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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... offer amazing and alarming demonstrations of cognitive development every day. They heroically endured many hours of after-school programs and summer day camp so that I could have time to write. I thank them for their patience, and I ...
... offer a new way of conceiving authorship, especially one that challenges the Foucauldian deconstruction of the ... offers the grounds for a number of theories of human subjectivity and language that are beginning to be reformulated ...
... offers new and more sophisticated ways to conceive of authorship and therefore offers new ways to read texts as products of a thinking author engaged with a physical environment and a culture. Cognitive theory has provided a number of ...
... offers the more radical idea that social and cultural interactions have materially altered the physical shape of the brain.35 Nor does use of concepts from bodies of knowledge commonly called “sciences” prevent us from acknowledging the ...
... offer more theoretical orientations that assume some combination of the two. Cognitive theory also treats ... offers the possibility of seeing our own most basic assumptions from a different perspective. The current theories ...
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 |