594 research outputs found
Harold Pinter and the Performance of Power: Considerations of Affect in Select Plays, Screenplays and Films, Poetry and Political Speeches
No full textThis thesis looks at selections of Harold Pinter's work across multiple media: written dramatic texts, screenplays and poetry, activity in theatrical and film production and his political activism. It has been argued that Pinter's dramatic medium is exceeded by movements, intensities and
forces that operate on and circulate within the corporeal bodies of Pinter's 'audiences'. However, approaches to Pinter to date remain overly focused on representation and hermeneutics and tied to a decidedly idealist conception of being, perception and knowledge. I argue that in order to
appreciate the politics of Pinter's aesthetics, readings of Pinter's work need to move in a more decidedly materialist direction. To do so, I enlist the conceptual tools of Gilles Deleuze and felix Guattari, specifically 'affect'. In bringing affect theory to Pinter I illustrate how 'the direct, mutual involvement of language and extra-linguistic forces,1 must be taken into account at every
critical step, and that meaning need be construed as a material process, the expression of forces
acting upon each other. The diversity of Pinter's work is explored over six chapters with a view to its aesthetic disposition and function, how it enters into noteworthy relations with those who engage with it, and how it establishes conditions that are propitious for transitory but ultimately productive trans formative encounters. Proceeding as such necessitates appraisal of ethical and
political positions in relation to Pinter's expression without distinguishing politics from aesthetics - a trend common to intellectual enterprise. Rather, the three keywords in the title of this thesis - performance, power and affect - function as concepts to advance the argument for Pinter's aesthetics as a politics. In considering the aesthetics of Pinter's work in varied media, this thesis invites the reader to see the strategies by which Pinter intervenes in each area as interrelated and political
The city and landscapes beyond Harold Pinter's rooms
No full textPinter's dramas have been labelled as 'absurd', 'mysterious', 'enigmatic', 'taciturn'.
There has been a constant tendency to reduce the idea of the 'Pinteresque' to language
when Pinter is preoccupied with the tensions between reality and the world of the
imagination. He has, actually and accurately, used theatre as a 'critical act' to denote
the abstracted realities, and he has applied his language to embody his world-view - his
concerns in the contemporary capitalist world.
Pinter has journeyed from the room to the outside world, from the private to the public
social space, and has identified an inescapable sense of pessimism and alienation, and
investigated an alarming world of atrocities. There are cities and landscapes beyond
Pinter's rooms, cities peopled by wandering, displaced figures surveying the self-estranged city that is modern consciousness, and landscapes where his people retreat
into the private realms of memory and fantasy.
This thesis explores the virtual geographies beyond Pinter's rooms through the
vocabulary of some modernist theoreticians and social scientists, as there are significant
parallels between their analytical observations and the poetic perceptions of Pinter, a
practising artist, and the phantom images of his characters.
Pinter's plays and film adaptations tend to portray the city as a colonial present, and the
country as a mythological past. The 1970s' plays portray a community of isolation,
urban decay, dispossession and suffering, through the figure of the 'flâneur' - his
characters' subjective experiences, memories and fantasies in the metropolis. In these
memory plays, men and women have different mental landscapes and desires. To some
extent the city is both a male-constructed world and an image of the twentieth century;
in both senses it is anti-human and in decline.
In his 1980s mature plays, Pinter's lyrical interiors and serene landscapes are colonised
by the metropolis. Here Pinter investigates a universally oppressive space filled with
misery and social dislocation. The city destroys humanity in a decaying modem world.
These plays identify the global city as the locus of existential alienation and as the
centre of political power and oppression - a world of brute masculine power.
The last two plays, in this study explore other wastelands of human isolation and
suffering, and criticise the British suspicion of the 'intelligentsia'. Using scenes that are
ingrained in the contemporary audience's physical memory, Pinter makes the
distinction between being an active participant and being a witness, a 'spectator' in this
alarming world. And thus, he criticises the tradition of mockery of the artistic and the
intellectually curious in Britain, and urges a need for a 'politically curious', at politically questioning theatre-going society
The Concept of "Self" in Some Plays by Ibsen, Strindberg, Beckett, Osborne, and Pinter
No full textPhDCentring on Peer Gynt's onion as a symbol of modern
man's "dissolved" self, this thesis is a study of the
changing concept of "self" and its effect on the development
of dramatic technique from Ibsen's Brand and Peer
Gynt, through Strindberg's "dream plays, " to the plays of
the three most influential post-war British playwrights,
Beckett, Osborne, and Pinter.
