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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
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
Frederick H. White

whatever she would like after her performance and, on Herodias’ recommendation, she asks for the head of the prophet, John the Baptist, who had called the marriage of Herodias to Herod adulterous. In the late nineteenth century, European authority was under assault on political, social and metaphysical fronts, as represented in, among others, the figure of the femme fatale.140 A patriarchal culture associated a rise in female self-awareness as a sign of cultural anarchism and social decay. Salomé became a particularly productive symbol representing the perversity of

in Degeneration, decadence and disease in the Russian fin de siècle