{"id":43,"date":"2015-09-09T11:21:50","date_gmt":"2015-09-09T15:21:50","guid":{"rendered":"http:\/\/web.colby.edu\/st197\/?page_id=43"},"modified":"2015-09-14T11:23:15","modified_gmt":"2015-09-14T15:23:15","slug":"futurism-violence-remaking","status":"publish","type":"page","link":"https:\/\/web.colby.edu\/humanslashnature\/events\/futurism-violence-remaking\/","title":{"rendered":"Futurism, Violence, Remaking"},"content":{"rendered":"

\u201cFuturism, Violence, and the Re-making of the World,\u201d Gianluca Rizzo (French and Italian, Colby College)<\/strong><\/p>\n

October 6, Tuesday at 7:00 in Lovejoy 100<\/p>\n

\"funeral\"<\/a>

Carlo Carr\u00e0, The Funeral of the Anarchist Galli, 1910-1911, Oil on canvas, MOMA, New York<\/p><\/div>\n

Since its beginning Futurism, the first of the historical avant-garde movements, strived to establish a radically new way of representing the world. In the Founding Manifesto, published in le Figaro<\/em> on 20 February 1909, Marinetti writes: \u201cUp to now literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggressive action, a feverish insomnia, the racer\u2019s stride, the mortal leap, the punch and the slap.\u201d Violence was their preferred mode of interacting with reality, and the key to unlocking a new sense of Aesthetics, as well as the path to creating of the New Man. An entire century and two world wars separate us from that manifesto: what, if anything, can we learn from Marinetti and the Futurists? Can we admire their aesthetic achievements and at the same time condemn their warmongering activities? Is it even possible to separate the two? This lecture will attempt to answer these and other related questions through an analysis of manifestoes and works of art, tracking the evolution of the Futurist appreciation of violence before and after World War I.<\/p>\n

Gianluca Rizzo is the Paganucci Assistant Professor of Italian at Colby College. His research focuses on modern and contemporary macaronic writing, contemporary poetry, and aesthetics. He published numerous articles, poems, and translations, both from English to Italian and vice-versa (in Or<\/em>, Chicago Review<\/em>, l\u2019immaginazione<\/em>, il Verri<\/em>, Autografo<\/em>, etc.). With Luigi Ballerini and Paul Vangelisti he edited an anthology of American poetry in translation entitled Nuova Poesia Americana<\/em>, New York (Mondadori, 2009), which will be followed by an additional installment dedicated to the poetry of Chicago, forthcoming this fall.\u00a0 With Massimo Ciavolella he edited the volume Like Doves Summoned by Desire: Dante\u2019s New Life in 20th Century Literature and Cinema<\/em> (Agincourt Press, 2013). He also edited and wrote the introduction to Tutto il teatro<\/em> by Elio Pagliarani, published in 2013 by Marsilio. Oedipus will print his first collection of verse entitled Il lavoro meccanico: Un\u2019apocalisse in quattro tempi<\/em>, as part of the series Megamicri, edited by Mariano B\u00e0ino.<\/p>\n

Student Discussions:<\/strong><\/p>\n