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class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Gilda Policastro" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/20240942/9147752/12603879/s200_gilda.policastro.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Gilda Policastro</h1><div class="affiliations-container fake-truncate js-profile-affiliations"></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" 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class="data">297</p></div></a><div class="js-mentions-count-container" style="display: none;"><a href="/GildaPolicastro/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data"></p></div></a></div><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://independent.academia.edu/PolicastroGilda"><img class="profile-avatar u-positionAbsolute" alt="Gilda Policastro" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/53778036/14188638/15168356/s200_gilda.policastro.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://independent.academia.edu/PolicastroGilda">Gilda Policastro</a></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://unige-it.academia.edu/LucaBeltrami"><img class="profile-avatar u-positionAbsolute" alt="Luca Beltrami" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/12259074/6440029/38665254/s200_luca.beltrami.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://unige-it.academia.edu/LucaBeltrami">Luca Beltrami</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">University of Genova</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://unive.academia.edu/BeatriceZennaro"><img class="profile-avatar u-positionAbsolute" alt="Beatrice Zennaro" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/6151683/9857461/11090446/s200_beatrice.zennaro.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://unive.academia.edu/BeatriceZennaro">Beatrice Zennaro</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Università Ca' Foscari Venezia</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://independent.academia.edu/LuciaSantarcangelo"><img class="profile-avatar u-positionAbsolute" alt="Lucia Santarcangelo" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/30952561/9058786/10105440/s200_lucia.santarcangelo.jpg_oh_cd619e9a3e40d4d07e4fdb1a341ca052_oe_55c1fdf4___gda___1443476835_17a14ec39997c469cba625a7d2b185e8" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://independent.academia.edu/LuciaSantarcangelo">Lucia Santarcangelo</a></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://unibo.academia.edu/RiccardoGasperinaGeroni"><img class="profile-avatar u-positionAbsolute" alt="Riccardo Gasperina Geroni" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/8101084/2808863/99113938/s200_riccardo.gasperina_geroni.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://unibo.academia.edu/RiccardoGasperinaGeroni">Riccardo Gasperina Geroni</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Università di Bologna</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://unibas-it.academia.edu/MariaPiaEllero"><img class="profile-avatar u-positionAbsolute" alt="Maria Pia Ellero" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/17700041/4937781/8546821/s200_maria_pia.ellero.png" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://unibas-it.academia.edu/MariaPiaEllero">Maria Pia Ellero</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Università della Basilicata</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://helwan.academia.edu/WafaaRaouf"><img class="profile-avatar u-positionAbsolute" alt="Wafaa El Beih" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/760535/258123/35412367/s200_wafaa.el_beih.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://helwan.academia.edu/WafaaRaouf">Wafaa El Beih</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Helwan University</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://independent.academia.edu/MarcellaMarmo"><img class="profile-avatar u-positionAbsolute" border="0" alt="" src="//a.academia-assets.com/images/s200_no_pic.png" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://independent.academia.edu/MarcellaMarmo">Marcella Marmo</a></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://innovazioniperlaterra.academia.edu/GIUSEPPEVARONE"><img class="profile-avatar u-positionAbsolute" alt="GIUSEPPE VARONE" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/5235439/2310977/19131053/s200_giuseppe.varone.