The search for a shared practice of storytelling around which a popular study of cognitive narratology might form need look no further than our nightly experience of dreams. Dreams and memories are inseparable, complicating and building upon one another, reminding us that knowledge of ourselves based on our memories relies upon fictionalized narratives we create for ourselves. Psychologists refer to confabulation, the creation of false or distorted memories about oneself and the world we inhabit, albeit without any conscious intention to deceive. This process and narrative, inherent in the dreamlife of all people, is at odds with the daily menu of cultural myths and politicized fictions fed to the Western world through print and social media, and for which there is constant divisiveness and disagreement. Cognitive Narratology and the Shared Identity of Myth uses insights gained from the scientific study of dreaming to explain how the shared experience of dreamlife can work in service to the common good. Primary texts and literary works, chosen for their influence on contemporary thinking, provide a rationale and historical background: From Artemidorus (a professional diviner) and Aristotle; to the Church fathers Tertullian, St. Augustine, Gregory of Nyssa, Sinesius of Cyrene; to The Wanderer (Old English poem) and Chaucers Book of the Duchess; to Coleridges writings and R. L. Stevensons A Chapter on Dreams; and to twentieth-century dream theory, and dream use in film. The purpose is to enable readers through subjective self-analysis to recognize what they share with their fellow dreamers; shared identity in formation of a shared act of dreaming creation is a universal across centuries and throughout Western culture, albeit currently misrepresented and rarely acted upon.

The history and literature of the Roman Empire is full of reports of dream prophecies, dream ghosts and dream gods. This volume offers a fresh approach to the study of ancient dreams by asking not what the ancients dreamed or how they experienced dreaming, but why the Romans considered dreams to be important and worthy of recording. Dream reports from historical and imaginative literature from the high point of the Roman Empire (the first two centuries AD) are analysed as objects of cultural memory, records of events of cultural significance that contribute to the formation of a group's cultural identity. The book also introduces the term 'cultural imagination', as a tool for thinking about ancient myth and religion, and avoiding the question of 'belief', which arises mainly from creed-based religions. The book's conclusion compares dream reports in the Classical world with modern attitudes towards dreams and dreaming, identifying distinctive features of both the world of the Romans and our own culture.

End your struggle with the Bard’s prose and appreciate his comedy about the trials and tribulations of love. Shakespeare on the Double! A Midsummer Night’s Dream includes an easy-to-understand modern English translation alongside the original Shakespearian text so that you can read only the translation, read the translation with the original text, or tackle the original text, referring only to the translation when you’re stumped. A comprehensive character list describes the traits of each major character, a visual map depicts relationships, and review questions reinforce important information so you won’t miss the action.

Students are encouraged to share Shakespeare's love of language, interest in character and sense of theatre in this book. Classroom activities are thematically organised in distinctive 'stagecraft', 'write about it', 'language in the play', 'characters' and 'themes' features. Extended glossaries are aligned with the play text for easy reference.

For the first time, the world-renowned Arden Shakespeare is producing Performance Editions, aimed specifically for use in the rehearsal room. Published in association with the Shakespeare Institute, the text features easily accessible facing page notes – including short definitions of words, key textual variants, and guidance on metre and pronunciation; a larger font size for easier reading; space for writing notes and reduced punctuation aimed at the actor rather than the reader. With editorial expertise from the worlds of theatre and academia, the series has been developed in association with actors and drama students. The Series Editors are distinguished scholars Professor Michael Dobson and Dr Abigail Rokison and leading Shakespearean actor, Simon Russell Beale.