DOCSLIB.ORG

420 Chapter 10. PINTER: the Lover in the World of Pinter Role Playing And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
420 Chapter 10. PINTER: the Lover in the World of Pinter Role Playing And 420 Chapter 10. PINTER: The Lover In the world of Pinter role playing and games form as intrinsic a part of the basic matrix as do the auras of dread, anxiety and insecurity that have come to be recognized as hallmarks of his work. In an opinion offered in 1969, Samuel Selden named Pirandello as the ultimate master of plays that are "puzzles", "games within games" but Pinter, according to him, is "fast catching up with him".i All Pinter's characters have masks, says Peter Hall.^ Katherine Worth points out that "he uses false voices and phoney performances" to suggest a "terrible sense of non-identit}^ in the way that O'Neill used masks.3 Characters like Richard and Sarah (in The Lover) change their clothes and their behaviour when they take on an alternate identity. Otherwise, language is the ruse frequently used by Pinter's creations to mask their real selves. Wesker's Ronnie may have spoken of words as bridges'* but, in Pinter's world, they are more like "barbs to protect the wired enclosure of the self 5. Talk of "the failure of communication" in the twentieth century has become a cant phrase that Pinter would rather not subscribe to. For him the issue is rather one of "a deliberate evasion of communication",^ a determined masking of real feelings and thoughts. "In my own work, I've always been aware that my characters tend to use words not to ' Samuel Selden, Theatre Double Game (Chapel Hill: University of North Carolina Press, 1969) 77. 2 Peter Hall, "Directing Pinter", Harold Pinter: The Birthday Party". The Caretaker", and The Homecoming" , ed. Michael Scott (London: Macmillan, 1986) 51. 3 Katherine Worth, "Pinter and the Realist Tradition", Harold Pinter: The Birthday Party". The Caretaker" and The Homecoming", ed. Michael Scott 37. "• Arnold Wesker, "Roots", The Wesker Trilogy 2"d. ed. (1960; Harmondsworth, Middlesex: Penguin, 1970) 90. 5 Guido Almansi and Simon Henderson, Harold Pinter (London: Methuen, 1983) 11. 6 Harold Pinter in an interview with Kenneth Tynan in 1960 on BBC radio. Quoted by Michael Billington, The Life and Work of Pinter (London: Faber and Faber, 1996) 124. 421 express what they think or feel but to disguise what they think or feel, to mask their own intentions, so that the words are acting as a masquerade, a veil, a web, or used as weapons to undermine or to terrorize. But these modes of operation are hardly confined to characters in plays..."^ His characters are completely "untrustworthy" since they are even seen to be lying during the course of the action. Their grunts and silences (like those of Davies in The Caretaker) do not primarily imply the inability to find words but the disinclination to communicate honestly. They feel safer behind a veil of misinformation. "I think we communicate only too well, in our silence, in what is unsaid, and that what takes place is continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening, to disclose to others the poverty within us is too fearsome a possibility."« Even the rare and unusual long speeches (such as Lenny's stories about his dealings with women in the past or Mick's random ramblings and reminiscences to Davies) do not indicate a sincere opening-up. They are just as likely to be full of inventions and untruths, whether spontaneous or pre­ planned. As Pinter has said himself, "People fall back on anything they can lay their hands on verbally to keep away from the danger of knowing, and of being known." And again, "It isn't necessary to conclude that everything Aston says about his experiences in the mental hospital is true."'' Guido Almansi, in his article "Harold Pinter's Idiom of Lies", is convinced that "Pinter's idiom is essentially human because it is an idiom of lies." His characters are elusive 7 Harold Pinter. Quoted by Michael BiUington, The Life and Work of Harold Pinter 371. 8 Pinter in the Sunday Times (London), 3 March 1962. 9 Harold Pinter in an interview with Lawrence Bensky reproduced in Pinter: A Collection of Critical Essays, ed. Arthur Ganz (Englewood Cliffs, N.J.: Prentice-Hall, 1972) 28. 