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 9
... scene of suffering, their recognition scene, and dianoia (as Aristotle observed it); but they are never invented or reinvented because they never invent or reinvent themselves. There are borderline cases such as Euripides' Medea, but ...
... scene of suffering, their recognition scene, and dianoia (as Aristotle observed it); but they are never invented or reinvented because they never invent or reinvent themselves. There are borderline cases such as Euripides' Medea, but ...
Seite 28
... scene. I on my part do not think so. I think that Shakespearean characters can reinvent themselves to a certain point.Where this point is located in the structure of the drama is another matter. (It is, for example, in Macbeth and King ...
... scene. I on my part do not think so. I think that Shakespearean characters can reinvent themselves to a certain point.Where this point is located in the structure of the drama is another matter. (It is, for example, in Macbeth and King ...
Seite 31
... scene of act 4, the scene from the beginning of the play almost repeats itself, this time before King Henry IV and in an almost comic orchestration.Aumerle (denounced by Bagot) is accused of the same crime. Mortimer is dead, and there ...
... scene of act 4, the scene from the beginning of the play almost repeats itself, this time before King Henry IV and in an almost comic orchestration.Aumerle (denounced by Bagot) is accused of the same crime. Mortimer is dead, and there ...
Seite 41
... scene prior to the cemetery scene. He surprises his moth- er, Ophelia, us, and himself. (Only Horatio is not surprised, because he is not surprised by anything.) It is after the cemetery scene that Hamlet final- ly becomes a person who ...
... scene prior to the cemetery scene. He surprises his moth- er, Ophelia, us, and himself. (Only Horatio is not surprised, because he is not surprised by anything.) It is after the cemetery scene that Hamlet final- ly becomes a person who ...
Seite 45
... scene (Hamlet 2.2) Is he all these? He is all these measured by the simplistic, one-sided yardstick ofhonor, which is also his own. (Conscience makes him a coward.) Yet he is a man of conscience, a specific man, who must think ...
... scene (Hamlet 2.2) Is he all these? He is all these measured by the simplistic, one-sided yardstick ofhonor, which is also his own. (Conscience makes him a coward.) Yet he is a man of conscience, a specific man, who must think ...
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