品特戏剧中的疾病叙述研究
摘要
疾病同生命的历史一样久远,是个古老的话题。原始社会时期,疾病长期作为神的化身存在,代表着神灵对人的不满和惩罚。随着人们认知世界能力的增强,疾病的神秘性有所降低,然而,疾病的隐喻意义却并未消失,而是随着人们的认识变迁而逐渐泛化,渗透到人类社会的各个领域。文学中的疾病从来就不会仅仅等同于医学中所指的疾病,疾病的产生和发展被深深地打上了人类思维的印记,它的发展变迁与人类赖以生存的社会物质文化相互关联,相互影响,变成了承载社会文明、文化的载体,反映出作家同时代的社会风貌。近代以来,随着战争的频繁爆发、社会的转型变迁,城市化的进程,个人价值观与社会价值观之间的碰撞,个人与个人之间利益发生抵触,滋生出越来越多的社会问题,给人们的心身造成难以愈合的伤痛。于是,作为现实生活的投射,疾病意象越来越多的出现在现代、后现代文学作品中,疾病既是作家诠释世界、表达情感体验的工具,反之也是人们解读社会风貌及作家创作意识的一条通道。哈罗德·品特生长于二战时期,历经社会的转型动荡,作为犹太人后裔,他幼年时期便体验到了伦敦大轰炸等种种苦难,造成了他的心灵创伤及身份认同。荒诞派剧作家通常使用隐喻的表达手法展示心中的情感体验,既然品特被添列其中,那么以代表苦难的疾病的形式表达对社会的伤痛体验恰是水到渠成。疾病作为一种人生处境,与它存在的社会环境相互映衬。对疾病的关注体现了品特敏锐的观察意识与观察能力,对疾病的理解与体验渗透在他的大多数文学作品中,借助于承载着各种社会文化的疾病,品特成功地展现了同时代的社会历史、政治、宗教等文化状况,表达了自己对世界的认识,展现了自己的人文主义思想。
疾病意识贯穿于品特的各类作品中,包括诗歌、散文和戏剧。然而,由于戏剧公认为他最主要的成就,因而本文的研究也以他的戏剧作为主要研究对象。本文以医学理论作为划分基础,对品特戏剧中的疾病进行了详尽的梳理,并运用了精神分析法、叙事学、福柯身体政治、隐喻修辞、戏剧美学等理论,从品特戏剧中疾病对于品特戏剧创作以及剧情本身的推动、对于隐喻意义的传达、对于荒诞戏剧诗学功能的达成等几个方面展开探讨,试图深入品特戏剧的肌理,探索其戏剧诗学的构建思想及其社会意义。正文部分细致地考察了品特的具有较多疾病叙述的17部戏剧包括《房间》、《生日晚会》、《看管人》、《归家》、《微痛》、《家的声音》、《背叛》、《情人》、《一种阿拉斯加》、《温室》、《月光》、《茶会》、《山地语言》、《送行酒》、《归于尘土》、《新世界秩序》、《精确》等,同时还考察了他的部分诗歌如《英国中部的新年》、《战争》等,以及他的部分散文例如《茶会》等。论文分为五个部分,具体如下：
引言部分主要对品特及其作品的国内、外研究现状作了一个综合介绍,阐述了选题的缘由、本文的研究价值所在,并介绍了在研究分析品特戏剧的过程中所采用的研究方法,研究的重点、难点及作品的创新之处。这一部分意在为本文的生发进行阐释说明,并意图揭示全文的脉络概貌。
第一章首先展现了疾病叙述的演化变迁,并对品特戏剧中的众多的疾病进行了梳理,以医学理论为根据从生理疾病、精神疾病、损伤性疾病三个方面辨识剧作中的种种疾病,绘制出品特戏剧中的疾病图谱。品特戏剧中种类丰富的疾病让人深思其叙述动因,童年时代的品特经历了伦敦大轰炸,对于战争的残酷有了深入的理解；而作为犹太人后裔的身份认同,使得品特从小就体验到了社会的不公与生活的艰辛；嫉恶如仇的斗士性格更增加了他对弱小的同情以及对强权的愤恨。当然,疾病文学潮流尤其是同时代作家例如贝克特、卡夫卡等人对他的影响也起到了潜移默化的作用。以上这些因素形成合力,驱动品特将疾病选作他的作品构件。从后经典叙事学的观点来看,作者、文本以及读者之间是一个交流阐释的过程,在这个过程中,文本本身会产生动力,推动情节的发展、实现主题意义、强化人物塑造。品特戏剧中的疾病产生的不稳定性以及戏剧性生成所形成的张力,推动着剧情的发展,而疾病叙述视角与叙述声音的精心选取,有力地实现了主题意义的彰显。不仅如此,疾病叙述还推动了人物形象的塑造,展现了人物性格。
第二章指出品特的疾病产生于特定的社会历史语境,具有强大的社会文化隐喻功能。在品特的剧作中,疾病之苦难往往垂青于少数族裔人群,他们失明、失聪、失语,甚至还遭受肢体伤残或是灭顶之灾,这当然可追根溯源至品特的少数族裔身份,也与当代泛滥的种族歧视现象密切相关,疾病隐喻着少数族裔在当代社会的苦难生活。在尼采看来,上帝已经死亡,而存在主义先哲海德格尔则对人的生存目的深感困惑,弗洛伊德认为心理失常才是现代人的正常状态,在这些特定认识的影响下,品特在他的戏剧中,展现出众多心理变态的畸形人,他们扭曲了传统的爱情观、亲情观、扭曲了传统伦理道德观,人们信仰缺失、精神颓废,这是一个极端异化的世界,传统的仁爱宗教观念被消解了。疾病产生于身体,是身体的不正常现象,因而疾病政治其实也是一种身体政治。在宏观政治中,疾病被统治者所利用,在品特的戏剧中发挥了控制、规训、惩罚等功能,持异见者被视为他者,受到迫害、肢体损伤甚至死亡,弱者在国家权力的施行中致病、致死,遭受无情的践踏,疾病展现了不相和谐的国家权力关系。在微观政治中,疾病作为一种话语策略,被患者和非患者双方所利用,或是为了隐藏真实的目的,或是为了结成同盟以争夺生活中的种种利益,演绎出一场场看不见硝烟、却也惊心动魄的微观政治斗争,疾病展现了病态的社会个人关系。在女性政治中,疾病只是作为一种表象存在,病与不病其实是社会文化的反映,在女性看似喜欢受虐待的变态心理背后,其实映射出品特时期女性的生存状况。品特在他的剧作中还塑造出满目疮痍、肢体横陈的景象,这是残酷战争的威力与杰作,背后隐藏着作剧作家品特对战争的谴责与痛恨,也隐藏着他内心的伤痛。
第三章主要是对品特戏剧中疾病在构建荒诞诗学方面的功用进行了探讨。“不确定性”,以及“胁迫性”是品特戏剧的两个明显特征,是品特戏剧的核心风格。品特的戏剧不仅仅追求对白的韵律,还往往像诗歌一样只呈现意象,而不解释意象产生的原因。疾病强化了品特的“不确定性”这一戏剧特点,增加了文本的阐释可能。而疾病与生俱来的苦痛感觉,以及它存在的普遍性,再加上品特剧作中的疾病与暴力联姻,往往形成于暴力,同时又因为疾病所产生的社会效果,强化了品特戏剧的胁迫性。审丑就是审美,对丑的张扬产生了讽刺效果,疾病是人的非正常状态,而荒诞则是社会的不正常状态,对于作为“丑”的疾病的张扬展现了社会的荒诞,助力于品特实现讽刺社会现实的目的。疾病在达成品特的戏剧性、形成戏剧张力上功不可没,戏剧性的生成宣泄了观众的情感,也是剧作家品特对于他者地位的自我宣泄。
文章最后是结语部分。通过研究发现,疾病是剧作家品特对于生活的强烈心理体验,在构建品特的戏剧诗学方面作用显著,是品特戏剧中表现形式最为丰富、象征意义最为广泛、表达力最强、最为活跃的元素之一。而疾病的丰富性、暴力性、政治隐喻性等因素又使得品特的疾病应用在同时代的剧作家中独树一帜,既突出了品特的个人风格,又丰富了荒诞戏剧的建构形式。从社会学的角度看,疾病既是个人的,也是社会的,品特的疾病叙述映衬出社会的现实状况。如果说早期的传统剧作家认为戏剧能够进行道德教化,那么现代剧作家们则认为戏剧能够探寻或是指出人类的复杂性进而治疗自身或观众的心灵疾病,因而,疾病叙述在助力品特抒发自身情感体验的同时,客观上还起到了“揭示病痛、疗救众生”的效用,反映了剧作家高超的艺术技巧及浓浓的人文主义情怀。
The history of illness is as long as human history, which has been a hot topic since ancient time. In the primitive society, illness was regarded as the symbol of the gods. With man's increasing ability to understand the outside world, the mystery of illness gradually decreased. As the cognitive abilities of human beings were strengthened, the mystery of illness faded. However, the metaphorical meaning of illness has never been obliterated, and it becomes extensively acknowledged, instilling into various domains of human society. The meanings of illness in literature differ from those in medicine. The emergence and development of illness's connotation has been deeply marked by human traces. Its evolution is intertwined with the material culture of human society. Therefore, illness has been regarded as the carrier of civilization and culture, and it reflects the contemporary social outlook of the writers. In modern times, the frequent outbreak of wars, the transition of society, and the process of urbanization gave rise to the collision of different values and conflicts of personal interests, which initiated a series of social problems, and they, in return, caused lots of pains and trauma. The images of illness, the projection of real life, are increasingly used in modern and postmodern literary works to interpret the world and to convey the writers'emotional experience, and used as a way to understand the social outlook as well as the writers'intention. Growing up in World War II, Harold Pinter witnessed the transformation and turmoil of the western society. As a descendant of the Jew, he experienced an amount of tribulations such as the London Blitz in his childhood, which left him with traumas and gave him a sense of identity. In the Theatre of the Absurd, metaphors are usually deployed to imply emotional experience. As an absurdist playwright, it is inevitable that Pinter should use illness to reveal the painfulness resulted from severe social conditions. As illness mirrors social background, Pinter's close attention to it shows that he is observant and insightful. Most of Pinter's works are imbedded with his personal experience and inspects of illness, and by using the cultural connotation of illness, Pinter demonstrated not only the historical, political, and religious aspects of his times, but also his understanding of the world and his humanist concerns.
Illness prevails in Pinter's different types of works including poetry, prose and drama. However, since drama is known as Pinter's most important achievement, this dissertation will focus on his drama. In this research, medical theory is used as a specific criterion for the categorization of the diseases in Pinter's plays. Besides, the theories of psychoanalysis, narratology, body politics, metaphorical rhetoric, and theatrical aesthetics are also applied to several aspects, including illness inspiring Pinter's creative motive, while pushing the plot itself forward, conveying the metaphorical meanings, giving political significance, as well as achieving the absurd dramatic poetics, which aims at exploring Pinter's theatrical technique and understanding the social significance of his plays. In the research, some specific analyses are given on Pinter's17plays related to illness narratives. The17plays include The Room, The Birthday Party, The Caretaker, The Homecoming, A Slight Ache, Family Voices, Betrayal, The Lover, A Kind of Alaska, The Hothouse, The Moonlight, Tea Party, Mountain Language, One for the Road, Ashes to Ashes, The New World Order, and Precisely. Meanwhile, the specific analyses are also given on Pinter's poems New Year in Midlands, The War and his prose The Party. The dissertation is composed of five parts as follows.
The first part is a literary review of Pinter and his works at home and abroad, which clearly states the reasons for this topic, the values of this study, and provides a description of the research methods, the focuses, the difficulties and the innovations in the process of research and analysis. This part is intended to give an explanation to Pinter's creative motives, as well as an overview to the structure of the dissertation.
The second part firstly gives an illustration of illness narratives in literary history. Based on medical theory, this chapter gives an analysis on the illness images in Pinter's plays, and divides them into three groups as physical illness, mental illness and injury. The various types of illnesses in Pinter's plays may arouse the readers' interest. It may be related to Pinter's life experience. In his childhood, Pinter witnessed the1940Bombing of London. Therefore he has a deep understanding of the brutality of the war. Having the identity as a Jewish descent, Pinter experienced the injustice and the hardship of life even when he was very young. The cynical attitude similar to a fighter adds more to his sympathy towards the weak, and to his resentment towards the powerful ruling classes. Besides, literary trend of illness, especially contemporary writers such as Samuel Becket, Franz Kafka also exert an influence on his writing. All these factors have formed a kind of synergy to drive Pinter to choose illness as his key component in his works. From the viewpoint of post-classical narratology, there is an interpretative and communicative process between authors, texts and readers. In this process, text itself may generate energy to promote the development of the plot, to realize the thematic significance and to strengthen the characterization. Both the instability generated in illness and the dramatic tension generated in theatricality push the plot forward. In addition, the subtle selection of narrative perspective of illness and narrative voice of illness also contributes to the realization of thematic significance. Moreover, the illness narratives promote the formation of characters' images and demonstrate their character.
