UNO, NESSUNO E CENTOMILA/ ONE, NO ONE AND ONE HUNDRED THOUSAND BY LUIGI PIRANDELLO (BOOK REVIEW)

 Today I shall review One, No One and One Hundred Thousand, a novel by Italian writer Luigi Pirandello.  Published in 1926, this existential masterpiece was long in the making. In fact, the author started working on it as early as 1909.  Once it was finally completed, One, No One and One Thousand was published in episodes in an Italian literary magazine Literature Fair (La Fiera Letteraria). Pirandello described this novel (in an autobiographical letter) as the bitterest of his works but also humoristic. I would agree with his statement. This novel is quite bitter, but at the same time it is wonderfully funny.  One, No One and One Hundred Thousand tells a quest of one man searching for his identity. The title references a moment when Moscarda, the protagonist of this novel, realizes that he has many identities. Both for himself and the others, Moscarda is one, no one and one thousand individuals.   If you're looking for a classical read in the category of a philosophical or existentialist novel, you simply cannot go wrong with this one. As with all classical works, this book is available online for free. You can read this book online (in English) or download it from project Gutenberg here.  I got my vintage copy from a second hand book shop in Split. The funny thing is that I was actually in the process of listening to an audio version of this book on Rai 4 (Italian radio) here when I (quite by chance)  found this wonderful vintage copy in Split city. How fortunate! I picked up some other vintage copies that day in Split. You'll get to see them all since I plan on reviewing them. Scroll down to read my review for One, No One and One Hundred Thousand by Luigi Pirandello. 

Danas je na raspored književni ogled za roman Jedan, nijedan i sto tisuća, talijanskog pisca Luigija Pirandella. Pisac je dugo pisao ovaj roman (koji je po mome mišljelnju pravo egzistencijalno remek-djelo), a objavljen je 1926. godine.  Pirandello je na romanu počeo raditi 1909. godine. Nakon što je konačno dovršen, Jedan, nijedan i sto tisuća objavljen je u epizodama u talijanskom književnom časopisu Sajam književnosti (La Fiera Letteraria). Pirandello je ovaj roman (u autobiografskom pismu) opisao kao najviše gorko od svojih djela, ali i humorističko. Složila bih se s njegovom izjavom. Ovaj roman je prilično gorak, ali je u isto vrijeme i divno smiješan. Jedan, nijedan i sto tisuća govori o potrazi jednog čovjeka za svojim identitetom. Naslov upućuje na trenutak kada Moscarda, protagonist ovog romana, shvaća da ima mnoštvo identiteta. Tako je i za sebe i za druge Moscarda jedan, nitko i sto tisuća pojedinaca. Ako tražite klasično štivo u kategoriji filozofskog ili egzistencijalističkog romana, s ovom knjigom jednostavno ne možete pogriješiti. Kao i druga klasična djela, ova knjiga je dostupna na internetu besplatno. Ovu knjigu možete pročitati online (na engleskom ili talijanskom) ili je preuzeti ovdje i ovdje. Svoj vinztage primjerak ovog romana nabavila sam u antikvarijatu u Splitu. Smiješno je to što sam upravo u to vrijeme slušala audio verziju ove knjige na Rai 4 (talijanski radio) kada sam (sasvim slučajno) pronašala ovu knjigu u Splitu. Kakva sreća! Taj sam dan u Splitu pokupila i neke druge vintage knjige. Sve ćete ih moći vidjeti jer ih planiram sve podijeliti u svojim knjižnim ogledima na blogu. Nastavite sa čitanjem ogleda za roman Jedan, nijedan i sto tisuća od Luigija Pirandella.



Before I start my review, I'll answer some questions about this novel so you can get a more general idea about it. These are some questions that I like to ask about any book I'm reviewing. 

QUESTIONS AND ANSWERS 
FOR THOSE WHO WANT TO KNOW MORE ABOUT THE NOVEL

How does the novel open? What is the opening chapter like? The novel opens with a conversation between the protagonist Moscarda and his wife. This innocent conversation is an introduction to Moscarda's crisis of identity. Once his wife comments how his nose hangs slightly down on the right side, Moscarda realizes that the way he sees himself is not the same as others see him. Upon this realization, Moscarda experiences an emotional and intellectual/philosophical crisis.

