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“This number of ten essays makes a persuasive case for a black Atlantic literary renaissance and its influence on modernist experiences. The chapters stretch and problem present canonical configurations of modernism in methods: via contemplating the centrality of black artists, writers and intellectuals as key actors and center presences within the improvement of a modernist avant-garde; and by means of interrogating ‘blackness’ as a classy and political type at severe moments throughout the 20th century. this is often the 1st book-length book to discover the time period ‘Afromodernisms’ and the 1st research to handle jointly the cognate fields of modernism and the black Atlantic.”

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Casavola (1926), quoted in Margaret Fisher, ‘Futurism and Radio’, in Berghaus, Futurism and Technological mind's eye, p. 253. Marinetti (1909), quoted in Berghaus, foreign Futurism in Arts and Literature, pp. 13–15. Fillia [Luigi Colombo], ‘Sensualità Meccanica’, los angeles Fiamma, 2 (4 April 1926), p. 2. Anton Giulio Bragaglia, Jazz Band (Milan: Edizioni Carbaccio, 1929), p. nine. Ibid. p. 106. Alfredo Trimarco, quoted in Adriano Mazzoletti, Il jazz in Italia: dalle origini alle grandi orchestre (Turin: EDT, 2004), p. fifty five. Ivan Jablowsky, quoted in Mazzoletti, Il jazz in Italia, p. fifty six. Lionel Fiumi, ‘Jazz-band’, quoted in Beatrice Buscaroli Fabbri and Alessandro Ortenzi (eds), Futurismo: I gruppi futuristi e Savarè (Ferrara: Edisai, 1999), p. a hundred and fifty. Enzo Mainardi, ‘Jazz-band’, in Willard Bohn (ed. ), Italian Futurist Poetry (Toronto: collage of Toronto Press, 2005), p. 185. Fillia (1926), quoted in Mazzoletti, Il jazz in Italia, p. 171. Marinetti (1927), quoted in Mazzoletti, Il jazz in Italia, p. 171. Mirella Bentivoglio and Franca Zoccoli, the ladies Artists of Italian Futurism: virtually misplaced to historical past (New York: Midmarch Arts Press, 1997), p. 126. Quoted in Cecilia Novero, Antidiets of the Avant-Garde: From Futurist SWEENEY 9780748646401 PRINT. indd 60 15/01/2013 13:51 Futurist Responses to African American tradition forty five. forty six. forty seven. forty eight. forty nine. 50. fifty one. fifty two. fifty three. fifty four. fifty five. fifty six. fifty seven. fifty eight. sixty one Cooking to devour paintings (Minneapolis: collage of Minnesota Press, 2010), p. forty. Günter Berghaus, ‘The Futurist dinner party: Nouvelle delicacies or functionality paintings? ’, New Theatre Quarterly, 65:17 (2001), pp. 3–16, p. 12. See Patricia A. Morton, Hybrid Modernities. structure and illustration on the 1931 Colonial Exposition, Paris (Cambridge, MA: MIT Press, 2003); and Boittin, Colonial city, pp. 44–5. Michael Borshuk, ‘ “Queen of the Colonial Exposition”: Josephine Baker’s Strategic Performance’, in Kimberley L. Phillips, Hermine D. Pinson, Loreno Thomas and Hanna Wallinger (eds), severe Voicings of Black Liberation. Resistance and Representations within the Americas (Munster, Hamburg and London: LIT Verlag, 2003), pp. 47–66. Quoted in Pinkus, physically Regimes, p. forty two. See Maurizio Scudiero and David Leiber, Depero futurista & manhattan: il futurismo e l’arte pubblicitaria (Ravenna: Longo, 1986). Pinkus, physically Regimes, p. forty three. Lucchino, ‘Futurist level Design’, p. 468. Spackmann, Fascist Virilities. Pinkus, physically Regimes, p. forty. Philip Morgan, Fascism in Europe, 1919–1945 (New York: Routledge, 2003), p. 176. As Jennifer Anne Boittin asserts, ‘In 1935, in the course of a quick stopover in Rome, Baker heard a bellicose speech during which Mussolini defended his impending invasion of Ethiopia in what grew to become often called the Italo-Ethiopian (and occasionally additionally the Italo-Abyssinian) warfare. She advised journalists that Haile Selassie, the Emperor of Ethiopia who fought Mussolini, was once an enemy of the black race. ’ Boittin, Colonial city, p. 31. See Ruth Ben-Ghiat, Fascist Modernities: Italy, 1922–45 (Berkeley: collage of California Press, 2001). Guido Bonsaver, Censorship and Literature in Fascist Italy (Toronto: collage of Toronto Press, 2007), p.

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