DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography Bibliography Adler, Thomas P. “Pinter/Proust/Pinter.” Pinter: Critical Approaches. Ed. Steven H. Gale. Rutherford: Fairleigh Dickinson University Press, 1986. 128–138. Almansi, Guido, and Simon Henderson. Harold Pinter. London: Methuen, 1983. Andretta, Richard. “Harold Pinter’s Technique of Character Revelation in The Caretaker.” Journal of English 11 (1983): 19–47. “Are YOU a Victor Meldrew?” BBC Radio 4. Web. Feb. 2, 2008. Aronson, Ronald. Camus and Sartre. Chicago: Chicago University Press, 2004. Barber, Susanna, and Richard Messer, “The French Lieutenant’s Woman and Individualization,” Literature / Film Quarterly 12 (1984): 225–229. Batty, Mark. About Pinter: The Playwright & the Work. London: Faber and Faber, 2005. Beckett, Samuel. Proust. New York: Grove Press, 1931. ——. The Complete Dramatic Works. London: Faber and Faber Limited, 1990. Begley, Varun. Harold Pinter and the Twilight of Modernism. Toronto: University of Toronto Press, 2005. Benjamin, Walter. Illuminations. Ed. Hannah Arendt. New York: Harcourt, Brace and World, 1968. Bensky, Lawrence. “Interview. The Art of Theater No. 3 Harold Pinter.” The Paris Review: The Art of Theater No. 3.39 (1966). Web. Dec. 20, 2006. Berkowitz, Gerald M. “Pinter’s Revision of The Caretaker.” Journal of Modern Literature 5.1 (1976): 109–116. DOI: 10.1057/9781137343079 93 94 Bibliography Berne, Eric. Games People Play. London: Andre Deutsch, 1966. Billington, Michael. The Life and Work of Harold Pinter. London: Faber and Faber, 1996. Bluestone, George. Novels into Film. Berkeley and Los Angeles: University of California Press, 1957. Brater, Enoch. “Time and Memory in Pinter’s Proust Screenplay.” Comparative Drama 13.2 (1979): 121–126. ——. “The French Lieutenant’s Woman: Screenplay and Adaptation.” Harold Pinter: Critical Approaches. Ed. Steven H. Gale. London; Toronto: Associated University Press, 1986. 139–152. Braunmuller, A. R. “Pinter’s Silence: Experience without Character.” Pinter: Critical Approaches. Ed. Steven H. Gale. Rutherford: Fairleigh Dickinson University Press, 1986. 118–127. Burkman, Katherine. The Dramatic World of Harold Pinter: Its Basis in Ritual. Columbus: Ohio State University Press, 1971. Camus, Albert. Lyrical and Critical Essays. Ed. Philip Thody. Trans. Ellen Conroy Kennedy. New York: Vintage Books, 1970. ——. Selected Essays and Notebooks. Ed. and Trans. Philip Thody. Middlesex, UK: Penguin Books, 1970. ——. The Myth of Sisyphus and Other Essays. Trans. Justin O’Brien. New York: Vintage Books, 1991. ——. “Neither Victims nor Executioners.” Approaches to Peace. Ed. David P. Barash. New York: Oxford University Press, 2000. 181–183. Canby, Vincent. “Review of The French Lieutenant’s Woman.” New York Times. Sept. 18, 1981: sec. C:4. Carpenter, Charles A. “‘What Have I Seen, the Scum or the Essence?’: Symbolic Fallout in Pinter’s The Birthday Party.” Harold Pinter: You Never Heard Such a Silence. Ed. Alan Bold. London: Vision Press, 1984, 93–112. ——. “Quicksand in Pinterland: ‘The Caretaker.’” Arizona Quarterly 33 (1977): 65–75. Clausius, C. “Spatialized Time in Harold Pinter’s Silence.” Pinter Review (1995): 28–40. Corandi, Peter. John