bluuebunny/crossref_metadata_2025 huggingface dataset:
Introduction
Authors: Wegge-Olsen N E
Published: November 2023

This book was primarily written as an introduction to K-theory, in particular to the K-theory of C*-algebras. In view of this, Part II of the book may be considered as its central part, with Part I as the “warming up”, providing necessary C*-algebraic machinery. Part III can then be viewed as an illustration of general K-theory on a certain generalized Fredholm index theory. The appendices in Part IV extend Part I in establishing important C*-algebraic technical remedies of more general character.
Multiplier algebras
Authors: Wegge-Olsen N E
Published: November 2023

Since multiplier algebras occur in numerous C*-algebraic arguments, we devote a chapter to an overview of multiplier theory. In this book, the generalized index theory of Chapters 15-17 is formulated in terms of multiplier algebras. Also, multiplier algebras (or, rather, the corona algebras M(A)/ A) arethecentral objects in the study of classification of C*-extensions (Chapter 3), and these are far from irrelevant for K-theory.
Extensions of C*-algebras
Authors: Wegge-Olsen N E
Published: November 2023

Exact sequences, a central tool in homological algebra, also play a major role in K-theory and extension theory, both of which indeed have homological properties, as we shall see in Chapter 11.
Invertibles and unitaries
Authors: Wegge-Olsen N E
Published: November 2023

The results of this chapter are necessary in K-theory for two reasons: invertibles and unitaries implement an important equivalence relation among projections that are used to define K0; and homotopy classes of invertibles or unitaries are precisely the elements of the K1-group. If you find Chapter 4 boring, jump to Chapters 6, 5, and 7 and return for results when you need them.
The index map in K-theory
Authors: Wegge-Olsen N E
Published: November 2023

In this chapter we will discuss the construction and properties of the index map in K-theory, i.e. the map δ connecting the short exact sequences 6.3.2 and 7.1.12 to a long exact sequence
K-theory for multiplier algebras
Authors: Wegge-Olsen N E
Published: November 2023

Below we will exhibit an important generalization by Cuntz [Cul:3.2]. The K-groups still vanish when 𝕂 is substituted by A⊗𝕂, A being an arbitrary C*-algebra. In words: stable multiplier algebras have trivial K-theory.
Some examples: AF-algebras, Cuntz algebras, rotation algebras
Authors: Wegge-Olsen N E
Published: November 2023

Below we will introduce three classes of C*-algebras, namely the approximately finite dimensional algebras (or AF-algebras), the Cuntz algebras On, and the (irrational) rotation algebras Ao. The exposition will be rather brief since a comprehensive study would indeed take up a lot of space. We wash our hands by including some references for the curious or sceptical reader.
The classical Fredholm index
Authors: Wegge-Olsen N E
Published: November 2023

As an appetizer and historical background for the theory of generalized Fredholm operators and their index theory (Chapter 17) we dwell here for some pages on the main results of classical index theory. Since this theory is more than well established, the proofs in the presentation given below will be very sketchy, or may be considered a collection of generously hinted exercises.
Hilbert modules
Authors: Wegge-Olsen N E
Published: November 2023

Hilbert modules form a category in between Banach spaces (they have a little extra geometrical structure) and Hilbert spaces (they are not as well behaving as these). The theory of Hilbert modules started gelling with the work of Paschke in the early seventies (do have a look at [Pas] - it’s a pleasure), but of course the origins can be traced further back (see e.g. [Kap], [Saw]).
The Kuiper—Mingo theorem
Authors: Wegge-Olsen N E
Published: November 2023

And others, too, have been occupied with the possible generalizations of Kuiper’s theorem. In [Tr], for example, Troitskij has reached Mingo’s result by imitating the original proof in [Ku].
Atoms
Authors: Atkins Peter
Published: November 2023

Have seen the outer manifestations of change in the emergence of the biosphere, and the inner mechanisms of that change in the molecular basis of genetics. We have seen what doesn’t change, energy, and we have seen why things change, in terms of entropy. Now we examine the material basis of change in greater detail, so making the transition from elephants to elements.
Arithmetic
Authors: Atkins Peter
Published: November 2023

One of the finest creations of the human mind is mathematics, for not only is it the apotheosis of rational thought but it is also the spine that renders scientific speculation sufficiently rigid to confront experience. Scientific hypo- theses themselves are like jelly; they need the rigidity of mathematical formulation if they are to stand up to experimental verification and fit into the network of concepts that constitute physical science. One widely held view is that mathematics is not a science, for it can spin willy nilly its own universes of discourse, universes that need bear little relation, except in adherence to the rigours of logic, to the world we seem to inhabit. As such, mathematics might be thought an interloper into this volume. However, because it is so central to a scientist’s mode of thought, mathematics is best regarded as a welcome guest and greeted as an honorary science. Moreover, with the march of abstraction in the physical sciences, and the stirring of abstraction in the belly of the bio- logical, determining where mathematics ends and science begins is as difficult, and as pointless, as mapping the edge of a morning mist.
What Kind of Religion?
Authors: Coggins Richard
Published: November 2023

