Shakespeare's Brain: Reading with Cognitive TheoryPrinceton University Press, 2010. febr. 20. - 288 oldal 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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1 - 5 találat összesen 51 találatból.
... causes perceptual biases that, over time, cause color names in all languages to evolve in similar ways.48 12 INTRODUCTION.
... only in the formation of concepts of animacy and inanimacy but also in the development of the concept of an agent. Animate objects not only move themselves but cause other things to move; EMBODYING THE AUTHOR-FUNCTION 19.
Reading with Cognitive Theory Mary Thomas Crane. jects not only move themselves but cause other things to move; it is the latter characteristic, of course, that turns animates into agents.”83 Although a cognitive theory of agency does ...
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Tartalomjegyzék
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 |