Moving the Avant-Gardes
Umberto Boccioni, Unique Forms of Continuity in Space, 1913 (cast 1931) (111.2x88.5x40 cm) - The Museum of
Modern Art, New York
Joy Conlon and Esther GabaraMovements of the Avant-Garde: Memoirs of a Conference
João Cezar de Castro Rocha 1Failed Prophet and Falling Stock: Why Ralph Ellison Was Never Avant-Garde
Houston A. Baker, Jr.
Colonialism and the Avant-Garde: Kitagawa Fuyuhiko's Manchurian Railroad
William O. GardnerTheorizing the Avant-Garde in the European Context: The Local, the Global, the Universal
Wladimir KrysinskiFuturism, Fascism and Mass-Media: The Case of Marinetti's 1926 Trip to Buenos Aires
Dada Without Duchamp/Duchamp Without Dada: Avant-Garde Tradition and the Individual Talent
Marjorie PerloffThe Future in the Stars, the Present in (Hi)story: Artaud vs. Cárdenas
Silviano SantiagoOn an Airfield in Montichiari, Near Brescia. Staging Rivalry Through Technology:
Marinetti and D'Annunzio
Fashion Victims: Mina Loy's Travesties
Susan E. Dunn
Fernando Pessoa's Mothering of the Avant-Garde
António M. Feijó
The Impact of the Train on Modern Literary Imagination
The Journey of the Brazilian Avant-Garde in the 1920s
The editors would like to thank Hans Ulrich Gumbrecht, Pierpaolo Antonello and João Cezar de Castro Rocha for their
contributions to the conference "Movements of the Avant-Garde" without which this issue would be impossible.
Umberto Boccioni, Unique Forms of Continuity in Space, 1913 (cast 1931).
Bronze, 111.2x88.5x40 cm. Acquired through Lillie P.Bliss bequest,
The Museum of Modern Art, New York. Photograph 1999, The Museum of Modern Art, New York.