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Relevant bibliographies by topics / Eugen Ionesco

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Academic literature on the topic 'Eugen Ionesco'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Eugen Ionesco"

1

Saiu, Octavian. "A Centenary Foretold: the Reception of Eugène Ionesco in his ‘Fatherland’." New Theatre Quarterly 29, no. 1 (February 2013): 76–86. http://dx.doi.org/10.1017/s0266464x13000079.

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Eugène Ionesco was born in Romania in 1909, but he died in France in 1994. The name on his birth certificate was Eugen Ionescu, yet the name on his grave in the Montparnasse cemetery is Eugène Ionesco, as he is known across the world. In this article, Octavian Saiu explores these polarities of Ionesco's destiny from the perspective of his reception in Romania, where nationalistic claims are embroiled in contention over his identity. The paradoxes of this situation are clearly illustrated by the conflict surrounding the celebration of his centenary in 2009, when Marie-France Ionesco, the writer's daughter and the trustee of the estate, banned a series of Romanian performances of Ionesco's plays planned for the occasion. Her decision reflected the traumatizing relationship Ionesco had, even beyond his grave, with what he uncompromisingly called his ‘fatherland’. Octavian Saiu is an Associate Professor at the National University of Theatre and Cinematography (NUTC) in Romania and a Guest Lecturer at the University of Otago in New Zealand. He is Vice-President of the Romanian Section of the International Association of Theatre Critics (IATC) and Director of the Eugène Ionesco–Samuel Beckett Research Centre at NUTC.

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Moroșanu, Elena-Mirabela. "Theatre, in Ionescu’s Vision: “The Eternal Need for Miracle and Horror”." Theatrical Colloquia 7, no. 1 (June 1, 2017): 289–97. http://dx.doi.org/10.1515/tco-2017-0011.

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Abstract A subject the phenomenological modernity of which imposes itself, regardless of the time of the debate and the critic-literary orientation of the messmate, which burned in profile magazines pages and specialist meetings, and the conclusions of which are still expected, is represented by the dilemma: Eugen Ionescu or Eugene Ionesco? The Romanian by birth (and formation, some say) or Frenchman by adoption? As it was already used to, according to the formula that opposites are attracted to cancel each other, Ionescu refused widely known theories about the purpose of theatre, annihilated them and replaced them with his own ideal concept of what theatre means to the public and, especially, what is the purpose of its mission. Theatre has, like any other art, a mission of knoweledge. You don’t silly around to discover, but deepening, separating, purifying realities. (...) Theatre is a presence, Ionescu says.

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Rosenthal, Denise. "“The Mythical Jew”: Antisemitism, Intellectuals, and Democracy in Post-Communist Romania." Nationalities Papers 29, no. 3 (September 2001): 419–39. http://dx.doi.org/10.1080/00905990120073681.

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A mentally healthy human being can go insane if suddenly diagnosed with leprosy. Eugen Ionescu finds out that even the “Ionescu” name, an indisputable Romanian father, and the fact of being born Christian can do nothing, nothing, nothing to cover the curse of having Jewish blood in his veins. With resignation and sometimes with I don't know what sad and discouraged pride, we got used to this dear leprosy a long time ago.With these words, the Romanian–Jewish writer Mihail Sebastian expresses within his private diary some of the darkest moments of a World War II “transfigured” Romania, populated as they are by the gothic characters of legionaries, Nazis, and antisemitism. His death soon followed in 1945, when Romania was at the threshold of fascism and communism. However, with the discovery and the subsequent publishing of Sebastian's diary in 1996, and following 50 years of communist mystification of the Jewish Holocaust, the entire chaotic war atmosphere with the fascist affections of the Romanian intellectual elite was once again brought to light with all the flavor and scent of the dark past. In this entry from Sebastian's diary he speaks of his friend, Eugen Ionescu who, born of a French-related mother and a Romanian father, was living in Bucharest at that time. He would later become known to the world as Eugène Ionesco, the famous French playwright and author of the well-known playsThe Bald SopranoandThe Rhinoceros.The above quote from Sebastian's journal, predating the international fame of Ionesco, but already marking the end of Sebastian's career under fascism, remains a traumatizing testimony of the Jewish Kafkian torment as “guilt,” a deeply claustrophobic identity that many Eastern European Jewish intellectuals have learned to internalize. Beyond this symbolism, the publishing of Sebastian's diary in Romania unintentionally challenged an existent post-communist tendency of legitimizing inter-war fascist personalities within the framework of a general lack of knowledge about the Jewish Holocaust in both the communist and post-communist periods.

