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Journal articles on the topic 'Futurism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 May 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Donátková, Zuzana. "Futurismus a fašismus." Historica. Revue pro historii a příbuzné vědy 12, no. 2 (December 2021): 197–218. http://dx.doi.org/10.15452/historica.2021.12.0009.

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The article maps the relationship between the Italian Futurist movement and fascism from a general perspective. It deals with the relationship between the leader of Futurism F. T. Marinetti and Benito Mussolini from the beginning of their cooperation in 1915 to the end of the Second World War. Throughout its era, Futurism identified itself with Italy’s social and political climate. Futurism was one of the ideological sources for fascism and it was one of the movements that formed Fasci di Combattimento in 1919. But after Mussolini came to power, fascist cultural politics aesthetically preferred traditionalism, order, and a return to the achievements of history, a contemporary rappel à l’ordre, and Futurism found itself in cultural dissent. Marinetti thus spent the rest of his life trying to improve the position of modernist artists in fascist Italy, which would earn Futurism recognition of the official state art of the fascist regime.

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12

Bleifuss, Gerhard. "The Life and Death of a Futurist Poet: Speculations on The Hairy Ape." Eugene O'Neill Review 43, no. 2 (September 1, 2022): 153–71. http://dx.doi.org/10.5325/eugeoneirevi.43.2.0153.

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ABSTRACT What might O’Neill have made of futurism, the Italian movement that had been creating a sensation in the artistic world since 1909? The Hairy Ape perhaps provides the answer. In that play O’Neill arguably transformed Marinetti’s prose “Manifesto of Futurism” into a dramatic text that presented futurism as destructive, misogynist, and inherently bound to fail. An intertextual examination suggests that one might profitably read The Hairy Ape as O’Neill’s negative answer to Marinetti’s ideas about poetry and art. If the futurists had a free rein, O’Neill seems to imply, they would reduce cultural life to a new level of primitiveness. This, in turn, suggests a critique of the futurists’ affinity with fascism.

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13

Muttaleb, Fuad Abdul. "FUTURISM: VLADIMIR MAYAKOVSKI'S URBANISM AND FUTURIST OUTLOOK." Epiphany 15, no. 1 (July 22, 2022): 170. http://dx.doi.org/10.21533/epiphany.v15i1.387.

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14

Hess, Elijah, and Alan Rhoda. "IS an Open Infinite Future Impossible? A Reply to Pruss." Faith and Philosophy 37, no. 3 (July 1, 2020): 363–69. http://dx.doi.org/10.37977/faithphil.2020.37.3.6.

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Alexander Pruss has recently argued on probabilistic grounds that Christian philosophers should reject Open Futurism—roughly, the thesis that there are no true future contingents—on account of this view’s alleged inability to handle certain statements about infinite futures in a mathematically or religiously adequate manner. We argue that, once the distinction between being true and becoming true is applied to such statements, it is evident that they pose no problem for Open Futurists.

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15

Martínez Silvente, María Jesús. "Futurism en la Tate." Boletín de Arte, no. 30-31 (March 15, 2018): 615–16. http://dx.doi.org/10.24310/bolarte.2010.v0i30-31.4393.

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Si jugáramos a elegir el motivo cultural que se ha repetido con más frecuencia durante este año nos quedaríamos, sin duda, con los homenajes al centenario del nacimiento del futurismo que han tenido lugar en diferentes ciudades europeas como Milán, Roma, Florencia o París. El más reciente ha sido la excelente FUTURISM de la Tate Modern en Londres.

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16

Bragato, Stefano. "Futurism." Italian Studies 74, no. 1 (October 29, 2018): 105–8. http://dx.doi.org/10.1080/00751634.2019.1537111.

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Gabriel Alomar and Ara H. Merjian. "Futurism." Modernism/modernity 17, no. 2 (2010): 409–20. http://dx.doi.org/10.1353/mod.0.0214.

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Pizza, Antonio. "La ciudad en el futurismo italiano (1909-1915) | Cities in italian futurism (1909-1915)." ZARCH, no. 6 (September 16, 2016): 10. http://dx.doi.org/10.26754/ojs_zarch/zarch.201661444.

