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. Problems o f Dostoevsky's Poetics. Caryl Emerson, (trans).
Minneapolis: University of Minnesota Press.
Barth, John. 1967. 'The literature of exhaustion.' Atlantic 220: 29-34.
_______. 1979. LETTERS. New York: Putnam's Sons.
______ . 1980. 'The literature of replenishment: postmodernist fiction’ Atlantic
245, 1: 65-71.
Barthes, Roland. 1973. Mythologies, Annette Lavers (trans). London: Granada..
________. 1974. S/Z. Richard Miller (trans). New York: Hill and Wang,
_______. 1977 Image Music Text, Stephen Heath (trans). New York: Hill & Wang.
_______. 1977. Roland Barthes by Roland Barthes. Richard Howard (trans). New
York: Hill & Wang.
________.1986.
The Rustle o f Language. Richard Howard (trans). Berkeley:
University of California Press..
Barry, Smart 1985. Michel Foucault. London: Tavistock Publications.
Baudrillard, Jean. 1983 Simulations. Paul Foss, Paul Patton, and Philip Beitchman
(trans). New York: Semiotext(e).
______. 1993. Baudrillard Live: Selected Interviews. 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.
Berkowitz, Gerald M. 1976. “Pinter's Revision of The Caretaker.'’’’ Journal o f
Modern Literature, 5.
Berlin, Normand. 1973. “Rosencrantz and Guildenstern Are Dead: Theatre of
Criticism.” Modern Drama, 16.
Bernhard, F. J. 1965.
"Beyond Realism: The Plays of Harold Pinter." Modern
Drama, 8.
Bernhard, Thomas. 1982. Eve o f Retirement. Gitta Honneger (trans). New York:
Performing Arts Journal Publications.
______________ . 1982. The President.
Gitta Honneger (trans).
New York:
Performing Arts Journal Publications.
Bernstein, Richard J. (ed). 1985. Habermas and Modernity. Cambridge Mass.:
MIT Press.
Bertens, Hans. 1995. The Idea o f the Postmodern. A History. London and New
York: Routledge.
Best, S and D. Kellner. 1991. Postmodern Theory. New York: Guilford.
Bigsby, C W E. 1976. Tom Stoppard. Hayden: Longman.
__________. 1981. "The Politics of Anxiety: Contemporary Socialist Theatre in
England." Modern Drama, 24.
__________ 1985. A Critical Introduction to Twentieth-Century American Drama.
3. Cambridge: Cambridge University Press.
Billington, Michael. 1987. Stoppard: The Playwright. London: Methuen.
227
Billman, Carol. 1980. “The Art of History in Tom Stoppard's
Travesties’’. Kansas
Quarterly, 12:4.
Birringer, Johannes H. 1991. Theatre, Theory, Postmodernism. Bloomington:
Indiana University Press.
Brassell, Tim. 1985. Tom Stoppard: An Assessment. New York: St. Martin's Press.
Brater, E. and Ruby Cohn. 1991. Around the Absurd: Essays on Modern and
Postmodern Drama. Ann Arbor: University of Michigan Press.
Braudel,
Fernand.
1980.
On
History,
Sarah
Matthews
(trans).Chicago: University of Chicago Press.
Braunmuller, Albert R. 1979. “A World of Words in Pinter's Old Times.” Modern
Language Quarterly, 40.
Brecht, Bertolt. 1964. Brecht on Theatre: The Development o f an Aesthetic, (ed).
and ( trans). John Willet. New York: Hill & Wang.
Brodribb, Somer. 1992. Nothing Mat (t)ers: A Feminist Critique o f Postmodernism.
Toronto: J. Lorimer.
Brooks, Mary E. 1972. “The British Theatre of Metaphysical Despair.” Literature
and Ideology, 12.
Brown, John Russell. 1965. “Dialogue in Pinter and Others.” Critical Quarterly, 1.
______. 1965. “Mr. Pinter's Shakespeare.” Critical Quarterly. 5.
Brown, John Russell,
(ed). 1968. Modern British Dramatists: A Collection.
Eaglewood Cliffs, N.J: Prentice-Hall.
