Asian Review of Social Sciences (ARSS)
Mechanisms in Harold Pinter’s The Caretaker
Author : C. VairavanVolume 7 No.2 July-September 2018 pp 69-73
Abstract
Harold Pinter has explored human subjectivity and the process of its development especially in the domain of language in his play The Caretaker. He has used the dramatic language in the traditional sense. He chose to capture everyday speech and has rendered an authentic reality of life through his overturned use of language. As in real life, he has focused on the vocal elements such as silence, pause, and repetition and has used them in the statements. The paper focuses on these statements and discusses the concepts of psychosis or neurosis of the characters in their conversation with others wittily.
Keywords
Dramatic, language, silences and pauses, psychosis, Pinter
Full Text:
References
[1] Almansi, G. & Henderson, S. (1983). Harold Pinter, Methuen, London.
[2] Andrew, D. (1984). Concepts in Film Theory. Oxford: Oxford University Press, 135.
[3] Grimes, C. (2005). Harold Pinter’s Politics: A Silence beyond Echo, Fairleigh Dickinson University Press, Madison.
[4] Gussow, M. (1994). Conversations with Pinter, Nick Hern Books, London.
[5] Foucault, M. (2006). Psychiatric Power: Lectures at the Collège de France 1973–1974. J. Lagrange (Ed.), Palgrave, London.
[6] Lacan, J. (1977), Ecrits A. Selection: Ed. And Trans. Alan Sheridan, New York, W.W. Norton.
[7] Lapsley, R. and Westlake, M. (1988). Film Theory: An Introduction. Manchester: Manchester University Press, 78.
[8] Peacock, K. (1997). Harold Pinter and the New British Theatre, Greenwood Press, London.
[9] Pinter, H. (1957). The Birthday Party, Grove Press, London.
[10] Pinter, H. (1960). The Caretaker, Eyre Methuen, London.
[11] Pinter, H. (1996). Ashes to Ashes, Methuen, London.
[12] Prentice P. (2000). The Pinter Ethic: The Erotic Aesthetic, Garland Publishing Inc., New York.
[13] Quigley, A. E. (2001). ‘Pinter, Politics and Post-Modernism’, The Cambridge Companion to Harold Pinter, ed. Peter Raby, Cambridge University Press. Cambridge.
[14] Thompson, H. (1961, 2 January). ‘Harold Pinter Replies’, New Theatre Magazine.
[15] Watt, S. (1998). Post-Modern Drama: Reading the Contemporary Stage, Michigan University Press, Michigan.