@book{publication-2028,
  year = {2013},
  publisher = {De Gruyter},
  series = {International Yearbook of Futurism Studies 3 (2013)},
  url = {http://www.degruyter.com/view/j/futur},
  address = {Berlin},
  title = {Iberian Futurisms: Reactions to Futurism in Castile, Catalonia, the Basque Country, Galicia and Portugal},
  editor = {Günter Berghaus},
  abstract = {The International Yearbook of Futurism Studies has the policy of alternating
theme-related issues with open issues. Volume 3 (2013) is devoted to the
Iberian peninsula and includes a variety of studies concerned with reactions
to Futurism in Portugal, Castile, Catalonia, Galicia and the Basque
Country. The volume aims at giving due consideration to regions often overlooked
in critical studies of Futurism, focus on individual artists and writers
from those provinces, and investigate how the Iberian brands of Futurism (or
Futurist inclined avant-garde movements such as Ultraísmo, Creacionismo
and Sensacionismo) interacted with Marinetti and other Futurists in Italy,
Iberia and the rest of the world. The volume presents well-known artists as
well as those of lesser renown and investigates to what degree they were
influenced by Futurism, how they adapted Futurist ideas and devices and
developed from this something original and distinctive that in many cases
could be substantially different from its original source of inspiration, Italian
Futurism.

===

International Yearbook of Futurism Studies 3 (2013)
Iberian Futurisms:  Reactions to Futurism in Castile, Catalonia, the Basque Country, Galicia and Portugal
Ed. by Günter Berghaus
532 pp, 42 figs. ISSN (Print) 2192-0281. e-ISSN 2192-092×.  € 104,00/US\$ 156.00.  Print + Online € 120,00/US\$ 180.00
Section 1: Reviews and Archive Reports
Günter Berghaus
Valentine de Saint-Point: Performance, War, Politics and Eroticism  3
Apulia Celebrates International Futurism   6
Lisa Hanstein and Jan Simane
The Futurism Archive of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut  12
Section 2: Country Surveys
Andrew A. Anderson
Futurism in Spain: Research Trends and Recent Contributions   21
Section 3: Futurism Studies: Iberian Futurisms
David W. Bird
Futurist Social Critique in Gabriel Alomar i Villalonga (1873–1941)   47
Elena Rampazzo
Marinetti’s Periodical Poesia (1905-09) and Spanish-language Literature  64
Carola Sbriziolo
Futurist Texts in the Madrilenian Review Prometeo, Directed by R. Gómez de la Serna  99
Juan Herrero-Senés
“Polemics, jokes, compliments and insults”: The Reception of Futurism in the Spanish Press (1909–1918)  123
Leticia Pérez Alonso
Futurism and Ultraism: Identity and Hybridity in the Spanish Avant-garde    154
Lynn C. Purkey
Nuevo Romanticismo and Futurism: Spanish Responses to Machine Culture    181
Renée M. Silverman
Rafael Barradas, Catalan Futurism and Marinetti’s Visit to Barcelona (1928)    211
Eduardo Ledesma
Catalan Futurism(s) and Technology: Poetry, Painting, Architecture and Film   248
Francisco Javier Munoz Fernández
Marinetti in Bilbao: Futurist Influences in the Basque Country    283
Iria Sobrino Freire
Reactions to Futurism in Galicia, 1916–1936     317
Nuno Júdice
Futurism in Portugal     351 
Fernando Cabral Martins and Sílvia Laureano Costa
Almada Negreiros, a Portuguese Futurist    371
Manuela Parreira da Silva
Ultra-Futurism, Occultism and Queer Politics: Concerning an (almost unpublished) Letter of Raul Leal to F.T. Marinetti  394
Marisa das Neves Henriques
Two Futurists Fallen into Oblivion: José Pacheco and Santa Rita Pintor   416
Section 4: Bibliography
Günter Berghaus
A Bibliography of Publications on Futurism, 2010–2012    447
Section 5: Back Matter
List of Illustrations      475
Notes on Contributors     479
Name Index      485
Subject Index      507
Geographical Index      525
Short Abstracts of Contributions
Section 1: Archive Reports
Lisa Hanstein \&amp;amp; Jan Simane: The Futurism Archive of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut
The article reviews the remarkable  Futurism collection of the library of the Kunsthistorisches Institut in Florenz with over 500 original works (manifestos, books, exhibition catalogues, magazines…) from 1909-44. The library also provides interesting publications related to later development of Futurism, a comprehensive choice of secondary literature on Futurist artists, groups and regional centres, Futurist exhibition catalogues from 1945-1968 and numerous other publications related to Futurism until today. Through projects such as a digital archive for Futurism in Florence, the library seeks to offer easier access to rare research material and also to promote the international discourse on Futurism.