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El 20 de Febrero de 1909 aparece en primera página en Le Figaro, como anuncio pagado, el auténtico punto de arranque del movimiento: el texto “Le Futurisme”, firmado por Marinetti. En la ciudad futurista no se detectan presencias humanas y sobretodo faltan las masas urbanas; justamente aquellas muchedumbres ondeantes y enardecidas, glosadas por los pintores futuristas que además, en sus cuadros, retrataban los cascos antiguos o las primeras periferias proletarias existentes en Italia.On 20th February 1909 the real starting point of the movement was published on the front page of LeFigaro, in the text “Le Futurisme” signed by Marinetti. In the futurist city no human presence is detected and theurban masses are particularly conspicuous by their absence; precisely those pulsating, bustling crowds depictedby the futurist painters whose paintings portrayed the ancient city centres of the first proletarian suburbs thatexisted in Italy.

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Boldina, Elizaveta. "Features of the Interpretation of the Original Futuristic Concept by Velimir Khlebnikov in the Article “Our Foundation”." Stephanos Peer reviewed multilanguage scientific journal 54, no. 4 (July 31, 2022): 98–103. http://dx.doi.org/10.24249/2309-9917-2022-54-4-98-103.

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In the article the features of the text “Our Foundation”, written by the futurist V. Khlebnikov, are considered in comparison with the main theses and nuances of the original conception of futurism created by F.T. Marinetti. As a result of analysis, the author fi gures out the features which allow to attribute the creations of V. Khlebnikov to this literary trend and the diff erences in his conception asserting originality and distinction of futurism in Russia.

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Miranda, Carolina Izabela Dutra de. "Diálogos a partir de Walter Benjamim: a figura de Maiakovski como elo de ligação entre o cubofuturismo e o formalismo russo." Cadernos Benjaminianos 14, no. 1 (January 30, 2019): 51. http://dx.doi.org/10.17851/2179-8478.14.1.51-72.

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Resumo: O presente trabalho aborda as especificidades do futurismo russo, nomeado cubofuturismo, a partir das colocações de Walter Benjamim, presentes nos textos “A nova literatura Russa” (1927) e “O agrupamento político dos escritores na União Soviética” (1927). Embasando-se na discussão desses textos, pretende-se esclarecer a relação deles com o formalismo russo, importante movimento crítico que ocorreu contemporaneamente ao cubofuturismo. Para tanto, pretende-se explicitar como a figura de Vladimir Maiakovski estabeleceu um elo de ligação entre esses dois movimentos – o crítico e o literário – e de que forma o poeta tornou-se importante marco para ocubofuturismo russo e para engajamento político social do movimento literário. Este trabalho pretende expandir as informações e as visões apresentadas por Benjamim em seus textos, sobretudo em relação à atualização acerca do progresso destes movimentos literários e à importância deles, que dificilmente poderiam ser antevistos pelo teórico alemão no momento de produção de seus escritos.Palavras-chave: Cubofuturismo; Futurismo; Formalismo russo; Maiakovski.Abstract: This study aims to deal with the singularities of Russian futurism, named Cubo-Futurism, based on the writings of Walter Benjamin, exposed in the texts “New Russian Literature” (1927) and “The Political Groupings of Russian Writers” (1927). Based on the discussion of these texts, it is intended to clarify their relationship with Russian formalism, an important critical movement which happened contemporaneously with Cubo-Futurism. For this purpose, it aims to explain how the figure of Vladimir Mayakovsky established a connecting link between these two movements – the critic and the literary – and how the poet became an important symbol for Russian Cubo-Futurism and also for the social and political engagement of the literary movement. This study intends to expand the information and the aspects exposed by Benjamin in his texts, especially in relation to the update on the progress of these literary movements and the importance of them, which could hardly be foreseen by the German theorist at the time of his writings.Keywords: Cubo-Futurism; Futurism; Russian formalism; Mayakovsky.

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Bristow, Tegan. "From Afro-Futurism to Post African Futures." Technoetic Arts 12, no. 2 (December 1, 2014): 167–73. http://dx.doi.org/10.1386/tear.12.2-3.167_2.

