Laura Wittman | Stanford University (original) (raw)
Papers by Laura Wittman
California Italian Studies
Anthropology of Violent Death, Feb 10, 2023
Forum Italicum: A Journal of Italian Studies, 2001
Home; About; Log In; Register; Search; Current; Archives; Announcements; Center for Italian Studi... more Home; About; Log In; Register; Search; Current; Archives; Announcements; Center for Italian Studies; FILIBRARY Series; Subscribe. Home > Vol 35, No 2 (2001) > Wittman. Font Size: Small Medium Large. Vittorio Sereni o L'istinto della gioia. Laura Wittman. Full Text: Subscribers ...
Edinburgh University Press eBooks, Jun 12, 2017
The Tomb of the Unknown Soldier, Modern Mourning, and the Reinvention of the Mystical Body, 2011
Cambridge Opera Journal, 2008
The Tomb of the Unknown Soldier, Modern Mourning, and the Reinvention of the Mystical Body, 2011
California Italian Studies, 2014
Futures, 2021
This chapter examines the development and changing artistic and socio-political implications of a... more This chapter examines the development and changing artistic and socio-political implications of a particular temporal modality—‘the present as history’—within a variety of Futurist texts. It draws on the work of Frederic Jameson to argue that the Italian Futurists sought to radically disrupt a particular representation of the present in their calls to destroy the past and attempts to endow futurity with the urgency of fully embodied agency. Wittman argues that the Futurists reject a specific, historicist, bourgeois understanding of history and seek to inaugurate a new sense of time, an explosive ‘now’. Comparing early and later texts by Marinetti and other Futurists, and identifying their debts to anarchist thought, the chapter demonstrates that their strategy of breaking into the present can only counter totalitarian appropriations if it remains anchored in embodied practices.
The Journal of Modern History, 2013
This chapter examines the development and changing artistic and socio-political implications of a... more This chapter examines the development and changing artistic and socio-political implications of a particular temporal modality—‘the present as history’—within a variety of Futurist texts. It draws on the work of Frederic Jameson to argue that the Italian Futurists sought to radically disrupt a particular representation of the present in their calls to destroy the past and attempts to endow futurity with the urgency of fully embodied agency. Wittman argues that the Futurists reject a specific, historicist, bourgeois understanding of history and seek to inaugurate a new sense of time, an explosive ‘now’. Comparing early and later texts by Marinetti and other Futurists, and identifying their debts to anarchist thought, the chapter demonstrates that their strategy of breaking into the present can only counter totalitarian appropriations if it remains anchored in embodied practices.
Journal of Modern Italian Studies, 2013
... I am also especially grateful for the generous welcome I received at the Archivi e Bibliotech... more ... I am also especially grateful for the generous welcome I received at the Archivi e Biblioteche, Il vit-toriale degli Italiani, Gardone, which houses d'Annunzio's papers and library. ... A special thanks to Luca Spaventa for the photo of Redipuglia. ...
Yale French Studies, 1994
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
tutto in quanto erede dei beni di Pirandello alla stregua dei figli di lui. Lietta in particolare... more tutto in quanto erede dei beni di Pirandello alla stregua dei figli di lui. Lietta in particolare era gelosissima dell'attrice. Lei era stata la figlia prediletta di Pirandello, ma si era allontanata dal padre in seguito al suo matrimonio a un diplomatico cile-no e aveva avuto molte liti con lui per ragioni di denaro. In seguito all'arrivo della Abba nella vita del padre, si era sentita messa da parte e ora, dopo la morte di lui, lei e i fratelli volevano fare di tutto per far dimenticare al pubblico la presenza del-l'attrice. Anche se costretti dal testamento di Pirandello a consegnare alla Abba le nove commedie composte dal maestro per lei, cercarono in tutti i modi, tramite la loro parentela con la potente famiglia dei D'Amico, di impedire che l'attrice ritor-nasse a recitare. Nell'epilogo Frassica racconta con vivacità e sentimento il suo rapporto con Marta negli anni ottanta, allo scopo di curare l'edizione dell'epistolario tra Pirandello e Marta...
California Italian Studies
In 1909, F.T. Marinetti published his incendiary Futurist Manifesto, proclaiming, "We stand ... more In 1909, F.T. Marinetti published his incendiary Futurist Manifesto, proclaiming, "We stand on the last promontory of the centuries!!" and "There, on the earth, the earliest dawn!" Intent on delivering Italy from "its fetid cancer of professors, archaeologists, tour guides, and antiquarians," the Futurists imagined that art, architecture, literature, and music would function like a machine, transforming the world rather than merely reflecting it. But within a decade, Futurism's utopian ambitions were being wedded to Fascist politics, an alliance that would tragically mar its reputation in the century to follow. Published to coincide with the 100th anniversary of the founding of Futurism, this is the most complete anthology of Futurist manifestos, poems, plays, and images ever to bepublished in English, spanning from 1909 to 1944. Now, amidst another era of unprecedented technological change and cultural crisis, is a pivotal moment to reevaluate Futu...
