128,234 research outputs found
Harold Pinter
No full textHarold Pinter is one of the most important writers in English of the late twentieth century and early twenty-first century. This brief biography offers fresh insights into his life and work, concentrating on the themes, patterns, relationships, ideas and language common to his life and creative output. Placing Pinter's life and work alongside each other, the study illuminates Pinter's vision of society, politics, gender, sex, violence and human relationships. Drawing upon the full-range of his work, his letters, journalism, and writings about him, Baker combines a biographical approach with close (re)readings of his work to create a fresh perspective on his life and art. The book offers students, academics and readers a rich depiction of Harold Pinter, the man and the writer.Intro -- Contents -- Acknowledgements -- Introduction -- 1. Growing Up -- 2. Ireland, Precarious Existence and Marriage -- 3. Early Plays -- 4. Success -- 5. Turning Points -- 6. The 1970s and 1980s -- 7. The 1990s and Beyond: Political Engagement -- 8. Conclusion: Cancer, the Nobel Prize, Mutations of Mortality, Poetry -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- ZHarold Pinter is one of the most important writers in English of the late twentieth century and early twenty-first century. This brief biography offers fresh insights into his life and work, concentrating on the themes, patterns, relationships, ideas and language common to his life and creative output. Placing Pinter's life and work alongside each other, the study illuminates Pinter's vision of society, politics, gender, sex, violence and human relationships. Drawing upon the full-range of his work, his letters, journalism, and writings about him, Baker combines a biographical approach with close (re)readings of his work to create a fresh perspective on his life and art. The book offers students, academics and readers a rich depiction of Harold Pinter, the man and the writer.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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.
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Development of an application for instrument positioning on avio-bords for ultra light aircrafts
No full textOptimizacija postopkov sestave s pozicionirno pripravo : diplomsko delo univerzitetnega študijskega programa
No full textRecommended from our members
Shadows with Substance: Performing the Characters of Harold Pinter
No full textThis thesis considers first, the existence of a relatively new kind of characterization in the plays of Harold Pinter, and second, the need for the actor who performs Pinter to seek a new mode of acting. The purpose of the study is to identify the special problems or tasks which are thus imposed on the actor who plays a Pinter character. An examination of Pinter's dramaturgy reveals an emphasis on character relationships and a combination of the three different styles of characterization defined by Lorenz Kjerbuhl-Petersen: the type, the individual, and the shadow. This study concludes that the Pinter actor must simultaneously perceive a complex psyche in what seems a common human type, create an individualized concept of personality although information and behavior are misleading, and allow the actor's personality to color and expand that of the character
Dispelling the Myths Behind First-author Citation Counts
No full textWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
Viva Pinter: Harold Pinter's Spirit of Resistance
No full textInternational audienceIn his Nobel speech, entitled Art, Truth and Politics, Harold Pinter explained how he was fighting against the «tapestry of lies». It is indeed those daily lies, lies of love or of state, that are exposed in this book, which emphasises his political agenda. In March 2007, the University of Lyon (Jean Moulin) and the ENS LSH organised VIVA PINTER, a tribute to his work centred on a key notion for the city of Lyon, the Spirit of Resistance. Pinter combined a concise, fragmented and syllogistic style with a keen perception of the metaphors of our time. The most specific instrument of this great humanist lay in his representation of power games. In this volume, scholars, stage-directors and lawyers tell us how his work is highly meaningful for them. Golden Palm winners Volker Schlöndorff and Jerry Schatzberg, film and theatre director David Jones, and BBC radio producer Barbara Bray share with us the memory of how they worked with Pinter on his major plays and films. Contents: Brigitte Gauthier: Introduction: Pinter's Spirit of Resistance against the tapestry of lies - Barbara Bray: Pinter's radio plays - Brigitte Gauthier: Harold Pinter and Volker Schlöndorff: two freedom fighters - Volker Schlöndorff: The Handmaid's Tale - David Jones: Staging pauses and silences - Jerry Schatzberg: Fred Uhlman's Reunion - Discussion on Reunion with Michel Ciment and Eric Kahane chaired by Brigitte Gauthier - Philippe Lanton: The Proust Screenplay and Betrayal - Stuart Seide: Staging Pinter, my experience - Jean Pavans: Translating Pinter - Cynthia Liebow: Shakespeare, Beckett and Pinter - Clifford Armion: The Servant and the Elizabethan space - Steven Gale: A great innovator - Jean-Marie Gleize: Introduction to Pinter's poetry - William Baker: Pinter's poetry: a topological corpus - Elisabeth Angel-Perez: Ashes to Ashes, Pinter's Dibbuks - Gregory B. Lee: No More Heroes? The Chinese Nobel Laureates that Weren't - Odile Belinga: Militant activism: an experience on the ground - Chittaranjan Misra: Illusion, uncertainty and the Indian mind - Chittaranjan Misra: Silencing rites in Pinter - Nicole Boireau: A theatre of moral values - Roberto Andò: Ritratto di Harold Pinter - Roberto Andò: Remembering others - Brigitte Gauthier: Conclusion: Pinter and the power games of daily fascism
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