We saw in the last chapter that many of those who have contributed to the literary study of the Old Testament have not themselves been moved by any particular religious commitment, and the same is no doubt true of many of those who find such an approach the most rewarding. Yet it remains the case that probably a majority of those who wish to engage at a serious level with the Old Testament will come to it in some religious context, and it is undeniable that the concerns of the Old Testament itself are overwhelmingly religious. Even in those parts of the collection which have sometimes been described as ‘humanistic’, such as the wisdom books, especially Proverbs, the links with religious concerns are never far away.
Is A Theology Possible?
Authors: Coggins Richard
Published: November 2023

We have given much attention in this book to changes and developments that have affected biblical study in recent years. It might be supposed that after so much upheaval it would be possible to turn to theology as an unchanging still centre amidst all the turmoil. Such an expectation would soon be rudely shattered; theological thinking has undergone dramatic changes, not least when the question has arisen of the kind of theology which can legitimately be derived from the biblical text.
William Blake
Authors: Fuller David
Published: November 2023

There are three independent complete modern editions of Blake ‘s writings, those of Keynes, Erdman, and Bentley. The Keynes text is chronological in arrangement, gives variant readings in the main text, is modernized in punctuation, and has only a limited textual apparatus. The Erdman Concordance is keyed to this edition. Erdman ‘s text (which has become standard for scholarly use) separates the works in illuminated printing from letterpress and manuscript texts (and within this latter grouping also separates poetry and prose). With the poetry (both engraved and manuscript) in order to present an uncluttered reading text it gives variants in textual notes; revisions of prose, however, are retained in the text. The text is not modernized in punctuation or accidentals (which, since Blake ‘s punctuation is idiosyncratic, can make for difficulties-though on some views these are essential to the sense-making experience). It has a brief but good critical commentary by Harold Bloom. Like Erdman, Bentley separates the illuminated books from the rest of Blake ‘s writings. He gives the texts in a somewhat modernized punctuation, with a textual apparatus which signals his emendations, and he gives bibliographic information on each work. Among the many virtues of Bentley ‘s edition the most important is that he also prints (in black and white) about threequarters of the designs. Since Blake produced almost all his poetry in the form of illuminated books with text and designs engraved on copper, printed and usually hand-coloured, it is important wherever possible to read the poetry in its illuminated form. The text of Alicia Ostriker ‘s edition is based on Erdman.
Canadian Television Exports: Into the Mainstream
Authors: Attallah Paul
Published: November 2023

Canadian television was officially launched on 6 September 1952. That night, the Montreal station of the Canadian Broadcasting Corporation (CBC) transmitted the first Canadian TV pictures: the CBC logo printed over a map of Canada. Both appeared upside down. Two nights later the CBC’s Toronto station also took to the airwaves. Bythen, logo and map had been turned right side up.
The Law of the Drama (1894)
Authors: Brunetière Ferdinand
Published: November 2023

Ferdinand Brunetiere (1849—1906)-an influential literary theorist and critic, not a practising playwright—was a man of deeply conservative and Catholic sympathies. He wrote extensively about French classical and nineteenth-century drama as well as other aspects of French literature and history. He taught French language and literature at the Ecole Normale and at the Sorbonne; he also served on the staff of the prestigious Revue des deux mondes, first as contributor, then as secretary and sub-editor and, from 1893 onwards, as editor. In the same year he became a member of the French Academy.
Naturalism (1881)
Authors: Zola Émile
Published: November 2023

Émile Zola (1840-1902), now primarily remembered as a great novelist, also left his mark on the theatre-principally as the passionate advocate of the naturalist drama which was in process of being born in the latter part of the nineteenth century, in the face of much opposition. When he worked as a theatre critic for L’Avenir national (1873), Le Bien public (1876-8), Le Voltaire (1878-80), and Le Figaro (1880-1 and again 1895-6), he went beyond merely reviewing current productions of the Parisian stage and engaged in widely noticed theoretical arguments that attacked the old style of drama and called for something new.
Introduction
Authors: Boddy William
Published: November 2023

This Book Offers a historical account of the ways in which successive media of electronic communication—radio, television, and digital media—have been anticipated, debated, and taken up in the twentieth century in the United States. The project began with the impulse to consider the cultural and economic stakes of the current transition from analogue to digital platforms for moving-image transmission, display, and interaction, a transition heralded as a decisive break with previous media forms and audience practices.
Wireless Nation: Defining Radio as a Domestic Technology
Authors: Boddy William
Published: November 2023

Despite Ubiquitous Claims for the revolutionary nature of the changes associated with the current transition from analogue to digital moving-image media, there is little doubt that the public’s first experiences with wireless communication 100 years ago represent a period of more traumatic uncertainty and improvisation than our own. Moreover, the fundamental economic models, institutions, programme forms, and audience practices which emerged from the first two decades of radio in the twentieth century have proven to be remarkably durable across the decades of successive technological innovations.
The Amateur, the Housewife, and the Salesroom Floor: Promoting Post-war US Television
Authors: Boddy William
Published: November 2023

If The Previous chapter on early radio pointed to a set of remarkably enduring images of domestic media users, this chapter will examine how such constructions of the media audience were deployed in the commercial rivalries associated with the launch of US commercial television after the Second World War. An analysis of the public and trade debates over the nature, uses, and even economic viability of commercial television in the 1940s suggests the value for the historian of a heuristic refusal of the inevitability of the medium’s subsequent spectacular success.
US Television Abroad, 1960/1990: Market Power and National Introspection
Authors: Boddy William
Published: November 2023

