bluuebunny/crossref_metadata_2025_split huggingface dataset:
Writing Women In The Golden Age
Authors: Smith Paul Julian 
Published: November 2023

Abstract
In the presidential address he delivered to the Modern Language Association of America in 1986 J. Hillis Miller’ notes how the ‘triumph of theory’ has been linked to an additional (and sometimes contradictory) move towards the study of the material base: history, culture, society, politics, and gender (p. 283). This internal cleavage (which cannot be reduced to simple opposition) is reproduced within the most successful of the new critical movements, that of women’s studies. One great contribution made by this field is that it has superseded the old dichotomies of public and private, literary and social, by proposing a politics of the body which cannot be confined within the traditional restraints. There has also been a secondary benefit. Women’s studies have opened up a discursive space in which men can also attempt to examine their own practice as critics.
Galdòs, Valera, Lacan
Authors: Smith Paul Julian 
Published: November 2023

Abstract
To attempt a reading of the nineteenth-century novel in the light of psychoanalytic theory is to be confronted by a series of obstacles. Would-be psychoanalytic critics often deal in archetypes (the negation of history) and prescription (the normalization of the subject). They seek to dissect the author or character, as if the first were immediately accessible and the second endowed with autonomous existence. And they are frequently tempted by the lure of the allegorical reading, that which substitutes latent for manifest (penis for pen) in the quest for ‘original’ or ‘authentic’ meaning invisible, yet accessible, beneath the surface accident of the text. All of the above tendencies I call ‘psychologist’ rather than ‘psychoanalytical’. That is, they constitute a vulgarized simplification of the enterprise initiated by Freud. In her book Psychoanalytic Criticism: Theory in Practice (London and New York, 1984) Elizabeth Wright suggests an attractive model for the critic who seeks to reconcile history and subjectivity, language and mind, in a properly rigorous manner. She writes: ‘Psychoanalysis explores what happens when primordial desire gets directed into social goals, when bodily needs become subjected to the mould of culture. Through language, desire becomes subject to rules, and yet this language cannot define the body’s experience accurately’ (p. 1). The lack of correlation between desire and culture is stated very clearly here: the linguistic and the somatic intersect (but do not coincide) in the figure of the body.
Neruda, Vallejo, Marx
Authors: Smith Paul Julian 
Published: November 2023

Abstract
Marxist literary theory is currently unfashionable in Europe and the United States. This is partly the result of the critiques it has suffered at the hands of such thinkers as Foucault and the apostles of post-modernism. But perhaps the most damaging charge made against orthodox Marxism is that it cannot provide an adequate answer to the questions raised by gender and sexuality. Typical of recent criticism is Toril Moi’s claim that while Marxism has proved valuable as a precedent for the (feminist) study of significant gaps or absences in hegemonic texts, there is now no coherent body of Marxist-feminist theory to challenge the dominance of the French and North American schools (Sexual/Textual Politics, pp. 93-4). In the seventies a number of mainly British women did indeed attempt syntheses of Marxism and feminism. Thus Ann Foreman, for example, compares the position of woman to that of the proletariat in Femininity as Alienation (London, 1977):
The Myth of the Seigneur
Authors: Dine Philip 
Published: November 2023

Abstract
Having considered the preoccupation, as much journalistic as artistic, with the elite combat units which formed the cutting edge of the French military presence in Algeria, it is now possible to examine the literary imaging of the men responsible for deploying both these forces and the mass of drafted military manpower: that is to say, the senior officers in charge of the paratroopers’ search and-destroy missions and the conscripts’ quadrillage duties. Of these senior ranks, that of colonel is by far the most important, both in literary and historical terms: a fact which may straightforwardly be understood in terms of the post-ludo-China politicization of the French officer corps, and especially of those colonels commanding the parachute regiments in Algeria.
Anti-Colonialist Commitment: Camus’s Uninvited Guest
Authors: Dine Philip 
Published: November 2023

