Filippo Tommaso Marinetti

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Marinetti, Filippo Tommaso


Born Dec. 22, 1876, in Alexandria, Egypt; died Dec. 2, 1944, in Bellagio. Italian writer. Founder and theoretician of futurism in European literature and art.

Marinetti began as a poet of free verse, for example his narrative poem The Conquest of the Stars (1902). In 1909 he published the Manifesto of Futurism, the first such document to proclaim an avant-garde aesthetic program that contained a number of reactionary ideas, such as the liberation from the “dead culture” of the past and from humanist ideals, and that promoted the creation of a “dynamic literature of the future” celebrating machine technology and glorifying war as the “only [means of] world hygiene.”

Marinetti organized futurist groups among nationalistic young people and traveled abroad giving propaganda lectures (he made trips to Russia in 1910 and 1914). He extolled colonial expansion in Africa in his poetry and prose, for example, in the novel Mafarka the Futurist (1910; Russian translation, 1916). In the collection of poems Zang-tumb-tuum (1914), a futuristic montage of disconnected printed lines and mathematical and telegraphic symbols, Marinetti glorified the Italo-Turkish war. He agitated for Italy’s entry into World War I and fought in the war as a volunteer. In 1919, Marinetti became an adherent of Mussolini and proclaimed the kindred nature of Italian futurism and fascism.


Les Mots en liberte futuristes. Milan, 1919.
Teatro, vols. 1-3. Rome [I960].
Teoria e invenzione futurista .… [Verona] 1968.
In Russian translation:
Futurizm. [St. Petersburg, 1914.]
Manifesty ital’ianskogo futurizma. Moscow, 1914.


Lunacharskii, A. V. “Futuristy: Sverkhskul’ptor i sverkhpoet.” Sobr. soch. v 8 tomakh, vol. 5. Moscow, 1965.
Altomarre, L. Incontri con Marinetti e il futurismo. Rome [1954].


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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References in periodicals archive ?
(7) Filippo Tommaso Marinetti, "We Renounce Our Symbolist Masters, the Last of All Lovers of the Moonlight." Manifesto included in Filippo Tommaso Marinetti, "Refusals, Exhortations, and Announcements," translated by Doug Thompson, New England Review 27.3 (2006), 58.
"Benedetta Cappa Marinetti Letters to Rougena Zatkova," in Filippo Tommaso Marinetti Papers, Folders 63, 64, 66, Box 6, 11 Ottobre, 1921, 11 Marzo 1922, 6 Maggio 1922, GEN MSS 130, Beinecke Rare Book & Manuscript Library, Yale University, New Haven, CT.
That, nonetheless, is how, by his own account, Filippo Tommaso Marinetti reacted when in October 1908 he flipped his spiffy 4-cylinder Fiat into a Milan industrial ditch bubbling with effluent.
His atelier, known as Casa Balla, was just a few blocks from her family's home in Rome, and it was there that Benedetta first met Filippo Tommaso Marinetti, the driving force behind the Futurist movement.
Filippo Tommaso Marinetti launched Futurism in Italy in 1909 with his Founding Manifesto calling for a break with the past and an artistic invigoration based on the energy of factories, ships, aeroplanes and cars.
And she was also an internationalist, a fashion designer, a creator of lampshades, a collector of Bowery detritus and trash, a constructor of "objects" from such trash, a playwright, a composer of manifestoes, a satirist, a writer on sex and its discontents and a survivor of two husbands (one was the poet-boxer Arthur Craven) and such lovers as the Futurist Filippo Tommaso Marinetti. Daughter of Sigmund Lowy, a Hungarian Jew, and the Evangelical Julia Bryan -- Loy's "mixed" parentage led to the 1925 autobiographical poem "Anglo-Mongrels and the Rose" -- she was an astonishingly beautiful intellectual praised early on by Ezra Pound, T.S.
The Milanese poet, Filippo Tommaso Marinetti, published his Futurist Manifesto on February 20th, 1909, a hymn to speed which professed faith in the modern machine age while all previous art was declared dead.
The intellectual cultural heroes who break with the certainties of nineteenth-century positivism are inevitably Friedrich Nietzsche, Henri Bergson, and Filippo Tommaso Marinetti. Butler points out the important role in early modernism of the plastic arts, due to their experimentations, followed by music and then literature, the traditional pathfinder.