Section 2: Country Surveys
Andrew A. Anderson: Futurism in Spain: Research Trends and Recent Contributions
This essay charts how the subject of Futurism in/and Spain has been approached over the years, delineates how the subject has come to be configured into a number of sub-categories, and provides a survey and evaluation of scholarly publications that have appeared since 2000. The most notable sub-categories include: general broad introductions; Gabriel Alomar and El futurisme; Ramón Gómez de la Serna and Prometeo; the Catalan historical avant-garde; the Ultra movement; and Marinetti’s 1928 visit to Spain and Spagna veloce e toro futurista. A ‘Coda’ reviews some of the more substantial recent studies concerned with Latin America.
Section 3: Futurism Studies: Iberian Futurisms
David W. Bird
Futurist Social Critique in Gabriel Alomar i Villalonga (1873–1941)  
Gabriel Alomar wrote political journalism and speeches that expressed his militant desire to emancipate the Catalan people from the dominant forms of economic and cultural hegemony, in particular from the interventions of the Castilian-speaking government in Madrid. This study shows how Alomar’s early essays deploy literary tropes as a narrative intervention in the material world, synthesizing regionalist and cosmopolitan elements in the elaboration of a critical social and political agenda for Spain after 1898. “El futurisme” is the best-known of Alomar’s writings, but here the field of inquiry is broadened to include a discussion of his early political essays.
Elena Rampazzo
Marinetti’s Periodical Poesia (1905-09) and Spanish-language Literature  
Through an analysis of Poesia and the memoirs of Marinetti and Buzzi – the most important poet of early Futurism – this essay aims to investigate some of policies behind Marinetti’s presentation of Spanish writers, his views on the creative texts reviewed and to give an impression of the overall picture of Spanish culture transmitted by the periodical to its readers.
Carola Sbriziolo
Futurist Texts in the Madrilenian Review Prometeo, Directed by Ramón Gómez de la Serna 
This essay analyses the first phase of the infiltration of Futurism in Spain – approximately from 1909 to 1912. The texts discussed here share a curious and interesting unity of codes and literary expression, but they also reveal variations, due to the dissimilar cultural, social and political situations in Italy and Spain. Thus, one can demonstrate that the importation of Futurism into Spain did not merely result in imitation, but led to ‘cultural adaptations’ that transformed Italian reality into an Iberian one and mixed typical traits of the Italian avant-garde (dynamism, technophilia, etc.) with specifically Spanish characteristics of a more traditionalist kind (bullfighting, clericalism, Carlism etc.).
Juan Herrero-Senés
“Polemics, jokes, compliments and insults”: The Reception of Futurism in the Spanish Press (1909–1918) 
This contribution reviews the main corpus of responses to Futurism in the Spanish press from 1909 until 1918 and indicates the major phases of reception.  It documents how Spanish journalists and writers gave notice of the outpouring of Futurist manifestos, public events and controversies and informed their readers of the developments in different artistic disciplines. The article tracks the debates, analyses the range of reactions from enthusiasm to ridicule through understanding or misunderstanding and assesses how the Spanish public opinion, mostly conservative, assimilated progressively the innovations and the challenges that Futurism posed.
