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Journal articles on the topic 'Manifeste du Futurisme'

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

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1

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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2

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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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

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Avdeev, Vasilii Aleksandrovich, and Svetlana Vital'evna Lavrova. "The image of a machine in Italian futurism: manifests, music, painting." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 47–68. http://dx.doi.org/10.7256/2453-613x.2021.3.35341.

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The 20th century became a new epoch in the development of the European civilization which projected images begotten by the process of technological transformation of reality into an artistic space. The quick growth of technologies and the industrialization of all spheres of life were reflected in the works of artists in urbanized images of reality. One of these images was a machine as an embodiment of speed and technical progress. Being a central motive of the main idea of the Italian futurism (the most dynamic branch of modernism), the image of a car penetrated into all artistic spheres of the Italian art of the 1910s - the 1930s, most notably: literature, (embodied, first of all, in the futurists’ manifests, devoted to a Machine); music (the noise music by B. Pratella and L. Russolo), and art (machine painting). The interest in the avant-garde visual art of the 1920s - the 1930s, including the Italian futurism, has been growing recently. Many scientific articles and monographs by foreign authors focus on technical aspects of this ambiguous flamboyant direction: the images of electricity, urban architecture, machines and mechanisms. But the Russian scientific literature lacks in-depth studies of these aspects of futurism. This article is supposed to become the first step on the way of studying the “machine” aspect of futurism, i.e. its historical background, development, and the influence of the image which formed the basis for the main idea of the creator of the direction more than a century ago. The authors consider the use of the image of a machine in various artistic fields: literature, music, art, and provide a comprehensive analysis of this phenomenon.   
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12

Nardelli, Camila Beatriz. "A estética teatral futurista em Parole, de Remo Chiti: uma tradução crítica." Cadernos de Tradução 39, no. 2 (May 28, 2019): 48–70. http://dx.doi.org/10.5007/2175-7968.2019v39n2p48.

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Através da realização de uma tradução crítica, indagaremos a natureza estética do texto teatral Parole de Remo Chiti. Questionaremos de qual maneira o texto apresenta as características inerentes à estética do movimento futurista italiano, mais especificamente do teatro sintético futurista, ao qual não apenas está vinculado, mas é apresentado como exemplo de sua expressão estética na revista italiana Sipario em seu volume duplo dedicado ao futurismo. O texto fonte, Parole, apresenta-se em língua italiana e será traduzido para o português brasileiro. Tendo em vista ser a tradução uma tarefa delicada e complexa, utilizaremos sobretudo as teorias da tradução de textos teatrais apresentadas por Patrice Pavis (2008) e Susana Bassnet (2003). Refletiremos sobre as principais afirmações contidas nos seguintes manifestos futuristas: O teatro futurista sintético (1915) e Manifesto dos dramaturgos futuristas (1911). As versões dos manifestos utilizados no artigo apresentam-se originalmente em italiano e os excertos inseridos serão pessoalmente traduzidos.
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13

Poliakov, Vladimir. "Le Manifeste futuriste comme forme artistique." Ligeia N°21-24, no. 1 (1997): 134. http://dx.doi.org/10.3917/lige.021.0134.

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14

Arhar, Nika, Pia Brezavšček, Katja Čičigoj, Saška Rakef, and Jasmina Založnik. "Manifesto of Post-Futurism – Literally." Maska 30, no. 177 (June 1, 2016): 38–45. http://dx.doi.org/10.1386/maska.30.177-178.38_7.

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15

Arhar, Nika, Pia Brezavšček, Katja Čičigoj, Saška Rakef, and Jasmina Založnik. "Manifesto of Post-Futurism – Literally." Maska 31, no. 177 (June 1, 2016): 38–45. http://dx.doi.org/10.1386/maska.31.177-178.38_7.

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If the future is already here, what comes after? Tortoises, singular rhythms, disarming femininity, knowing the world, sages, the body, bearded man, sleep, ecstasy, sharing of imaginations, sweet energy... and more.
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16

Mancebo Roca, Juan Agustín. "El mito aéreo en el futurismo italiano: del periodo heroico a la espiritualidad aérea (1909-1944) The aerial myth of Itanian futurism: from the heroic period to the aerial spirituality (1909-1944)." Ars Longa. Cuadernos de arte, no. 29 (May 12, 2021): 219. http://dx.doi.org/10.7203/arslonga.29.17102.

