FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2025211791> ?p ?o ?g. }

• W2025211791 endingPage "114" @default.
• W2025211791 startingPage "89" @default.
• W2025211791 abstract "Futurism, Mass Culture, and Women: The Reshaping of the Artistic Vocation, 1909–1920 Walter L. Adamson (bio) Mass culture as an interlocking complex of technologically sophisticated and increasingly international media and entertainment industries (among others, newspapers, popular magazines, bestsellers, professional sports, film, fashion, advertising, and the like) emerged in Europe and America during the two decades prior to the First World War. 1 Highly responsive to this development, Futurism played a significant, creative role within mass culture not only in Italy but across Europe, a role that was noted by astute contemporaries and has more recently been explored by scholars such as Claudia Salaris. 2 In general, however, Futurism’s interaction with the new mass-culture industries has been slighted in favor of concentration on Futurism’s relations with Fascism (Futurism as proto-Fascism, as a movement within early Fascism, as the shaper of Fascist ideals of war, virility, and misogyny). While no one would dispute Futurism’s importance for the understanding of Fascism, such concentration has relegated Futurism to the status of an independent variable and led to serious distortions. Few would deny, for example, that Futurism strongly apppealed to masculinist ideals and frequently asserted a misogynism later appropriated by Fascism. Yet from its beginning Futurism also held a strong attraction for women anxious to escape the confines of traditional roles, an interest that further increased during World War I as the rapid social changes it imposed created new opportunities and expectations for women. That attraction, I shall argue, may have much to do with Futurism’s involvement [End Page 89] with mass culture, a conjunction that (despite increasing recognition that mass culture was gendered as feminine from its inception) has been little explored and that seriously complicates our current understanding of Futurism’s gender politics. 3 Similarly, stress on Futurism’s relations with Fascism has led to emphasis on their common rhetoric, an idiom characterized by its affiliations with a new, non-static, non-traditional, “modernist” type of nationalism. 4 Yet such rhetoric was peripheral to Futurism’s main thrust, except during the nine months prior to Italy’s entry into the war in May 1915. More fundamental to its prewar history were its erotic and mass-entertainment dimensions. Despite its nationalist rhetoric, Futurism was internationalist in practice, since it understood itself as part of an emerging global culture. 5 To claim that Futurism was enmeshed in the emergence of mass culture and yet also modernist may seem contradictory. But, as scholarship has increasingly called attention to the divergences among European modernisms and as their connections with capitalism and consumerism have been more fully appreciated, it has become apparent that the old paradigm of “modernism vs. the culture industry” will no longer do. 6 My primary aims in this paper are to clarify the nature of Futurism’s relations with both modernism and mass culture, to consider some of the implications this has for our understanding of Futurism and gender, and to show how F. T. Marinetti and other Futurists understood the reshaping of the artistic vocation in the face of a mass society of consumerism. 1. Modernism, Mass Culture, and Futurism As Andreas Huyssen argued in his pathbreaking work of the 1980s, the notion that modernism and mass culture arose in hostile opposition to one another has proven “amazingly resilient,” in part owing to its close association with two canonical theories of modernism, those of Theodor Adorno and Clement Greenberg. 7 In this context, modernism refers to intellectual efforts to secure the work of art as an autonomous realm in the Kantian sense by stressing self-referential, ironic, and experimental means and by eschewing not only a moral role for art but even a mimetic or representational one. While such an art becomes possible historically only with the separation of art from its traditional moorings in religion and the patronage system, and their replacement by a secularized art market, its practitioners resolutely resist any “contamination” by mass culture and entertainment. Although Huyssen offered some qualification to the Adorno-Greenberg model, he accepted the “great divide” between “high” modernism and “low” mass culture as an accurate historical description of the late nineteenth and early twentieth-century world. Where..." @default.
• W2025211791 created "2016-06-24" @default.
• W2025211791 creator A5079116268 @default.
• W2025211791 date "1997-01-01" @default.
• W2025211791 modified "2023-10-17" @default.
• W2025211791 title "Futurism, Mass Culture, and Women: The Reshaping of the Artistic Vocation, 1909- 1920" @default.
• W2025211791 cites W112859681 @default.
• W2025211791 cites W1490508965 @default.
• W2025211791 cites W1497035922 @default.
• W2025211791 cites W1503148163 @default.
• W2025211791 cites W1504831670 @default.
• W2025211791 cites W1511502421 @default.
• W2025211791 cites W1522561925 @default.
• W2025211791 cites W1565410409 @default.
• W2025211791 cites W1575830558 @default.
