Call for Papers: Global Legacies – Pirandello across Centuries and Media – New York City 16 September 2017

The Pirandello Society of America invites contributions for its one-day conference in NYC:

“Global Legacies – Pirandello across Centuries and Media”

Saturday 16 September 2017, 8:00 am – 6:30 pm

Hunter College, CUNY, 695 Park Ave, New York City


Keynote Speaker: Pietro Frassica, Princeton University


Celebrating the 150th anniversary of Luigi Pirandello’s birth, this one-day conference sponsored by the Pirandello Society of America seeks a broad spectrum of contributions that evaluate and illuminate Pirandello’s legacies on world theatre, literature, cinema, and other media over a period of more than a hundred years. We encourage contributions that are interdisciplinary and engage with a variety of theoretical models when looking at Pirandello’s work and its multifaceted resonance.


Possible topics:

Pirandello and media: theatre, cinema, performance, music, painting, and beyond

Pirandello’s creative legacies: children and grandchildren of Pirandello

Pirandellian mutations, transformations, dramaturgies

World Pirandello: Pirandellian authors and works outside the Western canon

Unfinished and ever-new: Pirandello “updated” across three centuries

Pirandello and the power of experimentation

Pirandellian techniques: applications and developments


Abstracts of 250 words in English for papers of 20 minutes duration should be sent to by April 15, 2017.


English is the official language of the Conference.

For further information about The Pirandello Society of America please visit our website at: and Facebook page:


The Pirandello Society of America is pleased to be featured among a series of international conferences being held across the globe in honor of Pirandello’s 150th anniversary: Pirandello International 2017, Pirandello in a Globalized World. From Agrigento to Rome, Johannesburg to Munich, these events demonstrate the world-spanning reach of Pirandello’s influence today. More information and the full calendar for the international conference series can be found online:

MLA Conference – Chicago 2014

Panel “Modern Consciousness: Pirandellian Obsessions”


Maternity and Sexuality: Luigi Pirandello’s Constant Obsessions

Daniela Bini, University of Texas, Austin

 “Non è una donna; è una madre!—E il suo dramma—(potente, signore, potente!) –consiste tutto, difatti, in questi quattro figli.” The Mother in Six Characters represents simple nature in opposition to the other characters who “are realized as spirit,” writes Pirandello in the Preface.

The Aristotelian belief in male as spirit and female as matter that informed Western thought for centuries, still lingered in Pirandello’s psyche and it was combined with the Catholic worship of the Virgin Mother. And the Mother is a suffering mother, a Mater dolorosa who annihilates any individual needs and desires for the “sake” of the child. Moreover the worship of the mother figure in Pirandello, like in other Southern writers, is strictly connected with, and actually determined by the fear of sexuality, especially female, which is defined as evil. Giovanni Verga’s story “The She-wolf” epitomizes such fear that can be justified only by attributing demonic power to the erotic female. Thus the dichotomy mother-whore.

The psychoanalyst Karen Horney devoted many pages to the study of the “dread of women” many males display and identifies it with the fear of the sexual female.

This paper examines Pirandello’s own fear of sexuality and his obsession with maternity in his life and his work—an obsession he will try to exorcise over and over in his artistic creation.


No comment: The voice of silence in Luigi Pirandello’s Quaderni di Serafino Gubbio operatore

Alessia Palanti, Columbia University

Silence literally and allegorically concludes Luigi Pirandello’s novel, Quaderni di

Serafino Gubbio operatore (1916). After a fateful accident at the workplace, the

protagonist Serafino Gubbio—a camera operator for “Kosmograph Studios”—becomes mute out of shock. Counterintuitively, it is Serafino’s aphasia that articulates the trepidations surrounding the advancement of cinema as the artistic offspring of technological development. Pirandello sensed the movement of the times—the seventh art would ultimately make his beloved theatre and literature anachronistic if not obsolete. In keeping with Pirandellian paradox, the anxieties of this particular socio-historical milieu are expressed is in the form of a journal that akin to a film camera attempts to capture or represent a singular “authentic” reality, and bestows it its voice. In this novel, Pirandello crafts a metaliterary stratagem to quite literally “make believe,” that the protagonist’s voice undergoes a process of suffocation: the literary equivalent of cinematic “special effects.” By the nature of its form, cinema blurs the lines between reality and illusion: it contributes to the impasse of articulation and epistemological

uncertainties that progress aimed at resolving. Aligned with Thomas Harrison’s notion of “essayism,” Quaderni is both a search for the articulation of “reality” and is itself an articulation of “reality,” unfolding as a critique of the institution of film as symptomatic of an increasingly dystopic society. The novel enfolds within it a voice that—in declaring its own silence and succumbing to aphasia—continues to speak, and polemically so, about the ramifications of technological progress, articulating its impact on the human condition.


Pirandello’s Genealogy of Modernist Subjectivity in Il fu Mattia Pascal

Lauren Beard, University of Toronto

In his 1904 novel The Late Mattia Pascal, Pirandello conceives of the modern subject as living in an exploded cosmology, and, in what amounts to a parable of Modernist allegory, suggests that the difference between ancient and modern tragedy is “a hole torn in a paper sky.” Pirandello describes a puppet theatre production of Orestes and suggests that if a hole were torn in the sky while Orestes was trying to avenge his father, he would become distracted: “his eyes, at that point, would go straight to that hole…Orestes would become Hamlet.” Orestes is symbolic of the unified cosmology of antiquity, whereas Hamlet, by thinking rather than acting, functions as an ancestor of the pensive and selfreflexive modernist subject. Through the “Orestes would become Hamlet” conceit, Pirandello articulates a moment of crisis. This “Copernican” rupture articulated by Pirandello functions as the origin of the dissolution of Benjamin’s “general,” the consequences of which are fully realized in the type of subjectivity peculiar to fin-desiècle and twentieth-century literary modernism. Pirandello maps a genealogy of modern subjectivity, positing its origin in the sixteenth century, tracing a lineage through Hamlet and the titular Copernicus of Giacomo Leopardi’s dialogue. This Pirandellian lens provides a framework for understanding crisis as a constitutive feature of modernity, and suggests that modernism, as a mode of expression, emerges as a reaction to historical, metaphysical and psychological crises. Pirandello’s anachronistic account of modernist subjectivity is essential to understanding modernist literary form as crisis management.

