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Dissertations / Theses on the topic 'Eugen Ionesco'

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Published: 4 June 2021

Last updated: 1 February 2022

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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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2

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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3

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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4

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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7

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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10

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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11

Orita-Serban, Manuela. "Ecrivains roumains d’expression française (Tristan Tzara, Benjamin Fondane, Mircea Eliade, Eugene Ionesco) : aspects de l’exil, trajectoires emblématiques." Paris 4, 2007. http://www.theses.fr/2007PA040253.

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Dans notre thèse, nous avons étudié l’évolution littéraire à l’épreuve de l’exil des quatre écrivains d’origine roumaine : Tristan Tzara, Benjamin Fondane, Mircéa Eliade et Eugène Ionesco. Ces écrivains participent des deux cultures et par conséquent, des deux visions du monde : la culture roumaine et française. L’impact de l’exil sur leur création se manifeste notamment par une forme de révolte, présente chez chacun des quatre écrivains. Nous avons tenté de voir comment ces écrivains vivent le spirituel et l’absurde à la fois. Tristan Tzara crée son Manifeste Dada (qui semble de l’absurde pur), Benjamin Fondane vit l’absurde du nazisme, se révolte contre cet absurde jusqu’aux dernières conséquences dramatiques (sa déportation dans le camp de concentration à Birkenau). En ce qui concerne Eugène Ionesco, en quête de spirituel, il écrit l’absurde (le théâtre de l’absurde) et Mircéa Eliade vit un absurde politique en Roumanie mais cherche dans son écriture le sacré, la dimension essentielle de tout individu ou de toute société ou civilisation (l’axe vertical entre l’homme et le divin). Les voix des œuvres de ces auteurs venus d’ailleurs apportent à la littérature française une nouvelle dimension, une littérature originale par rapport au nouveau contexte culturel et par rapport à la tradition de leur pays d’origine
In our thesis we study the literary evolution of four Romanian writers put to the test of exile: Tristan Tzara, Benjamin Fondane, Mircea Eliade and Eugène Ionesco. These writers have two cultures and, therefore, two visions : the Romanian and the French one. The impact of exile on their creation shows itself in a form of revolt, present in the works of these four writers. We try to see how these writers live the spiritual and the absurd dimensions at the same time. Tristan Tzara created his Dada Manifesto (which seemed merely absurd), Benjamin Fondane lived the absurdity of Nazism until its last tragic consequences (his deportation to the extermination camp at Birkenau). Mircea Eliade lived a political absurdity in Romania but he searched for the sacred in his writings, the essential dimension of every person or of every society or civilization (the vertical axis between man and the divine). Concerning Eugène Ionesco, in pursuit of the spiritual , he wrote the Theatre of the Absurd. The voices of these authors arrived from abroad, brought a new dimension to French literature. An original French-Romanian literature was born in relation to the new cultural context and to the tradition of Romania

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12

You, Kwang-Joo. "Eléments d'analyse comparée du théâtre de Beckett et de Ionesco." Paris 8, 1999. http://www.theses.fr/1999PA081657.

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Le theatre de beckett et de ionesco peut faire illusion. La verdeur, les outrances, les defis au bon sens, dont ces oeuvres regorgent, peuvent laisser croire que leur lecture ne necessite aucun effort d'ajustement, qu'il est inutile de s'appliquer a la recherche de grilles de lecture adequates, les auteurs n'ayant fait apparemment que se laisser aller au gre de la facilite. Il n'en est rien cependant, l'un et l'autre ont consacre tout le genie dont ils disposaient, a etayer, baliser le terrain qu'ils s'etaient choisi comme champ d'action. Beckett a jete dans son oeuvre le poids de l'experience accumulee au cours d'annees d'apprentissage du << dur metier de vivre >>, du combat contre l'illusion que << demain sera beau >>, qui demeure vivace au coeur des << naufrages de la vie >>. En ce qui concerne ionesco, la magie d'annees d'enfance privilegiees l'avait prepare a surmonter les difficultes de la tache qu'il s'etait fixee. Tous deux se sont atteles au deboulonnage des faux-semblants, a la chasse aux automatismes, et a la mise en cause des fausses securites liees aux stereotypes et a la predetermination des comportements sociaux.

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13

Walmsley, Benjamin A. "Agents, puppets and being-for-others : traces of humanism in the stage characters of Jean-Paul Sartre and Eugene Ionesco." Thesis, University of Glasgow, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323237.

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14

Jacquart, Emmanuel C. "Le theatre de derision et l'oeuvre de beckett : approches critiques. (these soutenue sur un ensemble de travaux)." Université Marc Bloch (Strasbourg) (1971-2008), 1987. http://www.theses.fr/1987STR20004.

