bluuebunny/crossref_metadata_2025 huggingface dataset:
“Write a Dance”: Lazarus Laughed as O'Neill's Dithyramb of the Western Hemisphere
Authors: Sarlós Robert K.
Published: October 2010

Eugene O'Neill pushed his habitual experimentation with theatrical forms toward the establishment of a radically new esthetic in The Great God Brown (1925) and Lazarus Laughed (1926). He groped toward a poetic theatre with religious and ceremonial overtones that involved further visual and aural departures from the accepted norm of Broadway productions. In the first of these plays, O'Neill's mastery of visceral effects continues to cast a spell over spectators in occasional imaginative and skillful productions. But the second remains his least accessible; ever since its first production at the Pasadena Playhouse in April 1928, it has continued to mystify or repel both theatre people and litterateurs.
The Origins of the O'Neill Renaissance: A History of the 1956 Productions of The Iceman Cometh and Long Day's Journey into Night
Authors: Garvey Sheila Hickey
Published: October 2010

At a press conference to publicize the opening of The Iceman Cometh in 1946, Eugene O'Neill was quoted as saying that he considered America “instead of the most successful country in the world,… its greatest failure…, the greatest failure because it was given everything, more than any other country. Through moving as rapidly as it has, it has never acquired any real roots. Its main idea is that everlasting game of trying to possess your own soul and the things outside of it, too.”
Reviewers' Responses to the Early Plays of Eugene O'Neill: A Study in Influence
Authors: Jiji Vera
Published: October 2010

Eugene O'Neill would certainly have agreed with Susanne Langer's suggestive description of drama in Feeling and Form:

Drama is a great form which…. express[es]…. the whole life of feeling—call it “felt life,” “subjectivity,” “direct experience,” or what you will—which finds its articulate expression in art, and, I believe—only in art…. It…. objectif[ies] our subjective being—the most intimate “Reality” that we know. This function, and not the recording of contemporary scenes, politics, or even moral attitudes, is what relates art to life (366).
Long Day's Journey was the “Wrong” Play
Authors: Ryan Pat M.
Published: October 2010

“I don't think I'll have anything very interesting to tell you.”

When I met and interviewed Karl Ragnar Gierow in his office at the Royal Swedish Academy, Stockholm, February 27, 1973, he at first expressed skepticism about whether there was any Eugene O'Neill story to be told. But I had earlier paid several visits to the archives of the Royal Dramatic Theatre (Kungliga Dramatiska Teatern/ Dramaten); had closely researched the historic O'Neill world premieres (1956–62) while Gierow was Dramaten's General Intendant (Manager); and had been carefully coached by Stig Torsslow, the theatre's venerable Dramaturg, concerning Gierow's exploits in acquiring, translating, and producing four of O'Neill's posthumous plays. These comprised Long Day's Journey into Night (February 10, 1956); A Touch of the Poet (March 19, 1957); Hughie (September 18, 1958); and More Stately Mansions (November 9, 1962). I had come to my appointment with Gierow bearing some essential facts and with plenty of questions about Long Day's Journey and the playwright's widow, Carlotta Monterey O'Neill. Gierow was cordial, accommodating, and forthcoming with marvelous remembered details. I returned to Finland (where I was a Senior Fulbright-Hays Scholar) full of appreciation for Torsslow's avuncular counsel and Gierow's vivid recollections. I carried along voluminous notes from my longsought interview and copies of some O'Neill scripts from Dramaten for the Library of Åbo Akademi.
Eugene O'Neill and Poetic Realism: Tragic Form in the Belgian Premiere of Long Day's Journey into Night
Authors: Maufort Marc
Published: October 2010

As the critics Horst Frenz and Susan Tuck have made abundantly clear, O'Neill's theatrical reputation on the European continent has often fared well. Witness thereof are the splendid productions that the dramatist's later dramas received at the Royal Dramatic Theatre in Stockholm. Although the major foreign productions of O'Neill have by now been documented, those of smaller European countries such as Belgium have remained rather obscure. And yet, I would argue that the Belgian premiere of Long Day's Journey into Night possesses a significant historical importance. It took place, in a French adaptation, in the provincial town of Charleroi in March 1970 as a venture of the “Théâtre de l'Ancre.’ This production, if not flawless, emphasized O'Neill's mastery of poetic stage realism, and thus offered new insights into the meaning of his tragic experiments.
Edwin Booth's First Critic
Authors: Shattuck Charles H.
Published: October 2010

The chapter of the life of Edwin Booth which deals with his emergence as a tragic actor during his early years in San Francisco is haunted by a friendly but flickering ghost called Ferdinand Ewer, critic. Booth declared to Ewer, many years afterward, that, although many “puffs” had appeared previously, “the first criticism of my acting was written by yourself.” And ever since that remark was printed in Edwina Booth Grossmann's collection of her father's letters (Edwin Booth, 1893), the biographers have hunted for, and even satisfied themselves that they have found, what Ewer wrote that Booth prized so highly.
The Black Crook Myth
Authors: Mates Julian
Published: October 2010

