International Yearbook of Futurism Studies. / Volume 7, : 2017 / / ed. by Mariana Aguirre, Rosa Sarabia, Renée M. Silverman, Ricardo Vasconcelos.

• Superior document: Title is part of eBook package: De Gruyter DG Plus DeG Package 2017 Part 1
• MitwirkendeR: Abreu, Mirhiane Mendes de,; Aguirre, Mariana,; Austria, Ramiro Armas,; Berghaus, Günter,; Bortulucce, Vanessa Beatriz,; Chytraeus-Auerbach, Irene,; Cisneros, Odile,; D’Ambrosio, Matteo,; Ehrlicher, Hanno,; Fabris, Annateresa,; Gardini, Ashley,; Griffiths, Jennifer,; Hanstein, Lisa,; Ilnytzkyj, Oleh S.,; Klich, Lynda,; Lee, Sze Wah,; Mattos, Romulo Costa,; Meazzi, Barbara,; Montenegro, Giovanna,; Montgomery, Harper,; Moreschi, Marcelo,; Mühlschlegel, Ulrike,; Rashkin, Elissa J.,; Read, Justin,; Salas, Claudio Palomares,; Sarabia, Rosa,; Segoviano, Carlos,; Silverman, Renée M.,; Subotić, Irina,; Sánchez, María Porras,; Sánchez-Pardo, Esther,; Vasconcelos, Ricardo,; Vidal, Daniel,; Zaramella, Enea,; Zurián, Carla,
• HerausgeberIn: Aguirre, Mariana,; Sarabia, Rosa,; Silverman, Renée M.,; Vasconcelos, Ricardo,
• Place / Publishing House: Berlin ;, Boston : : De Gruyter, , [2017]; ©2017
• Year of Publication: 2017
• Language: English
• Series: International Yearbook of Futurism Studies ; Volume 7
• Physical Description: 1 online resource (XLII, 528 p.)

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.

Table of Contents

Frontmatter -- Contents -- Editorial -- Editors′ Preface -- Section 1: Futurism in Latin America -- Estridentismo and Sonido Trece: The Avant-garde in Post-Revolutionary Mexico -- Indigenismo and Futurism in Latin America: José Carlos Mariátegui and the Peruvian Avant-garde -- Futurist Confrontations and Other Modes of Registering Modernity: Buenos Aires, 1924–1926 -- Vida-Americana: An Intercontinental Avantgarde Magazine -- Wet Gunpowder: Anarchism and Futurism Meet in Montevideo -- Martial Arts in Argentina: Futurism, Fascism and Leopoldo Lugones -- The Perverse Looks and Sounds of Caribbean Vanguards: Futurism in Cuba, Puerto Rico and the Dominican Republic -- Vicente Huidobro and William Carlos Williams: Hemispheric Connections, or How to Create Things with Words -- Futurism and Cubism in the Early Poetics of Mexican Estridentismo and Brazilian Modernismo -- Futurist Manifestos and Programmatic Texts of Brazilian Modernism -- A Cultural Icon of Ill-Repute: Marinetti and Brazilian Antifascism -- Futurism, Heroic Love and Fascism: Marinetti Interviewed by Flávio de Carvalho in São Paulo in 1936 -- Between Letters and Memoirs: Behind the Scenes of Futurism in Brazil -- Heavenly Heights, or Reign of the Dangerous Classes? F. T. Marinetti’s Visit to the Morro da Favela (1926) -- Section 2: Country Reports -- The Estridentista Movement in Mexico: A Poetics of the Ephemeral -- Section 3: Archive Reports -- The Ibero-American Institute in Berlin -- The Papers of Joaquín Torres-García and Rafael Barradas in the Museo Nacional Centro de Arte Reina Sofía and the Residencia de Estudiantes -- Section 4: Caricatures and Satires of Futurism -- Sketching Futurism: Güiraldes, Marinetti and Buenos Aires (1926) -- Marinetti in the Satirical Magazine Caras y caretas (Buenos Aires) -- Emilio Pettoruti in Buenos Aires, 1924–1926 -- Caricature as Strategy: An Estridentista Group Portrait -- Ramón Alva de la Canal’s Caricature of Diego Rivera’s Address to the Nation -- A Requiem on Futurism by Lauro Montanari in 1926 -- A Brazilian Cartoon about Marinetti’s Visit to a Favela in 1926 -- A Futurist Train Derailed in Brazil -- Section 5: Reviews -- The (R)Evolution of Modern Italian Painting: Divisionism and its Influence on the Futurist Avant-garde -- “Man Wanted”: An Exhibition on Zenitism in Gallery O3ONE, Belgrade -- Stridentism Revisited? -- Ukrainian Futurism: A New Anthology of Writings by Mykhail′ Semenko -- New Publications on Futurist Architecture -- Futurism and the ‘New’ Woman in Italy -- Section 6: Bibliography -- A. Bibliography of Publications on Futurism, 2014–2016 -- Section 7: Back Matter -- List of Illustrations and Provenance Description -- Notes on Contributors -- Name Index -- Subject Index -- Geographical index