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 135
... judgment is sometimes crucially absent , but also outside it . In this drama “ we frequently find that we can make no judgment at all , or that our judgments are no more reliable than Pompey's . ” 17 Adelman then refers Cadaverous Space ...
... judgment is sometimes crucially absent , but also outside it . In this drama “ we frequently find that we can make no judgment at all , or that our judgments are no more reliable than Pompey's . ” 17 Adelman then refers Cadaverous Space ...
Page 136
... judgment in a new way . Perhaps it is judgment itself that is being staged in this play : ours as well as that of the players . But what can this tell us ? What can we learn from having judgment staged and put into play ? We can perhaps ...
... judgment in a new way . Perhaps it is judgment itself that is being staged in this play : ours as well as that of the players . But what can this tell us ? What can we learn from having judgment staged and put into play ? We can perhaps ...
Page 137
... judgment . The play inscribes its power in such a way that the element of judgment necessary for its evaluation must be seen as something that gets uncovered inside a space that the play itself clears . To come to Antony and Cleopatra ...
... judgment . The play inscribes its power in such a way that the element of judgment necessary for its evaluation must be seen as something that gets uncovered inside a space that the play itself clears . To come to Antony and Cleopatra ...
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