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://innovazioniperlaterra.academia.edu/GIUSEPPEVARONE">GIUSEPPE VARONE</a><p class="suggested-user-card__user-info__subheader ds2-5-body-xs">Università degli studi di Roma Tor Vergata</p></div></div><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://independent.academia.edu/marmomarcella"><img class="profile-avatar u-positionAbsolute" alt="marcella marmo" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/58574502/23755375/22779868/s200_marcella.marmo.jpg" /></a></div><div class="suggested-user-card__user-info"><a class="suggested-user-card__user-info__header ds2-5-body-sm-bold ds2-5-body-link" href="https://independent.academia.edu/marmomarcella">marcella marmo</a></div></div></ul></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="20240942">View All (13)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="20240942" href="https://www.academia.edu/Documents/in/Dottorato_Di_Ricerca"><div id="js-react-on-rails-context" style="display:none" 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data-work-id="43224033"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43224033/Levi"><img alt="Research paper thumbnail of Levi" class="work-thumbnail" src="https://attachments.academia-assets.com/63493186/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43224033/Levi">Levi</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Autorizzazione del Tribunale di Roma n. 16065 del 13.10.1975 L'annata viene stampata con un contr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Autorizzazione del Tribunale di Roma n. 16065 del 13.10.1975 L'annata viene stampata con un contributo del Ministero per i Beni e le Attività Culturali Tutti i diritti riservati -All rights reserved Copyright © 2018 by Salerno Editrice S.r.l., Roma. Sono rigorosamente vietati la ripro duzione, la traduzione, l'adattamento, anche parziale o per estratti, per qual sia si uso e con qualsiasi mezzo effettuati, senza la preventiva autorizzazione scritta della Salerno Editrice S.r.l. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43223978"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43223978/CATABASI_TEMPO_E_ROMANZO_NEL_CRISTO_SI_%C3%88_FERMATO_A_EBOLI_DI_CARLO_LEVI"><img alt="Research paper thumbnail of CATABASI, TEMPO E ROMANZO NEL CRISTO SI È FERMATO A EBOLI DI CARLO LEVI" class="work-thumbnail" src="https://attachments.academia-assets.com/63493134/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43223978/CATABASI_TEMPO_E_ROMANZO_NEL_CRISTO_SI_%C3%88_FERMATO_A_EBOLI_DI_CARLO_LEVI">CATABASI, TEMPO E ROMANZO NEL CRISTO SI È FERMATO A EBOLI DI CARLO LEVI</a></div><div class="wp-workCard_item"><span>Filologia e Critica</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Il saggio s’interroga sullo statuto di genere del libro leviano, a partire dalla sua collocazione...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Il saggio s’interroga sullo statuto di genere del libro leviano, a partire dalla sua collocazione entro il filone “catabatico”, per alcuni motivi e temi insistiti: dal travestimen - to infernale di ambienti fisici e umani alla ricostruzione allegorica di un luogo e di un tempo fuori dalla storia. È proprio il sentimento del tempo, però, a dare al Cristo un’impronta piú decisamente romanzesca. Si sostiene ciò sia in contrapposizione ad altre letture (coeve e recenti) del libro, sia rispetto a esempi della letteratura contemporanea con al centro la realtà contadina. La posizione leviana resta controversa ed è tutto aperto il dibattito sullo scarto fra ideologia e adesione emotiva al mondo oggetto di narrazione: il saggio valorizza la piena riuscita estetica dell’opera, con la disamina di elementi tanto strutturali che stilistici.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1439d284b79200719e487912ea8f9ab2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63493134,"asset_id":43223978,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63493134/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43223978"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43223978"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43223978; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40390825"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40390825/DAL_CUT_UP_AL_GOOGLISM_LA_PRATICA_DEL_MONTAGGIO_NELLA_POESIA_CONTEMPORANEA"><img alt="Research paper thumbnail of DAL CUT-UP AL GOOGLISM: LA PRATICA DEL MONTAGGIO NELLA POESIA CONTEMPORANEA" class="work-thumbnail" src="https://attachments.academia-assets.com/60641865/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40390825/DAL_CUT_UP_AL_GOOGLISM_LA_PRATICA_DEL_MONTAGGIO_NELLA_POESIA_CONTEMPORANEA">DAL CUT-UP AL GOOGLISM: LA PRATICA DEL MONTAGGIO NELLA POESIA CONTEMPORANEA</a></div><div class="wp-workCard_item"><span>La modernità letteraria e le declinazioni del visivo Arti, cinema, fotografia e nuove tecnologie</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Secondo Edoardo Sanguineti il montaggio e la psicoanalisi furono le più grandi invenzioni del Nov...