__________ . 1972. Theatre Language: A Study o f Arden, Osborne, Pinter and
Wesker. London: Allen Lane.
___________ (ed). 1984. Twentieth Century Views: Modern British Dramatists
Englewood Cliffs, N.J.: Prentice-Hall.
Burger, Peter. 1984. Theory o f the Avant-Garde. Michael Shaw (trans).
Minneapolis: University of Minnesota Press.
Burkman, Katharine H. 1968. “Pinter's A Slight Ache as Ritual.” Modern Drama,
11 .
228
_________. 1971. The Dramatic World o f Harold Pinter: Its Basis in Ritual.
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."
Modern Drama, 16.
_______. 1974. "What Have I Seen, the Scum or the Essence?': Symbolic Fallout in
Pinter's Birthday Party." Modern Drama, 17 .
Cima, Gary Gibson. 1984."Acting on the Cutting Edge: Pinter and the Syntax of
Cinema." Theatre Journal, 36, no. 1.
Cohn, Ruby. 1962. "The World of Harold Pinter." Tulane Drama Review. 6, no. 3.
________. 1965."The Absurdly Absurd: Avatars of Godot." Comparative
Literature Studies, 2.
229
_________. 1981. 'Tom Stoppard: Light Drama and Dirges in Marriage', in C W
Bigsby (ed). Contemporary English Drama. London: Holmes & Meier.
________. 1991. Retreats from Realism in Recent English Drama. London:
Penguin Publications.
Collingwood, R G. 1946. The Idea o f History. Oxford: Clarendon Press.
Connor, Steven. 1989. Postmodernist Culture: An Introduction to Theories o f the
Contemporary. Oxford: Blackwell.
Coover, Robert. 1977, The Public Burning. New York: Viking.
Corballis, Richard. 1984. Stoppard: The Mystery and the Clockwork. New York:
Methuen.
Culler, Jonathan. 1977. Ferdinand de Saussure. New York: Penguin Books.
_______.1982.
On Deconstruction: Theory and Criticism after Structuralism.
Ithaca: Cornell University Press.
Davy, Kate (ed). 1976. Richard Foreman: Plays and Manifestoes New York: New
York University Press.
________. 1981. Richard Foreman and the Ontological-Hysterical Theatre. Ann
Arbor: University of Michigan Press.
Dean, Joan Fitzpatrick. 1981. Tom Stoppard: Comedy as a Moral Matrix.
Columbia, Miss.: University of Missouri Press.
Delaney, Paul. 1996. Tom Stoppard: The Moral Vision o f the Major Plays. New
York: St. Martin's Press.
_______. (ed). 1994. Tom Stoppard in Conversation. Ann Arbor: University of
Michigan Press.
Delaney, Paul . 1981. 'The Flesh and the Word in Jumpers'. Modern Language
Quarterly, 4, 42.
Diamond, Elin. 1982. "Parody Play in Pinter." Modern Drama, 25: 4.
________. 1985. Pinter’s Comic Play. Lewisburg: Bucknell University Press.
________.1986. 'Stoppard's Dogg's Hamlet, Cahoot's Macbeth: The Uses of
Shakespeare', Modern Drama, 29:4.
230
Dick, Kay. 1961. "Mr. Pinter and the Fearful Matter." Texas Quarterly. 4, no. 3.
Docherty, Thomas. 1990. After Theory: Postmodernism/ Post Marxism. London and
New York: Routledge.
______. (ed). 1993. Postmodernism: A Reader. New York: Columbia University
Press.
Doctorow, E.L. 1971. The Book o f Daniel. New York: Bantam.
_______.1975. Ragtime. New York: Random House.
Doll. Mary A. 1993. “Stoppard’s Theatre of Unknowing” in James Acheson (ed).
British and Irish Drama Since 1960. London: Macmillan Press.
Dukore, Bernard F. 1962. "The Theatre of Harold Pinter." Tulane Drama Review 6,
no. 3.
_______.1974 "The Pinter Collection." Educational Theatre Journal, 7.
________.1976.
Where Laughter Stops: Pinter's
Tragicomedy. Columbia:
University of Missouri Press.