What are you doing?" my wife asked me, as she saw me lingering, contrary to my wont, in front of the mirror.
"Nothing," I told her. "I am just having a look here, in my nose, in this nostril. It hurts me a little, when I take hold of it."
My wife smiled.
"I thought," she said, "that you were looking to see which side it is hangs down the lower."
I whirled like a dog whose tail has been stepped on:
"Which side hangs down the lower? My nose? Mine?"
"Why, yes, dear," and my wife was serene, "take a good look; the right side is a little lower than the other."

I was twenty-eight years old; and up to now, I had always looked upon my nose as being, if not altogether handsome, at least a very respectable sort of nose, as might have been said of all the other parts of my person. So far as that was concerned, I had been ready to admit and maintain a point that is customarily admitted and maintained by all those who have not had the misfortune to bring a deformed body into the world, namely, that it is silly to indulge in any vanity over one's personal lineaments. And yet, the unforeseen, unexpected discovery of this particular defect angered me like an undeserved punishment. * source here




What kind of novel is One, No One and One Hundred Thousand? It is an existential and philosophical novel with a note of bitterness and a fair amount of humour.  The protagonist is tragically comical and comically tragic man experiencing a crisis of identity. An innocent remark of Moscarda's wife sets this passive protagonist in motion and forces him to re-examine not only his own life, but the world as he knows it. Moscarda's sense of alienation from the world is something a modern reader can relate to. Moscarda's monologues make for a large part of the novel, as the focus is entirely on the inner life of its protagonist. The dialogues often serve to highlight Moscarda's spiritual and emotional crisis.  Moreover, a reader can find allegory and symbolism in this novel. 

What is the setting for this novel? The novel is set in Italy, in an unnamed city. There are several locations where the action of the novel takes place. Initially, the reader finds himself in Moscarda's home, then in his bank, then in other houses and locations Moscarda visits.  Moscarda's visits to the nature are contrasted with the city life.

What is the plot of this novel like? The plot of this novel is simple enough, the real emphasis being on the inner life of its protagonist. The novel is not devout of a sense of action, though. Moscarda undertakes some action that surprise everyone and that do not make sense to anyone expect perhaps the reader and only because the reader is privy to his inner thoughts. Moscarda's action seem mad to everyone but the reader. In fact, even to reader Moscarda might seem to be going insane. The action that takes place in this novel moves along side its philosophical debates and could even be said to enforce them. 

What kind of narration does this novel employ?  One, No One and One Hundred Thousand  is a novel that uses the first person narration. The novel is written from the perspective of its protagonist Vintangelo Moscarda. It is worth noting that Moscarda often addresses the reader directly. Moscarda's thoughts are often presented in a form of a monologue.  Both dialogues and monologues have a part to play to play in this novel. 

Who is the protagonist of this novel?  What is he like? The narrator Vintangelo Moscarda is the book's protagonist. He is a married twenty years old Italian man who lives a life of leisure. Moscarda inherited a bank from his father, but he doesn't do more for this bank than sign some papers occasionally. Moscarda is an educated man but one that hasn't found a profession for himself. 

Who are the most significant characters in One, No One and One Hundred Thousand besides Vintangelo Moscarda? Moscarda's wife and her friend Anna Rosa are the most significant female characters in this book. The male characters Moscarda comes in contact with are mostly connected to the bank he owns. Moscada's (late) father is mentioned in the novel, so in a way he has a role to play even if he is not alive at the moment the book takes place. Moreover, the colleagues of Moscarda's father, the ones who are in charge of the bank make an appearance and engage with Moscarda as does the notary Moscarda visits. Besides the above mentioned characters, there is a family connected with Moscarda's father that has a role to play as well.

What is the characterization like? The characterization is written from the point of view of Vintangelo Moscarda. Therefore, the characters that are explored the most are those that mean the most to Moscarda, for example his wife. 

What is the ending of One, No One and One Hundred Thousand like? The novel ends on a philosophical note that I think fares well in the context of the novel. 


Prije nego što započnem svoj književni ogled, odgovorit ću na neka pitanja o ovom romanu kako biste dobili općenitiju ideju o njemu. Ovo su neka pitanja koja volim postaviti o svakoj knjizi koju recenziram.

PITANJA I ODGOVORI
ZA ONE KOJI ŽELE ZNATI VIŠE O ROMANU

Kako roman započinje? Kako izgleda uvodno poglavlje? Roman započinje razgovorom glavnog junaka i njegove supruge. Ovaj nevini razgovor uvod je u Moscardovu krizu identiteta. Nakon što njegova žena komentira kako mu nos lagano visi s desne strane, Moscarda shvaća da način na koji on sebe vidi nije isti kao što ga vide drugi. Nakon te spoznaje, Moscarda doživljava emocionalnu i intelektualnu/filozofsku krizu.


