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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Reading with Cognitive Theory Mary Thomas Crane. This page intentionally left blank Contents Acknowledgments ix 3 Introduction Shakespeare's Brain: Embodying the Author-Function.
Reading with Cognitive Theory Mary Thomas Crane. Acknowledgments. AN EARLIER version of chapter 2 was published as “Linguistic Change, Theatrical Practice, and the Ideologies of Status in As You Like It” in English Literary Renaissance 27 ...
... theory that purports to offer a new way of conceiving authorship, especially one that challenges the Foucauldian deconstruction of the author in several ways. Shakespeare enjoys a status in popular culture, in the Anglophone world and ...
... theory offers new and more sophisticated ways to conceive of authorship and therefore offers new ways to read texts as products of a thinking author engaged with a physical environment and a culture. Cognitive theory has provided a ...
Reading with Cognitive Theory Mary Thomas Crane. locating that collectivity on the even more basic level of “language ... theories of embodiment and subject formation. In The Tremulous Private Body, Francis Barker offered a Foucauldian ...
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 |