  gurenkova-yv-vestnik-2026-2.pdf |
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- Futurist aesthetics in the works of Achille Campanile
- Gurenkova Yu.V. Futurist aesthetics in the works of Achille Campanile. Vestnik of Kostroma State University, 2026, vol. 32, no. 2, pp. 131–140. (In Russ.) https://doi.org/10.34216/1998-0817-2026-32-2-131-140
- DOI: https://doi.org/10.34216/1998-0817-2026-32-2-131-140
- УДК: 821(450).09”20”
- EDN: HWTXJM
- Publish date: 2026-03-24
- Annotation: The article is devoted to the study of the early works of the 20th century Italian comic writer Achille Campanile, little-known in Russia, and the identification of characteristic features of the Futurist movement in his works. Campanile did not belong to the group of Futurists, but was close to them in style, form of presentation, and composition. In many ways, the innovative ideas of the Italian comic writer meet the requirements set out by the Futurists in numerous manifestos and programs. The influence of Filippo Tommaso Marinetti, Aldo Palazzeschi and Francesco Cangiullo on the work of Campanile is especially noticeable. His “Tragedies in Two Cues” are the result of the search for new theatrical solutions. Imitation of the Futurists can be traced in the rejection of traditional techniques and plot lines, excessive brevity of action, and unwillingness to reveal the characters’ personalities. “Tragedies” at that time became the embodiment of modernity, speed, anti-lyricism: a lightning-fast dialogue of two lines, an instant joke or a comic scene that unfolded at a dizzying speed after the necessary stage directions. In the novels “So What Is Love?” and “In August I Don’t Want to Know My Wife” the speech of the characters and the poet’s poem are reduced to futurist sound painting. The writer resorts to the avant-garde ideas of the futurists, thereby enriching the principles of constructing the comic. Campanile does not focus on the fates of his characters, on turning points in history, he explores the possibilities of language, creating puns, a play of interpretations, violates conventions, turns to meaningless sound combinations that lead to the inconsistency of speech. Campanile’s comedy has no provocative origins, there is no political content in his jokes (at least in an explicit form). Echoes of futurist aesthetics in Campanile’s works are reflected only at a formal level.
- Keywords: futurism, Achille Campanile, 20th century Italian literature.
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