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 4
... madness? Is it the gift of Shakespeare presented to an old fool who becomes wise in suffering and in madness? Is not Poor Tom indeed the symbol of the philosopher, or at least of the kind of philoso- pher who is situated in an ...
... madness? Is it the gift of Shakespeare presented to an old fool who becomes wise in suffering and in madness? Is not Poor Tom indeed the symbol of the philosopher, or at least of the kind of philoso- pher who is situated in an ...
Seite 36
... madness. It can be temporary madness if, after the total crisis of identity and the collapse of the world, a man can recover him- self from shambles to the point that he can put together another world, although it will be a brittle ...
... madness. It can be temporary madness if, after the total crisis of identity and the collapse of the world, a man can recover him- self from shambles to the point that he can put together another world, although it will be a brittle ...
Seite 45
... madness. A man sees himself in the mirror of others. If all the mirrors show him an ugly and mad face, it will be ... madness, this is already a sign of world alienation. Surely, Hamlet defends himself against total self-alienation ...
... madness. A man sees himself in the mirror of others. If all the mirrors show him an ugly and mad face, it will be ... madness, this is already a sign of world alienation. Surely, Hamlet defends himself against total self-alienation ...
Seite 46
... madness is also self-defense in the literal meaning of the word. He defends his self from intrusion rather than his body from injury or death.All the same, Hamlet cannot live entirely incognito. He must give a hint. He gives hints even ...
... madness is also self-defense in the literal meaning of the word. He defends his self from intrusion rather than his body from injury or death.All the same, Hamlet cannot live entirely incognito. He must give a hint. He gives hints even ...
Seite 48
... madness.The raging Hamlet is not mad, although in rage—as Shakespeare portrays Hamlet—a person is also alienated from himself; someone who is not himself speaks in him.This is how Hamlet apologizes in the next scene to Laertes; he in ...
... madness.The raging Hamlet is not mad, although in rage—as Shakespeare portrays Hamlet—a person is also alienated from himself; someone who is not himself speaks in him.This is how Hamlet apologizes in the next scene to Laertes; he in ...
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