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Secondo Edoardo Sanguineti il montaggio e la psicoanalisi furono le più grandi invenzioni del Novecento: del primo in particolare la neoavanguardia si servì per scardinare il “poetese” e le forme tradizionali, sentite come inadeguate. Così Balestrini pubblicò nel ’62 la prima poesia per il calcolatore e nel '66 un intero romanzo, Tristano, in lasse elaborate al computer secondo un programma ulteriormente perfezionato quarant’anni dopo. Con la diffusione di internet pratiche come il googlism e la sought poetry si diffondono in un quadro che comprende la mediazione di poeti francesi e angloamericani, da Ponge a Tarkos a Mohammad: così il montaggio ritorna negli anni Zero, dal Balestrini di Empty Cage fino al Michele Zaffarano dei Paragrafi dell’armonia, arrivando alle nuove scritture dei poeti nati fra gli anni Ottanta e Novanta, per i quali perdono efficacia le distinzioni classiche tra prosa e poesia, a vantaggio della costruzione “procedurale” esibita come valore storicamente significante.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a17068e613a5c9f78ff56348d23c90b4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60641865,"asset_id":40390825,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60641865/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40390825"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40390825"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40390825; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="20385993"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20385993/La_catabasi_oscena_da_Pasolini_ad_Aldo_Nove"><img alt="Research paper thumbnail of La catabasi oscena da Pasolini ad Aldo Nove" class="work-thumbnail" src="https://attachments.academia-assets.com/41330272/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/20385993/La_catabasi_oscena_da_Pasolini_ad_Aldo_Nove">La catabasi oscena da Pasolini ad Aldo Nove</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La catabasi oscena da PasoLini ad aLdo nove «e caddi come corpo morto cade» è quanto mai proverbi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La catabasi oscena da PasoLini ad aLdo nove «e caddi come corpo morto cade» è quanto mai proverbiale chiusa dantesca riferita, in Inferno v, al momento in cui l'adultera Francesca ha concluso il racconto del suo affaire amoroso col cognato e dante viene sopraffatto dalla pietà. La similitudine, ripresa secondo una modalità che Linda Hutcheon definirebbe propriamente parodica («repetition with difference») 1 , diventa in Petrolio di Pier Paolo Pasolini funzionale alla più estrema dissacrazione dell'amore coniugale, attraverso un cambio di prospettiva (e di locuzione) decisivo: non è chi ascolta, a cadere, impressionato dall'altrui racconto, ma il protagonista del narratum -o dell'inscenato, come vedremo -, attraverso un articolato gioco prospettico. Francesca ha ripercorso la sua vicenda con Paolo a beneficio dell'auctor agens dante, che per il contini del noto saggio sviene immedesimandosi nelle sorti del personaggio para-autobiografico della «lettrice» e «usufruttuaria» di versi d'amore (una delle donne che ne avrebbero avuto intelletto, al dunque) 2 . Pasolini ricolloca al centro della visione il viandante oltremondano, che nella versione archetipica della catabasi, quella dell'abortita Divina Mimesis, avrebbe dovuto peraltro pienamente e nominalmente identificarsi con l'auctor. nel romanzo si chiama invece "il Merda" (e alla Merda si dedica in contemporanea, negli stessi anni della stesura di Petrolio, uno dei gironi di Salò: dopo le Manie e prima della Morte): il suo attraversamento non procede in modalità mimetica, ma si avvale di un ininterrotto piano-sequenza per tutta la visione, «una lunga e lenta carrellata all'indietro» come ripresa 1 linda HutcHeon, A Theory of Parody. The Theachings of Twentieth-Century Art Forms [1985], champaign-Urbana, Ui Press, 2001 Gianfranco contini, Dante come personaggio-poeta della commedia, in Un'idea di Dante, torino, einaudi, 1970, p. 42.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="54eaa8d2936ec080166bd575bf00cad1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41330272,"asset_id":20385993,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41330272/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20385993"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20385993"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20385993; 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L. Capuana, Il Decameroncino, a c. di A. Castelvecchi, Salerno, Roma 1991. Per un'analisi più ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">1. L. Capuana, Il Decameroncino, a c. di A. Castelvecchi, Salerno, Roma 1991. Per un'analisi più approfondita del novelliere di Capuana, cfr. N. Mineo, Il novellare come sperimentazione: il «Decameroncino», in La Novella italiana. Atti del Convegno di Caprarola (19-24 settembre 1988), Salerno, Roma 1989, pp. 1031-1039, in cui si segnala anche l'ottimo contributo di G. Guglielmi, Esiti novecenteschi della novella italiana, pp. 607-625, che ci tornerà utile per i discorsi a seguire, anche in assenza di una menzione esplicita. 