California Italian Studies
Anthropology of Violent Death, Feb 10, 2023
Forum Italicum: A Journal of Italian Studies, 2001
Home; About; Log In; Register; Search; Current; Archives; Announcements; Center for Italian Studi... more Home; About; Log In; Register; Search; Current; Archives; Announcements; Center for Italian Studies; FILIBRARY Series; Subscribe. Home > Vol 35, No 2 (2001) > Wittman. Font Size: Small Medium Large. Vittorio Sereni o L'istinto della gioia. Laura Wittman. Full Text: Subscribers ...
Edinburgh University Press eBooks, Jun 12, 2017
The Tomb of the Unknown Soldier, Modern Mourning, and the Reinvention of the Mystical Body, 2011
Cambridge Opera Journal, 2008
The Tomb of the Unknown Soldier, Modern Mourning, and the Reinvention of the Mystical Body, 2011
California Italian Studies, 2014
Futures, 2021
This chapter examines the development and changing artistic and socio-political implications of a... more This chapter examines the development and changing artistic and socio-political implications of a particular temporal modality—‘the present as history’—within a variety of Futurist texts. It draws on the work of Frederic Jameson to argue that the Italian Futurists sought to radically disrupt a particular representation of the present in their calls to destroy the past and attempts to endow futurity with the urgency of fully embodied agency. Wittman argues that the Futurists reject a specific, historicist, bourgeois understanding of history and seek to inaugurate a new sense of time, an explosive ‘now’. Comparing early and later texts by Marinetti and other Futurists, and identifying their debts to anarchist thought, the chapter demonstrates that their strategy of breaking into the present can only counter totalitarian appropriations if it remains anchored in embodied practices.
The Journal of Modern History, 2013
This chapter examines the development and changing artistic and socio-political implications of a... more This chapter examines the development and changing artistic and socio-political implications of a particular temporal modality—‘the present as history’—within a variety of Futurist texts. It draws on the work of Frederic Jameson to argue that the Italian Futurists sought to radically disrupt a particular representation of the present in their calls to destroy the past and attempts to endow futurity with the urgency of fully embodied agency. Wittman argues that the Futurists reject a specific, historicist, bourgeois understanding of history and seek to inaugurate a new sense of time, an explosive ‘now’. Comparing early and later texts by Marinetti and other Futurists, and identifying their debts to anarchist thought, the chapter demonstrates that their strategy of breaking into the present can only counter totalitarian appropriations if it remains anchored in embodied practices.
Journal of Modern Italian Studies, 2013
... I am also especially grateful for the generous welcome I received at the Archivi e Bibliotech... more ... I am also especially grateful for the generous welcome I received at the Archivi e Biblioteche, Il vit-toriale degli Italiani, Gardone, which houses d'Annunzio's papers and library. ... A special thanks to Luca Spaventa for the photo of Redipuglia. ...
Yale French Studies, 1994
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
tutto in quanto erede dei beni di Pirandello alla stregua dei figli di lui. Lietta in particolare... more tutto in quanto erede dei beni di Pirandello alla stregua dei figli di lui. Lietta in particolare era gelosissima dell'attrice. Lei era stata la figlia prediletta di Pirandello, ma si era allontanata dal padre in seguito al suo matrimonio a un diplomatico cile-no e aveva avuto molte liti con lui per ragioni di denaro. In seguito all'arrivo della Abba nella vita del padre, si era sentita messa da parte e ora, dopo la morte di lui, lei e i fratelli volevano fare di tutto per far dimenticare al pubblico la presenza del-l'attrice. Anche se costretti dal testamento di Pirandello a consegnare alla Abba le nove commedie composte dal maestro per lei, cercarono in tutti i modi, tramite la loro parentela con la potente famiglia dei D'Amico, di impedire che l'attrice ritor-nasse a recitare. Nell'epilogo Frassica racconta con vivacità e sentimento il suo rapporto con Marta negli anni ottanta, allo scopo di curare l'edizione dell'epistolario tra Pirandello e Marta...
California Italian Studies
In 1909, F.T. Marinetti published his incendiary Futurist Manifesto, proclaiming, "We stand ... more In 1909, F.T. Marinetti published his incendiary Futurist Manifesto, proclaiming, "We stand on the last promontory of the centuries!!" and "There, on the earth, the earliest dawn!" Intent on delivering Italy from "its fetid cancer of professors, archaeologists, tour guides, and antiquarians," the Futurists imagined that art, architecture, literature, and music would function like a machine, transforming the world rather than merely reflecting it. But within a decade, Futurism's utopian ambitions were being wedded to Fascist politics, an alliance that would tragically mar its reputation in the century to follow. Published to coincide with the 100th anniversary of the founding of Futurism, this is the most complete anthology of Futurist manifestos, poems, plays, and images ever to bepublished in English, spanning from 1909 to 1944. Now, amidst another era of unprecedented technological change and cultural crisis, is a pivotal moment to reevaluate Futu...