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Acknowledgements
ÕªÒª
Abstract

Introduction
0£®1 Biographical notes on Harold Pinter
0£®2 Understanding Pinter's works
0£®3 Literature review of researches on Pinter's plays
0£®3£®1 Pinter's status in the literary world
0£®3£®2 Pinter as an Absurdist
0£®3£®3 Pinter's language
0£®3£®4 Freudian interpretation
0£®3£®5 Gender interpretation
0£®3£®6 Pinter's politics
0£®4 The argument of the dissertation

Chapter One Pinter's political concerns in his Comedy of Menace
1£®1 The general conditions after WWII
1£®2 The Theatre of the Absurd
1£®3 Pinter's Comedy of Menace
1£®4 The significance of the Comedy of Menace

Chapter Two Pinter's small "p" politics£º Struggle for Power
2£®1 Micro-power in Pinter's early plays
2£®1£®1 Power as relationship
2£®1£®2 Power as a network
2£®1£®3 Power as subjectless and decentered and omnipresent
2£®1£®4 Power related to knowledge and truth
2£®2 Influences on Pinter's conception of Struggle for Power
2£®3 Language and Power

Chapter Three Pinter's capital "P" Politics
3£®1 Pinter's political complex since his early age
3£®2 Pinter and the British theatre in the 1980s and 1990s
3£®3 Politics in Pinter's late plays
3£®3£®1 Politics in One for the Road
3£®3£®2 Politics in Mountain£¬ Language
3£®3£®3 Politics in Party Time
3£¬3£®4 Politics in The New World Order£¨1991£©
3£®3£®5 Politics in Ashes to Ashes £¨1996£©
3£®4 Pinter's exploration of politics
3£®5 Language and politics

Conclusion
Bibliography