Leticia Pérez Alonso
Futurism and Ultraism: Identity and Hybridity in the Spanish Avant-garde 
This essay argues for an interpretation of Ultraism as a case of hybridity that incorporated disparate avant-garde tendencies – Cubism, Futurism, Dadaism and Expressionism – in order to overcome the preceding modernista tradition. The ultraístas utilized manifestos, articles and poems to bring about immediate effects. This essay examines a series of poems by Guillermo de Torre, Xavier Bóveda, Rafael Lasso de la Vega, Jorge Luis Borges and Volt in order to reflect on avant-garde cross-fertilizations and the impact of pictorial images on poetic language. Refusing to be confined to an isolated stance, Ultraism partook of migratory movements and exchanges, furthering extremely fertile alignments that conditioned its hybrid identity.
Lynn C. Purkey
Nuevo Romanticismo and Futurism: Spanish Responses to Machine Culture 
Marinetti and Italian Futurism received considerable public exposure in Spain during the 1910s and 1920s, yet, in the 1930s, the emphasis shifted towards Russian Futurism and its major representative, Vladimir Mayakovsky. This essay examines the dialogue between the Spanish Left and Futurism and its shifts of emphasis from the 1920s to the 1930s. The main focus is on three works preoccupied with urbanity and mechanization: César M. Arconada’s Urbe (1928), José Díaz Fernández’s La Venus mecánica (1929) and Rafael Alberti’s Radio Sevilla (1938).
Renée M. Silverman
Rafael Barradas, Catalan Futurism and Marinetti’s Visit to Barcelona (1928)  
Uruguayan artist Rafael Barradas introduced his Vibracionismo to Barcelona in 1917. “Vibrationism”, like the Italian Futurism that inspired it, is characterized by spatio-temporal simultaneity. Yet even though Barradas returned to figurative art around 1922, he continued to involve himself with Futurism and the avant-garde, founding the Ateneíllo de Hospitalet and welcoming Marinetti to Barcelona in 1928. However, by that year, given the waning interest in Italian-style Futurism and questioning of the ‘avant-garde’ in Catalonia, the failure of Marinetti’s visit to Spain remains unsurprising. The rejection of Marinetti’s Fascism in Barcelona contrasts with the apolitical posture of Barradas and the Ateneíllo. Their open attitude would be exchanged, in the 1930s, for the socio-political polarization which Marinetti’s visit put into relief.
Eduardo Ledesma
Catalan Futurism(s) and Technology: Poetry, Painting, Architecture and Film 
This essay examines the Catalan avant-garde’s relation to the Mechanical Age in light of works by four artists who approached technology with a ‘futurist’ sensibility, and were enthusiastically swept away by the zeitgeist of the times – the speed, novelty and adventure of the machine era – but who also recognized its destructive elements. By analysing works by the painter Joaquim Torres-García, the poet Joan Salvat-Papasseit, the architect Josep Lluís Sert and the film director Segundo de Chomón, this essay explores how Catalan Futurism engaged with the dynamic forces of modernity, and how it balanced internationalist impulses with autochthonous nationalist urges.
Francisco Javier Munoz Fernández
Marinetti in Bilbao: Futurist Influences in the Basque Country 
Marinetti’s Futurism, together with other avant-garde manifestations, was welcomed by young writers and artists in the Basque Country anxious to contribute to the regeneration of arts. From 1919 onwards, they opened the door to experimentation in literature, fine arts and architecture. The process, usually, did not last long and did not find a welcoming reception. This essay focusses on the poets Juan Larrea, Ramón de Basterra and Gabriel Celaya, the painter Antonio Guezala, Marinetti’s lecture in Bilbao in 1928, and the renewal in architecture of the late 1920s thanks to Luis Vallejo, Jose Manuel Aizpurua and Joaquin Labayen.
Iria Sobrino Freire
Reactions to Futurism in Galicia, 1916–1936 
This paper approaches the reception of Futurism in Galicia in the period between 1916 and 1936, when an intense debate was being held about the national cultural identity under the umbrella of an overarching centralist Spanish State. One of the most discussed subjects, in this context, was the appropriateness of the introduction of avant-garde art and literature. This essay examines attitudes towards Futurism in the Xeración Nós, especially in Vicente Risco and Alfonso R. Castelao, and in the Xeración de 1925, especially in Manuel Antonio. Although Futurism did not have a decisive influence on Galician literature and art, the movement regularly featured as a reference point in articles and letters of the intellectual class.
