{"id":17084,"date":"2024-05-27T10:07:59","date_gmt":"2024-05-27T08:07:59","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=17084"},"modified":"2024-05-27T10:20:34","modified_gmt":"2024-05-27T08:20:34","slug":"pinotxo-i-la-metafora-cancel%c2%b7lada","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/ca\/pinotxo-i-la-metafora-cancel%c2%b7lada\/","title":{"rendered":"Pinotxo i la met\u00e0fora cancel\u00b7lada"},"content":{"rendered":"

Pinotxo i la met\u00e0fora cancel\u00b7lada<\/h1>\n

Pinotxo com un \u00e9sser de fusta \u00e9s la met\u00e0fora de la inf\u00e0ncia, del nen, constitu\u00eft de pulsions<\/p>\n

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OpenClipart-Vectors. \/ Pixabay\u00a0<\/span><\/figcaption><\/figure>\n

Llic\u00e8ncia Creative Commons<\/a><\/p>\n

\"\"<\/strong><\/p>\n

 <\/p>\n

Xavier Mass\u00f3<\/strong><\/a><\/p>\n

 <\/p>\n

Per a moltes generacions, el personatge de Pinotxo<\/strong> est\u00e0 associat a l’adaptaci\u00f3 cinematogr\u00e0fica que va fer Walt Disney<\/strong> (1940) de la novel\u00b7la de Carlo Collod<\/strong>i (1882). Les cr\u00edtiques al car\u00e0cter ideol\u00f2gicament reaccionari de Disney i la seva filmografia, com acostuma a passar quan no es vol o no se sap distingir el gra de la palla, van predisposar sens dubte a la inhibici\u00f3, quan no al m\u00e9s pejoratiu dels rebuigs. Igual que altres contes \u00abinfantils\u00bb vuitcentistes que va adaptar al cinema.<\/p>\n

Per\u00f2 despr\u00e9s, comparades amb altres adaptacions cinematogr\u00e0fiques posteriors, les de Disney van resultar ser d’una fidelitat a l’esperit original que ja voldrien per a ells els posteriors \u00a0readaptadors de les mateixes obres. O potser va ser que no volien, i que \u00abl\u2019esperit\u00bb que havia animat aquestes cr\u00edtiques no era l’exig\u00e8ncia de fidelitat a l’original, sin\u00f3 la seva alteraci\u00f3 i desnaturalitzaci\u00f3. Efectivament, tan aviat com el bonisme carrincl\u00f3 i pol\u00edticament correcte es va sentir prou empoderat per mostrar la seva veritable fa\u00e7, es va dedicar amb fren\u00e8tic i inusitat afany a censurar aquests mateixos contes \u00abinfantils\u00bb, com la Caputxeta, Bambi o Peter Pan, subvertint-los per complet<\/strong>, aix\u00ed com els relats d’Herg\u00e9<\/strong>, de Roald Dahl<\/strong> o de tants altres. Aix\u00f2 s\u00ed, no per mitj\u00e0 de la cl\u00e0ssica prohibici\u00f3 inquisitorial amb la seva foguera tothora a punt, sin\u00f3 de manera molt m\u00e9s intel\u00b7ligent i perversa: no es prohibeix, per\u00f2 es cancel\u00b7la l\u2019obra, a menys que se n\u2019alteri el seu esperit, desnaturalitzant-la a conveni\u00e8ncia, no fos que an\u00e9s a ferir la sensibilitat d’algunes \u00e0nimes timorates; no fos que l’explotat s\u2019assabenti que, efectivament, ho est\u00e0 i se’ns enfadi o, pitjor, se’ns disgusti.<\/p>\n

Potser el pecat original de Pinotxo sigui l’extrema dificultat que comporta l’alteraci\u00f3 de l’esperit que anima el relat -no \u00e9s endebades que Collodi era ma\u00e7\u00f3- i l’eventual impossibilitat de reconvertir-lo en un text tou i llefisc\u00f3s, tan del gust dels inquisidors en n\u00f2mina responsables del control de qualitat moral de la ideologia woke<\/em><\/strong>.\u00a0 Ni tan sols un actor i director tan tramp\u00f3s com Roberto Benigni<\/strong> ho va aconseguir (Pinocchio, 2002). Potser per aix\u00f2 es va optar per cancel\u00b7lar Pinotxo i deixar-lo, per impossible, en l’oblit. Si m\u00e9s no, sembla indici\u00e0riament sospit\u00f3s que una novel\u00b7la de formaci\u00f3, d’iniciaci\u00f3, sigui de nul inter\u00e8s educatiu. Eppur si muove<\/em>\u2026<\/p>\n

