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 xi
... turn to the web-like means of cognition such objects held then (and hold now). In preparing this book, I have learned much from Mary Thomas Crane and her colleague Andrew Sofer, from Peter Stallybrass, from my Australian colleague Hugh ...
... turn to the web-like means of cognition such objects held then (and hold now). In preparing this book, I have learned much from Mary Thomas Crane and her colleague Andrew Sofer, from Peter Stallybrass, from my Australian colleague Hugh ...
Strana xv
... turn, competes with other concepts to make sense of things. Nor are concepts themselves singular, monolithic (“to be or not to be”). Rather, they are much more complex and multiple “slings and arrows of outrageous fortune.” Turner cites ...
... turn, competes with other concepts to make sense of things. Nor are concepts themselves singular, monolithic (“to be or not to be”). Rather, they are much more complex and multiple “slings and arrows of outrageous fortune.” Turner cites ...
Strana xxiii
... turning to Shakespeare's use of mirrors and books, clocks, and maps. Paul B. Armstrong has proposed that “we think of a work [such as a play by Shakespeare] as 'heteronomous' to its interpreters—paradoxically both dependent and ...
... turning to Shakespeare's use of mirrors and books, clocks, and maps. Paul B. Armstrong has proposed that “we think of a work [such as a play by Shakespeare] as 'heteronomous' to its interpreters—paradoxically both dependent and ...
Strana 10
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Strana 14
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