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 11
... simply to call attention to the rather alarming fact that it is almost impossible to conduct certain crucial types of critical inquiry in these days . The conditions for such inquiries have simply been wiped out . In a priori fashion ...
... simply to call attention to the rather alarming fact that it is almost impossible to conduct certain crucial types of critical inquiry in these days . The conditions for such inquiries have simply been wiped out . In a priori fashion ...
Page 65
... simply " like itself " ) now becomes odd . Oddness is the play's formula , and a deflection from that formula makes the nonodd seem odd . In fact , we are given a false and a real sense of the remarkable . For Lepidus , at this stage ...
... simply " like itself " ) now becomes odd . Oddness is the play's formula , and a deflection from that formula makes the nonodd seem odd . In fact , we are given a false and a real sense of the remarkable . For Lepidus , at this stage ...
Page 141
... simply “ no- where " ( which is just a negation of " here , " just an absolute nega- tion inside the space of space ) . “ Nowhere " is simply a negative presence . But now , because of the cadaver , or because of its dramatic simulacrum ...
... simply “ no- where " ( which is just a negation of " here , " just an absolute nega- tion inside the space of space ) . “ Nowhere " is simply a negative presence . But now , because of the cadaver , or because of its dramatic simulacrum ...
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