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. |
From inside the book
Results 1-5 of 33
Page 13
... logic that Shakespeare's language itself rends and laughs at . There is a madness of the Absolute - in Lear , in Macbeth , here too - and to want to try to comprehend the force of Shakespeare's language and art outside that madness is ...
... logic that Shakespeare's language itself rends and laughs at . There is a madness of the Absolute - in Lear , in Macbeth , here too - and to want to try to comprehend the force of Shakespeare's language and art outside that madness is ...
Page 15
... logical self- presence that poststructuralists view as a totalist threat to literary and intellectual freeplay . Yet the harmfulness of ontology , its capacity to prematurely appropriate meaning and furnish inter- pretative closure , is ...
... logical self- presence that poststructuralists view as a totalist threat to literary and intellectual freeplay . Yet the harmfulness of ontology , its capacity to prematurely appropriate meaning and furnish inter- pretative closure , is ...
Page 23
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 24
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
Page 26
Sorry, this page's content is restricted.
Sorry, this page's content is restricted.
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 | |
Other editions - View all
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