Testimonianze e chiose sul futurismo: Nino Pino Balotta e Umberto Boccioni

L’avanguardia futurista ha compiuto la rivoluzione copernicana delle arti; la sua grammatica, che ha innovato la lingua italiana, è stata un modello per la letteratura del tempo. Specchio della modernità, ha creato il mito dell’industrializzazione, della civiltà delle macchine, della tecnologia, del dinamismo universale, del vitalismo titanico, del bellicismo, del riscatto sociale, dell’italianismo, contro ogni nostalgia passatista. Come non si può staccare un fiore dalle radici, così nel movimento futurista non è possibile scindere nettamente il momento estetico dal contesto politico in cui è fermentato. La sua ideologia politica ha guardato a destra e a sinistra. Con gli occhi di Nino Pino Balotta, poeta e scienziato siciliano, personaggio controverso, ispirato dall’ideologia socialista, seguace e coscienza critica del movimento, viene qui letta una prima parte della vicenda futurista. Per la seconda, vale il racconto critico dalla genesi ai felici, odierni, esiti della poetica futurista, incluse le vicende storiche del futurismo di sinistra e di destra, con le posizioni non monolitiche di Filippo Tommaso Marinetti. Irrompe, nella terza, il vulcanico Umberto Boccioni, anch’egli socialista eterodosso.

O RÁDIO NA ESTÉTICA DO FUTURISMO ITALIANO: O MANIFESTO LA RADIA

<p>Este artigo apresenta, pela primeira vez em língua portuguesa, o Manifesto <em>La Radia</em>, escrito em 1933 por Filippo Tommaso Marinetti e Pino Masnata, nomes do Futurismo italiano. O manifesto em questão assinala um dos elementos importantes na poética da vanguarda naquele momento, a saber, a celebração da máquina, porém desta vez não mais tendo o automóvel ou o avião como únicos paradigmas, mas abarcando todos os aparelhos e dispositivos que caracterizam a sociedade moderna. Neste sentido, o Futurismo passou a se dedicar a aspectos que transcenderam o caráter material das máquinas, enfatizando os potenciais intangíveis, metafísicos e espirituais destas, interessando-se cada vez mais pelas teorias científicas. Neste contexto, o rádio tomaria a posição central da máquina que não somente é uma revolução tecnológica <em>per se</em>, mas que concentra possibilidades comunicativas que vão muito além daquilo que se conhecia.</p>

MANIFESTO FUTURISME FILIPPO TOMMASO MARINETTI DAN PROGRESIVISME AGRESIF DALAM SEJARAH

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.

FILIPPO TOMMASO MARINETTI STUDENTE DI GIURISPRUDENZA A PAVIA

Filippo Marinetti, the founder of Futurism, was born on December 22, 1876, in Alexandria (Egypt) and in that town he accomplished also his course of classical studies, first in a jesuit college and last year attending a detachment of the Academie de Paris. In 1894 he moved to Italy, and entered the Faculty of Law at the University of Pavia, where he attended till the third course with scant success. On november 1897 he was transferred to the University of Genova.

FILIPPO TOMMASO MARINETTI STUDENTE DI GIURISPRUDENZA A PAVIA

Filippo Marinetti, the founder of Futurism, was born on December 22, 1876, in Alexandria (Egypt) and in that town he accomplished also his course of classical studies, first in a jesuit college and last year attending a detachment of the Academie de Paris. In 1894 he moved to Italy, and entered the Faculty of Law at the University of Pavia, where he attended till the third course with scant success. On november 1897 he was transferred to the University of Genova.

1936. La pluma y la espada. Marinetti, Puccini y Ungaretti en el PEN Club argentino

El artículo propone una lectura en clave política del desembarco en Buenos Aires de tres ilustres escritores —Filippo Tommaso Marinetti, Giuseppe Ungaretti y Mario Puccini— con motivo de la celebración del XIV Congreso Internacional del PEN Club argentino. Con el propósito de discernir si los intelectuales viajan como embajadores de las letras italianas o bien como propagandistas del régimen de Mussolini, se reconstruyen los respectivos calendarios de viaje, se rescatan de las notas de prensa de la época las conferencias dictadas durante las tournées y se recogen las impresiones vertidas sobre el país anfitrión en sus bitácoras de viaje.

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

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.