Relevant bibliographies by topics / Pirandello, Luigi

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Academic literature on the topic 'Pirandello, Luigi'

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Published: 4 June 2021
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Journal articles on the topic "Pirandello, Luigi"

1

Lepschy, A. L., and Harold Bloom. "Luigi Pirandello." Modern Language Review 86, no. 1 (January 1991): 224. http://dx.doi.org/10.2307/3732156.

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2

Silva, Valmir Luis. "Luigi Pirandello." Tabuleiro de Letras 15, no. 1 (July 1, 2021): 44–54. http://dx.doi.org/10.35499/tl.v15i1.10366.

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Um dos pontos mais importantes da crítica e da teoria feita por Luigi Pirandello é o conceito de humorismo. Em seu ensaio L’umorismo (1908), Pirandello nos dá a base de sua escrita e aponta que a questão fundamental do humorista centra-se no sentimento do contrário. Neste trabalho, analisamos com profundidade textos poéticos de Pirandello, a fim de perceber a especificidade da obra de arte humorística e relacioná-la ao conceito de existencialismo, principalmente aquele seguido por Jean Paul Sartre. Concluímos afirmando que o humorismo é tanto uma teoria de crítica literária quanto uma espécie de teoria da vida, por valorizar as ações humanas que fogem ao enquadramento harmonioso que a arte em geral pinta, mas que inexistem, de fato, na praxis da vida.
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Longman, Stanley V., Susan Basnett-McGuire, and A. Richard Sogliuzzo. "Luigi Pirandello." Theatre Journal 37, no. 3 (October 1985): 392. http://dx.doi.org/10.2307/3206877.

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Bibikova, Alexandra. "«THE MOUNTAIN GIANTS» BY LUIGI PIRANDELLO IN RUSSIA: TRANSLATORS’ READINGS AND THEATRICAL RECEPTION." RZ-Literaturovedenie, no. 1 (2021): 79–89. http://dx.doi.org/10.31249/lit/2021.01.07.

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The article briefly discusses the history of the creation and staging of the last unfinished play by Luigi Pirandello «Mountain Giants» (1936) in Italy. The main focus is on staging and interpretation of Pirandelloʼs play in Russia, namely on the E. Kamenkovich and P. Agureeva 2014 production at the Moscow Theater «Workshop of Pyotr Fomenko», for which a new translation of the play into Russian was prepared. The comparative analysis of the text of Pirandello's play in Italian and the video record of the performance at the «Peter Fomenkoʼs Workshop» was carried out, which aim is to identify peculiarities of this Russian translation and changes made by the producers while staging the Pirandelloʼs play for the Russian-speaking audience, as well as to understand how the directors overcome the problem of the missing ending.
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Antonetti (book author), Renata Marsili, and Antonio Alessio (review author). "Luigi Pirandello intimo." Quaderni d'italianistica 19, no. 2 (October 1, 1998): 156–58. http://dx.doi.org/10.33137/q.i..v19i2.9470.

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Ragusa, Olga, and Fiora A. Bassanese. "Understanding Luigi Pirandello." Italica 76, no. 1 (1999): 108. http://dx.doi.org/10.2307/479809.

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Koman, Aleksandra. "Ofelia Pirandella: rozważania nad kobiecym szaleństwem." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 150–58. http://dx.doi.org/10.24917/20811853.17.13.

