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1
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 italienneFuturism 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 JornalismoA 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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Barth, Rachel. "Photographing the "Phantoms of the Living": The Fotodinamismo Futurista of Anton Giulio and Arturo Bragaglia, 1911-1913." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17877.
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Between 1911 and 1913, two Italian brothers named Anton Giulio Bragaglia and Arturo Bragaglia produced Futurist photography which they termed "photodynamism." These images, together with the theoretical manifesto Fotodinamismo futurista, represent a remarkable effort in avant-garde photography and theory in the early 20th century. The Bragaglias' intent in making these photographs was to produce deeply emotional images of modern dynamic motion which convey the spiritual essence of human beings that becomes exteriorized in the process of physical movement.
Through a short, intense campaign in 1913, Umberto Boccioni succeeded in expelling the Bragaglias from the Futurist movement. Because of this, the importance of their photography has often been neglected, underrepresented or misrepresented in scholarship. This thesis offers an alternative reading of the photodynamic project based on its occult foundation and a better sense of how to understand photodynamism within the context of the movement and the broader history of photography.
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Carey, Katherine Elizabeth. "Architecture and the motion of life." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/carey/CareyK1209.pdf.
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We experience our world through the mobile unit that is our body. As we move through space we are experiencing the riches that make up life. We meet new friends, travel new roads, and see wondrous sights. If architecture is used as a tool to encourage these movements it stands to be conceived that architecture can promote the enrichment of life.
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Сокорчук, І. П. "Інформаційні технології в українському культурному просторі початку XX століття." Thesis, ХНУРЭ, 2017. http://openarchive.nure.ua/handle/document/4891.
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Автор дослідження розглядає творчість українського футуриста
Михайля Семенка. Він звертає увагу на те, що у т.зв. візіопоезіях
«Каблепоема за океан» та «Моя мозаїка» спостерігається відчутній вплив
професійної діяльності поета, що була пов'язана із тодішніми
інформаційними технологіями. Автор вважає, що професійні навички
дозволили митцеві не лише пов'язати поетичне слово і візуальний образ,
але творчо втілити у ньому технічний поступ тієї доби у дусі ідей
футуризму, що може розглядатися як авторський внесок митця.The author of this research examines the creative heritage of Ukrainian futurist Semenko. He notes to the fact that visual poetry "Kablepoema za okean" ("Poetic telegram to the overseas") and "Moya mozaika" ("My Mosaic") observed a significant impact of the poet's professional activities who was associated with the then information technology. The author believes that the skills not only allowed the artist to link poetic word and visual image, but it creatively implement technological progress in that period in the spirit of futurism, which can be considered as an art contribution of the artist.
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Sai, Elisa. "Aeropittura, futurism and space in the 1930s : continuity, innovation and reception." Thesis, University of Bristol, 2010. http://hdl.handle.net/1983/d3b1289b-cad8-4883-89fd-e2752d925890.
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Artistically speaking, Futurist production dating from the foundation of the movement in 1909 until the First World War bas traditionally benefited from a considerable scrutiny, often to the detriment of the rest of the Futurist trajectory that continued until the outbreak of the Second World War. Conventionally stigmatized as an unsophisticated form of political propaganda, Aeropittura, which developed throughout the 1930s,is probably one of the most controversial futurist productions. An analysis of the critical responses to Aeropittura from the post-war period until the present day will constitute the initial section of this text together with an investigation into the critical reception of Futurisma mong its contemporaries in the 1930s and after 1945. The aim is to identify key episodes that have shaped the conventional interpretation or provided innovative new perspectives. In the second chapter the developments of the notion of space within the Futurist aesthetic will be explored in conjunction with a brief exploration of contemporary ground-breaking scientific discoveries and their popularization, innovations in the cultural and artistic discourse and pioneering philosophical theories on time and space. Issues of control and power in reference to the visual sphere and a pantheistic, multi-sensoriaal pproacht o naturea re someo f the themes that will be exploredi n the text. A more environmental notion of space will be discussed in the third chapter that concentrates on the architectural heories formulated by the Futurist artists. Though plastica murale and polimaterismo the artists attempted to find an alternative form of artistic expression that could articulate their desire for an expansion of artistic practices and spaces. The last chapter Addresses The extent to which particular themes of space inherent in late Futurism impacted on later artworks and how artists developed the spatial Futurist postulates into other forms of artistic practices
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Vidal, Ricarda. "Death and desire in car crash culture : the many returns of futurism." Thesis, Birkbeck (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441952.
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Humphreys, Charlotte M. "Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly style." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/2946.
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Cubo-Futurlsm is defined both in terms of the development of Cubist and Futurist styles of painting by the Russian avant-garde artists Liubov Popova, Nadezhda Udaltsova, Olga Rozanova and Ivan Puni between 1912 and 1915, and in terms of the reworking and transformation of' these two movements against the unique Russian cultural background into a new non-objective art after 1915. The Russian artistic and cultural context, including Ouspensky and the fourth dimension and the linguistic theories of the Futurist poets Alexei Kruchenykh and Vellmlr Khlebnikov concerning a transratlona]. language (zaum), played a vital role for a number of artists in their move into non-objective painting and construction. Zaum influenced the reworking of Cubist collage by Malevich, Puni and Rozanova, and the abstract collages and reliefs of Rozanova and Puni are defined as visual equivalents to the new logic "broader than sense" envisaged by zaum. As part of the Russian cultural context, indigenous art forms also acted as possible stimuli for the development of a non-objective painterly style. The abstract potential which artists saw in the icon was exploited by Puni in his non-objective reliefs of 1915-c1919, and the principles of decoration in Islamic Architecture may be seen as an important source for Popova's painterly architectonics of 19 16-18. After 1916, the principles of non-objective painting, established fran an examination of Cubism and Futurism, were applied to tasks of design and the theatre. Puni, Rozanova and Udaitsova designed household and fashion items, and Alexandra Exter and Alexandr Vesnin completed set and costume designs for several productions in the Moscow Kamerny Theatre between 1916 and 1922. In their attempt to articulate a dynamic spatial environment, the principles for these designs derived from earlier Cubo-Futurist experiments in painting.
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Verschoor, Jasper. ""More than Planners, Less than Utopians:" 1960s Futurism and Post-Industrial Theory." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1493587487175057.