Insanity, an obsession from Luigi Pirandello to Marco Bellocchio

Marialaura Simeone, University of Siena-Arezzo


The topics of Luigi Pirandello – insanity, fiction, artifice – are encountered the cinema of Marco Bellocchio, contemporary italian director. In his films are frequently psychiatrists and crazy, different planes of reality, the combination between reality and fiction. Then he adapts the Pirandello’s play Enrico IV in 1984 and the novel La balia in 1999. In Enrico IV Bellocchio preserves the pessimism and madness is still a mask to protect yourself. The alienist physician can not resolve the situation. But In La balia Bellocchio has a modern gaze on insanity and he change the plot of the novel. The psychiatry is used to understand the world and to change the rules of bourgeois society.


Panel “Global Pirandello”


Dreaming America: Pirandello’s Just Like That

Lisa Sarti, Graduate Center, City University of New York; Pietro Frassica, Princeton University

Both the letters Pirandello wrote to Marta Abba and the Appendix contained in the edition of Maschere Nude provide evidence of a musical the Sicilian playwright composed between the end of 1929 and the beginning of 1930 during his sojourn in Paris. This document, however, has been missing from Pirandello’s published oeuvre until recently, when it emerged from over seventy years of darkness in a dusty trunk in a small village in Northern Italy, together with other documents, letters, drawings, and pictures. The precious document is preserved in the Fondo Torre Gherson, a fund named after Guido Torre, the enterprising agent Pirandello collaborated with in the last years of his life as a crucial liaison in his attempt to conquer the theaters of France, England, and the United States.

This paper sheds light on the three manuscripts contained in the Fondo Torre Gherson, which attest to Pirandello’s ambition to conquer the American market with a musical, originally written in French and then translated into English as Just Like That, expressly thought for audiences overseas. At stake is not only the finding of a text we all thought lost forever, but also Pirandello’s artistic versatility and his eagerness to measure himself against a new genre, the musical.

This paper will offer an insight in the Sicilian playwright’s Paris years and the intellectual life in 1930s ville lumière. A close analysis of the “Americanized” version of the musical will then provide a clue in regards to authorship. Written by American musicologist Irma Bachrach, the American text reveals substantial differences from the French source in terms of plot. Such structural variations are representatives of Bachrach’s intention to operate on the Pirandellian text to tailor it to American tastes and expectations. Under investigation are issues of race, gender and political correctness, which are crucial to explain how and why alterations, cuts, and additions were made.


Zooming in on Acciaio: Pirandello and German Cinema

Cecelia Novero, Otago University (New Zealand)

Pirandello went to Berlin in 1928 with the hope that here, in the capital of both expressionist cinema and the so called “Strassenfilm”, his scenarios would capture the attention of directors such as Joe May, G.W. Pabst, F.W. Murnau, Robert Wiene, Fritz Lang, and also the Viennese Max Reinhardt.  It is ironic then that, the most well known German film based on an original story by Pirandello was directed by Walter Ruttmann, in Italy: Acciaio (1933). My paper offers a genesis of this film in the attempt to illustrate the multiple ironies behind the project. Hence, through an analysis of Acciaio, which I consider with an eye to the Italian socio-political situation informing cinematic production in these years, I ask two questions: On the one hand, to what extent does Ruttmann’s Neue Sachlichkeit unwittingly serve Pirandello’s ideas of an experimental cinema, which seemed more attuned to the world of shadows of expressionism? On the other hand, what elements of Pirandello’s character-based story indeed disturb the ideological content of the film, as the regime wished to read it? In answering these questions, the paper argues that Acciaio exemplifies the complex relations Pirandello entertained with film, especially German film.


Translating the Stage: Pirandello’s Questa sera si recita a soggetto and the First Productions in Königsberg, Berlin and Paris  (co-authors)

Elisa Segnini, Western University (London, Ontario); Guillaume Bernardi,Glendon College, York University (Toronto, Ontario) 

After a professional crisis, Luigi Pirandello moved to Berlin and began a new phase of his career. His first foray on the German stage was with the masterpiece “Heute abend wird aus dem Stegreif Gespielt” (1930), the last play of the trilogy on metatheatre – the first one being the “Six Characters in Search of an Author”. Pirandello based this work on an earlier short story that problematized the opposition between Sicilian culture and the “modernity” of continental Italy. Writing for the German stage, he faced the challenge of translating a conflict specific to Italian culture for an international audience. This paper investigates how the cultural clashes were represented in the original translations and productions in Germany and France, considering a timeframe from 1929 to 1935. We will first examine the German translation as well as the first two German productions (Königsberg and Berlin,1929). We will then consider the very different solution offered by the French translation and the Parisian production (1935). While a large body of work exists on “Questa sera si recita a soggetto,” scholars have so far focused on Pirandello’s use of metatheatre. There is no detailed study of the German text by Kahn and very little material on the first productions in Königsberg, Berlin and Paris. The paper will shed light on Pirandello’s work as well as on the theatre, both as text and production, as a site for intercultural mediation.


Scripting “il cielo di carta”: Cesare deve morire and the culmination of Pirandello’s legacy

Alessia Palanti, Columbia University


Basing two films, Kaos (1984) and Tu ridi (1998), on Luigi Pirandello’s work, the

debt the Taviani brothers owe him is clear. A textual, and philosophical legacy is evident.

Their latest work, Cesare deve morire (2012) is the culmination of their Pirandellian

pursuits. The film takes place within Rome’s maximum-security prison at Rebibbia, and

casts its inmates as interpreters for Shakespeare’s Julius Caesar. Outside the English

playwright’s script—and subtly entering the Sicilian’s—a prisoner pronounces a haunting

statement: “Da quando ho conosciuto l’arte questa cella è diventata una prigione.” This

both chilling and striking declaration is emblematic of Pirandello’s “strappo nel cielo di

carta.” While in Pirandello’s case the “strappo” is a reference to the crisis of modern

consciousness—arising from the context of the early 20th century—the Tavianis extend a

commensurate epiphanic moment to the early 21st century. As Pirandello’s allegory

originates on the theatrical stage, the directors transpose it onto the cinematic from within

the penitentiary. A consequence to the convicts’ exposure to art, the prison walls

materialize, dilating the space of the remote world beyond them. The recognition of their

confinement—a meta/physical imprisonment—is one that Pirandello engaged with

throughout his career as an author, and he also experienced it as a relentless existential

conundrum. My paper explores the ways in which Pirandello’s statement: “L’arte libera

le cose,” is deepened by the Tavianis’ film into: l’arte libera le persone. Cesare deve

morire’s metacinematic framework aligns itself with the characteristically pirandellian

metaprose, in the attempt to suture the rift in the art/freedom dialectic.

Pirandello Society Panels at the MLA in Philadelphia 2006

MLA 2006–Philadelphia, PA.