Abstract
Since Camus’s premature death in 1960, two tendencies have become apparent in critical studies of his work. Most commentators have tended to concentrate on the ‘universal’ novelist and philosopher: the popular perception of Camus as what one of his most memorable characters, Tarrou in La Peste [published as The Plague], describes as ‘un saint sans Dieu’ [a saint without God]. They have consequently played down the properly Algerian dimension of Camus’s writing, and especially the pied-noir specificity of his fiction. Thus it is that an American critic can argue that: ‘The Guest [‘L’Hote’] has nothing to teach about the Algerian conflict, except insofar as its problems were those of all conflicts, in all ages and in all places, between all sorts of people and for all sorts of reasons’.
Identity and Identification
Authors: Wilson Emma 
Published: November 2023

Abstract
In Le Temps retrouvé Proust, meditating on identification and desire, makes reference to the potential of a queer reader. He begins in definite terms: ‘ ’ écrivain ne doit pas s’offenser quel’inverti donneéses héro’ines un visage masculin’. Indeed This statement itself, and the way in which it is framed in the text, are of specific relevance to my argument here. In the chapter that follows I will stress that it is of some considerable significance that Proust should make use of the dislocating ex­perience of the queer reader, who reads against the constraints of a socially and textually coercive heterosexual matrix, in order to develop a theory of reception which undermines authorial intention and authority, and privileges instead the act of the interpreter.
Reading Albertine’s Sexuality; or, ‘Why not Think of Marcel Simply as a Lesbian?’
Authors: Wilson Emma 
Published: November 2023

Abstract
I began the previous chapter by alluding at some length to the model of reading differently offered by Proust in Le Temps retrouvé. In the chapter that follows I will question how far Proust may be seen to engage his own reader in a reading practice which becomes necessarily a performance of destabilized desire. If, in dramatizing the narrator’s deluded quest for knowledge of Albertine, Proust may be seen both to form and reflect the experience of his external reader, what effect may this be said to have on our own construction of desire? What, indeed, are the effects of the proximity posited by Proust between reading and desire? And what is the possible effect of a desiring reader on the text? In a recent study of sexuality in Proust’s A la recherche du temps perdu^ Kaja Silverman asks the leading question: ‘Why not think of Marcel simply as a lesbian?’ This seems effectively a new turn in analyses of desire in Proust. Albertine, the character whose name appears most frequently in Proust’s novel, has long been the focus of intense critical debate where Proust’s analysts seek to answer questions which Proust’s own narrator appears to find insoluble.
Jorge Eduardo Eielson: The Boundaries of the Poem
Authors: Rowe William 
Published: November 2023

Abstract
Eielson’s writings, particularly since 1950, explore what happens when the visual space occupied by a text becomes an inherent part of the work itself and the way it is read, rather than a material support of little importance. In this sense, it forms part of a tradition whose leading exponent is Mallarme. Nevertheless, as will be seen, Eielson extends the role of the visual space in poetry into new areas, radically redefining literary language and establishing a link with the cosmology of the past seventy years.
Marinetti ‘s Early Writings And Aesthetics: A Prelude To Futurism
Authors: Berghaus Günter 
Published: November 2023

Abstract
Emilio Angelo Carlo Marinetti, who later called himself Filippo Tommaso, was born in 1876, in Alexandria in Egypt, as the second son of the Piedmontese lawyer Enrico Marinetti and Amalia Grolli, daughter of a literary professor from Milan. Marinetti senior had come to Egypt with the hope of making his fortune in the European community residing in the country. He set up a lawyer ‘s office in Alexandria, where he conducted civil litigation and court cases, as well as giving advice on financial deals. When his two children reached school age, they were sent to a French institution run by Jesuit priests. The College Saint-Frarn;:ois-Xavier was a school for the foreign elite. It was international in outlook, had an arts-based curriculum, and pursued a solidly Catholic educational programme. Tuition at the school was conducted in French, which became like a second mother tongue to Filippo Tommaso. From an early age, Marinetti was a prolific writer of poetry. In order to see his works published he founded his own magazine, Le Papyrus: Revue bi-mensuelle litteraire) artistique) fantaisiste et mondaine. Twenty-one numbers appeared between February 1894 and January 1895, and they had a remarkably professional touch. Marinetti ‘s own contributions not only included poems, but also essays on literary questions, new artistic trends, and political issues.
The Founding Of The Futurist Movement And The First Manifestos
Authors: Berghaus Günter 
Published: November 2023