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22

Liu, Chao, and Natalya M. Kuzmishcheva. "V. Khlebnikov’s “Bobaobi sang lips...” in Chinese reception." RUDN Journal of Studies in Literature and Journalism 28, no. 4 (December 15, 2023): 704–11. http://dx.doi.org/10.22363/2312-9220-2023-28-4-704-711.

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At the turn of the 20th and 21st centuries in China, the understanding of the modernist trends of the Russian Silver Age deepened and expanded. The perception of futurism is subject to scientific and creative rethinking. The number of representatives of the Russian futurist movement who deserve the attention of Chinese specialists in translation, research, and critical activities is increasing. The reception of V. Khlebnikov’s work, taking into account the comprehension of futurist aesthetics and his poetic theory, determines the problems of modern Chinese studies of Russian futurism. The authors examine the theoretical and practical reception of V. Khlebnikov’s works in China, analyze the perception of V. Khlebnikov’s work by two Chinese specialists - Wang Zonghu (the main expert in the theory of abstruse language) and Zheng Tiwu (the main translator of the poet’s work in China). Identification of the degree of adequacy of the perception of the poet’s language experiments is carried out using the example of a comparative analysis of translations of the poem “Bobeobi lips sang…” into Chinese. The Chinese reader owes the discovery of V. Khlebnikov as the theorist and founder of Russian futurism to the skill of researchers and translators.

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Pereiro, Carlos Paulo Martínez. ""I FUTURISTI" E OS FUTURISTAS DE "ORPHEU" (SANTA-RITA PINTOR E ALMADA NEGREIROS)." Revista Desassossego, no. 14 (February 15, 2016): 57–73. http://dx.doi.org/10.11606/issn.2175-3180.v7i14p57-73.

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I futuristi e os futuristas de Orpheu(Santa-Rita Pintor e Almada Negreiros) RESUMO: Este artigo parte da (re)conhecida ideia almadiana de a revista Orpheu ter representado o “encontro português das letras e da pintura” – isto é, o entrecruzado affaire verbale et visuelle que a delimita de maneira basilar e a que a publicação obedece como princípio reitor. Trata-se, por um lado, de analisar criticamente o obstinado rigor interartístico derivado da dupla obediência criativa do (para)futurista e poliapto criador Almada Negreiros e, por outro lado, de dissertar, in absentia, dos quatro hors-texte duplos do (pro)futurista e mitificador Santa-Rita Pintor, reproduzidos no segundo número da efémera e marcante publicação literária portuguesa.Destarte, inter alia, além de dissertarmos sobre a questão dos futuristi primários no que diz respeito desses dois ‘futuristas derivados’, ponderando a pensée contraditória e o pensum amalgamático que alicerzam a sua elaboração, procuramos ler as transitivas e concretas criações em palavras e/ou imagens de Almada e Santa-Rita – isto é, distantes de qualquer ‘imaculada concepção’, pretendemos decifrá-las, decodificá-las e/ou interpretá-las dentro dos referentes programáticos e efetivos de um futurismo tou court. I futuristi and the Futurists of Orpheu(Santa-Rita Pintor and Almada Negreiros)ABSTRACT: This article takes as its starting point the (well-) known Almadian idea that the magazine Orpheu represented the “Portuguese meeting point for literature and painting” – that is, the crossroads for affaire verbale et visuelle which defines it fundamentally and which the publication takes as its guiding principle. It is our intention, on the one hand, to review the obstinate inter-artistic rigor which is derived from the dual creative obedience to the (para) futuristic and multi-faceted creator Almada Negreiros and, on the other hand, to discuss, in absentia, of the four dual hors-texte by the (pro) futuristic myth-maker Santa-Rita Pintor, reproduced in the second number of this ephemeral and remarkable Portuguese literary publication.Thus, inter alia, in addition to discussing the question of the first futuristi with respect to these two 'derived futurists', considering the contradictory pensée and the amalgamated pensum that lay the foundation for their preparation, we endeavour to read the transitive and concrete creations in the words and / or pictures of Almada and Santa-Rita – that is, far from any 'immaculate conception', we aim to decipher them, decode them and / or interpret them within the programmatic and effective respect of a tou court futurism.