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4

Semak, O. I. "IHOR KOSTETSKYI AND EUGENE IONESKO: TYPOLOGY OF ARTISTIC THINKING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 150–56. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-150-156.

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The article deals with the works of such famous playwrights as Ihor Kostetskyi and Eugene Ionesco. The comparison of the work of the Ukrainian playwright with the dramatic works of the world level made it possible to distinguish the laws that show that Ihor Kostetskyi's drama is a multi-faceted and ambiguous phenomenon in the literary process of the second half of the twentieth century. The study of the peculiarities of the literary heritage of I. Kostetskyi involves a profound analysis of the influence of the emigration factor on creative process of the writer. His close interweaving of universal, national, and moral issues was caused by life in emigration and the loss of Ukraine. The combination of Ukrainian mentality with the understanding of the philosophical concepts of the West allowed the playwright-emigrant to consider social and moral problems more panoramic. Using techniques such as phantasmagority of individual scenes, deconstructivistic distrust to language, the destruction of syntactics and paradigmatics and logical structural connections in some places allows us to characterize the poetics of I. Koste-tskyi’s style as an absurdity experiment based on the drama of the Baroque era.In the result of comparison of the heritage of Eugen Ionesco and Ihor Kostetskyi the author found that both dramatists rejected the canons of classical drama with its traditional plot, experimented with the form of works, the language of characters. The artistic material of their dramatic works unfolds through absurd situations that contrast with the world of reality.One of the problems raised by the authors is the problem of human communicability, which leads to leveling of the personality. Their verbal experiments are one of the factors in the creation of new generations of heroes. The dramatists did not abandon one of the main problems of existentialism - time as characteristics of human being.

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5

Bradby, David, Marie-Claude Hubert, and Gene A. Plunka. "Eugene Ionesco." Modern Language Review 89, no. 4 (October 1994): 1022. http://dx.doi.org/10.2307/3733962.

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Dolamore, C. E. J., and Nancy Lane. "Understanding Eugene Ionesco." Modern Language Review 91, no. 3 (July 1996): 743. http://dx.doi.org/10.2307/3734147.

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BRYDEN, M. "Review. Understanding Eugene Ionesco. Lane, Nancy." French Studies 50, no. 4 (October 1, 1996): 481. http://dx.doi.org/10.1093/fs/50.4.481-a.

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8

Yusriansyah, Eka. "Absurditas Naskah Drama “Pelajaran” karya Eugene Ionesco." Jurnal Sastra Indonesia 8, no. 2 (August 28, 2019): 94–102. http://dx.doi.org/10.15294/jsi.v8i2.33715.

