By E. Tribble
Shakespeare’s corporation coped with a big mnemonic load, acting as much as six diversified performs per week. How did they do it? Cognition within the Globe addresses this query during the lens of dispensed Cognition. it is a dynamic version that attends to the artwork of ‘playing’ at a variety of degrees. those comprise the cloth stipulations of taking part in house; artifacts reminiscent of components, plots, and playbooks; the social buildings of the firms, together with tools of teaching and coordination; inner cognitive mechanisms resembling recognition, conception, and reminiscence; and actor-audience dynamics, between many others. this can be the 1st e-book to supply such an method of theatrical historical past and function reports.
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Additional info for Cognition in the Globe: Attention and Memory in Shakespeare's Theatre (Cognitive Studies in Literature and Performance)
Sample text
W. Greg endorsed Fleay’s dichotomy (Rutter 1999: 4), and such judgments rapidly became received wisdom. E. K. Chambers denigrated Henslowe as a “capitalist,” deliberately exploiting the “poor devils” or impoverished playwrights who came within his grasp (1923: 368). indd 25 2/11/2011 2:37:48 PM 26 COGNITION IN THE GLOBE Wickham accepted the narrative as indisputable fact (see Rutter 1999: 4–5), and traces of this false dichotomy remain in contemporary scholarly accounts, including Gurr’s description of the advantages the Lord Chamberlain’s Men had over the Admiral’s Men: “They did not have to depend on a landlord or impresario as playhouse-owner, who took rent from them” (2004a: 293).
But in the absence of a stage direction specifying the middle door, we would have to adopt a rule of thumb such as “English royalty always enters at the centre door,” which seems scarcely plausible. The many examples of the stage direction “Enter severally” or “Enter at separate doors” show that commonly used yet nonstandard entrances were explicitly nominated. For this reason, an even less common choice—a reserved or special door—would have to be specified as a critical means of helping actors negotiate the space of the stage.
12 Similarly, literary critics seeking to explore cognitive approaches to literature often choose from a relatively narrow band of evidence. For instance, in an otherwise engaging and provocative chapter, Tobin Nellhaus writes that “cognitive science’s most public face is probably the collaborative work of George Lakoff and Mark Johnson” (2006: 76). This statement, which limits cognitive science to a narrow and contested, albeit important, swath of linguistic research, would come as a considerable surprise to almost all cognitive scientists, who work in disciplines as diverse as psychology, anthropology, philosophy, neuroscience, and artificial intelligence.