Libro primo I. 

Mia moglie e il mio naso. 
– Che fai? – mia moglie mi domandò, vedendomi insolitamente indugiare davanti allo specchio. – Niente, – le risposi, – mi guardo qua, dentro il naso, in questa narice. Premendo, avverto un certo dolorino. Mia moglie sorrise e disse: – Credevo ti guardassi da che parte ti pende. Mi voltai come un cane a cui qualcuno avesse pestato la coda: – Mi pende? A me? Il naso? E mia moglie, placidamente: – Ma sí, caro. Guàrdatelo bene: ti pende verso destra. Avevo ventotto anni e sempre fin allora ritenuto il mio naso, se non proprio bello, almeno molto decente, come insieme tutte le altre parti della mia persona. Per cui m’era stato facile ammettere e sostenere quel che di solito ammettono e sostengono tutti coloro che non hanno avuto la sciagura di sortire un corpo deforme: che cioè sia da sciocchi invanire per le proprie fattezze. La scoperta improvvisa e inattesa di quel difetto perciò mi stizzí come un immeritato castigo. *source here
Prva knjiga I.

Moja žena i moj nos.
- Što radiš? - upitala me supruga vidjevši da se neobično dugo zadržavam pred ogledalom. - Ništa, - odgovorio sam, - gledam ovdje, u nos, u ovu nosnicu. Kada pritisnem, osjećam određenu bol. Moja žena se nasmiješila i rekla: - Mislila sam da gledaš s koje strane ti nos naginje. Okrenuo sam se kao pas kojeg je netko nagazio na rep: - Je li to nešto naginje? Meni? Nos? A moja žena, smireno: - Da, dragi. Pažljivo ga pogledaj: naginje s desne strane. Imah dvadeset osam godina i do tada sam svoj nos uvijek smatrao, ako ne baš lijepim, barem vrlo pristojnim, kao i sve druge dijelove moje osobe. Stoga mi je bilo lako priznati i podržati ono što obično priznaju i podržavaju svi oni koji nisu imali nesreću da imaju deformirano tijelo: to jest, glupo je biti uzrujan zbog vlastitih crta i karakteristika. Iznenadno i neočekivano otkriće tog nedostatka razljutilo me stoga poput nezaslužene kazne.
Kakva je radnja ovog romana? Radnja ovog romana je poprilično jednostavna jer je pravi naglasak zapravo na unutarnjem životu protagonista/junaka djela. Roman ipak nije bez prave radnje. Moscarda poduzima neke radnje koje iznenađuju svakoga i koje nemaju smisla nikome (osim ​​možda  samog čitatelja i to samo zato što je čitatelj upućen u junakove unutarnje misli). Moscardin postupak čini se ludim svima osim čitatelju. Zapravo, čak se i čitatelju Moscarda može učiniti ludim. Radnja koja se odvija u ovom romanu kreće se tako uz njegove filozofske rasprave i duhovne krize te bi se čak moglo reći da te krize potiču radnju. 

Kakvu naraciju koristi roman Jedan, nitko i sto tisuća? Ovaj roman koristi pripovijedanje u prvom licu. Roman je napisan iz perspektive protagonista Vintangela Moscarde. Vrijedi napomenuti da se Moscarda često izravno obraća čitatelju. Moscardine misli često se iznose u obliku monologa. Svakako i dijalozi i monolozi imaju važnu ulogu u ovome romanu.

Tko je junak/ protagonist ovog romana? Kakav je on? Pripovjedač Vintangelo Moscarda glavni je junak knjige. On je oženjen dvadesetosmogogodišnji Talijan koji živi lagodnim životom. Moscarda je banku naslijedio od oca, ali je zapravo ne vodi nego samo povremeno potpisuje neke papire. Moscarda je obrazovan čovjek, ali nije pronašao zanimanje za sebe.

Tko su najznačajniji likovi u filmu Jedan, nitko i sto tisuća osim Vintangela Moscarde? Moscardina supruga i njezina prijateljica Anna Rosa najznačajniji su ženski likovi u ovoj knjizi. Muški likovi s kojima Moscarda dolazi u kontakt uglavnom su povezani s bankom koju posjeduje. U romanu se spominje Moscadin (pokojni) otac, pa na neki način ima ulogu čak i ako nije živ u trenutku kada se radnja knjige odvija. Štoviše, kolege Moscardinog oca, oni koji vode banku, pojavljuju se i imaju dodir s Moscardom kao i bilježnik kojeg Moscarda posjećuje. Uz spomenute likove, tu je i obitelj povezana s Moscardinim ocem koja ima svoju ulogu.

