[8].王燕,“论品特戏剧里的疾病”,《当代外国文学》,2(2008):72-79。
[9]. John Louis Digaetani. Stages of Struggle: Modern Playwrights and Their Psychological Inspirations. London:Mcfarland and Company,Inc.,2008,p. 7.
[10].Harold Pinter. http://www. haroldpinter. org/home/index. shtml. Web. 1 Jan. 2012.
[11].D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p. 15.
[12].Lois Gordon.“Geneal Editor’s Note.”Pinter at 70:A Casebook. New York:Routledge,2001,p.ⅸ.
[13].哈罗德·品特,《归于尘土》,华明译。南京:译林出版社,2010,第1页。
[14].同上,第2页。
[15].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。
[16].Harold Pinter.“Writing for Myself.”Harold Pinter:Plays Two. London:Faber and Faber,1991, p.ⅶ.
[17].Mel Gussow. Conversation with Pinter,New York:Limelight Edition,1994,p. 19.
[18].D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p. 29.
[19].Kimball King. Modern Dramatist:A Casebook of Major British,Irish,and American Playwrights. New York:Rouledge,2001,p. 168.
[20].Margaret Drabble. The Oxford Companion to English Literature. Oxford:Oxford Publish House, 1993,p. 793.
[21].Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978,p. 235.
[22].See Francesca Coppa.“The Sacred Joke:Comedy and Politics in Pinter’s Early Plays.”The Cam-bridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press, 2001,p. 44.
[23].Ibid.,p. 55.
[24]. Quoted by Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996, p. 84.
[25].Ibid.,p. 84.
[26].Ibid.,p. 84.
[27].Ibid.,p. 84.
[28].Ibid.,p. 84.
[29].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 85.
[30].Mel Gussow. Conversation with Pinter. New York:Limelight Edition,1994,p. 19.
[31].Malcolm Page,ed. File on Pinter. London:Methuen Drama,1993,p. 14.
[32].Ibid.,p. 60.
[33].Tom Megrath.“Peace News.”File on Pinter. Ed. Malcolm Page. London:Methuen Drama,1993, p. 34.
[34].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.
[35].Dominic Shellard. British Theatre since the War. Connecticut:Yale University Press,2000,p. 93.
[36].Steven E. Gale.“Harold Pinter.”British Playwrights:1956-1995. Ed. William W. Demastes. Lon-don:Greenwood Press,1996,p. 316.
[37].Michelen Wandor. Postwar British Drama:Look Back in Gender. London:Routledge,2001,p. 91.
[38].Simon Trussler. New Theatre Voices of the Seventies. London:Eyre Methuen,1981,p. 84.
[39].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 9.
[40].D. Keith Peacock. Harold Pinter and the New British Theatre. London:Greenwood Press,1997, p. 17.
[41].Elizabeth Sakellaridou. Pinter’s Female Portraits. London:Macmillan Press,1988,p. 6.
[42].Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London:Macmillan Press,1994, p. 7.
[43].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 25.
[44].Austin Quigley.“Pinter, Politics and Postmodernism”. The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001,p. 9.
[45].Mireia Aragay.“Pinter, Politics and Postmodernism”. The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001,p. 256.
[46].Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978,p. 263.
[47].Ibid,p. 264.
[48].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.
[49].Leslie Kane. The Art of Crime:The Plays and the Films of Harold Pinter and David Mamet. New York:Routledge,2004,p. 4.
[50].Martin Esslin. Pinter,the Playwright. London:Methuen,1982,p. 52.
[51].Peter Raby.“Tales of the City:Some Places and Voices in Pinter’s Plays”. The Cambridge Com-panion to Harold Pinter. Cambridge:Cambridge University Press,2001,p. 70.
[52].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 391.
[53].Penelop Prentice. Harold Pinter:Life,Work and Criticism. Friderieton:York Press Ltd.,1999,p. 33.
[54].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.
[55]. Steven H. Gale. Sharp Cut:Harold Pinter’s Screenplays and the Artistic Process. Kentucky:The Uni-versity Press of Kentucky,2003,p. 12.
[56].Ruby Cohn.“The World of Harold Pinter”. The Tulane Drama Review,Vol. 6,No. 3(Mar. 1962):55-68.
[57].Martin Esslin. The Theatre of the Absurd. London:Penguin Books,1978,p. 235.
[58]. 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页。