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
... passage runs quite contrary to its argument . " 16 But once this feeling is identified , it is not too difficult to see that it works , together with similarly oriented passages , to create a parallel argument , a coun- terargument with ...
... passage runs quite contrary to its argument . " 16 But once this feeling is identified , it is not too difficult to see that it works , together with similarly oriented passages , to create a parallel argument , a coun- terargument with ...
Page 56
... passage . This is the knitting of defect into perfection and perfection into defect . Look at the two passages negotiating this idea : divers - colour'd fans , whose wind did seem To glow the delicate cheeks which they did cool , And ...
... passage . This is the knitting of defect into perfection and perfection into defect . Look at the two passages negotiating this idea : divers - colour'd fans , whose wind did seem To glow the delicate cheeks which they did cool , And ...
Page 66
... passage activated the shadow of the hyperontological gestalt : leav- ing . It lives by that which nourisheth it , and the elements once out of it , it transmigrates . ( 2.7.43-44 ) In transmigration there is a migration , a process of ...
... passage activated the shadow of the hyperontological gestalt : leav- ing . It lives by that which nourisheth it , and the elements once out of it , it transmigrates . ( 2.7.43-44 ) In transmigration there is a migration , a process of ...
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