Titlebook: Shakespeare and Consciousness; Paul Budra,Clifford Werier Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 1 Shakespeare.2 c

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Book 2016menological 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..

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2945-7297 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..978-1-349-95556-5978-1-137-59541-6Series ISSN 2945-7297 Series E-ISSN 2945-7300

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Consciousness and Cognition in Shakespeare and Beyondote an unwarranted empirical legitimacy which ignores the hybrid nature of cognitive criticism’s hard and soft theoretical underpinnings. The essay examines a number of recent applications of cognitive criticism to Shakespeare, including Conceptual Blends, Distributed Cognition (DC), and Theory of M

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Hamlet in the Bat Caveerary character, has no consciousness, yet for hundreds of years critics have imagined and written about this nonexistent quality. Budra demonstrates that the language which defines Hamlet’s consciousness is not only the text of . but the supplementary textual, historical, or theoretical contexts th

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King of Shadows: Early Modern Characters and Actorsthe construction of drama as an act that is aware of both the embodied condition of actors and the projected creation of characters. Character is an attribute that requires comprehension if drama is to be in any way coherent, but such understanding arises out of simulations which are dependent upon

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The Distributed Consciousness of Shakespeare’s Theatrentary, distributed materials. Focusing on Hamlet’s “What a piece of work is a man” speech, Johnson dissects the differences between the Q2 and F1 versions and what they mean to Hamlet’s assessment of human capacity. Johnson disagrees with Harold Bloom’s often-quoted assertion about Shakespeare’s inv

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Minds at Work: Writing, Acting, Watching, Reading ,ual validity—to triangulate the distinct creative sources of writers, actors, readers, and spectators. She argues that Shakespeare, perhaps most clearly in ., creates multiple contradictory meanings that actors, readers, and audiences experience in a process that cannot help but draw their attention

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“Being Unseminared”: Pleasure, Instruction, and Playing the Queen in ,ive forms of conscious experience. Perhaps more than any other play, . embeds its characters in networks of dramatic practice to problematize the distinction between inward reflection and the physical world. Brown illustrates this embeddedness by focusing on Mardian the eunuch and the boy actor who