In 1909, municipal authorities built an airfield in northern Italy and invited leading pilots to compete on it. The show attracted thousands of spectators--and reporters, including Franz Kafka, Max Brod, and Luigi Barzini. Demetz's sparkling new book tells the enchanting story of what happened in the air and on the ground before, during, and after this amazing moment. Illustrations.

This volume, Futurism and the Technological Imagination, results from a conference of the International Society for the Study of European Ideas in Helsinki. It contains a number of re-written conference contributions as well as several specially commissioned essays that address various aspects of the Futurists’ relationship to technology both on an ideological level and with regard to their artistic languages. In the early twentieth century, many art movements vied with each other to overhaul the aesthetic and ideological foundations of arts and literature and to make them suitable vehicles of expression in the new Era of the Machine. Some of the most remarkable examples came from the Futurist movement, founded in 1909 by Filippo Tommaso Marinetti. By addressing the full spectrum of Futurist attitudes to science and the machine world, this collection of 14 essays offers a multifaceted account of the complex and often contradictory features of the Futurist technological imagination. The volume will appeal to anybody interested in the history of modern culture, art and literature.

Giulio Douhet is generally considered the world's most important air-power theorist and this book offers the first comprehensive account of his air-power concepts. It ranges from 1884 when an air service was first implemented within the Italian military to the outbreak of the Second World War, and explores the evolution and dissemination of Douhet's ideas in an international context. It examines the impact of the Libyan war, the First World War and Ethiopian war on the development of Italian air-power strategy. It also addresses the issue of Douhet's advocacy of strategic bombing, exploring why it was that Douhet became an advocate of city bombing; the meaning and the limits of his core concept of 'command of the air'; and the mutual impact of air power, military and naval thought. It also takes into account alternatives to Douhetism such as the theories developed by Amedeo Mecozzi and others.

Flying and the pilot were significant metaphors of fascism's mythical modernity. Fernando Esposito traces the changing meanings of these highly charged symbols from the air show in Brescia, to the sky above the trenches of the First World War to the violent ideological clashes of the interwar period.

This book explores Kafka's sometimes surprising connections with key Italian writers, from Italo Calvino to Elena Ferrante, who shaped Italy's modern literary landscape.

Three years after American raceplanes failed dismally in the most important air race of 1920, a French magazine lamented that American "pilots have broken the records which we, here in France, considered as our own for so long." The Pulitzer Trophy Air Races (1920 through 1925), endowed by the sons of publisher Joseph Pulitzer in his memory, brought about this remarkable turnaround. Pulitzer winning speeds increased from 157 to 249 mph, and Pulitzer racers, mounted on floats, twice won the most prestigious international air race--the Schneider Trophy Race for seaplanes. Airplanes, engines, propellers, and other equipment developed for the Pulitzers were sold domestically and internationally. More than a million spectators saw the Pulitzers; millions more read about them and watched them in newsreels. This, the first book about the Pulitzers, tells the story of businessmen, generals and admirals who saw racing as a way to drive aviation progress, designers and manufacturers who produced record-breaking racers, and dashing pilots who gave the races their public face. It emphasizes the roles played by the communities that hosted the races--Garden City (Long Island), Omaha, Detroit and Mt. Clemens, Michigan, St. Louis, and Dayton. The book concludes with an analysis of the Pulitzers' importance and why they have languished in obscurity for so long.

In this book, author Rosalie Schwartz uses the 1933 RKORadio Pictures production Flying Down to Rio to examine the interplay of technology and popular culture that shaped a distinctive twentiethcentury sensibility. The musical comedy connected airplanes, movies, and tourism, ending spectacularly with chorus girls dancing on the wings of airplanes high above Rio de Janeiro, Brazil. The Hollywood fantasy capped three decades during which airplanes and movies engendered new expectations and redefined peoples sense of wellbeing, their personal satisfactions, and their interpersonal relations. Wilbur and Orville Wright flew their airplane in 1903, at the same time that filmmakers began to project edited, filmed stories onto large screens. Spectators found entertainment value in both airplane competitions and motion pictures, and movie producers brought the thrill of aviators antics to a rapidly expanding audience. Meanwhile, air shows and competitions attracted large crowds of tourists. Mass tourism grew as a leisuretime activity, stimulated in part by travelogues and feature films. By 1930, the businessmen who envisioned transporting tourists to their destinations by airplane struggled to overcome the movieexaggerated association of flight with danger. Schwartz weaves these threads into a story of human daring and persistence, political intrigue, and international competition. From Wilbur and Orville to Fred and Ginger, Schwartzs narrative follows the fortunes of aviation and movie pioneers and the foundations and growth of Pan American Airways and RKORadio Pictures, the two companies that came together in Flying Down to Rio. By the end of the twentieth century, aviation, movies, and mass tourism had become powerful global industries, contributing to an internationally connected, entertainmentoriented culture. What was once unthinkable had now become expected.