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A Nomadology of Inamoramento De Orlando and Star Wars Western University Scholarship@Western Electronic Thesis and Dissertation Repository 12-19-2018 2:00 PM Romance, Politics and Minor Art: A Nomadology of Inamoramento de Orlando and Star Wars Andrea Privitera The University of Western Ontario / Università degli studi di Padova Supervisor Boulter, Jonathan The University of Western Ontario Joint Supervisor Baldassarri, Guido University of Padova Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Andrea Privitera 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons, Film and Media Studies Commons, Italian Literature Commons, and the Performance Studies Commons Recommended Citation Privitera, Andrea, "Romance, Politics and Minor Art: A Nomadology of Inamoramento de Orlando and Star Wars" (2018). Electronic Thesis and Dissertation Repository. 5921. https://ir.lib.uwo.ca/etd/5921 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstracts English While existing theories of romance (in particular, those formulated by Northrop Frye and Fredric Jameson) accurately characterize this literary mode as a highly politicized example of art, this thesis contends that the political nature of romance is broader and more complex than discussed so far. In order to offer a new and comprehensive political theory of romance, this work proposes a comparison between two historically and culturally diverse examples of romance, that is Matteo Maria Boiardo’s chivalric poem Inamoramento de Orlando and George Lucas’ space opera film Star Wars. By reading Boiardo and Lucas’ texts via Gilles Deleuze and Félix Guattari’s concept of mixed semiotics, this thesis proposes to define romance as a countersignifying regime of signs, or in other words as a semiotic environment that appropriates signs from other texts to deprive them of any meaning or function. Defining romance as a coun- tersignifying semiotic system enables us to explore political uses of romance that have been ignored so far. On the one hand, Star Wars uses countersignification to create a Junkspace in Rem Koolhaas’ sense of the term, or in other words a semiotic en- vironment that contributes to accelerated commodification and consumption typical of modern capitalism. On the other hand, Inamoramento de Orlando uses the same semiotics to create a Thirdspace, that is a space of coincidence between different intel- lectual frameworks that wishes to encourage innovative heuristic practices. Moreover, the countersignifying semiotics of romance allows this literary form to function also as what Deleuze and Guattari call minor art, a politicized form of artistic expres- sion that, by producing an unsettling experience, challenges hierarchical structures of power and majoritarian worldviews. While Inamoramento de Orlando and Star Wars cannot be defined as examples of minor art per se, performance adaptations of these two texts such as the Maggio folk theatre tradition and the role-playing videogame Star Wars: Galaxies push the countersignifying semiotics of the original texts towards i a process of becoming-minoritarian. Keywords: Romance, Gilles Deleuze, Félix Guattari, Minor art, Mixed Semiotics, Matteo Maria Boiardo, Inamoramento de Orlando, George Lucas, Star Wars, Junkspace, Thirdspace. Italiano Mentre le attuali teorie del romanzesco (soprattutto quelle formulate da Northrop Frye e Fredric Jameson) definiscono questo modo letterario come un esempio di arte altamente politicizzata, questa tesi sostiene che la natura politica del romanzesco sia più vasta e complessa di quanto discusso fino ad oggi. Allo scopo di proporre una nuova ed esauriente teoria del romanzesco, questo lavoro offre un confronto tra due esempi di romanzesco storicamente e culturalmente distanti, vale a dire il poema cav- alleresco Inamoramento de Orlando di Matteo Maria Boiardo e l’epopea spaziale Star Wars (Guerre stellari) di George Lucas. Nell’affrontare i testi di Boiardo e Lucas at- traverso il concetto di semiotica mista elaborato da Gilles Deleuze e Félix Guattari, questa tesi definisce il romanzesco come un esempio di regime dei segni controsignifi- cante, o in altre parole come un ambiente semiotico che appropria segni provenienti da altri testi con lo scopo di spogliarli di ogni significato o funzione. Questa definizione di romanzesco come esempio di semiotica controsignificante ci permette di esplorare usi politici del romanzesco che fino ad ora sono stati ignorati. Da un lato, Star Wars usa la controsignificazione per creare quello che Rem Koolhaas chiama Junkspace, o in altre parole un ambiente semiotico che contribuisce ad accelerare mercificazione e consumi del capitalismo contemporaneo. Dall’altro lato, Inamoramento de Orlando usa lo stesso ambiente semiotico per creare un Terzo Spazio, vale a dire uno spazio di concidenza tra diverse prospettive intellettuali che