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UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Origins of postmodern impegno: ethical and political commitment in the works of Gianni Celati Author(s) Ronchi Stefanati, Michele Publication date 2019 Original citation Ronchi Stefanati, M. 2019. Origins of postmodern impegno: ethical and political commitment in the works of Gianni Celati. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2019, Michele Ronchi Stefanati. http://creativecommons.org/licenses/by-nc-nd/3.0/ Item downloaded http://hdl.handle.net/10468/7415 from Downloaded on 2021-10-07T03:33:39Z Origins of Postmodern Impegno: Ethical and Political Commitment in the Works of Gianni Celati Michele Ronchi Stefanati Professor Eduardo Saccone PhD Scholar in Italian Studies Thesis presented to the National University of Ireland in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Italian Department of Italian (School of Languages, Literatures and Cultures) College of Arts, Celtic Studies and Social Sciences National University of Ireland University College Cork Head of Department: Dr Mark Chu Supervisor: Dr Mark Chu January 2019 Origins of Postmodern Impegno: Ethical and Political Commitment in the Works of Gianni Celati Abstract Michele Ronchi Stefanati, PhD Thesis in Italian Studies, 5 April 2017 Origins of Postmodern Impegno: Ethical and Political Commitment in the Works of Gianni Celati This research investigates the role of Gianni Celati in the development of postmodern forms of impegno in contemporary Italy. It examines Celati’s entire works, as a writer, literary critic, translator and film-maker, from the perspective of his ethical and political commitment. This study analyses Celati’s choices in terms of language, content and style to see in what way his idea of literature engages with society and proposes Celati’s ethical and political commitment as a determining aspect to be considered when studying his oeuvre. In addition, it investigates what technical and theoretical structures used by Celati represent a relevant inheritance for the following generations of writers who have expressed and conceptualized forms of impegno in present-day Italy. It offers three case studies of authors who are directly linked to Celati and develop new forms of impegno, partly following Celati’s ideas, partly distancing themselves from that model. Gianni Celati (1937) is usually not considered an engaged writer and he himself would probably refuse this definition. Nevertheless, an ethical commitment constantly precedes and shapes his idea of literature and arts (Schwarz Lausten 2009). Celati’s works permanently engage with society and, it is argued, participate actively in revolutionary moments in Italian post-war history. This research draws on the more recent theories on postmodern ‘impegno’, which assign to Italian culture the role of ‘testing-ground’ of new forms of ethical and political commitment. The study draws on the theoretical framework outlined by Burns (2001) and Antonello-Mussgnug (2009). The end of structured and ideological thinking and the demise of Gramsci’s ‘organic intellectual’ do not mean the end of socio-political commitment, which instead arises now in a fragmentary way, refusing dogmatic statements. Celati has a crucial role in the passage between post-war ‘impegno’ and new forms of ethical and political commitment. Celati has never embraced an all-inclusive ideological view: he has rather differentiated his political commitment through an ethical way of thinking about the role of literature. The characteristics of Celati’s engagement anticipated what happened in Italy during the mature postmodern phase, namely what scholars have called ‘Postmodern Impegno’, addressing issues that have been emphasized by subsequent generations of ‘new engaged’ writers. Table of Contents Introduction 1 On Gianni Celati’s Impegno 2 Traditional Criticism and Postmodern Impegno 8 From Hegemony to Fragmentation: a Brief History of Impegno in Post-War Italy 14 New Forms of Impegno and the Role of Gianni Celati 19 Chapter One Rewriting Impegno: Celati’s Critique of Institutions (1960-1979) 28 1.1 Celati’s Debut as a Critic and Translator: from Impegno presente to Alì Babà 29 1.2 Manicomiche. Language, Bagarre and the Representation of the Asylum in Celati’s Comiche 46 1.3 Le istituzioni negate. Critique of Institutions in Celati’s Novels of the 1970s: Asylum, Hospital, School, Family and Army 61 1.4 Representation of Party Politics in Celati’s Books of the 1970s: Comiche, Guizzardi, La banda and Lunario 77 1.5 A Satire of School and the Christian Democratic Government: the Rewriting of Comiche 1972-1973 98 1.6 Alice versus Gramsci. Celati as a Professor in 1977 Bologna 104 1.7 The Breakdown with Einaudi: A Political Contrast? 