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 9
... actors on the stage and hears their voices.The contents of the internal space are not fixed once and for all ... actor. Sometimes not even the actor can be sure.But there are moments when he or she seems to be sure, perhaps sure ...
... actors on the stage and hears their voices.The contents of the internal space are not fixed once and for all ... actor. Sometimes not even the actor can be sure.But there are moments when he or she seems to be sure, perhaps sure ...
Seite 10
... actor, the character, discloses himself to the audience. There is no soliloquy in Greek tragedy. Ideas, thoughts, and convictions clash in dialogues. It is mainly in dialogues that characters disclose them- selves.This happens ...
... actor, the character, discloses himself to the audience. There is no soliloquy in Greek tragedy. Ideas, thoughts, and convictions clash in dialogues. It is mainly in dialogues that characters disclose them- selves.This happens ...
Seite 15
... actors and thus trigger sequences ofpolit- ical actions.This happens in tragedies like Hamlet or Macbeth, in comedies like A Midsummer Night's Dream, and in romances such as The Tempest.The fairy-tale-like forest in A Midsummer Night's ...
... actors and thus trigger sequences ofpolit- ical actions.This happens in tragedies like Hamlet or Macbeth, in comedies like A Midsummer Night's Dream, and in romances such as The Tempest.The fairy-tale-like forest in A Midsummer Night's ...
Seite 16
... actor hopes and desires; and we love to indulge in the sense of fulfillment when the actor is still lingering in the state of expectation.This is why we, the spec- tators, do not hear, or rather do not notice, those curses that will ...
... actor hopes and desires; and we love to indulge in the sense of fulfillment when the actor is still lingering in the state of expectation.This is why we, the spec- tators, do not hear, or rather do not notice, those curses that will ...
Seite 18
... actors. In Julius Caesar their rioting takes events in the opposite direction after the murder of Caesar, and they chase the tyrannicides out of Rome.And finally, in Antony and Cleopatra it becomes clear that the clever and cold ...
... actors. In Julius Caesar their rioting takes events in the opposite direction after the murder of Caesar, and they chase the tyrannicides out of Rome.And finally, in Antony and Cleopatra it becomes clear that the clever and cold ...
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