Uno, Nessuno, Centomila (One, No One and One Hundred Thousand) is a classic novel by Italian playwright Luigi Pirandello. Published in , it recounts the. Pirandello inizia a lavorare a Uno nessuno centomila nel La prima puntata dell'opera uscirà nel sulla “Fiera letteraria”. Il dramma di Vitangelo. One, No One and One Hundred Thousand is a novel by the Italian writer Luigi Pirandello. Finally finished, Uno, Nessuno e Centomila came out in episodes between December and June in the magazine Fiera y‎: ‎Italy.


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One, No One and One Hundred Thousand

Ah, the nature of identity. Do you reflect on the fact that you experience you from the inside and other people experience you from the outside? Or, stated slightly another way, your looks, speech and action independent of pirandello uno nessuno centomila inner thoughts and feelings.

Does this bother you? Probably not or not all that much.

One, None, and a Hundred Thousand

Humor is laced throughout, right from the first page when at age twenty-eight Moscarda is informed by his dear wife that his nose tilts slightly to the right, quite the revelation since he has pirandello uno nessuno centomila been under the distinct impression he had, if not a handsome nose, then most certainly pirandello uno nessuno centomila decent nose.

Reacting as if he were a dog and his wife just stepped on his tail, Moscarda spins around: Later that very same day, when a friend pays a visit to discuss a specific matter that might involve him personally, Moscarda cuts him off midsentence and asks if he, in fact, is looking at his nose. So we have the first push leading to a progressively more rapid downhill slide, as Moscarda confesses: The sickness that would quickly reduce me to conditions of spirit and body so wretched and desperate that I would surely have died of them or gone mad if I had not found in the sickness itself as I will tell the remedy that was to cure me of it.

And the obverse, how other people construct their own version of his identity for themselves is an unavoidable truth Moscarda refuses to accept, particularly the way his wife Dida has constructed his identity as Genge, her little Pirandello uno nessuno centomila, a little, loveable fool.


On top of pirandello uno nessuno centomila, how the two men running the bank his father founded, Quantorzo, the manager, and Firbo, the councilor, likewise think him a harmless fool.

And the people in his small city? He discovers, though, that if his body can be one, his spirit certainly is not. And this Faustian duplicity gradually develops into a disconcerting and extremely complex multiplicity.

How can one come to know the true foundation, the substate of the self?

Vitangelo seeks to catch it by surprise as its shows itself in a brief flash on the surface of consciousness. But this attempt at revealing the secret self, chasing after it as if it were an enemy that must be forced to surrender, does not give the desired results. Just as soon as it appears, the unknown self evaporates and recomposes itself into the familiar attitudes of the superficial self.

In this extremely modern Secretum where there pirandello uno nessuno centomila no Saint Augustine to indicate, with the profound voice of conscience, the absolute truth to desire, where desperation is entrusted to a bitter humorism, corrosive and salvific at the same time, the unity of the self disintegrates pirandello uno nessuno centomila diverse stratifications.

One, No One and One Hundred Thousand - Wikipedia

Vitangelo is one of those " Vitangelo's extremely lucid reflections seek out the pirandello uno nessuno centomila objections, confine them into an increasingly restricted space and, finally, kill them with the weapons of rigorous and stringent argumentation.

The imaginary interlocutors, "Dear sirs, excuse me" Oh my God, you are turning pale" The plural you "voi" which punctuates like a returning counterpoint all of the initial part of the novel is much different from the "tu" of Eugenio Montalewhich is almost always charged with desperate expectations or improbable alternatives to existence; it represents, rather, the barrier of the conformist conceptions which the lengthy ratiociations of Vitangelo nullify with the overwhelming evidence of implacable reflections.

Vitangelo's "thinking out loud", definitely intentional and rigorous, is, however, paradoxically projected toward a completely different epilogue in pirandello uno nessuno centomila the spiral of reasoning gives way to a liberating irrationalism.

Liberation for Vitangelo cannot happen through instinct pirandello uno nessuno centomila Eros, as happens in the case of Harry Haller, the steppenwolf, who realizes his metamorphosis through an encounter with the transgressively vital Hermine.

Vitangelo's liberation must follow other avenues; he must realize his salvation and the salvation of his reason precisely through an excess of reason.

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