Shakespeare's Brain: Reading with Cognitive Theory
Princeton 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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scribed by Lakoff, in which our embodied brains create meaning out of
experience of an environment.27 More complicated linguistic structures and
rational concepts are similarly built up on these basic spatial schemas. Mandler
provides as an ...
... anthropology, and studies in artificial intelligence—continue to open windows
into the workings of the brain and to explore the relationship between the
material brain and our immaterial concepts of mind.33 Of course cognitive
From a cognitive perspective, the relationship between concept and language is
significantly different from the ... is a “self-contained, autonomous system”: “
concepts, i.e. the values associated with linguistic signs, are purely differential”;
that is, ...
theory resembles the pre-Cartesian, Galenic materialism that shaped early
modern concepts of body and mind.67 Cognitive scientists are a long way from
understanding how the brain produces the mind, however. Although computer ...
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Mit mondanak mások - Írjon ismertetőt
The Comedy of Errors
Chapter 2 Theatrical Practice and the Ideologies of Status in As You Like It
Suitable Suits and the Cognitive Space Between
Chapter 4 Cognitive Hamlet and the Name of Action
Chapter 5 Male Pregnancy and Cognitive Permeability in Measure for Measure
Chapter 6 Sound and Space in The Tempest