scholarly journals MANIFESTO FUTURISME FILIPPO TOMMASO MARINETTI DAN PROGRESIVISME AGRESIF DALAM SEJARAH

DIALEKTIKA ◽  
2019 ◽  
Vol 12 (2) ◽  
pp. 158
Author(s):  
Victor Delvy Tutupary
Keyword(s):  
Filippo Tommaso Marinetti ◽  
Avant Garde

Abstrak Penulisan karya ilmiah yang berjudul “Manifesto Futurisme Filippo Tommaso Marinetti dan Progresivisme Agresif dalam Sejarah” bertujuan untuk memaparkan pemikiran Marinetti mengenai filsafat sejarah dan bagaimana konsekuensinya bagi kesadaran ontologis manusia sebagai makhluk yang menyejarah. Tulisan ini dilatarbelakangi oleh kegelisahan eksistensial mengenai modernitas yang menawarkan perubahan dan kemajuan dengan cepat namun menyisakan lubang kehampaan di dalam diri manusia modern. Penelitian ini merupakan penelitian kepustakaan, yang dilaksanakan melalui tahapan inventarisasi data, pengklasifikasian dan reduksi data, analisis data, dan penyajian data. Data-data dalam penelitian ini dianalisis menggunakan metode interpretasi, heuristika, holistika, dan kesinambungan historis. Manifesto futurisme yang dimaklumatkan oleh Marinetti memandang gerak sejarah secara linier. Alur sejarah selalu bergerak maju ke depan secara progresif agresif dengan menghancurkan tradisi masa lampau. Futurisme menempatkan kecepatan menjadi simbol kemajuan, dan menjadi standar nilai moralitas dan estetis yang baik dan indah, sedangkan kelambanan adalah kejahatan. Futurisme yang progresif agresif dalam seni berhasil membuka ruang kreativitas yang baru dan inovatif, melahirkan aliran-aliran seni avant-garde yang mengubah sejarah estetika. Progresivisme agresif melahirkan invensi teknologi yang cepat dan semakin canggih, sehingga hidup manusia menjadi semakin mudah. Namun, progresivisme agresif mempunyai sisi yang negatif dan destruktif. Kemajuan yang terlalu mendewakan kecepatan, rasio, dan maskulinitas telah menyisakan kekosongan dalam diri manusia modern. Kekosongan tersebut dapat diisi oleh kelambanan yang reflektif untuk mere-evaluasi nilai-nilai hidup dengan menengok kembali pada nilai-nilai luhur tradisi. Kelambanan tersebut menciptakan jeda untuk mengkontemplasikan kembali makna keberadaan manusia dalam arus deras sejarah yang selalu berubah.

scholarly journals Allies and Enemies: Periodicals as Instruments of Conflict in the Florentine Avant-garde (1903-15)

2018 ◽  
Vol 3 (1) ◽  
Author(s):  
Anna Baldini
Keyword(s):  
Sociological Theory ◽  
Filippo Tommaso Marinetti ◽  
Cultural Institutions ◽  
Avant Garde ◽  
The Press ◽  
Literary Writing

In 1903 Giovanni Papini, a 22 year-old aspiring philosopher who would soon channel his rampant ambition into literary writing, was a founder of the philosophy magazine Leonardo (1903-7). A group of young intellectuals and artists, here defined as the Florentine avant-garde,  gathered around this periodical and its successors, La Voce (1908-1916) and Lacerba (1913-15). By drawing on Bourdieu’s sociological theory of cultural fields, this essay explores how the intellectuals writing for these periodicals established a powerful intellectual network and criticized the cultural institutions of the period: universities, the press, the literary and the artistic markets. By tracing individual biographies and intellectual trajectories, this essay also highlights the conflicts that arose within the Florentine avant-garde and between it and the Futurists led by Filippo Tommaso Marinetti. 

On Disciplinary Finitude

PMLA ◽  
2017 ◽  
Vol 132 (3) ◽  
pp. 505-512 ◽  
Author(s):  
Jeffrey T. Schnapp
Keyword(s):  
Los Angeles ◽  
Architectural History ◽  
University Of California ◽  
Filippo Tommaso Marinetti ◽  
Speed Limits ◽  
Avant Garde ◽  
The Social ◽  
History Of ◽  
Social Environmental ◽  
The University

The year 2008 was one of fruitful disjunctions. I spent the fall teaching at Stanford but commuting to the University of California, Los Angeles, to cochair the inaugural Mellon Seminar in Digital Humanities. During the same period, I was curating—at the Canadian Center for Architecture, in Montreal—an exhibition devised to mark the centenary of the publication of “The Founding Manifesto of Futurism,” by Filippo Tommaso Marinetti. Whereas other centennial shows (at the Centre Pompidou, in Paris, and at the Palazzo Reale, in Milan) sought to celebrate the accomplishments and legacies of Marinetti's avant-garde, the Canadian exhibition, Speed Limits, was critical and combative in spirit, more properly futurist (though thematically antifuturist). It probed the frayed edges of futurism's narrative of modernity as the era of speed to reflect on the social, environmental, and cultural costs. An exhibition about limits, it looked backward over the architectural history of the twentieth century to look forward beyond the era of automobility.

Marinetti, Filippo Tommaso (1876–1944)

2018 ◽  
Author(s):  
Maria Elena Versari
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Performing Arts ◽  
Filippo Tommaso Marinetti ◽  
Avant Garde ◽  
The Public ◽  
The Creation ◽  
Stage Performances ◽  
Verbal Relations ◽  
Free Word

Filippo Tommaso Marinetti was founder and leader of Futurism, the first intellectual and artistic movement that explicitly defined the codes of avant-garde practice in the twentieth century. His work extended across a multiplicity of fields: journalism, poetry, literature, theater, visual arts, politics, but it’s probably his all-encompassing activity as a cultural leader and fosterer of innovation that made him one of the preeminent intellectuals of his time. He implemented and systematized the practice of diffusing avant-garde ideas through manifestos, performances, and happenings, capitalizing on a deliberately magnified antagonistic relation with the tastes of the public at large. His experimentations in visual/verbal relations and stage performances, which led to the creation of free-word poetry and synthetic theater, were pivotal for the development of new modernist codes in poetry and the performing arts.

scholarly journals Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature

2019 ◽  
pp. 90-101
Author(s):  
Aneta Joanna Pawłowska
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Stephane Mallarme ◽  
Filippo Tommaso Marinetti ◽  
Concrete Poetry ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
Starting Point ◽  
In The Beginning ◽  
19Th And 20Th Century

The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

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