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Genio” Secondo Alexander Gerard

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Genio” Secondo Alexander Gerard Dottorato in Scienze Filosofiche – “Estetica e Teoria delle Arti” Dipartimento di Scienze Umanistiche Settore Scientifico Disciplinare M-FIL/04 ESTETICA LA RISCOPERTA DI UN CLASSICO DEL SETTECENTO INGLESE: IL “GENIO” SECONDO ALEXANDER GERARD LA DOTTORESSA IL COORDINATORE CHIARA SIRONI CHIAR.MO PROF. SALVATORE TEDESCO IL TUTOR IL CO-TUTOR CHIAR.MO PROF. SALVATORE TEDESCO CHIAR.MO PROF. LUIGI RUSSO CICLO XXVI ANNO CONSEGUIMENTO TITOLO 2016 INDICE INTRODUZIONE ....................................................................................................... 5 AVVERTENZA ........................................................................................................... 9 CAPITOLO PRIMO ALEXANDER GERARD: VITA E OPERE ...................................................... 11 1.1 Biografia ............................................................................................................... 11 1.2 Edizioni e ristampe delle opere di Alexander Gerard .......................................... 30 1.3 Genesi e struttura dell’Essay on Genius ............................................................... 36 CAPITOLO SECONDO LA NATURALIZZAZIONE DELLA DEFINIZIONE DI GENIO ............... 43 2.1 Il genio: un problema di definizione .................................................................... 45 2.2 Il genio nella scienza della natura umana ............................................................. 54 2.3. Il genio nella psicologia empirica ........................................................................ 61 CAPITOLO TERZO UN NUOVO CONCETTO DI INVENZIONE ................................................... 73 3.1 Le leggi dell’immaginazione ................................................................................ 74 3.2 Il problema del design dell’opera ......................................................................... 84 3.3 Verso un’unica modalità di invenzione ................................................................ 92 3.4 Reinventare l’invenzione .................................................................................... 101 CAPITOLO QUARTO I MODI DEL GENIO ............................................................................................. 107 4.1 È possibile un’universalità per il genio?............................................................. 107 4.2 Il genio illumina o colora.................................................................................... 118 3 CONCLUSIONE ..................................................................................................... 127 APPENDICI ............................................................................................................. 129 Appendice A. Schema del sistema filosofico di Gerard ............................................... 131 Appendice B1. Trascrizione del manoscritto AUL MSM 205.2 (Psicologia) .............. 133 Appendice B2. Trascrizione del manoscritto AUL MSM 205.2 (Logica) ................... 135 Appendice C1. Trascrizione del manoscritto EUL Dc.5.61 (Psicologia) ..................... 153 Appendice C2. Trascrizione del manoscritto EUL Dc.5.62 (Logica) .......................... 157 Appendice C3. Trascrizione del manoscritto EUL Dc.5.62 (Logica/Retorica)............ 169 ELENCO DELLE ABBREVIAZIONI ............................................................... 173 BIBLIOGRAFIA ..................................................................................................... 175 4 INTRODUZIONE La figura di Alexander Gerard e il suo apporto a quel movimento culturale che va sotto il nome di Illuminismo scozzese non sono stati ad oggi oggetto di molti e frequenti approfondimenti critici. In particolar modo, la presenza in letteratura di un limitato numero di studi specialistici sull’estetica dell’autore, a scapito della valorizzazione del suo contributo a temi salienti quali quelli del ‘Gusto’ e del ‘Genio’, giustifica la scelta di riportare la figura di questo importante intellettuale al centro del dibattito sull’estetica dell’Illuminismo scozzese e, più in generale, del Settecento. Il titolo della tesi, La riscoperta di un classico del Settecento inglese: il “genio” secondo Alexander Gerard, riassume in sé due importanti indicazioni: una di carattere metodologico e una di natura concettuale. Da un punto di vista metodologico si è infatti deciso di circoscrivere il tema di cui ci si occuperà nelle pagine seguenti accordando la preferenza al concetto di ‘genio’, che è il principale oggetto di analisi della seconda delle due opere estetiche pubblicate da Alexander Gerard, l’Essay on Genius del 1774. Dalla raccolta e consultazione del materiale disponibile relativo a Gerard si è infatti ritenuto di