Filippo Tommaso Marinetti ou la guerre comme œuvre d’art totale

Inflexions ◽  
2020 ◽  
Vol N°44 (2) ◽  
pp. 111
Author(s):  
Giovanni Lista
Keyword(s):  
Filippo Tommaso Marinetti

scholarly journals Allies and Enemies: Periodicals as Instruments of Conflict in the Florentine Avant-garde (1903-15)

2018 ◽  
Vol 3 (1) ◽  
Author(s):  
Anna Baldini
Keyword(s):  
Sociological Theory ◽  
Filippo Tommaso Marinetti ◽  
Cultural Institutions ◽  
Avant Garde ◽  
The Press ◽  
Literary Writing

In 1903 Giovanni Papini, a 22 year-old aspiring philosopher who would soon channel his rampant ambition into literary writing, was a founder of the philosophy magazine Leonardo (1903-7). A group of young intellectuals and artists, here defined as the Florentine avant-garde,  gathered around this periodical and its successors, La Voce (1908-1916) and Lacerba (1913-15). By drawing on Bourdieu’s sociological theory of cultural fields, this essay explores how the intellectuals writing for these periodicals established a powerful intellectual network and criticized the cultural institutions of the period: universities, the press, the literary and the artistic markets. By tracing individual biographies and intellectual trajectories, this essay also highlights the conflicts that arose within the Florentine avant-garde and between it and the Futurists led by Filippo Tommaso Marinetti. 

Mussolini, Benito (1883–1945)

2018 ◽  
Author(s):  
David Jones
Keyword(s):  
Spanish Civil War ◽  
Party Leader ◽  
Filippo Tommaso Marinetti ◽  
Benito Mussolini ◽  
Francisco Franco ◽  
Winston Churchill ◽  
Personality Cult ◽  
The World ◽  
Franklin Roosevelt ◽  
Second World

Known as Il Duce (the Leader), the son of a Marxist blacksmith, Benito Mussolini was the ruler of Fascist Italy (1922–43). A master of populist rhetoric, editor of the socialist newspaper Avanti! (1912–1914), Mussolini shaped the fascist movement as a party leader before rising to state power with his October 1922 March on Rome. He invaded Ethiopia in a brutal war for a new Italian Empire (1935–36), aided Franco’s Nationalists in the Spanish Civil War (1936–39), and fought on the side of Nazi Germany in the Second World War (1940–45). His fascist ideology made use of ideas offered by Italy’s ‘philosopher of fascism’, Giovanni Gentile (1875–1944), and manifestos written by the founder of Futurism, poet Filippo Tommaso Marinetti (1876–1944). Mussolini’s personality cult influenced dictators such as Adolf Hitler and Francisco Franco, and at times earned the admiration of Winston Churchill (Samuel) and Franklin Roosevelt (Schivelbusch, 2006, 31). On April 29, 1945, Mussolini was captured and executed, his body gruesomely displayed (‘Execution of Mussolini’). His legacy has spawned fascist movements throughout the world, from Oswald Mosley’s (1896–1980) English Blackshirts to Pierre Gemayel’s (1905–1984) Christian Phalange in Lebanon.

On Disciplinary Finitude

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 505-512 ◽  
Author(s):  
Jeffrey T. Schnapp
Keyword(s):  
Los Angeles ◽  
Architectural History ◽  
University Of California ◽  
Filippo Tommaso Marinetti ◽  
Speed Limits ◽  
Avant Garde ◽  
The Social ◽  
History Of ◽  
Social Environmental ◽  
The University

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.

scholarly journals GEOGRAFIE GIULIANE DEL MOVIMENTO FUTURISTA

2012 ◽  
Vol 01 (01) ◽  
pp. 69-78
Keyword(s):  
Filippo Tommaso Marinetti ◽  
Letteratura Italiana

Il Futurismo di Filippo Tommaso Marinetti, indubbiamente uno tra i più impetuosi movimenti letterari italiani del ventesimo secolo, ha voluto raccogliere le fila di un vasto movimento della modernità che attendeva a porre le basi dell’arte del nuovo secolo, imprimendo ad essa un moto sempre più veloce e cadenze di sempre più marcato distacco dal passato. Nel nuovo clima di restaurazione della letteratura italiana degli anni Venti, alcune realtà periferiche, tra le quali Trieste, hanno risentito di un avanguardismo tardivo, e una parte della produzione letteraria giuliana vivrà la propria stagione tardo futurista. Il Futurismo giuliano si presenta articolato soprattutto per le premesse date dalla “cultura di frontiera” che contraddistingue la regione, con i suoi caratteri mitteleuropei e la compresenza della componente antropologico-culturale italiana e slovena.

Filippo Tommaso Marinetti

1989 ◽  
Vol 84 (4) ◽  
pp. 1006
Author(s):  
Shirley W. Vinall ◽  
Giusi Baldissone
Keyword(s):  
Filippo Tommaso Marinetti

Italian Futurism in Cairo

2017 ◽  
Vol 2 (1-2) ◽  
pp. 159-179
Author(s):  
Maria Elena Paniconi
Keyword(s):  
Filippo Tommaso Marinetti ◽  
Italian Futurism ◽  
Cultural Events ◽  
Theatrical Performances ◽  
National Experience ◽  
Italian Community

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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