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
... already moves toward negative or positive triumph.2 To want to write humanistically about Shakespearean tragedy without passion is a mistake ; to want to deconstruct Shakespeare without passion is not an equivalent mistake , but a ...
... already moves toward negative or positive triumph.2 To want to write humanistically about Shakespearean tragedy without passion is a mistake ; to want to deconstruct Shakespeare without passion is not an equivalent mistake , but a ...
Page 14
... already referred to , but on the other hand also a progressive relativization of all critical thought . Precisely because there are so many distinct truths in circulation , there are very few . Precisely because an endless number of ...
... already referred to , but on the other hand also a progressive relativization of all critical thought . Precisely because there are so many distinct truths in circulation , there are very few . Precisely because an endless number of ...
Page 17
... already , is the utterly strange world of the so - called romances : a world of debris where Shakespeare found himself dragged off into a dreamy resemblance of drama , marooned not in a further- ing of drama but in a phantom image of it ...
... already , is the utterly strange world of the so - called romances : a world of debris where Shakespeare found himself dragged off into a dreamy resemblance of drama , marooned not in a further- ing of drama but in a phantom image of it ...
Page 25
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Page 29
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Contents
Presence and Oblivion | 23 |
To Follow Faster | 46 |
The Remains of Leaving | 69 |
Exemplariness | 93 |
Cadaverous Space | 132 |
Trace | 158 |
Notes | 180 |
| 187 | |
| 196 | |
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Common terms and phrases
A. V. Miller absence absolute spending actually Adelman aesthetic affirms already Antony and Cleopatra Antony's approach Bamber become betrayal Blanchot Caesar Caesar's Revenge Charmian Common Liar conception created critical crucial crucial units desertion discourse discussion dramatic dying Egypt emphasized Enobarbus entire Epicurean Eros erotic excess fact feeling final Fulvia hero heroic honor hyperon hyperontological gestalt hyperreal Ibid idealist identifies identity imagination infinite language leave-taking leaving leaving/following logic London longer lovers Macbeth Mardian Mark Antony master ment military monument moral move myth nature negation negativity notion Octavius once ontodramatic ontological opposite performance play pleasure Plutarch poison Pompey possibility preexisting presence pure question reality Renaissance restricted economy Roman Rome scene sense Shake Shakespeare Shakespearean Tragedy simply Soldier space Speaight strange suggests takes my death thee things thou tion tological trace tragic transcendental unit University Press Venus viewpoint Walter Kaiser