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L'india Nell'immaginario Occidentale

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L'india Nell'immaginario Occidentale Université de Montréal L’India nell’immaginario occidentale par Maria Luisa Longo Département de littérature comparée Faculté des arts et des sciences Thèse présentée à la Faculté des arts et des sciences en vue de l’obtention du grade de Philosophiae Doctor (Ph.D.) en littérature option littérature comparée et générale Août, 2010 © Maria Luisa Longo, 2010 Université de Montréal Faculté des arts et des sciences Cette thèse intitulée L’India nell’immaginario occidentale Présentée par Maria Luisa Longo a été évaluée par un jury composé des personnes suivantes : Wladimir Krysinski, président-rapporteur Silvestra Mariniello, directrice de recherche Maria Rosaria Pandolfi, codirectrice de recherche Eugenio Bolongaro, membre du jury de l’Université McGill Giuliana Minghelli, examinateur externe de l’Université de Harvard Gilles Dupuis, représentant du doyen de la FAS iii Résumé L`Inde a constitué un lieu de voyage pour beaucoup d`écrivains occidentaux, en particulier, pendant les années 60-70, pour cinq intelllectuels éuropéens et americains, qui ont voyagé et écrit différents textes. Pasolini, Moravia, Paz, Ginsberg et Duras ont parlé de l`Inde en utilisant différents languages pour décrire leur réncontre avec l`Autre au délà des catégories binaires occidentales. Mots-clés Inde, imaginaire, voyage, Pier Paolo Pasolini, Alberto Moravia, Allen Ginsberg, Octavio Paz, Marguerite Duras. Abstract India in the 60 and 70 has been the destination of the journey of five European and American writers who have stayed and wrote about it. Pasolini, Moravia, Ginsberg, Paz and Duras wrote of India using different languages from the travel documents, to the notes, to the essay, to the diaries up to the cinematic language. They described their encounter with the Other trying to go over the exotic stereotypes of western discourse into a space opaque and fragmented. Key words India, imaginary, travel, Pier Paolo Pasolini, Alberto Moravia, Allen Ginsberg, Octavio Paz, Marguerite Duras. iv Riassunto L’India ha costituito negli anni sessanta e settanta la destinazione dela viaggio di cinque scrittori europei e american che vi hanno soggiornato e ne hanno scritto. Pasolini, Moravia, Ginsberg, Paz e Duras hanno scritto dell’India e sull’India usando linguaggi diversi che vanno dal racconto di viaggio agli appunti al diario al saggio fino ad arrivare al linguaggio cinematografico. Attraverso questi multiformi linguaggi essi descrivono il loro incontro con l’Altro andando al di là dello stereotipo e delle categorie binarie del pensiero occidentale, captando l’Altro attraverso un discorso che diventa opaco e frammentario. Parole chiave India, immaginario, viaggio, Pier Paolo Pasolini, Alberto Moravia, Allen Ginsberg, Octavio Paz, Marguerite Duras. v Indice Introduzione p. 6 Capitolo 1 L’odore dell’India di Pier Paolo Pasolini p. 27 Immagini e realtà: Appunti per un film sull’India p. 69 Capitolo 2 Indian Journals di Allen Ginsberg p. 100 Capitolo 3 Un’idea dell’India di Alberto Moravia p. 153 Capitolo 4 Lueurs de l’Inde di Octavio Paz p. 201 Capitolo 5 India song: texte, théâtre, film di Marguerite Duras p. 263 La scrittura cinematografica dell’India p. 307 Conclusione p. 325 Bibliografia p. 333 6 INTRODUZIONE Negli anni sessanta l’India è stata un punto di riferimento per molti intellettuali, scrittori, registi che hanno fatto del loro viaggio in questo Paese una fonte di conoscenza e di ispirazione. Nelle loro opere i cui titoli sono già significativi, si trova un’immagine dell’India che, nonostante le differenze, presenta delle costanti interessanti. Cercherò di far emergere i motivi per cui gli intellettuali occidentali si sono recati in India e ne hanno scritto usando linguaggi diversi. Analizzerò, in particolare, la costruzione della figura dell’India sia come luogo che come espressione dell’immaginario occidentale durante gli anni sessanta e l’inizio dei settanta. Questi anni, infatti, sono cruciali per la storia dell’Occidente. Il boom economico, l’avvento della società dei consumi, la crisi dell’ideologia marxista e la critica ai valori spirituali tradizionali costituiscono il quadro in cui e contro cui si compiono viaggi in Oriente. Il mondo era diviso culturalmente e politicamente in due blocchi contrapposti, l’Occidente capitalista e l’Oriente comunista. L’avvento del neocapitalismo omologante negli anni sessanta scava un solco ancora più profondo fra Est, in via di modernizzazione, e Ovest, sopraffatto dalla modernizzazione. Il cosiddetto Terzo Mondo, liberatosi dal giogo occidentale, diventa una realtà sempre più dinamica e problematica per la borghesia ex- coloniale. La società dei consumi, inoltre, mette in dubbio se non in crisi l’ideologia marxista così come i