422 creatures with shifting strategies who "move forward like knights on a chess board", "crab-like", or "dribble" with "oblique" progression to their goals. "The Pinterian hero lies as he breathes: consistently and uncompromisingly. Not to lie is as inconceivable to him as to 'eat a crocodile' or make love to a spider. Goldberg, Mick, Edward, Lenny, Spooner, are not just occasionally unreliable: they are untrustworthy by definition, since their words only bear witness to their capacity for speech, not to their past or present experience. Pinter's opus, like Pirandello's, is a long disquisition on the masks of the liar." 10 In The Dwarfs. Len, in the famous climactic speech, poses the question, "Who are you?"ii, just as Pirandello's Father had asked in Six Characters. Many a time the audience is left guessing to the very end. The characters can spout "words" 12 but these are as likely to be screens to hide behind as facsimiles of the truth. Bill Naismith concedes a certain "psychologic" in the way Pinter's characters speak and behave but it is often not immediately obvious. 13 Elizabeth Sakellaridou reports Pinter's confession (in 1980) of his fascination with "entering into another man's mind". She goes so far as to call this the "pivotal centre" of his enterprise, i'* The question of individual identity and the various roles taken by a person often gains the stature of an important focus of enquiry in his plays. The social intercourse the characters are involved in is invariably presented as a game. Simon Trussler even defines the characters of The Collection as a "collection" or "a set of pieces in the game that is 1° Guido Almansi, 'Harold Pinter's Idiom of Lies", Contemporary English Drama, ed. C.W.E. Bigsby (London: Edward Arnold, 1981) 79, 80, 82-83. 11 Harold Pinter, The Dwarfs", Plavs: Two (London: Eyre Methuen, 1977) 111. 12 Luigi F*irandello, Six Characters in Search of an Author, trans. Mark Musa (London: Penguin, 1995) 19. '•3 Bill Naismith, Harold Pinter (London: Faber & Faber, 2000) 8. I'' Elizabeth Sakellaridou, Pinter's Female Portraits: A Study of Female Characters in the Plavs of Harold Pinter (London: Macmillan, 1988) 4. 423 to be enacted".!^ Thus the game is synonymous with the action of the play. Time and again his characters also engage in power play. All positions and status are perceived as temporary and relative. Often an important part of the development in the action of a play is the change in the power positions of the characters. This is amply illustrated by the action in The Homecoming. Pinter is typically reticent in his description of his dramatis personae. All he gives his actors/audience/director is the bare indication of age and gender. In The Homecoming, for instance, Teddy is "a man in his middle thirties" and Ruth is "a woman in her early thirties". We are not even told that they are married (to each other) nor their relationship to the rest of the characters, all of whom actually belong to one family. In his first play. The Room, the female protagonist is Rose but, oddly, she is called Sal by an unexplained character called Riley. She does not appear to recognize him but he brings a message asking her to "come home". She begs him not to call her Sal - "Don't call me that." - but does not disown the name.i*^ In The Lover only the names of the three characters are listed. The opening conversation of the play is one that pointedly calls into question the marital status of Sarah and Richard, the two characters, yet it is only after more than half the action of the play is over that we learn that they have been married for ten years. When Richard cites "the children" as a valid reason for ending their affair, Sarah's response is "What children?", thus leaving it unresolved whether the two do actually have children or whether they are merely Richard's invention for the sake of argument during their little play within the larger play.'^ On the other hand, the milkman, who pops in briefly to J3 Simon Trussler, The Plays of Harold Pinter: An Assessment (London: Victor Gollancz, 1973) 106. "5 Harold Pinter, The Room and The Dumb Waiter (1960; London: Eyre Methuen, 1973) 30. 1^ Harold Pinter, "The Lover", The Collection and The Lover (1963; rpt. London: Methuen, 1968) 71. All subsequent references to this text are to this edition. Further references are indicated by page numbers given in parentheses. 424 deliver the daily pint, is blandly listed as John. Any other playwright would have described him as "the milkman" since he has no significant role in the action. Pinter is invariably enigmatic, even inscrutable, in his presentation of characters and situation. It is typical of his style to keep a degree of uncertainty regarding the identity of his characters and also their relationships with each other. Answering his critics who seek "the truth", Pinter has said. The desire for verification is understandable but cannot always be satisfied. There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false: it can be both true and false. The assumption that to verify what has happened and what is happening presents few problems 1 take to be inaccurate.
