Elit 48 c class 3

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Elit 48 c class 3

  1. 1. ELIT 48C Class #3 • Spelling Error #2: Don’t Misspell “bated breath.” – If you write baited breath, everyone will suspect fishing is your favorite hobby. The word should be spelled bated, which comes from abated, meaning held.
  2. 2. AGENDA • Modern Manifestos – Introduction – Marinetti – Loy
  3. 3. Modernist Manifestos: In your groups, discuss the various manifestos you read for class. Endeavor to find defining, exemplary text to share.
  4. 4. What is a Modernist Manifesto?
  5. 5. “The modernist manifesto is a public declaration of artistic convictions, relatively brief, often highly stylized or epigrammatic in the mode of other forms of modernist writing, and almost always an aggressively self- conscious declaration of artistic independence” (NAAL 335). Modernist Manifestos
  6. 6. F. T. Marinetti Marinetti was a relatively obscure Italian poet before publishing “The Founding and Manifesto of Futurism,” which “attracted an international circle of artists and writers into Marinetti’s orbit, including painters, architects, poets, sculptors, playwrights, and film directors. Across all the arts, futurism scorned traditional standards of artistic beauty, celebrated modern technologies of speed, and aimed to shock audiences” (NAAL 336).
  7. 7. QHQ Marinetti • Q: What are the underlying themes of marinetti’s manifesto of futurism?
  8. 8. 8. We stand on the last promontory of the centuries! . . . Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed. —from Manifesto of Futurism F. T. Marinetti While many modernist writers depicted the modern world as an experience of loss, Marinetti wholeheartedly embraced the idea that modern technology has ushered in a secular millennium. In this and other sections of his manifesto, does Marinetti seem to be uncritically embracing the advances of modern technology?
  9. 9. Moving on up! • Q. “Why should we look back, when what we want is to break down the mysterious doors of the impossible”? (Marinetti)
  10. 10. Marinetti and Technology • Q: If cars were the pivotal point of the advancement of technology during this time, what does Marinetti’s exhilarating, yet dangerous thrill ride say about humankind in the midst of this form of advancement? • Q: Why would war Marinetti use speed in his manifesto?
  11. 11. 9. We will glorify war—the world’s only hygiene— militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman. 10. We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice. — from Manifesto of Futurism These two points from the Manifesto of Futurism represent potentially troubling aspects of Marinetti’s worldview: his celebration of war and his denigration of women (he glorifies “scorn for woman” and promises to “destroy . . .feminism”). How does this prowar, antiwoman stance relate to Marinetti’s futurist philosophy? Does it seem to be an afterthought? Or are the glorification of war and the denigration of women integral to Marinetti’s thinking?
  12. 12. Marinetti and women • Q: How does the stark anti-woman rhetoric of Marinetti’s manifesto display the attitude of male modernist era authors towards their feminine counterparts?
  13. 13. Mina Loy Mina Loy was a self-described feminist poet and writer, and, oddly enough, the sexual partner of the apparently antifeminist F. T. Marinetti. She wrote (but did not publish) her “Feminist Manifesto” during her association with Marinetti. Does Loy’s manifesto read as a response to Marinetti’s? As a criticism of it? Are the two manifestos written in a similar form, or are there formal differences as well as differences in content?
  14. 14. Women . . . you are on the eve of a devastating psychological upheaval— all your pet illusions must be unmasked—the lies of centuries have got to go— are you prepared for the Wrench—? There is no half-measure—NO scratching on the surface of the rubbish heap of tradition, will bring about Reform, the only method is Absolute Demolition. —from Feminist Manifesto One of most immediately noticeable features of Loy’s manifesto is its typography: She increases the font size at strategic moments, underlines text, puts letters in boldface, and employs irregular capitalization. What is the effect of this? Does Loy’s message of “Absolute Demolition” (rather than mere “Reform”) require that she radically alter the appearance of her text? That is, does the message of her text determine the form that it takes? Loy’s militaristic language of demolition and destruction recall Marinetti’s glorification of war, but her profeminist message runs entirely counter to Marinetti’s. How might we account for this conflict?
  15. 15. • Is the “Feminist Manifesto” really a modernist idea or does it follow conventional thinking of the role of women? • Question: Was Mina Loy’s “Feminist Manifesto” a good example for feminists (and potential feminists) of the time to follow?
  16. 16. • Q: What did Mina Loy mean when she says: “the value of a man is assessed entirely according to his use or interest to the community, the value of a woman is determined entirely on chance”? (Loy)
  17. 17. Homework Read “Modernist Manifestos” pp. 335-350 Post #3 QHQ from one of the sections/authors listed: Pound Cather Williams Hughes

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