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Penelitian ini bertujuan untuk menelusuri wacana absurditas yang terlukis dalam naskah drama “Pelajaran” karya Eugene Ionesco. “Pelajaran” tergolong naskah absurd yang berarti berada di luar konvensi drama pada umumnya, tidak beralur, bertemakan nihilisme dan kesenduan metafisik, serta disesaki dialog yang hanya berupa celotehan tidak nyambung. Kepekaan intelektual dan penghayatan eksistensi kehidupan menjadi syarat kompetensi interpretasi. Penelitian ini adalah penelitian deskriptif kualitatif yang memanfaatkan metode hermeneutika dengan mengadopsi pembacaan heuristik dan hermenuitik. Teori semiotika Riffaterre dan teori drama absurd digunakan untuk mengungkapkan tanda-tanda sebagai pembangun absurditas di luar logika. Hasil penelitian menunjukkan bahwa “Pelajaran” menyuguhkan absurditas kehidupan metafisik, kesia-siaan, pemberontakan, dan kematian yang dikemas melalui absurditas alur, penokohan, dan dialog irrasional. This research aims to investigate absurdity in “Pelajaran” drama script written by Eugene Ionesco. “Pelajaran” belongs to the kind of absurd drama script since it breaks structure convention of common drama script. It is such unconventional kind of drama script which has no plot, unclear characterization, nihilism topics such metaphysical things, being isolate, rebellion, and death, also has irrational dialogue which only tells about unimportant things. This research belongs to descriptive qualitative research which used hermeneutic methods contained of two reading methods such heuristic and hermeneutic. The theory of semiotic Riffaterre applied in analyzing the symbols constructed in the text which combined with the theory of drama absurd suggested by Martin Esslin used to find out the absurdity in the text. The result of the research shows that “Pelajaran” presents the absurdity of life such metaphysics, disconsolate, rebellion, and death. Those all things presented through absurdity of plot, characterization, and irrational dialogue.

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Díaz, Jorge Aurelio. "Noica, Constantin. Seis enfermedades del espíritu contemporáneo. Trad. Vasilica Cotofleac. Barcelona: Herder, 2009. 211 pp." Ideas y Valores 64, no. 158 (August 28, 2015): 298–301. http://dx.doi.org/10.15446/ideasyvalores.v64n158.51094.

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<span>El libro fue publicado en 1997, pero solo fue traducido al español en el año 2009. Tratándose de un autor rumano, educado en Francia y en Alemania, pero que, a diferencia de sus coterráneos Mircea Elíade, Emil Cioran o Eugen Ionescu, decidió permanecer en su país durante el régimen comunista y escribir en rumano, sus obras han sido hasta hoy muy poco conocidas. En realidad, creo que esta es la primera que ha sido traducida el español.</span>

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Cofan, Alunita. "Polemistul Eugen Ionescu din « NU » si năzuinta lui spre centru rumuński." Studia Romanica Posnaniensia 32 (October 1, 2005): 113. http://dx.doi.org/10.14746/strop.2005.32.011.

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Dissertations / Theses on the topic "Eugen Ionesco"

1

Duke, Wendy S. "Experiencing Ionesco’s Nightmare World: The Preparation and Production of Man with Bags." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1289585453.

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Kemock, Kathleen Clare. "The Rhinoceros in 2006 a dramaturgical analysis of Eugene Ionesco's Rhinoceros /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1177080180.

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Park, Hyung Sub. "Eugene Ionesco et la conscience tragique dans le cycle de Berenger." Paris 8, 1989. http://www.theses.fr/1989PA080373.

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Ce travail, qui est divise en deux parties, traite des aspects que revet le tragique dans l'oeuvre d'ionesco. D'une part l'importance que l'auteur a attache a l'homme et a son angoisse existentielle fondamentale est mise en lumiere, et d'autre part quelque problemes dramaturgique est cernes lorsque ses idees de l'existence se sont heurtees aux formes traditionnelles du theatre de son epoque dans la 1er partie, l'experience personelle d'ionesco et les problemes dramaturgiques sont successivement apprehendes en faisant le lien entre ses premiers ecrits. Dans la 2eme partie, chaque chapitre est aborde sous l'angle d'une analyse thematique s'appuyant de facon concrete sur les textes de l'auteur
This study consisting of two greats parties deal with the aspects dressed up a tragedy in the work of ionesco. On the one hand the importance that the author has attached to the man and to his outstaugly fundamental anguish is discovered, on the other hand some dramaturgicals problems are analysed when his ideas of the existence collided with traditionals forms of the theatre in his life. In the first party, the personel experience of ionesco and the dramaturgicals pre catched by the relations between his first works. In the second party, each chapter is approched under the point of the thematic analysis in resting on the concrete way for his texts

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Kemock, Kathleen Clare. "The Rhinoceros in 2006: A Dramaturgical Analysis of Eugene Ionesco’s Rhinoceros." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1177080180.