Kakva je karakterizacija? Karakterizacija je napisana sa stajališta Vintangela Moscarde. Stoga se najviše istražuju likovi koji Moscardi najviše znače, na primjer njegova supruga.

Kakav je kraj knjige Jedan, nitko i sto tisuća? Roman završava filozofskom notom za koju smatram da je posve prikladna u kontekstu romana.


OUTFIT DETAILS: LEATHER JACKET, SKATER SKIRT (new to me), BELT BAG & SNEAKERS
I wanted to be alone in an altogether unusual way, a new way. Quite the contrary of what you think: that is to say, without myself and, to be precise, with a stranger at hand.
Does this impress you as being a first sign of madness?
May not this be due to a lack of reflection on your part?
It may be that madness was in me already, I am not saying that it was not; but I beg you to believe that the only way of being truly alone is the one of which I am telling you.
Solitude is never where you are; it is always where you are not, and is only possible with a stranger present; whatever the place or whoever the person, it must be one that is wholly ignorant concerning you, and concerning which or whom you are equally ignorant, so that will and sensation remain suspended and confused in an anxious uncertainty, while with the ceasing of all affirmation on your part, your own inner consciousness ceases at the same time. True solitude is to be found in a place that lives a life of its own, but which for you holds no familiar footprint, speaks in no known voice, and where accordingly the stranger is yourself.


Io volevo esser solo in un modo affatto insolito, nuovo. Tutt’al contrario di quel che pensate voi: cioè senza me e appunto con un estraneo attorno. Vi sembra già questo un primo segno di pazzia? Forse perché non riflettete bene. Poteva già essere in me la pazzia, non nego, ma vi prego di credere che l’unico modo d’esser soli veramente è questo che vi dico io. La solitudine non è mai con voi; è sempre senza di voi, è soltanto possibile con un estraneo attorno: luogo o persona che sia, che del tutto vi ignorino, che del tutto voi ignoriate, cosí che la vostra volontà e il vostro sentimento restino sospesi e smarriti in un’incertezza angosciosa e, cessando ogni affermazione di voi, cessi l’intimità stessa della vostra coscienza. La vera solitudine è in un luogo che vive per sé e che per voi non ha traccia né voce, e dove dunque l’estraneo siete voi. Cosí volevo io esser solo. Senza me. Voglio dire senza quel me ch’io già conoscevo, o che credevo di conoscere. Solo con un certo estraneo, che già sentivo oscuramente di non poter piú levarmi di torno e ch’ero io stesso: l’estraneo inseparabile da me. Ne avvertivo uno solo, allora! E già quest’uno, o il bisogno che sentivo di restar solo con esso, di metterme16 lo davanti per conoscerlo bene e conversare un po’ con lui, mi turbava tanto, con un senso tra di ribrezzo e di sgomento. Se per gli altri non ero quel che ora avevo creduto d’essere per me, chi ero io? 


ONE, NO ONE AND ONE HUNDRED THOUSAND, A NOVEL BY LUIGI PIRANDELLO 5/5

This is a novel that immediately draw my attention. Right from the start, I felt immersed in Moscarda's inner struggle and crisis of identity. That's one thing I loved about this novel, the way it made me immediately feel a part of the story. The innocent dialogue that opens this book and that ends up being so devastating for the protagonist is written to perfection.  It sets the scene for the whole book. The novel seems so develop so naturally and effortlessly from this point. Despite being an existential and philosophical novel, it is not devout of a plot. The plot is pretty simple and linear, taking second stage to the novel's philosophical aspect. Obviously, Moscarda's inner life is at the centre of the novel but there is also some action. What is more the action in this novel (initiated by its protagonist) results from the inner thoughts of the protagonist. While Moscarda's actions don't make sense to other characters, they do make some sense to the reader. 

