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 22
... comedies). In the history plays, the question of what is natural revolves first around the conflict between the right of nature and the inherited rights; but Shakespeare never stops at this level.Whenever the question ofthe right of ...
... comedies). In the history plays, the question of what is natural revolves first around the conflict between the right of nature and the inherited rights; but Shakespeare never stops at this level.Whenever the question ofthe right of ...
Seite 24
... comedies) are men and women who cannot escape the double bind, and who interpret and invent themselves with the help of the idea of both tra- dition and natural right, intimates that Shakespeare finds characters subject to the double ...
... comedies) are men and women who cannot escape the double bind, and who interpret and invent themselves with the help of the idea of both tra- dition and natural right, intimates that Shakespeare finds characters subject to the double ...
Seite 34
... , both tragic and comic. By comic person I do not mean one who plays a part in a comedy (many per- sons playing parts in Shakespeare's comedies are far from comic, and several persons who play a part in a tragedy are) but 34 Chapter Two.
... , both tragic and comic. By comic person I do not mean one who plays a part in a comedy (many per- sons playing parts in Shakespeare's comedies are far from comic, and several persons who play a part in a tragedy are) but 34 Chapter Two.
Seite 43
... comedies and nontragic dramas. But for Shakespeare name and face have a broader, symbolic significance; for they are not only symbols of identity recognition but also guidelines for self- identification. Shakespeare plays around with ...
... comedies and nontragic dramas. But for Shakespeare name and face have a broader, symbolic significance; for they are not only symbols of identity recognition but also guidelines for self- identification. Shakespeare plays around with ...
Seite 67
... comedies are full of double role-playing. For example, the actor (a young boy) plays a girl; the girl plays herself. She also assumes the shape and the personality ofa boy; she pretends to be a boy.Yet s/he over- plays the role ofthe ...
... comedies are full of double role-playing. For example, the actor (a young boy) plays a girl; the girl plays herself. She also assumes the shape and the personality ofa boy; she pretends to be a boy.Yet s/he over- plays the role ofthe ...
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 |
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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