The Invention of Politics in the European Avant-Garde (1906-1940)

By Sascha Bru; Gunther Martens | Go to book overview

The Phantom League.
The Centennial Debate on the Avant-Garde and Politics

Sascha Bru

In 1906, for the first time in his life, the onrushing Futurist F.T. Marinetti connected the term "avant-garde" to the idea of the future (Lista 2001: 28). Marinetti later often toyed with images of a distant future, but he also located the future firmly in the present. As did many other representatives of the so-called "historical" or "modernist avant-garde".1 Experimenting with modes of perception, experience and representation in art, the modernist avant-garde held the promise of an alternative to the here and now. From the start it thereby also sounded political overtones. For as a familiar story runs, it was a society rooted in a new aesthetics, founded on other principles than those of official politics, which the historical avant-garde had in mind. And yet, on the eve of the Second World War, W.H. Auden concluded in Another Time (1940) that this project had made "nothing happen".2 For more than three decades, it seems, artists throughout Europe had conjured up designs of other worlds which had remained coterminous to the culture surrounding them without ever coinciding with it. Almost as if they had never been there. In a way, then, the modernist avant-garde is personified by the hero of Aldo Palazzeschi's Il codice di perela (1911). One of few Futurist novels still read in Italian high schools today, this book describes how a man of smoke enters a city where he is appointed to write the law and save mankind only to get killed at the end of his venture. Palazzeschi's tragicomic hero, as an allegorical figure, reiterates a conception of the historical avantgardist, which we are all too familiar with. The avant-gardist has indeed frequently been depicted as a somewhat naïve "new legislator", re-articulating historical identities into alternative visions of

-9-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The Invention of Politics in the European Avant-Garde (1906-1940)
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 292

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.