Shakespeare's Webs: Networks of Meaning in Renaissance Drama
Routledge, 2012年12月6日 - 192页
In this book, renowned Renaissance drama critic Arthur F. Kinney argues that Shakespeare's method of composing plays through networks of meanings can be seen as a harbinger of today's information technology. Drawing upon hypertext and cognitive theory--areas that have for some time promised to take on more importance in the sphere of Shakespeare Studies--as well as the central metaphor of the Routledge collection The Renaissance Computer, Kinney looks in detail at four objects/images in Shakespeare's plays--mirrors, maps, clocks, and books--and explores the ways in which they make up networks of meaning within single plays and across the dramatist's body of work that anticipate in some ways the networks of meaning or "information" now possible in the computer age.
大家的评论 - 撰写书评
其他版本 - 查看全部
anamorphic Antonio Damasio bell brain Britain Brutus Caesar called Cambridge candles Capulet cartographic Cassius cell Claudius clock cock cognitive linguistics concept Cordelia court cultural daughter death Desdemona doth Duke Early Modern Elizabethan England English father Figure Friar Gertrude give glass Gloucester Goneril Hamlet hath Henry Hotspur hour Iago John Gillies John Norden Kent King Lear King’s kingdom Lady land Lear’s London looking lord Love’s Labour’s Lost Macbeth man’s marginal marginalia means measure memory mind mirror neural neurons night notes o’clock objects observation Ophelia Orloger Othello Oxford painted patterns play’s playgoers Polonius Portia portrait practice prayer Quoted reflection Regan rhetoric Richard II Richard II’s Romeo and Juliet Rossum scene semiosis sense Shakespeare’s Shakespeare’s plays soul stage tells thee There’s things Thomas thou thought tion Tudor turn two-hours University Press Venice Windsor Winter’s Tale words writes York