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Legitimizing the Artist: Manifesto Writing and European Modernism 1885-1915 PDF

306 Pages·2003·1.656 MB·English
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LEGITIMIZING THE ARTIST: MANIFESTO WRITING AND EUROPEAN MODERNISM 1885–1915 In the late nineteenth and early twentieth centuries, the production of literary and cultural manifestoes enjoyed a veritable boom and accompanied the rise of many avant-garde movements. Legitimizing the Artist considers this phenomenon as a response to a more general crisis of legitimation that artists had been struggling with for decades. The crucial question for artists, confronted by the conservative values of the dominant bourgeoisie and the economic logic of triumphant capitalism, was how to justify their work in terms that did not reduce art to a mere commodity. In this work Luca Somigli discusses several European artistic movements – decadentism, Italian futurism, vorticism, and imagism – and argues for the centrality of the works of F.T. Marinetti in the transition from a fin de siècle decadent poetics, exemplified by the manifestoes of Anatole Baju, to a properly avant-garde project aiming at a complete renewal of the process of literary communication and the abolition of the difference between producer and consumer. It is to this challenge that the English avant-garde artists, and Ezra Pound in particular, responded with their more polemical pieces. Somigli suggests that this debate allows us to rethink the relationship between modernism and post-modernism as complementary ways of engaging the loss of an organic relationship between the artist and his social environment. (Toronto Italian Studies) LUCA SOMIGLI is an associate professor in the Department of Italian Studies at the University of Toronto. LEGITIMIZING THE ARTIST: MANIFESTO WRITING AND EUROPEAN MODERNISM 1885–1915 This page intentionally left blank Luca Somigli LEGITIMIZING THE ARTIST Manifesto Writing and European Modernism 1885–1915 UNIVERSITY OF TORONTO PRESS Toronto Buffalo London © University of Toronto Press Incorporated 2003 Toronto Buffalo London Printed in Canada ISBN 0-8020-3761-5 Printed on acid-free paper Toronto Italian Studies National Library of Canada Cataloguing in Publication Somigli, Luca Legitimizing the artist : manifesto writing and European modernism, 1885–1915 / Luca Somigli. (Toronto Italian studies) Includes bibliographical references and index. ISBN 0-8020-3761-5 1. Modernism (Art) – Europe. 2. Modernism (Literature) – Europe. 3. Futurism (Art) – Europe. 4. Futurism (Literary movement) – Europe. 5. Avant-garde (Aesthetics) – Europe – History – 19th century. 6. Avant- garde (Aesthetics) – Europe – History – 20th century. 7. Revolutionary literature – History and criticism. I. Title. II. Series. N6758.5.M63S64 2003 700’.94’09041 C2003-904838-1 This book has been published with the help of a grant from the Canadian Federation for the Humanities and Social Sciences, through the Aid to Scholarly Publications Programme, using funds provided by the Social Sciences and Humanities Research Council of Canada. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council. University of Toronto Press acknowledges the financial support for its publishing activities of the Government of Canada through the Book Publishing Industry Development Program (BPIDP). Contents Acknowledgments vii Introduction: The Artist in Modernity 3 Haloes and Auras 3 What Do We Talk about When We Talk about Manifestoes? 21 1 Strategies of Legitimation: The Manifesto from Politics to Aesthetics 29 a history of the manifesto (1550–1850) 29 From the Prince to the People: The Voice of Authority and the Voice of Resistance 29 The Manifesto and the Making of the Intellectual 46 how to be a decadent: art, politics, and society in the manifestoes of anatole baju 57 A Crisis in Communication 57 Anatole Baju, the Impresario of Decadence 65 Quintessence or Institution? Language and the Autonomy of the Aesthetic 76 The Unrecoverable Halo: The Aristocrat and the Clown 87 2 A Poetics of Modernity: Futurism as the Overturning of Aestheticism 93 from decadentism to futurism 96 Marinetti 1898–1908: Portrait of the Futurist as a Young Decadent 96 vi Contents The First Manifesto: Marinetti’s ‘Modernolatry’ between Decadence and Futurism 108 Toward an Impermanent Work of Art 127 advertising futurism 149 3 Anarchists and Scientists: Futurism in England and the Formation of Imagism 162 ‘crazy exploding pictures’: the reception of futurism in england, 1910–1914 166 Futurism in the British Press 166 From Propaganda to Pedagogy: ‘The Exhibitors to the Public’ 174 Flux and Form: Futurism and Vorticism 181 the invention of imagism: ezra pound and the rhetoric of the avant-garde 190 The Artist as Scientist: A Model of Literary Communication 190 The Art of Not Making Manifestoes: Flint’s ‘Imagisme’ and Pound’s ‘A Few Don’ts by an Imagiste’ 203 Conclusion 217 Notes 223 References 267 Acknowledgments I would like to thank the numerous friends and colleagues who have been most generous with their support, and who have read and com- mented on various drafts of the chapters of this volume. Material in chapters 1 and 3 was first developed as part of my doctoral disserta- tion at SUNY-Stony Brook; I thank the thesis director Hugh Silverman, and the members of the dissertation committee Krin Gabbard, Luigi Fontanella, and Sandy Petrey, for their help and guidance. As the project developed, I greatly benefited from the critical insights, the comments and suggestions, and above all the patience and encourage- ment of Ken Bartlett, Rocco Capozzi, Manuela Gieri, Francesco Guar- diani, Elizabeth Legge, Michael Lettieri, Ernesto Livorni, Francesco Loriggio, Jay Macpherson, Mario Moroni, John Picchione, Lucia Re, and Max Statkiewicz. I also thank the two anonymous readers of the manuscript for the University of Toronto Press for their useful and per- ceptive advice. My most heartfelt gratitude goes also to Jason Blake, Paolo Chirumbolo, Elana Commisso, Patrizia Di Vincenzo, Franco Gal- lippi, and Marisa Ruccolo, who at different times were my research assistants. Special thanks to my brother Paolo and to Chiara for their invaluable help in musical matters. I would also like to acknowledge the generous financial support given to this research project by the Social Sciences and Humanities Research Council of Canada and by the Connaught Fund. The Human- ities Research Centre of Oxford Brookes University provided much welcome logistic support during a research trip to England; I am espe- cially grateful to Steven Matthews for his friendly advice and for bringing the Visiting Scholar Programme to my attention. At the Uni- versity of Toronto Press, I was very fortunate to work with an out- viii Acknowledgments standing and experienced professional team, in particular Ron Schoeffel, Anne Laughlin, and Ruth Pincoe. Finally, I am grateful to the community of Victoria College for providing the best collegial environ- ment in which to do research and write. On a personal note, this book could not have been written without the love of my parents, and without Arthur, who helped just by being there. The book is dedicated to Sue, with love.

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