bluuebunny/crossref_metadata_2025 huggingface dataset:
A Collaborative Approach to Genetic Testing: A Community Hospital's Experience
Authors: Cohen Stephanie A. , McIlvried Dawn , Schnieders Julie
Published: July 2009

The field of cancer genetics is evolving rapidly, and much has changed over the past ten years in the way services are being provided and by whom they are being provided. We recount here our experience with the evolution of cancer genetic services in a community setting, focusing on collaboration with non‐genetics providers to offer genetic testing for hereditary cancer. This approach allows for the most effective use of genetic counselors’ expertise for challenging cases, and enables the patient to remain within their community to allow for better access to resources for long‐term follow‐up.
Bread type intake is associated with lifestyle and diet quality transition among Bedouin Arab adults
Authors: Abu-Saad Kathleen , Shai Iris , Kaufman-Shriqui Vered , German Larissa , Vardi Hillel , Fraser Drora
Published: July 2009

The traditionally semi-nomadic Bedouin Arabs in Israel are undergoing urbanisation with concurrent lifestyle changes, including a shift to using unfortified white-flour bread instead of wholewheat bread as the main dietary staple. We explored associations between the transition from wholewheat to white-flour bread and (1) lifestyle factors, (2) overall diet quality, and (3) health status. We conducted a nutrition survey among 451 Bedouin adults, using a modified 24 h recall questionnaire. Bread intake accounted for 32·7 % of the total energy intake. Those consuming predominantly white bread (PWB) (n 327) were more likely to be urban (OR 2·79; 95 % CI 1·70, 4·58), eating store-bought rather than homemade bread (OR 8·18; 95 % CI 4·34, 15·41) and currently dieting (OR 4·67; 95 % CI 1·28, 17·11) than those consuming predominantly wholewheat bread (PWWB) (n 124). PWB consumption was associated with a lower intake of dietary fibre (23·3 (se 0·6) v. 41·8 (se 1·0) g/d; P ≤ 0·001), a higher intake of saturated fats (26·9 v. 24·6 % of total fat; P = 0·013) and lower intakes of Fe (11·0 (se 0·3) v. 16·7 (se 0·4) mg/d), Mg (262·2 (se 5·9) v. 490·3 (se 9·8) mg/d), vitamin E (6·5 (se 0·2) v. 8·6 (se 0·3) mg/d) and most B vitamins than PWWB consumption (P < 0·001 for all), after adjusting for total energy intake. Among those aged ≥ 40 years, PWB consumption was associated with a 9·85-fold risk (95 % CI 2·64, 36·71; P = 0·001) of having one or more chronic conditions, as compared with PWWB consumption, after controlling for other risk factors. White bread intake was associated with a less traditional lifestyle and poorer diet quality, and may constitute a useful marker for at-risk subgroups to target for nutritional interventions.
A pilot study on the molecular phylogeny of Drepanoidea (Insecta: Lepidoptera) inferred from the nuclear gene EF-1α and the mitochondrial gene COI
Authors: Wu C.G. , Han H.X. , Xue D.Y.
Published: July 2009

A molecular phylogenetic study of the Drepanoidea based on the EF-1α sequences and combined EF-1α and COI sequences was carried out in order to infer higher classification at and above the subfamily level. The sample contained 14 taxa representing 13 genera recognized in the Drepanoidea. The results revealed that the Drepaninae, Thyatirinae and Cyclidiinae respectively form monophyletic groups. The sister relationship between the Drepaninae and the Thyatirinae was validated. The monophyly of the Cyclidiinae with the Drepaninae+Thyatirinae was supported robustly.Hypsomadius insignisandOreta vatamawithin the traditional definition of the Drepaninae formed an individual clade with robust support (100%) and constitutes a sister relationship to a clade containing the rest of the Drepaninae in all the topologies, which means that the subfamily Oretinae of the Drepanidae should be restored. The family Drepanidae is divided into four subfamilies: Drepaninae, Oretinae, Thyatirinae and Cyclidiinae in this work. The family Epicopeiidae formed a monophyly with high bootstrap values. The result of combined analysis of EF-1α and COI showed that the Epicopeiidae have a closer phylogenetic relationship with the Geometridae than with the Drepanidae and belong to neither the Drepanoidea nor the Geometroidea.
The Influence of Judicial Uncertainty on Executive Support for Negotiation in Canadian Land Claims Policy
Authors: Scholtz Christa
Published: July 2009

