{"id":1556,"date":"2019-07-24T09:14:10","date_gmt":"2019-07-24T09:14:10","guid":{"rendered":"http:\/\/guenter-berghaus.com\/?page_id=1556"},"modified":"2024-01-05T19:13:39","modified_gmt":"2024-01-05T19:13:39","slug":"essays-2","status":"publish","type":"page","link":"https:\/\/guenter-berghaus.com\/?page_id=1556","title":{"rendered":"Essays"},"content":{"rendered":"

Publications<\/strong><\/h2>\n

 <\/p>\n

Academic Essays and Papers<\/strong><\/p>\n

    \n
  1. \n

    \u201cNestroys Possen als politisches Volkstheater.\u201d In: <\/span>Programmheft \u201cFreiheit in Kr\u00e4hwinkel\u201d.<\/i><\/span> T\u00fcbingen: <\/span>Landestheater W\u00fcrttemberg-Hohenzollern, 1981, pp. 2-5.<\/span><\/p>\n<\/li>\n

  2. \n

    \u201cQuellen zu Nestroys Weltanschauung und Lebensphilosophie.\u201d In: <\/span>Nestroyana<\/i><\/span> 4 (1982), pp. 3-24.<\/span><\/p>\n<\/li>\n

  3. \n

    \u201cA Case of Censorship of Milton in Germany: On an Unknown Edition of the ‚Pro Populo Anglicano Defensio‘.\u201d In: Milton Quarterly<\/i> 17 (1983), pp. 61-70.<\/p>\n<\/li>\n

  4. \n

    \u201cAndreas Gryphius\u2019 <\/span>Carolus Stuardus<\/i><\/span>: Formkunstwerk oder politisches Lehrst\u00fcck?\u201d In: <\/span>Daphnis<\/i><\/span> 13 (1984), pp. 229-274<\/span><\/p>\n<\/li>\n

  5. \n

    \u201cRebellion, Reservation, Resignation: Nestroy und die Wiener Gesellschaft 1830-1860.\u201d <\/span>In: <\/span>W.E. Yates & J.R.P. McKenzie, eds.: Viennese Popular Theatre: A Symposium<\/i>, Exeter: University Press, 1985, pp. 109-122.<\/span><\/p>\n<\/li>\n

  6. \n

    \u201cGeorg Greflinger als Journalist und historisch-politischer Schriftsteller: Mit einem Anhang seiner Schriften \u00fcber die englische Revolution.\u201d In: <\/span>Wolfenb\u00fctteler Barock-Nachrichten<\/i><\/span> 12 (1985), pp. 1-14.<\/span><\/p>\n<\/li>\n

  7. \n

    \u201cDada Theatre, Or: The Genesis of Anti-bourgeois Performance Art.\u201d In: German Life and Letters<\/i> 38 (1985), pp. 293-312.<\/p>\n<\/li>\n

  8. \n

    \u201cGerman Theatre in Exile.\u201d In: Plays & Players<\/i>, Sept. 1986, pp. 14-17, Dec. 1986, p. 2.<\/p>\n<\/li>\n

  9. \n

    \u201cA Theatre of Image, Sound and Motion: On Synaesthesia and the Idea of a Total Work of Art.\u201d In: Maske und Kothurn <\/i>32 (1986), pp. 7-28.<\/p>\n<\/li>\n

  10. \n

    \u2018Girlkultur\u2019: Feminism, Americanism and Popular Entertainment in Weimar Germany.\u201d In: Journal of Design History <\/i>1 (1988), pp. 193-220.<\/p>\n<\/li>\n

  11. \n

    \u201cProducing Art in Exile: Perspectives on the German Refugees\u2019 Creative Activities in Great Britain.\u201d In: G. Berghaus, ed.:Theatre and Film in Exile.<\/i> Oxford: Berg, 1989, pp. 13-46.<\/p>\n<\/li>\n

  12. \n

    \u201cDanza Futurista: Giannina Censi and the Futurist \u2018Thirties\u2019.\u201d In: Dance Theatre Journal<\/i> 8:1 (Summer 1990), pp. 4-7, 34-37.<\/p>\n<\/li>\n

  13. \n

    \u201cThe Emigr\u00e9s from Nazi Germany and Their Contribution to the British Theatrical Scene.\u201d In: Werner E. Mosse, ed.: Second Chance: Two Centuries of German-speaking Jews in the United Kingdom.<\/i> T\u00fcbingen: Mohr, 1991, pp. 297-314.<\/p>\n<\/li>\n

  14. \n

    \u201cNeoplatonic and Pythagorean Notions of World Harmony and Unity and Their Influence on Renaissance Dance Theory.\u201d In: Dance Research <\/i>10:2 (Autumn 1992), pp. 43-70.<\/p>\n<\/li>\n

  15. \n

    \u201c<\/span>Theatre Performances at Italian Renaissance Festivals: Multi-media Spectacles or Gesamtkunstwerke?.\u201d In: Ronnie Mulryne, ed.: Italian Renaissance Festivals<\/i> and Their<\/i> European<\/i> Influence<\/i>. New York: Edwin Mellen Press, 1992, pp. 3-55.<\/p>\n<\/li>\n

  16. \n

    \u201c<\/span>Happenings and Other Acts.\u201d In: Performance Art into the ’90s<\/i>, London: Academy Publ. 1994, pp. X-XI.<\/p>\n<\/li>\n

  17. \n

    \u201c<\/span>Dance and the Futurist Woman: The Work of Valentine de Saint-Point.\u201d In: Dance Research<\/i> 11:2 (Autumn 1993), pp. 27-42.<\/p>\n<\/li>\n

  18. \n

    \u201c<\/span>Pop Art, Nouveau R\u00e9alisme, and Happenings.\u201d In: The Drama Review<\/i> 31:1 (T140) (Winter 1993), pp. 157-168<\/p>\n<\/li>\n

  19. \n

    \u201c<\/span>Fulvia Giuliani: Portrait of a Futurist Actress.\u201d In: New Theatre Quarterly<\/i> 10 (1994), pp. 117-121.<\/p>\n<\/li>\n

  20. \n

    \u201c<\/span>Happenings in Europe: Trends, Events and Leading Figures.\u201d In: Mariellen Sandfort, ed.: Happenings and Other Acts<\/i>. New York: Routledge, 1995, pp. 310-388.<\/p>\n<\/li>\n

  21. \n

    \u201c<\/span>Tomas Schmit: A Fluxus Farewell to Perfection.\u201d In: The Drama Review<\/i> 38:1 (T141) (Spring 1994), pp. 79-97<\/p>\n<\/li>\n

  22. \n

    \u201c<\/span>Oppositional Cabaret in Nazi Germany: Or Walking a Political Tightrope over the Abyss.\u201d In: Performance Research<\/i> 1: 2 (Autumn 1996), pp. 57-59.<\/p>\n<\/li>\n

  23. \n

    (with Ben Slater) \u201c<\/span>Degraded<\/i>: A Video Performance.\u201d In: Studies in Theatre Production<\/i>, no. 14 (December 1996), pp. 4-19. [ISSN 14682761]<\/span><\/p>\n<\/li>\n

  24. \n

    \u201c<\/span>Stagecraft in the Service of Statecraft: Early Renaissance Performances in Ferrara.\u201d In: Christopher Cairns, ed.: Scenery, Set and Staging in the Italian Renaissance<\/i>. Lampeter: Edwin Mellen Press, 1996, pp. 1-38.<\/p>\n<\/li>\n

