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 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 greatest ...
... 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 greatest ...
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 on the ...
... 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 on the ...
Seite 20
... King of Kings, the Judge.There is no tran- scendent stage, no divine theater;yet there is an absolute Measure and ... Lear) who resigns, one (King John) who is excommunicated by the pope.There are many legitimate princes (mainly in ...
... King of Kings, the Judge.There is no tran- scendent stage, no divine theater;yet there is an absolute Measure and ... Lear) who resigns, one (King John) who is excommunicated by the pope.There are many legitimate princes (mainly in ...
Seite 23
... (King Lear 3.7.70–72). For this greatest service he pays with his life. Strong desires and passions less frequently motivate crimes or evils based on, or resulting from, the traditional perception of being “natural.” Crimes and evils ...
... (King Lear 3.7.70–72). For this greatest service he pays with his life. Strong desires and passions less frequently motivate crimes or evils based on, or resulting from, the traditional perception of being “natural.” Crimes and evils ...
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
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