Academic literature on the topic 'Pirandello, Luigi (1867-1936) – Esthétique'
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Journal articles on the topic "Pirandello, Luigi (1867-1936) – Esthétique"
Vanagaitė, Gitana. "Luigi Pirandello’s Works in Lithuania: Why the Dialogue Did Not Take Place." Interlitteraria 21, no. 2 (January 18, 2017): 216. http://dx.doi.org/10.12697/il.2016.21.2.5.
Full textBajaj, Rohit. "REPRESENTATION OF ITALIAN SOCIETY IN THE WORKS OF LUIGI PIRANDELLO: AN ANALYSIS OF THE SHORT STORY THE OIL JAR." Scholarly Research Journal for Interdisciplinary Studies 4, no. 37 (December 27, 2017). http://dx.doi.org/10.21922/srjis.v4i37.10532.
Full textMusso, Carlos Guido. "Obras maestras del arte universal y la medicina: Esta noche se improvisa por Luigi Pirandello (1867-1936)." Evidencia, actualizacion en la práctica ambulatoria 11, no. 5 (November 1, 2008). http://dx.doi.org/10.51987/evidencia.v11i5.5864.
Full textDissertations / Theses on the topic "Pirandello, Luigi (1867-1936) – Esthétique"
Cucugliato, Giacomo. "Percorsi teosofici nell’opera narrativa del primo Pirandello (1886-1909)." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL074.
Full textThe early interest of Pirandello in theosophical doctrine has been repeatedly highlighted by Pirandello criticism. Indeed, it is an interest that leaves clear traces, especially in the early part of the author's narrative production, where passages of theosophical origin are translated and cited on several occasions. The proposed work attempts to analyse the impact of theosophical doctrine on the formation of Luigi Pirandello's imagination, from the years 1886 to 1909, considering Pirandello's resumption of theosophical passages as symptomatic of a broader theoretical reuse by the author, in which even the exact reprisals are reconsidered to fully understand their relevance and value. The work therefore proceeds by examining the matrices of Pirandello's aesthetic reflection, particularly those of Luigi Capuana and Gabriel Séailles, to find them not necessarily satisfying for a comprehensive understanding of the intellectual humus in which Pirandello's theoretical construction germinates: the discovery of an unpublished source, cited in L'umorismo, La poétique de Schiller (1902) by Victor Basch, seems instead to provide sufficient stimuli to understand how the Pirandellian concept of «beyond» is organized together with the many conceptual factors contributing to the author's aesthetic formulation. Based on the romantic source found through Basch, Pirandello seems to have developed an aesthetic system in which the romantic concept of self assumes a central place: this revaluation of the role of the self in Pirandello's artistic practice and reflection seems to provide the basis for understanding the author's reuse of theosophical theoretical positions.As essentially explained in the second chapter, the author's self seems to position itself, for Pirandello, as a demiurgic self-capable of engulfing the external world and ennobling it by making it pass through the artist's consciousness: the artist is framed as one who, having undergone a «bitter experience of life», is able to detach himself from illusions and access a true dimension of being, a dimension in which he, for the first time, «sees himself living». The work of «reflection» seems to coincide with what the theosophists, particularly Franz Hartmann, call the product of self-awareness. On the basis of these assumptions, the analysis of Pirandello's metaphysical novellas develops - as explained in the third chapter. The novellas under examination have not yet been widely discussed by critics, but they all seem to be more or less colluded with theosophical semantics and have a deep metaliterary quality. All the texts cited seem to represent one or more particular aspects of the artistic creation process, or to stage phenomena or theoretical arguments drawn from the theosophical literature: often both occur simultaneously, so that the plot of the individual text seems to rise at the same time as a symbol and as assumptions of a metaliterary and metaphysical nature. The last part of the work addresses the study, in theosophical-aesthetic terms, of the first edition of Il fu Mattia Pascal (1904), seeking to integrate into a general aesthetic-theosophical interpretation the significant passages in which Pirandello, within the novel, directly or indirectly cites the theosophical doctrine
Bertin, Marjorie. "Le pirandellisme dans le théâtre de Jean Genet. Poétique et esthétique." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030156/document.
