Il Linguaggio Del Fantastico Nella Pubblicistica Scapigliata Milanese by Morena Corradi B.A. Universita' Degli Studi Di Bologn
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IL LINGUAGGIO DEL FANTASTICO NELLA PUBBLICISTICA SCAPIGLIATA MILANESE BY MORENA CORRADI B.A. UNIVERSITA’ DEGLI STUDI DI BOLOGNA, 1993 A.M. UNIVERSITY OF WASHINGTON, 1997 A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF ITALIAN STUDIES AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY 2008 © Copyright 2008 by Morena Corradi ii This dissertion by Morena Corradi is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy January 17th 2008 ________________________ Massimo Riva, Advisor Recommended to the Graduate Council January 17th, 2008 _________________________ Remo Ceserani, Reader January 17th, 2008 _________________________ Leonard Tennenhouse, Reader Approved by the Graduate Council January 17, 2008 ___________________________ Dean of the Graduate School iii VITA I was born in Modena (Italy) on May 28 1968. I graduated from the University of Bologna in 1993 with a major in English language and literature, which culminated in a thesis (tesi di laurea) on the works of the Scottish author George Mackay Brown. I taught English and Italian for a couple of years prior to moving to the United States for my graduate studies. In 1997, I completed a Master’s degree in Italian from the University of Washington (Seattle), where I subsequently entered a Ph.D. program in Comparative Literature. In 2000, I transferred to Brown University, and enrolled in a Ph.D. program in Italian Studies. It was in the fall of 2005 that I joined the Romance Languages department at the University of Pennsylvania to teach Italian language, culture and literature courses. I have taught language courses at all levels at the University of Washington (where I received a Certificate of Appreciation as Lead TA in 1999-2000), at Brown, and also at Penn as a full-time lecturer. In the fall semester of 2001, I was a teaching fellow for Professor Lino Pertile’s course Dante’s Divine Comedy and its World at Harvard University. In the Italian department at the University of Pennsylvania, I have been teaching and designing a bridge course (Italian 202) on Italian culture and recent history. During my years of graduate school I have presented at various conferences both in the United States and in Europe. A paper I presented at the XVIII AISLLI Conference held in Leuven, Louvain-la-Neuve, Antwerp, Brussels (16-19 July 2003), “Il gotico come sentimento anti-borghese: I Fatali di Igino Ugo Tarchetti,” has just been published [Bart Van den Bossche (ed.), Identità e diversità nella lingua e nella letteratura italiana, Florence and Leuven: Franco Cesati Editore/Leuven University Press, 2008]. iv My main research interests lie in nineteenth and twentieth century Italian literature, fantastic literature and theory, narrative theory, relationship between literature and the media. v ACKNOWLEDGMENTS AND DEDICATION I owe thanks to many people who helped and supported me during the writing of this dissertation. First and foremost, I would like to thank the members of my dissertation committee. My advisor, Professor Massimo Riva, has been very encouraging during the entire process: His challenging observations helped me to gain a better understanding of the cultural take on the presence of the Fantastic in post-unification Italy. I owe much gratitude to Professor Remo Ceserani, whose encyclopedic expertise on the matter, intellectual generosity and scholarly rigor, were extremely helpful in guiding, often redirecting, me during the writing process. Last, but certainly not least, I am very much indebted to Professor Leonard Tennenhouse, a wonderful mentor and instructor. His course on the Gothic was greatly inspiring and thought provoking and, as a reader, Professor Tennenhouse was very effective in helping me see the matter much more clearly, thanks especially to several of our essential, lengthy discussions: This project benefited immensely from his comparatist expertise. A special thanks goes to Professor Clara Gallini, who was so gracious as to send me an article of hers and to provide feedback on my work. I would also like to thank Professor Andrea Cristiani for his bibliographical suggestions at the very beginning of my research. I am also grateful to Professor Renzo Cremante and Professor Giovanna Rosa, with whom I spoke about my project in its early stage, and who shared very useful words of advice, as well as important bibliographical suggestions. I extend my gratitude to the entire department of Italian Studies at Brown. While he was not directly involved in my dissertation, Professor Anthony Oldcorn suggested useful resources in addition to a number of venues where I could present