Nuno Júdice
Futurism in Portugal 
Shortly after two Portuguese newspapers gave notice of Marinetti’s publication of the Foundation and Manifesto of Futurism, a turn towards modernist forms of expression can be found in Portugal, especially in the magazines A águia and Orpheu. Echoes of Futurist doctrines can be found in Pessoa’s concepts of Paulism, Intersectionism and Sensationism, Almada-Negreiros’ Cena do ódio and in the recitation of this “Scene” at the Teatro República (4 April 1917). After the failure to bring out a third issue of Orpheu, a Futurist group assembled in Faro where, in 1917, they published a number of Futurist works in the periodical O heraldo and organized an art exhibition in a gallery. The crowning achievement of the development was the publication of the magazine Portugal futurista (November 1917).
Fernando Cabral Martins and Sílvia Laureano Costa
Almada Negreiros, a Portuguese Futurist 
In the beginning of the 1910’s, José de Almada Negreiros, together with the writers Fernando Pessoa and Mário de Sá-Carneiro and the young artists Amadeo de Souza-Cardoso, Santa Rita Pintor, Eduardo Viana and José Pacheko, tried out daring and unusual formats of writing, drawing and public gestures that reflected Futurist predecessors and acted as a force of change in Portugal. Almada distinguished himself with his Manifesto Anti-Dantas e por extenso and with the poem-manifesto, A cena do ódio. In the years 1915-17, he became a propagandist-performer who adapted Marinetti’s technique of Words-in-Freedom (parole in libertà) and presented himself to the pubic in a first Futurist soirée.
Manuela Parreira da Silva
Ultra-Futurism, Occultism and Queer Politics: Concerning an (almost unpublished) Letter of Raul Leal to F.T. Marinetti  
In 1909, the year of the inception of the Futurist movement, Raul Leal began his career as a journalist in Lisbon. In 1914, he met Gabriele D’Annunzio and Filippo Tommaso Marinetti and began to develop an enthusiasm for Futurism. In 1923, he published Sodoma divinizada (Sodom Deified), a defence of pederasty that became, without any doubt, the best known and most cited of all Raul Leal’s works. Leal considered himself to be an “ultra-Futurist” and set out his beliefs in a message to F.T. Marinetti, who considered it to be a “lettre très importante”. The author describes in this essay a Portuguese draft by Leal’s hand, which to this day remains unpublished.
Marisa das Neves Henriques
Two Futurists Fallen into Oblivion: José Pacheco and Santa Rita Pintor 
The essay offers a glimpse into Portuguese Futurism through a presentation of the aesthetic visions and actions of the architect José Pacheco and the painter Santa Rita Pintor. Although the two were secondary figures in the Portuguese literary scene, their attempt to make a Futurist synthesis of the arts come true is of considerable historical interest. They were inspired by Marinetti’s programme and by the latest trends in European art and literature. Both artists became the fragile conscience of a group of Portuguese Futurists, and their works offer an opportunity to understand better the Portuguese avant-garde and its ties with European Futurism.
Section 4: Bibliography
Günter Berghaus
A Bibliography of Publications on Futurism, 2010–2012
This section contains 1,032 bibliographic entries, arranged in the following order: 1. Exhibition catalogues; 2. Special issues of journals and periodicals; 3. Monographs: Edited volumes of conference proceedings; 4. Monographs: Edited volumes; 5. Monographs: Studies; 6. Editions; 7. Futurism in Fiction; 8. Futurism in Sound Recordings; 9. Futurism in Film Recordings.},
  keywords = {Futurism,Avant-Garde,Modernism,Literaturwissenschaft,Medien-/Kulturwissenschaft,Katalanisch,Portugiesisch,Spanisch,Sprachübergreifend},
}
