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Showing 1 - 25 of
25 matches in All Departments
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2019 (Hardcover)
Gunter Berghaus, Oleh S. Ilnytzkyj, Gabriella Elina Imposti, Christina Lodder
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R4,779
Discovery Miles 47 790
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Ships in 12 - 17 working days
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The ninth volume of the International Yearbook of Futurism Studies
is dedicated to Russian Futurism and gathers ten studies that
investigate the impact of F.T. Marinetti's visit to Russia in 1914;
the neglected region of the Russian Far East; the artist and
writers Velimir Khlebnikov, Vasily Kamensky, Maria Siniakova and
Vladimir Mayakovsky; the artistic media of advertising, graphic
arts, cinema and artists' books.
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2017 (Hardcover)
Mariana Aguirre, Rosa Sarabia, Renee M. Silverman, Ricardo Vasconcelos; Contributions by Gunter Berghaus, …
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R4,779
Discovery Miles 47 790
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Ships in 12 - 17 working days
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Futurism Studies in its canonical form has followed in the steps of
Marinetti's concept of Futurisme mondial, according to which
Futurism had its centre in Italy and a large number of satellites
around Europe and the rest of the globe. Consequently, authors of
textbook histories of Futurism focus their attention on Italy, add
a chapter or two on Russia and dedicate next to no attention to
developments in other parts of the world. Futurism Studies tends to
sees in Marinetti's movement the font and mother of all subsequent
avant-gardes and deprecates the non-European variants as mere
'derivatives'. Vol. 7 of the International Yearbook of Futurism
Studies will focus on one of these regions outside Europe and
demonstrate that the heuristic model of centre - periphery is
faulty and misleading, as it ignores the originality and
inventiveness of art and literature in Latin America. Futurist
tendencies in both Spanish and Portuguese-speaking countries may
have been, in part, 'influenced' by Italian Futurism, but they
certainly did no 'derive' from it. The shift towards modernity took
place in Latin America more or less in parallel to the economic
progress made in the underdeveloped countries of Europe. Italy and
Russia have often been described as having originated Futurism
because of their backwardness compared to the industrial
powerhouses England, Germany and France. According to this
narrative, Spain and Portugal occupied a position of
semi-periphery. They had channelled dominant cultural discourses
from the centre nations into the colonies. However, with the rise
of modernity and the emergence of independence movements, cultural
discourses in the colonies undertook a major shift. The revolt of
the European avant-garde against academic art found much sympathy
amongst Latin American artists, as they were engaged in a similar
battle against the canonical discourses of colonial rule. One can
therefore detect many parallels between the European and Latin
American avant-garde movements. This includes the varieties of
Futurism, to which Yearbook 2017 will be dedicated. In Europe, the
avant-garde had a complex relationship to tradition, especially its
'primitivist' varieties. In Latin America, the avant-garde also
sought to uncover and incorporate alternative, i.e. indigenous
traditions. The result was a hybrid form of art and literature that
showed many parallels to the European avant-garde, but also had
other sources of inspiration. Given the large variety of indigenous
cultures on the American continent, it was only natural that many
heterogeneous mixtures of Futurism emerged there. Yearbook 2017
explores this plurality of Futurisms and the cultural traditions
that influenced them. Contributions focus on the intertextual
character of Latin American Futurisms, interpret works of
literature and fine arts within their local setting, consider modes
of production and consumption within each culture as well as the
forms of interaction with other Latin American and European
centres. 14 essays locate Futurism within the complex network of
cultural exchange, unravel the Futurist contribution to the complex
interrelations between local and the global cultures in Latin
America and reveal the dynamic dialogue as well as the multiple
forms of cross-fertilization that existed amongst them.
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2013 (Hardcover)
Gunter Berghaus
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R4,410
Discovery Miles 44 100
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Ships in 12 - 17 working days
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The Futurist art movement, founded by F.T. Marinetti in 1909, had a
worldwide impact and made important contributions to avant-garde
movements in many countries and artistic genres. This yearbook is
designed to act as a medium of communication amongst a global
community of Futurism scholars. It has an interdisciplinary
orientation and presents new research on Futurism across national
borders in fields such as literature, fine arts, music, theatre,
design, etc. Apart from essays and country surveys it contains
reports, reviews and an annual bibliography of recent Futurism
studies. Vol. 1 (2011): Special Issue, Futurism in Eastern and
Central Europe Vol. 2 (2012): Open Issue Vol. 3 (2013): Special
Issue, Iberian Futurism Vol. 4 (2014): Open Issue Vol. 5 (2015):
Special Issue, Women Futurists Vol. 6 (2016): Open Issue For Vol.