Friday, 29 December

465. Identity and Self-Representation in Pirandello

1:45–3:00 p.m., Washington B, Loews

Program arranged by the Pirandello Society of America

Presiding: Rosemarie Lavalva, Binghamton Univ., State Univ. of New York

1. “Self-Identification and Self-Communication: Pirandello’s Central Issue,” Umberto C. Mariani, Rutgers Univ., New Brunswick

2. “‘Io mi chiamo Mattia Pascal’: Il fu Mattia Pascal and the Authenticity of Identity,” Andrew Martino, Southern New Hampshire Univ.

3. “Machinic Splittings and Other Bergsonian Themes in The Notebooks of Serafino Gubbio, Cinematograph Operator,” Luca Barattoni, Univ. of North Carolina, Chapel Hill

4. “Eyes Wide Shut: The Impaired Eyesight of Pirandello’s Characters,” Rosemarie Lavalva

Saturday, 30 December

751. Pirandello: Translation and Interpretation

1:45–3:00 p.m., Commonwealth Hall B, Loews

Program arranged by the Pirandello Society of America

Presiding: Jana O’Keefe Bazzoni, Baruch Coll., City Univ. of New York

1. “Pasolini’s Hidden Pirandello,” Daniela Bini, Univ. of Texas, Austin

2. “How a ‘Distraction’ Unmasks a ‘Modus Scrivendi et Ridendi’: A Comparative Study of the ‘Feeling of the Opposite’ and Grotesque,” Maria Luisa Graziano, Saint Peter’s Coll.

Selected Abstracts:

Panel 1:  Friday, 29 December 1:45–3:00 p.m., Washington B, Loews

Identity and Self-Representation in Pirandello

“Self-Identification and Self-Communication: Pirandello’s Central Issue”

The most important them in Pirandello’s major works–e.g. Right You Are, Six Characters, Henry IV, Mattia Pascal, One, No One, One Hundred Thousand, to name only a few — is the difficulty, if not the impossibility, of human communication.

The most difficult of any attempt at human communication is the communication of oneself. . . . Consequently the problem of self-identification and self-representation is central to Pirandello’s major works: it involves both the object and the means and modes of human communication. . . .[T]he characters we will call essentially “Pirandellian.” modern in their struggle with identity and communication as opposed to others in their worlds who recognize no such problems) become very energetic in self-identification and self-presentation, in the attempt to forestall other people’s misrepresentation of them. . . .Not that their task becomes any easier, however, as they become directly invovled in their self-identification and representation.  To communication oneself is still a weary struggle, and the end result is not always positive (see the six characters or Mattia Pascal).  There is often a noticeable difference between the destiny of the “Pirandellian” characters and of those contemporaries who experience no such dilemmas.  The last of Pirandello’s heroes gives up; after a decent struggle, he prefers to no longer have an individual self to communicate; he prefers to lose himself in the indistinguishability of the life of nature and put an end to his efforts, give up the attempt to be one and accept the anonimity and formlessness of non-one-ness, that is actually non-identity, incommunicability.

Umberto Mariani

“‘Io mi chiamo Mattia Pascal’: Pirandello’s Quest for Authenticity”

What we know about ourselves may very well be just the combination of how others perceive us in various social settings.  The identity of any given individual, then, may constitute a complete and utter fabrication often grounded in parody—a simulacrum if you will.  Luigi Pirandello’s Il fu Mattia Pascal takes the notion of one man’s identity and scatters it over the murky terrain of an untimely, yet astonishingly convenient death.  Pirandello’s novel shows us that not only can we not go home again, but it may be impossible to completely flee our own identities and start over.  Taking Freud’s essay “The Uncanny” as my point of departure, this paper argues that our identity ultimately controls our being in ways rendered by Pirandello comically tragic, and that our lives can be read as inherently textual.  This Textuality is demonstrated through Mattia Pascal’s attempts to make a new life for himself outside the seemingly constraining provinces.  What I will attempt to ultimately argue is that through our readings of Il fu Mattia Pascal we take on a certain textuality ourselves.  That is, we read Mattia Pascal and absorb him, therefore accommodating a part of his personality into ours.  What emerges is a spectral society where no one is sure of whom they really are—just what they have been told they ought to be.  Il fu Mattia Pascal deconstructs the notion of identity, both personally and collectively, by challenging the self-representation of ourselves in the social world.  In the end it may be that we are ourselves in name only.

“Martino, Andrew” <>

“Eyes Wide Shut:  The impaired Eyesight of Pirandello’s Characters”

The metaphor of the three eyes recurs frequently in medieval texts. Boethius, Hugh of St.Victor, Bonaventure, among others, make multiple references to the eye of the senses, the eye of the mind, and the eye of the heart, ostensibly linking them to the division of the soul into its empirical, rational, and spiritual faculties.  Different realms are accessible to the three eyes and the reality status of what is seen through each eye differs from realm to realm.  We can extend the metaphor and consider the impact all our senses have not just as means to acquire knowledge, but, also, as ways in which we communicate and influence each other.  Various external images come to form our individual identity and we are supposed to consider our reputation — i.e. the opinions others have of us — as objective reality.  Modernity has revisited these concepts and Pirandello has literally turned them over with the argument that all knowledge is impaired, that neither science, nor faith, nor imagination, not even one’s own memory or dreams are ever certain and infallible.   The senses deceive us, they contradict established beliefs and, therefore, damage the very identity they claim to serve;  physical nature and individual consciousness enter into conflict with each other and must be ultimately rejected.  These are the major points of Pirandello’s poetics, discussed in his own theoretical essays and well known to critics.  In this paper, I would like to show how they transfer to the narrative, calling attention to a specific imagery, that of the eyes and of sight.  No one can trust what he sees, furthermore, no one can trust how he sees, and Pirandello seems to look at the famous and long-standing equivalence: to see is to love is to understand as a guide for his pitiless and systematic demolition of all that was once considered stable if not actually sacred.  In his works, few are the  characters who see well and distinguish with clarity objects and people around them (almost unfailingly, they are sick, mad, fool, or dying).  We often encounter, instead, the blind, the myopic, the one-eyed, the glass-eyed, the cross-eyed, the man who looks and does not see, and the one who does not want to look.  For most of them, seeing and being seen by others are burdens from which there is no possible escape

“Rosemarie LaValva” <>

“Machinic Splittings and Other Bergsonian Themes in The Notebooks of Serafino Gubbio, Cinematograph Operator,”

Browsing the secondary literature on Luigi Pirandello, one cannot but acknowledge the enormous influence which, even today, the characterization of Pirandello’s thought made by Adriano Tilgher around the concepts of “vita” and “forma” still has on the student or scholar who wants to take stock of the many critical interpretations that have tried to shed light on the significance of the Sicilian writer. The name we have to refer to is the name of Henry Bergson. To a different extent, we can say that the Pirandello-Bergson relationship underwent the same problems of ambiguity of the Pirandello-Tilgher one, i.e. a general acceptance and a recognized tie between some of their ideas, but without a thorough, close examination of the Bergsonian theories really able to illuminate some aspects of Pirandello’s philosophy.“The Cinematographical Mechanism of Thought and the Mechanistic Illusion” as well as other Bergsonian texts can in fact illustrate many works by the Sicilian writer, in particular the “Notebooks of Serafino Gubbio, Cinema Operator”. The entire novel is projected towards the final moment of intuition, of actualization versus the virtuality of our human condition.