Following The Traumatic post-war debates over the viability and nature of commercial television in the American home, the TV industry settled into a half-century of remarkable economic growth and institutional stability. However, after decades of steady expansion and stable industry structures, the early 1990s marked—in both the USA and Europe, in both public service and commercial television systems—a moment of crisis in political and economic legitimization for broadcast institutions and a reconfiguration of the long-established institutional representations of the national audience.
Marketers Strike Back: Virtual Advertising
Authors: Boddy William
Published: November 2023

By The End of the 1990s, the possible effects upon traditional television practices and programme forms brought about by the move to digital broadcasting and the introduction of the digital video recorder were hotly contested within the industry. The distinct capabilities of digital processing of the television signal—high definition, channel proliferation, and interactive services—together with the time-shifting and ad-zapping abilities of the digital video recorder, caused many to question whether advertisers would be able to reach increasingly fragmented and recalcitrant viewers armed with new devices to avoid conventional TV commercials. At the end of 1999, the nascent practice of virtual advertising—the ability to map imported video material seamlessly into the illusionistic space of live action—was seen by many within the TV industry as a timely technological counter-weapon to the domestic television viewer newly armed with anticommercial digital defences.
How God Watches Television: Early Responses to Digital Television
Authors: Boddy William
Published: November 2023

Under The Headline ‘TiVo Revolutionizes TV’, a technology review in Chicago Sun-Times on 8 May 2001 opened with this enthusiastic flourish: ‘At the end of your first day with TiVo, you will finally blink and shout, “Holy cats, this must be how God watches television!” ’ In the brief column which follows, columnist Andy Ihnatko first described TiVo as ‘a powerful video bouncer, making sure that the VIPs get through and the losers stay behind the velvet rope’, and argued that ‘TiVo will definitely terminate your rut of scavenging for entertainment. No longer do you gobble up anything even marginally palatable just because it’s in front of you.
The Merchant’s Tale
Authors: Cooper Helen
Published: November 2023

The omission of the Merchant’s Prologue from Hengwrt and some other manuscripts, together with the signs of revision at the end of the Clerk’s Tale, suggest that it was composed at a late stage and written on a separate leaf. The Tale may originally have been written for a different narrator; the addition of the Prologue both specifies the Merchant as teller, and gives him an appropriate motive in his own personal experience for warning against women and marriage. To extend this motivation into the realm of the psychological, or to try to unfold layers of irony in reading January as a figure for the Merchant, is to go beyond the text, though in changing narrators Chaucer opens up the possibilities for such interpretations.
The Pardoner’s Prologue and Tale
Authors: Cooper Helen
Published: November 2023

The Pardoner’s Tale belongs to the great period of the writing of the Canterbury Tales—not only on grounds of art, but because of its use of such sources as Innocent Ill’s De miseria and Jerome’s Adversus Jovinianum that were at hand for the writing of the Man of Law’s Prologue and most of the tales of Fragments III, IV, and V. There is no proof that the Tale was composed with the Prologue in mind; they work together brilliantly, but the tale has a grim power of its own independent of its speaker. Some of the pecularities of the opening homiletic material, however, and the transition back to the frame at the end of the tale, confirm that the conception of Prologue, Tale, and dramatic ending probably developed as a unit.
The Tale of Melibee
Authors: Cooper Helen
Published: November 2023

It may be because the liveliness of the exchange between the Host and the hapless teller of Sir Thopas overshadows the enclosing tales that many manuscripts head the link with a summary of its contents rather than as the Prologue to Melibee. Just as Chaucer ran the Prioress’s rhyme royal over into the following link, Harry Bailly is here allowed to participate in the idiom of Sir Thopas: ‘the devil I biteche!’ is just such another phrase from popular romance.
Chaucer’s Retractions
Authors: Cooper Helen
Published: November 2023

The Retractions are an integral part of the Tales, or at least of the Parson’s Tale. They appear in all manuscripts of the complete Tales that have not lost the end through damage, and in one of the independent copies of the Parson’s Tale. The case for their being Chaucer’s is as strong as for the Parson’s Tale itself.
Shakespeare under the Tsars
Authors: Stříbrný Zdeněk
Published: November 2023

Although English Comedians, unlike the merchants, did not venture upon tours to Russia, their acting skills and some of their texts were brought by their German successors as far as Moscow and other places of the vast tsarist empire. The reputation of the English strollers was so unrivalled that the trademark ‘English Comedians’ was often used also by German wandering actors. Among them, Pickleherring ruled the roost as usual in jigs, comedies, as well as tragedies. In a Russian play called Bajazed and Tamer/an (acted between 1672 and 1676), roughly derived from Marlowe’s Tamburlaine the Great, the blood thirsty conflict between two oriental tyrants was alleviated by Pickle herring’s gags and gimmicks in which the play’s cynical and farcical elements were concentrated. Russian variations on Pickleherring continued to appear until about the 1720s.
Shakespeare after the Bolshevik Revolution
Authors: Stříbrný Zdeněk
Published: November 2023

