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
... Egypt , Egypt retreats to a more restricted and subtle appraisal of what it — or she - means : Excellent falsehood ! Why did he marry Fulvia , and not love her ? I'll seem the fool I am not ; Antony Will be himself . ( 1.1.40-43 ) We ...
... Egypt , Egypt retreats to a more restricted and subtle appraisal of what it — or she - means : Excellent falsehood ! Why did he marry Fulvia , and not love her ? I'll seem the fool I am not ; Antony Will be himself . ( 1.1.40-43 ) We ...
Page 49
... Egypt , nature and art , war and love , indulgence and austerity , loyalty and self - interest , sincerity and affec- tion , and many others - and of so steadfastly refusing to resolve them or adjudicate between them ? Even a great deal ...
... Egypt , nature and art , war and love , indulgence and austerity , loyalty and self - interest , sincerity and affec- tion , and many others - and of so steadfastly refusing to resolve them or adjudicate between them ? Even a great deal ...
Page 52
... Egypt's widow pluck The ne'er - lust - wearied Antony . ( 2.1.33-38 ) A rather important notion is sketched here . Antony , in the very depths of his Egyptian lust , retains the excessive military potency that once more would make him a ...
... Egypt's widow pluck The ne'er - lust - wearied Antony . ( 2.1.33-38 ) A rather important notion is sketched here . Antony , in the very depths of his Egyptian lust , retains the excessive military potency that once more would make him a ...
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