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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Reading with Cognitive Theory Mary Thomas Crane. This page intentionally left blank Contents Acknowledgments ix 3 Introduction Shakespeare's Brain: Embodying the Author-Function.
Reading with Cognitive Theory Mary Thomas Crane. Acknowledgments. AN EARLIER version of chapter 2 was published as ... readers, fonts of wisdom, telephone chatters, and conference mates anyone could have. This book has grown from roots ...
Reading with Cognitive Theory Mary Thomas Crane. Introduction. Shakespeare's. Brain: Embodying. the. Author-Function. DID SHAKESPEARE have a brain? “In proposing this slightly odd question, I am conscious of the need for an explanation.” ...
Reading with Cognitive Theory Mary Thomas Crane. that are beginning to be reformulated in ways that make them readily applicable to the reading of literary and cultural texts. Virtually all branches of cognitive science are centered on ...
Reading with Cognitive Theory Mary Thomas Crane. locating that collectivity on the even more basic level of “language itself” as “the supreme instance of a collective creation” (4). His rejection of admiration for the “total artist” in ...
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 |