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Frammenti Di Massificazione: Le Neoavanguardie Anglo-Germanofone, Il Cut-Up Di Burroughs E La Pop Art Negli Anni Sessanta E Settanta

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Frammenti Di Massificazione: Le Neoavanguardie Anglo-Germanofone, Il Cut-Up Di Burroughs E La Pop Art Negli Anni Sessanta E Settanta Biblioteca di Studi di Filologia Moderna Gabriele Bacherini Frammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta FIRENZE PRESSUNIVERSITY BIBLIOTECA DI STUDI DI FILOLOGIA MODERNA ISSN 2420-8361 (ONLINE) – 54 – DIPARTIMENTO DI FORMAZIONE, LINGUE, INTERCULTURA, LETTERATURE E PSICOLOGIA DEPARTMENT OF EDUCATION, LANGUAGES, INTERCULTURES, LITERATURES AND PSYCHOLOGY (FORLILPSI) Università degli Studi di Firenze / University of Florence BIBLIOTECA DI STUDI DI FILOLOGIA MODERNA (BSFM) Collana Open Access “diamante” fondata nel 2004 “Diamond” Open Access Series founded in 2004 Direttore / Editor-in-Chief Beatrice Töttössy Coordinatore tecnico-editoriale / Managing Editor Arianna Antonielli Comitato scientifico internazionale / International Scientific Board (http://www.fupress.com/comitatoscientifico/biblioteca-di-studi-di-filologia-moderna/23) Enza Biagini (Professore Emerito), Nicholas Brownlees, Martha Canfield, Richard Allen Cave (Emeritus Professor, Royal Holloway, University of London), Massimo Ciaravolo (Università Ca’ Foscari Venezia), Anna Dolfi (Professore Emerito), Mario Domenichelli (Professore Emerito), Maria Teresa Fancelli (Professore Emerito), Massimo Fanfani, Paul Geyer (Rheinische Friedrich-Wilhelms-Universität Bonn), Sergej Akimovich Kibal’nik (Institute of Russian Literature [the Pushkin House], Russian Academy of Sciences; Saint-Petersburg State University), Ferenc Kiefer (Research Institute for Linguistics of the Hungarian Academy of Sciences; Academia Europaea), Michela Landi, Anna Menyhért (University of Jewish Studies in Budapest, University of Amsterdam), Murathan Mungan (scrittore), Ladislav Nagy (University of South Bohemia), Paola Pugliatti, Giampaolo Salvi (Eötvös Loránd University, Budapest; Academia Europae), Ayşe Saraçgil, Robert Sawyer (East Tennessee State University, ETSU), Rita Svandrlik, Angela Tarantino (Università degli Studi di Roma ‘La Sapienza’), Letizia Vezzosi, Vincent Vives (Université Polytechnique Hauts-de-France), Marina Warner (Birkbeck College, University of London; Academia Europaea; scrittrice), Laura Wright (University of Cambridge), Levent Yilmaz (Bilgi Universitesi, Istanbul), Manuel Rivas Zancarrón (Universidad de Cádiz), Clas Zilliacus (Emeritus Professor, Åbo Akademi of Turku). Laddove non è indicato l’Ateneo d’appartenenza è da intendersi l’Università di Firenze. Comitato editoriale / Editorial Board Alberto Baldi, Fulvio Bertuccelli, Sara Culeddu, John Denton, Federico Fastelli, Samuele Grassi Le proposte di pubblicazione vanno trasmesse all’indirizzo / Please direct your proposals at the address: <[email protected]> Laboratorio editoriale Open Access / The Open Access Publishing Workshop (https://www.forlilpsi.unifi.it/vp-289-laboratorio-editoriale-open-access-ricerca-formazione-e-produzione.html) Università degli Studi di Firenze / University of Florence Dip. Formazione, Lingue, Intercultura, Letterature e Psicologia Dept. of Education, Languages, Intercultures, Literatures and Psychology Via Santa Reparata 93, 50129 Firenze / Santa Reparata 93, 50129 Florence, Italy Contatti / Contacts E-mail: <[email protected]> / Phone: +39 055 2756664 Gabriele Bacherini frammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di burroughs e la pop art negli anni sessanta e settanta firenze university press 2020 Frammenti di massifi cazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Sett anta / Gabriele Bacherini. – Firenze : Firenze University Press, 2020. (Biblioteca di Studi di Filologia Moderna ; 54) htt ps://www.fupress.com/isbn/9788855181310 ISSN 2420-8361 (online) ISBN 978-88-5518-131-0 (PDF) ISBN 978-88-5518-132-7 (XML) DOI 10.36253/978-88-5518-131-0 Th e editorial products of BSFM are promoted and fi nanced by the FORLILPSI Department of the University of Florence, produced by its Open Access Publishing Workshop and, in accordance with an agreement launched in 2006, published by Firenze University Press (FUP). Th e Workshop (<htt ps://www.forlilpsi.unifi .it/vp-289-laboratorio-editoriale-open-access- ricerca-formazione-e-produzione.html>, <[email protected] .it>) supports the double-blind peer review process, develops and manages the editorial workfl ows and the relationships with FUP. It promotes the development of OA publishing and its application in teaching and career advice for undergraduates, graduates, and PhD students, as well as in interdisciplinary research. Our deepest gratitude goes to Prof. Rita Svandrlik and Dr. Ilaria Natali for their accurate revision