In this article the authors offer an analysis of Jean-Paul Sartre’s 1946 play Huis Clos (No Exit) and Reginald Rose’s 1954 play Twelve Angry Men, with particular attention paid to exploring the insights from each theatrical text about communication. The process of communication may be ambivalent or Janus-faced, and one of the objectives of this analysis is to consider communication in terms of its duality and incisive power. In doing so, the aim is to explore its antithetical tensions by amplifying the mythological, deliberative and philosophical dimensions of communication praxis. In particular, the archetype of the knife provides a useful metaphor for understanding the potentials and pitfalls of communication in human interaction. Scott Haden Church is an Assistant Professor in the School of Communications at Brigham Young University. He has recently published in Critical Studies in Media Communication. Jesse King Jones is in the Masters Programme of the School of Communications at Brigham Young University.

中文翻译：

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文字就是刀：萨特的《无处可逃》和罗斯的《十二怒汉》中两面派的交流

在本文中，作者对让-保罗·萨特 1946 年的戏剧进行了分析休斯·克洛斯(没有出口) 和雷金纳德·罗斯 1954 年的戏剧十二怒汉，特别注意探索每个戏剧文本关于交流的见解。沟通的过程可能是矛盾的，也可能是两面相的，本分析的目标之一是考虑沟通的二元性和敏锐的力量。这样做的目的是通过放大传播实践的神话、审慎和哲学维度来探索其对立的张力。特别是，刀的原型为理解人类互动中交流的潜力和陷阱提供了一个有用的比喻。Scott Haden Church 是杨百翰大学传播学院的助理教授。他最近发表在媒体传播批判研究. Jesse King Jones 就读于杨百翰大学传播学院的硕士课程。