The objective of this paper is to examine the interrelationship between anthropological essays and literary writing, with Giulio Angioni, one of the pioneering figures in Italy who integrated anthropological texts with the composition of short stories, novels, and poems, serving as a point of reference. His scientific production, which began in the second half of the 1960s, absorbed the author's commitment until the end of the 1980s, when literature became his main means of expression and reflection. The literary field seems to collect and revive not only the author's anthropological knowledge and theoretical reflection, but also certain attitudes and approaches that have proved particularly productive in the ethnographic experience, such as sensitivity, emotions, feelings, empathy, traditionally excluded until then from the toolbox of the anthropological method, at least in Italy. Angioni, who, thanks to this attitude, had succeeded in effectively documenting the self-representations, lifestyles and work of the people of rural Sardinia, seemed at a certain point to need to go beyond descriptive systematisation and project these collective experiences into more specific trajectories, paradoxically into more 'true' stories. The horizon of literary histories, in fact, while guaranteed by an anthropological background, allows the emergence not only of voices, bodies and feelings, but also of those phenomena that hardly find space in the order of ethnographic representations: the inconsistencies, the provisionalities, the contradictions, the uncertainties, the afterthoughts.
In questo scritto mi propongo di indagare sul rapporto tra la saggistica antropologica e la scrittura letteraria, prendendo spunto dalla figura di Giulio Angioni, uno fra i primi in Italia ad aver affiancato ai testi antropologici la scrittura di racconti, romanzi e poesie. La sua produzione scientifica, cominciata nella seconda metà degli anni Sessanta, assorbe l’impegno dell’autore sino alla fine degli anni Ottanta, quando la letteratura diviene il suo principale mezzo espressivo e riflessivo. Il campo letterario sembra raccogliere e rilanciare non solo le conoscenze antropologiche e la riflessione teorica dell’autore, ma anche alcuni atteggiamenti e approcci che si sono rivelati particolarmente produttivi nell’esperienza etnografica, quali la sensibilità, le emozioni, i sentimenti, l’empatia, tradizionalmente esclusi sino ad allora dalla cassetta degli attrezzi del metodo antropologico, almeno in Italia. Angioni, che in virtù di tale postura era riuscito a documentare efficacemente le autorappresentazioni, gli stili di vita e il lavoro delle genti delle aree rurali sarde, a un certo punto pare avere l’esigenza di andare oltre la sistematizzazione descrittiva e di proiettare tali esperienze collettive in traiettorie più specifiche, in storie paradossalmente più “vere”. L’orizzonte delle storie letterarie, infatti, pur garantito da uno sfondo antropologico, permette l’emergere non solo di voci, corpi e sentimenti, ma anche di quei fenomeni che difficilmente trovano spazio nell’ordine delle rappresentazioni etnografiche: le incoerenze le provvisorietà, le contraddizioni, le incertezze, i ripensamenti.
Tra il dire e il fare c'è di mezzo il sentire: le emozioni nella letteratura e nell’etnografia di Giulio Angioni
Carlo Maxia
2020-01-01
Abstract
The objective of this paper is to examine the interrelationship between anthropological essays and literary writing, with Giulio Angioni, one of the pioneering figures in Italy who integrated anthropological texts with the composition of short stories, novels, and poems, serving as a point of reference. His scientific production, which began in the second half of the 1960s, absorbed the author's commitment until the end of the 1980s, when literature became his main means of expression and reflection. The literary field seems to collect and revive not only the author's anthropological knowledge and theoretical reflection, but also certain attitudes and approaches that have proved particularly productive in the ethnographic experience, such as sensitivity, emotions, feelings, empathy, traditionally excluded until then from the toolbox of the anthropological method, at least in Italy. Angioni, who, thanks to this attitude, had succeeded in effectively documenting the self-representations, lifestyles and work of the people of rural Sardinia, seemed at a certain point to need to go beyond descriptive systematisation and project these collective experiences into more specific trajectories, paradoxically into more 'true' stories. The horizon of literary histories, in fact, while guaranteed by an anthropological background, allows the emergence not only of voices, bodies and feelings, but also of those phenomena that hardly find space in the order of ethnographic representations: the inconsistencies, the provisionalities, the contradictions, the uncertainties, the afterthoughts.File | Dimensione | Formato | |
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2020, C. Maxia, Tra il dire e il fare c'è di mezzo il sentire, in Marras, Pias, Tiragallo, Il Maestrale.pdf
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