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 112
... dying within an absolutely acute depar- ture from death / dying . Dying can no longer be trusted , always leaves the smell of betrayal . Death betrays itself , slips away from its own manifest drama . Death is now , already , an ...
... dying within an absolutely acute depar- ture from death / dying . Dying can no longer be trusted , always leaves the smell of betrayal . Death betrays itself , slips away from its own manifest drama . Death is now , already , an ...
Page 125
... dying than she herself does , or did . From this viewpoint , he does not only have faith in the idea and fable of Cleopatra's tragic dying ( in the datum of its occurence ) ; he also , and more importantly , has faith in her capacity ...
... dying than she herself does , or did . From this viewpoint , he does not only have faith in the idea and fable of Cleopatra's tragic dying ( in the datum of its occurence ) ; he also , and more importantly , has faith in her capacity ...
Page 128
... dying . Antony only falls on his sword once he is made to believe that Cleopatra has killed herself ; and Cleopatra ... dying is a bit more difficult than we might first think ; for by dying for her , by dying for her death , and ...
... dying . Antony only falls on his sword once he is made to believe that Cleopatra has killed herself ; and Cleopatra ... dying is a bit more difficult than we might first think ; for by dying for her , by dying for her death , and ...
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