Shakespeare's Brain: Reading with Cognitive TheoryPrinceton University Press, 20. veebr 2010 - 288 pages 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. |
From inside the book
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... complex and variable function of discourse” so successfully that it is my question, and not Foucault's, that now seems odd.1 Earlier critics used to assume, of course, that Shakespeare had a mind. G. Wilson Knight, for example, could ...
... Graham Holderness, for example, suggests, “These plays were made and mediated in the interaction of certain complex material conditions, of which the author a was only one.” The consequence of this realization, however, 4 INTRODUCTION.
... complex social practices that 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 ...
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Contents
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 |