Shakespeare's Brain: Reading with Cognitive TheoryHere 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. |
From inside the book
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... relation to several relevant areas of early modern studies. The interest, encouragement, and persistent questions of Judith Anderson and Gail Kern Paster helped this book find its shape. Emily Bartels, Laura Knoppers, and Naomi Miller ...
... relations among these practices” (5) leads to a by now familiar set of questions: “We can ask how collective beliefs and experiences were shaped, moved from one medium to another, concentrated in manageable aesthetic form, offered for ...
... relation to discourse has paid relatively little attention to the brain, the material place within the body where discourse is processed and therefore where discursive construction, if it occurs, must be located.17 This may well be ...
... relationship between language and people is symbiotic” and that “modern humans need the language parasite in order ... relations or movements in space” that form a kind of “architecture” of thought: “its meaning resides in its own ...
... relationship between the material brain and our immaterial concepts of mind.33 Of course cognitive researchers are unable ... relation to language; however, as we have seen, they do complicate Silverman and Torode's assumption that such ...
Contents
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 |