The Bolshevik Revolution in October 1917 and the following Civil War between the Red Army and the Whites (tsarist armies supported by foreign legions, 1918-20) led to a massive emigration of the Russian aristocracy, the army elite, and part of the intelligentsia, including a number of actors, directors, and designers.
Comedies
Authors: Miola Robert S
Published: November 2023

What did Shakespeare read in order to write his comedies? He read the classics, probably in Latin and in translation, especially Plautus (c. 250-184 BC) and Terence (c.190-159 BC). These playwrights, heirs to Menander (fourth century BC) and other Greeks, gave to later generations a flexible repertory of comic characters-the old man (senex), wily servant (servus callidus), marriageable girl (virgo), young man (adulescens), braggart soldier (miles gloriosus), parasite (parasitus), and courtesan (meretrix).
Davies on Garrick as King Lear I742-76], Thomas Davies on David Garrick as King Lear, from Dramatic Micellanies [sic], 3 vols. (1784), ii. 318-20.
Authors: Shakespeare Critics Theatre
Published: November 2023

They, who have had the exquisite pleasure to see Mr. Garrick in King Lear, will most unfeignedly wish that his action and elocution could have been perpetuated. A Reynoldsr could have faithfully transcribed a look and an attitude; but, alas! this would have been but an imperfect representation. The wonders of his voice and multiplied expression could not have been preserved! In the preceding scenes of Lear, Garrick had displayed all the force of quick transition from one passion to another: he had, from the most violent rage, descended to sedate calmness; had seized, with unutterable sensibility, the various impressions of terror, and faithfully represented all the turbid passions of the soul; he had pursued the progress of agonizing feelings to madness in its several stages.
May 1776, Henry Bate (Sir Henry Bate Dudley, 1745-1824), on David Garrick as Lear at the Theatre Royal, Drury Lane, London, from The Morning Post, reprinted by James Agate in The English Dramatic Critics I660-I932 (n.d. [1932]), p. 61.
Authors: Shakespeare Critics Theatre
Published: November 2023

Henry Bate DuoLEY, journalist, man-about-town, librettist and clergyman, known as ‘The Fighting Parson’, was a close friend of Garrick and editor of The Morning Post at the time he wrote this piece. The emotionalism of both audience and performers was no doubt enhanced by the knowledge that this was Garrick’s farewell season-he was to play Lear only once more-but additional testimony to the greatness of this particular performance comes from the theatre journal of William Hopkins, the prompter at Drury Lane, who noted that ‘Human nature cannot arrive at greater excellence in acting than Mr Garrick was possessed of this night. All words must fall far short of what he did and none but his spectators can have an idea of how great he was-the applause was unbounded.’
[c.1790-6], Charles Lamb (1775-1834) on Robert Bensley (1742-1817) as Malvolio and James William Dodd (?1740-96) as Sir Andrew Aguecheek in Twe!fth Night, from ‘On Some of the Old Actors’, reprinted from The London Magazine (1822) in his Essays of Elia (1823).
Authors: Shakespeare Critics Theatre
Published: November 2023

Lamb was never a regular drama critic but wrote from time to time about theatrical topics. Although Malvolio was one of Bensley’s most successful parts, Lamb’s eloquent account of his performance seems to be heavily coloured by his own conception of the role. Dodd, who specialized in foppish parts, frequently played Sir Andrew with great success. Lamb, a versatile man of letters, is here writing nostalgically about performances he had seen in the past—Dodd
February 1814, William Hazlitt (1778-1830) on Edmund Kean (1787 or 1789-1833) as Richard III at the Theatre Royal, Drury Lane, London, from The Morning Chronicle; reprinted in e.g. Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York, n.d. (1957]), pp. 3-5.
Authors: Shakespeare Critics Theatre
Published: November 2023

Edmu Nd Kean made a sensational London debut at Drury Lane as Shylock in The Merchant of Venice on 26 January 1814 Though the audience was sparse it included the versatile man of letters William Hazlitt who wrote enthusiastically about the performance in The Morning Chronicle. He wrote later ‘I had been told to give as favourable an account as I could: I gave a true one. I am not one of those who, when they see the sun breaking from behind a cloud, stop to ask others whether it is the moon. Mr Kean’s appearance was the first gleam of genius breaking athwart the gloom of the stage.’ This may seem unfair to Kean’s immediate predecessors, but Kean’s vivid, direct, apparently spontaneous style came as a contrast to the declamatory manner of actors of the school of Kemble, whose genius Hazlitt could also appreciate while welcoming a breaking of the mould. Kean’s style had in fact been anticipated by the brilliant but erratic George Frederick Cooke (1756-r8n).
15 October 1853, Henry Morley (1822-94) on A Midsummer Night’s Dream, produced by Samuel Phelps (1804-78) at the Sadler’s Wells Theatre, London, in his The Journal of a London Playgoer (1866; repr. 1891), pp. 56-61.
Authors: Shakespeare Critics Theatre
Published: November 2023

Henry Morley was a prolific writer and editor and an indefatigable lecturer who became Professor of English in the University of London in 1865. He wrote theatre reviews for The Examiner from 1851 to 1866, when he reprinted most of them in collected form. His mission as a popular educator matched the ideals of interpretation of its meaning. It is pleasant beyond measure to think that an entertainment so refined can draw such a throng of playgoers as I saw last Saturday sitting before it silent and reverent at Sadler’s Wells.
[1887-c.1900], William Winter on Ada Rehan (1860-1916) as Kate in The Taming of the Shrew, from his Shakespeare on the Stage (1912), pp. 520-7 .
Authors: Shakespeare Critics Theatre
Published: November 2023