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Ophelia of Pirandello: reflections around female madnessAbstractThe article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the case of a woman receivesnew, interesting meanings. One of them is spotting the correspondence between Pirandelli’sStranger and Shakespeare’s Ophelia, as madness of both characters appears to have similarroots: female’s insanity seen through the prism of both dramas appears as defiance againstthe culture of patriarchy, but also stems from the conviction of one’s own emptiness andundefinedness. In this context, referring to studies on feminist criticism (E. Shawalter,K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even thoughthe structure of drama appears to lead to a finale in which the truth about the character isuncovered, Pirandello does not reveal her true identity. However, questions on female identityand female madness are worth reflecting upon, even if they remain unanswered.Keywords: Luigi Pirandello, As you desire me, impersonality, Ophelia, tarantism, Jean-MartinCharcot, Aleksandra Mianowska, female madness, female identity, Elaine Showalter, feministliterary criticism
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Schachter, Elizabeth, Gian-Paolo Biasin, and Manuela Gieri. "Luigi Pirandello. Contemporary Perspectives." Modern Language Review 96, no. 2 (April 2001): 539. http://dx.doi.org/10.2307/3737434.

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Pagano, Tullio, Gian-Paolo Biasin, and Manuela Gieri. "Luigi Pirandello: Contemporary Perspectives." Italica 77, no. 3 (2000): 428. http://dx.doi.org/10.2307/480312.

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Vanagaitė, Gitana. "Luigi Pirandello’s Works in Lithuania: Why the Dialogue Did Not Take Place." Interlitteraria 21, no. 2 (January 18, 2017): 216. http://dx.doi.org/10.12697/il.2016.21.2.5.

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Luigi Pirandello (1867–1936) was an Italian modernist writer and playwright who enriched literature with questions of modern identity as it relates to the contradiction between human consciousness and reality. Pirandello pondered questions of art and reality, mask and essence, life and form, and the fragmentation of a personality. In his works, he also foresaw what would later constitute the base of existential philosophy.The reception of Pirandello’s works in Lithuania has been limited, in part because of the small number of his works translated into Lithuanian – only a dozen short stories, two plays, and a novel.The first more or less systematic and thorough introduction to the play wright and his works took place in 1934, when the Italian writer was awarded the Nobel Prize in Literature for his “bold and brilliant renovation of the drama and the stage.” A few articles on Pirandello’s creative principles appeared in the Lithuanian press. A Lithuanian poet, Kazys Binkis, translated the beginning of Pirandello’s play, Sei personaggi in cerca d’autore (Six Characters in Search of an Author, 1921), and a writer, Kostas Korsakas, edited a book consisting of five novels, Pirmoji naktis (‘First Night’). A Lithuanian translation of his novel, Il fu Mattia Pascal (The Late Mattia Pascal, 1904), and two plays, Sei personaggi in cerca d’autore and Enrico IV (Henry IV, 1922), came out during the Soviet period.All translations were accompanied by a foreword containing basic biographical details about and introducing Pirandello’s cultural, literary and creative life. Although Pirandello gets attention in Lithuanian university textbooks, no academic paper about him or his works has been published yet. There have been no translations of Pirandello’s theoretical texts, his thoughts on the cultural situation, literature, and man at the beginning of the 20th century, i.e., a volume of essays Arte e Scienza (Art and Science) written in 1908 or an important long essay, L’umorismo (On Humor), in which author also examines the principles of his own art. On the other hand, the literary reception of Pirandello’s works has been supplemented by theater performances. Five plays of his were mounted and the play, Henry IV, was twice produced on Lithuanian theater stage.The article examines why Pirandello’s artistic ideas, which reached Lithuania during the second decade of the 20th century, remained on the periphery and failed to influence the literary canon. Keywords: Luigi
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Dissertations / Theses on the topic "Pirandello, Luigi"

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Hennerdal, Pennina. "L'umorismo in due novelle di Luigi Pirandello." Thesis, Högskolan Dalarna, Italienska, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-3101.

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Hatt, Michele E. "The relation of mirror imagery to metaphysical and psychological themes in the major dramas of Luigi Pirandello." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University of Pennsylvania, 1999.
Source: Masters Abstracts International, Volume: 45-06, page: 2852. Typescript. Abstract appears on leaves [i]-ii. Includes bibliographical references (leaves 101-108).
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Degani, Francisco José Saraiva. "Pirandello e a máscara animal." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-12112014-104230/.