The third part points out that since illness in Pinter's plays is generated in specific social and historical background, it is provided with strong function of metaphor. In Pinter's plays, the misery of illness is often fond of the ethnic minorities. They suffer from physical illness such as blindness, deafness, aphasia, as well as mental disease and even death, which can be traced to Pinter's identity as a minority, and is also closely related to the common race discrimination phenomena in contemporary western society. Illness is a metaphor of the miserable life of ethnic minorities. In Nietzche's view, God has died. To the Existentialism philosopher Heidegger, human's life purposes are confused. Freud believes that mental disease is the normal state of modern people. Attributed to the influence of the specific context, Pinter in his plays shows a number of psychopaths, who distort the traditional notion of love, family affection and ethical morality. In his plays, people lose their faith, and often their spirit is in decadence. In Pinter's view, the traditional religious notion of kindness and love has already been lost in this extremely alien world. As an abnormal phenomenon, illness is generated in people's bodies and is regarded as the dark side of life. Therefore, the politics of illness is actually the politics of the body. In macro-politics, illness is utilized by the ruling classes to control, discipline and punish the dissidents. Those victims are persecuted to be ill with limbs injured or even to be dead. In micro-politics, illness is utilized as a discourse strategy by both patients and healthy people to conceal their real purposes or to form alliances to compete the interests in daily life, which is a political struggle without declaration, but also thrilling. In female politics, illness exists only as a representation. Being ill or not ill is actually determined by social culture. The disease of sadomasochism is the projection of the real life of female in Pinter's times. In his plays, Pinter also shapes scenes with lots of ruins and wounded limbs and bodies, which are attributed to the brutalization of war. Through these injuries, Pinter expresses not only his condemnation and resentment towards war, but also emotional pains and wounds in his heart.
The fourth part mainly focuses on the discussion of the relationship between illness and poetics of the Absurd."Uncertainty" and "threat" are two distinct features and the main styles in Pinter's plays. Not just pursuing the rhythm of the dialogues, Pinter also intends to make his plays similar to poetry which merely presents image, but not with any explanation. Illness has strengthened the feature of uncertainty and increased the possibilities of interpretation. Meanwhile, the illness's feeling of misery, its universality, its relation to violence, coupled with its social effect adds more atmosphere of threat to Pinter's plays. Sometimes, to appreciate ugliness is to appreciate beauty. To make illness public engenders the allegory effect. Illness, the abnormal state of human is similar to the absurd, the abnormal state of society. To make illness, which is regarded as ugliness widely known is intended to reveal the absurdity of the society and to satirize the society. Illness plays an important role in achieving theatricality and dramatic tension, which finally contributes to the dramatic effect of catharsis, and which not only clarify the audience's emotion, but also the playwright Pinter's emotion.
Through the research, one conclusion can be drawn that illness is Pinter's strong psychological experience of life, which plays an important role in Pinter's dramatic poetics and is one element which has a surprising variety of types, a wide range of symbolic meanings, and which is also quite expressive and active. The various types of illness, its violent quality and its political metaphorical quality make Pinter's illness application unique in the contemporary theatre, which on one hand highlights Pinter's personal style, on the other hand enriches the poetical forms of the Theatre of the Absurd. In the viewpoint of sociology, illness is related to both the individual and society. Therefore, Pinter's illness narratives are the reflection of social reality. Compared to the traditional playwrights who believed that drama could be used as moralization, playwrights in modern times believe that drama can be used to explore the complexity of human beings, then as a mental treatment to cure audience and themselves. Therefore, illness, while helping Pinter to express his emotion, actually plays another role of revealing sufferings, pains and finally instructing the audiences and readers, which is also a symbol of Pinter's superb artistic skills and his strong sense of humanism.
疾病意识贯穿于品特的各类作品中,包括诗歌、散文和戏剧。然而,由于戏剧公认为他最主要的成就,因而本文的研究也以他的戏剧作为主要研究对象。本文以医学理论作为划分基础,对品特戏剧中的疾病进行了详尽的梳理,并运用了精神分析法、叙事学、福柯身体政治、隐喻修辞、戏剧美学等理论,从品特戏剧中疾病对于品特戏剧创作以及剧情本身的推动、对于隐喻意义的传达、对于荒诞戏剧诗学功能的达成等几个方面展开探讨,试图深入品特戏剧的肌理,探索其戏剧诗学的构建思想及其社会意义。正文部分细致地考察了品特的具有较多疾病叙述的17部戏剧包括《房间》、《生日晚会》、《看管人》、《归家》、《微痛》、《家的声音》、《背叛》、《情人》、《一种阿拉斯加》、《温室》、《月光》、《茶会》、《山地语言》、《送行酒》、《归于尘土》、《新世界秩序》、《精确》等,同时还考察了他的部分诗歌如《英国中部的新年》、《战争》等,以及他的部分散文例如《茶会》等。论文分为五个部分,具体如下：
引言部分主要对品特及其作品的国内、外研究现状作了一个综合介绍,阐述了选题的缘由、本文的研究价值所在,并介绍了在研究分析品特戏剧的过程中所采用的研究方法,研究的重点、难点及作品的创新之处。这一部分意在为本文的生发进行阐释说明,并意图揭示全文的脉络概貌。
第一章首先展现了疾病叙述的演化变迁,并对品特戏剧中的众多的疾病进行了梳理,以医学理论为根据从生理疾病、精神疾病、损伤性疾病三个方面辨识剧作中的种种疾病,绘制出品特戏剧中的疾病图谱。品特戏剧中种类丰富的疾病让人深思其叙述动因,童年时代的品特经历了伦敦大轰炸,对于战争的残酷有了深入的理解；而作为犹太人后裔的身份认同,使得品特从小就体验到了社会的不公与生活的艰辛；嫉恶如仇的斗士性格更增加了他对弱小的同情以及对强权的愤恨。当然,疾病文学潮流尤其是同时代作家例如贝克特、卡夫卡等人对他的影响也起到了潜移默化的作用。以上这些因素形成合力,驱动品特将疾病选作他的作品构件。从后经典叙事学的观点来看,作者、文本以及读者之间是一个交流阐释的过程,在这个过程中,文本本身会产生动力,推动情节的发展、实现主题意义、强化人物塑造。品特戏剧中的疾病产生的不稳定性以及戏剧性生成所形成的张力,推动着剧情的发展,而疾病叙述视角与叙述声音的精心选取,有力地实现了主题意义的彰显。不仅如此,疾病叙述还推动了人物形象的塑造,展现了人物性格。
第二章指出品特的疾病产生于特定的社会历史语境,具有强大的社会文化隐喻功能。在品特的剧作中,疾病之苦难往往垂青于少数族裔人群,他们失明、失聪、失语,甚至还遭受肢体伤残或是灭顶之灾,这当然可追根溯源至品特的少数族裔身份,也与当代泛滥的种族歧视现象密切相关,疾病隐喻着少数族裔在当代社会的苦难生活。在尼采看来,上帝已经死亡,而存在主义先哲海德格尔则对人的生存目的深感困惑,弗洛伊德认为心理失常才是现代人的正常状态,在这些特定认识的影响下,品特在他的戏剧中,展现出众多心理变态的畸形人,他们扭曲了传统的爱情观、亲情观、扭曲了传统伦理道德观,人们信仰缺失、精神颓废,这是一个极端异化的世界,传统的仁爱宗教观念被消解了。疾病产生于身体,是身体的不正常现象,因而疾病政治其实也是一种身体政治。在宏观政治中,疾病被统治者所利用,在品特的戏剧中发挥了控制、规训、惩罚等功能,持异见者被视为他者,受到迫害、肢体损伤甚至死亡,弱者在国家权力的施行中致病、致死,遭受无情的践踏,疾病展现了不相和谐的国家权力关系。在微观政治中,疾病作为一种话语策略,被患者和非患者双方所利用,或是为了隐藏真实的目的,或是为了结成同盟以争夺生活中的种种利益,演绎出一场场看不见硝烟、却也惊心动魄的微观政治斗争,疾病展现了病态的社会个人关系。在女性政治中,疾病只是作为一种表象存在,病与不病其实是社会文化的反映,在女性看似喜欢受虐待的变态心理背后,其实映射出品特时期女性的生存状况。品特在他的剧作中还塑造出满目疮痍、肢体横陈的景象,这是残酷战争的威力与杰作,背后隐藏着作剧作家品特对战争的谴责与痛恨,也隐藏着他内心的伤痛。
第三章主要是对品特戏剧中疾病在构建荒诞诗学方面的功用进行了探讨。“不确定性”,以及“胁迫性”是品特戏剧的两个明显特征,是品特戏剧的核心风格。品特的戏剧不仅仅追求对白的韵律,还往往像诗歌一样只呈现意象,而不解释意象产生的原因。疾病强化了品特的“不确定性”这一戏剧特点,增加了文本的阐释可能。而疾病与生俱来的苦痛感觉,以及它存在的普遍性,再加上品特剧作中的疾病与暴力联姻,往往形成于暴力,同时又因为疾病所产生的社会效果,强化了品特戏剧的胁迫性。审丑就是审美,对丑的张扬产生了讽刺效果,疾病是人的非正常状态,而荒诞则是社会的不正常状态,对于作为“丑”的疾病的张扬展现了社会的荒诞,助力于品特实现讽刺社会现实的目的。疾病在达成品特的戏剧性、形成戏剧张力上功不可没,戏剧性的生成宣泄了观众的情感,也是剧作家品特对于他者地位的自我宣泄。
文章最后是结语部分。通过研究发现,疾病是剧作家品特对于生活的强烈心理体验,在构建品特的戏剧诗学方面作用显著,是品特戏剧中表现形式最为丰富、象征意义最为广泛、表达力最强、最为活跃的元素之一。而疾病的丰富性、暴力性、政治隐喻性等因素又使得品特的疾病应用在同时代的剧作家中独树一帜,既突出了品特的个人风格,又丰富了荒诞戏剧的建构形式。从社会学的角度看,疾病既是个人的,也是社会的,品特的疾病叙述映衬出社会的现实状况。如果说早期的传统剧作家认为戏剧能够进行道德教化,那么现代剧作家们则认为戏剧能够探寻或是指出人类的复杂性进而治疗自身或观众的心灵疾病,因而,疾病叙述在助力品特抒发自身情感体验的同时,客观上还起到了“揭示病痛、疗救众生”的效用,反映了剧作家高超的艺术技巧及浓浓的人文主义情怀。
The history of illness is as long as human history, which has been a hot topic since ancient time. In the primitive society, illness was regarded as the symbol of the gods. With man's increasing ability to understand the outside world, the mystery of illness gradually decreased. As the cognitive abilities of human beings were strengthened, the mystery of illness faded. However, the metaphorical meaning of illness has never been obliterated, and it becomes extensively acknowledged, instilling into various domains of human society. The meanings of illness in literature differ from those in medicine. The emergence and development of illness's connotation has been deeply marked by human traces. Its evolution is intertwined with the material culture of human society. Therefore, illness has been regarded as the carrier of civilization and culture, and it reflects the contemporary social outlook of the writers. In modern times, the frequent outbreak of wars, the transition of society, and the process of urbanization gave rise to the collision of different values and conflicts of personal interests, which initiated a series of social problems, and they, in return, caused lots of pains and trauma. The images of illness, the projection of real life, are increasingly used in modern and postmodern literary works to interpret the world and to convey the writers'emotional experience, and used as a way to understand the social outlook as well as the writers'intention. Growing up in World War II, Harold Pinter witnessed the transformation and turmoil of the western society. As a descendant of the Jew, he experienced an amount of tribulations such as the London Blitz in his childhood, which left him with traumas and gave him a sense of identity. In the Theatre of the Absurd, metaphors are usually deployed to imply emotional experience. As an absurdist playwright, it is inevitable that Pinter should use illness to reveal the painfulness resulted from severe social conditions. As illness mirrors social background, Pinter's close attention to it shows that he is observant and insightful. Most of Pinter's works are imbedded with his personal experience and inspects of illness, and by using the cultural connotation of illness, Pinter demonstrated not only the historical, political, and religious aspects of his times, but also his understanding of the world and his humanist concerns.
Illness prevails in Pinter's different types of works including poetry, prose and drama. However, since drama is known as Pinter's most important achievement, this dissertation will focus on his drama. In this research, medical theory is used as a specific criterion for the categorization of the diseases in Pinter's plays. Besides, the theories of psychoanalysis, narratology, body politics, metaphorical rhetoric, and theatrical aesthetics are also applied to several aspects, including illness inspiring Pinter's creative motive, while pushing the plot itself forward, conveying the metaphorical meanings, giving political significance, as well as achieving the absurd dramatic poetics, which aims at exploring Pinter's theatrical technique and understanding the social significance of his plays. In the research, some specific analyses are given on Pinter's17plays related to illness narratives. The17plays include The Room, The Birthday Party, The Caretaker, The Homecoming, A Slight Ache, Family Voices, Betrayal, The Lover, A Kind of Alaska, The Hothouse, The Moonlight, Tea Party, Mountain Language, One for the Road, Ashes to Ashes, The New World Order, and Precisely. Meanwhile, the specific analyses are also given on Pinter's poems New Year in Midlands, The War and his prose The Party. The dissertation is composed of five parts as follows.
The first part is a literary review of Pinter and his works at home and abroad, which clearly states the reasons for this topic, the values of this study, and provides a description of the research methods, the focuses, the difficulties and the innovations in the process of research and analysis. This part is intended to give an explanation to Pinter's creative motives, as well as an overview to the structure of the dissertation.