1-3 please see also: http://www.degruyter.com/view/j/futur
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2015 (Hardcover)
Gunter Berghaus
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R4,792
Discovery Miles 47 920
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Ships in 12 - 17 working days
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The special issue of International Yearbook of Futurism Studies for
2015 will investigate the role of Futurism in the oeuvre of a
number of Women artists and writers. These include a number of
women actively supporting Futurism (e.g. Ruzena Zatkova, Edyth von
Haynau, Olga Rozanova, Eva Kuhn), others periodically involved with
the movement (e.g. Valentine de Saint Point, Aleksandra Ekster,
Mary Swanzy), others again inspired only by certain aspects of the
movement (e.g. Natalia Goncharova, Alice Bailly, Giovanna Klien).
Several artists operated on the margins of a Futurist inspired
aesthetics, but they felt attracted to Futurism because of its
support for women artists or because of its innovatory roles in the
social and intellectual spheres. Most of the artists covered in
Volume 5 (2015) are far from straightforward cases, but exactly
because of this they can offer genuinely new insights into a still
largely under-researched domain of twentieth-century art and
literature. Guiding questions for these investigations are: How did
these women come into contact with Futurist ideas? Was it
first-hand knowledge (poems, paintings, manifestos etc) or
second-hand knowledge (usually newspaper reports or personal
conversions with artists who had been in contact with Futurism)?
How did the women respond to the (positive or negative) reports?
How did this show up in their oeuvre? How did it influence their
subsequent, often non-Futurist, career?
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2012 (Hardcover)
Gunter Berghaus
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R4,056
Discovery Miles 40 560
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Ships in 12 - 17 working days
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The Futurist art movement, founded by F.T. Marinetti in 1909, had a
worldwide impact and made important contributions to avant-garde
movements in many countries and artistic genres. This yearbook is
designed to act as a medium of communication amongst a global
community of Futurism scholars. It has an interdisciplinary
orientation and presents new research on Futurism across national
borders in fields such as literature, fine arts, music, theatre,
design, etc. Apart from essays and country surveys it contains
reports, reviews and an annual bibliography of recent Futurism
studies. Vol. 1 (2011): Special Issue, Futurism in Eastern and
Central Europe Vol. 2 (2012): Open Issue Vol. 3 (2013): Special
Issue, Iberian Futurism Vol. 4 (2014): Open Issue Vol. 5 (2015):
Special Issue, Women Futurists Vol. 6 (2016): Open Issue For Vol.
1-3 please see also: http://www.degruyter.com/view/j/futur
This publication offers for the first time an inter-disciplinary
and comparative perspective on Futurism in a variety of countries
and artistic media. 20 scholars discuss how the movement shaped the
concept of a cultural avant-garde and how it influenced the
development of modernist art and literature around the world.
This volume gathers 16 papers originally written for the occasion
of the 49th Colston Symposium, held in Bristol in 1997, and
substantially revised for this publication. They reflect on some of
the key developments in the discipline of Theatre Studies over the
past fifty years and combine this with a discussion of new trends
and approaches, especially in the fields of Performance Studies,
reception analysis, interculturalism, sociocultural analysis,
theatre anthropology, dance and movement analysis,
computer-assisted reconstruction of performance venues, street
theatre, guerilla theatre, ritual theatre, etc.
Since the 1920s, an endless flow of studies has analyzed the
political systems of fascism, theseizure of power, the nature of
the regimes, the atrocities committed, and, finally, the wars waged
against other countries. However, much less attention has been paid
to the strategies of persuasion employed by the regimes to win over
the masses for their cause. Among these, fascist propaganda has
traditionally been seen as the key means of influencing public
opinion. Only recently has the "fascination with Fascism" become a
topic of enquiry that has also formed the guiding interest of this
volume: it offers, for the first time, a comparative analysis of
the forms and functions of theater in countries governed by fascist
or para-fascist regimes. By examining a wide spectrum of theatrical
manifestations in a number of States with a varying degree of
fascistization, these studies establish some of the similarities
and differences between the theatrical cultures of several cultures
in the interwar period.
