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 47
... According to the law of the " self - descriptive con- vention , " the dramatic person , in describing himself , is not really describing the subjective view of his inner state : he is instead just articulating what the convention ...
... According to the law of the " self - descriptive con- vention , " the dramatic person , in describing himself , is not really describing the subjective view of his inner state : he is instead just articulating what the convention ...
Page 85
... According to Scarus , we saw , honorable manhood has now vio- lated itself , and Antony subscribes to this interpretation too : “ I have fled myself , and have instructed cowards / To run , and show their shoulders " ( 3.11.7-8 ) ...
... According to Scarus , we saw , honorable manhood has now vio- lated itself , and Antony subscribes to this interpretation too : “ I have fled myself , and have instructed cowards / To run , and show their shoulders " ( 3.11.7-8 ) ...
Page 136
... according to Whitaker , appear to " mislead " us ; there may be " guideposts , " but the dramatist " did not line them up . " 19 But as Adelman empha- sizes , the uncertainty in Antony and Cleopatra may be a positive rather than a ...
... according to Whitaker , appear to " mislead " us ; there may be " guideposts , " but the dramatist " did not line them up . " 19 But as Adelman empha- sizes , the uncertainty in Antony and Cleopatra may be a positive rather than a ...
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