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 124
... actually takes her death to the monument ( “ . . . he takes my death to the monu- ment " ) . This notion makes no sense on an empirical , commonsensical level : she goes to the monument , Antony falls on his sword , she hoists him into ...
... actually takes her death to the monument ( “ . . . he takes my death to the monu- ment " ) . This notion makes no sense on an empirical , commonsensical level : she goes to the monument , Antony falls on his sword , she hoists him into ...
Page 141
... actually forced to picture Cleopatra as a corpse . From this viewpoint , she is in a sense already a dead one , already a corpse . And this hyperontological sensation - that her death and absolute immobility have always already preceded ...
... actually forced to picture Cleopatra as a corpse . From this viewpoint , she is in a sense already a dead one , already a corpse . And this hyperontological sensation - that her death and absolute immobility have always already preceded ...
Page 151
... actually wishes us to generate sympathy for them . This sympathy , obviously , does not go without the shadow of moral condemnation ; but it is nevertheless sympathy . The mechanism that releases such a response is built into the ...
... actually wishes us to generate sympathy for them . This sympathy , obviously , does not go without the shadow of moral condemnation ; but it is nevertheless sympathy . The mechanism that releases such a response is built into the ...
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