Bibliografias temáticas / Pirandello

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Literatura científica selecionada sobre o tema "Pirandello"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 2 de novembro de 2024

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Artigos de revistas sobre o assunto "Pirandello"

Bibikova, Alexandra. "«THE MOUNTAIN GIANTS» BY LUIGI PIRANDELLO IN RUSSIA: TRANSLATORS’ READINGS AND THEATRICAL RECEPTION". RZ-Literaturovedenie, n.º 1 (2021): 79–89. http://dx.doi.org/10.31249/lit/2021.01.07.

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The article briefly discusses the history of the creation and staging of the last unfinished play by Luigi Pirandello «Mountain Giants» (1936) in Italy. The main focus is on staging and interpretation of Pirandelloʼs play in Russia, namely on the E. Kamenkovich and P. Agureeva 2014 production at the Moscow Theater «Workshop of Pyotr Fomenko», for which a new translation of the play into Russian was prepared. The comparative analysis of the text of Pirandello's play in Italian and the video record of the performance at the «Peter Fomenkoʼs Workshop» was carried out, which aim is to identify peculiarities of this Russian translation and changes made by the producers while staging the Pirandelloʼs play for the Russian-speaking audience, as well as to understand how the directors overcome the problem of the missing ending.

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Woźniak, Katarzyna. "Pirandello jako widz zawodowy". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (12 de outubro de 2018): 126–34. http://dx.doi.org/10.24917/20811853.17.11.

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Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wiercińska).The fact that both then and now critics and researchers in the majority of cases assumed, notnecessarily consciously, they are writing about an artist that is mainly a writer and only thena critic of stage productions of his dramas and a stage producer for his own texts is significant.As a consequence they focused mainly on deconstructing the “pirandellism” condemned byBrahmer, in particular on its canonical interpretation by Adrian Tilgher. Therefore, the followingquestion comes to mind: what kind of interpretations are possible when Pirandello’sworks (especially the first part of the so-called trilogy of “theatre in a theatre” which consistsof Six Characters in Search of an Author, Each In His Own Way and Tonight We Improvise) areconsidered from the perspective of purpose, that is individual theatrical activity of Pirandelloas a co-founder, principal and stage producer of Teatro D’Arte in Rome (in operation between1924 and 1928). The present article attempts at showing the possible direction of a search foran answer to said question with the starting point being the 1962 production of Sześć postaciscenicznych w poszukiwaniu autora (Six Characters in Search of an Author) directed by MariaWiercińska in Stefan Jaracz Theatre in Łódź.Keywords: Pirandello in Poland, Maria Wiercińska, first theatre directors in Italy

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Andreev, M. L. "Pirandello: a theory and practice of «humorism»". Voprosy literatury, n.º 2 (17 de junho de 2021): 203–20. http://dx.doi.org/10.31425/0042-8795-2021-2-203-220.

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What defines the special character of Pirandello's works is the fact that he creates his own literary movement, which draws on the duality of theoretical and practical aspects. His own practice led Pirandello to the creation of a theory (‘humorism') that declares analytical dismantling of reality to be the ultimate goal of literature in order to depict the world as a series of illusions devoid of a unifying central idea. Guided by this postulate, Pirandello was close to deconstruction of the tools he used, namely the novel and the play. His reimagining of the novel was less radical: the revision of this form remained incomplete. His reforms of playwriting principles were more advanced, as Pirandello problematised and rejected traditional oppositions — primarily, the opposition of art to reality. In The Mountain Giants [I giganti della montagna], his final and unfinished play, Pirandello attempted to create a myth about art as a medium between the material and the ideal, but, confined to the rules of ‘humorism', he remained trapped by this contradiction.

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Koman, Aleksandra. "Ofelia Pirandella: rozważania nad kobiecym szaleństwem". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (12 de outubro de 2018): 150–58. http://dx.doi.org/10.24917/20811853.17.13.

