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 50
... tragic selfhood . As Bamber herself shows , however , it is the general feeling of multiple perspective that is important . In that case , I would say , “ the Other ” ( as she calls it ) is not a particular other ( one opposing an ...
... tragic selfhood . As Bamber herself shows , however , it is the general feeling of multiple perspective that is important . In that case , I would say , “ the Other ” ( as she calls it ) is not a particular other ( one opposing an ...
Page 94
... tragic action and tragic fate . Sig- nificantly , tragic ending as such is transgressed in this type of amplification ; for with the introduction of the hypermystified and hyperidealized dimension , tragic leaving ( in the ordinary ...
... tragic action and tragic fate . Sig- nificantly , tragic ending as such is transgressed in this type of amplification ; for with the introduction of the hypermystified and hyperidealized dimension , tragic leaving ( in the ordinary ...
Page 97
... tragic destiny that Antony never can reach . He comes , writes Speaight , " to that parting of the ways , which is perhaps the only purely tragic thing in this play . " 8 Yes , a “ parting of the ways , " a parting . For Enobar- bus ...
... tragic destiny that Antony never can reach . He comes , writes Speaight , " to that parting of the ways , which is perhaps the only purely tragic thing in this play . " 8 Yes , a “ parting of the ways , " a parting . For Enobar- bus ...
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