Primera noche

Poema traducido del italiano por Guillermo Fernández y publicado en la revista "La Colmena" No. 8 del año 1995, de la Universidad Autónoma del Estado de México, en la sección "Italia en la Colmena"

Encounters and blind spots: Pirandello, Evreinov and Brecht

No abstract available

The debate with Pirandellismo in the theatre of Eduardo De Filippo

No abstract available

The Ibsenite Nature of Pirandello's Sicilianita and Joyce's Irishness : the cultures they fled, the contexts and metaphors that inspired them

Joyce's Irishness and Pirandello's Sicilianita (the Sicilian identity) seem to be negative ideas characterized by a sense of evasion and by an Ibsenite realism keen on unmasking the hypocritical Irish and Sicilian middle class society. Even though geographically distant, their Modernist Irishness and Sicilianita reveal quite a curious number of political, religious, linguistic, and social affinities: the stasis of the positive progress of history in Sicily and Ireland; the grudge towards foreign colonial rule (the AngloSaxon rule in Ireland, the neglect of Sicily by the Northern oriented governments in Rome); the self-induced exiles of both writers; the betrayal of their great political ideals (the fall of Parnell , the failed Irish initiatives for independence; the Roman Bank Scandal, the violent repression of the Fasci Siciliani revolution, the failures of the democratic governments); the stifling moral and political implications of a Catholic Ireland and a Catholic Sicily; the dilemmas of the Irish-English language in Ireland and the choice between the Standard Italian and the Sicilian dialects in Sicily. In this context, the cities of Dublin, Agrigento, and the sulphur depot port of Porto Empedocle in Sicily become claustrophobic landmarks which influence ontologically and existentially the two writers and their works. Both cultures attempt to cast over them not only the influence of an archaic heritage -the Celtic culture in Ireland and the Magna Graecia in Sicily -but also literary models which they end up refusing openly: Joyce denounces the Irish Literary Revival as promulgated by Yeats and Lady Gregory; Pirandello discards the position of the Sicilian Verismo masters like Giovanni Verga and Luigi Capuana. These issues are exposed in the Irish and Sicilian identities which Stephen Dedalus (both in A Portrait and in Ulysses), Don Cosmo, and Lando Laurentano (in the enigmatic novel I Vecchi e i Giovani) attempt to flee. Irishness and Sicilianita become not only 'a nightmare' from which Stephen is trying to awaken, but also a reality which 'does not conclude' according to Don Cosmo Laurentano, the exile who 'has understood the rules of the game'.peer-reviewe

Theory, praxis and puppet plays in Cervantes and Pirandello

Constantly throughout his literary career, the Italian writer Luigi Pirandello (1867- 1936) had always seen in Miguel de Cervantes Saavedra (1547-1616) a precursory inspiration of his own poetics. This paper delves into the complex nature of this literary influence, and particularly into the nature of the theoretical premonitions which Cervantes’ Don Quixote has pragmatically bequeathed to Pirandello’s oeuvre. After a brief glance at various testimonies on Cervantes enunciated by Pirandello himself during his lifetime, this study tackles the meaning of two emblematic passages in Pirandello’s long essay L’umorismo, in which he traces the development of his very own poetics by linking it to Cervantes’ comic element in Don Quixote. Finally, the paper shall embark on a textual and thematic analysis of two emblematic puppet play episodes portrayed in Don Quixote and in Pirandello’s novel The Late Mattia Pascal.peer-reviewe

Joyce and Pirandello’s ‘Foolosopher’ kings and mocking gargoyles : Buck Mulligan and Enrico IV

This paper investigates the affinities between the folly of Buck Mulligan in Joyce’s Ulysses and that of Enrico IV in Pirandello’s homonymous play. After looking at Michel Foucault’s Histoire de la folie à l’âge classique, this paper will postulate that Buck Mulligan and Enrico IV seem to precede Foucault’s destabilizing vision: they are characters who, through various acts of folly, simulate the exterior signs of madness and play the fools to create confusion amidst existing forms of socialization. I shall also be looking into Robert Bell’s Jocoserious Joyce (from where the terms ‘foolosopher king’ and ‘mocking gargoyle’ are borrowed) and at Elio Gioanola’s Pirandello e la follia to prove that these modernist clown prototypes become a mirror of painful truths to other characters. Mulligan, for instance, reveals with irony the true nature of Stephen Dedalus, religion and Ireland, whilst Enrico reveals to his visitors their falsity and the dark realm of life’s masks. In both cases this is expressed with mood swings of mocking irony and effusions of sentiment. Both characters are also portrayed as having no fixed identities: they indulge in a tragicomic ritual of masks and folly with a delight for the ambiguities of self and language. In their words and actions, Mulligan and Enrico seem to be unshaped by history and free from any responsibility; they seem so fulfilled in playing the fools and thus become ‘foolosopher’ kings themselves, which act the part of sceptical jokers of the universe.peer-reviewe

Ilustradores, actores y traductores

Translation into Spanish of Luigi Pirandello's ?Illustratori, autori, traduttori?, a text published in 1908 in Arte e scienza (Roma: W. Modes, pp. 76-108), with an introduction taken from Albanese, A. and Nasi, F. (eds.). (2015). L?artefice aggiunto: riflessioni sulla traduzione in Italia: 1900-1975. Ravenna, Longo, pp. 49-46

Six Characters in Search of an Author

Acting out a play within a play, six characters created by a playwright insist on acting out a play he does not want to write.https://collected.jcu.edu/plays/1010/thumbnail.jp