of the volume. Editing and layout by LabOA: Arianna Antonielli (managing editor), with Sara Benigni, Federica Gallorini, Alessia Gentile, Elisa Simoncini (interns). Graphic design and front cover by Alberto Pizarro Fernández, Lett era Meccanica SRLs. FUP Best Practice in Scholarly Publishing (DOI: 10.36253/fup_best_practice) All publications are submitt ed to an external refereeing process under the responsibility of the FUP Editorial Board and the Scientifi c Boards of the series. Th e works published are evaluated and approved by the Editorial Board of the publishing house, and must be compliant with the Peer review policy, the Open Access, Copyright and Licensing policy and the Publication Ethics and Complaint policy. Firenze University Press Editorial Board M. Garzaniti (Editor-in-Chief), M.E. Alberti, M. Boddi, A. Bucelli, R. Casalbuoni, F. Ciampi, A. Dolfi , R. Ferrise, P. Guarnieri, R. Lanfredini, P. Lo Nostro, G. Mari, A. Mariani, P.M. Mariano, S. Marinai, R. Minuti, P. Nanni, A. Orlandi, A. Perulli, G. Pratesi, O. Roselli. Th e online digital edition is published in Open Access on www.fupress.com. Content license: the present work is released under Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0: https:// creativecommons.org/licenses/by-nc-nd/4.0/legalcode). Th is license allows you to share the work by any means and format, as long as appropriate credit is given to the author, the work is not modifi ed or used for commercial purposes and a URL link is provided to the license. Metadata license: all the metadata are released under the Public Domain Dedication license (CC0 1.0 Universal: htt ps://creativecommons.org/publicdomain/zero/1.0/legalcode). © 2020 Author(s) Published by Firenze University Press Firenze University Press Università degli Studi di Firenze SOMMARIO ringraziamenti VII introduzione 1 1. Oggetto dell’opera 1 2. Sulla ricezione artistica da parte delle neoavanguardie anglo-germanofone 2 3. Obiettivi e struttura dell’opera 6 NOTA TECNICA 9 i. autobiografia e viaggio nell’opera di william burroughs 11 1.1 Prime esperienze all’estero 11 1.2 Messico, Nordafrica ed Europa 14 1.2.1 6 settembre 1951: la morte di Joan e la nascita dello Ugly Spirit 15 1.2.2 Gli anni tangerini e parigini: The Naked Lunch 17 1.2.3 Gli anni londinesi e il cut-up 20 1.3 Il ritorno in America e il rifugio nell’esoterismo 24 ii. Origini e stilemi del cut-up nell’opera di William Burroughs 25 2.1 Avanguardia e neoavanguardia 25 2.2 La base pratico-ideologica: Tzara e Dada 26 2.2.1 Dada e post-Dada in Germania e Austria 31 2.2.1.1 Dada nella Repubblica di Weimar 32 2.2.1.2 La ricezione del post-Dada austriaco: invenzionismo metodico e montage 38 2.2.2 Dada e post-Dada nel Regno Unito 49 2.3 Brion Gysin, la longa manus di Burroughs 52 2.3.1 Minutes to Go: i primi esperimenti 56 2.3.2 The Exterminator: permutazione e fold-in tra i cut-up dimenticati 64 2.3.3 Considerazioni conclusive su Dada e cut-up 70 2.4 La Nova o Cut-up Trilogy: le guerre stellari dell’Occidente borghese 72 2.4.1 The Soft Machine, il campo d’addestramento alle guerre stellari 74 2.4.2 The Ticket That Exploded, l’infuriare delle guerre stellari 78 2.4.3 Nova Express, l’epilogo delle guerre stellari 84 Gabriele Bacherini, Frammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta, © 2020 Author(s), content CC BY-NC-ND 4.0 International, metadata CC0 1.0 Universal, published by Firenze University Press (www.fupress.com), ISSN 2420-8361 (online), ISBN 978-88-5518-131-0 (PDF), DOI 10.36253/978-88-5518-131-0 vi FRAMMENTI DI MASSIFICAZIONE iii. la ricezione del cut-up nello scenario underground britannico 89 3.1 La Swinging London e le seduzioni fantascientifiche dall’America 89 3.1.1 J.G. Ballard, Burroughs e New Worlds nell’Inghilterra del baby boom 93 3.2 Jeff Nuttall e My Own Mag, il motore della neoavanguardia britannica 96 3.3 L’avvocato Alan Burns e il suo avvicinamento a Burroughs 113 3.3.1 Fold-in e violenza post-atomica in Europe After the Rain 119 3.3.2 Le altre opere: l’estremizzazione del cut-up tra Celebrations e Babel 128 3.4 The Unfortunates: il cut-up secondo B.S. Johnson 134 3.5 Considerazioni conclusive sul cut-up nel Regno Unito 140 iv. la ricezione del cut-up nello scenario underground tedesco-occidentale 143 4.1 Il Sessantotto, Burroughs e il mito pop della Rote Armee Fraktion 143 4.1.1 La “guerra al controllo” nel mondo reale 144 4.1.2 Burroughs e la guerra contro i padri borghesi della BRD 148 4.2 Burroughs, Jürgen Ploog, Jörg Fauser e le riviste di Carl Weissner 159 4.3 Il cut-up nella prosa sperimentale di Ploog e Fauser 179 4.3.1 L’imitazione del modello burroughsiano in Ploog 179 4.3.2 Tossicodipendenza e Reiseliteratur burroughsiana in Fauser 185 4.4 Collaborazioni e influssi nell’opera di Weissner 190 4.5 Considerazioni conclusive sul cut-up nell’ambito
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