The Time Is Out of Joint: Shakespeare as Philosopher of HistoryRowman & Littlefield Publishers, 23.07.2002 - 384 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 27
... Iago). The most complex Shakespearean characters do not completely accept the natural law argument, nor are they purely traditionalists.They suffer and act under the weight ofthe double bind, perhaps for moral reasons, perhaps because ...
... Iago). The most complex Shakespearean characters do not completely accept the natural law argument, nor are they purely traditionalists.They suffer and act under the weight ofthe double bind, perhaps for moral reasons, perhaps because ...
Seite 30
... Iago, who at this stage decides to remain silent, accepted this self- interpretation.We do not even know whether the Venetians surrounding him did.We who are now alive can accept it and also reject it; we can go on reinterpreting ...
... Iago, who at this stage decides to remain silent, accepted this self- interpretation.We do not even know whether the Venetians surrounding him did.We who are now alive can accept it and also reject it; we can go on reinterpreting ...
Seite 69
... Iago. Iago pretends to be someone other than who he is. He hides both his personality and his motivation. He is a man of the laws of nature,just like Edmund. But he is petty.Whether his pettiness is due to the pettiness of his ...
... Iago. Iago pretends to be someone other than who he is. He hides both his personality and his motivation. He is a man of the laws of nature,just like Edmund. But he is petty.Whether his pettiness is due to the pettiness of his ...
Seite 70
... Iago is a base man in a humble situation, dependent on his general, and not even second in rank to him, for this is denied him. He lives by his ability to politick, he exercises his talent to dupe others solely to destroy their lives.
... Iago is a base man in a humble situation, dependent on his general, and not even second in rank to him, for this is denied him. He lives by his ability to politick, he exercises his talent to dupe others solely to destroy their lives.
Seite 72
... Iago, or Falstaff by the merry widows of Windsor. Every person appears in disguise who hides his person, his identity, and not just his plans, acts, and emotions.To be in disguise is a kind of self- alienation (not just in the case of ...
... Iago, or Falstaff by the merry widows of Windsor. Every person appears in disguise who hides his person, his identity, and not just his plans, acts, and emotions.To be in disguise is a kind of self- alienation (not just in the case of ...
Inhalt
1 | |
13 | |
Part II The History Plays
| 161 |
Part III Three Roman Plays
| 279 |
Postscript Historical Truth and Poetic Truth
| 367 |
About the Author
| 375 |
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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 accusations actors already Antony and Cleopatra Antony’s asks becomes begins believe betrayed Bolingbroke Brutus Cassius Claudius comedies Coriolanus Coriolanus’s curses death double bind drama duchess Duke enemies Enobarbus existential fact fate father fight forgiveness Gloucester God’s grandeur guilty Hamlet happens hatred Henry’s HenryVI heroes historical history plays Horatio Iago interpretation Julius Caesar kill kind King Henry King Lear king’s Lady Macbeth lovers Machiavellian madness Marc Antony Margaret Midsummer Night’s Dream moral mother murder nature needs never Octavius ofjoint ofthe ofYork one’s Ophelia Othello passion patrician perhaps person plebeians Plutarch political portrays Prince queen radical evil rage reason remains Richard role Roman Rome says scene sense sexual Shake Shakespeare Shakespearean characters Shylock soul speaks stage manager story Suffolk theater thee thing thou throne traditional tragedy true truth turns tyrant understand virtue wants wicked women words