The characterization of Moscarda, the novel's hero, is done with much care and attention to detail. It is easy to relate to Moscarda as a character, mostly because he is so honest  and candid while sharing  his most inner thoughts. At times Moscarda is quite hard on himself. At any rate, Mostarda doesn't try to justify himself or portray himself in a favourable light. Being genuinely shaken by his wife's comment, Moscarda experiences a profound inner crisis. Despite living a sort of a privileged life, Moscarda realizes that he is profoundly unhappy. Moscarda is not an ambitious or hard-working man, but he isn't a negative character either. In fact, Vintangelo Moscarda is an intelligent and sensible man capable of compassion and this redeems him in the eyes of the reader. It also makes him vulnerable to self-doubt and melancholy. Vintangelo Moscarda is unable to save himself from the overbearing weight of his existence and identity. 

 Vintangelo's  personal crisis results in the crisis of his marriage. Vintangelo Moscarda realizes that his wife doesn't really love him. Instead, she loves an image of himself she has constructed in her mind. Vintangelo's wife calls him Genge. This nickname, a term of enderment, starts to torment Vintagelo. To this image of himself, Moscarda's wife is loyal. She truly loves her Genge. The only problem is that Genge doesn't exist. Moscarda starts to feel jealous of this 'Genge' his wife loves. While I was reading his thoughts, I started to wonder myself of how often this situation happens in the real live. How often we imagine others to be something they are not. We all attribute different identities to others and they attribute them to us. What is the real identity? Is there such a thing as one identity? Or all we all truly One, No One and One Hundred Thousand individuals? 

The more I read this novel, the more I like it. As Vintangelo Moscarda starts to question his identity, his marriage and the world around him, he grows increasingly philosophical. Moscarda's monologues were not only very interesting, at times they were quite poetic. Moscarda doesn't stop at questioning his own identity, he also starts to question human society, for example our  human need to build cities and houses.  As the novel progresses, other characters are introduced but the novel keeps its philosophical and psychological style of writing. I won't reveal what happens next in the plot to avoid spoilers but I will repeat there is a strong connection between the plot and Moscarda's inner life. 

In the terms of the plot and the writing style, I found this book quite easy to read. Sometimes philosophical books can be heavy, but not this one. There's humour to lighten things up and even a touch of paradox now and then. I would describe this novel as a wonderful philosophical text that can be read as a mediation on identity but also as a tragedy of one man. Some parts of this book naturally demanded more attention and concentration, but all in all it was enjoyable read. On overall, I found this book to be very touching and clever. Highly recommended!



JEDAN, NIJEDAN I STO TISUĆA, ROMAN LUIGIJA PIRANDELLA 5/5

Ovo je roman koji mi je odmah privukao pažnju. Od samog početka osjećala sam se uronjena u Moscardinu unutarnju borbu i krizu identiteta. To je jedna stvar koja mi se svidjela u ovom romanu, način na koji sam se odmah osjetila dijelom priče. Nedužni dijalog koji otvara ovu knjigu i koji na kraju postaje tako poražavajući za protagonista napisan savršeno te postavlja scenu za cijelu knjigu. Čini se da se roman od ove točke razvija tako prirodno i bez napora. Unatoč tome što je egzistencijalni i filozofski roman, nije bez  radnje. Radnja je prilično jednostavna i linearna, te je u drugom planu zbog filozofskog aspekta romana. Očito je Moscardin unutarnji život u središtu romana, ali svakako ima i radnje. Štoviše, radnja u ovom romanu (koju pokreće protagonist) proizlazi iz unutarnjih misli protagonista. Iako Moscardini postupci nemaju smisla drugim likovima, čitatelju imaju (barem nekog) smisla.

Karakterizacija Moscarde, junaka romana, rađena je s puno pažnje prema detaljima. Lako je povezati se s Moscardom kao likom, ponajviše zato što je tako iskren i otvoren dok dijeli svoje najnutarnjije misli. Moscarda je ponekad prilično strog prema sebi. U svakom slučaju, Mostarda se ne pokušava opravdati ili prikazati u povoljnom svjetlu. Iskreno potresen komentarom svoje žene, Moscarda doživljava duboku unutarnju krizu. Unatoč tome što živi privilegiranim životom, Moscarda shvaća da je duboko nesretan. Moscarda nije ambiciozan ili vrijedan čovjek, ali nije ni negativan lik. Zapravo, Vintangelo Moscarda je inteligentan i razuman čovjek sposoban za suosjećanje i to ga iskupljuje u očima čitatelja. To ga također čini ranjivim pa tako sumnja u sebe i pada u egzistencijalnu melankoliju. Vintangelo Moscarda nije u stanju spasiti se od nadmoćne težine svog postojanja i identiteta.

