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
... thought claims and what the literary - critical com- munity has decided for itself that this thought claims.1 In fact , as a corpus of discourse , Derrida's thinking is far more conceptually rich , subtle , and rigorous than the ...
... thought claims and what the literary - critical com- munity has decided for itself that this thought claims.1 In fact , as a corpus of discourse , Derrida's thinking is far more conceptually rich , subtle , and rigorous than the ...
Page 12
... thought burns down to certain minute “ infrastructures , " each with its own minuscule and carefully extrapolated identity . ) This remark really brings me at once into critical contact with the major concerns of this current inquiry ...
... thought burns down to certain minute “ infrastructures , " each with its own minuscule and carefully extrapolated identity . ) This remark really brings me at once into critical contact with the major concerns of this current inquiry ...
Page 173
... thought of Iras actually enjoying Antony's erotic attentions during the queen's absence . In this jealous vision ... thoughts in life is the enjoyment of the hypothetical prospect of calling Caesar an " ass , / Unpolicied " ( 5.2.306-7 ) ...
... thought of Iras actually enjoying Antony's erotic attentions during the queen's absence . In this jealous vision ... thoughts in life is the enjoyment of the hypothetical prospect of calling Caesar an " ass , / Unpolicied " ( 5.2.306-7 ) ...
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