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 17
... speak ofa linear history here, for there is no accumulation of either the good or the bad. Nor can one speak of a cyclical history; there is no corsi e ricorsi. At the end of Richard III we do not return to the first act of the story of ...
... speak ofa linear history here, for there is no accumulation of either the good or the bad. Nor can one speak of a cyclical history; there is no corsi e ricorsi. At the end of Richard III we do not return to the first act of the story of ...
Seite 25
... speaks about dying for honor's sake:“[H]onor pricks me on.Yea, but how is honor prick me off when I come on? How then? Can honor set a leg? No.An arm? No. Or take away the grief of a wound? No. Honor hath no skill in surgery, then? No ...
... speaks about dying for honor's sake:“[H]onor pricks me on.Yea, but how is honor prick me off when I come on? How then? Can honor set a leg? No.An arm? No. Or take away the grief of a wound? No. Honor hath no skill in surgery, then? No ...
Seite 28
... speaks to himself: “My thought, whose murder yet is but fantastical, Shakes so my single state of man that function / Is smothered in surmise, and nothing is / But what is not” (Macbeth 1.3.138–41).“Nothing is but what is not” is the ...
... speaks to himself: “My thought, whose murder yet is but fantastical, Shakes so my single state of man that function / Is smothered in surmise, and nothing is / But what is not” (Macbeth 1.3.138–41).“Nothing is but what is not” is the ...
Seite 37
... speaks (about himself) to his soldiers:“For though I speak it to you, I think the King is but a man, as I am.The violet smells to him as it doth to me; the element shows to him as it doth to me. All his senses have but human conditions ...
... speaks (about himself) to his soldiers:“For though I speak it to you, I think the King is but a man, as I am.The violet smells to him as it doth to me; the element shows to him as it doth to me. All his senses have but human conditions ...
Seite 38
... speaks. Knowing the previous history of King Henry IV, we are not very much touched by his complaints about the burdens of ruling.We hear the melody of an unjustified and pathetic self-pity.After all, Bolingbrook did his utmost ...
... speaks. Knowing the previous history of King Henry IV, we are not very much touched by his complaints about the burdens of ruling.We hear the melody of an unjustified and pathetic self-pity.After all, Bolingbrook did his utmost ...
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 |
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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