By Adam J. Goldwyn
This publication explores how Modernist routine all around the Mediterranean basin differed from these of different regions. The chapters convey how the political and financial turmoil of a interval marked by means of international warfare, revolution, decolonization, nationalism, and the speedy boost of latest applied sciences forced artists, writers, and different intellectuals to create a brand new hybrid Mediterranean Modernist aesthetic which sought to stability the tensions among neighborhood and overseas, culture and innovation, and colonial and postcolonial.
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Additional resources for Mediterranean Modernism: Intercultural Exchange and Aesthetic Development
25 (Horden and Purcell, “The Mediterranean and ‘the New Thalassology,’” 726). For the relations of these Bakhtinian terms to postcolonial theory and hybridity, see Young, Colonial Desire, 17–21. Bhabha (New York: Routledge, 2006), 72. , 74. Homi Bhabha, Nation and Narration (New York: Routledge, 1994), 4. Homi Bhabha, Location of Culture (New York: Routledge, 1990), 200. , 9. Bhabha, Nation and Narration, 4. Shalini Puri, The Caribbean Postcolonial (New York: Palgrave Macmillan, 2004), 4. Cheah and Robbins, Cosmopolitics, 2.
20 The opening scene of Mafarka le Futuriste takes place at the end of a battle, probably recalling the battle of Tell-el-Kibir, which would have been MAFARKA BEFORE BEING A FUTURIST: THE INTIMATE EGYPT ... 35 still alive in the collective memory of Egyptians and Europeans alike living in Egypt. In the battle of Tell-el-Kebir, Egyptians lost to the British in 1881 because of treachery on the Egyptian side, leading to the British colonization of Egypt. The battle is remembered in Egyptian history not just as a battle between Egyptians and the British but also as the failure of a popular revolution led by Orabi Bey, the famous army general and nationalist, and the restoration to power of Khedive Tawfiq, the original supporter of the British.
25 In this sentence, Marinetti seems to propose through Mafarka’s words a new colonial rhetoric. According to Mafarka’s words, being a military leader of the Arabs does not deprive the led soldiers of their dignity and self-respect. Taking into consideration Marinetti’s initial intention to use his novel as a tool to change the world, we can read it in the context of the colonial situation. The suggested new colonial rhetoric reflects Marinetti’s vision of Italy’s role as a colonial power in the Mediterranean.