Evelyn Tribble

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. Because the diverse elements of such coupled systems each have their own histories and dynamics, many distinctive or competing times are built in to the very mechanisms of remembering and reasoning. We make this argument by means of two distinct case histories: a reading of the site-specific audio walk of Canadian artist Janet Cardiff; and an extended discussion of a famously anachronistic moment in William Shakespeare’s King Lear. These readings reveal the inherent polytemporalities of human mental and social life.

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 in playing, and a new set of expectations based upon an emergent conception of plays as written documents.

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 in playing, and a new set of expectations based upon an emergent conception of plays as written documents.

Lloyd Jones’s *The Book of Fame*, a novel about the stunningly successful 1905 British tour of the New Zealand rugby team, represents both skilled group action and the difficulty of capturing it in words. The novel’s form is as fluid and deceptive, as adaptable and integrated, as the sweetly shaped play of the team that became known during this tour for the first time as the All Blacks. It treats sport on its own terms as a rich world, a set of bodily skills, and an honest profession in itself. A reading of *The Book of Fame* can contribute to the interdisciplinary study of literature and cognition, exemplifying two-way ‘exchange values’. On the one hand, we gain insights into the nature of skilful group agency, of distinct forms and at distinct timescales, by focussing on the precise forms taken by the All Blacks’ creation of space. Here, we treat The Book of Fame as a brilliant evocation of features of collective thought, movement, and emotion that both everyday and scientific inquiry can easily miss. On the other hand, we also read back into the novel a subtle, fascinated interrogation of the mechanisms by which small groups form, evolve, and act. In this more ambitious mode of analysis, we use independently motivated theoretical concerns to help us see real features of the literary work that might otherwise remain invisible. We focus on the relationship between skilful performance and collective action. These topics fall outside the ambit of much current work by literary theorists using cognitive research, who tend to focus on theory of mind and modularity, metaphor and blending, emotion and empathy, consciousness and concepts, representation and so on. But skilled performance and collective action comprise surprisingly lively research fields across the sciences, from neuropsychology to philosophy of mind and cognitive anthropology. These areas of inquiry may provide even more productive avenues for future work in the interfield of literary and cultural theory and the cognitive sciences.