Load more

Recommended publications
  • Making Pictures the Pinter Screenplays
    Joanne Klein Making Pictures The Pinter Screenplays MAKING PICTURES The Pinter Screenplays by Joanne Klein Making Pictures: The Pinter Screenplays Ohio State University Press: Columbus Extracts from F. Scott Fitzgerald, The Last Tycoon. Copyright 1941 Charles Scribner's Sons; copyright renewed. Reprinted with the permission of Charles Scribner's Sons. Extracts from John Fowles, The French Lieutenant's Woman. Copyright © 1969 by John Fowles. By permission of Little, Brown and Company. Extracts from Harold Pinter, The French Lieutenant's Woman: A Screenplay. Copyright © 1982 by United Artists Corporation and Copyright © 1982 by J. R. Fowles, Ltd. Extracts from L. P. Hartley, The Go-Between. Copyright © 1954 and 1981 by L. P. Hartley. Reprinted with permission of Stein and Day Publishers. Extracts from Penelope Mortimer, The Pumpkin Eater. © 1963 by Penelope Mortimer. Reprinted by permission of the Harold Matson Company, Inc. Extracts from Nicholas Mosley, Accident. Copyright © 1965 by Nicholas Mosley. Reprinted by permission of Hodder and Stoughton Limited. Copyright © 1985 by the Ohio State University Press All Rights Reserved Library of Congress Cataloging in Publication Data Klein, Joanne, 1949­ Making pictures. Bibliography: p. Includes index. 1. Pinter, Harold, 1930- —Moving-picture plays. I. Title. PR6066.I53Z713 1985 822'.914 85-326 Cloth: ISBN 0-8142-0378-7 Paper: ISBN 0-8142-0400-7 for William I. Oliver Contents Acknowledgments ix Chronology of Pinter's Writing for Stage and Screen xi 1. Media 1 2. The Servant 9 3. The Pumpkin Eater 27 4. The Quiller Memorandum 42 5. Accident 50 6. The Go-Between 77 1. The Proust Screenplay 103 8.
    [Show full text]
  • Harold Pinter's Transmedial Histories
    Introduction: Harold Pinter’s transmedial histories Article Published Version Creative Commons: Attribution 4.0 (CC-BY) Open Access Bignell, J. and Davies, W. (2020) Introduction: Harold Pinter’s transmedial histories. Historical Journal of Film, Radio & Television, 40. pp. 481-498. ISSN 1465-3451 doi: https://doi.org/10.1080/01439685.2020.1778314 Available at http://centaur.reading.ac.uk/89961/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/01439685.2020.1778314 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 Introduction: Harold Pinter’s Transmedial Histories Jonathan Bignell & William Davies To cite this article: Jonathan Bignell & William Davies (2020): Introduction: Harold Pinter’s Transmedial Histories, Historical Journal of Film, Radio and Television To link to this article: https://doi.org/10.1080/01439685.2020.1778314 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 Jun 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=chjf20 Historical Journal of Film, Radio and Television, 2020 https://doi.org/10.1080/01439685.2020.1778314 INTRODUCTION: HAROLD PINTER’S TRANSMEDIAL HISTORIES Jonathan Bignell and William Davies This article introduces the special issue by exploring the transmediality of Harold Pinter's work.
    [Show full text]
  • The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
    Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A.
    [Show full text]
  • The Dramatic World Harol I Pinter
    THE DRAMATIC WORLD HAROL I PINTER RITUAL Katherine H. Bnrkman $8.00 THE DRAMATIC WORLD OF HAROLD PINTER By Katherine H. Burkman The drama of Harold Pinter evolves in an atmosphere of mystery in which the surfaces of life are realistically detailed but the pat­ terns that underlie them remain obscure. De­ spite the vivid naturalism of his dialogue, his characters often behave more like figures in a dream than like persons with whom one can easily identify. Pinter has on one occasion admitted that, if pressed, he would define his art as realistic but would not describe what he does as realism. Here he points to what his audience has often sensed is distinctive in his style: its mixture of the real and sur­ real, its exact portrayal of life on the surface, and its powerful evocation of that life that lies beneath the surface. Mrs. Burkman rejects the contention of some Pinter critics that the playwright seeks to mystify and puzzle his audience. To the contrary, she argues, he is exploring experi­ ence at levels that are mysterious, and is a poetic rather than a problem-solving play­ wright. The poetic images of the play, more­ over, Mrs. Burkman contends, are based in ritual; and just as the ancient Greeks at­ tempted to understand the mysteries of life by drawing upon the most primitive of reli­ gious rites, so Pinter employs ritual in his drama for his own tragicomic purposes. Mrs. Burkman explores two distinct kinds of ritual that Pinter develops in counter­ point. His plays abound in those daily habit­ ual activities that have become formalized as ritual and have tended to become empty of meaning, but these automatic activities are set in contrast with sacrificial rites that are loaded with meaning, and force the charac­ ters to a painful awareness of life from which their daily routines have served to protect them.