valori del cattolicesimo dominante, e spinge gli intellettuali a cercare altrove modelli e modi di vita possibili e alternativi a quelli 7 proposti dalla borghesia capitalista. Gli scrittori, viaggiando, vanno a “vedere” concretamente le reali possibilità di modelli altri, li rielaborano nella scrittura, li riproducono oppure li esorcizzano. Perché degli intellettuali così diversi ma anche così affini, di un’affinità che è prodotta dall’India, hanno scelto questo Paese come meta del loro viaggio? Qual è il loro discorso e quali sono le costanti di tale discorso? Qual è la scrittura prodotta dall’India e con che tipo di linguaggio? Che incontro si ha fra Occidente e Oriente? Cercherò di capire perché Pasolini, Moravia, Paz, Ginsberg e Duras hanno scelto l’India come luogo d’incontro con l’Oriente e, a volte, ne sono stati scelti, casualmente. Mi sono concentrata su questi autori per me rappresentativi di un Occidente variegato che non si può ridurre a “l’Occidente”. Tutti hanno un vissuto occidentale particolare. Pasolini, intellettuale completo (scrittore, poeta, saggista, regista, semiologo), scomodo e scandaloso, fuori dal sistema per la sua vita personale e per i suoi scritti per i quali subisce processi, agli inizi degli anni sessanta scopre il cinema e, viaggiando, il Terzo Mondo. Moravia, scrittore borghese che fustiga proprio la borghesia nei suoi romanzi, stanco del clima oppressivo e “fascista” dell’Italia tambroniana, va in India per capire cosa sia la religione. Pretesto del viaggio, fatto insieme a Pasolini, è l’invito ad un convegno organizzato per le celebrazioni commemorative del poeta Tagore, nel 1961. Pasolini scrive degli articoli per il quotidiano Il Giorno apparsi poi in volume nel 1962 con il titolo L’odore dell’India; vi ritorna, poi, fra il 1967 e il 1968 per fare dei sopralluoghi con la macchina da presa in vista della realizzazione di un film sull’India mai girato; 8 questi sopralluoghi costituiscono gli Appunti per un film sull’India. Moravia, invece, scrive degli articoli per il Corriere della sera apparsi poi in volume dal titolo Un’idea dell’India. Ginsberg è americano ma di origine ebraica; sembra non sentirsi a suo agio negli Stati Uniti materialisti degli anni sessanta in cui le non- risposte del marxismo e del credo giudaico-cristiano nel clima cupo della discriminazione razziale e sessuale, lo spingono a viaggiare in India fra il 1962 e il 1963, un viaggio d’iniziazione spirituale e d’ispirazione intellettuale di cui parlerà nel suo Indian journals che uscirà nel 1970. Paz, messicano, appartiene, invece, ad un Occidente colonizzato. Viene inviato in India come ambasciatore del Messico e vi rimane dal 1962 al 1968, ricopre un incarico istituzionale, è un politico-scrittore che riflette sulle due esperienze coloniali. Lueurs de l’Inde, scritto solo nel 1995, lunga riflessione a posteriori, è un viaggio parallelo Occidente-Oriente in cui il relativo, cioè l’estrema diversità e i violenti contrasti, prevale sul riduttivo. Duras, invece, fa parte di un Occidente asiatico. È, infatti, nata in Indocina, luogo della sua adolescenza, da genitori francesi e vi rimane fino al 1932 quando parte per la Francia. L’Oriente, però, non l’abbandona mai. Ritorna in molte opere e in particolare in India song, testo complesso e tragico, scritto nel 1972 da cui verrà tratto un film girato nel 1975 dalla stessa Duras. È il racconto di un malessere esistenziale, del non sentirsi a proprio agio, a casa propria né in Oriente né in Occidente. Ma perché questi autori? Bisognava operare una scelta nel vasto panorama letterario e circoscriverla ad alcuni dei molti che hanno viaggiato in India, soprattutto negli anni sessanta, e Pasolini, Moravia, Ginsberg, Paz e Duras con le loro esperienze diverse e con i 9 loro lavori dai titoli così significativi hanno costituito una guida. Figure diverse di un intellettuale eterogeneo che, negli anni sessanta, cerca di ridefinire il proprio ruolo nell’ambito di una diversa realtà economica, sociale, politica e culturale. Un intellettuale organico al proprio mondo ma disubbidiente, poiché dall’interno della società deve ripensare il suo impegno culturale e il suo modo di interagire con il mondo che sta vivendo questioni cruciali come il rapporto tra modernizzazione e tradizione, tra Occidente e Terzo Mondo che si sta decolonizzando, tra la crisi dell’umanesimo e l’emergere di nuove voci che vogliono rompere il silenzio che le circondava. Temporalità e soggettività diverse, “marginali”, irrompono nel panorama euro- occidentale richiamando l’attenzione e l’interesse di intellettuali in crisi con loro stessi e con il loro tempo. I viaggi in India costituiscono la possibilità di incontrare alternative diverse rispetto al capitalismo consumistico, alla linearità della Storia, al logos. Le scritture dei nostri autori ne sono una testimonianza.
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