Accidental Shakespeare

Shakespeare Studies

Volumn 34, Issue , 2006, Pages 90-122

  Yates, Julian ^a  

^a NONE

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EID: 60950329927     PISSN: 05829399     EISSN: None     Source Type: Journal    
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References (85)

1. Bruno Latour, Aramis, or the Love of Technology, trans. Catherine Porter (Cambridge, MA: Harvard University Press, 1993), 94. I have added speech prefixes in the aid of clarity. None appear in the original text, which combines dialogue, reported speech, documentary evidence, photographs, séances, and all manner of rhetorical effects.
2. For a full-length discussion of Latour's "network of actors," see Science in Action: How to follow Scientists and Engineers through Society (Cambridge, MA: Harvard University Press, 1987).
3. For subsequent refinements, see also We Have Never Been Modern, trans. Catherine Porter (Cambridge, MA: Harvard University Press, 1991),
4. Pandora's Hope: Essays on the Reality of Science Studies (Cambridge, MA: Harvard University Press, 1999),
5. and his essay "Factures/Fractures: From the concept of network to the concept of attachment" in Res 20 (Autumn 1999): 1-20.
6. For an introduction to "Actor Network Theory" as a field, see Actor Network Theory and After, ed., John Law and John Hassard (Oxford: Blackwell, 1999).
7. See also Peter Stallybrass and Ann Rosalind Jones, Henaissance Clothing and the Materials of Memory (Cambridge: Cambridge University Press, 2000),
8. and the essays edited by Maureen Quilligan, "Renaissance Materialities," The Journal of Medieval and Early Modern Culture 32, no. 3 (Fall 2002).
9. For an alternative way of broaching the relationship between subject and object see Julian Yates, Error, Misuse, Failure: Object Lessons from the English Renaissance (Minneapolis: University of Minnesota Press, 2003).
10. Bruno Latour, "The Enlightenment without the Critique: A Word on Michel Serres' Philosophy," in Contemporary French Philosophy, ed. A. Phillips Griffiths (Cambridge: Cambridge University Press, 1987), 89.
11. For an introduction to the writings of Michel Serres, see Maria Assad, Reading with Michel Serres: An Encounter with Time (Albany: State University of New York Press, 1999)
12. and also Mapping Michel Serres, ed. Niran Abbas (Ann Arbor: University of Michigan Press, 2005).
13. For Serres's genealogy of human labor as an evolution of forms of "porterage," from agricultural "cold work" to industrial "hot work," on to the "Angelic" work of humans today as bearers of information and his characterization of the human as intermediary (between things or persons and things), see Michel Serres, Angels: A Modern Myth, trans. Francis Cowper (Paris: Flammarion, 1995), 39-58.
14. The key point of arrival in Renaissance studies is from the Marxist/materialist readings of Igor Koptyoff, "The Cultural Biography of Things," in The Social Life of Things, ed. Arjun Appadurai (Cambridge: Cambridge University Press, 1986), 64-91,
15. and, in the same collection, Arjun Appadurai, "Introduction: Commodities and the Politics of Value," 3-63.
16. This point is made by a variety of writers in a variety of fields. See, for example, Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century," in Simians, Cyborgs, and Women (New York: Routledge, 1991), 149-81;
17. and, from disability studies, in which the so-called disabled body becomes the normative model for the "human" as a necessarily attached and prosthetized body in opposition to the theoretical "detachment" from things of the "able," see Ingunn Moser and John Law, "Good Passages/Bad Passages," in Actor Network Theory and After, 196-219.
18. For a critique of the relegation of animals specifically as the enabling condition of the politics of cultural studies see Cary Wolfe, Animal Rites: American Literature, the Discourse of Species, and Posthumanist Theory (Chicago: University of Chicago Press, 2003), 1.
