Saif Salah
I am Saif, 26 years old, and I work as an English language teacher with a bachelor’s degree from the University of Babylon. I graduated in 2022 and since then, I have explored diverse job opportunities in different fields. I have gained valuable skills and experience in design, promotion, financial accounting, as well as customer persuasion skills that make me a versatile and adaptable professional. I have developed communication, creativity, problem-solving, and teamwork skills. I am always excited to learn new things and challenge myself as a learner in the required field.
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Papers by Saif Salah
Pinter develops in an environment of intrigue, where the surfaces of life
are realistically portrayed, but the patterns underlying them remain elusive.
This tension characterises Pinter's work. Despite the vivid realism of
his discourse, his characters often behave more like figures in a dream than people with whom one can readily relate. This makes it difficult for
the reader to connect with the characters.
In The Homecoming, Jessie and Ruth are two characters engaged in
a conversation and their reasons for communicating were to create an
identity concerning one another. Pinter wishes to decentralize the
patriarchal structure of family and society. Although Jessie has died
her absence had already left a great hole in the family as well as in the
house, and her presence can be practically felt in the walls of the family
home. Her absence had already created a huge gap. On the other hand, there is
an obvious parallel made between her and the dead Max’s wife, Jessie.
Ruth occupies Jessie's position in the family, and this is obvious in the
details of the play.
While in The Caretaker the characters fully develop Pinter's themes
and tactics introduced in The Homecoming and refined in his subsequent
works. It's a Pinteresque play, with its characters, metaphor, excellent
language, and stagecraft. He changed course to avoid imitating himself.
Increasingly, he shifted his atmosphere, creating plays with middle-class
characters, leaving behind the Cockney vocabulary of the earlier plays but
exhibiting an ear for the follies and banalities of middle-class discourse and what was being communicated behind its affectations.
Pinter develops in an environment of intrigue, where the surfaces of life
are realistically portrayed, but the patterns underlying them remain elusive.
This tension characterises Pinter's work. Despite the vivid realism of
his discourse, his characters often behave more like figures in a dream than people with whom one can readily relate. This makes it difficult for
the reader to connect with the characters.
In The Homecoming, Jessie and Ruth are two characters engaged in
a conversation and their reasons for communicating were to create an
identity concerning one another. Pinter wishes to decentralize the
patriarchal structure of family and society. Although Jessie has died
her absence had already left a great hole in the family as well as in the
house, and her presence can be practically felt in the walls of the family
home. Her absence had already created a huge gap. On the other hand, there is
an obvious parallel made between her and the dead Max’s wife, Jessie.
Ruth occupies Jessie's position in the family, and this is obvious in the
details of the play.
While in The Caretaker the characters fully develop Pinter's themes
and tactics introduced in The Homecoming and refined in his subsequent
works. It's a Pinteresque play, with its characters, metaphor, excellent
language, and stagecraft. He changed course to avoid imitating himself.
Increasingly, he shifted his atmosphere, creating plays with middle-class
characters, leaving behind the Cockney vocabulary of the earlier plays but
exhibiting an ear for the follies and banalities of middle-class discourse and what was being communicated behind its affectations.