[8].王燕，“论品特戏剧里的疾病”，《当代外国文学》，2（2008）：72-79。
[9]. John Louis Digaetani. Stages of Struggle： Modern Playwrights and Their Psychological Inspirations. London：Mcfarland and Company，Inc.，2008，p. 7.
[10].Harold Pinter. http：//www. haroldpinter. org/home/index. shtml. Web. 1 Jan. 2012.
[11].D. Keith Peacock. Harold Pinter and the New British Theatre. London：Greenwood Press，1997， p. 15.
[12].Lois Gordon.“Geneal Editor’s Note.”Pinter at 70：A Casebook. New York：Routledge，2001，p.ⅸ.
[13].哈罗德·品特，《归于尘土》，华明译。南京：译林出版社，2010，第1页。
[14].同上，第2页。
[15].陈宏薇，《战后英国戏剧中的哈罗德·品特》。北京：对外经济贸易大学，2007，第52页。
[16].Harold Pinter.“Writing for Myself.”Harold Pinter：Plays Two. London：Faber and Faber，1991， p.ⅶ.
[17].Mel Gussow. Conversation with Pinter，New York：Limelight Edition，1994，p. 19.
[18].D. Keith Peacock. Harold Pinter and the New British Theatre. London：Greenwood Press，1997， p. 29.
[19].Kimball King. Modern Dramatist：A Casebook of Major British，Irish，and American Playwrights. New York：Rouledge，2001，p. 168.
[20].Margaret Drabble. The Oxford Companion to English Literature. Oxford：Oxford Publish House， 1993，p. 793.
[21].Martin Esslin. The Theatre of the Absurd. London：Penguin Books，1978，p. 235.
[22].See Francesca Coppa.“The Sacred Joke：Comedy and Politics in Pinter’s Early Plays.”The Cam-bridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge：Cambridge University Press， 2001，p. 44.
[23].Ibid.，p. 55.
[24]. Quoted by Michael Billington. The Life and Work of Harold Pinter. London：Faber and Faber，1996， p. 84.
[25].Ibid.，p. 84.
[26].Ibid.，p. 84.
[27].Ibid.，p. 84.
[28].Ibid.，p. 84.
[29].Michael Billington. The Life and Work of Harold Pinter. London：Faber and Faber，1996，p. 85.
[30].Mel Gussow. Conversation with Pinter. New York：Limelight Edition，1994，p. 19.
[31].Malcolm Page，ed. File on Pinter. London：Methuen Drama，1993，p. 14.
[32].Ibid.，p. 60.
[33].Tom Megrath.“Peace News.”File on Pinter. Ed. Malcolm Page. London：Methuen Drama，1993， p. 34.
[34].Steven H. Gale.“Harold Pinter，Screen Writer：an Overview.”The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge：Cambridge University Press，2001，p. 90.
[35].Dominic Shellard. British Theatre since the War. Connecticut：Yale University Press，2000，p. 93.
[36].Steven E. Gale.“Harold Pinter.”British Playwrights：1956-1995. Ed. William W. Demastes. Lon-don：Greenwood Press，1996，p. 316.
[37].Michelen Wandor. Postwar British Drama：Look Back in Gender. London：Routledge，2001，p. 91.
[38].Simon Trussler. New Theatre Voices of the Seventies. London：Eyre Methuen，1981，p. 84.
[39].Michael Billington. The Life and Work of Harold Pinter. London：Faber and Faber，1996，p. 9.
[40].D. Keith Peacock. Harold Pinter and the New British Theatre. London：Greenwood Press，1997， p. 17.
[41].Elizabeth Sakellaridou. Pinter’s Female Portraits. London：Macmillan Press，1988，p. 6.
[42].Victor L. Cahn. Gender and Power in the Plays of Harold Pinter. London：Macmillan Press，1994， p. 7.
[43].Michael Billington. The Life and Work of Harold Pinter. London：Faber and Faber，1996，p. 25.
[44].Austin Quigley.“Pinter， Politics and Postmodernism”. The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge：Cambridge University Press，2001，p. 9.
[45].Mireia Aragay.“Pinter， Politics and Postmodernism”. The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge：Cambridge University Press，2001，p. 256.
[46].Martin Esslin. The Theatre of the Absurd. London：Penguin Books，1978，p. 263.
[47].Ibid，p. 264.
[48].Francesca Coppa.“The Sacred Joke：Comedy and Politics in Pinter’s Early Plays”. The Cambridge Companion to Harold Pinter. Ed. Peter Raby. Cambridge：Cambridge University Press， 2001， p. 44.
[49].Leslie Kane. The Art of Crime：The Plays and the Films of Harold Pinter and David Mamet. New York：Routledge，2004，p. 4.
[50].Martin Esslin. Pinter，the Playwright. London：Methuen，1982，p. 52.
[51].Peter Raby.“Tales of the City：Some Places and Voices in Pinter’s Plays”. The Cambridge Com-panion to Harold Pinter. Cambridge：Cambridge University Press，2001，p. 70.
[52].Michael Billington. The Life and Work of Harold Pinter. London：Faber and Faber，1996，p. 391.
[53].Penelop Prentice. Harold Pinter：Life，Work and Criticism. Friderieton：York Press Ltd.，1999，p. 33.
[54].Guido Almansi.“Harold Pinter’s Idiom of Lies”. Contemporary English Drama. Ed. C. W. E. Bigsby. New York：Holmes Meier Publishers，Inc.，1981，p. 79.
[55]. Steven H. Gale. Sharp Cut：Harold Pinter’s Screenplays and the Artistic Process. Kentucky：The Uni-versity Press of Kentucky，2003，p. 12.
[56].Ruby Cohn.“The World of Harold Pinter”. The Tulane Drama Review，Vol. 6，No. 3（Mar. 1962）：55-68.
[57].Martin Esslin. The Theatre of the Absurd. London：Penguin Books，1978，p. 235.
[58]. 申丹，王丽亚，《西方叙事学：经典与后经典》。北京：北京大学出版社，2010，第6页。