The second part firstly gives an illustration of illness narratives in literary history. Based on medical theory, this chapter gives an analysis on the illness images in Pinter's plays, and divides them into three groups as physical illness, mental illness and injury. The various types of illnesses in Pinter's plays may arouse the readers' interest. It may be related to Pinter's life experience. In his childhood, Pinter witnessed the1940Bombing of London. Therefore he has a deep understanding of the brutality of the war. Having the identity as a Jewish descent, Pinter experienced the injustice and the hardship of life even when he was very young. The cynical attitude similar to a fighter adds more to his sympathy towards the weak, and to his resentment towards the powerful ruling classes. Besides, literary trend of illness, especially contemporary writers such as Samuel Becket, Franz Kafka also exert an influence on his writing. All these factors have formed a kind of synergy to drive Pinter to choose illness as his key component in his works. From the viewpoint of post-classical narratology, there is an interpretative and communicative process between authors, texts and readers. In this process, text itself may generate energy to promote the development of the plot, to realize the thematic significance and to strengthen the characterization. Both the instability generated in illness and the dramatic tension generated in theatricality push the plot forward. In addition, the subtle selection of narrative perspective of illness and narrative voice of illness also contributes to the realization of thematic significance. Moreover, the illness narratives promote the formation of characters' images and demonstrate their character.
The third part points out that since illness in Pinter's plays is generated in specific social and historical background, it is provided with strong function of metaphor. In Pinter's plays, the misery of illness is often fond of the ethnic minorities. They suffer from physical illness such as blindness, deafness, aphasia, as well as mental disease and even death, which can be traced to Pinter's identity as a minority, and is also closely related to the common race discrimination phenomena in contemporary western society. Illness is a metaphor of the miserable life of ethnic minorities. In Nietzche's view, God has died. To the Existentialism philosopher Heidegger, human's life purposes are confused. Freud believes that mental disease is the normal state of modern people. Attributed to the influence of the specific context, Pinter in his plays shows a number of psychopaths, who distort the traditional notion of love, family affection and ethical morality. In his plays, people lose their faith, and often their spirit is in decadence. In Pinter's view, the traditional religious notion of kindness and love has already been lost in this extremely alien world. As an abnormal phenomenon, illness is generated in people's bodies and is regarded as the dark side of life. Therefore, the politics of illness is actually the politics of the body. In macro-politics, illness is utilized by the ruling classes to control, discipline and punish the dissidents. Those victims are persecuted to be ill with limbs injured or even to be dead. In micro-politics, illness is utilized as a discourse strategy by both patients and healthy people to conceal their real purposes or to form alliances to compete the interests in daily life, which is a political struggle without declaration, but also thrilling. In female politics, illness exists only as a representation. Being ill or not ill is actually determined by social culture. The disease of sadomasochism is the projection of the real life of female in Pinter's times. In his plays, Pinter also shapes scenes with lots of ruins and wounded limbs and bodies, which are attributed to the brutalization of war. Through these injuries, Pinter expresses not only his condemnation and resentment towards war, but also emotional pains and wounds in his heart.
The fourth part mainly focuses on the discussion of the relationship between illness and poetics of the Absurd."Uncertainty" and "threat" are two distinct features and the main styles in Pinter's plays. Not just pursuing the rhythm of the dialogues, Pinter also intends to make his plays similar to poetry which merely presents image, but not with any explanation. Illness has strengthened the feature of uncertainty and increased the possibilities of interpretation. Meanwhile, the illness's feeling of misery, its universality, its relation to violence, coupled with its social effect adds more atmosphere of threat to Pinter's plays. Sometimes, to appreciate ugliness is to appreciate beauty. To make illness public engenders the allegory effect. Illness, the abnormal state of human is similar to the absurd, the abnormal state of society. To make illness, which is regarded as ugliness widely known is intended to reveal the absurdity of the society and to satirize the society. Illness plays an important role in achieving theatricality and dramatic tension, which finally contributes to the dramatic effect of catharsis, and which not only clarify the audience's emotion, but also the playwright Pinter's emotion.
Through the research, one conclusion can be drawn that illness is Pinter's strong psychological experience of life, which plays an important role in Pinter's dramatic poetics and is one element which has a surprising variety of types, a wide range of symbolic meanings, and which is also quite expressive and active. The various types of illness, its violent quality and its political metaphorical quality make Pinter's illness application unique in the contemporary theatre, which on one hand highlights Pinter's personal style, on the other hand enriches the poetical forms of the Theatre of the Absurd. In the viewpoint of sociology, illness is related to both the individual and society. Therefore, Pinter's illness narratives are the reflection of social reality. Compared to the traditional playwrights who believed that drama could be used as moralization, playwrights in modern times believe that drama can be used to explore the complexity of human beings, then as a mental treatment to cure audience and themselves. Therefore, illness, while helping Pinter to express his emotion, actually plays another role of revealing sufferings, pains and finally instructing the audiences and readers, which is also a symbol of Pinter's superb artistic skills and his strong sense of humanism.
引文
① 美国约翰·霍普金斯大学医学史研究所学者亨利·欧内斯特·西格里斯特指出：“疾病不仅遍及整个文明史,而且早在人类出现很久之前就已普遍存在,动物有机体也存在着炎症、肿瘤等。因而,疾病就像生命的历史一样古老。”详见亨利·欧内斯特·西格里斯特,《疾病的文化史》,秦传安译。北京：中央编译出版社,2009,第2页。
① 弗·沃尔夫,《论生病》,选自林石编：《疾病的隐喻》。广州：花城出版社,2003,第60页。
① 罗明洲,《现代主义与后现代主义》。北京：中国国际广播出版社,2005,第113页。
② Martin Esslin. Pinter, the Playwright. London:Methuen Ltd.,1982, p.261.
③ Harold Pinter. http://www.haroldpinter.org/home/index.shtml. Web.1 Jan.2012.
① John Louis Digaetani. Stage of Struggle:Modern Playwrights and Their Psychological Inspirations. London:Mcfarland & Company, Inc.,2008, p.94.
② R. Thomas Johnson. Harold Pinter:Poet of Anxiety. Diss. University of Delaware,1985, p.259.
③ 王燕,“论品特戏剧里的疾病”,《当代外国文学》,2(2008)：72-79。
① John Louis Digaetani. Stages of Struggle:Modern Playwrights and Their Psychological Inspirations. London:Mcfarland and Company, Inc.,2008, p.7.
② Harold Pinter. http://www.haroldpinter.org/home/index.shtml. Web.1 Jan.2012.
③ D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p.15.
④ Lois Gordon. "Geneal Editor's Note." Pinter at 70:A Casebook. New York:Routledge,2001, p. ix.
① 哈罗德·品特,《归于尘土》,华明译。南京：译林出版社。2010,第1页。
② 同上,第2页。
② 同上,第1页。
③ 陈宏薇,《战后英国戏剧中的哈罗德·品特》。北京：对外经济贸易大学,2007,第52页。
④ Harold Pinter. "Writing for Myself." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.vii.
① Mel Gussow. Conversation with Pinter, New York:Limelight Edition,1994, p.19.
② D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p.29.
① Kimball King. Modern Dramatist:A Casebook of Major British, Irish, and American Playwrights. New York:Rouledge,2001, p.168.
② Margaret Drabble. The Oxford Companion to English Literature. Oxford:Oxford Publish House, 1993, p.793.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.235.
① See Francesca Coppa. "The Sacred Joke:Comedy and Politics in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.44.
② Ibid., p.55.
① Quoted by Michael Billington.The Life and Work of Harold Pinter.London:Faber and Faber, 1996,p.84.
② Ibid.,p.84.
③ Ibid.,p.84.
④ Ib.d.,p.84.
⑤ Ibid.,p.84.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.85.
② Mel Gussow. Conversation with Pinter. New York:Limelight Edition,1994, p.19.
③ Malcolm Page, ed. File on Pinter. London:Methuen Drama,1993, p.14.
④ Ibid., p.60.
⑤ Tom Megrath. "Peace News." File on Pinter. Ed. Malcolm Page. London:Methuen Drama,1993, p.34.
① Steven H. Gale. "Harold Pinter, Screen Writer:an Overview." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.90.
② Dominic Shellard. British Theatre since the War. Connecticut:Yale University Press,2000, p.93.
③ Steven E. Gale. "Harold Pinter." British Playwrights:1956-1995. Ed. William W. Demastes. London:Greenwood Press,1996, p.316.
④ Michelen Wandor. Postwar British Drama:Look Back in Gender. London:Routledge,2001, p.91.
⑤ Simon Trussler. New Theatre Voices of the Seventies. London:Eyre Methuen,1981, p.84.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.9.
② D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p.17.
③ Elizabeth Sakellaridou. Pinter's Female Portraits. London:Macmillan Press,1988, p.6.
④ Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan Press, 1994, p.7.
⑤ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.25.
⑥ Austin Quigley. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.9.
① Mireia Aragay. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.256.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.263.
③ Ibid, p.264.
④ Francesca Coppa. "The Sacred Joke:Comedy and Politics in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.44.
⑤ Leslie Kane. The Art of Crime:The Plays and the Films of Harold Pinter and David Mamet. New York:Routledge,2004, p.4.
① Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.52.
② Peter Raby. "Tales of the City:Some Places and Voices in Pinter's Plays." The Cambridge Companion to Harold Pinter. Cambridge:Cambridge University Press,2001, p.70.
③ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.391.
④ Penelop Prentice. Harold Pinter:Life, Work and Criticism. Friderieton:York Press Ltd.,1999, p.33.
⑤ Guido Almansi. "Harold Pinter's Idiom of Lies." Contemporary English Drama. Ed. C. W. E. Bigsby. New York:Holmes & Meier Publishers, Inc.,1981, p.79.
① Steven H. Gale. Sharp Cut:Harold Pinter's Screenplays and the Artistic Process. Kentucky:The University Press of Kentucky,2003, p.12.
② Ruby Cohn. "The World of Harold Pinter." The Tulane Drama Review, Vol.6, No.3 (Mar.1962): 55-68.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.235.
① 申丹,王丽亚,《西方叙事学：经典与后经典》。北京：北京大学出版社,2010,第6
① 在英语中,"illness"与"disease"的定义有所不同,illness的意义所指更加宽泛,泛指人体或思维上各种偏离了常规行为或状态的不正常现象,而‘'disease通常是指生物医学上的疾病,"illness包含了"disease"而不仅仅指‘'Disease"。See "Disease." The Oxford English Dictionary.2nd ed.2004; See also "Illness." The Oxford English Dictionary.2nd ed.2004.
② "Narrative." Def.l. The Oxford English Dictionary.2nd ed.2004.
③ Arthur Kleinman. The Illness Narratives:Suffering, Healing and Human Condition. New York: Perseus Books Group,1988, p.3.
④ 亨利·欧内斯特·西格里斯特,《疾病的文化史》,秦传安译,北京：中央编译出版社,2009,第2页。
⑤ 罗伊·波特,《剑桥医学史》,张大庆译。长春：吉林人民出版社,2000,第15页。
① 柏拉图,《蒂迈欧篇》,陈村富等编《古希腊名著精要》。杭州：浙江人民出版社,1989,第117页。
② 亚里士多德,《形而上学》,吴寿彭译。北京：商务印书馆,1995,第226页。
③ 亚里士多德,《范畴篇解释篇》,方书春译。上海：上海三联书店,2011,第31页。
① The Holy Bible. The Authorized King James Version. Salt Lake City:Deseret Book Company,1859.所引《圣经》文字均出自此版本,此后只标明书名及页码,不再另行加注,《圣经》的译文参考了中国基督教协会2003年版的《圣经》译文。
② Giovanni Boccaccio. The Decameron. Trans. G. H. Mcwilliam. New York:Penguin Books Ltd., 1972, p.12.
① 塞万提斯·萨维德拉,《堂吉诃德》,屠孟超译。南京：译林出版社,2011,第910页。
② Clark Lawlor. Consumption and Literature:The Making of the Romantic Disease. New York: Palgrave Macmillan,2007, p.15.
① Quoted by Clark Lawlor. Consumption and Literature:The Making of the Romantic Disease. New York:Palgrave Macmillan,2007, p.111.
② Edgar Allan Poe. "Metzengerstein." Great Short Works of Edgar Allan Poe:Poems, Tales, Criticism. New York:Harper Perennial,2004, p.95.
③ Susan Sontag. Illness as Metaphor and AIDS and Its Metaphors. New York:Penguin Groups, 2002, p.14.
① 把艾略特所言,他的《荒原》创作灵感来源于《金枝》一文,受到了《金枝》中受到创伤,丧失了生殖能力的渔王所统治下荒芜的王国所启发。而《荒原》中缺乏生育能力的老妇、伦敦的死者等意象皆与疾病相关。See T. S. Eliot. "The Waste Land." T.S. Eliot:The Complete Poems and Plays. New York:Harcourt Brace and Company,1952, p.50.
① Quoted by Susan Santag Illness as Metaphor and AIDS and Its Metaphors. New York:Penguin Groups,2002, p.77.
② Jennifer Cook. Legacies of Plague in Literature:Theory and Film. New York:Palgrave Macmillan,2009, p.116.
③ 余凤高,《疾病阅读史》。上海：复旦大学出版社,2010,第52页。
④ Jennifer Cook. Legacies of Plague in Literature:Theory and Film. New York:Palgrave Macmillan,2009, p.1.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.75.
② Eugene Ionesco. "The Bald Soprano" The Bald Soprano and Other Plays. Trans. Donald M. Allen. New York:Grove Press,1994, p.4.
① Eugene Ionesco. "The Bald Soprano" The Bald Soprano and Other Plays. Trans. Donald M. Allen. New York:Grove Press,1994, p.5.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.94.
② Ibid., p.93.