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Ophelia of Pirandello: reflections around female madnessAbstractThe article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the case of a woman receivesnew, interesting meanings. One of them is spotting the correspondence between Pirandelli’sStranger and Shakespeare’s Ophelia, as madness of both characters appears to have similarroots: female’s insanity seen through the prism of both dramas appears as defiance againstthe culture of patriarchy, but also stems from the conviction of one’s own emptiness andundefinedness. In this context, referring to studies on feminist criticism (E. Shawalter,K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even thoughthe structure of drama appears to lead to a finale in which the truth about the character isuncovered, Pirandello does not reveal her true identity. However, questions on female identityand female madness are worth reflecting upon, even if they remain unanswered.Keywords: Luigi Pirandello, As you desire me, impersonality, Ophelia, tarantism, Jean-MartinCharcot, Aleksandra Mianowska, female madness, female identity, Elaine Showalter, feministliterary criticism

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Pearson, Tony. "Evreinov and Pirandello: Two Theatricalists in Search of The Chief Thing". Theatre Research International 17, n.º 1 (1992): 26–38. http://dx.doi.org/10.1017/s0307883300015583.

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The name Evreinov appears in the footnotes to a number of monographs on the better known Pirandello. Indeed, the artistic parallels between these two contemporaries have been frequently, if superficially, recognized in separate studies of both. I have sought elsewhere to develop the framework for a comparative analysis, focusing upon a common instinct for ‘theatricality’ and a snared obsession for putting theory into practice. This second and concluding study examines in closer detail the aesthetic and philosophical affinities between Evreinov and Pirandello in the context of their ‘theatre-in-thetheatre’ trilogies; it begins by identifying the formal properties of Evreinov's plays and goes on to consider the parallels and convergences with Pirandello's ideas.

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Vanagaitė, Gitana. "Luigi Pirandello’s Works in Lithuania: Why the Dialogue Did Not Take Place". Interlitteraria 21, n.º 2 (18 de janeiro de 2017): 216. http://dx.doi.org/10.12697/il.2016.21.2.5.

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Luigi Pirandello (1867–1936) was an Italian modernist writer and playwright who enriched literature with questions of modern identity as it relates to the contradiction between human consciousness and reality. Pirandello pondered questions of art and reality, mask and essence, life and form, and the fragmentation of a personality. In his works, he also foresaw what would later constitute the base of existential philosophy.The reception of Pirandello’s works in Lithuania has been limited, in part because of the small number of his works translated into Lithuanian – only a dozen short stories, two plays, and a novel.The first more or less systematic and thorough introduction to the play wright and his works took place in 1934, when the Italian writer was awarded the Nobel Prize in Literature for his “bold and brilliant renovation of the drama and the stage.” A few articles on Pirandello’s creative principles appeared in the Lithuanian press. A Lithuanian poet, Kazys Binkis, translated the beginning of Pirandello’s play, Sei personaggi in cerca d’autore (Six Characters in Search of an Author, 1921), and a writer, Kostas Korsakas, edited a book consisting of five novels, Pirmoji naktis (‘First Night’). A Lithuanian translation of his novel, Il fu Mattia Pascal (The Late Mattia Pascal, 1904), and two plays, Sei personaggi in cerca d’autore and Enrico IV (Henry IV, 1922), came out during the Soviet period.All translations were accompanied by a foreword containing basic biographical details about and introducing Pirandello’s cultural, literary and creative life. Although Pirandello gets attention in Lithuanian university textbooks, no academic paper about him or his works has been published yet. There have been no translations of Pirandello’s theoretical texts, his thoughts on the cultural situation, literature, and man at the beginning of the 20th century, i.e., a volume of essays Arte e Scienza (Art and Science) written in 1908 or an important long essay, L’umorismo (On Humor), in which author also examines the principles of his own art. On the other hand, the literary reception of Pirandello’s works has been supplemented by theater performances. Five plays of his were mounted and the play, Henry IV, was twice produced on Lithuanian theater stage.The article examines why Pirandello’s artistic ideas, which reached Lithuania during the second decade of the 20th century, remained on the periphery and failed to influence the literary canon. Keywords: Luigi

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Bassnett, Susan. "Pirandello's Debut as Director: the Opening of the Teatro d' Arte". New Theatre Quarterly 3, n.º 12 (novembro de 1987): 349–51. http://dx.doi.org/10.1017/s0266464x00002487.

