Shakespeare's Hyperontology: Antony and CleopatraUtilizing a number of poststructuralist devices, H. W. Fawkner employs an ontodramatic line of approach in order to suggest that a single hidden pattern of hyperontological suggestion organizes Shakespeare's entire imaginative outlook in Antony and Cleopatra. |
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Page 30
... Antony Will be himself . ( 1.1.40-43 ) We observe a pattern of refiguration that is paradigmatic : Rome , in affirming Egypt , affirms an Egypt that Egypt itself does not quite recognize . Antony , in adoring “ Cleopatra , ” is not ...
... Antony Will be himself . ( 1.1.40-43 ) We observe a pattern of refiguration that is paradigmatic : Rome , in affirming Egypt , affirms an Egypt that Egypt itself does not quite recognize . Antony , in adoring “ Cleopatra , ” is not ...
Page 32
... Cleopatra articulates her first response to this excess , we see that she introduces an element of caution and restraint into Antony's wildly general economy : Cleopatra . If it be love indeed , tell me how much . Antony . There's ...
... Cleopatra articulates her first response to this excess , we see that she introduces an element of caution and restraint into Antony's wildly general economy : Cleopatra . If it be love indeed , tell me how much . Antony . There's ...
Page 139
Antony and Cleopatra Harald William Fawkner. what can be imagined , a poetic overshooting of what is properly poetic . Once this hyperimaginative world is acknowledge as such , once we admit that images , concepts , and linguistic ...
Antony and Cleopatra Harald William Fawkner. what can be imagined , a poetic overshooting of what is properly poetic . Once this hyperimaginative world is acknowledge as such , once we admit that images , concepts , and linguistic ...
Contents
Acknowledgments | 9 |
Presence and Oblivion | 23 |
To Follow Faster | 46 |
Copyright | |
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absence absolute action actually affirms already amounts Antony and Cleopatra Antony's approach arriving become begin bring Caesar calls comes complete conception course created critical death difference difficulty discourse discussion dramatic dying economy Egypt emphasized Enobarbus entire erotic event excess fact fall feeling final force give hand heroic honor human hyperontological Ibid identifies identity imagination important infinite interesting kind language leaving linguistic logic London longer look loss lovers master means military monument moral move movement nature negativity never notion object observed once ontodramatic opposite passage performance perhaps play pleasure position possibility precisely presence produced pure question reality remains restricted Roman Rome scene seems sense Shakespeare simply space spending spirit stage strange suggests takes thee things thou thought tion trace Tragedy tragic turn unit University Press Venus York