Mondi Fantastici Ma Possibili. Il Dialogo Tra Autore E Lettore Nella Narrativa

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Mondi Fantastici Ma Possibili. Il Dialogo Tra Autore E Lettore Nella Narrativa UNIVERSITA’ DEGLI STUDI DI TRENTO Facoltà di Lettere e Filosofia Dipartimento di Scienze Filologiche e Storiche Dottorato di ricerca in “Le forme del narrare: testi, critica, teoria e generi a confronto” XI Ciclo Sede consorziata: UNIVERSITA’ DEGLI STUDI DI MACERATA Mondi fantastici ma possibili. Il dialogo tra autore e lettore nella narrativa di fantascienza. Coordinatrice: Ch.ma Prof.ssa Carla Locatelli Relatrice: Dottoranda: Ch.ma Prof.ssa Marina Camboni Anna Lazzari Anno Accademico 1997/98 If the labours of men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the poet [...] will be ready to follow the steps of the man of science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of the science itself. The remotest discoveries of the chemist, the botanist, or mineralogist, will be as proper object of the poet’s art as any upon which it can be employed. William Wordsworth, “Preface to Lyrical Ballads ”, 1802. INDICE INTRODUZIONE ……………………………………………………………... I CAPITOLO 1: LA FANTASCIENZA …………………………..……..……… 1 1.1. BREVI CENNI STORICI …………………………………….………. 6 1.1.1. LA FANTASCIENZA MODERNA …………………………………. 7 1.1.2. LA FANTASCIENZA ANTE LITTERAM ……………...……….. 16 1.2. DEFINIZIONI ………………………………………….……………… 23 1.2.1. DA “ SCIENTIFIC ROMANCE ” A “PONTE VERSO IL REALISMO” …………………………………………………………….. 25 1.2.2. LO “STRANIAMENTO COGNITIVO” ………………………………… 32 1.3. IL FANTASTICO ……………………………………………………... 37 1.3.1. IL PROBLEMA TERMINOLOGICO ………………………………….. 37 1.3.2. IL FANTASTICO COME MODO …………………………………….. 40 1.3.3. LA FANTASCIENZA COME GENERE FANTASTICO ……………… 46 CAPITOLO 2: MONDI POSSIBILI FINZIONALI …………………………... 53 2.1. FINZIONALITA’ ………………………………………………………. 57 2.1.1. ORIGINI DEL CONCETTO …………………………………………. 58 2.1.2. LA PROSPETTIVA LETTERARIA ..……………………………….. 63 2.1.3. LA PROSPETTIVA FILOSOFICA …………………………….. 68 2.2. MONDI POSSIBILI TESTUALI ..……………………………………. 76 2.2.1. IL PROCESSO DI LETTURA E LA COOPERAZIONE INTERPRETATIVA …………………………………………………. 77 2.2.2. IL DIALOGO TRA AUTORE E LETTORE EMPIRICI ……………… 80 2.2.3. GLI EFFETTI TESTUALI …………………………………………… 84 2.3. LA PROSPETTIVA LINGUISTICA …………………………………. 89 2.3.1. GLI “ATTI NARRATIVI” ….………………………………………….. 90 CAPITOLO 3: ALLE ORIGINI DEL GENERE FANTASCIENZA EDGAR ALLAN POE ……………………………………… 105 3.1. “THE UNPARALLELED ADVENTURE OF ONE HANS PFAALL” 109 3.1.1. IL RACCONTO …………………………………………………….. 110 3.1.2. LA NOTA …………………………………………………. 118 3.2. THE NARRATIVE OF ARTHUR GORDON PYM OF NANTUKET .…. 120 3.2.1. LETTURA DI PRIMO GRADO ……………………………………… 125 3.2.2. LETTURA SPECIALISTICA ………………………………………… 137 CAPITOLO 4: TRA RAZIONALE E IRRAZIONALE RAY BRADBURY …………………………………………. 145 4.1. “THERE WILL COME SOFT RAINS” ……………………………… 150 4.1.1. LETTURA DI PRIMO GRADO ……………………………………… 151 4.1.2. LETTURA DI SECONDO GRADO …………………………………. 164 4.1.3. LETTURA SPECIALISTICA ………………………………………… 166 4.2. “THE VELDT” …………………………………………………………. 169 4.2.1. LETTURA DI PRIMO GRADO …….………………..……………... 170 4.2.2. LETTURA DI SECONDO GRADO .………………………………… 188 4.2.3. LETTURA SPECIALISTICA ………………………………………… 189 4.2.4. TRA DUE MONDI …………………………………………………… 190 CAPITOLO 5: IL TESSUTO DEI CODICI URSULA K. LE GUIN ……………………………………... 197 5.1. THE DISPOSSESSED. AN AMBIGUOUS UTOPIA ………………... 205 5.1.1. LETTURA DI PRIMO GRADO …………………………….…... 206 5.1.2. LETTURA DI SPECIALISTICA ..…………………………………… 242 5.1.2.1. IL TITOLO E LA CRITICA SOCIALE …………………….. 242 5.1.2.2. IL TAOISMO: LA RECIPROCITA’ DEGLI OPPOSTI E LA FILOSOFIA DEI NOMI ………………………….………………. 244 5.1.2.3. LA LINGUA: PAROLE E SOCIETA’ ………………………….. 248 5.1.2.4. IL TEMA NARRATIVO E LA STRUTTURA DEL TESTO ……… 250 5.1.2.5. IL TAO E LA FISICA …………………………………. 255 CONCLUSIONE ………………………………………………………………. 261 BIBLIOGRAFIA METODOLOGICA E CRITICA A) IL FANTASTICO E LA FANTASCIENZA ……………………………….. 269 B) GENERALE …………………………………………………………………. 280 BIBLIOGRAFIA DI RIFERIMENTO ………….……………………………... 289 INTRODUZIONE La fantascienza è un genere di letteratura fantastica che dà al lettore un effetto di realismo. Questa affermazione, sia pure variamente formulata, ricorre in numerose trattazioni sulla fantascienza. Semplice solo in apparenza, essa esprime un vero e proprio paradosso logico che, nel corso della pur breve storia critica di questa forma narrativa, ha dato origine a innumerevoli discussioni. Alcuni studiosi hanno infatti cercato di capire come possa una letteratura fantastica dare la medesima impressione di realtà di quella storica o di quella naturalistica e quindi che cosa, all’interno dei testi, produca un simile effetto. Altri hanno invece messo in dubbio l’appartenenza della fantascienza al fantastico, proponendola piuttosto come una sorta di ponte tra questo