WALTER BENJAMIN E O FUTURISMO ITALIANO

THIS WORK PRESENTS STUDIES ABOUT WALTER BENJAMIN'S INTERPRETATIONS OF ITALIAN FUTURISM BY FILIPPO MARINETTI. THIS AVANT-GARDE MOVEMENT PROMOTED WHAT BENJAMIN CALLED THE “AESTHETICIZATION OF POLITICS”, WHICH CONSISTS OF THE USE OF THE DISSEMINATION OF ART AND FASCIST PROPAGANDA ON A LARGE SCALE, WITH ASTOUNDING GHOSTLY EFFECTS, WHICH SUBMERGE SPECTATORS IN AN ILLUSION OF TRANSFORMING REALITY WITHOUT, HOWEVER, TRANSFORM IT EFFECTIVELY. MOREOVER, FUTURISTS RACED DESPERATELY IN ORDER TO OVERCOME ANY IMPERATIVES PLACED BY THE IDEOLOGY OF PROGRESS. THEY SPREAD THE AESTHETICS OF WAR, IN WHICH MATERIAL AND HUMAN DESTRUCTION WAS SUBJECTED TO SUPER-ACCELERATED TECHNOLOGICAL AND INDUSTRIAL ADVANCEMENT. WHILE THIS ITALIAN MOVEMENT DENIED ALL ART AND INTELLECTUAL PRODUCTION OF THE PAST, IN THE NAME OF “ALWAYS NEW”, BENJAMIN PRESENTS A DIALECTICAL INTERWEAVING BETWEEN PAST, PRESENT AND FUTURE. IN THIS REGARD, THE PHILOSOPHER'S ANTI-PROGRESSIVE RESPONSES CONTAIN A PECULIAR AMALGAM BETWEEN MARXISM, ROMANTICISM AND JUDAISM, PROFANELY AFFIRMING THE CONCEPTS OF “REMEMBRANCE” AND “REDEMPTION” OF THE FORGOTTEN VICTIMS OF THE PAST. IF ITALIAN FUTURISM ACCOMPLISHES THE AESTHETICIZATION OF POLITICS, THROUGH THE AFFIRMATION THAT “WAR IS BEAUTIFUL”, BENJAMIN OPPOSES IT WITH THE EXPOSURE OF THE REVOLUTIONARY CONTENTS OF OTHER AVANT-GARDE ARTISTIC MOVEMENTS, NAMELY: DADAISM, SURREALISM, RUSSIAN FUTURISM AND THE EPIC THEATER BY BERTOLT BRECHT. THE RESPONSE AGAINST THE NEGATIVE THEOLOGY OF ART FOR ART PROMOTED BY THE ITALIAN FUTURISTS IS THROUGH ANTI-AESTHETIC ATTITUDES THAT INSERT THE PROLETARIAT INTO THE TECHNICAL DOMAIN OF CULTURAL AND ARTISTIC PRODUCTION.