situacionistas. Nessa abordagem revelamos as origens da ideia de situação construída e como ela é fruto da revisão crítica que a I.S. faz das experiências e conceitos das vanguardas analisadas. A metodologia utilizada examina de forma comparativa os textos produzidos pela I.S. com os do Futurismo, Dadaísmo e Surrealismo, contrapondo suas ideias no campo da arte, cultura, política e meios de ação nos espaços urbanos. A leitura dos textos primários, obras de \"arte\" e jornais situacionistas formam a base da análise. Os textos pré-situacionistas assim como os textos referentes às vanguardas analisadas, indicam a arqueologia do pensamento situacionista, expondo as suas diferenças e aproximações fundamentais entre os movimentos. Enquanto os textos secundários, análise de historiadores e comentadores da I.S., expandem o universo situacionista no contexto das décadas de 50, 60 e 70, auxiliando na compreensão de suas teorias, julgamentos e ações.
The dissertation analyzes the history of the Situationist International (S.I.) during its existence from 1957 until 1972, emphasizing the resonances of the ideals of the vanguards of Futurism, Dadaism and Surrealism, the ideals of S.I.. Its importance is linked to the reinvention of public space as a place of cultural and political action. Besides the fact they are recurrent in contemporary art, the ideas of collective work, participation, construction and ephemeral event, which brings us the action of S.I. and movements mentioned. The objective of this research is to analyze and understand the idea of constructed situation, which was the fundamental purpose of the Situationists. In this approach reveal the origins of the idea of constructed situation and how it is the result of the critical of the S.I. makes the experiences and concepts of the vanguards analyzed. The methodology examines in a comparative way the texts produced by S.I. with Futurism, Dadaism and Surrealism, opposing ideas in art, culture, politics and means of action in urban areas. The reading of primary texts, works of \"art\" Situationist and newspapers form the basis of the analysis. The pre-situationist texts as well as texts concerning vanguards analyzed, indicate the archeology of Situationist thought giving the fundamental differences and similarities between the movements. While the secondary texts, analysis of historians and commentators of the S.I., situationist expand the universe in the context of the 50, 60 and 70, assisting in the understanding of his theories, judgments and actions.
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Books on the topic "Futurism"

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Hultén, Karl Gunnar Pontus. Futurism & futurisms =: Futurismo & Futurismi. New York: Abbeville Press, 1986.

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Hultén, Pontus. Futurism & futurisms. London: Thames and Hudson, 1987.

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1924-2006, Hultén Pontus, and Futurismo & futurismi. Exhibition, eds. Futurism & futurisms. London: Thames and Hudson, 1992.

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Serge, Fauchereau, Porta Antonio, and Salaris Claudia, eds. Futurismo = Futurism. Milano: Edizioni Cooperativa Intrapresa, 1986.

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Angelo, Bozzolla, ed. Futurism. London: Thames and Hudson, 1985.

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Hultén, Pontus. Futurismo & futurismi. Milano: Bompiani, 1986.

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Hultén, Karl Gunnar Pontus. Futurismo & futurismi. Milano: Bompiani, 1986.

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Didier, Ottinger, Centre Georges Pompidou, Scuderie Papali al Quirinale, and Tate Modern (Gallery), eds. Futurism. Paris: Éditions du Centre Pompidou, 2009.

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Didier, Ottinger, Centre Georges Pompidou, Scuderie Papali al Quirinale, and Tate Modern (Gallery), eds. Futurism. Paris: Éditions du Centre Pompidou, 2009.

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Futurism. Cambridge: Cambridge University Press, 1999.

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Book chapters on the topic "Futurism"

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Maurits, Peter J. "Futurism." In Critical Terms in Futures Studies, 131–37. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-28987-4_21.

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Miller, Tyrus. "Futurism." In A Companion to Modernist Literature and Culture, 169–75. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch17.

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Leslie Johnson, Donald, and Donald Langmead. "Futurism." In Makers of 20th-Century Modern Architecture, 111–13. New York: Routledge, 2013. http://dx.doi.org/10.4324/9780203059210-35.

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Copping, Ryan. "Apocalyptic Futurism." In Palgrave Studies in the History of the Media, 131–51. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60671-8_6.

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Calcutt, Andrew. "Nostalgia/futurism." In White Noise, 93–97. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1057/9780230373686_14.

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Mather, David S. "Chromatic Futurism." In Vitalist Modernism, 132–52. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003045595-9.

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İşcen, Özgün Eylül. "Black Box Allegories of Gulf Futurism." In The Case for Reduction, 91–115. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-25_05.

