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 175
... promoted as an ambiguous entity throughout the play ; it is the source of ripeness , but also its lethal excess . And as I shall presently suggest , it is the notion of fluidity as such that is most important in the equivocating poison ...
... promoted as an ambiguous entity throughout the play ; it is the source of ripeness , but also its lethal excess . And as I shall presently suggest , it is the notion of fluidity as such that is most important in the equivocating poison ...
Page 176
... promoted by the sense that the immediate consequence of the experiments ( " conclusions ” ) — Cleopatra's death - eliminates any complete trace of them . Fluidity , we have recognized , is integral to the Egyptian queen through her ...
... promoted by the sense that the immediate consequence of the experiments ( " conclusions ” ) — Cleopatra's death - eliminates any complete trace of them . Fluidity , we have recognized , is integral to the Egyptian queen through her ...
Page 186
... promotion of ( its ) wasting . Jacques Derrida calls attention to deconstruction's special connivance with radical “ ruin ” ( “ Bio- degradables : Seven Diary Fragments , " translated by Peggy Kamuf , Critical In- quiry 15 [ 1989 ] ...
... promotion of ( its ) wasting . Jacques Derrida calls attention to deconstruction's special connivance with radical “ ruin ” ( “ Bio- degradables : Seven Diary Fragments , " translated by Peggy Kamuf , Critical In- quiry 15 [ 1989 ] ...
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