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
... Roman description of Egypt as Egypt , conceives it as folly . Indeed , there is a faintly Roman quality in her responses to some of Antony's Egyptian raptures — and it is this Roman or vaguely restricted quality in her ( and therefore ...
... Roman description of Egypt as Egypt , conceives it as folly . Indeed , there is a faintly Roman quality in her responses to some of Antony's Egyptian raptures — and it is this Roman or vaguely restricted quality in her ( and therefore ...
Page 31
... Roman identity , of the Roman man he ought to have been . Thus he will be a fool , unlike her , by promoting a recklessness that is not constant to any single entity but merely constant to its own inconstancy , its own empty and ...
... Roman identity , of the Roman man he ought to have been . Thus he will be a fool , unlike her , by promoting a recklessness that is not constant to any single entity but merely constant to its own inconstancy , its own empty and ...
Page 52
... Roman Antony and the Egyptian Antony . On the one hand , the Romans create the sense that Antony's loving is detrimental to his military power ; on the other hand , they forward the notion that Herculean loving and Her- culean ...
... Roman Antony and the Egyptian Antony . On the one hand , the Romans create the sense that Antony's loving is detrimental to his military power ; on the other hand , they forward the notion that Herculean loving and Her- culean ...
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