• W2025211791 cites W1967832932 @default.
• W2025211791 cites W1972935646 @default.
• W2025211791 cites W1974415826 @default.
• W2025211791 cites W1978391758 @default.
• W2025211791 cites W1981219258 @default.
• W2025211791 cites W1985104332 @default.
• W2025211791 cites W1989797767 @default.
• W2025211791 cites W1993386094 @default.
• W2025211791 cites W2004904072 @default.
• W2025211791 cites W2006042055 @default.
• W2025211791 cites W2011193335 @default.
• W2025211791 cites W2011733211 @default.
• W2025211791 cites W2018348967 @default.
• W2025211791 cites W2023403023 @default.
• W2025211791 cites W2031360435 @default.
• W2025211791 cites W2032858202 @default.
• W2025211791 cites W2041737270 @default.
• W2025211791 cites W2047851990 @default.
• W2025211791 cites W2048683619 @default.
• W2025211791 cites W2058511784 @default.
• W2025211791 cites W2082023087 @default.
• W2025211791 cites W2082521134 @default.
• W2025211791 cites W2085860871 @default.
• W2025211791 cites W2089963910 @default.
• W2025211791 cites W2168963669 @default.
• W2025211791 cites W2227094891 @default.
• W2025211791 cites W2228993587 @default.
• W2025211791 cites W2324787572 @default.
• W2025211791 cites W2332669265 @default.
• W2025211791 cites W3119826143 @default.
• W2025211791 cites W3145986402 @default.
• W2025211791 cites W577247163 @default.
• W2025211791 cites W620596999 @default.
• W2025211791 cites W630413834 @default.
• W2025211791 cites W632627410 @default.
• W2025211791 cites W632998172 @default.
• W2025211791 cites W643764670 @default.
• W2025211791 cites W653682367 @default.
• W2025211791 doi "https://doi.org/10.1353/mod.1997.0014" @default.
• W2025211791 hasPublicationYear "1997" @default.
• W2025211791 type Work @default.
• W2025211791 sameAs 2025211791 @default.
• W2025211791 citedByCount "19" @default.
• W2025211791 countsByYear W20252117912012 @default.
• W2025211791 countsByYear W20252117912013 @default.
• W2025211791 countsByYear W20252117912014 @default.
• W2025211791 countsByYear W20252117912015 @default.
• W2025211791 countsByYear W20252117912016 @default.
• W2025211791 crossrefType "journal-article" @default.
• W2025211791 hasAuthorship W2025211791A5079116268 @default.
• W2025211791 hasConcept C107038049 @default.
• W2025211791 hasConcept C124952713 @default.
• W2025211791 hasConcept C137355542 @default.
• W2025211791 hasConcept C142362112 @default.
• W2025211791 hasConcept C144024400 @default.
• W2025211791 hasConcept C153349607 @default.
• W2025211791 hasConcept C17744445 @default.
• W2025211791 hasConcept C19165224 @default.
• W2025211791 hasConcept C199539241 @default.
• W2025211791 hasConcept C2778682666 @default.
• W2025211791 hasConcept C2994100351 @default.
• W2025211791 hasConcept C512170562 @default.
• W2025211791 hasConcept C558299567 @default.
• W2025211791 hasConcept C96089941 @default.
• W2025211791 hasConceptScore W2025211791C107038049 @default.
• W2025211791 hasConceptScore W2025211791C124952713 @default.
• W2025211791 hasConceptScore W2025211791C137355542 @default.
• W2025211791 hasConceptScore W2025211791C142362112 @default.
• W2025211791 hasConceptScore W2025211791C144024400 @default.
• W2025211791 hasConceptScore W2025211791C153349607 @default.
• W2025211791 hasConceptScore W2025211791C17744445 @default.
• W2025211791 hasConceptScore W2025211791C19165224 @default.
• W2025211791 hasConceptScore W2025211791C199539241 @default.
• W2025211791 hasConceptScore W2025211791C2778682666 @default.
• W2025211791 hasConceptScore W2025211791C2994100351 @default.
• W2025211791 hasConceptScore W2025211791C512170562 @default.
• W2025211791 hasConceptScore W2025211791C558299567 @default.
• W2025211791 hasConceptScore W2025211791C96089941 @default.
• W2025211791 hasIssue "1" @default.
• W2025211791 hasLocation W20252117911 @default.
• W2025211791 hasOpenAccess W2025211791 @default.
• W2025211791 hasPrimaryLocation W20252117911 @default.
• W2025211791 hasRelatedWork W1987877504 @default.

• next