Shakespeare's Brain: Reading with Cognitive TheoryPrinceton University Press, 20.02.2010 - 288 Seiten Here Mary Thomas Crane considers the brain as a site where body and culture meet to form the subject and its expression in language. Taking Shakespeare as her case study, she boldly demonstrates the explanatory power of cognitive theory--a theory which argues that language is produced by a reciprocal interaction of body and environment, brain and culture, and which refocuses attention on the role of the author in the making of meaning. Crane reveals in Shakespeare's texts a web of structures and categories through which meaning is created. The approach yields fresh insights into a wide range of his plays, including The Comedy of Errors, As You Like It, Twelfth Night, Hamlet, Measure for Measure, and The Tempest. |
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... course, that Shakespeare had a mind. G. Wilson Knight, for example, could argue that the “imaginative atmosphere” of Timon of Athens “seems to reflect the peculiar clarity and conscious mastery of the poet's mind.”2 Knight's sense that ...
... course, that a long-dead author is not available to us in any living, material form. Any attempt to take into account even a living author must usually slide into talk about the immaterial “concepts” or “intentions” behind the material ...
... course cognitive researchers are unable to understand completely even the simplest brain functions and so may seem very far indeed from explaining the processes that produced some of the most complex texts ever written. However, using ...
... course, similarly relies on Saussure for his account of the role of signification in the formation of the unconscious, as does Foucault for his argument that subjects are embedded within powerful discursive systems. In general ...
... course, concerned to question this certainty and to suggest the ways in which the new “rational” modes of analysis are themselves the products of (and necessarily biased by) discourse. However, his critique of rationalist analysis is ...
Inhalt
3 | |
The Comedy of Errors | 36 |
Chapter 2 Theatrical Practice and the Ideologies of Status in As You Like It | 67 |
Suitable Suits and the Cognitive Space Between | 94 |
Chapter 4 Cognitive Hamlet and the Name of Action | 116 |
Chapter 5 Male Pregnancy and Cognitive Permeability in Measure for Measure | 156 |
Chapter 6 Sound and Space in The Tempest | 178 |
Notes | 211 |
Index | 257 |