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Filippo Tommaso Marinetti: The Artist and His Politics explores the
politics of the leader of the Futurist art movement. Emerging in
Italy in 1909, Futurism sought to propel Italy into the modern
world, and is famously known for outlandish claims to want to
destroy museums and libraries in order to speed this transition.
Futurism, however, also had a much darker political side. It
glorified war as the solution to many of Italy's ills, and was
closely tied to the Fascist Regime. In this book, Ialongo focuses
on Marinetti as the chief determinant of Futurist politics and
explores how a seemingly revolutionary art movement, at one point
having some support among revolutionary left-wing movements in
Italy, could eventually become so intimately tied to the repressive
Fascist regime. Ialongo traces Marinetti's politics from before the
foundation of Futurism, through the Great War, and then throughout
the twenty-year Fascist dictatorship, using a wide range of
published and unpublished sources. Futurist politics are presented
within the wider context of developments in Italy and Europe, and
Ialongo further highlights how Marinetti's political choices
influenced the art of his movement.
On November 5, 2011 the John D. Calandra Italian American Institute
hosted a conference entitled "New Directions in Italian and Italian
American History: A Conference in Honor of Philip Cannistraro."
Cannistraro's work managed to revolutionize both the fields of
Italian history and Italian American history, and set in motion a
future generation of scholars who would take up many of the
questions he began raising so many years ago and, in turn, would
demand answers using the same rigorous methodology that
characterized his own work . . . This was Cannistraro's legacy: to
force new questions and lines of research in his two fields." -
from the Introduction
Filippo Tommaso Marinetti: The Artist and His Politics explores the
politics of the leader of the Futurist art movement. Emerging in
Italy in 1909, Futurism sought to propel Italy into the modern
world, and is famously known for outlandish claims to want to
destroy museums and libraries in order to speed this transition.
Futurism, however, also had a much darker political side. It
glorified war as the solution to many of Italy's ills, and was
closely tied to the Fascist Regime. In this book, Ialongo focuses
on Marinetti as the chief determinant of Futurist politics and
explores how a seemingly revolutionary art movement, at one point
having some support among revolutionary left-wing movements in
Italy, could eventually become so intimately tied to the repressive
Fascist regime. Ialongo traces Marinetti's politics from before the
foundation of Futurism, through the Great War, and then throughout
the twenty-year Fascist dictatorship, using a wide range of
published and unpublished sources. Futurist politics are presented
within the wider context of developments in Italy and Europe, and
Ialongo further highlights how Marinetti's political choices
influenced the art of his movement.
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