Titlebook: Shakespearean Neuroplay; Reinvigorating the S Amy Cook Book 2010 Amy Cook 2010 drama.Hamlet.William Shakespeare.British and Irish Literatur

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,Meaning Superflux—A Cognitive Linguistic Reading of ,nguage of performance to understand the expansion of perspective afforded and demanded by theater. We play out our stories of who we are and how we know through staged language. Shakespeare does it in words, Hamlet does it in action and inaction, and the actor does it by embodying all three.

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2945-7297 d up to nature‘ at the center of Shakespeare‘s play and provides a methodology for applying cognitive science to the study of drama.978-1-349-28997-4978-0-230-11305-3Series ISSN 2945-7297 Series E-ISSN 2945-7300

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Linguistic Synaesthesia,e will live on in the language, unfolding theatrically on new stages at different times.. Dense and abstract language, i.e., metaphors or blends, create a linguistic scaffolding that goes on to structure, constrain, and invent future ways of seeing, thinking, and speaking.

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,Mirror ∣ Mirror; Mirror ∣ rorriM,ical assessments of Hamlet’s mirror, it suggests avenues of historical research and illuminates the connective tissue between ideas within the play—connective tissue that generates a cognitive scaffolding.

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,Play’s the Thing—A Cognitive Linguistic Performance Analysis,connected to the network of spaces evoked to understand the blend. He looks at complex numbers as something that can be taught to kids really quickly, the idea/blend in itself is simple, but the way it connects to past theories of numbers, space, and math is what makes it genius:

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,Who’s There?,lauds, and comprehends as one. Not always, of course, but sometimes. Why does a spectator become part of an audience and how? Why did the spectators who did not seem to understand the dense Shakespearean poetry in act one suddenly lean forward together as one on the same line in act four? Why, since

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Linguistic Synaesthesia,ures, sitting at a play, / Have by the very cunning of the scene / Been struck so to the soul that presently / They have proclaim’d their malefactions” (2.2.588–92). Hamlet not only uses theater to expose his uncle’s guilt, but views it as more permanent than the carved marble at the grave, “Good my

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,Mirror ∣ Mirror; Mirror ∣ rorriM, explain the densely poetic and the seemingly simple. Hamlet’s depiction of the aims of theater receives very little editorial comment or exegesis in the editions I have read: apparently we continue to understand what he means and thus do not need editors to explain it. The fact that it remains comp

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