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 27
... sense ” of a Shake- spearean drama ( and particularly by a moral sense ) never gets anywhere near the ontodramatic flutter ; he is looking for clues only in one direction , rarely suspecting that they might pop up behind his back . This ...
... sense ” of a Shake- spearean drama ( and particularly by a moral sense ) never gets anywhere near the ontodramatic flutter ; he is looking for clues only in one direction , rarely suspecting that they might pop up behind his back . This ...
Page 90
... sense of an absolute leaving ( of honor , of air , of followers ) that creates the sense of a center as noncenter . Sitting there - in the market - place whistling , or in the palace having fled himself - Antony becomes a center without ...
... sense of an absolute leaving ( of honor , of air , of followers ) that creates the sense of a center as noncenter . Sitting there - in the market - place whistling , or in the palace having fled himself - Antony becomes a center without ...
Page 93
... sense in Antony and Cleopatra . Why not ? Because the fall has always already started . “ At the very first they came before us , unlike those others , unlike Coriolanus and even Macbeth , in a glory already tarnished , half - ruined by ...
... sense in Antony and Cleopatra . Why not ? Because the fall has always already started . “ At the very first they came before us , unlike those others , unlike Coriolanus and even Macbeth , in a glory already tarnished , half - ruined by ...
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