_______.1980. "Pinter's Staged Monologue." Theatre Journal, 32 .
.1982. Harold Pinter. New York: Grove Press.
Dutton, Richard. 1986. Modern Tragicomedy and the British Tradition. Norman:
University of Oklahoma Press.
Eagleton, Terry. 1983. Literary Theory: An Introduction. Oxford: Blackwell
Publishers.
________. 1985. 'Capitalism, modernism and post-modernism.' New Left Review
152: 60-73.
________. 1996. The Illusions o f Postmodernism. Oxford and Cambridge, Mass:
Blackwell.
Eco, Umberto. 1976. A Theory o f Semiotics. Bloomington, Ind: Indiana University
Press.
_________. 1982. 'Critique of the image,' in Burgin : 32-8. Calif.
Elam, Keir. 1980. The Semiotics o f Theatre and Drama. London: Methuen.
231
_________. 1984. 'After Magritte, after Carroll, after Wittgenstein: What
Stoppard's Tortoise Taught Us'. Modern Drama, 27:4 .
Engels, Friedrich. 1972. The Origins o f the Family, Private Property, and the State.
New York: International Publishers.
Ermath, Elizabeth Deeds. 1992. Sequel to History: Postmodernism and the Crisis
o f Representational Time. Princeton: Princeton University Press.
Ernesto Laclau. 1988. “Politics and the limits of modernity” in Andrew Ross (ed/
Universal Abandon? The Politics o f Postmodernism. Minneapolis:
University of Minnesota Press.
Esslin, Martin. 1963. "Godot and His Children: The Theatre of Samuel Beckett and
Harold Pinter." Experimental Drama.
_______.1968. "Pinter Translated." Encounter, 30, no. 3.
________.1970. The Peopled Wound: The Work o f Harold Pinter. Garden City,
N.Y.: Doubleday.
________.1980. The Theatre o f the Absurd. Harmondsworth, Middlesex: Penguin
Books.
Ferguson, Margaret and Wicke Jennifer (eds).1994. Feminism and Postmodernism.
Durham, NC: Duke University Press.
Feynman, Richard. 1966. The Feynman Lectures on Physics: Quantum Mechanics.
Reading: Addison and Wesley.
Flax,
Jane. 1990.
Thinking
Fragments:
Psychoanalysis,
Postmodernism in the Contemporary West.
Feminism,
and
Berkeley: University of
California Press.
Forties, Mark. 1997. Theory/Theatre: An Introduction. London: Routledge.
Foster, Hal (ed). 1983. The Anti-Aesthetic. Essays on Postmodern Culture. Port
Townsend: Bay Press.
Foucault, Michel. 1970. The Order o f Things: Archaeology o f the Human Sciences.
A. Sheridan - Smith(trans). New York: Pantheon.
232
______. 1972. The Archaeology o f Knowledge and the Discourse on Language.
A.M. Sheridan Smith (trans). New York: Pantheon.
_______. 1979. Discipline and Punish. Alan Sheridan (trans). New York: Vintage
Books.
_______. 1980. The History o f Sexuality’: Volume I: An Introduction.
Robert
Hurley (trans). New York: Vintage.
________. 1980. Power/Knowledge: Selected Inter-views and Other Writings,
1972-1977-. New York: Pantheon Books.
Fowles, John. 1969. The French Lieutenant's Woman. Lon- don: Jonathan Cape.
_____ 1985. A Maggot. Toronto: Collins; London: Jonathan Cape.
Free, W J. 1969. “Treatment of Characters in Harold Pinter’s The Homecoming”.
South Atlantic Bulletin, xxxiv.
Freeman, John. 1996. “Holding up the Mirror to Mind's Nature: Reading
Rosencrantz Beyond Absurdity", Modern Language Review, 91: 1.
Freud, Sigmund. 1965. New Introductory Lectures on Psychoanalysis.
James
Strachey. (Trans.) New York: W. W. Norton.
Gabbard, Lucina P. 1976. The Dream Structure o f Pinter's Plays: A Psychoanalytic
Approach. Rutherford, N.J.: Fairleigh Dickinson University Press.
