The Time is Out of Joint: Shakespeare as Philosopher of HistoryRowman & Littlefield, 2002 - 375 Seiten The Time Is Out of Joint handles the Shakespearean oeuvre from a philosophical perspective, finding that Shakespeare's historical dramas reflect on issues and reveal puzzles which were taken up by philosophy proper only in the centuries following them. Shakespeare's extraordinary handling of time and temporality, the difference between truth and fact, that of theory, and that of interpretation and revelatory truth are evaluated in terms of Shakespeare's own conjectural endeavors, and are compared with early modern, modern, and postmodern thought. Heller shows that modernity, which recognized itself in Shakespeare only from the time of Romanticism, found in Shakespeare's work a revelatory character which marked the end of both metaphysical system-building and a tragic reckoning with the inaccessibility of an absolute, timeless truth. Heller distinguishes the four stages found in constantly unique relation in Shakespeare's work (historical, personal, political, and existential) and probes their significance as time comes to fall 'out of joint' and may be again set aright. Rather than initially bestowing upon Shakespeare the dubious honorary title of philosopher, Heller probes the concretely situated reflections of characters who must face a blind and irrational fate either without taking responsibility for the discordance of time, or with a responsibility which may both transform history into politics, and set right the time which is out of joint. In the ruminations and undertakings of these characters, Shakespeare's dramas present a philosophy of history, a political philosophy, and a philosophy of (im)moral personality. Heller weighs each as distinctly modern confrontations with the possibility of truth and virtue within a human historical condition no less multifarious for its momentariness. |
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Seite 3
... King Lear calls Edgar ( who plays Poor Tom , the madman ) a philosopher four times at the peak of the tempest scene ( King Lear 3.4 ) , even though Tom utters only seemingly nonsensical sentences . Is this Lear's folly , or is it his ...
... King Lear calls Edgar ( who plays Poor Tom , the madman ) a philosopher four times at the peak of the tempest scene ( King Lear 3.4 ) , even though Tom utters only seemingly nonsensical sentences . Is this Lear's folly , or is it his ...
Seite 4
... Lear and Richard II become new men : they win the prize of a present time that has never been their past . What a person does with the great moment of sudden insight belongs to the contingent ele- ments in Shakespeare's stories ( as ...
... Lear and Richard II become new men : they win the prize of a present time that has never been their past . What a person does with the great moment of sudden insight belongs to the contingent ele- ments in Shakespeare's stories ( as ...
Seite 5
... King Lear : they consist solely in not letting their father keep his entourage in their house . And even Macbeth killed just one single man " at the beginning . " Yet Henry IV has stopped committing further cruelties after the murder of ...
... King Lear : they consist solely in not letting their father keep his entourage in their house . And even Macbeth killed just one single man " at the beginning . " Yet Henry IV has stopped committing further cruelties after the murder of ...
Seite 6
... King Lear . Yet to side with fate as a " raping wench of fortune , " or on the con- trary to oppose it , rarely determines independently whether a Shake- spearean character will act or not . Moreover , this choice has even less effect ...
... King Lear . Yet to side with fate as a " raping wench of fortune , " or on the con- trary to oppose it , rarely determines independently whether a Shake- spearean character will act or not . Moreover , this choice has even less effect ...
Inhalt
What Is Nature? What Is Natural? | 13 |
Who Am I? Dressing Up Stripping Naked | 31 |
Acting Playing Pretending Disguising | 55 |
The Absolute Strangers | 73 |
Judgment of Human Character To Betray and to Be Betrayed | 87 |
Love Sex Subversion Political Drama Family Drama | 97 |
The Sphinx Called Time | 115 |
Virtues and Vices Guilt Good and Evil | 141 |
Richard II | 161 |
1 2 and 3 Henry VI | 189 |
The Tragedy of King Richard III | 251 |
THREE ROMAN PLAYS | 277 |
Antony and Cleopatra | 335 |
Historical Truth and Poetic Truth | 333 |
About the Author | 341 |
THE HISTORY PLAYS | 159 |
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The Time Is Out of Joint: Shakespeare as Philosopher of History Agnes Heller Eingeschränkte Leseprobe - 2002 |
Häufige Begriffe und Wortgruppen
absolute stranger accusation actors already Antony and Cleopatra Antony's asks battle becomes begins believe betrayal betrayed Bolingbroke Brutus Brutus's Cassius Claudius comedies conspirators Coriolanus curses death double bind drama duchess Duke enemies Enobarbus entirely existential existential stage fact fate father forgiveness friends Gloucester grandeur guilty Hamlet happens heroes history plays Horatio Iago interpretation Julius Caesar kill kind King Henry King Lear Lady Macbeth lovers Machiavellian madness Marc Antony Margaret means Measure for Measure Merchant of Venice moral murder nature never noble Octavius Ophelia Othello passion perhaps person political Pompey Portia portrays Prince queen radical evil remains Richard role Roman says scene sense sexual Shake Shakespeare Shakespearean characters Shylock significance soliloquy soul speaks speech stage manager story subversion Suffolk Talbot theater thee thing thou throne tradition tragedy true truth turns tyrant victory virtue wants Warwick wicked women words York