Ionescu-Ionesco, Voice of an Exile? Proposal for a Theoretical Rereading. In this paper, we propose a different reading of Eugène Ionesco’s exile by drawing from a selection of texts from the 1930s ...and afterwards. As our purpose is to challenge the prevailing discourse surrounding the topic, we have opted to focus on critical and theoretical elements rather than biographical details. We keep in mind that the author’s contributions and the research on his work are two intertwined discourses. In post-1989 Romania, Ionesco is widely regarded as one of the leading literary figures of the Romanian exile. It is our opinion that his exiled status has not been sufficiently investigated, and our aim is to demonstrate that prudence and close reading could uncover some striking nuances that could lead scholars to the solution of a central question: Should Ionescu-Ionesco be regarded as an exile or rather as an expatriate? Keywords: Eugen Ionescu – Eugène Ionesco, exile, expatriate, ideology, reception
L'objectif de cet article est de décrire les procédés stylistiques provoquant l'effet ironique dans Le roi se meurt ainsi que les modes de les transposer en langue polonaise dans une traduction ...d'Adam Tarn. L'analyse comparative de deux versions linguistiques permet de constater que pour rendre l'ironie, qui masque le tragique de la condition humaine, le traducteur utilise généralement les mêmes procédés stylistiques. Il arrive cependant que la dérision dans la traduction soit encore plus accentuée par le registre familier du langage dont se servent les personnages en version polonaise.
The epidemic has put at the forefront of our consideration the limits of scientific and political capabilities. It forces us to question our ability to control not only the virus, but also our human ...destiny. We will explore in this chaotic context Eugène Ionesco's Jeux de Massacre in which a mysterious infectious disease is disseminating communities, and Camus's L'État de siège. We study both plays in light of the permanent "state of emergency" that French authorities have put in place in the age of Covid. Elected officials from the Left and the Right denounced the government's measure which they claim was infringing on people's liberty. We examine through the plays the questions of power/authority, paranoia/violence, but also responsibility in a historical and contemporary context.
Matyla Ghyka can be included in the series of writers saved by exile, a series including, among others, Mircea Eliade, Emil Cioran and Eugene Ionesco. Lesser-known in Romania, in comparison to the ...aforementioned writers, he lived a life extremely rich in events, and created work that sprung from his passion for the philosophy of numbers, for harmony in nature and arts. His books, written in exile, either in France or the United States, harmoniously complement the philosophical thinking of Mircea Eliade and Emil Cioran, without having the same impact or access to media coverage as his fellow countrymen. As a result, reading and interpreting Ghyka, a forbidden writer in communist Romania, appreciated by the interwar and postwar literary elites of Paris and New York, but still largely unknown to the public of the old and new worlds, is all the more necessary.
This is a study on bilingualism as an aesthetic dimension of a literary work, based on analyses of some pieces of the moldovan writer Ion Druţă (born in 1928). Inspired by several literary ...traditions, especially Ionesco’s theater of the absurd, Drutian writing evolved mainly during the Russo-Soviet occupation, but also during the postmodern era. Thus, the technique of collage, by means of bilingualism, introduces the stylistic dissonance into the dramatic work and enriches the category of the absurd. Bilingualism is the new and decisive element of the absurd.
Rereading Eugene Ionesco's postwar play La cantatrice chauve (The Bald Soprano) in the light of the original, wartime Romanian version alongside archival materials concerning his political activity ...in Vichy France allows us to reconsider his role in the theater of the absurd. Instead of staging the emptiness of language in a conformist world, the Romanian play dramatizes how language and language exchange created meaning but also upheld state violence during the Second World War. Although the French version of the play adapts this theme to the postwar context, traces of state power over language remain. This new approach to a central text of the theater of the absurd invites us to reexamine the politics of language and language learning in wartime and postwar France.
Existential loneliness is a topic of debate that has been explored over three centuries. Nineteenth-century novelists contributed to cognition-based existentialism in a way that has shaped our ...contemporary understanding and conceptualization. This study investigates the thematic coverage of existential loneliness explored by novelists, poets, and writers to make conclusions about the crosscultural stylometric signature, the underlying conceptual metaphors, and the priming of each linguistic metaphor for the difficult-to-attain definition of existential loneliness. In the compiled literary corpus, loneliness is represented through 11 linguistic metaphors, the most frequent of which are "loneliness is unbearable hell", "loneliness is harm", "loneliness is internal trait", "loneliness is inability to keep company", and "loneliness is poverty of self'. The retrieved results are computationally compared to the literary works of the most influential existential writers. Thus, the Kazakh writer Nurgali Oraz is very diverse in terms of using loneliness-related conceptual metaphors, which unites him with such internationally recognized authors as Dostoyevsky, Tolstoy, Flaubert, Chekhov, Turgenev, and Proust.
La littérature consacrée a l'œuvre de Ionesco englobe rarement l'analyse des idées politiques et sociales du dramaturge. Ce dernier est perçu comme un adversaire acharné de l'engagement politique ...dans la littérature. Cependant, dans ses journaux, surtout dans Present passé. Passé present publié en 1968, a contrecourant de l'ambiance générale, Ionesco critique ouvertement le régime totalitaire de l'URSS, ainsi que l'attitude de certains intellectuels de gauche en France, avec Sartre en tete, lesquels sont fascinés par la Russie soviétique. L'analyse des notes du dramaturge permet de constater qu'il reproche aux français l'aveuglement, la mauvaise foi et meme la betise. Selon Ionesco, le milieu intellectuel de gauche, en Europe occidentale, ne comprend guere la situation tragique de leurs collegues de l'Est qui vivent dans un pays ou sévit une tyrannie, appuyée sur une philosophie erronée et mensongere.
