Budra / Werier Shakespeare and Consciousness

1. Auflage 2016
ISBN: 978-1-137-59541-6
Verlag: Palgrave Macmillan US
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 307 Seiten

Reihe: Cognitive Studies in Literature and Performance

This book examines how early modern and recently emerging theories of consciousness and cognitive science help us to re-imagine our engagements with Shakespeare in text and performance. Papers investigate the connections between states of mind, emotion, and sensation that constitute consciousness and the conditions of reception in our past and present encounters with Shakespeare's works. Acknowledging previous work on inwardness, self, self-consciousness, embodied self, emotions, character, and the mind-body problem, contributors consider consciousness from multiple new perspectives-as a phenomenological process, a materially determined product, a neurologically mediated reaction, or an internally synthesized identity-approaching Shakespeare's plays and associated cultural practices in surprising and innovative ways.


Paul Budra is Professor of English at Simon Fraser University, Canada. He is the author of A Mirror for Magistrates and the de Casibus Tradition and co-editor of the essay collections: Part Two: Reflections on the Sequel, Soldier Talk: Oral Narratives of the Vietnam War, and From Text to Txting: New Media in the Classroom.
Clifford Werier is Professor of English at Mount Royal University, Canada. He is co-editor of Much Ado About Nothing for the Internet Shakespeare Editions and has written three writing textbooks for Nelson, Canada.

Autoren/Hrsg.

Budra, Paul

Werier, Clifford

Inhaltsverzeichnis

1;Dedication;6
2;Series Editors’ Preface;8
3;Acknowledgments;12
4;Contents;14
5;Chapter 1: Introduction;16
6;Part I: Consciousness, Cognitive Science, and Character;31
6.1;Chapter 2: Consciousness and Cognition in Shakespeare and Beyond;32
6.1.1; Consciousness and the Cognitive;35
6.1.2; Shakespeare and Consciousness;44
6.2;Chapter 3: Shakespeare Studies and Consciousness;56
6.2.1; Where We Were;60
6.2.2; Where We Are;69
6.2.3; Where Are We Going?;79
6.3;Chapter 4: Hamlet in the Bat Cave;91
6.3.1; What Is It Like to Be Hamlet?;91
7;Part II: Consciousness and Theatrical Practice;109
7.1;Chapter 5: King of Shadows: Early Modern Characters and Actors;110
7.1.1;Interdisciplinary Character;111
7.1.2;Building Character;117
7.1.3;Brilliant Failure;122
7.2;Chapter 6: The Distributed Consciousness of Shakespeare’s Theatre;130
7.3;Chapter 7: Minds at Work: Writing, Acting, Watching, Reading Hamlet;150
7.3.1;Consciousness, Conscience and the Cognitive Value of Ambiguity;151
7.3.2;Theater, Consciousness, and Theory of Mind;155
7.3.3; Creating Character;156
7.3.4;Who’s There?;162
7.3.5; Reading Shakespeare;167
8;Part III: Consciousness and the Body;173
8.1;Chapter 8: “Being Unseminared”: Pleasure, Instruction, and Playing the Queen in Anthony and Cleopatra;174
8.1.1; Artificial Changelings;177
8.1.2; Shakespeare’s Seminars;184
8.1.3; Conclusions Infinite;189
8.2;Chapter 9: Bodies and Selves: Autoscopy, Out-of-Body Experiences, Mind-Wandering and Early Modern Consciousness;199
8.3;Chapter 10: Hamlet and Time-Consciousness: A Neurophenomenological Reading;222
8.3.1; Cognitive Science and Historical Information;226
8.3.2; First-Person Reports and Cognitive Science;227
8.3.3; First-Person Reports and Historical Information;227
8.3.4; Hamlet and Time-Consciousness;228
9;Part IV: Consciousness, Emotion, and Memory;253
9.1;Chapter 11: Shylock’s Shy Conscience: Consciousness and Conversion in The Merchant of Venice;254
9.2;Chapter 12: Forgetting Cleopatra;272
9.2.1; Distributed Memory;274
9.2.1.1; Antony and Cleopatra;280
10; Notes on Contributors;298
11;Index;301