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K. J. Donnelly

drama such as the works of Harold Pinter or Samuel Beckett. In terms of antecedents, clear forerunners are Peter Watkins’s remarkable docudrama Culloden ( 1964 ), about the 1746 battle in the Jacobite rebellion, and Kevin Brownlow and Andrew Mollo’s Winstanley ( 1975 ). This was a biopic of the social reformer Gerrard Winstanley, who, at roughly the same time as A Field in England ’s setting, founded

in Folk horror on film
W. J. McCormack

international tension as a metaphor employed of the private life, even if Bowen proceeds to claim that her complex people are ‘unobjective with regard to society; their standards are entirely personal.’ 1 One can point to work by Samuel Beckett, Dennis Johnston, Louis MacNeice, Flann O’Brien and Francis Stuart which, turning at some level upon the reality of the war, marked a

in Dissolute characters
Minding the gap in The Winter’s Tale
Elisabeth Bronfen
and
Beate Neumeier

has the suspended animation of what remains entailed in every ghost story, ‘a limbo quality all of its own’, left hanging as it is upon an aposiopoesis: ‘an unfinished statement, a sudden breaking off in the midst of …’ (Royle 145). ‘There was a man … Dwelt by a churchyard … ’: like one of Schubert’s Winterreise Lieder that so haunted Samuel

in Gothic Renaissance
Rebecca Munford

. Chess motifs and metaphors have a powerful presence in modernist aesthetic practices (in, for example, the writing of Samuel Beckett, T. S. Eliot and Vladimir Nabokov); chess analogies similarly inform theoretical understandings of language in the work of Ferdinand de Saussure and Ludwig Wittgenstein, amongst others. For Freud, ‘the noble game of chess’ was a parallel for the analytic situation: in

in Decadent Daughters and Monstrous Mothers
The Prisoner, authorship and allegory
Mark Bould

and Robert Coover – to whose works, I contend, The Prisoner should be added. Roughly contemporary, they all exhibit a hesitation between the literal and the allegorical as the ontological levels in their fictional structures collide with each other. McHale traces this kind of allegory back to James Joyce, Samuel Beckett and Franz Kafka, whose texts (like Herman Hesse’s novel The Glass Bead Game (1943), from which McGoohan derived the ‘Joseph Serf’ pseudonym under which he wrote and/or directed several Prisoner episodes) ‘seem to promise allegorical meaning

in Popular television drama