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La Malattia Come Metafora Nelle Letterature Dell'occidente

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La Malattia Come Metafora Nelle Letterature Dell'occidente LA MALATTIA COME METAFORA NEllE LETTERATURE DEll’OCCIDENTE a cura di Stefano Manferlotti LA MALATTIA COME METAFORA NELLE LETTERATURE DELL’OCCIDENTE NELLE LETTERATURE COME METAFORA LA MALATTIA S. Manferlotti (a cura di) LIGUORI EDITORE L’armonia del mondo 11 Collana di letteratura comparata diretta da Stefano Manferlotti La malattia come metafora nelle letterature dell’Occidente a cura di Stefano Manferlotti Liguori Editore Questa opera è protetta dalla Legge sul diritto d’autore (http://www.liguori.it/areadownload/LeggeDirittoAutore.pdf). L’utilizzo del libro elettronico costituisce accettazione dei termini e delle condizioni stabilite nel Contratto di licenza consultabile sul sito dell’Editore all’indirizzo Internet http://www.liguori.it/ebook.asp/areadownload/eBookLicenza. Tutti i diritti, in particolare quelli relativi alla traduzione, alla citazione, alla riproduzione in qualsiasi forma, all’uso delle illustrazioni, delle tabelle e del materiale software a corredo, alla trasmissione radiofonica o televisiva, alla pubblicazione e diffusione attraverso la rete Internet sono riservati. La duplicazione digitale dell’opera, anche se parziale è vietata. Il regolamento per l’uso dei contenuti e dei servizi presenti sul sito della Casa Editrice Liguori è disponibile all’indirizzo Internet http://www.liguori.it/politiche_contatti/default.asp?c=contatta#Politiche Liguori Editore Via Posillipo 394 - I 80123 Napoli NA http://www.liguori.it/ © 2014 by Liguori Editore, S.r.l. Tutti i diritti sono riservati Prima edizione italiana Giugno 2014 Manferlotti, Stefano (a cura di) : La malattia come metafora nelle letterature dell’Occidente/ Stefano Manferlotti (a cura di) L’armonia del mondo Napoli : Liguori, 2014 ISBN 978 - 88 - 207 - 6334 - 3 (a stampa) eISBN 978 - 88 - 207 - 6335 - 0 (eBook) ISSN 1972-0351 1. Letterature comparate 2. Letteratura contemporanea I. Titolo II. Collana III. Serie Aggiornamenti: ———————————————————————————————————————— 21 20 19 18 17 16 15 14 10 9 8 7 6 5 4 3 2 1 0 Indice IX Nota del curatore 1 Quando il male si fa spazio. Patologia e politica nell’Orestea di Gennaro Carillo 17 Il mal d’amore di Mirella Billi 35 Guarire con le parole. Giustizia poetica e taumaturgia verbale in The Taming of the Shrew di Michele Stanco 59 L’efflorescenza tumorale Figurazioni del ‘male osceno’: Verga, Kiš, Roth di Francesco de Cristofaro 79 La notte della specie. Malattia e morte in Heart of Darkness di Stefano Manferlotti 99 Mrs. Dalloway e l’uomo che parlava agli uccelli di Angela Leonardi 115 Paul Bowles, la malattia e il gesto «esplosivo e irrevocabile» di Francesco Marroni 131 La malattia come rivelazione dell’io a se stesso in Memoirs of a Surviver di Doris Lessing di Annamaria Lamarra 149 Degenerazione. L’umanità malata di Vonnegut e McEwan di Antonio Bibbò 167 Meduse con aculei. The Hours di Michael Cunningham di Flavia Cavaliere 189 «The Bear Came Over the Mountain» di Alice Munro: la necrosi della memoria di Carlo Pagetti viii INDICE 199 La malattia maschile come cornice narrativa. L’impotenza nello hospital drama e nel Satyricon di Giuseppe Episcopo 215 Gli Autori Nota del curatore Che la letteratura di ogni tempo e luogo si sia cimentata così spesso – e in forme così variegate ed alte – nella rappresentazione della malattia, è comprensibile, costituendo la condizione morbosa non soltanto un’esperien - za pressoché ineludibile di ogni vivente, ma anche una delle più intense e significative: un’esperienza che riguarda in modo congiunto il corpo e l’anima, la vita e la morte, il tutto e il nulla. Dalle prime formulazioni di Ippocrate, che sottraeva diagnostica e pro- gnostica a qualsiasi intervento divino, alla celebrata descrizione della peste in Tucidide, via via fino alle narrazioni più cupamente distopiche dei no- stri giorni (si pensi solo ad alcuni romanzi di José Saramago, Philip Roth, Danilo Kiš...), risulta chiaro che la mimesis della malattia non si presenta solo come una cruciale occasione del «realismo creaturale» (Auerbach), un modo cioè per scrutare la condizione umana nei punti critici del dolore e della privazione, lì dove è di scena la «nuda vita»: essa rappresenta anche un terreno elettivo del senso allegorico. Il morbo, cioè, come metafora, secondo la fortunata formula di Susan Sontag. È interessante, inoltre, che tale fenomeno di slittamento figurale si sia non di rado imposto con l’avallo della scienza, come avviene per una formazione culturale di lunga durata qual è la «malattia d’amore», o per la complessa ideologia organicistica del body politic, che informa di sé i trattati della ragion di Stato a partire dal Rinascimento e le cronache delle rivoluzioni europee di metà Seicento. Altre volte si è