Abstract.Governments and Indigenous groups bargain under the shadow of the law, and this paper pushes the judicial politics research agenda by examining empirically whether flickers in law's shadow systematically affect the implementation of the Canadian government's negotiation choice in the Indigenous land rights context. Through interviews and a time series analysis of Canada's specific claims policy, I find that judicial uncertainty increases the federal government's propensity to accept specific claims for negotiation. However, there is evidence that Indigenous protest action during the Oka crisis and Elijah Harper's role in scuttling the Meech Lake constitutional accord, more than other factors, greatly impacted the federal budget allocated towards negotiation.

Résumé.Les négociations entre les gouvernements et les groupes autochtones se déroulent sous les auspices de la loi, et le présent document examine le programme de recherche sur les politiques légales afin de déterminer de façon empirique si certaines imprécisions dans la loi influent sur les options retenues par le gouvernement du Canada en ce qui concerne les droits sur les terres autochtones. Une analyse statistique de la politique de revendication en vigueur au Canada ainsi qu'un certain nombre d'entrevues m'ont permis de constater l'existence d'un flou juridique qui amène le gouvernement fédéral à accepter d'examiner certaines revendications spécifiques à la table des négociations. Il semble toutefois que certains incidents particuliers, comme les gestes de protestation posés par les autochtones lors de la crise d'Oka, ou le rôle joué par Elijah Harper dans l'échec de l'Accord constitutionnel du lac Meech, aient eu une incidence marquée sur l'importance des sommes allouées par le gouvernement fédéral à ces négociations.
The Unfulfilled Potential of the Court and Legislature Dialogue
Authors: Webber Grégoire C. N.
Published: July 2009

Abstract.Constitutional scholarship has been exploring the idea that the court and the legislature engage in a dialogue over the meaning of the constitution. Yet, despite many contributions to the idea of dialogue over the last decade, its potential remains unfulfilled. The epistemological potential of dialogue remains understudied, in part because the court continues to be viewed as the supreme, if not also the sole, expounder of the constitution. For dialogue's potential to be realized, the legislature should be acknowledged as a co-ordinate actor in expounding constitutional meaning and both court and legislature should assume a disposition for dialogue.

Résumé.La littérature en matière constitutionnelle explore l'idée que la cour et le législateur s'engagent dans un dialogue sur le sens à donner à la constitution. Cependant, malgré les nombreuses contributions à l'idée du dialogue au cours de la dernière décennie, son potentiel ne s'est pas épanoui. Le potentiel épistémologique de l'idée du dialogue demeure sous-étudié, en partie parce que la cour continue d'être considérée comme étant l'entité suprême, sinon la seule entité, qui puisse développer le sens de la constitution. Pour que l'idée du dialogue puisse être actualisée, le législateur devrait être reconnu comme étant un acteur complémentaire à la cour pour développer le sens de la constitution et tant la cour que le législateur devraient être disposés au dialogue.
Scaling Memory: Reparation Displacement and the Case of BC
Authors: James Matt
Published: July 2009

Abstract.Although many historical injustices in Canada have BC roots, the ensuing debates have tended to frame redress as a federal responsibility. The article analyzes this dynamic and calls it “reparation displacement.” Reparation displacement saves the recalcitrant community or group from fighting aggressively to avoid its unpleasant past, shunting questions of cause, blame, and obligation away instead. Reparation displacement receives special attention here as an obstacle hindering BC's reconciliation with First Nations. The article also links the emphasis in “postpositivist” policy studies on civic deliberation to the focus in the reparations literature on historical acknowledgment. It suggests further that reparation displacement requires further research from scholars of federalism and multilevel governance.