Dates and events are frequently useful scholarly pigeonholes into which may be neatly tucked whole periods of literature or significant literary trends. The scholar knows them to be oversimplifications, but so long as their limitations are recognized, they remain useful tools for teaching, talking, and writing. Occasionally, however, history is hung from a date so unreliable and so unjustified that delineation of material is blurred rather than clarified, traditions are obscured rather than illuminated, and fields of research are closed rather than opened. American theatre history affords a perfect example of the misused common reference point. The year 1866, with its production of The Black Crook, has been accepted as the landmark indicating the beginnings of American musical comedy. Cecil Smith, in Musical Comedy in America, says, “For all important purposes, the history of musical comedy in America starts with The Black Crook, as everyone has always said it did.”
Madame Vestris' A Midsummer Night's Dream and The Web of Victorian Tradition
Authors: Williams Gary Jay
Published: October 2010

The long stage life of A Midsummer Night's Dream as a leafy Victorian valentine, with all the traditions our era has so strained to be rid of, is all but gone—with few questions ever having been asked about its origins and development. That Victorian stage image of the play, still familiar to us, owes the most to the production of the remarkable Madame Lucia Elizabeth Vestris. Her A Midsummer Night's Dream opened on 16 November 1840, in the second of her three season management of Covent Garden with her new husband and lessee, Charles James Mathews. As well as restoring the text, for which Odell duly credited her, Vestris set many precedents in staging, casting, costuming, and music. Her production has never been studied in detail, either for itself or its considerable influence.
Hardy vs. Pinero: Two Stage Versions of Far From the Madding Crowd
Authors: Stottlar James F.
Published: October 2010

The drama critic for the Saturday Review began his column of 7 January 1882 by alluding to the "new and curious chapter" which was then being "added to the 'Calamities and Quarrels of Authors.'" He was referring to the furor which followed the production a week earlier of Arthur Wing Pinero's new play The Squire at the St. James's Theatre in London, and which was fast becoming the most publicized literary wrangle in years. Within hours of the fall of the curtain on opening night Pinero found himself accused by a number of newspaper reviewers of having stolen his plot, situations, and main characters from Thomas Hardy's Far From the Madding Crowd (1874).
Goldoni's Secrets
Authors: Cope Jackson I.
Published: October 2010

The volumes of the Pasquali edition of Goldoni's collected works are preceded by pieces of critical autobiography. Issued in Venice in 1761, the year before Goldoni's move to Paris, they constitute his first extended commentary upon his achievement and the life adventures in and outside of the theatre from which so much of it was derived. Not the least embarrassing of these immodest essays was that in the first volume, which displayed Goldoni's pride in his precocity as a child playwright. More was perhaps said, though, in the engraved frontispiece than in the verbal boasting.
Wedekind, The Actor: Aesthetics, Morality, and Monstrosity
Authors: Kuhns David F.
Published: October 2010

According to his good friend and first biographer, Artur Kutscher, Frank Wedekind decided to become a professional actor because he felt that his plays were being misrepresented to the public by actors who didn't understand the characters he had created. Specifically, the failure of the first performances of Der Marquis von Keith [1899] in 1901 spurred Wedekind, the chagrined playwright, to brush aside any hesitations that had previously deterred Wedekind, the amateur and occasional actor. Wedekind was a man of intense contradictions. He increasingly would aspire to the respectability of middle-class family life; yet his self-assumed, dogged notoriety as a bohemian was to frustrate this ambition to the end of his life. He was a playwright who both celebrated the awakening of human sexual vitality and at the same time probed its inherent life-destroying potential. In rendering his own unique understanding of human nature, the totality of expression to which he aspired as a playwright hurtled him, as an actor, right into the torrid center of the dramatic world he had created.
Extortion in the Name of Art in Elizabethan England: The Impressment of Thomas Clifton for the Queen's Chapel Boys
Authors: Forse James H.
Published: October 2010

In 1599–1600, after a lapse of almost ten years, the children's acting companies reappeared in London. The Paul's Children seem to have been the first to resume playing, quietly and modestly, no doubt testing the waters. After all, the boys' companies had one after another been officially suppressed between 1584 and 1590 because of their penchant for controversial material and the continual litigation among investors in the various earlier companies. Seeing the growing success of Paul's Boys, one of these earlier investors, Henry Evans, a Welsh scrivener, worked to reconstitute a company of boy actors at Blackfriars, seeking to make good on his aborted first attempt as a theatrical entrepreneur.
Telling the Story of Albee'sWho's Afraid of Virginia Woolf?: Theatre History and Mythmaking
Authors: Spector Susan
Published: October 2010

Who's Afraid of Virginia Woolf?opened on Broadway on 13 October 1962. The author, producers, director and two leading actors won Tony Awards for that season; the play won the New York Drama Critics' Award, and two members of the Pulitzer Committee resigned when that group refused to giveVirginia Woolfits top honor. This production of the play captured the vigor and emotional daring of off-Broadway, brought it uptown, and made it pay, running for 644 performances on Broadway. Early in 1964, when Uta Hagen and Arthur Hill repeated their roles in London for twelve weeks,Who's Afraid of Virginia Woolf?became the first post-war American production to achieve a critical success in the West End. The story of this landmark production has been told piecemeal by writers in the popular press, by theatre historians, and in sharply differing accounts by its director, Alan Schneider. Collation of published testimony about the production with unpublished materials such as correspondence, diaries, and interviews with principals reveals the complex artistic process that led to the success of this play. The different versions of the story reveal the risks of storytelling and some of the challenges storytellers present to theatre historians.
The Grieve Family: Patterning in Nineteenth-Century Scene Designs
Authors: Hazelton Nancy J. Doran
Published: October 2010

