Shakespeare's Hyperontology: Antony and CleopatraFairleigh Dickinson University Press, 1990 - 199 pages Utilizing 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 23
... role of tragic action to the extent that the play at times seems to begin to suffer from the dominat- ing urge of its own hyperlogical obsessions . What we risk ending up with is not an absolutely rounded tragedy , an entirely " satisfy ...
... role of tragic action to the extent that the play at times seems to begin to suffer from the dominat- ing urge of its own hyperlogical obsessions . What we risk ending up with is not an absolutely rounded tragedy , an entirely " satisfy ...
Page 80
Antony and Cleopatra Harald William Fawkner. Ventidius's notion of Antony's sordid role in a restricted economy of cunning military give - and - take is sublated in the vaster notions of his role in an absolutely open economy where ...
Antony and Cleopatra Harald William Fawkner. Ventidius's notion of Antony's sordid role in a restricted economy of cunning military give - and - take is sublated in the vaster notions of his role in an absolutely open economy where ...
Page 130
... role of " bring " in expressions like " bring oneself to do something , " " bring oneself to a point of decision , " and so forth . Here it is not only that humans demonstrate a sudden hesitancy in the middle of their frolicsome heroism ...
... role of " bring " in expressions like " bring oneself to do something , " " bring oneself to a point of decision , " and so forth . Here it is not only that humans demonstrate a sudden hesitancy in the middle of their frolicsome heroism ...
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