[37].T. S. Eliot.“Tradition and the Individual Talent”. Critical Theory since Plato. Eds. Hazard Adams and Leroy Searle. Beijing:Peking University Press,2006,p. 808.
[38].Wayne Booth. The Rhetoric of Fiction. Chicago:University of Chicago,1961,p. 71.
[39].Seymour Chatman. Story and Discourse:Narrative Structure in Fiction and Film. Ithaca:Cornell U. P. 1978,p. 151.
[40].Roland Barthes. The Death of the Author in Image,Music,Text,Trans. Stephen Heath. New York:Hill and Wang,1977,p. 145.
[41].金元浦,“本文中心论的衰落———现代西方文学批评史的一次重大转折”,《学术论丛》,4 (1992):67-72。
[42].米歇尔·福柯,《作者是什么?》,选自王潮编:《后现代主义的突破:外国后现代主义理论》。兰州:敦煌文艺出版社,1996年,第272页。
[43].哈罗德·品特,《艺术、真理和政治》,选自邓中良编:《品品特》。武汉:长江文艺出版社, 2006,第10页。
[44].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 293.
[45]. Harold Pinter.“A Kind of Alaska”. Harold Pinter:Plays Four. London:Faber and Faber,1993, p. 149.
[46].Martin Esslin. Pinter,the Playwright. London:Methuen,1982,p. 14.
[47].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 5.
[48].Ibid.,p. 5.
[49].Ibid.,p. 5.
[50].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 6.
[51].Antonia Fraser. Must You Go?My Life with Harold Pinter. New York:Doubleday,2010,p. 129.
[52].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 8.
[53].Ibid.,p. 8.
[54].Ibid.,p. 6.
[55].Harold Pinter.“Writing,Politics and Ashes to Ashes”. Haorld Pinter:Various Voices:Prose,Poetry, Politics. London:Faber and Faber,1998,p. 69.
[56]. Lawrence Bensky.“Harold Pinter”. Writers at work:the Paris Review Interviews. Ed. George Plimp-ton. New York:Viking Press,1967,p. 363.
[57].Antonia Fraser. Must You Go?My Life with Harold Pinter. New York:Doubleday,2010,p. 137.
[58].西格蒙德·弗洛伊德,《精神分析引论》,高觉敷译。北京:商务印书馆,1997,第216页。
[59].See John Louis Digaetani. Stage of Struggle: Modern Playwrights and Their Psychological Inspirations. London:Mcfarland Company,Inc.,2008,p. 94.
[60].亚历山大·蒲柏,《论疾病》,选自林石编:《疾病的隐喻》。广州:花城出版社,2003,第57页。
[61].Sigmund Freud.“Creative Writers and Daydreaming”. Freud on the Psychology of Ordinary Mental Life. Ed. Susan Sugarman. Maryland:The Rowman and Littlefield Publishing Group,2010,p. 212.
[62].Mal Gussow. Conversation with Pinter. New York:Limelight,1994,p. 71.
[63].Susan Hollis Merritt.“Pinter and Politics”. Pinter at 70:A Casebook. Ed. Lois Gordon. London:Routledge,p. 130.
[64].Lois Gordon.“Preface”. Pinter at 70:A Casebook. New York:Routledge,2001,p. xi.
[65].哈罗德·品特:《艺术、真理和政治》,选自邓中良著:《品品特》。武汉:长江文艺出版社, 2006,第7页。
[66].同上,第19页。
[67].哈罗德·品特:《艺术、真理和政治》,先自邓中良著:《品品特》。武汉:长江文艺出版社, 2006,第19页。
[68].Harold Pinter.“Larry Adler Kicks Pinter’s Ass”. The Guardian,(17 Apr. 1999):21.
[69].Michael Billington. The Life and Work of Harold Pinter. London:Faber and Faber,1996,p. 21.
[70].Ibid.,p. 22.
[71].Ibid.,p. 23.
[72].Austin Quigley.“Pinter, Politics and Postmodernism”. The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001,p. 9.
[73].Harry Derbyshire.“Pinter as Celebrity”. The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge:Cambridge University Press,2001,p. 231.