③ 涂通今编：《现代医学百科辞典》。北京：万国学术出版社,1992,第705页。
④ 同上,第893页。
⑤ 同上,第716页。
① “失明症”、“失语症”的划分方法参考了于燕的《论品特戏剧里的疾病》一文。
① 刘新民,李建民,《变态心理学》。北京：中国医药科技出版社,2005,第97页。
② 同上,第99页。
③ 同上,第220页。
① 刘新民,李建民,《变态心理学》。北京：中国医药科技出版社,2005,第121页。
② 同上,第122页。
① Horace. "Art of Poetry." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.85.
② Longinus. "On the Sublime." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.98.
③ T. S. Eliot. "Tradition and the Individual Talent." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.808.
④ Wayne Booth. The Rhetoric of Fiction. Chicago:University of Chicago,1961, p.71.
⑤ Seymour Chatman. Story and Discourse:Narrative Structure in Fiction and Film. Ithaca: Cornell U.P.1978, p.151.
① Roland Barthes. The Death of the Author in Image, Music, Text, Trans. Stephen Heath. New York: Hill and Wang,1977, p.145.
② 金元浦,“本文中心论的衰落——现代西方文学批评史的一次重大转折”,《学术论丛》,4(1992)：67-72。
③ 米歇尔·福柯,《作者是什么?》,选自王潮编：《后现代主义的突破：外国后现代主义理论》。兰州：敦煌文艺出版社,1996年,第272页。
① 哈罗德·品特,《艺术、真理和政治》,选自邓中良编：《品品特》。武汉：长江文艺出版社,2006,第10页。
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.293.
③ Martin Esslin. "Creative Process and Meaning." Pinter at 70:A Casebook. Ed. Lois Gordon. New York:Routledge,2001, p.6.
④ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.68.
① 亨利·欧内斯特·西格里斯特：《疾病的文化史》,秦传安译。北京：中央编译出版社,2009,第167页。
② Harold Pinter. "A Kind of Alaska." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.149.
① Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.14.
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.5.
③ Ibid., p.5.
④ Ibid., p.5.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.6.
② Antonia Fraser. Must You Go? My Life with Harold Pinter. New York:Doubleday,2010, p.129.
③ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.8.
④ Ibid., p.8.
⑤ Ibid., p.6.
① Harold Pinter. "Writing, Politics and Ashes to Ashes." Haorld Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.69.
② Lawrence Bensky. "Harold Pinter." Writers at work:the Paris Review Interviews. Ed. George Plimpton. New York:Viking Press,1967, p.363.
① Antonia Fraser. Must You Go? My Life with Harold Pinter. New York:Doubleday,2010, P.137.
② 西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京：商务印书馆,1997,第216页。
③ See John Louis Digaetani. Stage of Struggle:Modern Playwrights and Their Psychological Inspirations. London:Mcfarland & Company, Inc.,2008, p.94.
④ 亚历山大·蒲柏,《论疾病》,选自林石编：《疾病的隐喻》。广州：花城出版社,2003,第57页。
① Sigmund Freud. "Creative Writers and Daydreaming." Freud on the Psychology of Ordinary Mental Life. Ed. Susan Sugarman. Maryland:The Rowman and Littlefield Publishing Group, 2010, p.212.
② Mal Gussow. Conversation with Pinter. "New York:Limelight,1994, p.71.
③ Susan Hollis Merritt. "Pinter and Politics." Pinter at 70:A Casebook. Ed. Lois Gordon. London: Routledge, p.130.
④ Lois Gordon. "Preface." Pinter at 70:A Casebook. New York:Routledge,2001, p.xi.
① 哈罗德·品特：《艺术、真理和政治》,选自邓中良著：《品品特》。武汉：长江文艺出版社,2006,第7页。
② 同上,第19页。
③ 同上,第19页。
④ Harold Pinter. "Larry Adler Kicks Pinter's Ass." The Guardian, (17 Apr.1999):21.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.21.
② Ibid.,p.22.
③ Ibid., p.23.
④ Austin Quigley. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.9.
⑤ Harry Derbyshire. "Pinter as Celebrity." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.231.
① Harold Pinter. "A Note on Shakespeare." Pinter:A Study of His Plays. Ed. Martin Esslin. London: Ryre Methuen,1977, p.54.
② Ibid., p.55.
③ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.43.
① Quoted by Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.40.
② Ibid, p.40.
③ Harold Bloom. A Map of Misreading. New York:Oxford University Press,1975,p.1.
④ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.61.
① Franz Kafka. A Hunger Artist. Prague:Twisted Spoon Press,1996, p.5.
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译。北京：北京大学出版社,2002,第11页。
② 同上,第23页。
③ 同上,第23页。
④ 同上,第25页。
⑤ 同上,第113页。
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译。北京：北京大学出版社,第111页。
② 同上,第63页。
① 罗兰·巴特,《叙事作品结构分析导论》,选自张寅德编：《叙述学研究》。北京：中国社会科学出版社,1989,第2页。
②部分学者认为,由于戏剧主要由对话组成,缺少文字叙述部分,因而叙事研究不适宜于戏剧。这一认识可能过于片面,国内学者例如申丹在她的著作《西方叙事学：经典与后经典》第257页“戏剧叙事”一节,就对戏剧叙事作了介绍。苏永旭的1996年国家哲学社会科学项目《戏剧叙事研究》(96CWW006)课题研究成果——专著《戏剧叙事研究》也是戏剧叙事方面的研究,详见苏永旭,《戏剧叙事研究》。北京：中国戏剧出版社,2004。
③ Harold Pinter. "A Speech for the 1970 German Shakespeare Prize." Harold Pinter:Plays Three. London:Faber and Faber,1991, p.3.
④ Harold Pinter. "Letter to Peter Wood." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.8.
① Aristotle. "Poetics." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.55.
② Ibid, p.56.
③ J.希利斯·米勒, 《解读叙事》,中丹泽。北京：北京大学出版社,2002,第55页。
④ 李裴,《小说结构审美》。贵阳：贵州人民出版社,2003,第74页。
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译,北京：北京大学出版社,2002,第63页。
② Aristotle. "Poetics." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.56.
① J.希利斯·米勒, 《解读叙事》,申丹译。北京：北京大学出版社,2002,第66页。
② 孟繁华, 《叙事的艺术》。北京：中国文联出版公司,1989,第122页。
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1996, p.54.
② Ibid., p.55.
① J.希利斯·米勒, 《解读叙事》,中丹译。北京：北京大学出版社,2002,第76页。
② Aristotle. "Poetics." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.56.
③ 转引自J.希利斯·米勒, 《解读叙事》,中丹译。北京：北京大学出版社,2002,第50
① 哈罗德·品特,《艺术、真理和政治》,选自邓中良著：《品品特》。武汉：长江文艺出版社,2006,第10页。
① Harold Pinter.Poems and Prose:1949-1977.New York:Grove Press,1978,p.1.
② 赫伯特·马尔库赛,“当代工业社会的攻击性”,《哲学译丛》,(6)1978：17-23。
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译。北京：北京大学出版社,2002,第35页。
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译。北京：北京大学出版社,2002,第21页。
② Harold Pinter. " Moonlight." Harold Pinter:Plays Three. London:Faber and Faber,1996, p.381.
① Harold Pinter." Moonlight." Harold Pinter:Plays Three. London:Faber and Faber,1996, p.383.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.244.
① Austin Quigley. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.17.
② 查尔斯·兰姆,《养疴记》,选自林石编：《疾病的隐喻》。广州：花城出版社,2003,第200页。
③ Susan Sontag. Illness as Metaphor and AIDS and Its Metaphors. New York:Penguin Groups, 2002, p.5.
① 余凤高, 《疾病阅读史》。上海：复旦大学出版社,2010,第63页。
② 同上,第65页。
③ 同上,第52页。
① Aristotle. "Poetics." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.63.
② Aristotle. On Rhetoric. Trans. George A. Kennedy. Oxford:Oxford University Press,2007, p.276.
③ 胡壮麟,《认知隐喻学》,北京：北京大学出版社,2004,第38页。
① 诺思洛普·弗莱,《神力的语言——“圣经文学”研究续编》。北京：社会科学文献出版社,2004,第13页。
② 弗雷德里克·杰姆逊, 《后现代主义与文化理论》,唐小兵译。北京：北京大学出版社,2005,第26页。
③ 安托南·阿尔托, 《残酷戏剧——戏剧及其重影》,桂裕芳泽。北京：中国戏剧出版社,2010,第102页。
① 杨文华,《西方戏剧导论》。北京：大众文艺出版社,1995,第319页。
② 王晓路,《文化批评关键词研究》。北京大学出版社,2007,第239页。
③ Raymond Williams. Keywords:A Vocabulary of Culture and Society. New York:Oxford University Press,1983, p.249.
④ "Racism." Def. la. The Oxford English Dictionary.2nd ed.2004.
① 转引自王晓路,《文化批评关键词研究》。北京大学出版社,2007,第241页。
① 易红郡,“英国的种族问题与种族教育”, 《教育史研究》,1(2004)：72-75。
② 同上,第72-75页。
① 洪霞, 《和平之途——当代世界移民问题与种族关系》。南京：南京出版社,2006,第83页。
② 同上,第85页。
③ 同上,第85页。
④ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.235.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.236.
② Ruby Cohn. "The World of Harold Pinter". The Tulane Drama Review, Vol.1, No.3 (Mar.1962): 55-68.
③ Ibid., p.55-68.
④ Harold Pinter. "The Room." Harold Pinter:Plays One. London:Faber and Faber,1991, p.85.
① Harold Pinter. "The Room." Harold Pinter:Plays One. London:Faber and Faber,1991, p.107.
② Ibid., p.110.
③ Ibid., p.110.
④ D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p.48.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.69.
② Allen David Prosser. "The Heartache and the Thousand Natural Shocks That Flesh Is Heir to " The Body Politics of Trauma in Pinter's The Dwarfs, The Room, A Slight Ache, and The Homecoming. Diss. Simon Fraser University,2005, p.59.
③ Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.73.
① 弗雷德里克·F·卡特赖特,迈克尔·比迪斯,《疾病改变历史》,陈仲丹译。济南：出东画报出版社,2004,第200页。
② 同上,第201页。
③ "Lice"是"Louse"的复数形式,See "Louse." Def. la. The Oxford English Dictionary.2nd ed. 2004.
① Catherine Reid Green. The Diseases of Listening in Early Modern England. Diss. Dalhousie University,2003, p.29.
① Harold Pinter. "The Birthday Party." Harold Pinter: Plays One. London: Faber and Faber, 1991, p.10.
② Ibid., p.39.
① Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.40.
① Harold Pinter."The Birthday Party."Harold Pinter:Plays One.London:Faber and Faber,1991, p.41.
② Ibid.,p.42.
① Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.42.
② Ibid., p.45.
① Harold Pinter."The Birthday Party."Harold Pinter:Plays One.London:Faber and Faber,1991, p.46.
② Ibid.,p.57.
③ Ibid.,p.44.
① Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.56.
② Ibid., p.46.
③ Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.40.
① "Brainwash." Def.1. The Oxford English Dictionary.2nd ed.2004.
② 多米尼科·斯垂德菲尔德,《洗脑术：思想控制的荒唐史》,张孝铮译。北京：中国青年出版社,2011,第367页。
③ 亚里士多德,《范畴篇解释篇》,方书春译。上海：上海三联书店,2011,第55页。
④ 王晓路,《文化批评关键词研究》。北京：北京大学出版社,2007,第195页。
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.309.
② Harold Pinter. "Mountain Language." Harold Pinter:Plays Two. London:Faber and Faber,1993, p.255.
③ 王晓路,《文化批评关键词研究》。北京大学出版社,2007,第17页。
④ 汪民安,《文化研究关键词》。南京：江苏人民出版社,2007,第342页。
⑤ 爱德华·W·萨义德,《文化与帝国主义》,李琨译。北京：三联书店,2003,第4页。
① Quoted by Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber, 1996,p.309.
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.70.
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1996, p.16.
② "Religion." Def.4a. The Oxford English Dictionary.2nd ed.2004.
① 在西方的《圣经》神学研究中,对于疾病是否是上帝带来的存在着激烈的争议。有些学者例如St. Basil认为,上帝是仁爱之善神,他是不可能带来的疾病的,在上帝造人过程中并未发现上帝对人施加了疾病；但另外一些学者例如Larchet却认为,上帝虽是仁爱之神,但上帝认为人类违逆了他的好意,拒绝了他的恩典,因而必须予以惩罚,疾病止是上帝的责罚。See Jean-Claude Larchet. The Theology of Illness. New York:St. Vladimir's Seminary Press,2002, p.24.
② Jean-Claude Larchet. The Theology of Illness. New York:St. Vladimir's Seminary Press,2002, p.24.
① James Aho and Kevin Aho. A Phenomenology of Sickness, Disease and Illness. New York: Roman & Littlefield Publishers, Inc.,2008, p.67文中疾病名称翻译参考了American Psychiatric Association. Diagnostic and Statistical Manual of Mental Disorders. Washington D. C.:American Psychiatric Publishing Inc.,2000.
② Ibid., p.65.
① 罗伊·波特,《剑桥医学史》,张大庆译。长春：吉林人民出版社,2000,第139页。
① Harold Pinter. "Ashes to Ashes." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.412.
② 西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京：商务印书馆,1997,第316页。
① 西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京：商务印书馆,1997,第319页。
② Harold Pinter. "Family Voices." Harold Pinter: Plays Four. London: Faber and Faber, 1993, p.145.
③ Ibid., p. 141.
① Harold Pinter."Family Voices."Harold Pinter:Plays.Four.London:Faber and Faber,1993, p.134.
② Ibid.,p.141.
③ Ibid.,p.147.
④ Ibid.,p.145.
① Harold Pinter. "The Lover." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.149.