Fowles. London; New York: Methuen, 1982. ——. “The French Lieutenant’s Woman: Novel, Screenplay, Film.” Critical Quarterly 24.1 (1982): 41–57. Davidson, David. “Pinter in No Man’s Land: The Proust Screenplay.” Comparative Literature 34.2 (1982): 157–170. DOI: 10.1057/9781137343079 Bibliography 95 Derrida, Jacques. Politics of Friendship. Trans. George Collins. New York: Verso, 1997. Dobrez, Livio. “Beckett, Sartre and Camus: The Darkness and the Light.” Southern Review 7 (1974): 51–63. Dohmen, William F. “Time after Time: Pinter Plays with Disjunctive Chronologies.” Pinter: Critical Approaches. Ed. Steven H. Gale. Rutherford: Fairleigh Dickinson University Press, 1986. 187–200. Dunn, Judy. Children’s Friendship. Malden, MA: Blackwell Publishing, 2004. Durbach, Errol. “‘The Caretaker’: Text and Subtext.”English Studies in Africa 18 (1975): 23–29. Eliot, T. S. The Complete Poems and Plays 1909–1950.New York: Harcourt, Brace and Company, 1958. Erickson, Jon. “Self-objectification and Preservation in Beckett’s Krapp’s Last Tape.” The World of Samuel Beckett. Ed. Joseph H. Smith. Baltimore: Johns Hopkins University Press, 1991. 181–194. Esslin, Martin. “Letter to Peter Wood. Harold Pinter.” Kenyon Review 3.3 (1981): 1–5. ——. The Peopled Wound: The Work of Harold Pinter. New York: Doubleday & Company, Inc., 1970. ——. The Theatre of the Absurd. New York: Vintage Books, 2004. Evans, Gareth and Barbara. Ed. Plays in Review 1956–1980. London: Batsford Academic and Educational (B. T. Batsford), 1985. Eyre, Richard. “Harold Pinter at Seventy.” Harold Pinter: A Celebration. London: Faber and Faber, 2000. vii–x. Fowles, John. The French Lieutenant’s Woman. London: Jonathan Cape, 1969. Gabbard, Lucina Paquet. The Dream Structure of Pinter’s Plays. Cranbury, NJ: Associated University Presses, Inc., 1976. Gale, Steven H. Sharp Cut Harold Pinter’s Screenplays and the Artistic Process. Lexington: University of Kentucky Press, 2003. ——. The Films of Harold Pinter. Albany: State University of New York Press, 2001. Ganz, Arthur. Realms of the Self: Variations on a Theme in Modern Drama. New York: New York University Press, 1980. Gautam, Kripa K. “Pinter’s ‘The Caretaker’ A Study in Conversational Analysis.” Journal of Pragmatics 11.1 (1987): 49–59. DOI: 10.1057/9781137343079 96 Bibliography Giantvalley, Scott. “Toying with The Dwarfs: The Textual Problems with Pinter’s ‘Corrections’.” Harold Pinter Critical Approaches. Ed. Steven H. Gale. Cranbury, NJ: Associated University Presses, 1986. 72–81. Gillen, Francis. “Between Fluidity and Fixity: Harold Pinter’s Novel The Dwarfs.” Pinter Review (1990): 50–60. ——. “Harold Pinter’s ‘The Birthday Party’: Menace Reconsidered.” Harold Pinter: Critical Approaches. Ed. Steven H. Gale. Rutherford: Fairleigh Dickinson University Press, 1986. 38–26. ——. “Introduction to Harold Pinter’s Unpublished Novel: The Dwarfs.” Pinter Review 1 (1987): 1–6. Goodwin, John. Men’s Work and Male Lives. Aldershot, UK: Ashgate Publishing, 1999. Gordon, Lois G. Stratagems to Uncover Nakedness. Columbia, MI: University of Missouri Press, 1969. ——. “Introduction to Harold Pinter’s Unpublished Novel: The Dwarfs.” Pinter Review 1 (1987): 1–6. Gussow, Mel. Conversations with Pinter. New York: Grove Press, 1996. Hall, Ann C. “Looking for Mr. Goldberg: Spectacle and Speculation in Harold Pinter’s The Birthday Party.” Pinter Review (1997): 48–56. Hare, David. “David Hare.” Harold Pinter A Celebration. Intr. by Richard Eyre. London: Faber and Faber, 2000. 