Résumé.La Colombie-Britannique est le site de plusieurs injustices commises dans l'histoire du Canada. Pourtant, les débats qui s'ensuivent tendent à concevoir la question de la réparation comme relevant de la responsabilité du gouvernement fédéral. Cet article examine cette dynamique et y réfère en tant qu'elle témoigne d'un «déplacement de la réparation». Un tel déplacement permet à la communauté ou au groupe récalcitrant d'éviter d'affronter les aspects malheureux de son histoire. Il fait dévier les questions de cause, de blâme et d'obligation hors des responsabilités de la communauté concernée. Une attention spéciale est dédiée ici à ce phénomène parce qu'il constitue un obstacle entravant le processus de réconciliation entre la Colombie-Britannique et les Premières Nations. Enfin, cet article établit un rapport entre l'emphase que mettent les études «post-positivistes» de politiques sur la délibération civique et l'importance accordée à la reconnaissance historique dans la littérature portant sur les enjeux de réparation. Il suggère, en outre, que ce phénomène de déplacement devrait faire l'objet de recherches approfondies dans les domaines d'étude du fédéralisme et de la gouvernance multipalier.
Histoire du mot «démocratie» au Canada et au Québec. Analyse politique des stratégies rhétoriques
Authors: Dupuis-Déri Francis
Published: July 2009

Résumé.L'étude des discours des «pères fondateurs» du Canada moderne révèle qu'ils étaient ouvertement antidémocrates. Comment expliquer qu'un régime fondé dans un esprit antidémocratique en soit venu à être identifié positivement à la démocratie? S'inspirant d'études similaires sur les États-Unis et la France, l'analyse de l'histoire du mot «démocratie» révèle que le Canada a été associé à la «démocratie» en raison de stratégies discursives des membres de l'élite politique qui cherchaient à accroître leur capacité de mobiliser les masses à l'occasion des guerres mondiales, et non pas à la suite de modifications constitutionnelles ou institutionnelles qui auraient justifié un changement d'appellation du régime.

Abstract.An examination of the speeches of modern Canada's “founding fathers” lays bare their openly anti-democratic outlook. How did a regime founded on anti-democratic ideas come to be positively identified with democracy? Drawing on the examples of similar studies carried out in the United States and France, this analysis of the history of the term “democracy” in Canada shows that the country's association with “democracy” was not due to constitutional or institutional changes that might have justified re-labelling the regime. Instead, it was the result of the political elite's discursive strategies, whose purpose was to strengthen the elite's ability to mobilize the masses during the world wars.
Nouvelles instances participatives et contre-pouvoirs : Fung et Wright «revisités» à partir des expériences marseillaises et québécoises
Authors: Patsias Caroline , Patsias Sylvie
Published: July 2009

Résumé.Selon Fung et Wright, la mise en place d'une gouvernance participative impliquerait l'apparition de contre-pouvoirs spécifiques, différents de ceux qui caractérisent les espaces politiques «agonistiques» dans lesquels opèrent les mouvements sociaux. Nous discutons ces conclusions à partir d'une comparaison des rôles joués par des comités de citoyens à Marseille et à Québec dans l'émergence et l'activité d'instances participatives nouvelles. À l'inverse des deux auteurs, nous soulignons que, dans certains cas au moins, la mise en place d'une gouvernance plus participative ne saurait se passer de l'existence de mouvements sociaux, et que certaines des «qualités» que Fung et Wright prêtent aux contre-pouvoirs spécifiques des nouvelles instances participatives peuvent favoriser, au contraire, des logiques de cooptation, néfastes aux pratiques de la démocratie participative. Nous terminons cette discussion par une réflexion plus générale sur les façons de penser le conflit en science politique et sur leur pertinence épistémologique et heuristique.

Abstract.According to Fung and Wright, the establishment of participatory governance involves specific stakeholders, different from those characterizing the “antagonistic” political spaces in which social movements operate. We discuss these conclusions via a comparison of roles played by citizens' committees in Marseille and Quebec City in the emergence of new participatory instances. Contrary to the two authors, we stress that, at least in certain cases, the establishment of more participatory governance could not occur without the existence of social movements. More precisely, some features that Fung and Wright attribute to participatory stakeholders could, on the contrary, favour co-optation, harmful to the practices of participatory democracy. We complete this discussion with a more general overview of ways of perceiving the conflict in political science and their epistemological and heuristic relevance.
Digenean diversity in labrid fish from the Bay of Bizerte in Tunisia
Authors: Gargouri Ben Abdalah L. , Elbohli S. , Maamouri F.
Published: July 2009

