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Sogno E Surreale Nella Letteratura E Nelle Arti Consonanze 5 I saggi raccolti nel presente volume affrontano un tema centrale della tradizione ebraica: il sogno, e in secondo luogo il surreale. Per quanto concerne lo studio dei testi, i contributi spaziano lun- go un arco temporale assai ampio, dalla Bibbia alla poesia moder- E NELLE ARTI EBRAICHE SOGNO E SURREALE NELLA LETTERATURA SOGNO E SURREALE na, prendendo in esame una vasta gamma di argomenti; nell’am- bito delle arti visive, attraverso epoche e media diversi, ci si muove dagli affreschi della sinagoga di Dura Europos fino alla pittura del NELLA LETTERATURA Novecento, senza dimenticare il cinema. Estremamente variegato è il panorama linguistico offerto dai documenti considerati, che E NELLE ARTI EBRAICHE all’ebraico nelle sue varie fasi affianca Jewishi Languages e le lin- gue non specificamente giudaiche adottate nei secoli dagli ebrei della Diaspora. a cura di Erica Baricci Erica Baricci si è laureata in Lingua e Letteratura Ebraica presso l’Università degli Studi di Milano e presso l’École Pratique des Hautes Études di Parigi. Ha poi conseguito il Dottorato di Ricerca presso la Scuola di Dottorato Europea in Filologia Romanza dell’Università di Siena. Attualmente collabora con la cattedra di Lingua e Letteratura Ebraica dell’Università degli Studi di Milano ed è docente a contratto presso la Fondazione UniverMantova (Mantova), dove tiene il corso di Lingua e Cultura Ebraica. Si occupa di testi in lingua giudeo- provenzale e di manoscritti ebraici medievali. In particolare, studia la storia di Ester e le sue rappresentazioni nel Medioevo ebraico di Provenza. In copertina: Golden Haggadah Add. Ms. 27210, dettaglio: miniatura al f. 4v raffigurante il sogno di Giacobbe. Londra, British Library (©British Library Manuscripts Online Catalogue) www.ledizioni.it ISBN 978-88-6705-552-4 € 28,00 Sogno e surreale nella letteratura e nelle arti ebraiche A cura di Erica Baricci Ledizioni CONSONANZE Collana del Dipartimento di Studi Letterari, Filologici e Linguistici dell’Università degli Studi di Milano diretta da Giuseppe Lozza 5 Comitato scientifico Benjamin Acosta-Hughes (The Ohio State University), Giampiera Arrigoni (Università degli Studi di Milano), Johannes Bartuschat (Universität Zürich), Alfonso D'Agostino (Università degli Studi di Milano), Maria Luisa Doglio (Università degli Studi di Torino), Bruno Falcetto (Università degli Studi di Milano), Alessandro Fo (Università degli Studi di Siena), Luigi Lehnus (Università degli Studi di Milano), Maria Luisa Meneghetti (Università degli Studi di Milano), Michael Metzeltin (Universität Wien), Silvia Morgana (Università degli Studi di Milano), Laurent Pernot (Université de Strasbourg), Simonetta Segenni (Università degli Studi di Milano), Luca Serianni (Sapienza Università di Roma), Francesco Spera (Università degli Studi di Milano), Renzo Tosi (Università degli Studi di Bologna) Comitato di Redazione Guglielmo Barucci, Francesca Berlinzani, Maddalena Giovannelli, Cecilia Nobili, Stefano Resconi, Luca Sacchi, Francesco Sironi ISBN 978-88-6705-552-4 Sogno e surreale nella letteratura e nelle arti ebraiche, a cura di Erica Baricci © 2017 Ledizioni – LEDIpublishing Via Alamanni, 11 20141 Milano, Italia www.ledizioni.it È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuata, compresa la fotocopia, anche a uso interno o didattico, senza la regolare autorizzazione. Indice Introduzione 5 SARA FERRARI - UNIVERSITÀ DEGLI STUDI DI MILANO Sognare per sopravvivere: Marc Chagall 11 SILVIA VEGETTI FINZI - UNIVERSITÀ DEGLI STUDI DI PAVIA I sogni di Yosef 19 RAV ALFONSO ARBIB - RABBINO CAPO DI MILANO Il sogno nella letteratura post-biblica 21 MARIA MAYER MODENA - UNIVERSITÀ DEGLI STUDI DI MILANO La notion de Melekhet ha-shir ou ‘L’art de la poésie’ dans le Sefer ha-Shir de Todros Todrosi 29 FRANCESCA GORGONI - INALCO (PARIGI) Il volo della farfalla: due storie ebreo-americane di Cynthia Ozick 43 CARLO PAGETTI - UNIVERSITÀ DEGLI STUDI DI MILANO “Allora dischiusi gli occhi al sogno”. L’incontro con i defunti nella poesia ebraica della Shoah 53 SARA FERRARI - UNIVERSITÀ DEGLI STUDI DI MILANO Fantasie oniriche e allucinazioni tragiche nella pièce Ha-yeled holem di Hanokh Levin 77 MARIANGELA MAZZOCCHI DOGLIO - UNIVERSITÀ DEGLI STUDI DI MILANO Il fascino del surreale nella prosa di Etgar Keret 85 GABRIELLA STEINDLER MOSCATI - UNIVERSITÀ DEGLI STUDI DI NAPOLI L’ORIENTALE “Messaggi da altri mondi”. La dimensione onirica nell’opera di Myriam Moscona 91 ALESSIA CASSANI - UNIVERSITÀ DEGLI STUDI DI PADOVA Dietro e sopra la realtà. Un piccolo percorso tra Ebraismo e cinema 105 MINO CHAMLA - SCUOLA DELLA COMUNITÀ EBRAICA DI MILANO Il sogno secondo Filone di Alessandria 117 GIUSEPPE LOZZA - UNIVERSITÀ DEGLI STUDI DI MILANO Sognare Zeus in trono: reminiscenze