The aim of this comparative study is not to "prove"
direct influence, but to demonstrate affinities and to
trace the continuing process of the "dissolving self"
from Brand's monumental concept of man as a being essentially
divine, to Beckett's tramps picturing themselves
as worms in a God-forsaken universe, and from Peer Gynt's
uncentred onion self, which still adds up to a tremendous
personality, to Pinter's "classic female figure" who is
divested of personality as well as of self.
The philosophical dissolution of man's essential Godgiven
self and the redefinition of the human personality
in existentialist terms as simply the sum of one's actions,
habits, or roles, has its corollary in dramatic technique,
of which the most radical example is Strindberg's A Dream
Play, where the Dreamer's self is projected on stage, not
as one indelible personality, which is still the case in
Peer Gynt, but as a motley gallery of "dream characters, "
each representing one aspect of the Dreamer's (the poet's)
discontinuous self.
Beckett's Krapp, spooling back the tapes of his
former selves in search of his quintessential "I" and
discovering that the "self" is merely a string of discarded
habits; Osborne's Archie Rice playing for time
against the inevitable annihilation of his inauthentic
comedian's mask by "the man with the hook"; and Pinter's
stupefied Stanley Webber being "crowned" by his persecutors
with a bowler hat, the symbol of conformity, and
hence of non-identity, are all modern counterparts of
Peer Gynt, the "Emperor of Self.
Choosing Open Access Publishing: The Key Issues
No full textIn this interactive webinar aimed at PhD students, post-docs and other early career researchers, Professor Patrick Dunleavy and Dr Frances Pinter introduced participants to Open Access Book Publishing, answered questions concerning the current publishing landscape, and gave insight into career-related issues for junior researchers to consider when choosing to publish open access. Although aimed specifically at junior researchers, this online webinar was open to all who wished to participate from across the CIVICA partner institutions
The Decline in Brick-and-Mortar Shopping
No full textPatrick Stephens ’23, Marketing majorCrosby Colyer ’23Caroline Mohan ’23, Marketing majorLucas Pinter ’23Kyle Meyer ’23, Marketing major, Spanish minorFaculty mentors: Dr. Kevin Newman and Dr. Mark DeFanti
There has been a decline in the number of consumers that were partaking in in-person retail shopping especially during the holiday season. We wanted to understand the causes that existed behind this change in brick-and-mortar retail. The two problems that we discovered were Covid 19 and the inability for stores to enforce their guidelines, along with this is the movement towards convenience within the commerce world. With a serious movement towards online, we decided that the best ways to bring people back in-store were in-store only discounts, improvement of experience during the holidays, and increased safety measures
CCDC 1967032: Experimental Crystal Structure Determination
No full textURIMOA : (N-{2-[bis(propan-2-yl)phosphanyl]-4-methylphenyl}-2,4,6-trimethylanilinato)-[N-{2-[P,P-bis(propan-2-yl)phosphorimidoyl]-4-methylphenyl}-2,4,6-trimethylanilinato]-hydrido-titanium Related Article: Lauren N. Grant, Mrinal Bhunia, Balazs Pinter, Christophe Rebreyend, Maria E. Carroll, Patrick J. Carroll, Bas de Bruin, Daniel J. Mindiola|2021|Inorg.Chem.|60|5635|doi:10.1021/acs.inorgchem.0c0364
EMPLOYMENT POSITION OF SPORTSMAN
