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Synopsis
Marinetti Dines with the High Command is a work that dramatizes the turbulent life and times of F. T. Marinetti, founder of Futurism, the first global art movement. Marinetti?s artistic career raises enduring questions about art and politics because of his association with Fascism, and the second part of this work is an essay which explores the implications of this association. What makesthis text unique is that it is the first work that assesses Marinetti?s life in the context of a command performance he gave for the German High Command in January of 1934?and the spectacular conclusion to that performance.
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About the Author
Richard Cavell is a Canadian of Italian heritage whose academic career has explored Italian culture through a number of vantage points, from the novels of Verga, to McLuhan?s debt to Futurism, to the Italian element in Canadian literature. The first Canadian to teach our literature at the University of Padua (1979-81), Richard was instrumental to the success of Canadian Literature as an academic field in Italy. Founder of the International Canadian Studies Centre at UBC, Richard has devoted his career to an integrative approach to the study of culture. He is the author of McLuhan in Space: A Cultural Geography (2002), editor of Love, Hate and Fear in Canada?s Cold War (2004), and co-editor of Sexing the Maple: A Canadian Sourcebook (2006), as well as more than 70 chapters, articles and reviews. He is currently Professor of English at UBC and founder there of MeRG.e, the Media Research Group enterprise.
From the Back Cover
Marinetti Dines with the High Command is a work that dramatizes the turbulent life and times of F. T. Marinetti, founder of Futurism, the first global art movement. Marinetti?s artistic career raises enduring questions about art and politics because of his association with Fascism, and the second part of my work is an essay which explores the implications of this association. What makes Marinetti unique is that it is the first work that assesses Marinetti?s life in the context of a command performance he gave for the German High Command in January of 1934?and the spectacular conclusion to that performance.
Excerpt. © Reprinted by permission. All rights reserved.
We sing the masses moved by passion; we sing the polyphonic marches of revolution; we sing the vibrant nocturnal fervour of arsenals and of street corners illuminated by the violence of electric lights; we sing the train station devouring smoking serpents.
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