"Tradition and the individual talent" (1919) in Eugene Ionesco’s The chairs (1952), Samuel Beckett’s waiting for godot (1953) and Harold Pinter’s The caretaker (1960)
| dc.contributor.author | Rihane Naoual | |
| dc.contributor.author | Messaoudi Siham | |
| dc.date.accessioned | 2026-04-08T10:27:26Z | |
| dc.date.available | 2026-04-08T10:27:26Z | |
| dc.date.issued | 2024 | |
| dc.description | 61p. ; (+CD-Rom) | |
| dc.description.abstract | This dissertation is a contribution to the debate on influence and originality in literary texts. It examines through a comparative perspective the interplay between tradition and individual talent in the plays The Chairs(1952) by Eugène Ionesco , Waiting for Godot(1953) by Samuel Beckett, and The Caretaker(1960) by Harold Pinter, through the theoretical lens of T.S. Eliot's essay entitled, "Tradition and the Individual Talent."(1919). Eliot's concept emphasizes the balance between the influence of previous authors while considering the contribution of the individual artist. In The Chairs, Ionesco employs absurd elements to challenge traditional narrative structures, creating his own theatrical experience, which reflects both a continuation and a departure from established dramatic conventions. Similarly, Beckett's Waiting for Godot reminds the reader of Eliot's notion of tradition by blending existential themes. Meanwhile, his use of innovative dialogue and structure, contributes to a creation of a distinct voice akin to the modernist tradition while still engaging with its themes. Pinter's, for his part, inserts in his play, The Caretaker realist and absurd features, reflecting the tension between tradition and innovation. His use of language and character provides a fresh perspective on power and identity, aligning with Eliot's idea that new works of art changes the existing order of the artistic tradition. Therefore, these selected plays exemplify how modernist playwrights express through their plays the two-fold demands of tradition and creation, contributing thus to enrich the theatrical landscape with their individual talents while remaining close to the existing literary tradition of the theatre of the absurd. | |
| dc.identifier.citation | LITERATURE AND CIVILIZATION | |
| dc.identifier.uri | https://dspace.ummto.dz/handle/ummto/29914 | |
| dc.language.iso | en | |
| dc.publisher | Université Mouloud Mammeri Tizi Ouzou | |
| dc.subject | Theatre of the Absurd | |
| dc.subject | Influence | |
| dc.subject | Tradition | |
| dc.subject | Originality | |
| dc.subject | Individual Talent | |
| dc.title | "Tradition and the individual talent" (1919) in Eugene Ionesco’s The chairs (1952), Samuel Beckett’s waiting for godot (1953) and Harold Pinter’s The caretaker (1960) | |
| dc.type | Thesis |