British theatre in the nineteenth century operated very much like a family business. Touring companies of necessity depended upon core family groups to manage the affairs, to perform the plays, and to nurture the children. London companies—though not so inbred as the provincials—often saw husbands and wives, parents and children perform together; indeed acting dynasties established in the last century extended well into this one. These actors, at whatever age, were perforce versatile, as an evening's bill might require appearances in an opening melodrama, a Shakespearean tragedy, then a farce to finish. And each of the items on an evening's playbill required scenery. The job of providing those sets was likewise often a family undertaking, though one that lacked female roles: father taught son; son taught grandson. From the beginning of the century until almost the end, the Grieve family—John Henderson Grieve (1770–1845), his sons Thomas (1799–1882) and William (1800–1844), and grandson Thomas Walford Grieve (1841–1899)—designed and painted scenery for some of the most important productions of those years—as well as for some of the most inconsequential and forgettable.
The First Shakespeare Film: A Reconsideration and Reconstruction of Tree's King John
Authors: Kachur B. A.
Published: October 2010

In his seminal studies of Shakespeare on film—one appearing in an earlier number of this publication—Robert Hamilton Ball traced Beerbohm Tree's involvement with four film projects that spanned his twenty-year career (1897–1917) at His Majesty's Theatre: the opening shipwreck from his 1904 revival of The Tempest, captured on film at His Majesty's in 1905 by Charles Urban; a five-scene version of Henry VIII based on his 1910 production featuring him as Cardinal Wolsey and filmed in February 1911 at William Barker's Ealing studio; a 1916 Macbeth, bearing no direct resemblance to his 1911 stage version, filmed in California by D.W. Griffith with Tree playing the title role; and, though allegedly not as extensive as the others but certainly the most important historically, a brief segment from his King John revival filmed in 1899 on the Adelphi embankment—Tree's initial cinematographic venture and the very first record of Shakespeare on film. Although little is known about the exact nature of these films because the primary sources—the films themselves—are lost, Ball, working from the knowledge that the films were, in the main, transcriptions of either the stage revivals or Tree's roles, reconstructed their contents by culling mostly from theatrical documents such as reviews and programs and augmenting these with rare descriptions or photographs from the films whenever available.
The Curtainless Stage and the Procrustean Bed: Socialist Realism and Stalinist Theatrical Eminence
Authors: Golub Spencer
Published: October 2010

With the advent of the 1917 Revolution, “the whole of the Russian cultural world [became] an icon.” Soviet power retroactively encoded revolutionary imminence and immanence in history and fetishized the revolutionary historical moment as the pregnant body of past, present and future. Leon Trotsky wrote: “If the symbol is a concentrated image, then the revolution is the supreme maker of symbols, since it presents all phenomena and relations in concentrated form.” Lenin's belief that “a communist [proletarian] culture must embody the entire store of knowledge accumulated in the pre-revolutionary past” could not, however, fully predict the Soviets' gross and wholesale advertisement of self-made objects inscribed with ideological desire. This owed more to what Renato Poggioli called the “pronounced tendency of the Russian critical spirit to translate artistic and cultural facts into religious or political myths.” This tendency was exploited by Joseph Stalin, who recognized that “Totalitarianism is … itsown Utopia.”
Renderings of the Charleston, South Carolina, Theatre of 1793
Authors: Curtis Julia
Published: October 2010

Charleston will be celebrating another bicentennial in 1993, the restoration of its theatre. Several illustrations of the Charleston Theatre of 1793, its scenery, costumes, and performers have recently surfaced, enabling us to celebrate its bicentennial more vividly. An oil painting of the theatre under construction reappeared in a private estate in 1989 and was purchased by the Gibbes Art Gallery, Charleston, the following year. In addition, watercolors and pencil sketches of the interior of the theatre, its scenery, and costumes have recently been deposited at the South Carolina Historical Society.
Covent Garden Theatre, 1732
Authors: Orrell John
Published: October 2010

It has long been known that details of the design of John Rich's Covent Garden theatre of 1732 are contained in the Chancery bill of complaint that he entered against the builder, Edward Shepherd, in Shepherd's lengthy answer, and his counter-complaint. These documents, written on the usual great membranes and now rather scuffed and rubbed, are difficult to work with because of their physical characteristics and their interminable repetitiveness.
Bayreuth Festspielhaus: Enchaining the Audience
Authors: Williams Simon
Published: October 2010

In order to recuperate from the rigors of the first production of The Ring at Bayreuth, Richard and Cosima Wagner took an Italian vacation. During their travels they visited the Sistine Chapel. After he had observed the interior, Richard pronounced, “This is like my theatre, one feels it is no place for jokes.” Cosima, never one to contradict her husband, reserved comment. In fact, there can be little doubt that she agreed with him, for in her Diaries she consistently invests the Festspielhaus with an aura of sanctity.
What Says the Fire Chief?
Authors: Read Alan
Published: October 2010

