男性权威的颠覆—对品特早期戏剧中女性形象的福柯式解读
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摘要
两性冲突是品特早期性别戏剧中的一个重要主题。男性想通过使用语言暴力来控制并支配女性以巩固他们的领导地位及男性权威。女性从被动接受男性的压迫到觉醒并反抗男性霸权。她们以语言和身体作为手段与男性抗争,最终获得了权力并确立了自己的身份。本文运用福柯的权力,话语与主体理论分析了品特早期戏剧中的女性反抗男性压迫,颠覆男权,获得权力,肯定自我的过程,旨在探讨品特戏剧中所折射出的现代社会中两性间复杂的权力关系。
本文由三个章节及引言和结论构成。引言部分介绍了品特戏剧研究的国内外现状,并说明了本论文的理论基础和结构布局。第一章主要论述了《房间》和《生日宴会》两部戏剧中,男性权威下被剥夺了话语和自由权力的被动软弱的女性,指出由于被动和软弱她们注定成为男性霸权下的受害者。第二章主要分析了《微痛》和《归家》中觉醒并反抗男性权威的女性,认为只要运用行之有效的方法勇敢地去反抗,为自己的权力和身份作斗争就会取得胜利。第三章主要阐释了男性权威的颠覆过程,得出父权制社会中女性成功反抗男性并获得了控制权。结论部分指出品特描写男女间权力斗争的过程实际上就是对男性霸权颠覆的过程。品特在其作品中赋予了女性更多的自由、力量、权利与地位,这是对日渐进步与多元的社会现实的写照,表明了他思想的发展与成熟。同时也说明了权力无处不在,但却一直处在变化之中。
Conflict between males and females is an essential theme in Pinter's gender plays in the early time. Males want to control and dominate females through verbal violence to consolidate their leading position and masculine authority. From passive acceptance to awakening and then resistance, females fight against the masculine hegemony through language and body as weapons to obtain power and dominance and establish their own identities. This thesis analyzes the process of females' resistance to male aggression and the subversion of the masculine authority in terms of Foucault's theory of power, discourse and subject to reveal the complicated power conflicts between different genders in modern society.
Besides an introduction and a conclusion, this thesis is composed of three chapters. The introduction illustrates the status quo on researches of Pinter's plays both at home and abroad as well as introduces the theoretical framework and structure of the thesis. Chapter One discusses the passive and weak female images' deprivation of discourse and freedom under the patriarchal authority in The Room and The Birthday Party, pointing out that under the male dominance they are doomed to become victims for their passiveness and weakness. Chapter Two analyzes the females' awakening and resistance to the masculine hegemony in A Slight Ache and The Homecoming, revealing that courageously resisting and fighting for power and identities through effective methods will be success. Chapter Three interprets the process of the subversion of the masculine authority, and concludes that the females successfully get the dominance in the patriarchal society. The conclusion part points out that Pinter's description of power struggle between males and females is a revelation to the subversion of masculine hegemony, which implies the development and maturity of his thoughts and also reveals that power exists everywhere and is changeable all the time.
本文由三个章节及引言和结论构成。引言部分介绍了品特戏剧研究的国内外现状,并说明了本论文的理论基础和结构布局。第一章主要论述了《房间》和《生日宴会》两部戏剧中,男性权威下被剥夺了话语和自由权力的被动软弱的女性,指出由于被动和软弱她们注定成为男性霸权下的受害者。第二章主要分析了《微痛》和《归家》中觉醒并反抗男性权威的女性,认为只要运用行之有效的方法勇敢地去反抗,为自己的权力和身份作斗争就会取得胜利。第三章主要阐释了男性权威的颠覆过程,得出父权制社会中女性成功反抗男性并获得了控制权。结论部分指出品特描写男女间权力斗争的过程实际上就是对男性霸权颠覆的过程。品特在其作品中赋予了女性更多的自由、力量、权利与地位,这是对日渐进步与多元的社会现实的写照,表明了他思想的发展与成熟。同时也说明了权力无处不在,但却一直处在变化之中。
Conflict between males and females is an essential theme in Pinter's gender plays in the early time. Males want to control and dominate females through verbal violence to consolidate their leading position and masculine authority. From passive acceptance to awakening and then resistance, females fight against the masculine hegemony through language and body as weapons to obtain power and dominance and establish their own identities. This thesis analyzes the process of females' resistance to male aggression and the subversion of the masculine authority in terms of Foucault's theory of power, discourse and subject to reveal the complicated power conflicts between different genders in modern society.