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In this, the centenary year of Pirandello's birth, there has been a revival, hopefully more than just circumstantial, of interest in his work in the English-speaking theatre – which has previously tended to acknowledge his influence without often producing his plays. But Pirandello's own theatrical ambitions, which came quite late in his creative life, were initially as a director – indeed, the association with Mussolini which has sometimes cast a pall upon his reputation was largely in the interests of obtaining state patronage for his Teatro d' Arte company, which struggled unsuccessfully for survival between 1925 and 1928. Initially, however, hopes were high, and the inaugural productions both artistically and technically exciting. In the following feature. Susan Bassnett, a Pirandello specialist who teaches in the Graduate School of Comparative Literature in the University of Warwick and is a regular contributor to NTQ, describes the circumstances behind the opening of the company, while Alessandro Tinterri, of the Actors' Museum of Genoa, analyzes the curious encounter in the first major production. The Gods of the Mountain, between Pirandello as director and the now little-remembered Irish cricketer-dramatist. Lord Dunsany.

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La Rosa, Gabriele. "Pirandello a Breslavia / Pirandello in Wrocław". Italica Wratislaviensia 1, n.º 5 (26 de abril de 2015): 235. http://dx.doi.org/10.15804/iw.2014.05.10.

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Nazneen Zahra, Dr Behzad Anwar e Shamshad Rasool. "Disappearance of the Author: A Foucauldian Study of Luigi Pirandello’s Six Characters in Search of an Author". Journal of English Language, Literature and Education 5, n.º 2 (15 de junho de 2023): 17–32. http://dx.doi.org/10.54692/jelle.2023.0502175.

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Pirandello's Six Characters in Search of an Author was an innovative juncture in theatre with its avant-garde dramatic devices. Pirandello has presented the idea of the relation between the author and his creation and highlighted the disappearance of the subject in the narrative. The present study employs Foucault's idea of the author function in the play to explore the effort of the characters to present their narrative while the author has disappeared. The unexpected entry of six self-conscious characters illustrates and emphasizes the creative process and the continuity of the artistic works. The study finds that Pirandello has skillfully handled the theatricality resulting in a novel perspective of the theatre and shed light on the freedom of the characters that symbolizes the text, and drafted their story as they like. It, further, pinpoints their quest and success in mastering authority over their discourse in the absence of their creator.

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Alessio (book author), Antonio, e Franco Zangrilli (review author). "Pirandello pittore". Quaderni d'italianistica 6, n.º 2 (1 de outubro de 1985): 281–82. http://dx.doi.org/10.33137/q.i..v6i2.11083.

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Mais fontes

Teses / dissertações sobre o assunto "Pirandello"

Vandelli, Ernesto. "Sartre e Pirandello". Université Stendhal (Grenoble), 2009. http://www.theses.fr/2009GRE39020.