The Handbook of International Futurism is the first reference work
ever to presents in a comparative fashion all media and countries
in which the movement, initiated by F.T. Marinetti in 1909,
exercised a particularly noteworthy influence. The handbook offers
a synthesis of the state of scholarship regarding the international
radiation of Futurism and its influence in some fifteen artistic
disciplines and thirty-eight countries. While acknowledging the
great achievements of the movement in the visual and literary arts
of Italy and Russia, it treats Futurism as an international,
multidisciplinary phenomenon that left a lasting mark on the
manifold artistic manifestations of the early twentieth-century
avant-garde. Hundreds of artists, who in some phase in their career
absorbed Futurist ideas and stylistic devices, are presented in the
context of their national traditions, their international
connections and the media in which they were predominantly active.
The handbook acts as a kind of multi-disciplinary, geographical
encyclopaedia of Futurism and gives scholars with varying levels of
experience a detailed overview of all countries and disciplines in
which the movement had a major impact.
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2016 (Hardcover)
Gunter Berghaus
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R4,782
Discovery Miles 47 820
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Ships in 12 - 17 working days
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Volume 6 (2016) is an open issue with an emphasis on Nordic
countries (Denmark, Finland, Lithuania, Estonia, Iceland). Four
essays focus on Russia, two on music; other contributions are
concerned with Egypt, USA and Korea. Furthermore there are sections
on Futurist archives, Futurism in caricatures and Futurism in
fiction.
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2011 (Hardcover)
Gunter Berghaus
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R4,773
Discovery Miles 47 730
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Ships in 12 - 17 working days
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Futurism in Eastern and Central Europe In the pasttwenty years,
there has been a remarkable upsurge of interest in Futurism in most
countries formerly situated east of the Iron Curtain. Although
Russian Futurism was always well-known, the multifaceted extensions
of Futurism in other Eastern countries were not much reported on in
Italy and nearly forgotten after 1945. However, since 1989, a
wealth of original material has been rediscovered, both in the
literary and the artistic field. In this volume, sixteen experts
present a wide spectrum of new findings on artists who operated
within the shifting coordinates of the international avant-garde
and contributed to the often osmotic relations between Futurism,
Dada and Constructivism. The essays include a discussion of the
multi-national character of Futurism in Central and Eastern Europe
and the colonialist absorption of avant-garde practices in the
Soviet Union; the Berlin directorate of the Futurist movement and
its modes of operation in the international avant-garde scene of
the 1920s; the infiltration of Futurism in the typographical
practices of Czechoslovakia, Hungary and Poland; the hitherto
almost unexamined contacts between Latvian artists and Futurism;
Polish Responses to Italian Futurism; the similarities and
differences between Zenitism and Futurism; the artistic ambitions
of the Ukrainian Pan-Futurists in the 1920s; the Futurist
experience in Transcaucasian Georgia; the reception of Futurist
ideas in the Activist circles of Hungary; the public presence of a
mute Futurism in the Czech avant-garde; Marinetti s visits to
Bucharest and Budapest in the 1930s; the hybrid identity of the
Bulgarian artist Diulgheroff and his career as an architect and
designer in Turin; the role of Italian Futurism in the Slovenian
interwar avant-garde; the aesthetic affinities and political
divergences between Italian and Romanian Futurism."
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2014 (Hardcover)
Gunter Berghaus
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R4,788
Discovery Miles 47 880
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Ships in 12 - 17 working days
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The International Yearbook of Futurism Studies was founded in 2009,
the centenary year of Italian Futurism, in order to foster
intellectual cooperation between Futurism scholars across countries
and academic disciplines. The Yearbook does not focus exclusively
on Italian Futurism, but on the relations between Italian Futurism
and other Futurisms worldwide, on artistic movements inspired by
Futurism, and on artists operating in the international sphere with
close contacts to Italian or Russian Futurism. Volume 4 (2014) is
an open issue that addresses reactions to Italian Futurism in 16
countries (Argentina, Armenia, Brazil, Egypt, France, Germany,
Great Britain, Greece, Holland, Hungary, Japan, Portugal, Russia,
Slovenia, Spain, USA), and in the artistic media of photography,
theatre and visual poetry.