Al relat original Pinotxo \u00e9s un ninot animat de fusta constru\u00eft per Gepetto, un vell fuster amb vocaci\u00f3 monoparental putativa. No \u00e9s (encara) una persona, sin\u00f3 un tros de fusta amb forma humana de nen. Parla, es mou i sent com un nen, per\u00f2 fretura de consci\u00e8ncia. Tampoc no \u00e9s un animal, ni adult ni cadell. Els animals s\u00f3n de carn i os, quelcom acabat com a disseny, les potencialitats del qual s’aniran actualitzant, hilem\u00f2rficament parlant, segons correspongui. No, Pinotxo \u00e9s un projecte de persona que est\u00e0 per fer i que no es far\u00e0 (nom\u00e9s) a si i per a si mateix, encara que, aix\u00f2 s\u00ed, s’ho haur\u00e0 de guanyar. Caldr\u00e0 que hi posi de de la seva part; haur\u00e0 d’aprendre a decidir amb criteri, cosa que no t\u00e9. Tota una met\u00e0fora de la inf\u00e0ncia com a etapa d\u2019un recorregut m\u00e9s ampli que la transcendeix.<\/p>\n

En ajuda de Pinotxo acudeix la fada de sempre, tamb\u00e9 amb les limitacions pr\u00f2pies de la seva condici\u00f3 \u2013com els d\u00e9us grecs, la fada pot procurar i aconsellar, fins i tot recorrent a la m\u00e0gia, per\u00f2 no pot determinar; pot jugar m\u00e9s o menys amb els fils del dest\u00ed, per\u00f2 no els por ordir-, que li proporciona una mena d’\u00e0ngel de la guarda o super-jo freudi\u00e0: en Pep Trellat, Il Grillo Parlante<\/em><\/strong> \u2013en la versi\u00f3 original-, un ort\u00f2pter que li fa de \u00abconsci\u00e8ncia\u00bb. Per\u00f2 a Pinotxo, que es mou a cop de pulsi\u00f3, no li agrada que li diguin qu\u00e8 ha de fer i mata el grill, tot i que despr\u00e9s torna a reapar\u00e8ixer en altres moments de l’obra. Pinotxo est\u00e0 aprenent, i aprendre \u00e9s dur; no ho pot fer sol; \u00e9s nom\u00e9s pulsi\u00f3 i manca de capacitat de discerniment. En altres paraules, Pinotxo \u00e9s amoral, per\u00f2 no vol ser-ho: aquesta \u00e9s la seva caracter\u00edstica distintiva.<\/p>\n

Mentrestant, Pinotxo est\u00e0 a prova i, la majoria de vegades, dels nombrosos embolics en qu\u00e8 es fica, nom\u00e9s va aconseguint sortir-se\u2019n air\u00f3s gr\u00e0cies a la intercessi\u00f3 i els consells de la fada. Nom\u00e9s al final, quan cuida Gepetto i el rescata del ventre de la balena on eren atrapats, \u00e9s quan pren la decisi\u00f3 pel seu compte i llavors, s\u00ed, es converteix en un \u00e9sser hum\u00e0, moral, sota la met\u00e0fora de la metamorfosi d\u2019un \u00e9sser de fusta a un de plenament hum\u00e0. Novament a casa, Pinotxo somnia que la fada el visita i li fa un pet\u00f3. L\u2019endem\u00e0, es desperta convertit en un nen de carn i ossos i el ninot de fusta est\u00e0 est\u00e8s, inanimat, al seu costat. Ja no li creixer\u00e0 m\u00e9s el nas quan digui una mentida, perqu\u00e8 ja sap que mentir no est\u00e0 b\u00e9, ni encara que despr\u00e9s menteixi com tothom. Per\u00f2 ja ser\u00e0 sota la seva pr\u00f2pia responsabilitat, no perqu\u00e8 s’hi hagi vist mec\u00e0nicament impel\u00b7lit. La infantesa ha quedat definitivament endarrere.<\/p>\n

Pinotxo com un \u00e9sser de fusta \u00e9s la met\u00e0fora de la inf\u00e0ncia<\/strong>, del nen, constitu\u00eft de pulsions mentre la seva pr\u00f2pia consci\u00e8ncia es va formant, moralment, intel\u00b7lectualment, socialment i culturalment. Pinotxo est\u00e0 aprenent, i si no apr\u00e8n, es quedar\u00e0 en el tros de fusta del que va sorgir.<\/p>\n

Un dels episodis m\u00e9s educativament il\u00b7lustratius \u00e9s el de l’illa dels jocs. Amb el seu amic Lucignolo, un pall\u00fas presumit amb vocaci\u00f3 de vividor, pugen al carro del \u00abcotxer\u00bb, el misteri\u00f3s personatge que va recollint nens, i embarquen cap a l’illa dels jocs. Un parad\u00eds infantil, que en la versi\u00f3 de Disney resulta ser tota una paradoxal n\u00e8mesi de la seva pr\u00f2pia Disneyl\u00e0ndia; a Collodi, en canvi, t\u00e9 uns trets m\u00e9s tavernaris i \u00abtugurials\u00bb. Un lloc on els nens nom\u00e9s juguen i es diverteixen, on res no est\u00e0 prohibit.<\/p>\n