119 Chapter Two New Forms of Impegno in Celati’s Works (1980-2016): Storytelling, Photography, Theatre and Documentary 126 2.1 ‘Ero arrivato ad un blocco mentale’. Celati’s Narrative Silence 1978-1985: A Real Interruption? 127 2.2 Orality and Observation as Commitment: the Trilogy of the Plains 130 2.3 The Ethics of Storytelling. Writing as a Social Practice from Narratori delle riserve to Il semplice 151 2.4 The Political Role of Imagination: Celati’s Latest Works 183 2.5 Qualsiasità and the Documentary: Celati as a Film Director 221 Chapter Three Celati’s Legacy in Contemporary Italian Impegno 232 3.1 The Influence of Celati’s Works on Contemporary Culture and the Role of Narratori delle riserve 233 3.2 Women’s Liberation through Spoken Language: Rossana Campo’s Feminist Narrative 237 3.3 Franco Arminio’s ‘Placeology’: A Poetic and Political Struggle towards a New Community 248 3.4 The Legacy Refused. Grazia Verasani’s Debut and her Socio-Political Commitment through Fiction 261 Conclusion 282 Bibliography 290 Declaration This is to certify that the work I am submitting is my own and has not been submitted for another degree, either at University College Cork or elsewhere. All external references and sources are clearly acknowledged and identified within the contents. I have read and understood the regulations of University College Cork concerning plagiarism. Dedication This thesis is dedicated to the memory of my grandmother Maria Teresa Travagli Ronchi, who taught me with her life example the importance of literature and political commitment and who transmitted me the passion for teaching. In our many affectionate and amusing conversations on books we have never spoken about Celati, but I have recently found a copy of Narratori delle pianure in her library, with some notes by her hand, and I am now sure that she would have approved. Hic manebimus optime, nonna! Acknowledgements This thesis was carried out at the University College Cork. I am most grateful to this institution, and especially to the Department of Italian, for its generous support. I am honored to have been the recipient of the Eduardo Saccone Scholarship for four years and I am grateful to the family of Eduardo, especially to his wife Margaret and his daughter Anna Saccone. This thesis is also dedicated to the memory of Eduardo, an international recognized authority on Italian Renaissance and twentieth-century Italian Novel whom I did not have the fortune to meet in person, but whose works and method have always oriented me in my studies. I would especially like to thank my supervisor Dr Mark Chu, who supported me for four years, teaching and guiding me with kind patience and competence. I would also like to thank Nunzia Palmieri, Daniele Benati, Marco Belpoliti, Maria Pia Arpioni, Olga Campofreda, Matteo Martelli, Jean Talon, Enrico Palandri and Ermanno Cavazzoni for their precious advices. I am grateuful to my friends and colleagues in the Department of Italian: Marco Amici, Gabriella Caponi, Chiara Giuliani, Annette Feeney, Sara Lis Ventura, Antonio Lunardi, Nicoletta Mandolini, Donald O’Driscoll, Daragh O’Connell, Aisling O’Leary, Alessia Risi, Silvia Ross, Mariangela Sanese, Louise Sheehan. They taught me everything I know about teaching and research, but, what is even more important, they welcomed me in Ireland, making me feel as part of a group and helped me in many ways and occasions and difficult times. I would like to thank Gianni Celati and Gillian Haley, for their kindness in every occasion that we met. Most of all, I would like to thank my parents, Maria Chiara Ronchi and Gianni Stefanati, for all their abundant love and constant support, and for their capacity of reassuring me every time I needed. Many elements of this thesis are related to them for what they have done in their life, so my first contact with these topics happens through them. I hope they will enjoy the reading. 1 Introduction 2 On Gianni Celati’s Impegno It may appear strange to speak about political engagement for an author like Gianni Celati, who constantly refuses any categorization and who often ridicules politics and ideology, never endorsing any leader or party. Still, the way his works relate with society, going beyond literature, is probably the most characteristic aspect of his entire career, which links all of his works and explains his choices throughout the decades.1 In her 2000 monograph on Celati, Rebecca West, while analyzing what she calls the ‘antimonumental nature’ of Celati’s production, has pointed out what I believe is probably the most peculiar characteristic of his oeuvre, namely the fact of being, at the same time, intellectual and anti-intellectual,