Abstract
In 1908, Marinetti undertook his first attempts at founding a new literary movement, which he intended to name Elettricismo or Dinamismo. He was certainly qualified to function as the leader of such a school. He had achieved literary success with his poems, notoriety with his play Le Roi Bombance, popular fame with his many public appearances as a declaimer and agitator. He had become a celebrity, who had entered the gossip columns of magazines and whose face turned up in popular caricatures2 - a clear indication that he had become a household name on the Italian cultural scene.
Political Action Theatre As A Performative Genre
Authors: Berghaus Günter 
Published: November 2023

Abstract
From the inception of the Futurist movement, Marinetti made it quite clear that he saw in it not only an artistic, but also a social and political force of innovation. His project of renewal encompassed all aspects of human existence, and was conceived as a total and permanent revolution. What was later called ‘Futurist Reconstruction of the Universe ‘ was aimed at a transformation of life in both its physiological and psychological aspects, and especially of the social and cultural political conditions in the modern metropolis. The aim of the Futurist movement was not just to bring about an aesthetic revolution, but to effect a total overhaul of society. The Foundation and Manifesto of Futurism implied that the one could only be realized in conjunction with the other. Hence Marinetti ‘s exultation of the masses and the world of industrial labour, of political agitation, strikes, and especially, of the anarchists ‘ violent actions in their destructive and creative forms. Futurism was conceived as a means of bridging the gap between art and life. Life was to be changed through art, and art was to become a form of life. It was Marinetti ‘s firm belief that artists with their superior creativity, intuition, and vitality had an important contribution to make to this process of renewal. From developing a programme of change in art and life it was a natural and logical step to enter into the political arena and to become engaged in the political struggles of the era. However, as Marinetti emphasized in several interviews and articles of the period, the Futurists were not to become like professional politicians (the ‘merchants of arguments who prostitute their brains in shops erected for the sale of subtle ideas and chiselled syllogisms ‘). He aimed at an ‘aestheticization of politics ‘ and a ‘politicization of aesthetics ‘, which was probably best demonstrated in the performative genre which I shall refer to as ‘political action theatre ‘.
Futurist Dramatic Theory: The Early Manifestos
Authors: Berghaus Günter 
Published: November 2023

Abstract
In 1909/ro, the Futurists found themselves in a situation where a theatrical reform and the creation of a new type of drama required a radical change in all aspects of theatrical production: from the function of theatre in society to audience expectations, from the form of plays to their mise-en-sci:ne, from acting to scenography. It is to the merit of the Futurists that they confronted all these problems and produced many original suggestions as to how the grave deficiencies of the theatre of their time could be remedied. Understandably, they were not able to try out all of their theories on stage; and when they did have a chance to put their ideas to a test, not all of these experiments were successful. But throughout the first ten years of the movement ‘s existence the Futurists made conscious efforts to free themselves from the conventions and rules of traditional theatre. They sought to rely on their own inventiveness and to create alternative models to the theatrical practice of their time. Early Futurist acting theory, for example, had nothing in common with any of the existing performance styles, but was entirely derived from Marinetti ‘s own experience as a declaimer. Similarly, early Futurist drama, the sintesi, did not follow the established patterns of short one-act dramas, but was a combination of experiments made during the serate and of attempts to capture modern life in brief, condensed forms of theatre.
Futurism And The Professional Theatre: The First Companies Touring With A Futurist Repertoire
Authors: Berghaus Günter 
Published: November 2023