“Luca Barattoni” <>

Panel 2:  Saturday, 30 December 1:45–3:00 p.m., Commonwealth Hall B, Loews

Pirandello: Translation and Interpretation

“Pasolini’s Hidden Pirandello”

A short episode in an unsuccessful film (Capriccio all’italiana 1968), conceived between Oedipus Rex and Teorema, intellectually dense and dramatic films, Che cosa sono le nuvole? (what are clouds), is a small jewel that in only twenty-two minutes incorporates a variety of genres and discourses that Pasolini’s uses in order to satisfy a threefold purpose:  the abolition of the hierarchy between high and low art, the inadequacy of words, that is, of the written text with the consequent choice of the image, that is cinema, over literature, and finally the self-referentiality of the work of art. Such discourses, which are in close relationship to one another, are masterly intertwined and the intertextuality that Pasolini uses in this operation is at times openly declared and others, hidden. The self-referential discourse, for example, is accompanied by a clear citation (the painting “Las Meninas” by Velazquez), just as clear is the blending of high and low art (the movie is about a performance of Shakespeare’s Othello in a popular puppet theater). The discourse  of the inadequacy of verbal language, instead, is developed with the hidden support of Pirandello’s narrative. It is on this third discourse that I will concentrate my brief presentation.

Daniela Bini daniela bini <>

“How a ‘Distraction’ Unmasks a ‘Modus Scrivendi et Ridendi’: A Comparative Study of the ‘Feeling of the Opposite’ and Grotesque”

This study will consider as exemplary a short story of Pirandello called “ Distrazione.”   There is a specific characteristic in Pirandello’s grotesque approach to irony, that cannot be found easily in other artistic works and is not possible to transcribe without the problematic implication of an unusual nature to major literary or philosophical theories that study the transferal topoi of the conceptual contrary in irony.

What is the challenge at the heart of Pirandello’s artistic humor? Why does it escape explanation through the commonly successful tools for theoretical interpretation of irony and humor in literature?  If it is possible to demonstrate in a critical reading that general literary theories in humor and art are in conflict with Pirandello’s unique interpretation, what are the implications? Through a comparative analysis of other Italian writers in Pirandello’s time, in addition to a comparative reading of his exemplary writings of a humoristic nature, this study aims at bringing to the surface the manner, the style, the absurdity and the technical beauty of  Pirandello’s irony, highlighting the striking grotesqueness, the imponderable details. This is a study which discusses the unresolved artistic conflicts between the tragic heroic afflatus present in the social and political dynamics of his time, and the respective social antiestablishment documented and conceptualized in the literature of his time.

Maria Luisa Graziano  “Graziano, Maria”

Modern Language Association – Chicago 2007 – Pirandello’s L’Umorismo (On Humor, 1908): 100th Anniversary Panels

MLA 2007  Chicago, IL. Pirandello’s L’Umorismo (On Humor, 1908): 100th Anniversary Panels

I. Pirandello’s On Humor (L’Umorismo), 1908: Centennial Program: Instances

Thursday, 27 December
3:30-4:45 p.m., Parlor G, Sheraton Chicago Hotels and Towers

Presider:   John Louis DiGaetani, Hofstra Univ.

1.         “Humor in the Passive, the Active, and the Insane,”   Silvia Abbiati, Ithaca College

2.         “How Form and Content Contain Laughter,” Florin Berindeanu, Case Western Reserve Univ.

3.         “I am…or am I in the Eyes of the Beholder?”Carmela Scala, Graduate Center, City Univ. of New York

4.         “On Humor Strategies in It Is So (If You Think So), Lidia Ciccone, Univ. of Wisconsin, Madison

5.         “Carlo Gozzi and Pirandello: the Tradition Continues,”  John Di Gaetani, Hofstra Univ.

II. Pirandello’s On Humor (L’Umorismo), 1908: Centennial Program:  Echoes

Saturday, 29 December
3:30-4:45 p.m., Parlor F, Sheraton Chicago Hotels and Towers

Presider:  John Welle, Univ. of Notre Dame

1.        “Pirandello’s Consciousness of Insecurity,” James Nikopoulos, Graduate Center, City Univ of New York

2.        “L’umorismo and female characters: between theory and fiction,”  Paola Casella  Univ. of  Zürich.

3.        “Pirandello’s ‘Umorismo’ and the Sternian Line in Italian Fiction” John Welle, Univ. of Notre Dame

Respondent:  Jana O’Keefe Bazzoni

For further information, contact:  John Di Gaetani,

I.  Pirandello’s On Humor (L’Umorismo), 1908: Centennial Program: Instances

“Humor in the Passive, the Active, and the Insane”  Silvia Abbiati, Ithaca College

What did Pirandello intend by the use of the term umorismo? In what way was it different from the comic, the ironic, and the satiric? And how did his characters move within the forms that reality gave to them? This paper explores Pirandello’s concept of umorismo in his essay devoted to the topic and in relationship with three of his works: The Late Mattia Pascal, “The License”, and Henry IV. The choice of these three works is deliberate. First, they show how Pirandello’s umorismo is at the foundation of the creative process in most of his works, regardless of genre. Secondly, the protagonists of these works each represent the different reactions Pirandello’s characters have to the discovery of the contrast between the mask and the face, the form and the being. Characters such as Mattia Pascal, disappointed by an experience with a new mask or incapable of rebelling against the forms that imprison them, react passively and with resignation. Others, like Chiàrchiaro in “The License”, react actively and ironically to the forms imposed on them, and by playing their new role they profit from the situation. The protagonist in Henry IV, in turn, represents a third type of Pirandellian character, one that is unable to resign himself to his fate or react actively, and who deliberately closes himself off in the solitude of madness.