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La poética de lo aéreo atravesó transversalmente la historia del futurismo italiano. El undécimo punto de su manifiesto y fundación en 1909, hizo referencia al aeroplano como una máquina esencial para comprender que la vida y el arte se debían someter a un mundo en permanente transformación. Lo aéreo y sus implicaciones compusieron proclamas y manifiestos determinando la creación literaria y artística del periodo heroico. En los años treinta, cuando el futurismo planteaba su supervivencia en el complejo contexto social y político italiano, la aeropintura se convirtió en su línea oficial. Un perfil que, desde ese mismo momento, se bifurcó en dos tendencias complementarias: la dedicada a una praxis orgánica de las variables de la mirada aérea y la de una política representacional que superaba lo aéreo para penetrar en lo trascendente. Con la desaparición de las líneas de identificación entre estética y política, la temática aérea adquirió el rol de propaganda del régimen, celebración de la guerra-fiesta, que recuperaba el discurso intervencionista de la Primera Guerra Mundial y que, tras un periodo de manifestaciones de escaso valor plástico, concluyó abruptamente con el deceso del futurismo que coincidió con el nuevo ciclo histórico que se inició en Italia. The poetics of the aerial went through the history of Italian futurism. In 1909, the eleventh point of his manifesto and foundation referred to the airplane as an essential machine for understanding that life and art should be submitted to a world in permanent transformation. The aerial and its implications composed proclamations and manifestos which determined the literary and artistic evolution of the heroic period. In the 1930s, when futurism was planning its survival in the complex social and political context of Italy, aeropainting became its official line. A profile that bifurcated into two complementary tendencies from that very moment: one devoted to an organic practice of the aerial gaze variables and the other to a representational policy which went beyond the aerial to penetrate the transcendent. With the disappearance of the lines of distinction between aesthetics and politics, the aerial theme acquired the function of the regime's propaganda. It was the celebration of the war-fest that restored the interventionist rhetoric of the First World War and which, after a period of demonstrations of little plastic interest, ended abruptly with the death of Futurism, coinciding with the new historical cycle that began in Italy.
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Tutupary, Victor Delvy. "MANIFESTO FUTURISME FILIPPO TOMMASO MARINETTI DAN PROGRESIVISME AGRESIF DALAM SEJARAH." DIALEKTIKA 12, no. 2 (December 19, 2019): 158. http://dx.doi.org/10.33477/dj.v12i2.1104.

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Abstrak Penulisan karya ilmiah yang berjudul “Manifesto Futurisme Filippo Tommaso Marinetti dan Progresivisme Agresif dalam Sejarah” bertujuan untuk memaparkan pemikiran Marinetti mengenai filsafat sejarah dan bagaimana konsekuensinya bagi kesadaran ontologis manusia sebagai makhluk yang menyejarah. Tulisan ini dilatarbelakangi oleh kegelisahan eksistensial mengenai modernitas yang menawarkan perubahan dan kemajuan dengan cepat namun menyisakan lubang kehampaan di dalam diri manusia modern. Penelitian ini merupakan penelitian kepustakaan, yang dilaksanakan melalui tahapan inventarisasi data, pengklasifikasian dan reduksi data, analisis data, dan penyajian data. Data-data dalam penelitian ini dianalisis menggunakan metode interpretasi, heuristika, holistika, dan kesinambungan historis. Manifesto futurisme yang dimaklumatkan oleh Marinetti memandang gerak sejarah secara linier. Alur sejarah selalu bergerak maju ke depan secara progresif agresif dengan menghancurkan tradisi masa lampau. Futurisme menempatkan kecepatan menjadi simbol kemajuan, dan menjadi standar nilai moralitas dan estetis yang baik dan indah, sedangkan kelambanan adalah kejahatan. Futurisme yang progresif agresif dalam seni berhasil membuka ruang kreativitas yang baru dan inovatif, melahirkan aliran-aliran seni avant-garde yang mengubah sejarah estetika. Progresivisme agresif melahirkan invensi teknologi yang cepat dan semakin canggih, sehingga hidup manusia menjadi semakin mudah. Namun, progresivisme agresif mempunyai sisi yang negatif dan destruktif. Kemajuan yang terlalu mendewakan kecepatan, rasio, dan maskulinitas telah menyisakan kekosongan dalam diri manusia modern. Kekosongan tersebut dapat diisi oleh kelambanan yang reflektif untuk mere-evaluasi nilai-nilai hidup dengan menengok kembali pada nilai-nilai luhur tradisi. Kelambanan tersebut menciptakan jeda untuk mengkontemplasikan kembali makna keberadaan manusia dalam arus deras sejarah yang selalu berubah.
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18