Besides an introduction and a conclusion, this thesis is composed of three chapters. The introduction illustrates the status quo on researches of Pinter's plays both at home and abroad as well as introduces the theoretical framework and structure of the thesis. Chapter One discusses the passive and weak female images' deprivation of discourse and freedom under the patriarchal authority in The Room and The Birthday Party, pointing out that under the male dominance they are doomed to become victims for their passiveness and weakness. Chapter Two analyzes the females' awakening and resistance to the masculine hegemony in A Slight Ache and The Homecoming, revealing that courageously resisting and fighting for power and identities through effective methods will be success. Chapter Three interprets the process of the subversion of the masculine authority, and concludes that the females successfully get the dominance in the patriarchal society. The conclusion part points out that Pinter's description of power struggle between males and females is a revelation to the subversion of masculine hegemony, which implies the development and maturity of his thoughts and also reveals that power exists everywhere and is changeable all the time.
引文
1 http://nobelprize.org/literature/laureates/2005/press.htm
2 John R. Taylor. Anger and After:A Guide to the New British Drama. (London: London Eyre Methuen,1969), p.292.
Michel Foucault. Power/knowledge:Selected Interviews and Other Writings. Ed & trans. Colin Gordan. (London:The Harvester Press Limited,1980), p.124.
Michel Foucault. The History of Sexuality Vol.1. Trans. Robert Hurley. (New York: Vintage/Random House,1980), p.124.
5 Ibid., p.93.
6 John R. Taylor. Anger and After:A Guide to the New British Drama. (London: London Eyre Methuen,1969), p.7.
7 Michele Harway.& James M. O'Neil. What Causes Men's Violence against Women? (London:Sage Publications,1999), p.94.
8 Roger Copeland. "A Room of His Own". American Theatre 18 (2001):23-6.
9 Hall Peter. Directing Harold Pinter's Plays. (Cambridge:Cambridge University Press, 2006), p.98.
10 Dirk Bogarde. Snakes and Ladders. (London:Chatto & Windus London,1978), p.235.
11 Martin Esslin. Pinter:A Study of His Plays. (London:Eyre Methuen,1977), p.62.
12 Vimala Herman. Dramatic Discourse:Dialogue as Interaction in Plays. (London: Routledge,1995), pp.255-256.
13 Ibid., p.257.
14 Martin Esslin. Pinter:A Study of His Plays. (London:Eyre Methuen,1977), p.249.
15 Michael Billington. The Life and Word of Harold Pinter. (London:Faber and Faber. 1996), p.69.
Gill Allwood. French Feminisms:Gender and Violence in Contemporary Theory. (London:UCL Press.1998). p.129.
17 Gillen Francis & Steven H. Gale. Pinter at Sixty The Pinter Review:Annual Essays 1994. (Florida:The University of Tampa Press,1994), p.198.
18 Katherine M. Burkman. "Death and the Double in Three Plays by Harold Pinter.' Harold Pinter:You Never Heard Such Silence. Alan Bold(Ed). (London:Vision Press, 1984), p.144.
19 Elizabeth Sakellaridou. Pinter's Female Portraits. (Totowa, NJ:Barnes & Noble Books,1988), p.82.
20 Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. (London:The Macmillan Press,1994), p.20.
21 Michele Harway. & James M. O'Neil. What Causes Men's Violence against Women? (London:Sage Publications,1999), p.94.
22 Ruby Cohn. "The World of Harold Pinter". Drama Criticism. Vol. (15). Ed. By Rebecca Blanchard and Justin Karr. (Detroit:Gale Group,2001), pp.205-12.
23 Elin Diamond. Pinter's Comic Play. (Lewisburg:Bucknell University Press,1985), p.114.
24 Richard Dutton. Modern Tragicomedy and the British Tradition. (Norman, OK: University of Oklahoma Press,1986), p.132.
25 Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. (London:The Macmillan Press,1994), p.125.