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Le theatre de derision (1974) aborde trois auteurs, beckett, ionesco et adamov, puis evoque l'heritage refuse par ces dramaturges dans la tradition du theatre d'avant-garde. Vient ensuite l'etude des themes et des personnages, a laquelle succede celle des elements structurels et des formes d'ecriture theatrale. Les structures rhetoriques et les structures de la communication caracterisant le theatre de derision sont alors definies. Le dernier chapitre situe le trio avant-gardiste dans le theatre actuel. Le second ouvrage, echographie de "fin de partie" (1985), comporte quatre partie. La premiere est consacree aux questions de theorie et de methode, la seconde examine successivement les liens entre le manuscrit et le texte final; l'esthetique et la metaphysique de l'echo et le duo-duel beckett-nietzsche. La troisieme aborde l'archetype bourreau-victime, l'enchassement personnages-themes-symboles, puis les rapports entre le langage et la symbolique du moi. La quatrieme partie examine la coexistence du comique et du ludique, puis le recours a une textualite faisant intervenir l'intratextuel et l'intertextuel. La conclusion evalue la thematique, definit la schizocreation et cerne les esthetiques de l'oeuvre. Les quinze articles, entretiens et traductions publies entre 1970 et 1986 portent sur les auteurs precedemment cites, mais aussi sur cocteau et jakobson, ainsi que sur la notion anthropologique de culture et les rapports entre la litterature et la connaissance
The theatre of derision (1974)deals with three authors: beckett, ionesco and adamov. After defining the present state of critical studies it considers both the heritage rejected by these playwrights and the characteristics of the avant-garde tradition. The next chapters are devoted to themes, characters, structural patterns, style and dialogue. The conclusion sums up the rhetorical and structural techniques upon which the theatre of derision rests. Echo symbolism and strategy in beckett's endgame (1986) is divided into four parts. The first one is devoted to theoretical questions, the second one to a variety of problems: the similarities and dissimilarities between the manuscript and the final text, the esthetics and philosophy of the echo principle, and the dialectical relationship between beckett and nietzsche. The third part focusses on the master-slave dialectics, the coalescence of characters, themes and symbols, and the connection between language and ego symbolism. The fourth part considers the role of humor and play, and the author's recourse to intratextual and intertextual techniques. The conclusion is an assessment of the creative role of schizowriting and of the author's themes and aesthetics. Several of the fifteen articles, interviews and translations i published between 1970 and 1986 deal with the preceding writers, as well as cocteau and jakobson. Others focus on the concept of culture and the relationship between literature and knowledge

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15

Našincová, Klára. "Eugen Ionescu/Eugène Ionesco - život a dílo." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-411486.

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The topic of this diploma thesis is to prove the author's deep roots in the Romanian literary tradition (Urmuz, I. L.Caragiale), to try to prove that the poetics of his famous plays is actually contained in his work from the 30's and echoes of his personal and artistic experience from Romania can be also found in his French mature creative period. Therefore, Ionesco's writings will be compiled for the first time in our country in its wholeness since Czech and Occidental interpreters and comentators have mostly ignored the author's Romanian period of creation. Key Words Eugen Ionescu, Eugène Ionesco, Romanian literature 20th century, French literature 20th century, The Theatre of the Absurd, Romanian literaly exile

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16

Lo, Ching Ching, and 羅清菁. "A la recherche du Sens perdu, etude du Solitaire roman d''Eugene Ionesco." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/54791719063497283095.

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碩士
中國文化大學
西洋文學研究所
85
The theater is the stepping-stone of Ionesco''s reputation, as well as hiscrown as the "Monarch of theater." However, his achievement in theater has res-ulted in his novel, Le Solitaire, being overlooked. Le Solitaire, the only novel of Ionesco, conveys the author''s pessimism toward human nature, life, and existence, yet with the endless optimism in hischaracter. Facing the significance of life fading away, the cowardice and compromise in human nature, and with self-awakening and self- confidence in themean time, the protagonist ignores the opinions of the majority, courageouslylooking into the nature of passing life. The book expresses the different nuances of life in its portrayal of the tension betwenn the individual and society. This expression covers a wide range of human drama, exploring humanity and history, philosophy, man''s existence, and death. The maincharacter goes through an internal transformation while the world around himremains unchanged: Habit- ignorance-awakening-disappointment-pain-despair-awakening- waiting-emptiness-brightness-significance of life In contrast, life of modern people is occupied by work and money- making;even though sometimes there is someone who wants to go back to the real natureof life. This will be in vain, because the initial meaning of life haw beenoverloaded by non-stop business-people are getting far away from the truthof life. Different from the simplicity and singularity of his plays, this novelis both complicated and theoretical. It succeeds in showing the nature of life and the fragility of human nature through one man''s valuable and unusualsearch for the significance of life. Therefore, the value of Le Solitaire isdefinitely beyoud the plays. In addition, studying this book, we have to compare the protagonist''s behavior with the exterior world bit by bit, sinceit will be helpful better understand the essence of this novel.

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