Full textThis thesis highlights and analyzes the Pirandellian themes in Jean Genet's plays. It proposes a redefinition of Pirandellism, which was the subject of much controversy from the time of its first definition, of philosophical inspiration, by the Italian critic Adriano Tilgher, in 1923. The new definition put forward here is based on five main characteristics: dualism between life and form; Pirandellian humourism; the supremacy of the art work over life; the impossibility of being a unified self; and metatheatricality. This new dramaturgical modelling of Pirandellism serves to analyze Pirandello's metatheatrical plays and all of Genet's theatre, with a view to understanding the historicity of the texts, that is, their anchorage – and sometimes absence thereof – in relation to their contexts of production and the relationships they weave between them. One of the theoretical frames of reference taken to analyze the influence of Pirandello's dramatic art and aesthetics on Genet's theatre is historical and precisely relevant to the history of theatre and scenic forms in 20th century Italy and France. This work is closely linked to the question of the author and of influence. Apart from Pirandellism, the deconstruction of realism, the giving up of psychological or gestural imitation and of the effects of illusion, the spatial framing of a new fictional world, and the abundance of varied texts and forms of stage direction that outline and recommend staging with meticulous precision are all characteristics common to these two authors
Dfouni, Ralph. "Les hommes ne pleurent pas, et Illuminations : de Pirandello vers Kaos." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0022/MQ50511.pdf.
Full textBudor, Dominique. "Les raisons de l'ecriture : analyse de l'oeuvre romanesque de luigi pirandello." Paris 3, 1987. http://www.theses.fr/1987PA030144.
Full textRich in significance as far as the story of the subject of writing is concerned and replete with the ideological effects entailed by the emergence of each text within the general text, the prose work of luigi pirandello is characterized by a combinatory system which places the process of signification beyond the configurations of the utterances and within enunciation itself. Novel after novel, the phatic tension becomes more strongly marked : the writing unveils its main function which is that of staging the identity problem, while the reader, prisoner of the text, becomes the indispensable and submissive partner of the writer who tries to reach an unlimited semiosis through a dialogue with himself. The writing, though, comes up against the various forms of spectacle (theatre and cinema) which, at the turn of the century, make of the work of art a marketable product and reveal the inadequacies of the written work in those modified conditions of emission and especially reception. Literature can only recover its power through making of the word a tool of revenge and of the theatre an opportunity for the imaginary to stage itself. Lastly, pirandello's writing, actuated by the urges of compensation and release, also reflects the wrenching conflicts of experience. Procedures of indirection reveal more than they hide the impossible harmony between the erotic tension which drives towards the other and the fervour of writing which makes of the ego its own object of desire : the actress alone, in so far as she becomes the "body" of the writing, remedies this splitting of the ego and founds the power of the poet. Refusing both the trauma of birth and the pain of being a man, pirandello thus comes into being as a writer
Dfouni, Ralph. "Les hommes ne pleurent pas, et, Illuminations : de Pirandello vers Kaos." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21208.
Full textIlluminations: From Pirandello toward Kaos ( criticism). When the filmmakers the brothers Taviani decide to undertake their adaptation of Luigi Pirandello's four short stories for the screen, they choose Kaos for the title of their film. Through the study of two of the four adapted short stories, this thesis tries to demonstrate that the adaptation of a literary work or a written text to a filmic text necessarily passes through a chaos that separates the two very different languages. The interpretative work consists of passing through this same chaos using different writing and mise en scene techniques. The aim of this short study is to dissect the links that exist between the two very distinct entities, the written text and the filmic text, through a magisterial and concrete example.
Mastrogianakos, John. "The role-within-the-role : two Pirandellian novellas and their dramatic adaptation." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68118.
Full textSince all Pirandellian characters role-play, and as a consequence portray and assume multiple identities, this thesis examines the function and significance of this technique in both narrative and theatrical contexts. It attempts to show that while the device is a feature common to all three works, it is in the dramatic adaptation that role-playing in relation to identity acquires its more visible and effective treatment.
Olive-Lalanne, Annie. "La condition féminine dans l'œuvre narrative et théâtrale de Luigi Pirandello." Paris 4, 1995. http://www.theses.fr/1995PA040238.
