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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... production in early modern England, has led Shakespearean scholars to form more complex and qualified notion of Shakespearean authorship. A focus on Shakespeare's brain allows us to attend to Shakespeare as author without losing the ...
... production in the Elizabethan and Jacobean theater and in the preparation of printed texts of the plays. Margreta de Grazia and Peter Stallybrass, for example, have argued that acknowledging “the materiality of the Shakespearean text ...
... produce his texts. Within the matrix of cultural prototype and biological structure, “Shakespeare” would ... productions of the mind and use recognizably literary discourses to interpret them.65 Because cognitive sciences are primarily ...
... produce and reproduce discursive forms of all kinds. As we have seen, then, postmodern theory generally shares two assumptions that seriously impair the possibility of human agency: (1) that the human subject is fragmented and therefore ...
... production of the Unconscious by way of a primary repression which is none other than the acquisition of language.” As Jameson characterizes it, “The Law, represented by the parents, and in particular by the father, passes over into the ...
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 |