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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Ergebnisse 1-5 von 74
Seite 5
... murder of Richard, and according to the dramas of King Henry (IV, 1 and 2), he became a fairly good king. Shakespeare's worst political villains are the ones who use cruelty “badly,” who cannot refrain from doing evil but rather ...
... murder of Richard, and according to the dramas of King Henry (IV, 1 and 2), he became a fairly good king. Shakespeare's worst political villains are the ones who use cruelty “badly,” who cannot refrain from doing evil but rather ...
Seite 16
... murders will be avenged either directly or indirectly, the tyrants will meet their violent death sooner or later, and the curses will take effect.The evil individuals face retribution; at least, this is what the spectator perceives ...
... murders will be avenged either directly or indirectly, the tyrants will meet their violent death sooner or later, and the curses will take effect.The evil individuals face retribution; at least, this is what the spectator perceives ...
Seite 18
... murder of Caesar, and they chase the tyrannicides out of Rome.And finally, in Antony and Cleopatra it becomes clear that the clever and cold politicking ofOctavius Caesar meets the approval of the already pacified plebes, who are by ...
... murder of Caesar, and they chase the tyrannicides out of Rome.And finally, in Antony and Cleopatra it becomes clear that the clever and cold politicking ofOctavius Caesar meets the approval of the already pacified plebes, who are by ...
Seite 21
... murder out of love? Is it natural when a girl obeys her father and betrays her lover? Ham- let accuses his mother—among others—of being unnatural for preferring an ugly, undignified swine to a chivalrous and beautiful man (her husband) ...
... murder out of love? Is it natural when a girl obeys her father and betrays her lover? Ham- let accuses his mother—among others—of being unnatural for preferring an ugly, undignified swine to a chivalrous and beautiful man (her husband) ...
Seite 27
... history plays are not detective stories, although there are murders everywhere (both actual and potential) and almost everyone is an actual or potential victim.The motives that prompt one man or What Is Nature? What Is Natural? 27.
... history plays are not detective stories, although there are murders everywhere (both actual and potential) and almost everyone is an actual or potential victim.The motives that prompt one man or What Is Nature? What Is Natural? 27.
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 |
Andere Ausgaben - Alle anzeigen
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