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 60
... spirit , than when it is about to leave . Is it now altogether coincidental that Shakespeare brings in Antony's leaving as a unit that adds itself to the one above as its natural supplement ? Enobarbus . And having lost her breath , she ...
... spirit , than when it is about to leave . Is it now altogether coincidental that Shakespeare brings in Antony's leaving as a unit that adds itself to the one above as its natural supplement ? Enobarbus . And having lost her breath , she ...
Page 70
... spirit , so important for many Christian ideologists , was challenged by the major writers of the Florentine Academy ... spirits is said 70 SHAKESPEARE'S HYPERONTOLOGY.
... spirit , so important for many Christian ideologists , was challenged by the major writers of the Florentine Academy ... spirits is said 70 SHAKESPEARE'S HYPERONTOLOGY.
Page 148
... spirit . As I have already suggested , this absolute engage- ment with imagination , space , and death — which in a sense presupposes the ability to imagine death as space and space as death - creates a secret bond between the spirit of ...
... spirit . As I have already suggested , this absolute engage- ment with imagination , space , and death — which in a sense presupposes the ability to imagine death as space and space as death - creates a secret bond between the spirit of ...
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