As a theatre practitioner I am interested in how the conventions and jurisdictions which determine what I can do and cannot do, under the sign of theatre, came to be. The most intriguing of these determinations are, of course, the silent ones, those about which least is said but on which most is predicated. These are what I call theatre taboos, a complex of shadowy restraints and controls, from prompting to possession, that transgress the theatre's limit, informs us politely what theatre is not and in so doing inadvertently tells us something about what theatre is.
Anna Brenko and the Pushkin Theatre: Moscow's First art Theatre?
Authors: Schuler Catherine
Published: October 2010

Western scholarship on Russian theatre has been so dominated by a few prominent figures that the casual student of theatre history might justifiably be left with the impression that Russian theatre began in 1898 with the founding of the Moscow Art Theatre and ended in the 1930s with Stalin's “purification” of Soviet art and literature and the untimely disappearance of Meierhold. The absence of a significant body of research further reinforces the notion that a small gaggle of men—most notably, those associated with the MAT—were solitary beacons of progress in the otherwise barren landscape of nineteenth-century popular theatre.
The Portrayal of Darkness and Sixth Sense on the Nineteenth-Century-English Stage
Authors: King W. D.
Published: October 2010

In the nineteenth century darkness became visible in the English theatre. To know how this is so, one must glimpse the word “darkness” in its own shadow, its dimmest connotations. “That which hides or is hidden” is the root sense of “darkness,” but it is cognate with words meaning “to trouble or disturb.” The scene (in both spellings) will draw heavily on the unseen for its effect, and the darkness of the theatre resides in its capacity to both hide and reveal that which disturbs, playing always with the paradox of light and darkness, trouble and freedom from trouble, in such a way that darkness itself can become entrancing, an attraction, while the light(ed) repels or pales into insignificance. The theatre both chases troubling reality away from the brightly illuminated stage and gives centrality to the darkness at the focal point of the spectacle—that internal, infernal essence that Milton, in his portrayal of Satan's realm, termed “darkness visible.” A combination of circumstances during the nineteenth century brought dark phenomena to the fore in theatrical representations, first within the marginal exhibition halls and later on the legitimate stage. This essay will trace out one network of historical associations within that development.
The Emerging Ensemble: The Vieux-Colombier and the Group Theatre
Authors: Whitmore Richard Alan
Published: October 2010

The founding of experimental ensembles dominates the history of Western theatre in the first half of the twentieth century. Groups of theatre artists, desperate to revive and resuscitate an art grown stale and lifeless, banded together, seeking common ground in the period's vast swirl of artistic and ideological sensibilities. These groups, from the Moscow Art Theatre to the Berliner Ensemble, produced a broad range of performances, yet all shared a common commitment to change and theatrical growth. Two of these, the Group Theatre and Jacques Copeau's Théâtre du Vieux-Colombier participated in and elevated this world-wide phenomenon. Since they share some common roots, an exploration of the relationship between the Vieux-Colombier and the Group yields some insights into the formation and maintenance of an acting ensemble.
Nazi Berlin and the Grosses Schauspielhaus
Authors: Shafer Yvonne
Published: October 2010

The Grosses Schauspielhaus in Berlin was a theatrical showplace in several incarnations. The building itself was initially a great market situated near the Spree River in the center of Berlin. In the latter part of the nineteenth century it was converted to an enormous circus which drew crowds to see outstanding exhibitions of horsemanship and other circus acts. It also served as a great meeting hall for such events as Robert Koch's international congress dealing with tuberculosis in 1890. The large amphitheatre in the huge building was a symbol of the growing population of Berlin and its increasing prosperity. The history of the various uses to which the theatre was put in the twentieth century is an important reflection of the changes in German society in this period. During the time of the Third Reich it was an important element in culture and propaganda under the direction of Dr. Joseph Goebbels. This paper will analyze the unusual architecture of the theatre and the productions of several plays which were important during the Third Reich.
The Development of Theatre Collections and Their Present State: An Overview
Authors: Rachow Louis A.
Published: October 2010

From the days of Thespis to the knighthood of Henry Irving, society in general censured those who trod the boards, and historians frowned upon the theatre as a discipline worthy of scholarly attention. The records of performance, past and present, were neglected, ignored, and uncataloged—either tossed into cartons and relegated to attics and basements for future generations to discard, or they were filed in the nearest wastebasket. Only the drama and the literature of the stage (commentaries and criticisms, histories and reviews) were considered to be of substantial interest.
A Scholar's View of the Effects the Collections Have had on Scholarship
Authors: Milhous Judith
Published: October 2010

When she asked me to join this panel, Catherine suggested three subjects she would like me to comment on. The first is how scholarship to date has benefited from theatre collections; the second is the need for theatre collections as separate entities; and the third is what kinds of material should be collected in the future, particularly to avoid oversights in previous collecting policies. At the risk of telling you what you already know, and without pretending to speak for most scholars, let me first make some generalizations about how scholars have benefited from existing collections.
Facing the Challenge: Moving our Theatre Collections into the Twenty-First Century
Authors: Johnson Catherine J.
Published: October 2010

