Abstract The modern world, in which we live, is regarded as the period of postmodernism. In this period it is hard to perceive the reality in a right way. So are Harold Pinter’s plays. Mostly they are somewhere between reality and absurdity. Based on his writings, he is considered to be, one of the first postmodernist authors. The simplicity of the dialogues makes the feeling that the play is easy to understand, but after reading/watching all the relationships between the characters you feel a bit confused. Nothing is real, and exactly this is the reality of their world, not to be real. And not only the relationships but the characters themselves do not know who they are in reality and it is hard for them to identify their own personality. As it has been already mentioned above, in Pinter’s plays, we can easily find the elements of postmodernism. In the given papers this idea will be expressed depending on the play “The Homecoming”, where Pinter presents us so-called “family”, the group of people, and shows us their emptiness from the family relationships. Even relationships between father and sons, and wife and husband are not real. All this are presented with the very simple language and this is also the essential characteristic of the postmodern world, also the difficulty of understanding each other, and almost meaningless words. Pinter uses other forms of communication such as pauses and silences, in a manner typical of postmodernism. There should be also noted that “the homecoming” the title itself, makes the reader/audience confused, the expectation about perceiving the title at the beginning does not coincide the perception of it in the ending part. The aim of this paper is to highlight the key elements of postmodernism in Harold Pinter’s play “The Homecoming” and to show us once again, that Pinter’s works are really important in our postmodern world.

中文翻译：

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哈罗德·品特（Harold Pinter）的戏剧“归乡”中的后现代主义基础

摘要我们所生活的现代世界被视为后现代主义时期。在这一时期，很难以正确的方式感知现实。哈罗德·品特的戏剧也是如此。通常，它们介于现实与荒诞之间。根据他的著作，他被认为是最早的后现代主义作家之一。对话的简单性使剧本易于理解，但是在阅读/观看角色之间的所有关系后，您会感到有些困惑。没有什么是真实的，而这恰恰是他们世界的现实，而不是真实的。而且不仅是关系，而且角色本身也不知道自己是谁，因此很难识别自己的个性。正如上面已经提到的，在品特的戏剧中，我们可以轻松地找到后现代主义的要素。在给定的论文中，将根据剧本“归乡”来表达这一想法，品特向我们展示了所谓的“家庭”，一群人，并向我们展示了他们对家庭关系的空虚。甚至父子之间，夫妻之间的关系也不是真实的。所有这些都以非常简单的语言呈现，这也是后现代世界的本质特征，也是彼此难以理解以及几乎毫无意义的单词。品特以后现代主义的典型方式使用其他形式的交流，例如暂停和沉默。还应该注意的是，标题本身的“归乡”使读者/观众感到困惑，关于在开头感知标题的期望与在结尾部分对标题的理解不一致。