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 13
... skeptical relativities . There is , to be sure , irony in the way these thinkers perceive the Absolute ; but this irony , by itself being absolute , seems to derive from the Absolute itself . In this way , according to a principle that ...
... skeptical relativities . There is , to be sure , irony in the way these thinkers perceive the Absolute ; but this irony , by itself being absolute , seems to derive from the Absolute itself . In this way , according to a principle that ...
Page 48
... skeptical withdrawal ) . Two opposite reactions are simultaneously pro- duced , and the oppositional play is sustained . It is this stabilizing of instability , the raising of it to a level of philosophical import , that completes the ...
... skeptical withdrawal ) . Two opposite reactions are simultaneously pro- duced , and the oppositional play is sustained . It is this stabilizing of instability , the raising of it to a level of philosophical import , that completes the ...
Page 76
... skeptical attitude toward such originary myth- making does not lead to grace . Indeed , as Adelman observes , the persistent questioning of the sincerity of the passions in the name of rational skepticism results in no secure position ...
... skeptical attitude toward such originary myth- making does not lead to grace . Indeed , as Adelman observes , the persistent questioning of the sincerity of the passions in the name of rational skepticism results in no secure position ...
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