17–22. Hayman, Ronald. Harold Pinter. New York: Frederick Ungar Publishing Co., 1973. Herbeck, Jason Ryan. “Awakening Routinists: Consciousness, Quest and Albert Camus.” Diss. University of Wisconsin, Madison, 2002. Higgins, Charlotte. “Pinter bows out as playwright.” Guardian Unlimited Mar. 1, 2005. Jul. 5, 2007 <http://arts.guardian.co.uk/news/ story/0,,1427744,00.html>. Hinchliffe, Arnold P.Harold Pinter. London and Basingstoke: The Macmillan Press Ltd, 1976. Holmes, Frederick M. “The Novel, Illusion, and Reality: The Paradox of Omniscience in The French Lieutenant’s Woman.” Metafiction. Ed. Mark Currie. London; New York: Longman, 1995. 206–220. Hutcheon, Linda. “The ‘Real World(s)’ of Fiction:The French Lieutenant’s Woman.” English Studies in Canada 4.1 (1978): 81–94. Imhof, Rüdiger. “Pinter’s Silence: The Impossibility of Communication.” Modern Drama 17 (1974): 449–460. Innes, Christopher. Modern British Drama: The Twentieth Century. Cambridge, UK: Cambridge University Press, 2002. DOI: 10.1057/9781137343079 Bibliography 97 Jeffrey, Ewan, and David Jeffrey. “I Could Never Quite Get It Together: Lessons for End-of-Life Care in Harold Pinter’s The Caretaker.” Journal of Medical Humanities 33.2 (2012): 117–126. Kirby, E. T. “The Paranoid Pseudo Community In Pinter’sThe Birthday Party.” Educational Theatre Journal30.2 (1978): 157–164. Klein, Joanne. Making Pictures: The Pinter Screenplays. Columbus: Ohio State University Press, 1985. Knowles, Ronald. “The Road to Basingstoke: ‘The Birthday Party’ and the IRA.” Pinter Review (1992): 73–77. Leitch, Thomas.Film Adaptations and Its Discontents. Baltimore: Johns Hopkins University Press, 2007. Lesser, Simon O. “Reflections on Pinter’s The Birthday Party.” Contemporary Literature 13.1 (1972): 34–43. Lorsch, Susan E. “Pinter Fails Fowles: Narration in The French Lieutenant’s Woman.” Literature/Film Quarterly 16.3 (1988): 144–154. Low, Gail. “Streets, Rooms and Residents: The Urban Uncanny and the Poetics of Space in Harold Pinter, Sam Selvon, Colin MacInnes and George Lamming.” Landscape and Empire, 1770–2000. Ed. Glenn Hooper. Burlington, VT: Ashgate Publishing Company, 2005. 159–176. “Luminaries applaud Pinter’s Nobel.” BBC News. Oct. 13, 2005. Web. Nov. 30, 2007. McCrum, Robert. “Cricket: Less a Game, More a Metaphor for a Way of Life.” Guardian. Jul. 19, 2009. Web. Feb. 25, 2013. Mayberry, Bob. The Theatre of Discord. Cranbury, NJ: Associated University Press, 1989. Miller, Mary Jane. “Pinter as Radio Dramatist.” Modern Drama 17 (1974): 403–412. Morgan, Ricki. “The Multiple Nature of Reality in Pinter’sThe Caretaker.” Quarterly Journal of Speech 64.1 (1978): 86–96. Morrison, Kristin. Canters and Chronicles. Chicago: The University of Chicago Press, 1983. Nelson, Katherine. “Self and Social Functions: Individual Autobiographical Memory and Collective Narrative.” Memory 11.2 (2003): 125–136. Nietzsche, Friedrich. Human, All Too Human. Trans.
