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Books, travelling scholarships, leave of absence
Tamson Pietsch

‘national and imperial’. The policies of deterritorialisation pursued by the larger settler universities in the late nineteenth century connected what had previously been locally oriented institutions into a wider world of academic scholarship. But as Chase’s comments suggest, this was principally neither an international nor a cosmopolitan world. Despite their purchase of European

in Empire of scholars
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National and international forces
Tamson Pietsch

scholarships or attended international conferences, they now did so not as members of the expansive British academic world, but rather as representatives of national scholarly communities. It would not be until the 1980s, when a new phase of government reform began to dismantle these national structures and replace them with another wave of de-territorialisation (this time in the form of marketised

in Empire of scholars
Katia Pizzi

ambivalence typifies the postwar futurist machine: dissipation, fragmentation, splintering, dispersion, deterritorialisation on the one hand, and, on the other, bedrock of discipline and rigorous politics, nationalist or Marxist as the case may be.84 The machine emerges as both dynamic agent of transformation, eliding national boundaries, as well as instrument of coercion, death and destruction. Machine technology is both effusive and liberating and, at once, shrouded in a military and masculine power tainted with destruction (see especially section 2.3). In sum, futurismo

in Italian futurism and the machine
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Fortunato Depero in ‘dynamoland’
Katia Pizzi

115 immediately marked by de-territorialisation, engulfed in construction fever and ruled by the iron fist of ruthlessly utilitarian forces. At once, it was an exhilarating and psychedelic space lit up by aggressive, ­multi-coloured posters and billboards, always switched on, galvanised by an ‘effervescence’ of electric bulbs and vivid lettering flashing, smearing and drenching the environment with colour and light from all sides.94 Manhattan appeared to be squashed between the vertical walls of skyscrapers and metallic perspectives of bridges and overground trains

in Italian futurism and the machine