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 51
... scene provides the contemptuous Roman assessment of that economy through units such as " libertine " ( 2.1.23 ) , " Epicurean cooks " ( 2.1.24 ) , “ amorous surfeiter " ( 2.1.33 ) , and “ ne'er - lust - wearied Antony " ( 2.1.38 ) . It ...
... scene provides the contemptuous Roman assessment of that economy through units such as " libertine " ( 2.1.23 ) , " Epicurean cooks " ( 2.1.24 ) , “ amorous surfeiter " ( 2.1.33 ) , and “ ne'er - lust - wearied Antony " ( 2.1.38 ) . It ...
Page 79
... scene 7. Menas promised to cut the cables to initiate a dramatic coup . Yet Pompey surprises his fol- lower by ... scene 7 , and act 3 , scene 1 ) hyperontologically interesting is not just this fact that each con- struction ...
... scene 7. Menas promised to cut the cables to initiate a dramatic coup . Yet Pompey surprises his fol- lower by ... scene 7 , and act 3 , scene 1 ) hyperontologically interesting is not just this fact that each con- struction ...
Page 104
... scene 4 , leave / follow promotes following , while at the beginning of act 4 , scene 5 , leave / follow promotes leaving . But now , as Antony opens an epoch in which leaving itself is followed , the act of following ( of letting ...
... scene 4 , leave / follow promotes following , while at the beginning of act 4 , scene 5 , leave / follow promotes leaving . But now , as Antony opens an epoch in which leaving itself is followed , the act of following ( of letting ...
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