The Place of Pinter

Dukore, Bernard F.; King, Bruce; King, Adele

doi:10.1007/978-1-349-19562-6_8

Cited by 2 publications

(3 citation statements)

References 2 publications

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“…(Pinter, 1996, str. 127) Još više zastrašujuća su apstraktna i gotovo retorska pitanja koje Nikolas postavlja svojim žrtvama u komadu Još jedno pred odlazak koji predstavlja jednu od retkih Pinterovih drama bez komičnih elemenata (Dukore, 1988). Nikolas prvo naizmenično naređuje Viktoru da sedne i ustane, zatim mu maše prstima ispred očiju, ne bi li na kraju započeo verbalnu agresiju u formi monologa koji, iako bez otvorenih uvreda i pretnji, ima izuzetno zlokoban ton: NIKOLAS: ... Spreman sam da budem iskren, kao što i treba da bude pravi prijatelj.…”

Section: Verbalno Nasiljeunclassified

“…Nikolas prilikom isleđivanja koristi francuske izraze, naizgled nonšalantno prelazeći s jednog jezika na drugi, čime odaje utisak, kako sam kaže, civilizovanog čoveka, što dodatno ističe kasnijom aluzijom na Hamleta ("O jadna, uznemirena dušo..." (Pinter, 1995, str. 58)) (Dukore, 1988). Dok u Rođendanu Stenliju jezička veština na početku omogućava da uspostavi dominaciju nad Meg (Čirić, 2009), situacija postaje potpuno suprotna kada on istim sredstvom biva savladan od strane Goldberga i Mekena koji pribegavaju ne samo upotrebi složenih jezičkih izraza, već i filozofiji, što približava ovu dramu komedijama apsurda.…”

Section: Jezička Veština Kao Znak Superiornostiunclassified

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Reč, Tišina, Slom: Jezik Kao Sredstvo Uspostavljanja Moći U Komedijama Pretnje I Političkim Dramama Harolda Pintera

Skuban¹

2023

Jezik, Književnost, Moć/Language, Literature, Power

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Struggle for power lies at the centre of most of Harold Pinter’s plays: while in his early comedies of menace it usually happens between seemingly equal characters, in his late and openly political plays it takes the form of the oppression of powerless individuals by the structures of power. Nevertheless, by analyzing two comedies of menace – The Birthday Party and The Dumb Waiter – as well as two political plays – One for the Road and Mountain Language – this paper shows that language plays the key role in struggle for power, representing the most common and most efficient means of obtaining the dominant position, regardless of the level on which the struggle takes place. Not only do Pinter’s characters use verbal violence to torture their victims, but their use of refined language also serves as an indication of their superiority. What is more, by using linguistic strategies, such as repetition and word games, the torturers baffle their victims into submission, while the use of absurd language serves to further intimidate and perplex the oppressed individuals. Finally, Pinter’s famous pauses and silences, though being the ’negation’ of language, represent the ultimate form of linguistic torture. The language of Pinter’s characters, thus, despite its occasional semantic emptiness and lack of communicative function, always fully fulfils its role – the role of helping the characters assume and retain the position of power.

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Section: Verbalno Nasiljeunclassified

Section: Jezička Veština Kao Znak Superiornostiunclassified

Reč, Tišina, Slom: Jezik Kao Sredstvo Uspostavljanja Moći U Komedijama Pretnje I Političkim Dramama Harolda Pintera

Skuban¹

2023

Jezik, Književnost, Moć/Language, Literature, Power

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“…"When Stanley appears in the last act, the very sight of him indicates the intruders' triumph and his conformity. He is as immaculate as a corpse and walks like a zombie" [10]. Goldberg states that Stanley is suffering from a nervous breakdown, they will take him to Monty, and he will be assumingly taken care of.…”

Section: The Birthday Partymentioning

confidence: 99%

Inauthentıc Responses in the Plays of Harold Pinter and Edward Albee

Cavus¹

2014

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This paper carries out a comparative analysis of Harold Pinter's The Birthday Party and Edward Albee's The Zoo Story. It achieves this by exploring how the dramatic structure, characterization, and use of language in these plays display the playwrights' tendency to employ similar themes of existentialist philosophy and man's self-quest in the face of existential anxiety and despair. Man shows a variety of inauthentic responses in order to escape the lack of meaning in life, freedom to choose and burden of responsibility. The aim of this study is to discuss these inauthentic responses given by the characters in the above mentioned plays.

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The Place of Pinter

Cited by 2 publications

References 2 publications

Reč, Tišina, Slom: Jezik Kao Sredstvo Uspostavljanja Moći U Komedijama Pretnje I Političkim Dramama Harolda Pintera

Reč, Tišina, Slom: Jezik Kao Sredstvo Uspostavljanja Moći U Komedijama Pretnje I Političkim Dramama Harolda Pintera

Inauthentıc Responses in the Plays of Harold Pinter and Edward Albee

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