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Everett, Patricia Hews. "Neo-Futurism and Creating a Twenty-First Century High School Theatre Curriculum." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193395.
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Thirty-two students worked together for eight weeks to write nearly fifty short plays from which thirty were selected, produced and performed in a production titled Warning May Cause Irritation, inspired by the Neo-Futurists' signature show: Too Much Light Makes the Baby Go Blind. Nineteen students were also involved in the concurrent case study of the project and kept journals, participated in focus group sessions, developed scripts and filled out worksheets. Data generated was analyzed for evidence of student empowerment, relevancy of the work to student's lives, and their ability to work democratically.In the end, it seems the students enjoyed and felt empowered by the democratic process used to generate the final production and the result was an educative, relevant and fulfilling experience that may inspire some to continue working in the theatre and the students seemed open to continuing to explore nontraditional theatre projects in the future.
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Barbosa, Rafael Loche. "De origens a ocasos: a crítica literária de Sérgio Buarque de Holanda na década de 1920." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-20022019-114055/.
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A presente tese de doutoramento intenta perscrutar a trajetória crítico-literária de Sérgio Buarque de Holanda pela segunda década do século XX. Partindo da análise de seu primeiro ensaio crítico publicado Originalidade Literária este trabalho passa por diversos momentos da formação buarqueana. Analisa-se como o desenvolvimento acelerado das capitais paulista e carioca refletiu decisivamente no processo de formação do jovem crítico, bem como de que forma ele influenciou a vida cultural dessas cidades. Pondera-se a utilização das formas ideológicas de expressão por Sérgio, utilização esta que só seria atenuada com o confrontamento direto do crítico junto ao peso da tradição do fin de siècle. Observa-se de perto a assimilação de Sérgio Buarque da vanguarda futurista que chegava no Brasil e todo o seu esforço por uma espécie de ressignificação teórica, a fim de melhor compreender o processo que se dava em nossos meios culturais. Acompanha-se o contato do jovem autor junto às agitações do Modernismo nascente e, mais tarde, a própria atuação de Sérgio como integrante desse processo, em militância e luta, além da fundação da revista Estética, e de se tornar o representante da revista Klaxon no Rio de Janeiro. E, em momento final, observa-se o que chamamos de ocaso do crítico modernista, que após publicação de ensaio denominado O Lado oposto e outros lados, encontra-se em meio a tantas desavenças e ressentimentos por parte de seus correligionários de movimento, que, logo à frente, decide tudo abandonar e manter-se em exílio voluntário.This doctoral thesis attempts to examine the critical-literary trajectory of Sérgio Buarque de Holanda in the second decade of the twentieth century. Starting from the analysis of his first published critical essay - \"Literary Originality\" - this work goes through several moments of the buarqueana formation. It analyses how the accelerated development of the capitals of São Paulo and Rio de Janeiro reflected decisively on the process of formation of the young critic, as well as how he influenced the cultural life of these cities. The use of the ideological forms of expression by Sérgio is considered, a use that would only be attenuated with the direct confrontation of the critic next to the weight of the tradition of the fin de siècle. It also closely observes the assimilation of Sérgio Buarque to the futuristic vanguard that arrived in Brazil and all his efforts through a sort of \"theoretical re-signification\", in order to better understand the process that was given in our cultural means. The young author\'s contact with the upheavals of nascent Modernism is also observed and, later, Sergio\'s own acts as a member of this process, in militancy and struggle, as well as the foundation of the magazine Aesthetics, and becoming the representative of Klaxon magazine in Rio de Janeiro. Finally a close observation is made of what is known as the sunset of the modernist critic, who, after an essay publication called \"The Opposite Side and Other Sides\", found himself amidst so many quarrels and resentments on the part of his movement co-religionists , that soon afterwards he decided to abandon everything and remained in voluntary exile.
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Saunders, Mykaela. "Goori Futurism: envisioning the sovereignty of country, community and culture in the Tweed." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/29736.
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Goori Futurism is a new genre of speculative fiction that envisions Goori sovereignty in various futures in the Tweed/Bundjalung country, using Blackfella Futurism themes and tropes. This thesis has two components. ALWAYS WILL BE: stories of Goori sovereignty, from the future(s) of the Tweed, the creative component of this project, is a short story collection comprised of ten short Goori Futurism stories. The critical component is an exegesis in three parts. The overarching question that the whole thesis asks is: what might our country, community and culture look like in a Future Tweed, given the reassertion of Goori sovereignty? ALWAYS WILL BE offers ten different answers to this question, and the exegesis considers the research and writing that led to the answers.
The exegesis first defines Goori Futurism, then it traces Goori Futurism’s origins, lineage and goals. Next, the exegesis introduces The Goori Futurism Research Framework as made up of three reading and writing frames: Politics – Goori Sovereignty, Setting – Future Tweed and Genre – Blackfella Futurism. The third section is ALWAYS WILL BE, and the stories are tied together by politics, setting and genre: each of the stories in this collection explore different expressions of Goori Sovereignty; all of the stories are set in the Tweed, in different versions of the Future, with various climate scenarios, population dynamics and political structures; and each story responds to the prevailing themes and tropes within the Blackfella Futurism genre. Finally, the exegesis reflects on the ways that each of the stories are products of The Goori Futurism Research Framework.
This thesis, comprised of the stories in ALWAYS WILL BE and the scholarly writing in the exegesis combined, initiates the genre of Goori Futurism, articulates a philosophy and aesthetics of the genre and delineates its boundaries while resisting prescriptive genre protocols.
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Williams, Gavin. "Arts of Noise: Sound and Media in Milan ca. 1900." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11115.