19. For two fascinating rearticulations of Descartes' Cogito see Timothy J. Reiss's reading of Descartes' "subjectum" as what he calls a "passage technique" in Mirages of the Seife (Stanford, CA: Stanford University Press, 2003), 469-87;
20. and John Sutton's Philosophy and Memory Traces: Descartes to Connectionism (Cambridge: Cambridge University Press, 1998).
21. Latour, We Have Never Been Modern (see note 3).
22. Donna Haraway, The Companion Species Manifesto: Dogs, People, and Significant Otherness (Chicago: Prickly Paradigm Press, 2003), 5.
23. Erica Fudge makes this point in purely physical terms when she notes that many of the textual traces that make up the archive we inherit are produced from dead animal skin. Erica Fudge, Perceiving Animals: Humans and Beasts in Early Modern English Culture (New York: St. Martin's, 2000), 1-10.
24. Marcel Mauss's The Gift, trans. W. D. Halls (New York: W. W. Norton, 1950), serves as the anthropological urtext here.
25. Isabelle Stengers, "Who is the Author?" in Power and Invention: Situating Science, trans. Paul Bains (Minneapolis: University of Minnesota Press, 1997), 172.
26. For this critique of cultural studies and New Historicism see Tom Cohen, Ideology and Inscription: "Cultural Studies" After Benjamin, De Man, and Bakhtin (Cambridge: Cambridge University Press, 1994).
27. Francesca Petrarca, Rerum Familiarum Libri, trans. Aldo S. Bernardo, 3 vols. (Baltimore: Johns Hopkins University Press, 1975).
28. On mimesis see Michael Taussig, Mimesis and Alterity: A Particular History of the Senses (New York: Routledge, 1993).
29. and Cohen, Ideology and Inscription, 11.
30. Stephen Greenblatt, Shakespearean Negotiations (Berkeley: University of California Press, 1988), 1.
31. Jeffery Masten, Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama (Cambridge: Cambridge University Press, 1997), 1.
32. See Anthony Grafton and Lisa Jardine, From Humanism to the Humanities: Education and the Liberal Arts in Fifteenth- and Sixteenth-Century England (Cambridge, MA: Harvard University Press, 1986), especially 210-17, where it becomes clear that the "perfect orator" of humanist imagining is none other than a "becoming Cicero."
33. Stengers, "Who is the Author?" 172.
34. Bruno Latour, We Have Never Been Modern, 136-45.
35. For Latour's subsequent elaboration of the protocols for electing this "Parliament" see Politics of Nature: How to Bring the Sciences into Democracy, trans. Catherine Porter (Cambridge, MA: Harvard University Press, 2004).
36. Michael Pollan, The Botany of Desire: A Plant's-Eye View of the World (New York: Random House, 2001),
37. and also Michael Pollan, "The Unnatural Idea of Animal Rights," New York Times Magazine, November 10, 2002, 58-67.
38. Isabelle Stengers, "Complexity, A Fad?" in Power and Invention, 14-15.
39. On the passage from "critique" - which is really an attempt to allow critique (once again) to be one phase in a process - to "matters of concern," see Bruno Latour, "Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern," Critical Inquiry 30 (Winter 2004): 227-48.
40. For this critique see Hugh Grady, Shakespeare's Universal Wolf: Studies in Early Modern Reificātion (Oxford: Clarendon Press, 1996);
41. Jonathan Gil Harris, "Shakespeare's Hair: Staging the Object of Material Culture," Shakespeare Quarterly 52, no. 4 (2001): 479-91;
42. Douglas Brewster, Shakespeare and the Question of Culture: Early Modern Literature and the Cultural Turn (New York: Palgrave, 2003), 191-205. Harris's emphasis on the "staging" of the object clearly anticipates the importance of movement/transport and so intuits the way an attention to "things" runs in tandem with a network-based model of description.