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griffiths, jennifer. "Marisa Mori's Edible Futurist Breasts." Gastronomica 12, no. 4 (2012): 20–26. http://dx.doi.org/10.1525/gfc.2012.12.4.20.

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F.T. Marinetti's “Manifesto of Futurist Cuisine” (1930) and the subsequent Futurist Cookbook (1932) called for a culinary revolution and a new edible aesthetics. Futurism enacted its demands for destruction, violence, and transformation through the microcosm of the human intestine. While F.T. Marinetti's avant-garde chauvinism has left a notoriously bad taste in postmodern mouths, Futurism's extensive experiments with taste and touch represent a curious reversal of Western traditions that regarded the “lower” senses as feminine. Unfortunately, Futurism's theoretical liberation of the so-called “feminine” senses is eclipsed by the cookbook's daunting inventory of recipes that metaphorically devour the female body. Only one woman left her essence among the pages of the Futurist Cookbook. Marisa Mori's recipe for Italian Breasts in the Sun calls for two mounds of almond paste topped with two candied strawberries on a bed of custard and cream, sprinkled with hot pepper. Her punning metaphorics have a masculinst flavor as the female body is presented in fragmented and sexualized terms; however, this article argues that there is a more satirical taste to Mori's edible breasts.

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25

Loeb. "Nietzsche's Futurism." Journal of Nietzsche Studies 49, no. 2 (2018): 253. http://dx.doi.org/10.5325/jnietstud.49.2.0253.

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Amos, Kelsey. "Hawaiian Futurism." Extrapolation 57, no. 1-2 (January 2016): 197–220. http://dx.doi.org/10.3828/extr.2016.11.

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Ada Smith. "Appalachian Futurism." Journal of Appalachian Studies 22, no. 1 (2016): 73. http://dx.doi.org/10.5406/jappastud.22.1.0073.

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Amy Ransom. "Indigenous Futurism." Science Fiction Studies 40, no. 1 (2013): 167. http://dx.doi.org/10.5621/sciefictstud.40.1.0167.

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Soares, Kristie. "Dominican Futurism." Meridians 19, no. 2 (October 1, 2020): 401–26. http://dx.doi.org/10.1215/15366936-8308465.

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Abstract This article looks at Rita Indiana’s performance work and latest novel as an example of Dominican futurism. Dominican futurism, like its counterpart Afrofuturism, centers the Dominican body in a technologically enhanced future, positioning it within a speculative world in which Dominicans are the agents of change. This article argues that Indiana’s version of Dominican futurism engages with “negative aesthetics”—defined here as the aesthetics of disorientation, dystopia, and disgust. Negative aesthetics offer a way of staying with the pain and unrest of trauma in speculative texts. The author posits a lineage of negative aesthetics in the Dominican literary tradition, which we can trace back to the work of the Dominican pessimist writers in the late nineteenth and early twentieth centuries. While the writers articulating this outlook were invested in colonial attitudes such as anti-Blackness, however, Indiana puts forth a feminist and queer of color version that continues the aesthetic practice while also offering a radical departure by critiquing colonial and neocolonial categories. This article contends that in her Dominican futurism, Indiana pairs the speculative with negative aesthetics to point toward a future that is hopeful while being attentive to the trauma of the past and present.

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Ubbink, J. "Food futurism." Science 347, no. 6228 (March 19, 2015): 1322. http://dx.doi.org/10.1126/science.aaa2504.

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Romy Golan. "Futurism Redux." Modernism/modernity 17, no. 1 (2010): 223–31. http://dx.doi.org/10.1353/mod.0.0184.

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Wittman, Laura Harwood. "Futurism today." Modernism/modernity 4, no. 2 (1997): 197–203. http://dx.doi.org/10.1353/mod.1997.0016.

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Guynes, Sean. "Indigenous Futurism." American Book Review 41, no. 1 (2019): 6. http://dx.doi.org/10.1353/abr.2019.0124.

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Rubalcava, Rolando. "Latinx Futurism." American Book Review 41, no. 1 (2019): 9. http://dx.doi.org/10.1353/abr.2019.0127.