Load more

Recommended publications
  • John Updike, a Lyrical Writer of the Middle-Class More Article Man, Dies at 76 Get Urba
    LIKE RABBITS Welcome to TimesPeople TimesPeople Lets You Share and Discover the Bes Get Started HOME PAGE TODAY'S PAPER VIDEO MOST POPULAR TIMES TOPICS Books WORLD U.S. N.Y. / REGION BUSINESS TECHNOLOGY SCIENCE HEALTH SPORTS OPINION ARTS STYL ART & DESIGN BOOKS Sunday Book Review Best Sellers First Chapters DANCE MOVIES MUSIC John Updike, a Lyrical Writer of the Middle-Class More Article Man, Dies at 76 Get Urba By CHRISTOPHER LEHMANN-HAUPT Sig Published: January 28, 2009 wee SIGN IN TO den RECOMMEND John Updike, the kaleidoscopically gifted writer whose quartet of Cha Rabbit novels highlighted a body of fiction, verse, essays and criticism COMMENTS so vast, protean and lyrical as to place him in the first rank of E-MAIL Ads by Go American authors, died on Tuesday in Danvers, Mass. He was 76 and SEND TO PHONE Emmetsb Commerci lived in Beverly Farms, Mass. PRINT www.Emme REPRINTS U.S. Trus For A New SHARE Us Directly USTrust.Ba Lanco Hi 3BHK, 4BH Living! www.lancoh MOST POPUL E-MAILED 1 of 11 © 2009 John Zimmerman. All rights reserved. 7/9/2009 10:55 PM LIKE RABBITS 1. Month Dignit 2. Well: 3. GLOB 4. IPhon 5. Maure 6. State o One B 7. Gail C 8. A Run Meani 9. Happy 10. Books W. Earl Snyder Natur John Updike in the early 1960s, in a photograph from his publisher for the release of “Pigeon Feathers.” More Go to Comp Photos » Multimedia John Updike Dies at 76 A star ALSO IN BU The dark Who is th ADVERTISEM John Updike: A Life in Letters Related An Appraisal: A Relentless Updike Mapped America’s Mysteries (January 28, 2009) 2 of 11 © 2009 John Zimmerman.
    [Show full text]
  • The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works Theresa A. Incampo Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Dramatic Literature, Criticism and Theory Commons, Performance Studies Commons, and the Theatre History Commons Recommended Citation Incampo, Theresa A., "The Evocation of the Physical, Metaphysical, and Sonic Landscapes in Samuel Beckett's Short Dramatic Works". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/209 The Evocation of the Physical, Metaphysical and Sonic Landscapes within the Short Dramatic Works of Samuel Beckett Submitted by Theresa A. Incampo May 4, 2012 Trinity College Department of Theater and Dance Hartford, CT 2 Table of Contents Acknowledgements 5 I: History Time, Space and Sound in Beckett’s short dramatic works 7 A historical analysis of the playwright’s theatrical spaces including the concept of temporality, which is central to the subsequent elements within the physical, metaphysical and sonic landscapes. These landscapes are constructed from physical space, object, light, and sound, so as to create a finite representation of an expansive, infinite world as it is perceived by Beckett’s characters.. II: Theory Phenomenology and the conscious experience of existence 59 The choice to focus on the philosophy of phenomenology centers on the notion that these short dramatic works present the theatrical landscape as the conscious character perceives it to be. The perceptual experience is explained by Maurice Merleau-Ponty as the relationship between the body and the world and the way as to which the self-limited interior space of the mind interacts with the limitless exterior space that surrounds it.
    [Show full text]
  • Interpretation of the Subtext of Harold Pinter's the Room, a Thematic Study
    International Journal on Studies in English Language and Literature (IJSELL) Volume 3, Issue 3, March 2015, PP 51-58 ISSN 2347-3126 (Print) & ISSN 2347-3134 (Online) www.arcjournals.org Interpretation of the Subtext of Harold Pinter’s the Room, A Thematic Study Mona F. Hashish Northern Border University, Saudi Arabia [email protected] Keywords: Harold Pinter, subtext, silence, fear and violence. Harold Pinter (1930- 2008) is a modern British Noble-prize winning dramatist. The research tackles his first play The Room (1957). That play represents Pinter’s early subtle plays where he hides meanings within their folds. In his early phase, Pinter chooses to be silent, discreet and indirect in both language and characterization. The research studies the unspoken in The Room because it tells important and crucial information about the characters, their thoughts and their past. Pinter makes his play so ambiguous that it is not understood without analyzing what is said and what is not said. Moreover, the study treats the main themes in the play: alienation, violence, menace and fear. Therefore, the research investigates the subtext in order to reveal the embedded meanings of the text. The Room primarily discusses Rose’s tragedy that is unsaid. The protagonist’s reaction reflects her suffering. The paper manages to discover the reasons of her tragedy through studying her attitude, and analyzing her actions, reactions, silence and gestures. The Room is one of Harold Pinter‘s early plays that are vague and highly suggestive. John Brown calls Pinter‘s early plays –such as The Room (1957), The Birthday Party (1958), The Dumb Waiter (1959), The Caretaker (1960) and The Homecoming (1965) –‗interior plays‘ because they are all subtle and implicit (12).
