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 28
... was universally known to the common spectators as tragic , with the fact that Shakespeare has the transcendent death of the lovers in view from the outset , creates a dramatic atmosphere in which the 28 SHAKESPEARE'S HYPERONTOLOGY.
... was universally known to the common spectators as tragic , with the fact that Shakespeare has the transcendent death of the lovers in view from the outset , creates a dramatic atmosphere in which the 28 SHAKESPEARE'S HYPERONTOLOGY.
Page 80
... common show - place , where they exercise . His sons he there proclaim'd the kings of kings ; Great Media , Parthia , and Armenia , He gave to Alexander ; to Ptolemy he assign'd Syria , Cilicia , and Phoenicia : she In the habiliments ...
... common show - place , where they exercise . His sons he there proclaim'd the kings of kings ; Great Media , Parthia , and Armenia , He gave to Alexander ; to Ptolemy he assign'd Syria , Cilicia , and Phoenicia : she In the habiliments ...
Page 182
... Common Liar , pp . 92–96 . 26. The Arden edition has “ grow ” instead of " grows . ” Chapter 3. The Remains of Leaving 1. Erik Iversen , The Myth of Egypt and Its Hieroglyphs in European Tradition ( Copenhagen : Gec Gad , 1961 ) , p ...
... Common Liar , pp . 92–96 . 26. The Arden edition has “ grow ” instead of " grows . ” Chapter 3. The Remains of Leaving 1. Erik Iversen , The Myth of Egypt and Its Hieroglyphs in European Tradition ( Copenhagen : Gec Gad , 1961 ) , p ...
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