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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... questions of Judith Anderson and Gail Kern Paster helped this book find its shape. Emily Bartels, Laura Knoppers, and Naomi Miller are still the best and most dependable friends, readers, fonts of wisdom, telephone chatters, and ...
... question, I am conscious of the need for an explanation.” Readers may recognize my second sentence as the first sentence of Michel Foucault's “What Is an Author?” an essay that established its redefinition of an author as “a complex and ...
... questions about authorship shifted to such broader questions as, “What are the modes of existence of this discourse? Where does it come from; How is it circulated; Who controls it? What placements are determined for possible subjects ...
... questions: “We can ask how collective beliefs and experiences were shaped, moved from one medium to another, concentrated in manageable aesthetic form, offered for consumption.” (5). Greenblatt's use of the passive voice here signals ...
... 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 contaminated by his own ...
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 |