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 39
... man as a follower : a woman following a man , a man following a woman , the soldier following his leader , the statesman following his political partner , and so forth . But the play , far from taking this following for granted , places ...
... man as a follower : a woman following a man , a man following a woman , the soldier following his leader , the statesman following his political partner , and so forth . But the play , far from taking this following for granted , places ...
Page 40
... man who shows the world a paradigm of disgusting misconduct ; he is also a man capable of assembling multitudes of followers , men who will be following his greatness of heroic stature rather than the vices he typifies . What moral and ...
... man who shows the world a paradigm of disgusting misconduct ; he is also a man capable of assembling multitudes of followers , men who will be following his greatness of heroic stature rather than the vices he typifies . What moral and ...
Page 53
... man of erotic excess , but a man of excess in general . Any project that pushes him to the limit - and preferably beyond it— will inspire him acutely and get the best out of him . The play , then , advancing a notion that it will ...
... man of erotic excess , but a man of excess in general . Any project that pushes him to the limit - and preferably beyond it— will inspire him acutely and get the best out of him . The play , then , advancing a notion that it will ...
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