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This dissertation explores the place of sound, noise and silence in Milan at the turn of the twentieth century. By focusing on this particular urban environment, it aims to investigate the notion of sonic modernity through a series of four case studies. It begins in 1881, the year of the city's National Industrial Exposition, with the premiere of the ballet Excelsior--a work that, like the Exposition itself, celebrated modern progress by staging technological inventions and was preoccupied with industrial production. Pursuing these echoes of labor, a second case study examines workers' songs, which comprised a resonant document in the rise of Italian socialism. These songs present us with a workers' culture that commemorated factory disputes and strikes; they also embody tensions in the interface between workers and socialists which, I argue, characterized the ways in which songs imagined urban space. In my third case study, my attention shifts to this urban imagination by focusing on a media event: the death of Giuseppe Verdi. Focusing on different contemporary interpretations of the respectful silence, as articulated through the city's transport and communication media, I argue that Verdi's death can provide a fresh perspective on the political unconscious of Milan's lugubrious fine secolo. It is against this historical context, that my fourth and final case study examines Luigi Russolo's famous "L'arte dei rumori" (The Art of Noises); in it, I seek to show that Russolo's ideas stand out against the resonant background of Milan's symbolic architectural sites and the noise of its human multitudes. Ultimately, this dissertation provides alternative contexts against which to understand Futurist noise, seeking to move beyond existing interpretations of Futurism as a turning point in music history and to position it instead as a refraction of Milan's increasingly industrial soundscape.Music
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Nikolayeva, Tetyana, Tetiana Nikolaeva, and Yixuan Guo. "In-depth study of Cyberpunk and Retro-Futurism styles with the aim of development an integrated design project concept." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17925.
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The aim of investigation is to analyze the aesthetic taste of the minority groups who are proponents of Cyberpunk and Retro-Futurism subculture. To classify the main expressive creative-compositional characteristics of presented style directions. To study the relevance of consumer demand for products developed on the basis of the Cyberpunk and Retro-Futurism style, as well as awareness of this topic. The relevance of research in this area is a combination of presented two style directions. The embodiment of the results lays in the creative solution of an integrated design project: the development of the exterior and interior of the video game club; organization of a play space; the development of the corporate identity and costume of the service managers and stuff of a playroom.
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Williams, Grant Tank. "Re-Imagining America : rural futurism, speculative fiction, And reckoning with a new era." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/108954.
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Thesis: M.C.P., Massachusetts Institute of Technology, Department of Urban Studies and Planning, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 151-156).
At the close of 2016, the United States finds itself deeply fractured, caught between clinging to a nostalgic past and pushing for progressive possibility. As we stand divided, a set of emerging great challenges threaten to rapidly change the world as we know. At such a juncture, I argue that the practice of imagination can help us to break out of habitual thinking and routine practice to see our challenges, and ourselves within them, more fully and clearly. By imagining alternative futures, and communicating them to a broader audience through fiction, I propose we may better understand, collectively, how to enact our agency in the present to address these challenges head-on. In this thesis, I argue for the practice of imagination through the lenses of three great challenges that we face as a nation: politics, the Anthropocene, and a culture of white supremacy. In an effort to identify and bridge the divides that exist within our current political and cultural moment, I propose a 'rural futurism' that centers the experiences, settings, and lives of rural America in imagined futures. I then operationalize the concept of 'rural futurism' on two levels; 1) the realizable potential of local democratic institutions, the rural electric cooperatives, as sites for democratic discourse and self-determination, and 2) speculative futures, communicated through fictional narratives, as a tool for developing critical consciousness in addressing the three great challenges imperative to re-imagining America. I present eight speculative fiction stories of alternative rural futures set in the American south to 'test' the concept of 'rural futurism' as a tool for addressing these challenges. The stories were reviewed by a focus group of southern writers and organizers, who provide the analysis, as well as my personal evaluation, of the stories effectiveness in addressing the challenges described and their resonance with the experience and context of the rural American south.
by Grant Tank Williams.
M.C.P.
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Andrioni, Fabio Sapragonas. "A arquitetura do destino: a ciência do futuro e a teoria da história em O ano 2000 (1967), de Herman Kahan e Anthony J. Wiener." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-09082010-132722/.
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A dissertação apresenta a visão de história que compõe o método de especulação e planejamento do futuro exposto no livro O ano 2000, de 1967, escrito por Herman Kahn e Anthony J. Wiener. O trabalho consiste na investigação das idéias e conceitos empregados no método, assim como nos resultados gerais da especulação e do planejamento do futuro, visando expor as influências de outros autores, idéias e conceitos, além dos diversos contextos que se articulam na obra. A dissertação visa mostrar como se constituiu o pensamento futurista de Kahn e Wiener em relação à história, a saber, uma visão progressista, porém não mais linear e como um produto da razão inerente ao homem, mas como um progresso que é conquistado a cada momento do presente pelo esforço humano em planejar o futuro. A história aparece assim como um desenvolvimento macro-histórico, que explica os desenvolvimentos passados e as possibilidades futuras, e, ainda, como um conjunto de exemplos heurísticos para pensar como as possibilidades futuras podem se manifestar factualmente. A pesquisa conclui que o pensamento futurista é um objeto de estudo muito rico para os historiadores por sua apropriação da história, pela representatividade como fenômeno histórico e por sua abrangência como parte da vida contemporânea.This dissertation approaches the view of history embedded in the method of future speculation and planning set out in the book The year 2000, written in 1967, by Herman Kahn and Anthony J. Wiener. This work consists in investigating the ideas and concepts in the method, as well as in overall results of future speculation and planning, in order to expose the influences of other authors, ideas and concepts and the various contexts articulated in the book. We here try to show how the futurist thinking of Kahn and Wiener understood history, namely, a view of progress however no longer linear or a product of a reason inherent to man, but a progress achieved every moment by human effort in planning the future. Thus, history appears as a macro-historical development that explains past developments and future possibilities, and also as a set of heuristic examples to consider how future possibilities can manifest factually. The research concludes that futurist thinking is a valuable study object to historians for its appropriation of history, for its importance as a historical phenomenon and for its significance as part of the contemporary life.
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Greenberg, M. "Futurism and science : refractions of scientific knowledge in the work of Filippo Tommaso Marinetti." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599667.
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The thesis aims to analyse the relationship that F. T. Marinetti established between innovations in science at the fin-de-siècle and his Futurist movement. Chapter 1 examines the introduction and repercussions of Comtian Positivism in Italy. Chapter 2 provides a history of the relationship between science and literature in order to argue that Marinetti’s project was in certain respects related to the genre of ‘proto-science-fiction’. Following the more general theoretical and literary historical background of the first two chapters, Marinetti’s early French work as a Symbolist is read in Chapter 3 through representations of the neurological condition of synaesthesia in his and others poetry. The experience of simultaneity is investigated in Chapter 4 as a consequence of innovations in the study of electricity and in particular to the impact of the widespread use of Guglielmo Marconi’s wireless telegraph. In Chapter 5 Marinetti’s machine idolatry is contextualised as part of the late nineteenth century popular understanding of the first two laws of thermodynamics, the conservation of energy and entropy, which revolutionise the interpretation of the lifecycle. Finally, in Chapter 6, the discussion of thermodynamics in Marinetti’s Futurism is extended to an analysis of its links to debates on evolution and degeneration, and more specifically to the impact of a national ‘hygienic’ agenda for the purification of society.