Per\u00f2 hi ha trampa. Mentre els nens gaudeixen i s\u2019entretenen amb tanta gamificaci\u00f3 organitzada, resulta que els van creixent mentrestant cua i orelles de ruc, sense que els importi fins que \u00e9s massa tard i s’han convertit en ases que ja no saben parlar, sin\u00f3 nom\u00e9s bramar. I aleshores, el p\u00e8rfid propietari del negoci ven el carregament de rucs al malvat propietari d’un circ, que els utilitza per a grotescos numerets fins que, exhausts i inservibles per a treballar, s\u00f3n substitu\u00efts per la nova lleva que arriba de l’illa, alhora que l\u2019anterior serveix de menjar per als lleons del circ.<\/p>\n

Tota una met\u00e0fora de la carn de can\u00f3 laboral<\/strong>. Cal dir, per\u00f2, que a la vista del dest\u00ed dels perfils de sortida establerts pel nostre sistema educatiu actual, de la gamificaci\u00f3<\/strong> de l’ensenyament on nom\u00e9s hi ha del primer i res del segon, del facilisme i del cultiu prioritari de les emocions i les pulsions, tot amb vistes a una felicitat tramposa, la veritat \u00e9s que l’\u00fanica met\u00e0fora detectable en tot aix\u00f2 \u00e9s la de servir de menjar per als lleons.<\/p>\n

Per\u00f2 s\u00ed que n’hi ha, de met\u00e0fora, tot i que interna al mateix recorregut del relat quan a obra liter\u00e0ria. A la primera versi\u00f3 de Collodi, Pinotxo acabava forcat i servint de llenya per a un foc de xemeneia, v\u00edctima dels seus errors. No perqu\u00e8 fos culpable de res, no podia pas ser-ho; simplement, havia pres les decisions equivocades i el seu recorregut formatiu es va resoldre en el frac\u00e0s. Va ser en una versi\u00f3 posterior, la que tots coneixem, que va decidir un final feli\u00e7 que el convert\u00eds en un nen de deb\u00f2.<\/p>\n

En tots dos casos Pinotxo va tenir les mateixes oportunitats i ajudes. Al primer, no va saber aprofitar-les, al segon s\u00ed. I aix\u00f2, ens agradi o no, \u00e9s irreductible, no n’hi d\u2019altra. Per\u00f2 l’aut\u00e8ntica met\u00e0fora \u00e9s que sense ajuts, sense ensenyaments, estem irremissiblement condemnats<\/strong>. I no podem aprendre si no se\u2019ns ensenya. Qu\u00e8 cal pensar, doncs, d’un sistema educatiu que, com el nostre, s’ha reconvertit en una r\u00e8plica de l\u2019illa dels jocs?\u00a0\u00a0 Ni el blasmat Walt Disney va gosar mai arribar tan lluny.<\/p>\n

\n

Font:\u00a0educational EVIDENCE<\/strong><\/p>\n

Drets:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Per a moltes generacions, el personatge de Pinotxo est\u00e0 associat a l’adaptaci\u00f3 cinematogr\u00e0fica que va fer Walt Disney (1940) de la novel\u00b7la de Carlo Collodi (1882). Les cr\u00edtiques al car\u00e0cter ideol\u00f2gicament reaccionari de Disney i la seva filmografia, com acostuma a passar quan no es vol o no se sap distingir el gra de la palla, van predisposar sens dubte a la inhibici\u00f3, quan no al m\u00e9s pejoratiu dels rebuigs.<\/p>\n","protected":false},"author":4,"featured_media":17075,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"1","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[240],"tags":[433,1215,1214,1213],"class_list":["post-17084","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinio","tag-gamificacio","tag-ideologia-woke-ca","tag-metafora-cancellada","tag-pinotxo"],"yoast_head":"\nPinotxo i la met\u00e0fora cancel\u00b7lada - Educational Evidence<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/educationalevidence.com\/ca\/pinotxo-i-la-metafora-cancel%c2%b7lada\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pinotxo i la met\u00e0fora cancel\u00b7lada - Educational Evidence\" \/>\n<meta property=\"og:description\" content=\"Per a moltes generacions, el personatge de Pinotxo est\u00e0 associat a l'adaptaci\u00f3 cinematogr\u00e0fica que va fer Walt Disney (1940) de la novel\u00b7la de Carlo Collodi (1882). 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