Six species of digeneans (Proctoeces maculatus (Looss, 1901), Helicometra fasciata (Odhner, 1902), Helicometra pulchella (Odhner, 1902), Macvicaria alacris (Looss, 1901), Peracreadium genu (Nicoll, 1909) and Zoogonus rubellus (Olson, 1868)) were found for the first time in labrid fish (Symphodus tinca (Linnaeus, 1758), Labrus merula (Linnaeus, 1758) and Labrus viridis (Linnaeus, 1758)) from the Bay of Bizerte. Except for P. maculatus and Z. rubellus, which are limited to the rectum, these helminths colonize the entire digestive tract. The study of the seasonal prevalence, abundance and mean intensity shows that three parasites, P. maculatus, H. fasciata and P. genu are present throughout the year while H. pulchella, M. alacris and Z. rubellus are less frequent and appear only in spring (H. pulchella and M. alacris) or in spring and summer (Z. rubellus). The levels of infection and digenean faunal diversity in labrid fish from the Tunisian coasts are generally lower than those from localities within the western Mediterranean.
Philometra floridensis sp. n. (Nematoda: Philometridae) from the ovary of red drum Sciaenops ocellatus (Osteichthyes: Sciaenidae) off the coast of Florida, USA
Authors: Moravec F. , Fajer-Avila E.J. , Bakenhaster M.
Published: July 2009

A new nematode species, Philometra floridensis sp. n. (Philometridae), is described from male and female specimens found in the ovary of red drum, Sciaenops ocellatus (Linnaeus) (Sciaenidae, Perciformes), from the Gulf of Mexico off Treasure Island, Florida, USA. Based on light and scanning electron microscopy examination, the new species differs from most other gonad-infecting Philometra spp. in having a smooth gubernaculum with a distinct dorsal tooth on the distal tip. The new species is most similar to P. carolinensis Moravec, de Buron & Roumillat, 2006, but differs in length and shape of spicules. It can be distinguished from P. carolinensis and other species with unknown males, by the markedly greater body length of gravid females (up to about 100 cm). Philometra floridensis is the third valid gonad-infecting species of Philometra reported from sciaenids.
Treasons, Stratagems, and Spoils: Edwardian Actor-Managers and the Shakespeare Memorial National Theatre
Authors: Mazer Cary M.
Published: July 2009

How does a theatre historian account for the participation of Edwardian actor-managers on the Shakespeare Memorial National Theatre (SMNT) committee? The SMNT, founded in 1908 with the expressed purpose of creating an operational national theatre by the tercentenary of Shakespeare's death in 1916, was the first actual institutional manifestation of the National Theatre in England, the product of a movement that had begun as early as 1848. The actor-managers, individual star actors who leased their own theatres, located their own private sources of finance, and wielded complete artistic and managerial control over their theatrical enterprises, embodied a system of theatrical organization that the National Theatre was designed to bypass and replace. In an age of free-market theatrical commerce, the SMNT wished to be free of commercial pressure; in an age of speculative finance, the SMNT wished to base its budget on an endowed trust fund; in an age that glorified the integrity and authority of the individual theatrical manager, the SMNT called for a theatre governed by committee.
Fanny Kemble Reads Shakespeare: Her First American Tour, 1849–50
Authors: Kahan Gerald
Published: July 2009

The nineteenth-century English speaking stage was the setting for some of the most significant and interesting productions of Shakespeare's plays. It was the age of both Keans, Macready, Phelps, the Booths, Beerbohm Tree, Irving, and Poel, to mention only a few of the innovators and stars. As usual, Shakespeare was the most popular and frequently produced playwright in the language, but performances were not limited to the traditional stage. Hundreds were presented as platform readings in most of the major cities of England and America, where the halls and lecture rooms were frequently filled. The readings were given by stars and neophytes alike: Henry Irving, Ellen Terry, William Charles Macready, Sarah Siddons, Charles Kemble, and others whose names are barely footnotes to the history of the theatre. The most accomplished, popular, and preeminent among these was Frances Anne (Fanny) Kemble, Charles' daughter and second generation to the great acting family. Her career and success as an actress are well documented, but comparatively little has been written about her reading performances of Shakespeare — an activity that occupied her for nearly a quarter of a century. For most of the others, the readings were spinoffs from their stage work, favors to friends, experiments or brief encounters; for Fanny reading was a serious business, indeed her very subsistence.
Chekhov's Reactions to two Interpretations of Nina
Authors: Hollosi Clara
Published: July 2009