Diamond, Elin. "Polly Dick and the Politics of Fisicofollia." Theatre Research International 24, no. 3 (1999): 264–67. http://dx.doi.org/10.1017/s030788330001912x.

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On 10 March 1913, the artist, arsonist, and suffragette Mary Richardson, alias Polly Dick, a member of the militant Women's Social and Political Union, walked into London's National Gallery and took an axe to Velázquez's ‘Rokeby Venus’. Her act resulted in the closure of the National Gallery and other museums. At her trial Richardson announced: ‘I have tried to destroy the picture of the most beautiful woman in mythological history as a protest against the Government for destroying Mrs Pankhurst, who is the most beautiful character in modern history.’ In 1911 Umberto Boccioni wrote to his friend Gino Severini in heady enthusiasm about the manifestos he had co-written and signed—Futurist Painting and Sculpture (January 1910), and Futurist Painting: Technical Manifesto (April 1910). The first featured the familiar futurist exhortation to smash the ‘cult of the past, all things old, academic pedantry’, to bear ‘bravely and proudly’ the banner of ‘madness’ with which ‘they’ try to dismiss innovators. Boccioni echoes the words of Marinetti's The Foundation and Manifesto of Futurism (1909):So let them come, the gay incendiaries with charred fingers! Here they are! … Come on! Set fire to the library shelves! Turn aside the canals to flood the museums! O the joy of seeing the glorious old canvasses bobbing adrift on those waters, discoloured and shredded … Take up your pickaxes, your axes and hammers and wreck, wreck the vulnerable cities.
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Berardi-Bifo, Franco. "The Post-Futurist Manifesto." Maska 30, no. 177 (June 1, 2016): 36–37. http://dx.doi.org/10.1386/maska.30.177-178.36_7.

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20

Berardi-Bifo, Franco. "The Post-Futurist Manifesto." Maska 31, no. 177 (June 1, 2016): 36–37. http://dx.doi.org/10.1386/maska.31.177-178.36_7.

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We declare that the splendor of the world has been enriched by a new beauty: the beauty of autonomy. Each to her own rhythm; nobody must be constrained to march at a uniform pace. Cars have lost their allure of rarity and above all they can no longer perform the task they were conceived for: speed has slowed down. Cars are immobile as stupid slumbering tortoises in city traffic. Only slowness is fast.
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21

Tamburri, Anthony J., and Claudia Salaris. "Storia del futurismo: Libri giornali manifesti." Italica 66, no. 2 (1989): 238. http://dx.doi.org/10.2307/478945.

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22

Nam See, Kim. "Manifest of Artist: Focusing on the Futurist Manifest." Journal of Aesthetics & Science of Art 40 (February 28, 2014): 75–99. http://dx.doi.org/10.17527/jasa.40.0.03.

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23

Bongie, Chris. "Declining Futurism: La Battaglia di Tripoli and Its Place in the "Manifesto tecnico della letteratura futurista"." Quaderni d'italianistica 15, no. 1-2 (October 1, 1994): 217–25. http://dx.doi.org/10.33137/q.i..v15i1-2.10253.

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24

Braun, Emily. "Futurist Fashion: Three Manifestoes." Art Journal 54, no. 1 (1995): 34. http://dx.doi.org/10.2307/777504.