_________. 1978. "The Roots of Uncertainty in Pinter and Stoppard." Forum I I 16,
no. 3.
Gaggi, Silvio. 1989. Modern/Postmodern: A Study in Twentieth-Century Arts and
Ideas. Philadelphia: University of Pennsylvania Press.
Gale, Steven H. 1977. Butter's Going Up: A Critical Analysis o f Harold Pinter's
Work. Durham, N.C.: Duke University Press.
Gallagher, Kent G. 1966. "Harold Pinter's Dramaturgy." Quarterly Journal o f
Speech, 52.
Ganz, Arthur. 1969. "A Clue to the Pinter Puzzle: The Triple Self in The
Homecoming." Educational Theatre Journal, 21.
233
_____________ . (ed). 1972. Pinter: A Collection o f Critical Essays. Englewood
Cliffs, N.J.: Prentice-Hall.
________.1980. Realms o f the Self. New York: New York University Press.
Geis, Deborah. 1990. “Wordscapes of the Body: Per formative Language as Gestus
in Maria Irene Fomes’ plays”. Theatre Journal, 42:3.
________. 1993. Postmodern Theatri[k]s: Monologue in Contemporary American
Drama. Ann Arbor: University of Michigan Press.
Gilman. Richard. 1967. “The Pinter Puzzle,” New York Times, 22 Jan. sec. 2, p.l.
Gordon, Lois G. 1968. Stratagems to Uncover Nakedness: The Dramas o f Harold
Pinter. Columbia: University of Missouri Press.
Graff, Gerald. 1973. 'The Myth of the Postmodernist Breakthrough,' Tri Quarterly,
26: 383-417.
_________. 1979. Literature Against Itself Chicago: University of Chicago Press.
Gussow, Mel. (ed). 1995. Conversations with Tom Stoppard. London: Nick Hem,
Habermas, Jurgen. 1983. 'Modernity - an incomplete project,' in Foster 3-15.
.
_________. 1985. 'Neoconservative culture criticism in the United States and
West Germany: an intellectual movement in two political cultures,' in
Bernstein. 78-94.
Hammond, Geralsine. 1972. "Something for the "Nothings' of Beckett and Pinter."
CEA Critic, 39, no. 2.
Harland, Richard. 1987. Superstructuralism: The Philosophy o f Structuralism and
Post- Structuralism. London and New York: Methuen.
Harty, John. 1985. 'Stoppard's Lord Malquist and Mr Moon'. Explicator,
Washington, 43:2 .
Harvey, David. 1989. The Condition o f Postmodernity: An Enquiry into the Origins
o f Cultural Change. Oxford: Blackwell.
Hassan, Ihab.1971. 'POSTmodemISM,' New Literary History 3, 1: 5-30.
234
______.1975. Paracriticisms: Seven Speculations o f the Times. Urbana, II:
University of Illinois Press.
____________ . 1980. The Right Promethean Fire: Imagination, Science, and
Cultural Change. Urbana, III. University of Illinois Press.
_______. 1980. 'The question of postmodernism,' in Garvin (1980): 117-26.
________. 1982. The Dismemberment o f Orpheus: Toward a Postmodern
Literature. Wis.: University of Wisconsin Press.
________. 1986. 'Pluralism in postmodern perspective,' Critical Inquiry 12, 3: 50320 .
_______. 1987. The Postmodern Turn: Essays in Postmodern Theory and Culture.
np: Ohio State University Press.
Hayman, Ronald. 1973. Harold Pinter. New York: Ungar.
_________. 1977. Tom Stoppard. London: Heinemann.
__________. 1979. Theatre and Anti-Theatre: New Movements Since Beckett.
London: Seeker and Warburg.
Heidegger, Martin. 1962. Being and Time. New York: Harper and Row.
__________. 1975. Poetry, Language, Thought. A Hofstader (trans). New York:
Harper and Row.
Heuvel, M. V. 1991. Performing Drama/Dramatizing Performance. Ann Arbor:
University of Michigan Press.
_________. 2001. ‘“Is postmodernism?’ Stoppard among/against the postmodern.”
in Katherine E. Kelly (ed). The Cambridge Companion to Tom
Stoppard. Cambridge: Cambridge University Press.