    [Show full text]
  • The Lover and the Collection First Folio
    1 The First Folio CURRICULUM GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving Table of Contents the highest quality classic theatre, the Education Department About the Playwright 3 challenges learners of all ages to explore the ideas, emotions About the Play 4 and principles contained in classic texts and to discover the connection between classic theatre and our modern Harold Pinter’s Poetry 6 perceptions. We hope that this Curriculum Guide will prove Game Changers 7 useful to you while preparing to attend The Love and The Collection. The World of the Play 8 This curriculum guide provides information and activities to Guess My Subtext 10 help students form a personal connection to the play before Power Dynamics 11 attending the production. It contains material about the playwright, their world and their works. Also included are Pinteresque Landscape 12 approaches to explore the play in the classroom before and Discussion Questions 14 after the performance. We encourage you to photocopy these Theatre Etiquette 15 articles and activities and use them as supplemental material to the text. Resource List 16 The First Folio Curriculum Guide for the 2017-2018 Season was developed by the Shakespeare Theatre Company Founding Sponsors Education Department: Miles Gilburne and Nina Zolt Presenting Sponsors Director of Education Samantha Wyer Bello Beech Street Foundation Suzanne and Glenn Youngkin Associate Director of Education Dat Ngo Leadership Support Audience Enrichment Manager Hannah Hessel Ratner D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts Community Engagement Manager Jared Shortmeier Paul M.
    [Show full text]
  • PINTER on SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – Curated by Harold Pinter Biographer and Theatre Critic for the Guardian Michael Billington
    Tuesday 19 June 2018, London. To mark the 10th anniversary of the death of one of the most important and influential British playwrights of the last century, HAROLD PINTER, BFI Southbank will host a special two month season – PINTER ON SCREEN: POWER, SEX & POLITICS (1 July – 31 August) – curated by Harold Pinter biographer and theatre critic for The Guardian Michael Billington. Best-known for his work as a playwright, PINTER ON SCREEN will celebrate his contribution to film and television, which was extremely significant, not only writing pioneering plays for television, but also for working on scripts for a varied range of landmark films like Joseph Losey’s The Servant (1963), The French Lieutenant’s Woman (Karel Reisz, 1981) starring Meryl Streep and Jeremy Irons, The Comfort of Strangers (Paul Schrader, 1990) and the 1990 adaptation of Margaret Atwood’s still all-too-relevant The Handmaid’s Tale (Volker Schlöndorff). “‘Truth in drama, is forever elusive. You never quite find it, but the search for it is compulsive.’ – Harold Pinter on receiving the Nobel Prize for Literature in 2005. On this statement, and on Pinter, season curator Michael Billington says: “That applies as much to his work for the screen as it does to the stage with which it shares many qualities: a fascination with the private roots of power, an abiding preoccupation with memory and the deceptiveness of language, a belief in the agency of women. Pinter, from his teenage years when he explored the work of Luis Buñuel, Marcel Carné and Jean Vigo, was always passionately in love with cinema and was proud that the majority of his screenplays were filmed.
