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 17
... rage or indignation, to strengthen their resistance, to amass courage in the face of death. In extreme situations a man can raise himself up to a higher level of insight.The strong desire for revenge or jus- tice or the vindication of ...
... rage or indignation, to strengthen their resistance, to amass courage in the face of death. In extreme situations a man can raise himself up to a higher level of insight.The strong desire for revenge or jus- tice or the vindication of ...
Seite 45
... he gets enraged, he shows signs of episodes of madness; for example, when Hamlet sees the ghost of his father in the rage scene with his mother, it is surely an illusion. But episodes remain Who Am I? Dressing Up, Stripping Naked 45.
... he gets enraged, he shows signs of episodes of madness; for example, when Hamlet sees the ghost of his father in the rage scene with his mother, it is surely an illusion. But episodes remain Who Am I? Dressing Up, Stripping Naked 45.
Seite 47
... to women, or at least to disclose his relationship to women. All three rage scenes concern women. They are violent scenes: his encounter with Ophelia, his nightly altercation with his Who Am I? Dressing Up, Stripping Naked 47.
... to women, or at least to disclose his relationship to women. All three rage scenes concern women. They are violent scenes: his encounter with Ophelia, his nightly altercation with his Who Am I? Dressing Up, Stripping Naked 47.
Seite 48
... rage scene, a public spectacle in which Hamlet leaps into the grave, he not only speaks as Hamlet the naked self but also declares his royal name:“This is I, Hamlet, the Dane.” In Shakespeare's portrayal rage is not madness.The raging ...
... rage scene, a public spectacle in which Hamlet leaps into the grave, he not only speaks as Hamlet the naked self but also declares his royal name:“This is I, Hamlet, the Dane.” In Shakespeare's portrayal rage is not madness.The raging ...
Seite 55
... rage. Yet when facing Goneril,he begins to understand that he does not understand. This is where Lear first raises a question about his identity:“Doth any here know me? Why this is not Lear. / Doth Lear walk thus, speak thus? Where are ...
... rage. Yet when facing Goneril,he begins to understand that he does not understand. This is where Lear first raises a question about his identity:“Doth any here know me? Why this is not Lear. / Doth Lear walk thus, speak thus? Where are ...
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