Hinden, Michael. 1986. 'After Beckett: The Plays of Pinter, Stoppard and Shepard’.
Contemporary Literature, 27:3
____________. 1981. 'Jumpers'. Stoppard and the Theatre of Exhaustion'.
Twentieth Century Literature, 27:1.
Hollis, James R. 1970. Harold Pinter: The Poetics o f Silence. Carbondale:
Southern Illinois University Press.
235
________. 1985. 'Architecture and the critique of ideology,' in Ockman (1985): 5187.
________. 1991. Postmodernism, or the Cultural Logic o f Late Capitalism.
Durham. NC: Duke University Press.
Jencks, Charles. 1977. The Language o f Post-Modern Architecture. London:
Academy.
_______.1980. Post-Modern Classicism: The New Synthesis. London: Academy.
_______. 1980. Late-Modern Architecture and Other Essays. London: Academy.
_______.1982. Architecture Today. New York: Abrams.
_______. (ed). 1992. The Post-Modern Reader. London: Academy Editions; New
York: St Martin's Press.
Jenkins, Anthony. 1987. The Theatre o f Tom Stoppard. Cambridge: Cambridge
University Press.
Jenkins, Keith (ed). 1997. The Postmodern History Reader. London and New York:
Routledge.
_______. 1999. Why History? Ethics and Postmodernity. London and New York:
Routledge.
John, Johnston. 1987. “Postmodern Theory/ Postmodern Fiction”, CLIO 16:2.
(Winter).
Jones, John Bush. 1976. "Stasis as Structure in Pinter's No Man's Land.” Modern
Drama, 19.
Kaye, Nick. 1994. Postmodernism and Performance. New York: St. Martin’s
Press.
Kelly, Katherine E. 1986. “Tom Stoppard's Artist Descending a Staircase'.
Outdoing the Dada Duchamp”. Comparative Drama, 20:3.
_________.1990. 'Tom Stoppard: Journalist Through the Stage Door’. Modern
Drama, 33:3.
_________. 1991. Tom Stoppard and the Craft o f Comedy: Medium and Genre at
Play. Ann Arbor: University of Michigan Press.
237
_________. (ed). 2001. The Cambridge Companiion to Tom Stoppard. Cambridge:
Cambridge University Press.
Kennedy, Andrew K. 1975. Six Dramatists in Search of a Language. Cambridge:
Cambridge University Press.
__________ .1979. 'Natural, Mannered and Parodic Dialogue'. Yearbook of English
Studies, 9, pp. 28-54.
Krebs, Barbara. 1986. 'How Do We Know That We Know What We Know in
Stoppard's Jumpers?' Twentieth Century Literature, 32:4.
Lacan, Jacques. 1977. Ecrits: A Selection. Alan Sheridan (trans). New York: W.
W.Norton.
_______. 1985. Feminine Sexuality. Juliet Mitchell and Jacqueline Rose (eds).
Jacqueline Rose (trans). New York: W. W. Norton.
LaCapra, Dominick. 1987. History, Politics, and the Novel. Ithaca, NY: Cornell
University Press.
________.1983. Rethinking Intellectual History: Texts, Contexts, Language. Ithaca,
NY: Cornell University Press.
________. 1985. History and Criticism. Ithaca, NY: Cornell University Press.
Laclau, Ernesto. 1988. 'Politics and the limits of modernity.' in Andrew Ross (ed).
Universal Abandon?
The Politics of Postmodernism. Minneapolis:
University of Minnesota Press.
Lahr, John. (ed). 1971 Casebook on Harold Pinter's The Homecoming. New York:
Grove Press.
_______.1968. "Pinter and Chekhov: The Bond of Naturalism." Tulane Drama
Review, 13, no. 3.
Lawson, Hillary. 1985. The Postmodern Predicament. Chicago: Open Court Press.
Lemaire, Anika. 1977. Jacques Lacan. David Macey (trans). London: Routledge
and Kegan Paul.
Lodge, David. 1977. The Modes of Modern Writing: Metaphor, Metonymy and the
Typology of Modern Literature. London: Edward Arnold.