Abstract
After the Italian theatre world had been introduced to the budding FrancoItalian dramatist F. T. Marinetti, by means of a production of the preFuturist play, Poupees electriques (see above, pp. 32 5), the author undertook no further attempts to establish Futurism as a new force in the Italian repertory theatre. Instead, he concentrated on organizing an effective publicrelations campaign to propagate the aims of his movement. The use of theatre buildings for this purpose was nothing unusual in a country where the majority of the population was unable to read a newspaper or a manifesto. The serate were initially conceived as a propagandistic tool. But over the years, they served as an important laboratory for a new aesthetics of performance and the development of Marinetti ‘s concept of art as action.
Theatre Performances In Art Galleries
Authors: Berghaus Günter 
Published: November 2023

Abstract
The expansion of the Futurist movement into the fine arts was first signalled to the general public through the publication of a number of manifestos: Manifesto of Futurist Painters (II February 19rn), Technical Manifesto of Futurist Painting (II April 19rn), Futurist Sculpture (II April 1912), and Painting of Sounds, Noise and Odours (II August 1913). The first examples of Futurist paintings and sculptures were presented in March/April 19rn in an exhibition of the Famiglia Artistica in Milan, followed by a number of mixed shows in Venice CTuly 19rn) and Milan CTuly 19rn, December 19rn, April 19II, December 19II). The participation of Futurist artists in these exhibitions was undoubtedly a significant achievement, but the real breakthrough of Futurist painting and sculpture on the international art scene only occurred in 1912/r3 with the opening of the touring exhibition of Futurist art works at the Galerie Bernheim Jeune in Paris (5 February 1912). The show was reviewed in many French, Italian, German, and English newspapers and attracted large audiences when it travelled to London (March 1912), Berlin (April 1912), Brussels CTune 1912), Amsterdam (September 1912), Chicago (March 1913), and Rotterdam (May 1913). Other important Futurist exhibitions were held in London (at the Marlborough Gallery in April 1913 and at the Dore Galleries in April 1914), in Paris (at the Galerie La Boetie in June/July 1913), and in Berlin (at the Stumz Gallery in November 1913). In 1913/r4 there were also several Futurist exhibitions in Rome, Florence, and Milan.
Enrico Prampolinl ‘s Early Futurist Career
Authors: Berghaus Günter 
Published: November 2023

Abstract
Enrico Prampolini (1894-1954) was born in Modena and came to Rome, probably in 19rr, to take up his training at the Academy of Fine Arts under the guidance ofDuilio Cambellotti. He was an assiduous visitor to art exhibitions and frequented with equal enthusiasm the theatres, opera houses, and concert halls of the capital. He developed a friendship with the music critic Vittorio Podrecca and immersed himself in musical theory, especially the Wagnerian concept of Gesamtkunstwerk (a Total Work of Art), which was to occupy a prominent position in his own theoretical writings.
Fortunato Depero ‘S Theatrical Experiments Of The 1910s
Authors: Berghaus Günter 
Published: November 2023

Abstract
Fortunato Depero (1892-1960) arrived in Rome in December 1913. He was 21, penniless, and had been attracted to the capital by the news circulating in his hometown about the Futurist renewal of Italian culture. He was born in Fondo in the Trentino and grew up in Rovereto, a small town then belonging to the Austro-Hungarian empire. His education had been mitteleuropean in outlook, and his first artistic attempts in the fields of literature and drawing followed the models of Jugendstil, Art Nouveau, and Symbolism. After failing the entrance exam at the Academy of Arts in Vienna, Depero took up an apprenticeship with a local sculptor and worked part-time for a decorator.1 However, carving tombstones and moulding gypsum cornices did not satisfy his artistic ambition, which had been spurred by the Vienna Secession painters and the angst-ridden illustrations of Alfred Kubin. His second public exhibition, held in February 1913 in a local stationery shop, presented a collection of ‘grotesque art ‘2 made up of gruesome portraits, deformed figures, and gargoyle-like caricatures. In June 1913 he published a slim volume, Spezzature, which contained examples of his own poetry and prose, accom-panied by rather bizarre illustrations. Alto Adige used the term ‘Futurist ‘3 to characterize the pieces that evoked big-city life (e.g. ‘Impressioneritmica ‘) or expressed Depero ‘s ‘forceful impetus towards the Infinite ‘, his ‘vast dreams of impossible greatness ‘, and his desire for a ‘life of violence ‘. Passamani believes that some of the verses were directly inspired by the anthology I poetifuturisti, published in 1912 by the Edizioni futuriste di ‘Poesia ‘. Scudiero has since discovered a correspondence between Marinetti and the Rovereto journalist and poet Sottochiesa and has suggested that the latter ‘s collection of poems, La nova voce (Rovereto: Tipografia Grandi, 1912), had had a stimulating influence on Depero.
From The Religion Of Speed To The Cult Of The Machine
Authors: Berghaus Günter 
Published: November 2023

