Secondo Aristotele, la domanda essenziale che ogni persona si pone, e che quindi apre alla vita morale, è la domanda su quale sia la vita buona, la vita degna di essere vissuta. Si comprende quindi come la riflessione autobiografica sulla vita e il racconto della/e vita/e altrui sia da secoli uno dei generi principe della narrazione. Come afferma Francesco Arlanch nel suo lucidissimo saggio, «la vita degli altri è un argomento di conversazione che raramente lascia indifferenti [...]. Ogni conversazione sulla vita degli altri riguarda anche, implicitamente, la nostra personale felicità».
Nel fascicolo collettaneo che qui presentiamo, abbiamo raccolto il frutto di riflessioni nate autonomamente in contesti diversi, ma collegate dalla vicinanza di un gruppo informale di ricerca che lavora nell’ambito del Dipartimento di Scienze della Comunicazione e dello Spettacolo e che da alcuni anni si sta focalizzando sulle dinamiche di costruzione narrativa dei testi rivolti a un pubblico vasto, sia che si tratti di testi letterari sia di testi audiovisivi per la televisione o il cinema.
di Armando Fumagalli
di Giulia Gibertoni
In our disquisition about literary autobiographical narration, we begin with the figures of three founders: St.
Augustine, Michel de Montaigne and Jean-Jacques Rousseau, who contributed to the creation of a new narrative
genre and still influence the forms of meditation and self narration. Firstly, we will try to define this
genre analyzing the various interpretations given to it by these three authors. Then we will review the theories
proposed by the modern age on self narration and on the analysis of the autobiographical matter: its
moral, psychological and anthropological implications, both for the author and for the reader.
di Francesco Arlanch
Once recognized the minimum identifying feature of the biographical movie in the fact that the protagonist
is built imitating the existing person after whom he is named, we propose a new interpretation. In the autobiographical
movie, the dramaturgic structure expresses a judgment of redemption or damnation on the protagonist’s
way of life. Such an interpretation is supported by the analysis of the narrative structures of some
biographical movies in the history of cinema, which are successful from a commercial and critical point of
view (Butch Cassidy , Amadeus , Out of Africa , Schindler’s List , Erin Brockovich
). For this research we referred to the narratologic analysis instruments specified by the main theoreticians
of cinematographic dramaturgy (Robert McKee, John Truby) and by some scholars. They agree, from
different perspectives that all axiological aspects are relevant for the interpretation of a text.
di Federico Leonardi
The aim of this article is to enucleate the staging criteria for the figure and life of Christ. For this reason it
studies the relation between the sources, which are the Gospels and dramaturgy. Clearly, the conclusion is that,
a particular dramaturgy innerves Christ’s own life and mission. This idea is expressed in the actor’s hermeneutical
hypothesis of God and in the director’s idea of Reign. Therefore, the article analyzes three couples of
movies: 1) The King of Kings and Jesus of Nazareth, representing a too divine portrait of Christ; 2) Jesus
Christ Superstar and The Last Temptation of Christ, representing a too human portrait of Christ; 3) The Gospel
According to St. Matthew and The Passion of the Christ, representing a divine-human portrait of Christ.
The final consideration is that no film has yet portrayed the figure of Christ in all its depth, while the
hermeneutical hypothesis proposed in the beginning might open new possibilities of dramatization.
di Luisa Cotta Ramosino
The meeting-interview with Robert Harris, English novelist, author of a number of best sellers many of which
have been transposed into successful films, offers the occasion to reflect on the singular profession of ghostwriter,
that is to say the author of on-commission biographies of famous personages. Starting from the analysis
of the genesis of the author’s last novel, whose protagonist is a ghost writer, the essay analyzes the writing
techniques used in the attempt to build a biography through a third party, emphasizing the positive features
of the object, thanks to rhetorical artifices of many kinds.
The careful analysis of the novel theme and of its references (real persons and events) gives the opportunity
to consider the risks and consequences of a mediatized society. It also retraces the professional path of
Harris, who was the author of his novel and now is also involved in the adaptation of this novel for the screen.