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D’Ambrosio, Matteo. "Vittorio Bodini futuriste. Le manifeste du “Futurblocco de Lecce”." Ligeia N° 69-72, no. 2 (2006): 205. http://dx.doi.org/10.3917/lige.069.0205.

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Lusty, Natalya. "Sexing the Manifesto: Mina Loy, Feminism and Futurism." Women: A Cultural Review 19, no. 3 (November 2008): 245–60. http://dx.doi.org/10.1080/09574040802413834.

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27

Stapanian, Juliette R., Anna Lawton, and Herbert Eagle. "Russian Futurism through Its Manifestoes, 1912-1928." Slavic and East European Journal 35, no. 2 (1991): 288. http://dx.doi.org/10.2307/308329.

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28

Terras, Victor, Anna Lawton, and Herbert Eagle. "Russian Futurism through Its Manifestoes, 1912-1928." Russian Review 50, no. 1 (January 1991): 85. http://dx.doi.org/10.2307/130216.

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29

Bettini, Clelia. "[Recensão a] V. de Saint-Point, Manifesto da mulher futurista. Manifesto futurista da luxúria, trad. de Célia Henriques." Estudos Italianos em Portugal, no. 4 (2009): 277–80. http://dx.doi.org/10.14195/0870-8584_4_20.

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30

Milerius, Nerijus. "PRIEVARTA KAIP MODERNYBĖS SĄLYGA: F. T. MARINETTI IR G. SIMMELIO ATVEJIS." Problemos 90, no. 90 (November 4, 2016): 115. http://dx.doi.org/10.15388/problemos.2016.90.10139.

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Straipsnyje nagrinėjamas bendrosios kinematografinės prievartos sąlygos. Analizuojant šią problematiką, prievartos mene klausimas įprastai traktuojamas kaip klausimas apie meno autonomiją. Vis dėlto tokia prievartos statuso traktuotė yra ribota, nes ji ignoruoja faktą, kad modernybėje prievarta yra suvokiama ne vien kaip estetinis, bet ir kaip socialinis fenomenas. Siekiant išskleisti prievartos statuso modernybėje specifiką, interpretuojami du pavyzdžiai – Marinetti futurizmo manifestas ir Simmelio karo koncepcija. Marinetti postuluoja greitį, technologiją ir prievartą kaip sociumo pertvarkymo įrankius. Futurizmo manifeste aukštinamas ir karas kaip totalios prievartos forma. Prasidėjus Pirmajam pasauliniam karui, pats Marinetti įsitraukia į karo veiksmus, bet neišplėtoja nuoseklesnės karo koncepcijos. Tačiau tai, ko neįvykdė Marinetti, realizavo vokiečių sociologas Simmelis. Dar iki karo aprašęs sociumo krizę kaip atbukimo būseną, prasidėjus karui Simmelis ėmė jį traktuoti kaip atbukimo būklės įveikos viltį ir sociumo atsinaujinimo galimybę. Taigi, nepaisant Marinetti ir Simmelio nuostatų skirtumų, abu suteikia prievartai ir karui rezistencines ar net mesianistines prasmes. Straipsnyje argumentuojama, kad rezistencinė ir mesianistinė prievartos traktuotė yra neatskiriama nuo modernybės diskurso. Vis dėlto konstatuojama, kad tokia prievartos interpretacija neišvengiamai transformuojama post-industrinės visuomenės ir postmodernybės sąlygomis.
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Blum, Cinzia. "Rhetorical Strategies and Gender in Marinetti's Futurist Manifesto." Italica 67, no. 2 (1990): 196. http://dx.doi.org/10.2307/478592.

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Beech, Dave, Andy Hewitt, and Mel Jordan. "The New Futurist Manifesto (Revised, Expanded and Updated)." Third Text 23, no. 5 (September 2009): 587–92. http://dx.doi.org/10.1080/09528820903184831.

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Cabassi, Nicoletta. "Futurist Suggestions in the War Poems by Josip (Sibe) Miličić." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 67–82. http://dx.doi.org/10.14746/pss.2020.18.4.

