Shakespeare and Conceptual Blending

Cognition, Creativity, Criticism

  • Michael Booth

Part of the Cognitive Studies in Literature and Performance book series (CSLP)

Table of contents

  1. Front Matter
    Pages i-xxii
  2. Michael Booth
    Pages 1-14
  3. Michael Booth
    Pages 15-69
  4. Michael Booth
    Pages 71-113
  5. Michael Booth
    Pages 115-225
  6. Michael Booth
    Pages 227-247
  7. Back Matter
    Pages 249-257

About this book


This book shows how Shakespeare’s excellence as storyteller, wit and poet reflects the creative process of conceptual blending. 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 study explores how Shakespeare crafted his plots by fusing diverse story elements and compressing incidents to strengthen dramatic illusion; considers Shakespeare’s wit as involving sudden incongruities and a reckoning among differing points of view; interrogates how blending generates the “strange meaning” that distinguishes poetic expression; and situates the project in relation to other cognitive literary criticism. This book is of particular significance to scholars and students of Shakespeare and cognitive theory, as well as readers curious about how the mind works.


Mind Narrative Integration Brain Neuroplay

Authors and affiliations

  • Michael Booth
    • 1
  1. 1.CambridgeUSA

Bibliographic information