26 Ibid., p.189.
27 Martin Esslin. Pinter:The Playwright. (London:Methuen Inc.,1982), p.160.
28 Bernard F. Dukore. Harold Pinter. (London:The Macmillan Press,1982), p.78.
29 Simon Trussler. The Plays of Harold Pinter, An Assessment. (London:Victor Gollancz, 1973), p.125.
30 Bernard F. Dukore. Harold Pinter. (London:The Macmillan Press,1982), p.77.
31 Bernard F. Dukore. "what's in a name?—an approach to the homecoming." Theatre Journal 33 (1981):173-81.
Deborah A. Sarbin. "I Decided She Was:Representation of Women in The Homecmong." The Pinter Reviewer 3 (1989):34-42.
33 John M. Warner. "The Epistemological Quest in Pinter's The homecoming.' Contemporary Literature 11 (1970):340-53.
34 Vimala Herman. Dramatic Discourse:Dialogue as Interaction in Plays. (London: Routledge,1995), pp.255-256.
35.Elizabeth Sakellaridou. Pinter's Female Portraits. (Totowa, NJ:Barnes & Noble Books.1988), p.82.
36 John R. Taylor. "Pinter's Games of Happy Families." A Casebook on Harold Pinter's "The Homecoming", John Lahr (Ed). (New York:Grove Press,1971), p.63.
Allwood, Gill. French Feminisms:Gender and Violence in Contemporary Theory. London: UCL Press,1998.
Almansi, Guido. "Harold Pinter's Idiom of Lies". Contemporary English Drama. Ed. C. W E. Bigsby. London:Edward Arnold Ltd.,1981:79-92.
Aragay, Mireia. "Pinter, Politics and Postmodernism (2)." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001: 246-59.
Baker. William, and Stephen E. Tabachnik. Harold Pinter. Edinburgh and New York, Gale Group,1973:7.
Billington, Michael. The Life and Word of Harold Pinter. London:Faber and Faber,1996.
Bogarde, Dirk. Snakes and Ladders. London:Chatto & Windus London,1978.
Brent, Liz. "Realism in Theatre and Drama". Literary Movement for Students. Ed. David Galems. Detroit and New York:Gale Group,2003.
Brooker, Peter, ed. Modernism/Postmodernism. London:Longman,1992.
Brown. John Russell, ed. Modern British Dramatists. New Jersey:Grove Press. Inc.1967.
Burkman, Katherine M. "Death and the Double in Three Plays by Harold Pinter." Harold Pinter:You Never Heard Such Silence. Alan Bold(Ed). London:Vision Press,1984.
Cahn, Victor L. Gender and Power in the Plays of Harold Pinter. London:The Macmillan Press,1994.
Cohn, Ruby. "The World of Harold Pinter". Drama Criticism. Vol. (15). Ed. By Rebecca Blanchard and Justin Karr. Detroit:Gale Group,2001:205-12.
Copeland, Roger. "A Room of His Own". American Theatre 18:23-6.2001.
Diamond. Elin. Pinter's Comic Play. Lewisburg:Bucknell University Press,1985.
Di Yanni, Robert. Drama:An Introduction. U.S.:The McGraw-Hill Companies, Inc., 2000.
Dukore. Bernard F. Harold Pinter. London:The Macmillan Press,1982. "what's in a name? ——an approach to the homecoming." Theatre Journal 33:173-81. 1981.
Dutton, Richard. Modern Tragicomedy and the British Tradition. Norman, OK:University of Oklahoma Press,1986.
Esslin, Martin. Pinter:A Study of His Plays. London:Eyre Methuen,1977.---. Pinter:The Playwright. London:Methuen Inc.,1984.---. The Theatre of the Absurd. London:Penguin,1980.
Francis, Gillen & Steven H. Gale. Pinter at Sixty, The Pinter Revieiew:Annual Essays 1994. Florida:The University of Tampa Press,1994.
Free, William J. "Treatment of Character in Harold Pinter's The Homecoming". South Atlantic Bulletin. Vol. XXXIV, No.4, November,1969:1-5.
Foucault, Michel. Discipline and Punish:the Birth of Prison. Trans. Alan Sheridan. Harmondsworth:Penguin Books,1991.---. Ethics:Subjectivity and Truth. New York:Routledge,1977.---. Madness and civilization; A History of Insanity in the Age of Reason. New York: Vintage,1960.---. Power/knowledge:Selected Interviews and Other Writings. Ed & trans. Colin Gordan. London:the Harvester Press Limited,1980.
Gabbard, Lucine P. The Drama Structure of Pinter's Plays:A Psychoanalytic Approach. U.S.:Fairleigh Dickinson University Press,1977:36.