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King, Linda. "Futurismo 1909–2009: Velocità + Arte + Azione: F.T. Marinetti = Futurism." Design and Culture 2, no. 3 (November 2010): 343–48. http://dx.doi.org/10.2752/175470710x12789399279958.

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Biryukov, S. E. "David Burliuk – many-faced and individual." Neophilology 10, no. 1 (March 15, 2024): 138–48. http://dx.doi.org/10.20310/2587-6953-2024-10-1-138-148.

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INTRODUCTION. The creative personality of David Burliuk gave grounds for naming a kind of International Avant-garde Artistic Award after him. Consider the incarnations of the creative personality of the “father of Russian futurism” David Burliuk means to penetrate into the world of avant-garde art and various forms of artistry, which is especially relevant these days, representing great interest for the study of Russian futurism. The purpose of the article is to show the diversity of activities of the father of Russian futurism, David Burliuk, in establishing new forms of art.MATERIALS AND METHODS. The research material was the personal experience of the author of the article working with the work of David Burliuk, the life and work of those associated with the Tambov region. Techniques for collecting, systematizing and analyzing material underlie the methods used, including bibliographic, descriptive, linguistic and poetic.RESULTS AND DISCUSSION. The hypostases of the creative personality of David Burliuk are considered, which gave grounds for assigning a kind of avant-garde artistic award to his name. The innovative activity of David Burliuk as the organizer of the leading futurist group “Gilea”, the initiator of exhibitions, publishing projects, presentations of the work of cubo-futurists in different cities and regions of Russia is described.CONCLUSION. The features of David Burliuk’s poetic work with nonstandard forms are revealed, in which he acted as an innovator, stimulating the search for his colleagues, especially those who joined the movement as it developed. An important hypostasis of Burliuk’s creative personality has been established – the “instinct of aesthetic self-preservation” – the recording of creative activity in memoirs, correspondence and in the magazine “Color and Rhyme”.

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Cornum, Lou. "Seizing the Alterity of Futures." History of the Present 13, no. 2 (October 1, 2023): 166–91. http://dx.doi.org/10.1215/21599785-10630116.

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Abstract This article contextualizes growing interest in futurity and minoritarian futures as connected to movements in speculative fiction, particularly Afrofuturism and Indigenous futurism, and the ways in which this genre reimagines both history and futures. These developments are read through two groundbreaking anthologies—Dark Matter, a collection of speculative fiction from the African diaspora, and Walking the Clouds, a collection of Indigenous science fiction—and the social conditions of their publication. Using the work of Walter Benjamin and his writing against the notion of progress in history, the article posits the shared grounds for a philosophy of history that disrupts the singular future of speculation-driven capitalism with alternative forms of speculative imagination.

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Skrobanović, Zoran. "A SOULLESS CAMERA: THE PERCEPTION OF ITALIAN FUTURISM IN EARLY CHINESE MODERNIST POETRY." Folia linguistica et litteraria XIII, no. 39 (February 2022): 85–103. http://dx.doi.org/10.31902/fll.39.2022.5.

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Considering the fact that there are certain similarities between the cultural endeavours of the early Chinese modernists and Italian futurists, at first glance, it seems strange that futurist ideas mostly failed to take root in Chinese literary modernism. From the outset, Chinese literary modernism was a heterogeneous movement, but the common denominator in these different movements in post-dynastic China was a radical antitraditionalism that bears similarities to the goals of Italian futurism that was often called the down-with-the-past movement (antipassatismo). Contemporary literary studies usually recognize three distinct waves of Chinese modernism: the first wave refers to the new literary scene in China’s Republican era (1911-1949), but due to the eclecticism of early Chinese modernists who were deriving inspiration and ideas from a broad and diverse range of sources, this initial stage of Chinese modernism includes the authors whose work was inspired by the pre-modern Western movements such as romanticism, symbolism etc. The second wave of Chinese modernism emerged on Taiwan in the 1950s, and the final wave brought modernism back to mainland China at the end of the 1970s. This paper attempts to examine the reception of Italian futurism in early Chinese modernist literature, therefore our research is chronologically focused on the first wave of Chinese modernism.

