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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... suggest that cognitive theory offers new and more sophisticated ways to conceive of authorship and therefore offers new ... suggests, “These plays were made and mediated in the interaction of certain complex material conditions, of which ...
... suggests that the heart remained a central popular and religious symbol of selfhood even after medical discourse began to recognize its location in the brain because “the brain ... seems tied to its own physicality and function, oddly ...
... suggest that our most basic concepts—up and down, inside and outside, movement toward a goal—are based on our experiences of living in our bodies, while Jean Mandler suggests a slightly different list of these schemas, including animacy ...
... suggests that those terms work differently. They found that although speakers of different languages tend to locate the barriers between color terms (e.g., between the terms for blue and green) quite differently, they nevertheless tend ...
... suggests that mental models of many concepts are probably stored in human memory systems in radial categories that yield “prototype effects”: when asked to make judgments about membership in a category, subjects identify certain members ...
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 |