trattato piuttosto di una sorta di recrudescenza, entro una sorta di sublime moderno, di moduli moralistici di stampo spiccatamente medievale: si pensi al “castigo” della peste, da Manzoni a Camus alle pandemie post- moderne, o alla tisi e al cancro adoperati come risorse simboliche in tanta narrativa fin-de-siècle; o, ancora, ai mali che affliggono l’epopea dinastica di un Thomas Mann o di un Jonathan Franzen, o alla più recente, ampia metaforica dell’Alzheimer e dell’AIDS. Di questa fenomenologia molte plice e suggestiva, che continuamente incrocia saperi diversi dalla letteratura (sia in sede di epistemologia che di metafisica, come avviene nel recente contributo di Sergio Givone sulla «metafisica della peste») e confluisce infine in molti altri temi e archetipi dell’essere umano – tra i quali il corpo, il sangue, la colpa, il peccato, la morte –, i contributi raccolti in questo volume intendono tracciare una x LA MALATTIA COME METAFORA NELLE LETTERATURE DELL’OCCIDENTE mappa significativa, privilegiando la prospettiva com paratistica e tentando una ricognizione e un rilancio teorico sul terreno dell’immaginario moderno. Gennaro Carillo, il cui scritto apre la raccolta, insiste innanzitutto sulla relazione fra lo spazio e la stasis, che per i Greci antichi costituiva il male politico per eccellenza, mostrando come nell’Orestea la malattia lo metaforizzi in maniera inimitabile. Qui la nosografia politica si fa teatro, azione visibile, in un testo disseminato dei sintomi di un male che dalla casa degli Atridi minaccia di diffondersi all’intera comunità ateniese. Questa malattia, che in Eschilo ha i contorni per noi non del tutti definiti del leichen (un male ambiguo, che «lecca» e brucia la pelle) evolverà nelle sinistre evocazioni della peste indotte da Sofocle nell’Antigone e soprattutto nell’Edipo re, in cui il terribile morbo diviene manifestazione dell’ira divina nei confronti di un atto di sovvertimento radicale dell’ordine delle cose. È dai Remedia Amoris ovidiani che medicina e letteratura accomunano gli innamorati, connubio inestricabile simboleggiato dal bellissimo e fiaccante Eros. L’euforia si lega sempre all’inquietudine: anche quando gli eventi sem- brano disporsi in maniera fausta, l’amore può mutarsi in forza distruttiva, letale. Di qui muove Mirella Billi per la sua incursione nel vasto e com- plesso tema del mal d’amore, che trova inediti paradigmi nella letteratura del Rinascimento. È però il Settecento il secolo in cui il mutamento si fa radicale: la malattia si trasforma in un malessere esistenziale portatore di una nuova soggettività di cui la Clarissa di Richardson, che si lascia morire nell’inedia, è la più alta espressione. Per tutto il Romanticismo, invece, sarà Werther l’eroe destinato all’autodistruzione perché una pena d’amore non può non coincidere con il male di vivere. I tempi più moderni sembrano confermare che l’amore abbisogna di parole e di profondità, sostanze di cui non dispone l’ipercon net tività dei nostri giorni. Allora ha forse ragione il McEwan di Enduring Love a lasciare l’ultima parola alla follia del protagonista, poiché sembra più salvifica l’assoluta mancanza di ragione che una tiepida e controllata affettività. In The Taming of the Shrew di Shakespeare, sostiene Michele Stanco, Katherina è «the Curst», la litigiosa, ma è anche cursed, la male/detta e, allo stesso tempo, cursing, «colei che male/dice». Vittima di un circolo vizioso in cui la parola ha il potere di agire sul temperamento umano e sull’equilibrio dei quattro umori della fisiologia ippocratica-galenica, la riottosa figlia di Baptista sarà ‘curata’ dal giovane Petruccio, il pretendente che la soggioga in virtù di una ridefinizione della personalità giocata sull’inversione del lin- guaggio. Analizzati i nodi centrali della commedia a partire da queste pre- messe, l’autore giunge ad inedite conclusioni, che coincidono con altrettante domande: siamo sicuri che lo happy ending sia veramente quello che abbiamo NOTA DEL CURATORE xi visto tante volte a teatro? Non è Petruccio tanto autoritario da sembrare una caricatura? E non è che in quest’opera un po’ si rida e un po’ si pianga come nella fiaba del re Bazzaditordo? Nel 1981 Danilo Kiš pubblica un racconto, Enciclopedia dei morti, in cui il protagonista, tale Dj. M., trascorre gli ultimi anni della sua esistenza a coltivare fiori ornamentali, disseminando per tutta la casa variazioni d’un unico modulo figurativo: si scoprirà poi che quel modulo riprende la sago- ma del sarcoma che abita il suo intestino. Dunque, a dispetto della famosa tesi di Susan Sontag, il cancro non sarebbe opaco, refrattario alla mimesi, osceno, bensì rappresentabile plasticamente, anche al di qua delle sue conno- tazioni metaforiche. Ciò precisato, Francesco de Cristofaro analizza alcune rappresentazioni intrecciate della malattia nel corpus romanzesco di Philip Roth,
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