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Jennifer Griffiths

2 Heroes/heroines of Futurist culture: oltreuomo/oltredonna Jennifer Griffiths Jennifer Griffiths Heroes/heroines of Futurist culture Futurism was born in an atmosphere of Hegelian idealism and Bergsonian pragmatism when philosophers and thinkers were refuting notions of objective removal from political or social affairs and insisting instead upon the importance of engagement. Like Giovanni Gentile’s ‘Actual Idealism’, Marinetti’s Futurism declared any philosopher, writer or artist isolated from life to be culturally bankrupt. Futurism’s assertion about the

in Back to the Futurists
The avant-garde and its Legacy

In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.

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Elza Adamowicz and Simona Storchi

Manifestos with practices in the expanding realm of commercial advertising. The theory of crowd psychology (Gustave Le Bon, Giuseppe Prezzolini, Walter Dill Scott), it is argued, facilitates an understanding of the Futurists’ portrayal of their own audience or crowd. Jennifer Griffiths’s ‘Heroes/Heroines of Futurist Culture: Oltreuomo/oltredonne’ explores the question of how Futurist manifestos address notions of genius and gender and in particular how Futurist women addressed these issues in their texts and art. She argues that the concept of ultradonna allowed a

in Back to the Futurists