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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... Male Pregnancy and Cognitive Permeability in Measure for Measure 116 156 Chapter 6 Sound and Space in The Tempest 178 Notes 211 Index 257 This page intentionally left blank Acknowledgments AN EARLIER version of Contents.
... notes that Althusser's influential account of interpellation is presented, not literally (as it might occur within the subject), but as a staged “social scene” (the hailing policeman) that appears to be “exemplary and allegorical” (106) ...
... notes that “the relationship between language and people is symbiotic” and that “modern humans need the language parasite in order to flourish and reproduce, just as much as it needs humans to reproduce. Consequently, each has evolved ...
... notes the resemblance between Lakoffian theories of metaphoric extension and early modern reliance on etymological links to concrete material roots in defining abstract words.57 We might even revisit Foucault's influential argument in ...
... notes, “Whatever the skill employed in thought—that of logic, mathematics, language, spatial or musical symbols—we must not forget that it ... undergoes flights and perchings, is susceptible to great variations in attention, and in ...
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 |