From reel to real: Harold Pinter's screenplays and the object of desire

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Renton, L;

Taking as a starting point Pinter's statement that The more acute the experience, the\ud less articulate its expression', this thesis offers a theorisation of that essential point\ud beyond representation, through Lacan's objet petit a, the focal point of the subject's\... View more
  • References (47)
    47 references, page 1 of 5

    Pinter'sShapingof the Object Withinthe Narrative. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1. 0..2 Pinter'sShaping of the Ob ject Withinthe Overall Structure of the Screenplay

    Pinter's Shapingof the Ob ject Withinthe Narrative.. . . . .. . . . . . . . . . . . . . . . . . . . ....... 1 1 7 Pinter's Shapingof the Object Withinthe Overall Structure of the Screenplay . .. . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . .. . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . . .1 34 The Lack . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 3 5 The Drive. . . . . . ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . ..... 1 36 The 'Loop of Enjoyment'. . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 4 1

    The Object Turns Uncanny. . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 4 6 The Uncannyin the Narrativeof Novel and Screenplay. . . . . . . . . . . . . . . . . .. . . . . . . . . 1 4 9 The Emergence of the Uncannyin the Structure of the Screenplay Instead of a Lack- a Fullness . . . . . . . . . . . . . . . . . . . . . . . . . . . ............ . . . . . . . . . . . . . . . . . . .1 5 7 The DriveDisturbed. . . . . . . . . . . . . ... . . . . . . . . ... . . . . . . . . . . . . . . .. .. . . . . . . . . . . . . . . . . . . . . . ... . . . . 1 6 0 Instead of Enjoyment- Anxiety. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 6 5 Barber, Susanna,and Messer,Richard, ' The FrenchLieutenant'sWoman and l ndividualsiation', Leitratu re/Film Quart erly, 1 2 .4 (1 984), 225-229.

    Baughman,Cynthia, ' The Handmaid's Tale', The PinterReview (1 990), 92-96.

    Bamigboye, Baz, 'Dark,Fertile Visions of ourFutuer Maid inHell', Dail y Mail, 1 4 February 1 9 90, p. 32.

    Benston , Alice N . , 'Chekhov,Beckett, Pinter:The St(r)ain upon the Silence', in Burkmanand Kundert-Gibbs, pp. 1 1 1 -1 2 4.

    Ben-Zvi, Linda 'Monologue:The Play of Words', in Gordon, A Casebook, pp. 81 -93.

    Bennetts, Leslie, 'On Film,Pinter'sBetrayal Displays NewSubtleties', New York Times, 27 February 1 983, pp. 1 , 23.

    Byczkowska-Page, Ewa,The Structureof Time-SpaceinHarold Pinter's Drama: 1957-75, (Wroclaw:Wydawn,Uniw.Wroclawskiego, 1 983).

    Byrne, Jac k, 'Acciden/Ntovel/Script/Film:Mosley/Pinter/Losey', The Review of Contemporary Fiction, 2 (1 9 82), 1 32-1 42 .

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