Sophia Dichari
Aspiring lecturing professor of the History of Arts and English Literature and Literary Theory - adding creativity, innovation, and critical thinking into every written work as a way to reshape the general understanding of a seemingly accurate dilemma.
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connection to the disenfranchised condition of human existence that ails modern man’s psyche obstructing his route to communication and purpose. Moreover, this paper elaborates on how silence is an element of absurdism diligently offering up a list of five main critics and their
critiques and assessment over the language of silence employed by Pinter as an element of absurdity, and they include: “Poetics of Silence” (1970) by James R. Hollis, “Harold Pinter and The New British Theatre” (1997) by D. Keith Peacock, “Harold Pinter’s Politics: A Silence Beyond Echo” (2005), “Language and Silence” (1987) by Martin Esslin, and “A Question of
Timing” (1995) by Martin S. Regal. Taking all of this into consideration, an analysis of Harold Pinter’s script will be implemented on the basis of silence as an active partaker in this play of
absurdism posing a number of five main quotations that best represent Pinter’s formation of silence as not only a dramatic device, but a much more intense entity with its own voice and motives.
connection to the disenfranchised condition of human existence that ails modern man’s psyche obstructing his route to communication and purpose. Moreover, this paper elaborates on how silence is an element of absurdism diligently offering up a list of five main critics and their
critiques and assessment over the language of silence employed by Pinter as an element of absurdity, and they include: “Poetics of Silence” (1970) by James R. Hollis, “Harold Pinter and The New British Theatre” (1997) by D. Keith Peacock, “Harold Pinter’s Politics: A Silence Beyond Echo” (2005), “Language and Silence” (1987) by Martin Esslin, and “A Question of
Timing” (1995) by Martin S. Regal. Taking all of this into consideration, an analysis of Harold Pinter’s script will be implemented on the basis of silence as an active partaker in this play of
absurdism posing a number of five main quotations that best represent Pinter’s formation of silence as not only a dramatic device, but a much more intense entity with its own voice and motives.