According to Miss Rehan’s ideal, the shrewishness of Katharine is largely superficial. She is externally a virago, but the loveliest qualities of womanhood are latent in her. She is at war with herself; a termagant in temper; haughty; self-willed; imperious; resentful of control; still more resentful of the thought of submission to love, yet, at heart, ardently desirous of it, and secretly impelled to seek for it. Her spirit is high and fiery, and while she longs for the triumph and the endearments of love, she rages against herself, contemning the weakness which permits her longing, but which really is her, as yet unrecognized, power. That ideal was implied by Miss Rehan’s treatment of the character, and her art, in the implication and expression of it, was as nearly perfect as anything of human fabric can be. The vitality, sympathy, and delicious bloom of her Katharine could not be too freely extolled.
2 October 1897, Bernard Shaw on Johnston Forbes-Robertson (1853-1937) as Hamlet at the Lyceum Theatre, London, from The Saturday Review, reprinted in e.g. Shaw on Shakespeare, pp. 80-8.
Authors: Shakespeare Critics Theatre
Published: November 2023

Forbes -Robertson was a disciple of Samuel Phelps and acted at the Lyceum with Henry Irving.
28 September 1912, John Palmer on The Winters Tale directed by Harley Granville Barker
Authors: Shakespeare Critics Theatre
Published: November 2023

This was the second of the three epoch-making productions at the Savoy in which Barker carried over into the professional theatre some of Poels ideas of a return to the basic principles of Elizabethan and Jacobean staging (the others were of Twelfth Night, also 1912, and A Midsummer Night—s Dream, 1914). He was more of a textual purist than Poel—this production used a virtually complete text—but less austere in the visual aspects of his staging. After these productions he virtually retired from the theatre.
12 November 1937, John Mason Brown (1900-69) on Orson Welles’s production of Julius Caesar at the Mercury Theatre, New York, from The New York Post, reprinted in his Two on the Aisle: Ten Years of American Theatre in Performance (New York, 1938), pp. 38-43, and in Shakespearean Criticism, vol. 17, ed. Sandra Williamson (Detroit, Gale Research, 1992), pp. 319-21.
Authors: Shakespeare Critics Theatre
Published: November 2023

This is no funeral oration such as Miss Bankhead1 and Mr. Tearle2 forced me to deliver yesterday when they interred Antony and Cleopatra. I come to praise Caesar at the Mercury, not to bury it. Of all the many new plays and productions the season has so far revealed, this modern-dress version of the mob mischief and demagoguery which can follow the assassination of a dictator is by all odds the most exciting, the most imaginative, the most topical, the most awesome, and the most absorbing.
[1944], Ronald Harwood (born 1934) on Donald Wolfit (1902-68) as Lear, in his Sir Donald Wolfit: His life and work in the unfashionable theatre (1971), pp. 160-4.
Authors: Shakespeare Critics Theatre
Published: November 2023

He arrived at the theatre with Rosalind1 at five, dressed in a voluminous brown teddy-bear coat acquired in Canada while touring with Barry Jackson.2 Black homburg on head, shoulders stooped, the actor advanced towards the stage-door, paused and glanced at nearby bomb damage, appeared to nod gravely as if he understood some symbolic message contained in the ruins, and marched into the theatre. Being the first performance of the play that season, he went on to the stage, lit by the naked bulbs of working lights, to make sure all was in order. He surveyed the grey set, something like Stonehenge, gazed up at the position of the spotlights, nodded once more, and retired to his dressing room; it was noticed that he was unusually preoccupied.
[1944-5], Kenneth Tynan (1927-80) on Laurence Olivier (1907-89) at the New Theatre, London, as Richard III, in his He that Plays the King (1950), pp. 32-6.
Authors: Shakespeare Critics Theatre
Published: November 2023

From a sombre and uninventive production this brooding, withdrawn player leapt into life, using the circumambient gloom1 as his springboard. Olivier s Richard eats into the memory like acid into metal, but the total impression is one of lightness and deftness. The whole thing is taken at a speed baffling when one recalls how perfectly, even finically, it is articulated: it is Oliviers trick to treat each speech as a kind of plastic vocal mass, and not as a series of sentences whose import must be precisely communicated to the audience: the method is impressionist.
23 July 1949, T. C. Worsley (1907-77) on Tyrone Guthrie’s production of
Henry VIII,
at the Memorial Theatre, Stratford upon-Avon, from
The New Statesman,
reprinted in his
The Fugitive Art: Dramatic Commentaries I947-I95I
(1952), pp. 87-91.
Authors: Shakespeare Critics Theatre
Published: November 2023

