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1 " Where is this love? I can't see it, I can't touch it. I can't feel it. I can hear it. I can hear some words, but I can't do anything with your easy words "
― , Patrick Marber's Closer
2 " title from the second album of the introspective beat group Joy Division, Closer "
3 " the way the characters are depicted as almost hermetically sealed off from the world around them is an image of isolation and dissociation that epitomizes the self-absorbed “Me” generation of the 1990s’ (Innes 2002: 431); even "
4 " play’s topical exploration of new technology. In its most celebrated scene, theatre-goers in 1997 perhaps for the first time witnessed an onstage representation of two people communicating through the internet. Although "
5 " its contemporary metropolitan setting, its self-conscious ‘coolness’, its underlying preoccupation with the surface appearance of things and an accompanying cynicism and bleakness as audiences witnessed the machinations of its characters. Yet "
6 " after feminist politics and the age of the New Man … no one knows what’s going on anymore’ (Sierz 2001: 191). This "
7 " Key amongst these is the Newton’s Cradle, which we "