Listening to the Silences in Selected Early Prose and Dramatic Works of Samuel Beckett and Harold Pinter

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Beckett, Samuel, 1956. Waiting for Godot. London: Faber and Faber.

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Biddle, Joe, 2006. ‘Beckett: The Playwright Obsessed by Silence’. Mail & Guardian (4 October 2006).

Billington, Michael, 2008. ‘Obituary: Harold Pinter’. In Guardian (27 December 2008).

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Branigan, Kevin, 2008. Radio Beckett: Musicality in the Radio Plays of Samuel Beckett. Bern: Peter Lang.

Brewer, Mary F. (ed.), 2009. Harold Pinter’s The Dumb Waiter.Amsterdam: Rodopi.

Brinzeu, Pia, ‘Without a Word: Pauses in Beckett’s Drama’, Samuel Beckett Today/Aujourd’hui, 1st ser., 2 (1993), 229-234.

Bryden, Mary, 1997. ‘Sounds and Silence: Beckett’s Music’, Samuel Beckett Today/Aujourd’hui, 1st ser., 6 (1997).

Mary Bryden, 1998. Samuel Beckett and Music (New York: Oxford University Press, 1998), 24.

Chekhov, Michael, 1984. To the Director and Playwright. New York: Limelight Editions.

Chesney, Duncan McColl, 2003. Silence Nowhen: Late Modernism, Minimalism, and Silence in the Work of Samuel Beckett. New York: Peter Lang.

Cohn, Ruby, 1962. ‘The World of Harold Pinter’. The Tulane Drama Review, 6.3 (1962), 55-68.

Copeland, Roger, 2001. ‘A Room of his Own’. American Theater, 18.8 (2001), 130-133.

de la Durantage, Leland, 2016. Beckett’s Art of Mismaking. Cambridge: Harvard University Press.

Ephratt, Michal, 2008. ‘The Functions of Silence’. Journal of Pragmatics, 40 (2008), 1909-1938 (1909).

Esslin, Martin, 1970. ‘Language and Silence’. iIn The Peopled Wound. New York: Doubleday.

Esslin, Martin, 2001. The Theatre of the Absurd - Third Edition. New York: Vintage Books.

Eyre, Richard and Nicholas Wright, 2001. Changing Stages. New York: Alfred E Knopf.

Finney, Brian 1994. ‘Samuel Beckett’s Postmodern Fictions’. iIn (ed.) John Richetti The Columbia History of the British Novel. New York: University of Columbia Press.

Gordon, Lois, 1969. Strategies to Uncover Nakedness: The Dramas of Harold Pinter. Columbia: University of Missouri Press.

Gould, Thomas, 2018. Silence in Modern Literature and Philosophy: Beckett, Barthes, Nancy, Stevens. New York: Springer.

Grumbach, Doris, 1994. Fifty Days of Solitude. Boston: Beacon Press.

Hall, Peter, (1974-1975). ‘Interview with Catherine Itzin and Simon Trussler’, Theatre Quarterly, 4.16 (1974-1975), 4-17.

Hall, Peter, 2009. ‘Directing the Plays of Harold Pinter’. In (ed.) Peter Raby The Cambridge Companion to Harold Pinter. Cambridge: Cambridge University Press.

Hammond, Geraldine, 1977. ‘Something for the Nothings of Beckett and Pinter’. CEA Critic, 2nd ser., 39 (1977), 40-47.

Herman, Vimala , 1998. Dramatic Discourse: The Dialogue as Interaction in Plays. London: Routledge.

Hollis, James, 1970. Harold Pinter: The Poetics of Silence. Carbondale: Southern Illinois University Press.

Horton, Scott, 2018. ‘Rilke - To Music’ in Harper’s Magazine, 28 November 2018.

van Hulle, Dirk, 2005.‘”Nichtnichtsundnichts”: Beckett’s and Joyce’s Transtextual Undoings’ in (ed.) Colleen Jaurretche Beckett, Joyce and the Art of the Negative. Amsterdam: Rodopi.

Kalb, Jonathan, 1991. Beckett in Performance. Cambridge: Cambridge University Press, 1991), 77.

Kane, Leslie, 1984. The Language of Silence: On the Unspoken and the Unspeakable in Modern Drama. London: Associate University Press.

Kenny, Colum, 2018. The Power of Silence: Silent Communication in Daily Life. London: Routledge.

Knowlson, J & E (eds.), 2006. Beckett Remembering/Remembering Beckett. London: Bloomsbury.

Kockelmans, Joseph J., 1980. On Heidegger and Language. Evanston: Northwestern University Press.

Loevlie, Elizabeth Marie, 2003. Literary Silences in Pascal, Rousseau, and Beckett. Oxford: Clarendon Press.

Mars, Alan, 2013. Confidence Tricks – Presenter. Morrisville, NC: Lulu.

Morin, Emilie, 2017. Theatres and Pathologies of Silence: Symbolism and Irish Drama from Maeterlinck to Beckett. Leiden: Brill/Rodopi.

James Knowlson 2010. ‘A Writer’s Home – A Writer’s Life’. iIn A Companion to Samuel Beckett, (ed.) S.E. Gontarski. Hoboken: John Wiley & Sons.

Pattie, David, 2000 The Complete Critical Guide to Samuel Beckett. London: Routledge.

Pinter, Harold, 1989. “Writing for the Theatre” in Plays 1 . London: Faber and Faber.

Pinter, Harold, 1991. ‛The Dumb Waiter’ in Harold Pinter: Plays 1. London: Faber & Faber.

Pinter, Harold, 2013. Various Voices: Prose, Poetry and Politics 1948-2008. London: Faber& Faber.

Prentice, Penelope, 2000. The Pinter Ethic: The Erotic Aesthetic. Abingdon: Routledge.

Raby, Peter (ed.), 2009. The Cambridge Companion to Harold Pinter. Cambridge: Cambridge University Press.

Rabaté, Jean-Michel, 2016. Think, Pig!. Oxford: Oxford University Press.

Roche, Anthony, 2009. ‘Pinter and Ireland’. In (ed.) Peter Raby The Cambridge Companion to Harold Pinter, 2nd edn. Cambridge: Cambridge University Press.

Roof, Judith, 2009. ‘The Absent One: Harold Pinter’s Influence on Samuel Beckett’ In (ed.) Craig Owens Pinter Et Cetera. Newcastle-upon-Tyne: Cambridge Scholars Publishing.

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Salem, Daniel, 1986. The Impact of Pinter’s Work. Calgary: University of Calgary, 1986.

Sartre, Jean-Paul , 1970. Existentialism and Humanism (trans. by Philip Mairet). London: Methuen.

Shaw, Fiona, 2007. ‘Buried in Beckett’, Guardian (23 January 2007).

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Slote, Sam, 2015. ‘Bilingual Beckett’. iIn The New Cambridge Companion to Samuel Beckett.

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Strindberg, August, 1983. Five Plays (trans. by Harry G. Carlson). Berkeley: University of California Press.

Tanaka, Mariko Hori , 2008. ‘Ontological Fear and Anxiety. In the Theatre of Beckett, Betsuyaku, and Pinter’,. iIn (eds.) Linda Ben-Zvi, and Angela Moorjani Beckett at 100: Revolving It All. Oxford: Oxford University Press.

Taplin, Oliver, 1972. “Aeschylean Silences and Silences in Aeschylus”, Harvard Studies in Classical Philology, vol 76, (1972), pp 57-97.

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Wardle, Irving, 1960. ‘There’s Music in that Room’, Encore, 7 (1960), 33.