The Time is Out of Joint: Shakespeare as Philosopher of History
Rowman & Littlefield, 2002 - 375페이지
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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What Is Nature? What Is Natural?
Who Am I? Dressing Up Stripping Naked
Acting Playing Pretending Disguising
The Absolute Strangers
Judgment of Human Character To Betray and to Be Betrayed
Love Sex Subversion Political Drama Family Drama
The Sphinx Called Time
Virtues and Vices Guilt Good and Evil
1 2 and 3 Henry VI
The Tragedy of King Richard III
THREE ROMAN PLAYS
Antony and Cleopatra
Historical Truth and Poetic Truth
About the Author
THE HISTORY PLAYS
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accusation action actors already answers Antony appears asks battle becomes begins believe betrayed body brother Brutus Caesar Cassius character Cleopatra comedies curses death decides desire drama Duke enemies enters entirely everything evil example face fact fate father feels fight finally follow friends give Gloucester Hamlet hand happens Henry heroes human identity interest interpretation kill kind king later Lear least live lovers Macbeth Margaret means mentioned mind moral murder nature needs never Octavius offer once passion perhaps person play political present queen question radical reason remains Richard role Roman says scene sense Shake Shakespeare Shylock significance soul speaks speech stage stands story stranger tell thee thing thou traditional tragedy true trust truth turns understand virtue wants wicked women wrong York young