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. |
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... social practices” shaping the text.10 And if the presence of the author is denied or circumscribed in this way, then any discussion of the nature of the social practices involved must be prematurely truncated.11 If we refuse to see the ...
... social scene” (the hailing policeman) that appears to be “exemplary and allegorical” (106).19 And Butler herself, in attempting to use psychoanalysis to understand the mechanics of subject formation missing in the accounts of Foucault ...
... social and cultural interactions have materially altered the physical shape of the brain.35 Nor does use of concepts from bodies of knowledge commonly called “sciences” prevent us from acknowledging the role of culture in shaping their ...
... social roles, our histories”).81 Although subject seems to mean almost the opposite in these two sets of binaries, representing multiplicity and constructedness as opposed to a unified “individual” in one case and representing that ...
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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 |