“How Form and Content Contain Laughter”  Florin Berindeanu, Case Western Reserve University

My paper intends to focus on the relation between form and content as  discussed by Pirandello in his ‘L’Umorismo’.  Pirandello uses the two aspects of the work of art not only in the Aristotelian sense of the term but also as a reaction to Positivism in general and H.Taine in particular. Yet Pirandello’s essay contains also an intriguing debate with B.Croce on the aesthetic sources of humorism and on this polemic my paper will then insist.

While Pirandello leans on a rather Tainian description of human disponibility towards humor, Croce denies all that and shifts his criticism on the lack of philosophical and aesthetic perspective that results from Pirandello’s essay. It is indeed ultimately a battle between form and content in Pirandello’s essay: on the one hand his insistence on a formal rhetoric of how humorism comes across which represents the writer, on the other hand, Croce’s irritation at seeing the axiological aspect of the aesthetic expression left out.

““I am…or am I in the Eyes of the Beholder?” Carmela Scala, Graduate Center, City Univ. of  NY

In his seminal essay On Humor, Pirandello writes: “what we know about ourselves is but a part, perhaps, a very small part of what we really are… The various tendencies which mark a personality lead us to think seriously that the individual soul is not one”.  Indeed, as he would say , we wear   ‘masks’ both on the outside and the inside, and these masks are constantly in opposition with each other ,creating an endless battle between what we  may think we are,  what we appear to others and what we think they  think we are. Furthermore, the realization that we are a different ‘self’ for each person we meet in our life leads us to a path of anguish where even the simplest  illusionary joy of knowing ‘who we are’ is negated to us and the only way out of the pain is, perhaps, madness. This, at least, seems to be the destiny of the “pirandellian hero”, epitomized in Angelo Moscarda, who attempts the arduous but unfruitful enterprise of searching for ‘himself’ within himself and outside. This essay   intends to  argues that before reaching this pessimistic and nihilist conclusion, Pirandello took a detour attempting  to save the ‘unity of the self’. His detour brings him to theater, and I will focus specifically on three of his major works “It Is So! (If You Think So)”, “Six Characters in Search of an Author” and “Henry  IV”, where by acting out the drama of the contradictoriness between the inner worlds and the outer world he attempts  to overcome it, but this tentative fails. Hence, he returns to his early artistic  roots, that is prose, and finally completes his last novel “One No One and One Hundred Thousand”, which represents the climax of his pessimism  and  ideology  “on humour”” and the perfect conclusion for an intellectual voyage that the author had started with his first novel, “The Late Mattia Pascal”, in 1904.

“On Humor Strategies in It Is So (If You Think So)” Lidia Ciccone, Univ. of Wisconsin, Madison

In Pirandello, the moment of theoretical reflection is indistinguishable from his literary production. Moving from this assumption, my paper will highlight the link between the essay On Humor (1908) with the theatrical work It is so! (If you think so). The complex relationship between the two texts goes beyond   the merely poetic translation of a theoretical elaboration, and the present paper has the precise goal to investigate and elaborate that relationship. My goal is to emphasize how the theoretical strategies expressed in Pirandello’s essay On Humor find representation and explication in the play.  Both Pirandello’s theoretical reflection and creative work are detached from Naturalism, projecting themselves towards a moving and complex form characterized by disorder, ambivalence, uncertainty and the contradictions of contemporary humankind. An essential idea in the essay On Humor is what Pirandello defines as “the feeling of the opposite.” Pirandello claims that the “perception of the opposite” is characteristic of the comic, but the humorist needs to go beyond that perception into the feeling of the opposite. This shift allows us the understanding of the multifaceted, contradictory aspects of reality, as we watch it from different perspectives, which are in turn logically acceptable. In multiform and varied reality, comic and tragic are inseparable “as the shadow from the body”.  Through the analysis of the “feeling of the opposite”, my aim is to analyze Pirandello’s typical dichotomies of being and appearance, truth and pretence, identity and mask, sanity and madness. It is the appreciation of these dichotomies that allows us to accept the contradictions of reality, to see reality itself from different perspectives. Pirandello’s characters, of which Laudisi is the emblematic example, become “naked masks,” bitterly and ironically aware of the absurdity of life, of their alienation from their own authentic self. This detachment, this alienation that is reflexive and ironic, bitter and conscious at the same time, is the clear expression of humor.

“Carlo Gozzi and Pirandello: the Tradition Continues”  John Di Gaetani, Hofstra Univ.

This paper will discuss how Carlo Gozzi’s Venetian theater of the l8th century influenced Luigi Pirandello’s theater of the 20th century.     Gozzi’s plays like The Love of Three Oranges, Turandot, and The Snake Lady attempted to revive commedia dell’arte in Venice.     Gozzi’s ten fiabe plays created a popular sensation in Venice at the time and ultimately drove Carlo Goldoni out of town—he moved to Paris and wrote plays there.    Gozzi’s unique fairy-tale plays did not just influence opera composers like Mozart, Wagner, and Puccini.     Gozzi’s plays also influenced Pirandello’s Six Characters in Search of an Author in several ways.   First, both playwrights use the theme of improvisation as central to their art forms.   Also, both playwrights use the stock characters from commedia dell’arte in several new ways—the Father in Six Characters as a Pantalone figure, the Step-Daughter as a Servietta figure.   Both playwrights also use fantasy in different ways to create new forms of anti-realistic revolutionary theater for their respective periods.  Both playwrights were attacking realism and trying to create an anti-realistic fantasy theater.

II.  Pirandello’s On Humor (L’Umorismo), 1908: Centennial Program: Echoes

“Pirandello’s Consciousness of Insecurity”  James Nikopoulos, Graduate Center, City Univ of NY

Pirandello’s short story, The Shrine is oftentimes overlooked as a predecessor to Enrico IV. It is the tale of a God-fearing bricklayer named Spatolino who loses his faith in divine justice, and to make up for the loss of God in his life, props himself up as Christ in a shrine he recently built. Like Enrico IV, it is the story of a man who falls into madness as well as the story of a man who perhaps has awoken from this madness, though still clinging to it.  This paper examines Pirandello’s notion of L’Umorismo in relation to Enrico’s and Spatolino’s own versions of a sadness underlying the comic. It examines the idea of umorismo as a consciousness of insecurity, whereby the act of overcompensation, i.e. the charade of Enrico, the old-woman’s overdone make-up from the essay itself, becomes evidence of a character’s recognition of his / her own insecurity. Spatolino’s loss of belief in God, and Enrico’s insecurity over his own sanity and unsure situation have led to a profound unsettling in each. They each choose to mask this insecurity, Spatolino by propping himself up as the god he has lost faith in, and Enrico as the character of an Emperor he believed he once was. If the comic is the view of the mask, then what Pirandello calls umorismo is the knowledge that this mask is the form taken in order to compensate for a deep insecurity. It is this consciousness of insecurity, which aligns L’Umorismo with 20th Century characters like J. Alfred Prufrock and Modernism as a whole.