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With the opening of the twentieth century, the beneficial river of the avant-gardes seemed to flood the entire European continent in a happy contamination of national cultures, giving life to an authentic supranational koine of artists: it was sometimes fusion of forms, styles, environments, cultures, a salutary effort to rejuvenate languages. The particular attention of the Italian Futurists to the new national realities was among the factors of particular attraction to the movement for South Slavs whose representative was Josip (Sibe) Miličić, who called for cultural and political renewal of his country. His direct encounter with Marinetti and Boccioni seems to leave its mark on his poetry both structurally and thematically: in the collection from 1914, Miličić reveals a new sensibility and a new rhythm: in one of his war lyrics, the futurist suggestions materialize in his first onomatopoeic attempt, suitable to undermine the lyricism of the verse by intensifying the link between the phonic aspect and the meaning. Despite their common interventionism, the Great War found the Croat and the Italian Futurists on opposite political positions concerning the Dalmatian islands and the Italian expansionism on the Adriatic. The poet’s war experience lead him to a “mature” phase starting in the twenties with his first article-manifesto. At this time he was able to reprocess his own critical identity: affirming his deeply anti-materialist and anti-industrial spiritualism, his standpoints by then had become very distant from Marinetti’s insights.
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Lukežić, Irvin. "O talijanskom futurizmu u Rijeci 1919. godine." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 225–33. http://dx.doi.org/10.14746/pss.2020.18.13.

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The article discusses the short-lived emergence of Italian futurism in Rijeka, just after the end of World War I, in the context of the political adventure of Gabrielle DʼAnnunzio, who, with the help of his supporters, an ardite, tried to annex the city to the Kingdom of Italy. At that moment, the avant-garde spirit of Italian futurism could manifest itself here in all its main features: activism, antagonism, nizilism and agonism. In addition to the founder of Italian futurism, Filippo Tommas Marinetti, Mario Carli, Guido Keller and Giovanni Comisso stayed and worked in Rijeka during 1919. The article seeks to describe their actions on the basis of newspaper reports in the Rijeka daily La Vedetta dʼItalia.
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LAWTON, ANNA. "FUTURIST MANIFESTOES AS AN ELEMENT OF PERFORMANCE." Canadian-American Slavic Studies 19, no. 4 (1985): 473–91. http://dx.doi.org/10.1163/221023985x00198.

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36

Puig, Krizia. "The TransAlien Manifesto." TSQ: Transgender Studies Quarterly 6, no. 4 (November 1, 2019): 491–520. http://dx.doi.org/10.1215/23289252-7771667.

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Abstract This is not an article. If anything, these are “trans futurist spiritual science visions”: radically vulnerable interventions that aim to disrupt naturalized forms of publishable knowledge while centering the needs, fantasies, and longings of disabled queer/trans folks in practices of future-making. These lines transcend the limits of academic knowledge. They are an act of resistance against the logics of subjectivity, relationality, fulfillment, and temporality that permeate current and envisioned notions of love(s). Here, a game for us to play: a theoretical-performative experiment to envision future notions of relationality—while shifting the hypernormative and cis hetero-romantic logics behind contemporary understandings of what sex robots should do and/or be. This is an exploration of the challenges/potentialities of relationships “AmongWithToThrough” humans and nonhuman organic, virtual, and/or synthetic beings. For you—disjointed knowledge: I am jamming on the paper, and there is a soundtrack for each section. I spin the page, and invite you to read with(in) the music. Endnotes are important: engage with them. I do not offer settled conclusions. Above all, this is una ofrenda a corazón abierto written in pain (chronic pain) or maybe an invitation for you to hold my hand. Honor your bodymindspirit: read in any order and think whatever you want when you finish. Thank you very much for your time. All the love and light . . .
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Aptekman, Marina. "The problem of language and reality in Russian modernism: The conception of mirotvorchestvo in A. Remizov’s Rossiya v pis’menah." Sign Systems Studies 31, no. 2 (December 31, 2003): 465–82. http://dx.doi.org/10.12697/sss.2003.31.2.08.

