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Here Mary Thomas Crane considers the brain as a site where body and culture meet to form the subject and its expression in language. Taking Shakespeare as her case study, she boldly demonstrates the explanatory power of cognitive theory--a theory which argues that language is produced by a reciprocal interaction of body and environment, brain and culture, and which refocuses attention on the role of the author in the making of meaning. Crane reveals in Shakespeare's texts a web of structures and categories through which meaning is created. The approach yields fresh insights into a wide range of his plays, includingThe Comedy of Errors, As You Like It, Twelfth Night, Hamlet, Measure for Measure,andThe Tempest. Crane's cognitive reading traces the complex interactions of cultural and cognitive determinants of meaning as they play themselves out in Shakespeare's texts. She shows how each play centers on a word or words conveying multiple meanings (such as \"act,\" \"pinch,\" \"pregnant,\" \"villain and clown\"), and how each cluster has been shaped by early modern ideological formations. The book also chronicles the playwright's developing response to the material conditions of subject formation in early modern England. Crane reveals that Shakespeare in his comedies first explored the social spaces within which the subject is formed, such as the home, class hierarchy, and romantic courtship. His later plays reveal a greater preoccupation with how the self is formed within the body, as the embodied mind seeks to make sense of and negotiate its physical and social environment.

Becker describes a health condition she called \"morbid dyslexia\". Bearing this reading disorder, she often creates another rhyming word and coin it to the original phrases she has read. Her metrical, aural, verbal, and visual inventions prompted her to write more poems and made her suffer from what she called \"chronic poetry syndrome\".

This study examined the phonological neighborhood characteristics (frequency, density, and neighborhood frequency) of 138 malapropisms. Malapropisms are whole word substitutions that are phonologically, but not semantically, related. A statistical analysis of a speech error corpus suggests that neighborhood density and word frequency differentially affected the number of malapropisms. Specifically, a greater number of malapropisms were found among high frequency words with dense neighborhoods than with sparse neighborhoods. Exactly the opposite pattern was found among low frequency words. That is, more errors were found among low frequency words with sparse neighborhoods than with dense neighborhoods. More malapropisms resided in low frequency neighborhoods than in high. The average word frequency, average neighborhood density, and average neighborhood frequency of the malapropisms were significantly lower than the same averages computed from randomly sampled control words. Finally, more target words were replaced by error words that had relatively higher frequency than by error words that had relatively lower frequency. The implications of these findings for models of lexical representation and processing are discussed.

Fatigue and quick speech can be the best causes that may lead to production of tongue slips in speech. Malapropism is taken from Mrs. Malaprop in Sheridan The rivals' who used to produce tongue slips. The present study aims at explaining why certain words are produced instead of the intended one and to prove that the more phonologically similar a phoneme is to the replaced phoneme of a given word the more likely is the production of malapropism. It sheds lights on the main causes that lead to malaprops providing examples containing intended and replaced words In fact, slips are temporary slips for the intended word is known by the speaker but has been inadvertently replaced by another. But Mrs. Malaprop produce these slips out of ignorance. The term 'malapropism' is not misused; it was generalized to refer to the slips that the character used to produce.