L’umorismo and female characters: between theory and fiction.”  Paola Casella  Univ. of Zürich.

The most famous page of Pirandello’s essay L’umorismo [On Humor] is without doubt the one about the old lady wearing heavy make-up. Pirandello introduces this character in the second edition of his essay (1920), in order to clarify the per se cryptic definition of the sentimento del contrario [feeling of the opposite]. Which thematic elements and textual strategies make this female portrait so significant to the concept of umorismo elaborated by Pirandello? Based on these deliberations, it will be possible to widen our perspective on the gallery of female characters portrayed by Pirandello according to specific humoristic intentions, as well as to establish their genealogy: from signora Pomponica in the novel L’esclusa (1893), to the robust bespectacled cousin in the tale Piuma (1916), to the all dressed-up lady of the play Diana e la Tuda (1928). It will thus become clear that for Pirandello portrait-making was a favorite application of his bifocal view, compassionate and detached at the same time, typical for his ideas on umorismo. In parallel, the progressive changes in Pirandello’s way of portraying female characters will be thoroughly examined, thereby also highlighting a few particular periods in the writer’s forty-year-long activity. Finally, the diachronic analysis of female portraits both preceding and following the publication of L’umorismo will allow to define the complex interaction between Pirandello’s fiction and his major theoretical essay, revealing its double nature as literary balance and program. For these reasons, one hundred years after his first edition, L’umorismo continues to offer privileged access to the whole of Pirandello’s work.

“Pirandello’s ‘Umorismo’ and the Sternian Line in Italian Fiction” John Welle, Univ. of Notre Dame

In recent decades scholars have emphasized the potency of a Sternian line of humor in Italian fiction stemming from the influence of Lawrence Sterne’s The Life and Adventures of Tristram Shandy and his Sentimental Journey Through France and Italy. Beginning with Ugo Foscolo’s translations of Sterne and carried forward by writers of the nineteenth century such as Carlo Collodi, this type of comic meta-narrative was much appreciated by Pirandello. In his own novels, including Il fu Mattia Pascal and Uno, nessuno e centomila, Pirandello makes explicit references to the British humourist. In Pirandello’s essay on humour, Lawrence Sterne plays a central role. My paper will explore Sternian elements in Pirandello’s works as well as in some contemporary popular writers most likely known by the Sicilian author.

MLA Modern Language Association Panels – San Francisco, California 2008 – Pirandellian Moods

MLA 2008  San Francisco, California.   Pirandellian Moods

Saturday, 27 December

63. Pirandellian Moods: Interpretations and Transformations

5:15–6:30 p.m., San Francisco Marriott

Program arranged by the Pirandello Society of America

Presiding: Maria Rosaria Vitti-Alexander, Nazareth Coll. of Rochester

1. “Pirandello’s ‘On Humor’ and Italian Film Comedy,” Daniela Bini, Univ. of Texas, Austin

2. “A Contemporary Reshaping of the Self: ‘La Balia,’” Lisa Sarti, Graduate Center, City Univ. of New York

3. “Luigi Pirandello: Black Swans and Mirrors,” Gregory Kershner, Hofstra Univ.

Sunday, 28 December

343. Pirandellian Moods: Mechanized and Mediated

3:30–4:45 p.m., San Francisco Marriott

Program arranged by the Pirandello Society of America

Presiding: Susan Tenneriello, Baruch Coll., City Univ. of New York

1. “Serafino Gubbio’s Sick Eye,” Davide Bolognesi, Columbia Univ.

2. “Long Live the Machine That Mechanizes Life!” Mihaela Martinescu, Univ. of California, Los Angeles

3. “Pirandellian Spectors in Contemporary Practice: Interactive Media and Performance,” Susan Tenneriello

Respondent: Jana O’Keefe Bazzoni, Baruch Coll., City Univ. of New York

2008 Abstracts

Pirandellian Moods: Narrative, Film, Theatre into the Twenty-first Century

Panel 1 Pirandellian Moods: Interpretations and Transformations

Daniela Bini: Pirandello’s Umorismo in Italian Film Comedy-Abstract

This presentation examines Pirandello famous essay L’umorismo of 1908 and his philosophical
definition of umorismo and tries to see its influence on Italian film comedy-a genre that
became popular in Italy in the Fifties and Sixties, and that can undoubtedly be considered
the most genuine expression of Italian cinema. A few example will be chosen to support such
influence: Federico Fellini’s I vitelloni of 1953, Mario Monicelli’s Amici miei of 1975,
Ettore Scola’s Concorrenza sleale (2001)-three examples of the last fifty years of film making
to show that Pirandello’s “sentimento del contrario” plays still a large role in the humor
of Italian filmmakers and in that of the Italians in general.

Lisa Sarti: A Contemporary Reshaping of the Self: La Balia.

In 1999 the Italian director Marco Bellocchio devised his cinematic adaptation of the short-story La Balia, that Pirandello published in 1903. The film plot is loosely inspired by its literary prototype, as the director injects contemporary issues in the story. The two texts share the same starting point, as their protagonists leave their native village and encounter city life and modernity. Their contact with a bourgeois environment leads them along two diverging paths and, ultimately, to different epilogues. A collapse of morality and a loss of family ties will turn the Pirandellian nanny’s existence into the passive acceptance of a gloomy destiny, from which she cannot escape. Re-reading the literary text from a different temporal perspective, Bellocchio portrays a more assertive protagonist on the screen. Though naive and poor, Annetta strives to re-shape her personal life in order to have a better future. In the two authors the transition between social codes calls attention to pivotal cultural transactions. In the short story the nanny’s behavior is punished by oppressive conventions, while in the film the discourse about sexuality is not subjected to social censorship. What Pirandello conceived as the realistic depiction of a peasant woman’s self-sacrifice and sexual subjugation becomes a tale of female self-development and awareness in Bellocchio’s interpretation.

In my paper I intend to analyze the strategies through which Bellocchio refashions Pirandello’s moods, delivering an anti-conventional message of redemption, which testifies to the director’s social and political committment.

