The Time Is Out of Joint: Shakespeare as Philosopher of HistoryRowman & Littlefield Publishers, 2002年7月23日 - 384 頁 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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第 1 到 5 筆結果,共 21 筆
第 24 頁
... Ophelia and Miranda behave “naturally,” whereas Desdemona, Juliet, and Cordelia do not). It is natural that wives subordinate their wish- es to their husbands' (thus Titania offends tradition in refusing to grant Oberon's wishes). It is ...
... Ophelia and Miranda behave “naturally,” whereas Desdemona, Juliet, and Cordelia do not). It is natural that wives subordinate their wish- es to their husbands' (thus Titania offends tradition in refusing to grant Oberon's wishes). It is ...
第 36 頁
... Ophelia. One may wonder about the fact that they are both women. Since categorization always does injustice to Shakespeare, I will instead briefly illustrate the three kinds of identity disturbances—problematiza- tions, disorder, and ...
... Ophelia. One may wonder about the fact that they are both women. Since categorization always does injustice to Shakespeare, I will instead briefly illustrate the three kinds of identity disturbances—problematiza- tions, disorder, and ...
第 41 頁
... Ophelia remember him. Listen to Ophelia: “O what a noble mind is here o'erthrown! / The courtier's, soldier's, scholar's eye, tongue, sword / The glass of fashion and the mold of form . . . quite, quite down!” (Hamlet 3.1.153–57).That ...
... Ophelia remember him. Listen to Ophelia: “O what a noble mind is here o'erthrown! / The courtier's, soldier's, scholar's eye, tongue, sword / The glass of fashion and the mold of form . . . quite, quite down!” (Hamlet 3.1.153–57).That ...
第 45 頁
... Ophelia:“I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagina- tion to give them shape, or time to act them in” (3.1.126–29). Is he all these? Certainly yes, if measured by ...
... Ophelia:“I am very proud, revengeful, ambitious, with more offences at my beck than I have thoughts to put them in, imagina- tion to give them shape, or time to act them in” (3.1.126–29). Is he all these? Certainly yes, if measured by ...
第 47 頁
... himself to women, or at least to disclose his relationship to women. All three rage scenes concern women. They are violent scenes: his encounter with Ophelia, his nightly altercation with his Who Am I? Dressing Up, Stripping Naked 47.
... himself to women, or at least to disclose his relationship to women. All three rage scenes concern women. They are violent scenes: his encounter with Ophelia, his nightly altercation with his Who Am I? Dressing Up, Stripping Naked 47.
內容
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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