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 28
... play . " 19 As I now move into the linguistic events of the play , I do so in a lineal and straightforward fashion , since dramatic art , being more conditioned by the flow of performance than poetry or fiction , should preferably be ...
... play . " 19 As I now move into the linguistic events of the play , I do so in a lineal and straightforward fashion , since dramatic art , being more conditioned by the flow of performance than poetry or fiction , should preferably be ...
Page 93
... play ; it is the movement of its condition of possibility . Bradley , discussing the beginning of the play , notices that Shake- speare refuses to turn dramatically promising material into the source of great tragic emotions ; the ...
... play ; it is the movement of its condition of possibility . Bradley , discussing the beginning of the play , notices that Shake- speare refuses to turn dramatically promising material into the source of great tragic emotions ; the ...
Page 142
... play are not temporal but eternal ; not local but spatial . . What is important . . . are not places but planes ; and this is the test of any production of the play in the theatre . You need no more than a cluster of eagles to represent ...
... play are not temporal but eternal ; not local but spatial . . What is important . . . are not places but planes ; and this is the test of any production of the play in the theatre . You need no more than a cluster of eagles to represent ...
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