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Giappone Storie Plurali Mazza.Pdf ASSOCIAZIONE ITALIANA PER GLI STUDI GIAPPONESI AISTUGIA Giappone, storie plurali a cura di Matteo Casari e Paola Scrolavezza I LIBRI DI EMIL La pubblicazione di questo volume è stata possibile grazie al contributo di The Japan Foundation e di AISTUGIA Copertina L’enigma del coniglio © Andreina Parpajola I versi riportati sul piedistallo che sorregge la statua sono di Minamoto no Toshiyori (1055-1129). Di seguito se ne riporta la traduzione di Andrea Maurizi: Non avevo certo pregato perché la persona che non ricambia il mio amore fosse con me violenta come le raffiche di vento del monte Hatsuse (Senzaiwakashū, XII: 707) Scritta giapponese del maestro calligrafo e professore dell’Università di Kanazawa: Miyashita Takaharu Sito web dell’Associazione: http://www.aistugia.it © 2013 Casa editrice Emil di Odoya srl isbn: 978-88-6680-067-5 I libri di Emil Via Benedetto Marcello 7 - 40141 Bologna - www.ilibridiemil.it Indice Premessa 9 Ringraziamenti 10 Cronache, storie, civiltà GIORGIO FABIO COLOMBO Il danno da karōshi: nuove frontiere della responsabilità civile in Giappone 13 MARCO DE BAGGIS L'introduzione del cristianesimo ortodosso in Giappone e la figura di San Nikolaij 23 RONALD P. DORE Bisogna ancora prendere il Giappone sul serio? 37 SONIA FAVI Opere relative al Giappone nel Fondo a stampa antico della Biblioteca Nazionale Marciana 49 YACINE MANCASTROPPA Militari statunitensi e violenze sessuali: il caso di Okinawa (1945-2010) 63 FABIANA MARINARO Recenti sviluppi del diritto del lavoro giapponese nell'era della flessibilità: la ‘zona grigia’ dei lavoratori ‘atipici’ 75 SATŌ DŌSHIN L'isolamento della società giapponese: l'assimilazione delle culture straniere attraverso gli oggetti, non attraverso le persone 89 MARCO TINELLO Sul rinvio della missione ryukyuana a Edo del 1858 103 Immaginari narrativi: il periodo classico EDOARDO GERLINI “Come schiuma d'acqua”. Il concetto di mujō nella poesia Heian tra kanshi e waka 119 GIUSEPPE GIORDANO Il ruolo di alcune figure retoriche nei principi di associazione e progressione dello Shinkokinwakashū 133 CLAUDIA IAZZETTA Separazione e ricongiungimento. Storie di genitori e figli negli oyako monogurui 149 MARIO TALAMO Sull'evoluzione dell'elemento pubblicitario nella narrativa di Jippensha Ikku 161 Immaginari narrativi: il periodo moderno e contemporaneo HAYASHI NAOMI Il giovane Kobayashi Hideo: l'influenza francese e l'ambiente letterario 179 CATERINA MAZZA Inoue Hisashi e il parodi būmu 193 ROSSELLA MENEGAZZO Fotografie e immaginario fotografico nelle silografie dell'ukiyoe Bakumatsu e Meiji 207 TOSHIO MIYAKE Nazionalismi pop nel Giappone contemporaneo: dal revisionismo storico all'antropomorfismo moe delle nazioni 219 DANIELA MORO Narrare il “mondo delle maschere”. Kamen sekai di Enchi Fumiko 239 DANIELE RESTA Metamorfosi del grottesco: riletture contemporanee della leggenda di Shutendōji 253 STEFANO ROMAGNOLI Identità nazionali e logiche di potere nella narrativa di Kuroshima Denji 267 MARCO SIMEONE Il jidai shōsetsu fra tradizione e innovazione: kennan jonan e naruto hichō 283 Giapponese e italiano lingue a confronto FABIANA ANDREANI Verbi deittici di moto in italiano e giapponese: due diverse rappresentazioni del movimento e della soggettività a confronto 299 PAOLO CALVETTI L'uso dei corpora bilanciati nella compilazione di dizionari bilingui 319 GIUSEPPE PAPPALARDO Analisi contrastiva dell'inventario fonetico giapponese/italiano. Per una trascrizione fonetica del giapponese standard 335 PATRIZIA ZOTTI Costruire un corpus parallelo giapponese-italiano. Metodologie di compilazione e applicazioni 351 Profilo autori 365 Caterina Mazza Inoue Hisashi e il parodi būmu There is an expression in Japanese about such a person. It is: Yonin o motte kaegatai, which translates into English as, “There will not be another like him”. Roger Pulvers, “Hisashi Inoue: A great friend, writer and people’s champion is gone”, The Japan Times, 18 Aprile 2010 Inoue Hisashi (井上ひさし, 1934 – 2010) è stato un poliedrico protagonista della vita culturale giapponese a partire dalla pubblicazione dei suoi primi lavori teatrali alla fine degli anni Sessanta. Il suo uso sapiente delle infinite possibilità ludiche della lingua giapponese - dec- linato nei generi più svariati ed eterogenei (dagli innumerevoli tanpen shōsetsu agli script per radio e televisione, passando attraverso gli scritti teatrali che costituiscono il nucleo centrale della sua produzione) - ha sovvertito l’invalsa marginalizzazione del comico nella letteratura giapponese contemporanea. Definito dalla critica giap- ponese shin-gesakusha – per ispirazione e atteggiamento nei confronti della cultura nipponica contemporanea – Inoue ha contribuito significativamente a quello che è stato definito il “parodii būmu” (パロデイ・ブーム) nella