International Yearbook of Futurism Studies. / Volume 5, : 2015 / / Günter Berghaus.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE COMPLETE 2015
• TeilnehmendeR: Berghaus, Günter,
• Place / Publishing House: Berlin ;, Boston : : De Gruyter, , [2015]; ©2015
• Year of Publication: 2015
• Language: English
• Series: International Yearbook of Futurism Studies ; Volume 5
• Physical Description: 1 online resource (698 p.)
• Other title: Frontmatter --; Contents --; Editorial /; Section 1: Women Artists and Futurism --; Alice Bailly, Ambassador of Futurism in Switzerland /; Narratives of Women Artists in/ out of Vorticism /; Beyond the Frame: Reassessing Jessie Dismorr and Helen Saunders /; Mary Swanzy (1882-1978): A Futurist Painter from Ireland /; Valentine de Saint-Point: A Futurist Woman? /; Flirting with Futurism: Norah Borges and the Avant-garde /; Růžena Zátková: An Unorthodox Female Futurist /; Penetrating Men's Territory: Russian Avant-garde Women, Futurism and the First World War /; Olga Rozanova: A True Futurist /; Tatiana Vechorka: A Futurist Poetess in Tbilisi, Baku and Moscow /; Alexandra Exter 1908-1914: Futurist Influences from Russia and the West /; Elena Guro: On the Crossroads between Symbolism, Organicism and Cubo-Futurism /; Nina Henke-Meller and Ukrainian Futurism /; Eva Amendola Kühn (Magamal): A Futurist of Lithuanian Extraction /; Magamal in Fiction: A Novel by Mira Otašević /; Edyth von Haynau: A Viennese Aristocrat in the Futurist Circles of the 1910s /; "The Pleasure of Being at the Wheel": The Mechanical Aesthetics of Gertrude Stein and F.T. Marinetti /; Rea Nikonova and the Legacy of Russian Futurism /; Section 2: Caricatures and Satires of Futurism in the Contemporary Press --; Matilde Serao's Battle with the Futurists in Naples /; The Ego-Kubo-Rayo-Donkey-Tail-Futurists: About a Russian Cartoon of 1913 /; Gecé's Angelic Depiction of Norah Borges /; Art and Anarchy: Futurists and Suffragettes in London, 1910-1915 /; Section 3: Reports --; The International Academy of Zaum /; Women Futurists in Italy: A Research Report /; Section 4: Obituary --; Serge Segay (1947-2014): An Obituary /; Section 5: Reviews --; Futurism and War: A Conference in Zagreb (28-29 June 2014) /; Futurist Utopias /; The Jack of Diamonds Disputes at the Courtauld Institute, London (24 October and 7 November 2014) /; (Re)Constructing the Futurist Universe: Toward a More Careful and Complete Historiography /; Gerardo Dottori at the Estorick Collection /; The Russian Avant-garde and Its Eastern Roots /; Futurism in Latin America: An Exhibition at the Ibero-American Institute in Berlin /; A New Analysis of Futurist Manifestos /; The Dramaturgy of Sound in Futurist Theatre /; Futurism in the Far East /; Section 6: Bibliography --; A Bibliography of Publications on Futurism, 2012-2014 --; Section 7: Back Matter --; List of Illustrations and Provenance Descriptions --; Notes on Contributors --; Name Index --; Subject Index --; Geographical Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9783110422818; 9783110439687; 9783110438673
• DOI: 10.1515/9783110422818
• Hierarchical level: Monograph
• Statement of Responsibility: Günter Berghaus.

The special issue of International Yearbook of Futurism Studies for 2015 will investigate the role of Futurism in the œuvre of a number of Women artists and writers. These include a number of women actively supporting Futurism (e.g. Růžena Zátková, Edyth von Haynau, Olga Rozanova, Eva Kühn), 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 œuvre? How did it influence their subsequent, often non-Futurist, career?