This paper sets out to analyze the menace of Harold Pinter’s play,The Dumb Waiter,from the following aspects,the ar rangement of the plot,the language,and the portrayal of characters.Further,through the contrast betw...This paper sets out to analyze the menace of Harold Pinter’s play,The Dumb Waiter,from the following aspects,the ar rangement of the plot,the language,and the portrayal of characters.Further,through the contrast between the closed room and outside intrusion,between the language of violence and the language of silence,between Ben and Gus’s shared threat and Ben’s menace to Gus,it’s expected to reveal the omnipresent threat to readers through and through.展开更多
Nigeria has a very high number of sickle cell disease (SCD) population with addition of 150,000 babies born annually with the disease. Early infant diagnosis and good care make many of these babies survive to adulthoo...Nigeria has a very high number of sickle cell disease (SCD) population with addition of 150,000 babies born annually with the disease. Early infant diagnosis and good care make many of these babies survive to adulthood. Severe pain requiring moderately strong or very strong analgesics is a common presentation of patients with Sickle Cell Anaemia. Paediatricians find ready usefulness of Opioids which are very useful for the painful episodes among these patients. Therefore, the chances of abuse and addiction to these medications become very high and constitute additional burden on the deficient manpower in the health sector. Opioid Use Disorder among Sickle Cell Disease patients has subtle presentation, so a high index of suspicion is required to make both the diagnosis and referral to treatment centres. In this review, the epidemiology, pain pathophysiology, behavioural and pharmacologic therapy have been re-examined.展开更多
While Pinter's earliest plays have been recognized in the modernist history of theatre as comedies of menace and his later plays as political comedies,this article argues that his earliest plays are equally very l...While Pinter's earliest plays have been recognized in the modernist history of theatre as comedies of menace and his later plays as political comedies,this article argues that his earliest plays are equally very liable to be interpreted as political comedies.Regardless of their absurdist dramatization of people's helpless exposure to external,unidentifiable threats,a common post-WWII characteristic feature of human experience,I claim that The Room and The Dumb Waiter(both written 1957,staged 1960),two model examples of Pinter's earliest oeuvres,do not simply follow the aesthetic of absurdist theatre to express human futility.The audience's experience of viewing the theatrical performances of both plays in terms of discursive cyclicality or character normality is subverted into one of changeability,strangeness,and contradiction.To foreground the political implications of such revolutionary theatrical experience,Pinter's plays are examined in the light of his unique use of defamiliarization,relying not on Brecht's traditional techniques of singing,dancing,image-projecting,or captioning,but on a simple,dual technique of image destruction and creation.It consists of divesting characters of their normality and portraying them instead as individuals who identify only with unusual images of place,time,body,and consciousness.Using this special technique of defamiliarization,both plays are examined to reveal Pinter's central political theme of undermining reality for purposes of mental and physical subjections.展开更多
文摘This paper sets out to analyze the menace of Harold Pinter’s play,The Dumb Waiter,from the following aspects,the ar rangement of the plot,the language,and the portrayal of characters.Further,through the contrast between the closed room and outside intrusion,between the language of violence and the language of silence,between Ben and Gus’s shared threat and Ben’s menace to Gus,it’s expected to reveal the omnipresent threat to readers through and through.
文摘Nigeria has a very high number of sickle cell disease (SCD) population with addition of 150,000 babies born annually with the disease. Early infant diagnosis and good care make many of these babies survive to adulthood. Severe pain requiring moderately strong or very strong analgesics is a common presentation of patients with Sickle Cell Anaemia. Paediatricians find ready usefulness of Opioids which are very useful for the painful episodes among these patients. Therefore, the chances of abuse and addiction to these medications become very high and constitute additional burden on the deficient manpower in the health sector. Opioid Use Disorder among Sickle Cell Disease patients has subtle presentation, so a high index of suspicion is required to make both the diagnosis and referral to treatment centres. In this review, the epidemiology, pain pathophysiology, behavioural and pharmacologic therapy have been re-examined.
基金Open access funding provided by The Science,Technology&Innovation Funding Authority(STDF)in cooperation with The Egyptian Knowledge Bank(EKB)Open access funding provided by Al Azhar University under a Transformative Agreement plus fully OA agreement.
文摘While Pinter's earliest plays have been recognized in the modernist history of theatre as comedies of menace and his later plays as political comedies,this article argues that his earliest plays are equally very liable to be interpreted as political comedies.Regardless of their absurdist dramatization of people's helpless exposure to external,unidentifiable threats,a common post-WWII characteristic feature of human experience,I claim that The Room and The Dumb Waiter(both written 1957,staged 1960),two model examples of Pinter's earliest oeuvres,do not simply follow the aesthetic of absurdist theatre to express human futility.The audience's experience of viewing the theatrical performances of both plays in terms of discursive cyclicality or character normality is subverted into one of changeability,strangeness,and contradiction.To foreground the political implications of such revolutionary theatrical experience,Pinter's plays are examined in the light of his unique use of defamiliarization,relying not on Brecht's traditional techniques of singing,dancing,image-projecting,or captioning,but on a simple,dual technique of image destruction and creation.It consists of divesting characters of their normality and portraying them instead as individuals who identify only with unusual images of place,time,body,and consciousness.Using this special technique of defamiliarization,both plays are examined to reveal Pinter's central political theme of undermining reality for purposes of mental and physical subjections.
