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Roma Letteraria in D'annunzio, Moravia E Pasolini. Una Roma letteraria in D’Annunzio, Moravia e Pasolini. Una lettura semiotica by Maria Laura Mosco A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Italian Studies University of Toronto © Copyright by Maria Laura Mosco, 2013 ii Roma letteraria in D’Annunzio, Moravia e Pasolini. Una lettura semiotica Maria Laura Mosco Doctor of Philosophy Department of Italian Studies University of Toronto 2013 Abstract Nel Il piacere di Gabriele D’Annunzio, i Racconti romani di Alberto Moravia e Ragazzi di vita di Pier Paolo Pasolini, Roma si pone come ‘altro’ da un semplice scenario davanti al quale si svolge la narrazione. La città interloquisce con il lettore, contribuendo alla costruzione di una forma alternativa di discorso poetico e critico che si muove tra etica ed estetica, tra condizione esistenziale e percezione della forma. Questo studio mette a dialogo semiotica e critica letteraria. La città, la sua topografia e le sue forme architettoniche dirigono il percorso interpretativo e conoscitivo del lettore, ponendosi come sistema semiotico intorno al quale la narrazione è organizzata. Qui lo spazio è geografico, bidimensionale e topografico ma è anche quello tridimensionale del volume architettonico, e infine quadridimensionale, quello del cronotopo bachtiniano. Bachtin difatti chiarisce che solo attraverso il cronotopo è possibile comprendere “l’interconnessione sostanziale dei rapporti temporali e spaziali dei quali la letteratura si è impadronita artisticamente...Nel cronotopo letterario ha luogo la fusione dei connotati spaziali e temporali in un tutto dotato di senso e di concretezza” (Estetica e Romanzo 231). Se Michail Bachtin pone il tempo come principio guida nella forma artistica, Yuri Lotman si concentra sullo spazio come sistema semiotico, spazio culturale. Egli iii concepisce il testo artistico come un universo semiotico che non si fonda su uno schema dicotomico; non è possibile aumentare la conoscenza attraverso strutture che si basano esclusivamente su contrapposizioni polarizzate. L’universo semiotico per Lotman è uno spazio culturale con una struttura costituente in divenire dinamico: “Vanno distinte due sfere fondamentali della semiotica cittadina: la città come spazio e la città come nome” (“Il simbolismo di Pietroburgo e i problemi della semiotica della città”, La semiosfera 1985: 225). Si studiano quindi le modalità con cui lo spazio urbano di Roma si manifesta in testi narrativi diversi, dal romanzo dannunziano ai racconti moraviani, ai frammenti culminati poi nella forma del romanzo pasoliniano. All’interno dello spazio culturale ‘città’, il legame tra personaggi e spazio topografico e architettonico, riflette rapporti immobili o che anelano all’immobilità, al rifiuto del cambiamento (D’Annunzio), ma anche incompatibilità con un modello storicamente dato (Moravia e Pasolini). iv Roma letteraria in D’Annunzio, Moravia e Pasolini. Una lettura semiotica Maria Laura Mosco Doctor of Philosophy Department of Italian Studies University of Toronto 2013 Abstract The idea for this inquiry came from the reading of Eugenio Ragni’s engaging book Roma nella narrativa italiana contemporanea 1973-1988. In this incredibly rich work Ragni aims at establishing a fil rouge among works written over a span of fifteen years and set in Rome, but within the broader cultural and historical context. Moving from this idea, this work deals specifically with the literary representations of the city of Rome in three works by three of the most important Italian writers: Il piacere (1889) by Gabriele D’Annunzio, the first collection of short stories Racconti romani (1954) by Alberto Moravia, and the first Roman novel by Pier Paolo Pasolini, Ragazzi di vita (1955). I claim that in these works the urban space of the city of Rome, from its centre to its suburbs, with its artefacts and its topography, streets, squares, buildings, monuments, parks, and rivers, become a vehicle for signification within a semiotic system or semiosphere called urban space. In these prose works the city becomes a text within a text; the city takes on a leading narrative function between myth and anti-myth, between centre and periphery, between centripetal and centrifugal forces. From the Baroque aristocratic Rome of the ‘rione Trevi’, to the modern Moravian city of the lower middle- class, and the sub-proletarian suburbs of Pier Paolo Pasolini, Rome is circumscribed v within two topographical extremes: on one side, the myth of a lavishing city of antiquity, power, politics, religion, and last but not least, art; on the other, a counter-myth of a marginal city that drifts along peripheral boundaries. I do not intend to provide a historiographical survey of the chronological distribution of a myth or of the history of literary representations of the city of Rome. Instead, I pose the question of whether within the study of the novel in Italy it is reasonable to address the issue of the existence of an Italian urban novel