238
Lyotard, Jean-Francois. 1984. The Postmodern Condition: A Report on Knowledge.
Geoff Bennington and Brian Massumi, (trans). Minneapolis: University
of Minnesota Press.
________. 1984. 'Answering the question: what is postmodernism?' Regis Durand
(trans). in The Postmodern Condition.. A Report on Knowledge.
______. 1984. 'The differend, the referent, and the proper name,' Georges Van Den
Abbeele (trans). Diacritics, 14, 3: 4-14.
_______. 1988. The Differend. Minneapolis: University of Minnesota Press.
Malkin, Jeanette . 1999. Memory - Theatre and Postmodern Drama. Ann Arbor:
University of Michigan Press.
_______. 1995. “Pulling the Pants off History: Politics and Postmodernism in
Thomas Bernhard’s Eve of Retirement. Theatre Journal, 47:2.
Malpas, Simon. 2001. Postmodern Debates. New York: Palgrave.
Mamet, David. 1976. American Buffalo. New York: Grove Press.
_________. 1977. A Life in the Theatre. New York: Grove Press.
________. 1977. Water Engine. New York: Grove Press.
_________. 1981. Lake Boat. New York: Grove Press.
Man, Paul de. 1974. ‘Nietzsche’s Theory of Rhetoric’, Symposium. Number 28,
p.35.
McHale, Brian. 1987. Postmodernist Fiction. London and New York: Methuen.
__________. 1992. Constructing Postmodernism. London: Routledge.
Marshall, Brenda. 1992. Teaching the Postmodern:
Fiction and Theory.
New
York: Routledge.
Martineau, Stephen. 1973. "Pinter's Old Times: The Memory Game." Modern
Drama, 16.
Mayberry, Robert. 1980. "A Theatre of Discord: Some Plays of Beckett, Albee and
Pinter." Kansas Quarterly, 12, no. 4.
Moriarty, Michael. 1991. Roland Barthes. Cambridge: Polity Press.
239
Muller, Heiner.1979. 'Reflections on postmodern-ism,' New German Critique 16:
55-7.
_________. 1971. Germania Death in Berlin. Bernard Schutze and Caroline
Schutze (trans). New York: Semiotexte.
__________. 1974. The Battle. Bernard Schutze and Caroline Schutze (trans). New
York: Semiotexte.
Nietzsche, Friedrich. 1956. The Birth of Tragedy and the Genealogy of Morals.
New York: Archer.
_______. 1957. The Use and Abuse of History. Adrian Collins (trans). Indianapolis
New York: Liberal Arts Press.
_______. 1967. The Will to Power. New Jersey: Humanities Press.
_______. 1973. Beyond Good and Evil. Harmondsworth: Penguin.
Peacock. D. Keith. 1997. Harold Pinter and the New British Theatre. Westport, CT:
Greenwood Press.
Pesta, John. 1967. "Pinter's Usurpers." Drama Survey, 6.
Pinter, Harold. 1960. The Birthday Party and Other Plays. London: Methuen.
_______.1961. A Slight Ache and Other Plays. London: Metheun.
________. 1962, March. “ Between the lines.” in Sunday Times. London.
________.1963. The Collection and The Lover. London: Methuen.
________. 1965. The Homecoming. London: Metheun.
________.1969. Landscape and Silence. London : Metheun .
_________. 1975.
No M an’s Land. London: Methuen.
_________. 1977. Complete Works: One. New York: Grove Press.
_________. 1977. Complete Works: Two. New York: Grove Press.
240
_________. 1978. Complete Works: Three. New York: Grove Press.
__________.1978. The Last Tycoon, The French Lieutenant’s Woman and other
Screenplays. London: Methuen.
_________. 1981. Complete Works: Four. New York: Grove Press.
_________ . 1984. One for the Road. London: Metheun.
_________. 1986. Mountain Language. New York: Grove Press.
________. 1986. Collected Poems and Prose. London: Methuen.
________. 1990. Victory, The Comfort of Strangers and other Screenplays.
London: Faber and Faber.
