The Time is Out of Joint: Shakespeare as Philosopher of HistoryRowman & Littlefield, 2002 - 375 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 50
... asks questions about her own identity ; she only asks about the identity of Hamlet . Ophelia becomes mad and dies because she cannot understand the world anymore . Shakespeare knows quite well what Nietzsche later said , that men can ...
... asks questions about her own identity ; she only asks about the identity of Hamlet . Ophelia becomes mad and dies because she cannot understand the world anymore . Shakespeare knows quite well what Nietzsche later said , that men can ...
Seite 94
... asks , “ And what make you from Wittenberg , Horatio ? " ( 1.2.164 ) . Horatio replies , “ A truant disposition , good my lord ” ( 1.2.168 ) . Then Hamlet says , " I would not have your enemy say so . . . . I know you are no truant ...
... asks , “ And what make you from Wittenberg , Horatio ? " ( 1.2.164 ) . Horatio replies , “ A truant disposition , good my lord ” ( 1.2.168 ) . Then Hamlet says , " I would not have your enemy say so . . . . I know you are no truant ...
Seite 299
... asks her son to do something that contradicts the character the son has hitherto played : to ask for pardon , to show regret . Volumnia is a Roman woman . Her duty is owed to her city ; right or wrong , it is her city . Here for the ...
... asks her son to do something that contradicts the character the son has hitherto played : to ask for pardon , to show regret . Volumnia is a Roman woman . Her duty is owed to her city ; right or wrong , it is her city . Here for the ...
Inhalt
Introduction | 1 |
What Is Nature? What Is Natural? | 15 |
Who Am I? Dressing Up Stripping Naked | 33 |
Urheberrecht | |
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The Time is Out of Joint: Shakespeare as Philosopher of History Agnes Heller Eingeschränkte Leseprobe - 2002 |
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 Aufidius becomes begins believe betrayed Bolingbroke Brutus Cassius Claudius comedies Coriolanus Coriolanus's curses death double bind drama duchess Duke enemies Enobarbus existential existential stage fact fate father fight forgiveness Gloucester grandeur guilty Hamlet happens hatred heroes history plays Horatio Iago interpretation Julius Caesar kill kind King Henry King Lear Lady Macbeth lovers Machiavellian madness Marc Antony Margaret Measure for Measure Merchant of Venice moral mother murder nature never Octavius Ophelia Othello passion patrician perhaps person plebeians political portrays Prince queen radical evil rage reason remains Richard role Roman Rome says scene sense sexual Shake Shakespeare Shakespearean characters Shylock soldier soliloquy soul speaks stage manager story subversion Suffolk Talbot theater thee thing thou throne tradition tragedy true truth turns tyrant understand virtue wants Warwick wicked women words York