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Les dettes contractées par la dramaturgie sartrienne à l'égard du théâtre de Pirandello, particulièrement visibles dans Les Séquestrés d'Altona, ont été signalées depuis longtemps. Notre confrontation entre le drame de Franz et celui de Enrico IV, qu'on a utilisé aussi pour mettre en evidence les positions tenues par Sartre et Pirandello à l'égard du problème de la folie, a réaffirmé et souligné cette influence pirandellienne sur le théâtre sartrien déjà bien documentée. Mais avec notre étude on a essayé surtout de prouver que la connaissance de Sartre ne se limitait pas au seul théâtre de l'auteur sicilien et que l'influence de Pirandello a touché aussi la narrative et la pensée philosophique de l'auteur français. On a montré avant tout que La Nausée est pleine de références soit à Uno, nessuno e centomila que à Quaderni di Serafino Gubbio operatore. Attiré par le monde du cinéma présenté dans ce dernier roman, Sartre semble en avoir repris et transféré dans La Nausée la structure, la stylisation de certains personnages, le climat, et plusieurs argumentations. Dans Quaderni di Serafino. . . On trouve aussi l'épisode de la maladie du baron Nuti qui à notre avis à fourni à Sartre l'idée pour sa nouvelle La Chambre: les similitudes entre ce deux textes au fait sont plutôt frappantes. Et puis dans La Nausée il y a un face à face de Roquentin avec le miroir et un discours sur les couleurs qui semblent presque une photocopie d'épisodes presents dans Uno, nessuno e centomila. Les conclusions que cet autre roman pirandellien exhibe à propos de notre corps et de notre identité personnelle, ainsi que sur notre contingence fondamentale, trouvent aussi une étonnante correspondence avec certaines affirmations présentes dans L'Être et le néant. De même que les mésaventures avec le regard des autres et son pouvoir objectivant du protagoniste pirandellien Moscarda semblent anticiper les points fondamentaux de la phénoménologie du regard contenue dans cet essai sartrien. La sensibilité exacerbée vis à vis du regard des autres que présente un autre personnage sartrien, Daniel, semble aussi avoir été modelé sur le comportement de Moscarda, dont Daniel reprend également, comme hypothèse, la solution finale: une immersion totale dans la nature. En plus, l'idée du mariage de Daniel avec une femme enceinte d'un autre homme pourrait dériver de l'histoire de Baldovino, protagoniste de Il piacere dell'onestà, drame pirandellien que Sartre connaissait surement très bien. Ce drame nous a servi pour mettre en evidence un autre point de contact entre l'œuvre de Sartre et celle de Pirandello: les constantes préoccupations d'ordre moral, omniprésentes dans les textes de ces deux auteurs de même que le thème du déracinement. Plus en general, nous pensons que Sartre s'est bien reconnu dans le fond existentialiste de la pensée de Pirandello, qu'il a absorbé et transmis dans ses textes, de façon qu'on peut certainement parler d'un "pirandellisme sartrien".

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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.

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The subject of this thesis is an intertextual and psycho-analytic study of the relationship between two major dramatists of twentieth century Italian Theatre, Luigi Pirandello and Eduardo De Filippo. The analysis is in part conducted according to the concept of influence developed by Harold Bloom in The Anxiety Of Influence and expressed in "Freudian" terms, in which one poet, the later (Eduardo De Filippo), is presumed to "struggle" with or try to surpass his precursor (Luigi Pirandello).

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Degani, Francisco José Saraiva. "Pirandello e a máscara animal". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-12112014-104230/.

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A obra em prosa de Luigi Pirandello (1867-1936), sobretudo sua novelística, é permeada pela presença de um rico e variado mundo animal. O autor, como um agudo observador de sua época, reconhece a importância dos animais na cultura e no desenvolvimento da civilização. Espelhos naturais dos humanos, capazes de sofrer e entender esse sofrimento, agentes do acaso e da impassibilidade da natureza, os animais inserem-se perfeitamente na poética do autor. Em Pirandello, o animal é um personagem que age e se comporta como um personagem de Pirandello, mas, ao contrário do personagem humano, mostra a sua própria face, sem disfarces, sem meios termos e sem máscaras. Este estudo busca examinar e chamar a atenção para esse pouco estudado, mas importante aspecto da obra de Pirandello, relacionando-o com a poética do autor e a evolução de sua obra
The prose works of Luigi Pirandello (1867-1936), particularly his short stories, is permeated by the presence of a rich and varied animal world. The author, as a keen observer of his time, recognizes the importance of animals in the culture and development of civilization. Natural mirrors of the human being, capable of suffering and understanding this suffering, agents of natures chance and impassivity, animals fall perfectly into the poetics of the author. In Pirandello, the animal is a character who acts and behaves like a character from Pirandello, but, unlike the human character, it shows its own face, without disguises, compromises and masks. This study seeks to examine and draw attention to this understudied but important aspect of the work of Pirandello, relating it to the poetics of the author and the evolution of his work

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Degani, Francisco José Saraiva. "Pirandello \"novellaro\": da forma à dissolução". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-16022009-143656/.

