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Tesi Di Laurea La Donna E L'amore Secondo Zhang Ailing Analisi Letteraria Dei Personaggi Femminili Nelle Sue Opere Autobiografiche

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Tesi Di Laurea La Donna E L'amore Secondo Zhang Ailing Analisi Letteraria Dei Personaggi Femminili Nelle Sue Opere Autobiografiche ! ! Corso di Laurea in Lingue e Civiltà dell’Asia e dell’Africa Mediterranea !! ! Tesi di Laurea La donna e l’amore secondo Zhang Ailing Analisi letteraria dei personaggi femminili nelle sue opere autobiografiche Relatore Ch.ma Prof.ssa Nicoletta Pesaro Correlatore Ch.ma Prof.ssa Federica Passi Laureando Ilaria Storelli Matricola 989232 Anno Accademico 2017 / 2018 h《 yy ye ly lB30 55 7 30 7CB 30 77 7 30CB“C ］t a l tla l a a l ）u ）ul a “a“ t305573073077730 “ 0 3055730730777 30 k？“t 7 30 55 7 30 73077730 ]dk？ yhk？ak？ 0 0 yk？yay y 750 k？ta y aff。 ff。y f。k？h a a ! 2! Indice Indice p.3 Introduzione p.7 Capitolo I Il contesto storico e letterario di Zhang Ailing p.14 1.1! Il contesto storico: la Cina dal 1911 al 1949 p.14 ! ! 1.1.1!– La rivoluzione (1911) e la Repubblica cinese p.15 1.1.2 – La guerra sino-giapponese e il Movimento del Quattro p.16 Maggio 1.1.3 - Società e cultura nella Cina repubblicana p.18 1.2! Il contesto letterario p.22 ! 1.2.1 - Movimento del Quattro Maggio p.23 1.2.2 - Mandarin Duck & Butterfly Literature p.25 1.3! “I am like an island”: vita e opera di Zhang Ailing p.28 ! ! 1.3.1 - Vita p.28 ! ! 1.3.2 – Opera p.34 ! ! 1.3.3 – Opere autobiografiche p.39 1.3.3.1 – The Fall of the Pagoda p.39 1.3.3.2 – The Book of Change p.40 1.3.3.3 – Xiao Tuanyuan p.42 Capitolo II I personaggi femminili p.47 2.1 2.1! Lute e Julie: Zhang Ailing attraverso gli occhi di Zhang Ailing p.49 2.1.1 - The Fall of the Pagoda: infanzia e adolescenza di Lute p.49 2.1.2 - The Book of Change: verso l’età adulta p.56 2.1.3 – Julie: la protagonista di Xiao Tuanyuan. p.64 2.2! Tre personaggi chiave: Dry Oh, il padre e il marito p.77 2.2.1 - Il ruolo di Dry Ho e delle amahs. p.77 2.2.2 - Elm Brook e Ned p.81 2.2.3 - Shao Chih-yung p.87 2.3 Dew e Rachel p.93 2.3.1 – Dew in The Fall of the Pagoda p.93 2.3.2 – Dew in The Book of Change p.96 2.3.3 – Rachel in Xiao Tuanyuan p.100 2.4 Judy e Coral p.104 2.4.1 – Coral in The Fall of the Pagoda p.105 ! 3! 2.4.2 – Coral in The Book of Change p.106 2.4.3 – Judy in Xiao Tuanyuan p.107 Capitolo III Donna e amore p.112 3.1 La donna p.112 3.1.1- La donna secondo Zhang Ailing: tra luci e ombre p.113 3.1.2- Una visione controcorrente della “maternità” p.120 3.2! L’idea dell’amore p.125 3.2.1 – Una rappresentazione cinica dell’amore p.125 3.2.2 – Matrimonio come scambio economico p.129 Conclusione! p.135 Bibliografia p.138 ! 4! Ai miei genitori, ai miei fratelli, ai miei amici e a Tone. ! 5! “She was fluent in the language of suffering,! it being her first language”.! Zhang Ailing! 1 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Immagine stampata per la prima volta come copertina del libro Chuanqi (Romances) di Zhang Ailing nell'edizione risalente al 1946. ! 6! Introduzione “La vita è come un magnifico vestito pieno di pidocchi che vi strisciano sopra.”2! Se avessero chiesto a Zhang Ailing quando aveva diciotto anni di definire la vita questa sarebbe stata la sua risposta. Mi sono imbattuta in tale scrittrice per la prima volta l’anno scorso, durante il corso di letteratura cinese moderna e contemporanea che verteva sulla narrazione della figura e della questione femminile nelle opere di alcuni tra i più importanti autori cinesi del Novecento, tra cui figurava appunto Zhang Ailing. Da lì la mia curiosità nei confronti dell'autrice è cresciuta sempre di più; mi attirava in modo particolare la sua vita privata da personaggio molto enigmatico e riservato quale è sempre stata. Ciò che mi meravigliava inoltre era il contrasto tra questa e la libertà e la forza espressiva senza veli caratteristica dei suoi scritti. Zhang Ailing ha sperimentato un grande dolore, il quale le ha permesso di creare un vero e proprio “linguaggio della sofferenza” che ha utilizzato per scrivere tutte le sue opere, ma in modo particolare quelle autobiografiche. Tale dolore ha toccato in me alcune corde profonde, perciò ho deciso di focalizzarmi sul suo romanzo Xiao Tuanyuan e in seconda battuta anche sui due romanzi precedenti The Fall of the Pagoda e The Book of Change. C.T. Hsia, acclamato critico letterario cinese e professore universitario, definisce così Zhang Ailing:! Yet to the discerning student of modern Chinese literature, Eileen Chang is not only the best and most important writer in Chinese today; her short stories alone invite valid comparisons with, and in some respects claim superiority over, the work of serious modern women writers in English […].3! ! Una definizione di un certo spessore, che ha consacrato Zhang Ailing come una delle più importanti scrittrici del Novecento. La questione femminile nel Novecento in Cina è stato un tema molto dibattuto, trattato da numerosi scrittori sotto differenti punti di vista. Tale tema aveva assunto una !