Casa e vicinato a Bombay: la città degli immigranti

• Rossella Ciocca ^[1]
  1. [1] Università di Napoli “L’Orientale” (Italia)
• Localización: Etudes romanes de Brno, ISSN 1803-7399, Vol. 37, Nº. 2, 2016, págs. 119-132
• Idioma: italiano
• DOI: 10.5817/erb2016-2-10
• Títulos paralelos:
  • Home and Neighbourhood in Bombay: the Immigrants’ City
• Enlaces
  • Texto completo (pdf)
• Resumen
  • italiano

    Mumbay è una megalopoli globale, capitale economica e culturale dell’India neo-liberista, è centro di flussi migratori mastodontici che ne hanno negli ultimi decenni stravolto i lineamenti. Questo saggio si propone un’analisi della sua identità problematica e contraddittoria attraverso esempi tratti dalla cosiddetta Bombay fiction: una letteratura non solo ambientata in città ma che ha per oggetto la città stessa. Cercando di coglierne il profilo multiculturale, le dimensioni della casa e del vicinato vengono prescelte per investigare le connessioni inter e intra comunitarie a ridosso di tre romanzi anglofoni: Ravan and Eddie (1995) di Kiran Nagarkar; Sacred Games (2006) di Vikram Chandra; Last Man in Tower (2011) di Aravind Adiga.

  • English

    Mumbai is a new kind of world place, not only the capital of modernizing India but the very embodiment of its contradictory, neo-liberal advance; a transnational and trans-local contact zone which condenses all the contradictions and the cultural varieties of contemporary global megalopolises. This paper seeks to articulate a description of the city viewed through the lens of its migrant flows, on the one hand, and its narrative renditions, on the other. With the intention to draw a map of its multicultural, problematic identity, the analysis will concentrate upon home and neighbourhood seen as key topics to investigate the connections within and between the different communities. Examples will be drawn from the field of the Anglophone contemporary Bombay novel, namely: Ravan and Eddie (1995) by K. Nagarkar; Sacred Games (2006) by V. Chandra; Last Man in Tower (2011) by A. Adiga.

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