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ÇORUH, Ebru, and İlknur TERLEMEZ. "EXAMPLE OF INTERPRETING THE PAZIRIK CARPET PATTERN IN SUITABLE WITH FUTURIST ART CURRENT PROCESSES AND INSPIRED DESIGN EXAMPLE." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 1 (April 15, 2022): 183–98. http://dx.doi.org/10.46291/zfwt/140115.

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Futurism, which defends technology, ignores the past, rejects museums, praises the machine, and is the biggest of the roads leading to abstract art, is constantly in pursuit of freedom and innovation. Futurism is a movement that emphasizes dynamic energy in the field of design, literature and art. Futurists have been influential in many fields of art such as architecture, music and fashion in order to change the world. The Pazirik carpet, which conveys the traces of the past as a message to the future, contains traces of the futurist art movement with the meanings found in the motifs. The motifs found on the pazirik carpet, which were discovered in the fifth kurgan on the foothills of the Altai Mountains, inspired the works created by adopting a futuristic understanding of art, and the products produced in the field of fashion and textile design. In this context, futuristic, dynamic, ostentatious and technology-used products have been given in the field of fashion and textile design, where works are given with a futuristic understanding of art. The aim of this study is to use three-dimensional printer technology in the field of fashion and textile design, to give information about the stages of the fashion product produced using three-dimensional printer technology, to interpret the pazirik carpet, which carries the traces of the past in the motifs on it, by adopting a futuristic understanding, and to use the product with three-dimensional printers called the technology of the future. by making the design and placing it on the ready-made garment. With a futuristic approach, the idea of reinterpreting the pazyryk carpet pattern and obtaining original designs is aimed to inspire designers and researchers who work in the field of fashion and textile design. Keywords: Pazırık carpet, carpet motifs, futurism, three(3) dimensional printer

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Daly, Selena. "‘The Futurist mountains’: Filippo Tommaso Marinetti's experiences of mountain combat in the First World War." Modern Italy 18, no. 4 (November 2013): 323–38. http://dx.doi.org/10.1080/13532944.2013.806289.

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Filippo Tommaso Marinetti's first experience of active combat was as a member of the Lombard Battalion of Volunteer Cyclists and Motorists in the autumn of 1915, when he fought in the mountains of Trentino at the border of Italy and Austria-Hungary. This article examines his experience of mountain combat and how he communicated aspects of it both to specialist, Futurist audiences and to the general public and soldiers, through newspaper articles, manifestos, ‘words-in-freedom’ drawings, speeches and essays written between 1915 and 1917. Marinetti's aim in all of these wartime writings was to gain maximum support for the Futurist movement. Thus, he adapted his views to suit his audience, at times highlighting the superiority of the Futurist volunteers over the Alpine soldiers and at others seeking to distance Futurism from middle-class intellectualism in order to appeal to the ordinary soldier. Marinetti interpreted the war's relationship with the natural environment through an exclusively Futurist lens. He sought to ‘futurise’ the Alpine landscape in an effort to reconcile the urban and technophilic philosophy of his movement with the realities of combat in the isolated, rural and primitive mountains of Trentino.

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Zayarna, Iryna. "DMITRO CHIZHEVSKY AS A RESEARCHER OF THE STUDY OF FUTURISM IN RUSSIAN LITERATURE: A DIACHRONIC VECTOR." Polish Studies of Kyiv, no. 35 (2019): 127–34. http://dx.doi.org/10.17721/psk.2019.35.127-134.

