Modernità Del Medioevo a Cura Di Marina Buzzoni, Maria Grazia Cammarota, Marusca Francini

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Modernità Del Medioevo a Cura Di Marina Buzzoni, Maria Grazia Cammarota, Marusca Francini Filologie medievali e moderne 1 Serie occidentale 1 — Medioevi Moderni - Modernità del Medioevo a cura di Marina Buzzoni, Maria Grazia Cammarota, Marusca Francini Edizioni Ca’Foscari filologie medievali e moderne serie occidentale Filologie medievali e moderne Serie occidentale Editor Eugenio Burgio Comitato di lettura Massimiliano Bampi, Saverio Bellomo, Marina Buz- zoni, Serena Fornasiero, Lorenzo Tomasin, Tiziano Zanato Serie orientale Editor Antonella Ghersetti Comitato di lettura Attilio Andreini, Giampiero Bellingeri, Paolo Calvet- ti, Marco Ceresa, Daniela Meneghini, Antonio Rigopoulos, Bonaventura Ruperti Questo volume è pubblicato dopo il parere favorevole di un revisore scelto all’interno del Comitato di lettura, e di un revisore esterno scelto per la sua specifica competenza sull’argomento. La valutazione si è svolta secondo i criteri della peer review, e nel rispetto del reciproco anonimato tra revisori e autore. Medioevi Moderni – Modernità del Medioevo Saggi per Maria Grazia Saibene a cura di Marina Buzzoni, Maria Grazia Cammarota, Marusca Francini © 2013 Edizioni Ca’ Foscari - Digital Publishing Università Ca’ Foscari Venezia Dorsoduro 1686 30123 Venezia edizionicafoscari.unive.it isbn 978-88-97735-31-1 9 Introduzione Marina Buzzoni, Maria Grazia Cammarota, Marusca Francini 15 Per Maria Grazia Giuseppe Mazzocchi Riscritture oggi 23 Il rifiuto dell’altro La costruzione della polarità cristiani-musulmani nel Parzival di Auguste Lechner Maria Grazia Cammarota 41 Beowulf sulle strade del fantasy Fulvio Ferrari 57 L’ Inno di Cædmon nelle antologie Scelte editoriali e traduttive Roberta Bassi Traduzioni intersemiotiche 79 L’appropriazione di una leggenda Robin Hood nelle fonti medievali e nelle riscritture cinematografiche contemporanee Marina Buzzoni 105 Lohengrin alla corte di Vienna La parodia wagneriana di Nestroy Donatella Mazza 121 Riscritture dolomitiche Trasposizioni intersemiotiche del Laurin alto-tedesco medio Alessandro Zironi Il Medioevo in Età moderna 143 Il Racconto del gallo e della volpe tra Esopo e il Roman de Renart Proposte di studio Maria Cristina Bragone 157 Testi, paratesti, contesti Sulla ricezione della poesia di Walther von der Vogelweide nell’Ottocento tedesco tra filologia e ideologia Massimiliano Bampi 171 Medioevo romantico Mary Shelley e l’Italia Lia Guerra Il Medioevo nel Medioevo 187 Gli elementi della tradizione scandinava nella traduzione norrena dell’Evangelium Nicodemi Marusca Francini 209 «Cristo e la Samaritana» dalla Vulgata al rifacimento in versi in tedesco antico Nicoletta Francovich Onesti 223 La «morte per amore» Varianti narrative medievali alla luce dell’antichità Christoph Huber 247 La lirica tedesca medievale come mezzo di orientamento ideologico e comunicazione politica Dalla rilettura di alcuni versi di Walther von der Vogelweide Maria Vittoria Molinari 263 La condanna dell’amore adultero nella rielaborazione quattrocentesca in prosa del Tristrant und Isalde Antonella Calaresu 275 Riscritture del tema del giorno del Giudizio nell’Exeter Book Silvia Geremia 293 Da ænigma a riddle Traduzione e riscrittura di indovinelli latini in antico inglese Federico Pantaleoni 309 Le Meraviglie d’Oriente: due versioni a confronto Elisa Ramazzina 325 Alcune considerazioni sulla riscrittura medio-inglese della Epistola Alexandri ad Aristotelem Omar Khalaf Introduzione Marina Buzzoni, Maria Grazia Cammarota, Marusca Francini Il Medioevo: «l’Età di mezzo» convenzionalmente posta tra la caduta dell’Impero romano d’Occidente (476) e l’anno della scoperta dell’A- merica e della cacciata dei Mori dalla Spagna (1492). L’approccio a questo periodo storico, lungo più di un millennio e tutt’altro che unita- rio e coerente, continua a oscillare tra le due contrapposte immagini che Illuminismo e Romanticismo ci hanno consegnato. Da un lato, il Medioevo del fanatismo religioso, delle superstizioni, dello scontro fra chiesa e stato; un Medioevo oscuro, barbaro, oppressivo. Dall’altro il Medioevo della sincera devozione religiosa, delle grandi espressioni artistiche, dell’affermazione della libertà dei popoli contro la tirannia dell’Impero romano; un Medioevo luminoso, raffinato, fantasioso. Non è infrequente che una prima immagine romantica del Medioevo si in- contri nell’infanzia: è il Medioevo della fiaba, dei castelli turriti delle miniature idealizzanti del xv secolo (quali Les très riches heures du Duc de Berry) riproposti nelle pellicole disneyane, un mondo popolato da prodi cavalieri che lottano contro animali fantastici, conquistano tesori favolosi e si innamorano di bellissime principesse; è un mondo fiabesco, che unisce magia bianca e magia nera, avventura e amore; e dove il bene trionfa