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. |
搜尋書籍內容
第 1 到 5 筆結果,共 29 筆
第 7 頁
... forgive- ness, sense of loyalty, and love. In Shakespeare this indistinguishability is not merely articulated and described; rather, this creed is embodied in the char- acters—in their actions, wisdoms, follies, and fates. What was ...
... forgive- ness, sense of loyalty, and love. In Shakespeare this indistinguishability is not merely articulated and described; rather, this creed is embodied in the char- acters—in their actions, wisdoms, follies, and fates. What was ...
第 24 頁
... forgive.“Natural” is thus identical with a hierarchical order where the God-anointed king sits on his uncontested throne, where every- one has a place allotted by birth. Once born into a social role, one does everything in one's power ...
... forgive.“Natural” is thus identical with a hierarchical order where the God-anointed king sits on his uncontested throne, where every- one has a place allotted by birth. Once born into a social role, one does everything in one's power ...
第 58 頁
... forgiveness for having been what he was not. But Shakespearean drama is a play not only because it is played by actors but also because the roles of the historical and quasi-historical characters are not fixed, particularly at the ...
... forgiveness for having been what he was not. But Shakespearean drama is a play not only because it is played by actors but also because the roles of the historical and quasi-historical characters are not fixed, particularly at the ...
第 60 頁
... forgiveness that can outweigh two essential features of action: its unpredictability and its irreversibility. In support of Arendt I would refer to another Shakespearean scene of mutual abuse, the scene (in act 4 ofJulius Caesar) ...
... forgiveness that can outweigh two essential features of action: its unpredictability and its irreversibility. In support of Arendt I would refer to another Shakespearean scene of mutual abuse, the scene (in act 4 ofJulius Caesar) ...
第 64 頁
... forgive.Those who passed the trial with fly- ing colors, the good and the decent ones, have to forgive.You see, this is the human race.And after all it was I (the Duke) who let these characters loose. I wrote the play in a way as ...
... forgive.Those who passed the trial with fly- ing colors, the good and the decent ones, have to forgive.You see, this is the human race.And after all it was I (the Duke) who let these characters loose. I wrote the play in a way as ...
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 |
其他版本 - 查看全部
常見字詞
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