The aim of this essay is to develop a broad diachronic view that attempts to connect different moments and modalities of the communication of the tragic: from literature to the news, from narration to scoop, from the written page to the web. Childhood demonstrates itself to be a crux of these terms, contrasting and complementary at the same time, in a consideration of the admissibility of some excesses of mass media and of the rediscovery of a horizon of meaning and of narration to pass down to future generations. The narrative of pain, in its first literary expression in the realism of the 1800s, is juxtaposed to speculation in the media which devours sensitivity to the event and generates, in fact, an inurement to the images and stories of extreme crudeness and excessive violence. The proposal to re-read some lines related to the literature of Verga is based on the powerful caliber of the children’s profiles of some of the characters of the great Sicilian writer, who is able to reconstruct a realistic and sad image of childhood itself and to juxtapose in the same moment the existential region of children and the tragic reality which surrounds this region. The approach of realistic poetics to the media overexposure of negative events, which today invades every angle of our existence, puts at the center of attention children and youth, who are too often spectators and protagonists of tragic events, and gives witness to the urgency of a reconsideration of the factors affecting the spread of narrated and reported events. If we broaden the meaning of the term “communication” and introduce the consequential link between literary description of reality (narration) and journalistic reporting of real events, we notice how much change has actually taken place in the parameters that support the management of the communicative event, of direct and indirect participation, and of the amount of emotional impact which connects an event and its audience. We find ourselves face to face with distances, once insurmountable, which are reduced to the distance of a touch and reach the display of tablets and smartphones, invading screens of computers and televisions, and squeezed into a sort of enormous perceptual misunderstanding: an overlapping between the reproduction of an event in real time and the “confidential acceptability” of the same event when observed. The danger is clear, and easily perceived, of a normalization of the event, a kind of pseudo-habit, which is the prelude to cold insensitivity. The potential of what can be communicated becomes the possibility to tolerate and accept the event. So, everything that we witness in the daily media bombardment to which we are subjected as we are immersed in a galaxy of electronics becomes tolerable, bearable. We don’t always perceive the dangerous equation which is the result (at least in terms of the autonomy of conscience, thought, and biological/existential traces which all of us should have within us) and which concerns, in an automatic and horrifying way, an immediate acceptance (at once, or later on) of everything that is communicated, shared, and posted via the media. The educated and responsible gaze of contemporary society should re-examine, therefore, certain perspectives to put young minds on guard, and to construct a narration of the tragic which is ethical and informed.
Il saggio ha l’obiettivo di sviluppare una panoramica ad ampio spettro diacronico, che tenda a r icollegare i differenti momenti e le diverse modalità di comunicazione del tragico; dalla letteratura alla cronaca; dal racconto allo scoop; dalla pagina scritta agli schermi collegati alla rete. L’infanzia si rivela quale fulcro di questi termini, opposti e complementari al contempo, in una riflessione sulla ammissibilità di alcune derive mediatiche e sulla doverosa riscoperta di un orizzonte di senso e di racconto da fornire alle giovani generazioni. La narrazione del dolore, nella sua prima declinazione letteraria dell’Ottocento verista, si contrappone alla speculazione mediatica che inghiotte la sensibilità dovuta all’evento e genera, di fa tto, assuefazione a immagini e storie di estrema crudezza ed eccessiva violenza. La proposta di rileggere alcune tracce riferibili alla letteratura di Verga si basa sulla potente car atura delle sagome fanciulle di alcuni grandi personaggi dell’autore siciliano, capace di ricostruire un’immagine realistica e sofferta dell’infanzia stessa, e di coniugare, al contempo, la regione es istenziale dei bambini e la circostante, tragica realtà che li accoglieva. L’accostamento della poetica verista alla sovraesposizione mediatica dell’evento negativo, che oggi invade ogni ambito esistenziale, mette al centro della riflessione bambini e ragazzi, troppo spesso soggetti, spettatori e protagonisti di accadimenti tragici, e testimonia l’urgenza di una r iconsiderazione dei fattori di divulgazione degli eventi narrati e riportati. Volendo semanticamente allargare il senso del termine ‘comunicazione’ e introducendo il cons eguente accostamento tra descrizione letteraria della realtà (narrazione) e report giornalistico e mediatico del dato reale, ci si accorge di quanto siano in realtà cambiati i parametri che reggono la ‘gestione’ del dato