No, I am not going to talk about the amazing techno-age to come, when all documents from a single performance are compiled together on a hypermedia disk and transmitted readily over the wires in cyberspace as a virtual theatre research document. Nor am I going to suggest a future in which the theatre collections are singular—most having closed, one after the next, from lack of support. Rather than predicting the future, I wish to explore present elements of the problems now facing the fields of theatre librarianship and theatre research, and to suggest some directions we might take to solve these problems.
Images of Eva Le Gallienne: Reflections of Androgyny
Authors: Schanke Robert A.
Published: October 2010

Twenty years after Louis Jacques Daguerre. invented modern photography, Dion Boucicault incorporated the camera as a crucial plot device in his play, The Octoroon. When his character Salem Scudder discovers a freshly taken photograph lying by the body of a murder victim, he holds up the picture as evidence and cries: “Jacob M'Closky, ‘t was you murdered that boy! Here you are, in the very attitude of your crime….’ Tis true! The [camera] can't lie.”
The Silver Age Actress as Unruly Woman Starring Lidia lavorskaia as Madonna
Authors: Schuler Catherine
Published: October 2010

“And as for ‘art,’ well, philosophers differ. But it's widely believed by wise people that art and ego sit uncomfortably together.” Joseph Sobran,The National Review, 1991.

Just when Madonna, the performer one critic recently referred to as a “schlockmistress,” seemed doomed to a future as the subject of scholarly articles on pop and post-modern aesthetics, she's in the news again with a coffee table best seller on the joys of sex with anything that moves and some things that don't. Madonna, the high priestess of American pop culture, has constructed a multi-million dollar performance empire, the success of which rests primarily on her extraordinary ability to behave outrageously and market it. Though pre-pubescent females are Madonna's most ardent and uncritical admirers, her concerts and films attract a heterogeneous crowd of men, women, gays, and straights–most of them under thirty. In spite of (or perhaps because of) her immense popular following, the press loathes her. Mainstream critics deplore her dissipated lifestyle, sexual athletics, and public exhibitionism, while avant-garde critics regard her performances as trendy schlock rather than legitimate art. This has little effect on Madonna except to increase curiosity about her (and therefore sales of the book and videotapes) among ordinary citizens who might otherwise be completely indifferent to the Madonna phenomenon.
Text, Subtext and Performance: Edward Albee on Directinig Who's Afraid of Virginia Woolf?
Authors: Solomon Rakesh
Published: October 2010

“Who's afraid of the Tanks?” proclaimed the headline of the Lithuanian daily, Lietuvas Rytas, in its review of Edward Albee's Who's Afraid of Virginia Woolf? in Vilnius in April 1990, six weeks into the nation's tumultous declaration of independence that had brought Soviet tanks onto city streets. Seizing the fundamental point of the play – the need to destroy illusion and face reality without fear – Lithuanian audiences saw a distinct analogy with their national situation that demanded they forswear dreams of some painless future solution and confront the reality of Soviet military intervention. Their grasp of the play, despite cultural chasms and the vagaries of simultaneous translation, testified to the clarity of Albee's staging of this classic of the American theatre.
Person as scientist, person as moralist
Authors: Knobe Joshua
Published: October 2010

It has often been suggested that people's ordinary capacities for understanding the world make use of much the same methods one might find in a formal scientific investigation. A series of recent experimental results offer a challenge to this widely-held view, suggesting that people'smoraljudgments can actually influence the intuitions they hold both in folk psychology and in causal cognition. The present target article distinguishes two basic approaches to explaining such effects. One approach would be to say that the relevant competencies are entirely non-moral but that some additional factor (conversational pragmatics, performance error, etc.) then interferes and allows people's moral judgments to affect their intuitions. Another approach would be to say that moral considerations truly do figure in workings of the competencies themselves. I argue that the data available now favor the second of these approaches over the first.
Scala for generic programmers
Authors: OLIVEIRA BRUNO C. D. S. , GIBBONS JEREMY
Published: October 2010

Datatype-generic programming (DGP) involves parametrization of programs by the shape of data, in the form of type constructors such as ‘list of’. Most approaches to DGP are developed in pure functional programming languages such as Haskell. We argue that the functional object-oriented language Scala is in many ways a better choice. Not only does Scala provide equivalents of all the necessary functional programming features (such as parametric polymorphism, higher-order functions, higher-kinded type operations, and type- and constructor-classes), but it also provides the most useful features of object-oriented languages (such as subtyping, overriding, traditional single inheritance, and multiple inheritance in the form of traits). Common Haskell techniques for DGP can be conveniently replicated in Scala, whereas the extra expressivity provides some important additional benefits in terms of extensibility and reuse. We illustrate this by comparing two simple approaches in Haskell, pointing out their limitations and showing how equivalent approaches in Scala address some of these limitations. Finally, we present three case studies on how to implement in Scala real DGP approaches from the literature: Hinze's ‘Generics for the Masses’, Lämmel and Peyton Jones's ‘Scrap your Boilerplate with Class’, and Gibbons's ‘Origami Programming’.
Deterministic shift-reduce parsing for unification-based grammars
Authors: NINOMIYA TAKASHI , MATSUZAKI TAKUYA , SHIMIZU NOBUYUKI , NAKAGAWA HIROSHI
Published: October 2010

