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 90
... leaving be left ( to itself ) . ” I am a self - leaver ; so leave me to my ( self- ) leaving . Leave me alone in my leave - taking ( of honor , of myself , etc ) . Let me myself shoulder the burden of leaving and leave - taking . This ...
... leaving be left ( to itself ) . ” I am a self - leaver ; so leave me to my ( self- ) leaving . Leave me alone in my leave - taking ( of honor , of myself , etc ) . Let me myself shoulder the burden of leaving and leave - taking . This ...
Page 91
... leaving be left . But if leaving is what is left , then what is left is already gone . No presence is any longer possible in the space that Shakespeare has now opened . Leaving itself dominates it . Such a sensation leads us to the ...
... leaving be left . But if leaving is what is left , then what is left is already gone . No presence is any longer possible in the space that Shakespeare has now opened . Leaving itself dominates it . Such a sensation leads us to the ...
Page 171
... leaving is no longer leaving . On the contrary , it is staying . We are made to feel that Cleopatra , far from leaving the world of her fabulous and mythological romance with Antony , is staying inside it . We are made to feel that the ...
... leaving is no longer leaving . On the contrary , it is staying . We are made to feel that Cleopatra , far from leaving the world of her fabulous and mythological romance with Antony , is staying inside it . We are made to feel that the ...
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