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Alexej Remizov is usually regarded by literary critics as a Symbolist rather than a Futurist writer. However, I would posit that Remizov similarly to the Futurists viewed language as “logos,” bozhestvennii glagol. According to the mystical interpretation of the famous words “At the beginning there was Word and the Word was with God and the Word was God”, when God was creating the world he named the objects, and these abstract names became a force for the appearance of an object in physical reality. In the light of these words, The Medieval mystical and magical philosophers claimed that one could restore the divine language of Creation, possess the ability to create objects anew, and thereby become Creator himself. One can argue that a major goal of Remizov was similar to that of his Medieval predecessors: to reveal the mystical power of language in order to create, not to describe reality. The paper analyzes three chapters from Alexej Remizov’s Rossiya v pis’menah, a book which can be read as a manifesto of Remizov’s attitude toward language and reality, and discuss possible sources that might have influenced Remizov in his attitude towards language.
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Bortulucce, Vanessa Beatriz. "O Manifesto Futurista “Por uma Sociedade de Proteção das Máquinas” de Fedele Azari." Revista de Italianística, no. 19-20 (December 30, 2010): 249. http://dx.doi.org/10.11606/issn.2238-8281.v0i19-20p249-266.

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Este artigo apresenta, pela primeira vez em língua portuguesa, um manifesto escrito por Fedele Azari (1896-1930), um dos principais artistas da chamada segunda fase do Futurismo italiano. O texto “Por uma Sociedadede Proteção das Máquinas”, escrito em 1927, aborda uma questão vital da estética da vanguarda: a relação entre homens e máquinas dentro do contexto da sociedade industrial. O presente manifesto de Azari apresenta ao estudioso da teoria de arte uma oportunidade de entrar em contato com as ideias de um personagem pouco conhecido da vanguarda italiana.
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Zwick, Ludmila Menezes. "Textos de Velimir Khlébnikov em tradução anotada." RUS (São Paulo) 11, no. 15 (June 8, 2020): 190–216. http://dx.doi.org/10.11606/issn.2317-4765.rus.2020.167023.

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Estes seis textos de Velimir Khlébnikov, escritos entre 1904 e 1916, expressam sua reverência à natureza e à inventividade, querelam com as gerações passadas e com vozes de autoridade de sua época, clamam pela liberdade dos povos, pela extirpação do conservadorismo instituído e pela vinda do futurismo. O primeiro, Deixe-os ler na lápide, trata de suas crenças sobre a natureza e as coisas vivas, e resume, em tom de burla, seus feitos; o segundo, Cerca de cinco ou mais sentidos, trata de uma espécie de teoria da metamorfose de todas as coisas e de suas respectivas percepções pelos sentidos. Em Observações polêmicas de 1913, manifesta-se contra figuras públicas que criticavam o futurismo; em Seu tagarela sem talento!, Khlébnikov critica alguns futuristas, evidenciando que o futurismo era um movimento cheio de nuanças e apenas parcialmente coeso; em Nota autobiográfica, apresenta suas origens e expõe com firmeza alguns de seus posicionamentos, e em Carta a dois japoneses, estende as mãos à juventude do oriente.
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Jeffrey T. Schnapp. "A Preface to Futurism (on the 100 year anniversary of the publication of the Foundation and Manifesto of Futurism)." Modernism/modernity 16, no. 2 (2009): 203–9. http://dx.doi.org/10.1353/mod.0.0098.

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Potts, John. "Futurism, Futurology, Future Shock, Climate Change: Visions of the Future from 1909 to the Present." PORTAL Journal of Multidisciplinary International Studies 15, no. 1-2 (July 4, 2018): 99–116. http://dx.doi.org/10.5130/portal.v15i1-2.5810.

