Concerning itself mainly with secondary sources, a historiographical essay discusses the body of research, debate and discussion on a particular historical topic.
Ernest Ialongo Walter Adamson This article was downloaded by: To cite this article: The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information.
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Futurism was a social movement based on a fusion of aesthetic and political elements themselves typically fused that in many ways dramatized the attitudes of the New Right that emerged in early twentieth-century Europe.
Yet Italian Futurism is much more protean than any such one-dimensional understanding would suggest. Futurism was an innovator in the arts and continued to be one even in its waning days, as the essay by Christopher Adams in this issue of the Journal of Modern Italian Studies reminds us.
Futurism also recognized the importance of mass culture for the modern world and pioneered a form of avant-garde engagement that walked a fine line between commercialism and artistic autonomy. For while Marinetti self-consciously appropriated many of the values and marketing strategies of commodity culture in an effort to beat the rising entertainment industries at their own game, he also refused to allow exchange value to become the standard for judging art.
Futurism was also important at a social level, for example in the way it helped advance the agenda of women. Despite its celebration of masculinist ideals and unadorned misogynism, Futurism held a strong attraction for women anxious to escape the confines of traditional roles and to advance their own forms of creativity, as the essay by Erin Larkin suggests.
All of this marks Futurism as very much a movement of its time — of the tumultuous years leading up tothe war years themselves, and the soberer and anxiety-ridden but politically explosive years that followed the war and then culminated in a second one.
And yet, despite its contemporary relevance, the continued interest of scholars and graduate students in all things Futurist, and the never-ending production of dissertations, books in a variety of languages, scholarly articles, exhibits and Downloaded by [Ernest Ialongo] at Instead, the panel called for papers that specifically questioned standard notions regarding any aspect of Futurism and that sought to promote new areas of research.
Potential presenters were called upon to survey the state of the historiographical literature in their particular field of Futurist studies, and to seek out new interpretations in that field.
The result of that panel is the collection of papers published in this issue of the Journal of Modern Italian Studies. Walter Adamson acted as chair and commentator for the panel, and co-edited these articles with Ernest Ialongo.
Ialongo, Adams, and Larkin presented papers on the panel and subsequently revised and expanded their papers for publication here.
Ialongo investigates the various Futurist initiatives of the s Aeropittura, Arte sacra futurista, Cucina futurista, Naturismo. In many respects, Marinetti had found in Fascism the vehicle to advance the nationalist and imperialist goals he had been proclaiming since the foundation of Futurism.
Adams similarly confronts the historiographical consensus regarding Futurism in the s in his work. After explicating the relative paucity of research in this area — the result of a combination of moral revulsion at the Futurist—Fascist connection and the belief Futurism had lost its creative drive after World War I, and certainly by the s — Adams demonstrates how such broad judgements on Second Futurism miss the new directions Futurist art and poetry were following in the s.
Larkin also questions the broad judgements that are typically Downloaded by [Ernest Ialongo] at Benedetta Cappa Marinetti and Futurist women in general. We believe that these articles offer new interpretations in their particular fields for two main reasons.
The first involves their methods of research, and the second has to do with its scope.
Each of these articles pushes beyond interpretations of Futurist creative work — its visual art, poetry and novels — and taps into archives, letters, essays, interviews and newspaper articles, to enrich perspective.
Just as importantly, Ialongo, Adams, and Larkin all cast a wide net in the scope of their research, and consciously seek to break the divide between First and Second Futurism which has characterized much work in the field.
This divide is a consequence of seeking to preserve early Futurism from the stain of its connection to the subsequent Fascist regime. Instead, these articles emphasize the continuity between First and Second Futurism.
If scholars can find the value of Futurist art in spite of its politics in the era of First Futurism, Adams suggests, then an investigation into Futurist art of the s should also be within bounds. Their common belief is that trying to separate Futurist art and politics in order to insulate the former tends to obscure the study of a movement that itself did not make such a distinction.
Their goal is to contribute to what Adamson called for recently: Of course, because of their different foci, they reach different conclusions regarding the Futurist connection to Fascism.
He certainly does not wish to minimize the Futurist contribution to the Downloaded by [Ernest Ialongo] at At the same time, Benedetta was also representative of those Futurist women who did not accept a subordinate role in the Futurist movement or in society.
We offer these articles in the hope that new conversations in the study of Futurism provoked by the centenary will continue to bear fruit. We hope that the questions they raise on Futurist politics, art and gender, the answers they propose, and the methodologies they suggest, will all aid other scholars who similarly make their way through the endlessly fascinating, always rewarding, and perpetually relevant study of Italian Futurism.
Contingency, Irony, and Solidarity.A Historiographical Essay on Italian Futurist Women We will write a custom essay sample on A Historiographical Essay on Italian Futurist Women specifically for you FOR ONLY 38 9/page. How to cite this page. The article examines the Italian futurist movement for clues about how we ought to understand “avant-gardes.” It argues that the futurists (like subsequent early twentieth-century avant-gardes) should be understood as “aesthetic ironists,” that is, as inventors of new cultural vocabularies aimed both at overcoming anxieties of influence and at bringing a desirable cultural trajectory.
Historiographical Essay. Literacy Reading and Writing in the Medieval West. Modern Italian Art, London. “Futurist Aeropainting: A New Spirituality,” January 22, , given at the Estorick Italian Women in International Women’s Movements during the Cold War,” Futurism essaysMOVEMENT: FUTURISM (Futurismo – Italian) Futurism was an international art movement founded by Filippo Tommaso Marinetti in Italy.
Futurists were heavily influenced by Geometric abstracts, Machine art and Aeropittura ('aero-painting'). However, the style that was. In the present essay I seek to provide a survey of different historiographic strategies or approaches, which the historians of all the countries have used to reconstruct the patterns and attitudes having been created with the active participation of women within the general paradigm of Futurism in Italy.
Essay about Futurism: An Extinct Art Movement; Essay about Futurism: An Extinct Art Movement These wars had a disastrous effect on the Futurist movement, but Marinetti continued promoting it afterwards.
As World War I went on, behind the scenes, Italian Futurism came to an end. Filippo Marinetti and Futurism Filippo Marinetti is an.