② 邓中良,《品品特》。武汉：长江文艺出版社,2006,第94页。
① Alan D. Gilbert. The Making of Post-Christian Britain. London:Longman Group Limited,1980, p.77.
① 米歇尔·福柯,《规训与惩罚》,刘北成译。上海：三联书店,第27页。
② 同上,第30页。
③ 同上,第27页。
① Harod Pinter. "Writing for Myself." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.x.
② Harold Pinter. "A Play and Its Politics." One for the Road. New York:Grove Press,1986, p.12.
③ Francesca Coppa. "The Sacred Joke:Comedy and Politics in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, p.51.
④ Mireia Aragay. "Pinter, Politics and Postmodernism in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, p.256.
① Martin Esslin. An Anatomy of Drama. New York:Hill and Wang,1977, p.29.
② Martin Esslin. Pinter, the Playwright. London:Methuen,1982,p.36.
③ Drew Milne. "Pinter's Sexual Politics." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, p.196.
④ 陈宏薇,《战后英国戏剧中的哈罗德·品特》。武汉：对外经济贸易出版社,2007,第113页。
⑤ Harold Pinter. "A Play and Its Politics." One for the Road. New York:Grove Press,1986, p.8.
① Harold Pinter. "One for the Road." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.231.
② 沈德灿,《精神分析心理学》。杭州：浙江教育出版社,2005,第201页。
① 沈德灿,《精神分析心理学》。杭州：浙江教育出版社,2005,第195页。
① 涂通今编,《现代医学百科辞典》。北京：万国学术出版社,1992,第716页。
① Robin M. Field. Metaphorical Worlds in Samuel Becket's Endgame and Harold Pinter's Ashes to Ashes. Diss. Florida Atlantic University,2000, p.42.
② Charles Vincent Grimes. A Silence Beyond Echo:Harold Pinter's Political Theatre. Diss. New York University,1999. p.231.
③ Lois Gordon. " Preface to the Second Eddition." Pinter at 70:A Casebook. "New York:Routledge, 2001,p.xxii.
① Harold Pinter. "Ashes to Ashes." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.409.
② Ibid., p.408.
① Harold Pinter. "Writing, Politics and Ashes to Ashes." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.64.
② Ibid., p.65.
③ Ibid., p.65.
④ Dominick Lacapra. Wring History, Writing Trauma. The Johns Hopkins University Press,2001, p.21.
① Anthony D. Santirojprapai. Brutal Spaces Political Discourse in the Late Plays of Harold Pinter, 1980-1996. Saint Louis:Saint Louis University,2008, p.107.
② 米歇尔·福柯,《性经验史》,余碧平译。上海：上海人民出版社,2002,第123页。
③ 同上,第124页。
① 米歇尔·福柯, 《规训与惩罚》,刘北成译。上海：三联书店,1999,第24页。
② 米歇尔·福柯,《性经验史》,余碧平译。上海：上海人民出版社,2002,第126页。
③ Harold Pinter. Conversation with Gussow. Ed. Mel Gussow. "New York:Grove Press,1994, p.82.
④ Francesca Coppa. "The Sacred Joke:Comedy and Politics in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, p.55.
⑤ Austin Quigley. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.16.
⑥ Leslie Kane. The Art of Crime:The Plays and the Films of Harold Pinter and David Mamet. New York:Routledge,2004, p.3.
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.5.
② Ibid., p.25.
① Harold Pinter."The Caretaker."Harold Pinter:Plays Two.London:Faber and Faber,1991,p.46.
② Ibid.,p.49.
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.50.
② Ibid., p.59.
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.65.
② Ibid.,p.71.
③ Ibid.,p.71.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.249.
① Harold Pinter. "Tea Party." Harold Pinter:Plays Three. London:Faber and Faber,1991, p.130.
① Harold Pinter. "Moonlight." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.364.
② 西蒙·波伏娃,《第二性》,桑竹影,南珊译。长沙：湖南文艺出版社,1987,第1页。
③ 同上,第5页。
① Elizabeth Sakellaridou. Pinter's Female Portraits. London:Macmillan Press,1988, p.6.
② 陈宏薇： 《战后英国戏剧中的哈罗德·品特》。北京：对外经济贸易大学,2007,第162页。
③ Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan,1994, p.132.
④ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.25.
⑤ John Russel Taylor. "A Pinter Power Struggle." The Best plays and Players:1963-1968. Ed. Peter Robert. London:Methuen,1988, p.36.
① Harold Pinter. "The Homecoming." Harold Pinter:Plays Three. London:Faber and Faber,1991, p.42.
② Bill Naismith. Harold Pinter:The Caretaker, The Birthday Party, The Homecoming. London: Faber and Faber,2000, p.136.
① 罗伯特·迈耶,保罗·萨门：《变态心理学》,丁煌译。沈阳：辽宁人民出版社,1988年,第364页。
② Martin Esslin.Pinter,the Playwright.London:Methuen,1982,p.159.
③ Ibid.,p.157.
④ Ibid.,p.159.
⑤ 刘新民,李建民,《变态心理学》。北京：中国医科技出版社,2005,第153页。
⑥ 同上,第153页。
① Harold Pinter. "The Homecoming." Harold Pinter:Plays Three. London:Faber and Faber,1991, p.88.
② Ibid., p.31.
③ 西蒙·波伏娃,《第二性》,桑竹影,南珊译。长沙：湖南文艺出版社,1987,第212页。
④ 同上,第262页。
⑤ 同上,第311页。
⑥ 同上,第340页。
① 凯特·米莉特,《性政治》,钟良明译。北京：社会科学文献出版社,1999,第38页。
② 西蒙·波伏娃,《第二性》,桑竹影,南珊译。长沙：湖南文艺出版社,1987,第509页。
③ Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan,1994, p.74.
④ 凯特·米莉特,《性政治》,钟良明译。北京：社会科学文献出版社,1999,第60页。
⑤ 西蒙·波伏娃,《第二性》,桑竹影,南珊译。长沙：湖南文艺出版社,1987,第511页。
⑥ 陈宏薇,《战后英国戏剧中的哈罗德·品特》。北京：对外经济贸易大学,2007,第167页。
① Anne Maria Cusac. The Progressive Interview,2001. Http://www.progressive.org/,Web.14 Mar.2001.
② Harold Pinter. "Writing, Politics and Ashes to Ashes." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.64.
③ 李银河,《女性主义》。济南：山东人民出版社,2005,第26页。
① Martin Esslin. Pinter the Playwright. London:Methuen,1982, p.153.
② 凯特·米莉特,《性政治》,钟良明译。北京：社会科学文献出版社,1999,第11页。
③ Elizabeth Sakellaridou. Pinter's Female Portraits:A Study of Female Characters in the Plays of Harold Pinter. London:Macmillan,1988, p.69.
④ Harold Pinter. "Ashes to Ashes." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.395.
① Harold Pinter. "Ashes to Ashes." Harold Pinter; Plays Four. London:Faber and Faber,1993, p.413.
② Milne Drew. "Pinter's Sexual Politics." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001 p.208.
③ Mireia Aragay. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.253.
① 刘新民,李建民,《变态心理学》。北京：中国医药科技出版社,2005,第159页。
② 米歇尔·福柯,《疯癫与文明》,刘北成、杨远婴泽。第67页。
③ Allan V. Horwitz. Creating Mental Illness. Chicago:Chicago University Press,2002, p.20.
④ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.169.
① Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.80.
② 亨利·欧内斯特·西格里斯特,《疾病的文化史》,秦传安泽。北京：中央编泽出版社,2009,第109页。
③ 弗雷德里克·F·卡特赖特,迈克尔·比迪斯,《疾病改变历史》,陈仲丹译。济南：山东画报出版社,2004,第15页。
④ 亨利·欧内斯特·西格里斯特,《疾病的文化史》,秦传安译。北京：中央编译出版社,2009,第111页。
① 李雪梅,张小军,“战争创伤将令无数人终生难愈”,《新华每日电讯》,2003-4-1。
② 刘新民,李建民,《变态心理学》。北京：中国医药科技出版社,2005,第121页。
① 蒋孟引,《英国史》。北京：中国社会群众出版社,1988,第754页。
① 蒋孟引,《英国史》。北京：中国社会群众出版社,1988,第783页。
② 同上,第353页。
① Harold Pinter. " Precisely." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.215.
① Harold Pinter. " Precisely." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.219.
① God Bless America.http://www.haroldpinter.org/home/index.shtml, Web.1 Jan.2012.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.23.
② Ibid., p.24.
① Perry Claude Dillon. The Characteristics of French Theater of the Absurd in the Plays of Edward Albee and Harold Pinter. Diss. University of Arkansas,1968, p.271.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.22.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.260.
② Harold Pinter. "Writing for Myself." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.8.
③ 邓中良,《品品特》。武汉：长江文艺出版社,2006,第149页。
④ 彼得·琼斯编,《意象派诗选》,裘小龙译。漓江出版社,1986,第82页。
① Harold Pinter. "Writing for the Theatre." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.18.
② Ibid., p.261.
③ Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.3.
① Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.3.
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.10.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.261.
④ Marisa D'Orazio Esposito. Creative Possibilities:Harold Pinter and His Characters. Diss. Kent University,1982, p.2.
① Peter Hall. "Direct the Plays of Harold Pinter." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.154.
① Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.70.
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.69.
③ Martin Esslin. Pinter, a study of His Play. London:Eyre Methuen,1977, p.84
④ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.79.
⑤ 转引自邓中良,《品品特》。武汉：长江文艺出版社,2006,第20页。
⑥ 同上,第20页。
① Harold Pinter. "On The Birthday Party:Letter to the Editor of the Play's the Thing, October 1958." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.15.
② Ralph M. Leary. Uncertainty in Harold Pinter's Play:Playing with the Responses of the Spectators. Diss. The State University of New Jersey,1984, p.42.
① Anthony Ublmann. "Beckett and Philosophy." A Companion to Samuel Becket. Ed. S. E. Gontarski. Wiley-Blackewll,2010, p.87.
② Lois Gordon. "Samuel Becket and Waiting for Goddot."A Companion to Samuel Becket. Ed. S. E. Gontarski. New York:Wiley-Blackwell,2010, p.32.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.50.
① Susan Sontag. Illness as Metaphor and AIDS and Its Metaphors. New York:Penguin Groups, 2002, p.3.
② Edgar Allan Poe. The Masque of the Red Death. London:Penguin Group,2008, p.61.
① Bernard F. Dukore. Harold Pinter. London:Macmillan Press Ltd.,1982, p.24.
② Harold Pinter. "Writing for the Theatre." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.60.
① Judith Lorber and Lisa Jean Moor. Gender and Social Construction of Illness. New York:The Rowman and Littlefield Publishing Group, Inc.,2002, p.l.
② Lupton Deborah. Medicine as Culture:Illness, Disease and the Body in Western Societies. London:SAGE Publication Ltd.,2003.p.7.
③ James Aho and Kevin Aho. Body Matters:A Phenomenology of Sickness, Disease and Illness. New York:Roman & Littlefield Publishers, Inc.2008, p.103.
④ Ibid., p.11.
⑤ Ibid., p.9.
① 苏珊·桑塔格, 《疾病的隐喻》,程巍译。上海：上海译文出版社,2003,第102页。
② Judith Lorber and Lisa Jean Moor. Gender and Social Construction of Illness. New York:The Rowman and Littlefield Publishing Group, Inc.,2002, p.6.
③ James Aho and Kevin Aho. Body Matters:A Phenomenology of Sickness, Disease and Illness. New York:Roman & Littlefield Publishers, Inc.2008, p.115.
④ Lupton Deborah. Medicine as Culture:Illness, Disease and the Body in Western Societies. London:SAGE Publication Ltd.,2003, p.42.
⑤ 谭光辉,《症状的症状：疾病隐喻与中国现代小说》。学位论文：四川大学,2006,第35页。
⑥ James Aho and Kevin Aho. A Phenomenology of Sickness, Disease and Illness. New York: Roman & Littlefield Publishers, Inc.,2008, p.125.
① Lupton Deborah. Medicine as Culture:Illness, Disease and the Body in Western Societies. London:SAGE Publication Ltd.,2003, p.95.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.402.
① 周来祥, 《文艺美学》。北京：人民文学出版社,2003,第231页。
② 舍斯塔科夫,《美学范畴论——系统研究和历史研究尝试》,理然译。长沙：湖南文艺出版社,1990,第139页。
③ Gotthold Ephraim Lessing. "Laocoon." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.379.
① Gotthold Ephraim Lessing. "Laocoon." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.381.
② Horace. "Art of Poetry." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.79.
③ 维克多·雨果,《克伦威尔序言》,选自《雨果论文学》,柳鸣九译。上海：上海译文出版社,1980,第30页。
④ 同上,第33页。
⑤ 同上,第84页。
① 转引自周来祥, 《文艺美学》。北京：人民文学出版社,2003,第235页。
②同上,第244页。
③ "Absurd." Def.l. The Oxford English Dictionary.2nd ed.2004.
④ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.23.
⑤ Aristotle. "Poetics." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.54.
⑥ 亚里士多德在他的《诗学》中论述喜剧时指出：“喜剧是对低下类型人物的模仿,然而,却不是人们意识中的‘坏’,滑稽其实是丑的细分,它包含了一些并非疼痛的或是破坏性的缺点或丑陋,最明显的例子就是喜剧面具是丑陋的、变形的,然而却不会令人感到痛苦。”See Aristotle. "Poetics." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.54.
