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— Dante E Il Rock Numero 6, 2019 ISSN 2385-5355 (digital) • ISSN 2385-7269 (paper) http://revistes.uab.cat/dea 6 — Dante e il rock Universitat Autònoma de Barcelona Institut d’Estudis Medievals Bellaterra, 2019 Dante e l’Arte è una rivista dell’Institut d’Estudis Medievals attivo all’in- terno dell’Universitat Autònoma de Barcelona (UAB). È stata fondata nel 2014 da Rossend Arqués e Eduard Vilella perché fosse un punto di riferimento delle iniziative relative agli studi sul rapporto tra Dante e l’arte sia all’interno dell’opera dantesca sia nella sua ricezione. Il suo obiettivo è fungere da mezzo di diffusione delle ricerche originali in questo specifico ambito grazie alla pubblicazione di studi che provengano da tutto il mondo, nella convinzione che l’argomento debba essere affrontato a livello mondiale con lo sguardo rivolto ai rapporti esistenti tra le forme artistiche sviluppatesi nei diversi paesi e l’opera dantesca. La rivista pubblica lavori originali in dossier monografici, articoli di ricerca, note e recensioni di opere pubblicate nel mondo che si sono occupate di questo argomento. L’accettazione degli articoli segue le norme del sistema di valutazione per esperti esterni (peer review). Direzione Barbara Stoltz Philippe Guerin Juan Miguel Valero Rossend Arqués Universität Marburg Université Paris 3 Universidad de Salamanca Universitat Autònoma Comitato scientifico Cornelia Klettke Juan Varela Portas de Barcelona Universitát Potsdam de Orduña Roberto Antonelli Universidad Complutense Eduard Vilella Università di Roma Barbara Kuhn de Madrid Universitat Autònoma “La Sapienza” Katholische Universität de Barcelona Eichstätt-Ingolstad Piermario Vescovo Eduardo Barbieri Peter Kuon Università Ca’ Foscari Segreteria Università Cattolica di di Venezia Donatella Buovolo Milano Universität Salzburg Universitat Autònoma Johannes Bartuschat Maria Maślanka-Soro Dossier a cura di Uniwersytet Jagielloński de Barcelona Universität Zürich Giulio Carlo Pantalei w Krakowie Università Roma 3 Consiglio di redazione Lucia Battaglia Ricci Francesc Massip Università di Pisa Rosa Affatato Paolo Borsa Universitat Rovira i Virgili Asociación Complutense Theodor Cachey Universität Freiburg Andrea Mazzucchi de Dantología University of Notredame Francesc Cortès Università di Napoli Universitat Autònoma Corrado Calenda In questo numero Federico II hanno collaborato de Barcelona Università di Napoli Mira Veronica Mocan Joan Curbet Massimo Ciavolella Università Roma 3 Adriana Padoan Universitat Autònoma UCLA Correzione, Universitat Lino Pertile Autònoma de Barcelona de Barcelona Marcello Ciccuto Harvard University Sabrina Ferrara Università di Pisa Elisabetta Taboga Raffaele Pinto Impaginazione CESR Tours Claudia Cieri Via Universitat de Barcelona Narcís Comadira Carme Font Università di Roma Daniel Rico “La Sapienza” Copertina Universitat Autònoma Universitat Autònoma de Barcelona Riccardo Drusi de Barcelona Lucía Gómez Traduzione Francesc J. Gómez Università di Venezia Luigi Tassoni Universitat Autònoma Diana Glenn Università di Pecs de Barcelona Finders University Universitat Autònoma de Barcelona Tel. +34 93 581 23 22 / 1190 Institut d’Estudis Medievals Fax +34 93 581 20 01 08193 Bellaterra (Barcelona), Spain ISSN (digital) 2385-5355 ISSN (paper) 2385-7269 Tutti i contenuti pubblicati sulla rivista Dante e l’Arte sono soggetti alla licenza Creative Commons secondo la modalità: Comercial (by). È dunque possibile riprodurre, distribuire, trasmettere e adattare liberamente i contenuti, anche a scopi commerciali, a condizione che venga citata la fonte. Indice Dante e l’Arte Numero 6, p. 1-162, 2019 ISSN 2385-5355 (digital) ISSN 2385-7269 (paper) 5-8 Presentazione Dossier 11-24 Mattew Collins Bob Dylan and that “Italian Poet from the Thirteenth Century” 25-64 Marco Berisso Dante e il prog italiano 65-92 Rosa Affatato Prog italiano e orizzonti interpretativi della Commedia: gli album Inferno, Paradiso e Purgatorio di Metamorfosi 93-104 Giulio Carlo Pantalei The Grunge Inferno: Dante as read by Kurt Cobain 105-126 Francesco Ciabattoni Tra Omero e Melville: Vinicio Capossela sulle tracce di Dante 127-142 Giulio Carlo Pantalei The Middle Ages of Postmodernism: Dante, Thom Yorke and Radiohead Recensioni 145-148 Wiesse Rebagliati, Jorge. Dante contempla la Trinità (Giulia Degano) 149-154 Battaglia Ricci, Lucia. Dante per immagini. Dalle miniature trecentesche ai giorni nostri (Elisa Orsi) 155-162 Dante visualizzato. Carte ridenti II: XV secolo. Prima parte, a cura di M. Ciccuto, L.M.G. Livraghi (Elisa Orsi) Dante e l’arte 6, 2019 5-8 Premessa Dante, Direttore d’Orchestra alla fine del Ventesimo Secolo n questo episodio di «Dante e l’Arte» viene preso in esame, forse tra le I prime volte in modo scientifico, un fenomeno che in apparenza sembrereb- be