La bomba-romanzo esplosivo, or Dada’s burning heart
in Back to the Futurists
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This chapter tracks the exposure of Futurism to its German constituency before considering in particular how early Dada experimentation in 1916 negotiated the relation to its Italian antecedent. The Futurist orchestrator's grandiose tumult had mustered its destructive potential as the explosive incendiary novel, la bomba-romanzo esplosivo, performed the book's auto-deconstruction, with the explosion 'at its centre literally shattering typographical convention into distended fragments'. The power and 'magic' of the spoken word became tangible in the sound poetry that ultimately resisted the visual renderings of the Futurist poems or, elsewhere in the context of Dada, the visual renderings of Raoul Hausmann's optophones. Dada's burning heart became the sound poetry that Hugo Ball elaborated upon in order to apply in the break-up of the structures and inhibitors of his own world.

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The avant-garde and its Legacy

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