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Uno, Nessuno, Centomila by Luigi Pirandello
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Uno, Nessuno, Centomila (original 1926; edition 1992)

by Luigi Pirandello

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1,2902514,799 (3.88)41
Pirandello began writing it in 1909. In an autobiographical letter, published in 1924, the author refers to this work as the "[B]itterest of all, profoundly humoristic, about the decomposition of life." Vitangelo, the protagonist, discovers by way of a completely irrelevant question that his wife poses to him that everyone he knows and everyone he has ever met has constructed a Vitangelo persona in their own imagination and that none of these personas corresponds to the image of Vitangelo that he himself has constructed and believes himself to be. The listener is immediately immersed in a cruel game of confusing projections, mirroring the reality of social existence itself, which imperiously dictate their rules. As a result, the first, ironic "awareness" of Vitangelo consists in the knowledge of that which he definitely is not; the preliminary operation must therefore consist in the spiteful destruction of all of these fictitious masks.… (more)
Member:tupamaros
Title:Uno, Nessuno, Centomila
Authors:Luigi Pirandello
Info:A. Mondadori (1992), Paperback, 189 pages
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One, No One, and One Hundred Thousand by Luigi Pirandello (1926)

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» See also 41 mentions

English (16)  Italian (5)  Dutch (3)  All languages (24)
Showing 1-5 of 16 (next | show all)
What is the difference between a thing, and our perception of a thing? Who are we - to ourselves, and to others? Pirandello takes these high-level philosophical ideas, and somehow succeeds in making a compelling story out of them. The short chapters help - the novel is weighed down by its author's philosophical concerns, but the brevity of each chapter makes it feel like a drip-feed. The reading experience is all the better for it! ( )
  soylentgreen23 | Feb 21, 2024 |
Despite the sheer repetitiveness of much of it, and the brain-hurting language that made it tough to follow on occasion, it was still good in a Philosophy 101 kind of way.

I think this might, however, be the first time I've given less than four stars to a work by a Nobel Prize winner. ( )
  3Oranges | Jun 24, 2023 |
Uno, nessuno e centomila è stato il primo romanzo che ho letto dello scrittore siciliano Luigi Pirandello e mi ha conquistata dalle prime pagine.
Non è un libro lungo, è vero, ma in sé racchiude una complessità, una profondità ed una sensibilità che lo rendono lungo tanto quanto lo è un libro di cinquecento pagine. Non è una lettura da prendere alla leggera, da affrontare a cuor leggero, in maniera superficiale. Questo non è uno di quei libri che possono essere letti anche se stanchi, con le palpebre pesanti dal sonno, no.
Uno, nessuno e centomila è un soliloquio della lunghezza di duecento pagine, un’argomentazione complessa, ricca d’esempi e di confutazioni, ma, soprattutto, è un ironico e intricato dialogo con il lettore, che non può non ritrovarsi in ogni affermazione folle eppure tremendamente vera di Vitangelo Moscarda, il protagonista.
Ci sono passi lenti, complessi ed articolati che spesso ho dovuto rileggere per comprenderli davvero, ma nel complesso, a lettura terminata, non posso non dire che ho amato questo romanzo, di natura filosofica, dalla prima all’ultima pagina. ( )
  wotchergiorgia | Nov 21, 2021 |
What can one say? The author by honest reflection identified high-order axioms of identities and relations of the self, and explored corollaries with humor and insight. And see how acting in accord with those axioms is punished. This last reminds me of Graham Greene's "The Heart of the Matter." ( )
  KENNERLYDAN | Jul 11, 2021 |
The point - what you see is not what I see, there is no "universal me", everything is subjective - could have been made in much fewer pages, and with a more entertaining writing style. ( )
  marzagao | Jun 1, 2021 |
Showing 1-5 of 16 (next | show all)
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» Add other authors (25 possible)

Author nameRoleType of authorWork?Status
Luigi Pirandelloprimary authorall editionscalculated
Böttner, AnnegretTranslatorsecondary authorsome editionsconfirmed
Bijman, LeontineTranslatorsecondary authorsome editionsconfirmed
Brinkman, SylviaTranslatorsecondary authorsome editionsconfirmed
Croci, GiovanniIntroductionsecondary authorsome editionsconfirmed
Simioni, CorradoEditorsecondary authorsome editionsconfirmed
Starink, MarjoDesignersecondary authorsome editionsconfirmed
Weaver, WilliamTranslatorsecondary authorsome editionsconfirmed
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- 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 sì, caro. Guàrdatelo bene: Ti pende verso destra.
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Wikipedia in English (1)

Pirandello began writing it in 1909. In an autobiographical letter, published in 1924, the author refers to this work as the "[B]itterest of all, profoundly humoristic, about the decomposition of life." Vitangelo, the protagonist, discovers by way of a completely irrelevant question that his wife poses to him that everyone he knows and everyone he has ever met has constructed a Vitangelo persona in their own imagination and that none of these personas corresponds to the image of Vitangelo that he himself has constructed and believes himself to be. The listener is immediately immersed in a cruel game of confusing projections, mirroring the reality of social existence itself, which imperiously dictate their rules. As a result, the first, ironic "awareness" of Vitangelo consists in the knowledge of that which he definitely is not; the preliminary operation must therefore consist in the spiteful destruction of all of these fictitious masks.

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Book description
Vitangelo Moscarda arriva a una convinzione che lo sconvolge: l'uomo non possiede un'identità ma è condannato a vivere le infinite personalità che gli altri gli attribuiscono. Quella di Uno, nessuno e centomila è una macchina narrativa che sbriciola ogni possibile trama in tanti sbalzi e andirivieni, soste riflessive, digressioni saggistiche improvvise, soliloqui. Un fiume tumultuoso e straripante in cui si sviluppa la lucida follia del protagonista. Un percorso di distruzione dell'io che è insieme una destrutturazione del romanzo demiurgico e un provocatorio sfilacciamento della logica tradizionale del racconto.
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