configurarsi come quanto di più lontano dalla tradizione medievale italiana o dalla poesia “alta” si possa immaginare e che al medesimo tempo si dimostra invece – lo si comprenderà a fondo sfogliando gli articoli – assai gravido di contenuti, suggestioni, fantasmagorie figurative, sperimentazioni interartisti- che, declinazioni ermeneutiche sui generis, tutte legate fortemente all’immagi- nario plasmato dall’Alighieri. Il Sommo Poeta, infatti, viene qui ad assurgere al ruolo di vero e proprio Direttore d’Orchestra rispetto a una miriade di rifunzionalizzazioni che a partire dal suo poetare conducono ai più disparati generi musicali della contemporaneità, dal Folk al Grunge, dal Progressive al Metal, entro quel vasto e variegato territorio che in una parola, col beneficio della sintesi, si potrebbe definire Rock. L’evento appare risultare anzitutto interessante per tre motivi, tra i molti possibili. Il primo investe una prospettiva storica, perlopiù diacronica ma in alcuni casi anche sincronica, connessa alla fortuna di versi e pattern dante- schi dal Dopoguerra ad oggi nella cultura di massa, al di fuori delle mura accademiche o dei circuiti di addetti ai lavori. Il secondo concerne quel che nella terminologia warburgiana prima e benjaminiana poi è designato come Nachleben, vale a dire, con riferimento alla presente indagine, la sopravvivenza trascendentale dei suddetti pattern danteschi, così immaginifici da valicare le maglie del milieu culturale, artistico, filosofico, etico e politico entro cui sono stati prodotti. Il terzo e ultimo apre su di un orizzonte geografico e ad- dirittura in un certo senso comparatistico, affascinante anche da angolatura linguistica e traduttiva, tenendo conto del fatto che la casistica qui presa in esame include di fatto artisti provenienti da tutto il mondo: troviamo traccia degli Stati Uniti con Bob Dylan (Matthew Collins) e Kurt Cobain coi suoi Nirvana (Giulio Pantalei), di un ponte tra la Germania e l’Italia con Vinicio Capossela (Francesco Ciabattoni), dell’Inghilterra con i Radiohead (Giulio Pantalei), in una mappa che si potrebbe idealmente ampliare ancora al di fuori https://doi.org/10.5565/rev/dea.129 ISSN 2385-5355 (digital), ISSN 2385-7269 (paper) 6 Dante e l’arte 6, 2019 Premessa di questa sede con il Brasile dei Sepultura, la Francia degli Indochine e chissà quanti ulteriori luoghi. Non solo lo Stivale, pertanto, come legittimamente ci si potrebbe aspettare, che pure compare con una cospicua rappresentanza grazie alla funambolica produzione prog di New Trolls, The Trip, Metamor- fosi, Il Bacio della Medusa, Sezione Frenante e Cherry Five (Marco Berisso) e a un ulteriore specifico approfondimento sulla trilogia concepita a mo’ di concept album Inferno, Purgatorio e Paradiso del già citato complesso romano dei Metamorfosi (Rosa Affatato). Ad emergere, inoltre, due macrodati. Da un lato, cosa nota per molti stu- diosi, il terreno dantesco è stato, è e sempre sarà fertile per rifunzionalizzazio- ni, riprese e variazioni sul tema, oltre ogni possibile timore di travisamento o desacralizzazione della pura, inesauribile, fonte primigenia. Dall’altro, e questo potrà invece risultare nuovo, la specificità e l’unicità della musica Rock a pre- disporsi grembo per la libera inserzione di tessere colte, di derivazione “alta”, all’interno di un ambito tradizionalmente considerato di statuto paraletterario. Perché il Rock e soprattutto quale Rock, dunque? È giusto studiare con rigore, attraverso modalità scientifiche, note e parole dei testi per musica “leggera”? È giusto conferire addirittura un peso letterario a qualcosa che in un modo o nell’altro viene considerato la manifestazione di una cultura “pop”, effimera, usa e getta? La risposta è più complessa rispetto a quanto si potrebbe immaginare di primo acchito e va ben oltre il dibattito sul controverso Premio Nobel 2016 per la Letteratura a Bob Dylan. La questione, infatti, riguarda piuttosto ciò che ha significato l’emergere della cosiddetta Popular music nella Storia della musica moderna e nei consumi culturali del Ventesimo secolo, vale a dire lo smussamento dei confini e la costitutiva sovrapposizione di piani tra highbrow / musica alta e lowbrow / musica folk-etnica, da cui discende che la musica Rock – diversamente, si badi bene, dalla musica Pop strictu sensu – è struttu- ralmente imparentata con il repertorio dei blues afroamericani, con le culture alternative e le sottoculture, con l’azione della libera sperimentazione artistica e con le avanguardie musicali del secolo scorso. Basti portare alla mente la figura di John Cage o di Luciano Berio. A tale proposito, strumento utile in via preliminare per il lettore potrebbe rivelarsi la tabella della pagina seguente, approntata da Lucio Spaziante nel suo Sociosemiotica del Pop (Carocci,
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