Almost all of the major characters in Chekhov's plays are ambiguous; their interpretation poses no small task for directors and actors. The figure of Nina Zarechnaya in The Seagull, in particular, has been construed in many ways. She has been seen as a soaring seagull; a tumbled, tousled bird; a talentless country girl; an emerging artist of promise; a high-reaching neurotic wreck; a future actress of Arkadina's vein; and so on. Because of this interpretive ambiguity, Chekhov was often asked to clarify his position on one or another of his characters. In written form he did so explicitly only once, in a letter to Suvorin in connection with his Ivanov performance in St. Petersburg. In this letter and others as well, it is clear that Chekhov's principle was “better to blur the portrait than overdo it.” The recollections of Stanislavsky, Nemirovich-Danchenko, and many actors of the Moscow Art Theatre indicate, moreover, that most of the time Chekhov confined himself mainly to seemingly insignificant remarks if asked about a role. Stanislavsky remembers, for example, that when, after a rehearsal, he asked Chekhov to critique his portrayal of Trigorin, Chekhov said, “Wonderful! Listen, it was wonderful! Only you need torn shoes and checked trousers.” After these sorts of typically oblique remarks directors and actors were puzzled and would long ponder the hidden meaning of the playwright's comments. The famous actor of many Chekhov plays, V.I. Kachalov, also wrote in his memoirs about Chekhov's unwillingness to influence the actor straightforwardly.
The London Theatre Cartel of the 1720s: British Library Additional Charters 9306 and 9308
Authors: Milhous Judith , Hume Robert D.
Published: July 2009

One of the basic facts of eighteenth-century London theatre history is the disinclination of the managers of the patent theatres to engage in serious competition of any sort following the Licensing Act of 1737. This preference for peaceful coexistence was not, in fact, a new development: a strong inclination toward amodus vivendican be proven as early as 1720. The evidence is a pair of almost entirely neglected manuscript charters (contracts) preserved in the British Library. In both instances we find the managers of the two theatres attempting to restrict actor transfers. The first contract (dating from September 1720) was apparently never formally concluded, but the second (dated April 1722) was duly signed and sealed, and evidently remained in effect until about 1730. Taken together, the two charters shed considerable light on the accommodation eventually reached between the two companies after the reestablishment of competition in 1714, and they also give us lists of performers in 1720 and 1722 that add significantly to the company rosters inThe London Stage.
Hamlet in the Thirties
Authors: Teague Frances
Published: July 2009

Wolcott Gibbs once told the New Yorker's readers: Now, in 1938, only the invincibly naive imagine they go to a production of “Hamlet” for the purpose of watching a bunch of actors in a play. The others understand that they are about to be confronted with a ringing challenge to their culture. The man who has not seen Barrymore, Massey, Hampden, Lieber [sic], Gielgud, Howard, Evans, Tinker, and Chance (to round up enough for a little ball game) and is not prepared to discuss their respective performances might better go and live in Rockport, Indiana, though it is by no means certain that he would be safe even there. (22 Oct. 1938, p. 34)
Portrait of a Seventeenth Century Playhouse: Il Teatro Dei Comici, Mantova
Authors: Larson Orville K.
Published: July 2009

The third quarter of the seventeenth century brought considerable changes in the social composition of theatre audiences in Italy. Gone was the exclusiveness of the ducal and academy theatres whose audiences of royalty and nobility attended by invitation only. These were replaced by an audience of a growing bourgeoisie with an ability to pay. As soon as this audience appeared entrepreneurs, quick to recognize the possibilities, opened public playhouses. Theatrical activities became a commercial rather than an artistic, intellectual or political enterprise. Although some vestiges of the past, such as the royal box for important dignitaries, were retained, public theatres soon assumed a more democratic aspect, patronized by audiences who had earned the right to attend by means of personal enterprise rather than by accident or privilege of birth. Foremost in this phenomenon was the city of Venice whose theatrical activities soon became the model. Mercantile families like the Tron, Grimani, Giustinian and Vendramini opened the first public playhouses in the 1630s. Audiences of courtiers and courtesans, Dukes and Doges, Princes and panderers, merchants and magistrates soon became involved in a social mix that would have amazed and scandalised the more formal audiences of earlier times.
Baroque Stage Machines for Venus and Mars from the Archivio Di Stato, Parma
Authors: Ault C. Thomas
Published: July 2009

