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Personajes Femeninos Y Canon Personajes femeninos y Canon Edición: Andrea Santamaría Villarroya Personajes femeninos y canon © Edición de Andrea Santamaría Villarroya Asociación Cultural Benilde Mujeres&Culturas, Culturas&Mujeres Sevilla 2017 BENILDE EDICIONES http://www.benilde.org DISEÑO Eva María Moreno Lago Los textos seleccionados para este volumen han sido sometidos a evaluación externa por pares (peer review). ISBN 978-84-16390-56-4 IMAGEN DE PORTADA Adriana Assini www.adrianaassini.it Colección Estudios de Género y Feminismos, Número 8. Directora Antonella Cagnolati. Comité científico Bittar Marisa (Universidade Federal de São Carlos, Brasil), Borruso Francesca (Universidad de Roma 3), Bosna Vittoria (Universidad de Bari, Italia), Bubikova Sarka (Universidad de Pardubize, República Checa), Casale Rita (Universidad de Wuppertal, Alemania), Clavijo Martín Milagro (Universidad de Salamanca, España), Covato Carmela (Universidad de Roma 3), Dalakoura Katarina (Universidad de Creta, Grecia), De Freitas Ermel Tatiane (Pontificia Universidad Católica do Río Grande 1 do Sul, Brasil), Galli Stampino Maria (Universidad de Miami, Florida, EEUU), Giallongo Angela (Universidad de Urbino, Italia), González Gómez Sara (Universitat de les Illes Balears, España), Gramigna Anita (Universidad de Ferrara, Italia), Groves Tamar (Universidad de Extremadura, España), Hamel Thérèse (Université Laval, Canadá), Jaime de Pablo Elena (Universidad de Almería, España), Marín Conejo Sergio (Universidad de Sevilla), Motilla Xavier (Universitat de les Illes Balears, España), Musiani Elena (Universidad de Bolonia, Italia), Oliviero Stefano (Universidad de Florencia, Italia), Partyka Joanna (Institute of Literary Research, Polish Academy of Science, Poland), Piechocki Katharina (Universidad de Harvard, Cambridge, EEUU), Ricci Debora (Universidad de Lisboa, Portugal), Rosal Nadales María (Universidad de Córdoba, España), Rossetti Sandra (Universidad de Ferrara, Italia), Seveso Gabriella (Universidad de Milano – Bicocca, Italia), Susnjara Snjezana (Universidad de Sarajevo), Ulivieri Simonetta (Universidad de Florencia, Italia), Vázquez Ramil Raquel (Universidad de La Coruña, España), Vilhena Carla (Universidad de Algarve), Caroli Menico (Universidad de Foggia, Italia). 2 ÍNDICE Un’occasione mancata: La pellegrina, commedia cinquecentesca dell’accademico Intronato Girolamo Bargagli Mauro Canova 7-38 Per una tradizione difesa e allargata. La Pisana delle Confessioni d’un italiano di Ippolito Nievo: la conturbante eroina del Risorgimento italiano Maurizio Capone 39-71 George Sand nevropatica e ribelle: un ritratto in nero di Federico De Roberto, tra misoginia e antiromanticismo Rosario Castelli 72-97 Influencia de los personajes femeninos en la configuración de lo fantástico en la narrativa de Ignacio Solares Cecilia Concepción Cuan Rojas 98-126 «Femmena poetessa è mostruosa»: la rivendicazione del ruolo sociale delle donne attraverso la voce di un poeta del XVII secolo Maria Di Maro 127-157 3 Il teatro per Marta Abba Sandra Dugo 158-180 A spasso con la Vecchia Signora: Pirandello e l’umorismo al femminile Elisabetta Gallo 181-196 ¿Voces de mujeres en escrituras de hombres? De la escritura y la escrituración de la voz autobiográfica femenina en la Edad Media Miguel García-Fernández 197-229 La Fiammetta “scrittrice” ed adultera nell’Elegia di Giovanni Boccaccio Maria Francesca Loffredo 230-256 Ennio Flaiano, Federico Fellini y Paolo Sorrentino: el personaje de la mujer en los tres creadores en la Italia contemporánea Elios Mendieta Rodríguez 257-288 4 Spazi transgenerazionali in Adua di Igiaba Scego Nikica Mihaljević – Sonja Carić 289-317 La figura della monaca: due sguardi a confronto. Storia di una capinera di Giovanni Verga e Suor Giovanna della Croce di Matilde Serao Jadwiga Miszalska 318-334 El anti-canon dentro del canon: los personajes femeninos tondellianos Eva Muñoz Raya 335-366 La visione del femenino in José Ortega y Gasset e la sua relazione con due donne: Victoria Ocampo e Helene Weyl Rosalina Nigro 367-387 “Né schiava, né vassalla”: il personaggio femminile tra emarginazione e resistenza ne Le rose di Cordova di Adriana Assini Irena Prosenc 388-404 5 Lucrecia, ¿femme fatale? Presencia/ausencia en El invierno en Lisboa Nora Rodríguez Martínez 405-429 La biografía de Tisbe en el De mulieribus claris (cap. XIII) de Boccaccio, entre mito, historia y moral Francisco José Rodríguez Mesa 430-453 The concept of cross-dressing in Barbra Streisand’s Yentl (1983) María de la O Ruiz Rodríguez 454-476 “Maria di Ìsili”: Una voce che infrange il silenzio degli schemi sociali. Irene Scampuddu 477-500 La incomprensible continuidad en la visión negativa del personaje de Morgana a través de M.K.Hume María Elena Seoane Pérez 501-529 Nathalie Gassel, del propio cuerpo