classiche nel sogno di Mosè di Ezechiele Tragico 129 GRETA CASTRUCCI - UNIVERSITÀ DEGLI STUDI DI MILANO La traduzione della Hatavat-halom (‘il miglioramento del sogno’) in giudeo-italiano 149 MICHAEL RYZHIK - UNIVERSITÀ DI BAR-ILAN “Per l’uomo che vuole vedere sua moglie in sogno”: formule magiche e incantesimi dal Medioevo giudeo-francese 163 ERICA BARICCI - FONDAZIONE UNIVERMANTOVA Il sogno della “scala” da Giacobbe a Giovanni Climaco: un percorso tra arte ebraica e cristiana 185 DAVIDE BIANCHI - UNIVERSITÀ DEGLI STUDI DI MILANO Introduzione Sara Ferrari Università degli Studi di Milano Disse rav Hisdà: “un sogno non interpretato è come una lettera che non letta” Talmud Bavli, Berakhot 55a L’epigrafe, tolta da un esteso dibattito che il trattato talmudico di Berakhot dedica al tema del sogno, esprime forse più di ogni altro detto rabbinico la fascinazione ebraica per la dimensione onirica, la quale pressoché mai nell’ambito di questa cultura è considerata un fenomeno di scarso interesse. Ciononostante, è altrettanto vero che nelle stesse pagine il Talmud sembra consegnarci una versione contraddittoria sull’argomento, avvertendoci della possibile insensatezza delle esperienze oniriche e del sostanziale relativismo legato alle loro interpretazioni. Tuttavia, le parole di rav Hisdà mostrano l’atteggiamento dominante nell’Ebraismo, che attribuisce al sogno anzitutto un’importante funzione comunicativa, quella di trasmettere fatti occulti dietro i quali di norma si cela la presenza del Dio unico, mostrando così una sostanziale affinità con la profezia, seppure su un livello minoritario. Ovviamente, ciò non è prerogativa della tradizione culturale e letteraria dell’Ebraismo. I poemi omerici e altri testi dell’antichità classica, per citare esempi eccellenti, mostrano anch’essi come il sogno sia «uno strumento a disposizione degli dei che lo utilizzano per entrare in comunicazione con i mortali attraverso l’induzione nel dormiente di immagini ed emozioni, (...) per avvertire, costringere, ingannare, ammonire, favorire o ritardare i disegni del Fato».1 Nondimeno la similitudine talmudica con la missiva, e quindi con un soggetto di natura testuale, «avente un obiettivo specifico, un destinatario certo e, probabilmente, anche un autore ben preciso», 2 di fatto sancisce la straordinarietà della tradizione ebraica a tale proposito, riconducendoci ai suoi inalienabili fondamenti, in questo caso al dominio/urgenza dell’interpretazione. A questo riguardo, l’atto interpretativo, però, va ben oltre la semplice necessità di conoscenza o apprendimento. Il sogno è un messaggio che 1. Ferrigno 2008, 72. 2. Niehoff 1992, 58. 6 Sara Ferrari 6 Sara Ferrari l’individuo esperisce in maniera diretta, sensibile, quasi carnale e, di conseguenza, possiede un forte legame con la sua realtà effettiva, consentendogli di gettare uno sguardo più profondo su un ignoto avvenire o su un incerto presente e, magari, di intervenire per modificarlo. Così, come scrive Giulio Busi, «per una cultura come quella giudaica, che aveva fatto dell’interpretazione il proprio sostegno, anche la spiegazione dell’immaginario onirico divenne un atto di fondazione della realtà»,3 spesso nel tentativo di (ri)costruirne una alternativa a quella esistente, talvolta dal valore salvifico. Il sogno, infatti, è la porta più prossima verso quanto travalica il mondo sensibile, il surreale, il regno che si trova, appunto, sopra la realtà, dove l’immaginazione e la fantasia, meravigliose armi contro la barbarie della storia, costituiscono la sola legge vigente. Eppure, se il sogno è “istituzionalizzato” dalle fonti tradizionali, in primis dalle narrazioni bibliche all’interno delle quali, com’è noto, esso trova una straordinaria realizzazione, la categoria più generica del “surreale” può suscitare, invece, alcune problematicità, soprattutto riguardo agli esiti di pratiche magiche o negromantiche, le quali oscillano perennemente tra il divieto teorico e l’effettivo utilizzo. Ciò, in ogni caso, non ha impedito che nella cultura ebraica vi fosse una massiccia presenza di spiriti, angeli, dybbuk e di altre più o meno misteriose creature, oltre che di situazioni surreali se non del tutto irrazionali, folli, come mostra la tradizione del “mondo alla rovescia”, quella solida ed «essenziale struttura portante» 4 in particolare della letteratura yiddish, destinata a irradiare la propria influenza sulla giovane narrativa israeliana. Dai saggi presenti in questo volume, il quale raccoglie gli atti di un convegno omonimo svoltosi presso l’Università degli Studi di Milano nel novembre 2014, emerge quindi un mosaico di testimonianze copioso e affascinante, un percorso che attraversa i diversi aspetti della produzione culturale ebraica – letteratura, arte, musica, filosofia e, più recentemente, cinema
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