Relevant bibliographies by topics / Manifeste du Futurisme

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Academic literature on the topic 'Manifeste du Futurisme'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Manifeste du Futurisme"

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Vinall, Shirley W., and Jean-Pierre A. de Villers. "Le Premier Manifeste du Futurisme." Modern Language Review 83, no. 3 (July 1988): 760. http://dx.doi.org/10.2307/3731378.

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de Lustrac, Philippe. "Cubisme futurisme ésotérisme de L’Après-midi d’un faune (1912) à Parade (1917) et au Manifeste de la danse futuriste (1917)." Ligeia N° 69-72, no. 2 (2006): 62. http://dx.doi.org/10.3917/lige.069.0062.

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Castrillón Vizcarra, Alfonso. "Un automóvil de carrera es más bello que la Venus de Samotracia: notas sobre la primera generación futurista." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 22–33. http://dx.doi.org/10.31381/illapa.v0i14.1877.

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ResumenEn junio de este año el público limeño tuvo la suerte de ver una gran exposición titulada Futurismo y velocidad, auspiciada por la Embajada de Italia y el Instituto Italiano de Cultura en Lima, en el tradicional Museo Italiano, como si las obras hubiesen sido escogidas ad hoc para sus salas. Sinembargo, la extraordinaria colección solo reunía cuadros de una segunda generación de pintores futuristas, presentados por un acertado estudio de Maurizio Scudiero. Animado por esta circunstancia, decidí escribir unas notas sobre el primer futurismo, el de su creador F. T. Marinetti y sus seguidores, sus ideas estéticas, políticas y sus aportes, con el fin de dar al lector los datos para que establezca el puente entre las dos generaciones. Palabras clave: futurismo, pintura futurista, manifiesto, Marinetti, Mussolini Abstract In June of this year, the Lima public was lucky enough to see a large exhibition entitled “Futurismo y velocidad” (Futurism and speed”), sponsored by the Italian Embassy and the Istituto Italiano di Cultura in the traditional Italian Museum, as if the works had been chosen ad hoc for their rooms. However, the extraordinary collection only brought together paintings by a second generation of Futurist artists, introduced by an accurate study by Maurizio Scudiero. Encouraged by this circumstance I decided to write some notes on the first futurism, that of its creator F.T. Marinetti, and his followers, his aesthetic ideas, policies and contributions, in order to give the reader the data to establish the bridge between the two generations. Keywords: Futurism, Futuristic Painting, Manifesto, Marinetti, Mussolini.
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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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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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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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Gori, Barbara. "A vanguarda florentina de Lacerba e Portugal Futurista: afinidades e divergências." Bakhtiniana: Revista de Estudos do Discurso 13, no. 1 (April 2018): 52–70. http://dx.doi.org/10.1590/2176-457333226.

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RESUMO O objetivo do artigo é evidenciar os elementos do futurismo italiano, em particular do futurismo florentino da revista Lacerba, encontrados, mutatis mutandis, em Portugal Futurista, que se pode considerar o manifesto propagandista mais completo do futurismo em Portugal. A revista portuguesa denota claramente um conhecimento profundo, por parte dos portugueses, do futurismo italiano, visto que os textos de Portugal Futurista foram realizados, em boa parte, por extrapolação e reelaboração de conteúdos desenvolvidos sobretudo na revista Lacerba e, a partir dela, já divulgados e conhecidos em todos os grandes países europeus.
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Poitras, Daniel. "Notre maître l’avenir, ou le terreau des ancêtres? L’ambivalence temporelle chez Fernand Dumont (1956-1967)." Recherche 58, no. 1 (June 1, 2017): 119–42. http://dx.doi.org/10.7202/1039933ar.

