Shakespeare's Webs: Networks of Meaning in Renaissance DramaRoutledge, 06.12.2012 - 192 Seiten In this book, renowned Renaissance drama critic Arthur F. Kinney argues that Shakespeare's method of composing plays through networks of meanings can be seen as a harbinger of today's information technology. Drawing upon hypertext and cognitive theory--areas that have for some time promised to take on more importance in the sphere of Shakespeare Studies--as well as the central metaphor of the Routledge collection The Renaissance Computer, Kinney looks in detail at four objects/images in Shakespeare's plays--mirrors, maps, clocks, and books--and explores the ways in which they make up networks of meaning within single plays and across the dramatist's body of work that anticipate in some ways the networks of meaning or "information" now possible in the computer age. |
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Seite vii
... Sometimes this link between character and prop is so strong that certain objects can gesture toward a drama, character, and scene: a severed finger may call to mind De Flores in the third act of The Changeling (1622); vii.
... Sometimes this link between character and prop is so strong that certain objects can gesture toward a drama, character, and scene: a severed finger may call to mind De Flores in the third act of The Changeling (1622); vii.
Seite viii
... mind work together.2 (It was Descartes' fundamental error, Antonio Damasio has famously argued, that ever mistakenly separated body from mind in the first place.3) Nevertheless, the chemical workings of the brain are not simple. “The ...
... mind work together.2 (It was Descartes' fundamental error, Antonio Damasio has famously argued, that ever mistakenly separated body from mind in the first place.3) Nevertheless, the chemical workings of the brain are not simple. “The ...
Seite xiv
... mind's determined because of its placement in space as well as in thought; it is “situated cognition.”3 Moreover, the mind does not operate independently. As Stephen Kosslyn and Olivier Koenig write, “the mind is what the brain does.”4 ...
... mind's determined because of its placement in space as well as in thought; it is “situated cognition.”3 Moreover, the mind does not operate independently. As Stephen Kosslyn and Olivier Koenig write, “the mind is what the brain does.”4 ...
Seite xv
... mind is not a machine that works on objects, but rather a process that involves activating many linked sub-processes that are themselves composed internally of the activation of links” (p. 45, italics mine). Such patterns remain only so ...
... mind is not a machine that works on objects, but rather a process that involves activating many linked sub-processes that are themselves composed internally of the activation of links” (p. 45, italics mine). Such patterns remain only so ...
Seite xvi
... instability.7 Thus, the cognitive scientist Leslie Brothers can claim that “the mind” is not “something packed inside a solitary skull” but instead “a dynamic entity defined by its transactions with the rest of the xvi • Introduction.
... instability.7 Thus, the cognitive scientist Leslie Brothers can claim that “the mind” is not “something packed inside a solitary skull” but instead “a dynamic entity defined by its transactions with the rest of the xvi • Introduction.
Andere Ausgaben - Alle anzeigen
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Häufige Begriffe und Wortgruppen
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