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Given the prospect of post-oil futures, this chapter historically situates contemporary Gulf Futurism within cybernetic and logistical aspirations underlying the current global trend of the smartness mandate. Working through the complex visuality that the cybernetic black box animates, the chapter revisits Fredric Jameson’s cognitive mapping as an allegorical model for the inherent frictions of computational capital. To this end, it discusses Kuwaiti artist Monira Al Qadiri’s artistic practice that reclaims a right to speculate while condensing material reality and imaginative threads, thereby going beyond a mere gesture of unveiling or mapping.
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Bozhkova, Yasna. "Decapitating Futurism." In Between Worlds, 55–72. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781949979640.003.0003.

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In this chapter, I argue that while Loy indeed ironically reacted against the ideal of Futurist masculinity in “Songs to Joannes,” she did so in ways that have so far been overlooked. My analysis focuses on an unexplored allusion to the figure of Salomé and the moon as a personification of woman, which was associated with femininity both in Decadent and Symbolist aesthetics, and throughout Marinetti’s own writings, particularly in his manifesto, “Let’s Murder the Moonlight.” I argue that at the climax of the poem Loy stages a collision between Futurism and fin de siècle Decadence, using Decadent aesthetics, and particularly the topos of the femme fatale, to articulate a riposte against the Futurist repudiation of femininity. I also suggest that through her use of the Salomé figure, a Decadent icon of Lust, Loy also engages with other, more feminist versions of the Futurist ideology, such as Valentine de Saint-Point’s “Futurist Manifesto of Lust.” Thus, she foregrounds the inconsistencies inherent to Futurism itself, such as between the voices of Marinetti and Valentine de Saint-Point, or between Marinetti’s manifestos, his early Symbolist poetry, and his affairs with women (including Loy) that were in contradiction with his repudiation of femininity.
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Berghaus, Günter. "Futurism Under The Fascist Régime." In Italian Futurist Theatre 1909-1944, 329–45. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198158981.003.0013.

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Abstract We do not know exactly when Marinetti and Mussolini first heard of each other and their respective cultural-political programmes. It was certainly during the interventionist campaign, when both of them were amongst the first to join the demonstrations in the piazze, that they discovered a considerable degree of convergence between their nationalist ideologies and revolutionary politics. In the course of 1915, personal contacts were established between Mussolini and the Futurists. During the war, the Arditi served as a trajectory between revolutionary nationalism and Futurism, and after the armistice they offered a recruiting ground for the Futurist Political Party. In March 1919, the Futurists aligned themselves with Mussolini and were actively involved in the founding of the Fasci di Combattimento. The Fascists ‘ political programme of 1919 was based on the Programme of the Futurist Political Party. Both were revolutionary, subversive groups, who combined a Leftist social policy with a Rightist concept of nation and government.
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"Futurism." In My Karst and My City and Other Essays, 102–5. University of Toronto Press, 2020. http://dx.doi.org/10.3138/9781487537784-010.

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Conference papers on the topic "Futurism"

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Dindukurthi, Goutham, EJ Lee, Cory Garfin, Matt McLean, Carlos Hurtado, Kana Otaki, and Francisco Souki. "ToyBox Futuristi: An Expression of Futurism via Digital Puppetry." In Annual International Conferences on Computer Games, Multimedia and Allied Technology. Global Science & Technology Forum (GSTF), 2010. http://dx.doi.org/10.5176/978-981-08-5480-5_058.

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Peattie, Peggy. "Afro-Futurism. Revelation, Revolution: Social Justice and the Voices of Afro-Futurism's Digital Generation." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1570841.

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Andreev, D. N. "FORM AND SPACE IN SCULPTURE: FROM FUTURISM TO THE PRESENT." In Месмахеровские чтения - 2022. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604789377_194.

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Vedda, James. "Reviving Space Futurism: A New Focus on Long-Term Strategic Planning." In AIAA SPACE 2008 Conference & Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2008. http://dx.doi.org/10.2514/6.2008-7873.

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Rachma, Salsabila Nur, Fikri Al Faroby, and M. Farid Abiyyu Hanafi. "Zaha Hadid dan Neo-Futurism: Kritik Kotor pada Al Janoub Stadium." In Temu Ilmiah IPLBI 2021. Ikatan Peneliti Lingkungan Binaan Indonesia, 2021. http://dx.doi.org/10.32315/ti.9.i041.

