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Men don't cry (creation). In a neighborhood of a large North American city, a loaf of rye bread brings back adolescent memories to a middle-aged man. Bill remembers his College friends, Nick, Jack and Alec. They will all pass through the same Diner, the same evening, 20 years later without recognizing each other. Those of them who will cross paths will die that same night. It's a story about chance. It's a free cinematographic adaptation of four short stories from three different authors: The Rye Bread by Ray Bradbury, Continuite des parcs and N'accusez personne by Julio Cortazar as well as Fat by Raymond Carver. / Illuminations: From Pirandello toward Kaos ( criticism). When the filmmakers the brothers Taviani decide to undertake their adaptation of Luigi Pirandello's four short stories for the screen, they choose Kaos for the title of their film. Through the study of two of the four adapted short stories, this thesis tries to demonstrate that the adaptation of a literary work or a written text to a filmic text necessarily passes through a chaos that separates the two very different languages. The interpretative work consists of passing through this same chaos using different writing and mise en scene techniques. The aim of this short study is to dissect the links that exist between the two very distinct entities, the written text and the filmic text, through a magisterial and concrete example.

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Luigi Pirandello's two short stories La verita and Certi obblighi and the play derived from them Il berretto a sonagli seem to be, at least on the surface, about adultery. The three male protagonists' dilemmas come about as a result of their wives' sexual transgressions, which consequently impose certain "obligations" upon them. The themes of adultery and betrayal, however, are merely surface elements, used to explore the theatrical nature of identity and of all social experience. Specifically, the three works show how role-playing-within-roles safeguards the identity of the betrayed husbands, by protecting them from social humiliation. / Since all Pirandellian characters role-play, and as a consequence portray and assume multiple identities, this thesis examines the function and significance of this technique in both narrative and theatrical contexts. It attempts to show that while the device is a feature common to all three works, it is in the dramatic adaptation that role-playing in relation to identity acquires its more visible and effective treatment.

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This thesis proposes that a defining feature of Pirandello???s 1921 play ??? Six Characters in Search of an Author, is a relentless transcendentalism. It argues that the play embodies a fascination with existential and conceptual ???occult???, and my hypothesis is that by exploring Pirandello's transcendentalism we may enhance our understanding of how and why Pirandello's play points a mirror up to the invisible and suggests that we could be a reflection of that. Pirandello's drama alludes to some of the most convoluted and enduring debates in western philosophy. However, there is very little English-language material on Pirandello???s relation to philosophy or the relevance of analytical philosophy, metaphysics or epistemology to Pirandello???s playwriting. Even foreign-language studies focus on existentialism, phenomenology and other Continental traditions of philosophy. My contribution is to craft a subjective response to Six Characters in accordance with the methods of analytical philosophy, making use of paradigms and techniques that stem from aesthetics and metaphysics to elucidate a complex self-reflexive play. Chapter One presents analytical philosophy as a potential interpretative framework for the play, whereas chapters two and three explore the metacharacters specifically. This thesis does not seek to offer conclusive assertions about the peculiar ontological status of Pirandello???s metacharacters, rather, it introduces some frameworks and conceptual tools for better approaching their ontolo

This thesis proposes that a defining feature of Pirandello???s 1921 play ??? Six Characters in Search of an Author, is a relentless transcendentalism. It argues that the play embodies a fascination with existential and conceptual ???occult???, and my hypothesis is that by exploring Pirandello's transcendentalism we may enhance our understanding of how and why Pirandello's play points a mirror up to the invisible and suggests that we could be a reflection of that. Pirandello's drama alludes to some of the most convoluted and enduring debates in western philosophy. However, there is very little English-language material on Pirandello???s relation to philosophy or the relevance of analytical philosophy, metaphysics or epistemology to Pirandello???s playwriting. Even foreign-language studies focus on existentialism, phenomenology and other Continental traditions of philosophy. My contribution is to craft a subjective response to Six Characters in accordance with the methods of analytical philosophy, making use of paradigms and techniques that stem from aesthetics and metaphysics to elucidate a complex self-reflexive play. Chapter One presents analytical philosophy as a potential interpretative framework for the play, whereas chapters two and three explore the metacharacters specifically. This thesis does not seek to offer conclusive assertions about the peculiar ontological status of Pirandello???s metacharacters, rather, it introduces some frameworks and conceptual tools for better approaching their ontolo

The subject of this thesis is an intertextual and psycho-analytic study of the relationship between two major dramatists of twentieth century Italian Theatre, Luigi Pirandello and Eduardo De Filippo. The analysis is in part conducted according to the concept of influence developed by Harold Bloom in The Anxiety Of Influence and expressed in "Freudian" terms, in which one poet, the later (Eduardo De Filippo), is presumed to "struggle" with or try to surpass his precursor (Luigi Pirandello).