By LESLIE KANE
This number of 15 unique essays, assembled via popular Mamet and Pinter student Leslie Kane, examines the pervasiveness of crime and illegal activity within the performs and screenplays of 2 of the main influential modern dramatists. The participants commonly specialize in a number of works through a unmarried author, whereas a couple of take a comparative process. usually the works studied are lesser-known or every now and then mentioned works, thereby making this quantity a necessary addition to present scholarship. additionally, this quantity enhances different works on Mamet and Pinter on our backlist, together with Kane's previous edited volumes on Mamet which either acquired good revenues and accolades from selection. Assembled via a Garland/Routledge writer with a confirmed revenues list and bold severe reception, this assortment can be a simple promote to educational and theater libraries, in addition to Pinter and Mamet experts.
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Additional resources for The Art of Crime: The Plays and Film of Harold Pinter and David Mamet
Roote’s constant emphasis on the hothouse as “sanctioned by the Ministry…subsidized by the State” and the staff as “delegates” (20, 57) underscores both the legality of the hothouse and its function as a site for the enforcement of law. As Lamont observes, “none of [the Nazi genocide in the concentration camps] could have taken place had this program not been preceded by the legalized sterilization of ‘unfit’ procreators…[and] the mercy killing of brain damaged, deformed infants…. These legal murders were perpetrated in the name of ‘euthanasia’” (42).
While the subject may elude the watchful eye of the other determined to best her in the fraught battle for power that constitutes the quintessential action of a Pinter play, she can never escape the panoptic gaze of the Other, the symbolic order both producing and produced by the dominant social/cultural/political order with which it is coextensive. As Anthony Wilden puts it, “The Other is not a person, but a principle; the locus of the ‘law of desire’…the only place from which it is possible to say ‘I am who I am’” (22).
Far more than a simple object, the statue embodies for Roote the validity and fundamentally ethical nature of “the aspirations of a whole community, a tradition, an ideal” (19) that he seeks to preserve—“an ideal” that he does not find incompatible with either the psychological violence of number one interviewing room or the physical violence of raping female patients (always provided the rapist files a report). Aesthetic representation of mythic figures inspires heroic acts that become the occasion for the “mythic narration” that transforms the deeds of “the predecessor” from self-contained acts into the origin of a tradition.
The Art of Crime: The Plays and Film of Harold Pinter and David Mamet by LESLIE KANE