There are two Tyrone Guthries, as there are at least two of most of us. There is Mr. Tyrone Guthrie, one of our leading producers, an original artist with a most imaginative mind, a great feeling for the visual, a highly developed sense of theatre. Then there is his alter ego, Master Tony Guthrie, let us call him, an inky urchin, with a fourth-form sense of humour and a violent self-destructive streak: the kind of urchin who, having completed a lovely neat fair copy, can never resist the fleeting impulse to spatter it with blobs of ink. These two Guthries :fight it out in the new production of Henry VIII, the last play to be added to the Stratford Repertory this season. It begins as a close race. Or rather-more exactly-those who have put their money on ‘producer’s theatre,’ and on Mr. Guthrie the artist, are able for quite a long time to remain hopeful.
[1959]? John Russell Brown (born 1923) on All’s Well that Ends Well directed by Tyrone Guthrie at the Shakespeare Memorial Theatre, Stratford-upon-Avon, from his review article “Three Adaptations’ in Shakespeare Survey 13 (i960), pp. 137—45; 140-2.
Authors: Shakespeare Critics Theatre
Published: November 2023

Tyrone Guthrie, directing All’s Well that Ends Well at Stratford in 1959, made some additions to the dialogue to fill out those scenes which had particularly attracted him: so a major-domo instructs lesser servants about “hastening the musicians’ and moving a platform ‘more to the left’, a courtier inquires about the “good old king’ and there are many “Quite so’s’, “Hear, hears’, petty oaths, orders and exclamations; more ambitiously, the Duke of Florence enquires “Is this the machine?’ But Guthrie s invention—in keeping with the present reluctance to accept rewriting—was more plainly shown in numerous dumb-shows, excisions, actions in contradiction to what is said, and deliberate and effective misspeaking of Shakespeare’s lines.
[1959], Laurence Kitchin (born 1913) on Laurence Olivier as Coriolanus, directed by Peter HaU (born 1930) at the Shakespeare Memorial Theatre, Stratford-upon-Avon, from his Mid-Century Drama (i960), pp. 143-9
Authors: Shakespeare Critics Theatre
Published: November 2023

Olivier as Coriolanus again, twenty-one years after he played it at the Old Vic. Casson,1 the director on that occasion, was now eighty-three years old and the Memorial Theatre production of 1959 was in the hands of Hall, aged twenty-eight. On the afternoon of September 10th I arrived at Stratford-on-Avon to find the riverside lawns flanking the theatre a sapless brown, beaten by the sun and the feet of tourists to the same consistency and colour as the grass of London parks in the most torrid summer within living memory.
[1996], Robert Smallwood on The Comedy of Errors, directed by Tim Supple for the Royal Shakespeare Company at The Other Place and on tour; from Shakespeare Survey 50 (1997), pp. 215-19.
Authors: Shakespeare Critics Theatre
Published: November 2023

Tim Supples version of The Comedy of Errors, which opened (prior to a national and international tour) at The Other Place in Stratford in June, came from a world of Shakespeare production altogether different from Ian Judges. Curious, therefore, that this was the first time the RSC had offered the play since Judges own main stage production in 1990, when one actor played both Antipholuses and one both Dromios, creating an evening of slick and brilliant theatrical razzmatazz in which the romance of the play s ending was entirely destroyed by the need to resolve (through the use of doppelgangers) the technical problems created by the doubling. Supple s reading of the piece was infinitely simpler.
Shakespeare in the Theatre (and the Theatre in Shakespeare)
Authors: Taylor Michael
Published: November 2023

In the twentieth century an enormous amount of first-class research went into the investigation of Shakespeare’s theatre as a material and cultural institution: on one level, its buildings, actors, and audiences; on another, its financial and regulatory infrastructures; on a third, its stage traditions and conventions, and, in the wider contexts of its institutional setting, its place in the local (and national) economy, and its social impact on different strata of society. Critics in this century pursuing these kinds of interests had to have at least a nodding acquaintance with disciplines not immediately associated with literary criticism: archaeology, law, anthropology, economics, architecture, and the like. Truly, in this area if in no other, the twentieth-century obsession with scientific method and exactitude would seem to have found its perfect hunting-ground. Here, one would have thought, Moulton’s and Dowden’s ‘rich feelings for positive concrete facts’ would have found the ideal material for a prolonged love affair. And the late nineteenth-century ambition for a steady and reliable evolutionary progress in literary criticism would seem also to have been realized by the patient accumulation of evidence of a satisfyingly confirmable kind about the physical features of the theatres.
Persons
Authors: Smith Bruce R
Published: November 2023

One signal difficulty in talking about masculine identity in Shake speare’s England is the fact that many of the words we use today to talk about self-consciousness did not exist then, or at least not with the meanings we assume. Early modern English provided no ‘ego’, no ‘psyche’, no ‘personality’, not even ‘individual’ in the sense of an inward perception about who one is.
Ideals
Authors: Smith Bruce R
Published: November 2023

If ‘manners maketh man’, Shakespeare and his contemporaries had plenty of places to turn for advice. First of all, to proverbs. ‘As the man is so is his talk.’ ‘One man is no man.’ ‘A man is weal or woe as he thinks himself so.’ ‘Wise men have their mouth in their heart, fools their heart in their mouth.
Passages
Authors: Smith Bruce R
Published: November 2023

For all the fame of books like Castiglione’s The Courtier, early modern masculinity existed not in print but in persons, in human bodies in their physical quiddity, in their susceptibility to changes from within and without. As Plato would put it, ideals present a state of being; realities, a state of becoming.’
Coalescences
Authors: Smith Bruce R
Published: November 2023