2. Sulle caratteristiche strutturali della novella tradizionale, cfr. N. 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T.S. ELIOT, Murder in the cathedral TOPOGRAFIA OLTREMONDANA</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="54cf51fafd7d52228299f7697436d228" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41330143,"asset_id":20385687,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41330143/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20385687"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20385687"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20385687; 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Tornava quindi il tema gaddiano, sin dalla stesura, nel '28, di Dejanira Classis o Novella seconda, ispirata al caso di cronaca contemporanea del delitto Pettine, "giovine mostruoso" già "finito moralmente" e dunque superfluamente condannato a quindici anni di galera. Il "matricida demente" si sarebbe poi guadagnato, col suo gesto "shakespeariano", l'onore dell'edizione del racconto solo nel '71 (p. 13). La figlia di Manganelli, Lietta, ebbe a raccontare di come quella volta in casa Magnoni, effettivamente, chiusa lei in balcone, se le fossero cantate e suonate, il Gadda e suo padre: causa della lite memoranda, proprio la presunta "presa in giro", in Hilarotragoedia, del movente autobiografico materno della Cognizione: "Sono lì da un'oretta e suona il campanello, mio padre mi dà una spinta e mi chiude fuori in balcone e tira giù la tapparella. Allora sento dentro degli scoppi di urla pazzesche di due uomini, e pensavo: ma cosa sta succedendo, questi qui si ammazzano. Poi sento dei lamenti. Finalmente, dopo un paio d'ore che sono lì che mi guardo i tetti di Roma mio padre mi riapre. Allora io gli chiedo: 'Ma cosa è successo?', 'Oh, niente. Era un collega'. Il collega era Carlo Emilio Gadda che era piombato lì urlante perché era appena uscita Hilarotragoedia e accusava mio padre di aver fatto la parodia a La cognizione del dolore e gli diceva che era un gran farabutto". La stretta contiguità cronologica delle due opere, anche al di là della leggendaria scazzottata, autorizza un'ipotesi di parentela se non di diretta "filiazione", citando Graziella Pulce che però tale filiazione esclude (ma perché?), proprio sulla base dell'aneddoto rivelatore (p. 101). Sempre e contrario, tale ipotesi verrebbe supportata dal rilevamento del dato biografico da parte del Manga (e però a tutela della propria originalità creativa), di una "grande abbondanza, a quell'epoca, di madri matte". In realtà le madri "matte" (oppure solo autoritarie, rigide, estranee, distanti) non erano mai mancate, perlomeno dall'"archetipo Antici" (Ceccherelli, p. 208), madre per antonomasia anaffettiva e del tutto indifferente alle sorti esistenziali del figlio. "Io ho conosciuto intimamente una madre..." è il perturbante attacco del celeberrimo e feroce j'accuse di Leopardi in Zib. 353-356: "Questa non solamente non compiangeva quei genitori che perdevano i loro figli bambini, ma gl'invidiava intimamente e sinceramente, perché questi eran volati al paradiso senza pericoli, e avean liberato i genitori dall'incomodo di mantenerli [...]. Le malattie, le morti le più compassionevoli de' giovanetti estinti nel fior dell'età, fra le più Madri/Inferni 395 MADRI/INFERNI Gilda Policastro da me, da me che la tua bocca muta feci poi con l'audacia dei miei sogni (U. Saba, A mamma) Madri matte Giorgio Manganelli odiava sua madre, si sposò per farle dispetto, una volta, pare, cercò di ammazzarla. Pubblicò già quarantenne il suo primo libro, Hilarotragoedia, solo nel '64, anno in cui la madre morì: il non canonico sentimento vi allogava in particolare nell'episodio della visita annuale, culminante in violenta aggressione fisica ostentatamente pretestuosa, su cui poi calava la ilarotragica reticenza del narratore-figlio: "A che ripetere a una a una le frasi della orrenda giornata? […] Voilà! Vogliamo chiamarlo aperitivo discenditivo? […] Sia chiaro: le lepidezze del testo non debbono trarre in inganno il lettore; il documento resta, se non tragico, bellamente patetico, una illustrazione […] della insopprimibile gentilezza d'animo d'un pio omicida" (HT, pp. 107-109). Anche Carlo Emilio Gadda, appena un anno avanti, pubblicava un