{"id":555,"date":"2015-05-23T17:58:10","date_gmt":"2015-05-23T17:58:10","guid":{"rendered":"http:\/\/guenter-berghaus.com\/?page_id=555"},"modified":"2015-06-04T15:08:08","modified_gmt":"2015-06-04T15:08:08","slug":"mission-statement","status":"publish","type":"page","link":"https:\/\/guenter-berghaus.com\/?page_id=555","title":{"rendered":"Mission Statement"},"content":{"rendered":"<p class=\"western\" lang=\"en-GB\" align=\"center\"><span style=\"font-family: Garamond,serif;\"><span style=\"font-size: large;\"><b>International Yearbook of Futurism Studies<\/b><\/span><\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"center\"><span style=\"font-family: Garamond,serif;\"><span style=\"font-size: large;\"><b>Mission Statement<\/b><\/span><\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">General Editor: G\u00fcnter Berghaus<\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Editorial Board: Matteo D\u2019Ambrosio, Marjorie Perloff, Jorge Schwartz, Irina Suboti\u0107<\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Contributing Editors: Emilia David, Matteo Fochessati, Rub\u00e9n Gallo, Roger Griffin, Benedikt Hjartarson, Chris Michaelides, Przemys\u0142aw Stro\u017cek, Pierantonio Zanotti<\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Editorial Assistants: Mariana Aguirre, Selena Daly, Sze Wah Lee, Ren\u00e9e M. Silverman <\/span><\/p>\n<h3 class=\"western\" lang=\"en-GB\"><span style=\"font-family: Garamond,serif;\">Aims and Scope<\/span><\/h3>\n<ul>\n<li>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">First medium of communication for the global community of Futurism scholars <\/span><\/p>\n<\/li>\n<li>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">International and interdisciplinary approach <\/span><\/p>\n<\/li>\n<li>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Contains essays, country surveys, reports, reviews and an annual bibliography<\/span><\/p>\n<\/li>\n<\/ul>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">The Futurist art movement, founded by F.T. Marinetti in 1909, had a worldwide impact and made important contributions to avant-garde movements in many countries and artistic genres. This yearbook is designed to act as a medium of communication amongst a global community of Futurism scholars. It has an interdisciplinary orientation and presents new research on Futurism across national borders in fields such as literature, fine arts, music, theatre, design, etc. <\/span><\/p>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Vol. 1 (2011): Special Issue, <\/span><em><span style=\"font-family: Garamond,serif;\">Futurism in Eastern and Central Europe<\/span><\/em><\/p>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Vol. 2 (2012): Open Issue<\/span><\/p>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Vol. 3 (2013): Special Issue, <\/span><em><span style=\"font-family: Garamond,serif;\">Iberian Futurism<\/span><\/em><\/p>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Vol. 4 (2014): Open Issue<\/span><\/p>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Vol. 5 (2015): Special Issue, <\/span><em><span style=\"font-family: Garamond,serif;\">Women Futurists<\/span><\/em><\/p>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Vol. 6 (2016): Open Issue<\/span><\/p>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Vol. 7 (2017): Special Issue, <\/span><span style=\"font-family: Garamond,serif;\"><i>Futurism in Latin America<\/i><\/span><\/p>\n<p lang=\"en-US\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Vol. 8 (2018): Open Issue<\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">The last twenty years has seen some major advances in the field of Futurism Studies. What in the first decades after WW II was frowned upon and regarded with political suspicion, has subsequently made a remarkable development, both in academia and on the art\/publication market. Futurism has now come to be regarded as Italy&#8217;s most important contribution to modern art and is considered to have left a lasting mark on Italian literature. Consequently, in the 1980s and 90s, a pool of more than 500 artists and writers has been rediscovered, presented to the public by means of exhibitions and publications, and dozens of them promoted to an elevated status in the national pantheon. Every history of art and literature of the past twenty years has accorded Futurism a prominent position in the cultural history of the country.<\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Outside Italy, the development has been similar. Following a small trickle of publications in the years 1945 and 1970, a long series of international exhibitions raised Futurism to a status on a par with Expressionism, Dadaism and Surrealism. Consequently, it entered the syllabus in academic institutions and became a standard topic, not only in courses of fine art, design and architecture, but also Italian Studies, Hispanic Studies, Slavonic Studies, Cultural Studies, Theatre History, Music History etc.