    [Show full text]
  • Red Lovers and Mothers on the Silver Screen: Hollywood’S Feminine Lens on the Soviet Debate from 1933-1945
    Red Lovers and Mothers on the Silver Screen: Hollywood’s Feminine Lens on the Soviet Debate from 1933-1945 Katherine Justice Faculty Advisor: Martin Miller Department of History September 18, 2014 This project was submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate Liberal Studies Program in the Graduate School of Duke University. The table of contents Abstract ......................................................................................................................................................... 2 A Middling History: Recognition and Suspicion of the U.S.S.R. (1933-1940) .............................................. 10 Red Lovers on the Silver Screen: Hollywood’s Romance with the Defection Fairytale................................ 15 Ideology of Representation: Red Lovers as the “Other” ............................................................................. 23 Textual Analysis: Soviet Lovers and the Conversion Plot ............................................................................ 34 Comrades, Yes?: The U.S./Soviet Alliance (1941-1945) .............................................................................. 47 Red Mothers on the Silver Screen ............................................................................................................... 50 Textual Analysis: Mother Russia and WW II Films ...................................................................................... 54 Conclusion ..................................................................................................................................................
    [Show full text]
  • In Several Plays by Harold Pinter, Marriage Is Presented As a Very Problematic Phenomenon . Frustrating for Both Partners
    HAROLD PINTER AND THE POLITICS OF LOVE Ubiratan Paiva de Oliveira (UFRGS) In several plays by Harold Pinter, marriage is presented as a very problematic phenomenon . Frustrating for both partners, the relationship ends up by becoming an open conflict in which the two parties, overtly or not, try to take control. Sometimes the conflict results in authentic struggles for power. In The Second Sex , Simone de Beauvoir points out that marriage is in reality intended to suppress woman's erotic life, a fact which leads to her sexual frustration and the deliberate acceptance of the situation by men. She also remarks that ". even when sexual love exists before the marriage or awakens during the honeymoon, it very rarily persists through the long years to come." 1 As a consequence, marriage gives rise to fantastic comedies and play-acting between the partners, a situation which may threaten to destroy the boundary between appearance and reality; and indeed in extreme cases definite perversion does appear. The present article briefly examines these aspects of marriage as they are illustrated in three of Harold Pinter's plays: The Homecoming , The Collection , and The Lover , which does not mean that they exhaust the subject in the British author's work. In The Homecoming , the professor of Philosophy Teddy and his wife, Ruth, return to London after six years in America. They come to spend a few days with the husband's family. They are his father, Max, a widower and former butcher, his driver and brother-in-law, Sam; and Teddy's brothers Lenny and Joey, respectively a pimp and a boxer.
    [Show full text]
  • Pinter Play| Where It Happens
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1969 Pinter play| Where it happens Barbara Ann Croghan The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Croghan, Barbara Ann, "Pinter play| Where it happens" (1969). Graduate Student Theses, Dissertations, & Professional Papers. 3226. https://scholarworks.umt.edu/etd/3226 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE PINTER PIAYi WHERE IT HAPPENS By Barbara Ann Croghan B.A., College of Great Falls, 196? Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1969 Approved byi Chairman, Board of E^^aminers June 3, 196 9 Date UMI Number: EP34867 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT DlssertMtan PribHisNftg UMI EP34867 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest ProQuest LLC.
    [Show full text]
  • Et. In6rjtljell F
    LC)rJ-f/lcr-/a~lum(lnfstdk:. Yx, 01, V~ ;:;1> c I~ veJ Q_let/JO/}-:1¥(k~/J ()~ In CCJIlV(!I'S4.fJO()S I?J b'j vrmslv.uu Silence as conflict management in fiction and drama 261 ~et. In Jtl I Ic;~ 0 · · 6r Jell f); v@l'SitJ t'lf'ss Before presentation ofthese analyses, a word is in order about the status of literary examples in the study of interaction. 12, Silence as conDiet management in fiction and drama: Pinter's Betrayal and a short story, "Great Wits" 1<: The use of Uterary dialogue for analysis of Interaction Robin LakotT (LakotT andTannen, 1984)suggests thatliterary dialogue­ the dialogue in fiction and drama - constitutes a competence model for DEBORAH TANNEN interaction. It is not equivalent to the dialogue spontaneously produced in interaction. Paradoxically, however, the dialogue in drama or fiction often strikes audiences as extremely realistic. For example, a reviewer (Kendrick, 1983) observes that in Judith Rossner's novel August, "The give-and-takeof real conversation, its hesitations, repetitions, and Freudian slips - all are reproduced with exact fidelity." Yet a conversational analyst familiar with A recent collection of papers (Tannen and Saville-Troike, 1985) presents a accurate transcriptions ofconversations need only glance at thedialogue in range of investigations of the meanings and functions of silence in cross­ that novel to see how different from real conversation it actually is, contain­ cultural perspective. A numberofpapers in thatcollection demonstrate that ing occasional rather than pervasive repetition, hesitations, slips, false silence can be associated with conflict or negative emotion.