_________. 1991. Party Time. London: Faber and Faber.
_________.1993. The New World Order. New York: Grove Press.
_________. 1993. Moonlight. London: Faber and Faber.
________. 1996. Ashes to Ashes. London: Faber and Faber.
Prentice, Penelope. 2000. The Pinter Ethic: The Erotic Aesthetic. New York:
Garland.
Pynchon, Thomas. 1961, V. New York: Bantam.
______. 1965. The Crying of Lot 49. New York: Bantam.
______. 1973. Gravity's Rainbow. New York: Viking.
Quigley, Austin. 1975. The Pinter Problem. Princeton: Princeton University Press.
_______. 1985. The Modern Stage and Other Worlds. New York: Methuen.
_______. 2001. “Pinter, politics and postmodernism” in Peter Raby (ed). The
Cambridge Companion to Harold Pinter. Cambridge: Cambridge
University Press.
Reed, Ishmael.1969 Yellow Back Radio Broke-Down.
Garden City, NY:
Doubleday.
______. 1972. Mumbo-Jumbo. Garden City, NY: Doubleday.
Robinson, Gabriele Scott. 1977. 'Plays Without Plot: The Theatre of Tom
Stoppard'. Educational Theatre Journal, 29.
241
_______. 1980. 'Nothing Left But Parody: Friedrich Durrenmatt and Tom
Stoppard'. Theatre Journal, 2.
Rorty,
Richard. 1981.
'Nineteenth-century
idealism
and
twentieth-century
textualism,' Monist 64: 155-74.
______. 1991. Objectivity, Relativism and Truth. Cambridge: Cambridge
University Press.
______.1997. Truth, Politics and 'Post-Modernism'. Assen: Van Gorcum.
Rose, Margaret A. 1979. Parody/Meta-Fiction. London: Croom Helm.
_______.1991. The Post-Modern and the Post-Industrial: A Critical Analysis.
Cambridge: Cambridge University Press.
Royle, Nicholas. 1995. After Derrida. Manchester: Manchester University Press.
Rushdie, Salman. 1981. Midnight's Children. London: Picador.
________.1983. Shame. London: Picador.
Richard Gilman. 1967. “The Pinter Puzzle,” New York Times, 22 Jan., sec.2.
Said, Edward W. 1975. The World, the Text, and the Critic. Cambridge. Mass:
Harvard University Press.
Sammells, Neil. 1988. Tom Stoppard: The Artist as Critic. Basingtoke: Macmillan
Press.
Schmitt, Natalie Crohn. 1999. “Window / Picture: L ’assassin Menace and Artist
Descending a Staircase.” Twentieth Century Literature. Vol. 45, Issue
3.
Schwanitz, Dietrich. 1981. 'The Method of Madness. Tom Stoppard's Theatrum
Logico-Philosophicum'.
Essays on Contemporary British Drama.
Hueber, pp. 131-54.
Shepard, Sam. 1981. Seven Plays. New York: Bantam.
Silverman, Kaja. 1983. The Subject of Semiotics. New York: Oxford University
Press.
Silverstein. Mark. 1993. Harold Pinter and the Language of Cultural Power.
London and Toronto: Associated University Press..
242
Sim, Stuart (ed). 1998. The Icon Critical Dictionary of Post- modern Thought.
Cambridge: Icon Books.
Simon Critchley.
1922. The Ethics of Deconstruction. Oxford: Blackwell
Publishers.
Smith, Paul. 1988. Discerning the Subject. Minneapolis: University of Minnesota
Press.
_______-(ed). 1999. The Routledge Critical Dictionary of Postmodern Thought.
Cambridge: Icon Books.
Sontag, Susan. 1967. Against Interpretation and Other Essays. New York: Dell.
Spanos, William V. 1987. Repetitions: The Post modem Occasion in literature and
Culture. Baton Rouge, La: Louisiana State University Press.
Stephen Watt. 1998. Postmodern/Drama: Reading the Contemporary Stage. Ann
Arbor: University of Michigan Press.
Stoppard, Tom. 1966. Lord Malquist and Mr. Moon. London: Blond.
___________ . 1972. Jumpers. New York: Grove Press.
___________. 1974 . “Ambushes for the Audience: Towards a High Comedy of
Ideas”. Theatre Quarterly, 4 (May-July).
