Shakespeare's Webs: Networks of Meaning in Renaissance DramaRoutledge, 6. 12. 2012 - 192 strán (strany) In this book, renowned Renaissance drama critic Arthur F. Kinney argues that Shakespeare's method of composing plays through networks of meanings can be seen as a harbinger of today's information technology. Drawing upon hypertext and cognitive theory--areas that have for some time promised to take on more importance in the sphere of Shakespeare Studies--as well as the central metaphor of the Routledge collection The Renaissance Computer, Kinney looks in detail at four objects/images in Shakespeare's plays--mirrors, maps, clocks, and books--and explores the ways in which they make up networks of meaning within single plays and across the dramatist's body of work that anticipate in some ways the networks of meaning or "information" now possible in the computer age. |
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Strana xiv
... tells us, “is taking one thing as a sign for another, construing a thing, event, or phenomenon in relation to one or more others.”2 But it is not only a matter of relationship, which is where Hamlet's mind seems to be stuck; it is also ...
... tells us, “is taking one thing as a sign for another, construing a thing, event, or phenomenon in relation to one or more others.”2 But it is not only a matter of relationship, which is where Hamlet's mind seems to be stuck; it is also ...
Strana xvii
... tells us,” according to David Kirshner and James A. Whitsun, “is that cognition occurs as patterns of activation in the brain, not as linear sequences. New stimuli interrupt the temporary stasis of the brain, and patterns of activation ...
... tells us,” according to David Kirshner and James A. Whitsun, “is that cognition occurs as patterns of activation in the brain, not as linear sequences. New stimuli interrupt the temporary stasis of the brain, and patterns of activation ...
Strana xxii
... tells us, He inferred that persons desiring to train this faculty [of memory] must select places and form mental images of the things they wish to remember and store those images in the places, so that the order of the places will ...
... tells us, He inferred that persons desiring to train this faculty [of memory] must select places and form mental images of the things they wish to remember and store those images in the places, so that the order of the places will ...
Strana 2
... tell me who I am?”—he needs to determine the loss of his majesty. This time the mirror refuses to show him. Hath sorrow struck So many blows upon this face of mine And made no deeper wounds? O flatt'ring glass, Like to my followers in ...
... tell me who I am?”—he needs to determine the loss of his majesty. This time the mirror refuses to show him. Hath sorrow struck So many blows upon this face of mine And made no deeper wounds? O flatt'ring glass, Like to my followers in ...
Strana 3
... tells us, then as now “may be designed so as to distort, a series of mirrors may be arranged so as to multiply images, and even a mirror otherwise faithful must reverse an object as it reflects it.”3 In Shakespeare's day, too, mirrors ...
... tells us, then as now “may be designed so as to distort, a series of mirrors may be arranged so as to multiply images, and even a mirror otherwise faithful must reverse an object as it reflects it.”3 In Shakespeare's day, too, mirrors ...
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