The Handbook of International Futurism is the first reference work ever to presents in a comparative fashion all media and countries in which the movement, initiated by F.T. Marinetti in 1909, exercised a particularly noteworthy influence. The handbook offers a synthesis of the state of scholarship regarding the international radiation of Futurism and its influence in some fifteen artistic disciplines and thirty-eight countries. While acknowledging the great achievements of the movement in the visual and literary arts of Italy and Russia, it treats Futurism as an international, multidisciplinary phenomenon that left a lasting mark on the manifold artistic manifestations of the early twentieth-century avant-garde. Hundreds of artists, who in some phase in their career absorbed Futurist ideas and stylistic devices, are presented in the context of their national traditions, their international connections and the media in which they were predominantly active. The handbook acts as a kind of multi-disciplinary, geographical encyclopaedia of Futurism and gives scholars with varying levels of experience a detailed overview of all countries and disciplines in which the movement had a major impact.

This volume contains some 25,000 bibliographic entries and offers orientation to scholars carrying out research on Futurist artists or writers, or countries and genres in which Futurism exercised a significant influence. The volume lists publications on Futurist activities in Italy, Russia, Germany, France, Spain, Britain, USA, Japan, Latin America and some twenty other countries. It covers a variety of aesthetic aspects, such as painting, literature, theatre, music, cinema, photography, architecture, interior design, graphic arts, fashion design and others.

The International Yearbook of Futurism Studies was founded in 2009, the centenary year of Italian Futurism, in order to foster intellectual cooperation between Futurism scholars across countries and academic disciplines. The Yearbook does not focus exclusively on Italian Futurism, but on the relations between Italian Futurism and other Futurisms worldwide, on artistic movements inspired by Futurism, and on artists operating in the international sphere with close contacts to Italian or Russian Futurism. Volume 4 (2014) is an open issue that addresses reactions to Italian Futurism in 16 countries (Argentina, Armenia, Brazil, Egypt, France, Germany, Great Britain, Greece, Holland, Hungary, Japan, Portugal, Russia, Slovenia, Spain, USA), and in the artistic media of photography, theatre and visual poetry.

The special issue of International Yearbook of Futurism Studies for 2015 will investigate the role of Futurism in the œuvre of a number of Women artists and writers. These include a number of women actively supporting Futurism (e.g. Růžena Zátková, Edyth von Haynau, Olga Rozanova, Eva Kühn), others periodically involved with the movement (e.g. Valentine de Saint Point, Aleksandra Ekster, Mary Swanzy), others again inspired only by certain aspects of the movement (e.g. Natalia Goncharova, Alice Bailly, Giovanna Klien). Several artists operated on the margins of a Futurist inspired aesthetics, but they felt attracted to Futurism because of its support for women artists or because of its innovatory roles in the social and intellectual spheres. Most of the artists covered in Volume 5 (2015) are far from straightforward cases, but exactly because of this they can offer genuinely new insights into a still largely under-researched domain of twentieth-century art and literature. Guiding questions for these investigations are: How did these women come into contact with Futurist ideas? Was it first-hand knowledge (poems, paintings, manifestos etc) or second-hand knowledge (usually newspaper reports or personal conversions with artists who had been in contact with Futurism)? How did the women respond to the (positive or negative) reports? How did this show up in their œuvre? How did it influence their subsequent, often non-Futurist, career?

This book examines how the productive interplay between nineteenth-century literary and visual media paralleled the emergence of a modern psychological understanding of the ways in which reading, viewing and dreaming generate moving images in the mind.

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. Apart from essays and country surveys it contains reports, reviews and an annual bibliography of recent Futurism studies. Vol. 1 (2011): Special Issue, Futurism in Eastern and Central Europe Vol. 2 (2012): Open Issue Vol. 3 (2013): Special Issue, Iberian Futurism Vol. 4 (2014): Open Issue Vol. 5 (2015): Special Issue, Women Futurists Vol. 6 (2016): Open Issue For Vol. 1-3 please see also: http: //www.degruyter.com/view/j/futur

This volume explores the fraught relationship between Futurism and the Sacred. Like many fin-de-siècle intellectuals, the Futurists were fascinated by various forms of esotericism such as theosophy and spiritualism and saw art as a privileged means to access states of being beyond the surface of the mundane world. At the same time, they viewed with suspicion organized religions as social institutions hindering modernization and ironically used their symbols. In Italy, the theorization of "Futurist Sacred Art" in the 1930s began a new period of dialogue between Futurism and the Catholic Church. The essays in the volume span the history of Futurism from 1909 to 1944 and consider its different configurations across different disciplines and geographical locations, from Polish and Spanish literature to Italian art and American music.