Shakespeare's Webs: Networks of Meaning in Renaissance DramaRoutledge, 06.12.2012 - 192 Seiten In this book, renowned Renaissance drama critic Arthur F. Kinney argues that Shakespeare's method of composing plays through networks of meanings can be seen as a harbinger of today's information technology. Drawing upon hypertext and cognitive theory--areas that have for some time promised to take on more importance in the sphere of Shakespeare Studies--as well as the central metaphor of the Routledge collection The Renaissance Computer, Kinney looks in detail at four objects/images in Shakespeare's plays--mirrors, maps, clocks, and books--and explores the ways in which they make up networks of meaning within single plays and across the dramatist's body of work that anticipate in some ways the networks of meaning or "information" now possible in the computer age. |
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Seite viii
... concepts of the brain are grounded in the sensorimotor system, both body and mind work together.2 (It was Descartes' fundamental error, Antonio Damasio has famously argued, that ever mistakenly separated body from mind in the first ...
... concepts of the brain are grounded in the sensorimotor system, both body and mind work together.2 (It was Descartes' fundamental error, Antonio Damasio has famously argued, that ever mistakenly separated body from mind in the first ...
Seite xv
... concept. This concept, in turn, competes with other concepts to make sense of things. Nor are concepts themselves singular, monolithic (“to be or not to be”). Rather, they are much more complex and multiple “slings and arrows of ...
... concept. This concept, in turn, competes with other concepts to make sense of things. Nor are concepts themselves singular, monolithic (“to be or not to be”). Rather, they are much more complex and multiple “slings and arrows of ...
Seite xviii
... concept of arriving home, but the sensory activity and the conceptual activity do not seem to be separate at all. This recognition is possible so long as the number of patterns presented is not larger than a fraction of the total number ...
... concept of arriving home, but the sensory activity and the conceptual activity do not seem to be separate at all. This recognition is possible so long as the number of patterns presented is not larger than a fraction of the total number ...
Seite xix
... concepts in the brain that, too, is subject to alteration over time and over change of evidence. The associative network, that is, is driven by human perceptions much as a spider instinctively spins its own web, not always conscious of ...
... concepts in the brain that, too, is subject to alteration over time and over change of evidence. The associative network, that is, is driven by human perceptions much as a spider instinctively spins its own web, not always conscious of ...
Seite 27
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Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Häufige Begriffe und Wortgruppen
according action activity become bell body brain called Cambridge Claudius clock cognitive concept continues court cultural daughter death divided early Elizabethan England English face father fear Figure give glass Goneril Hamlet hand hath Henry History hold hour human Italy John Juliet Kent kind King Lady land language Lear learning lines live London looking lord marginal mark material matter means measure memory mind mirror nature night notes objects observation Ophelia painted past patterns person play Polonius possible practice present Quoted record reference reflection rhetoric Richard Romeo rule scene seems sense Shakespeare’s soul speak stage tells thee things Thomas thou thought tion true turn University Press writes York