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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... 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 argue that the “imaginative ...
... discourse? Where does it come from; How is it circulated; Who controls it? What placements are determined for possible subjects?” (138). Now, questions such as these have become common starting points for several approaches to ...
... discourse” in the interests of the formation of a disciplined and disembodied bourgeois subject.14 Recent work on the body has complicated and problematized Barker's account, in most cases without eschewing the Foucauldian position that ...
... discourse has paid relatively little attention to the brain, the material place within the body where discourse is processed and therefore where discursive construction, if it occurs, must be located.17 This may well be because the ...
... discourse.23 Wilma Bucci provides a particularly useful synthesis of work by a number of cognitive scientists to summarize the position that “we can identify a prelinguistic stage in the thought development of the human child” wherein ...
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 |