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 122
... examples ( in the heroic sense ) have for their ideal source and paradigm an absolute example that ( already ) has killed the possibility of the absolute example . Cleopatra's entire conception of her own tragic death is not only ...
... examples ( in the heroic sense ) have for their ideal source and paradigm an absolute example that ( already ) has killed the possibility of the absolute example . Cleopatra's entire conception of her own tragic death is not only ...
Page 123
... Examples , or the example ( the classical formula and recipe for tragic dying ) , can no longer be followed . So the question is now : how does one follow an example that is not an example ? How does one follow an exem- plary thing , if ...
... Examples , or the example ( the classical formula and recipe for tragic dying ) , can no longer be followed . So the question is now : how does one follow an example that is not an example ? How does one follow an exem- plary thing , if ...
Page 124
... example . Yet — and this is my point - Antony's dying ( and suicide ) still follows an example : still ( 1 ) follows , and still ( 2 ) is teleologically oriented toward an ideal instance ( Cleopatra's ) . He is , in this curiously ...
... example . Yet — and this is my point - Antony's dying ( and suicide ) still follows an example : still ( 1 ) follows , and still ( 2 ) is teleologically oriented toward an ideal instance ( Cleopatra's ) . He is , in this curiously ...
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