Shakespeare and Consciousness by Paul Budra, Clifford Werier PDF

By Paul Budra, Clifford Werier

This ebook examines how early smooth and lately rising theories of cognizance and cognitive technological know-how aid 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 previous 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 ponder cognizance from a number of new perspectives—as a phenomenological approach, 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 extraordinary and leading edge ways.

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In the “imagined” sphere we can observe characters who possess a simulated consciousness: fictional beings created by authors who project their own consciousness and their understanding of what it means to be conscious onto their creations, giving them the appearance of life, which we engender in our own consciousness whenever we read a text or see a play performed. According to this model, Shakespeare created and preserved the simulated consciousness of characters which has been activated in the consciousness of both deceased consumers and contemporary readers.

Gilles Fauconnier and Mark Turner, The Way We Think: Conceptual Blends and the Mind’s Hidden Complexities (New York: Basic Books, 2002), 54. CONSCIOUSNESS AND COGNITION IN SHAKESPEARE AND BEYOND 41 47. Easterlin, 174. 48. Cook, 3. 49. Evelyn B. Tribble, Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre (New York: Palgrave, 2011), 3. 50. , 8. 51. 3 (Fall 2013), 265–294. 52. Other scholars, such as Lisa Zunshine, spend more time examining the scientific foundations of ToM and its connections to evolutionary psychology, neurology, and the unconscious processing of nonverbal cues before applying it to literary texts.

42 C. WERIER 74. Stanislas Dehaene, Reading in the Brain: The New Science of How We Read (New York: Penguin, 2009). 75. Francisco J. Varela, “Neurophenomenology: A Methodological Remedy for the Hard Problem,” Journal of Consciousness Studies 3. 4 (1996), 330– 349, esp. 330. 76. , 336–340. 77. , 346. 78. , “ ‘Still Living Flesh’: Beckett, Merleau-Ponty, and the Phenomenological Body,” Theatre Journal 45. 4 (December 1993), 443–460. Garner summarizes some of the main applications of phenomenology to literary study including, “the ontological problematics of Heidegger and Sartre; Paul Ricoeur’s phenomenological hermeneutics; Gaston Bachelard’s ‘poetics of space’; phenomenological explorations of the body by Elaine Scarry and medical philosophers; feminist appropriations of phenomenology by Judith Butler, Iris Young, and Sandra Bartky; the emergence of ‘life-world’ issues in history, sociology, theory of technology; the aesthetic theories of Mikel Dufrenne, Roman Ingarden, and recent reader-response theorists; other applications of phenomenological models and insights to the study of literature, film, and (in the recent work of Bruce Wilshire and Bert States),” 445-446.

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