Good questions! Let me try to clarify:
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1. If someone can empirically define tempo, I would be grateful out of interest.
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Basically, it means "timing" or "rhythm" or "beat". If you want more empirical than that, buy a metronome.
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2. In terms of footwork, the author seems to be saying that it's a good idea to attack into a marching fencer when his weight is on his front foot. But why does it matter what his feet are doing, when if he is extending when his weight is on his front foot, he can still reach you and have RoW, just like a riposte can reach without a lunge. And if his arm is bent and not extending, then again it doesn't matter what his feet are doing because you would have RoW if you attack. If you attack when weight is on front foot, the opponent can retreat!
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It matters because most attacks finish in some sort of lunge. (You are very rarely close enough to your opponent to hit him by just extending your arm.) And to do a lunge, your weight has be on your back foot.
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. When he says today's Italians push their opponents to the end of the strip, how? By invitation march maybe? How can you acheive this without preparations? Sorry I havn't seen much of these fencers.
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They are generally going forward in their fencing: attacks, preparations, short attacks. They do make preparations. They don't hang back and wait for their opponent. Basically, they do "aggressive fencing", and seem to spend more time on their opponents' end of the piste.
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4. How is shifting footwork done? Isn't it slow? And why would it protect you from attacks on prep, considering what I've already said about the feet not mattering (question 2).
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Generally it is slower, but Sanzo can do it quickly. The feet do matter.
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5. Stutter-steps backwards - How to do them? How do they break the opponent's attacks?
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Watch Cliff Bayer's Moscow video available on Fencingfootage.com and you will understand. They work because, the attacking fencer is waiting for the defender to stop his retreat and make some kind of defence. By stuttering his reteat, the defending fencer can "trick" the attacker into finishing early, out of distance, and giving up RoW to the defender.
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6. "Supreme creativity in speed changes during their attacks". Marching attacks, or simply a lunge as seems to be hinted at in the second image with the musical notes? How does it work? Is is to acheive a surprise gain in distance? Does the fast advance, soft and relaxed half-step, quickly finish the advance and lunge method used by David Littel highlight this issue perfectly?
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Yes, that is one example of tempo changes. Basically, it is important to realize that you can change the speed several times regardless of the length of your attack. (ie. a march with 3 or 4 speed changes, or a lunge with 2 speeds, or a step step ballestra lunge with 3 distinct speeds.) Yes, it is to acheive a surprise gain in distance, it is to be unpredictable to your opponent from point to point, it is to show the ref that you (and not your opponent) are controlling the phrases, etc.
Hope this helps.
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