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Burdett, Michael Stephen. "The God of possibility and promise : Christian eschatology as a response to technological futurism." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:55064790-e250-42f6-98c9-ec4b709c8a53.
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The explosive growth of technology today is causing extensive speculation about the future. These ‘technological futurisms’—especially transhumanism—are often imbued with religious value by their adherents. How should Christians respond to the content of technological futurisms and also the way the future is constructed? In this thesis I argue that Christian eschatology has a more robust understanding of the future than technological futurism, as championed by transhumanism, and can allow for radical hope while also maintaining important humanistic virtues which are ultimately lost in transhumanism. Christian eschatology does not only depend on what is actual to create its future. Rather, it is open to the God of possibility and promise who can bring the radically new in the Kingdom of God. This dissertation is broken into three major sections with an introductory and concluding chapter. The first section provides a history of our technological imagination today by looking at visionary approaches to technology and the future in both technological utopias and science fiction. This history provides the conditions for understanding the proposed future of transhumanism. The second section orients the final response by assessing technology and the future in the eschatologies of Pierre Teilhard de Chardin and Jacques Ellul. Both Teilhard and Ellul agree that the technological future without appeal to the Christian God is dangerous. The final section looks at the theological and philosophical issues surrounding technology and the future. Heidegger’s works are used to sharpen themes related to technology and the future; in particular, how technology is related to ontology and how the future is related to possibility. The final chapters construct a Christian response to transhumanism around the themes of possibility and promise by utilising the works of Richard Kearney, Eberhard Jüngel and Jürgen Moltmann. A Christian notion of possibility allows for the radically new in a way transhumanism does not and the Christian idea of promise safeguards human virtues by emphasising the interpersonal as ultimate rather than self-transcendence as with transhumanism.
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Richardson, Richardson. "Edgard Varèse and the Visual Avant-Garde: A Comparative Study of Intégrales and Works of Art by Marcel Duchamp." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123684300.
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Nguyen, Mikael, and Johannes Wasberg. "En Urban Värld." Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18743.
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I detta kandidatarbete har vi undersökt kring tekniken projection mapping och projicering och hur dessa skulle kunna användas i framtiden med hjälp av forskningskällor från science fiction, cyberpunk och futurism. I undersökningen kollar vi närmare på hur dessa genre under historien spekulerat kring olika tekniker och dess tankesätt med mestadels inspiration från cyberpunk, där vi satt oss in i det urbana och dess teknik. Vi har sedan, med hjälp av på ett spekulativt designperspektiv som grund och förhållningssätt, fått fram en prototyp av en stad som är baserad i en möjlig framtid där projection mapping har utvecklats och är en väldigt allmän teknik för samhället. Under arbetets gång har vi använt oss utav metoder som mindmap, brainstorming, prototypskapande och spekulativ design för att jobba oss framåt. Dessa metoder har vi arbetat med tidigare och kände att de var mest effektiva för vårt projekt. Vi kom tillslut fram med en gestaltning som visar på en möjlig framtida stad där projection mapping används överallt för att visa reklam och liknande på massa byggnader. Detta har gjort med hjälp av program som Adobe programmen för att skapa det som projicerats och mappningen har gjort i programmet HeavyM, som är ett program enbart gjort för projection mapping.In this bachelor thesis we have examined technology such as projection mapping and projection, and how these could be used in the future with support from research sources such as science fiction, cyberpunk and futurism. In the thesis, we take a closer look at how these genres throughout history have speculated about different technologies and their ways of thinking, mainly with inspiration from cyberpunk, where we focus on the urban and its technology. We have with the help of a speculative design perspective as a basis and approach, created a prototype of a city based on a possible future where projection mapping has been developed and become a very common technology for society. During the course of the project, we have used methods such as mindmap, brainstorming, prototyping and speculative design to work our way forward. We have worked with these methods before and felt that they were the most effective for our project. We finally came up with a design that shows a possible future city where projection mapping is used everywhere to show advertising and the like on lots of buildings. This has been done using programs such as the Adobe programs to create what is projected and the mapping done in the HeavyM program, which is a program solely for projection mapping.
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Hamilton, P. T. "The role of Futurism, Dada and Surrealism in the construction of British Modernism 1910-1940." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.232965.
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Macedo, Ana Gabriela Vilela Pereira de. "Wyndham Lewis's literary work : 1908-1928; Vorticism, Futurism and the poetics of the avant-garde." Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337442.
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Bortulucce, Vanessa Beatriz. "Do simbolismo ao futurismo : o desenho na obra de Umberto Boccioni." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279877.
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Orientador: Nelson Alfredo AguilarTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A proposta desta tese é realizar uma compreensão das obras do período futurista de Umberto Boccioni (1882-1916) a partir de um estudo da trajetória estética de seus desenhos, identificando as diversas influências sofridas pelo artista. Procuraremos estudar os diversos momentos do desenho e da obra gráfica do artista, reconhecendo as influências que nortearam seus estudos sobre a concepção da forma plástica, permitindo uma compreensão mais apurada da poética de Boccioni. A presença da Antigüidade clássica, do Renascimento italiano, do Art Nouveau, do Expressionismo e do Simbolismo nos desenhos de Boccioni nos permitirá identificar a amplitude de sua estética, bem como reconhecer, na fase futurista do artista, o amadurecimento de muitos conceitos e idéias que surgiram em seus desenhos, como a preocupação com a linha, o espaço, a luz, o ambiente, e principalmente, o estudo e a apreensão do movimento humano
Abstract: The main objective of this thesis is to built a comprehension upon the futurist works of Umberto Boccioni (1882-1916) starting from a study of his aesthetical trajectory impressed on his drawings. We want to identify the several influences captured by the artist, studying specific moments of these works, recongnizing then the influences that conducted his studies about the conception of the plastic form. This study intends to establish the basis for a more acurate perception of Boccioni¿s aesthetic. The presence of classic Antiquity, Italian Renascence, Art Nouveau, Expressionism and Simbolism in Boccioni¿s drawings will permit the identification of their complexity and amplitude, as well to recognize, in his futurist phase, the maturing of many concepts and ideas that were born in these drawings, for example, the theories about line, space, light, environment, and mainly, the study and representation of the human movement
Doutorado
Politica, Memoria e Cidade
Doutor em História Social
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Silva, Aline Fogaça dos Santos Reis e. "Giovanni Papini iconoclasta e religioso: diferentes fases da recepção do escritor florentino no Brasil." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-06062018-131836/.
