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. |
From inside the book
Results 1-3 of 10
Page 182
... York : Columbia University Press , 1981 ) , p . 212 . 11. Bamber , Comic Women , Tragic Men , p . 64 . 12. See Raymond B. Waddington , “ Antony and Cleopatra : ' What Venus Did with Mars , " Shakespeare Studies 2 ( 1966 ) : 214 . 13 ...
... York : Columbia University Press , 1981 ) , p . 212 . 11. Bamber , Comic Women , Tragic Men , p . 64 . 12. See Raymond B. Waddington , “ Antony and Cleopatra : ' What Venus Did with Mars , " Shakespeare Studies 2 ( 1966 ) : 214 . 13 ...
Page 188
... York and London : Methuen , 1987 . Certeau , Michel de . Heterologies : Discourse on the Other . Minneapolis : University of Minnesota Press , 1986 . Charney , Maurice . Shakespeare's Roman Plays : The Function of Imagery in the Drama ...
... York and London : Methuen , 1987 . Certeau , Michel de . Heterologies : Discourse on the Other . Minneapolis : University of Minnesota Press , 1986 . Charney , Maurice . Shakespeare's Roman Plays : The Function of Imagery in the Drama ...
Page 195
... York Press , 1985 . Viswanathan , S. The Shakespeare Play as Poem : A Critical Tradition in Perspective . Cambridge and New York : Cambridge University Press , 1980 . Waddington , Raymond B. " Antony and Cleopatra : ' What Venus Did ...
... York Press , 1985 . Viswanathan , S. The Shakespeare Play as Poem : A Critical Tradition in Perspective . Cambridge and New York : Cambridge University Press , 1980 . Waddington , Raymond B. " Antony and Cleopatra : ' What Venus Did ...
Contents
Acknowledgments | 9 |
Presence and Oblivion | 23 |
To Follow Faster | 46 |
Copyright | |
6 other sections not shown
Other editions - View all
Common terms and phrases
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