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OverviewThis monograph offers the first-ever, full-length analysis of the most irreverent book of Italian Futurism: L’anguria lirica, printed in 1934 on tin metal sheets, with design and poetic text by Tullio d’Albisola and illustrations by Bruno Munari. This study, which features the unabridged reproduction of the pages of the tin book, accompanied by the first English translation of the poem, aims to disentangle the complex relationship between text and image in this total artwork. It shows how the endless series of material transformations at its core – of woman into food, of love into desecrating religion, of man into machine, of poetry into matter – fostered a radical change in poetry-writing, thus breaking away from a stagnant lyrical past. Full Product DetailsAuthor: Dalila ColucciPublisher: Brill Imprint: Brill Volume: 43 Weight: 0.531kg ISBN: 9789004526273ISBN 10: 9004526277 Pages: 228 Publication Date: 27 June 2024 Audience: College/higher education , Postgraduate, Research & Scholarly Format: Hardback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of ContentsAcknowledgments List of Figures Abbreviations Introduction: a Book about a Book 0.1 The Matter of the Book 0.2 A Material Aesthetics: Futurism’s Legacy for the Twentieth Century 0.3 A Case-Study for Futurist Materiality: L’anguria lirica 1 From Free-Word Tables to Tin-Litho Books: the Publishing Industry, Intermedia Innovations, and Second Futurism 1.1 Theory and Practice of the Futurist Book: a Material Contradiction 1.2 L’anguria lirica: the Genesis and Invention of the Tin Book(s) 1.3 Subverting the Canon: Sacred Art, Food Art, and Areopainting 2 A Futurist Kind of Love: Staging L’anguria lirica 2.1 Tullio, Art, and Women 2.2 “A bit of pulpy and sanguineous poetry”: Buzzi and the Watermelon 2.3 D’Albisola’s Erotic Easter: the Divine Comedy as a Pre-Text 3 The Passion and Resurrection of Poetry: a Polymorphic Poetics of Creation 3.1 Futurist Cuisine, Universal Language, and Radio Waves 3.2 From Containment to Agency: a Female Incarnation 3.3 A Profane Book of Revelation: for a New Religion of Materiality 3.4 Ρ p.: Modernity and Ephemerality in the Tin Book 4 A Polymaterial Generation: Aluminum, Tin, and Other Matter 4.1 “Clarity and splendor of metal”: Restaurants, Flats, and Furniture 4.2 Inside-Out: from the Almanacco to Casa Mazzotti 4.3 Chromatic Juices, Compact Aggregations, and Polymaterialism 5 Visual Storytelling and the Hybridism of Material Lyricism 5.1 L’anguria Lirica, Tin and Paper: Munari vs Strada 5.2 Munari’s ‘Useless’ Transubstantiation 5.3 Cinematic Suggestions and Montage 5.4 Vases, Cones, and X-rays: the Changing Forms of Creativity Conclusions: A Dream of Poetic Materiality: Futurist Legacies for L’anguria lirica Appendix 1: L’anguria lirica: Italian Text and English Translation Appendix 2: L’anguria lirica: Tin Edition Appendix 3: L’anguria lirica: Paper Edition Bibliography Index of NamesReviews“Avant-Garde Critical Studies (AGCS) is not only since decades one of the leading academic platforms devoted to research in and reflection on the twentieth-century artistic avant-garde but also the oldest scholarly forum specifically devoted to artistic avant-gardism in the widest sense. […] The first eleven volumes [of AGCS] could for long only be found on bookshelves in libraries. These volumes have now been made available in digital form. They offer a monumental panorama of early avant-garde studies and may still serve today as major resource with fundamental contributions by eminent avant-garde scholars. […] The goal of the series, as set out in issue zero in 1987 by Fernand Drijkoningen, was – and still is today – to serve as a platform to transcend ‘traditional boundaries between disciplines and nationalities’ with ‘an “open” character’. In line with this ambition, the single volumes from the early years of the series all have a profound multifaceted character. Each volume combines essays on different artistic disciplines, be it literature, painting, sculpture, architecture, design, music, performance and film.” - Hubert van den Berg, Palacký University Olomouc, Czech Republic Author InformationDalila Colucci, Ph.D. (2016, Scuola Normale Superiore, Pisa; 2018, Harvard University) is a María Zambrano Distinguished Fellow at the University of Seville. Her publications include numerous books and studies on modern and contemporary Italian literature, art, and cinema, often with an intermedia, transcultural, and transnational approach. Tab Content 6Author Website:Countries AvailableAll regions |
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