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A trajetória literária de Giovanni Papini pode ser dividida em duas fases: a iconoclasta e a católica. A presente pesquisa tem como objetivo o exame da recepção do escritor florentino no Brasil, por meio de suas obras traduzidas para o português norma brasileira e pelo mapeamento de notas, resenhas, crônicas e artigos publicados em alguns dos principais periódicos nacionais. Em um primeiro momento, ele é lido e discutido, especialmente pelos intelectuais modernistas, no embate entre futurismo italiano e modernismo brasileiro; em um segundo, pelo viés da tradução, principalmente através das obras de temática religiosa. Como fundamentação teórica da análise, são abordados conceitos relacionados aos estudos da tradução, como polissistema literário, mecenato, reescrita e gatekeeping, desenvolvidos nos estudos de Itamar Even-Zohar, André Lefevere e Susan Bassnett. De igual forma, as relações que se estabelecem entre escritor e público-leitor são pensadas sob a perspectiva das teorias da estética da recepção relacionadas à história e à sociologia da literatura, nos estudos de Hans Robert Jauss e Regina Zilberman.The literary career of Giovanni Papini can be divided into two phases: the iconoclast and the catholic. The present research aims to test the reception of the Florentine writer in Brazil, through his works translated into Brazilian Portuguese and by the survey of notes, reviews, short stories and articles published in some of the major national newspapers. In the beginning, he is read and discussed, especially by modernist intellectuals, in the clash between Italian Futurism and Brazilian Modernism; later, through the translation approach, mainly by religious themed works. As the theoretical foundation of the analysis, concepts relating to translation studies are discussed, as literary polysystem, patronage, rewritten and gatekeeping, developed in the studies of Itamar Even-Zohar, André Lefevere and Susan Bassnett. Similarly, relations that are established between writer and readers are thought from the perspective of the theories of aesthetics of reception related to the History and Sociology of Literature, in the studies of Hans Robert Jauss and Regina Zilberman.
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RAMPAZZO, ELENA. "La poesia di Paolo Buzzi dagli esordi al Poema dei Quarantanni: temi e tensioni liriche fra tradizione e Futurismo." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1036.
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La tesi analizza la poesia di Paolo Buzzi dalle "Rapsodie leopardiane" al "Poema dei Quarantanni" (1898-1922), individuando temi e strategie liriche presenti in tutto l'arco temporale esaminato. Poiché Buzzi è noto come poeta futurista, si analizza in particolare la sua produzione riferibile all'avanguardia, per comprendere come egli, considerate le istanze della prima raccolta, abbia inteso il futurismo.The dissertation analyzes the Poetry of Paolo Buzzi from "Rapsodie leopardiane" until "Poema dei Quarantanni" (1898-1922), identifying lyrical themes and tensions present throughout the time period examined. Since Buzzi is known as a futurist poet, the dissertation analyzes in particular its production attributable to the forefront, to understand how he, considered instances of the first collection, was the intention of futurism.
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RAMPAZZO, ELENA. "La poesia di Paolo Buzzi dagli esordi al Poema dei Quarantanni: temi e tensioni liriche fra tradizione e Futurismo." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1036.
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La tesi analizza la poesia di Paolo Buzzi dalle "Rapsodie leopardiane" al "Poema dei Quarantanni" (1898-1922), individuando temi e strategie liriche presenti in tutto l'arco temporale esaminato. Poiché Buzzi è noto come poeta futurista, si analizza in particolare la sua produzione riferibile all'avanguardia, per comprendere come egli, considerate le istanze della prima raccolta, abbia inteso il futurismo.The dissertation analyzes the Poetry of Paolo Buzzi from "Rapsodie leopardiane" until "Poema dei Quarantanni" (1898-1922), identifying lyrical themes and tensions present throughout the time period examined. Since Buzzi is known as a futurist poet, the dissertation analyzes in particular its production attributable to the forefront, to understand how he, considered instances of the first collection, was the intention of futurism.
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Bozhkova, Yasna. "Mina Loy's aesthetic itineraries : towards a « meteroric idiom »." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA091.
