Futurism (literature)
[2] Futurist literature primarily focuses on seven aspects: intuition, analogy, irony, abolition of syntax, metrical reform, onomatopoeia, and essential/synthetic lyricism.
The ideals of the futurists expanded to their sculptures and painting styles as well; they were not fond of the cubism movement in France or the renaissance era progression (in their point of view, emasculation) and would often preach going back to old fashioned values in their manifestos and articles as well as their artwork.
[3] Although the movement was founded with manifestos written by men there were responses to Marinetti in particular from women whom considered themselves traditional feminists and did not see the previous renaissance movement as a shift towards emasculation, but relied too much on the traditional titles of "men" and "women" that pigeon holed society into believing they couldn't be empathetic and that a woman couldn't be vigorous.
[5] As such, the spontaneous creation brought by intuition freed one from abstracting (and therefore adding erroneous material into the literature) and allowed on to speak in the language of art.
This intuition is "the poet's peculiar quality in that it enables him to discover analogies which, hidden to reason, are yet the essentials of art".
Marinetti believed that analogies had always existed, but earlier poets had not reached out enough to bring appropriately disparate entities together.
[7] While an ordinary person's vision is colored by convention and tradition, the poet can brush away this top layer to reveal the reality below.
White points out that since "The OED defines 'syntax' as 'the arrangement of words in their proper forms' by which their connection and relation in a sentence are shown".
In order to break free of the shackles of meter, they resorted to what they called "parole in libertá (word autonomy)".
For example, in the poem entitled "Studio" by Soffici, he "describes the artist's studio—and by extension, modern man himself—as becoming a 'radiotelefantastic cabin open to all messages', the sense of wonder her being transmitted by the portmanteau neologism: 'readotelefantastica'".
In its stead, the Futurists exalted the variety theatre, vaudeville, and music hall because, they argued, it "had no tradition; it was a recent discovery".
Furthermore, the heavy use of machinery attracted the Futurists, as well as Vaudevillian acts' tendency to "destroy" the masterpieces of the past through parody and other forms of depreciation.
This type of play took the idea of compression to an extreme, where "a brief performance in which entire acts were reduced to a few sentences, and scenes to a handful of words.
The creator of the first modern synthetic play is thought to be Verlaine, with his aptly titled work Excessive Haste.
It took some time during the development of the movement to take shape in all the areas the futurists wanted to explore in order to visually represent their message especially in two-dimensional paintings.
Vehement god from a race of steel, Automobile drunk with space, Trampling with anguish, bit between your strident teeth!
O formidable Japanese monster with forge, Nourished with flame and mineral oils, Hungry for horizons and sidereal prey, I unleash your heart to the diabolical vroom-vroom And your giant radials, for the dance You lead on the white roads of the world.
