Fascinating futurism
The historiographical politics of an historical avant-garde
Bibliographic Data
| ID | 18980705 |
|---|---|
| Authors | Walter L Adamson (Emory University, corresponding author) |
| Year | 2008 |
| Volume | 13 |
| Issue | 1 |
| Pages | 69-85 |
| Publication date | 2008-02-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Modern Italy (JOURNAL) |
| Journal identifiers | ISSN: 1353-2944 • E-ISSN: 1469-9877 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1080/13532940701765908 |
| OpenAlex | W2044383320 |
| Language | EN |
| Citations received | 6 |
| References cited | 10 |
The Italian futurist movement and its founder, F.T. Marinetti, have stimulated a vast historiography. Why has futurism fascinated so many and how, in particular, have the futurism-fascism and Marinetti-futurism relationships been conceived? To answer such questions, this article surveys nearly five decades of scholarship on futurism. It shows how futurism's fascist trajectory has polarised it and led scholars to a wide variety of positions. Some scholars limit themselves to the ‘heroic years’ up to 1916; others focus on ‘second futurism’ after 1915 without much reference to Marinetti; and still others treat futurism's ‘multiplicity’ using a centre-periphery model with Marinetti at the centre. Similarly, some insist on futurism's continuously ‘revolutionary’ character, others limit that claim, and still others deny it altogether. It is argued that recent biographical work on Marinetti has helped to clarify how one ought to approach and resolve these differences, but that scholarship on futurism nonetheless remains intensely politicised
Aesthetics · Art · Art history · Futurist · Historiography · Literature · Political science · Politics · Scholarship · Communism, Protests, Social Movements · Historical Geopolitical and Social Dynamics · History · Italian Fascism and Post-war Society · Law · Philosophy
| Citations per year | 0.35 |
|---|---|
| Citation span | 2009 - 2024 (16) |
| Highly cited | No |