Digerlerinin menfaatleri icin verdigi bencil olmayan mucadelesinde goruldugu gibi, Berenger kulturel yapilandirmalarin otesindeki kavramlari hukumsuz kilar ve bu yolla izleyici, ikililigin otesinde bir birlik durumu oldugunu fark eder. Oyunda muhalefetin absurdlugu kadar konformizmin absurdulugunun de ortaya konulmasina ragmen, Berenger daha az duyarli insanlarin mutlu kalabaligina katilmayarak bireyci karakterini koruyabilecek guce sahiptir. Diger karakterlerin canavarlara donusmesine sebep olan asiri bagimlilik, acgozluluk ve olcusuzlukten kacinabilecek oz yeterlilige sadece Berenger sahiptir. Keywords: Pure consciousness (turiya), transpersonal self, aesthetic rapture (rasa), level of language (pashyanti, para), knowledge-by-identity, metamorphosisĮugene Ionesco'nun Rhinoceros adli eserinde, yalnizca Berenger zorla insanligindan vazgecirilmeyi ve diger butun karakterler gibi gergedan olmayi kabul etmeyip gergedanlara direnmeyi basarir. The real freedom of a unified, transpersonal self approached by Berenger and the spectators, derives from a sense of the connection between the local field of matter and action and an underlying nonlocal field of consciousness. Through Berenger's taste of the void of conceptions beyond cultural constructs seen in his selfless support of the best interest of others, the audience also glimpses a state of unity beyond duality. Although the play shows the absurdity of defiance as much as the absurdity of conformism, Berenger has the strength of character to remain an individualist by not joining the happy throng of less sensitive people. Only Berenger has the self-sufficiency to avoid the over-indulgence, gluttony and intemperance that impels the other characters to transmogrify into beasts. Abstract: In Eugene Ionesco's Rhinoceros, Berenger alone manages to resist rhinoceritis by not conforming to the urge to give up his humanity and become a rhino like each the other characters.
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