  25. \n

    \u201c<\/span>Georg Greflinger.\u201d In: James Hardin, ed.: German Writers of the Baroque, 1580-1720. <\/i>New York: Gale Publishers, 1996, pp. 121-130.<\/p>\n<\/li>\n

  26. \n

    \u201c<\/span>The Ritual Core of Fascist Theatre.\u201d In: G\u00fcnter Berghaus, ed.: Fascism and Theatre: Comparative Studies on the Politics and Aesthetics of Performance in Europe, 1925-1945<\/i>. Oxford: Berghahn Books, 1996, pp. 39-71.<\/p>\n<\/li>\n

  27. \n

    \u201cO <\/span>Expressionismo no teatro: Interpreta\u00e7\u00e3o, cenografia e dan\u00e7a.\u201d In: <\/span>O percevejo:<\/i><\/span> Revista de teatro e est\u00e9tica<\/i><\/span> 5:5, (1997), pp. 88-96. [<\/span>ISSN 0104-7671]<\/p>\n<\/li>\n

  28. \n

    \u201cIl secondo futurismo e il regime fascista.\u201d In: <\/span>Terzo occhio: Trimestrale d\u2019arte contemporanea<\/i><\/span> 23:4 (December 1997), pp. 3-7;  24:1 (March 1998), pp. 6-9. [ISSN 0390-0355]<\/span><\/p>\n<\/li>\n

  29. \n

    \u201c<\/span>Ritual and Crisis: Survival Techniques of Humans and Other Animals.\u201d In: Performance Research<\/i> 3:3 (Winter 1998), pp. 62-73.<\/p>\n<\/li>\n

  30. \n

    \u201c<\/span>Die futuristischen Abende: Theater, Film, Performance Art.\u201d In: <\/span>Forum Modernes Theater<\/i><\/span> 14:1 (1999), pp. 63-73.<\/span><\/p>\n<\/li>\n

  31. \n

    \u201c<\/span>Ritualisme et esprit fin-de-sci\u00e8cle.\u201d In: <\/span>Th\u00e9\u00e2tre \/ Public<\/i>, no. 146 (March-April 1999), pp. 68-73. [ISSN 0335-2927]<\/p>\n<\/li>\n

  32. \n

    \u201c<\/i><\/span>Futurism, Dada, and Surrealism: Some Cross-Fertilizations Among the Historical Avant-garde.\u201d In: G. Berghaus, ed.: International Futurism in Arts and Literature<\/i>, Berlin: De Gruyter, 2000, pp. 271-304<\/p>\n<\/li>\n

  33. \n

    (with Mario Verdone ) \u201cVita futurista\u201d and Early Futurist Cinema.\u201d In: G. Berghaus, ed.: International Futurism in Arts and Literature<\/i>. Berlin: De Gruyter, 2000, pp. 398-421.<\/p>\n<\/li>\n

  34. \n

    \u201c<\/span>Futurism: A Bibliographic Reference Shelf.\u201d In: G. Berghaus, ed.: International Futurism in Arts and Literature<\/i>. Berlin: De Gruyter, 2000, pp. 487-597.<\/p>\n<\/li>\n

  35. \n

    \u201cObra total de arte e teatro modernista.\u201d In: Jo\u00e3o Gabriel Teixera, ed.: <\/span>Transe: Estudos transdisciplinares sobre a performance<\/i><\/span>. Bras\u00edlia: Editora Universidade do Bras\u00edlia, 2000, pp. 15-27.<\/span><\/p>\n<\/li>\n

  36. \n

    \u201c<\/span>The Futurist Body on Stage.\u201d In: Nathalie Roelens, and Wanda Strauven, eds.: Homo Orthopedicus: Le corps et ses proth\u00e8ses \u00e0 l\u2019\u00e9poque (post)moderniste.<\/i> Paris: L\u2019Harmattan, 2001, pp. 333-348.<\/span><\/p>\n<\/li>\n

  37. \n

    La Raucourt: A Libertine Actress of the Eighteenth Century.\u201d In: Maske und Kothurn<\/i><\/span> 42:2-4 (2000), pp. 259-277.<\/span><\/p>\n<\/li>\n

  38. \n

    The Futurist Banquet: Nouvelle Cuisine or Performance Art?.\u201d In: New Theatre Quarterly<\/i> 28:1 (February 2001), pp. 3-17.<\/p>\n<\/li>\n

  39. \n

    \u201c<\/span>Sironi\u2019s Modernism.\u201d In: Oxford Art Journal <\/i>24:1 (2001), 157-162.<\/p>\n<\/li>\n

  40. \n

    \u201c<\/span>Artaud\u2019s <\/span>Jet de Sang<\/i><\/span>.\u201d In: <\/span>Studies in Theatre Production<\/i><\/span> 21:1 (2001), 4-17. [ISSN 14682761]
    \n<\/span><\/p>\n<\/li>\n

  41. \n

    \u201c<\/span>From Futurism to Neo-Futurism: Continuities and New Departures in Twentieth-Century Avant-garde Performance.\u201d In:  Dietrich Scheunemann, ed.:  Avant-garde \/ Neo-Avant-garde<\/em>. Amsterdam\/New York: Rodopi, 2005, pp. 195-224.<\/p>\n<\/li>\n

  42. \n

    \u201c<\/span>Biographie und Anregungen eines Ausgewanderten I.\u201d In: V. Thomas Haberkamm und Daniel Dettling, eds.:<\/span> Der Kampf um die besten K\u00f6pfe: Perspektiven f\u00fcr den deutschen Hochschulstandort<\/i><\/span>. Berlin: Altana, 2005, pp. 18-21.<\/span><\/p>\n<\/li>\n

  43. \n

    \u201c<\/span>The Futurist Political Party.\u201d In: Sascha Bru, and Gunther Martens, eds.: The Invention of Politics in the European Avant-Garde, 1905-1940<\/i>. Amsterdam & New York: Rodopi, 2006, pp. 153-182.<\/span><\/p>\n<\/li>\n

  44. \n

    \u201cNeo-Dada Performance Art.\u201d In: David Hopkins, and Anna Katharina Schaffner, eds.: Neo-Avant-Garde. <\/i>Amsterdam & New York: Rodopi, 2006, pp. 75-96.<\/span><\/p>\n<\/li>\n

  45. \n

    \u201cMilitant Politics and Avant-garde Performance Art in the Early Futurist Movement.\u201d In: Arcadia<\/i> 41:2 (2006), pp. 245-259.<\/span><\/p>\n<\/li>\n

  46. \n

    \u201cViolencia, purgativo final del mundo<\/span>.\u201d In: <\/span>Cultura moderna <\/i><\/span>(Sevilla) no. 2 (Autumn-Winter 2006), pp. 73-112. [ISSN 697-686-X]
    \n<\/span><\/p>\n<\/li>\n

  47. \n

    \u201c<\/span>Avant Garde.\u201d In: Ric Alsopp, and David Williams, eds.: A Lexicon<\/i>. Special edition of Performance Research<\/i> 11:3 (Sept. 2006), published as a contribution to Documenta 12<\/i>, pp. 14-16.<\/p>\n<\/li>\n

  48. \n

    \u201cF.T. Marinetti\u2019s Concept of a Theatre Enhanced by Audio-Visual Media.\u201d In: <\/span>Forum Modernes Theater<\/i> 22:2 (2007), pp. 105-116.<\/p>\n<\/li>\n

  49. \n

    \u201cNew Research on Futurism and its Relations with the Fascist Regime.\u201d In: Journal of Contemporary History<\/i> 42:1 (2007), pp. 149\u2013160.<\/p>\n<\/li>\n

