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Epica Marina I, 2 Epica marina I, 2 2020 Università degli Studi di Milano Dipartimento di Studi letterari, filologici e linguistici COMITATO DI DIREZIONE: Guglielmo Barucci (Università degli Studi di Milano), Sandra Carapezza (Università degli Studi di Milano), Michele Comelli (Università degli Studi di Milano), Cristina Zampese (Università degli Studi di Milano) COMITATO SCIENTIFICO: Maria Cristina Cabani (Università degli Studi di Pisa), Alessandro Cassol (Università degli Studi di Milano), Jo Ann Cavallo (Columbia University, New York), Cristiano Diddi (Università degli Studi di Salerno), Marco Dorigatti (University of Oxford), Stefano Ercolino (Università Ca’ Foscari Venezia), Bruno Falcetto (Università degli Studi di Milano), Fulvio Ferrari (Università di Trento), Luca Frassineti (Università della Campania Luigi Vanvitelli), Massimiliano Gaggero (Università degli Studi di Milano), Massimo Gioseffi (Università degli Studi di Milano), Giovanni Iamartino (Università degli Studi di Milano), Dennis Looney (University of Pittsbourgh), Cristina Montagnani (Università di Ferrara), Franco Tomasi (Università degli Studi di Padova) COMITATO DI REDAZIONE: Angela Andreani (Università degli Studi di Milano), Ottavio Ghidini (Università Cattolica del Sacro Cuore), Barbara Tanzi Imbri (Università degli Studi di Milano) In copertina: Ivan K. Aivazovsky, Bracing the waves, private collection «AOQU» I, 2 (2020) Open Access online: http://riviste.unimi.it/index.php/aoqu ISBN 9788855264051 ISSN 2724-3346 DOI 10.13130/2724-3346/2020/2 Copyright © 2020 Volume pubblicato con il contributo del Dipartimento di Studi letterari, filologici e linguistici dell’Università degli Studi di Milano Grafica di copertina: Shiroi Studio Stampa: Ledizioni Via Morigi 11, 20123 Milano Via Alamanni 11, 20141 Milano www.shiroistudio.com www.ledizioni.it Indice Premessa pp. 7-8 Ronald Blankenborg, The Territory without a Map: the Sea as a pp. 9-35 Narratological Frame and Compass in the “Odyssey” Yukiko Saito, Viewing the Sparkling Scenery of the Sea with Μαρμάρεος: pp. 37-71 Light and Darkness Reflected upon the Moving Water and its Transformed Role in Homer Xavier Lafontaine, Fin des temps, confins des mers et vers sibyllins pp. 73-97 Oriane Demerliac, Ellipse et surgissement des femmes dans la mer pp. 99-136 héroïque de l’“Éneide”: questionnement de l’héroïsme entre genre littéraire et genre sexué Margherita Lecco, «A grant navie outre la mer» (v. 2256): pp. 137-159 la battaglia navale di Wistasse il monaco Maria Shakhray, The Myth of Lepanto and Its Literary Representations pp. 161-194 in European Epic Poetry of the late Cinquecento-early Seicento Cristina Montagnani, Viaggiare a occhi chiusi: l’esperienza ulissiade di pp. 195-223 “Maia” Giuseppe Carrara, Un’epica del mare: fra Eliot e Pagliarani pp. 225-262 Elena Traina, Tupaia: Palingenesis of a Polynesian Epic Hero pp. 263-296 Francesco Toniolo, Il vento sulle onde: l’epica dell’esplorazione pp. 297-322 marittima in “The Legend of Zelda: the Wind Waker” PREMESSA Io che tornavo fiero ad ogni porto dopo una lotta, dopo un arrembaggio non son più quello e non ho più il coraggio di veleggiare su un vascello morto. (Francesco Guccini, L’ultima Thule) Dopo il varo, «AOQU. Achilles Orlando Quixote Ulysses» approda al suo secondo numero. La metafora del porto è coerente con la dimensione marina che informa i saggi di questa nuova uscita. Se nell’immaginario epico occidentale è infatti la terra a essere dominante, è pur vero che – alle sorgenti del genere – alla piana insanguinata sotto le mura di Troia seguono le onde inquietanti del nostos di Ulisse. E ancora Tasso, almeno a livello di retorica auto-pubblicitaria, aveva pensato di accostare all’impresa terrena dei Crociati un secondo poema imperniato sul ritorno in patria di uno dei suoi personaggi. Se il mondo marino è il luogo per eccellenza in cui l’eroe, e più in generale l’uomo, viene messo alla prova attraverso le sfide della fortuna, il fascino dell’ignoto e le prove del viaggio, l’epica che gli dà voce non soltanto fornisce un diverso sistema di scenari, episodi, imprese ed avversari rispetto a quello dell’epica militare di terra, ma impone anche una retorica differente e un campo metaforico altro: questioni che meritano una trattazione autonoma. Il secondo numero di «AOQU», dunque, percorre un viaggio non solo nei mari noti della letteratura occidentale, lungo rotte segnate da alcuni dei capolavori del passato, ma sperimenta anche più arditi pileggi in acque poco frequentate o lontane. AOQU – Epica marina, I, 2 (2020) - https://riviste.unimi.it/aoqu - ISBN 9788855264051- DOI 10.13130/2724-3346/2020/14722 Anche questo secondo numero non può che aprirsi con Omero, con due diverse e suggestive prospettive di lettura: Ronald Blankenborg indaga il mare