Hall, Ann C. A Kind of Alaska:Women in the Plays of O'Neil, Pinter, and Shepard. Carbondale:Southern Illinois University Press,1993:146.
Hare, David. Harold Pinter:A Celebration. London:Faber and Faber,2000:21.
Hartnoll, Phyllis and Peter Found, eds. Oxford Dictionary of Theatre. Shanghai:Shanghai Foreign Language Education Press,2000.
Harway, Michele. & James M. O'Neil. What Causes Men's Violence against Women? London:Sage Publications,1999.
Herman, Vimala. Dramatic Discourse:Dialogue as Interaction in Plays. London: Routledge.1995.
Hinchliffe. Arnold P. Harold Pinter. London:The Macmillan Press.1967.
Katherine H. Burkman. The Dramatic world of Harold Pinter:its basis in ritual. Columbus:Ohio State University Press,1971.
Peter. Hall. Directing Harold Pinter s Plays. Cambridge:Cambridge University Press. 2006.
Pinter, Harold. Harold Pinter Complete Works:One. New York:Grove Press Inc.,1976.---. Harold Pinter Complete Works:Two. New York:Grove Press Inc.,1977.---. The homecoming. London:Eyre Methuen,1976.
Prentice, Penelope. The Pinter Ethic:the Erotic Aesthetic. New York& London:Garland Publishing Inc.,1994.
Raby, Peter(Ed). The Cambridge Companion to Harold Pinter. Cambridge:Cambridge University Press,2001.
Quigley, Austin E. The Pinter Problem. Princeton:Princeton University Press,1975.
Sakellaridou, Elizabeth. Pinter's Female Portraits:A Study of Female Characters in the Plays of Harold Pinter. Totowa, NJ:Barnes & Noble Books,1988.
Sarbin, Deborah A. "I Decided She Was:Representation of Women in The Homecmong.' The Pinter Reviewer 3:34-42.1989.
Silverstein, Marc. Harold Pincer and the Language of Cultural Power. London: Associated U.P.,1993.
Taylor, John R. Anger and After:A Guide to the New British Drama. London:London Eyre Methuen,1969.---. Harold Pinter. In British Writers. Supp.1.New York:Chas. Scribner's Sons,1987.---. "Pinter's Games of Happy Families." A Casebook on Harold Pinter's "The Homecoming", John Lahr (Ed). New York:Grove Press,1971.
Thompson, David T. Pinter:The Players, Playwright. New York:Schocken Books,1985.
Trussler, Simon. The Plays of Harold Pinter, An Assessment. London:Victor Gollancz. 1973.
Warner, John M. "The Epistemological Quest in Pinter's The homecoming.' Contemporary Literature 11:340-53.1970.
2 John R. Taylor. Anger and After:A Guide to the New British Drama. (London: London Eyre Methuen,1969), p.292.
Michel Foucault. Power/knowledge:Selected Interviews and Other Writings. Ed & trans. Colin Gordan. (London:The Harvester Press Limited,1980), p.124.
Michel Foucault. The History of Sexuality Vol.1. Trans. Robert Hurley. (New York: Vintage/Random House,1980), p.124.
5 Ibid., p.93.
6 John R. Taylor. Anger and After:A Guide to the New British Drama. (London: London Eyre Methuen,1969), p.7.
7 Michele Harway.& James M. O'Neil. What Causes Men's Violence against Women? (London:Sage Publications,1999), p.94.
8 Roger Copeland. "A Room of His Own". American Theatre 18 (2001):23-6.
9 Hall Peter. Directing Harold Pinter's Plays. (Cambridge:Cambridge University Press, 2006), p.98.
10 Dirk Bogarde. Snakes and Ladders. (London:Chatto & Windus London,1978), p.235.
11 Martin Esslin. Pinter:A Study of His Plays. (London:Eyre Methuen,1977), p.62.
12 Vimala Herman. Dramatic Discourse:Dialogue as Interaction in Plays. (London: Routledge,1995), pp.255-256.
13 Ibid., p.257.
14 Martin Esslin. Pinter:A Study of His Plays. (London:Eyre Methuen,1977), p.249.
15 Michael Billington. The Life and Word of Harold Pinter. (London:Faber and Faber. 1996), p.69.
Gill Allwood. French Feminisms:Gender and Violence in Contemporary Theory. (London:UCL Press.1998). p.129.
