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 65
... appears all the more important . We have come to a point where , already , reality is systematically intuited as being not “ like itself " ( 2.7.41 ) . The ap- pearance , in Antony's description , of something that actually is " like ...
... appears all the more important . We have come to a point where , already , reality is systematically intuited as being not “ like itself " ( 2.7.41 ) . The ap- pearance , in Antony's description , of something that actually is " like ...
Page 83
... , and that slain men Should solder up the rift . Antony . When it appears to you where this begins , Turn your displeasure that way , for our faults Can never be so equal , that your love Can The Remains of Leaving 83.
... , and that slain men Should solder up the rift . Antony . When it appears to you where this begins , Turn your displeasure that way , for our faults Can never be so equal , that your love Can The Remains of Leaving 83.
Page 91
... . As we can see , hyperontological complexity here brings lan- guage and conceptual thought to the verge of nonsensicality , to a margin of sense where Shakespeare appears to create nothing but The Remains of Leaving 91.
... . As we can see , hyperontological complexity here brings lan- guage and conceptual thought to the verge of nonsensicality , to a margin of sense where Shakespeare appears to create nothing but The Remains of Leaving 91.
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