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 62
... stage manager. But in the end he ceases playacting. Shakespeare, the author and the actor, plays around with role-playing.All his characters, and particularly all characters from historicopolitical dramas, play their own game. Sometimes ...
... stage manager. But in the end he ceases playacting. Shakespeare, the author and the actor, plays around with role-playing.All his characters, and particularly all characters from historicopolitical dramas, play their own game. Sometimes ...
Seite 63
... stage manager in a Shakespeare play is in itself neither the sign of wicked- ness nor of goodness. More precisely, perfectly good people are never stage managers in Shakespeare because they never use other people as mere means.They do ...
... stage manager in a Shakespeare play is in itself neither the sign of wicked- ness nor of goodness. More precisely, perfectly good people are never stage managers in Shakespeare because they never use other people as mere means.They do ...
Seite 64
... manager, Hamlet resigns from all roles. In this respect he becomes similar to Lear in the tempest scene: he strips himself roleless, naked. The case of Hamlet already testifies that stage managing is a play that is also an end in itself ...
... manager, Hamlet resigns from all roles. In this respect he becomes similar to Lear in the tempest scene: he strips himself roleless, naked. The case of Hamlet already testifies that stage managing is a play that is also an end in itself ...
Seite 65
... stage manager.And thus I offer a relatively happy ending, as happy as these characters deserve, no less, no more. For none of them is guiltless, not even Isabella.I am ajust an author, although I made Isabella a heroine of forgiveness ...
... stage manager.And thus I offer a relatively happy ending, as happy as these characters deserve, no less, no more. For none of them is guiltless, not even Isabella.I am ajust an author, although I made Isabella a heroine of forgiveness ...
Seite 66
... stage manager plays God. Of course, he plays with men and women who are just fictitious characters—actors on the world stage played by actors on the theater stage. The Tempest is the mirror image of stage managing and of authoring.After ...
... stage manager plays God. Of course, he plays with men and women who are just fictitious characters—actors on the world stage played by actors on the theater stage. The Tempest is the mirror image of stage managing and of authoring.After ...
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