HAROLD PINTER - Joshua Ruebl

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Wellwarth, George E. The Dumb Waiter, The Collection, The Lover, and The Homecoming: A Revisionist Approach. Harold Pinter: A Casebook. New York: Garland, 1990. 50
Page 1 and 2: Rituals of Gender and Power in the
Page 3 and 4: of Post-Modernism and the kind of p
Page 5 and 6: seems to be in balance: husband and
Page 7 and 8: play. Within these conflicts over c
Page 9 and 10: question “Cream?” can be read a
Page 11 and 12: servant, power and submission, deve
Page 13 and 14: himself. Sarah ignores him, retaini
Page 15 and 16: internal struggle for both intimacy
Page 17 and 18: This play represents a change in at
Page 19 and 20: these, along with the card, particu
Page 21 and 22: us all happy. We’d take it in tur
Page 23 and 24: ealism that borders on the surreal.
Page 25 and 26: RUTH: I won’t go far. I’ll come
Page 27 and 28: “Well, to sum up everything was i
Page 29 and 30: Jewish heritage, and Ruth, a gentil
Page 31 and 32: contentment, an image mocked throug
Page 33 and 34: Oedipal phase (in which the young c
Page 35 and 36: that she is back in her own environ
Page 37 and 38: model for the body.” (Pinter, pg.
Page 39 and 40: due to her role in the patriarchal
Page 41 and 42: Ruth as prostitute is all part of a
Page 43 and 44: name means ‘of the night.’ Haro
Page 45 and 46: Stella and Sarah in his earlier wor
Page 47 and 48: BIBLIOGRAPY Almansi, G. and S. Hend
Page 49: Durham: Duke University Press, 1990

HAROLD PINTER - Joshua Ruebl

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