Gregory Kershner Luigi Pirandello: Black Swans and Mirrors

This paper will present an examination of the notions of mirrors, fetish, and fractured narrative in Pirandello’s plays Six Characters in Search of an Author and Henry IV.  . . .What both plays question most clearly is, I believe, a notion of fractured identity through their use of meta-fictional strategies to foreground the nature of the chaos of the narrative subject.  Well known as a radically self- referential or meta-theatrical work, Six Characters is also an instrumental study in what Pirandello termed il teatro dello specchio or “the mirror theater,” a play that turns a mirror onto the theater itself.  On the other hand, Henry IV is a play concerned with the concept of a mask on a face. A good deal can be achieved in an analysis of the psychological attitude and in regard an awareness of the orders of difficulty which are involved in formulation of the mask and insanity.

.The main goal of this paper is to show that neither of Pirandello’s plays operates in a Gramcian manner of dialectical materialism, despite numerous studies proclaiming to see at least Six Characters in such a light. Rather, Six Characters and Henry IV serve as models of writing within a tradition of repressive compensation (mirrors, fetish, and narrative fallacies) that works toward the possibility of systemic critique in a way in which dialectics never can; an approach inspired by what Benjamin refers to as ‘dialectics in deadlock.’

The works of Freud, Lacan, and most recently Nassim Taleb point out the metonymic and compensatory relationship that narrative, mirror, and the fetish have to identity formation. These key critical concepts open up the possibilities for identity disruption and its reconstitution as further displaced identities. My project applies their theories of disruption to Six Characters and Henry IV, for if the tropes of metaphor on which the formation of subjectivity depend are broken down, then new and uncontainable possibilities for the re-visioning of fractured identity and further self-deceptions are made possible. The de-contained identity occasioned by fetishes, mirrors, and fallacies, makes possible the proliferation of multiple, often incompatible, narratives of the subject in Pirandello’s dramatic works.

Panel 2 Pirandellian Moods: Mechanized and Mediated

Davide Bolognesi Serafino Gubbio’s Sick Eye

The camera, the macchinetta infernale that Serafino Gubbio uses on the cinematographic set of the Kosmograph, metaphorically takes on the function of a telescope. Like the famous astronomer Copernico (“one of the greatest humorists” according to Pirandello in L’umorismo), who directed the telescope toward the immensity of the cosmos, thus reducing the Earth to a pointless crumb of ridiculous proportion, Serafino Gubbio pointed the camera to the sets of the Kosmograph (indeed a poignant choice in name). Through the mechanical diaphragm of the camera, Serafino shreds human identity to pieces (to the point of making all the actors hate him), and through his optical device depicts a world in which the blurred border between life and fiction is continually violated. This process, starting with the interno dal vero at the beginning of the novel, reaches its culmination in the final take with the tiger, where the artistic-aesthetical drama of the hunting scene, suddenly but not unexpectedly, turns into a real existential tragedy. At this point the play script and real life become totally entangled in one unsolvable knot. The camera, as a modern Copernico’s telescope, far from just being a passive device, modifies its object as well as the observer. Thus through the destructive eye of Serafino Gubbio, the reader witnesses the ultimate victory of the forma over the vita, as Pirandello theorizes in L’umorismo.

Mihaela Martinescu Long Live the Machine that Mechanizes Life!

In Quaderni di Serafino Gubbio operatore, translated into English, as Shoot, Serafino Gubbio observes people from behind the filter, or mask, of the camera.  What happens to the film actor is similar to the metamorphosis that takes place within the pirandellian man, who ceases to exist as he becomes a character interpreting certain parts, in order to fit the roles into which others, along with society, have ‘fixed’ him.  The actor, when taken off the stage and placed behind the lens of the camera, becomes only an image, an illusion of a reality from which he has been banished, in order to transform his art into a commodity.  In place of the theatrical representation, we have a fragmented and deformed image, “a game of mechanical illusion,” as Pirandello calls it.  The crisis of the protagonist comes from the ‘horror’ in realizing that, along with so many other hands emptied of the soul that would only impede their impassive work, he is just a hand that turns the handle of a machine that kills art as it devours the human soul.  One cannot help but sense the prophetic effect with which Pirandello’s ‘rage against the machine’ anticipates the postmodern age of the mass media and computers, in which images and messages transmitted via screens present everywhere, have invaded us like monsters.  We have all become mere spectators, taking in and then translating the illusions with which we are bombarded on a daily basis into reality the reallity that provides our sustenance.

Susan Tenneriello Pirandellian Spectors in Contemporary Practice: Interactive Media and Performance

Coming soon…

John Martello in Pirandello’s L’uomo dal fiore in bocca (The Man with the Flower in His Mouth)


7 November  2005, 6:00 pm

John Martello in Pirandello’s L’uomo dal fiore in bocca (The Man with the Flower in His Mouth).

Read about the play, including its historical significance as the first British televised play.

Casa Italiana Zerilli-Marimò

24 W. 12th St.

New York, NY 10011

The Pirandello Society of America Sessions at the MLA, December 2005

The Modern Language Association Convention

Washington, D.C.

December 28 and 30

Power and the Grotesque in Pirandellian Narrative, Theater, and Film I

“Broken Dolls and Hanging Puppets: Pirandello’s Grotesque Bodies,” Marella Feltrin-Morris, Ithaca College

“The Grotesque in the First English Translations of Six Characters in Search of an Author and Henry IV,” Valeria Petrocchi, Università per Stranieri, Perugia

“Silent Spectacles: The Art of the Obscene in Pirandello’s Theater,” Dragoslav Momcilovic, Univ. of Wisconsin, Madison

Power and the Grotesque in Pirandellian Narrative, Theater, and Film II

Presiding: Giuseppe Faustini, Skidmore Coll.

“The Power of the Role and the Role of Power in Quando si è qualcuno,” David S. Escoffery, Southwest Missouri State Univ.

“Pirandello and Cinema: The Unfinished Project of La nuova colonia,” Stefano Giannini, Wesleyan Univ.

Il fu Mattia Pascal: Celebrating a Century – Conference 25 October 2004


Greetings: Letizia LaRosa, Casa Italiana Zerilli-Marimò

Reading: Il fu Mattia Pascal: Forwards I and II

Introductions: Mimi Gisolfi D’Aponte

Co-President The Pirandello Society of America

Part I

Il fu Mattia Pascal— Highlights from PSA XVII (2004)

and Panel Discussion

Moderator: Rose Fichera McAloon

Vice-President The Pirandello Society of America

Panelists: Daniela Bini, Umberto Mariani, Carmela Scala

Part II

Il fu Mattia Pascal–Selections from the novel

1. The situation

2. Suicide?

3. Mattia/Adriano in Rome

4. The ‘late’ Mattia returns

Readers: Daniela Bini, John Martello, Giuseppe Solinas,

Kathryn Wylie-Marques

Part III

Il fu Mattia Pascal–Cinematic adaptation


Closing remarks: Jana O’Keefe Bazzoni

Co-President The Pirandello Society of America

Exhibit and Reception


Daniela Bini is professor of Italian and Comparative Literature, and chair of the French and Italian Department at the University of Texas, Austin.

