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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... similar to Foucault's: they end with an almost identical call to dethrone the “solitary genius immanent in the text,” which is, “after all, an impoverished, ghostly thing compared to the complex social practices that shaped, and still ...
... opposite red and blue opposite yellow. Deacon further argues that this complementary structuring of the spectrum causes perceptual biases that, over time, cause color names in all languages to evolve in similar ways.48 12 INTRODUCTION.
... similar ways.48 Colors may exist in nature as an undifferentiated spectrum, then, but the human perceptual system divides them in predictable ways. The meaning of red is thus produced by an interaction of wavelengths of light, the human ...
... similar split between innatist and cultural constructivist views of cognition, the cognitive sciences do seem to offer more theoretical orientations that assume some combination of the two. Cognitive theory also treats consciousness ...
... similar to that outlined here establishes a “systematic continuity among three elements: the ... human mind; the semiotic sign through which that mind finds expression; and the culture from/into which the mind absorbs/pro- duces ...
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 |