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Au tournant des années 1960, Fernand Dumont se penche sur le passé du Québec et constate les ravages provoqués par le fatalisme et la « Grande-Peur québécoisée », qui atrophient l’expérience du passé. Le jeune sociologue attend de l’historien qu’il libère ses contemporains des fixations sur les mythes désuets et effectue une transmutation des valeurs anciennes en valeurs nouvelles. Plutôt que d’étudier le rôle que Dumont donne à l’historien à travers le seul récit émancipatoire du Québec, je propose d’insérer ce récit dans le régime d’historicité pour mieux saisir la transformation du rapport à l’historiographie et à l’actualisation du passé chez Dumont. Si la question des traditions à retrouver (ou carrément à donner) au Québec pour le sortir de ses ornières mobilise toute sa génération intellectuelle, Dumont manifeste une ambivalence temporelle qui le fait osciller entre le futurisme et l’appel aux ancêtres. En commentant sévèrement les historiens canadiens-français et en puisant sans vergogne dans l’histoire française, Dumont cherche à retrouver tantôt un « cheminement de la liberté », tantôt une « tradition socialiste » propres au Canada français, mais il constate à tout moment la fragilité et l’évanescence de ces repères passés, ce qui l’amène à puiser dans l’histoire française. Mais le volontarisme historiographique des années 1960 sera-t-il suffisant pour combler ce fossé et donner aux contemporains des lieux de mémoire inspirants?
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Schnapp, Jeffrey T. "On Disciplinary Finitude." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 505–12. http://dx.doi.org/10.1632/pmla.2017.132.3.505.

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The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinetti's avant-garde, the Canadian exhibition, Speed Limits, was critical and combative in spirit, more properly futurist (though thematically antifuturist). It probed the frayed edges of futurism's narrative of modernity as the era of speed to reflect on the social, environmental, and cultural costs. An exhibition about limits, it looked backward over the architectural history of the twentieth century to look forward beyond the era of automobility.
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Birolli, Viviana. "Constitution et archéologie d’un genre." Études littéraires 44, no. 3 (June 9, 2014): 17–34. http://dx.doi.org/10.7202/1025478ar.

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L’article se propose d’esquisser l’histoire critique du manifeste et d’introduire quelques-unes des questions et des interrogations centrales du présent dossier, à partir notamment de l’examen du cas historique des manifestes futuristes et des dynamiques groupales sous-jacentes à la continuité de ce mouvement dans le temps. Véritable « idéaltype » des manifestes de l’avant-garde historique, les textes manifestaires futuristes offriront l’occasion de s’interroger, en filigrane, sur les évolutions les plus contemporaines et singulières du manifeste.
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Dissertations / Theses on the topic "Manifeste du Futurisme"

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Milan, Serge. "L'antiphilosophie futuriste." Paris 4, 2001. http://www.theses.fr/2001PA040222.

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Le Futurisme, fondé par F. T. Marinetti en février 1909, est le premier mouvement artistique d'avant-garde, et un point de repère probable de la post-modernité occidentale. Nous proposons ici une étude conceptuelle de l'idéologie des manifestes italiens du mouvement, reconstituée en cosmologie, poétique et anthropologie. Cette approche souligne la cohérence de cette "antiphilosophie", comme l'appelaient les futuristes, ainsi que l'antinaturalisme radical de son éthique nationaliste héroi͏̈que et de sa conceptualisation originale de certaines de ses notions-clés ("passatismo", "velocità", "sensibilità", "guerra","macchina","novita")
Futurism, founded by F. T. Marinetti in February 1909, is the first artistic avant-garde, as well as a likely milestone concerning post-modernism in Europe Russia, America or Japan. We offer here a conceptual study of the movement's italian manifests ideology, reorganised in a cosmology, a poetic and an anthropology. This approch emphasizes the coherence of this "antiphilosophy", as it was called by futurists themselves, along with the radical anti-naturalism of its heroic nationalist ethics, and the original conceptualisation of certain of its key-notions ("passatismo", "velocità", "sensibilità", "guerra", "macchina", "novità")
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Cescutti, Tatiana. "Les origines mythiques du Futurisme : F.T. Marinetti poète symboliste français." Paris 4, 2007. http://www.theses.fr/2007PA040120.

