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 13
... Absolute in any affirmative way - that deconstruction , if it wants to discuss the Absolute , would have to do so at some kind of disenchanted and ironizing distance . But the important thinkers who have given Derrida his major cues ...
... Absolute in any affirmative way - that deconstruction , if it wants to discuss the Absolute , would have to do so at some kind of disenchanted and ironizing distance . But the important thinkers who have given Derrida his major cues ...
Page 81
... absolute leaving . This leaving , which is an absolute spending , an absolutely outward expenditure of air / spirit / breath , is so intense , Shakespeare feels , that vacuum itself threatens to become the only remainder . What will ...
... absolute leaving . This leaving , which is an absolute spending , an absolutely outward expenditure of air / spirit / breath , is so intense , Shakespeare feels , that vacuum itself threatens to become the only remainder . What will ...
Page 127
... absolute in all possible senses : the result may be absolute ( death , final victory ) , the action may be absolute ( savage athleticism ) , and the forward thrust itself promises to be absolute ( a pure approaching of what has to be ...
... absolute in all possible senses : the result may be absolute ( death , final victory ) , the action may be absolute ( savage athleticism ) , and the forward thrust itself promises to be absolute ( a pure approaching of what has to be ...
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