- Italian Studies, Language, Nationalism, Fascism, Futurism, Decadentismo, and 17 moreDecadence (Literature), Fin de Siecle Literature & Culture, Gabriele D'Annunzio, Discourse Analysis, Fascism and Modernism, Avant-Garde, Italian Literature, Italy, Italian fascism, Art and Politics, Modern Italian History, Italian Cultural Studies, Modernism (Art History), 20th Century Italian Literature, Italian language and Literature, Giovanni Pascoli, and Friedrich Nietzscheedit
- Adjunct professor of Modern Italian literature at the Department of Languages and Translation Studies, University of Turkuedit
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This article surveys Filippo Tommaso Marinetti’s social utopia from the inception of Futurism until its end during World War II, contextualizing it in relation to the various diffused anarchistic ideologies of European artists and... more
This article surveys Filippo Tommaso Marinetti’s social utopia from the inception of Futurism until its end during World War II, contextualizing it in relation to the various diffused anarchistic ideologies of European artists and intellectuals. From the second half of the nineteenth century onward radical politics and the artistic avant-garde were in close dialogue. Max Stirner’s individual anarchy held a special appeal to modernist artists, including Gabriele D’Annunzio and Marinetti. Marinetti’s aim of renovating Italy’s cultural and political life initially led him to glorify the destruction of old institutions. At the end of World War I he developed a more or less coherent utopian vision of a new society, based principally on the exaltation of individual freedom and the importance of art. During the Fascist regime, Marinetti abandoned politics and concentrated his efforts on making the Aerofuturism of the interwar years the official art of Fascism, which the
Futurists saw as the fulfillment of their ‘‘anarchist’’ dream.
Futurists saw as the fulfillment of their ‘‘anarchist’’ dream.
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Gabriele D’Annunzio (1863–1938) was one of the most peculiar figures among the European fin-de-sie`cle intellectuals and Italian decadentismo. Although he spent most of his life mingling with the high society of different Italian cities,... more
Gabriele D’Annunzio (1863–1938) was one of the most peculiar figures among the
European fin-de-sie`cle intellectuals and Italian decadentismo. Although he spent most of his life mingling with the high society of different Italian cities, D’Annunzio remained tied to the place of his birth in theremote region of Abruzzo. This article surveys D’Annunzio’s representation of Abruzzo in his 1894 novel Trionfo della morte (The Triumph of Death). The focus is on the different sources and strategies D’Annunzio used to create an image of his native region. I argue that the representation of Abruzzo as a primitive wilderness not only reflects D’Annunzio’s social critique but was also driven by purely economic concerns. By exploiting the style of other literary classics and by playing on the popular taste for the macabre, D’Annunzio, I suggest, intended to make the novel more attractive to the book market and at the same time to mystify his own personality.
European fin-de-sie`cle intellectuals and Italian decadentismo. Although he spent most of his life mingling with the high society of different Italian cities, D’Annunzio remained tied to the place of his birth in theremote region of Abruzzo. This article surveys D’Annunzio’s representation of Abruzzo in his 1894 novel Trionfo della morte (The Triumph of Death). The focus is on the different sources and strategies D’Annunzio used to create an image of his native region. I argue that the representation of Abruzzo as a primitive wilderness not only reflects D’Annunzio’s social critique but was also driven by purely economic concerns. By exploiting the style of other literary classics and by playing on the popular taste for the macabre, D’Annunzio, I suggest, intended to make the novel more attractive to the book market and at the same time to mystify his own personality.
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This essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce (The Maidens of the Rocks). D’Annunzio’s attitude towards... more
This essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce (The Maidens of the Rocks). D’Annunzio’s attitude towards Nietzsche was complicated and contradictory, varying from fascination and rivalry to rejection and negation: rather than a philosopher or master, he saw Nietzsche as a poet and soulmate. Like many writers and artists of fin-de-siècle Europe, D’Annunzio too was attracted by Nietzsche’s elitist social theory and Übermensch, of which he presents his own version especially in Maidens of the Rocks. In the novel, the young aristocrat Claudio Cantelmo aspires to overcome himself. However, the fact that Cantelmo fails to achieve his dream of fathering a New King of Rome, reveals D’Annunzio’s deep skepticism about contemporary Italy as well as his own “decadent” soul.
KEYWORDS: D’Annunzio, Nietzsche, Übermensch, elitist social theory, decadence
KEYWORDS: D’Annunzio, Nietzsche, Übermensch, elitist social theory, decadence
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Page 1. Futurism and Nature: The Death of the Great Pan? Marja Härmänmaa Abstract: This chapter is concerned with the relationship between Futurism and Nature and the representation of the latter in the works of FT Marinetti. ... Page 2.... more
Page 1. Futurism and Nature: The Death of the Great Pan? Marja Härmänmaa Abstract: This chapter is concerned with the relationship between Futurism and Nature and the representation of the latter in the works of FT Marinetti. ... Page 2. Marja Härmänmaa 338 ...
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found none. His admiration for miners and their families was coupled with a sense of distance and incomprehension. His attacks on the sneering highbrows and snobbish elites were therefore somewhat disingenuous: the disheveled writer in... more
found none. His admiration for miners and their families was coupled with a sense of distance and incomprehension. His attacks on the sneering highbrows and snobbish elites were therefore somewhat disingenuous: the disheveled writer in his lonely attic was not just that. Yet the two images do not contradict each other: both are Orwell. He was genuinely and systematically devoted to cutting through jargon and self-flattering verbiage towards a picture of the world and society as what they were. He observed that the tension between classes did not manifest itself to those affected by it as a feud about surplus value. It manifested itself through visceral reaction to body odours. He thought that the one factor that totalitarian regimes could not take over in their methodical destruction of will and memory was the complex, multi-detailed and physical character of daily experience. Sexuality cannot be dismantled by institutional power, not because it is a strong urge, but because it is r...