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2 Frase conclusiva del saggio Tiancai meng (Sogno di un genio), scritto da Zhang Ailing nel 1941. 3 Chih-tsing HSIA, A History of Modern Chinese Fiction, Binghamton, Yale University Press, 1961, p. 389. ! 7! grande rilevanza, poiché la Cina stava vivendo un periodo di grandi cambiamenti politici, economici e culturali, che si rifletterono in tanti ambiti, tra cui il ruolo delle donne nella società. Ho deciso di concentrarmi sulla rappresentazione della donna secondo Zhang Ailing, in quanto essa è controcorrente e molto realistica. A tale proposito Chiung-chu Chen afferma:! […] Chang, a realist, records what life is and how the social environment has an impact on all aspects of women’s life. As one of the most prominent modern Chinese female writers, Chang never attempts to write what does not happen in real life though she uses numerous symbolic images. Thus, she portrays only the true aspects of women’s lives.4! L'autrice ha sempre criticato il ruolo attribuito alla donna dalla società patriarcale, mettendo in rilievo nelle sue opere gli effetti devastanti che far parte di tale società ha avuto sulle donne. Sempre Chiung-chu Cheng dice:! […] as an insider of Chinese society, Chang observes more than the loss of virtue, rape, and suffering; through her narrative lens, she sees them as destructive forces of the male code. [...] These characters are at times depressed, hopeless, helpless, hostile, wicked, distorted, or psychologically split because they are conscious of their limitations as inhabitants of a patriarchal society. 5! Questa ferma opposizione ai limiti imposti alle donne dalla società patriarcale emerge anche dalla sua stessa vita privata, ancora Chiung-chu Chen afferma a riguardo: ! Women’s struggle for surviving in a male-dominated culture becomes her recurring theme. Chang’s life story, more unique than her own fiction, reflects […] women’s quest for subjectivity.6! L'aumento dell'influenza occidentale sulla Cina, se da un lato portò numerosi benefici, dall'altro mise in crisi i valori culturali e sociali del paese; la popolazione si trovava a metà tra i valori confuciani tradizionali e quelli occidentali moderni che !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4 Chiung-Chu CHEN, The development of female consciousness in the fiction of Eileen Chang and Fay Weldon, University of South Carolina Press, 2003, p.5. 5 CHEN, The development..., cit., pp. 7-18. 6 CHEN, Ivi, p. 32.! ! 8! bussavano prepotentemente alla porta. Questa sorta di “crisi” è proprio quella che Zhang Ailing ha voluto rappresentare nelle sue opere, descrivendo in modo particolare il punto di vista femminile. Senza affrontare temi politici, ma semplicemente descrivendo la vita ordinaria delle persone e mostrando l'impatto che i cambiamenti hanno avuto su di loro. Come Kam Louie, studioso e professore dell’Università di Hong Kong, osserva:! Because she was a sensitive person living in times of tumultuous cultural transformation, her sensitivities are worth relating, and they are worth examining. At a time when most writers were obsessed with the idea of saving or changing the Chinese nation or Chinese culture, Eileen Chang presents a personal story, one that she felt compelled to rehearse many times. She manages to reveal her feelings and thoughts not via the theme of revolution or national salvation so prevalent at that time, but through a deliberate involution in the telling of her life.7! È mio intento esplorare questa “involuzione” che genera una vera e propria rivoluzione della donna e della scrittrice Zhang Ailing, nella sua lotta per sopravvivere all’interno della cultura patriarcale. Come poco sopra precisato, sono interessata quindi a prendere in esame l’immagine della donna che emerge in particolare dalle opere autobiografiche dell’autrice. Riguardo a queste ultime David Wang, professore universitario e studioso di letteratura cinese, afferma:! “Through Lute's eyes, Chang reviews those scenes that brought her so much pain in her early years, and tries to come to terms with things she once failed to understand.”8 E ancora: In 1976, Chang completed the draft of her Chinese novel Little Reunion. The novel is intended as a full account of Chang's life from childhood to her divorce from Hu Lancheng; as such, it completes what Chang had tried to do in her two English language biographical works of fiction, The Fall of the Pagoda and The Book of Change.9! È quindi chiaro che in tali romanzi l’autrice parli di sé stessa e di persone realmente esistite, sebbene mascherate dietro a personaggi fittizi.
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