ingest cdrApp 2018-06-13T20:38:04.354Z 51cd2fe2-3fd7-401f-a923-a97bc3db68a2 modifyDatastreamByValue RELS-EXT fedoraAdmin 2018-06-13T22:05:37.273Z Setting exclusive relation addDatastream MD_TECHNICAL fedoraAdmin 2018-06-13T22:05:48.677Z Adding technical metadata derived by FITS addDatastream MD_FULL_TEXT fedoraAdmin 2018-06-13T22:06:12.919Z Adding full text metadata extracted by Apache Tika modifyDatastreamByValue RELS-EXT fedoraAdmin 2018-06-13T22:06:35.665Z Setting exclusive relation modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-07-11T03:52:58.606Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-08-15T20:18:27.550Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-09-21T20:35:35.669Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-09-26T23:53:25.287Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-10-12T00:29:58.303Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2019-03-20T18:25:54.420Z Katherine Walker Author Department of English and Comparative Literature College of Arts and Sciences Reading the Natural and the Preternatural Worlds in Early Modern Drama Analyzing almanacs, how-to manuals, and receipt books and drama, “Reading the Natural and Preternatural Worlds in Early Modern Drama,” argues that the stage is in dialogue with vernacular natural philosophical print. The project shows how this archive, taken up by early modern playwrights, complicates our understanding of the methods of deduction in the period and those who might contribute their experiential knowledge of natural and preternatural phenomena to the period’s sciences. In chapters on Mother Bombie and The Wise Woman of Hogsdon, All’s Well That Ends Well, Doctor Faustus, Bartholomew Fair, and Macbeth, the dissertation reads drama equally invested as vernacular print in producing knowledge. The stage offered a means for playing with the modes of interpretation articulated in manual literature, and drama offered an approach that accounted for the intervention of magical agents in the creation of knowledge. The dissertation demonstrates that the frame of science studies can direct our inquiries more accurately towards the many stakeholders in the creation of knowledge on the early modern stage. In focusing on marginalized knowledge, this project explores how the early modern stage was an active venue for participating in the intellectual landscape of the period. Broadening the archive to these under-studied texts, the contributors in the production of knowledge also dilates to include unlikely figures. The project thus captures the uncanny “cunning” of figures such as white witches, female healers, criminals, and clowns. Spring 2018 2018 English literature Theater Science history Cunning, Drama, Manuals, Science, Shakespeare, Vernacular eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution English and Comparative Literature Mary Floyd-Wilson Thesis advisor David Baker Thesis advisor Reid Barbour Thesis advisor Megan Matchinske Thesis advisor Garrett Sullivan Thesis advisor Jessica Wolfe Thesis advisor text Katherine Walker Author Department of English and Comparative Literature College of Arts and Sciences Reading the Natural and the Preternatural Worlds in Early Modern Drama Analyzing almanacs, how-to manuals, and receipt books and drama, “Reading the Natural and Preternatural Worlds in Early Modern Drama,” argues that the stage is in dialogue with vernacular natural philosophical print. The project shows how this archive, taken up by early modern playwrights, complicates our understanding of the methods of deduction in the period and those who might contribute their experiential knowledge of natural and preternatural phenomena to the period’s sciences. In chapters on Mother Bombie and The Wise Woman of Hogsdon, All’s Well That Ends Well, Doctor Faustus, Bartholomew Fair, and Macbeth, the dissertation reads drama equally invested as vernacular print in producing knowledge. The stage offered a means for playing with the modes of interpretation articulated in manual literature, and drama offered an approach that accounted for the intervention of magical agents in the creation of knowledge. The dissertation demonstrates that the frame of science studies can direct our inquiries more accurately towards the many stakeholders in the creation of knowledge on the early modern stage. In focusing on marginalized knowledge, this project explores how the early modern stage was an active venue for participating in the intellectual landscape of the period. Broadening the archive to these under-studied texts, the contributors in the production of knowledge also dilates to include unlikely figures. The project thus captures the uncanny “cunning” of figures such as white witches, female healers, criminals, and clowns. Spring 2018 2018 English literature Theater Science history Cunning, Drama, Manuals, Science, Shakespeare, Vernacular eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution English and Comparative Literature Mary Floyd-Wilson Thesis advisor David Baker Thesis advisor Reid Barbour Thesis advisor Megan Matchinske Thesis advisor Garrett Sullivan Thesis advisor Jessica Wolfe Thesis advisor text Katherine Walker Author Department of English and Comparative Literature College of Arts and Sciences Reading the Natural and the Preternatural Worlds in