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5

Hesson, Ian Matthew. "The worlds of Eugene Ionesco : his political views and his dramatic art." Thesis, Royal Holloway, University of London, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265310.

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6

Bradley, Ellyn Isabelle. "The search for individual identity in the works of Eugene Ionesco, 1950-1985." Thesis, Durham University, 1985. http://etheses.dur.ac.uk/7138/.

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The thesis aims to demonstrate that the search for individual identity is fundamental to lonesco's work, affecting every aspect of his artistic creation. The crisis of identity, lonesco suggests, stems from early childhood when the individual experiences a separation from himself, from his surroundings, and from others. Thereafter, two states of being divide all existence: joy, wonder, and a firm awareness of being alternating with moods of anguish and estrangement from the self. This inner tension provokes the individual to seek a more secure sense of identity. The theme of the search runs throughout lonesco's theatre, portrayed as an allegorical search for another world or as an attempt to penetrate the depths of the consciousness through dreams or a return to childhood. These searches fail, for the key to the self lies not in escape or a change of material circumstances, but in the painful struggle to maintain one's lucidity and integrity against the forces that oppose individuality. Chapters four to nine examine these forces: the hostility of the material world, the threat of death, the attempts of the family and of society to force conformity to social norms, the more deliberate attempt of politicians to limit individual freedom, and finally the breakdown of communication through the distortion of language into clichés and slogans. Artistic creation is a means of counterbalancing these pressures by exposing the dangers of a mechanical existence and reaffirming the potentials of the individual. Lonesco proposes no final solutions because they would falsify the living, dynamic nature of identity which must constantly be approached afresh by the continual questioning that is fundamental to life and art. Moreover, it is not the solution that is important but the depth and sincerity of the search which lonesco's work challenges each individual to undertake by himself in total freedom.

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El, Khalfi Hamid. "Language and power in the dramatic works of Harold Pinter and Eugene Ionesco." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313085.

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8

danielsson, david. "Att gestalta främlingskap : En studie av hur alienationen gestaltas i Eugene Ionescos Enstöringen." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35112.

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This essay is a study of the portrayal of the theme of alienation in Eugene Ionesco's novel The hermit. In my study I examine the different ways in which the theme of alienation is portrayed and how the cause of the narrator's experience of alienation can be found in ideological, psychological and existential conflicts that the narrator has to face. The result is an experience of das unheimliche, a Freudian concept, which is a kind of uncanny detachment that the narrator experiences, when he is put up against an invisible force that lurks in the perifery of the world, which is portrayed in the story. The meaning of the ideological conflict is a portrayal of man's situation in a world that is ruled by capitalism, with marxism as a positive leveler and the meaning of the psychological conflict is a conflict in the narrator's own inner reality. The meaning of the existential conflict is a portrayal of man's situation in a world absent of God. The novel by Ionesco points at these conflicts and also offers a solution to the limitations, that are caused by alienation by transcending them. In my study I focus on the function of language, biblical imagery, allegory and the theories that are being used to define the ideological (marxist theory) and existential (Albert Camus' theory of the absurd) conflicts. In my analysis I have also used Camus' The stranger in comparison with Ionesco's novel.

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9

Rosi, Angeliki. "The evolution of a subversive 'parole' in the plays of Arthur Adamov, Eugene Ionesco and Jean Genet." Thesis, Royal Holloway, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338854.

