Uncertainty characterizes Pinter’s dramas, a feature that distinguishes him from such traditional realistic dramatists asOscar Wilde and George Bernard Shaw. As a result, the term"Pinteresque"came into bein...Uncertainty characterizes Pinter’s dramas, a feature that distinguishes him from such traditional realistic dramatists asOscar Wilde and George Bernard Shaw. As a result, the term"Pinteresque"came into being, referring to the uncertain and puzzling aspects of Pinter’s plays. Among them, language is the most characteristic and peculiar aspect of Pinteresque style. Thethesis aims to examine the creativity of Pinter in terms of language, with a view to helping readers reach a better understanding ofthe dramatic art and style of Pinter’s plays.展开更多
Absurdity is the most distinctive feature of the early works of Harold Pinter. The nature of absurdity is the purposelessness of life without the balance and harmony between men and environment. This paper analyzes th...Absurdity is the most distinctive feature of the early works of Harold Pinter. The nature of absurdity is the purposelessness of life without the balance and harmony between men and environment. This paper analyzes the distinctive style of Pinter to mainly analyze the application and reflection of the absurd style of Pinter in his plays, and highlight its expressing forms through the analysis on the plot, characters and languages.展开更多
This paper sets out to analyze the menace of Harold Pinter’s play,The Dumb Waiter,from the following aspects,the ar rangement of the plot,the language,and the portrayal of characters.Further,through the contrast betw...This paper sets out to analyze the menace of Harold Pinter’s play,The Dumb Waiter,from the following aspects,the ar rangement of the plot,the language,and the portrayal of characters.Further,through the contrast between the closed room and outside intrusion,between the language of violence and the language of silence,between Ben and Gus’s shared threat and Ben’s menace to Gus,it’s expected to reveal the omnipresent threat to readers through and through.展开更多
This thesis focuses on the analysis of Harold Pinter’s use of verbal and visual means in The Caretaker. The verbal means are: the ambiguity of the meaning of language; the evasiveness of language; silence. The functi...This thesis focuses on the analysis of Harold Pinter’s use of verbal and visual means in The Caretaker. The verbal means are: the ambiguity of the meaning of language; the evasiveness of language; silence. The functions of visual means are: end-connection; theme-revelation; atmosphere-creation. A meticulous study of Pinter’s dramatic technique can enhance the understanding of the theme of the play.展开更多
Harold Pinter is one of the most influential modern British playwrights.Repetition is a frequent and noticeable phenome-non in his plays.In this paper,different kinds of repetition-the repetition of language,actions,s...Harold Pinter is one of the most influential modern British playwrights.Repetition is a frequent and noticeable phenome-non in his plays.In this paper,different kinds of repetition-the repetition of language,actions,silence and pause-in Pinter's TheDumb Waiter will be discussed to show both Ben and Gus'struggle for power and their useless efforts under the control of an dominant force.展开更多
While Pinter's earliest plays have been recognized in the modernist history of theatre as comedies of menace and his later plays as political comedies,this article argues that his earliest plays are equally very l...While Pinter's earliest plays have been recognized in the modernist history of theatre as comedies of menace and his later plays as political comedies,this article argues that his earliest plays are equally very liable to be interpreted as political comedies.Regardless of their absurdist dramatization of people's helpless exposure to external,unidentifiable threats,a common post-WWII characteristic feature of human experience,I claim that The Room and The Dumb Waiter(both written 1957,staged 1960),two model examples of Pinter's earliest oeuvres,do not simply follow the aesthetic of absurdist theatre to express human futility.The audience's experience of viewing the theatrical performances of both plays in terms of discursive cyclicality or character normality is subverted into one of changeability,strangeness,and contradiction.To foreground the political implications of such revolutionary theatrical experience,Pinter's plays are examined in the light of his unique use of defamiliarization,relying not on Brecht's traditional techniques of singing,dancing,image-projecting,or captioning,but on a simple,dual technique of image destruction and creation.It consists of divesting characters of their normality and portraying them instead as individuals who identify only with unusual images of place,time,body,and consciousness.Using this special technique of defamiliarization,both plays are examined to reveal Pinter's central political theme of undermining reality for purposes of mental and physical subjections.展开更多
文摘Uncertainty characterizes Pinter’s dramas, a feature that distinguishes him from such traditional realistic dramatists asOscar Wilde and George Bernard Shaw. As a result, the term"Pinteresque"came into being, referring to the uncertain and puzzling aspects of Pinter’s plays. Among them, language is the most characteristic and peculiar aspect of Pinteresque style. Thethesis aims to examine the creativity of Pinter in terms of language, with a view to helping readers reach a better understanding ofthe dramatic art and style of Pinter’s plays.
文摘Absurdity is the most distinctive feature of the early works of Harold Pinter. The nature of absurdity is the purposelessness of life without the balance and harmony between men and environment. This paper analyzes the distinctive style of Pinter to mainly analyze the application and reflection of the absurd style of Pinter in his plays, and highlight its expressing forms through the analysis on the plot, characters and languages.
文摘This paper sets out to analyze the menace of Harold Pinter’s play,The Dumb Waiter,from the following aspects,the ar rangement of the plot,the language,and the portrayal of characters.Further,through the contrast between the closed room and outside intrusion,between the language of violence and the language of silence,between Ben and Gus’s shared threat and Ben’s menace to Gus,it’s expected to reveal the omnipresent threat to readers through and through.
文摘This thesis focuses on the analysis of Harold Pinter’s use of verbal and visual means in The Caretaker. The verbal means are: the ambiguity of the meaning of language; the evasiveness of language; silence. The functions of visual means are: end-connection; theme-revelation; atmosphere-creation. A meticulous study of Pinter’s dramatic technique can enhance the understanding of the theme of the play.
文摘Harold Pinter is one of the most influential modern British playwrights.Repetition is a frequent and noticeable phenome-non in his plays.In this paper,different kinds of repetition-the repetition of language,actions,silence and pause-in Pinter's TheDumb Waiter will be discussed to show both Ben and Gus'struggle for power and their useless efforts under the control of an dominant force.
基金Open access funding provided by The Science,Technology&Innovation Funding Authority(STDF)in cooperation with The Egyptian Knowledge Bank(EKB)Open access funding provided by Al Azhar University under a Transformative Agreement plus fully OA agreement.
文摘While Pinter's earliest plays have been recognized in the modernist history of theatre as comedies of menace and his later plays as political comedies,this article argues that his earliest plays are equally very liable to be interpreted as political comedies.Regardless of their absurdist dramatization of people's helpless exposure to external,unidentifiable threats,a common post-WWII characteristic feature of human experience,I claim that The Room and The Dumb Waiter(both written 1957,staged 1960),two model examples of Pinter's earliest oeuvres,do not simply follow the aesthetic of absurdist theatre to express human futility.The audience's experience of viewing the theatrical performances of both plays in terms of discursive cyclicality or character normality is subverted into one of changeability,strangeness,and contradiction.To foreground the political implications of such revolutionary theatrical experience,Pinter's plays are examined in the light of his unique use of defamiliarization,relying not on Brecht's traditional techniques of singing,dancing,image-projecting,or captioning,but on a simple,dual technique of image destruction and creation.It consists of divesting characters of their normality and portraying them instead as individuals who identify only with unusual images of place,time,body,and consciousness.Using this special technique of defamiliarization,both plays are examined to reveal Pinter's central political theme of undermining reality for purposes of mental and physical subjections.
