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  1.  66
    John Sutton & Evelyn Tribble (2011). Cognitive Ecology as a Framework for Shakespearean Studies. Shakespeare Studies 39:94-103.
    ‘‘COGNITIVE ECOLOGY’’ is a fruitful model for Shakespearian studies, early modern literary and cultural history, and theatrical history more widely. Cognitive ecologies are the multidimensional contexts in which we remember, feel, think, sense, communicate, imagine, and act, often collaboratively, on the fly, and in rich ongoing interaction with our environments. Along with the anthropologist Edwin Hutchins,1 we use the term ‘‘cognitive ecology’’ to integrate a number of recent approaches to cultural cognition: we believe these approaches offer productive lines of engagement (...)
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  2.  44
    Evelyn Tribble & John Sutton (2012). Minds in and Out of Time: Memory, Embodied Skill, Anachronism, and Performance. Textual Practice 26 (4):587-607.
    Contemporary critical instincts, in early modern studies as elsewhere in literary theory, often dismiss invocations of mind and cognition as inevitably ahistorical, as performing a retrograde version of anachronism. Arguing that our experience of time is inherently anachronistic and polytemporal, we draw on the frameworks of distributed cognition and extended mind to theorize cognition as itself distributed, cultural, and temporal. Intelligent, embodied action is a hybrid process, involving the coordination of disparate neural, affective, cognitive, interpersonal, ecological, technological, and cultural resources. (...)
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    John Sutton & Evelyn Tribble (2014). The Creation of Space: Narrative Strategies, Group Agency, and Skill in Lloyd Jones’s The Book of Fame. In Chris Danta & Helen Groth (eds.), Mindful Aesthetics. Bloomsbury/ Continuum 141-160.
  4. Evelyn Tribble (2009). Languaging in Shakespeare's Theatre. Pragmatics and Cognition 17 (3):596-610.
    The enshrinement of William Shakespeare's plays in printed editions has led to the assumption that they were performed with an ideal of exact verbatim reproduction of the language. Evidence drawn from alternative versions of the plays circulating in Shakespeare's lifetime and from our knowledge of the material practices of playing in early modern England presents us with a very different picture. Performing practices in this period were marked by a tension between improvisational here-and-now languaging practices, including the use of gesture (...)
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