Shakespeare's Brain: Reading with Cognitive TheoryPrinceton University Press, 20 февр. 2010 г. - Всего страниц: 288 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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... sense that Shakespeare's mind was both clear and masterful represents the kind of authorial control over a text that Foucault was particularly at pains to question. Psychoanalytic critics still assume that Shakespeare possessed the ...
... sense of self, he also describes in detail the processes through which the physiological constraints of the human brain have shaped our linguistic and symbolic systems.22 While Deacon makes his arguments on an evolutionary scale ...
... sense is not entirely arbitrary, nor is it wholly produced by differences within an independent and self-contained system of signs. Color research (as well as other work on categorization) suggests that mental models of many concepts ...
... sense the mind-body problem is easily resolved, as the philosopher John Searle has suggested.66 The passage cited above from Kosslyn and Koenig, “the mind is what the brain does,” sums up the dominant cognitive position. In this respect ...
... sense it might respond to Paul Smith's call for an amendment of Marxist theory “in order to clarify the human person who is constructed at different moments as the place where agency and structure are fused.”73 Cognitive science also ...
Содержание
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 |