Performance Research: On Ritual will examine a range of ritual
practices bordering on or intended to be seen as theatre. It will
explore both historical and systematic connections between ritual
and theatre, present the work of contemporary artists, and reflect
on the role and meaning of ritual for theatrical purposes in the
late 20th century.
Futurism began as an artistic and social movement in early
twentieth-century Italy. Until now, much of the scholarship
available in English has focused only on a single individual or art
form. This volume seeks to present a more complete picture of the
movement by exploring the history of the movement, the events
leading up to the movement, and the lasting impact it has had as
well as the individuals involved in it. The History of Futurism:
The Precursors, Protagonists, and Legacies addresses the history
and legacy of what is generally seen as the founding avante-garde
movement of the twentieth century. Geert Buelens, Harald Hendrix,
and Monica Jansen have brought together scholarship from an
international team of specialists to explore the Futurism movement
as a multidisciplinary movement mixing aesthetics, politics, and
science with a particular focus on the literature of the movement.
Futurism began as an artistic and social movement in early
twentieth-century Italy. Until now, much of the scholarship
available in English has focused only on a single individual or art
form. This volume seeks to present a more complete picture of the
movement by exploring the history of the movement, the events
leading up to the movement, and the lasting impact it has had as
well as the individuals involved in it. The History of Futurism:
The Precursors, Protagonists, and Legacies addresses the history
and legacy of what is generally seen as the founding avante-garde
movement of the twentieth century. Geert Buelens, Harald Hendrix,
and Monica Jansen have brought together scholarship from an
international team of specialists to explore the Futurism movement
as a multidisciplinary movement mixing aesthetics, politics, and
science with a particular focus on the literature of the movement.
Since the 1920s, an endless flow of studies has analyzed the
political systems of fascism, theseizure of power, the nature of
the regimes, the atrocities committed, and, finally, the wars waged
against other countries. However, much less attention has been paid
to the strategies of persuasion employed by the regimes to win over
the masses for their cause. Among these, fascist propaganda has
traditionally been seen as the key means of influencing public
opinion. Only recently has the "fascination with Fascism" become a
topic of enquiry that has also formed the guiding interest of this
volume: it offers, for the first time, a comparative analysis of
the forms and functions of theater in countries governed by fascist
or para-fascist regimes. By examining a wide spectrum of theatrical
manifestations in a number of States with a varying degree of
fascistization, these studies establish some of the similarities
and differences between the theatrical cultures of several cultures
in the interwar period.
Performance Research: On Ritual will examine a range of ritual
practices bordering on or intended to be seen as theatre. It will
explore both historical and systematic connections between ritual
and theatre, present the work of contemporary artists, and reflect
on the role and meaning of ritual for theatrical purposes in the
late 20th century.
"Futurism was the state of the Fascist regime" - this is the view
one encounters in most books written on Futurist art and
literature. Whilst there can be no doubt about Futurist involvement
with the founding of the fascist movement, little is known about
the internal relationship between Futurists and Fascists in the
years 1918-22, nor about the reasons for the Futurists' departure
from the Fascist movement in 1920, or about Futurist opposition to
(and even armed struggle against) the Fascist regime after 1924.
Whilst the public documents testifying to Futurist support of
Mussolini are well known, little has been written about Futurist
anti-fascism camouflaged as official adherence to the regime. This
study, based primarily on unknown or unpublished documents
discovered in state archives and private collections, presents a
new andfar more complex picture of the relationship of the two
movements than has previously been shown by critics and historians.
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2020 (Hardcover)
Gunter Berghaus
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R2,981
Discovery Miles 29 810
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Ships in 12 - 17 working days
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Volume 10 examines how the innovative impulses that came from Italy
were creatively merged with indigenous traditions and how many
national variants of Futurism emerged from this fusion. Ten essays
investigate various aspects of Italian Futurism and its links to
Austria, Georgia, France, Hungary and Portugual and in fields such
as Typography, Olfaction, Photography. Section 2 examines seven
examples of caricatures and satires of Futurism in the contemporary
press, followed by Section 3, reporting on the Archiv der
Avantgarden (AdA) in Dresden. Section 4 communicates bibliographic
details of 120 book publications on Futurism in the period
2017-2020, including exhibition catalogues, conference proceedings
and editions.