17 Gillen Francis & Steven H. Gale. Pinter at Sixty The Pinter Review:Annual Essays 1994. (Florida:The University of Tampa Press,1994), p.198.
18 Katherine M. Burkman. "Death and the Double in Three Plays by Harold Pinter.' Harold Pinter:You Never Heard Such Silence. Alan Bold(Ed). (London:Vision Press, 1984), p.144.
19 Elizabeth Sakellaridou. Pinter's Female Portraits. (Totowa, NJ:Barnes & Noble Books,1988), p.82.
20 Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. (London:The Macmillan Press,1994), p.20.
21 Michele Harway. & James M. O'Neil. What Causes Men's Violence against Women? (London:Sage Publications,1999), p.94.
22 Ruby Cohn. "The World of Harold Pinter". Drama Criticism. Vol. (15). Ed. By Rebecca Blanchard and Justin Karr. (Detroit:Gale Group,2001), pp.205-12.
23 Elin Diamond. Pinter's Comic Play. (Lewisburg:Bucknell University Press,1985), p.114.
24 Richard Dutton. Modern Tragicomedy and the British Tradition. (Norman, OK: University of Oklahoma Press,1986), p.132.
25 Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. (London:The Macmillan Press,1994), p.125.
26 Ibid., p.189.
27 Martin Esslin. Pinter:The Playwright. (London:Methuen Inc.,1982), p.160.
28 Bernard F. Dukore. Harold Pinter. (London:The Macmillan Press,1982), p.78.
29 Simon Trussler. The Plays of Harold Pinter, An Assessment. (London:Victor Gollancz, 1973), p.125.
30 Bernard F. Dukore. Harold Pinter. (London:The Macmillan Press,1982), p.77.
31 Bernard F. Dukore. "what's in a name?—an approach to the homecoming." Theatre Journal 33 (1981):173-81.
Deborah A. Sarbin. "I Decided She Was:Representation of Women in The Homecmong." The Pinter Reviewer 3 (1989):34-42.
33 John M. Warner. "The Epistemological Quest in Pinter's The homecoming.' Contemporary Literature 11 (1970):340-53.
34 Vimala Herman. Dramatic Discourse:Dialogue as Interaction in Plays. (London: Routledge,1995), pp.255-256.
35.Elizabeth Sakellaridou. Pinter's Female Portraits. (Totowa, NJ:Barnes & Noble Books.1988), p.82.
36 John R. Taylor. "Pinter's Games of Happy Families." A Casebook on Harold Pinter's "The Homecoming", John Lahr (Ed). (New York:Grove Press,1971), p.63.
Allwood, Gill. French Feminisms:Gender and Violence in Contemporary Theory. London: UCL Press,1998.
Almansi, Guido. "Harold Pinter's Idiom of Lies". Contemporary English Drama. Ed. C. W E. Bigsby. London:Edward Arnold Ltd.,1981:79-92.
Aragay, Mireia. "Pinter, Politics and Postmodernism (2)." The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001: 246-59.
Baker. William, and Stephen E. Tabachnik. Harold Pinter. Edinburgh and New York, Gale Group,1973:7.
Billington, Michael. The Life and Word of Harold Pinter. London:Faber and Faber,1996.
Bogarde, Dirk. Snakes and Ladders. London:Chatto & Windus London,1978.
Brent, Liz. "Realism in Theatre and Drama". Literary Movement for Students. Ed. David Galems. Detroit and New York:Gale Group,2003.
Brooker, Peter, ed. Modernism/Postmodernism. London:Longman,1992.
Brown. John Russell, ed. Modern British Dramatists. New Jersey:Grove Press. Inc.1967.
Burkman, Katherine M. "Death and the Double in Three Plays by Harold Pinter." Harold Pinter:You Never Heard Such Silence. Alan Bold(Ed). London:Vision Press,1984.
Cahn, Victor L. Gender and Power in the Plays of Harold Pinter. London:The Macmillan Press,1994.
Cohn, Ruby. "The World of Harold Pinter". Drama Criticism. Vol. (15). Ed. By Rebecca Blanchard and Justin Karr. Detroit:Gale Group,2001:205-12.
Copeland, Roger. "A Room of His Own". American Theatre 18:23-6.2001.
Diamond. Elin. Pinter's Comic Play. Lewisburg:Bucknell University Press,1985.
