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The volume documents how the previous critical categories employed to account for the literary, artistic, and cultural experiences of the period have provided only partial and inadequate descriptions, and have prevented a fuller understanding of the complexities and the interrelations among the cultural phenomena of the time.

Italian Modernism will be of interest not only to Italianists but to specialists in a variety of fields, including comparative literature, fine arts, and cultural studies. L'arte del saltimbanco : Aldo Palazzeschi tra due avanguardie : atti del Convegno internazionale di Studi, Toronto, settembre by Convegno internazionale di studi Book 6 editions published in in Italian and held by 74 WorldCat member libraries worldwide. Per una satira modernista : la narrativa di Wyndham Lewis by Luca Somigli 3 editions published in in Italian and held by 52 WorldCat member libraries worldwide.

Modernism and modernity in the Mediterranean world by Modernism and Modernity in the Mediterranean World Book 3 editions published in in English and held by 32 WorldCat member libraries worldwide. The Great War and the modernist imagination in Italy Book 8 editions published between and in English and Italian and held by 26 WorldCat member libraries worldwide.

Per una satira modernista : la narrativa di Wyndham Lewis by Luca Somigli 1 edition published in in Italian and held by 25 WorldCat member libraries worldwide. A century of futurism, Book 5 editions published in in English and held by 24 WorldCat member libraries worldwide. Futurism : a microhistory Book 1 edition published in in English and held by 20 WorldCat member libraries worldwide.


Encyclopedia of Italian literary studies Book 4 editions published in in English and held by 6 WorldCat member libraries worldwide Forlagets omtale: The Encyclopedia of Italian Literary Studies is a two-volume reference book containing some entries on all aspects off Italian literary culture.

It includes analytical essays on authors and works, from the most important figures of Italian literature to little known authors and works that are influential to the field. The Encyclopedia is distinguished by substantial articles on critics, themes, genres, schools, historical surveys, and other topics related to the overall subject of Italian literary studies. The encyclopedia also includes of writers and subjects of contemporary interest, such as those relating to journalism, film, media, children's literature, food, and vernacular literatures.

Anthony L. John Kraniauskas - Matei Calinescu - - Duke University Press. Jayne E. Marek - Downloads Sorry, there are not enough data points to plot this chart. Sign in to use this feature.

This article has no associated abstract. Aesthetics Philosophy of Literature, Misc in Aesthetics categorize this paper. Applied ethics. History of Western Philosophy. Normative ethics. Philosophy of biology. Philosophy of language. Philosophy of mind. Marinetti agitated for Italian involvement in the World War I , and once Italy was engaged, promptly volunteered for service. In the fall of he and several other Futurists who were members of the Lombard Volunteer Cyclists were stationed at Lake Garda , in Trentino province, high in the mountains along the Italo-Austrian border.

They endured several weeks of fighting in harsh conditions before the cyclists units, deemed inappropriate for mountain warfare, were disbanded. Marinetti spent most of supporting Italy's war effort with speeches, journalism, and theatrical work, then returned to military service as a regular army officer in After an extended courtship, in Marinetti married Benedetta Cappa — , a writer and painter and a pupil of Giacomo Balla.

Born in Rome, she had joined the Futurists in They'd met in , moved in together in Rome, and chose to marry only to avoid legal complications on a lecture tour of Brazil. Cappa and Marinetti collaborated on a genre of mixed-media assemblages in the mids they called tattilismo "Tactilism" , and she was a strong proponent and practitioner of the aeropittura movement after its inception in Cappa's major public work is likely a series of five murals at the Palermo Post Office — for the Fascist public-works architect Angiolo Mazzoni.

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Marinetti was one of the first affiliates of the Italian Fascist Party. However, he remained a notable force in developing the party philosophy throughout the regime's existence.

For example, at the end of the Congress of Fascist Culture that was held in Bologna on 30 March , Giovanni Gentile addressed Sergio Panunzio on the need to define Fascism more purposefully by way of Marinetti's opinion, stating, "Great spiritual movements make recourse to precision when their primitive inspirations—what F.

Marinetti identified this morning as artistic, that is to say, the creative and truly innovative ideas, from which the movement derived its first and most potent impulse—have lost their force. We today find ourselves at the very beginning of a new life and we experience with joy this obscure need that fills our hearts—this need that is our inspiration, the genius that governs us and carries us with it. As part of his campaign to overturn tradition, Marinetti also attacked traditional Italian food.


He condemned pasta, blaming it for lassitude, pessimism and lack of virility, [20] and promoted the eating of Italian-grown rice. It was also militaristic, seeking to stimulate men to be fighters. Marinetti also sought to increase creativity.

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His attraction to whatever was new made scientific discoveries appealing to him, but his views on diet were not scientifically based. He was fascinated with the idea of processed food, predicting that someday pills would replace food as a source of energy, and calling for the creation of "plastic complexes" to replace natural foods. Many of the meals Marinetti described and ate resemble performance art , such as the "Tactile Dinner", [20] recreated in for an exhibit at the Guggenheim Museum.

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Participants wore pajamas decorated with sponge, sandpaper, and aluminum, and ate salads without using cutlery. During the Fascist regime Marinetti sought to make Futurism the official state art of Italy but failed to do so. Mussolini was personally uninterested in art and chose to give patronage to numerous styles in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in , he said: "I declare that it is far from my idea to encourage anything like a state art.

Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view. In Fascist Italy, modern art was tolerated and even approved by the Fascist hierarchy.

Filippo Tommaso Marinetti - Wikipedia

Towards the end of the s, some Fascist ideologues for example, the ex-Futurist Ardengo Soffici [23] wished to import the concept of " degenerate art " from Germany to Italy and condemned modernism, although their demands were ignored by the regime. The anti-Semitic trend in Italy resulted in attacks against modern art, judged too foreign, too radical and anti-nationalist. Furthermore, he claimed Jews were not active in the development of modern art.