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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... 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 are still the best and most dependable friends, readers, fonts of ...
... interests in piles all over the house. I first learned about cognitive science from those piles of books and owe this one to his belief that I could break rules too. SHAKESPEARE'S BRAIN This page intentionally left blank Introduction ...
... makes the expected move of rejecting him.12 He too rediscovers the “collective production of literary pleasure and interest,” locating that collectivity on the even more basic level of EMBODYING THE AUTHOR-FUNCTION 5.
... interests of the formation of a disciplined and disembodied bourgeois subject.14 Recent work on the body has complicated and problematized Barker's account, in most cases without eschewing the Foucauldian position that the body is a ...
... interests us, and whether it provides us with a useful model for interpreting texts and cultures. Cognitive scientists do not present a uniform version of the nature of “concepts” in the mind and their relation to language; however, as ...
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 |