Word: marinetti
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Dates: during 1960-1969
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...hopelessly provincial. However you define modernism, it is an international phenomenon. Yet Connolly leaves out Ibsen and Strindberg, Nietzsche and Rilke, Tolstoy and Chekhov, all of whom surely have "helped shape the contemporary mind" to a far greater degree than Ivy Compton-Burnett or Henri Michaux. What about Marinetti and Cavafy and Karel Capek and Federigo Garcia Lorca and other influential thinkers who did not happen to write in English or French...
...means exclusively a historian of Germany. During this term he also led a seminar in European socialism and communism in the interwar period; he has written a book on the Second International, and another on Three Intellectuals in Politics, Leon Blum, Walther Rathenau, and F.T. Marinetti. The last of the three, the Italian futurist painter who had so much in common with D'Anaunzio, is an especially illuminating corner of Joll's work: he confesses to fascination with the "links between artistic and social and political development" in this century, between "the breakdown of conventions in the arts...
Futurism got its name from the Italian Poet Filippo Tommaso Marinetti, who in 1909 issued a flamboyant manifesto calling for a new philosophy of art suitable to the age of the machine. Not Pegasus, he declared, but the racing car, "with its hood draped with exhaust pipes like fire-breathing serpents," should be the new symbol of poetry. "A racing car, rattling along like a machine gun, is more beautiful than the Victory of Samothrace." The artist should "sing the love of danger, the habit of energy and boldness...
...Burn the Museums!" Inspired by the Marinetti manifesto, a second appeared the next year signed by the painters Umberto Boccioni, Carlo Carrà, Luigi Russolo, Gino Severini and Giacomo Balla-futurism's big five. Among other things, it declared that THE NAME OF "MAD MAN" WITH WHICH IT IS ATTEMPTED TO GAG ALL INNOVATORS SHOULD BE LOOKED UPON AS A TITLE OF HONOR. The five themselves sounded a bit mad with anti-tradition slogans of "Burn the museums!" and "Drain the canals of Venice!" But their underlying purpose could not have been more serious. "We choose to concentrate...
...Annunzio's style, which according to Rhodes was "like that of Venetian glass, redundant and stuffed with reminiscences of Greek and Roman splendor. pseudo-Biblical, pseudomystical." A whole generation of Italian youth accepted his vision of life as an opera with bogus lyrics but real swords. Filippo Marinetti, founder and chief exhibitionist of the crackpot futurist cult (he later proposed kidnaping Pope Benedict XV in an airplane and dropping him into the Adriatic), hailed D'Annunzio as "the prodigious seducer, the ineffable descendant of Casanova and Cagliostro...