Abstract

Il primo verso di “Everness” di Jorge Luis Borges che Anita Desai sceglie ad epigrafe de L’artista della sparizione sta a indicare che niente puo essere dimenticato tranne cio che non ha forza a sufficienza per diventare memoria. Se l’oblio e il tema principale del libro, il racconto eponimo si concentra sull’urgenza di preservare le opere d’arte di cultura e natura. Il ruolo etico dell’artista come portatore di valori e il lavoro artistico quale strumento di conservazione sono particolarmente evidenti nel cameo destinato a Nek Chand e al suo “Giardino di pietra”, opera mai autorizzata. In questo articolo si esplorano: le eredita naturali e culturali profanate e le loro rappresentazioni letterarie; la distruzione della biodiversita naturalculturale nell’India postcoloniale; la decentralizzazione dell’umano e la forza d’azione della materia. DOI : 10.17456/SIMPLE-73 Bibliografia Alaimo, Stacy & Susan Hekman eds. 2008. Material Feminisms . Bloomington-Indianapolis: Indiana University Press. Barrett, Estelle & Barbara Bolt eds. 2013. Carnal Knowledge. Towards a ‘New Materialism’ through the Arts . London-New York: I. B. Tauris. Bennett, Jane. 2010. Vibrant Matter. A Political Ecology of Things . Durham-London: Duke University Press. Borg, Ruben. 2009. Surviving in Borges: The Memory of Objects after the End of the World. Stefan Herbrechter & Ivan Callus eds. Cy-Borges: Memories of the Posthuman in the Work of Jorge Luis Borges . Lewisburg: Bucknell University Press, 107-125. Borges, Jorge Luis. 1972 [1964]. “Everness” Trans. Richard Wilbur. Norman Thomas di Giovanni ed. Selected Poems 1923-1967. London: Allen Lane The Penguin Press, 207. Bottiroli, Giovanni. “Solo una cosa no hay. Es el olvido”. L’energia del ricordo nella letteratura. http://www.giovannibottiroli.it/en/personaggi-e-identita/solo-una-cosa-no-hay-es- el-olvido.html (accessed on 3/07/2017). Burgin, Richard ed. 1998. Jorge Louis Borges: Conversations. University Press of Mississippi Jackson. Cravero, Claudio ed. 2015. Internaturalita . Atti del Convegno internazionale di studi . Torino 8 maggio 2013. Torino: Prinp. DeLoughrey, Elizabeth & George Handley eds. 2011. Postcolonial Ecologies. Literatures of the Environment. Oxford: Oxford University Press. Desai, Anita. 1980. Clear Light of Day. New York: Harper & Row. Desai, Anita. 2011. The Artist of Disappearance. Three Novellas. London: Chatto & Windus. Fargione, Daniela. 2013. ContaminAzioni e AddomesticaMenti: wilderness e follia ne L’isola di Sukwann di David Vann. Ecozon@: European Journal of Literature, Culture and Environment . 4.1: 78-91. Haraway, Donna. 2008. When Species Meet. Minneapolis-London: University of Minnesota Press. Haraway, Donna. 2015. Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin. Environmental Humanities , 6: 159-165. Iovino, Serenella & Serpil Oppermann eds. 2014. Material Ecocriticism. Bloomington-Indian apolis: Indiana University Press. Kumar, Gajendra. 2002. Indian English Novels. Text and Context . New Dehli: Sarup & Sons. Lundin, Roger. 2004 [1998]. Emily Dickinson and the Art of Belief . Grand Rapid (MI) - Cambridge (UK): William B. Eerdmans Company. Marrone, Gianfranco. 2011. Addio alla Natura . Torino: Einaudi. Menozzi, Filippo. 2015. The Art of the Custodian. Wasafiri , 30, 1: 29-34. Menozzi, Filippo. 2015b. Tracking down ruins: Anita Desai and the ethics of postcolonial writing. Journal of Postcolonial Writing , 52, 3: 1-12. Sagoff, Mark.1988. The Economy of the Earth . Cambridge: Cambridge University Press. Snyder, Gary. 1990. The Practice of the Wild . Berkeley: Counterpoint. Tsing, Anna. 2012. Unruly Edges: Mushrooms as Companion Species. Environmental Humanities , 1, 1: 141-154, http://environmentalhumanities.dukejournals.org/content/1/1/141.full.pdf+html (accessed on 3/07/2017). Viveiros de Castro, Eduardo. 1998. Cosmological Deixis and Amerindian Perspectivism. The Journal of the Royal Anthropological Institute , 4, 3: 469- 488. Wojcik, Daniel. 2016. Outsider Art: Visionary Worlds and Trauma . Jackson: University Press of Mississippi. Kindleversion (ch. “ The Rock Garden of Nek Chand”).

Highlights

  • : Il primo verso di “Everness” di Jorge Luis Borges che Anita Desai sceglie ad epigrafe de L’artista della sparizione sta a indicare che niente può essere dimenticato tranne ciò che non ha forza a sufficienza per diventare memoria

  • In an interview with Willis Barnstone, the poet reveals how his late blindness, “which resembles an eternal present” (Borg 2009: 111), compels him to live in memory: “[...] I suppose a poet should live in memory because, after all, what is imagination? Imagination, I should say, is made of memory and of oblivion

  • It is a kind of blending of the two things” (Burgin 1998: 181)

Read more

Summary

Introduction

: Il primo verso di “Everness” di Jorge Luis Borges che Anita Desai sceglie ad epigrafe de L’artista della sparizione sta a indicare che niente può essere dimenticato tranne ciò che non ha forza a sufficienza per diventare memoria. Oblivion is the main theme of Anita Desai’s three novellas in The Artist of Disappearance (2011), which opens with the first line of “Everness” by Jorge Luis Borges.

Results
Conclusion

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call

Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.