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Estudar a obra novelística de Luigi Pirandello é um modo de entender não apenas as razões que o levaram a ser um dos mais importantes escritores italianos do século XX, mas também o papel de cada um de nós no mundo e na vida. As novelas, baseadas em pequenos acontecimentos cotidianos, formam um grande mosaico da existência humana: uma nota no jornal, um amor acabado ou ainda nem começado, um simples gesto ou o apito de um trem, são situações que despertam a imaginação do autor e nas quais muitas vezes nos reconhecemos. Dramaturgo e romancista de sucesso, Pirandello nunca deixou de escrever novelas: foram 251 ao longo de sua carreira. Para ele, a novela era o espaço íntimo, insubstituível, reservado para a discussão existencial empreendida pelos seus personagens em uma época tão inquieta como o início do século XX. As novelas, reunidas no projeto Novelle per un anno, são de vital importância para se compreender a evolução das preocupações do autor e representam a base de seu pensamento. As últimas novelas, principalmente, trazem novas chaves de interpretação ao conjunto da obra e mostram um escritor novo e muito mais inquietante, que muitas vezes a crítica não soube reconhecer. Traçar a trajetória do Pirandello novelista, ou novellaro, como ele se definia, relacionando-a com os outros aspectos de sua carreira literária, de seu pensamento e da época que ele tão bem retratou, é o objetivo deste trabalho.
To study Pirandellos short story is a means not only of understanding the reason why he became one of the most important Italian writers of the twentieth century but also the role we play in the world and life. His short stories, based on ordinary events, make the great mosaic of our lives a piece of news, a love that has broken up or not even started, a gesture, a train whistle; situations that drive his thoughts, where many times we recognize ourselves. Successful play writer and novelist, Pirandello never stopped writing short stories: 251 along all his work life. According to Pirandello, a short story was the intimate, unique place, intended for the existential debates of his characters in the hard times of the beginning of the twentieth century. The short stories, brought together in the project Novelle per un anno, are of great importance to understand the evolution of the authors worries and represent the basis of his thought. The last short stories mainly bring new tools for interpretation to Pirandellos work and show a new, much more disturbing writer, many times not acknowledged by critics. To follow the course of the short-story writer Pirandello or novellaro, as he used to call himself connected with other aspects of his literary life, thought, and the time he described so well, is the focus of this work.

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Hennerdal, Pennina. "L'umorismo in due novelle di Luigi Pirandello". Thesis, Högskolan Dalarna, Italienska, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3101.

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MENDES, C. S. "Linhas e tecidos: nas tramas de Pirandello". Universidade Federal do Espírito Santo, 2018. http://repositorio.ufes.br/handle/10/10418.

