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 29
... Rome that he has to restrict this restriction : Attendant . News , my good lord , from Rome . Antony . Grates me , the sum . ( 1.1.18 ) Antony cannot stand the thought of Rome , its restricted horizons ; he wants to bracket the ...
... Rome that he has to restrict this restriction : Attendant . News , my good lord , from Rome . Antony . Grates me , the sum . ( 1.1.18 ) Antony cannot stand the thought of Rome , its restricted horizons ; he wants to bracket the ...
Page 30
... Rome . As Roman , Antony knows Rome as restriction and restricted economy ; thus he idealizes the alternative to Rome as the opposite of Rome — as an excess that is merely an absolute onwardness , or upward release . But Cleopatra , far ...
... Rome . As Roman , Antony knows Rome as restriction and restricted economy ; thus he idealizes the alternative to Rome as the opposite of Rome — as an excess that is merely an absolute onwardness , or upward release . But Cleopatra , far ...
Page 38
... Rome , provides the imperial perspective through which we are to perceive Antony as one who has left Rome and deserted its ideals ( 1.4.4-10 ) . Because of this act of ideological desertion , Antony cannot really return to Rome ; he ...
... Rome , provides the imperial perspective through which we are to perceive Antony as one who has left Rome and deserted its ideals ( 1.4.4-10 ) . Because of this act of ideological desertion , Antony cannot really return to Rome ; he ...
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