The Time Is Out of Joint: Shakespeare as Philosopher of HistoryRowman & Littlefield Publishers, 23 հլս, 2002 թ. - 384 էջ 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. |
From inside the book
Արդյունքներ 74–ի 1-ից 5-ը:
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... Understanding Shakespeare's work—and others' as well—as a philoso- phy of history, a political philosophy, and a philosophy ofpersonality is not tantamount to bestowing on Shakespeare the dubious honorary title of philosopher. Many of ...
... Understanding Shakespeare's work—and others' as well—as a philoso- phy of history, a political philosophy, and a philosophy ofpersonality is not tantamount to bestowing on Shakespeare the dubious honorary title of philosopher. Many of ...
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... understand everything. In fact, he understands everything, even the greatest extremities of human charac- ter. He is not astonished by anything. He observes the world stage, he shows grandeur through pettiness, he points exactly to ...
... understand everything. In fact, he understands everything, even the greatest extremities of human charac- ter. He is not astonished by anything. He observes the world stage, he shows grandeur through pettiness, he points exactly to ...
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... understanding of Machiavelli as the father of Machiavellianism. Shakespeare's political dramas are Machiavellian in another, deeper sense.They are far closer to our mod- ern reading of Machiavelli's works than to their reading in his ...
... understanding of Machiavelli as the father of Machiavellianism. Shakespeare's political dramas are Machiavellian in another, deeper sense.They are far closer to our mod- ern reading of Machiavelli's works than to their reading in his ...
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... understand what they are doing and understand even less what others are doing or have done. Shakespeare's history plays are not detective stories, although there are murders everywhere (both actual and potential) and almost everyone is ...
... understand what they are doing and understand even less what others are doing or have done. Shakespeare's history plays are not detective stories, although there are murders everywhere (both actual and potential) and almost everyone is ...
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... understand why old Karamazov was (or could be) the victim of murder. But there is nothing in the character of Richard II and Henry VI (not to speak of Macduff's wife and children!) that made them likely targets of vicious murder.To ...
... understand why old Karamazov was (or could be) the victim of murder. But there is nothing in the character of Richard II and Henry VI (not to speak of Macduff's wife and children!) that made them likely targets of vicious murder.To ...
Բովանդակություն
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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