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Orita-Serban, Manuela Chevrier Jacques. "Ecrivains roumains d'expression française (Tristan Tzara, Benjamin Fondane, Mircea Eliade, Eugene Ionesco) aspects de l'exil, trajectoires emblématiques /." Paris : Université Paris Sorbonne - Paris IV, 2008. http://www.theses.paris4.sorbonne.fr/these-orita/paris4/2007/these-orita/html/index-frames.html.

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Books on the topic "Eugen Ionesco"

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Scott, Sprenger, and Stewart Brant, eds. Bibliographie Eugène Ionesco =: Eugène Ionesco bibliography = Bibliografie Eugen Ionescu. București: Editura Universității din București, 2008.

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Tânărul Eugen Ionescu. București: Fundația Națională pentru Știință și Artă, 2006.

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3

Gaensbauer, Deborah B. Eugene Ionesco revisited. New York, N.Y: Twayne Publishers, 1996.

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4

Duvalma, Carmen. Eugen Ionescu și lumea refugiului total. București: Editura Muzeul Literaturii Române, 2011.

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1945-, Finkenthal Michael, ed. The clown in the agora: Conversations about Eugène Ionesco. New York: P. Lang, 1998.

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6

Simion, Eugen. Eugen Simion comentează pe Mircea Eliade, Vasile Voiculescu, Eugen Ionescu, Eugen Lovinescu, Perpessicius, Tudor Vianu. București: Recif, 1993.

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7

Lovinescu, Monica. Întrevederi cu Mircea Eliade, Eugen Ionescu, Ștefan Lupașcu și Grigore Cugler. [Bucharest]: Cartea Românească, 1992.

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8

Mask, Ahmad Kamyabi. Qui sont les Rhinoceros de Monsieur Berenger-Eugene Ionesco?: (etude dramaturgique). Paris: A. Kamyabi Mask, 1990.

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9

Ionescu, Gelu. Anatomia unei negații: Scrierile lui Eugen Ionescu în limba română, 1927-1940. București: Editura Minerva, 1991.

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Ionescu, Eugene. Eugene Ionescu: Trouver un peu d'espoir. 7. September-30. November 1985, Galerie Tschudi, Glarus. Glarus: Galerie Tschudi, 1985.

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Book chapters on the topic "Eugen Ionesco"

1

Scott, Michael. "Modern Morality Plays: Eugene Ionesco, Exit the King and Macbett." In Shakespeare and the Modern Dramatist, 72–88. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6_6.

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"EUGENE IONESCO." In Twentieth Century Theatre: A Sourcebook, 71–73. Routledge, 2002. http://dx.doi.org/10.4324/9780203214671-22.

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Cameron, Rebecca. "Rhinoceros by Eugene Ionesco." In How to Teach a Play. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350017566.ch-055.

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"Madness, Disorientation, and Incorrigible Women: Eugene Ionesco and the Failures of the Anti-Theatre." In Schizo: The Liberatory Potential of Madness, 73–80. BRILL, 2015. http://dx.doi.org/10.1163/9781848884601_009.

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Bignell, Jonathan. ""Do You Really Enjoy the Modern Play?”: Beckett on Commercial Television." In Pop Beckett, 63–84. ibidem Press, 2019. http://dx.doi.org/10.24216/9783838211930_03.

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Television was the key popular medium of the second half of the twentieth century in the UK, and Beckett’s work was consistently aired by BBC, the British non-commercial TV broadcaster that had already featured his work on radio since the mid-1950s. But Beckett’s work also appeared on Independent Television (ITV), the commercially-funded British television channel set up in 1955 to rival BBC. The commercial ABC TV company made the series The Present Stage for ITV in 1966. In its feature announcing the series, the TV Times listings magazine asked “Do you really enjoy the modern play like Look Back in Anger or Waiting for Godot? A new 13-week series, The Present Stage, starts next Sunday and is designed to help you enjoy and understand modern plays.” The series was based on a popular book by John Kershaw, and alongside Beckett’s drama it dealt with plays by the dramatists Arnold Wesker, Max Frisch, Eugene Ionesco and Harold Pinter, each of which were landmarks in London theatre at the time. The series was broadcast on Sundays, following a home improvement programme, and this chapter asks what it meant for the ITV channel to screen a programme about Beckett’s drama amongst televised church services and home decor advice. The chapter places Beckett’s drama in the context of dynamic instability in British culture, when the categories of the popular and the elite were being contested, to argue that ITV’s programme contributed to a cultural revolution.