Many parsing techniques assume the use of a packed parse forest to enable efficient and accurate parsing. However, they suffer from an inherent problem that derives from the restriction of locality in the packed parse forest. Deterministic parsing is one solution that can achieve simple and fast parsing without the mechanisms of the packed parse forest by accurately choosing search paths. We propose new deterministic shift-reduce parsing and its variants for unification-based grammars. Deterministic parsing cannot simply be applied to unification-based grammar parsing, which often fails because of its hard constraints. Therefore, this is developed by using default unification, which almost always succeeds in unification by overwriting inconsistent constraints in grammars.
“Splendid allies” or “No more deadly enemies in the world?” General Sir Ian Hamilton, the British Military and Japan 1902–1914
Authors: FERGUSON DUNCAN STUART
Published: October 2010

This article uses archival material, including personal correspondence, to chart General Sir Ian Hamilton's changing attitudes towards Japanese nationals, Japanese military leaders and Japanese military personnel, during and after the Russo Japanese War.
Śaivism in the Gupta-Vākāṭaka Age
Authors: BISSCHOP PETER
Published: October 2010

One of the features of the Gupta-Vākāṭaka age is the growth of Śaivism. In this article some of the epigraphical evidence for this process is assembled and discussed. While the direct evidence for the adoption of Śiva worship among the Guptas is limited to ministers of the Gupta court, it is clear that the Vākāṭaka kings were predominantly Māheśvaras. New fragmentary wall inscriptions uncovered from Mansar, the site of Pravarasena II's palace, hint at a possible connection with the teachings of theŚvetāśvatara-Upaniṣad. Two post-Gupta inscriptions from the area around Mandasor are discussed in the light of a tendency towards religious hierarchisation, an attitude which came to be increasingly characteristic of early medieval Śaivism. In the second part attention is drawn to the variety of Pāśupata and Māheśvara worship in the Gupta-Vākāṭaka age, as well as to the trifold organisation of the Pāśupata movement. The article ends with a note on the interaction with non-Śaiva traditions, in particular Buddhism, and its possible impact upon the formation of the Pāśupata movement.
Royal Patronage and Religious Tolerance The Formative Period of Gupta–Vākāṭaka Culture
Authors: BAKKER HANS
Published: October 2010

Patronage by the royal court of religious institutions and foundations is one of the hallmarks of the development of India under the rule of the Gupta and Vākāṭaka kings (4th–5th centuries). This patronage was extended also to religious movements other than the king's own persuasion. The evolving culture of religious tolerance and enthusiasm is apparent in the temple monuments of the time. In this article we focus on four archeological sites where these developments become best visible: Udayagiri, Māṇḍhaḷ, Rāmagiri (Ramtek), and Mansar. The close relationship of the Gupta and Vākāṭaka realms is investigated in its local settings. Renewed attention is given to the ‘Mandhal Inscription, Year 5’ of the Vākāṭaka king Rudrasena II and the deity on whose authority the charter was issued: Muṇḍasvāmin. It is argued that the name Muṇḍa refers to no one else than the Gupta queen of Rudrasena II, Prabhāvatī Guptā. During the last decade, excavations in Mansar (5 km west of Ramtek) have brought to light the state sanctuary of the youngest son of Prabhāvatī, Pravarasena II. The findings there are placed within the tradition that can be traced back, through Rāmagiri and Māṇḍhaḷ, to the religious foundations in Udayagiri.
Report of the Honorary Treasurer to the Anniversary General Meeting, 13th May 2010
Authors: Pullen Diccon
Published: October 2010

Ladies and Gentlemen, Fellows of the Society, I am honoured to present the Annual Report and Financial Statements of our Society for the year ended 31 December 2009, copies of which you should have found on your seats. As this Report is subsequently printed in the Society's Journal, and perforce contains a number of figures, I hope you will forgive me for reading it to this meeting.
ON SUBGROUPS OF CLIFFORD GROUPS DEFINED BY JORDAN PAIRS OF RECTANGULAR MATRICES
Authors: IKAI HISATOSHI
Published: October 2010

Some embeddings of general linear groups into hyperbolic Clifford groups are constructed generically by using Jordan pairs of rectangular and alternating matrices over a ring. In low rank cases through exceptional isomorphisms, their direct description and relationships to some automorphisms of Clifford groups are given. Generic norms are calculated in detail, and equivariant embeddings of representation spaces are constructed.
ID 3 Evolution of Structure in the Universe
Authors: White Simon D. M.
Published: October 2010

Recent studies of the Cosmic Microwave Background have provided us with a high quality image of the Universe when it was only 380,000 years old. At that time it was a near-uniform mixture of hydrogen, helium, dark matter and radiation, with no galaxies, no stars, no planets and no people, indeed no atomic nuclei heavier than Lithium. Under the action of gravity, the weak fluctuations observed in the microwave sky evolved into the extraordinarliy complex structure of our present Universe. I will show how supercomputer simulations can be used to demonstrate that such evolution does indeed reproduce the observed properties of today's galaxies and large-scale structures, thus confirming the extraordinary assumptions of the current structure formation paradigm. Only a quarter of the energy density of the present Universe is in gravitating matter; only a sixth of this matter is made of atoms or other known particles; only 5 percent of this baryonic material is currently inside galaxies. Most of today's Universe is in the form of Dark Energy; most of the gravitating matter is Dark Matter; and most of the baryons remain unseen in intergalactic space. The properties of the fluctuations measured in the microwave sky suggest that they originated very close to the Big Bang as quantum fluctuations of the vacuum itself. Everything has formed from nothing.
JD1-The Planetary Nebulae and the Dynamics of NGC 1399
Authors: McNeil Emily , Arnaboldi Magda , Gerhard Ortwin , Freeman Kenneth , Das Payel , Coccato Lodovico
Published: October 2010

