Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • Chapter 22 - The Anti-Character

  • from Part IV - Traditions and Trends, Techniques and Forms
  • Edited by Patricia Gaborik, Accademia Nazionale d'Arte Drammatica ‘Silvio d'Amico’
  • Book:
    Pirandello in Context
    Published online:
    14 March 2024
    Print publication:
    21 March 2024, pp 179-186

  • Summary

    The chapter locates Pirandello’s characters against the backdrop of modernist culture. Beginning with Baudelaire, Rimbaud, and Nietzsche’s reflections on the multiple nature of the “I,” Pirandello’s construction of his characters proves fully in tune with contemporary developments in European thinking. When dealing with such fictional characters as Mattia Pascal and Vitangelo Moscarda, Pirandello goes for an anti-heroic approach to their relationship with history as opposed to nineteenth-century Romantic heroism. Theatre characters, on the other hand, escape definitions and roles to the extent that they become Nobody, following in the footsteps of Dostoevsky, Binet, and Blondel’s reflections on psychology and freedom.