Shakespeare's Webs: Networks of Meaning in Renaissance DramaRoutledge, 6. 12. 2012. - 192 страница 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. |
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Страница ix
... play by looking at those objects as they are employed (or conceived) elsewhere in the play, or in other works by Shakespeare and his contemporaries or in their contemporary cultural practices in the late Tudor and early Stuart years ...
... play by looking at those objects as they are employed (or conceived) elsewhere in the play, or in other works by Shakespeare and his contemporaries or in their contemporary cultural practices in the late Tudor and early Stuart years ...
Страница xviii
... what Lear has in mind as he unrolls the map at the beginning of his play. The pronouncements he makes on such perceptual and conceptual bundlings may initiate similar or dissimilar thought patterns in xviii • Introduction.
... what Lear has in mind as he unrolls the map at the beginning of his play. The pronouncements he makes on such perceptual and conceptual bundlings may initiate similar or dissimilar thought patterns in xviii • Introduction.
Страница xxiii
... play by Shakespeare] as 'heteronomous' to its interpreters—paradoxically both dependent and independent, capable of taking on different shapes according to opposing hypotheses about how to configure it, but always transcending any ...
... play by Shakespeare] as 'heteronomous' to its interpreters—paradoxically both dependent and independent, capable of taking on different shapes according to opposing hypotheses about how to configure it, but always transcending any ...
Страница 10
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Страница 16
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