Full textFor the study of the condition and image of women in the work of Luigi Pirandello, an historical survey of the women's condition in Italy, and more precisely in Sicily, as well as a rapid study of the feminist movements in the early part of the XXth century, have seemed compulsory. A further analysis of how Pirandello introduced the female characters was made. An evolution of these characters emerged: the funest, destructive female progressively turns into a sublime woman, idealized in the maternity myth a typology of female characters in Pirandello’s narrative and theater works, has been made, regarding the influence which could have on them, the typically Mediterranean misogyny, jealousy, the often tragic misunderstanding between spouses, the harmful role played by the mother in law; the pathetic solitude of a sole woman, perhaps ugly or widowed. Finally a detailed survey, following the chronological order of appearance, of female characters in Pirandello’s theater pieces was made; first in the pieces written before 1925 : from the early successes to the apogeum of "Six personnages en quête d'auteur", and "Henry IV". And, in a second part, we have determined how had the encounter of the author with the actor Marta Abba deeply changed his conception of the female characters
Marotta, Antonella. "Pirandello nel teatro di Eduardo." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79793.
Full textVittori, Gérard. "Sujet, réel et signes dans l'oeuvre de Pirandello." Nice, 1990. http://www.theses.fr/1990NICE2006.
Full textTo know the truth, the human body is not a privileged point of knowledge, neither for the subject, nor for the others. On the contrary, the body is the point of the ambiguity of sense. Only will gives the authentic sense ; but the natural and the verbal signs give the subject to the distorsion of sense. God is for the others the guarantee of "adaquatio rei et intellectus". In fact, the authority, subsititute of true transcendence, establishes the transarentness of the language because it instaurates realty in the language. Reality is founded by the "text". This "text" alienates the subject, and removes him from his own truth. The name (with the story it brings), the actions, give the subject to the others. Th eone who wants to make truth appear is said to be mad. The return of the reality of the others, event if it is possible, has against itself the time, by which any expression of oneself is possible. The truth of the subject can express itself, without suffering the alienating "text" of the others in the fusional relation, the pattern of which is the relation to the mother. This type of relation can become an universal intersubjectiveness
Remington, Rachel. "Personal identity in the novels of Max Frisch and Luigi Pirandello." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30208.
Full textBooks on the topic "Pirandello, Luigi (1867-1936) – Esthétique"
Pirandello, Luigi. Luigi Pirandello, 1867-1936: His plays in Sicilian. Lewiston, N.Y: Edwin Mellen Press, 1998.
Find full textBassanese, Fiora A. Understanding Luigi Pirandello. Columbia, S.C: University of South Carolina Press, 1997.
Find full textBoschiggia, Elisabetta. Guida alla lettura di Pirandello. Milano: Mondadori, 1986.
Find full textMacchia, Giovanni. Pirandello, o, La stanza della tortura. 2nd ed. Milano: A. Mondadori, 1992.
Find full textLuigi, Pirandello. Nel tempo della lontananza, 1919-1936. Caltanissetta: S.Sciascia, 2008.
Find full text1867-1936, Pirandello Luigi, Bassnett Susan, and Lorch Jennifer, eds. Luigi Pirandello in the theatre: A documentary record. Chur, Switzerland: Harwood Academic Publishers, 1993.
Find full textSimposio internazionale sul teatro pirandelliano (1994 Boston, Mass.). Ars dramatica: Studi sulla poetica di Luigi Pirandello : atti del Simposio internazionale sul teatro pirandelliano, Boston College, 27-29 ottobre 1994. New York: Peter Lang, 1996.
Find full textPaolucci, Anne. Selected essays on the plays and fiction of Luigi Pirandello. Cambridge, MA: Harvard University Press, 2005.
Find full textLuigi, Pirandello. Lettere a Marta Abba. Milano: A. Mondadori, 1995.
Find full textLuigi, Pirandello. Pirandello's love letters to Marta Abba. Princeton, N.J: Princeton University Press, 1994.
Find full textBook chapters on the topic "Pirandello, Luigi (1867-1936) – Esthétique"
Gaudillière, Jean-Max. "Luigi Pirandello (1867–1936)." In Madness and the Social Link, 42–65. Routledge, 2020. http://dx.doi.org/10.4324/9781003057468-3.
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