Corso Di Laurea Magistrale in Lingue E Culture Dell'asia E Dell'africa

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Corso Di Laurea Magistrale in Lingue E Culture Dell'asia E Dell'africa Corso di Laurea Magistrale in Lingue e Culture dell’Asia e dell’Africa Mediterranea – percorso Giappone - Tesi di Laurea — Ca’ Foscari Kyōto tra letteratura, fantasia e Dorsoduro 3246 30123 Venezia realtà: proposta di traduzione del Ok. romanzo Yakō (Viaggio notturno, 2016) di Morimi Tomihiko Relatore Ch. Prof. Toshio Miyake Correlatore Ch. Prof. Bonaventura Ruperti Laureando Martina Solari Matricola 841551 Anno Accademico 2016/2017 Indice 要旨 _________________________________________________________________________________________________3 Introduzione ______________________________________________________________________________________5 Prima parte 1. Origine e caratteristiche del fantastico in letteratura 1.1 Il fantastico in letteratura _________________________________________________________9 1.2 Critiche al genere __________________________________________________________________11 1.3 Caratteristiche principali _________________________________________________________14 1.4 Generi _______________________________________________________________________________16 2. Il fantastico nella letteratura Giapponese: dalle origini alla contemporaneità 2.1 Il fantastico nella letteratura giapponese ________________________________________19 2.2 Periodo Heian ______________________________________________________________________21 2.3 Periodo Kamakura e Muromachi _________________________________________________28 2.4 Periodo Tokugawa _________________________________________________________________30 2.4.1 Asai Ryōi: otogibōko ___________________________________________________31 2.4.2 Ueda Akinari: Ugetsu monogatari ____________________________________33 2.5 Periodo Meiji e Taishō _____________________________________________________________37 2.5.1 Izumi Kyōka: fuga nella fantasia ______________________________________38 2.5.2 Akutagawa Ryūnosuke ________________________________________________42 2.5.3 Kappa ___________________________________________________________________44 2.6 Letteratura femminile nel dopoguerra: Enchi Fumiko e Ōba Minako _________46 2.7 Letteratura contemporanea Murakami Haruki: kocchi no sekai, acchi no sekai _______________________________49 Seconda parte 3. Turismo e letteratura ______________________________________________________________________52 3.1 Destinazioni ________________________________________________________________________54 3.2 Machi okoshi: nuove prospettive fra turismo letterario e seichi junnrei _______55 3.3 Case study: la Kyōto di Morimi ___________________________________________________62 Terza parte: Yakō 4. L’autore: Morimi Tomihiko _______________________________________________________________68 5. Il romanzo: Yakō ___________________________________________________________________________71 6. Riassunto dei capitoli ______________________________________________________________________73 7. Traduzione __________________________________________________________________________________82 Conclusione ________________________________________________________________________________________129 2 要旨 この論文の目標は森見登美彦の『夜行』という作品の翻訳で、その小説と日本文学におけ る幻想文学の特徴と名作の分析である。 