  50. \n

    \u201cI banchetti futuristi come performance art.\u201d In: <\/span>Trasparenze. Supplemento non periodico a Quaderni di poesia<\/i><\/span> 31-32 (2007), pp. 10-24. <\/span>[ISSN 1723-9362]<\/span><\/p>\n<\/li>\n

  51. \n

    \u201c<\/span>From Video Art to Video Performance: The Work of Ulrike Rosenbach.\u201d In: Alexander Graf, ed.: Avant-garde Film. <\/i>Amsterdam\/New York: Rodopi, 2007, pp. 321- 338.<\/p>\n<\/li>\n

  52. \n

    \u201c<\/span>The Use of Audio-Visual Media in Futurist Theatre.\u201d In: Henri Schoenmakers, Stefan Bl\u00e4ske, Kay Kirchmann, Jens Ruchatz, eds.: <\/span>Theater und Medien \/ Theatre and the Media: Grundlagen \u2013 Analysen \u2013 Perspektiven. Eine Bestandsaufnahme<\/span><\/i>. Bielefeld: Transcript, 2008, pp. 133-139.<\/span><\/p>\n<\/li>\n

  53. \n

    \u201c<\/span>Futurism and the Technological Imagination: Poised between Machine Cult and Machine Angst.\u201d In: G. Berghaus, ed.: Futurism and the Technological Imagination. <\/i>Amsterdam \/ New York; \u00c9ditions Rodopi 2009. 1-39.<\/p>\n<\/li>\n

  54. \n

    \u201c<\/span>Variety, Music-hall and Futurist Theatre Aesthetics.\u201d In: Gianni Eugenio Viola, ed.: <\/span>Una bellezza nuova: Studi e ricerche nel Centenario del Manifesto di Fondazione del Futurismo di Filippo Tommaso Marinetti. <\/span><\/i>Atti del Convegno internazionale di studi presso la Biblioteca Angelica di Roma, 15-17 gennaio 2009. Roma: Biblioteca d\u2019Orfeo, 2009,<\/span> pp. 111-143.<\/span><\/p>\n<\/li>\n

  55. \n

    \u201c<\/span>Marinetti e il suo utopico progetto di Teatro Totale.\u201d In: Walter Pedull\u00e0, ed.: Futurismo e letteratura<\/span><\/i>. Special issue of <\/span>L\u2019Illuminista <\/span><\/i>9:27 (September-December 2009). Roma: Ponte Sisto, 2009, pp. 453-457.<\/span><\/p>\n<\/li>\n

  56. \n

    \u201cViolence, War, Revolution: Marinetti\u2019s Concept of a Futurist Cleanser for the World.\u201d Annali d\u2019 italianistica <\/i>27 (2009), pp. 23-71.<\/span><\/p>\n<\/li>\n

  57. \n

    \u201cFuturism and Women.\u201d In: Modern Language Review <\/i>105:2 (April 2010), pp. 401-411.<\/span><\/p>\n<\/li>\n

  58. \n

    \u201cAn Unperformable Surrealist Play?\u201d in: Thomas Crombez, and Barbara Gronau, eds.: Ritual and the Avant-garde<\/i>. Special issue of Documenta: Tijdschrift voor theater. Mededelingen van het Documentatiecentrum voor Dramatische Kunst Gent<\/i> 28:1 (March 2010), pp. 21-35.<\/span><\/p>\n<\/li>\n

  59. \n

    \u201cLa ricezione del futurismo nel secondo dopoguerra: Rimozione o recupero?\u201d In: <\/span>Avanguardia: Rivista di letteratura contemporanea<\/span><\/i> 1<\/span>6:45 (2010), 45-66. <\/span><\/p>\n<\/li>\n

  60. \n

    \u201cViolencia, purgativo final del mundo.\u201d Juan Jos\u00e9 G\u00f3mez, and \u00c1ngel Llorente, eds.: <\/span>Cultura y violencia<\/span><\/i>. Sevilla: Doble J, 2010. 63-84.<\/span><\/p>\n<\/li>\n

  61. \n

    \u201cViolencia, purgativo final del mundo.\u201d <\/span>F.T. Marinetti: <\/span>Necesidad y belleza de la violencia<\/span><\/i>. Ed. by G\u00fcnter Berghaus. Sevilla: Editorial Doble J, 2010. i-xxxiii.<\/span><\/p>\n<\/li>\n

  62. \n

    \u201cThe Postwar Reception of Futurism: Recuperation or Repression?\u201d In: Endre Szk\u00e1rosi, ed.: A f\u00e9lre-\u00e9rtelmezett futurizmus \/ Il futurismo mal-interpretato \/ Futurism Mis-Interpreted. <\/i>Special issue of Helikon: Irodalomtudom\u00e1nyi Szemle<\/i> 56:3 (2010), pp. Budapest: Akad\u00e9miai Kiad\u00f3, 2010. pp. 321-341.<\/p>\n<\/li>\n

  63. \n

    \u201cFuturism and the Genesis of Dada: Contacts, Contrasts and Continuities.\u201d In: Walter Pedull\u00e0, ed.: <\/span>Il futurismo nelle avanguardie<\/span><\/i>. Atti del convegno internazionale di Milano: Palazzo Reale, Sala delle otto colonne, del 4-6 febbraio 2010. <\/span>Roma: Ponte Sisto, 2010. pp. 137-156.<\/span><\/span><\/p>\n<\/li>\n

  64. \n

    \u201cFrom Avant-garde to Mainstream: Futurist Theatre in the 1920s.\u201d In: Peter Benoy, and Jaak van Schnoor, eds.: Historische avant-garde en het theater in het interbellum. <\/i>Bruxelles: Academic & Scientific Publishers, 2011, pp. 75-90.<\/span><\/p>\n<\/li>\n

  65. \n

    \u201cFuturist Tactile Theatre.\u201d In: Paul J. Stoesser, ed.: Futurist Dramaturgy and Performance. <\/i>Toronto: Legas, 2011. pp. 13-35.<\/span><\/p>\n<\/li>\n

  66. \n

    \u201cMarinetti\u2019s Volte-Face of 1920: Occultism, Tactilism and \u2018Gli indomabili\u2019.\u201d In: Gino Tellini, and Paolo Valesio, eds.: Beyond Futurism: Filippo Tommaso Marinetti, Writer. For the Centennial Anniversary of the Italian Avant-Garde = Al<\/i> di l\u00e0 del futurismo: Filippo Tommaso Marinetti, scrittore. Per il centenario dell\u2019avanguardia italiana. Atti del convegno internazionale di studi, New York: Columbia University, 12-13 novembre 2009. Firenze: Societ\u00e0 Editrice Fiorentina, 2011<\/span>,<\/span><\/i> pp. <\/span>47-76.<\/span><\/span><\/p>\n<\/li>\n

  67. \n

    \u201cAvanguardia e fascismo: Teatro futurista tra le due guerre.\u201d In: <\/span>Davide Lacagnina, ed.: <\/span>Immagini e forme del potere: Arte, critica e istituzioni in Italia fra le due guerre<\/span><\/i>. Palermo: Edizioni di Passaggio, 2011, pp. 61-86.<\/span><\/p>\n<\/li>\n

  68. \n

    \u201cConferences Held on the Occasion of the Centenary of Futurism.\u201d In: <\/span>International Yearbook of Futurism Studies<\/span><\/i>, <\/span>vol. <\/span>1 (2011<\/span>), pp. 365-408.<\/span><\/p>\n<\/li>\n

  69. \n

    \u201cA Bibliography of Publications Commemorating 100 Years of Futurism.\u201d In: <\/span>International Yearbook of Futurism Studies<\/span><\/i>, <\/span>vol. <\/span>1 (2011<\/span>), pp. <\/span>409-435.<\/span><\/p>\n<\/li>\n

