Abstract

This essay addresses the increasing prominence of ‘performance’ as an analytical frame in recent studies of science. Building on the insights of existing feminist criticism, it identifies two largely unacknowledged features of such performance-oriented studies: first, an implicit recuperation of a pre-discursively real body; and second, a persistent emphasis on the productive character of performances. The essay considers the limitations of these two themes, and concludes by exploring pathways suggested by other theoretical traditions.