Titlebook: Cognition, Mindreading, and Shakespeare‘s Characters; Nicholas R. Helms Book 2019 The Editor(s) (if applicable) and The Author(s), under e

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Cognition, Mindreading, and Shakespeare‘s Characters

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ETHER

Reading the Mind: Cognitive Science and Close Reading,uing for a criticism that considers characters as if they were real people living in recognizable worlds. Mindreading is the human ability to look at a person or a literary character and contemplate what that person is thinking, feeling, and planning. Drawing particularly on the work of Simon Baron-

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Inferring the Mind: Parasites and the Breakdown of Inference in ,,wn as levels of intentionality. Inference is a powerful tool for predicting human behavior based upon general principles, but as those principles are applied to more and more complex cases, inference can overload the mind and lead to misreading. Reading the minds of others can be a form of parasitis

CAMP

Imagining the Mind: Empathy and Misreading in ,d simultaneously. To circumvent this difficulty, characters rely on the empathic connection they have with others, and overconfidence in that empathy leads to misreading. Recent criticism has focused on the inferential errors that Claudio makes when he misinterprets Hero’s blush in act four. Drawing

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Adornment

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Reading Incoherence: How Shakespeare Speaks Back to Cognitive Science,cal realm of experience, such as early modern madness. Contemporary cognitive science has shown difficulty conceptualizing non-normative modes of thought, particularly those the field classifies as “empathy deficit disorders,” such as autism, psychopathy, and sociopathy. While theories of mindreadin

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,Mindreading as Engagement: Active Spectators and “The Strangers’ Case”, much mindreading can occur automatically and unconsciously, both inference and imagination draw upon the mindreader’s own knowledge and experiences to flesh out the target of mindreading. As such, all literary characters are constructed, in part, from a mindreader’s own mind. Helms illustrates this