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 (măr′ə-nĕt′ē, mä′rē-nĕt′tē), Filippo Tommaso 1876-1944.
Italian writer who founded futurism with the publication of his 1909 manifesto. Among his works are The Bleeding Mummy (1904) and Mafarka the Futurist (1910).
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Italian mariˈnetti)
(Biography) Filippo Tommaso (fiˈlippo tomˈmaːzo). 1876–1944, Italian poet; founder of futurism (1909)
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(ˌmær əˈnɛt i)

Emilio Filippo Tommaso, 1876–1944, Italian poet.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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References in periodicals archive ?
Which Italian modern art movement was initiated by Marinetti? A Tachisme B Pop Art C Futurism D Naive Art 2.
Scholars mostly of literature in various languages but also of art history and language, consider such topics as Hug Scheiber: futurism in the rhythm of jazz, Lucio Fontana and futurism after the Second World War, notes on esoteric futurism: Marinetti and the occultist circle in Milan, futurism in Coimbra, and echoes of futurism in Portugal and Brazil: the international conference 100 Futurismo.
'We affirm that the world's magnificence has been enriched by a new beauty: the beauty of speed,' the Futurist manifesto by the Italian poet Filippo Tommaso Marinetti declared.
Marinetti to the enormous site of the Rome Universal Exposition planned for 1942, with its towering 'square colosseum'.
In 1932, Italian Futurist poet Filippo Tommaso Marinetti published a manifesto outlining the use of food as part of performance art.
Ernest lalongo, Filippo Tommaso Marinetti: The Artist and His Poltics.
Together the works formed a parade of artists (Jackson Pollock [BellimBustTo Pollock, 1996]), composers (Gioachino Rossini [EremEstEtiche--RossinAria, 2011], literary figures (Filippo Tommaso Marinetti [ErmEstEstiche--MariNettiDannuziazone, 2010]; Dante Alighieri [ErmEstEtiche--PavouDanTe, 1995-96]), and historical personalities such as Pythagoras (ErmEstEtiche Pit Allegorica, 2007) and Nero (ErmEstEtiche NeronEros, 1995), appearing full-length or as busts, on gilded, twisted columns, almost all with Ontani's face.
When the Italian movement's founder, Filippo Tommaso Marinetti, published his bombastic "The Founding and Manifesto of Futurism," Prometeo's editor, Ramon Gomez de la Serna, published his own translation of the avant-garde text, alongside a piece celebrating Marinetti--making Prometeo the first Spanish periodical to bring Italian Futurism to Spain.
Italian Futurism, the avant-garde movement begun in 1909 that grandly sought to revolutionize humankind's relationship to itself and to the world, was founded by Filippo Tommaso Marinetti, an eccentric artist who grew up in a wealthy family in both Egypt and Italy and became famous early in his career for his public declamations, often melodramatic and overemotional, of Symbolist plays and monologues (Berghaus, Genesis 1-38).
Marinetti; Biomechanics and constructivism, Edward Braun; The naked stage, John Rudlin; Theater (Buhne), Oskar Schlemmer; The documentary play, Erwin Piscator, Bertolt Brecht (1898-1956) and Caspar Neher (1897-1962), Joslin McKinney and Philip Butterworth; Production and metaphysics, Antonin Artaud; Myth and theatre laboratories, Peter Brook; After ideology: Heiner Muller and the theatre of catastrophe, David Kilpatrick; 1789, Victoria Nes Kirby; Notes on political street theatre, Paris: 1968, 1969, Jean-Jacques Lehel; Make-believe: Societas Raffaello Sanzio do theatre, Nicholas Ridout; Spectacle, synergy and megamusicals: the global-industrialisation of the live-entertainment economy, Jonathan Burston; The digital double, Steve Dixon.
Yet, by the early 1910s, as the modernist innovation intensified, its language turned increasingly to war and violence (160), as evidenced by the 1909 Futurist manifesto, a text that exuded aggressiveness and famously declared war "the sole cleanser of the world" (Marinetti, Critical 14).