libro</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e54f8a5079a4dd6dc4596f72f37b6b69" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41330128,"asset_id":20385669,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41330128/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20385669"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20385669"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20385669; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20385669]").text(description); $(".js-view-count[data-work-id=20385669]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 20385669; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='20385669']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e54f8a5079a4dd6dc4596f72f37b6b69" } } $('.js-work-strip[data-work-id=20385669]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":20385669,"title":"Madri/Inferni","internal_url":"https://www.academia.edu/20385669/Madri_Inferni","owner_id":20240942,"coauthors_can_edit":true,"owner":{"id":20240942,"first_name":"Gilda","middle_initials":null,"last_name":"Policastro","page_name":"GildaPolicastro","domain_name":"independent","created_at":"2014-10-28T22:39:09.613-07:00","display_name":"Gilda Policastro","url":"https://independent.academia.edu/GildaPolicastro","email":"QmNyMURRWm54bUViaGpENUVSNGxwQ09zNUQ3UlpxWWEzWkI5SWQzTG5OSFVGU0RKNzcwQzJSWW9vejRpcVErNS0tRnlNbFd3R3FkTUp6aWEvU3ZZbjVhQT09--9ba0724cb4c51c25f6cdf8ab37cb13dbc14d9fd6"},"attachments":[{"id":41330128,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/41330128/thumbnails/1.jpg","file_name":"Manganelli.pdf","download_url":"https://www.academia.edu/attachments/41330128/download_file","bulk_download_file_name":"Madri_Inferni.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/41330128/Manganelli-libre.pdf?1453233633=\u0026response-content-disposition=attachment%3B+filename%3DMadri_Inferni.pdf\u0026Expires=1738860680\u0026Signature=Q2ZYtf8LT-K3XKzh~Qg-~XchfHQIyhXaVSbwDqbs87-I~N2Bc~ejbJ8sIPskq~6baxLsnbH7KGX1dlybxwXYAD47s3sdpQOc4amLGOm~VqgolYsbxb4prkFnBhHcmbeGGCaklPqeneL-I2OXoHk7ZFSLlCDGS8t7kVhpVx-L80-NVvhMu7nbJvBdeL2~lFdqmch8HJMIkM6KlO5-UsBFiwCzt4e~Vjq9f5u-hVKX5lFiEJ9HK6HfCjOpbNDVAnorFKqOkyi-Pt036Bm5I7RWxecBklxBViZrIAkZJq821FBMHHQPl0nifZxhraU9bvBtsBSN~45PI-i~pllgTULa2w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="20385634"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20385634/L_aldil%C3%A0_travestito_Il_Fin_de_partie_beckettiano_e_le_Storie_naturali_di_Edoardo_Sanguineti"><img alt="Research paper thumbnail of L’aldilà travestito. 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L'EFFETTO BECKETT NELLA CULTURA I...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">a cura di GIANCARLO ALFANO ANDREA CORTELLESSA TEGOLE DAL CIELO. 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Sono rigorosamente vietati la ripro duzione, la traduzione, l'adattamento, anche parziale o per estratti, per qual sia si uso e con qualsiasi mezzo effettuati, senza la preventiva autorizzazione scritta della Salerno Editrice S.r.l. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43223978"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43223978/CATABASI_TEMPO_E_ROMANZO_NEL_CRISTO_SI_%C3%88_FERMATO_A_EBOLI_DI_CARLO_LEVI"><img alt="Research paper thumbnail of CATABASI, TEMPO E ROMANZO NEL CRISTO SI È FERMATO A EBOLI DI CARLO LEVI" class="work-thumbnail" src="https://attachments.academia-assets.com/63493134/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43223978/CATABASI_TEMPO_E_ROMANZO_NEL_CRISTO_SI_%C3%88_FERMATO_A_EBOLI_DI_CARLO_LEVI">CATABASI, TEMPO E ROMANZO NEL CRISTO SI È FERMATO A EBOLI DI CARLO LEVI</a></div><div class="wp-workCard_item"><span>Filologia e Critica</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Il saggio s’interroga sullo statuto di genere del libro leviano, a partire dalla sua collocazione...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Il saggio s’interroga sullo statuto di genere del libro leviano, a partire dalla sua collocazione entro il filone “catabatico”, per alcuni motivi e temi insistiti: dal travestimen - to infernale di ambienti fisici e umani alla ricostruzione allegorica di un luogo e di un tempo fuori dalla storia. È proprio il sentimento del tempo, però, a dare al Cristo un’impronta piú decisamente romanzesca. Si sostiene ciò sia in contrapposizione ad altre letture (coeve e recenti) del libro, sia rispetto a esempi della letteratura contemporanea con al centro la realtà contadina. La posizione leviana resta controversa ed è tutto aperto il dibattito sullo scarto fra ideologia e adesione emotiva al mondo oggetto di narrazione: il saggio valorizza la piena riuscita estetica dell’opera, con la disamina di elementi tanto strutturali che stilistici.