Italian Futurist Theatre provides an overview of the theatrical activities of the Italian Futurist movement, headed by F. T. Marinetti. It analyses the theory and practice of Futurist performance, covers the theatre work of all leading artists and writers of the movement, and discusses the main aims and achievements of their theatrical experiments. The main focus of the study is directed towards reconstructing the performance history of Futurist theatre. But it also incorporates aspects of dramatic writing, stage and costume design, theatre architecture, dance and opera, and is heavily illustrated.
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2018 (Hardcover)
Gunter Berghaus, Domenico Pietropaolo, Beatrice Sica
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R3,621
Discovery Miles 36 210
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Ships in 12 - 17 working days
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The eighth volume of the International Yearbook of Futurism Studies
is again an open issue and presents in its first section new
research into the international impact of Futurism on artists and
artistic movements in France, Great Britain, Hungary and Sweden.
This is followed by a study that investigates a variety of Futurist
inspired developments in architecture, and an essay that
demonstrates that the Futurist heritage was far from forgotten
after the Second World War. These papers show how a wealth of
connections linked Futurism with Archigram, Metabolism, Archizoom
and Deconstructivism, as well as the Nuclear Art movement,
Spatialism, Environmental Art, Neon Art, Kinetic Art and many other
trends of the 1960s and 70s. The second section focuses on Futurism
and Science and contains a number of papers that were first
presented atthe fifth bi-annual conference of the European Network
for Avant-Garde and Modernism Studies (EAM), held on 1-3 June 2016
in Rennes. They investigate the impact of science on Futurist
aesthetics and the Futurist quest for a new perception and rational
understanding of the world, as well as the movement's connection
with the esoteric domain, especially in the field of theosophy, the
Hermetic tradition, Gnostic mysticism and a whole phalanx of
Spiritualist beliefs. The Archive section offers a survey of
collections and archives in Northern Italy that are concerned with
Futurist ceramics, and a report on the Fondazione Primo Conti in
Fiesole, established in April 1980 as a museum, library and archive
devoted to the documentation of the international avant-garde, and
to Italian Futurism in particular. A review section dedicated to
exhibitions, conferences and publications is followed by an annual
bibliography of international Futurism studies, exhibition
catalogues, special issues of periodicals and new editions.
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2021 (Hardcover)
Gunter Berghaus, Monica Jansen, Luca Somigli
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R3,087
Discovery Miles 30 870
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Ships in 12 - 17 working days
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This volume explores the fraught relationship between Futurism and
the Sacred. Like many fin-de-siecle intellectuals, the Futurists
were fascinated by various forms of esotericism such as theosophy
and spiritualism and saw art as a privileged means to access states
of being beyond the surface of the mundane world. At the same time,
they viewed with suspicion organized religions as social
institutions hindering modernization and ironically used their
symbols. In Italy, the theorization of "Futurist Sacred Art" in the
1930s began a new period of dialogue between Futurism and the
Catholic Church. The essays in the volume span the history of
Futurism from 1909 to 1944 and consider its different
configurations across different disciplines and geographical
locations, from Polish and Spanish literature to Italian art and
American music.
The first part of the yearbook contains ten essays on Futurist art
and literature in Italy, France, Russia, Poland, Portugal and the
former colony of Goa. Among other things, early Futurist publishing
and propaganda initiatives by means of manifestos, press releases,
and newssheets are examined, as well as Athos Casarini's artistic
and political work undertaken in Italy and the USA. Articles in the
second part deal with the 30th anniversary of the international
Academy of Zaum as well as various conferences, exhibitions and
publications celebrating the centenary of Zenitism in Serbia and
Croatia. Critical responses to exhibitions, conferences and
publications as well as a bibliographical section with information
on 139 recent book publications on Futurism conclude the yearbook.
Este volumen agrupa tres textos sobre la violencia de F.T.
Marinetti (1876-1944): "Necesidad y belleza de la violencia" (I),
1910; "La necesidad de la violencia,"1910; y Necesidad y belleza de
la violencia (II), 1919. Fascinado por el gesto destructivo de los
libertarios, Marinetti ensalza en estos escritos la fuerza sanadora
de la guerra como principio fundamental del progreso, y teoriza la
idea futurista de violencia saludable, destruccion previa a la
construccion de un mundo nuevo.
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