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 27
... moral action ; we do not soar philosophically into some platonic overworld called " ontology . " On the contrary , the really gritty moral problems can only be thoroughly deciphered through the hyperontological flutter that the odd ...
... moral action ; we do not soar philosophically into some platonic overworld called " ontology . " On the contrary , the really gritty moral problems can only be thoroughly deciphered through the hyperontological flutter that the odd ...
Page 51
... moral reference for the play , hardly succeed in doing so ; often , they fail completely to agree with one another in matters of moral judgment . No fixed moral center can be located in the Roman sphere , for most of the information ...
... moral reference for the play , hardly succeed in doing so ; often , they fail completely to agree with one another in matters of moral judgment . No fixed moral center can be located in the Roman sphere , for most of the information ...
Page 136
... moral exemplum to be perfectly clear.18 The Shakespearean “ guidelines , " according to Whitaker , appear to " mislead " us ; there may be " guideposts , " but the dramatist " did not line them up . " 19 But as Adelman empha- sizes ...
... moral exemplum to be perfectly clear.18 The Shakespearean “ guidelines , " according to Whitaker , appear to " mislead " us ; there may be " guideposts , " but the dramatist " did not line them up . " 19 But as Adelman empha- sizes ...
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