sul male. Una immagine fortemente negativa è invece quella che spesso ricorre nella propaganda politica contempora- nea, che usa il Medioevo come cifra di arretratezza culturale, ingiusti- zia, brutalità, specialmente per caratterizzare tutto quello che riguarda l’avversario, interno o esterno che sia (cfr., inter alios, di Carpegna Falconieri 2011); una propaganda che ha attinto e continua ad attin- gere a piene mani all’epoca delle crociate, un momento circoscritto e tragicamente complesso di quel lungo millennio, presumendo di poter legittimare in questo modo la rappresentazione manichea delle attuali tensioni tra Occidente e Oriente e la conseguente necessità di nuove azioni belliche, oppure, nel migliore dei casi, la lotta contro le sole istanze fondamentaliste. MEDIOEVI MODERNI – MODERNITÀ DEL MEDIOEVO 9 MEDIOEVI MODERNI – MODERNITÀ DEL MEDIOEVO Tra i due poli estremi del Medioevo oscuro e del Medioevo lumino- so si collocano molte altre forme di appropriazione di questo periodo storico, che selezionano e potenziano uno o più elementi di un mondo eterogeneo, inevitabilmente contraddittorio e mutevole, in nessun modo riducibile a un’unica dimensione. Ed è proprio per questa sua sostanzia- le complessità che il Medioevo può rispondere alle esigenze più varie, mettendo a disposizione un repertorio vastissimo di modelli da imita- re o da evitare, figure e simboli che possono essere investiti di valori nuovi e piegati ad esprimere significati di volta in volta diversi. Come scrive Massimo Oldoni, il Medioevo «sembra star là in attesa dell’auto- re» (Oldoni 1997, p. 15). Fa ad esempio da contrappunto all’immagine disneyana di un Medioevo oleografico l’innovativa serie animata della Dreamworks Shrek (2001→) che, ispirandosi al pressoché omonimo libro illustrato di William Steig (Shrek!, 1990), riscrive in senso parodistico gli elementi canonici della fiaba classica, mantenendone solo l’epilogo felice – sebbene anch’esso riletto nel senso postmoderno di una rifles- sione sulla necessità di guardare al di là delle apparenze. Il Medioevo è dunque più che mai moderno, è una presenza costante oggi, in tutte le forme di comunicazione e in ogni tipo di mezzo espressi- vo, e la sua forza evocativa non mostra segni di cedimento. Si continua a cercare il Medioevo come luogo distante, esotico, «altro», e, viceversa, come luogo in cui ritrovare affinità con la nostra epoca. Il Medioevo, scrive Eugenio Randi, «ha il naso di cera: e ciascuno può fargli assu- mere la forma che preferisce» (Randi 1997). È inevitabile che di questo mondo lontano si riescano a scorgere soprattutto le immagini riflesse dallo specchio deformante delle sue appropriazioni moderne (Eco 1973). Entrare direttamente in contatto con le testimonianze del passato è una impresa che può essere faticosa, ma che si rivela sempre proficua. Un incontro ravvicinato con le fonti ci permette di conoscere la ricchezza di quel mondo multiforme che ha generato il nostro presente e ha cre- ato – per citare solo qualche noto esempio – le banche, l’assegno e la cambiale, le università, gli occhiali, «persino l’organizzazione turistica, e sostituite le Maldive a Gerusalemme o a San Jago de Compostela e avete tutto, compresa la guida Michelin» (Eco 1985). Per incontrare il Medioevo occorre aprirsi ai linguaggi del passato, che a un esame attento rivelano dimensioni inaspettate: scoprire e riuscire a esprimere queste dimensioni, al fine di apprezzarle più pienamente, giustifica la necessità della decodifica, linguistica e culturale, di codici comunicativi apparentemente distanti da noi sia tipologicamente, sia cronologica- mente (Richter 1994, p. vii). Se proviamo ad ascoltare le voci che ci giungono da quel tempo lontano, riusciamo forse a comprendere meglio anche il senso di quello che le attuali operazioni di riuso del Medioevo 10 MARINA BUZZONI, MARIA GRAZIA CAMMAROTA, MARUSCA FRANCINI MEDIOEVI MODERNI – MODERNITÀ DEL MEDIOEVO – dei vari Medioevi – cercano di dirci, non solo riguardo a quel periodo storico in sé, ma anche su noi stessi, oggi. I saggi contenuti in questo volume sono chiara testimonianza di un Medioevo multiforme e polifonico, che si definisce come tale già in ori- gine, ovvero nelle riscritture di temi e testi ereditati dal mondo latino (Pantaleoni, Ramazzina, Khalaf), dalla tradizione cristiana (Geremia, Onesti) e dal Medioevo stesso (Huber, Francini), che appare spesso ri- funzionalizzato in senso politico-ideologico (Molinari) o moraleggiante (Calaresu). Sebbene il focus sia posto soprattutto sul Medioevo volgare, in tutti i contributi emerge con evidenza il rapporto che quest’ultimo intrattiene con la latinità. È infatti proprio nel corso del Medioevo che le lingue volgari d’Europa accedono alla scrittura «colta», prevalentemen- te – sebbene non esclusivamente – per stimolo e influsso della tradizione latina, sia quella dell’antichità di
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