Di Yanni, Robert. Drama:An Introduction. U.S.:The McGraw-Hill Companies, Inc., 2000.
Dukore. Bernard F. Harold Pinter. London:The Macmillan Press,1982. "what's in a name? ——an approach to the homecoming." Theatre Journal 33:173-81. 1981.
Dutton, Richard. Modern Tragicomedy and the British Tradition. Norman, OK:University of Oklahoma Press,1986.
Esslin, Martin. Pinter:A Study of His Plays. London:Eyre Methuen,1977.---. Pinter:The Playwright. London:Methuen Inc.,1984.---. The Theatre of the Absurd. London:Penguin,1980.
Francis, Gillen & Steven H. Gale. Pinter at Sixty, The Pinter Revieiew:Annual Essays 1994. Florida:The University of Tampa Press,1994.
Free, William J. "Treatment of Character in Harold Pinter's The Homecoming". South Atlantic Bulletin. Vol. XXXIV, No.4, November,1969:1-5.
Foucault, Michel. Discipline and Punish:the Birth of Prison. Trans. Alan Sheridan. Harmondsworth:Penguin Books,1991.---. Ethics:Subjectivity and Truth. New York:Routledge,1977.---. Madness and civilization; A History of Insanity in the Age of Reason. New York: Vintage,1960.---. Power/knowledge:Selected Interviews and Other Writings. Ed & trans. Colin Gordan. London:the Harvester Press Limited,1980.
Gabbard, Lucine P. The Drama Structure of Pinter's Plays:A Psychoanalytic Approach. U.S.:Fairleigh Dickinson University Press,1977:36.
Hall, Ann C. A Kind of Alaska:Women in the Plays of O'Neil, Pinter, and Shepard. Carbondale:Southern Illinois University Press,1993:146.
Hare, David. Harold Pinter:A Celebration. London:Faber and Faber,2000:21.
Hartnoll, Phyllis and Peter Found, eds. Oxford Dictionary of Theatre. Shanghai:Shanghai Foreign Language Education Press,2000.
Harway, Michele. & James M. O'Neil. What Causes Men's Violence against Women? London:Sage Publications,1999.
Herman, Vimala. Dramatic Discourse:Dialogue as Interaction in Plays. London: Routledge.1995.
Hinchliffe. Arnold P. Harold Pinter. London:The Macmillan Press.1967.
Katherine H. Burkman. The Dramatic world of Harold Pinter:its basis in ritual. Columbus:Ohio State University Press,1971.
Peter. Hall. Directing Harold Pinter s Plays. Cambridge:Cambridge University Press. 2006.
Pinter, Harold. Harold Pinter Complete Works:One. New York:Grove Press Inc.,1976.---. Harold Pinter Complete Works:Two. New York:Grove Press Inc.,1977.---. The homecoming. London:Eyre Methuen,1976.
Prentice, Penelope. The Pinter Ethic:the Erotic Aesthetic. New York& London:Garland Publishing Inc.,1994.
Raby, Peter(Ed). The Cambridge Companion to Harold Pinter. Cambridge:Cambridge University Press,2001.
Quigley, Austin E. The Pinter Problem. Princeton:Princeton University Press,1975.
Sakellaridou, Elizabeth. Pinter's Female Portraits:A Study of Female Characters in the Plays of Harold Pinter. Totowa, NJ:Barnes & Noble Books,1988.
Sarbin, Deborah A. "I Decided She Was:Representation of Women in The Homecmong.' The Pinter Reviewer 3:34-42.1989.
Silverstein, Marc. Harold Pincer and the Language of Cultural Power. London: Associated U.P.,1993.
Taylor, John R. Anger and After:A Guide to the New British Drama. London:London Eyre Methuen,1969.---. Harold Pinter. In British Writers. Supp.1.New York:Chas. Scribner's Sons,1987.---. "Pinter's Games of Happy Families." A Casebook on Harold Pinter's "The Homecoming", John Lahr (Ed). New York:Grove Press,1971.
Thompson, David T. Pinter:The Players, Playwright. New York:Schocken Books,1985.
Trussler, Simon. The Plays of Harold Pinter, An Assessment. London:Victor Gollancz. 1973.
Warner, John M. "The Epistemological Quest in Pinter's The homecoming.' Contemporary Literature 11:340-53.1970.