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 15
... play ( the question of leaving ) does not automatically turn the venture into a monolithic or monological one . In fact , as all radical twen- tieth - century theories of the other ( of some strong unconscious ) have shown , a text ...
... play ( the question of leaving ) does not automatically turn the venture into a monolithic or monological one . In fact , as all radical twen- tieth - century theories of the other ( of some strong unconscious ) have shown , a text ...
Page 16
... play ) as a form of invisibility and self - concealment does not make it less visible on the factual level of textual reality . Some facts do not have an effect of obvious fact . A further reason for rejecting any malicious ...
... play ) as a form of invisibility and self - concealment does not make it less visible on the factual level of textual reality . Some facts do not have an effect of obvious fact . A further reason for rejecting any malicious ...
Page 17
... play like Antony and Cleopatra formulates the strangeness of its hermetic challenge . From the viewpoint of historical determinants then ( by no means a prime concern of this essay ) , what first needs to be grasped is the special ...
... play like Antony and Cleopatra formulates the strangeness of its hermetic challenge . From the viewpoint of historical determinants then ( by no means a prime concern of this essay ) , what first needs to be grasped is the special ...
Page 18
... play ( the ability of the lovers to consecrate themselves through cosmic misdemeanor ) but also to any critical apparatus that wishes to richly engage with it . For theory too there is the necessity of this doubling : this strange ...
... play ( the ability of the lovers to consecrate themselves through cosmic misdemeanor ) but also to any critical apparatus that wishes to richly engage with it . For theory too there is the necessity of this doubling : this strange ...
Page 19
... play those seductive gestures of remystification that we too - quickly removed at the outset in order to save ourselves from the dizziness of the text . Shakespeare's Hyperontology Antony and Cleopatra 1 Presence and Oblivion At Opening ...
... play those seductive gestures of remystification that we too - quickly removed at the outset in order to save ourselves from the dizziness of the text . Shakespeare's Hyperontology Antony and Cleopatra 1 Presence and Oblivion At Opening ...
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