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Made available in DSpace on 2018-09-11T12:35:18Z (GMT). No. of bitstreams: 1 tese_12425_Tese-Linhas e tecidos - nas tramas de Pirandello.pdf: 355775 bytes, checksum: b953344b10aad0fd92d022818d4269f3 (MD5) Previous issue date: 2018-08-31
A pesquisa pretende estabelecer, a partir da análise dos contos de Luigi Pirandello, a saber, Il bottone della palandrana (1013), La marsina stretta (1924), a força da indumentária, que constitui aspecto significativo para a análise do texto ficcional do autor italiano. Nos contos, é patente a importância da roupa como elemento constituinte da identidade das personagens, sobretudo enquanto emblema de opressão, cisão e conflito das criaturas pirandellianas. O trabalho, que define-se, em termos metodológicos, pela leitura crítica e analítica de contos de Luigi Pirandello, devidamente amparada por um referencial crítico, teórico e historiográfico, tem como objetivo investigar a pertinência da análise do vestuário como instrumento de leitura dos contos referidos. Para tanto nos ampararemos, do ponto de vista teórico, em textos filosóficos e antropológicos voltados à análise da indumentária. Entre alguns autores destacamos Gilda de Mello e Souza, Gilles Lipovetsky, Lars Svendsen e Roland Barthes; além de textos de teoria e crítica literárias pertinentes à análise da obra de Luigi Pirandello. Acreditamos que a relevância do trabalho resida na proposta de acrescentar aos estudos literários uma análise da indumentária e do vestuário como funções basilares na construção das personagens e do enredo narrativo. Palavras-chave: Luigi Pirandello; Contos; Indumentária; Ficção.

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Hatt, Michele E. "The relation of mirror imagery to metaphysical and psychological themes in the major dramas of Luigi Pirandello". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1999.
Source: Masters Abstracts International, Volume: 45-06, page: 2852. Typescript. Abstract appears on leaves [i]-ii. Includes bibliographical references (leaves 101-108).

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Vittori, Gérard. "Sujet, réel et signes dans l'oeuvre de Pirandello". Nice, 1990. http://www.theses.fr/1990NICE2006.

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Dans l'accés à la vérité, le corps n'est pas un lieu privilégié de connaissance, ni pour le sujet, ni pour les autres. Le corps est au contraire le lieu de l'équivoque du sens. Seule la volonté fournit le sens authentique : mais les signes naturels et les signes verbaux livrent le sujet à la distorsion du sens. Dieu est pour les autres la garantie de l'adéquation du langage au réel. En vérité, l'autorité, subsititut de la transcendance vraie, établit la transparence du langage parce qu'elle institute le réel par le langage. Le réel est fondé par le "texte" social. Le "texte" des autres aliène le sujet, et l'exclut de sa vérité. Le nom (avec l'histoire qu'il porte), les actes, sont autant de prises que les autres ont sur le sujet. Celui qui veut faire advenir la vérité dans le discours est réputé fou, par la production de soi (sociale : la logique ou la folie feinte - artistique : comme auteur ou comme spectateur) le sujet peur avoir une maitrise des signes. Le retour du réel des autres, même s'il est possible, à contre lui le temps, par lequel toute nouvelle expression de soi sera possible. Il est une possibilité que la vérité du sujet s'exprime, sans subir le "texte" aliénant des autres : dans la relation fusionnelle, dont le prototype est la relation à la mère. Dans la religion éthique que propose Lucio dans Lazare, cette relation fusionnelle semble pouvoir donner lieu à une intersubjectivité ouverte à tous
To 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

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Saraiva, Julio Cesar Viana. "Luigi Pirandello: da escrita narrativa à escrita dramática". Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-88ML8K.

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Esta dissertação analisa o processo de transposição de duas novelas do escritor Luigi Pirandello, A Patente e Apelo à obrigação, para duas peças teatrais, A habilitação e O homem, a besta e a virtude, respectivamente. Este estudo busca suscitar possíveis motivações do autor para realizar o trabalho e assinalar características que determinam uma provável metodologia empregada durante o procedimento. Para isso, são utilizadas considerações acerca do contexto histórico, político, social e cultural de autor e obras, além de apontar elementos dramatúrgicos inseridos em sua escrita narrativa. Analisa-se, assim, uma possível existência consciente ou não de uma teatralidade anterior nas obras não dramáticas de Pirandello.

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BONO, MICHELE MARCO. "Nel laboratorio di Pirandello. Spigolando tra i "Taccuini"". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1069.