letteratura e nelle arti iniziato negli anni Settanta. Il termine parodi パロデイ(così come pastiche パスティーシュ, più avanti) è stato in verità largamente utilizzato a partire da quel momento per designare un numero assai vasto di opere che si discostano decisamente da quella che Linda Hutcheon ha definito “ripetizione con differenza critica” (repetition with critical dis- tance1). Una parte considerevole di testi classificati univocamente come “parodia”, può essere in verità ascritta al registro di un comico basato sui giochi di parole (dajare 駄洒落, share 洒落) e a volte addirittura dell’umorismo farsesco, più vicino al genere dello slapstick (dotabata ドタバタ). La produzione letteraria di Inoue si distingue però per il valore altamente metaletterario che la caratterizza, così come per l’uso strategico e politico della lingua giapponese e dei suoi dialetti: in questa presentazione intendiamo mostrare, attraverso l’analisi di diversi testi, la specificità della letteratura parodica di Inoue, indiscusso capofila del genere, ma unico nel suo genere. 1 Linda Hutcheon, A theory of parody, A teachings of Twentieth-Century Art Forms, Methueun, London 1985, p. 32. 194 Inoue Hisashi e il parodi būmu Inoue l’umanista “One person can do a little. Two can do a little more. Three people together can do even more for others.” Inoue Hisashi made this simple statement on Japanese television on October 7, 2004, from Bologna, Italy, a city with a radical political tradition that had fasci- nated him for thirty years. To my mind, it symbolizes his motivation for his writing and his faith in the good- ness of human nature. Inoue, Japan’s most brilliant and popular modern playwright, was above all, a humanist.2 Roger Pulvers – amico e traduttore di Inoue – menziona nell’incipit del suo ricordo dello scrittore scomparso nell’aprile del 2010, la sua passione per la città di Bologna e fa delle sue parole sull’importanza della cooperazione attiva, il simbolo dell’attività di Inoue come “umanista”. In effetti, Inoue, nei rarissimi viaggi compiuti all’estero, ha visitato Bologna in più occasioni; in particolare, nel 2004, ha realizzato un documentario per la NHK dedicato alla “città dei mattoni rossi”3 andato in onda in Giappone nel mese di marzo di quell’anno e più volte replicato. La passione di Inoue per il “modello Bologna” – luogo di sperimentazione delle “cooperazione” tanto in campo economico quanto in quello culturale – risulta perfettamente coerente con la sua poliedrica vicenda umana e artistica. Per Inoue Hisashi, difatti, può sembrare riduttiva persino l’espressione iperbolica hachimenroppi4: scrittore, drammaturgo, autore radiofonico e televisivo, regista, attivista politico ed intellettuale engagé, maestro indiscusso della letteratura giapponese comica e parodica del dopoguerra, ha dedicato la propria lunga carriera alla costruzione di un nuovo “umanesimo” profondamente radicato nel passato del proprio Paese ma continuamente proiettato alla sua necessità di futuro. Un articolo del Time lo ha definito “one of the most successful writers in the world today”5 con i 12 milioni di copie vendute dei suoi 56 volumi. L’articolo risale però al 1983: da allora, fino alla sua scomparsa nel 2010 all’età di 75 anni, Inoue Hisashi ha continuato ad accumulare pagine, riconoscimenti e titoli. Prolifico autore di best seller e di testi teatrali (scritti principalmente per la compagnia Komatsu-za da lui fondata all’inizio degli anni Ottanta), Inoue è stato 2 Roger Pulvers, “A Dialogue with the Japanese People – The Life and Work of Inoue Hisashi”, Japa- nese Book News, 65, 2010, p.2. 3 Il documentario Inoue Hisashi no Borōnya nikki (“Il diario di Bologna di Inoue Hisashi”,「井上ひ さしのボローニャ日記」) è prodotto dalla NHK, che lo presenta in questo modo al pubblico: “In viaggio alla scoperta della costruzione (e ricostruzione nel dopoguerra) della città, con l’amore per lo spirito di “autonomia” e “rivoluzione” che vive nella città dei mattoni rossi” (赤レンガの街に息づ く「自治・反骨」の精神に恋し、街づくりの秘密を求め旅に出た). Le riflessioni sulla città sono state raccolte da Inoue in un volume omonimo pubblicato da Bungei shunjū nel 2010. 4 八面六臂 (Lett. “otto volti, sei braccia”, in riferimento all’iconografia buddhista). Detto di attività frenetica o di persona estremamente versatile. 5 “Magician of Language: Hisashi Inoue”, “Books”, Time, 1 agosto 1983. Caterina Mazza 195 inoltre presidente del Nihon Pen Club (2003-2007) e direttore del Nihon Gekisakka Kyōkai (Japan Playwrights Association, dalla sua creazione nel 1993); è stato poi membro eletto dell’Accademia giapponese delle arti (Nippon Geijutsuin) dopo aver ricevuto l’onorificenza di Bunka kōrōsha (“Persona dall’alto merito culturale”) nel 2004 ed essere stato insignito del premio dell’Accademia nel 2009 per “il durevole contributo a vari settori dell’arte
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