Shakespeare's Brain: Reading with Cognitive TheoryPrinceton University Press, 20 de fev. de 2010 - 288 páginas 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. |
De dentro do livro
Resultados 1-5 de 92
Reading with Cognitive Theory Mary Thomas Crane. SHAKESPEARE'S BRAIN READING WITH COGNITIVE THEORY Mary Thomas Crane PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Copyright © 2001 by Princeton University Press Published by Princeton ...
Reading with Cognitive Theory Mary Thomas Crane. This page intentionally left blank Contents Acknowledgments ix 3 Introduction Shakespeare's Brain: Embodying the Author-Function.
... brain in the first place, and a sabbatical gave me the time to begin the project. Graduate students Mary Jo Kietzman, Carla Spivack, Matthew Watson, and Elizabeth Bradburn challenged and furthered my thinking in many ways. Other ...
... 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 argue that at least several ...
... brain that directed the transfer of bits of them to his own texts, the author who “concentrated” these bits into an aesthetic form and received payment when they were offered for consumption.13 Recently there has been a salutary ...
Conteúdo
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 |