Abstract
Futurism was part of the modernist project to find an artistic language that could give expression to great upheavals in the physical and mental landscape of the world in the wake of the Industrial Revolution. From about 1890 onwards, Europe was rife with trends and developments which indicated that a radical change of direction from nineteenth-century culture was afoot. Many artists, often formally organized in schools and movements, rallied behind Rimbaud ‘s call, ‘One has to be absolutely modern, ‘ and involved themselves in this project of renewal. But none of them developed an allencompassing theory of modernism nor a comprehensive scheme for its realization. Marinetti came into contact with many aesthetic and ideological currents during his early, pre-Futurist career. They influenced his intellectual development and served to shape his vision of a new and revolutionary artistic practice. From these, he progressively assembled the basic ingredients of an artistic programme which, in 1909, he presented to the world as the Foundation and Manifesto of Futurism.Marinetti had been brought up in Egypt on religious and philosophical principles belonging to a pre-industrial age. When, as an adolescent, he came to Europe, he discovered a new world. He marvelled at the wonders of technology displayed everywhere in Paris and in the capitals of other industrialized nations. When he settled in Italy, he felt he was stepping back in time and returning to an under-developed, backward country.
Fillia‘s Theatrical Experiments Of The 1920s
Authors: Berghaus Günter 
Published: November 2023

Abstract
Luigi Colombo (1904-36) began his artistic and literary career in Turin when, in 1922, he published a small volume of political poetry and exhibited his first paintings. In 1923 he was one of the founding members of the Futurist Artistic Syndicate, and from 1924 he became the leader of a Turin branch of the Futurist movement, using from now on his mother ‘s maiden name as his nom de plume. Over the next ten years he built up a wide-ranging CEuvre which extended into many media, such as painting, poetry, drama, the novel, architecture, interior design, ceramics, fashion design, and cooking. The guiding principle behind Fillia ‘s multifaceted activities was the Futurist ‘Reconstruction of the Universe ‘, which he elucidated in a number of theoretical writings.1 His publishing ventures and managerial activities made him, especially in the 1930s, one of the most important members of the Futurist movement, eclipsed only by Marinetti and Prampolini. He was a chief architect of the dominant aesthetic trends of the Second Futurist phase: first ane meccanica, then arte sacra and aeropittura.
Fedele Azari And Futurist Aerial Theatre
Authors: Berghaus Günter 
Published: November 2023

Abstract
Fedele Azari (1895-1930)1 grew up in the prosperous, industrialized zone north of Milan. The first aeronautical factories of Caproni and Macchi had been built near his home town. They regularly organized flying competitions and air shows, which captured the imagination of the young Azari and led him to win, at the age of 16, first prize in a model-making competition. In 1912 he joined the Futurist movement and became actively involved in the artistic enterprises of their Milan and Turin branches. According to his father ‘s wishes, he studied law at Turin University and for a while pursued the career of a lawyer. Because of his legal expertise he served as First Secretary of the Futurist movement and acted its as official representative at major public events, such as the First Futurist Congress of 1924. However, his real passion was flying, which in combination with Futurist aesthetics was the determining force of his short life.