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Zaha Hadid, seorang arsitek dengan ciri khasnya yang kontroversial membuatnya sangat fenomenal di dunia arsitektur, arsitek Wanita pertama yang mendapatkan penghargaan “Laureate of the Pritzker Architecture Prize” yang membuat dirinya hadir sebagai Starchitect. Ditambah dengan personanya yang sangat kontroversial membuat dirinya serta karyanya yang bergaya seputar Neo Futurism semakin terkenal. Hingga kemudian sebuah proyek di Qatar pada persiapan untuk 2022 FIFA World Cup dalam pembangunan sebuah stadion di kota Doha. Ciri khas dirinya yang kontroversial membuat kasus ini semakin kontroversial akan tuduhan masyarakat serta para kritikus ramai membicarakan hal ini. Pada kasus kali ini proyek pembangunan yang diampu oleh Sang Starchitect, Zaha Hadid, tertuduh akan eksploitasi tenaga kerja manusia (buruh) yang mencapai angka kematian hingga 1000 pekerja dan hasil desainnya yang ‘sangat’ mirip dengan organ kewanitaan hingga menimbulkan banyak kritik yang masuk terhadap pembangunan dari stadion ini baik kritik yang masuk dari masyarakat dan para kritikus. Kata-kunci : neo futurism, kontroversial, kritik, stadium, zaha hadid
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Betts, Alexander, Brenda A. Lopez Silva, and Panos Oikonomou. "LunAR Park: Augmented reality, retro-futurism & a ride to the moon." In 2014 IEEE Virtual Reality (VR). IEEE, 2014. http://dx.doi.org/10.1109/vr.2014.6802092.

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Waghid, Zayd. "Exploring the Phenomenon of Afro-Futurism in Film in Decolonizing the University Curriculum." In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2006803.

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Waghid, Zayd. "Exploring the Phenomenon of Afro-Futurism in Film in Decolonizing the University Curriculum." In AERA 2023. USA: AERA, 2023. http://dx.doi.org/10.3102/ip.23.2006803.

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Kuznetsova, Evgeniya. "HUMAN EXISTING IN THE CONTEXT OF INFORMATION CIVILIZATION: A NEW CONCEPT OF SOCIAL FUTURISM." In NORDSCI Conference on Social Sciences. SAIMA CONSULT LTD, 2018. http://dx.doi.org/10.32008/nordsci2018/b1/v1/43.

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Zykova, Irina V. "Typology of avant-garde idiomatics as a lexicographical problem: variability in the arrangement of a dictionary microstructure." In Lexicography of the digital age. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-19-1-2021-92.

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The paper dwells on the principles of constructing the microstructure of the dictionary “The Russian Avant-garde idiomatics: Cubo-Futurism”. It is shown that a typological variety of verbal avant-garde idiomatics makes it difficult to describe dictionary entries according to one and the same pattern. In the dictionary microstructure, the dictionary sections that prove to be obligatory for one types of avant-garde idiomatics can be non-obligatory for its other types.
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Reports on the topic "Futurism"

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Larrea, Silvana. Population Council Annual Evaluation Report: Opening Futures (Abriendo Futuros) for indigenous girls in Yucatan, Mexico. Population Council, 2020. http://dx.doi.org/10.31899/pgy14.1000.

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Hodrick, Robert, and Sanjay Srivastava. Foreign Currency Futures. Cambridge, MA: National Bureau of Economic Research, October 1985. http://dx.doi.org/10.3386/w1743.

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Peter, Nancy, Shonique Banks, Kathy Fadigan, Bill Richards, Micah Gold-Markel, Lisa Shulock, Emily Schapira, and Maxine Dixon. Bright Solar Futures. Office of Scientific and Technical Information (OSTI), March 2023. http://dx.doi.org/10.2172/1994057.

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Turnhout, Esther, Alexandra Supper, and Andreas Weber. Endangered futures: Workshop. Netherlands Graduate Research School of Science, Technology and Modern Culture, 2024. http://dx.doi.org/10.3990/1.2666-2892.2024.01.

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Ackermann, Mark R. Potential Futures for Information. Office of Scientific and Technical Information (OSTI), November 2017. http://dx.doi.org/10.2172/1409283.

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Lerner, Bruce. Futures Meeting November 2009. Fort Belvoir, VA: Defense Technical Information Center, September 2010. http://dx.doi.org/10.21236/ada537527.

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Keller, Elizabeth James Kistin, Drake Edward Warren, Nancy Kay Hayden, Howard D. Passell, Leonard A. Malczynski, and George A. Backus. Nuclear Security Futures Scenarios. Office of Scientific and Technical Information (OSTI), January 2017. http://dx.doi.org/10.2172/1342468.

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Cary, Lyle W. Terrorism's Implications for Preemption and Legislation: A Futurist Perspective. Fort Belvoir, VA: Defense Technical Information Center, March 2004. http://dx.doi.org/10.21236/ada424517.

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Hand, M. M., S. Baldwin, E. DeMeo, J. M. Reilly, T. Mai, D. Arent, G. Porro, M. Meshek, and D. Sandor. Renewable Electricity Futures Study. Volume 1. Exploration of High-Penetration Renewable Electricity Futures. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1219711.

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Mai, T., R. Wiser, D. Sandor, G. Brinkman, G. Heath, P. Denholm, D. J. Hostick, N. Darghouth, A. Schlosser, and K. Strzepek. Renewable Electricity Futures Study. Volume 1: Exploration of High-Penetration Renewable Electricity Futures. Office of Scientific and Technical Information (OSTI), June 2012. http://dx.doi.org/10.2172/1046880.

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