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A obra em prosa de Luigi Pirandello (1867-1936), sobretudo sua novelística, é permeada pela presença de um rico e variado mundo animal. O autor, como um agudo observador de sua época, reconhece a importância dos animais na cultura e no desenvolvimento da civilização. Espelhos naturais dos humanos, capazes de sofrer e entender esse sofrimento, agentes do acaso e da impassibilidade da natureza, os animais inserem-se perfeitamente na poética do autor. Em Pirandello, o animal é um personagem que age e se comporta como um personagem de Pirandello, mas, ao contrário do personagem humano, mostra a sua própria face, sem disfarces, sem meios termos e sem máscaras. Este estudo busca examinar e chamar a atenção para esse pouco estudado, mas importante aspecto da obra de Pirandello, relacionando-o com a poética do autor e a evolução de sua obra
The prose works of Luigi Pirandello (1867-1936), particularly his short stories, is permeated by the presence of a rich and varied animal world. The author, as a keen observer of his time, recognizes the importance of animals in the culture and development of civilization. Natural mirrors of the human being, capable of suffering and understanding this suffering, agents of natures chance and impassivity, animals fall perfectly into the poetics of the author. In Pirandello, the animal is a character who acts and behaves like a character from Pirandello, but, unlike the human character, it shows its own face, without disguises, compromises and masks. This study seeks to examine and draw attention to this understudied but important aspect of the work of Pirandello, relating it to the poetics of the author and the evolution of his work
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Saraiva, Julio Cesar Viana. "Luigi Pirandello: da escrita narrativa à escrita dramática." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-88ML8K.

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Esta dissertação analisa o processo de transposição de duas novelas do escritor Luigi Pirandello, A Patente e Apelo à obrigação, para duas peças teatrais, A habilitação e O homem, a besta e a virtude, respectivamente. Este estudo busca suscitar possíveis motivações do autor para realizar o trabalho e assinalar características que determinam uma provável metodologia empregada durante o procedimento. Para isso, são utilizadas considerações acerca do contexto histórico, político, social e cultural de autor e obras, além de apontar elementos dramatúrgicos inseridos em sua escrita narrativa. Analisa-se, assim, uma possível existência consciente ou não de uma teatralidade anterior nas obras não dramáticas de Pirandello.
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Kanarya, Nilay <1990&gt. "Le figure femminili nelle opere di Luigi Pirandello." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12452.

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Il principale intento della mia tesi è di porre in evidenza le figure femminili che attirano maggiormente l’attenzione nelle opere di Pirandello. L’autore, che è vissuto a cavallo tra l’Ottocento e il Novecento, mostra il ruolo della donna nella società italiana dell’epoca. Luigi Pirandello è uno dei più importanti scrittori del ventesimo secolo nella letteratura italiana e nel mondo. Ha una posizione rilevante nel mondo letterario, non solo per le sue opere di teatro ma anche per i suoi racconti e romanzi. È uno degli scrittori più importanti del nostro secolo perchè rappresenta le ansie e le angosce degli uomini contemporanei. Ho deciso di iniziare la mia indagine dalla biografia dello scrittore siciliano, una scelta suggerita dalle parole da lui spesso ripetute, «ciò che scrivo è il contenuto della mia vita». Mi sono resa conto che si potrebbe dare al lettore un’idea sulla sua vita. Quindi, nel primo capitolo parlerò delle vicende più significative della sua vita, come la pazzia della moglie Antonietta, allo scopo di mostrarne il percorso di avvicinamento alla scrittura drammatica. Poi concentrandosi sulle sue opere, cercherò di analizzare le figure femminili che caratterizzano queste opere di Pirandello. In questo elaborato ho cercato di analizzare delle opere in cui le figure femminili rivestono un ruolo primario, mentre gli altri personaggi sono in secondo piano e ruotano intorno alla donna. In particolare i temi delle sue opere sono: i rapporti tra moglie-marito, l’infedeltà della donna, il triangolo dell’amore tra donna-uomo-terza persona.
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Gaspar, Jean Fabian Daud. "As máscaras em Luigi Pirandello: aproximações pontuais com Nietzsche." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/11610.

