Shakespeare's Brain: Reading with Cognitive TheoryPrinceton University Press, 20. 2. 2010 - 288 strán (strany) 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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... argues, “No matter what the physical facts of any given bodily function may be, that function can be understood and experienced only in terms of culturally available discourses,” so that “the interaction between bodily self-experience ...
... argues that modern critics (like seventeenth-century writers) “may be simultaneously protective of the singularity of an individual brain while fearing that a deeper understanding of its functions will reduce mental life to a biological ...
... argues, allow the early acquisition of the prepositions in and on in English-speaking infants.28 According to Lakoff, all thought is fundamentally “imaginative, in that those concepts which are not directly grounded in experience employ ...
... that are analogous to digital computers and the one that argues that mental functions are shaped by their evolution within a human body and are not essentially in accordance with formal logic or analogous 10 INTRODUCTION.
... argues that this process of “opponent processing” yields the structure of “color complementarity”—that is, that colors exist in relation to one another on a color wheel, green opposite red and blue opposite yellow. Deacon further argues ...
Obsah
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 |