① Ralph M. Leary. Uncertainty in Harold Pinter's Play:Playing with the Responses of the Spectators. Diss. The State University of New Jersey,1984, p.l.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.411.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.24.
② Perry Claude Dillon. The Characteristics of French Theater of the Absurd in the Plays of Edward Albee and Harold Pinter. University of Arkansas,1968, p.6.
③ 周宁编,《西方戏剧理论史》。厦门：厦门大学出版社,2008,第994页。
④ Michael Lambek and Paul Antze. Illness and Irony:on the Ambiguity of Suffering in Culture. New York:Berghahn Books,2003, p.21.
① 古斯塔夫·弗莱塔克,《论戏剧情节》,张玉书译。上海：上海译文出版社,1981,第66页。
② Susan H. Mcdaniel, Jeri Hepworth and William J. Doherty. The Shared Experience of Illness: Stories of Patients, Family and Their Therapists. New York:Perseus Books Groups,1997, p.2.
③ 周宁编,《西方戏剧理论史》。厦门：厦门大学出版社,2008,第1213页。
① 周宁编,《西方戏剧理论史》。厦门：厦门大学出版社,2008,第1218页。
② James Aho and Kevin Aho. Body Matters:A Phenomenology of Sickness, Disease and Illness. New York:Roman & Littlefield Publishers, Inc.,2008, p.55.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.25.
④ Martin Esslin. Pinter, the Playwright. London:Methuen,1978, p.47.
① 王燕,“论品特戏剧中的疾病”,《当代外国文学》,2(2008)：72-79.
②Martin Esslin.Pinter,the Playweignt.London:Methuen,1978,p.55.
① Dominick Lacapra. Wring History, Writing Trauma. The Johns Hopkins University Press,2001, p.21.
② Ibid., p.20.
③ 西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京：商务印书馆,1997,第216页。
① 王晓路,《文化批评关键词研究》。北京：北京大学出版社,第325页。
② Harry Derbyshire. "Pinter as Celebrity." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.234.
③ Ibid., p.234.
① C. W. E. Bigsby. "The Language of Crisis in British Theatre." Contemporary English Drama. New York:Holmes & Meier Publishers, Inc., p.49.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.400.
③ Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan, p.6.
① 周宁编,《西方戏剧理论史》。厦门：厦门大学出版社,2008,第974页。
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② Martin Esslin. Pinter, the Playwright. London:Methuen Ltd.,1982, p.261.
③ Harold Pinter. http://www.haroldpinter.org/home/index.shtml. Web.1 Jan.2012.
① John Louis Digaetani. Stage of Struggle:Modern Playwrights and Their Psychological Inspirations. London:Mcfarland & Company, Inc.,2008, p.94.
② R. Thomas Johnson. Harold Pinter:Poet of Anxiety. Diss. University of Delaware,1985, p.259.
③ 王燕,“论品特戏剧里的疾病”,《当代外国文学》,2(2008)：72-79。
① John Louis Digaetani. Stages of Struggle:Modern Playwrights and Their Psychological Inspirations. London:Mcfarland and Company, Inc.,2008, p.7.
② Harold Pinter. http://www.haroldpinter.org/home/index.shtml. Web.1 Jan.2012.
③ D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p.15.
④ Lois Gordon. "Geneal Editor's Note." Pinter at 70:A Casebook. New York:Routledge,2001, p. ix.
① 哈罗德·品特,《归于尘土》,华明译。南京：译林出版社。2010,第1页。
② 同上,第2页。
② 同上,第1页。
③ 陈宏薇,《战后英国戏剧中的哈罗德·品特》。北京：对外经济贸易大学,2007,第52页。
④ Harold Pinter. "Writing for Myself." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.vii.
① Mel Gussow. Conversation with Pinter, New York:Limelight Edition,1994, p.19.
② D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p.29.
① Kimball King. Modern Dramatist:A Casebook of Major British, Irish, and American Playwrights. New York:Rouledge,2001, p.168.
② Margaret Drabble. The Oxford Companion to English Literature. Oxford:Oxford Publish House, 1993, p.793.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.235.
① See Francesca Coppa. "The Sacred Joke:Comedy and Politics in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.44.
② Ibid., p.55.
① Quoted by Michael Billington.The Life and Work of Harold Pinter.London:Faber and Faber, 1996,p.84.
② Ibid.,p.84.
③ Ibid.,p.84.
④ Ib.d.,p.84.
⑤ Ibid.,p.84.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.85.
② Mel Gussow. Conversation with Pinter. New York:Limelight Edition,1994, p.19.
③ Malcolm Page, ed. File on Pinter. London:Methuen Drama,1993, p.14.
④ Ibid., p.60.
⑤ Tom Megrath. "Peace News." File on Pinter. Ed. Malcolm Page. London:Methuen Drama,1993, p.34.
① Steven H. Gale. "Harold Pinter, Screen Writer:an Overview." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.90.
② Dominic Shellard. British Theatre since the War. Connecticut:Yale University Press,2000, p.93.
③ Steven E. Gale. "Harold Pinter." British Playwrights:1956-1995. Ed. William W. Demastes. London:Greenwood Press,1996, p.316.
④ Michelen Wandor. Postwar British Drama:Look Back in Gender. London:Routledge,2001, p.91.
⑤ Simon Trussler. New Theatre Voices of the Seventies. London:Eyre Methuen,1981, p.84.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.9.
② D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p.17.
③ Elizabeth Sakellaridou. Pinter's Female Portraits. London:Macmillan Press,1988, p.6.
④ Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan Press, 1994, p.7.
⑤ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.25.
⑥ Austin Quigley. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.9.
① Mireia Aragay. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.256.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.263.
③ Ibid, p.264.
④ Francesca Coppa. "The Sacred Joke:Comedy and Politics in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.44.
⑤ Leslie Kane. The Art of Crime:The Plays and the Films of Harold Pinter and David Mamet. New York:Routledge,2004, p.4.
① Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.52.
② Peter Raby. "Tales of the City:Some Places and Voices in Pinter's Plays." The Cambridge Companion to Harold Pinter. Cambridge:Cambridge University Press,2001, p.70.
③ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.391.
④ Penelop Prentice. Harold Pinter:Life, Work and Criticism. Friderieton:York Press Ltd.,1999, p.33.
⑤ Guido Almansi. "Harold Pinter's Idiom of Lies." Contemporary English Drama. Ed. C. W. E. Bigsby. New York:Holmes & Meier Publishers, Inc.,1981, p.79.
① Steven H. Gale. Sharp Cut:Harold Pinter's Screenplays and the Artistic Process. Kentucky:The University Press of Kentucky,2003, p.12.
② Ruby Cohn. "The World of Harold Pinter." The Tulane Drama Review, Vol.6, No.3 (Mar.1962): 55-68.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.235.
① 申丹,王丽亚,《西方叙事学：经典与后经典》。北京：北京大学出版社,2010,第6
① 在英语中,"illness"与"disease"的定义有所不同,illness的意义所指更加宽泛,泛指人体或思维上各种偏离了常规行为或状态的不正常现象,而‘'disease通常是指生物医学上的疾病,"illness包含了"disease"而不仅仅指‘'Disease"。See "Disease." The Oxford English Dictionary.2nd ed.2004; See also "Illness." The Oxford English Dictionary.2nd ed.2004.
② "Narrative." Def.l. The Oxford English Dictionary.2nd ed.2004.
③ Arthur Kleinman. The Illness Narratives:Suffering, Healing and Human Condition. New York: Perseus Books Group,1988, p.3.
④ 亨利·欧内斯特·西格里斯特,《疾病的文化史》,秦传安译,北京：中央编译出版社,2009,第2页。
⑤ 罗伊·波特,《剑桥医学史》,张大庆译。长春：吉林人民出版社,2000,第15页。
① 柏拉图,《蒂迈欧篇》,陈村富等编《古希腊名著精要》。杭州：浙江人民出版社,1989,第117页。
② 亚里士多德,《形而上学》,吴寿彭译。北京：商务印书馆,1995,第226页。
③ 亚里士多德,《范畴篇解释篇》,方书春译。上海：上海三联书店,2011,第31页。
① The Holy Bible. The Authorized King James Version. Salt Lake City:Deseret Book Company,1859.所引《圣经》文字均出自此版本,此后只标明书名及页码,不再另行加注,《圣经》的译文参考了中国基督教协会2003年版的《圣经》译文。
② Giovanni Boccaccio. The Decameron. Trans. G. H. Mcwilliam. New York:Penguin Books Ltd., 1972, p.12.
① 塞万提斯·萨维德拉,《堂吉诃德》,屠孟超译。南京：译林出版社,2011,第910页。
② Clark Lawlor. Consumption and Literature:The Making of the Romantic Disease. New York: Palgrave Macmillan,2007, p.15.
① Quoted by Clark Lawlor. Consumption and Literature:The Making of the Romantic Disease. New York:Palgrave Macmillan,2007, p.111.
② Edgar Allan Poe. "Metzengerstein." Great Short Works of Edgar Allan Poe:Poems, Tales, Criticism. New York:Harper Perennial,2004, p.95.
③ Susan Sontag. Illness as Metaphor and AIDS and Its Metaphors. New York:Penguin Groups, 2002, p.14.
① 把艾略特所言,他的《荒原》创作灵感来源于《金枝》一文,受到了《金枝》中受到创伤,丧失了生殖能力的渔王所统治下荒芜的王国所启发。而《荒原》中缺乏生育能力的老妇、伦敦的死者等意象皆与疾病相关。See T. S. Eliot. "The Waste Land." T.S. Eliot:The Complete Poems and Plays. New York:Harcourt Brace and Company,1952, p.50.
① Quoted by Susan Santag Illness as Metaphor and AIDS and Its Metaphors. New York:Penguin Groups,2002, p.77.
② Jennifer Cook. Legacies of Plague in Literature:Theory and Film. New York:Palgrave Macmillan,2009, p.116.
③ 余凤高,《疾病阅读史》。上海：复旦大学出版社,2010,第52页。
④ Jennifer Cook. Legacies of Plague in Literature:Theory and Film. New York:Palgrave Macmillan,2009, p.1.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.75.
② Eugene Ionesco. "The Bald Soprano" The Bald Soprano and Other Plays. Trans. Donald M. Allen. New York:Grove Press,1994, p.4.
① Eugene Ionesco. "The Bald Soprano" The Bald Soprano and Other Plays. Trans. Donald M. Allen. New York:Grove Press,1994, p.5.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.94.
② Ibid., p.93.
③ 涂通今编：《现代医学百科辞典》。北京：万国学术出版社,1992,第705页。
④ 同上,第893页。
⑤ 同上,第716页。
① “失明症”、“失语症”的划分方法参考了于燕的《论品特戏剧里的疾病》一文。
① 刘新民,李建民,《变态心理学》。北京：中国医药科技出版社,2005,第97页。
② 同上,第99页。
③ 同上,第220页。
① 刘新民,李建民,《变态心理学》。北京：中国医药科技出版社,2005,第121页。
② 同上,第122页。
① Horace. "Art of Poetry." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.85.
② Longinus. "On the Sublime." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.98.
③ T. S. Eliot. "Tradition and the Individual Talent." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.808.
④ Wayne Booth. The Rhetoric of Fiction. Chicago:University of Chicago,1961, p.71.
⑤ Seymour Chatman. Story and Discourse:Narrative Structure in Fiction and Film. Ithaca: Cornell U.P.1978, p.151.
① Roland Barthes. The Death of the Author in Image, Music, Text, Trans. Stephen Heath. New York: Hill and Wang,1977, p.145.
② 金元浦,“本文中心论的衰落——现代西方文学批评史的一次重大转折”,《学术论丛》,4(1992)：67-72。
③ 米歇尔·福柯,《作者是什么?》,选自王潮编：《后现代主义的突破：外国后现代主义理论》。兰州：敦煌文艺出版社,1996年,第272页。
① 哈罗德·品特,《艺术、真理和政治》,选自邓中良编：《品品特》。武汉：长江文艺出版社,2006,第10页。
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.293.
③ Martin Esslin. "Creative Process and Meaning." Pinter at 70:A Casebook. Ed. Lois Gordon. New York:Routledge,2001, p.6.
④ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.68.
① 亨利·欧内斯特·西格里斯特：《疾病的文化史》,秦传安译。北京：中央编译出版社,2009,第167页。
② Harold Pinter. "A Kind of Alaska." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.149.
① Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.14.
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.5.
③ Ibid., p.5.
④ Ibid., p.5.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.6.
② Antonia Fraser. Must You Go? My Life with Harold Pinter. New York:Doubleday,2010, p.129.
③ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.8.
④ Ibid., p.8.
⑤ Ibid., p.6.
① Harold Pinter. "Writing, Politics and Ashes to Ashes." Haorld Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.69.
② Lawrence Bensky. "Harold Pinter." Writers at work:the Paris Review Interviews. Ed. George Plimpton. New York:Viking Press,1967, p.363.
① Antonia Fraser. Must You Go? My Life with Harold Pinter. New York:Doubleday,2010, P.137.
② 西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京：商务印书馆,1997,第216页。
③ See John Louis Digaetani. Stage of Struggle:Modern Playwrights and Their Psychological Inspirations. London:Mcfarland & Company, Inc.,2008, p.94.
④ 亚历山大·蒲柏,《论疾病》,选自林石编：《疾病的隐喻》。广州：花城出版社,2003,第57页。
① Sigmund Freud. "Creative Writers and Daydreaming." Freud on the Psychology of Ordinary Mental Life. Ed. Susan Sugarman. Maryland:The Rowman and Littlefield Publishing Group, 2010, p.212.