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The article deals with the fundamental development directions of futurism studying in Russian poetry in the D. Chizhevsky’s scientific heritage. The author determined the methodological significance of the futurism analysis initiated by the Ukrainian scientist just as organic and valuable artistic phenomenon in the history of Russian literature. His research «On the poetry of Russian futurism» (New York, 1963) was published on the contrary to the total silencing of the avant-garde in the USSR and its almost complete erasure from the historical map of the development of literature. The scientist connects there a number of distinguishing tenden- cies of the futuristic poetics with the preceding stage (the literature of symbolism), and predicts the appearance of studies of this aspect of literary continuity. Author of this article analyses works of similar subjects that have replenished science at the late twentieth – early twenty- first centuries (Bobrinskaya, Kling). D. Chizhevsky pays the most attention to the peculiarities and innovations of the poetic language of the futurists, defines various ways of word creation in their poetic practice – morphological word forms, innovations, morphemic and phonetic «zaum», violations of grammatical norms. As a specialist in comparative literary studies, he drew attention to the connection between the Russian avant-garde and both the Polish (the Scamander group) and the Czech avant-garde in the works of individual authors (V.Nesval). While studying Russian futurism and in a number of works on baroque literature, D. Chizhevsky traces the diachronic connection of Russian futurism with the baroque tradition, reveals the typological affinity of many events in time distant literatures. The baroque dimension of futuristic poetics clearly observed in the conceptual position of Chizhevsky when it comes about «complexity», the opacity of the poetic language of such artists as Mayakovsky, Pasternak, about lan- guage game, the experiment of an abstruse language, intentional stylistic opacity, and the «incomprehensibility» of futurist texts. The profound idea of outlining diachronic typological processes in various literatures turned out to be quite productive and had further literary development, just as a scheme of the «wave» movement of styles proposed by Chizhevsky in the es- say «Cultural and historical eras». In support of this thesis, in this article it was analyzed a number of philological works of the late twentieth – early twenty-first century, where the analogies between the baroque and avant-garde artistic paradigms were traced. To a large extent, the works of the Ukrainian philologist and culturologist have contributed to the formation of broad historical and literary views on typological processes in various literatures, on the study of the genesis of individual literary phenomena and historical typology in the diachronic aspect.

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Bohn (book author), Willard, and Piero Garofalo (review author). "The Other Futurism: Futurist Activity in Venice, Padua, and Verona." Quaderni d'italianistica 26, no. 2 (June 1, 2005): 126–28. http://dx.doi.org/10.33137/q.i..v26i2.9003.

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Stefanelli, Stefania. "The future in Futurism." Biblos, no. 3 (2017): 79–99. http://dx.doi.org/10.14195/0870-4112_3-3_4.

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Targowski, Andrew. "Has Futurism Failed?" Dialogue and Universalism 15, no. 11 (2005): 111–12. http://dx.doi.org/10.5840/du20051511/1220.

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Ren, Hai. "Aesthetics of Futurism." Screen Bodies 7, no. 1 (June 1, 2022): 93–110. http://dx.doi.org/10.3167/screen.2022.070106.

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Studying artworks on the human body and the brain, as exemplified by Lu Yang’s work, enables a new perspective in the debates over the redefinitions of the human, whether anthropocenic redefinitions of the human (in the scholarships of the Anthropocene, posthumanism, new materialism, and speculative realism) or a technoscientific redefinition of the human (in the scholarships of technological transformations). Not only does Lu Yang question the defining properties of the humanness but the artist also creates an organological form of the human. This organological perspective enables an aesthetics of futurism based on both a nonreproductive kinship between the human and the nonhuman, and a new regime of the future grounded in the habitability of the human as a more-than-human agent in the planetary age.

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Zhang, Ge. "Sino-no-futurism." Verge: Studies in Global Asias 7, no. 2 (September 2021): 92–99. http://dx.doi.org/10.1353/vrg.2021.0006.

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Zhang. "Sino-no-futurism." Verge: Studies in Global Asias 7, no. 2 (2021): 92. http://dx.doi.org/10.5749/vergstudglobasia.7.2.0092.

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Theodore Levitt. "Futurism and Management." Antioch Review 72, no. 2 (2014): 373. http://dx.doi.org/10.7723/antiochreview.72.2.0373.

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Theodore Levitt. "Futurism and Management." Antioch Review 74-75, no. 4-1 (2017): 877. http://dx.doi.org/10.7723/antiochreview.74-75.4-1.0877.

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Brent Ryan Bellamy. "On Reproductive Futurism." Science Fiction Studies 44, no. 2 (2017): 383. http://dx.doi.org/10.5621/sciefictstud.44.2.0383.

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