Shakespeare's Webs: Networks of Meaning in Renaissance DramaRoutledge, 6. 12. 2012 - Počet stran: 192 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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Strana viii
... word patterns in Shakespeare's plays that for her reveal certain major ideas central to a given work, leading in the direction of intention. While on the surface such critical exercises may seem to resemble the work of Caroline Spurgeon ...
... word patterns in Shakespeare's plays that for her reveal certain major ideas central to a given work, leading in the direction of intention. While on the surface such critical exercises may seem to resemble the work of Caroline Spurgeon ...
Strana ix
... word meanings are based on complex domains of cultural knowledge and are extended beyond their original reference ... words by exploring the networks of language within a single play. Shakespeare's Webs, on the other hand, drawing as ...
... word meanings are based on complex domains of cultural knowledge and are extended beyond their original reference ... words by exploring the networks of language within a single play. Shakespeare's Webs, on the other hand, drawing as ...
Strana x
... words Crane examines. After an initial survey of cognitive science as it helps us to understand how objects such as mirrors, books, clocks, and maps would function for Shakespeare and his playgoers as well as for us—for the workings of ...
... words Crane examines. After an initial survey of cognitive science as it helps us to understand how objects such as mirrors, books, clocks, and maps would function for Shakespeare and his playgoers as well as for us—for the workings of ...
Strana xxi
... words, “a complex assemblage of neural processes painstakingly constructed according to culturally defined principles.”17 The meaning of Richard II's mirror is not simply his own theatrical desire to perform with it, nor just the ...
... words, “a complex assemblage of neural processes painstakingly constructed according to culturally defined principles.”17 The meaning of Richard II's mirror is not simply his own theatrical desire to perform with it, nor just the ...
Strana xxiv
... words but human experience, connected to texts by way of metaphor. “By first dissolving the opposition between literal and metaphorical,” she writes, “and, second, by offering a ground for language in the experiential, the cognitive ...
... words but human experience, connected to texts by way of metaphor. “By first dissolving the opposition between literal and metaphorical,” she writes, “and, second, by offering a ground for language in the experiential, the cognitive ...
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