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La Tesi di Dottorato ha per oggetto tre Taccuini di Pirandello, studiati sia sul versante filologico che su quello ermeneutico. Si tratta del Taccuino Segreto (edito dalla Mondadori nel 1997 a cura di Annamaria Andreoli), del Taccuino di Harvard (edito dalla Mondadori nel 2002 a cura di Ombretta Frau e Cristina Gragnani) e del Taccuino di Coazze (edito in copia anastatica dalla Biblioteca-Museo “Luigi Pirandello di Agrigento” nel 1998 e nel 2001). Se l’edizione critica che correda il saggio intende operare una revisione filologica dei tre documenti, con un riesame delle concordanze dei primi due Taccuini e una prima edizione critica del testo e delle concordanze del Taccuino di Coazze, l’ampio saggio introduttivo (diviso in tre parti dedicate ai rispettivi Taccuini) ha lo scopo di operare la sintesi su quanto sinora scritto in merito al “laboratorio di Pirandello”, sviluppando quanto emerso dallo studio filologico ed ermeneutico.
The object of this Doctorate’s thesis are three Pirandello’s Notebooks: Taccuino segreto (ed. by Annamaria Andreoli, Mondadori Milano 1997), Taccuino di Harvard (ed. by Ombretta Frau and Cristina Gragnani, Mondadori, Milano 2002), Taccuino di Coazze (printed by “Biblioteca-Museo Luigi Pirandello” Agrigento). The Critical edition’s purpose is a philological study of Pirandello’s Notebooks, with concordance’s review of Segreto and Harvard’s Notebooks, and first study of Coazze’s Notebook (philological edition and concordance). The Essay analyzes “Pirandello’s Laboratory”, when until now studied in essays and articles of “Pirandello’s “laboratory” and “style”, and considerations of our study and our philological edition.

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Livros sobre o assunto "Pirandello"

Anne, Paolucci, e Council on National Literatures, eds. Pirandello. New York: Published for the Council on National Literatures by Griffon House, 1987.

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Luperini, Romano. Pirandello. Roma: GLF Editori Laterza, 1999.

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Heidelberg, Universitätsbibliothek, e Fachverband Italienisch in Wissenschaft und Unterricht (Frankfurt am Main, Germany), eds. Pirandello. Heidelberg: HVA, 1986.

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Weisbrod, Ella. Pirandello-saus. Amersfoort: Kwintessens, 2008.

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Harold, Bloom, ed. Luigi Pirandello. Philadelphia: Chelsea House, 2003.

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1941-, Bazzoni Jana O'Keefe, ed. Pirandello & film. Lincoln: University of Nebraska Press, 1995.

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Luigi, Pirandello. Luigi Pirandello. Roma: Istituto poligrafico e Zecca dello Stato, 1995.

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Ganeri, Margherita. Pirandello romanziere. Soveria Mannelli (Catanzaro): Rubbettino, 2001.

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Pirandello, Fausto. Fausto Pirandello. Milano: Charta, 1995.

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Manotta, Marco. Luigi Pirandello. Milano: B. Mondadori, 1998.

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Capítulos de livros sobre o assunto "Pirandello"

Chichkine, Andrei. "«И скрипка, и контрабас»: фигура парадокса и поэтика недоумения в художественном мышлении Пиранделло и Достоевского". In Biblioteca di Studi Slavistici, 167–84. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0122-3.15.

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“Both violin and contrabass”: The Figure of Paradox and the Poetics of Bewilderment in the Artistic Thinking of Pirandello and Dostoevsky Pirandello and Dostoevsky are deeply linked at thematic, ideological and textual levels. In 1908, Pirandello published the treatise Humorism, in which he elaborated an original theory of humor and substantiated a worldview that is quite close to the type of artistic consciousness inherent in Dostoevsky’s work, and is genetically related to it. The poetics of paradox, in which every mental and sensual experience is tested by its “opposite”, encourages the reader to “hang” between two seemingly mutually exclusive principles while opening up the possibility of a new, more complex understanding of reality and of the Other. This article presents aspects of Pirandello’s theory of humor in a new light, revealing their potential for application to the analysis of Dostoevsky’s work.

