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
... question never can be answered . Like so many other opposites , the subjec- tive and the objective are implicated in one another . Objective things come across subjectively , and subjective things slip fluidly into the cultural moulds ...
... question never can be answered . Like so many other opposites , the subjec- tive and the objective are implicated in one another . Objective things come across subjectively , and subjective things slip fluidly into the cultural moulds ...
Page 97
... question of not choosing the " wrong " option . Or it is a question of choosing one of the options and of realizing that this choice is tragic , since the choice of the other one would also have led to an unhappy outcome . But in the ...
... question of not choosing the " wrong " option . Or it is a question of choosing one of the options and of realizing that this choice is tragic , since the choice of the other one would also have led to an unhappy outcome . But in the ...
Page 137
... question of perverse thought imposing doubleness on a world that itself is simple and univocal ; it is a question of reality becoming emancipated from a reductive , unitarian conception of it through thought bold enough to perceive the ...
... question of perverse thought imposing doubleness on a world that itself is simple and univocal ; it is a question of reality becoming emancipated from a reductive , unitarian conception of it through thought bold enough to perceive the ...
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