幻想文学とは、 現実世界であり得ないとされる途もない事情や、超自然的な現象を描い た物語のことである。 昔から、人間は議論的に説明できない出来事に興味があって、その物語は現在でもよく 「おとぎ話」と比較されている。また、英雄、魔法、冒険、そして恐ろしい妖怪やモンス ターが語りの基本的要素にされて、その想像世界では何が起きても不思議だと思われてい ない。 アメリカとヨーロッパの典型的なファンタジー文学だとしては、キャロルの『不思議の国 のアリス』(1865年)やトールキンの『指輪物語』(1954~1955年)などが 挙げられる。その物語の出来事は現実世界との全く別世界に現れる。 一方、日本文学では、幽霊、魔法、などの超自然的な現象が現れる世界は、人間も暮らし ている現実世界であり、多くの場合では、古代伝説や民俗伝承に関連する場所である。 例えば、鞍馬山(京都府)は、霊山として知られ、古来より天狗(神や妖怪とも言われる、 赤ら顔で鼻が長く、カラスのような翼がある )という伝説上の生き物と関連している場 所として知られる。 別の世界に生きているものをめぐって、『古事記』や『源氏物語』や『今昔物語集』など をはじめとして、様々な神話や文学作品が書かれていた。 しかし、現代では、その超自然的な話が民俗学と「町おこし」という経済発展計画と手を 組むようにしている。そのおかげで、経済的な窮地に立つ町や地域のツーリズム、経済と 精神的な活性化をできることになった。例えば、一番古い例は、柳田國男による『遠野物 語』(1910年)の影響である。作品の影響のおかげで、1985年に「遠野昔話村」 が建てられて、観光客数を増加するようにできた。しかし、年を経つにつれて、元の民俗 復元プロジェクトは失敗して、遠野は単なるツーリストアトラクションになってしまった。 3 2002年より、日本政府による宣伝・輸出政策で「クールジャパン」というプロジェク トを発生された。当プロジェクトによってコンテンツそのものは、国内でも海外でも公開 されて、「町おこし」に新しいエネルギーを与えて回復できた。 また、漫画・アニメの影響で新しい観光の種類が現れるようになった。それは、「聖地巡 礼」ということである。もともと、宗教において重要な意味を持つ場所を示す表現である が、最近転じて、コンテンツ(つまり漫画、アニメ、小説、映画、ゲームなど)に関連し ている熱心なファンが訪ねる場所を示す。近代、様々な例を挙げられる:例えば、新海誠 監督による映画『君の名は。』とか、『ラキ☆スター』というアニメなどである。 この卒業論文は3章に分かれている。 第1章においては、主なテーマは幻想文学そのものである。特に、日本文学における幻想 文学の変化、特徴と名作の分析を表す。 第2章においては、課題を広げたいと思って、「聖地巡礼」と「町おこし」との関係を紹 介する。それに、森見登美彦の作品による京都聖地巡礼について紹介する。 最後に、第3章においては、作家についての情報を述べ、『夜行』の分析と翻訳を紹介す る。また、作家と京都市(しばしば森見氏の小説の主な背景)との関係を理解するように、 作品発売祭に作家が受けたインタービューを使用することにした。 4 Introduzione Il genere fantastico viene spesso paragonato ad una “fiaba per adulti”, dove eroi, magia, viaggi e mostri da sconfiggere costituiscono gli elementi fondamentali della storia. Nella letteratura europea e americana, i mondi in cui si svolgono le vicende dei protagonisti sono mondi inventati, utopie o proiezioni future della realtà; basta pensare al mondo creato da Tolkien nella saga de Il Signore degli Anelli, oppure a quello di Alice nel Paese delle Meraviglie (1865) di Lewis Caroll. Tuttavia, nella letteratura giapponese, i luoghi in cui si manifestano mostri, spiriti e avvenimenti soprannaturali, sono in molti casi luoghi reali, spesso famosi proprio per essere dimora di yōkai, e le stesse caratteristiche fantastiche sono quelle associate ad antiche leggende e tradizioni del folklore. Come sostiene Susan Napier (2005), molti scrittori, da Izumi Kyōka a Nakagami Kenji, guardarono alla tradizione e al folklore per trarre ispirazione e creare “fantasie contemporanee”; ad esempio, il monte Kurama è fin dai tempi antichi associato ai tengu, demoni della montagna e delle foreste raffigurati come ibridi fra uomo e uccello; il monte Kōya che, oltre ad essere un luogo importante per il buddhismo Shingon, è stato arricchito di un’aura di mistero grazie al racconto Il Monaco del Monte Kōya (1900) di Izumi Kyōka, dove il protagonista attraversa una foresta dall’atmosfera fatata e viene attirato dagli inganni di un demone. Nei racconti, ma anche nel teatro, nel cinema e nell’arte nipponica, il mondo fantastico interagisce con quello reale e l’unico limite fra i due mondi sono foreste, montagne, mare, tutti elementi naturali che in passato hanno spesso segnato l’inizio di una zona liminale; liminale è anche la moralità di demoni e kami, mai chiaramente “buoni” o “cattivi”; a differenza dei racconti della tradizione