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 41
... Prince Hamlet in Wittenberg? Perhaps we can. In the play, we encounter him immediately in the state of shock, in a grave ner- vous tension due to a traumatic experience, in an episode of depression. Since he is so much unlike his old ...
... Prince Hamlet in Wittenberg? Perhaps we can. In the play, we encounter him immediately in the state of shock, in a grave ner- vous tension due to a traumatic experience, in an episode of depression. Since he is so much unlike his old ...
Seite 45
... prince of Denmark.Yet “conscience does make cowards of us all” (Hamlet 3.1.85). No other Shakespearean hero tortures himself with such angry introspection.“O, what a rogue and peasant slave am I!” (2.2.552) he cries out, and in the same ...
... prince of Denmark.Yet “conscience does make cowards of us all” (Hamlet 3.1.85). No other Shakespearean hero tortures himself with such angry introspection.“O, what a rogue and peasant slave am I!” (2.2.552) he cries out, and in the same ...
Seite 46
... prince of Denmark, he can play his game only as Hamlet, the prince of Denmark, as the son of Hamlet, nearest to the throne. But Hamlet is blessed with a nondistorting mirror, which rescues him from the night of madness.This mirror is ...
... prince of Denmark, he can play his game only as Hamlet, the prince of Denmark, as the son of Hamlet, nearest to the throne. But Hamlet is blessed with a nondistorting mirror, which rescues him from the night of madness.This mirror is ...
Seite 47
... prince: their relationship is existential. Horatio is the mirror Hamlet so dearly needs. And Horatio knows Hamlet better than Hamlet knows himself. In fact, Hamlet's story is told by Horatio. Hamlet's mask is lifted. We witness his ...
... prince: their relationship is existential. Horatio is the mirror Hamlet so dearly needs. And Horatio knows Hamlet better than Hamlet knows himself. In fact, Hamlet's story is told by Horatio. Hamlet's mask is lifted. We witness his ...
Seite 48
... prince can be, and he is immensely proud as only a man of absolute intellectual and emotional superiority can be. He, in fact, despises every- one—save Horatio. He ridicules them, he mocks them, he leaps over their living bodies as well ...
... prince can be, and he is immensely proud as only a man of absolute intellectual and emotional superiority can be. He, in fact, despises every- one—save Horatio. He ridicules them, he mocks them, he leaps over their living bodies as well ...
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