ingest cdrApp 2017-07-06T13:12:37.891Z f230b17a-68de-497f-ac05-5cb17af9fe4f modifyDatastreamByValue RELS-EXT cdrApp 2017-07-06T13:18:02.664Z Setting exclusive relation modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-01-25T01:04:13.016Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-01-27T01:56:52.538Z modifyDatastreamByValue RELS-EXT fedoraAdmin 2018-02-09T11:01:42.793Z Setting exclusive relation addDatastream MD_TECHNICAL fedoraAdmin 2018-02-09T11:01:53.912Z Adding technical metadata derived by FITS addDatastream MD_FULL_TEXT fedoraAdmin 2018-02-09T11:02:16.390Z Adding full text metadata extracted by Apache Tika modifyDatastreamByValue RELS-EXT fedoraAdmin 2018-02-09T11:02:39.071Z Setting exclusive relation modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-03-13T21:36:28.413Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-05-16T19:13:20.743Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-07-10T20:10:25.735Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-07-17T16:26:41.130Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-08-02T16:25:15.051Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-08-08T15:52:54.762Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-08-14T20:13:31.979Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-08-16T16:02:19.916Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-09-21T13:37:51.834Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-09-26T16:25:00.469Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-10-10T16:51:16.134Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2018-10-11T17:23:57.438Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2019-02-28T00:30:45.561Z modifyDatastreamByValue MD_DESCRIPTIVE cdrApp 2019-03-19T19:48:10.123Z Jennifer Park Author Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. Spring 2017 2017 English literature 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 Jessica Wolfe Thesis advisor text Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. Spring 2017 2017 English literature 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 Jessica Wolfe Thesis advisor text Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. Spring 2017 2017 English literature 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 Jessica Wolfe Thesis advisor text Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017-05 2017 English literature 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 Jessica Wolfe Thesis advisor text Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 University of North Carolina at Chapel Hill Degree granting institution Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 University of North Carolina at Chapel Hill Degree granting institution Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences Immortal Longings: Towards a Poetics of Preservation on the Early Modern Stage “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Jennifer Park Creator Department of English and Comparative Literature College of Arts and Sciences “Continually we bear about us,” John Webster asserts through Bosola, “A rotten and dead body.” In a late fifteenth-century copy of the popular medieval pharmacopia, the Livre des simples médecines, the entry for momie—or mummy, a corpse drug often in the form of a powder made from embalmed bodies—is illustrated by “an image of an open tomb displaying its grisly contents: a blackened skeletal corpse with its abdomen sliced open, its head thrust back and the hands coyly covering the genitals.” Ideas of decay terrified the early moderns, but preservation was no less troubling. Caught up in the powder of embalmed bodies and the search for the philosopher’s stone were worries over the inevitable decline of all physical matter. My dissertation, theoretically and physiologically attuned to such displays, locates some of the richest metaphorical manifestations of immortality and/or corruption on stage, in performance. Drawing on Shakespeare’s Antony and Cleopatra, John Webster’s The Duchess of Malfi, Shakespeare’s Macbeth, and Ben Jonson’s The Alchemist, as well as advancements in medicine and natural philosophy in the seventeenth century, “Immortal Longings” examines how early modern dramatic works conceptualize material experiments in preservation: sugar melted in Cleopatra’s (dis)candying, mummy evaluated in the Duchess of Malfi’s circulation, milk curdled in Lady Macbeth’s “unsex”-ing, and alchemical solvents recreated from the alchemist’s menstrues. Theatre is especially resonant because it enables this recursive flexibility: it is a “laboratory” space that provides the chance to see matter revitalized, transformation enacted, and stasis secured. By connecting vitality in the material with the ephemerality of performance, performative preservation provides early moderns with a fertile site for experimenting with change and flexibility in permanence. “Immortal Longings” seeks to intervene in Renaissance debates over the viability and righteousness of extending human life; it asks us to look for the first time at the poetic interplay between preservation and alteration, permanence and vitality, drawing inferences between and across categories and opening up the possibility that constructs of life and time may very much be open to human intervention, conceivably in the Renaissance and beyond. 2017 English literature 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 Jessica Wolfe Thesis advisor text 2017-05 Park_unc_0153D_16837.pdf uuid:6e0329ab-61e3-41ef-8d2a-cc95b2de4f96 proquest 2019-07-06T00:00:00 2017-04-06T20:42:26Z yes application/pdf 1073573