The Reception of Russian Futurism through Satire: The Case of the 1913 Mishen’ Debate

Chapters in this book

1. Frontmatter i
2. Contents v
3. Editorial ix
4. Section 1: Critical responses to Exhibitions, conferences and publications
5. The Legacy and Topicality of Futurism 3
6. The Centenary of 1913, or Russian Futurism ‘as such’ 7
7. Almada Negreiros: A Futurist Poet, and Much More 21
8. La poética de la vanguardia 27
9. Sound and Silence in Futurist Poetry 31
10. Marinetti i futuryzm w Polsce 36
11. Action / Reaction: Futurism in Belgium and Europe 44
12. Futurism and Modernist Magazines 49
13. New Research into Anarchism and Futurism 61
14. Section 2: Research Reports on Countries and Artistic Disciplines
15. French Research on Literary Futurism 71
16. Section 3: Caricatures and Satires of Futurism in the Contemporary Press
17. A “Hypermodern” Futurist in the Munich Satirical Magazine, Fliegende Blätter (1912) 87
18. A Caricature of Futurism in the Spanish Magazine, Buen Humor (1923) 91
19. The Futurist Exhibition at the Sackville Gallery (1912) and Charles Harrison’s Caricature, “The New Terror” 95
20. A Japanese View on Futurism in 1922 in the Daily Newspaper Kokumin Shimbun 99
21. The Reception of Russian Futurism through Satire: The Case of the 1913 Mishen’ Debate 103
22. A Caricature of Futurism in the New York Sun (1914) 107
23. Marinetti’s Visit to Cairo in December 1929: Kimon Evan Marengo’s caricatures in Maalesh 111
24. Section 4: Futurism Studies
25. The Reception of Futurism in France (1909–1912) 117
26. Mallarmé and His Futurist ‘Heir’ Marinetti 134
27. Futurism in the Netherlands, 1909–1940 165
28. No Future for the Futurists? Art of the Commune and the Quest for a New Art in Post-Revolutionary Russia 202
29. The New Slovene Theatre and Italian Futurism: Delak, Cernigoj and the Historical Avant-garde in Venezia Giulia 230
30. Kara-Darvish and Armenian Futurism 263
31. The Reception of Italian Futurism in Hungarian Painting and Literature 301
32. The Reception of Italian Futurism in Brazilian Periodicals: 1909, 1922 and after 328
33. Bartolomé Galíndez’s Magazine, Los raros: A ‘Symbolist’ Fusion of Futurism and Ultraism 360
34. Futurist Influences in the Work of Guillermo de Torre 389
35. The Reception of Futurism in Greece and Marinetti’s Visit to Athens (1933) 421
36. Theodor Däubler: A Mediator between Florentine Futurism and German Modernism 450
37. Photodynamism and Vortography: The Futurist Anti-Portraits of Anton Giulio Bragaglia and Alvin Langdon Coburn 477
38. Section 5: Bibliography
39. A Bibliography of Publications on Futurism, 2011–2013 507
40. Section 6: Back Matter
41. List of Illustrations and Provenance Descriptions 537
42. Notes on Contributors 541
43. Name Index 547
44. Subject Index 583
45. Geographical Index 609