  70. \n

    \u201c<\/span>A Bibliography of Publications on Futurism Published in 2009\u20132011.\u201d In: International Yearbook of Futurism Studies <\/i>2 (2012), pp. 421-457.<\/p>\n<\/li>\n

  71. \n

    \u201c<\/span>The International Impact of Futurism: Absorptions, Assimilations, Adaptations.\u201d In: <\/span>Links: Rivista di letteratura e cultura tedesca = Zeitschrift f\u00fcr deutsche Literatur- und Kulturwissenschaft 12 (2012), pp. <\/span>11-22.<\/span><\/p>\n<\/li>\n

  72. \n

    \u201c<\/span>Die B\u00fchnenkunst des Expressionismus.\u201d In: Andrea von H\u00fclsen-Esch, ed.: <\/span>Der Sturm: Zentrum der Avantgarde<\/span><\/i>. Vol. 2. <\/span>Aufs\u00e4tze<\/span><\/i>. Wuppertal: Von der Heydt-Museum, 2012, pp. 397-437.<\/span><\/p>\n<\/li>\n

  73. \n

    \u201cThe Postwar Reception of Futurism: Repression or Recuperation? In: Geert Buelens, Harald Hendrix, and Monica Jansen eds.: The History of Futurism: The Precursors, Protagonists, and Legacies<\/i>. Lanham\/MD: Lexington Books, 2012, pp. 377-403.<\/span><\/p>\n<\/li>\n

  74. \n

    \u201cThe Futurist Conception of Gesamtkunstwerk and Marinetti\u2019s Total Theatre.\u201d <\/span>In: <\/span>Franciska Hervai d\u2019Elhoungne, and D\u00e1vid Falvay, eds.: <\/span>\u201cSul fil di ragno della memoria\u201d: Studi in onore di Ilona Fried. <\/span><\/i>Budapest: E\u00f6tv\u00f6s Lor\u00e1nd Tudom\u00e1nyegyetem, B\u00f6lcs\u00e9szettudom\u00e1nyi Kar, Olasz Nyelv \u00e9s Irodalom Tansz\u00e9k; Budapest: Ponte Alap\u00edtv\u00e1ny, 2012, pp. 283-302.<\/span><\/p>\n<\/li>\n

  75. \n

    \u201cL\u2019Art-Action: Les Pratiques performatives dans les soir\u00e9es futuristes.\u201d In: Jean-Paul Aubert, Patrick Marcolini, Serge Milan, Jean-Fran\u00e7ois Trubert, eds.: <\/span>Avant-Gardes: Fronti\u00e8res, Mouvements. <\/span><\/i>Vol. 1. <\/span>D\u00e9limitations, Historiographie. <\/span><\/i>Sampzon: \u00c9ditions Delatour, 2013<\/span>, pp. 177-200.<\/span><\/span><\/p>\n<\/li>\n

  76. \n

    \u201cKokoschka\u2019s \u2018Murderer Hope of Women\u2019: An Early Specimen of Expressionist Theatre Aesthetics.\u201d <\/span>In: Irene Chytraeus-Auerbach, ed.: <\/span>Der Aufbruch in die Moderne: Herwarth Walden und die europ\u00e4ische Avantgarde<\/span><\/i>. Stuttgart: Internationales Zentrum f\u00fcr Kultur- und Technikforschung (IZKT), 2013, pp. 42-50. <\/span><\/p>\n<\/li>\n

  77. \n

    \u201cFuturist Performance, 1910-16.\u201d In: Simona Storchi, and Elza Adamowicz, eds.: Back to the Futurists: The Avant-garde and Its Legacy. In: Proceedings of a Conference, Held 2-4 July 2009 at Queen Mary University of London.<\/i> Manchester: Manchester University Press, 2013, pp<\/span>. 176-194.<\/span><\/p>\n<\/li>\n

  78. \n

    \u201cTristan Tzara: From pre-Dadaism to post-Futurism. Italian Influences in the Cabaret Voltaire.\u201d In: <\/span>Les Cahiers Tristan Tzara = Caietele Tristan Tzara: Publication internationale pour l\u2019\u00e9tude des avant-gardes contemporaines<\/span><\/i>, <\/span>18: 3-4 (2013), pp. 205-216.<\/span><\/p>\n<\/li>\n

  79. \n

    \u201cA Bibliography of Publications on Futurism Published in 2010\u20132012.\u201d In: International Yearbook of Futurism Studies<\/i> 3 <\/span>(2013), pp. 447-471.<\/span><\/p>\n<\/li>\n

  80. \n

    \u201cAzione\/Reazione: Il futurismo in Belgio e Europa<\/span>.\u201d In: <\/span>Incontri: Rivista europea di studi italiani<\/span><\/i>, vol. 28, no. 2 (2013), pp. 99-102.<\/span><\/span><\/span><\/p>\n<\/li>\n

  81. \n

    \u201cValentine de Saint-Point: Performance, War, Politics and Eroticism.\u201d In: <\/span>International Yearbook of Futurism Studies<\/i> 3 <\/span>(2013), pp. 3-7.<\/p>\n<\/li>\n

  82. \n

    \u201cApulia Celebrates International Futurism.\u201d In: <\/span>International Yearbook of Futurism Studies, <\/i>vol. 3 <\/span>(2013), pp. 6-11.<\/p>\n<\/li>\n

  83. \n

    \u201cSound and Silence in Futurist Poetry.\u201d <\/i>In: <\/span>International Yearbook of Futurism Studies<\/i>, vol. 4<\/span> (2014), pp. 31-35.<\/span><\/p>\n<\/li>\n

  84. \n

    \u201cFuturism and Modernist Magazines.\u201d In: <\/span>International Yearbook of Futurism Studies<\/span><\/i>, <\/span>vol. <\/span>4 (2014), pp. 49-60.<\/span><\/p>\n<\/li>\n

  85. \n

    \u201cA Bibliography of Publications on Futurism Published in 2011\u20132013.\u201d In: International Yearbook of Futurism Studies, <\/i>vol. 4<\/span> (2014), pp. 507-533.<\/span><\/p>\n<\/li>\n

  86. \n

    \u201cSerate <\/span>and Gallery Performances.\u201d In: Vivien Greene, ed.:<\/span> Italian Futurism, 1909-1944: Reconstructing the Universe<\/span>. <\/span><\/i>In: New York: Solomon R. Guggenheim Museum, 2014, pp. <\/span> 90-93.<\/span><\/p>\n<\/li>\n

  87. \n

    \u201cMarinetti\u2019s Technological Imagination.\u201d <\/span>In: <\/span>Antonio Saccoccio, and Giancarlo Carpi, eds.: <\/span>Marinetti 70<\/span><\/i>. Roma: Armado, 2014, pp. <\/span> 33-38.<\/span><\/span><\/p>\n<\/li>\n

  88. \n

    \u201cFuturist Utopias.\u201d<\/span> In: <\/span>International Yearbook of Futurism Studies <\/i>5<\/span> (2015), pp. <\/i>486-494.<\/p>\n<\/li>\n

  89. \n

    \u201cA Bibliography of Publications on Futurism, 2012-2014.\u201d<\/span> In: <\/span>International Yearbook of Futurism Studies<\/i> 5<\/span> (2015), pp. <\/i>559-588.<\/p>\n<\/li>\n