 Vintangelova osobna kriza rezultira krizom njegova braka. Vintangelo Moscarda shvaća da ga žena zapravo ne voli. Umjesto toga, voli sliku o sebi koju je izgradila u svom umu. Vintangelova žena zove ga Genge. Ovaj nadimak, izraz iz milja, počinje mučiti Vintagelo. Ovoj slici o njenu, Moscardina supruga je iskreno odana. Ona istinski voli svog Gengea. Jedini problem je što Genge ne postoji. Moscarda počinje osjećati ljubomoru na ovog 'Gengea' kojeg njegova žena voli. Dok sam čitala njegove misli, počeo sam se pitati koliko se često ova situacija događa u stvarnom životu. Koliko često zamišljamo druge  na krivi načini i vjerujemo da su nešto što nisu. Svi mi drugima pripisujemo različite identitete, a oni ih pripisuju nama. Što je pravi identitet? Postoji li nešto kao jedan identitet? Ili smo svi mi uistinu Jedan, nitko i sto tisuća pojedinaca?

Što sam više čitala ovaj roman, to mi se više sviđao. Kako Vintangelo Moscarda počinje preispitivati ​​svoj identitet, svoj brak i svijet oko sebe, postaje sve više filozofski orijentiran. Moscardini monolozi ne samo da su bili vrlo zanimljivi, na trenutke su bili i prilično poetični. Moscarda ne prestaje preispitivati ​​vlastiti identitet, on također počinje ispitivati ​​ljudsko društvo, na primjer našu ljudsku potrebu za izgradnjom gradova i kuća. Kako roman napreduje, uvode se i drugi likovi, ali roman zadržava svoj filozofski i psihološki stil pisanja. Neću otkrivati ​​što se dalje događa u radnji kako bih izbjegla spojlere, ali ponovit ću da postoji jaka veza između radnje i Moscardinog unutarnjeg života.

Što se tiče radnje i stila pisanja, ova knjiga mi je bila prilično laka za čitanje. Ponekad filozofske knjige mogu biti teške, ali ne i ova. Tu i tamo ima humora koji olakšava stvari, pa čak i dašak paradoksa. Ovaj roman opisala bih kao prekrasan filozofski tekst koji se može čitati i kao traženje identiteta, ali i kao tragedija jednog čovjeka. Neki dijelovi ove knjige naravno zahtijevali su više pažnje i koncentracije, ali sve u svemu bilo ju je ugodno čitati. Sve u svemu, smatram sam da je ova knjiga vrlo dirljiva i inteligento napisana. Preporučujem ju svim ljubiteljima klasičnih književnih djela.  .





FOR THOSE WHO WANT TO KNOW ABOUT THE AUTHOR: There is a good article to be found on encyclopedia.com




ZA ONE KOJI ŽELE ZNATI VIŠE O PISCU:

