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 68
... noble recklessness geared to pleasure , it means for Caesar a sly exploitation of the contingent patterns of the historical now . He masters time by appropriating its system of internal differences . Antony turns those same dif ...
... noble recklessness geared to pleasure , it means for Caesar a sly exploitation of the contingent patterns of the historical now . He masters time by appropriating its system of internal differences . Antony turns those same dif ...
Page 112
Antony and Cleopatra Harald William Fawkner. Was ' Antony ! most noble Antony ! ' Then in the midst a tearing groan did break The name of Antony ; it was divided Between her heart , and lips : she render'd life Thy name so buried in her ...
Antony and Cleopatra Harald William Fawkner. Was ' Antony ! most noble Antony ! ' Then in the midst a tearing groan did break The name of Antony ; it was divided Between her heart , and lips : she render'd life Thy name so buried in her ...
Page 182
... Noble , 1983 ) , p . 219 . 9. Peter Erickson , Patriarchal Structures in Shakespeare's Drama ( Berkeley , Los Angeles , and London : University of California Press , 1985 ) , p . 133 . 10. Irene Dash , Wooing , Wedding , and Power ...
... Noble , 1983 ) , p . 219 . 9. Peter Erickson , Patriarchal Structures in Shakespeare's Drama ( Berkeley , Los Angeles , and London : University of California Press , 1985 ) , p . 133 . 10. Irene Dash , Wooing , Wedding , and Power ...
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