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1439d284b79200719e487912ea8f9ab2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63493134,"asset_id":43223978,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63493134/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43223978"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43223978"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43223978; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40390825"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40390825/DAL_CUT_UP_AL_GOOGLISM_LA_PRATICA_DEL_MONTAGGIO_NELLA_POESIA_CONTEMPORANEA"><img alt="Research paper thumbnail of DAL CUT-UP AL GOOGLISM: LA PRATICA DEL MONTAGGIO NELLA POESIA CONTEMPORANEA" class="work-thumbnail" src="https://attachments.academia-assets.com/60641865/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40390825/DAL_CUT_UP_AL_GOOGLISM_LA_PRATICA_DEL_MONTAGGIO_NELLA_POESIA_CONTEMPORANEA">DAL CUT-UP AL GOOGLISM: LA PRATICA DEL MONTAGGIO NELLA POESIA CONTEMPORANEA</a></div><div class="wp-workCard_item"><span>La modernità letteraria e le declinazioni del visivo Arti, cinema, fotografia e nuove tecnologie</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Secondo Edoardo Sanguineti il montaggio e la psicoanalisi furono le più grandi invenzioni del Nov...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Secondo Edoardo Sanguineti il montaggio e la psicoanalisi furono le più grandi invenzioni del Novecento: del primo in particolare la neoavanguardia si servì per scardinare il “poetese” e le forme tradizionali, sentite come inadeguate. Così Balestrini pubblicò nel ’62 la prima poesia per il calcolatore e nel '66 un intero romanzo, Tristano, in lasse elaborate al computer secondo un programma ulteriormente perfezionato quarant’anni dopo. Con la diffusione di internet pratiche come il googlism e la sought poetry si diffondono in un quadro che comprende la mediazione di poeti francesi e angloamericani, da Ponge a Tarkos a Mohammad: così il montaggio ritorna negli anni Zero, dal Balestrini di Empty Cage fino al Michele Zaffarano dei Paragrafi dell’armonia, arrivando alle nuove scritture dei poeti nati fra gli anni Ottanta e Novanta, per i quali perdono efficacia le distinzioni classiche tra prosa e poesia, a vantaggio della costruzione “procedurale” esibita come valore storicamente significante.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a17068e613a5c9f78ff56348d23c90b4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60641865,"asset_id":40390825,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60641865/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40390825"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40390825"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40390825; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="20385993"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20385993/La_catabasi_oscena_da_Pasolini_ad_Aldo_Nove"><img alt="Research paper thumbnail of La catabasi oscena da Pasolini ad Aldo Nove" class="work-thumbnail" src="https://attachments.academia-assets.com/41330272/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/20385993/La_catabasi_oscena_da_Pasolini_ad_Aldo_Nove">La catabasi oscena da Pasolini ad Aldo Nove</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La catabasi oscena da PasoLini ad aLdo nove «e caddi come corpo morto cade» è quanto mai proverbi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La catabasi oscena da PasoLini ad aLdo nove «e caddi come corpo morto cade» è quanto mai proverbiale chiusa dantesca riferita, in Inferno v, al momento in cui l'adultera Francesca ha concluso il racconto del suo affaire amoroso col cognato e dante viene sopraffatto dalla pietà. La similitudine, ripresa secondo una modalità che Linda Hutcheon definirebbe propriamente parodica («repetition with difference») 1 , diventa in Petrolio di Pier Paolo Pasolini funzionale alla più estrema dissacrazione dell'amore coniugale, attraverso un cambio di prospettiva (e di locuzione) decisivo: non è chi ascolta, a cadere, impressionato dall'altrui racconto, ma il protagonista del narratum -o dell'inscenato, come vedremo -, attraverso un articolato gioco prospettico. Francesca ha ripercorso la sua vicenda con Paolo a beneficio dell'auctor agens dante, che per il contini del noto saggio sviene immedesimandosi nelle sorti del personaggio para-autobiografico della «lettrice» e «usufruttuaria» di versi d'amore (una delle donne che ne avrebbero avuto intelletto, al dunque) 2 . Pasolini ricolloca al centro della visione il viandante oltremondano, che nella versione archetipica della catabasi, quella dell'abortita Divina Mimesis, avrebbe dovuto peraltro pienamente e nominalmente identificarsi con l'auctor. nel romanzo si chiama invece "il Merda" (e alla Merda si dedica in contemporanea, negli stessi anni della stesura di Petrolio, uno dei gironi di Salò: dopo le Manie e prima della Morte): il suo attraversamento non procede in modalità mimetica, ma si avvale di un ininterrotto piano-sequenza per tutta la visione, «una lunga e lenta carrellata all'indietro» come ripresa 1 linda HutcHeon, A Theory of Parody. The Theachings of Twentieth-Century Art Forms [1985], champaign-Urbana, Ui Press, 2001 Gianfranco contini, Dante come personaggio-poeta della commedia, in Un'idea di Dante, torino, einaudi, 1970, p. 42.