dell’Odissea come mappa narratologica, mentre Yukiko Saito, partendo da un’analisi semantica, evidenzia la dimensione luministico-sacrale dei colori marini in entrambi i poemi. Restando nell’ambito della poesia esametrica greca, ma con uno scarto cronologico notevole, il contributo di Xavier Lafontaine indaga il ruolo fisico e poetico del mare (e dei fiumi) nella dimensione profetica degli Oracoli Sibillini, fra l’età ellenistica e quella bizantina. Oriane Demerliac discute, facendo perno sull’Eneide, l’assenza e presenza delle donne in relazione ai testi epici di ambientazione marina. L’intervento di Margherita Lecco ci conduce nel moderno delle letterature romanze, con il Wistasse le Moine dedicato alle avventure semileggendarie del pirata nobile Eustache; Maria Shakhray affronta poi tre poemi cinque-secenteschi in altrettante lingue, ispirati alla battaglia di Lepanto, indagando così l’impatto degli eventi storici moderni sui modelli epici. Il contributo di Cristina Montagnani si rivolge invece alla Maia di d’Annunzio, come proiezione dell’autore su Ulisse e sul mito della classicità greca. L’accostamento fra la Ballata di Rudi di Elio Pagliarani e la Terra desolata di Eliot offre a Giuseppe Carrara l’occasione per interrogarsi sul ruolo dell’epica nella poesia contemporanea. Gli ultimi due interventi, infine, affrontano affascinanti casi di epica non-letteraria: Elena Traina ci porta nella cultura oceanistica indagando la rilettura epica delle vicende storiche in un documentario e in una graphic novel dedicati al navigatore polinesiano Tupaia, mentre Francesco Toniolo chiude il cerchio della nostra esplorazione concentrandosi sul videogioco “oceanico” The Legend of Zelda: The Wind Waker nei suoi punti di contatto con l’Odissea. Il terzo numero di «AOQU» sarà dedicato al meraviglioso nell’epica, mentre il quarto accoglierà gli interventi di un seminario di studi sul tema della morte dell’eroe. Guglielmo Barucci, Sandra Carapezza, Michele Comelli e Cristina Zampese 8 THE TERRITORY WITHOUT A MAP: THE SEA AS A NARRATOLOGICAL FRAME AND COMPASS IN THE ODYSSEY Ronald Blankenborg Radboud University RIASSUNTO: Il contributo intende dimostrare che il mare nell’Odissea non è tanto il territorio ricostruito dalla mappa del poema, quanto piuttosto la cornice narratologica che “tiene insieme” il poema: il mare, infatti, unisce le singole disavventure di Odisseo. Pertanto il mare nel poema omerico non è solo acqua salata e scura: è il continuum su cui si muove la mente del narratore, alla ricerca di punti di approdo per saldare tra loro racconti ed episodi. Cercando nello spazio virtuale della sua immaginazione, Odisseo presenta le sue disavventure e la loro collocazione remota come isole isolate, e utilizza parimenti il mare come spazio virtuale per inquadrarle. Per il tessitore di trame Odisseo il mare è la sua tela fittizia. E come ricorda l’ammonimento di Tiresia (Od. XI 121- 137, ribadito in Od. XXIII 265-283), Odisseo deve in qualche modo fuggire da questa finzione per trovare la pace, anche se non potrà fuggire la morte che verrà proprio da lì. PAROLE CHIAVE: Odissea, narratologia, Apologo, spazio virtuale, storyworlds ABSTRACT: In this paper, I argue that the sea in Homer’s Odyssey is not the territory suggested by its map, but rather an all-encompassing narratological frame: the sea keeps the isolated locations of Odysseus’ misadventures together. As such the sea in the Odyssey is not just salty, dark-coloured water: it is the continuum in which the narrator’s mind roams, looking for anchor points to which to attach tales and episodes. Searching the virtual space of his imagination, Odysseus presents his series of misadventures and their remote locations as islands in isolation, and uses the sea as an equally virtual space to frame them. For the story-weaving Odysseus, the sea is the fictitious tapestry. And as Teiresias’ warning words show (Od. XI 121-137, repeated in Od. XXIII 265-283), AOQU – Epica marina, I, 2 (2020) - https://riviste.unimi.it/aoqu - ISBN 9788855264051 - DOI 10.13130/2724-3346/2020/14710 Ronald Blankenborg Odysseus somehow has to escape this fiction to find peace, though he cannot escape death coming from it. KEY-WORDS: Odyssey, narratology, Apologue, virtual space, storyworlds *** 1. INTRODUCTION1 In archaic Greek epic, the sea is omnipresent. Its importance reflects the world view of its audience: coastal regions, islands and the open sea made up the inhabitable and accessible space, far more than mountainous areas and the remote hinterland.2 For centuries, both during the period in which archaic epic developed, and when it was written down, those listening to the stories recognized the characters’ dependence on the salty ways, and the many dangers they presented. In Mycenaean times, allegedly the era
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