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L’anti-passéisme radical est le mot d’ordre essentiel du Futurisme. Marinetti en prône le concept dans le Manifeste publié dans Le Figaro du 20 février 1909 et l’applique à la lettre lorsqu’il renie en 1911 ses « maîtres symbolistes » (Baudelaire, Verlaine, Mallarmé). Mais en est-il vraiment ainsi ? Une lecture de la poésie en langue française de Marinetti, composée avant 1909 (La Conquête des Étoiles, Destruction, La Ville Charnelle), montre que la doctrine futuriste s’édifie « par rapport » aux auteurs du passé, fût-il récent puisqu’il s’agit du Symbolisme et post-Symbolisme français et de la poésie italienne de l'époque (principalement D’Annunzio et Pascoli). La présente étude s’attache à retracer ce parcours qui se déploie comme une série de « réécritures » ou de métamorphoses successives, déterminées par la mort du modèle antérieur et sa conversion en une oeuvre personnelle inédite. La mise à jour de cette incessante dynamique de mort et de régénérescence permet d’appréhender le Futurisme dans sa dimension «mythique » fondamentale qui constitue à notre avis le véritable acte de naissance du mouvement dont le Manifeste aura pour fonction de théoriser les principes
Radical anti-traditionalism es a key watchword of Futurism. Marinetti enhances this concept in the Manifesto published in Le Figaro on 20th February 1909 and applies it literally when in 1911 he denies his « Symbolist Masters » (Baudelaire, Verlaine, Mallarmé). Is that really so? A reading of the poetry that Marinetti composed in French before 1909 (La Conquête des Étoiles, Destruction, La Ville Charnelle) shows that Futurist doctrine sets itself up “in comparison with” the authors of the past – although it is a recent past, since it refers to French Symbolism and Post-Symbolism and to the Italian poetry of that time (above all D’Annunzio and Pascoli). Our study aims at drawing up a scheme that unfolds like a series of « rewritings » or successive metamorphoses brought about by the death of the previous model and its conversion to a new personal work. The updating of this unceasing mechanism of death and regeneration lets Futurism be comprehended in its essential « mythical » dimension which is, in our opinion, the real birth of a movement whose principles the Manifesto will theorize
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McLendon, Matthew. "L'arte di far manifesti : the evolution of the Italian futurist manifesto." Thesis, Courtauld Institute of Art (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417948.

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Copetti, Rafael Zamperetti. "F.T. Marinetti e L'arte di far manifesti." Florianópolis, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/100739.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura
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Esta tese tem como objetivo analisar "l'arte di far manifesti" de F.T. Marinetti. Em um primeiro momento contextualiza-se o surgimento do futurismo com o intuito de proceder uma leitura de caráter geral do Marinetti pré-futurista e futurista, passando pela gestação do movimento na revista Poesia. Em um segundo momento busca-se, com o apoio da teoria dos gêneros literários, definir quais são os procedimentos dominantes que caracterizam um manifesto do futurismo italiano. Por fim, são apresentados e analisados alguns dos manifestos do futurismo italiano, tais como o Fondazione e manifesto del futurismo e o Manifesto tecnico della letteratura futurista em base, principalmente, às reflexões de Giovanni Lista e de Claudia Salaris, bem como são abordados seus desdobramentos.
This thesis has as its objective to analyze "l'artedifarmanifesti" by F.T. Marinetti. Firstly, the outbreak of futurism is contextualized with the aim to conduct a reading of general characteristics of the pre-futuristic and futuristic Marinetti, passing through the gestation of the movement in the magazine Poesia. Secondly, with the support of the theory of literary genres, there is a tentative move to define the prevailing procedures which characterize a manifesto of Italian futurism. At last, some manifestos of the Italian futurism are presented and analyzed, such as the Fondazione e manifesto del futurismo and the Manifesto tecnicodellaletteratura futurista in basis, mainly with regard to the reflections of Giovanni Lista and of Claudia Salaris, added to the approach of the unfolding of the manifestos.
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Palmer, Helen. "A manifesto for nonsense : the futurist drive in Deleuze's poetics." Thesis, Goldsmiths College (University of London), 2012. http://eprints.gold.ac.uk/8021/.

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This thesis presents a critical analysis of Deleuze’s philosophy of language, using and examining Russian and Italian futurist manifestos to draw out the ‘futurist’ aspects of Deleuze’s language and thought. These aspects constitute a poetics of Deleuze as well as a poetics of the avant-garde, presenting in both areas the celebrated, utopian state of language as dynamic, performative matter. The way in which futurist manifestos often attempt to perform and demand their aims simultaneously, and the temporal problems which arise due to this, is an operation which can be perceived in Deleuze’s writing. The difference between writing which describes a linguistic practice and writing which performs this linguistic practice is a temporal gap requiring a double operation of description and enactment, which the performative manifesto purports to fulfil. In both Deleuzian and futurist poetics, however, the fulfilment of this double operation can lead to problematic territory. Deleuze presents several linguistic practices in The Logic of Sense which can also be located in the writings of both Russian and Italian futurists, despite the differing political and aesthetic programmes of these variants of the movement. The common element identified and examined in this thesis is an accelerative drive to eliminate the temporal gap between items in an analogical equation so that synonymy is no longer an inexact science; the conjunction and the copula are truncated and cleave together, resulting in radical linguistic becoming. My argument is that minute technical linguistic modifications such as these operate synecdochically within futurist and Deleuze’s poetics, standing for their creators’ entire conceptual systems. Ultimately, the paradoxes inherent in the relationship between the radical fluidity of futurist nonsense and the radical fixity of its ensuing formalism provide a new way of thinking about Deleuze’s approach to language.
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Werger, Susanna. "Le Caractère destructeur dans l'art : poétique, musique et performance des mouvements d'avant-garde autour de la première guerre mondiale." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAC022.

