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
... imagination " suggests liberal - humanist individualism , just as " ecstasy " suggests religious mystification , and just as " meaning " suggests logocentric traditionalism , so the word " ontology " automatically signals the critic's ...
... imagination " suggests liberal - humanist individualism , just as " ecstasy " suggests religious mystification , and just as " meaning " suggests logocentric traditionalism , so the word " ontology " automatically signals the critic's ...
Page 15
... imagination " ) as precisely a function of such a new - and somehow necessary— permissiveness . A certain threshold of shame must be crossed if we are to use the standard categories and visionary beliefs of idealism to forward the mode ...
... imagination " ) as precisely a function of such a new - and somehow necessary— permissiveness . A certain threshold of shame must be crossed if we are to use the standard categories and visionary beliefs of idealism to forward the mode ...
Page 17
... imagination , there is no longer any neat arrangement that keeps the abyss in its place , in a downward position . On the contrary , what the hypermystifications of Antony and Cleopatra force us to think is an upward abyss . No longer ...
... imagination , there is no longer any neat arrangement that keeps the abyss in its place , in a downward position . On the contrary , what the hypermystifications of Antony and Cleopatra force us to think is an upward abyss . No longer ...
Page 25
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Page 26
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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