When reasoning about the stories and dramas of television series, it is useful to resort to an ethical and anthropological criterion. This approach calls for distinguishing between an anthropological reason applicable to people in the real world and the dramatis personae. There are two coherent anthropological behaviors that may contribute to a viewers' active position. The first one is to consider that Aristotle's Poetics and the contemporary extension of his content can rationally account for those stories and dramas, today precisely qualified as 'tragic'. The second one is to understand the real world and its dramatic representations, in accordance with the Leonardo Polo's transcendental anthropology, the vision which J€ urgen Habermas finds in religions, and Joseph Ratzinger -articulating reason and faith -has summed up as living veluti si Deus daretur.

Hablar de identidad personal y mundos fílmicos supone hablar de la "referencia" en las ficciones y de la recepción y apropiación personal, no sólo intelectual, de esas ficciones. Este estudio considera la "refiguración" personal de las ficciones según la hermenéutica de Paul Ricoeur, aludiendo a tres películas con mundos distópicos: Blade Runner, Brazil, y Truman Show. El autor entiende que cabe aceptar como "refiguración" un momento personal que implica dos cosas: la "comprensión" intelectual –técnica– de un texto, y la "aplicación" vital del sentido de ese texto por parte de una persona. Sabiendo que ambas operaciones deben articularse sin ser cronológicamente distintas.

In this research piece is held that under the intelligence shadow, poetical reason has enoughs trength to be the basis of the sense of human life, through drama and storytelling. Logical reason has foun-daHons that all permns hold usually. They are implicit in all their judgments. This research piece postulates two topics. Fiat,that poetical reason has its own set oftruths and universal evidences, also usually held by us all. They are the same truthspostulated by "common sense philosophy". Semnd, that those truths also shape the first principles, implicit or explicit, of the passible workh that are built through drama and storytelling. The understan-ding of the issues that are those worlds, and also the reading pacts, depend on the possibility of a non-violent harmony between the two: those we naturally hold, and those that are developed as the founding basis of a narrative and dramatic instruction in each single possible poetical world.

FOUNDATIONS FOR AN AUDIOVISUAL ICONOLOGY: Films and television programs are today privileged media which publicly institutionalize the concepts and appraisals of human individuals and their lives within society. In this work, the approach is that of probing the feasibility of their study from a symbolic perspective which updates the allegorical criteria of classical Iconology which tends to matters of this nature. In order to carry out this task it is convenient to maintain two open perspectives: a theoretical approach which is oriented towards the aesthetics of reception, and another approach which bears upon creativity within the production of statements in movies and television. From this dual perspective Iconology presents itself as an Epistemology of the audiovisual culture.

Una apreciación humanística de las obras cinematográficas, atenta a su identidad cultural, implica al menos tres premisas. Una: la existencia límites en los umbrales culturales para apreciar el sentido narrativo y dramático, al tiempo estable y abierto de esa obra. Segunda: esos umbrales se configuran en la confluencia de la tradición cultural en que se inserta la película, con la tradición intelectual y cultural en la que participan sus espectadores, analistas e intérpretes. Tercera: la identidad cultural de una película tiene un correlato más estable, respecto de la identidad personal y de las disposiciones habituales y emocionales de cada uno de nosotros como personas, que respecto de las circunstancias históricas y sociales de cada momento.