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La destruction est un angle de vue capable d'englober un grand nombre d'auteurs et de compositeurs différents. Ce travail recherche les répétitions au cours de l'histoire littéraire, de trouver les moments de continuité ou de rupture. Le dénominateur commun du caractère destructeur sert à détecter une facette du style de l'époque. L'intérêt de contempler plusieurs domaines dans l'art des mouvements d'avant-garde réside dans la pratique artistique qui connaît de plus en plus d'échanges et de synergies entre les différents domaines ; les formes d'expression s'entre-influencent, s'entrechoquent et communiquent. L'ouverture des genres et des frontières linguistiques, pour les études comparatives, rend cette démarche d'autant plus indispensable : cela implique l'étude des grands travaux qui unissent toutes les formes d'expression. Il est donc souhaitable que l'on puisse comprendre et visualiser les réciprocités entre la littérature, la musique et la performance. Le slogan captivant du caractère destructeur synthétise une base créative de l'art d'avant-garde et touche à son paradoxe inévitable : la destruction implique en effet des aspects créatifs ; l'espace libéré sera rempli aussitôt
Destruction is a perspective that encompasses a large number of different authors and composers. This work seeks patterns of repetition throughout literary history, to find moments of continuity or rupture. The common denominator of destructiveness is used to detect a facet of the style of the time. The interest in contemplating several fields in the art of avant-garde movements lies in artistic practice, which is experiencing more and more exchanges and synergies between the different fields of literature, music and performance; forms of expression influence each other, clash and communicate. The opening up of genres and linguistic borders for comparative studies makes this approach all the more essential: this necessitates the study of the major works that unite all forms of expression. It is therefore desirable to be able to understand and visualize the reciprocity between the above fields. The captivating slogan of destructive character synthesises a creative basis of avant-garde art and touches upon its inevitable paradox : destruction actually implies creative aspects; the space freed up is immediately filled again
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Spada, Roberta. "The second quantum revolution: designing a teaching-learning activity on the quantum manifesto to futurize science education." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18360/.

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Questa tesi è la conclusione di un lavoro all’interno di I SEE (Inclusive STEM Education to Enhance the capacity to aspire and imagine future careers), un progetto europeo Erasmus+ coordinato dall’Università di Bologna e che coinvolge altri sei partner (http://iseeproject.eu). Il mio lavoro ha portato allo sviluppo di un’attività didattica intitolata “Applicazioni e implicazioni dei computer quantistici nella società” che è parte di un modulo I SEE sui computer quantistici. Progetto e attività mirano a contribuite a due dibattiti nella ricerca sull’educazione scientifica: quello sulla didattica STEM e sulla sua posizione in contesti di ricerca, istituzionali e didattici; quello sulla percezione del futuro da parte dei giovani in questo mondo in accelerazione. Il primo capitolo riguarda lo stato dell’arte del dibattito sulla didattica STEM, da un punto di vista sia di ricerca che istituzionale, come modo di affrontare temi chiave che riguardano il rapporto problematico tra scienza e società. Nel secondo capitolo, viene presentato il progetto I SEE e collocato all’interno della ricerca nella didattica STEM. È fornita una descrizione di come tale progetto contribuisce a promuovere lo sviluppo delle cosiddette future-scaffolding skills e a disegnare un approccio STEM integrato, con una descrizione dei moduli finlandese e italiano sulle tecnologie quantistiche. Il terzo capitolo include la descrizione dell’attività che ho contribuito a sviluppare. Essa è stata costruita per raggiungere diversi obiettivi tra cui guidare gli studenti di scuola secondaria a familiarizzare con la terminologia, le prospettive e i contenuti di documenti istituzionali come il Quantum Manifesto, e rendersi conto delle tante dimensioni coinvolte, riconoscendo dove e come le tecnologie quantistiche potranno essere d’impatto nella vita del singolo. Infine, si discutono i risultati dell’implementazione dell’attività avvenuta a Bologna nel febbraio 2019 con 25 studenti di scuola secondaria.
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Baptista, Helena Márcia de Aço e. Borges. "António Ferro Vanguardista: “Nós”, a experiência do teatro-manifesto." Master's thesis, 2013. http://hdl.handle.net/10316/35979.