sprona il lettore verso pratiche euristiche innovative. Inoltre, la semiotica controsignificante del romanzesco com- ii porta che questa forma letteraria sia anche in grado di essere usata come arte minore. Seguendo la definizione di Deleuze e Guattari, un testo artistico minore è un esem- pio di arte politicizzata che sfida strutture di potere gerarchice e visioni del mondo maggioritarie. Anche se Inamoramento de Orlando e Star Wars non sono esempi di arte minore, adattamenti di questi due testi legati al concetto di performance, come la tradizione di teatro popolare del Maggio e il videogioco di ruolo Star Wars: Galax- ies, spingono la semiotica controsignificante dei tesi di origine verso un processo di divenire-minoritario. Parole chiave: Romance, Romanzesco, Gilles Deleuze, Félix Guattari, arte minore, semiotica mista, Matteo Maria Boiardo, Inamoramento de Orlando, George Lucas, Star Wars, Guerre Stellari, Junkspace, Thirdspace, terzo spazio. iii Acknowledgements My gratitude goes, first and foremost, to my two supervisors, Guido Baldassarri and Jonathan Boulter, for their guidance and commitment to this interdisciplinary project. I wish to thank also my friends, colleagues and mentors both in Canada and in Italy for the conversations and experiences that made my doctorate years genuinely formative not only on a scholarly level but also on a human one. As far as this thesis is concerned, I would like to mention Emanuele Leonardi and Massimiliano Aravecchia, who respectively helped me in understanding the intricacies of Deleuze and Guattari’s thought and introduced me to the Maggio tradition. My editors, Vanessa Simmons and Janet Hall, also deserve much praise for proof- reading my drafts. My family’s encouragement through good and bad times made this work possible. I am grateful for their love, and, above all, for Gabriela’s. Seeing a toddler exploring the world for the first time is perhaps the most practi- cal way of understanding Deleuze and Guattari’s concept of becoming-minoritarian. For this reason, I wish to dedicate this thesis to my little cousin Alessandro, in the hope that he will preserve his curiosity and courage in the years to come. iv Contents Abstracts i Acknowledgements iv Contents v 1 Introduction: Romance and Politics 1 1.1 The Open Question of Romance . 1 1.2 Jameson’s Political Theory of Romance . 8 1.3 The Political Context of Inamoramento de Orlando and Star Wars . 15 1.4 How Does Romance Act Politically? . 21 1.5 How Can Romance Act Politically? A Nomadology . 25 2 A Deleuzian Theory of Romance 33 2.1 A Survey of Deleuze and Guattari’s Political Philosophy . 33 2.1.1 Immanent Ontology . 33 2.1.2 Becomings and Becoming-Minoritarian . 36 2.1.3 A Functionalist Approach to Reality . 39 2.1.4 Minor Literature, or Becoming-Minoritarian through Art . 41 2.2 Romance and Minor Art . 48 2.2.1 Can Romance be Minoritarian? . 48 2.2.2 Romance and Narrative Postponement . 52 v 2.2.3 Romance and Adventure-Time . 57 2.2.4 The Smooth Semiotics of Romance . 63 2.2.5 Romance between Post and Countersignification . 67 3 The Junkspace of Star Wars 76 3.1 An Aesthetic of Junk . 76 3.2 Postmodern Commodification and New Materialism . 81 3.3 Star Wars as a Semiotic Junkspace . 86 3.4 The Politics of Numbness and Exhilaration in Junkspace . 90 3.5 Minoritarian Uses of Junkspace . 96 3.6 Auteur Politics in Star Wars and The Empire Strikes Back . 106 4 The Thirdspace of Inamoramento de Orlando 115 4.1 A Poem about Dialogue . 115 4.2 Inamoramento as a ‘Third Place’ and Boiardo’s Didactic Intent . 124 4.3 Inamoramento as a Thirdspace Romance . 132 4.4 Inamoramento’s Agnosticism: The Example of Amore . 148 4.5 An Open Quest for Knowledge . 160 4.6 Ariosto and the Rejection of Thirdspace Romance . 171 5 Performing Romance: The Emilian Maggio Tradition and Star Wars: Galaxies 178 5.1 Performance Adaptations and Minor Art . 178 5.2 The Tradition of the Emilian Maggio .................. 190 5.3 The Maggio Tradition as Minor Theatre . 197 5.4 Rhizome and Algorithm in Star Wars Videogames . 210 5.5 Star Wars: Galaxies as a Minor Videogame . 220 6 Conclusion 234 vi Works Cited 241 Curriculum Vitae 249 vii 1 1 Introduction: Romance and Politics 1.1 The Open Question of Romance Even if the literary category of romance has been in the spotlight of scholarship for centuries, there is arguably still a great deal of confusion and ambiguity surrounding it. In a 2004 Routledge New Critical Idiom volume devoted to this term, Barbara Fuchs acknowledges this confusion by pointing out that romance is an extremely polysemic word even in its everyday usage. The definition of romance, as Fuchs points out, “ranges from the linguistic to the literary, and eventually escapes the realm of language altogether, to settle on what is perhaps the most frequent meaning of the word in common parlance: a love affair” (4).
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