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Ionesco a semantyka ogólna

100%
Kaczmarek T.
Acta Philologica
|
2016
|
issue 49
215-224
EN
General semantics was initiated in 1920 by Alfred Korzybski. Contrary to logic semantics or linguistics, general semantics is aimed at the improvement of interpersonal relations by the rearranging of language, and its misuse, according to the Polish-American engineer, logician and philosopher, might lead to some somatic turbulences. General semantics is language-oriented and it is focused on its negative influence on human beings, which demonstrates itself above all in the tendency to excessive abstraction and susceptibility to manipulation. In this context, the Author analyzes Ionesco’s selected dramas in which the writer investigates language and its usage, searching for the answer to the question: why contemporary people have problems with interpersonal communication. Ionesco’s experiments parallel scholarly research and throw new light on the ontologic status of the human being.
2
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Zezwierzęcenie świata ludzi. „Nosorożec” Eugène’a Ionesco

75%
Wolska A., Łódzki U., quiproquo71@interia.pl
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 34
|
issue 4
EN
The article presents the originality and the timeless meaning of the 1959 Eugène Ionesco play, Rhinoceros which is situated, despite its unambiguous ‘animal’ parable, within the Theatre of the Absurd. In the perspective of the author of the article it is not only Ionesco’s protest against fascism conditioned by the political circumstances which is significant in particular time but the work portraying mechanisms of influence on society, which appears as ‘the masses’, the whole of the society, devoid of any deeper connection with ethical and moral values of humanistic culture, common to all authoritarian ideologies. Among others, the article refers to opinions of scholars of drama and theatre critics on the evolution of Ionesco’s dramatic works and such sociological‑cultural and literary contexts as: 1) José Ortega y Gasset’s thoughts on brutal ‘direct action’ applied to the masses by force factors and on ‘fear of touch’ felt by an individual defending the values of humanistic culture, included in The Revolt of the Masses; 2) plays by Ionesco in which the theme of metamorphosis is important; 3) other works of the Theatre of the Absurd of similar meaning but using different artistic means, Samuel Beckett’s Catastrophe in particular.
3
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Zezwierzęcenie świata ludzi. „Nosorożec” Eugène’a Ionesco

63%
Wolska A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
|
2016
|
vol. 34
|
issue 4
211-221
EN
The article presents the originality and the timeless meaning of the 1959 Eugène Ionesco play, Rhinoceros which is situated, despite its unambiguous ‘animal’ parable, within the Theatre of the Absurd. In the perspective of the author of the article it is not only Ionesco’s protest against fascism conditioned by the political circumstances which is significant in particular time but the work portraying mechanisms of influence on society, which appears as ‘the masses’, the whole of the society, devoid of any deeper connection with ethical and moral values of humanistic culture, common to all authoritarian ideologies. Among others, the article refers to opinions of scholars of drama and theatre critics on the evolution of Ionesco’s dramatic works and such sociological‑cultural and literary contexts as: 1) José Ortega y Gasset’s thoughts on brutal ‘direct action’ applied to the masses by force factors and on ‘fear of touch’ felt by an individual defending the values of humanistic culture, included in The Revolt of the Masses; 2) plays by Ionesco in which the theme of metamorphosis is important; 3) other works of the Theatre of the Absurd of similar meaning but using different artistic means, Samuel Beckett’s Catastrophe in particular.
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