Benjamin and Marinetti: Fragments of a focus on aestheticization (notice n° 524572)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 01181cam a2200157 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250121101415.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Chateau, Dominique |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | Benjamin and Marinetti: Fragments of a focus on aestheticization |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2022.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 85 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Walter Benjamin uses Marinetti's “manifesto on the Italian-Ethiopian war” to support his famous theory of aestheticization. He sees the Italian artist's ideology as the realization of art for art's sake, despite Marinetti's aim being to, rather roughly, place art in the service of war and politics. It is to make reference to the formal innovations advocated by the futurists, but whose relationship with fascist ideology, even proclaimed, is ambiguous at the very least. The identification of the innovative, deconstructive, and provocative artist with the fascist New Man, “proud, strong-willed, ascetic, and warlike,” leads to a dead end. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Nouvelle revue d’esthétique | o 30 | 2 | 2022-12-13 | p. 105-114 | 2264-2595 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-nouvelle-revue-d-esthetique-2022-2-page-105?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-nouvelle-revue-d-esthetique-2022-2-page-105?lang=en&redirect-ssocas=7080</a> |
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