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="54eaa8d2936ec080166bd575bf00cad1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41330272,"asset_id":20385993,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41330272/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20385993"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20385993"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20385993; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="20385854"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20385854/La_brevit%C3%A0_succosa_la_novella_e_il_canone_contemporaneo_per_un_ipotesi_di_revisione_"><img alt="Research paper thumbnail of La «brevità succosa»: la novella e il canone contemporaneo (per un’ipotesi di revisione)" class="work-thumbnail" src="https://attachments.academia-assets.com/41330251/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/20385854/La_brevit%C3%A0_succosa_la_novella_e_il_canone_contemporaneo_per_un_ipotesi_di_revisione_">La «brevità succosa»: la novella e il canone contemporaneo (per un’ipotesi di revisione)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">1. L. Capuana, Il Decameroncino, a c. di A. Castelvecchi, Salerno, Roma 1991. Per un'analisi più ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">1. L. Capuana, Il Decameroncino, a c. di A. Castelvecchi, Salerno, Roma 1991. Per un'analisi più approfondita del novelliere di Capuana, cfr. N. Mineo, Il novellare come sperimentazione: il «Decameroncino», in La Novella italiana. Atti del Convegno di Caprarola (19-24 settembre 1988), Salerno, Roma 1989, pp. 1031-1039, in cui si segnala anche l'ottimo contributo di G. Guglielmi, Esiti novecenteschi della novella italiana, pp. 607-625, che ci tornerà utile per i discorsi a seguire, anche in assenza di una menzione esplicita. 2. Sulle caratteristiche strutturali della novella tradizionale, cfr. N. Ordine, Per una storia della novella, in Teoria della novella e teoria del riso nel Cinquecento, Liguori, Napoli 1996, pp. 25-58.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="86bb6d37e0c54442440465d5b1bf0eb4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41330251,"asset_id":20385854,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41330251/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20385854"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20385854"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20385854; 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T.S. ELIOT, Murder in the cathedral TOPOGRAFIA OLTREMONDANA</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="54cf51fafd7d52228299f7697436d228" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41330143,"asset_id":20385687,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41330143/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20385687"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20385687"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20385687; 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Tornava quindi il tema gaddiano, sin dalla stesura, nel '28, di Dejanira Classis o Novella seconda, ispirata al caso di cronaca contemporanea del delitto Pettine, "giovine mostruoso" già "finito moralmente" e dunque superfluamente condannato a quindici anni di galera. Il "matricida demente" si sarebbe poi guadagnato, col suo gesto "shakespeariano", l'onore dell'edizione del racconto solo nel '71 (p. 13). La figlia di Manganelli, Lietta, ebbe a raccontare di come quella volta in casa Magnoni, effettivamente, chiusa lei in balcone, se le fossero cantate e suonate, il Gadda e suo padre: causa della lite memoranda, proprio la presunta "presa in giro", in Hilarotragoedia, del movente autobiografico materno della Cognizione: "Sono lì da un'oretta e suona il campanello, mio padre mi dà una spinta e mi chiude fuori in balcone e tira giù la tapparella. Allora sento dentro degli scoppi di urla pazzesche di due uomini, e pensavo: ma cosa sta succedendo, questi qui si ammazzano. Poi sento dei lamenti. Finalmente, dopo un paio d'ore che sono lì che mi guardo i tetti di Roma mio padre mi riapre. Allora io gli chiedo: 'Ma cosa è successo?', 'Oh, niente. Era un collega'. Il collega era Carlo Emilio Gadda che era piombato lì urlante perché era appena uscita Hilarotragoedia e accusava mio padre di aver fatto la parodia a La cognizione del dolore e gli diceva che era un gran farabutto". La stretta contiguità cronologica delle due opere, anche