andrógino a la construcción de un yo femenino literario Mathilde Tremblais 530-563 6 Un’occasione mancata: La pellegrina, commedia cinquecentesca dell’accademico Intronato Girolamo Bargagli Mauro Canova Università di Genova Riassunto Girolamo Bargagli, avvocato e drammaturgo, visse nella Siena del Cinquecento, conosciuto col nome di ‘Materiale’ nella accademia degli Intronati, fu amico di Alessandro Piccolomini (drammaturgo e filosofo) e dell’eretico Fausto Sozzini. Essi collaborarono alla commedia La pellegrina, dove troviamo un interessante personaggio femminile, Drusilla, donna guaritrice, che si oppone al mondo maschile, specie religioso. Nella seconda parte del mio contributo punto a dimostrare come la Pellegrina non influenzò la cultura teatrale italiana, ma questo modello venne recepito nell’Inghilterra elisabettiana, in particolare, il personaggio di Portia del Merchant of Venice di Shakespeare è in parte esemplato su Drusilla. Parole chiave: Teatro italiano, Cinquecento, donna guaritrice, eresia, Shakespeare Abstract Girolamo Bargagli was a lawyer and playwright who lived in Siena during the Renaissance. Bargagli was a friend of Alessandro Piccolomini and the heretic Fausto Sozzini: they wrote the comedy La pellegrina. In this play there is a female character, Drusilla, La pellegrina: she is a healing woman, and she’s opposed to the male world. In the second part of my essay I am going to demonstrate how Bargagli’s Pellegrina was not accepted by the Italian theatre, and I am going to point out the influence of Pellegrina on Portia character in The Merchant of Venice of Shakespeare. Keywords: Italian theatre, Renaissance, healing woman, heresy, Shakespeare 7 Tra il 1567 e il ’68 Girolamo Bargagli1 scrive, in collaborazione con Fausto Sozzini e Alessandro Piccolomini, una commedia particolarmente interessante, La pellegrina2. Prima di osservare il testo vediamo chi sono gli autori. Nel corso del carteggio tra il Piccolomini e il principe Francesco de’ Medici, questi domanda al letterato senese di scrivere una commedia, il Piccolomini si trae d’impaccio adducendo motivazioni poco convincenti, ma soprattutto assegnando l’incarico al Bargagli, ecco di seguito uno stralcio della risposta: Quanto a l’intelletto, poi son già passati più di 25 anni ch’io mi truovo alienato da simili studi comici… oltraché il trovarsi già tant’anni l’animo aplicato a studii più gravi, et spetialmente da qualche tempo in qua ne le cose del la scrittura sacra ha del tutto scacciato ogni altra sorti di concetti… Questi medesimi impedimenti furono causa che l’anno passato, ricercandomi l’Illustrissimo e reverendissimo cardinale de’ Medici d’una commedia, fui forzato a pregar sua 1 Girolamo Bargagli nasce a Siena nel 1537 da Giulio e Ortensia Ugurgieri, ed è fratello maggiore del più noto Scipione e di Celso. Entra fin da giovane nella senese accademia degli Intronati con il nome di Materiale, ed è autore di un Dialogo de’ giuochi che nelle vegghie sanesi si usano di fare (Siena, Luca Bonetti, 1572). La commedia La pellegrina gli viene commissionata dal cardinale Ferdinando de Medici. Insegnante di diritto allo Studio di Siena, esercitò l’avvocatura e occupò cariche importanti quale magistrato a Firenze e a Genova. Muore tra il marzo e l’ottobre 1586. Secondo Florindo Cerreta, che ha curato l’edizione critica della Pellegrina, questa sarebbe stata scritta tra il 1567 e il 1568. 2 Ma vedi le notazioni di Bruno Ferraro (Ferraro, 1987). Per la commedia si fa riferimento all’edizione critica curata da Florindo Cerreta (Bargagli, 1971); le citazioni sono seguite da indicazione di atto e scena. 8 signoria illustrissima he, perdonando, a l’impossibilità mia, si contentasse ch’io ponesse questo carico sopra di messer Girolamo Bargagli; et così si contentò ella, et così fu fatto, perché egli trovò il caso, egli distese le scene, le quali, messer Fausto Sozzini rivedeva d’intorno a le parole, in che egli vale, et altro a me non toccò di fare sennò di essere loro alle volte appresso et accomodar qualche cosetta. La qual cosa essendo il Bargagli in Firenze non si potrebbe di nuovo fare; né altra persona conosco io oggi in Siena ch’a gran pezza fusse abile a fare il medesimo ch’egli faceva: perché il Sozzino non è atto sennò a quanto ho detto. (Casanova, 1906: 218-19) Ed accadrà proprio come aveva indicato il Piccolomini, infatti nel 1569 il cardinale Ferdinando de’ Medici ringrazia i tre succitati autori per l’eccellenza del testo comico3. Alessandro Piccolomini, maggiore per fama, età ed esperienza dei tre, si pone come guida occulta, regista dell’operazione, ma sarà il Bargagli Ad assumersi il carico maggiore dell’operazione: trovare il soggetto della commedia ed abbozzare le scene (di qui l’attribuzione della paternità dell’opera), mentre al Sozzini parrebbe
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