Her publications include several books: A Fragrance from the Desert: Poetry and Philosophy in Giacomo Leopardi; Carlo Michelastedter and the Failure of Language; Pirandello and His Muse: The Plays for Marta Abba; a translation and introduction of a selection from Leopardi’s Zibaldone, with Martha King; the textbook Italiano in diretta with Antonella Pease, and numerous articles.  She was president of the American Association for Italian Studies from 2000-2003, and serves on the editorial board of several scholarly journals.

Umberto Mariani is professor emeritus of Italian at Rutgers University.  His area of specialization has been 19th and 20th century Italian literature.

Author of numerous works on Pirandello and other writers, his latest book on Pirandello is a study of the major plays, La Creazione del Vero: Il maggior teatro di Pirandello (Fiesole: Cadmo, 2001).  Professor Mariani has been editing journals in Italian studies including Italian Quarterly and NEMLA Italian Studies.

John Martello received the Pirandello Society’s Pirandello Medallion in 2001.  An actor, producer, and director, he wrote and performed “Damon Runyon’s Tales of Broadway.” which ran Off-Broadway for three and a half months.  John currently serves as Executive Director of the legendary theatrical club, The Players. He is in the process of producing a documentary on Luigi Pirandello for PBS as well as a short film version of “The Man with the Flower in His Mouth.”

Rose Fichera McAloon is a psychoanalyst in private practice in NYC and is affiliated with the Center for Modern Psychoanalytic Studies.

Her doctoral dissertation (Italian Literature, Columbia University) was entitled “Preoedipal Conflicts in the Life and Work of Luigi Pirandello.”

Carmela Scala teaches at Hunter College and is currently a Ph.D. candidate in the program in Comparative Literature at the Graduate Center, CUNY.

She holds BA degrees in both Psychology and in Modern Languages and an MA in Italian. Her research focuses on a psychological approach to the modern novel, and she is currently teaching a course on Italian short stories on the various ways writers treat life’s moments of suffering, accidental occurrences and disillusions, and how they are able to ” sublimate” their anguish through their writings.

Giuseppe Solinas has studied acting and directing in Italy, France, Poland, U.K. and India. He has acted in theatre and film and directed plays based on Pinter, Beckett, Checov, Shakespeare and Buchner. Last spring he was assistant director/dramaturg in Pirandello’s Tonight We Improvise, Jane House Productions. He holds an Italian Laurea, an MA in Theatre, and is currently a Ph.D. candidate in Theatre Studies at the Graduate Center, CUNY.

Kathryn Wylie-Marques is an Associate Professor of Speech, Theatre, and Media Studies at John Jay College of Criminal Justice. In addition to being a regular contributor  to the PSA journal and Pirandello panels at the Modern Language Association Conventions, she is the author of a book and articles on mime, actor training, and the Japanese noh.

Read the novel in the original Italian or in its 1923 translation by Arthur Livingston [1883-1944] in online versions.

Il fu Mattia Pascal

The Late Mattia Pascal

We are grateful to the following for their support:

Jason Belland; Sandra Roff, Baruch College, CUNY

Biblioteca-Museo Luigi Pirandello

Casa Italiana Zerilli-Marimò

Enrico, Alexander & Christopher Bazzoni

John D’Aponte

Eurama Imports

Istituto di Studi Pirandelliani

Italian Culinary Institute for Foreign Professionals (ICIF)

Alessandro Tinterri, Museo dell’Attore, Genoa

Luana Nisi, Teatro Eliseo, Rome

Il fu Mattia Pascal: Celebrating a Century– Exhibit*

Photographic reproductions of archive materials from the Biblioteca-Museo Luigi Pirandello (BMLP, Library- Museum Luigi Pirandello, Agrigento, Sicily.)

are exhibited by permission of the Assessorato Regionale BB.CC.AA. and P.I. of the Sicilian Region. We are grateful to Dott. Arch. Vincenzo Caruso, Director

and Dott.ssa Filomena Capobianco, Project Manager of the Library-Museum Luigi Pirandello, and the BMLP staff for their courteous reception in Agrigento

and subsequent collaboration in selecting and transmitting items for the current exhibit.

Photographs of archival materials contributed by the Istituto di Studi Pirandelliani (ISP, Institute for Pirandello Studies, Rome) were first displayed at a centennial exhibit

Il fu Mattia Pascal “I cento anni de Il fu Mattia Pascal,” June 16—July 8, 2004 at Rome’s Casa della Letteratura, curated by Alfredo Barbina, Director of the Institute.

We are grateful to Casa della Letteratura staff and ISP President, Alessandro d’Amico for their cordial reception in Rome and for permissions granted; and to Dott.ssa.Dina Saponaro and Dott.ssa Lucia Torsello for their dedicated collaboration in selecting and transmitting items for the current exhibit.

Jana O’Keefe Bazzoni, Exhibit Curator

*This work was supported in part by a grant from the City University of New York PSC-CUNY Research Award Program.

Casa Italiana NYC

Casa Italiana Zerilli Marimò

New York University

24 West 12th Street

New York, NY 10011

October 25, 2004

6:00 pm


October 22-October 30, 2004*

Currently on display at Baruch College’s  William and Anita Newman Library

The Pirandello Society of America Sessions at the MLA, December 2004

Pirandello and the Italian American Experience

Presiding: Rose Fichera McAloon, Center for Modern Psychoanalytic Studies

“Pirandello and the Italian American Postmodern in Ciabattari’s ‘Clay Creatures.’”

Fred L. Gardaphe, State University of New York, Stony Brook

“Pirandello in America and America in Pirandello,” Giuseppe Faustini, Skidmore College

Respondents:  Angela Belli, St. John’s University, NY;  Jana O’Keefe Bazzoni, Baruch College, CUNY

Pirandello, Doubles and Desire

Presiding: Mary Kathryn Wylie, John Jay College of Criminal Justice, CUNY

“Pirandello’s Double Vision(s): The Feat of the Dialogic Imagination,”

Rosemarie LaValva, State University of New York, Binghampton

“A Madman in the Mirror: Pirandello’s Doubles in One, No One, and One Hundred Thousand,”

Marella Feltrin-Morris, State University of New York, Binghampton

“Multiple Personalities, Reflexivity and Levels of Being in Pirandello’s Six Characters in Search of an Author,” Kurt Taroff, Graduate Center, CUNY

Respondent: John Louis DiGaetani, Hofstra University