Ruth’s Homecoming into the Patriarchal Register
Abstract
the role of not only Ruth but also Teddy and Lenny who play important roles in the power competition in this play, aims to explore
the true nature of Ruth’s homecoming, that is, her homecoming into the patriarchal register.
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[1] Adler, Thomas P., “Notes toward the Archetypal Pinter Woman.” Theatre Journal, vol. 33, no. 3, Oct. 1981, pp. 377-385.
[2] Berlin, Normand. “Traffic of Our Stage: Pinter’s ‘The Homecoming’.” The Massachusetts Review, vol. 49, no. 3, Autumn 2008, pp. 385-392.
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[4] Fendt, Gene. “A Medieval Reading of Pinter’s ‘Homecoming’.” Literature and Theology, vol. 8, no. 1, Mar. 1994, pp. 47-63.
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[6] Ganz, Arthur. “A Clue to the Pinter Puzzle: The Triple Self in ‘The Homecoming’.” Educational Theatre Journal, vol. 21, no. 2, May. 1969, pp. 180-187.
[7] Pinter, Harold. The Homecoming. New York: Grove Press, 1965.
[8] Prentice, Penelope. “Ruth: Pinter’s The Homecoming Revisited.” Twentieth Century Literature, vol. 26, no. 4, Winter 1980, pp. 458-478.
[9] States, Bert O. “Pinter’s ‘Homecoming’: The Shock of Nonrecognition.” The Hudson Review, vol. 21, no. 3, Autumn 1968, pp. 474-486.
DOI: http://dx.doi.org/10.18686/ahe.v6i11.5004
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