Philosophers speak of newly accessed ways of knowing reality as
epistemological shifts. This book demonstrates how Shakespeare
effected a massive shift of just this kind in his bold management
of theatricalisation itself. These pages levy on terms of Kant and
Husserl that they elaborated in proposals for such shifts. It will
be seen that Shakespeare exceeds the proposals of the philosophers.
He anticipates and already brings to a working consummation a
systematic and immediate access to the ways of knowing reality that
they contemplate as hoped-for desiderata. In, and through, the
drama of consciousness played out in the pairs of plays examined
here, the playwright and the spectator together - intersubjectively
- attain to an 'onlooker' consciousness that exits the
fictionality, the play-acting, of theatricalisation; and they are
enabled to recover the actuality of objects in their worlds.
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