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 29
... shaped, and still shape, the absorbent surface of the Shakespearean text.”9 Although Stallybrass and de Grazia break new ground in applying Foucault's insights more specifically to the processes of textual editing, the trajectory of ...
... 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 his desire to avoid acknowledging the materiality of the author, for ...
... shaped our linguistic and symbolic systems.22 While Deacon makes his arguments on an evolutionary scale, focusing on the long cohistory of language and the brain, critics like Elaine Scarry and N. Katherine Hayles have argued that ...
... shaped by those physical attributes. Indeed, cognitive science offers the more radical idea that social and cultural interactions have materially altered the physical shape of the brain.35 Nor does use of concepts from bodies of ...
... shaped, or “motivated,” by its origins in the neural systems of a human body as they interact with other human bodies and an environment. This theoretical position has profound implications for postmodern concepts of subjectivity and ...
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 |