    [Show full text]
  • B E N N I N G T O N W R I T I N G S E M I N A
    MFAW PUBLIC SCHEDULE June 15–24, 2017 NOTE: Schedule subject to change All faculty, guest, and graduate lectures and readings will be held in Tishman Lecture Hall, unless otherwise indicated. All evening Faculty and Guest Readings will be held in the Deane Carriage Barn. Thursday, June 15 7:00 Faculty & Guest Readings: Kaitlyn Greenidge and Amy Hempel Friday, June 16 Graduate Readings 4:00 Alexander Benaim 4:20 Andrea Caswell 4:40 Michael Connor 7:00 Faculty & Guest Readings: Benjamin Anastas and Mark Wunderlich 8:00 Historical Presentation: Lynne Sharon Schwartz: “Historic Recordings of Great 20th Century American Authors Reading their Work.” Deane Carriage Barn Saturday, June 17 Graduate Lectures 8:20 Ashley Olsen: “50 Shades of Consent: Sexual Desire and Sexual Violence in Contemporary Short Stories.” This lecture will examine tests from contemporary female authors including Mary Gaitskill, Margaret Atwood, and Roxane Gay. 9:00 Katie Pryor: “Persona & Violence in Ai’s Cruelty & Iliana Rocha’s Karankawa.” Both of these poets use persona poems to explore violence. What is powerful about this poetic device? How does the persona poem involve the reader and interrogate our notions of self? We’ll explore the connections and differences between these poets and their first books. 9:40 Karen Rile: “The Bad Writing Competition: Introducing Narrative Distance to Undergraduates.” A technique-centered workshop that offers coordinated readings and prompts can help beginning writers focus on discrete, achievable goals. But demonstrating smooth narrative distance shifts presents a practical challenge in an undergraduate workshop setting. The Bad Writing Competition, or mastery through parody, is a deft solution—with some unexpected ancillary benefits.
    [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]
  • Synesthetic Landscapes in Harold Pinter's Theatre
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1645 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 ii © 2010 GRAÇA CORRÊA All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________ ______________________________ Date Chair of Examining Committee Daniel Gerould ______________ ______________________________ Date Executive Officer Jean Graham-Jones Supervisory Committee ______________________________ Mary Ann Caws ______________________________ Daniel Gerould ______________________________ Jean Graham-Jones THE CITY UNIVERSITY OF NEW YORK iv Abstract Synesthetic Landscapes in Harold Pinter’s Theatre: A Symbolist Legacy Graça Corrêa Adviser: Professor Daniel Gerould In the light of recent interdisciplinary critical approaches to landscape and space , and adopting phenomenological methods of sensory analysis, this dissertation explores interconnected or synesthetic sensory “scapes” in contemporary British playwright Harold Pinter’s theatre. By studying its dramatic landscapes and probing into their multi-sensory manifestations in line with Symbolist theory and aesthetics , I argue that Pinter’s theatre articulates an ecocritical stance and a micropolitical critique.
    [Show full text]
  • An Analysis of Feminism Reflected in the Film the French Lieutenant's
    American International Journal of Contemporary Research Vol. 4, No. 4; April 2014 An Analysis of Feminism Reflected in the Film the French Lieutenant’s Woman Siyu Gao Beijing Institute of Petrochemical Technology Qingyuan north road No.19, Huangcun, Daxing District, Beijing Beijing, China Abstract The novel The French Lieutenant's Woman is a masterpiece that John Fowles, a contemporary British writer created in the 60s of last century. In 1981, the film of the same name directed by Karel Reisz and adapted by playwright Harold Pinter. The French Lieutenant’s Woman is one of the world's most successful literary classic films. It is about a love story happened in England in nineteenth Century. Sarah, a woeful and mysterious woman in Victorian era, a virgin but claimed to have committed to a French lieutenant, be spurned for being regarded as a sinful and lustful woman. But her mystery, unique, boldness, melancholy beauty and wild enthusiasm could arouse compassion and adoration of men. She had a torrid love with Charles but eventually left quietly when Charles had dissolved engagement with Freeman. In the Victorian era -- a patriarchal social environment, the social status of women was affected by the patriarchy. The female was put in a humiliating position for a long time. In patriarchal oppression, the economy also forced to sponge on men which result in women’s being unable to enjoy the right of self-realization and self-independent. However, in this film, the heroine Sarah in the social context demonstrated bravery and determination of striving against traditional customs, pursuing after true love and defending against her freedom.
