Uno, Nessuno, Centomila (“One, No One and One Hundred Thou- sand”) is a classic novel by Italian playwright Luigi Pirandello. Pub- lished in. The Virtual Library - Free online ebooks in pdf, epub, site and other formats. Free ebooks in English, Uno, nessuno e centomila. Italiano. Book ID: Uno. Get Instant Access to Uno, Nessuno Centomila (Italian Edition) By Luigi Pirandello #1aa2b6 EBOOK. EPUB site PDF. Read Download Online Uno.

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Riosa Milan: Angeli, , pp. See also M. Autobiography has been claimed, for example, by feminist literature and criticism as a perfect vehicle for the negotiation and study of the borders between public and private lives, and the modes of construction of the female literary self, a literary self whose gender and history are generally read as important, if not determining, factors.

Il fu Mattia Pascal - Uno, nessuno e centomila - L'esclusa

Annali, iv: Intellettuali e potere, ed. Vivanti Turin: Einaudi, , pp. See also Nadel, Biography, p.

Created on 15 April at This body of research builds upon a rich theoretical tradition on identity constructivism, performance and re presentation of self.

With this article we attempt to integrate the work of Italian playwright Luigi Pirandello into this tradition. In order to upset their assumptions, and to salvage some sort of stable identity, he embarks upon a series of carefully crafted social experiments. The constant flux of communication in the online world frustrates almost any effort at constructing and defending unitary identity projections. Disturbances to our sense of a unified identity have become a matter of everyday life.

Reading Uno, Nessuno e Centomila in light of established and emerging theories on identity construction, we re—imagine how Moscarda would go about defending the integrity of his selfhood in the face of the discountenancing influences of the online world.

The remainder of the article analyses in detail four crucial episodes of the novel that we attempt to reframe from their original off—line, place—based setting, to the contemporary online stage, in which off—line, physical interactions necessarily intersect with the networked digital medium.

Published in in eight chapters books , it is the result of nearly 20 years of intense, yet oft—interrupted, work.

In this section, we present a synopsis of the novel and its central themes, focusing on the four episodes that are further discussed in the following sections [ 1 ]. Moscarda recounts his troubled experience of identity as a first—person narrator. When I press it, I feel a little pain. My nose? Marco Di Dio is a local inventor in the town of Richieri. He aspired to great wealth and fame and received financial favors from both Moscarda and his father to keep his projects going. The eviction turns out to be a bureaucratic nightmare but eventually Moscarda manages to toss Di Dio and his wife out into the street on a rainy winter day.

Returning home from a walk with his dog, Moscarda finds his wife Dida conversing with the bank manager Quantorzo in the living room.

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Moscarda does not include the missing ninth character — himself as he was for himself — having realized during his meditation that he was no one for himself. In the eccentric discussion that follows between these eight characters , Dida and Quantorzo try to persuade Moscarda to stay calm and respect the managerial decisions of Firbo and Quantorzo.

The last two chapters of the novel Books Seven and Eight represent a narrative and stylistic departure from the rest of the story.

Moscarda is invited to visit Anna Rosa, a friend of his wife that he hardly knows. While Moscarda is conversing with her, she inadvertently drops her handbag, setting off a revolver inside and wounding her foot. During her recovery, Moscarda visits Anna Rosa regularly and becomes very attached to her. Anna Rosa grows fascinated with Moscarda and his ideas to that point that, in a state of mental confusion, shoots him from her bed using the same revolver that had caused her injury [ 17 ]: From that bed, a moment later, I rolled down blind, mortally wounded in the chest by the little revolver she kept under her pillow.

The reasons she gave later in her defense must be true: namely, that she was driven to kill me by the instinctive, sudden horror of the act into which she felt she was drawn by the strange fascination of everything I had said to her during those days. When called upon to testify against Anna Rosa, Moscarda successfully absolves her of the crime.

Once in the home, Moscarda is a transformed man. He has lost interest in public perceptions of his name and persona.

He lives life moment by moment, leaving memories and names behind [ 19 ]: And the air is new. And everything, instant by instant, is as it is, preparing to appear.

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To be reborn moment by moment. There is a long tradition of linking identity troubles to mirrors and other reflective surfaces. Over a century ago, Cooley created the concept of the looking—glass self. Under the same rubric, and particularly relevant to the present discussion, is the dramaturgic work of Goffman In The Presentation of Self in Everyday Life, Goffman posits the self as a malleable and elastic entity that is entirely shaped by the expectations formed by its interaction with the social world, the audience, and the stage.

We attempt to reframe this notion in a contemporary context, by posing the question: how would Moscarda perform the mirror experiment were he alive today?

A contemporary Moscarda could make use of much more sophisticated technological devices. For the present discussion, we will leave high—tech stratagems aside — such as closed—circuit television, and illusory out—of—body experiences Ehrsson, — and focus on what the outsider gaze experiment would entail regarding the present—day permeation of online social networks in our lives.

Because modern identity issues necessarily extend beyond physical, off—line fori, we speculate that a present—day Moscarda would be as concerned about the public perception of his physical persona as that of his virtual one. In other words, a Moscarda of the day would be curious to explore how he is portrayed and perceived both off—line, in the real world, and online, on social media.

A personal profile, is a Web page consisting of personal information, such as name, occupation, location, relationship status, a diary, photographs, videos and other sorts of personal media. We can then imagine that a present—day Moscarda would be curious to explore the ways in which he appears to others online.

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 is no Saint Augustine to indicate, with the profound voice of conscience, the absolute truth to desire, where desperation is entrusted to a bitter humour, corrosive and healing at the same time, the unity of the self disintegrates into diverse stratifications.

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Vitangelo is one of those " Vitangelo's extremely lucid reflections seek out the possible 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"In a multi—field world, actors routinely adopt and shed habituses depending on their different standings in each field.

With this article we attempt to integrate the work of Italian playwright Luigi Pirandello into this tradition. With the sardonic humour we expect from the author of Six Characters in Search of an Author, the novel treats the hazards of self-consciousness, the fragile and effectively indeterminate nature of any personal identity, the dire fact that we never see ourselves as others do and that our knowledge of others is just as approximate.

We can then imagine that a present—day Moscarda would be curious to explore the ways in which he appears to others online. Since each social field places requirements on its participants for membership within the field certain dress, posture, and speech , actors vying for membership tend to construct their habitus according the given social organization of the field.

During her recovery, Moscarda visits Anna Rosa regularly and becomes very attached to her. The play within I giganti is described as having been written by an unknown dead poet, with whom the lead actress, Ilse, was in love.

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