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. |
Im Buch
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... Current cognitive science offers the grounds for a number of theories of human subjectivity and language that are beginning to be reformulated in ways that make Introduction: Shakespeare's Brain: Embodying the Author-Function.
... language) is produced by the brain and other bodily systems.4 A literary theory derived from cognitive science, then, offers new ways to locate in texts signs of their origin in a materially embodied mind/brain. From this perspective, I ...
... language itself” as “the supreme instance of a collective creation” (4). His rejection of admiration for the “total artist” in favor of the “study of the collective making of distinct cultural practices and inquiry into the relations ...
... language have evolved together, each exerting a formative pressure on the other. He suggests imagining “language as an independent life form that colonizes and EMBODYING THE AUTHOR-FUNCTION 7.
... language and people is symbiotic” and that “modern humans need the language parasite in order to flourish and reproduce, just as much as it needs humans to reproduce. Consequently, each has evolved with respect to the other. Each has ...
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 |