SELECT BIBLIOGRAPHY
Transcription
SELECT BIBLIOGRAPHY
SELECT BIBLIOGRAPHY Adler, Thomas P. 1979. “From Flux to Fixity: Death in Pinter's No Man's Land.” Arizona Quarterly, 35. _______.1981. “Notes towards the Archetypal Pinter Woman.” Theatre Journal, 33:3. Allen, Graham. 2000. Intertextuality. London and New York: Routledge. Allison, Ralph and Charles Wellborn. 1973. “Rhapsody in an Anechoic Chamber: Pinter’s Landscape.''’ Educational Theatre Journal, 25. Almansi, Guido. 1981. “Harold Pinter's Idiom of Lies.” in C. W. E. Bigsby (ed). Contemporary English Drama. New York: Holmes and Meier. _______and Simon Henderson. 1983. Harold Pinter. London: Methuen. Althusser, Louis. 1969. For Marx, Ben Brewster (trans). New York: Pantheon. _______. 1971. Lenin and Philosophy and Other Essays Ben Brewster (trans). London: New Left Books. Amend, Victor E. 1967. “Harold Pinter: Some Credits and Debits.” Modern Drama, 10. Andretta, Richard A. 1992. Tom Stoppard: An Analytical Study o f his Plays. New Delhi: Har-Anand Publications. Appignanesi, Richard. 1995. Postmodernism for Beginners. Cambridge: Icon Books. Arac, Jonathan. 1987. Critical Genealogies: Historical Situations for Postmodern Literary Studies. New York: Columbia University Press. Auslander, Philip. 1992. Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance. London and New York: Routledge. __________. 1997. From Acting to Performance: Essays in Modernism and Postmodernism. London and New York: Routledge. Aylwin, Tony. 1973. “The Memory of All That: Pinter's Old Times" English, 22. Back, Lillian. 1983. "The Double in Harold Pinter's A Slight Ache." Michigan Academician LS, no. 3. 225 Baker, Stephen. 2000. The Fiction o f Postmodernity. Edinburgh: Edinburgh University Press. Baker, William, and Stephen E. 1973. Harold Pinter. Edinburgh: Oliver and Boyd. Bakhtin, Mikhail. 1981. The Dialogic Imagination. Caryl Emerson and Michael Holquist (trans). Austin: University of Texas Press. ________. 1984. 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Mike Gane (ed). London and New York: Routledge. _______. 1994. The Illusions o f the End. Cambridge: Polity Press. Bauman, Zygmund. 1987. Legislators and Interpreters: On Modernity, Postmodernity and Intellectuals. Ithaca, NY: Cornell University Press. ___________ .1991. Modernity and Ambivalence. Cambridge: Polity Press. _______. 1993. Postmodern Ethics. Oxford and Cambridge, Mass.: Blackwell. Beckerman, Bernard. 1978. “The Artifice of Reality in Chekhov and Pinter.” Modern Drama, 21. 226 Beckett, Samuel. 1954. Waitingfor Godot. New York. Grove Press. ___________ . 1984. Collected Shorter Plays o f Samuel Beckett. New York. Grove Press. Behera, Guru Charan. 1998. Reality and Illusion in the Plays o f Harold Pinter. New Delhi: Atlantic Publishers. Belsey, Catherine. 1980. Critical Practice. London: Methuen. Benstock, Shari. 1977. “Harold Pinter: Where the Road Ends.” Modern British Literature, 2. 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Columbus; Ohio State University Press. . 1979. “Earth and Water: The Question of Renewal in Harold Pinter's Old Times and No Man's Land. ” West Virginia University Philological Papers, 25. ______.1983. “Hirst as Godot: Pinter in Beckett's Land.” Arizona Quarterly. 39, no. 1. Burton, Deidre. 1980. Dialogue and Discourse. London: Routledge and Kegan Paul. Butler, Judith. 1990. Gender Trouble: Feminism and the Subversion o f Identity. London .and New York: Routledge. Butler, L. and Robin Davis. 1990. Rethinking Beckett: A Collection o f Critical Essays. London: Macmillan Press. Cahn, Victor L. 1979. Beyond Absurdity: The Plays o f Tom Stoppard. Rutherford: Farleigh Dickinson University Press. Cahoone, Lawrence E. (ed). 1996. From Modernism to Post-modernism: An Anthology. Cambridge, Mass.: Blackwell. Cardullo, Bert. 1984. “A Note on The Homecoming." Notes on Contemporary Literature. 14, no. 4. Carpenter, Charles A. 1973. "The Anonymity of Dread: Pinter's The Dumb Waiter." 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