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ABSTRACT This essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce (The Maidens of the Rocks). D’Annunzio’s attitude towards... more
ABSTRACT This essay explores D’Annunzio’s reception of Nietzsche—particularly his sociopolitical theory and idea of the Übermensch—as dramatized in his novel Le Vergini delle rocce (The Maidens of the Rocks). D’Annunzio’s attitude towards Nietzsche was complicated and contradictory, varying from fascination and rivalry to rejection and negation: rather than a philosopher or master, he saw Nietzsche as a poet and soulmate. Like many writers and artists of fin-de-siècle Europe, D’Annunzio too was attracted by Nietzsche’s elitist social theory and Übermensch, of which he presents his own version especially in Maidens of the Rocks. In the novel, the young aristocrat Claudio Cantelmo aspires to overcome himself. However, the fact that Cantelmo fails to achieve his dream of fathering a New King of Rome, reveals D’Annunzio’s deep skepticism about contemporary Italy as well as his own “decadent” soul.
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In questo articolo ho l’intenzione di esaminare come e con quali mezzi stilistici D’Annunzio costruisce un’immagine infernale di Volterra. Prima trattero la rappresentazione di Volterra nel romanzo avvalendomi della teoria della... more
In questo articolo ho l’intenzione di esaminare come e con quali mezzi stilistici D’Annunzio costruisce un’immagine infernale di Volterra. Prima trattero la rappresentazione di Volterra nel romanzo avvalendomi della teoria della linguistica critica, poi passero all’analisi delle metafore utilizzate dal Poeta nella raffigurazione della citta. Con il concetto ‘metafora’ intendo, in senso lato, le diverse figure dell’analogia, che comprendono il paragone e la similitudine, ma anche allegorie e metafore letterarie. Alla fine cerchero di offrire un’interpretazione del contenuto del romanzo inteso nella sua totalita come una metafora.
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... Roma-Bari: Laterza. Chiarini, R. 1991: The «Movimento Sociale Italiano»: A Historical Profile. Luciano Cheles, Ronnie Ferguson and Michalina Vaughan (ed.). Neo-Fascism in Europe. London and New York: Longman. ... Vol. I, Il Verbo (i... more
... Roma-Bari: Laterza. Chiarini, R. 1991: The «Movimento Sociale Italiano»: A Historical Profile. Luciano Cheles, Ronnie Ferguson and Michalina Vaughan (ed.). Neo-Fascism in Europe. London and New York: Longman. ... Vol. I, Il Verbo (i modi finiti). Perugia: Benucci. ...
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Futurism was one of the so-called historical avant-garde movements. It was founded in 1909 by the Italian poet Filippo Tommaso Marinetti (1876-1944) and ended, in practice, with his death in 1944. Futurism aimed to accomplish an... more
Futurism was one of the so-called historical avant-garde movements. It was founded in 1909 by the Italian poet Filippo Tommaso Marinetti (1876-1944) and ended, in practice, with his death in 1944. Futurism aimed to accomplish an all-encompassing “revolution”, not only in different forms of art, including literature, theatre and music, but also in politics, fashion, cuisine, mathematics, and in every other aspect of human life. The New World
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... 189 Bàrberi Squarotti, Giorgio (1974): Gli inferi e il labirinto. ... 190 Härmänmaa, Marja (2004):Metaphorical representation of Rome in Il Piacere of Gabriele D ... di stampa.) Härmänmaa, Marja (2005):L'immagine... more
... 189 Bàrberi Squarotti, Giorgio (1974): Gli inferi e il labirinto. ... 190 Härmänmaa, Marja (2004):Metaphorical representation of Rome in Il Piacere of Gabriele D ... di stampa.) Härmänmaa, Marja (2005):L'immagine dell'infernola rappresentazione metaforica di Volterra in Forse che ...
Introduction: The Empire at the End of Decadence Christopher Nissen and Marja Harmanmaa PART I: THE TWILIGHT WORLD: DECADENT VISIONS OF WORLD, SOCIETY, AND CULTURE 1. Thermal Degeneration: Thermodynamics and the Heat-Death of the Universe... more
Introduction: The Empire at the End of Decadence Christopher Nissen and Marja Harmanmaa PART I: THE TWILIGHT WORLD: DECADENT VISIONS OF WORLD, SOCIETY, AND CULTURE 1. Thermal Degeneration: Thermodynamics and the Heat-Death of the Universe in Victorian Science, Philosophy, and Culture Mason Tattersall 2. A Regenerative Decadence or a Decadent Regeneration: Challenges to Darwinian Determinism by French, Spanish, and Latin American Writers in the Fin-de-Siecle Natalia Santamaria Laorden 3. Late Antiquity as an Expression of Decadence in the Poetry of Constantine P. Cavafy and Stefan George Anastasia Antonopoulou 4. Decadence and Regeneration: Oscar Wilde's Fairy Tales as a Tool for Social Change Magali Fleurot PART II: THE SEDUCTION OF SICKNESS 5. Decadent Tropologies of Sickness Pirjo Lyytikainen 6. Consuming and Consumed: Woman as Habituee in Eugene Grasset's Morphinomaniac Abigail Susik 7. Decadence, Melancholia, and the Making of Modernism in the Salome Fairy Tales of Strin...
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Venetsian kulttuurihistoriaa keskiajalta 1400-luvulle