Huis Clos

Two women and one man are locked up together for eternity in one hideous room in Hell. The windows are bricked up, there are no mirrors, the electric lights can never be turned off, and there is no exit. The irony of this Hell is that its torture is not of the rack and fire, but of the burning humiliation of each soul as it is stripped of its pretenses by the cruel curiosity of the damned. Here the soul is shorn of secrecy, and even the blackest deeds are mercilessly exposed to the fierce light of Hell. It is an eternal torment.

The full French text of Sartre's novel is accompanied by French-English vocabulary. Notes and a detailed introduction in English put the work in its social and historical context.

A large, comprehensive compilation of journalism and international criticism of the works and activities of Jean-Paul Sartre. The work covers Sartre's stormy career from 1937 to 1975, containing nearly 700,000 entries and over 3,200 authors.

The full French text of Sartre's novel is accompanied by French-English vocabulary. Notes and a detailed introduction in English put the work in its social and historical context.

One of the first books to apply contemporary linguistic and semiotic research to drama, Discourse as Performance is an investigation into theatrical discourse - the specifically theatrical use of language in the broadest sense, from verbal utterance to non verbal uses comprising the visual elements of gesture, facial expression, movement, costume, players' bodies, properties, and decor. The book is in three parts. In the first part, the author deals with theatrical discourse proper and distinguishes between its two main modes: dialogue and stage directions. Both modes address the problem of the specificity of theatrical discourse in contrast to other types of discourse, both literary and non-literary. The dialogue raises the questions of who speaks in a play (author, characters, actors) and to whom; the stage directions raise the question of reading a play, as opposed to seeing it performed onstage. The author links these issues to speech act theory and intertextuality.

First Published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.