43. Georges Perec, Species of Spaces and Other Pieces, trans. John Sturrock (London: Penguin, 1997), 244-49.
44. Clifford Geertz, The Interpretation of Cultures (New York: Basic Books, 1973), 3-30.
45. Mary Floyd-Wilson, English Ethnicity and Race in Early Modern Drama (Cambridge: Cambridge University Press, 2003), 72-73.
46. Joseph Duchesne, Le Pourtraict de la Santé (Paris: Claude Morel, 1606), 384 and 408,
47. quoted in Ken Abala, Eating Right in the Renaissance (Berkeley: University of California Press, 2002), 212-13.
48. Thomas Muffet (elsewhere appears as Moffett), Health's Improvement: Or, Rules Comprizing and Discovering the Nature, Method, and Manner of Preparing all Sorts of Food (Written circa 1595) (London, 1655), 1.
49. Michel Foucault, "Technologies of the Self," in Technologies of the Self, ed. Luther H. Martin, Huck Gutman, and Patrick H. Hutton (London: Tavistock, 1988), 16-49.
50. William Shakespeare, Much Ado about Nothing, ed. F. H. Mares (Cambridge: Cambridge University Press), note to line 27, p. 111.
51. On this point see John Mcfee, Oranges (New York: Farrar, Strauss and Giroux, 1966).
52. References to these practices are common, especially in Restoration drama and prose. For an earlier example, see Francis Beaumont and John Fletcher, Philaster; Or Love lies a Bleeding (1620), ed. Andrew Gurr (Manchester, UK: Manchester University Press, 2003), in which the king warns Megra, "And all the Court shall hoot thee through the court, / Fling rotten oranges, make ribald Rhymes" (2.4.145).
53. John Tatham's The Rump (1660) includes the character of Priscilla who goes everywhere with her "basket of oranges," and 4.1 of the anonymous The Hectors (1656) includes the stage direction "Enter an orange woman with oranges." Oranges were certainly on sale in theaters during the sixteenth century; see Michael Hattaway, English Popular Theater: Plays in Performance (London: Routledge, Kegan & Paul), 46, where he notes that "orange and beer sellers plied their trade before the play began."
54. R. E. R. Madelaine, "Oranges and Lemans: Much Ado About Nothing, IV, 1, 31," Shakespeare Quarterly 33, no. 4 (Winter 1982): 491-92.
55. S. Tolkowsky, Hesperides: The History and Culture of Citrus (London: Staples and Staples Ltd., 1937), 302.
56. Salamon de Caus, New and Rare Invention of Water-Works, trans. John Leak (London, 1701) (written in French, 1615).
57. I am indebted to William N. West's Theaters and Encyclopedias in Early Modern Europe (Cambridge: Cambridge University Press, 2002), 154-55, for this reference.
58. Ben Jonson, Volpone, or the Fox, ed. Alvin B. Kernan (New Haven, CT: Yale University Press, 1962), 2.1.68-73.
59. John Gerard, The Autobiography of a Hunted Priest, trans. Philip Caraman (New York: Pellegrini and Cudhay, 1952), 119.
60. Citrus was a well-known stain remover in the period. See Leonard Mascall, Of Spots and Stains (London, 1588), A3r.
61. quoted in Gerard, The Autobiography of a Hunted Priest, 139. In the MS, Gerard's name appears in various forms. I have preserved the original spellings in my quotation.
62. Greenblatt, Shakespearean Negotiations, 1-9.
63. Steven Mullaney, The Place of the Stage (Ann Arbor: University of Michigan Press, 1988), 8. Will West's Theaters and Encyclopedias puts Mullaney's comment to excellent use and has within it a genealogy of the process whereby the stage takes its place.
64. On the human subject as a "capital fellow" and the function of the gift, see Jacques Derrida, The Given Time Counterfeit Money 1, trans. Peggy Kamuf (Chicago: University of Chicago Press, 1992), 6-9.