or discuss my work. Dedda DeAngelis, besides teaching me a great deal in matter of pedagogy, vi was always supportive and attentive to our academic progress as graduate students. Very precious was the help of Mona Delgado, whose invaluable administrative support and friendship were a constant during my Ph.D. studies. Funding from the University of Washington and Brown University (including the Robert Gale Noyse Graduate Fellowship) allowed me to go through my graduate studies, and were fundamental for me to conduct my research and writing. Finally, my deepest love and gratitude go to my family, who never quite rejoiced in my decision to leave Italy for the United States, but who always supported me and respected my choice. I apologize to my mother and father for having been far away so often in these last years. I extend a special thanks to my sister and her family, for without their extreme generosity and encouragement, I would have never made it. Ai miei genitori e a mia sorella, con profondo affetto e infinita gratitudine. vii TABLE OF CONTENTS INTRODUZIONE p. 1 CAPITOLO UNO p. 23 CAPITOLO DUE p. 79 CAPITOLO TRE p.128 IN CONCLUSIONE p. 166 APPENDICE: p. 174 Jettatura p. 174 Un giudizio in California p. 195 Un amore magnetico p. 210 Racconto fantastico p. 249 Storia di un teschio p. 279 Una tetra istoria al chiaror d’uno zolfanello p. 290 Incubo p. 292 BIBLIOGRAFIA p. 294 viii LIST OF ILLUSTRATIONS “Le Mummie di Tenzone” p. 18 “Interessantissimo avviso” (Pietro e Anna D’Amico) p. 35 “Apparizione degli spettri in teatro” p. 46 “Il Sig. Auboin-Brunet al teatro Santa Radegonda” p. 48 “L’Italia malata” p. 112 “Un pazzo furioso con la camicia di forza; un maniaco” p. 138 ix INTRODUZIONE 1. La pubblicistica nella Milano post-unitaria: lo scenario Le due decadi che seguono l’unità d’Italia rappresentano notoriamente un periodo in cui il nuovo stato si viene formando tra enormi contraddizioni e conflitti di ogni sorta, politici, sociali e militari. Piemonte e Lombardia, le regioni più prominenti, rispettivamente dal punto di vista politico ed economico, vedono lo sviluppo di una società molto più avanzata e articolata rispetto al resto del paese, tanto da assumere - particolarmente nella città di Milano, la “capitale morale”- tratti proto-industriali. Tra i fattori più interessanti di questo sviluppo è da annoverare certamente la straordinaria proliferazione dell’editoria: a cavallo degli anni sessanta e settanta giornali e riviste conoscono infatti un successo e una diffusione senza precedenti.1 A determinare la grande espansione del mercato editoriale –che sorprendentemente convive con un persistente alto tasso di analfabetismo e con una ancor limitata circolazione dei giornali- contribuiscono l’applicazione delle nuove leggi sulla libertà di stampa e insieme l’urgenza delle questioni politiche, sociali e culturali, nel contesto del nuovo panorama nazionale.2 Il fenomeno editoriale post-unitario rappresenta qualcosa di completamente nuovo rispetto al passato, e non solo per la sua portata. Fino al 1860, infatti, la stampa “aveva 1 Per un quadro dettagliato dell’editoria post-unitaria, si vedano, tra gli altri il volume Il giornalismo italiano dal 1861 al 1870. Congresso dell’Istituto Nazionale per la storia del giornalismo e La Stampa Italiana dall’Unità al fascismo di Valerio Castronovo. Utile anche l’opera di Michele Rak, La Società Letteraria. Scrittori e librai, stampatori e pubblico nell’Italia dell’industrialismo. Venezia: Marsilio Editori, 1990. Per uno sguardo più approfondito al contenuto dei giornali post-unitari, si rimanda al preziosissimo regesto di Giuseppe Farinelli, La Pubblicistica al tempo della Scapigliatura, che segnala alcuni degli interventi e delle opere più rilevanti pubblicate sulle riviste del periodo scapigliato. 2 Cfr Valerio Castronovo, La Stampa…, p. 3. Castronovo osserva tra l’altro che proprio negli anni post- unitari iniziano le vendite di giornali presso librerie e tipografie, anche se continua a prevalere il sistema degli abbonamenti. 1 2 assolto ad una funzione di schematica e rigida propaganda al servizio delle differenti soluzioni politiche proposte per l’unificazione della penisola, rimanendo la sua diffusione limitata a ristrette cerchie di lettori, persone provviste di media cultura che costituivano in definitiva il ‘popolo’ nell’accezione tipicamente risorgimentale del Berchet o del Nievo.”3 Così Alessandra Briganti, la quale prosegue osservando che, dopo il 1861, la distinzione fra i diversi gruppi sociali si fa sempre meno netta e, di conseguenza, viene meno anche una corrispondenza diretta tra i giornali e gli interessi dei gruppi in questione. L’editoria, messi da parte i temi legati ai dibattiti degli intellettuali del periodo romantico e di argomento strettamente patriottico, si