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In this dissertation, we will analyze the work of Luigi Pirandello and his involvement with the masks problematic having as horizon possible similarities and differences with the writings of philosopher Friedrich Nietzsche. Being this objective of the present work, we will try to draw a parallel, initially between the ancient tragedy and modern, reflecting the disharmony with Pirandello on the subject and, with Nietzsche in certain specific criticisms of the alleged unity of the subject. Along the way, will emerge, differentially, the themes of the suffering of the individual, the "I" multiple and misfit of the subject that will support, along with the "conscience" of multiplicity, for a finding of coherence waving to the masks
Nesta dissertação, analisaremos a obra de Luigi Pirandello e seu envolvimento com a problemática das máscaras, tendo no horizonte possíveis aproximações e diferenças com os escritos do filósofo Friedrich Nietzsche. Sendo este o objetivo do presente trabalho, procuraremos traçar um paralelo, inicialmente, entre a tragédia antiga e a moderna, refletindo com Pirandello sobre a desarmonia do sujeito, e, com Nietzsche, em determinadas críticas pontuais à sua pretensa unidade. Nesse percurso, irão emergir, diferencialmente, as temáticas do sofrimento do indivíduo, do eu múltiplo e do desajuste do sujeito que, servirão de apoio, juntamente com a consciência da multiplicidade, para a constatação de uma coerência que acena para as máscaras
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Silva, Valmir Luis Saldanha [UNESP]. "O mal de viver na poesia de Luigi Pirandello." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141530.