    [Show full text]
  • The Post-Postmodern Aesthetics of John Fowles Claiborne Johnson Cordle
    University of Richmond UR Scholarship Repository Master's Theses Student Research 5-1981 The post-postmodern aesthetics of John Fowles Claiborne Johnson Cordle Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Cordle, Claiborne Johnson, "The post-postmodern aesthetics of John Fowles" (1981). Master's Theses. Paper 444. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. THE POST-POSTMODERN AESTHETICS OF JOHN FOWLES BY CLAIBORNE JOHNSON CORDLE A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF ~.ASTER OF ARTS ,'·i IN ENGLISH MAY 1981 LTBRARY UNIVERSITY OF RICHMONl:» VIRGINIA 23173 CONTENTS INTRODUCTION . p . 1 CHAPTER 1 MODERNISM RECONSIDERED . p • 6 CHAPTER 2 THE BREAKDOWN OF OBJECTIVITY . p • 52 CHAPTER 3 APOLLO AND DIONYSUS. p • 94 CHAPTER 4 SYNTHESIS . p . 102 CHAPTER 5 POST-POSTMODERN HUMANISM . p . 139 ENDNOTES • . p. 151 BIBLIOGRAPHY . • p. 162 INTRODUCTION To consider the relationship between post­ modernism and John Fowles is a task unfortunately complicated by an inadequately defined central term. Charles Russell states that ... postmodernism is not tied solely to a single artist or movement, but de­ fines a broad cultural phenomenon evi­ dent in the visual arts, literature; music and dance of Europe and the United States, as well as in their philosophy, criticism, linguistics, communications theory, anthropology, and the social sciences--these all generally under thp particular influence of structuralism.
    [Show full text]
  • Talking Theatre Extract
    Richard Eyre TALKING THEATRE Interviews with Theatre People Contents Introduction xiii Interviews John Gielgud 1 Peter Brook 16 Margaret ‘Percy’ Harris 29 Peter Hall 35 Ian McKellen 52 Judi Dench 57 Trevor Nunn 62 Vanessa Redgrave 67 NICK HERN BOOKS Fiona Shaw 71 London Liam Neeson 80 www.nickhernbooks.co.uk Stephen Rea 87 ix RICHARD EYRE CONTENTS Stephen Sondheim 94 Steven Berkoff 286 Arthur Laurents 102 Willem Dafoe 291 Arthur Miller 114 Deborah Warner 297 August Wilson 128 Simon McBurney 302 Jason Robards 134 Robert Lepage 306 Kim Hunter 139 Appendix Tony Kushner 144 John Johnston 313 Luise Rainer 154 Alan Bennett 161 Index 321 Harold Pinter 168 Tom Stoppard 178 David Hare 183 Jocelyn Herbert 192 William Gaskill 200 Arnold Wesker 211 Peter Gill 218 Christopher Hampton 225 Peter Shaffer 232 Frith Banbury 239 Alan Ayckbourn 248 John Bury 253 Victor Spinetti 259 John McGrath 266 Cameron Mackintosh 276 Patrick Marber 280 x xi JOHN GIELGUD Would you say the real father—or mother—of the National Theatre and the Royal Shakespeare Company is Lilian Baylis? Well, I think she didn’t know her arse from her elbow. She was an extraordinary old woman, really. And I never knew anybody who knew her really well. The books are quite good about her, but except for her eccentricities there’s nothing about her professional appreciation of Shakespeare. She had this faith which led her to the people she needed. Did she choose the actors? I don’t think so. She chose the directors. John Gielgud Yes, she had a very difficult time with them.
