This book examines how early modern and recently emerging theories of consciousness and cognitive science help us to re-imagine our engagements with Shakespeare in text and performance. Papers investigate the connections between states of mind, emotion, and sensation that constitute consciousness and the conditions of reception in our past and present encounters with Shakespeareâs works. Acknowledging previous work on inwardness, self, self-consciousness, embodied self, emotions, character, and the mind-body problem, contributors consider consciousness from multiple new perspectivesâas a phenomenological process, a materially determined product, a neurologically mediated reaction, or an internally synthesized identityâapproaching Shakespeareâs plays and associated cultural practices in surprising and innovative ways.
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