e il realismo. Altri ancora, viceversa, hanno negato l’esistenza del cosiddetto “realismo fantascientifico”. I L’unico punto fermo di tale dibattito pare essere la considerazione che lo studio di questa narrativa, generalmente considerata popolare (o para letteraria, se si preferisce), conduca di fatto ad affrontare questioni teoriche e narratologiche assai complesse. Lo sottolinea anche Frank Sadler: It should be pointed out that science fiction, because of its particular nature, raises serious questions about traditional critical theories of literature. These questions raise doubts about the established methods of critical inquiry used in the examination of the novel and literature, and about such basic ideas as the nature of reality. In brief, it may be argued that science fiction calls into doubt all those areas of traditional critical concern in which tentative solutions have been found to specific problems. Science fiction questions what is meant by “science” and “fiction” and mirrors, to some degree, the two-culture phenomenon, the clash between science and the humanities or arts. 1 In effetti, la caratteristica principale della fantascienza sembra proprio quella di “rimettere in dubbio”. Per comprendere la sua natura peculiare e ambigua occorre ogni volta essere disposti a rimettere in dubbio definizioni e classificazioni, barriere e confini, paradigmi di pensiero e di analisi. E’ scopo del presente lavoro analizzare e tentare di capire il paradosso del realismo fantascientifico, partendo però dall’osservazione che esso è valido soltanto a livello di luogo comune. La maggior parte dei testi di fantascienza è infatti molto più “fantastica” di quanto generalmente si ammetta. Effettivamente, tuttavia, i mondi fantascientifici risultano al lettore più credibili (cioè meno improbabili rispetto a quello empirico di riferimento) dei mondi della fiaba o del gotico, ad esempio. La spiegazione convenzionale di tale plausibilità è che, di solito, le entità finzionali caratteristiche della fantascienza vengono create sulla base di un processo di estrapolazione “scientifica” che proietta nel futuro ciò che già esiste nel presente. Questo fa sì che i mondi fantascientifici vengano percepiti come “non impossibili” rispetto al senso comune di realtà. Anche questa definizione, però, è valida soltanto come stereotipo. Spesso, infatti, le proiezioni immaginarie usate come nuclei finzionali in questo genere sono molto più 1 Frank Sadler, “Introduction”, The Unified Ring. Narrative Art and the Science-Fiction Novel , Ann II Introduzione fantasiose che scientificamente fondate. Certo, nella maggior parte dei casi, lo stile e l’impianto narrativo fantascientifico sono più simili a quelli che caratterizzano il realismo che non a quelli della fantasy , ma nemmeno questa peculiarità si riscontra in tutta la fantascienza. Il termine fantascienza , del resto, è fondamentalmente un’etichetta editoriale che include diverse decine di migliaia di testi assai diversi tra loro, esteticamente e formalmente, in perenne oscillazione tra il puro divertissment e la sovversione, tra l’escapismo e l’impegno sociale. Anche in quelle che sono considerate le sue espressioni migliori, la fantascienza è soprattutto una letteratura di massa ancora oggi assai vitale e multiforme, tanto che ai primi anni ’90 si contavano più di duemila 2 tentativi di darne una definizione. Nessuno di essi, però, riesce a comprendere il fenomeno nella sua interezza e complessità. Per lavorare su questo genere occorre quindi accettare il fatto che la maggior parte delle affermazioni e delle classificazioni fatte da critici, teorici e scrittori è valida se riferita a un gruppo ristretto di opere, ma diventa appunto un “luogo comune” quando il canone viene esteso. Eppure, quando si parla comunemente di fantascienza ci si capisce: gli scrittori continuano a scriverla, gli editori a pubblicarla e i lettori a leggerla. E tutti ne conoscono caratteristiche e convenzioni. Proprio basandomi su questa osservazione, ho pensato di affrontare tale forma letteraria da una prospettiva pragmatica . Invece di lavorare sul “genere” come categoria estetica e formale (il corpus fantascientifico è troppo vasto e vario perché ogni scelta non comporti delle esclusioni), ho ritenuto più fruttuoso considerarlo una categoria “informazionale”, che raccoglie cioè le istruzioni trasmesse da emittente a ricevente e valide sia per la codifica sia per la decodifica dei testi. L’etichetta relativa al genere, infatti, com’è ben noto ai frequentatori di librerie e biblioteche, riassume una forma di patto implicito tra autore e lettore sul quale si basa tutto il processo di lettura, così come si è precedentemente fondato quello di Arbor, UMI Research Press, 1984, p. XIV . 2 John Clute, Peter Nicholls,
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