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O autor Luigi Pirandello (1867-1936) é, sem dúvidas, um dos mais importantes escritores da passagem do século XIX para o século XX. Já tendo sido reconhecido pela crítica por suas inovações teatrais e suas boas construções em prosa, resolvemos colocar a poesia como centro de nossa investigação. Desmentindo o que certa crítica apressada propagou nos últimos tempos, demonstramos que a poesia de Pirandello não se limitou ao início de seu trabalho literário, mas acabou se fazendo presente em praticamente toda a carreira do escritor. Assim, empenhamo-nos em demonstrar que já nas poesias juvenis do autor um mesmo obsessivo tema lhe aparecia como constituinte principal de sua literatura, o “male di vivere”, a que denominaremos mal de viver. Essa transição de gêneros não é, de modo algum, destituída de senso estético próprio do autor siciliano, ao contrário, ela denuncia a visão de mundo que suas obras contemplam. Para tanto, dissecamos o mal triste de viver que escapa dos textos de Pirandello, de tal forma a descolá-lo do momento histórico a que está preso e materializá-lo como conceito teórico, filosófico e antifilosófico dentro da poesia do autor siciliano, mas também demonstrando várias ramificações na obra de Pirandello como um todo. Seguimos, para isso, as lições de De Castris, Storia di Pirandello (1982), Alfredo Bosi, O ser e o tempo da poesia (2000), Giacomo Leopardi, Zibaldone di pensieri (1921), Jean-Paul Sartre O existencialismo é um humanismo (1970) e empenhamo-nos em trazer para o público em geral a poesia de Pirandello, inclusive por meio de traduções, para fazer uma revisão do lugar que a lírica de Pirandello merece alcançar.
L'autore Luigi Pirandello (1867-1936) è senza dubbio uno dei più importanti scrittori della fine del’Ottocento al Novecento. Una volta che l’autore è già stato riconosciuto dalla critica per le sue innovazioni teatrali e le sue buone costruzioni in prosa, abbiamo deciso di mettere la poesia al centro della nostra ricerca. A dissipare la menzogna che certa critica affrettata ha diffuso negli ultimi tempi, abbiamo dimostrato che la poesia di Pirandello non era limitata agli inizi della sua opera letteraria, ma si è fatta presente in buona parte della sua carriera. Così, ci sforziamo di dimostrare che già nella poesia giovanile dell'autore un unico tema ossessivo gli appare, come componente principale della sua letteratura, cioè il "male di vivere", che chiameremo “mal de viver”. Questa transizione di generi non è, in alcun modo, priva del proprio senso estetico dell'autore siciliano, al contrario, si denuncia la visione del mondo che le sue opere comprendono. Per questo, studiamo il “triste male di vivere” che sfugge dall’ opera pirandelliana in modo da staccarlo dal momento storico che è bloccato per cercare di materializzarlo come un concetto teorico, filosofico e antifilosofico, all'interno della poetica dello stesso autore siciliano, ma anche dimostrando diversi rami in quasi tutte le opere di Pirandello. Noi continuiamo, per farlo, con le lezioni di De Castris, Storia di Pirandello (1982), Alfredo Bosi, O ser e o tempo da poesia (2000), Giacomo Leopardi, Zibaldone di pensieri (1921), Jean-Paul Sartre O existencialismo é um humanismo (1970), e ci sforziamo di portare al pubblico la poesia di Pirandello, anche attraverso traduzioni in portoghese, per fare una revisione del luogo che la lirica di Pirandello merita di raggiungere.
The author Luigi Pirandello (1867-1936) is undoubtedly one of the most important writers of the late nineteenth century to the twentieth century. Having already been recognized by critics for his theatrical innovations and their good buildings in prose, we decided to put poetry at the center of our research. Denying what certain hurried criticism spread in recent times, we will demonstrate that the poetry of Pirandello was not limited to the beginning of his literary work, but ended up doing this in virtually all the writer's career. Thus, we strive to show that already in youth poetry of the author the same obsessive theme appeared to him as the main constituent of your own literature, the "male di vivere" that will call evil of live (mal de viver). This transition of genres is not, in any way, devoid of own aesthetic sense of the Sicilian author, instead, it denounces the subject view of the world that his works include. Therefore, we dissect the evil of life that is contained in Pirandello’s work to remove it from the historical moment that is trapped and materialize it as theoretical, philosophical and unphilosophical concepts within the Sicilian author poetry, but also demonstrating several branches in the work of Pirandello as a whole. We continue to do so, the lessons of De Castris, Storia di Pirandello (1982), Alfredo Bosi, O ser e o tempo da poesia (2000), Giacomo Leopardi, Zibaldone di pensieri (1921), Jean-Paul Sartre, O existencialismo é um humanismo (1970), and we strive to bring to the public the poetry of Pirandello, including through translations in portuguese, to make a review of the place that the lyric of Pirandello deserves achieve.
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Silva, Valmir Luis Saldanha. "O mal de viver na poesia de Luigi Pirandello /." Araraquara, 2016. http://hdl.handle.net/11449/141530.