    [Show full text]
  • The Dangerous Lover Lutz FM 3Rd.Qxp 6/30/2006 2:35 PM Page Ii Lutz FM 3Rd.Qxp 6/30/2006 2:35 PM Page Iii
    Lutz_FM_3rd.qxp 6/30/2006 2:35 PM Page i The Dangerous Lover Lutz_FM_3rd.qxp 6/30/2006 2:35 PM Page ii Lutz_FM_3rd.qxp 6/30/2006 2:35 PM Page iii The Dangerous Lover Gothic Villains, Byronism, and the Nineteenth-Century Seduction Narrative Deborah Lutz The Ohio State University Press Columbus Lutz_FM_3rd.qxp 6/30/2006 2:35 PM Page iv Copyright © 2006 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Lutz, Deborah. The dangerous lover : Gothic villains, Byronism, and the nineteenth- century seduction narrative / Deborah Lutz. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1034-5 (alk. paper) ISBN-10: 0-8142-1034-1 (alk. paper) ISBN-13: 978-0-8142-9111-5 (cd-rom) ISBN-10: 0-8142-9111-2 (cd-rom) 1. English fiction—19th century—History and criticism. 2. Seduction in literature. 3. Love stories, English—History and criticism. 4. Love sto- ries, American—History and criticism. 5. Gothic revival (Literature) 6. Antiheroes in literature. 7. Villains in literature. 8. Romanticism. 9. Byron, George Gordon Byron, Baron, 1788–1824—Influence. I. Title. PR868.S423L87 2006 823'.809352—dc22 2006001265 Cover design by DesignSmith Typeset in Adobe Garamond Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Lutz_FM_3rd.qxp 6/30/2006 2:35 PM Page v Contents Acknowledgments vii Introduction ix 1.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE the Overheard Song: Medieval Lyric in the Mixed Genre DISSERTATION Submitted in Partial Satisf
    UNIVERSITY OF CALIFORNIA, IRVINE The Overheard Song: Medieval Lyric in the Mixed Genre DISSERTATION Submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in English by Ricardo Matthews Dissertation Committee: Professor Elizabeth Allen, Chair Professor Rebecca Davis Professor Julia Reinhard Lupton Professor Alexandre Leupin 2016 © 2016 Ricardo Matthews TABLE OF CONTENTS Page LIST OF FIGURES iv ACKNOWLEDGMENTS v CURRICULUM VITAE vi ABSTRACT OF THE THESIS vii INTRODUCTION: Song and Subject 1 CHAPTER 1: The Overheard Song: Chaucer’s Knight’s Tale, The Parliament of Fowles and the Tristan en prose 59 CHAPTER 2: Grail Songs: The Lover’s Mass and the Tristan en prose 110 CHAPTER 3: Lyrical Gower and the Confessio Amantis 154 CHAPTER 4: Lyric and the Documentary Self: Charles of Orleans 211 CODA: Between Verse and Prose: Shakespeare’s Romeo and Juliet 260 BIBLIOGRAPHY 282 iii LIST OF FIGURES Page Figure 1.1 Detail of Cambridge University Library MS Gg. 4.27, f. 490v. 65 Figure 4.1 Detail of Paris BnF MS fr 25458, p. 218. 216 Figure 4.2 Detail of Huntington Library MS. HM 111, San Marino, California, f. 41r. 222 iv ACKNOWLEDGEMENTS This dissertation would not exist without the valuable guidance of Professor Elizabeth Allen. Her enthusiasm for the project and her challenging insights have made me a better thinker and more precise writer. Her contributions can be found on every page. I would also like to thank Professor Alexandre Leupin whose scholarship and teaching served as the inspiration for my own work. Professor Rebecca Davis’ good council helped me navigate through the difficulties of the profession while Professor Julia Lupton’s sunny disposition made working at UC Irvine a joy.
    [Show full text]