    [Show full text]
  • The Theme of Isolation in Harold Pinter's the Caretaker
    www.the-criterion.com The Criterion: An International Journal in English ISSN (0976-8165) The Theme of Isolation in Harold Pinter’s The Caretaker Dr. H.B. Patil The human being in modern life has become victim of frustration, loneliness, loss of communication and isolation. Harold Pinter, the British playwright reflects exactly this state of human being in his play The Caretaker. His well known plays are The Room, The Homecoming , The Birthday Party, etc. But his real breakthrough came with the publication of The Caretaker. Harold Pinter’s works present directly or indirectly the influences of pre-war and post-war incidents. The sense of rootlessness, loneliness and isolation can be seen in his characters. The audiences are made to laugh but at the same time they are threatened by violent action that destroys the central character. The Caretaker discusses the critical condition of characters in the play. All the three characters Aston, Mick and Davies do represent their isolation with more or less intensity. This play of Pinter opens the life in general and life in 1950s England in particular. The isolation is either forced on them or it is selected by them on their own. His characters do not allow themselves to form good relationship with others. From the very beginning of the play, the realistic details occur. Aston lives in a room of an apartment that is owned by his brother Mick. Though they are brothers there is no proper communication between them. Aston lives the life of mentally retarded human being because of the electric shock treatment given to him.
    [Show full text]
  • A Critical Study of the Novels of John Fowles
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1986 A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES KATHERINE M. TARBOX University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation TARBOX, KATHERINE M., "A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES" (1986). Doctoral Dissertations. 1486. https://scholars.unh.edu/dissertation/1486 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES BY KATHERINE M. TARBOX B.A., Bloomfield College, 1972 M.A., State University of New York at Binghamton, 1976 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English May, 1986 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This dissertation has been examined and approved. .a JL. Dissertation director, Carl Dawson Professor of English Michael DePorte, Professor of English Patroclnio Schwelckart, Professor of English Paul Brockelman, Professor of Philosophy Mara Wltzllng, of Art History Dd Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I ALL RIGHTS RESERVED c. 1986 Katherine M. Tarbox Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. to the memory of my brother, Byron Milliken and to JT, my magus IV Reproduced with permission of the copyright owner.
    [Show full text]
  • Literature Translation Fellowship Recipients Number of Grants: 24 of $12,500 Each Total Dollar Amount: $300,000
    Fiscal Year 2020 Literature Translation Fellowship Recipients Number of Grants: 24 of $12,500 each Total Dollar Amount: $300,000 *Photos of the FY 2020 Translation Fellows and project descriptions follow the list below. Jeffrey Angles, Kalamazoo, MI . Nancy Naomi Carlson, Silver Spring, MD . Jessica Cohen, Denver, CO . Robyn Creswell, New York, NY . Marguerite Feitlowitz, Washington, DC . Gwendolyn Harper, Emeryville, CA . Brian T. Henry, Richmond, VA . William Maynard Hutchins, Todd, NC . Adriana X. Jacobs, New York, NY/Oxford, UK . Bill Johnston, Bloomington, IN . Elizabeth Lowe, Gainesville, FL . Rebekah Maggor, Ithaca, NY . Valerie Miles, Barcelona, Spain . Valzhyna Mort, Ithaca, NY . Armine Kotin Mortimer, Urbana, IL . Suneela Mubayi, New York, NY/Cambridge, UK . Greg Nissan, Tesuque, NM . Allison Markin Powell, New York, NY . Julia Powers, New Haven, CT . Frederika Randall, Rome, Italy . Sherry Roush, State College, PA . James Shea, Hong Kong . Kaija Straumanis, Rochester, NY . Spring Ulmer, Essex, NY Credit: Dirk Skiba Jeffrey Angles, Kalamazoo, MI ($12,500) To support the translation from the Japanese of the collected poems of modernist poet Nakahara Chūya. Chūya's poetry has been set to hundreds of pieces of music, ranging from classical art pieces to pop songs, and he has been the subject of biographies, studies, and creative pieces, including fiction, manga, and an opera libretto. Born in 1907, he published his first collection of poems, Songs of the Goat, when he was 27 and died at age 30 of cerebral meningitis, just before the release of his second book of poems, Songs of Days That Were. While some translations of his poems have appeared in anthologies, journals, and various books, all English translations of Chūya are long out of print.
    [Show full text]