  90. \n

    \u201cP\u2019uturizmi da politika, 1898-1944.\u201d<\/span> In:<\/span> Bela Tsip\u2019uria, and At\u2019inat\u2019 Mamats\u2019ashvili-Kobakhidze, eds.: Shedarebit\u2019i literaturis krebuli.<\/i> Vol. 1. T\u2019bilisi: Ilias sakhelmtsipo universitetis gamomts\u2019emloba, 2013, pp. <\/span>52-68.<\/p>\n<\/li>\n

  91. \n

    \u201c \u2018Le Futurisme mondial\u2019: Reception and Adaptation in International Futurism.\u201d<\/span> In:<\/span> Revista de hist\u00f3ria da arte <\/i><\/i>10 (April 2014), pp. <\/span> 182-189.<\/p>\n<\/li>\n

  92. \n

    \u201cImpatto internazionale del futurismo: Assorbimenti, assimilazioni, adattamenti.\u201d<\/span> In:<\/span> Mauro Ponzi, ed.: L\u2019Europa futurista: Simultaneit\u00e0, Costruttivismo, Montaggio. Atti del Convegno internazionale, Roma: La Sapienza, 25 novembre 2011. <\/i>Milano: Mimesis, 2015, pp. <\/span> 21-37.<\/p>\n<\/li>\n

  93. \n

    \u201cF. T. Malinei di yu yidali weilai zhuyi, 1898 nian zhi 1944 nian: Nian de xianfeng pai yu zhengzhi.\u201d<\/span> In:<\/span> Wang Jie, ed.: Makesi zhu yi mei xue yan jiu = Research on Marxist Aesthetics. <\/i>Shanghai: Jiao Tong University Press; Guilin Shi: Guangxi shi fan da xue chu ban she, 2015, pp. <\/span> 223-242.<\/p>\n<\/li>\n

  94. \n

    \u201cNaked as the Night: A Kammerspiel.\u201d<\/span> In:<\/span> Cahiers Tristan Tzara = Caietele Tristan Tzara: Publication internationale pour l\u2019\u00e9tude des avant-gardes contemporaines <\/i>24-30 (#106-152) (2015), pp. <\/span> 219-220.<\/p>\n<\/li>\n

  95. \n

    \u201cA Bibliography of Publications on Futurism Published in 2013-2015.\u201d<\/span> In:<\/span> International Yearbook of Futurism Studies <\/i>6 (2016), pp. <\/span>477-492.<\/p>\n<\/li>\n

  96. \n

    \u201cFrom Mechanical to Electronic Theatre: Art and Technology on the Futurist Stage. In: Irene Chytraeus-Auerbach, and Georg Maag, eds.: Futurismus: Kunst, Technik, Geschwindigkeit und Innovation zu Beginn des 20. Jahrhunderts.<\/em> M\u00fcnster: LIT, 2017, pp. <\/span> 157-173.<\/span><\/p>\n<\/li>\n

  97. \n

    \u201cA primeira confer\u00eancia futurista no Teatro Rep\u00fablica (14 de Abril 1917): Uma serata futurista?\u201d<\/span> In: Col\u00f3quio-Letras<\/em> 194 (April 2017), pp. <\/span> 22-36.<\/span><\/p>\n<\/li>\n

  98. \n

    \u201cA Cultural Icon of Ill-Repute: Marinetti and Brazilian Antifascism.\u201d<\/span> In: International Yearbook of Futurism Studies<\/em> 7 (2017), pp. <\/span> 250-259.<\/span><\/p>\n<\/li>\n

  99. \n

    \u201cA Bibliography of Publications on Futurism, 2014-2016.\u201d<\/span> In: International Yearbook of Futurism Studie<\/em>s 7 (2017), pp. <\/span> 435-452.<\/span><\/p>\n<\/li>\n

  100. \n

    \u201cA dada eletkez\u00e9ze: Futurista hat\u00e1sok Rom\u00e1ni\u00e1ban, N\u00e9metorsz\u00e1gban \u00e9s a Cabaret Voltaire-ben.\u201d In: Gy\u00f6rgyi F\u00f6ldes and Andr\u00e1s Kappanyos, eds.: A sz\u00e1z\u00e9vez dad<\/em>a. Special issue of Helikon: Irodalomtudom\u00e1nyi Szemle<\/em> 63:1 (2017), Budapest: Akad\u00e9miai Kiad\u00f3, 2017. pp. 29-43.<\/span><\/p>\n<\/li>\n

  101. \n

    \u201cF. T. Marinetti\u2019s Quest for an Art Inspired by Science.\u201d In: Harri Veivo, Jean-Pierre Montier, Fran\u00e7oise Nicol, David Ayers, Benedikt Hjartarson, and Sascha Bru, eds.: Beyond Given Knowledge: Investigation, Quest and Exploration in Modernism and the Avant-Gardes<\/em>. Berlin: De Gruyter, 2018, pp. <\/span> 15-30.<\/span><\/p>\n<\/li>\n

  102. \n

    \u201cPrampolini and the Theatre of the 1920s: Exhibitions of Stage Design, Mechanical Theatre, and Dance.\u201d In: Przemys\u0142aw Stro\u017cek, ed.: Enrico Prampolini: Futurism, Stage Design and the Polish Avant-garde Theatre<\/em>. \u0141odz: Muzeum Sztuki, 2017, pp. <\/span> 49-58.<\/span><\/p>\n<\/li>\n

  103. \n

    \u201cA Bibliography of Publications on Futurism, 2015\u20132017.\u201d In: International Yearbook of Futurism Studies<\/em> 8 (2018), pp. <\/span> 439-454.<\/span><\/p>\n<\/li>\n

  104. \n

    \u201cFuturist Theatre as a Synaesthetic Experience.\u201d In: Ilona Fried, ed.: Prospettive culturali fra intersezioni, sviluppi e svolte disciplinary in Italia e in Ungheria.<\/em> Convegno organizzato dal Dipartimento d\u2019Italianistica della Facolta di Lettere dell\u2019Universit\u00e0 E\u00f6tv\u00f6s Lor\u00e1nd, Budapest, con collaborazione con l\u2019Istituto Italiano di Cultura di Budapest, 3-4 maggio 2017. Budapest:  Ponte Alap\u00edtv\u00e1ny; E\u00f6tv\u00f6s Lor\u00e1nd Tudom\u00e1nyegyetem, B\u00f6lcs\u00e9szettudom\u00e1nyi Kar, Olasz Nyelv \u00e9s Irodalom Tansz\u00e9k, 2018, pp. <\/span> 297-312.<\/span><\/p>\n<\/li>\n

  105. \n

    \u201cFuturisticheskaia kukhnia kak total’noe proizvedenie iskusstva.\u201d In: Olga Sokolova, ed.: Povarennaia kniga futurista: Manifest F. T. Marinetti i Fillia „Futuristicheskaia kukhnia“. <\/em>Sankt-Peterburg: Izdatel’stvo Evropeiskogo universiteta v Sankt-Peterburge, 2018, pp. <\/span> 69-94.<\/span><\/p>\n<\/li>\n

  106. \n

    \u201cThe Futurista \u2018serata\u2019 at the Teatro Rep\u00fablica in Lisbon (14 April 1917).\u201d In: Ricardo Marques, ed.: \u201cPortugal futurista\u201d e outras publica\u00e7\u00f5es de 1917<\/em>. Lisboa: Biblioteca Nacional de Portugal, 2018, pp. <\/span> 15-28.<\/span><\/p>\n<\/li>\n

  107. \n

    \u201cNoise: A Category in Futurist Theatre and Music.\u201d In: Zbornik radova Akademije umetnosti <\/em>6 (2018), pp. <\/span> 15-35.<\/span><\/p>\n<\/li>\n