Pirandello [~dε'l:o], Luigi, talijanski književnik (Agrigento28. VI. 1867 – Rim10. XII. 1936). Autor je pjesama, eseja, romana; svjetsku slavu stekao kao dramatičar i pripovjedač. Studirao je filologiju u Rimu, diplomirao (1891) u Bonnu. U Rimu je ušao u književne krugove; javio se zbirkama pjesama Gejin Uskrs (Pasqua di Gea, 1890) i Porajnske elegije (Elegie renane, napisane u Njemačkoj, objavljene u Rimu 1895). Ubrzo je napustio pjesništvo i počeo pisati pripovijetke pod utjecajem verizma. Kao vrstan pripovjedač prikazao je sicilijanske seljake i ribare te rimsko građanstvo u novom ozračju, i potvrdio se kao pisac koji zna objediniti realističke i dekadentističke narativne postupke. Niz njegovih pripovijedaka, koje je pisao cijeloga života, objavljen je najprije u zbirkama Ljubavi bez ljubavi (Amori senza amore, 1894), Kad bijah lud (Quand’ero matto, 1902), Šale o životu i smrti (Beffe della vita e della morte, 1902–03) i dr. Nakon prvoga romana (Izopćena – L’esclusa, 1901), u romanu Pokojni Mattia Pascal (Il fu Mattia Pascal, 1904) otvorio je temu kojom je od tada bio trajno zaokupljen: problem identiteta i pluraliteta ličnosti (kao i u romanu Jedan, nijedan i sto tisuća – Uno, nessuno e cento mila, 1927). Njegova djela tematiziraju krizu vrijednosti u europskoj kulturi, problem suprotnosti između života i krutih, konvencionalnih društvenih i kulturnih shema, oprjeku između čovjekove nutrine i zbilje, odnosno između čovjekova pravoga lica i maske koju mu nameće društvo. Sva su djela ujedno prožeta i upornom, ali nikada ostvarenom potragom za univerzalnim istinama. Njegovi su likovi tjeskobni, često u bizarnim situacijama i, u želji da budu ono što doista jesu, uzalud se bore protiv društvenih obrazaca. Nakon financijskoga kraha obitelji, Pirandello je radio kao profesor talijanistike na visokoškolskoj ustanovi u Rimu. Dio svojih predavanja objavio je u glasovitu književnopovijesnom ogledu Humorizam (L’Umorismo, 1908). U to doba napisao je neke od svojih najboljih pripovijedaka na temu patetičnoga, tragičnog i komičnog u svakodnevici (zbirke Goli život – La vita nuda, 1911., i Dvije maske – Le due maschere, 1914., objedinjene su s novim pripovijetkama u zbirku Novele za godinu dana – Novelle per un anno, 1922–37). Roman Snima se… (Si gira…, 1915), poslije preimenovan u Zabilješke snimatelja Serafina Gubbia (Quaderni di Serafino Gubbio operatore, 1925), prvi je roman u talijanskoj književnosti i jedan od prvih u Europi koji tematizira film, novu umjetnost prema kojoj su intelektualci bili još vrlo skeptični. U njem se bavi odnosom čovjeka i stroja, tj. kamere u filmskoj industriji, odabrane kao simbol svih industrija koje otuđuju čovjeka. Premda se okušao u »sedmoj umjetnosti« kao scenarist, te je surađivao i pri ekranizaciji svojih djela, razočaran komercijalizacijom filma (koji je smatrao umjetnošću, a ne industr. proizvodom za masovnu zabavu), potpuno se posvetio kazalištu. Potom je napisao (1917–20) dvanaest dramskih djela koja su izvodile najbolje kazališne družine. Dramskom trilogijom (Šest osoba traži autora – Sei personaggi in cerca d’autore, 1921; Svatko na svoj način – Ciascuno a suo modo, 1923., i Večeras se improvizira –Questa sera si recita a soggetto, 1929), u kojoj se očituje sukob između života u stalnoj mijeni i umjetnosti koja ga okamenjuje, otkrio je novu kazališnu tehniku »kazališta u kazalištu«. Karakterističan pirandelovski relativizam više se ne konkretizira samo putem likova nego i putem kazališne forme, pri čem se ruše ustaljene barijere između gledatelja i glumca, pozornice i gledališta, svojstvene tradicionalnomu kazalištu: dokida se granica između kazališta i »nekazališta«, stvarnog i nestvarnoga, kazališnog komada i stvarnoga života. Tijekom godina Pirandello je postao sve cjenjeniji na svjetskoj kazališnoj sceni, intenzivno je putovao svijetom te promicao svoj način rada i svoja uvjerenja. Osnovao je (1925) vlastitu kazališnu družinu sa svojom trajnom muzom, glumicom Martom Abbom. Njegove su najpoznatije drame: Tako je [ako vam se čini] (Così è [se vi pare], 1917), Henrik IV. (Enrico IV, 1921), Odjenuti gole (Vestire gli ignudi, 1923), Nova kolonija (La nuova colonia, 1926–27) i dr., a nedovršena je ostala drama Divovi s planine (I giganti della montagna, 1931–33). Književna ga kritika drži prethodnikom egzistencijalističke književnosti i teatra apsurda. Dobio je Nobelovu nagradu za književnost 1934.

Citiranje:
Pirandello, Luigi. Hrvatska enciklopedija, mrežno izdanje. Leksikografski zavod Miroslav Krleža, 2021. Pristupljeno 21. 3. 2022. <http://www.enciklopedija.hr/Natuknica.aspx?ID=48354>.


Thank you for reading and visiting. Have a lovely day. 


Comments

  1. Thanks for your review:) Have a nice week...

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  2. Such a talent you have! Brilliant review. Thank you for the in depth of this author and the novel! So love this out and about outfit. Naturally, I live the sneakers too. Looking radiant! Thank you so much for this amazing post!

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    1. Thanks Ellie. Sometimes sneakers are the best choice.

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  3. Awesome review! It goes so well with your outfit too. Love your location and all it has to offer. Such a unique literary piece you have chosen to share. And boy do you deliver! So good to see your review. Wonderful coat and adoring those sunnies too! Thanks so much!