However we choose to consider it-in terms of persons, of ethical ideals, of life passages, of relationships with other people-masculinity in Shakespeare’s plays and poems seems precarious. Shakespeare’s male protagonists, when they speak of the bodies they inhabit, describe a highly volatile mixture of fluids. With changes in the combination of humours, qualities that are felt to be masculine, like reason and courage, can be overwhelmed by qualities that are felt to be effeminate, like passion and indolence. How a man presents his person to the world is likewise subject to alteration. On the streets of London no less than on the stage of the Globe, a change in dress can mean a change in perceived identity. Ethical ideals, by their very nature, are marks to be aimed at, not possessions to be seized and enjoyed.
Acting/Seeing Woman Griselda Gambaro’s El despojamiento
Authors: Magnarelli Sharon
Published: November 2023

One of Argentina’s best-known and most highly respected contemporary playwrights, Griselda Gambaro (b. 1928), has written more than two dozen plays and numerous narrative works. Labelled theatre of the absurd, theatre of the grotesque, theatre of cruelty, and, more recently, theatre of crisis, Gambaro’s works focus on oppression, both political and interpersonal. Ironically, although Gambaro’s early works were highly acclaimed, they were also criticized for her apparent indifference to feminist concerns. As might be expected, these criticisms did not appear until the 1980s when feminist theory began influencing Latin American literary analysis. Paradoxically, this was also the decade in which Gambaro’s own growing awareness of feminist issues was already becoming apparent in her works. In fact, many of her plays from the 1g8os focus on the oppression of women, and in them it is often a female character, rather than a male, who represents ‘everyperson’.
The Dialogics of Testimony Autobiography as Shared Experience 1n Nellie Campobello’s Cartucho
Authors: Meyer Doris
Published: November 2023

Among the early ‘novels’ of the Mexican Revolution, the only one written by a woman was Cartucho, published in 1931. From that date to the present, Nellie Campobello’s contribution to this genre has not received the attention it deserves nor has she been adequately recognized as the precursor of more wellknown writers like Elena Garro, Rosario Castellanos, and Elena Poniatowska. This neglect may well be related to the impact Cartucho had when it was published and the nature of its idiosyncratic narrative style which few studies have examined in depth.
Topologies of Catastrophe Horror and Abjection in Diamela Eltit’s Vaca sagrada
Authors: Labanyi Jo
Published: November 2023

In an interview given in 1991, just before the publication of her novel Vaca sagrada, Chilean writer Diamela Eltit described how her experience of reading For Whom the Bell Tolls at the age of 10, while ill, set up a lasting association in her mind between writing, the body, illness, and death (Piña 1991: 227). The central image of Vaca sagrada is menstruation, which traditionally associates the female body with defilement. What interested Eltit here was the female body not as biology but as cultural map:
Cristina Peri Rossi’s Gender Project Rewriting Male Subjectivity and Sexuality in Solitario de amor*
Authors: Levine Linda Gould
Published: November 2023

The writings of Cristina Peri Rossi have long seduced the imagination of the critic in search of transgressive models of gender definitions and sexual roles. Brandishing an allusive and enigmatic literary style, her poetry and prose transport the reader to a metaphorical terrain where phallic power is decentred, sexual multiplicity is suggested, and boundaries of gender and identity are continually collapsed and expanded. Acutely aware of the constraints that fixed definitions place on the subject and well versed in contemporary theories which seek to destabilize phallocentric constructs, Peri Rossi offers her readers a complex body of fiction that inserts itself in a most compelling project for the woman writer: the reconfiguration of male subjectivity and sexuality.
Sonia Coutinho Revisits the City
Authors: Lobo Luiza
Published: November 2023

One of the objectives of feminist criticism has been to challenge the view that women are socially or biologically handicapped in relation to men, thereby helping women break through the barriers imposed by patriarchy and phallocentrism. However, some feminist critics have flirted with versions of biological determinism when discussing the particular characteristics of women’s writing:
Latin American Feminist Criticism Revisited
Authors: Jones Anny Brooksbank
Published: November 2023

With these words Spivak (almost) begins revisiting French feminism, in order to say something about the possibilities of politicizing the theoretical and theorizing the political. This chapter looks at how certain feminist critics have opened up Latin American texts, revisiting, and re- and deconstructing critical theory in the process. It considers the ethico-political securing of these interventions, starting with the construction of feminism itself in a Latin American frame.
Introduction: Italy’s difficult modernization
Authors: Davis John A
Published: November 2023

Few political events caught the imagination of the nineteenth century more dramatically than the creation of an independent and unified state in Italy between 1859 and 1870. Yet in many respects Italy’s unification was just another example of the emergence of new, and of the realignment of older, European states in the same period. Bismarck was forging the new German Reich in the same decades that Italy became a unified nation.
The age of Restoration
Authors: Laven David
Published: November 2023

The defeat of Napoleon in Italy, and the subsequent imposition of Austrian hegemony at the Congress of Vienna, was more than a mere continuation of what Metternich called ‘the three-hundred-year-long struggle for domination in Italy’. The priority given by the Habsburgs in 1814–15 to establishing mastery over the peninsula reflected the way in which this struggle had radically altered since French revolutionary armies first crossed the Alps. Traditionally, Habsburgs and French had fought over Italy for its own sake; from 1797, Napoleon had also used Italy as a base from which to launch attacks deep into the heart land of the Habsburg Empire. After 1815 the rulers of the Habsburg Empire would see control of Italy as an essential bastion against French aggression.
Garibaldi and the South
Authors: Riall Lucy
Published: November 2023

