Vorticism addresses the seminal innovations in theatre, literature and poetry as well as Vorticist painting, sculpture, print making, and photography that encompassed the Vorticism art movement.

The first exhibition in Italy dedicated to Vorticism, Britain's contribution to the visual avant-gardes that flourished in Europe at the beginning of the 20th century. Its distinctive figurative abstraction was a London-based Anglo-American response to Cubism and Futurism. Led by poet Ezra Pound and by artist and writer Wyndham Lewis Vorticism flared up between 1913 and 1918.

This title was first published in 2000. Founded in 1914 by Wyndham Lewis and christened by Ezra Pound, the Vorticism movement was a sustained act of aggression against the moribund Victorianism seen as stifling to artistic energies. Inspired by the example of F.T.Marinetti and the Futurists, the Vorticists were nevertheless harshly critical of the Futurists' naive enthusiasm for modernity. They created their own style of geometric abstraction to celebrate the new consciousness of humanity in a mechanized urban environment. But their splintered and discordant style also measured the cost of the psychic disruption that modernity caused. This illustrated guide to the movement covers topics including sculpture, painting, literary Vorticism, women in Vorticism and Vorticist aesthetics.

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?

When The Birth of Fascist Ideology was first published in 1989 in France and at the beginning of 1993 in Italy, it aroused a storm of response, positive and negative, to Zeev Sternhell's controversial interpretations. In Sternhell's view, fascism was much more than an episode in the history of Italy. He argues here that it possessed a coherent ideology with deep roots in European civilization. Long before fascism became a political force, he maintains, it was a major cultural phenomenon. This important book further asserts that although fascist ideology was grounded in a revolt against the Enlightenment, it was not a reactionary movement. It represented, instead, an ideological alternative to Marxism and liberalism and competed effectively with them by positing a revolt against modernity. Sternhell argues that the conceptual framework of fascism played an important role in its development. Building on radical nationalism and an "antimaterialist" revision of Marxism, fascism sought to destroy the existing political order and to uproot its theoretical and moral foundations. At the same time, its proponents wished to preserve all the achievements of modern technology and the advantages of the market economy. Nevertheless, fascism opposed every "bourgeois" value: universalism, humanism, progress, natural rights, and equality. Thus, as Sternhell shows, the fascists adopted the economic aspect of liberalism but completely denied its philosophical principles and the intellectual and moral heritage of modernity.

The Companion combines a broad grounding in the essential texts and contexts of the modernist movement with the unique insights of scholars whose careers have been devoted to the study of modernism. An essential resource for students and teachers of modernist literature and culture Broad in scope and comprehensive in coverage Includes more than 60 contributions from some of the most distinguished modernist scholars on both sides of the Atlantic Brings together entries on elements of modernist culture, contemporary intellectual and aesthetic movements, and all the genres of modernist writing and art Features 25 essays on the signal texts of modernist literature, from James Joyce’s Ulysses to Zora Neal Hurston’s Their Eyes Were Watching God Pays close attention to both British and American modernism