How is performer-object interaction enacted and perceived in the theatre? How thereby are varieties of 'meaning' also enacted and perceived? Using cognitive theory and ecological ontology, Paavolainen investigates how the interplay of actors and objects affords a degree of enjoyment and understanding, whether or not the viewer speaks the language.

In the first in-depth study of the emotional dimensions of Du Bois's and Emerson's writings on public intellectualism, reform, and race, Schneider offers a valuable and eloquent contribution to the critical tradition.

Cognitive theory provides a wealth of new ideas that illuminate Shakespeare, even as he illuminates them, and the theory of blending, or conceptual integration, strikingly corroborates and amplifies both classic and current insights of literary criticism.

This book investigates how writers and readers of Renaissance literature deployed `kinesic intelligence', a combination of pre-reflective bodily response and reflective interpretation.

This collection is the first book-length study to re-evaluate all of James Joyce's major fictional works through the lens of cognitive studies.

This book is about the centrality of movement, movement perception, and kinesthetic experience to theatrical spectatorship.