Early Modern Drama Analyzing almanacs, how-to manuals, and receipt books and drama, “Reading the Natural and Preternatural Worlds in Early Modern Drama,” argues that the stage is in dialogue with vernacular natural philosophical print. The project shows how this archive, taken up by early modern playwrights, complicates our understanding of the methods of deduction in the period and those who might contribute their experiential knowledge of natural and preternatural phenomena to the period’s sciences. In chapters on Mother Bombie and The Wise Woman of Hogsdon, All’s Well That Ends Well, Doctor Faustus, Bartholomew Fair, and Macbeth, the dissertation reads drama equally invested as vernacular print in producing knowledge. The stage offered a means for playing with the modes of interpretation articulated in manual literature, and drama offered an approach that accounted for the intervention of magical agents in the creation of knowledge. The dissertation demonstrates that the frame of science studies can direct our inquiries more accurately towards the many stakeholders in the creation of knowledge on the early modern stage. In focusing on marginalized knowledge, this project explores how the early modern stage was an active venue for participating in the intellectual landscape of the period. Broadening the archive to these under-studied texts, the contributors in the production of knowledge also dilates to include unlikely figures. The project thus captures the uncanny “cunning” of figures such as white witches, female healers, criminals, and clowns. Spring 2018 2018 English literature Theater Science history Cunning, Drama, Manuals, Science, Shakespeare, Vernacular eng Doctor of Philosophy Dissertation English and Comparative Literature Mary Floyd-Wilson Thesis advisor David Baker Thesis advisor Reid Barbour Thesis advisor Megan Matchinske Thesis advisor Garrett Sullivan Thesis advisor Jessica Wolfe Thesis advisor text University of North Carolina at Chapel Hill Degree granting institution Katherine Walker Author Department of English and Comparative Literature College of Arts and Sciences Reading the Natural and the Preternatural Worlds in Early Modern Drama Analyzing almanacs, how-to manuals, and receipt books and drama, “Reading the Natural and Preternatural Worlds in Early Modern Drama,” argues that the stage is in dialogue with vernacular natural philosophical print. The project shows how this archive, taken up by early modern playwrights, complicates our understanding of the methods of deduction in the period and those who might contribute their experiential knowledge of natural and preternatural phenomena to the period’s sciences. In chapters on Mother Bombie and The Wise Woman of Hogsdon, All’s Well That Ends Well, Doctor Faustus, Bartholomew Fair, and Macbeth, the dissertation reads drama equally invested as vernacular print in producing knowledge. The stage offered a means for playing with the modes of interpretation articulated in manual literature, and drama offered an approach that accounted for the intervention of magical agents in the creation of knowledge. The dissertation demonstrates that the frame of science studies can direct our inquiries more accurately towards the many stakeholders in the creation of knowledge on the early modern stage. In focusing on marginalized knowledge, this project explores how the early modern stage was an active venue for participating in the intellectual landscape of the period. Broadening the archive to these under-studied texts, the contributors in the production of knowledge also dilates to include unlikely figures. The project thus captures the uncanny “cunning” of figures such as white witches, female healers, criminals, and clowns. Spring 2018 2018 English literature Theater Science history Cunning, Drama, Manuals, Science, Shakespeare, Vernacular eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution English and Comparative Literature Mary Floyd-Wilson Thesis advisor David Baker Thesis advisor Reid Barbour Thesis advisor Megan Matchinske Thesis advisor Garrett Sullivan Thesis advisor Jessica Wolfe Thesis advisor text Katherine Walker Creator Department of English and Comparative Literature College of Arts and Sciences Reading the Natural and the Preternatural Worlds in Early Modern Drama Analyzing almanacs, how-to manuals, and receipt books and drama, “Reading the Natural and Preternatural Worlds in Early Modern Drama,” argues that the stage is in dialogue with vernacular natural philosophical print. The project shows how this archive, taken up by early modern playwrights, complicates our understanding of the methods of deduction in the period and those who might contribute their experiential knowledge of natural and preternatural phenomena to the period’s sciences. In chapters on Mother Bombie and The Wise Woman of Hogsdon, All’s Well That Ends Well, Doctor Faustus, Bartholomew Fair, and Macbeth, the dissertation reads drama equally invested as vernacular print in producing knowledge. The stage offered a means for playing with the modes of interpretation articulated in manual literature, and drama offered an approach that accounted for the intervention of magical agents in the creation of knowledge. The dissertation demonstrates that the frame of science studies can direct our inquiries