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FW: Cognition and English Renaissance Drama (5/17/07; RSA, 4/3/08-4/5/08)

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  • Tom Dolack
    ... From: owner-cfp@lists.sas.upenn.edu [mailto:owner-cfp@lists.sas.upenn.edu] On Behalf Of tzajac@english.umass.edu Sent: Friday, May 04, 2007 10:26 AM To:
    Message 1 of 1 , May 11 3:57 PM
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      -----Original Message-----
      From: owner-cfp@... [mailto:owner-cfp@...]
      On Behalf Of tzajac@...
      Sent: Friday, May 04, 2007 10:26 AM
      To: cfp@...
      Subject: CFP: Cognition and English Renaissance Drama (5/17/07; RSA,
      4/3/08-4/5/08)

      Thinking and the Stage: Cognition and English Renaissance Drama

      This panel will investigate how cognition and cognitive properties are
      understood and represented on the early modern stage. Cognitive science
      indicates that the power of the brain is connective, as it attempts to make
      networks of meaning, and that it constructs meaningful narratives based on
      sensory responses to the objects around us. A cognitive approach to
      literature,
      particularly staged performance, strives for insight: looking within and
      exploring new ways to analyze the literary quality of the mind. What can
      early
      modern theater teach us about the mind? How do playwrights represent mental
      life onstage? What are the central metaphors for and representations of
      memory,
      forgetting, and emotion? How do performative and linguistic markers
      represent
      the mental life of characters? What can cognitive studies tell us about
      early
      modern audiences?

      Please submit abstracts of no more than 150 words together with a brief CV
      and a
      list of desired audiovisual needs to tzajac@... by May 17.

      Topics may include but are not limited to:

      -The relationship of drama to theories of mind (both early modern and
      current)
      -The permutability of language and cultural objects onstage
      -Vision, perspective, and perception (cognitive responses to what is seen
      and
      heard [or not seen and heard] onstage)
      -Consciousness
      -Emotion, mood, memory, and forgetting
      -Developmental timing and cognitive processes
      -The materials of identity: minds, bodies, and the construction of the self
      -Gender and representations of the mind
      -Metaphors for the mind and/or memory
      -The space of the theater and the space of the mind

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