② Mal Gussow. Conversation with Pinter. "New York:Limelight,1994, p.71.
③ Susan Hollis Merritt. "Pinter and Politics." Pinter at 70:A Casebook. Ed. Lois Gordon. London: Routledge, p.130.
④ Lois Gordon. "Preface." Pinter at 70:A Casebook. New York:Routledge,2001, p.xi.
① 哈罗德·品特：《艺术、真理和政治》,选自邓中良著：《品品特》。武汉：长江文艺出版社,2006,第7页。
② 同上,第19页。
③ 同上,第19页。
④ Harold Pinter. "Larry Adler Kicks Pinter's Ass." The Guardian, (17 Apr.1999):21.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.21.
② Ibid.,p.22.
③ Ibid., p.23.
④ Austin Quigley. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.9.
⑤ Harry Derbyshire. "Pinter as Celebrity." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.231.
① Harold Pinter. "A Note on Shakespeare." Pinter:A Study of His Plays. Ed. Martin Esslin. London: Ryre Methuen,1977, p.54.
② Ibid., p.55.
③ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.43.
① Quoted by Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.40.
② Ibid, p.40.
③ Harold Bloom. A Map of Misreading. New York:Oxford University Press,1975,p.1.
④ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.61.
① Franz Kafka. A Hunger Artist. Prague:Twisted Spoon Press,1996, p.5.
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译。北京：北京大学出版社,2002,第11页。
② 同上,第23页。
③ 同上,第23页。
④ 同上,第25页。
⑤ 同上,第113页。
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译。北京：北京大学出版社,第111页。
② 同上,第63页。
① 罗兰·巴特,《叙事作品结构分析导论》,选自张寅德编：《叙述学研究》。北京：中国社会科学出版社,1989,第2页。
②部分学者认为,由于戏剧主要由对话组成,缺少文字叙述部分,因而叙事研究不适宜于戏剧。这一认识可能过于片面,国内学者例如申丹在她的著作《西方叙事学：经典与后经典》第257页“戏剧叙事”一节,就对戏剧叙事作了介绍。苏永旭的1996年国家哲学社会科学项目《戏剧叙事研究》(96CWW006)课题研究成果——专著《戏剧叙事研究》也是戏剧叙事方面的研究,详见苏永旭,《戏剧叙事研究》。北京：中国戏剧出版社,2004。
③ Harold Pinter. "A Speech for the 1970 German Shakespeare Prize." Harold Pinter:Plays Three. London:Faber and Faber,1991, p.3.
④ Harold Pinter. "Letter to Peter Wood." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.8.
① Aristotle. "Poetics." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.55.
② Ibid, p.56.
③ J.希利斯·米勒, 《解读叙事》,中丹泽。北京：北京大学出版社,2002,第55页。
④ 李裴,《小说结构审美》。贵阳：贵州人民出版社,2003,第74页。
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译,北京：北京大学出版社,2002,第63页。
② Aristotle. "Poetics." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.56.
① J.希利斯·米勒, 《解读叙事》,申丹译。北京：北京大学出版社,2002,第66页。
② 孟繁华, 《叙事的艺术》。北京：中国文联出版公司,1989,第122页。
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1996, p.54.
② Ibid., p.55.
① J.希利斯·米勒, 《解读叙事》,中丹译。北京：北京大学出版社,2002,第76页。
② Aristotle. "Poetics." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.56.
③ 转引自J.希利斯·米勒, 《解读叙事》,中丹译。北京：北京大学出版社,2002,第50
① 哈罗德·品特,《艺术、真理和政治》,选自邓中良著：《品品特》。武汉：长江文艺出版社,2006,第10页。
① Harold Pinter.Poems and Prose:1949-1977.New York:Grove Press,1978,p.1.
② 赫伯特·马尔库赛,“当代工业社会的攻击性”,《哲学译丛》,(6)1978：17-23。
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译。北京：北京大学出版社,2002,第35页。
① 詹姆斯·费伦, 《作为修辞的叙事：技巧、读者、伦理、意识形态》,陈永国译。北京：北京大学出版社,2002,第21页。
② Harold Pinter. " Moonlight." Harold Pinter:Plays Three. London:Faber and Faber,1996, p.381.
① Harold Pinter." Moonlight." Harold Pinter:Plays Three. London:Faber and Faber,1996, p.383.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.244.
① Austin Quigley. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.17.
② 查尔斯·兰姆,《养疴记》,选自林石编：《疾病的隐喻》。广州：花城出版社,2003,第200页。
③ Susan Sontag. Illness as Metaphor and AIDS and Its Metaphors. New York:Penguin Groups, 2002, p.5.
① 余凤高, 《疾病阅读史》。上海：复旦大学出版社,2010,第63页。
② 同上,第65页。
③ 同上,第52页。
① Aristotle. "Poetics." Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.63.
② Aristotle. On Rhetoric. Trans. George A. Kennedy. Oxford:Oxford University Press,2007, p.276.
③ 胡壮麟,《认知隐喻学》,北京：北京大学出版社,2004,第38页。
① 诺思洛普·弗莱,《神力的语言——“圣经文学”研究续编》。北京：社会科学文献出版社,2004,第13页。
② 弗雷德里克·杰姆逊, 《后现代主义与文化理论》,唐小兵译。北京：北京大学出版社,2005,第26页。
③ 安托南·阿尔托, 《残酷戏剧——戏剧及其重影》,桂裕芳泽。北京：中国戏剧出版社,2010,第102页。
① 杨文华,《西方戏剧导论》。北京：大众文艺出版社,1995,第319页。
② 王晓路,《文化批评关键词研究》。北京大学出版社,2007,第239页。
③ Raymond Williams. Keywords:A Vocabulary of Culture and Society. New York:Oxford University Press,1983, p.249.
④ "Racism." Def. la. The Oxford English Dictionary.2nd ed.2004.
① 转引自王晓路,《文化批评关键词研究》。北京大学出版社,2007,第241页。
① 易红郡,“英国的种族问题与种族教育”, 《教育史研究》,1(2004)：72-75。
② 同上,第72-75页。
① 洪霞, 《和平之途——当代世界移民问题与种族关系》。南京：南京出版社,2006,第83页。
② 同上,第85页。
③ 同上,第85页。
④ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.235.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.236.
② Ruby Cohn. "The World of Harold Pinter". The Tulane Drama Review, Vol.1, No.3 (Mar.1962): 55-68.
③ Ibid., p.55-68.
④ Harold Pinter. "The Room." Harold Pinter:Plays One. London:Faber and Faber,1991, p.85.
① Harold Pinter. "The Room." Harold Pinter:Plays One. London:Faber and Faber,1991, p.107.
② Ibid., p.110.
③ Ibid., p.110.
④ D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p.48.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.69.
② Allen David Prosser. "The Heartache and the Thousand Natural Shocks That Flesh Is Heir to " The Body Politics of Trauma in Pinter's The Dwarfs, The Room, A Slight Ache, and The Homecoming. Diss. Simon Fraser University,2005, p.59.
③ Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.73.
① 弗雷德里克·F·卡特赖特,迈克尔·比迪斯,《疾病改变历史》,陈仲丹译。济南：出东画报出版社,2004,第200页。
② 同上,第201页。
③ "Lice"是"Louse"的复数形式,See "Louse." Def. la. The Oxford English Dictionary.2nd ed. 2004.
① Catherine Reid Green. The Diseases of Listening in Early Modern England. Diss. Dalhousie University,2003, p.29.
① Harold Pinter. "The Birthday Party." Harold Pinter: Plays One. London: Faber and Faber, 1991, p.10.
② Ibid., p.39.
① Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.40.
① Harold Pinter."The Birthday Party."Harold Pinter:Plays One.London:Faber and Faber,1991, p.41.
② Ibid.,p.42.
① Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.42.
② Ibid., p.45.
① Harold Pinter."The Birthday Party."Harold Pinter:Plays One.London:Faber and Faber,1991, p.46.
② Ibid.,p.57.
③ Ibid.,p.44.
① Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.56.
② Ibid., p.46.
③ Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.40.
① "Brainwash." Def.1. The Oxford English Dictionary.2nd ed.2004.
② 多米尼科·斯垂德菲尔德,《洗脑术：思想控制的荒唐史》,张孝铮译。北京：中国青年出版社,2011,第367页。
③ 亚里士多德,《范畴篇解释篇》,方书春译。上海：上海三联书店,2011,第55页。
④ 王晓路,《文化批评关键词研究》。北京：北京大学出版社,2007,第195页。
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.309.
② Harold Pinter. "Mountain Language." Harold Pinter:Plays Two. London:Faber and Faber,1993, p.255.
③ 王晓路,《文化批评关键词研究》。北京大学出版社,2007,第17页。
④ 汪民安,《文化研究关键词》。南京：江苏人民出版社,2007,第342页。
⑤ 爱德华·W·萨义德,《文化与帝国主义》,李琨译。北京：三联书店,2003,第4页。
① Quoted by Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber, 1996,p.309.
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.70.
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1996, p.16.
② "Religion." Def.4a. The Oxford English Dictionary.2nd ed.2004.
① 在西方的《圣经》神学研究中,对于疾病是否是上帝带来的存在着激烈的争议。有些学者例如St. Basil认为,上帝是仁爱之善神,他是不可能带来的疾病的,在上帝造人过程中并未发现上帝对人施加了疾病；但另外一些学者例如Larchet却认为,上帝虽是仁爱之神,但上帝认为人类违逆了他的好意,拒绝了他的恩典,因而必须予以惩罚,疾病止是上帝的责罚。See Jean-Claude Larchet. The Theology of Illness. New York:St. Vladimir's Seminary Press,2002, p.24.
② Jean-Claude Larchet. The Theology of Illness. New York:St. Vladimir's Seminary Press,2002, p.24.
① James Aho and Kevin Aho. A Phenomenology of Sickness, Disease and Illness. New York: Roman & Littlefield Publishers, Inc.,2008, p.67文中疾病名称翻译参考了American Psychiatric Association. Diagnostic and Statistical Manual of Mental Disorders. Washington D. C.:American Psychiatric Publishing Inc.,2000.
② Ibid., p.65.
① 罗伊·波特,《剑桥医学史》,张大庆译。长春：吉林人民出版社,2000,第139页。
① Harold Pinter. "Ashes to Ashes." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.412.
② 西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京：商务印书馆,1997,第316页。
① 西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京：商务印书馆,1997,第319页。
② Harold Pinter. "Family Voices." Harold Pinter: Plays Four. London: Faber and Faber, 1993, p.145.
③ Ibid., p. 141.
① Harold Pinter."Family Voices."Harold Pinter:Plays.Four.London:Faber and Faber,1993, p.134.
② Ibid.,p.141.
③ Ibid.,p.147.
④ Ibid.,p.145.
① Harold Pinter. "The Lover." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.149.
② 邓中良,《品品特》。武汉：长江文艺出版社,2006,第94页。
① Alan D. Gilbert. The Making of Post-Christian Britain. London:Longman Group Limited,1980, p.77.
① 米歇尔·福柯,《规训与惩罚》,刘北成译。上海：三联书店,第27页。
② 同上,第30页。
③ 同上,第27页。
① Harod Pinter. "Writing for Myself." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.x.
② Harold Pinter. "A Play and Its Politics." One for the Road. New York:Grove Press,1986, p.12.
③ Francesca Coppa. "The Sacred Joke:Comedy and Politics in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, p.51.
④ Mireia Aragay. "Pinter, Politics and Postmodernism in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, p.256.
① Martin Esslin. An Anatomy of Drama. New York:Hill and Wang,1977, p.29.
② Martin Esslin. Pinter, the Playwright. London:Methuen,1982,p.36.
③ Drew Milne. "Pinter's Sexual Politics." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, p.196.
④ 陈宏薇,《战后英国戏剧中的哈罗德·品特》。武汉：对外经济贸易出版社,2007,第113页。
⑤ Harold Pinter. "A Play and Its Politics." One for the Road. New York:Grove Press,1986, p.8.
① Harold Pinter. "One for the Road." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.231.
② 沈德灿,《精神分析心理学》。杭州：浙江教育出版社,2005,第201页。
① 沈德灿,《精神分析心理学》。杭州：浙江教育出版社,2005,第195页。
① 涂通今编,《现代医学百科辞典》。北京：万国学术出版社,1992,第716页。
① Robin M. Field. Metaphorical Worlds in Samuel Becket's Endgame and Harold Pinter's Ashes to Ashes. Diss. Florida Atlantic University,2000, p.42.
② Charles Vincent Grimes. A Silence Beyond Echo:Harold Pinter's Political Theatre. Diss. New York University,1999. p.231.
③ Lois Gordon. " Preface to the Second Eddition." Pinter at 70:A Casebook. "New York:Routledge, 2001,p.xxii.
① Harold Pinter. "Ashes to Ashes." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.409.
② Ibid., p.408.
① Harold Pinter. "Writing, Politics and Ashes to Ashes." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.64.
② Ibid., p.65.
③ Ibid., p.65.
④ Dominick Lacapra. Wring History, Writing Trauma. The Johns Hopkins University Press,2001, p.21.
① Anthony D. Santirojprapai. Brutal Spaces Political Discourse in the Late Plays of Harold Pinter, 1980-1996. Saint Louis:Saint Louis University,2008, p.107.
② 米歇尔·福柯,《性经验史》,余碧平译。上海：上海人民出版社,2002,第123页。
③ 同上,第124页。
① 米歇尔·福柯, 《规训与惩罚》,刘北成译。上海：三联书店,1999,第24页。
② 米歇尔·福柯,《性经验史》,余碧平译。上海：上海人民出版社,2002,第126页。
③ Harold Pinter. Conversation with Gussow. Ed. Mel Gussow. "New York:Grove Press,1994, p.82.