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Rössner, Michael. "Luigi Pirandello". In Kindler Kompakt: Drama des 20. Jahrhunderts, 76–79. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_13.

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Wild, Gerhard. "Pirandello, Luigi". In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13613-1.

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Rössner, Michael. "Luigi Pirandello". In Kindler Kompakt Italienische Literatur 20. Jahrhundert, 46–60. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05534-7_4.

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Rössner, Michael. "Pirandello, Luigi: L'esclusa". In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13615-1.

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Rössner, Michael. "Pirandello, Luigi: Liolà". In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13618-1.

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Rössner, Michael. "Pirandello, Luigi: Enrico IV". In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13626-1.

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Sartori, Andrea. "Pirandello: Name and Performance". In Italian and Italian American Studies, 175–237. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-18850-3_5.

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Giulio Mancino, Anton. "Capitolo 4. Pirandello detective". In Pagine girate, 88–106. Torino: Edizioni Kaplan, 2023. http://dx.doi.org/10.4000/books.edizionikaplan.2971.

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Schulz, Karin. "»Una ventata di pazzia«?" In Bewegungsszenarien der Moderne, 143–62. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-9.

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Luigi Pirandello’s novels are based on scenarios of extreme emotional movement. By focusing on the novel ‚Suo marito‘, the essay will question the textual presentation of extremes, in order to point out the structural patterns in Pirandello’s writing practice with regard to the issue of emotional self-discovery of the individual. How does the emotional dynamic emerge and develop in selected sequences of scenes? And which structural characteristics or aesthetic paradigms of the representation of emotional movement can be summarized? Pirandello shows a special conception of aesthetic functionality of emotions, which in its specific character of movement reflects individual self-experience. The special analytic focus lies on the protagonist Giustino Boggiolo, whose ambition to build on his wife’s literary success and to exploit it commercially puts him into an ecstatic rush, endangering not only his own existence and self-image, but also his family.

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Trabalhos de conferências sobre o assunto "Pirandello"

di Fraia, Guido, e Alessandra Massarelli. "DIGITAL PIRANDELLO: EDUCATIONAL INNOVATION THROUGH A VIRTUAL ASSISTANT INSPIRED BY NOBEL LAUREATE LUIGI PIRANDELLO". In 16th International Conference on Education and New Learning Technologies. IATED, 2024. http://dx.doi.org/10.21125/edulearn.2024.0698.

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Saba, Anna Maria. "Le comique sur la scène de Se trouver, de Luigi Pirandello : une réalisation particulière de l'« humorisme »". In Le rire : formes et fonctions du comique. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4777.

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Martimiano, Taciane, e Jean Everson Martina. "Six Characters in Search of a Security Problem: Pirandellian Masks for Security Ceremonies". In Simpósio Brasileiro de Segurança da Informação e de Sistemas Computacionais. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sbseg.2022.225346.

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For the Italian play-writer and 1934 Nobel-Prize winner Luigi Pirandello, a fictional mask is either self-imposed or, in most cases, forced on by society, being what makes life possible. Drawing from that, we believe that due to the non-deterministic nature of the human being, the only way to specify and verify human-tailored security protocols (known as security ceremonies) is by the specification of masks that users wear in order to interact with ceremonies. In the current paper, we review further this literary inspiration and propose six possible masks: the Attentive, the Naive, the Careless, the Fearful, the Busy, and the Elder. We then discuss an example of how we can reason about security involving human beings, and present what still needs to be done.

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Grgić Maroević, Iva. "Splitska fortuna Luigija Pirandella". In Split i Vladan Desnica 1918. – 1945.: umjetničko stvaralaštvo između kulture i politike: zbornik radova sa znanstvenog skupa Desničini susreti 2015. Filozofski fakultet u Zagrebu, FF-Press, 2016. http://dx.doi.org/10.17234/desnicini_susreti2015.12.

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