more accurately towards the many stakeholders in the creation of knowledge on the early modern stage. In focusing on marginalized knowledge, this project explores how the early modern stage was an active venue for participating in the intellectual landscape of the period. Broadening the archive to these under-studied texts, the contributors in the production of knowledge also dilates to include unlikely figures. The project thus captures the uncanny “cunning” of figures such as white witches, female healers, criminals, and clowns. English literature Theater Science history Cunning; Drama; Manuals; Science; Shakespeare; Vernacular eng Doctor of Philosophy Dissertation English and Comparative Literature Mary Floyd-Wilson Thesis advisor David Baker Thesis advisor Reid Barbour Thesis advisor Megan Matchinske Thesis advisor Garrett Sullivan Thesis advisor Jessica Wolfe Thesis advisor text University of North Carolina at Chapel Hill Degree granting institution 2018 2018-05 Katherine Walker Author Department of English and Comparative Literature College of Arts and Sciences Reading the Natural and the Preternatural Worlds in Early Modern Drama Analyzing almanacs, how-to manuals, and receipt books and drama, “Reading the Natural and Preternatural Worlds in Early Modern Drama,” argues that the stage is in dialogue with vernacular natural philosophical print. The project shows how this archive, taken up by early modern playwrights, complicates our understanding of the methods of deduction in the period and those who might contribute their experiential knowledge of natural and preternatural phenomena to the period’s sciences. In chapters on Mother Bombie and The Wise Woman of Hogsdon, All’s Well That Ends Well, Doctor Faustus, Bartholomew Fair, and Macbeth, the dissertation reads drama equally invested as vernacular print in producing knowledge. The stage offered a means for playing with the modes of interpretation articulated in manual literature, and drama offered an approach that accounted for the intervention of magical agents in the creation of knowledge. The dissertation demonstrates that the frame of science studies can direct our inquiries more accurately towards the many stakeholders in the creation of knowledge on the early modern stage. In focusing on marginalized knowledge, this project explores how the early modern stage was an active venue for participating in the intellectual landscape of the period. Broadening the archive to these under-studied texts, the contributors in the production of knowledge also dilates to include unlikely figures. The project thus captures the uncanny “cunning” of figures such as white witches, female healers, criminals, and clowns. Spring 2018 2018 English literature Theater Science history Cunning, Drama, Manuals, Science, Shakespeare, Vernacular eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution English and Comparative Literature Mary Floyd-Wilson Thesis advisor David Baker Thesis advisor Reid Barbour Thesis advisor Megan Matchinske Thesis advisor Garrett Sullivan Thesis advisor Jessica Wolfe Thesis advisor text Katherine Walker Creator Department of English and Comparative Literature College of Arts and Sciences Analyzing almanacs, how-to manuals, and receipt books and drama, “Reading the Natural and Preternatural Worlds in Early Modern Drama,” argues that the stage is in dialogue with vernacular natural philosophical print. The project shows how this archive, taken up by early modern playwrights, complicates our understanding of the methods of deduction in the period and those who might contribute their experiential knowledge of natural and preternatural phenomena to the period’s sciences. In chapters on Mother Bombie and The Wise Woman of Hogsdon, All’s Well That Ends Well, Doctor Faustus, Bartholomew Fair, and Macbeth, the dissertation reads drama equally invested as vernacular print in producing knowledge. The stage offered a means for playing with the modes of interpretation articulated in manual literature, and drama offered an approach that accounted for the intervention of magical agents in the creation of knowledge. The dissertation demonstrates that the frame of science studies can direct our inquiries more accurately towards the many stakeholders in the creation of knowledge on the early modern stage. In focusing on marginalized knowledge, this project explores how the early modern stage was an active venue for participating in the intellectual landscape of the period. Broadening the archive to these under-studied texts, the contributors in the production of knowledge also dilates to include unlikely figures. The project thus captures the uncanny “cunning” of figures such as white witches, female healers, criminals, and clowns. 2018-05 2018 English literature Theater Science history Cunning; Drama; Manuals; Science; Shakespeare; Vernacular eng Doctor of Philosophy Dissertation University of North Carolina at Chapel Hill Graduate School Degree granting institution Mary Floyd-Wilson Thesis advisor David Baker Thesis advisor Reid Barbour Thesis advisor Megan Matchinske Thesis advisor Garrett Sullivan Thesis advisor Jessica Wolfe Thesis advisor text Walker_unc_0153D_17820.pdf uuid:2bc3ea7f-2f54-4de5-9943-260e04fbf2b5 2020-06-13T00:00:00 2018-05-06T20:19:46Z proquest application/pdf 3199417