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Orientador: Sérgio Mauro
Banca: Ivair Carlos Castelan
Banca: Alfredo Bossi
Resumo: O autor Luigi Pirandello (1867-1936) é, sem dúvidas, um dos mais importantes escritores da passagem do século XIX para o século XX. Já tendo sido reconhecido pela crítica por suas inovações teatrais e suas boas construções em prosa, resolvemos colocar a poesia como centro de nossa investigação. Desmentindo o que certa crítica apressada propagou nos últimos tempos, demonstramos que a poesia de Pirandello não se limitou ao início de seu trabalho literário, mas acabou se fazendo presente em praticamente toda a carreira do escritor. Assim, empenhamo-nos em demonstrar que já nas poesias juvenis do autor um mesmo obsessivo tema lhe aparecia como constituinte principal de sua literatura, o "male di vivere", a que denominaremos mal de viver. Essa transição de gêneros não é, de modo algum, destituída de senso estético próprio do autor siciliano, ao contrário, ela denuncia a visão de mundo que suas obras contemplam. Para tanto, dissecamos o mal triste de viver que escapa dos textos de Pirandello, de tal forma a descolá-lo do momento histórico a que está preso e materializá-lo como conceito teórico, filosófico e antifilosófico dentro da poesia do autor siciliano, mas também demonstrando várias ramificações na obra de Pirandello como um todo. Seguimos, para isso, as lições de De Castris, Storia di Pirandello (1982), Alfredo Bosi, O ser e o tempo da poesia (2000), Giacomo Leopardi, Zibaldone di pensieri (1921), Jean-Paul Sartre O existencialismo é um humanismo (1970) e empenhamo-nos em tr... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The author Luigi Pirandello (1867-1936) is undoubtedly one of the most important writers of the late nineteenth century to the twentieth century. Having already been recognized by critics for his theatrical innovations and their good buildings in prose, we decided to put poetry at the center of our research. Denying what certain hurried criticism spread in recent times, we will demonstrate that the poetry of Pirandello was not limited to the beginning of his literary work, but ended up doing this in virtually all the writer's career. Thus, we strive to show that already in youth poetry of the author the same obsessive theme appeared to him as the main constituent of your own literature, the "male di vivere" that will call evil of live (mal de viver). This transition of genres is not, in any way, devoid of own aesthetic sense of the Sicilian author, instead, it denounces the subject view of the world that his works include. Therefore, we dissect the evil of life that is contained in Pirandello's work to remove it from the historical moment that is trapped and materialize it as theoretical, philosophical and unphilosophical concepts within the Sicilian author poetry, but also demonstrating several branches in the work of Pirandello as a whole. We continue to do so, the lessons of De Castris, Storia di Pirandello (1982), Alfredo Bosi, O ser e o tempo da poesia (2000), Giacomo Leopardi, Zibaldone di pensieri (1921), Jean-Paul Sartre, O existencialismo é um humanismo (1970), and w... (Complete abstract click electronic access below)
Mestre
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Majri, Hanane. "Ordre et désordre dans l'oeuvre romanesque de Luigi Pirandello." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30053.

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La recherche entreprise est une étude des œuvres romanesques de Luigi Pirandello, étude dont le fil conducteur est le rapport inextricable d’ordre et de désordre. Prisonniers d’une forme, les personnages pirandelliens tentent de se libérer à travers un questionnement existentiel sans fin qui leur fait prendre conscience des limites de leur être, mais aussi de leur difficulté à communiquer. Confrontés au regard de l’ « Autre », ils apparaissent toujours porteurs d’un masque, ce qui leur dénie toute identité stable et définitive. Et il n’est pas étonnant, dans ces conditions, que chaque personnage soit tout à la fois « un, personne et cent mille ». D’où le relativisme de Pirandello et sa théorie de l’humorisme qui vise à montrer les choses dans leur profondeur et leur abyssale complexité. En effet, pour Pirandello la réalité est multiple et changeante en fonction des points de vue. De plus, elle est souvent le résultat d’une série de hasards qui la mettent à l’épreuve du chaos, ce qui induit, chez les personnages, doute, incertitude et mal-être. C’est pourquoi leur quête de vérité et d’authenticité sera toujours infinie, sans cesse renouvelée. Entre désir de fuite et retours en arrière, leur vie sera – quelle qu’en soit la forme – illusoire. Tout au plus une fiction
The research undertaken here is a study of Pirandello’s novels ; a study with the inextricable relationship between order and disorder as a main theme. Imprisoned in their form, Pirandello’s characters attempt to free themselves through an endless existential questioning which makes them aware of their limitations as beings, and their difficulties to communicate. Confronted to the eyes of “others”, they always appear with a mask on, which denies them any stable and clear-cut identity. As a consequence it is not surprising that each character is at once “one, nobody and a hundred thousand”. This explains Pirandello’s relativism and his theory of humour which aims at showing things in depth and in their abyssal complexity. Indeed, in Pirandello’s view, reality is multiple changing depending on the points of view; Moreover, it is often a series of chances which puts it to the test of chaos, which entails doubt, uncertainty and discomfort on the characters. That is why their quest of truth and authenticity will always be infinite, continually renewed between the will to escape and backwards looks to the past, their lives –whatever their forms – will be illusory- a fiction at the most
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Dfouni, Ralph. "Les hommes ne pleurent pas, et Illuminations : de Pirandello vers Kaos." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0022/MQ50511.pdf.