Dynamical models of galaxies are limited by the paucity of kinematic data at large radii. Beyond the feasible limit of integrated-light spectroscopy, we rely on discrete tracers such as planetary nebulae and globular clusters. We describe a large (~200) sample of planetary nebula (PN) velocities in the outer regions of the cD elliptical NGC 1399. These data were obtained with a counter-dispersed slitless-spectroscopy technique which traces the kinematics to about 60 kpc (McNeil et al., 2009).
Kinematic properties of early type galaxy halos using planetary nebulae
Authors: Coccato L. , Gerhard O. , Arnaboldi M. , Das P. , Douglas N. G. , Kuijken K. , Merrifield M. R. , Napolitano N. R. , Noordermeer E. , Romanowsky A. J. , Capaccioli M. , Cortesi A. , Lorenzi F. De
Published: October 2010

We studied the kinematics of the halo of a sample of 16 early type galaxies out to 5-10 effective radii using Planetary Nebulae (PNe) as kinematic tracers (Coccato et al. 2009).
Luminous and dark matter in early-type lens galaxies
Authors: Grillo C.
Published: October 2010

In the past few years gravitational lensing has allowed astrophysicists to make great progress in the understanding of the internal structure of early-type galaxies. By taking advantage of accurate photometric and spectroscopic measurements, the luminous and dark matter content of lens galaxies can in principle be disentangled (e.g., Grillo et al. 2008, 2009). SDSS J1538+5817 is an extraordinary strong lensing system composed of an elliptical galaxy and two equally-distant sources located, respectively, at redshifts 0.143 and 0.531 (Grillo et al., submitted to ApJ). The sources are lensed into two and four images with an almost complete Einstein ring, covering a rather large region on the lens plane. By using HST/ACS and WFPC2 imaging and NOT/ALFOSC spectroscopy, we have investigated the lens total mass distribution within one effective radius. Then, we have fitted the SDSS multicolor photometry of the galaxy with composite stellar population models to obtain its luminous mass. By combining lensing and photometric measurements, we have estimated the lens mass in terms of luminous and dark matter components and studied the global properties of the dark matter halo. The exceptional lensing configuration of this system has allowed us to conclude that the galaxy dark matter density distribution is shallower and more diffused than the luminous one and the former starts exceeding the latter at a distance of approximately 1.5 times the effective radius. Extending these results to a larger number of lenses would help us to decipher the processes that rule galaxy formation and evolution in the LCDM scenario.
Weak lensing constraints on the dark matter haloes of early type galaxies
Authors: Natarajan Priyamvada
Published: October 2010

Constraints on the masses of dark matter haloes associated with galaxies in the field and in clusters have been successfully obtained used galaxy-galaxy lensing techniques. Weak lensing thus provides important information on the mass distribution in galaxies at large radii in a statistical fashion. Current work suggests that all galaxies possess extended dark matter haloes, however those that host galaxies in clusters are less extended and less massive.
Dark-Matter in Galaxies from Gravitational Lensing and Stellar Dynamics Studies
Authors: Koopmans L. V. E.
Published: October 2010

Strong gravitational lensing and stellar dynamics provide two complementary methods in the study of the mass distribution of dark matter in galaxies out to redshift of unity. They are particularly powerful in the determination of the total mass and the density profile of mass early-type galaxies on kpc to tens of kpc scales, and also reveal the presence of mass-substructure on sub-kpc scale. I will shortly discuss these topics in this review.
Modeling mass independent of anisotropy: A comparison between Andromeda and Milky Way satellites
Authors: Wolf J.
Published: October 2010

Mass profile determinations for dispersion supported galaxies from line-of-sight velocities are subject to large uncertainties associated with the unknown stellar velocity anisotropy. We demonstrate both analytically and with available kinematic data (for systems spanning eight decades in luminosity) that the mass-anisotropy degeneracy is effectively eliminated at a characteristic radius that is close to the 3D deprojected half-light radius of the stars. This allows a simple, yet accurate formula to describe the half-light dark matter masses of all hot systems, including dwarf spheroidal galaxies (dSphs), based on directly observable parameters: M1/2 = 4σ2LOSRhalf/G, where Rhalf is the 2D projected half-light radius and σLOS is the luminosity-weighted square of the line-of-sight velocity dispersion. The fact that masses are well-constrained within a characteristic stellar radius has allowed our group to perform systematic, accurate mass determinations for Milky Way dSphs and to conclude that they all have a common mass scale of approximately 107 M⊙ within 300 pc of their centers. We extend this work to the satellite population of Andromeda using Keck/DEIMOS spectroscopy of individual stars. We find that the Andromeda dSphs are also consistent with sharing a common mass, but that it is offset from the scale of the Milky Way dSphs by a factor of ~2.
Empirical Scaling Relations
Authors: Treu Tommaso
Published: October 2010

