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This thirteenth volume of the International Yearbook of Futurism Studies explores some of the many facets of Neo-Futurism from the second half of the twentieth century to the present day. It looks both at the revival and the continuation of Futurist aesthetics, whether in explicit or palimpsest form, in a variety of media: literature, visual art, design, music, architecture, theatre and photography. The essays delve into the broad spectrum of artistic research and offer a good dozen case studies that document, with a transnational and interdisciplinary orientation, the manifold forms of Neo-Futurism in various parts of the world. They investigate how historical Futurism's intellectual and artistic perspective was appropriated and developed further in a more or less conscious, faithful and original way, all the while confronting its progenitor's cultural, social and political misconceptions. Interdisciplinary contributions to neo-futurism as a global phenomenon
This is the first book to explore the relationship between experimental theatre and performance making in France. Reflecting the recent return to aesthetics and politics in French theory, it focuses on how a variety of theatre and performance practitioners use their art work to contest reality as it is currently configured in France.
This book offers a range of perspectives on photography in Africa, bringing research on South African photography into conversation with work from several other places on the continent, including Angola, the DRC, Kenya, Mali, Morocco, Nigeria, Ethiopia, and Eritrea. The collection engages with the history of photography and its role in colonial regulatory regimes; with social documentary photography and practices of self-representation; and with the place of portraits in the production of subjectivities, as well as contemporary and experimental photographic practices. Through detailed analyses of particular photographs and photographic archives, the chapters in this book trace how photographs have been used both to affirm colonial worldviews and to disrupt and critique such forms of power. This book was originally published as a special issue of Social Dynamics.
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Pope John Paul II is the most extensive visual diary ever compiled of this most respected of religious leaders. From his days growing up in the small town of Wadowice, Poland, to his extensive travels around the Christian world, this astounding collection bears witness to his transformation into the vicar of Jesus Christ and the Patriarch of the West. Included among the images are some of his lesser known, but equally powerful moments, such as his visit to the man who tried to kill him in 1981. Comprehensive and complete, this is a powerful compendium.
This book provides an innovative cultural history of Italian colonialism and its impact on twentieth-century ideas of empire and anti-colonialism. In October 1935, Mussoliniʼs army attacked Ethiopia, defying the League of Nations and other European imperial powers. The book explores the widespread political and literary responses to the invasion, highlighting how Pan-Africanism drew its sustenance from opposition to Italy’s late empire-building, and reading the work of George Padmore, Claude McKay, and CLR James alongside the feminist and socialist anti-colonial campaigner Sylvia Pankhurst’s broadsheet, New Times and Ethiopia News. Extending into the postwar period, the book examines the fertile connections between anti-colonialism and anti-fascism in Italian literature and art, tracing the emergence of a “resistance aesthetics” in works such as The Battle of Algiers and Giovanni Pirelli’s harrowing books of testimony about Algeria’s war of independence, both inspired by Frantz Fanon. This book will interest readers passionate about postcolonial studies, the history of Italian imperialism, Pan-Africanism, print cultures, and Italian postwar culture.
Pursuing the intersections of Venetian culture from the beginning of the sixteenth century through the first decades of the seventeenth, Manfredo Tafuri develops a story crowded with characters and full of surprises. He engages the doges Andrea Gritti and Leonardo Dona; architects and artists Sansovino, Serlio, Palladio, and Scamozzi; and scientists Francesco Barozzi and Galileo. He records the battle that was fought for architecture as metaphor for absolute truth and good government, and contrasts these with the myths that inspired them.
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