Marinetti Futism Analysis
Echoing the words of literary critic, Graziella Parati, “woman is absorbed within Marinetti’s movement as an empty signifier that can be manipulated by the Futurist man” (43). In many of Marinetti’s manifestos involving women, Marinetti deems woman as inferior and useless, but also mentions that the employment of women would be beneficial for the good of the future. Reading Marinetti’s manifestos can be quite difficult due to his hyperbolic and contradictory statements. The power of this exaggerated use of syntax and diction complicates the meaning that Marinetti is often trying to communicate to the public. Although he scorns woman he seeks to liberate women for the good of the future and the “extended man” (Marinetti 55). It is possible
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Marinetti, the leader of the Futurist movement, seeks to renovate Italy from an unchanging passive, and worn out country and into a new and enhanced country with speed and agility. He disdains museums and libraries and compares them to graveyards; like graveyards, museums and libraries hold art created by artists that are now dead. They are visited annually but only for a short amount of time. By comparing museums and libraries to graveyards, Marinetti exemplifies how the people of Italy have an obsession of what Italy has been for the past couple centuries. In order to understand the paradoxes in his manifestos, one must understand that Marinetti purposely messes with diction and syntax, especially when it comes to his “scorn for women” (Marinetti 14). The “scorn for women” is not the rejection against all women, but against the transient ideas associated with femininity. Marinetti hopes to give meaning to life through violence but does not seek violence against women. In Cinzia Blum’s “The Futurist Re-fashioning of the Universe,” Blum argues that Marinetti’s destruction of syntax creates a violent empowerment over the traditional “I.” Marinetti does in fact depict a violent and misogynist view of women, but this violent diction and syntax is only employed in order to take control over the interpretation of the text and not over
Marinetti, the leader of the Futurist movement, seeks to renovate Italy from an unchanging passive, and worn out country and into a new and enhanced country with speed and agility. He disdains museums and libraries and compares them to graveyards; like graveyards, museums and libraries hold art created by artists that are now dead. They are visited annually but only for a short amount of time. By comparing museums and libraries to graveyards, Marinetti exemplifies how the people of Italy have an obsession of what Italy has been for the past couple centuries. In order to understand the paradoxes in his manifestos, one must understand that Marinetti purposely messes with diction and syntax, especially when it comes to his “scorn for women” (Marinetti 14). The “scorn for women” is not the rejection against all women, but against the transient ideas associated with femininity. Marinetti hopes to give meaning to life through violence but does not seek violence against women. In Cinzia Blum’s “The Futurist Re-fashioning of the Universe,” Blum argues that Marinetti’s destruction of syntax creates a violent empowerment over the traditional “I.” Marinetti does in fact depict a violent and misogynist view of women, but this violent diction and syntax is only employed in order to take control over the interpretation of the text and not over