A Hundred and One

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  1. A Hundred and One Reasons by Bianca Salindong
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  4. Woody Guthrie at a Hundred and One

Just as soon as it appears, the unknown self evaporates and recomposes itself into the familiar attitudes of the superficial self.


A Hundred and One Reasons by Bianca Salindong

In this extremely modern Secretum where there is no Saint Augustine to indicate, with the profound voice of conscience, the absolute truth to desire, where desperation is entrusted to a bitter humour, corrosive and healing at the same time, the unity of the self disintegrates into diverse stratifications. Vitangelo is one of those " Vitangelo's extremely lucid reflections seek out the possible objections, confine them into an increasingly restricted space and, finally, kill them with the weapons of rigorous and stringent argumentation. The imaginary interlocutors, "Dear sirs, excuse me" Oh my God, you are turning pale" The plural you "voi" which punctuates like a returning counterpoint all of the initial part of the novel is much different from the "tu" of Eugenio Montale , which is almost always charged with desperate expectations or improbable alternatives to existence; it represents, rather, the barrier of the conformist conceptions which the lengthy ratiocinations of Vitangelo nullify with the overwhelming evidence of implacable reflections.

Vitangelo's "thinking out loud", definitely intentional and rigorous, is, however, paradoxically projected toward a completely different epilogue in which the spiral of reasoning gives way to a liberating irrationalism. Liberation for Vitangelo cannot happen through instinct or Eros, as happens in the case of Harry Haller, the steppenwolf, who realises his metamorphosis through an encounter with the transgressively vital Hermine.

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Vitangelo's liberation must follow other avenues; he must realise his salvation and the salvation of his reason precisely through an excess of reason. He seems to say to us: "Even reason, dear sirs, if it is alleviated of its role as a faculty of good sense which counsels adaptation to historical, social and existential "reality", can become a precious instrument of liberation.

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The total detachment of Vitangelo from false certainties is fully realised during a period of convalescence from illness. Sickness, in Pirandello as in many other great writers, is experienced as a situation in which all automatic behaviour is suspended and the perceptive faculties, outside of the normal rules, seem to expand and see "with other eyes. The episode of the woollen blanket signals the unbridgeable distance which now separates Vitangelo from the rules of reality in which the judge who has come to interrogate him appears to be completely enmeshed.

While the scrupulous functionary, completely absorbed in his role, collects the useful elements for his sentencing, Vitangelo contemplates with "ineffable delight" the woollen blanket covering his legs: "I saw the countryside: as if it were all an endless carpet of wheat; and, hugging it, I was beatified, feeling myself truly, in the midst of all that wheat, with a sense of immemorial distance that almost cause me anguish, a sweet anguish.

Ah, to lose oneself there, lay down and abandon oneself, just like that among the grass, in the silence of the skies: to fill one's soul with all that useless blue, sinking into it every thought, every memory! Once cured of his illness, Vitangelo has a completely new perspective, completely "foreign". He no longer desires anything and seeks to follow moment by moment the evolution of life in him and the things that surround him.

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He no longer has any history or past, he is no longer in himself but in everything around and outside of him. From Wikipedia, the free encyclopedia. Ask a Question. A Hundred Vs. One Hundred?

Woody Guthrie at a Hundred and One

Thanks a lot for helping. The way I see it When you say 'a hundred' or 'a million' you're just giving an order of magnitude, and the exact figure doesn't matter. So much so that when you say 'a million reasons not to do this' it obviously isn't important how many exactly. When you say 'one million' or 'one thousand' then you're usually being quite precise with the figure you're giving : 'I've won a million pesos at the lottery' lucky you even though I suspect this isn't that much or 'This village is one thousand inhabitants'.

Sanz difference between 1. A hundred is one hundred.

101 (one hundred and one) - Numbers in Russian. Hundreds (+units).

One hundred is a hundred. Use "one" instead of "a" when working with numbers as an accountant, mathematician, or scientist might do. Students: Are you brave enough to let our tutors analyse your pronunciation? One hundred and a hundred are the same number. If you look at the definitions of "a" one definition is "one".

If you take hundred out and try other nouns you might see that it is this way.

When speaking you will find that most people use a instead of one. The rythm seems better and it is easier to pick out the important parts. For example: I need a dozen eggs, a loaf of bread and a gallon of milk. Very few would say one for these items, it just sounds wrong.

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  • a/one hundred percent;