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This essay charts a brief intellectual history of the futures – both utopian and dystopian – conceived in the twentieth and twenty-first centuries. It traces perspectives on the future since 1909, when the term ‘futurism’ was coined in the publication of the ‘The Founding and Manifesto of Futurism’. The essay maps changes in the vision of the future, taking a chronological approach in noting developments in the discourse on the future. A prominent theme in pronouncements on the future is technological progress, first in relation to industrial technology, later in the context of post-industrial or information technology. A turning-point in this discourse can be isolated around 1973, when ideas of technological progress begin to be challenged in the public sphere; from that date, environmental concern becomes increasingly significant in discussions of the future.
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42

Pužar, Aljoša. "O dvije važne epizode riječkog antifuturizma i pseudofuturizma." Fluminensia 31, no. 2 (2019): 251–73. http://dx.doi.org/10.31820/f.31.2.3.

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Na temelju recentnih arhivskih otkrića i novije kritičke literature radom se dopunjuju i ispravljaju ranije objavljeni pregledi i raščlambe futurizma u Rijeci. Članak nudi podrobniji opis dviju važnih epizoda lokalnog antifuturizma i pseudofuturizma iz godina pred Prvi svjetski rat i po osnivanju Slobodne države Rijeka. To uključuje raspravu o vremenu objavljivanja, povijesnom položaju i autorima Manifesta Minerva (tzv. riječkog futurističkog manifesta), te analizu pjesničkog djela autonomašice, antifašistice i antifuturistice Clementine Scala-Bonetta.
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Hanna, Julian. "‘BLAST First (from politeness) ENGLAND’: The Manifesto in Britain and Ireland." Modernist Cultures 12, no. 2 (July 2017): 297–315. http://dx.doi.org/10.3366/mod.2017.0172.

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Aside from the familiar story of Vorticists and Imagists before the war, no detailed analysis of manifestos in Britain (or Ireland) exists. It is true that, by 1914, there had been such an upsurge in manifesto writing that a review of BLAST in The Times (1 July 1914) began: ‘The art of the present day seems to be exhausting its energies in “manifestoes.”’ But after the brief fire ignited by the arrival of Italian Futurism died out, Britain again became a manifesto-free zone. Or did it? While a mania for the militant genre did not take hold in Britain and Ireland the same way it did in France, Italy, Germany, or Russia, the manifesto did enjoy a small but dedicated following that included Whistler, Wilde, and Yeats; Patrick Geddes and Hugh MacDiarmid; Wyndham Lewis and Ezra Pound; Dora Marsden and Virginia Woolf; and Auden, MacNeice, and Spender. Through these and other figures it is possible to trace the development of a manifesto tradition specific to Britain and Ireland.
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Karabulut, Tuğba. "Futurism and Feminist Performativity: Mina Loy’s “Feminist Manifesto,” Househunting, and Christ on a Clothesline." Women's Studies 49, no. 1 (January 2, 2020): 1–30. http://dx.doi.org/10.1080/00497878.2019.1695614.

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45

Pina, Maria da Graça Gomes de. "Souza-Cardoso e Boccioni: movimentos analógicos em confronto." Bakhtiniana: Revista de Estudos do Discurso 13, no. 2 (August 2018): 139–54. http://dx.doi.org/10.1590/2176-457333238.

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RESUMO Embora não estivesse afiliado direta e especificamente a nenhum dos movimentos de vanguarda que eclodiram durante a sua breve existência, a produção fértil e vasta de Souza-Cardoso, com a leveza e a beleza que a caracteriza, conseguiu de certo modo tocá-los a todos. Umberto Boccioni, ativíssimo pintor e escultor, muito mais próximo dos movimentos vanguardistas inflamando algumas áreas europeias, é, pelo contrário, um autor plenamente futurista. Pretendo analisar sucintamente a obra destes dois artistas, tendo especialmente em conta o fato de ambos terem o mesmo objetivo - a dinâmica do corpo humano -, mas também a sua convergência e divergência relativamente às indicações programáticas do manifesto futurista.
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46

Furtado, Marli Tereza. "Futurismo e dadaísmo: a deglutição antropófaga de Abguar Bastos em Terra de Icamiaba e Certos caminhos do mundo." MOARA – Revista Eletrônica do Programa de Pós-Graduação em Letras ISSN: 0104-0944, no. 52 (November 5, 2019): 42. http://dx.doi.org/10.18542/moara.v0i52.7745.