④ Francesca Coppa. "The Sacred Joke:Comedy and Politics in Pinter's Early Plays." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, p.55.
⑤ Austin Quigley. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.16.
⑥ Leslie Kane. The Art of Crime:The Plays and the Films of Harold Pinter and David Mamet. New York:Routledge,2004, p.3.
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.5.
② Ibid., p.25.
① Harold Pinter."The Caretaker."Harold Pinter:Plays Two.London:Faber and Faber,1991,p.46.
② Ibid.,p.49.
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.50.
② Ibid., p.59.
① Harold Pinter. "The Caretaker." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.65.
② Ibid.,p.71.
③ Ibid.,p.71.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.249.
① Harold Pinter. "Tea Party." Harold Pinter:Plays Three. London:Faber and Faber,1991, p.130.
① Harold Pinter. "Moonlight." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.364.
② 西蒙·波伏娃,《第二性》,桑竹影,南珊译。长沙：湖南文艺出版社,1987,第1页。
③ 同上,第5页。
① Elizabeth Sakellaridou. Pinter's Female Portraits. London:Macmillan Press,1988, p.6.
② 陈宏薇： 《战后英国戏剧中的哈罗德·品特》。北京：对外经济贸易大学,2007,第162页。
③ Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan,1994, p.132.
④ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.25.
⑤ John Russel Taylor. "A Pinter Power Struggle." The Best plays and Players:1963-1968. Ed. Peter Robert. London:Methuen,1988, p.36.
① Harold Pinter. "The Homecoming." Harold Pinter:Plays Three. London:Faber and Faber,1991, p.42.
② Bill Naismith. Harold Pinter:The Caretaker, The Birthday Party, The Homecoming. London: Faber and Faber,2000, p.136.
① 罗伯特·迈耶,保罗·萨门：《变态心理学》,丁煌译。沈阳：辽宁人民出版社,1988年,第364页。
② Martin Esslin.Pinter,the Playwright.London:Methuen,1982,p.159.
③ Ibid.,p.157.
④ Ibid.,p.159.
⑤ 刘新民,李建民,《变态心理学》。北京：中国医科技出版社,2005,第153页。
⑥ 同上,第153页。
① Harold Pinter. "The Homecoming." Harold Pinter:Plays Three. London:Faber and Faber,1991, p.88.
② Ibid., p.31.
③ 西蒙·波伏娃,《第二性》,桑竹影,南珊译。长沙：湖南文艺出版社,1987,第212页。
④ 同上,第262页。
⑤ 同上,第311页。
⑥ 同上,第340页。
① 凯特·米莉特,《性政治》,钟良明译。北京：社会科学文献出版社,1999,第38页。
② 西蒙·波伏娃,《第二性》,桑竹影,南珊译。长沙：湖南文艺出版社,1987,第509页。
③ Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan,1994, p.74.
④ 凯特·米莉特,《性政治》,钟良明译。北京：社会科学文献出版社,1999,第60页。
⑤ 西蒙·波伏娃,《第二性》,桑竹影,南珊译。长沙：湖南文艺出版社,1987,第511页。
⑥ 陈宏薇,《战后英国戏剧中的哈罗德·品特》。北京：对外经济贸易大学,2007,第167页。
① Anne Maria Cusac. The Progressive Interview,2001. Http://www.progressive.org/,Web.14 Mar.2001.
② Harold Pinter. "Writing, Politics and Ashes to Ashes." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.64.
③ 李银河,《女性主义》。济南：山东人民出版社,2005,第26页。
① Martin Esslin. Pinter the Playwright. London:Methuen,1982, p.153.
② 凯特·米莉特,《性政治》,钟良明译。北京：社会科学文献出版社,1999,第11页。
③ Elizabeth Sakellaridou. Pinter's Female Portraits:A Study of Female Characters in the Plays of Harold Pinter. London:Macmillan,1988, p.69.
④ Harold Pinter. "Ashes to Ashes." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.395.
① Harold Pinter. "Ashes to Ashes." Harold Pinter; Plays Four. London:Faber and Faber,1993, p.413.
② Milne Drew. "Pinter's Sexual Politics." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001 p.208.
③ Mireia Aragay. "Pinter, Politics and Postmodernism." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.253.
① 刘新民,李建民,《变态心理学》。北京：中国医药科技出版社,2005,第159页。
② 米歇尔·福柯,《疯癫与文明》,刘北成、杨远婴泽。第67页。
③ Allan V. Horwitz. Creating Mental Illness. Chicago:Chicago University Press,2002, p.20.
④ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.169.
① Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.80.
② 亨利·欧内斯特·西格里斯特,《疾病的文化史》,秦传安泽。北京：中央编泽出版社,2009,第109页。
③ 弗雷德里克·F·卡特赖特,迈克尔·比迪斯,《疾病改变历史》,陈仲丹译。济南：山东画报出版社,2004,第15页。
④ 亨利·欧内斯特·西格里斯特,《疾病的文化史》,秦传安译。北京：中央编译出版社,2009,第111页。
① 李雪梅,张小军,“战争创伤将令无数人终生难愈”,《新华每日电讯》,2003-4-1。
② 刘新民,李建民,《变态心理学》。北京：中国医药科技出版社,2005,第121页。
① 蒋孟引,《英国史》。北京：中国社会群众出版社,1988,第754页。
① 蒋孟引,《英国史》。北京：中国社会群众出版社,1988,第783页。
② 同上,第353页。
① Harold Pinter. " Precisely." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.215.
① Harold Pinter. " Precisely." Harold Pinter:Plays Four. London:Faber and Faber,1993, p.219.
① God Bless America.http://www.haroldpinter.org/home/index.shtml, Web.1 Jan.2012.
① Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.23.
② Ibid., p.24.
① Perry Claude Dillon. The Characteristics of French Theater of the Absurd in the Plays of Edward Albee and Harold Pinter. Diss. University of Arkansas,1968, p.271.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.22.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.260.
② Harold Pinter. "Writing for Myself." Harold Pinter:Plays Two. London:Faber and Faber,1991, p.8.
③ 邓中良,《品品特》。武汉：长江文艺出版社,2006,第149页。
④ 彼得·琼斯编,《意象派诗选》,裘小龙译。漓江出版社,1986,第82页。
① Harold Pinter. "Writing for the Theatre." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.18.
② Ibid., p.261.
③ Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.3.
① Harold Pinter. "The Birthday Party." Harold Pinter:Plays One. London:Faber and Faber,1991, p.3.
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.10.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.261.
④ Marisa D'Orazio Esposito. Creative Possibilities:Harold Pinter and His Characters. Diss. Kent University,1982, p.2.
① Peter Hall. "Direct the Plays of Harold Pinter." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.154.
① Martin Esslin. Pinter, the Playwright. London:Methuen,1982, p.70.
② Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.69.
③ Martin Esslin. Pinter, a study of His Play. London:Eyre Methuen,1977, p.84
④ Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p.79.
⑤ 转引自邓中良,《品品特》。武汉：长江文艺出版社,2006,第20页。
⑥ 同上,第20页。
① Harold Pinter. "On The Birthday Party:Letter to the Editor of the Play's the Thing, October 1958." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.15.
② Ralph M. Leary. Uncertainty in Harold Pinter's Play:Playing with the Responses of the Spectators. Diss. The State University of New Jersey,1984, p.42.
① Anthony Ublmann. "Beckett and Philosophy." A Companion to Samuel Becket. Ed. S. E. Gontarski. Wiley-Blackewll,2010, p.87.
② Lois Gordon. "Samuel Becket and Waiting for Goddot."A Companion to Samuel Becket. Ed. S. E. Gontarski. New York:Wiley-Blackwell,2010, p.32.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.50.
① Susan Sontag. Illness as Metaphor and AIDS and Its Metaphors. New York:Penguin Groups, 2002, p.3.
② Edgar Allan Poe. The Masque of the Red Death. London:Penguin Group,2008, p.61.
① Bernard F. Dukore. Harold Pinter. London:Macmillan Press Ltd.,1982, p.24.
② Harold Pinter. "Writing for the Theatre." Harold Pinter:Various Voices:Prose, Poetry, Politics. London:Faber and Faber,1998, p.60.
① Judith Lorber and Lisa Jean Moor. Gender and Social Construction of Illness. New York:The Rowman and Littlefield Publishing Group, Inc.,2002, p.l.
② Lupton Deborah. Medicine as Culture:Illness, Disease and the Body in Western Societies. London:SAGE Publication Ltd.,2003.p.7.
③ James Aho and Kevin Aho. Body Matters:A Phenomenology of Sickness, Disease and Illness. New York:Roman & Littlefield Publishers, Inc.2008, p.103.
④ Ibid., p.11.
⑤ Ibid., p.9.
① 苏珊·桑塔格, 《疾病的隐喻》,程巍译。上海：上海译文出版社,2003,第102页。
② Judith Lorber and Lisa Jean Moor. Gender and Social Construction of Illness. New York:The Rowman and Littlefield Publishing Group, Inc.,2002, p.6.
③ James Aho and Kevin Aho. Body Matters:A Phenomenology of Sickness, Disease and Illness. New York:Roman & Littlefield Publishers, Inc.2008, p.115.
④ Lupton Deborah. Medicine as Culture:Illness, Disease and the Body in Western Societies. London:SAGE Publication Ltd.,2003, p.42.
⑤ 谭光辉,《症状的症状：疾病隐喻与中国现代小说》。学位论文：四川大学,2006,第35页。
⑥ James Aho and Kevin Aho. A Phenomenology of Sickness, Disease and Illness. New York: Roman & Littlefield Publishers, Inc.,2008, p.125.
① Lupton Deborah. Medicine as Culture:Illness, Disease and the Body in Western Societies. London:SAGE Publication Ltd.,2003, p.95.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.402.
① 周来祥, 《文艺美学》。北京：人民文学出版社,2003,第231页。
② 舍斯塔科夫,《美学范畴论——系统研究和历史研究尝试》,理然译。长沙：湖南文艺出版社,1990,第139页。
③ Gotthold Ephraim Lessing. "Laocoon." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.379.
① Gotthold Ephraim Lessing. "Laocoon." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.381.
② Horace. "Art of Poetry." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.79.
③ 维克多·雨果,《克伦威尔序言》,选自《雨果论文学》,柳鸣九译。上海：上海译文出版社,1980,第30页。
④ 同上,第33页。
⑤ 同上,第84页。
① 转引自周来祥, 《文艺美学》。北京：人民文学出版社,2003,第235页。
②同上,第244页。
③ "Absurd." Def.l. The Oxford English Dictionary.2nd ed.2004.
④ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.23.
⑤ Aristotle. "Poetics." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing: Peking University Press,2006, p.54.
⑥ 亚里士多德在他的《诗学》中论述喜剧时指出：“喜剧是对低下类型人物的模仿,然而,却不是人们意识中的‘坏’,滑稽其实是丑的细分,它包含了一些并非疼痛的或是破坏性的缺点或丑陋,最明显的例子就是喜剧面具是丑陋的、变形的,然而却不会令人感到痛苦。”See Aristotle. "Poetics." Critical Theory since Plato. Ed. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006, p.54.
① Ralph M. Leary. Uncertainty in Harold Pinter's Play:Playing with the Responses of the Spectators. Diss. The State University of New Jersey,1984, p.l.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.411.
① Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.24.
② Perry Claude Dillon. The Characteristics of French Theater of the Absurd in the Plays of Edward Albee and Harold Pinter. University of Arkansas,1968, p.6.
③ 周宁编,《西方戏剧理论史》。厦门：厦门大学出版社,2008,第994页。
④ Michael Lambek and Paul Antze. Illness and Irony:on the Ambiguity of Suffering in Culture. New York:Berghahn Books,2003, p.21.
① 古斯塔夫·弗莱塔克,《论戏剧情节》,张玉书译。上海：上海译文出版社,1981,第66页。
② Susan H. Mcdaniel, Jeri Hepworth and William J. Doherty. The Shared Experience of Illness: Stories of Patients, Family and Their Therapists. New York:Perseus Books Groups,1997, p.2.
③ 周宁编,《西方戏剧理论史》。厦门：厦门大学出版社,2008,第1213页。
① 周宁编,《西方戏剧理论史》。厦门：厦门大学出版社,2008,第1218页。
② James Aho and Kevin Aho. Body Matters:A Phenomenology of Sickness, Disease and Illness. New York:Roman & Littlefield Publishers, Inc.,2008, p.55.
③ Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.25.
④ Martin Esslin. Pinter, the Playwright. London:Methuen,1978, p.47.
① 王燕,“论品特戏剧中的疾病”,《当代外国文学》,2(2008)：72-79.
②Martin Esslin.Pinter,the Playweignt.London:Methuen,1978,p.55.
① Dominick Lacapra. Wring History, Writing Trauma. The Johns Hopkins University Press,2001, p.21.
② Ibid., p.20.
③ 西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京：商务印书馆,1997,第216页。
① 王晓路,《文化批评关键词研究》。北京：北京大学出版社,第325页。
② Harry Derbyshire. "Pinter as Celebrity." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001, p.234.
③ Ibid., p.234.
① C. W. E. Bigsby. "The Language of Crisis in British Theatre." Contemporary English Drama. New York:Holmes & Meier Publishers, Inc., p.49.
② Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978, p.400.
③ Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan, p.6.
① 周宁编,《西方戏剧理论史》。厦门：厦门大学出版社,2008,第974页。
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