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. |
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Resultados 1-5 de 64
... cultural theory derived from the cognitive sciences, I want to try to reintroduce into serious critical discourse a consideration of Shakespeare's brain as one material site for the production of the dramatic works attributed to him ...
... cultural texts. Virtually all branches of cognitive science are centered on investigation of the ways in which the mind (the conscious and unconscious mental experiences of perception, thought, and language) is produced by the brain and ...
... cultural process” in which the role of the writer is effectively written out.7 Examination of authorship as “a collaborative cultural process” has, in fact, proceeded along the lines suggested by Foucault, with questions about ...
... cultural practices and inquiry into the relations among these practices” (5) leads to a by now familiar set of questions: “We can ask how collective beliefs and experiences were shaped, moved from one medium to another, concentrated in ...
... cultural critics almost universally proceed as if it were. Cognitive sciences—including cognitive psychology, neuroscience, linguistics, anthropology, and studies in artificial intelligence—continue to open windows into the workings of ...
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 |