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 25
Page 14
... cause us to make his drama , in both the academy and the theater , conformable to the demands of a sweet reasonableness . " 4 Wildness , up to a point , seems to me to be a prerequisite for the act of critical inquiry , and especially ...
... cause us to make his drama , in both the academy and the theater , conformable to the demands of a sweet reasonableness . " 4 Wildness , up to a point , seems to me to be a prerequisite for the act of critical inquiry , and especially ...
Page 23
... cause the organization of tragic dis- course and the organization of tragic reality to become a unified sense of ... causes the tragic vision to become more than a spectacle , more than a showing of certain intricate happenings and ...
... cause the organization of tragic dis- course and the organization of tragic reality to become a unified sense of ... causes the tragic vision to become more than a spectacle , more than a showing of certain intricate happenings and ...
Page 65
... cause us to consider this linguistic event as important for the intellectual power of the whole play . In moments of deep drunkenness , people , exactly in this manner , will become astonished at the most commonplace pieces of infor ...
... cause us to consider this linguistic event as important for the intellectual power of the whole play . In moments of deep drunkenness , people , exactly in this manner , will become astonished at the most commonplace pieces of infor ...
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