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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.

Marinetti and technological war
Marja Härmänmaa

16 The dark side of Futurism: Marinetti and technological war Marja Härmänmaa Marja Härmänmaa The dark side of Futurism A survival strategy Marinetti was a specialist in war; as he wrote in 1942, he was ‘the only poet who specialised in modern war’ (Marinetti 1942: 2). Indeed, war was central in both Marinetti’s life and his work: he was actively engaged in warfare, participating in different capacities in four conflicts (Agnese 1990; Salaris 1997; Viola 2004; Guerri 2009).1 In his works, the topics of ‘destruction’ and ‘fighting’ in his pre-Futurist poems

in Back to the Futurists
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Elza Adamowicz and Simona Storchi

eased off from their signifiers and replaced with new connotations. Adamowicz and Storchi, Back to the Furutists.indd 10 01/11/2013 10:58:35 Introduction 11 Marja Härmänmaa’s discussion of war in Marinetti’s texts and worldview explores the ideological reasons for his glorification of war and the rhetorical means used to exalt war and represent the enemy. She argues that the glorification of violence and war in Marinetti’s work is not for its own sake, but rather as propaganda for the formation of a ‘heroic citizen’. Technological war was also at the centre of

in Back to the Futurists
British fascism and artistic modernism
Thomas Linehan

inner condition was a pre-eminent theme of the modernists’ agenda. In their art, they would embark on searching voyages of exploration which would lay bare alienation and psychological traumas. In addition, in their quest to create an art which was more responsive to life, some modernists did not flinch from revealing modern physical disabilities, brought on by poverty, self-abuse and modern technological war. The dreadful effects of the Great War on the human body became a recurrent theme. Again, this tendency was highly evident in the modernist art of continental

in British Fascism 1918-39
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Emancipating security in the Asia-Pacific?
Simon Dalby

autonomous entity, rather than as a party to an ongoing relationship, are the interpretations of threat rehearsed and the rituals of technological war preparation maintained. Because in Burke’s terms the identities of the realist practitioners are at stake too in the confrontation in Korea. So also, as McDonald notes, are they being reproduced in the specification of the struggles

in Critical Security in the Asia-Pacific
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Making sense of conflict
Kirsten Forkert, Federico Oliveri, Gargi Bhattacharyya, and Janna Graham

general frame of a ‘clash of civilizations’ (Huntington 1996). Self-defence arguments demand an exaggerated representation of the enemy as evil and threatening, maximising the fear of the imminence and magnitude of their attack. The ‘global terror’ frame, for instance, is characterised by associating images of horror and brutality with non-state actors, which are put in opposition to the images of surgical precision and cleanness of Western hyper-technological war. Projected at a global level, this frame obscures local causes and dynamics for the diffusion of ‘terrorist

in How media and conflicts make migrants
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War and medicine in World War I Germany
Heather R. Perry

focused on mutually ‘bleeding the enemy white’ posed a constant drain on the manpower resources of the German military; healthy, able-bodied men were in steady demand to replenish the supply of cannon fodder at the front.16 At the same time, however, the empire’s armed forces were exerting pressure on munitions factories to speed up the production of war materiel in order to meet the demands of the new technological war; requests for exemption from military service steadily increased as the pool of available labour failed to meet the requirements of industry.17 In

in Recycling the disabled
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A. J. Coates

the soldier, like the worker, has become ‘an appendage of the machine’. The American pacifist James Douglass, for example, argues that there exists an inverse relationship between the humanity of war and its technological sophistication: the more technological war becomes the less direct and therefore less human the relation of combatant to combatant. ‘In modern war,’ he writes, ‘it is by no means certain that the warrior will ever experience that moment of truth when war reveals its killing nature through a sudden insight into the enemy’s humanity . . . what is

in The ethics of war
Boom! (1968), Secret Ceremony (1968) and Figures in a Landscape (1970)
Colin Gardner

Country and The Damned . In this case, the stifling stasis of the mud-soaked dugouts and billets is transformed into the infinitely more mobile warfare of the Vietnam era, with its ever-present choppers hovering and swooping like giant birds of prey across the wide-open spaces of untamed natural landscapes. This atavistic destructive movement is the fruit of the so-called ‘contained’ technological war concocted by scientists

in Joseph Losey
Open Access (free)
Jane Brooks

environment and increased their understanding and respect of the nurses’ clinical and recovery skills. These renegotiated relationships enabled a more fluid set of professional boundaries and a greater sense of trust. Nurses and doctors developed new therapeutic methods to recover men together, as colleagues bound by the exigencies of a highly mobile and technological war. It is these extended, expanded and new nursing roles that will be examined in the following chapter. Notes 1 Agnes Kathleen Dunbar Morgan, ‘My dearest mother’, letter 87 (September 1944), CMF, 2, IWM

in Negotiating nursing