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Дисертації з теми "Pirandello, Luigi, 1867-1936 - Criticism and interpretation -"
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.
Повний текст джерелаSarrinikolaou, Irene School of Media Film & Theatre UNSW. "The ontological status of Pirandello???s metacharacters: six characters in search of a Platonic author." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/25974.
Повний текст джерелаMeda, Anna Rosa. "Teatro dei miti in Pirandello e D'Annunzio." Thesis, 1992. http://hdl.handle.net/10500/17426.
Повний текст джерелаD'Annunzio and Pirandello both as men and as artists can only be placed at the opposite ends of the cultural scene of their times. Yet, it is in myth that their antithetical works finally converge. This study, therefore, analyzes myth in three of D'Annunzio's tragedies where the mythical dimension is more apparent (The dead city, Iorio/s daughter and Fedra) and in the trilogy of myths by Pirandello, which brings his work to its ultimate expression. For both authors the need for myth is born of the painful awareness of modern man's crisis: relative values, a divided personality and no sense of direction. In the timeless and universal dimension of myth it is still possible to achieve totality. The Junghian theory of the archetypes of the collective unconscious, of which myths are cultural manifestations, has proved to be an analytical tool of great importance. By giving access to the deepest level of the texts beyond their cultural and historical layers, it brings to light the otherwise elusive meaning of archetypal images and motives, revealing the true nature of art to be not just the work of an individual but also of collective man. The works, different as they may be, when compared in this perspective have nevertheless yielded some important common conclusions, not only on D'Annunzio and Pirandello as writers but also on their role within the society they lived in and, by extension, our own. For both of them myth, even in a modern context, means essentially the overcoming of the fragmentation, the relativity and the mediocrity of contemporary life. However, in the process of recapturing this mythical dimension, myth itself is bound to be modified. Because it mirrors the modern psyche, it not only interprets its deepest present needs, but also points to its future ones. The central position occupied in their works by the subconscious, emerging from behind the powerful image of the primordial Great Mother, points the way to future psychological development and to the need to regain access to the deepest levels of the human psyche so that its opposing forces, subconscious and consciousness, can meet and be reconciled.
Classics & Modern European Languages
D. Litt. et Phil. (Italian)
Книги з теми "Pirandello, Luigi, 1867-1936 - Criticism and interpretation -"
Boschiggia, Elisabetta. Guida alla lettura di Pirandello. Milano: Mondadori, 1986.
Знайти повний текст джерелаMacchia, Giovanni. Pirandello, o, La stanza della tortura. 2nd ed. Milano: A. Mondadori, 1992.
Знайти повний текст джерелаMoments of selfhood: Three plays by Luigi Pirandello. New York: P. Lang, 1990.
Знайти повний текст джерелаLuigi Pirandellos "surrealistische" Novellen: Eine philologische Studie unter Heranziehung von Methoden der Traumdeutung. Heidelberg: Winter, 2004.
Знайти повний текст джерелаLiving masks: The achievement of Pirandello. Toronto: University of Toronto Press, 2008.
Знайти повний текст джерелаSelf and self-compromise in the narratives of Pirandello and Moravia. New York: P. Lang, 1999.
Знайти повний текст джерелаPirandello and his muse: The plays for Marta Abba. Gainesville: University Press of Florida, 1998.
Знайти повний текст джерелаDalla novella alla commedia pirandelliana: Domenico Maceri. New York: P. Lang, 1991.
Знайти повний текст джерелаA theory for reading dramatic texts: Selected plays by Pirandello and García Lorca. New York: P. Lang, 1995.
Знайти повний текст джерелаThe Great Black Spider On Its Knockkneed Tripod Reflections Of Cinema In Early Twentiethcentury Italy. University of Toronto Press, 2012.
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