Shakespeare and Conceptual Blending Cognition, Creativity, Criticism
This book shows how Shakespeare’s excellence as storyteller, wit and poet reflects the creative process of conceptual blending. Cognitive theory provides a wealth of new ideas that illuminate Shakespeare, even as he illuminates them, and the theory of ble
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Cognitive Studies in Literature and Performance
Shakespeare and Conceptual Blending
Cognitive Studies in Literature and Performance Series Editors Bruce McConachie Department of Theatre Arts University of Pittsburgh Pittsburgh, PA, USA Blakey Vermeule Department of English Stanford University Stanford, CA, USA “This book is a major breakthrough in combining literary theory with cognitive and cognitive-linguistic theories, which Booth uses to illuminate both Shakespeare’s genius and our enjoyment of his works. The book will excite literary and cognitive scholars alike.” —Professor Eve Sweetser, University of California, Berkeley, USA “If you want to know how literature works, you need to know how the mind works. But the greatest, most complex, most daring literary experiments are also cognitive experiments, so if you want to know how the mind works, you’ll need to understand how literature works. Shakespeare is the greatest experimentalist of them all, and this means that Shakespeare shows how literature works by showing how the mind works, how it processes and blends radically different kinds of perception and information to yield some of the richest and deepest mental experiences that we have. With extraordinary grace, fluidity, erudition, insight, good humor, sensibility, and passion, Booth offers audiences and producers, readers and critics, dazzling new perspectives on Shakespeare (by bringing out what our minds knew all along about how to respond to Shakespeare, without our quite knowing it), and offers cognitive theorists, hard and soft, new accounts of the cognitive experiments that literature provides. It is a telling measure of his strong achievement in both domains that this is the best book I have read in many years on how Shakespeare works.” —Professor William Flesch, Brandeis University, USA
This series offers cognitive approaches to understanding perception, emotions, imagination, meaning-making, and the many other activities that constitute both the production and reception of literary texts and embodied performances. More information about this series at http://www.springer.com/series/14903
Michael Booth
Shakespeare and Conceptual Blending Cognition, Creativity, Criticism
Michael Booth Cambridge, Massachusetts
Cognitive Studies in Literature and Performance ISBN 978-3-319-62186-9 ISBN 978-3-319-62187-6 (eBook) DOI 10.1007/978-3-319-62187-6 Library of Congress Control Number: 2017948290 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, serv
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