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 149
... entirely in Antonio and Shylock . The Venetians , with the exception of Portia , try to strengthen the calculative interest of Shylock against his passion , while promising him more and more money . On the other hand , Portia argues on ...
... entirely in Antonio and Shylock . The Venetians , with the exception of Portia , try to strengthen the calculative interest of Shylock against his passion , while promising him more and more money . On the other hand , Portia argues on ...
Seite 253
... entirely rational tyrant , where- as Macbeth is an entirely irrational one . Their characters are radically dif- ferent , yet the mechanism of tyranny itself shows strong similarities in both plays . The mechanisms of all tyrannies have ...
... entirely rational tyrant , where- as Macbeth is an entirely irrational one . Their characters are radically dif- ferent , yet the mechanism of tyranny itself shows strong similarities in both plays . The mechanisms of all tyrannies have ...
Seite 285
... entirely depen- dent on the role assigned to him by his mother . Thus , he is entirely depen- dent on his mother . He always wants to please her ; he wants to appear before her eyes as the greatest . Let me reiterate that the culture of ...
... entirely depen- dent on the role assigned to him by his mother . Thus , he is entirely depen- dent on his mother . He always wants to please her ; he wants to appear before her eyes as the greatest . Let me reiterate that the culture of ...
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