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La poète et artiste anglo-américaine Mina Loy (1882-1966) resta longtemps une figure marginale dans le canon moderniste. Adoptant une double approche poéticienne et culturelle, cette thèse étudie son esthétique hybride qui crée toujours une tension irrésolue entre des éléments disparates. Bien qu’influencée par le symbolisme, le décadentisme, le futurisme, l’imagisme, le dadaïsme et le surréalisme, Loy ne s’inscrit complètement dans aucun de ces mouvements, introduisant une tension entre plusieurs modernismes par ce changement constant de paradigme esthétique. On peut comprendre le projet artistique de Loy comme un atlas des turbulents phénomènes artistiques de son temps, qui trace des itinéraires entre des esthétiques disparates, voire opposées, cartographiant une constellation moderniste en pleine formation. La notion de constellation s’avère ainsi particulièrement fructueuse pour penser à la fois les dialogues artistiques modernistes et la dynamique formelle du poème en vers libre. En outre, on peut aborder l’oscillation permanente de son idiome entre le futur et le passé, l’avant-garde et l’obsolète, par le prisme de l’« image dialectique » définie par Walter Benjamin: « Une image [...] est ce en quoi l’Autrefois rencontre le Maintenant dans un éclair pour former une constellation ». L’oeuvre de Loy cherche à développer un « idiome météorique », qui reste brièvement en orbite autour d’une constellation artistique et s’approprie son esthétique pour rebondir ensuite dans une direction différente. L’enjeu de ce travail est d’explorer la dynamique de cette errance géographique, culturelle et artistique en quête d’une voix poétique hybride et polyphonique, qui résonne dans des cadres esthétiques multiplesFor a long time, the Anglo-American poet and artist Mina Loy remained marginal to the modernist canon.Adopting a twofold poetic and cultural approach, this dissertation focuses on her hybrid aesthetics whichcreates an unresolved tension between disparate elements. Although influenced by Symbolism,Decadence, Futurism, Imagism, Dada, and Surrealism, Loy’s work fully fits in none of these movements,introducing a tension between different modernisms through a constant shift of the aesthetic paradigm.One can understand Loy’s artistic project as an atlas of the turbulent artistic phenomena of her time,which traces itineraries between disparate and even opposed aesthetics, mapping a modernist constellationin the making. The notion of constellation thus becomes particularly far-reaching in thinking both aboutthe modernist artistic dialogues and about the formal dynamics of the free verse poem. The permanentoscillation of Loy’s idiom between the future and the past, the avant-garde and the obsolete, may betackled through Walter Benjamin’s definition of the “dialectical image”: “image is that wherein what hasbeen comes together in a flash with the now to form a constellation.” Loy’s oeuvre works towarddeveloping a “meteoric idiom,” which briefly revolves around each constellation before bouncing off in adifferent direction, introducing an ironic relativity between different loci, forms, and programs ofmodernist activity. This dissertation focuses on the dynamic of this roaming through modernist forms insearch of a unique, “polyharmonic” poetic voice which would resonate within multiple aestheticframeworks
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Magalhães, Michelle Agnes. "Musica, futurismo e a trilha sonora de Dziga Vertov." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284158.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem como propósito a apresentação de um pequeno panorama do movimento futurista italiano e russo no que tange ao aspecto musical, bem como uma análise dos elementos futuristas encontrados na música do filme "Entusiasmo, Sinfonia do Donbass" de Dziga Vertov realizado em 1930
Abstract: The present dissertation has the purpose of presenting a resumed panorama of the Italian and Russian futurist movements focused on its musical aspects, as well an analysis of the futurist elements found in the film music of "Enthusiasm, Symphony of Donbass" produced in 1930 by Dziga Vertov
Mestrado
Mestre em Música
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McKever, Rosalind. "Futurism and the past : temporalities, avant-gardism and tradition in Italian art and its histories 1909-1919." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/25095/.
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This thesis re-evaluates Italian Futurist art's relationship with the past, focusing on the years 1909-1919. This aspect of the movement is fundamental to its complex identity, yet has not received prolonged scholarly attention. In order to reconsider Futurism's temporality this thesis focuses on the fine art practice and theoretical writings of Giacomo Balla, Umberto Boccioni, Carlo Carra, Luigi Russolo and Gino Severini, and also the writings on the movement's leader F.T. Marinetti, plus the Florentine Futurists Giovanni Papini and Ardengo Soffici. The historiography of Futurism, which both produces the reductive antipassatista model of the movement and highlights the presence of formal similarities between the Italian artistic tradition and Futurism, is also interrogated. The first part of this thesis argues that the Futurist temporality is more nuanced than the widely accepted model of adoration of the future and repudiation of the past, and that it is related to the conflicting notions of time present in the decade in question. Using the Futurists' concept of time to analyse their relationships with the past, present and future, it argues that the present is the most important temporal mode for Futurism, but that the past and future are part of this present. This thesis approaches Futurism's relationship with Italy's artistic past in tandem with its interrogation of its temporality. This requires a consideration of the temporality of art history, the temporal orientation of avant-gardism and the connotations of tradition and appropriation in art historical practice in order to produce a spiralling art historical model in which returns to the past can be forms of progress. In the second part of this thesis, these possible appropriations of the Italian artistic tradition from Magna Graecia to Giovanni Battista Tiepolo are surveyed, using the reception of earlier art historical periods in early twentieth century Italy to consider how and why the Futurists could have appropriated them. The Futurists' continuation of the recent past of Italian and French art from Italian unification up to the launch of Futurism is also addressed, noting the anti passatismo of these precedents to show that the Futurist relationship with the past, as reconstructed in this thesis, was not sui generis. The aim of this thesis is to bring together Futurism's rhetoric about the past, understanding of time, and relationship with art history in order to offer a more nuanced understanding of the movement's antipassatismo.
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Cicali, Ilaria. "Alexander Archipenko (1909-1914) : une oeuvre au carrefour des expériences de la sculpture moderne." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100094.
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Dès son arrivée à Paris en 1909, jusqu’au déclanchement de la guerre en 1914, Alexander Archipenko réalise environs cinquante sculptures, qu’il présente lors des salons des Indépendants et d’Automne, à l’occasion des manifestations cubistes, ainsi que dans deux expositions personnelles organisées en Allemagne, à Hagen et Berlin. Son nom apparaît souvent dans les comptes-rendus des salons publiés dans la presse de l’époque. Indiqué à la fois comme ‘sculpteur cubiste’ ou ‘novateur élégant’ (à savoir, à l’esprit décoratif), il participe avec son travail à ce croisement de chemins qui caractérise, au début du XXe siècle, le développement de la sculpture moderne. Cependant seulement une partie de cette production majeure est aujourd’hui connue, plusieurs œuvres ayant été dispersées ou retravaillées au cours du temps. Le but de la thèse a été celui de reconstituer ce corpus dans son état d’origine ainsi que son parcours d’exposition, afin de replacer l’œuvre d’Archipenko à l’intérieur de la scène artistique parisienne de l’avant-guerre pour la faire dialoguer avec celle de ses collègues, peintres et sculpteurs. Cela a été possible par le biais d’une analyse formelle pointue et d’un travail croisé sur la presse et les catalogues d’exposition de l’époque, et grâce au dépouillement de plusieurs fonds d’archives. Parmi lesquels, celui de la revue « Der Sturm » (Staatsbibliothek, Berlin), ainsi que les archives de la Archipenko Foundation (Bearsville, NY), et les Archives of American Art (Smithsonian Institution, Washington, D.C.). Il en sort le portrait d’un artiste qui, avec sa recherche, a pleinement embrassé l’esprit de découverte propre à son tempsBetween his arrival in Paris in 1909, and the outbreak of World War I in 1914, Alexander Archipenko created nearly fifty sculptures, which he presented at the Salon des Indépendants, the Salon d’Automne, numerous cubist exhibitions, as well as two personal exhibitions organized in Germany (Hagen and Berlin). His name appeared often in the reviews of the Salons that were published in the press. Considered as both a ‘cubist sculptor’ and a ‘novateur élégant’ (in the decorative sense), Archipenko actively participated in both of these artistic currents, which together led to the development of modern sculpture. Despite his importance, only part of his artistic production from this period is generally known today, many of the works were lost or re-worked at a later date. The aim of this thesis is to reconstitute his corpus of work in its original state, as well as document his participation in expositions, in order to place Archipenko’s artwork within the Parisian antebellum artistic scene, and in doing so, create a context in which his work may be compared to that of other sculptors, colleagues, and painters of the epoch. This work is based upon an attentive formal analysis of these works, and thorough review of the exhibition catalogue of the period. And also, by the analysis of different archives, among which the “Der Strum” archives (Staatsbibliothek of Berlin), the Archipenko Foundation’s ones (Bearsville, NY) and those of American Art (Smithsonian Institution, Washington, D.C.). From this research emerges the portrait of an artist who fully embraced the spirit of discovery of his times
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Hass, Juliana. "Fumaça! Fumaça! Fumaça! O código de Perelá: a leveza do romance futurista de Aldo Palazzeschi." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-18062013-101439/.