comunicativo, della partecipazione diretta o indiretta, del tasso di emotiva empatia che mette in contatto evento e platea di osservatori. Ci troviamo di fronte a distanze una volta incolmabili che, ridotte a una prossimità ‘tattile’, raggiungono i display di tablet e smartphone, invadono schermi di personal computer e televisori, e si ritrovano a essere schiacciate in una sorta di gigantesco equivoco percettivo: la sovrapposizione tra riproducibilità dell’evento in tempo reale e ‘accettabilità confidenziale’ dello stesso evento in quanto osservato. Risulta palese il pericolo, facilmente percepibile, di una normalizzazione dell’evento – sorta di pseudo-abitudine – preludio alla più fredda insensibilità. La potenzialità del comunicabile diventa così possibilità di assuefazione e accettabilità dell’evento. Per cui tutto ciò cui assistiamo all’interno del bombardamento mediatico, cui ci so ttopone la galassia elettronica nella quale siamo quotidianamente immersi, diviene sopportabile; e non sempre si avverte la pericolosissima equazione che ne deriva (almeno in termini di autonomia delle coscienze, del pensiero e della traccia biografico-esistenziale che ognuno dovrebbe conservare dentro sé) e che riguarda, in modo quasi automatico e allucinato, una accettazione immediata (in prima o al massimo in seconda istanza) di tutto ciò che viene mediaticamente inviato, comunicato, condiviso, ‘pubblicato’. Lo sguardo educante e responsabile della società contemporanea dovrebbe rivedere, quindi, alcune prospettive per cautelare le menti più giovani e costruire una narrazione del tragico eticamente mediata e più consapevole.
La cava di Rosso, la spiaggia di Aylan e l'orsetto dell'Ikea. L'infanzia dalla narrazione consapevole del dolore alla invasività mediatica globalizzata
ACONE, LEONARDO
2015-01-01
Abstract
The aim of this essay is to develop a broad diachronic view that attempts to connect different moments and modalities of the communication of the tragic: from literature to the news, from narration to scoop, from the written page to the web. Childhood demonstrates itself to be a crux of these terms, contrasting and complementary at the same time, in a consideration of the admissibility of some excesses of mass media and of the rediscovery of a horizon of meaning and of narration to pass down to future generations. The narrative of pain, in its first literary expression in the realism of the 1800s, is juxtaposed to speculation in the media which devours sensitivity to the event and generates, in fact, an inurement to the images and stories of extreme crudeness and excessive violence. The proposal to re-read some lines related to the literature of Verga is based on the powerful caliber of the children’s profiles of some of the characters of the great Sicilian writer, who is able to reconstruct a realistic and sad image of childhood itself and to juxtapose in the same moment the existential region of children and the tragic reality which surrounds this region. The approach of realistic poetics to the media overexposure of negative events, which today invades every angle of our existence, puts at the center of attention children and youth, who are too often spectators and protagonists of tragic events, and gives witness to the urgency of a reconsideration of the factors affecting the spread of narrated and reported events. If we broaden the meaning of the term “communication” and introduce the consequential link between literary description of reality (narration) and journalistic reporting of real events, we notice how much change has actually taken place in the parameters that support the management of the communicative event, of direct and indirect participation, and of the amount of emotional impact which connects an event and its audience. We find ourselves face to face with distances, once insurmountable, which are reduced to the distance of a touch and reach the display of tablets and smartphones, invading screens of computers and televisions, and squeezed into a sort of enormous perceptual misunderstanding: an overlapping between the reproduction of an event in real time and the “confidential acceptability” of the same event when observed. The danger is clear, and easily perceived, of a normalization of the event, a kind of pseudo-habit, which is the prelude to cold insensitivity. The potential of what can be communicated becomes the possibility to tolerate and accept the event. So, everything that we witness in the daily media bombardment to which we are subjected as we are immersed in a galaxy of electronics becomes tolerable, bearable. We don’t always perceive the dangerous equation which is the result (at least in terms of the autonomy of conscience, thought, and biological/existential traces which all of us should have within us) and which concerns, in an automatic and horrifying way, an immediate acceptance (at once, or later on) of everything that is communicated, shared, and posted via the media. The educated and responsible gaze of contemporary society should re-examine, therefore, certain perspectives to put young minds on guard, and to construct a narration of the tragic which is ethical and informed.File | Dimensione | Formato | |
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