Early-type galaxies do not come in any shape, form, and color. Many of their observable properties obey tight correlations, also known as empirical scaling relations. The correlations are non-trivial, in the sense that they cannot be explained by simple physical or dimensional arguments. A subset of the empirical scaling relations connects baryonic observables with quantities that depend on the total gravitational potential of the galaxies, and thus on their dark matter content. These correlations are a fundamental testbed for our understanding of the formation and evolution of early-type galaxies, and, more in general, of the physical processes that determine the interplay between baryons and dark matter at galactic scales.
Scaling relations of early-type galaxies at 1 < z < 2
Authors: Saracco Paolo , Longhetti Marcella , Gargiulo Adriana
Published: October 2010

We studied the scaling properties of a sample of 65 ETGs at 1 < z < 2 with spectroscopic confirmation of their redshift and spectral type. The sample collects proprietary (Longhetti et al. 2007) and archival HST data and it is composed of 30 ETGs with HST-NICMOS observations (see Saracco et al. 2009) and of 35 ETGs from the GOODS-South field covered by HST-ACS observations. The whole sample is covered also by ground-based optical and near-IR observations while complementary mid-IR data (Spitzer or AKARI) are available for 45 galaxies. The study of the Kormendy, the size-luminosity and the size-mass relations of these ETGs shows that a large fraction (~50%) of them follows the local relations. These ’normal’ ETGs are not smaller (denser) than their local counterparts with comparable stellar mass, luminosity and surface brightness and no size evolution is required for them. On the contrary, the remaining half of the sample is composed of very compact ETGs with sizes (densities) 2.5-3 (15-30) times smaller (higher) than the other ETGs and than local ETGs. Thus, not all the high-z ETGs are superdense and, consequently, only some of them must experience size evolution showing that the evolutionary path of ETGs at 0 < z < 2 is not univocal. We also find that the stellar population of normal ETGs formed at 1.5 < zform < 3 while it formed at 2 < zform < 9 in compact ETGs. This suggests that different histories of mass assembly must take place at high-z to produce both the normal and the superdense ETGs seen at 1 < z < 2 (Saracco et al. 2010).
The formation of cD Halos: the case of NGC 3311 in the Hydra I Cluster
Authors: Ventimiglia G. , Gerhard O. , Arnaboldi M.
Published: October 2010

We have studied the core of the Hydra I cluster, around its central cD galaxy, NGC 3311. We have analyzed the kinematics a sample of 60 intracluster planetary nebulae (PNs), detected using the multi-slit imaging spectroscopy technique (MSIS, Gerhard et al., 2005, Ventimiglia et al., 2008). PNs are good tracers of light (Coccato et al., 2009) and the MSIS allows to measure their velocities and positions at the same time. The histogram of the PN radial velocities presents several discrete components. We are comparing this result with ΛCDM hydro-dynamical simulations and other data in order to interpret it in the framework of the formation of extended halos around cD galaxies. V band photometric data around NGC 3311 have revealed the presence of an excess of light in the North-East part of the galaxy, which is spatially coincident with most of the PNs contributing to the reddest peak in the PNs LOSVD. We have measured, using Long-Slit data, the velocity of HCC26, a dwarf (DW) galaxy in the middle of the excess of light. The reddest peak in the PNs LOSVD is consistent both with the velocity of HCC 26 and of several other DWs in the same region. We are investigating the possibility that the light in excess has been stripped from these galaxies and now incorporated into the halo of NGC 3311.
Red Galaxies Growing in Dark Matter Halos
Authors: Brown Michael J. I. ,   the Boötes Field Collaborations
Published: October 2010

To understand the slow growth of massive galaxies at z < 1, we have modeled how these galaxies populate dark matter halos. The models are constrained with the observed luminosity function and clustering of z < 1 red galaxies. In the most massive halos, much of the stellar mass resides within multiple satellite galaxies rather than a single central galaxy. Consequently, massive galaxies grow slowly within rapidly growing dark matter halos.
Dark matter and X-ray halo in early-type galaxies and clusters of galaxies
Authors: Ohashi Takaya
Published: October 2010

X-ray observations reveal extended halos around early-type galaxies which enable us to trace the dark matter distribution around the galaxies (see Mathews and Brighenti 2003 for a review). X-ray luminosities, LX of massive early-type galaxies are 1040−1042 erg s−1 in 0.3–2 keV. The correlation plot between LX and B-band luminosity LB shows a large scatter in the sense that LX varies by 2 orders of magnitudes for the same LB, in the brightest end (log LB ≳ 10.5). The amount of the X-ray hot gas in early-type galaxies is typically a few % of the stellar mass, in contrast to clusters of galaxies which hold ~5 times more massive gas than stars. Matsushita (2001) showed that X-ray luminous galaxies are characterized by extended X-ray halo with a few tens of re, similar to the scale of galaxy groups, so the presence of group-size potentials would be strongly linked with the problem of large LX scatter.
X-rays and dynamics
Authors: Pellegrini Silvia
Published: October 2010

The hot X-ray emitting interstellar medium of early type galaxies can be used in principle as a total mass tracer and a tool to determine the stellar orbital anisotropy, based on the hypothesis of hydrostatic equilibrium for it. Here the effects that deviations from equilibrium have on both estimates are shown, and a comparison is made with cases for which accurate optical and X-ray information are available.