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 25
... performance that he may master and appropriate.8 Macbeth is made to expand violently at exactly that point in time when the play's producers ( the Weird Sisters ) manage to suggest that he is the director of his own performance - its be ...
... performance that he may master and appropriate.8 Macbeth is made to expand violently at exactly that point in time when the play's producers ( the Weird Sisters ) manage to suggest that he is the director of his own performance - its be ...
Page 73
... performance slide into one another - not only for the observer , the spectator , but also for the subject herself . Of course , there is a level of inauthenticity where a person like Cleopatra actually advances a false performance to ...
... performance slide into one another - not only for the observer , the spectator , but also for the subject herself . Of course , there is a level of inauthenticity where a person like Cleopatra actually advances a false performance to ...
Page 77
... performance to become a tragic perishing , or turn their fatal perishing into an extended performance ; but this risk of the performance , the movement of its absolute sliding through nega- tivity , is a salient notion also in the minds ...
... performance to become a tragic perishing , or turn their fatal perishing into an extended performance ; but this risk of the performance , the movement of its absolute sliding through nega- tivity , is a salient notion also in the minds ...
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