tradition as well. The investigation has to be carried out beyond the search of a mimetic representation of a mapped city, and it seems appropriate to ask if, in the context of this research, Rome stays as an immutable interpretant, along with an exploration of the character’s psychological and sensorial experience of the urban text, the relationship text-reader, and how the urban space itself is cognitively re-mapped. Two theoretical semiotic perspectives are helpful to this study: Yuri Lotman’s notion of semiosphere and Michail Bakhtin’s notion of chronotope. In his “Simbolismo di Pietroburgo e i problemi della semiotica della città”, Lotman argues that La città è un meccanismo che riporta di nuovo in vita di continuo il passato, il quale ha la possibilità di cambiarsi col presente come se passato e presente fossero su un piano sincronico. In questo senso la città, come la cultura, è un meccanismo che si contrappone al tempo. (1985: 232) According to Lotman’s notion of cultural typology within the semiosphere, one must comprehend the signifying process of urban elements as leading to their interpretation in an encyclopaedic context, and not a dichotomic, code-oriented one. It implies, then, vi moving beyond the linguistic code theorized by Ferdinand De Saussure and even beyond Roman Jakobson’s expansion of the notion of code to different semiotic systems. Michail Bakhtin allows for the comprehension of temporal and spatial relations in literature via the chronotope where time and space coalesce together to form meaning: “Nel cronotopo letterario ha luogo la fusione dei connotati spaziali e temporali in un tutto dotato di senso e di concretezza.” (Estetica e romanzo 231) Lotman’s notion of semiosphere as a system of cultural signification, and Bakhtin’s chronotope, then, provide the tools to analyse the relationship between the city as space and the city as toponym in time, which are at the core of this critical discourse. They allow the identification and interpretation of the urban elements that are involved in a multiple meaning-generating process: on one side, these urban elements articulate a discourse dealing with pure architectural functionality, which is then transferred through the narrative discourse into the diegesis; on the other side, these elements also take on a connotative semiotic function in the text, which is subject to changes, revisions and instances of rewriting of the actual space of the city of Rome and its meanings. It is important to remember here the fundamental idea that Umbert Eco puts forward in his Semiotica e filosofia del linguaggio, that is that in a semiotic system the notion of “code” can no longer be seen viable as a conventional, socially agreed upon, interpretative tool, since it is strictly based on the mere correlation of one term with another term (255-256). The question to be addressed, subsequently, is whether and how the urban space of fictional Rome, in our case, can be a participant in textual cooperation, on the ideological, actantial, narrative and diegetic levels (Eco’s notion of intensione), and in vii terms of possible worlds, of hypothetical cultural constructs by the reader, implied and empirical (Eco’s notion of estensione). The city is to be thought of as a ‘catalyst’, that is as an impulse for the reader who infers meanings, with respect to the fabula, by virtue of a previsional activity at the core of the cooperative role in the process of interpretation, as Umberto Eco clearly outlined in Lector in Fabula. I owe the term ‘catalyst’ to Diana Festa-McCormick who published in 1979 The City as Catalyst. A Study of Ten Novels. The author, who devotes an entire chapter of her text to Il piacere, claims that It would hardly be possible to eliminate altogether the role of the city as background and to divorce its parks and allies and bridges from the moods of the characters who live and love and struggle there. After all, objects cannot but be seen through given sets of eyes, and the perspective varies with each viewer. (14) It is necessary, we must add, to expand on McCormick’s notion of viewer, and understand it as inclusive of both the characters and the readers. The viewer can be internal (textual) or external (extra-textual). The notion of background can also be expanded so as to include all the actors involved in the cognitive process implied in the relationship between a text and its reader. In this case, the limit of Festa-McCormick’s postulation lies in the fact that the relationship between the urban landscape of Rome and D’Annunzio’s novel is univocally conceived as pertinent exclusively to the internal parallel between the city itself and Sperelli’s psychological states. McCormick raises the question of the relation between the city and the mind, which can be posed for all the works in this study, where this relationship is made explicit by the comprehension of the Self and society as being one of imagination and psychological experience of the urban viii space.
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