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"Between the “Machinery of Transcendence” and the “Machinery of War”: The Unattended Moments of Eugene Ionesco." In The Medieval Presence in the Modernist Aesthetic, 99–114. BRILL, 2017. http://dx.doi.org/10.1163/9789004357020_008.

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"Gane, Mike 77–80, 84, 98 Le Moyne, Gertrude 119 Gariépy, Renault 59 Lévesque, René 105–6 Garric, Daniel 5, 58, 62 Levin, Charles 2, 66 Gates, Bill 13 Lévi-Strauss, Claude 6, 19, 22–5 de Gaulle, Charles 46, 100 Lewis, Wyndham 55–6 Genosko, Gary 55, 67, 110 Libermann, Ben 84 Gheerbrand, Gilles 62 Lukács, Georg 113–15 Gibson, Steve 11 Lyotard, Jean-François 49–51, 69, 110 Giradin, Jean-Claude 81 Giscard d’Estaing, Valéry 46, 103 Gould, Glenn 10, 17 McLughan, William 53 Grant, George 70 McLuhan, Corinne 9 Grigg, Russell 54 McLuhan, Eric 9 Gritti, Jules 74–5 Mandel, Ernest 111 Grock, Adrian Wettach 36, 50 Marabini, Jean 5, 58–9 Guattari, Félix 7, 17, 48–50, 105, Marchand, Philip 15, 62 110–11 Marcotte, Gilles 58, 119 Mariet, François 61–2 Marx, Karl 24, 69, 111–16 Hall, Stuart 31 Matson, Raymer B. 104 Halley, Peter 3 Mattelart, Armand 45–6 Heath, Stephen 56 Mattelart, Michèle 45 Hjelmslev, Louis 48–50 Metz, Christian 50 Hoggart, Richard 6, 17, 31–4 Michelet, Jules 21 Holland, Eugene 55 Miller, Jonathan 28, 109 Hurtubise, Claude 5 Missika, Jean-Louis 47 Huyssen, Andreas 4, 13 Molinaro, Matie 9 Monnier-Raball, Jacques 72 Iannone, M. 13 Monroe, Marilyn 59 Ionesco, Eugène 30, 57 Morin, Edgar 41–2 Moriwaki, Hiroyuki 10 Jameson, Fredric 65, 112–14 Jarry, Alfred 55 Nadeau, Maurice 18 Namer, Gérard 44 Negri, Antonio 105 Kattan, Naïm 4–5, 18 Nixon, Richard 3 Kellner, Douglas 67, 77, 84–5, 98 de Kerckhove, Derrick 9–10, 14–15, 30–1, 35, 43, 87, 119–21 Ong, Walter J. 56 Klein, Calvin 65 Orlan 11 Knockaert, Yves 58 Kroker, Arthur 2–3, 8–9, 11–12, 22, Paglia, Camille 1 28–9, 64–70, 115 Paik, Nam June 10, 30 Kroker, Marilouise 11 Paré, Jean 5–6, 22, 92, 99–103, 105 Parker, Harley 34, 81, 118 Lacan, Jacques 7, 52–4, 56–7, 63 Pasolini, Pier Paolo 104 Languirand, Jacques 103 Passeron, Jean-Claude 17 Lanoux, Armand 58–9 Paterson, Nancy 10 Lazarsfeld, Paul 50 Pauwels, Louis 120–1." In McLuhan and Baudrillard, 145. Routledge, 2002. http://dx.doi.org/10.4324/9780203005217-15.

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