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 49
... Madness from which there is no return is the final stage ofa personali- ty's total alienation.The madwoman is alienated from the world and also from herself. Some believe that in Shakespeare self-torture and morbid self- investigation ...
... Madness from which there is no return is the final stage ofa personali- ty's total alienation.The madwoman is alienated from the world and also from herself. Some believe that in Shakespeare self-torture and morbid self- investigation ...
Seite 50
... madness scene) we see her entirely alienated, abruptly out of her- self. But we never see her asking questions about herself. In her soliloquy she speaks of her Hamlet, she registers the change in Hamlet, but she does not look into ...
... madness scene) we see her entirely alienated, abruptly out of her- self. But we never see her asking questions about herself. In her soliloquy she speaks of her Hamlet, she registers the change in Hamlet, but she does not look into ...
Seite 55
... madness: “O, let me not be mad, sweet heaven!” (Quarto 1.5.45) Lear prays. “Now I prithee, daughter, do not make me mad” (Quarto 12.2.376).Thus he speaks to Goneril later in Regan's house, and when Regan turns him out he says,“No, you ...
... madness: “O, let me not be mad, sweet heaven!” (Quarto 1.5.45) Lear prays. “Now I prithee, daughter, do not make me mad” (Quarto 12.2.376).Thus he speaks to Goneril later in Regan's house, and when Regan turns him out he says,“No, you ...
Seite 71
... Madness can also be a disguise.The use of madness as dis- guise is Hamlet's specialty. Men and women in disguise are normally fooling others for the sake of something good or something evil, yet sometimes they are the ones who are ...
... Madness can also be a disguise.The use of madness as dis- guise is Hamlet's specialty. Men and women in disguise are normally fooling others for the sake of something good or something evil, yet sometimes they are the ones who are ...
Seite 72
... name or his face, his outward appearance.True, he hides himself once by exhibit- ing his madness through a disheveled appearance.We know that the garment, as much as the facial expression, is just what “seems” 72 Chapter Three.
... name or his face, his outward appearance.True, he hides himself once by exhibit- ing his madness through a disheveled appearance.We know that the garment, as much as the facial expression, is just what “seems” 72 Chapter Three.
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