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Os objetivos principais da presente pesquisa são apresentar o romance futurista Il Codice di Perelà, de Aldo Palazzeschi, fazer o cotejo entre os originais da primeira (1911) e da última (1958) edições desta obra, para garantir um ponto de vista privilegiado sobre o romance e sua evolução ao longo do tempo, e propor, em anexo, a versão brasileira do romance publicado em 1911: O Código de Perelá. Palazzeschi é um autor que sempre apresenta novidades, não raro subvertendo a matéria da tendência poética e literária ou do movimento do qual se aproxima, o que conduz a novas formas. Com isso, tornam-se evidentes a independência e as características peculiares do autor, se comparado aos seus contemporâneos. A narrativa do Il Codice di Perelà é realizada predominantemente por meio de breves diálogos conduzidos por várias vozes, com ritmos rápidos e dissonantes, conferindo à obra um caráter teatral. Por outro lado, o protagonista, precisamente por ser bastante diferente do gênero humano, apenas com sua presença imprime ao texto um tom fabular, além de fazer com que a história adquira características épicas. Ademais, a supremacia da síntese, do dinamismo, da compenetração e da velocidade, expressos com palavras essenciais e em liberdade, o uso de onomatopeias, de concisão, de justaposição de estilos, todos esses elementos heterogêneos que ainda assim resultam em um texto harmonioso ao conferir originalidade à estrutura do romance, também o ligam aos valores mais caros ao Futurismo, sobretudo no que diz respeito ao Manifesto técnico da literatura futurista. Por fim, o estudo mostra, também, como este romance coloca em prática, ao longo de sua narrativa, os preceitos do Manifesto palazzeschiano Il controdolore.The main objectives of this research are to present Aldo Palazzeschis futuristic novel Il Codice di Perelà, make the comparison between the first (1911) and last (1958) original editions of this work to ensure a privileged point of view over the romance and its evolution over time and proposes, attached, the Brazilian version of the novel: O Código de Perelá. Palazzeschi is an author that he always presents news, often subverting the subject of poect and literary trend or of movement to which he approaches, leading to new forms. Hence the independence and the peculiar characteristics of the author become apparent if compared to his contemporaries. The Il Codice di Perelà narrative is accomplished mainly through short dialogues from various voices, with fast and dissonant rhythms, granting the work a theatrical tone. In the other hand, the protagonist, precisely because of his difference among mankind, just his presence adds to the book a fable tone, besides making the story to acquire epic characteristics. Furthermore, the synthesis supremacy, the dynamism, the interpenetration and speed, expressed with essential words and freely, the use of onomatopoeia, the brevity, the juxtaposition of styles, all these heterogeneous elements - which still result in a matching text - imprint originality to the novel structure, also bind it with the most important Futurism values, especially with regard to the technical Manifesto of Futurist literature. Finally, the study also shows how this novel puts into practice throughout its narrative, the precepts of the Manifesto palazzeschiano, Il Controdolore.
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Guthrie, Neale D. "The impact of technological change on military manpower in the 21st century." Thesis, Monterey, California : Naval Postgraduate School, 1990. http://handle.dtic.mil/100.2/ADA232472.
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Thesis (M.S. in Management)--Naval Postgraduate School, June 1990.Thesis Advisor(s): Thomas, George W. Second Reader: Steiner, Kenneth W. "June 1990." Description based on title screen as viewed on March 24, 2010. DTIC Identifier(s): Military Personnel, Manpower, Theses, Military Manpower, Technology, Technological Change, Futurism, 21st Century. Author(s) subject terms: Technology, Technological Change, Future, Military Manpower. Includes bibliographical references (p. 96-110). Also available in print.
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Yip, Sheenie. "Sinofuturism." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1174.
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Otani, Izumi. "Gian Pietro Lucini : between tradition and avant-garde : a study of the relationship between Lucini, Marinetti and early Futurism." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420437.
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Hollevoet, Christel. "Contribution à l'étude de la représentation picturale de la ville dans le futurisme italien." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59244.
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Partant du constat de l'importance du sujet pour le peintre futuriste a une epoque ou les avant-gardes europeennes tendent a l'abstraction, la presente etude demontre que la ville fut un theme capital dans l'elaboration de l'esthetique futuriste. En effet, les peintres italiens ne cherchaient pas tant a depeindre l'apparence, l'aspect visible de la ville qu'a apprehender de facon conceptuelle les idees-forces qui en emanaient. A travers l'entite "ville", ils revelerent les concepts inherents au monde moderne et en etablirent les equivalents plastiques.Ainsi, c'est a travers le sujet de la ville que s'expriment les idees-forces les plus originales du mouvement, telles que la modernolatrie, le dynamisme universel, la vitesse, le devenir, la transformation, l'unanimisme et le simultaneisme, illustres dans trois chapitres intitules 'La ville montante', 'La ville electrisee' et 'La ville simultanee'. Geux-ci demontrent comment certains motifs recurents du cadre urbain comme les echafaudages des chantiers de construction, les lampadaires, les foules ou les bolides sont transcendes par ces idees-forces. La representation de la ville par les futuristes ne releve pas simplement de la description mais d'un programme d'abord politique puis esthetique: l'avant-garde italienne a cree une nouvelle conception du beau, a revele la beaute de la ville moderne et des valeurs qui lui sont inherentes.