maggiore interesse, sia da un punto di vista storico che da uno filosofico, l’analisi del concetto di ‘genio’. E questo per diverse ragioni: innanzitutto il ‘genio’ è un concetto che attraversa l’intera produzione di Gerard e la cui applicazione trascende l’ambito propriamente estetico; in secondo luogo la lunga gestazione dell’opera e le testimonianze pervenuteci ad essa pertinenti consentono di intraprendere un’analisi di tipo comparativo dei diversi stadi di avanzamento della teoria sul genio, permettendoci quindi di individuare le tematiche più delicate e oggetto di successivi ripensamenti; infine, proprio la disponibilità e l’accesso alla consultazione di documenti manoscritti indirettamente riconducibili a Gerard, e che del genio offrono un’inedita lettura, ha incentivato l’approfondimento in questa direzione, un approfondimento che si pone dunque anche come un invito alla valorizzazione del materiale manoscritto stesso. 5 Dal punto di vista concettuale, invece, il titolo anticipa un’importante precisazione che sgombra il campo da possibili letture anacronistiche e da applicazioni retrospettive di concetti appartenenti a movimenti e ambienti culturali estranei a quelli entro i quali le riflessioni di Gerard si sono sviluppate. Sarebbe infatti facile cedere alla tentazione di includere l’Essay on Genius entro quella che più comunemente si identifica come la grande ‘stagione del genio’ in Inghilterra1, o quantomeno etichettare quest’opera come precorritrice di concezioni e rielaborazioni concettuali successive (nello specifico, romantiche), che con essa condividono solo l’aspetto esteriore. Definendo il saggio – e per estensione anche l’autore, giocando sull’ambiguità del soggetto della frase – ‘classico del Settecento inglese’, si è voluto fin da subito segnalare quale è la chiave di lettura che si è voluta dare di quest’opera, e che consiste nella rivalutazione del testo come opera di sintesi (proprio questa e non altre sul medesimo tema) delle principali istanze gnoseologiche discusse nell’Inghilterra del XVIII secolo. Un saggio, l’Essay on Genius, la cui rilevanza teorica non consiste nella rottura radicale ma nel presentarsi come la più approfondita e autorevole riflessione sul genio in ambito inglese. La presente dissertazione perciò si pone perciò l’obiettivo di rileggere e analizzare criticamente l’Essay on Genius di Alexander Gerard, coniugando la macro-storicità del contesto culturale di riferimento dell’autore con la micro-storicità dei diversi stadi di elaborazione della teoria nell’autore stesso. Il testo si articola fondamentalmente in quattro capitoli e in un cospicuo apparato finale di appendici, che raccoglie e rende disponibile la trascrizione di alcuni passi dei manoscritti consultati in Scozia a cui si fa riferimento nel corso della dissertazione. Il primo capitolo, di carattere introduttivo sull’autore e sull’opera, ricostruisce il profilo storico di Gerard, attraverso la sua biografia e la contestualizzazione nell’ambiente culturale in cui si è formato (le società scozzesi e il suo apporto scientifico alla riforma dell’assetto universitario ad Aberdeen). La biografia è inoltre corredata da un’aggiornata bibliografia delle edizioni/traduzioni delle sue opere. Il capitolo è completato da un’indagine condotta sotto il profilo storico e filologico della 1 Dal punto di vista storico sarebbe più corretto parlare di Gran Bretagna, considerato che con l’Atto di Unione del 1707, di fatto Inghilterra e Scozia cessano di essere due Stati separati, costituendo un unico Parlamento: da questa data in avanti si parlerà infatti di Regno di Gran Bretagna. Tuttavia, è convenzionalmente accettata l’estensione della dicitura ‘estetica inglese’ all’intera area geografica, che include la Scozia, il Galles e l’Irlanda: il termine ‘estetica inglese’ assume perciò un valore retorico nel suo uso come sineddoche. 6 tormentata genesi compositiva dell’Essay on Genius: malgrado infatti il saggio sia stato pubblicato nel 1774, l’inizio della sua stesura risale alla fine degli anni Cinquanta del Settecento; tale ricollocazione cronologica comporta degli effetti sia nell’analisi delle fonti del saggio che nelle influenze esercitate sugli autori coevi. Il secondo capitolo entra nella specifica analisi del concetto di ‘genio’: innanzitutto ricostruisce in breve il processo di naturalizzazione del concetto di genio, e in particolar modo la sua caratterizzazione psicologista nella Gran Bretagna del diciottesimo secolo. L’attenzione, nel caso specifico, è rivolta non tanto allo sviluppo della nozione di genio a partire dall’ingegno secentesco ma alla sopravvivenza e trasformazione dell’etimo del termine stesso di ‘genio’. Nell’interiorizzazione del ‘genio divino’ nella mente dell’artista viene infatti individuato il passaggio a una nozione moderna di ‘genio’, di natura psicologica.
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