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Books on the topic "Pirandello, Luigi"

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Luigi, Pirandello. Luigi Pirandello. Roma: Istituto poligrafico e Zecca dello Stato, 1995.

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Manotta, Marco. Luigi Pirandello. Milano: B. Mondadori, 1998.

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Alonge, Roberto. Luigi Pirandello. Roma: Laterza, 1997.

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Balaci, Alexandru. Luigi Pirandello. București: Univers, 1986.

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Harold, Bloom, ed. Luigi Pirandello. Philadelphia: Chelsea House, 2003.

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Luigi, Pirandello. Luigi Pirandello. Roma: Istituto poligrafico e Zecca dello Stato, 1995.

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Bassanese, Fiora A. Understanding Luigi Pirandello. Columbia, S.C: University of South Carolina Press, 1997.

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Luigi Pirandello pittore. Avellino: Sabatia, 2005.

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Gian-Paolo, Biasin, and Gieri Manuela, eds. Luigi Pirandello: Contemporary perspectives. Toronto: University of Toronto Press, 1999.

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Luigi, Pirandello. Opere di Luigi Pirandello. Torino: Unione tipografico-editrice torinese, 2009.

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Book chapters on the topic "Pirandello, Luigi"

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Rössner, Michael. "Luigi Pirandello." In Kindler Kompakt: Drama des 20. Jahrhunderts, 76–79. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_13.

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Wild, Gerhard. "Pirandello, Luigi." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13613-1.

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Rössner, Michael. "Luigi Pirandello." In Kindler Kompakt Italienische Literatur 20. Jahrhundert, 46–60. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05534-7_4.

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Rössner, Michael. "Pirandello, Luigi: L'esclusa." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13615-1.

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Rössner, Michael. "Pirandello, Luigi: Liolà." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13618-1.

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Rössner, Michael. "Pirandello, Luigi: Enrico IV." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13626-1.

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Nonnenmacher, Kai. "Pirandello, Luigi: Das essayistische Werk." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13614-1.

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Rössner, Michael. "Pirandello, Luigi: Il piacere dell'onestá." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13621-1.

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Rössner, Michael. "Pirandello, Luigi: Tutto per bene." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13624-1.

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Rössner, Michael. "Pirandello, Luigi: Vestire gli ignudi." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13627-1.

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Conference papers on the topic "Pirandello, Luigi"

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Saba, Anna Maria. "Le comique sur la scène de Se trouver, de Luigi Pirandello : une réalisation particulière de l'« humorisme »." In Le rire : formes et fonctions du comique. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4777.

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Martimiano, Taciane, and Jean Everson Martina. "Six Characters in Search of a Security Problem: Pirandellian Masks for Security Ceremonies." In Simpósio Brasileiro de Segurança da Informação e de Sistemas Computacionais. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sbseg.2022.225346.

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For the Italian play-writer and 1934 Nobel-Prize winner Luigi Pirandello, a fictional mask is either self-imposed or, in most cases, forced on by society, being what makes life possible. Drawing from that, we believe that due to the non-deterministic nature of the human being, the only way to specify and verify human-tailored security protocols (known as security ceremonies) is by the specification of masks that users wear in order to interact with ceremonies. In the current paper, we review further this literary inspiration and propose six possible masks: the Attentive, the Naive, the Careless, the Fearful, the Busy, and the Elder. We then discuss an example of how we can reason about security involving human beings, and present what still needs to be done.
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