Titlebook: Cognition, Mindreading, and Shakespeare‘s Characters; Nicholas R. Helms Book 2019 The Editor(s) (if applicable) and The Author(s), under e

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D. Georg Adlmaier-Herbst,Annette Mayercal realm of experience, such as early modern madness. Contemporary cognitive science has shown difficulty conceptualizing non-normative modes of thought, particularly those the field classifies as “empathy deficit disorders,” such as autism, psychopathy, and sociopathy. While theories of mindreadin

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https://doi.org/10.1007/978-3-658-36149-5Cohen and Alvin Goldman, Helms reviews contemporary cognitive science and the philosophy of mind to identify two methods of mindreading: inference (the theory-theory of mindreading) and imagination (the simulation theory of mindreading). Helms adds to this conversation by applying cognitive science to discussions of character in Shakespeare’s ..

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https://doi.org/10.1007/978-3-658-36362-8m, a cognitive adaptation Lisa Zunshine describes as “promiscuous, voracious, and proactive.” Helms reads Iago as a social parasite, tracking the development of the parasite character type in Machiavelli’s ., Jonson’s ., and Webster’s ..

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Book 2019ven after leaving the playhouse. Using this cognitive literary approach, Helms reveals how misreading fuels Shakespeare’s enduring popular appeal and investigates the ways in which Shakespeare’s characters can both corroborate and challenge contemporary cognitive theories of the human mind..

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https://doi.org/10.1007/978-3-658-36149-5 his character and that continues to contemplate the moral ramifications of such characters even after leaving the playhouse. Misreading fuels Shakespeare’s popular appeal and the enduring effect his works have had upon modern and early modern culture.

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https://doi.org/10.1007/978-3-658-36362-8cts to misreading of emotions, arguing that Claudio’s trouble is not external—social forces or erroneous impressions—but internal; Claudio follows the tide of imagination, failing to combine inferential distance with his own readings of others.

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Maike Napp-Zinn,Ottmar L. Braun When Orsino threatens to kill Cesario in the final act, these two interpretations suddenly combine into one via conceptual blending, the combination of discrete inputs into a coherent, gestalt-like whole.