No full textDiplomsko delo obravnava delovno-pravni položaj športnikov. Temeljna pozornost in razprava sta posvečeni vprašanju, ali obstajajo elementi delovnega razmerja iz 4. člena Zakona o delovnih razmerjih v razmerju med športnikom in športnim klubom in ali športniki v Sloveniji izpolnjujejo pogoje za pridobitev statusa delavca. Pri tem avtorica ugotavlja, da bi bilo potrebno upoštevati posebnosti športa kot specifične družbene dejavnosti in omogočiti veljavno sklepanje pogodb o zaposlitvi, z drugačno ureditvijo določenih pravic in obveznosti za športnike. Vseh institutov delovnega prava za ta razmerja namreč ni mogoče uporabiti. V nadaljevanju je prikazan položaj športnikov v Evropski uniji. V tem smislu so analizirane sodbe Sodišča Evropske unije, ki segajo na področje športa in so povezane z uresničevanjem načela prostega gibanja delavcev ter prepovedjo diskriminacije. Prikazana pa je tudi ureditev položaja športnikov v posameznih državah članicah Evropske unije.The main focus of this thesis is the employment position of sportsmen. A particular attention is paid to the elements of the employment relationship, according to Article 4 of The Labour Codewhether they exist in the relationship between sportsman and sports club and whether sportsmen should be given the status of workers. The author establishes that the specificity of sport, as sport constitutes a specific social activity, should be taken into account. Therefore some of the rights and obligations, derived from the employment relationship, should be regulated differently for sportsmen to establish a possibility to enter into employment contracts in accordance with current legislation. Later on, legal regulation of sportsmen of the European Union is presented - the thesis also analyses cases of the European Court of Justice in the field of sports, which are related to the free movement of workers and prohibition of discrimination. Moreover, the legal regulation of sportsmen in particular European Union member states is presented
Successful switching from mepolizumab to dupilumab in a patient with EGPA in remission phase and persistent nasal polyposis
No full textegpa dupiluma
CCDC 1967033: Experimental Crystal Structure Determination
No full textURIMUG : chloro-(N-{2-[bis(propan-2-yl)phosphanyl]-4-methylphenyl}-2,4,6-trimethylanilinato)-[N-{2-[P,P-bis(propan-2-yl)phosphorimidoyl]-4-methylphenyl}-2,4,6-trimethylanilinato]-titanium 1,2-dimethoxyethane solvate Related Article: Lauren N. Grant, Mrinal Bhunia, Balazs Pinter, Christophe Rebreyend, Maria E. Carroll, Patrick J. Carroll, Bas de Bruin, Daniel J. Mindiola|2021|Inorg.Chem.|60|5635|doi:10.1021/acs.inorgchem.0c0364
Sharp Cut: Harold Pinter\u27s Screenplays and the Artistic Process
No full textBest known as one of the most important playwrights of the twentieth century, Harold Pinter has also written many highly regarded screenplays, including Academy Award-nominated screenplays for The French Lieutenant’s Woman and Betrayal , collaborations with English director Joseph Losey, and an unproduced script for the remake of Stanley Kubrick’s 1962 adaptation of Lolita . In this definitive study of Pinter’s screenplays, Steven H. Gale compares the scripts with their sources and the resulting films, analyzes their stages of development, and shows how Pinter creates unique works of art by extracting the essence from his source and rendering it in cinematic terms. Gale introduces each film, traces the events that led to the script’s writing, examines critical reaction to the film, and provides an extensive bibliography, appendices, and an index.
A highly significant book both for Pinter studies and for the neglected analysis of the genre of film scripts. . . . This pioneering work will be a model for subsequent studies of film scripts. -- Choice
To say that [Steven Gale] is a master of the scholarship on Harold Pinter is an understatement….I have seldom agreed so much with an author’s interpretations of a film artist as I do with [Gale’s]….This is a landmark in scholarship about the adaptation of fiction and drama to film by an author who know his subject (in both senses of the word) inside out. In particular he documents the collaboration of Harold Printer with film director Joseph Losey, which is one of the most celebrated creative associations of a writer and director in cinema history. -- Gene D. Phillips
Such a volume was refreshing to read and gave me faith in scholarship—again. -- Peter C. Rollins
Named a Choice 2003 Academic Title.https://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/1006/thumbnail.jp
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