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O trabalho objetiva apontar a presença das vanguardas europeias, Futurismo e Dadaísmo, na produção literária de Abguar Bastos (1902/1995), autor de manifestos em favor de uma literatura “amazônica” renovada, publicados na década de 1920 e também de romances, dentre os quais se destaca Terra de Icamiaba, publicado em 1930 e considerado um produto da aplicação do manifesto Flaminaçu, de 1927. Além do romance citado, verificar-se-á a presença de traços vanguardistas no segundo romance do autor, publicado em 1935, Certos caminhos do mundo.
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47

Shvets, Anna Valer'evna. "The establishment of media reflection in the poetics of Russian avant-garde: objectification of the word." Litera, no. 4 (April 2020): 1–10. http://dx.doi.org/10.25136/2409-8698.2020.4.30749.

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This paper examines the reflection of the representatives of Cubo-futurism and related art community (N. Kulbin, A. Kruchenykh, N. Burliuk) on the artistic expression and poetics of literature. The object of this research is the articles by N. Kulbin (“Liberal Arts as the Basis of Life”, “Meaning of the Theory of Art” in compilation “The Studio of Impressionists”, 1910), pamphlet “Declaration of the Word as Such” (written in 1913 by N. Kulbin, A. Kruchenykh), manifest of N. Kulbin “What the Word Is” (1914), articles by N. Burliuk (“Cubism”, “Texture” in compilation “Slap to a Public Taste”, 1913, “Poetic Beginnings” and “Supplementum to a Poetic Counterpoint” from the “First Journal of Russian Futurists”, 1914. The subject of this research is the evident in these articles orientation towards putting medium to the forefront, which is understood as a material basis of the text. The texts of all articles highlight the core metaphors that set a new understanding of a word as material and media whole. The scientific novelty of this study consists in referring to the process of metaphorical comprehension of a word as a material phenomenon, which has not been previously subjected to detailed analysis in Russian or foreign research tradition. The conclusion is made that due to sequential usage of metaphors (from the area of natural sciences or everyday experience) a word becomes a material object, manipulation with the physical image of which transform the connoted meaning.
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Рега, Данило. "Образ жінки в маніфесті В. де Сен-Пуан «Manifeste de la femme futuriste. Réponse à F. T. Marinetti»." Sultanivski Chytannia, no. 9 (May 1, 2020): 111–16. http://dx.doi.org/10.15330/sch.2020.9.111-116.

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Мета. Статтю присвячено аналізу образу жінки в маніфесті французької письменниці Валентіни де Сен-Пуан. Дослідницька методика. Для дослідження використано біографічний і зіставний методи дослідження. Використання цих методів дозволило проаналізувати взаємозв’язки між італійською і французькою літературами на початку ХХ ст., а також навести «причинність» появи першого маніфесту італійського футуризму в Франції. Результати. З’ясовано специфіку поглядів французької представниці футуризму В. де Сен-Пуан щодо жінки та її ролі в суспільстві, виходячи з загальних постулатів футуризму. Відзначені як спільні, так і відмінні типологічні риси в вищезгаданому аспекті. Наукова новизна. Вперше в вітчизняному літературознавстві звертається увага на творчість В. де Сен-Пуан, а також вперше перекладаються її маніфести українською мовою. Практичне значення. Дана стаття може бути використана для подальшого дослідження історії і теорії футуризму, а також його зіставлень із іншими мистецькими напрямами. Наукові результати дослідження можуть бути використані під час написання курсових, дипломних і інших наукових проектів.
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Calbucci, Eduardo. "Marinett e Mário: (des)conexões entre o Manifesto Técnico da Literatura Futurista e o "Prefácio Interessantíssimo"." Revista USP, no. 79 (September 1, 2008): 205. http://dx.doi.org/10.11606/issn.2316-9036.v0i79p205-214.

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50

Fisher, Margaret. ""The Art of Radia" Pino Masnata's Unpublished Gloss to the Futurist Radio Manifesto Introduction." Modernism/modernity 19, no. 1 (2012): 155–58. http://dx.doi.org/10.1353/mod.2012.0025.

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