  108. \n

    \u201cOn Taste and Other Senses: Synaesthesia in Renaissance and Avant-garde Performance.\u201d In: Performance Research <\/em>23:4-5 (November-December 2018). Special issue PR 100. London: Taylor and Frances, 2018, pp. <\/span> 22-28.<\/span><\/p>\n<\/li>\n

  109. \n

    \u201cThe Historiography of Italian Futurism.\u201d In: G\u00fcnter Berghaus, ed.: Handbook of International Futurism<\/em>. Berlin\/Boston: Walter de Gruyter, 2018, pp. <\/span> 3-27.<\/span><\/p>\n<\/li>\n

  110. \n

    \u201cFortunato Depero and the Theatre.\u201d In: Italian Modern Art 1:1 (January 2019). Special issue on Fortunato Depero: Proceedings of a Symposium at the Center for Italian Modern Art, New York, Feb 21, 2014<\/em>, pp. <\/span> 1-25.<\/span><\/p>\n<\/li>\n

  111. \n

    \u201cLothar Schreyer a sztuka sceniczna ekspresjonizmu.\u201d In: Pami\u0119tnik <\/em>Teatralny 68:1 (2019), pp. <\/span> 22-37.<\/span><\/p>\n<\/li>\n

  112. \n

    \u201cA Bibliography of Publications on Futurism, 2016\u20132019.\u201d In: International Yearbook of Futurism Studies <\/em>9 (2019), pp. <\/span> 441-467.<\/span><\/p>\n<\/li>\n

  113. \n

    „Riflessioni su un\u2019antropologia futurista: L\u2019uomo meccanico, il ginnasta, l\u2019artista-politico.“ In: Gabriele Guerra, Massimo Blanco, and Daniela Padularosa, eds.: Acrobati del futuro: L’uomo nuovo delle avanguardie storiche<\/em>.  Atti del congresso, Universit\u00e0 di Roma „La Sapienza“, 24-25 maggio 2018. Milano: Mimesis, 2020. 49-72.<\/p>\n<\/li>\n

  114. \n

    „The Fusion of Art and Politics: A Futurist Misunderstanding?“ In: Tamara Brzostowska-Tereszkiewicz, Magdalena Rembowska-P\u0142uciennik, and Beata \u015aniecikowska, eds.: Understanding Misunderstanding<\/em>. Vol. 1. Cross-Cultural Translation<\/em>. Berlin: Lang, 2020. 189-216.<\/p>\n<\/li>\n

  115. \n

    „Talijanski futurizam i Prvi svjetski rat.“ In: Marinko Sudac, ed.: Prvi svjetski rat i avangardna umjetnost: Dekonstrukcija \u2013 konstrukcija. <\/em>Izlo\u017eba: Muzej suvremene umjetnosti, Zagreb, 26. lipnja \u2013 28. rujna 2014. g. Me\u0111unarodna konferencija: Muzej suvremene umjetnosti, Zagreb, 28. \u2013 29. lipnja 2014. g. Zagreb: Institut za istra\u017eivanje avangarde; Muzej suvremene umjetnosti; Kolekcija Marinko Sudac, pod visokim pokroviteljstvom Ministarstva kulture Republike Hrvatske, 2020. 200-203<\/p>\n<\/li>\n

  116. \n

    „A Bibliography of Publications on Futurism Published in 2017\u20132020.“ In: International Yearbook of Futurism Studies <\/em>10 (2020): 411-424<\/p>\n<\/li>\n

  117. \n

    (with Meike Beyer and Przemys\u0142aw Stro\u017cek):  „Archive Report: The Archiv der Avantgarden (AdA) in Dresden. In: International Yearbook of Futurism Studies<\/em> 10 (2020): 341-355.<\/p>\n<\/li>\n

  118. \n

    „The Aesthetics and Ideology of Sport in Italian Futurism.“ <\/em>In: Andreas Kramer and Przemys\u0142aw Stro\u017cek, eds.: Sport and the European Avant-Garde (1900-1945). <\/em>Leiden: Brill, 2021. 57-86<\/p>\n<\/li>\n

  119. \n

    „A Bibliography of Publications on Futurism, 2018-2021.“ In: International Yearbook of Futurism Studies <\/em>11 (2021): 357-372.<\/p>\n<\/li>\n

  120. \n

    „Zenitism and Futurism: International Networks in the Historical Avant-Garde = Zenitizam i futurizam: Medjunarodne mre\u017ee u okviru istorijske avangarde.“ In: Bojan Jovi\u0107, and Irina Suboti\u0107, eds.: Sto godina \u010dasopisa Zenit 1921\u20131926\u20132021: Zbornik radova = A Hundred Years of the ‚Zenit‘ Magazine: Collection of Essays<\/em>. Kragujevac: Galerija RIMA; Beograd: Institut za knji\u017eevnost i umetnost, 2021. 227-254.<\/p>\n<\/li>\n

  121. \n

    „La ‚violenza travolgente e incendiaria‘: Uno strumento di igiene per il mondo. Guerra e rivoluzione nel pensiero di F. T. Marinetti.“ <\/em>In: F.T. Marinetti: Necessit\u00e0 e bellezza della violenza<\/em>. Con un saggio critico di G\u00fcnter Berghaus. Napoli: Diana Edizioni, 2021. 35-144.<\/p>\n<\/li>\n

  122. \n

    „Marinetti\u2019s ‚Futurisme mondial‘: Propaganda and Reality.“ <\/em>In:  Jurij Lileev, Yvonne P\u00f6rzgen, and Mario Zanucchi, eds.: Europ\u00e4ische Avantgarden um 1900: Kontakt \u2013 Transfer \u2013 Transformation. <\/em>Paderborn: Brill Fink, 2021. 85-112.<\/p>\n<\/li>\n

  123. \n

    „Expressionism in Brazil, Kokoschka in Rio de Janeiro: On a Production of ‚Murderer, Hope of Women‘ in 1997.“ In:  R\u00e9gine Bonnefoit, and Bernadette Reinhold, eds: Oskar Kokoschka: Neue Einblicke und Perspektiven = New Insights and Perspectives<\/em>. Berlin: De Gruyter, 2021. 360-401.<\/p>\n<\/li>\n

  124. \n

    „Ilya Zdanevich (Iliazd): Ambassador of Georgian Futurism.“ In : International Yearbook of Futurism Studies <\/em>12 (2022): 445-464<\/p>\n<\/li>\n

  125. \n

    „A Bibliography of Publications on Futurism, 2019-2022.“ In: International Yearbook of Futurism Studies <\/em>12 (2022): 467-492<\/p>\n<\/li>\n

  126. \n

    „Futurism in Occupied Fiume, 1919-1920.“ In: International Yearbook of Futurism Studies <\/em>12 (2022): 123-161.<\/p>\n<\/li>\n

  127. \n

    „A Bibliography of Publications on Futurism, 2020\u20132023.“ In: International Yearbook of Futurism Studies <\/em>13 (2023): 471-491.<\/p>\n<\/li>\n

  128. \n

    „Futurist Theatre.“ In: Fabio Benzi, and Renske Cohen Tervaert, eds.: Futurism and Europe: The Aesthetics of a New World<\/em>. New Haven\/CT: Yale University Press, 2023. 230-235<\/p>\n<\/li>\n

  129. \n

    „Italian Futurist Dance.“ In: Fabio Benzi, and Renske Cohen Tervaert, eds.: Futurism and Europe: The Aesthetics of a New World<\/em>. New Haven\/CT: Yale University Press, 2023. 256-259.<\/p>\n<\/li>\n