euro-americana, che separa nettamente il bene dal male, divinità e demoni possono portare sia benefici sia distruzione e le loro azioni sono sempre dettate dal comportamento degli uomini: se portano distruzione, sarà quasi sempre a causa della natura negativa degli uomini che li avvicinano, mentre possono essere amichevoli e fonte di ricchezza con coloro che dimostrano bontà, saggezza e compassione (Novielli, 2015). Il soprannaturale ha caratterizzato i racconti nipponici fin dalle origini, come testimoniano testi antichi come il Kojiki 古事記 (Racconti di antichi eventi, 711-712 circa), il Genji monogatari 源氏物語 (Storia di Genji, XI sec.) e il Konjaku Monogatari Shū 今昔物語集 (Racconti di un tempo che fu, 1120 circa); con l’arrivo del buddhismo nell’arcipelago, le storie acquisirono uno scopo didattico, morale, mentre solo verso il XVII secolo questi racconti persero ogni intento didattico e divennero puro intrattenimento, classificate sotto il filone 5 letterario del kaidan 怪談, letteralmente “storie di fantasmi”(Berzieri, 2008). In epoca moderna, lo studioso che ha saputo unire storie kaidan a scopi turistici, di rivitalizzazione di antiche tradizioni e luoghi è stato Yanagita Kunio, (considerato il fondatore del minzokugaku 民俗学, cioè gli studi folclorici giapponesi) che, con il suo Tōno Monogatari 遠野物語 (Storie di Tōno, 1910) ha creato un’imponente raccolta e interpretazione del repertorio mostruoso/fantastico regionale derivato dai racconti orali delle zone rurali, ormai in fase di estinzione di fronte alla modernizzazione (Miyake, 2014, p.19). Infatti, durante gli anni Sessanta, anche la città di Tōno, come altre zone rurali, dovette affrontare un grave spopolamento e le autorità decisero di ricorrere al patrimonio folkloristico per far rivivere la città e attirare i turisti; il progetto, rinominato Tonopia, consisteva nel rendere la cittadina un museo vivente, eternamente rurale, dove vi fosse una kami to ningen no kyōson 神と人間の共 存, cioè una “coesistenza di uomini e divinità” (Berzieri, 2008). Il progetto riuscì e, nel 1985, venne fondato il Tōno Mukashibanashi Mura (lett. “Tōno, il villaggio delle antiche fiabe”). Tuttavia, non fu privo di conseguenze negative: con il tempo, l’aspetto economico ha contaminato (e sorpassato) gli aspetti tradizionali e originali del progetto, così che Tōno assomiglia sempre di più ad un parco a tema in stile disneyland (Yamashita, 2003). Questo tipo di “revival” ha un nome ben preciso: machi okoshi 町おこし o machi zukuri 町づくり; l’obiettivo è quello di riportare in auge le città – i villaggi 村, le regioni 地域 – spesso in spopolamento e indebolite economicamente utilizzando la cultura e i racconti tradizionali (Thornbury, 1997) . Oltre a numerose associazioni, come la Japan Foundation e Meiji Yasuda Cultural Foundation anche media come manga, anime, film e romanzi giocano un ruolo fondamentale nel machi okoshi e tale contributo è stato recentemente classificato dagli studiosi sotto l’etichetta del contents tourism; un esempio è il recente successo del film Kimi no na wa. (Il tuo nome., 2016) del regista Makoto Shinkai: la città attorno alla quale si basa il film, Itomori, è una città inventata ma basata sulla reale Hida, nella prefettura di Gifu.
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