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Rikki Ducornet’s surrealist ecology
Kristoffer Noheden

Principles of the Elements’, in Jeffrey Jerome Cohen and Lowell Duckert (eds), Elemental Ecocriticism: Thinking with Earth, Air, Water, and Fire (Minneapolis: University of Minnesota Press, 2015), p. 4. 5 See Michael Löwy, Morning Star: Surrealism, Marxism, Anarchism, Situationism, Utopia (Austin: University of Texas Press, 2009), p. 9. 6

in Surrealist women’s writing
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Margaret Harkness on conjectural history and utilitarian philosophy
Lisa C. Robertson

. 8 In Glimpses of Hidden India and Modern Hyderabad, Harkness discusses the emergence of anarchism and violent protest. The opening chapter of Modern Hyderabad affords particular attention to Lord Hardinge’s visit to Hyderabad, which was disrupted by local protest and widespread anarchist activity. References Works by Margaret Harkness cited (listed chronologically) Law, J. [Margaret Harkness] (1889). Captain Lobe: A Story of the Salvation Army. London: Hodder & Stoughton. –––– (1905). ‘Ceylon as a Holiday Resort’. West Australian, 9 June–8 August [nine parts

in Margaret Harkness
The Vorticist critique of Futurism, 1914–1919
Jonathan Black

beauty that an American was overheard Adamowicz and Storchi, Back to the Furutists.indd 160 01/11/2013 10:58:47 ‘A hysterical hullo-bulloo’ 161 to say it would be like New York at its worst … He [Marinetti] ended with a passionate defence of war. Whatever element of truth may underlie doctrines depreciating an excessive veneration of the past, the anarchical extravagance of the Futurists must deprive the movement of the sympathy of all reasonable men’. The unsigned piece explicitly linked Futurism with Anarchism – a political movement which in England at the time

in Back to the Futurists
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Inherent Vice as Pynchon Lite?
Simon Malpas
Andrew Taylor

small victory Anarchism has struggled to win’ seems about to ‘turn to dust’ (ATD 938). In this manner, as we argued in the last chapter, Pynchon evokes utopian alternatives, but carefully hedges them around with assertions of the potential inevitability of their extinction in the face of modernity’s growing systems of power, control and exploitation, the ‘vortex of corroded history’ that, Doc muses, promises a future that ‘seemed dark whichever way he turned’ (IV 110). This conflict between projected emancipatory potential and the destruction of resistance and

in Thomas Pynchon
Maria Elena Versari

rendition of chaos. It is the influence played on German artists and writers by the anarchist culture of the late nineteenth century, and more specifically by the intellectual reflection on anarchism, which had not failed to influence modern Italian culture or Adamowicz and Storchi, Back to the Furutists.indd 82 01/11/2013 10:58:40 Futurist canons 83 5.4  Ludwig Meidner (1884–1966), Apocalyptic Landscape (Apokalyptische Stadt), 1913. Oil on canvas, 81.3 cm x 115.5 cm, LWL-Landesmuseum für Kunst und Kulturgeschichte (Westfälisches Landesmuseum). Futurism itself

in Back to the Futurists
Marinetti and technological war
Marja Härmänmaa

Conference (Haifa University, Israel, August 1998), Twentieth Century European Narratives: Tradition & Innovation. Härmänmaa, M. (2009a). ‘Beyond Anarchisms: Marinetti’s Futurist (Anti-)utopia of Individualism and “Artocracy”’, in M. Härmänmaa and P. Antonello (eds), Future Imperfect: Italian Futurism between Tradition and Modernity, The European Legacy, 14:7, 857–73. Härmänmaa, M. (2009b). ‘Futurism and Nature’, in G. Berghaus (ed.), Futurism and the Technological Imagination (Amsterdam and New York: Rodopi), pp. 337–60. Hulten, P. (ed.) (1986). Futurismo e Futurismi

in Back to the Futurists
The Spanish Civil War in Ken Loach’s Land and Freedom
Alan Munton

Freedom appeared in 1995 and has become a reference point in the historiography of the war. In the ‘Epilogue’ to Britain and the Spanish Civil War (1997), Tom Buchanan writes that since the 1960s ‘the revival of Trotskyism and anarchism and the withering of Stalinism has given new life to the Orwellian interpretation of the Spanish Civil War’ – and Loach’s film is ‘openly

in Gender and warfare in the twentieth century
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Effie Rentzou

, simultanéisme, simultanisme’, pp. 52–57. 30. See Mark Antliff, Inventing Bergson , chap. 2: ‘ Du Cubisme between Bergson and Nietzsche’, pp. 39–66, and chap. 5: ‘From Bergson to Bonnot: Bergsonian anarchism, futurism, and the Action d’Art Group’, pp. 135–67. 31. Coen, ‘Simultanéité, simultanéisme, simultanisme’, p. 54. 32. My translation. Boccioni et al. , ‘Les exposants au public’, p. 4: ‘La simultanéité des états d’âme dans l’œuvre d’art: voilà le but enivrant de notre art.’ 33. Ibid. , p. 6. 34. My translation. Umberto Boccioni, Dynamisme plastique

in 1913: The year of French modernism
The philosophic narcissism of Claude Cahun’s essay-poetry
Felicity Gee

. 53 See Claude Cahun, ‘Confidences au miroir’, in Leperlier (ed.), Écrits , pp. 571–624. 54 Michael Löwy, Morning Star: Surrealism, Marxism, Anarchism, Situationism, Utopia (Austin: University of Texas Press, 2009), p. 67. 55 André Breton (co

in Surrealist women’s writing
The cultural politics of Hill’s later work
Alex Wylie

gone by would “please the eye … excite the emotions and train the intellect”, not to mention that it “appealed to all men [sic]”.54 As Hill asserts, Pound “derived his ethical aesthetics from Ruskin” (CCW 466), but it seems that William Morris may lurk somewhere in the shadows too. Or, at least, Pound, Morris, and Agricola are repeating an ancient commonplace. It is a telling revelation of cultural-​historical perspective that Hill’s position is often taken to be elitist, while William Morris, author also of ‘Socialism and Anarchism’, clearly did not see himself in

in Geoffrey Hill’s later work