65. While Vincent Pecora's Households of the Soul (Baltimore: Johns Hopkins University Press, 1997) offers a highly critical reading of the anthropology of the gift as a discourse that underwrites our discourses (New Historicism included),
66. in Latour's network-based model, the question of the gift is conserved but transposed into the responsibility toward a continual inquiry into the nature and number of the "actors" in a collective. See Latour, Politics of Nature, 184-220.
67. Tom Cohen, "A Materiality without Matter?" in Material Events: Paul De Man and the Afterlife of Theory, ed. Tom Cohen, Barbara Cohen, J. Hillis Miller, and Andrzej Warminski (Minneapolis: University of Minnesota Press, 2001), ix.
68. Isabelle Stengers, "Becomings," in The Invention of Modern Science, trans. Daniel W. Smith (Minneapolis: University of Minnesota Press, 2000), 159.
69. A model for this mode of reading would be Hans Blumenberg, Shipwreck with Spectator: Paradigms of A Metaphor for Existence, trans. Steven Rendall (Cambridge, MA: MIT Press, 1997).
70. Katherine A. Rowe's Dead Hands: Fictions of Agency Renaissance to Modern (Stanford, CA: Stanford University Press, 2000) clearly offers the most recent example of such a longitudinal study in our discipline.
71. Roland Barthes, A Lover's Discourse: Fragments, trans. Richard Howard (New York: Hill and Wang, 1978) is Barthes's inquiry into chaotic (i.e., nonlinear) systems. He describes love and its lexicon as a code that is actualized according to the Brownian motion of existence - i.e., as a language of fragments (topoi) that will be activated (inexplicably perhaps) by things. He reads Western literature for clues to the stimuli and so offers these object-tropes as relays that combine different time frames in what amounts to a reading of "love" as archive. I should like to thank Kathy Rowe for this orange.
72. M. F. K. Fisher, The Art of Eating (New York: Collier Books, 1990), 27.
73. Jeanette Winterson, Oranges Are Not the Only Fruit (London: Pandora Press, 1985).
74. Thomas Harris, Hannibal (New York: Dell Books, 2000).
75. Karen Tei Yamashita, The Tropic of Orange (Minneapolis: Coffee House Press, 1997), 11.
76. The novel would then be understood to produce a "border fetishism" in the sense that William Pietz develops in his "Afterward: How to Grow Oranges in Norway" in Border Fetishisms: Material Objects in Unstable Spaces, ed. Patricia Spyer (London: Routledge, 1998), 250.
77. Teague, Shakespeare's Speaking Properties, 92-96. Viviana Commensoli's Household Business (Toronto: University of Toronto Press, 1996)
78. and Wendy Wall's Staging Domesticity: Household Work and English Identity in Early Modern Drama (Cambridge: Cambridge University Press, 2002) make key contributions to producing a reading of the place of eating in this genre.
79. William Shakespeare, Titus Andronicus, ed. Alan Hughes (Cambridge: Cambridge University Press, 1994).
80. Rowe, Dead Hands, 52-86.
81. On the convention of meal as framing device for dialogues since Plato's Symposium and the uses of the mouth, see Michel Jeanneret, A Feast of Words: Banquets and Table Talk in the Renaissance, trans. Jeremy Whitely and Emma Hughes (Cambridge, UK: The Polity Press, 1991).
82. "'Eating Well,' or the Calculation of the Subject: An Interview with Jacques Derrida," in Who Comes After the Subject, ed. Eduardo Cadava, Peter Connor, and Jean-Luc Nancy (New York: Routledge, 1991), 115.
83. On the rhetorical form of cookbooks, see Lynette Hunter, "Cookery Books: A Cabinet of Rare Devices and Conceits," Petits Propos Culinaires 5 (1980): 19-24.
84. Thomas Dawson, The good huswifes Iewell (1587), 26-27.
85. Bruno Latour, Pandora's Hope: Essays on the Reality of Science Studies (Cambridge, MA: Harvard University Press, 1999), 281.