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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Ergebnisse 6-10 von 59
Seite 28
... god or goddess has ever stirred the fan- tasy of absolute freedom, of creating oneself ex nihilo, for nothing is but what is not. In the case of the artist, the creatio ex nihilo disregards but does not annihilate.Yet creatio ex nihilo ...
... god or goddess has ever stirred the fan- tasy of absolute freedom, of creating oneself ex nihilo, for nothing is but what is not. In the case of the artist, the creatio ex nihilo disregards but does not annihilate.Yet creatio ex nihilo ...
Seite 40
... God doth know, so shall the world perceive / That I have turned away my former self” (2 Henry IV5.5.56–58).The main theme in this sentence is “so shall the world perceive” it. For in public life, as against the private, the most ...
... God doth know, so shall the world perceive / That I have turned away my former self” (2 Henry IV5.5.56–58).The main theme in this sentence is “so shall the world perceive” it. For in public life, as against the private, the most ...
Seite 47
... God, Horatio, what a wounded name, / Things standing thus unknown, shall live behind me! / If thou didst ever hold me in thy heart, / Absent thee from felicity a while . . .To tell my story” (5.2.296–301).The dying Hamlet is ...
... God, Horatio, what a wounded name, / Things standing thus unknown, shall live behind me! / If thou didst ever hold me in thy heart, / Absent thee from felicity a while . . .To tell my story” (5.2.296–301).The dying Hamlet is ...
Seite 58
... God and thus embod- ies royalty.This identification of person and representation is constantly repeated as long as traditional monarchy exists. Mythological figures also replay certain traditional roles. This kind of essentialist ...
... God and thus embod- ies royalty.This identification of person and representation is constantly repeated as long as traditional monarchy exists. Mythological figures also replay certain traditional roles. This kind of essentialist ...
Seite 63
... God who manages the historical stage. As already touched upon, it was Hamlet's stage-managing impulse that sent Rosencrantz and Guildenstern to their death. Here I return for the last time to the radical change in Acting, Playing ...
... God who manages the historical stage. As already touched upon, it was Hamlet's stage-managing impulse that sent Rosencrantz and Guildenstern to their death. Here I return for the last time to the radical change in Acting, Playing ...
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