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 48
... opposites , the subjec- tive and the objective are implicated in one another . Objective things come across ... opposite reactions are simultaneously pro- duced , and the oppositional play is sustained . It is this stabilizing ...
... opposites , the subjec- tive and the objective are implicated in one another . Objective things come across ... opposite reactions are simultaneously pro- duced , and the oppositional play is sustained . It is this stabilizing ...
Page 110
... opposite . And the interesting thing from the ontodramatic viewpoint is that following and leav- ing organize this staging of mixed opposites . Betrayal energizes leaving / following , for " betrayal " is now about to move into the ...
... opposite . And the interesting thing from the ontodramatic viewpoint is that following and leav- ing organize this staging of mixed opposites . Betrayal energizes leaving / following , for " betrayal " is now about to move into the ...
Page 114
... opposite and ironic negation of idealist elevation , of a graceful ascending , elevation performing the elevating mo ... opposites , grace and its absence , are wrenched forcefully into one another - and what gets hoisted gets hoisted in ...
... opposite and ironic negation of idealist elevation , of a graceful ascending , elevation performing the elevating mo ... opposites , grace and its absence , are wrenched forcefully into one another - and what gets hoisted gets hoisted in ...
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