By Paul Budra, Clifford Werier
ISBN-10: 1137595418
ISBN-13: 9781137595416
ISBN-10: 1137596716
ISBN-13: 9781137596710
This ebook examines how early smooth and lately rising theories of cognizance and cognitive technology support us to re-imagine our engagements with Shakespeare in textual content and function. Papers examine the connections among states of brain, emotion, and sensation that represent recognition and the stipulations of reception in our earlier and current encounters with Shakespeare’s works. Acknowledging earlier paintings on inwardness, self, self-consciousness, embodied self, feelings, personality, and the mind-body challenge, individuals think of awareness from a number of new perspectives—as a phenomenological procedure, a materially made up our minds product, a neurologically mediated response, or an internally synthesized identity—approaching Shakespeare’s performs and linked cultural practices in amazing and leading edge ways.
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Extra info for Shakespeare and Consciousness
Example text
7. , 9. Antonio Damasio, Self Comes to Mind: Constructing the Conscious Brain (New York: Pantheon, 2010), 18. , 19. Hart, 314. Amy Cook, Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Texts and Performance Through Cognitive Science (New York: Palgrave, 2010), 4. George Lakoff and Mark Johnson, Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought (New York: Basic Books, 1999), 39. In a nod to scientific empiricism, Cook cites George Lakoff’s collaborative paper with the Italian neuroscientist Vittorio Gallese.
61 The key to Dehaene’s articulations of consciousness is captured by the term, “conscious access,” which describes the relationship between the flood of conscious and unconscious stimuli entering the brain and the ability of our minds to entertain one thing at a time: What counts as genuine consciousness, I will argue, is conscious access—the simple fact that usually, whenever we are awake, whatever we decide to focus on becomes conscious. Neither vigilance nor attention alone is sufficient. When we are fully awake and attentive, sometimes we can see an object and describe our perceptions to others, but sometimes we cannot—perhaps the object was too faint, or it was flashed too briefly to be visible.
Let’s see for means” (34-35). 3 is equally intense and impulsive; he means to enter the tomb and nothing is going to stop him, especially not a rival who intends to apprehend him for the crime of desecrating a grave and, presumably, breaking the terms of his banishment. Romeo, describing his potential to exercise “A madman’s mercy” (67) by sparing Paris, self-identifies with the overstimulated characteristics associated with madness and an alteration of consciousness from the norm. Finally, Romeo enters the tomb, discovers Juliet’s body, invokes his lantern, and plays on meanings associated with light and “a light’ning before death,” (90) a shift in awareness which makes men merry “at the point of death” (88).