  130. \n

    „Storia di un manoscritto \/ The History of a Manuscript.“ Tullio Crali: Sintesi teatrali futuriste \/ 13 Futurist Mini-Dramas<\/em>. Macerata: Biblohaus, 2023. 5-19.<\/p>\n<\/li>\n

  131. \n

    „Tullio Crali: L\u2019ultimo dei futuristi \/ Tullio Crali: The Last of the Futurists.“ In: Tullio Crali: Sintesi teatrali futuriste \/ 13 Futurist Mini-Dramas<\/em>. Macerata: Biblohaus, 2023. 20-105.<\/p>\n<\/li>\n

  132. \n

    „EAM2022 in Lisbon: The Global Expansion of Futurism in the 1910s and <\/em>1920s.“ In: International Yearbook of Futurism Studies <\/em>13 (2023): 399-406.<\/p>\n<\/li>\n<\/ol>\n

     <\/p>\n

    Review Articles<\/strong><\/p>\n

      \n
    1. \n

      Frederick Burwick, Illusion and Drama: Critical Theory of the Enlightenment and Romantic Era<\/i>. In: New Theatre Quarterly<\/i>, vol. 8, no. 32 (November 1992), pp. 399.<\/span><\/p>\n<\/li>\n

    2. \n

      Helen Watanabe O\u2019Kelly, Triumphall Shews: Tournements at German-speaking Courts in their European Context<\/i>. In: Dance Research<\/i>, vol. 12, no. 1 (Spring 1994), pp. 88-90<\/span><\/p>\n<\/li>\n

    3. \n

      Christopher Innes, Avant-garde Theatre, 1892-1992<\/i>. In: New Theatre Quarterly<\/i>, vol. 10, no 40 (November 1994), pp. 394-395.<\/span><\/p>\n<\/li>\n

    4. \n

      Rudolf Braun & David Gugerli, <\/span>Macht des Tanzes, Tanz der M\u00e4chtigen: Hoffeste und Herrschaftszeremoniell 1550-1914<\/i><\/span>. In: <\/span>Dance Research<\/i><\/span>, vol. 12, no. 2 (Autumn 1994), pp. <\/span>162-165.<\/span><\/p>\n<\/li>\n

    5. \n

      Pontus Hult\u00e9n, Niki de Saint Phalle<\/i> \/\/ Sidra Stich, Yves Klein<\/i>. In: Performance Research<\/i>, vol. 1, no. 1 (Spring 1996), pp. 114-117.<\/span><\/p>\n<\/li>\n

    6. \n

      Giovanni Lista, Lo\u00efe Fuller: Danseuse de la Belle Epoque<\/i>. In: Theatre Research International<\/i>, vol. 11, no. 2 (Summer 1996), pp. 177-178.<\/span><\/p>\n<\/li>\n

    7. \n

      Ute Daniel, <\/span>Hoftheater: Zur Geschichte des Theaters und der H\u00f6fe im 18. und 19. <\/i><\/span>Jahrhundert<\/i>. In: Theatre Research International<\/i>, vol. 22, no. 1 (Spring 1997), pp. <\/span>78-79.<\/span><\/p>\n<\/li>\n

    8. \n

      Kristiaan P. Aercke, Gods of Play: Baroque Festive Performances as Rhetorical Discourses<\/i>. In: New Theatre Quarterly<\/i>, vol. 13, no. 50 (May 1997), pp. 186-187.<\/p>\n<\/li>\n

    9. \n

      Cinzia Blum, The Other Modernism: F.T. Marinetti\u2019s Rhetoric of Power<\/i>. In: Modern Language Review<\/i>, vol. 91, no. 1 (January 1998), pp.<\/p>\n<\/li>\n

    10. \n

      Jean Clottes and David Lewis Williams, <\/span>Les Chamanes de la pr\u00e9histoire: Transe et magique dans les grottes orn\u00e9es<\/i><\/span>. In: <\/span>Performance Research<\/i><\/span>, vol. 3, no. 3 (Winter 1998), pp. <\/span>124-125.<\/span><\/p>\n<\/li>\n

    11. \n

      Emily Braun, Mario Sironi and Italian Modernism: Art and Politics under Fascism<\/i>. In: Oxford Art Journal<\/i>, vol. 24, no. 1 (2001), pp. <\/span>157-162.<\/span><\/p>\n<\/li>\n

    12. \n

      Karin Friedrich, Festive Culture in Germany and Europa XVI \u2013 XX. C.<\/i>. In: New Theatre Quarterly<\/i>, vol. 17, no. 3 (August 2001), pp. 291<\/span><\/p>\n<\/li>\n

    13. \n

      Michael Balfour, Theatre and War, 1933-1945<\/i>; John London, Theatre under the Nazis<\/i>. In: Theatre Survey<\/i>, vol. 43 (2002), pp. 273-275<\/span><\/p>\n<\/li>\n

    14. \n

      Willard Bohn, The Other Futurism: Futurist Activity in Venice, Padua, and Verona<\/i>. In: Modern Language Review<\/i>, vol. 100, no. 3 (July 2005), pp. 840-841<\/p>\n<\/li>\n

    15. \n

      Marja H\u00e4rm\u00e4nmaa, <\/span>Un patriota che sfid\u00f2 la decadenza: F. T. Marinetti e l\u2019idea dell\u2019uomo nuovo fascista, 1929-1944<\/i><\/span> \/\/ Patricia Chiantera-Stutte, <\/span>Von der Avantgarde zum Traditionalismus: Die radikalen Futuristen im italienischen Faschismus von 1919 bis 1931<\/i><\/span>. <\/span>In: Journal of Contemporary History<\/i>, vol. 43, no. 1 (January 2007)<\/p>\n<\/li>\n

    16. \n

      Alan Ackerman and Martin Puchner, <\/span>Against Theatre: Creative Destructions on the Modernist Stage<\/i><\/span>. In: <\/span>Theatre Research International<\/i><\/span>, vol. 32, no. 2 (July 2007), pp. <\/span>201-202.<\/span><\/p>\n<\/li>\n

    17. \n

      James M. Harding and John Rouse, Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance. <\/i>In: Theatre Research International, <\/i>vol. 32, no. 1 (2008), pp. 107-108<\/p>\n<\/li>\n

    18. \n

      Fran\u00e7ois Livi and Silvia Contarini, Futurisme et surr\u00e9alisme.<\/i> In: Pierpaolo Antonello and Marja H\u00e4rm\u00e4nmaa, eds.: Future Imperfect: Italian Futurism Between Tradition and Modernization<\/i>. Special issue of The European Legacy: The Official Journal of the International Society for the Study of European Ideas, <\/i>vol. 14, no. 7 (December 2009) London: Routledge, 2009, pp. 883-884.<\/p>\n<\/li>\n

    19. \n

      Christine Poggi, Inventing Futurism: The Art and Politics of Artificial Optimism<\/i>. In: Modern Language Review<\/i>, vol. 105, no. 1 (January 2010), pp. 263-265.<\/p>\n<\/li>\n

    20. \n

      Mirella Bentivoglio, and Franca Zoccoli: <\/span>Le futuriste e le arti visive<\/i><\/span>. \/\/ Cecilia Bello Minciacchi, ed: <\/span>Spirale di dolcezza + serpe di fascino: Scrittrici futuriste<\/i><\/span>. \/\/ Silvia Contarini: <\/span>La Femme futuriste<\/i><\/span>. In: Modern Language Review <\/i>105:2 (April 2010), pp. 401-411<\/p>\n<\/li>\n

