Relevant bibliographies by topics / Ionesco, Eugene

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Ionesco, Eugene'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 March 2023

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Journal articles on the topic "Ionesco, Eugene"

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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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Graur, Elena. "Language Craft in Eugene Ionesco’s Theater: Neological Word Games." Intertext, no. 1(59) (July 2022): 111–16. http://dx.doi.org/10.54481/intertext.2022.1.12.

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We call artisans of comic, ironic, satirical language all writers of the stature of Boris Vian, Jacques Prévert, Jacques Audiberti, Eugène Ionesco who denote an awakened linguistic curiosity for the riches of literary, popular or spoken language. They actualize everything: phoneme, afixoid, pun, oxymoron, logogriph, etc. Ionesco in this pleiad is still at the head. His characters, their language must make people laugh, cry, die of happiness, otherwise they become dumb, deaf, deaf-mutes. And so Ionesco invents and puts on their tongues anagrams, antimétaboles, bouts-rimés, homéotéleutes, mots-valises to accomplish his essential task: “to create a new language”. This one will live as much as its heroes speak a neo-language where the absurdities become syllogisms, where the approximations are only true axioms. In this article, we are going to submit to a more or less detailed analysis the linguistic nature of the puns of Ionesco's theatrical language.
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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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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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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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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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CONSTANTINESCU, Tamara. "Ionesco Obsessions in Scenic Imagery Signed Gábor Tompa." Theatrical Colloquia 12, no. 1 (May 15, 2022): 77–93. http://dx.doi.org/10.35218/tco.2022.12.1.07.

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Among the reference creators in the Romanian theatrical space, but also internationally, the director Gábor Tompa had a constant attraction for the aesthetics of Eugene Ionescu's texts, which strongly influenced his path of perfection and ranking among the most important directors. In 1992, at the Hungarian Theater of Cluj, Gábor Tompa staged the memorable theater play The Bald Soprano, a performance that will represent one of the pillars of his later career. Then, in 2003, the theater performance elaborated by Gábor Tompa using the text Jacques or the Obedience, at the Hungarian Theater of Cluj, can be called a total one, in which the decryption of the Ionescian message was done with a lot of fantasy and suggestive black humor. In 2014, he rebuilt the The New Tenant on the stage of Nottara Theater in Bucharest. The staging was well received by the general public, but also by the theater people, also appreciated by the selection among the best performances in prestigious festivals of 2014. At the beginning of 2020, Rhinoceros appears to Gábor Tompa as an extremely percussive text, which determines its staging at the Mihai Eminescu National Theater of Timişoara, enjoying an authentic success. Until now, the stage imagery signed by Gábor Tompa, will remain a reference page of theatrical constructions and Eugene Ionesco's texts, real revelations, owning well-articulated messages on stage, reflecting socio-human realities and concurrently, a real urge to reflect.
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Panda, Sudhansu Sekhar. "A COMPARATIVE STUDY OF EUGENE IONESCO AND JEAN GENET IN ABSURD THEATRE." International Journal of Research -GRANTHAALAYAH 10, no. 6 (July 2, 2022): 70–77. http://dx.doi.org/10.29121/granthaalayah.v10.i6.2022.4650.

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The post-war world in the aftermath of Second World War has witnessed tumultuous changes in the society. All that had been considered sacrosanct till then, no longer enjoyed their dominance since it became natural to subject everything to question. Almost all spheres of life were severely influenced by the heart-wrenching effects of the catastrophic war. The degenerated human being suddenly looked for responses in an isolated world which he thought would heal him at that juncture. Under such bleak circumstances, playwrights around the world felt the heat to try out new ways to communicate their messages to the society. The Theatre of the Absurd was the apt medium of the time to realign theatrical performances to the changing realities of the world. Pioneers in this genre of theatre such as Eugene Ionesco and Jean Genet composed their plays to tap the dying conscience of human society. This paper considers Ionesco’s The Chairs and Genet’s The Balcony in absurd theatre and aims to bring out the different aspects of absurdity as applied by the playwrights in their respective plays. It also attempts to show that irrespective of differences between them, how both the dramatists were successful in conveying their well-intended messages to their audiences.
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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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Dissertations / Theses on the topic "Ionesco, Eugene"

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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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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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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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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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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. "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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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 "Ionesco, Eugene"

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Harold, Bloom, ed. Eugene Ionesco. Philadelphia: Chelsea House Publishers, 2003.

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

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Understanding Eugène Ionesco. Columbia, S.C: University of South Carolina Press, 1994.

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

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Ionesco, Eugène. Present past, past present: A personal memoir. New York: Da Capo Press, 1998.

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

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Coupry, François. Eugène Ionesco. Paris: Editions Julliard, 1994.

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Ionesco, Eugène. Roma: Gaffi, 2009.

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Eugène Ionesco. [Paris]: Seuil, 1990.

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Book chapters on the topic "Ionesco, Eugene"

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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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Jenny, Urs. "Eugène Ionesco." In Kindler Kompakt: Drama des 20. Jahrhunderts, 153–54. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_33.

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Wild, Gerhard. "Ionesco, Eugène." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4007-1.

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Brauns, Helgard. "Eugène Ionesco." In Kindler Kompakt Französische Literatur 20. Jahrhundert, 155–56. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05533-0_36.

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Detterbeck, Evelyn. "Ionesco, Eugène: Macbett." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4015-1.

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Jenny, Urs. "Ionesco, Eugène: La leçon." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4009-1.

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Botond, Anneliese. "Ionesco, Eugène: Les chaises." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4010-1.

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Jenny, Urs. "Ionesco, Eugène: Les rhinocéros." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4013-1.

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Norrish, Peter. "Eugène Ionesco: New Comedy." In New Tragedy and Comedy in France 1945–70, 76–90. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-06780-0_6.

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Botond, Anneliese. "Ionesco, Eugène: La cantatrice chauve." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4008-1.

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Conference papers on the topic "Ionesco, Eugene"

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Cimpoi, Mihai. "Caragiale și teatrul absurdului." In Ion Luca Caragiale și personajele sale emblematice (170 de ani de la naștere). “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/ilc.170.2022.01.

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În prezentul studiu se analizează modul în care Eugen Ionescu urmează modelul Caragiale în special după ce începe să scrie teatru și e obsedat de căutarea unui mecanism complicat al discursului artistic, bazat pe nonsensuri. Dramaturgul francez de origine română făcea în acest sens următoarea automărturisire: „La logique se révèle dans l’illogisme de l’absurd dont [l’humour] a pris conscience”. Teatrul lui Ionescu a urmărit ceea ce dramaturgul însuși denumește „spargerea limbajului”, „producerea haosului limbajului”. Se ajunge, astfel, după cum spune în Jurnal, la „ruinele realului aparent, la frontiera indicibilului, la abis”. Autorul studiului demonstrează că a crea nonsensuri înseamnă a te juca cu realitatea, a o sfida, că Eugen Ionescu, influențat de Caragiale, pune un semn de identitate între Adevăr și Iluzie, că folosește expresii proverbiale, ziceri tipice, alunecări în obscuritate și confuzie. Personajele ionesciene reprezintă „o lume stranie”, „o lume pe dos”.
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