<\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">This development found a peak in the 2009 centenary of the foundation of Futurism. Over 300 exhibitions, 50 international conferences and innumerable theatre and musical performances, radio and TV broadcasts gave Futurism an unprecedented prominence in the cultural calendar. Futurism Studies as an academic discipline is now firmly established and produces some 100-150 monographs annually (more than half of them outside Italy), tendency still rising. Many of these studies are focussed on Italy. However, Futurism had also a world-wide impact and generated many international Futurisms. It made important contributions to numerous avant-garde movements, despite the fact that their agendas only partially overlapped with Marinetti&#8217;s aesthetic and political programme.<\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Futurism was never a coherent style but an interdisciplinary laboratory. It had &#8222;elective affinities&#8220; with Symbolism, Cubism, Dada, Constructivism, Surrealism, etc. The groups and individuals outside Italy who declared themselves to be &#8222;Futurists&#8220; were anything but satellites of Marinetti&#8217;s movement. They borrowed from the Italians what fitted into their local agendas and, more often than not, were equally inspired by other avant-garde schools. <\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Therefore, when analysing and assessing Futurist &#8218;influences&#8216;, one needs to consider the manner in which Futurist ideas were conveyed from one culture to another. Many of these routes would sometimes better be called absorption, assimilation, adaptation, osmosis, or similar. There was a fluidity of adaptations and creative modifications, leading to <\/span><span style=\"font-family: Garamond,serif;\">original aesthetics and highly individual, para-Futurist solutions.<\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\"><span lang=\"en-US\">It is the aim of the<\/span><\/span><span style=\"font-family: Garamond,serif;\"> International Yearbook of Futurism Studies to publish original research on the global ramifications of Futurism, on <\/span><span style=\"font-family: Garamond,serif;\">the intercultural flow of avant-garde ideas across national borders, <\/span><span style=\"font-family: Garamond,serif;\">on artistic movements inspired by Futurism across continents, and on artists operating in the international sphere with close contacts to Marinetti or other Futurists. <\/span><span style=\"font-family: Garamond,serif;\">It is particularly interested in heterodox forms of Futurism and in artists who were only periodically <\/span><span style=\"font-family: Garamond,serif;\">involved with Futurism or were inspired only by certain aspects of the Italian movement. The Yearbook has a truly comparative perspective and facilitates contacts across academia such as literature, fine arts, music, theatre, dance, architecture, decorative arts, graphic design, fashion etc. <\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">The International Yearbook of Futurism Studies seeks to provide a counterbalance to the Italian bias in Futurism Studies. It therefore does not publish essays that focus exclusively on Italian Futurism, but only those concerned with the relations between Italian Futurism and other Futurisms worldwide, or on artistic movements inspired by Futurism, or on artists operating in the international sphere with close contacts to Italian, Russian or other Futurists. <\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\">Each issue contains an average of 15 essays, 3-5 reviews of books and exhibitions, archive reports, country surveys, a visual section on Futurism in the contemporary press. Each volume has a 30-50 page annual bibliography of recent exhibition catalogues, monographs, special issues of periodicals, academic theses, sound and film recordings. Contents are made accessible by way of name, subject and geographical indexes and regularly published accumulative indexes. <\/span><\/p>\n<p class=\"western\" lang=\"en-GB\" align=\"left\"><span style=\"font-family: Garamond,serif;\"><span style=\"font-size: small;\"><b>For more information contact G\u00fcnter Berghaus at g.berghaus@bristol.ac.uk, or visit the website <a href=\"https:\/\/guenter-berghaus.com\">guenter-berghaus.com<\/a> or <a href=\"http:\/\/www.degruyter.com\/view\/j\/futur\">http:\/\/www.degruyter.com\/view\/j\/futur<\/a>. <\/b><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>International Yearbook of Futurism Studies Mission Statement General Editor: G\u00fcnter Berghaus Editorial Board: Matteo D\u2019Ambrosio, Marjorie Perloff, Jorge Schwartz, Irina Suboti\u0107 Contributing Editors: Emilia David, Matteo Fochessati, Rub\u00e9n Gallo, Roger Griffin, Benedikt Hjartarson, Chris Michaelides, Przemys\u0142aw Stro\u017cek, Pierantonio Zanotti Editorial Assistants: Mariana Aguirre, Selena Daly, Sze Wah Lee, Ren\u00e9e M. Silverman Aims and Scope First [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-555","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/555","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=555"}],"version-history":[{"count":5,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/555\/revisions"}],"predecessor-version":[{"id":1214,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/555\/revisions\/1214"}],"wp:attachment":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=555"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}