    21. \n

      Melissa Trimingham, The Theatre of the Bauhaus: The Modern and Postmodern Stage of Oskar Schlemmer<\/i>.\u201d In: Theatre Research International<\/i>, vol. 36, no. 3 (September 2011), pp. 288-289.<\/p>\n<\/li>\n

    22. \n

      Franca Bruera and Barbara Meazzi, eds.: Plurilinguisme et avant-gardes<\/i>. In: International Yearbook of Futurism Studies<\/i>, vol. 2 (2012), pp. 14-19.<\/p>\n<\/li>\n

    23. \n

      Alena Pomajzlov\u00e1: R\u016f\u017eena: P\u0159\u00edb\u011bh mal\u00ed\u0159ky R\u016f\u017eeny Z\u00e1tkov\u00e9 = Story of the Painter R\u016f\u017eena Z\u00e1tkov\u00e1<\/i>. In: International Yearbook of Futurism Studies<\/i>, vol. 2 (2012), pp. 7-13.<\/p>\n<\/li>\n

    24. \n

      Bart van den Bossche, et al., eds.: <\/span>Azione\/Reazione: Il futurismo in Belgio e in Europa<\/span><\/i>.<\/span> Incontri: Rivista europea di studi italiani, <\/span><\/i>vol. 28, no. (2013), pp. 99-102.<\/span><\/p>\n<\/li>\n

    25. \n

      Adrien Sina, ed.: Trag\u00e9dies charnelles: Valentine de Saint-Point. Performance, guerre, politique et \u00e9rotisme<\/span><\/i>.\u201d In: <\/span>International Yearbook of Futurism Studies, <\/i>vol. 3 <\/span>(2013), pp. 3-5.<\/span><\/p>\n<\/li>\n

    26. \n

      Giuseppe Barletta, ed.: Futurismi. Atti del convegno, Bari: Palazzo Ateneo, 2009<\/span><\/i>. In: <\/span>International Yearbook of Futurism Studies<\/i>, vol. 3 <\/span>(2013), pp. 6-11.<\/p>\n<\/li>\n

    27. \n

      Enrico Crispolti and Caterina Terzetti, eds.: <\/span>La fortuna del futurismo in Belgio<\/span><\/i>. \/\/ Bart van den Bossche, et al., eds.: <\/span>Azione\/Reazione: Il futurismo in Belgio e in Europa<\/span><\/i>.<\/span> In: <\/span>International Yearbook of Futurism Studies<\/i>, vol. 4<\/span> (2014), pp. 44-48.<\/p>\n<\/li>\n

    28. \n

      Mar\u00eda del Carmen Solanas Jim\u00e9nez: La po\u00e9tica futurista<\/span><\/i>.<\/span> <\/i>In: <\/span>International Yearbook of Futurism Studies<\/i>, vol. 4<\/span> (2014), pp. 31-35.<\/p>\n<\/li>\n

    29. \n

      Peter Brooker, et al., eds.: <\/span>The Oxford Critical and Cultural History of Modernist Magazines<\/span><\/i>. Vol. 3. <\/span>Europe 1880-1940<\/span><\/i>.<\/span> <\/i>In: <\/span>International Yearbook of Futurism Studies<\/i>, vol. 4<\/span> (2014), pp. 49-60.<\/p>\n<\/li>\n

    30. \n

      Aesthetics of Anarchy: Poetics and Politics of Early Russian Avant-garde. In: <\/span>International Yearbook of Futurism Studies<\/i>, vol. 4<\/span> (2014), pp. 61-68.<\/p>\n<\/li>\n

    31. \n

      Mladen Ovadija: Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre<\/span><\/i>. In:<\/span> International Yearbook of Futurism Studies<\/i>, vol. 5<\/span> (2015), pp. 541-549.<\/p>\n<\/li>\n

    32. Nina Gur’ianova, Aesthetics of Anarchy: Poetics and Politics of Early Russian Avant-garde. In: International Yearbook of Futurism Studies 4 (2014). 61-68.<\/li>\n
    33. Marina Giorgini, R\u016f\u017eena Z\u00e1tkov\u00e1: Un\u2019artista dimenticata. In: International Yearbook of Futurism Studies. Vol. 10. Berlin\/ Boston: Walter de Gruyter, 2020. 397-303.<\/li>\n
    34. Johanna Drucker: Iliazd: A Meta-Biography of a Modernist. International Yearbook of Futurism Studies 12 (2022): 445-464<\/li>\n<\/ol>\n

       <\/p>\n

      Articles for Handbooks and Encyclopedias<\/strong><\/p>\n

        \n
      1. \n

        The International Dictionary of the Theatre<\/i>, ed. by Mark Hawkins-Dady, 3 vols, London: St James Press, 1992-95; Entries on Frank Wedekind\u2019s Lulu<\/i>Plays (vol. 1, pp. 444-446), Oskar Kokoschka\u2019s Murder Hope of Women<\/i> (vol. 1, pp. 544-545), Arthur Schnitzler\u2019s La Ronde<\/i> (vol. 1, pp. 684-686), Oskar Kokoschka (vol. 2, pp. 561-563), Max Reinhardt (vol. 3, pp. 640-651)<\/p>\n<\/li>\n

      2. \n

        German Writers of the Baroque, 1580-1720<\/i>, ed. by James Hardin, New York: Gale Publishers, 1996, pp. 121-130. Entry on \u201cGeorg Greflinger\u201d.<\/p>\n<\/li>\n

      3. \n

        Renaissance and Reformations, 1500-1620: An Interdisciplinary Dictionary<\/i>, ed. by Jo Eldridge Carney, Westport\/CT: Greenwood Press, 2000. pp. <\/span>308-309. <\/span>Entry on \u201cHans Sachs\u201d.<\/p>\n<\/li>\n

      4. \n

        The Oxford Encyclopedia of Theatre and Performance, <\/i>ed. by Dennis Kennedy, Oxford: Oxford University Press, 2002. 18 Entries<\/p>\n<\/li>\n

      5. \n

        The Continuum Companion to Twentieth Century Theatre<\/i>, ed. by Collin Chambers, London: Continuum, 2002. 35 Entries<\/p>\n<\/li>\n

      6. \n

        Europe 1789 to 1914: Encyclopedia of the Age of Industry and Empire<\/i>, ed. by John Merriman and Jay Winter, vol. 2, Detroit: Charles Scribners Sons, 2006, pp. 915-921. Entry on \u201cFuturism\u201d.<\/p>\n<\/li>\n

      7. \n

        Dictionary of Modernism<\/i>, ed. by Olga Taxidou, and Vassiliki Kolocotroni, Edinburgh: Edinburgh University Press, 2015. Entries on \u201cAvant-garde; Bauhaus; Dada; Expressionism; Futurism.\u201d<\/p>\n<\/li>\n<\/ol>\n

         <\/p>\n","protected":false},"excerpt":{"rendered":"

        Publications   Academic Essays and Papers \u201cNestroys Possen als politisches Volkstheater.\u201d In: Programmheft \u201cFreiheit in Kr\u00e4hwinkel\u201d. T\u00fcbingen: Landestheater W\u00fcrttemberg-Hohenzollern, 1981, pp. 2-5. \u201cQuellen zu Nestroys Weltanschauung und Lebensphilosophie.\u201d In: Nestroyana 4 (1982), pp. 3-24. \u201cA Case of Censorship of Milton in Germany: On an Unknown Edition of the ‚Pro Populo Anglicano Defensio‘.\u201d In: Milton Quarterly […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-1556","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/1556","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1556"}],"version-history":[{"count":54,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/1556\/revisions"}],"predecessor-version":[{"id":1960,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/1556\/revisions\/1960"}],"wp:attachment":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1556"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}