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Books on the topic "Manifeste du Futurisme"

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Marinetti, Filippo Tommaso. Le premier manifeste du futurisme: Édition critique avec, en fac-similé, le manuscrit original de F.T. Marinetti. [Ottawa]: Editions de l'Université d'Ottawa, 1986.

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Marinetti, Filippo Tommaso. Manifestes du futurisme. Paris: Séguier, 1996.

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Villers, Jean-Pierre A. de. Debout sur la cime du monde: Manifestes futuristes 1909-1924 = futurist manifestoes 1909-1924. Paris: Éditions Dilecta, 2008.

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Villers, Jean-Pierre A. de. Debout sur la cime du monde: Manifestes futuristes 1909-1924 = futurist manifestoes 1909-1924. Paris: Éditions Dilecta, 2008.

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Catanese, Rossella, ed. Futurist Cinema. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089647528.

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Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.
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Larionov, Mikhail Fedorovich. Manifestes. Paris: Editions Allia, 1995.

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Storia del futurismo: Libri, giornali, manifesti. Roma: Editori riuniti, 1985.

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Giovanni, Lista, Saint-Point Valentine de, Saint-Point Valentine de, and Saint-Point Valentine de, eds. Manifeste de la femme futuriste, suivi de Manifeste futuriste de la luxure ; Le théâtre de la femme ; La métachorie. Paris: Séguier, 1996.

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Mughini, Giampiero. Manifesti italiani: Dall'Art Nouveau al Futurismo : 1895-1940. Milano: Nuova Arti grafiche Ricordi, 1997.

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1894-1924, Levita Francisco, ed. Negreiros-Dantas, uma página para a história da literatura nacional, Francisco Levita: Coimbra manifesto, Oscar, Pereira São-Pedro (pintor), Tristão de Teive, Príncipe de Judá. [Lisboa]: Fenda, 2009.

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Book chapters on the topic "Manifeste du Futurisme"

1

Bremer, Thomas. "Marinetti, Filippo Tommaso: Manifesto tecnico della letteratura futurista." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13058-1.

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"Manifesto of Futurism." In Origins of the First World War, 133. Routledge, 2013. http://dx.doi.org/10.4324/9781315834092-26.

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"Rayonists and Futurists: A Manifesto." In Anthologie Kulturpolitik, 669–72. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839437322-047.

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"Futurist Manifestos (1912, 1913)." In Russian Silver Age Poetry, 527–30. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618113634-076.

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"Manifesto of the Futurist Painters." In Anthologie Kulturpolitik, 665–68. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839437322-046.

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"Manifesto of the Japanese Futurist Movement." In Histories of the Future, 227–32. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822386810-012.

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Renkichi, Hirato. "Manifesto of the Japanese Futurist Movement." In Histories of the Future, translated by Miryam Sas, 225–30. Duke University Press, 2005. http://dx.doi.org/10.2307/j.ctv11smgmm.14.

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Ajres, Alessandro. "Il futurismo italiano in Polonia nel centenario del Manifesto Futuryzm włoski w Polsce w stulecie Manifestu." In Italia e Polonia (1919-2019). Un meraviglioso viaggio insieme lungo cento anni / Włochy i Polska (1919-2019). Sto lat wspólnej fascynującej podróży. Warsaw University Press, 2019. http://dx.doi.org/10.31338/uw.9788323541400.pp.217-232.

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"THE FUTURIST CINEMA (Italy, 1916)." In Film Manifestos and Global Cinema Cultures, 13–18. University of California Press, 2019. http://dx.doi.org/10.1525/9780520957411-003.

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"3. Futurism and Film Theories. Manifesto of Futurist Cinema and Theories in Italy in the 1910-1920s." In Futurist Cinema, 45–56. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048525232-005.

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