By Evelyn B. Tribble (auth.)
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Additional resources for Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre
Chief among these is Mary Thomas Crane’s Shakespeare’s Brain. Crane adopts a range of cognitive approaches, including Lakoff and Johnson’s conceptual metaphor theory, in a historically nuanced discussion of “the cognitive and cultural forces that determine the meanings of words and the shape of subjectivity” (2001: 25). 13 In addition, scholars such as Bruce Smith (2010) and Gail Kern Paster (2004) have produced exciting works engaging historical phenomenology that approaches the historical cognitive science of which Sutton (2009) writes.
In Kirsh’s taxonomy of the intelligent use of space, this disposition is an example of a blocking strategy. Blocking restricts the space “so that certain preconditions are clobbered . . ’ They cue a prohibition” (1995b: 45). Kirsh gives the example of a rag left on a hot handle, signaling that the pot is temporarily off limits. Kent acts temporarily as the rag on the pot, constraining further entrance possibilities. None of the remaining entrances can be made according to the Beckerman principle.
Attention and gaze direction is also fundamentally social in nature; we take our attentional cues from others. Eye and head direction are particularly critical. There is abundant evidence that human beings are especially attuned to eye direction and movement, and that gaze and shifts in gaze are particularly salient in reading a scene. For this reason, the art of attention can be seen both as part of stage management—a means of subtly orchestrating actors while on stage—and as a crucial tool for audience direction— and, perhaps even more importantly, indirection.
Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre by Evelyn B. Tribble (auth.)