al di là della leggendaria scazzottata, autorizza un'ipotesi di parentela se non di diretta "filiazione", citando Graziella Pulce che però tale filiazione esclude (ma perché?), proprio sulla base dell'aneddoto rivelatore (p. 101). Sempre e contrario, tale ipotesi verrebbe supportata dal rilevamento del dato biografico da parte del Manga (e però a tutela della propria originalità creativa), di una "grande abbondanza, a quell'epoca, di madri matte". In realtà le madri "matte" (oppure solo autoritarie, rigide, estranee, distanti) non erano mai mancate, perlomeno dall'"archetipo Antici" (Ceccherelli, p. 208), madre per antonomasia anaffettiva e del tutto indifferente alle sorti esistenziali del figlio. "Io ho conosciuto intimamente una madre..." è il perturbante attacco del celeberrimo e feroce j'accuse di Leopardi in Zib. 353-356: "Questa non solamente non compiangeva quei genitori che perdevano i loro figli bambini, ma gl'invidiava intimamente e sinceramente, perché questi eran volati al paradiso senza pericoli, e avean liberato i genitori dall'incomodo di mantenerli [...]. Le malattie, le morti le più compassionevoli de' giovanetti estinti nel fior dell'età, fra le più Madri/Inferni 395 MADRI/INFERNI Gilda Policastro da me, da me che la tua bocca muta feci poi con l'audacia dei miei sogni (U. Saba, A mamma) Madri matte Giorgio Manganelli odiava sua madre, si sposò per farle dispetto, una volta, pare, cercò di ammazzarla. Pubblicò già quarantenne il suo primo libro, Hilarotragoedia, solo nel '64, anno in cui la madre morì: il non canonico sentimento vi allogava in particolare nell'episodio della visita annuale, culminante in violenta aggressione fisica ostentatamente pretestuosa, su cui poi calava la ilarotragica reticenza del narratore-figlio: "A che ripetere a una a una le frasi della orrenda giornata? […] Voilà! Vogliamo chiamarlo aperitivo discenditivo? […] Sia chiaro: le lepidezze del testo non debbono trarre in inganno il lettore; il documento resta, se non tragico, bellamente patetico, una illustrazione […] della insopprimibile gentilezza d'animo d'un pio omicida" (HT, pp. 107-109). Anche Carlo Emilio Gadda, appena un anno avanti, pubblicava un libro</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e54f8a5079a4dd6dc4596f72f37b6b69" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":41330128,"asset_id":20385669,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/41330128/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="20385669"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="20385669"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20385669; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20385669]").text(description); $(".js-view-count[data-work-id=20385669]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 20385669; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='20385669']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e54f8a5079a4dd6dc4596f72f37b6b69" } } $('.js-work-strip[data-work-id=20385669]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":20385669,"title":"Madri/Inferni","internal_url":"https://www.academia.edu/20385669/Madri_Inferni","owner_id":20240942,"coauthors_can_edit":true,"owner":{"id":20240942,"first_name":"Gilda","middle_initials":null,"last_name":"Policastro","page_name":"GildaPolicastro","domain_name":"independent","created_at":"2014-10-28T22:39:09.613-07:00","display_name":"Gilda Policastro","url":"https://independent.academia.edu/GildaPolicastro","email":"QmNyMURRWm54bUViaGpENUVSNGxwQ09zNUQ3UlpxWWEzWkI5SWQzTG5OSFVGU0RKNzcwQzJSWW9vejRpcVErNS0tRnlNbFd3R3FkTUp6aWEvU3ZZbjVhQT09--9ba0724cb4c51c25f6cdf8ab37cb13dbc14d9fd6"},"attachments":[{"id":41330128,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/41330128/thumbnails/1.jpg","file_name":"Manganelli.pdf","download_url":"https://www.academia.edu/attachments/41330128/download_file","bulk_download_file_name":"Madri_Inferni.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/41330128/Manganelli-libre.pdf?1453233633=\u0026response-content-disposition=attachment%3B+filename%3DMadri_Inferni.pdf\u0026Expires=1738860680\u0026Signature=Q2ZYtf8LT-K3XKzh~Qg-~XchfHQIyhXaVSbwDqbs87-I~N2Bc~ejbJ8sIPskq~6baxLsnbH7KGX1dlybxwXYAD47s3sdpQOc4amLGOm~VqgolYsbxb4prkFnBhHcmbeGGCaklPqeneL-I2OXoHk7ZFSLlCDGS8t7kVhpVx-L80-NVvhMu7nbJvBdeL2~lFdqmch8HJMIkM6KlO5-UsBFiwCzt4e~Vjq9f5u-hVKX5lFiEJ9HK6HfCjOpbNDVAnorFKqOkyi-Pt036Bm5I7RWxecBklxBViZrIAkZJq821FBMHHQPl0nifZxhraU9bvBtsBSN~45PI-i~pllgTULa2w__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="20385634"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/20385634/L_aldil%C3%A0_travestito_Il_Fin_de_partie_beckettiano_e_le_Storie_naturali_di_Edoardo_Sanguineti"><img alt="Research paper thumbnail of L’aldilà travestito. 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