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    Uno, nessuno, e centomila
    Uno, nessuno, e centomila
    Uno, nessuno, e centomila
    E-book208 pagine3 ore

    Uno, nessuno, e centomila

    Di Luigi Pirandello

    4/5

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    Questo romanzo, l'ultimo di Pirandello, riesce a sintetizzare il pensiero dell'autore nel modo piu completo. L'autore stesso lo definisce come il romanzo "piu amaro di tutti, profondamente umoristico, di scomposizione della vita". Il protagonista Vitangelo Moscarda, infatti, puo essere considerato come uno dei personaggi piu complessi del mondo pirandelliano, e sicuramente quello con maggior autoconsapevolezza. Dal punto di vista formale, stilistico, si puo notare la forte inclinazione al monologo del soggetto, che molto spesso si rivolge al lettore ponendogli interrogativi e problemi in modo da coinvolgerlo direttamente nella vicenda, il cui significato e senza dubbio di portata universale. A dispetto della sua lunga gestazione, l'opera non e né frammentaria né disorganizzata; al contrario, puo essere considerata come l'apice della carriera dell'autore e della sua tensione narrativa.

    LinguaItaliano
    EditoreBooklassic
    Data di uscita29 giu 2015
    ISBN9789635264162
    Autore

    Luigi Pirandello

    Luigi Pirandello (1867-1936) was an Italian playwright, novelist, and poet. Born to a wealthy Sicilian family in the village of Cobh, Pirandello was raised in a household dedicated to the Garibaldian cause of Risorgimento. Educated at home as a child, he wrote his first tragedy at twelve before entering high school in Palermo, where he excelled in his studies and read the poets of nineteenth century Italy. After a tumultuous period at the University of Rome, Pirandello transferred to Bonn, where he immersed himself in the works of the German romantics. He began publishing his poems, plays, novels, and stories in earnest, appearing in some of Italy’s leading literary magazines and having his works staged in Rome. Six Characters in Search of an Author (1921), an experimental absurdist drama, was viciously opposed by an outraged audience on its opening night, but has since been recognized as an essential text of Italian modernist literature. During this time, Pirandello was struggling to care for his wife Antonietta, whose deteriorating mental health forced him to place her in an asylum by 1919. In 1924, Pirandello joined the National Fascist Party, and was soon aided by Mussolini in becoming the owner and director of the Teatro d’Arte di Roma. Although his identity as a Fascist was always tenuous, he never outright abandoned the party. Despite this, he maintained the admiration of readers and critics worldwide, and was awarded the 1934 Nobel Prize for Literature.

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    Recensioni su Uno, nessuno, e centomila

    4/5

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    • 3/5
      dit is het kernwerk van Pirandello. Zijn hele thematiek vind je hier samengevat, vooral in de eerste dertig pagina?s. Wat volgt is redundant, maar toch noodzakelijk; want Moscarda bewijst dat je niet zomaar een andere identiteit kan aannemen. Maar uiteindelijk slaagt Moscarda wel vrij en creatief zijn eigen leven in te vullen.
    • 3/5
      dit is het kernwerk van Pirandello. Zijn hele thematiek vind je hier samengevat, vooral in de eerste dertig pagina’s. Wat volgt is redundant, maar toch noodzakelijk; want Moscarda bewijst dat je niet zomaar een andere identiteit kan aannemen. Maar uiteindelijk slaagt Moscarda wel vrij en creatief zijn eigen leven in te vullen.
    • 4/5
      This should probably be required reading for everyone.For some, it might even be a replacement for therapy(or at the very least, a complement to therapy).In only 150 pages, this poetic treatise packs a real punch.More than a novel it's an essay/monologue on the flux that is life.The flux that is us.Who am I? one, no one, 100000.Who are you? one, no one, 100000.At times it feels repetitive, but that's because it's a soul trying toexplain what everyone already knows but can't seem to get their headsaround. Or maybe we can get our heads around it, but it's too much.It's a soul trying to see itself, standing on the brink of the abyssthat is being and nothingness. And saying, look, isn't it marvelous?And yet but, despite the psychological and philosophical perspicacityof the ideas, the ending let me down. (...maybe I need to re-read it...?)And while I agree that we have multiple selves (both within us, and without us),those multiple selves are who we are (even the selves created outside of us).We can't just decide, oh no, that self isn't really me. Oh yes it is!But when we remember that this book is meant to be humoristic (think Tristam Shandy,a direct influence) (I laughed out loud several times), we forgive the flawsand smile as our happy protagonist (no one) becomes one with nature...
    • 4/5
      One, No One amd One Hundred Thousand by Luigi Pirandello took a long time to get through, even at 160 pages of very short chapters. (There are 63 chapters in the book, which is translated by William Weaver.)The story has an unreliable narrator, which is either part of the problem or part of the fun, depending on one's personal tastes I suppose. (I like an unreliable narrator now and then, myself.) The narrator of One, No One, and One Hundred Thousand, Moscarda, Genge to his wife, has come to the realization that no one knows who he really is. Everyone he knows sees him in such a different light, that if they were to describe him to each other, none of them would know who was being discussed. In fact, Moscarda himself no longer recognizes himself in their eyes at all. He has even begun to question his own interpretation of who he is. The man he sees in the mirror is not someone he recognizes anymore at all. Confused? So was I, but then so is the narrator.Moscarda's relationship with his wife sums things up fairly clearly. Moscarda's wife calls him Genge, and has created a version of Moscarda that she loves. Genge is handsome, caring, dotes on her, is a bit absentminded, but very, very loving--her ideal husband. The novel's central conflict comes from Moscarda's realization that the Genge his wife has been in love with has nothing to do with him. In fact, he becomes jealous of the man she thinks she is kissing when she kisses him. Who is this Genge that his wife loves? Not Moscarda. When he finally tells his wife that she does not know the real him, and tries to reveal the his true self to her, she finds she does not want Moscarda at all. She loves Genge and wants him back. So she leaves him. This is not an easy situation to get one's head around. The fact that the narrator may be the clearest thinker in his village or may be going slowly crazy, does not make the book any easier to follow. Still, I enjoyed the struggle. The situations Moscarda ends up in are often comic and suited my sense of humor, at least what I think my sense of humor is. That makes One, No One & One Hundred Thousand a love/hate book. I expect more people will hate it than love it, but there are probably many people out there who'll find it has much to say to their experience. Maybe 100,000 people, maybe just the one, me. After all, if you live long enough, there will surely come a morning when the face you see in the mirror is just not the same one you saw the day before

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    Uno, nessuno, e centomila - Luigi Pirandello

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