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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... describes in detail the processes through which the physiological constraints of the human brain have shaped our linguistic and symbolic systems.22 While Deacon makes his arguments on an evolutionary scale, focusing on the long ...
... describes it, the Marxist position assumes “the independence of the external world ... with respect to the subject, while at the same time positing the dependence of the subject with respect to this external world.”72 In this sense it ...
... describes it as “the collection of preexistent constitutive linguistic social and cultural modes, forms, or codes, themselves evolving and interacting, which surround, condition, and interpret the activity of subjects.”84 Engle's ...
... describes a self that, while it does not possess “a single central knower and owner,” nevertheless experiences most phenomena from “a consistent perspective, as if there were indeed an owner and knower for most, though not all, contents ...
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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 |