The South played a vital role in the unification of ltaly. Indeed, without the administrative collapse of the Bourbon Kingdom of the Two Sicilies, without the peasant revolt in Sicily in the spring of 1860, and without Giuseppe Garibaldi’s successful invasion in support of the revolution, Italian unification would not have happened. Yet ironically, in the years after unification, the South came to be seen as an obstacle to Italian unity.
Introduction
Authors: McCarthy Patrick
Published: November 2023

In their attempt to legitimize the post-war republic, Italian politicians claimed that it was democratic and that it was born of the Resistance, the anti-fascist struggle against the Mussolini and Hitler regimes. The first of these statements was correct, even if the method chosen for citizens to express their views was proportional representation. This offers the advantage that all shades of opinion are represented in parliament and the disadvantage that it is difficult for citizens to vote into power efficient, long-lasting governments.
Italian environmental policies in the post-war period
Authors: Tunesi Simonetta
Published: November 2023

To trace the main elements in the history of the Italian environment two hypotheses are proposed. First, that the economic and political choices that shape the natural landscape and the urban environments after Second World War predate this era and testify to a deep divide, first of all intellectual and emotional, between the characteristics of environmental and historical resources and the way they were used. Secondly, that the implementation of environmental policies similar to those adopted by other western governments revealed extremely damaging effects in Italy, the land known as the Bel paese,home to more than 60 per cent of the world’s architectural and cultural heritage.
Sport
Authors: Pivato Stefano
Published: November 2023

When describing the Italian political system, historians, journalists, and foreign commentators resort to the word ‘anomaly’. Italy is commonly construed by Europeans as the country which produced a political system like Fascism but, at the same time, the nation which nurtured the largest Communist Party in the West. It is also the country whose frequent government upheavals are more reminiscent of South America than of Europe.
Impegno and the encounter with modernity: ‘high’ culture in post-war Italy
Authors: Gordon Robert S C
Published: November 2023

The history of ‘high’ culture in Italy since 1945 is a history of radical change. This is not least because the boundaries and parameters of the field that constituted culture itself changed almost beyond recognition in this period, in large part owing to the rapid growth in mass media (cinema, radio, popular magazines, and television after 1954). For ‘high’ culture in particular, this meant a massive degree of cross¬ fertilization with ‘lower’ or broader cultural forms and a constant transformation of styles, practices, and audiences.
Introduction
Authors: Oswell David
Published: November 2023

In July 1950 a most extraordinary event in the history of broadcasting took place. In the UK, the British Broadcasting Corporation (BBC) broadcast a series of television programmes, entitled Andy Pandy, aimed at children under 5 years of age. Two years later it was joined by The Flowerpot Men and both programmes were scheduled under the heading Watch with Mother. Later in the 1950s Rag, Tag and Bobtail, Picture Book and The Woodentops were introduced into the series. Even though the BBC had been making children’s radio programmes for nearly thirty years, it had not set aside a regular time of the day for children under 5. Until this moment the ‘very young child’ audience had not been ‘completely neglected’, but it could not, as Derek McCulloch, London Organizer and, later, Controller of Children’s Hour Radio, stated in 1942, be ‘catered for deliberately’.
Geographies of Viewing and the Reconstruction of the Modern Home
Authors: Oswell David
Published: November 2023

The child television audience is construed as a problem for government, broadcasters, teachers, academics, but also parents. The home and family are significant overlapping sites within which this audience is thought about and acted upon. Child, family, and home are not simply fictions produced by broadcasters. They are not simply the imaginary sites addressed by television institutions. They have their own materiality, discourses, and agencies. Sustained knowledge of the audience, as it were, at home—in all its detail, manners, conducts, and quotidian habits-was initially enunciated not by broadcasters alone, and not by academics in any sustained way, but by journalists, designers, architects, and housewives.
The Beginning and End of Time
Authors: Le Poidevin Robin
Published: November 2023

In the 1920s, the American astronomer Edwin Hubble was working at the Mount Wilson Observatory in California. He had joined the staff there after the end of the First World War, at the invitation of his old university teacher at Chicago, George Ellery Hale, although at one stage Hubble had contemplated a career in law. Mount Wilson was a remarkable observatory in a number of ways: it had been built on a mountain top, and so had a clearer view of the skies than observatories situated lower down, where the atmosphere is denser and so filters out more of the light reaching us from space.
The Cinematic Universe
Authors: Le Poidevin Robin
Published: November 2023

Has photography changed the way we think about time? More particularly, has it affected our view of change and motion? Early photographic processes involved long exposure times. and so the first photographs tended to be still lifes, such as Fox Talbot’s ‘The Open Door’, which depicted a broom leaning against a doorway at his home, Lacock Abbey in Wiltshire. But, as the technique developed, photographs gradually became ‘snapshots’. By the 1870s, cameras were capable of taking photographs with exposure times of a thousandth of a second or less. This allowed the American photographer Eadweard Muybridge to undertake a series of studies of animal movement.