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 xv
... 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 outrageous fortune.” Turner cites as an example the concept of a house ...
... 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 outrageous fortune.” Turner cites as an example the concept of a house ...
Seite xix
... sense of Lear, for in Act IV her response toward her father has changed considerably, although his own initial decision, like his map, has not. It is important in this regard to note that there is no “command center” in the brain that ...
... sense of Lear, for in Act IV her response toward her father has changed considerably, although his own initial decision, like his map, has not. It is important in this regard to note that there is no “command center” in the brain that ...
Seite xx
... sense of the mirror made of tin or steel that only imperfectly (arbitrarily or purposefully) revealed a true reflection. Signification can come from personal or communal patterns, from the present, from the past, or from both. As Lemke ...
... sense of the mirror made of tin or steel that only imperfectly (arbitrarily or purposefully) revealed a true reflection. Signification can come from personal or communal patterns, from the present, from the past, or from both. As Lemke ...
Seite xxiii
... sense,” he continues, “when we remember we are recalling not the original event but our previous memory of it, itself transcribed into patterns of neural circuitry within our brains” (p. 160). This is the way we react to the use of ...
... sense,” he continues, “when we remember we are recalling not the original event but our previous memory of it, itself transcribed into patterns of neural circuitry within our brains” (p. 160). This is the way we react to the use of ...
Seite 5
... sense of cognition to which we still hold. According to Kepler, the image passed through the retina onto the optic nerve, which sent images from mirrors as well as from reality along the nervous system to the brain where all such images ...
... sense of cognition to which we still hold. According to Kepler, the image passed through the retina onto the optic nerve, which sent images from mirrors as well as from reality along the nervous system to the brain where all such images ...
Andere Ausgaben - Alle anzeigen
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