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Parasiliti, Andrea. "All'ombra del Vulcano. Il Futurismo in Sicilia & la Sicilia del Futurismo." Doctoral thesis, Università di Catania, 2018. http://hdl.handle.net/10761/4160.
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Questo lavoro è nella sua prima parte, uno studio sul Futurismo in Sicilia che si focalizza in particolar modo su due riviste futuriste siciliane: «La Balza Futurista», la «prima rivista veramente futurista» a detta di Marinetti, stampata sorprendentemente a Ragusa nel 1915; «Haschisch», la rivista del futurfiumanesimo siciliano, fondata a Catania nel 1921, all indomani del Natale di Sangue, quel Natale che pone fine all esperienza fiumana. Nella sua seconda parte, questo studio sposta il proprio fuoco sulla Sicilia del Futurismo, vale a dire sulla Sicilia di Marinetti. Una Sicilia, che per Marinetti è fatta essenzialmente di un elemento, il più congeniale al suo temperamento, vale a dire il Vulcano: l Etna.
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Papalas, Mary Laura. "A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211977685.
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Versari, Maria Elena. "Futurismo 1916-1922: identità, incomprensioni, strategie : i rapporti internazionali e l’evoluzione dell’identità del Futurismo negli anni Venti." Doctoral thesis, Scuola Normale Superiore, 2006. http://hdl.handle.net/11384/85755.
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Bowles, Nathaniel Earl. ""My Music is Words" -- The Poetics of Sun Ra." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/32031.
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This thesis argues for a critical examination of the published writings of Le Sony'r Ra, also known as Sun Ra, a groundbreaking jazz musician and philosopher of the 20th century. Recent redistribution of Sun Ra's musical output, which includes hundreds of releases on many record labels from the 1950's onward, has prompted a critical renaissance towards his influence on jazz orchestration, band management, do-it-yourself ethics, and structured improvisation In spite of this resurgence of interest in his music, his written corpus has failed to produce a comparable level of criticism or discussion. It is my firm belief that it is the body of work's relative scarcity in print, not its value as literature, that has kept the material underground for such a lengthy period of time. With the recent republication of Sun Ra's daunting body of poetry and prose, the discovery of early manuscripts, and the surfacing of relevant critical essays, the time has come to analyze his poetic position within the context of African-American philosophical thought.Master of Arts
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Young, Sade Marie. "SOUTHERN-PLAYALISTIC-HIPHOP-SPACESHIP-MUSIC." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1305583004.
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Gotts, Doris O. "'Opening the doors of impossibility' : an examination of futurism in England 1910-1923 through the art of C.R.W. Nevinson and David Bomberg." Thesis, University of East Anglia, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435130.
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Sawczuk, Magdalena. "L'orphisme. Naissance, évolution et héritage d’une avant-garde oubliée." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL093.
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La notion d’orphisme est née à la veille de la Première Guerre mondiale. Forgée par Guillaume Apollinaire, elle lui sert à désigner l’art nouveau et audacieux de ses amis-peintres, notamment ceux réunis autour de Robert Delaunay. Cependant, dès cette époque, le terme, utilisé de manière imprécise par le poète, pose problème. Depuis, les controverses se multiplient et durant le siècle qui nous sépare de l’invention de ce nom tout ce qui touche à l’orphisme a été remis en cause, jusqu’à son existence même. Prenant position contre cette attitude, nous proposons dans cette thèse d’envisager la production et les conceptions artistiques de l’époque sous un angle nouveau. En nous défaisant des étiquettes traditionnelles de nombreux « -ismes », nous prenons – selon la suggestion d’Apollinaire – le mythe d’Orphée comme un outil permettant de réanalyser l’art du début du XXème siècle. Cette relecture (des parcours des artistes, de leurs sources d’inspiration, des rapports entre différents centres artistiques et acteurs de la scène artistique), ainsi qu’une analyse comparative des œuvres ont pour but de démontrer que ce que nous appelons l’« orphisme » ne fut pas un concept artificiel, appliqué de manière parfaitement arbitraire à la somme des trajectoires – quelques peu accidentelles et indépendantes les unes des autres – de différents artistes, mais plutôt une évolution logique et cohérente, dont l’ampleur et l’impact sur la postérité ne furent jamais appréciés à leur juste valeur. En utilisant le mythe d’Orphée comme fil conducteur structurant notre analyse, nous mettons donc en évidence les grandes lignes de l’évolution du phénomène auquel Apollinaire a donné le nom d’orphisme : les origines et l’interprétation du terme et de la conception mêmes, le contexte historique et artistique de l’apparition et de l’évolution du mouvement, les rapports entre ses différents acteurs, les sources d’inspiration des artistes et enfin une évolution stylistico-chronologique de cette tendanceThe notion of Orphism was born on the eve of the World War II. Forged by Guillaume Apollinaire, it served him to describe a new and bold art of his friends, especially those concentrated around Robert Delaunay. However, the notion was already troublesome back then: ill-defined and unclear, it was used by the poet in a vague way. Since then, the controversies continue to mount and in a century that elapsed since the invention of the notion, everything concerning Orphism is questioned, even its very existence. Contesting this negationist approach, we propose in this thesis to analyze the artistic production and conceptions of this period under a new light. We are distancing ourselves from the traditional labels of “-isms” and we are using the Orpheus myth – as suggested by Apollinaire – as a tool which allows us to reanalyze the art from the beginning of the 20th century. This new analysis – of artists’ career paths, their fascinations, relationships between different artistic centers and between people involved in this avant-garde – and the comparative analysis of artworks serves to prove that what we call Orphism is not an artificial concept, applied in an arbitrary manner to the somewhat accidental and independent career paths of different artists. On the contrary, Orphism is a logical and consistent evolution, whose true importance and impact was never fully appreciated. By using the Orpheus myth as a guiding thread, we are bringing to light the main lines of the evolution of Orphism: the origins and interpretation of the notion and the conception, the historical and artistic context in which the movement was born and was evolving, the relationships between its actors, artists’ inspirations and, last but not least, the stylistic evolution of Orphism over the time