___________ . 1975. Travesties. New York: Grove Press.
__________. 1975. After Magritte.. New York: Grove Press.
__________.1977. Artist Descending a Staircase. New York: Grove Press.
__________. 1977. Albert’s Bridge and other plays. New York: Grove Press.
__________. 1978. Professional Foul. New York: Grove Press.
__________. 1980. Dogg’s Hamlet, Cahoot’s Macbeth. London: Faber and Faber.
__________. 1981. Rosencrantz and Guildenstern Are Dead. New York: Grove
Press.
__________ . 1982. The Real Thing. London: Faber and Faber.
__________ . 1982. The Real Inspector Hound. New York: Grove Press.
__________.1984. Four Plays for Radio. London: Faber and Faber.
__________ . 1988. Hapgood. London: Faber and Faber.
. 1993. Arcadia. London: Faber and Faber.
243
__________. 1994. “Plotting the course of a Playwright” in Paul Delaney (ed/
Tom Stoppard in Conversation. Ann Arbor: University of Michigan
Press.
___________.1996. Plays. Vol.l. London: Faber and Faber.
___________.1996. Plays. Vol. II. London: Faber and Faber.
___________ .1996. Plays. Vol .III. London: Faber and Faber.
___________.1996. Plays. Vol. IV London: Faber and Faber.
___________ . 1997. The Invention of Love. London: Faber and Faber.
___________ .2002. Voyage. The Coast of Utopia, Part I. London: Faber and
Faber.
_________. 2002. Shipwreck. The Coast of Utopia, Part II. London: Faber and
Faber.
_________. 2002 Salvage. The Coast of Utopia, Part III. London: Faber and Faber.
Sykes, Alrene. 1970. Harold Pinter. New York: Humanities.
Taylor, John R. 1969. Harold Pinter. London: Longman.
__________. 1969. Anger and After: A Guide to New British Drama. London:
Methuen.
Thiher, Allen. 1984. Words in Reflection: Modern Language Theory and
Postmodern Fiction. Chicago, III. University of Chicago Press.
Trussler, Simon. 1973. The Plays of Harold Pinter. An Assessment. London:
Gollancz.
Waugh, Patricia. 1984. Metafiction. London and New York: Methuen.
________. (ed). 1992. Postmodernism: A Reader. London: Edward Arnold.
_________. 1992. Practicing Postmodernism/Reading Modernism. London:
Edward Arnold.
White, Hayden. 1973. Metahistory: The Historical Imagination in Nineteenth
Century Europe. Baltimore, Md: Johns Hopkins University Press.
244
______. 1978. 'The historical text as literary artifact,' in Canary and Kozicki: 4162.
_________. 1978. Tropics of Discourse: Essays in Cultural Criticism. Baltimore,
Md: Johns Hopkins University Press.
______. 1980. 'The value of narrativity in the representation of reality,' Critical
Inquiry, 7,1: 5-27.
______. 1987. The Content of the Form: Narrative Discourse and Historical
Representation. Baltimore, Md and London: Johns Hopkins University
Press.
White, Stephen K. 1991. Political Theory and Postmodernism. Cambridge:
Cambridge University Press.
Wittgenstein, Ludwig. 1972. On Certainty. Denis Paul and G E M . Anscombe
(trans). New York: Harper and Row.
_______. 1958. Philosophical Investigations. G E M . Anscombe (trans). New
York: Macmillan.
Wright, Elizabeth. 1988. Postmodern Brecht: A Re-presentation. Ann Arbor:
University of Michigan Press.
Zeifman, Hersh. 1979. 'Tomfoolery: Stoppard's Theatrical Puns'. Yearbook of
English Studies, IX, pp. 204-20.
_____________ . 1983. Comedy of Ambush: Tom Stoppard's The Real Thing1.
Modern Drama, 26:2.
Zinman, Toby Silverman. 1985. "Pinter's Old Times." Explicator, 43, no. 2.
A liam a Ic h il L ib rary
1 Lies**
Ace No. ^ . 2 9 / - 9 '
245