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 94
... difficulty radiates into all parts of the dramatic totality . With Robert Speaight and others , we may of course review this difficulty in terms of organizational defect : " There is not in Antony and Cleopatra a very clear line of ...
... difficulty radiates into all parts of the dramatic totality . With Robert Speaight and others , we may of course review this difficulty in terms of organizational defect : " There is not in Antony and Cleopatra a very clear line of ...
Page 95
... difficulty . The drama dramatizes the difficulty of following , and therefore the “ following ” of the drama is not a “ difficulty " ( in the sense of " problem " ) that only adds itself to the play as the strain of interpreting it ...
... difficulty . The drama dramatizes the difficulty of following , and therefore the “ following ” of the drama is not a “ difficulty " ( in the sense of " problem " ) that only adds itself to the play as the strain of interpreting it ...
Page 159
... difficulty hidden in this positive capacity . In itself , this difficulty is at once positive and negative . What difficulty ? Well , the fact that Caesar's leaving , by always amounting to an arriving ( a reaffirmation of the home , or ...
... difficulty hidden in this positive capacity . In itself , this difficulty is at once positive and negative . What difficulty ? Well , the fact that Caesar's leaving , by always amounting to an arriving ( a reaffirmation of the home , or ...
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