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  4. You are such a talented writer of book reviews, Ivana! I would never be able to describe and review the books I've read in such detail. Well done, and what a coincidence that you found the book while you were in the process of listening to an audio version! xxx

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    1. Indeed, it was a lovely coincidence. Thank you. I love writing book reviews.

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  5. So good to see you, Ivana! I love your cute little flippy skirt with the moto-style jacket and the sneakers! I hope you're doing okay, my friend.

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    1. Thank you Sheila. A friend I visited gave me this skirt. I think I will wear it a lot.

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  6. I really like that jacket on you! It looks great with the skirt and sneakers :)

    It's nice you were able to find and enjoy reading this vintage book too! It sounds like an interesting read :)

    Hope that you are having a great day :)

    Away From The Blue

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  7. Parece un libro para pensar, lo tendré en cuenta. Gracias por la reseña y me gusto tu look. Te mando un beso.

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  8. Brilliant review! This sounds like a wonderful read and this is a cool look on you!
    xoxo
    Lovely
    www.mynameislovely.com

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  9. I agree with Ann, I love reading but there's no way I could write a detailed analysis of every book I've read without giving the plot away.
    Love this biker chic outfit on you. xxx

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  10. Your review is in such detail and to have done it in two languages, wow! I'm glad there is a audio version too. The Q&A is a nice touch. I love the outfit you have picked out, very casual. I hope you have a great week Ivana : ) xo

    juanitalikes.com

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  11. Questo è stato uno dei romanzi che ho amato di più quando ero adolescente (e uno di pochi che abbia dovuto leggere per la scuola che mi sia piaciuto)!
    La prima vlta che l'ho letto: mindblowing!!!
    Me ne sono subito innamorata per le prospettive che pone e le molteplici domande che fa necessariamente emergere quando lo leggi, e quante verità ci ritrovai, allora!
    L'ho anche riletto successivamente, ma chiaramente, pur rimanendo un belissimo libro, ogni volta "fa meno effetto", sia perchè ormai l'effetto sorpresa è andato, sia perchè crescendo tante cose le capisci da sola.
    Rimane comunque un bellissimo classico, secondo me assolutamente da leggere almeno una volta nella vita!
    Super carino il tuo look, stai troppo bene con minigonna e sneackers! :)
    Baci!
    S
    https://s-fashion-avenue.blogspot.com

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    1. Grazie Silvia. Si, e' un libro davvero 'mindblowing' e un bellissimo classico. Non ho ancora letto molte volte, ma credo che con il tempo 'fa meno effetto' ma rimanere molto interessante.

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  12. What a wonderful coincidence that you just happened to be listening to an audio version of this book when you found a vintage copy of it! I tend to find philosophical books a little hard to get through sometimes but they always give me plenty to think about afterwards. This motorcycle jacket and skater skirt combination is so cute! Looks the weather by you is starting to get warmer.

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  13. Thank you for your review- you're so thorough!

    Also loving your moto jacket- I'm wearing an oversized version in my new post alongside a bright yellow bag. It's a fun balance!

    -Ashley

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    Replies
    1. Thank you! Yes, moto jackets are the best, aren't they?

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  14. Hi, I found it very interesting. It's a topic I like. I also have two philosophical novels published, in a stream-of-consciousness writing style, but they are in Portuguese. :) Kisses

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    1. Wow, that's great. Congrats on your published novels.

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  15. Hi,
    I'm in a phase like the character Moscarda, but what I feel is an immense void with everything that's happening, the good thing this literary work has is a little humor, because in the darkest phases of humanity it's humor that saves us !
    As for your look a big wow, you are a perfect rock star, I love your jacket!
    xoxo

    marisasclosetblog.com

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  16. You always pick the most interesting books Ivana, and I love that you get vintage ones at that.
    I need to push myself to read different books like this.
    XOOX
    Jodie
    www.jtouchofstyle.com

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    1. Thank you Jodie. Vintage books are the best.

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  17. Jako zanimljivo! Obozavam tvoje book recenzije :)

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  18. I totally love your outfit - you rock girl :-) About the book- it seems to be very interested book- I have never heard about them before :-) Thank you for your nice review xx
    Have a nice weekend

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    Replies
    1. Thank you for your lovely comment. Pirandello is a great writer.

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All your comments mean a lot to me, even the criticism. Naravno da mi puno znači što ste uzeli vrijeme da nešto napišete, pa makar to bila i kritika. Per me le vostre parole sono sempre preziose anche quando si tratta di critiche.

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