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 55
... nature , since most of the objects of spectacular luxury are man - made : the gold poop , the purple sails , the perfumed air , the playing flutes , the silver oars , the naval pavilion , the cloth of gold , the silken tackle . Thus the ...
... nature , since most of the objects of spectacular luxury are man - made : the gold poop , the purple sails , the perfumed air , the playing flutes , the silver oars , the naval pavilion , the cloth of gold , the silken tackle . Thus the ...
Page 155
... natures cross over : Cleopatra . I dreamt there was an Emperor Antony . O such another sleep , that I might see But ... nature's piece , ' gainst fancy , Condemning shadows quite . ( 5.2.76-101 ) The question that Cleopatra asks is in a ...
... natures cross over : Cleopatra . I dreamt there was an Emperor Antony . O such another sleep , that I might see But ... nature's piece , ' gainst fancy , Condemning shadows quite . ( 5.2.76-101 ) The question that Cleopatra asks is in a ...
Page 156
... nature . ( 2.2.198-201 ) The conception here in act 5 is almost identical , as we saw : nature wants stuff To vie strange forms with fancy , yet to imagine An Antony were nature's piece , ' gainst fancy , Condemning shadows quite ...
... nature . ( 2.2.198-201 ) The conception here in act 5 is almost identical , as we saw : nature wants stuff To vie strange forms with fancy , yet to imagine An Antony were nature's piece , ' gainst fancy , Condemning shadows quite ...
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