The seven drawings shown below are designs for baroque stage machines identified as machines “for Venus and Mars” and are reproduced from MS Majie, V, 4, 1–38, The Archivio di Stato, Parma. These designs are particularly interesting since they are at the same time characteristic of baroque stage machines which performed similar functions, found in other sources, and yet unique for their simplicity, rendering them easy to interpret and understand. Although several of these designs have been published individually in various places, the group of seven is published here in its entirety for the first time. Together, these designs illustrate the use of sliding winches in the grid to produce spectacular effects on the stage as well as the “Mars machines.”
On-Stage with David Garrick: Garrick's Acting Companies in Performance
Authors: Pedicord Harry William
Published: July 2009

As a victim of “Garrick fever” for all of my adult life I admit to having accepted most modern-day criticism which avers that Garrick's supremacy in his age was due to his superior acting, strict management, rigourous attention to rehearsals, and consequent superiority over his Covent Garden and Haymarket rivals. All this is surely valid, but I remain curious about the “quality” of his casting and ensembles. Could it be that our critics today prefer romanticism to the practical truths of everyday operation of a repertory company in eighteenth-century London? Let us explore the situation once again.
Shakespeare in the Weimar Republic
Authors: Grange William
Published: July 2009

The Weimar Republic occupies a period in German history that has long fascinated students of theatre and drama. It was a period of profound change in German social, political, and cultural experience, and rarely has the confluence of those experiences figured so influentially upon the performance of William Shakespeare's plays. In decades previous to Weimar, German Shakespeare productions manifested the awed reverence in which the playwright was held, since most German actors, directors, and designers regarded Shakespeare in the same light as they did Goethe and Schiller. In 1864, for example, Germany celebrated the three-hundredth anniversary of the playwright's birth with the founding of the Deutsche Shakespeare Gesellschaft and the proclamation that Shakespeare was not “a foreign poet, but one which England must share with us, due to his inborn Germanic nature.” In the Weimar Republic, however, the view of Shakespeare as playwright changed; it did so perhaps because everything else was changing in that volatile period, and also because Weimar culture encouraged innovation and experimentation. The republic itself, after all, was an experiment. If in retrospect the Weimar Republic's experimentation with democracy seems a failure, its success and achievement in painting, architecture, music, literature, and theatre cannot be denied. One overlooked area of particular achievement is the work of Weimar theatre artists who succeeded in their attempts to dismantle Shakespeare's status as a cultural icon.
Staging as a Key to Meaning in The Alchemist
Authors: Viguers Susan
Published: July 2009

Although The Alchemist, one of the great comedies of the English Renaissance, has received considerable attention from critics, very few have been interested in examining the play as something that is realized in three-dimensional space. Jonson's language creates character and dramatic tension, as well as thematic and metaphoric resonances, with such fullness that the literary critic is tempted to read the play as literature only. Jonson, however, was not writing closet drama any more than Shakespeare, and it is important for understanding the play to try to envision the original staging—something which, I feel, has not been sufficiently done. William A. Armstrong's belief that Jonson was convinced “that the profoundest intimations come by the ear, not the eye” (p. 61) seems to me an oversimplification. The Alchemist reveals that the ear and eye are not necessarily opposed, nor even merely complementary. They are interconnected and interdependent. The stage sets up the metaphoric dimensions and dynamics of the play. This approach to The Alchemist concentrates its extraordinary busyness— a busyness which makes the play so difficult for first readers— into a relatively simple, but charged, set of defining tensions and movements.
Who was Argentina? Player and Role in Late Seventeenth Century Commedia dell'Arte
Authors: Royce Anya Peterson
Published: July 2009

The Museo Correr Codex 1040 is a collection of fifty-one three act scenari for the commedia dell'arte. As such, it is an important source for anyone concerned with the history and development of that form of popular entertainment. It assumes greater significance than simply being another collection of texts because two of the most crucial features of the Venetianstyle commedia dell'arte appear fully formed in these scenari, namely the devices of maschera and lazzi (cf. Royce 1986).
Samuel Foote and the Comedic Regeneration of Thomas Weston
Authors: Sondergard Sid
Published: July 2009

Samuel Foote, the prototypical self-made man, assisted the careers of Edward Shuter, Tate Wilkinson, Henry Woodward, and Thomas Weston, some of the finest comic actors of the mid-eighteenth century, by supporting them with positions in his Haymarket troupe. Nevertheless, Foote was plagued throughout his own career by conflicts with actors and actresses, theatre managers and owners. Shuter frequently acted at rival houses, while Wilkinson and Woodward were as often offended as encouraged by Foote. Weston, however, received special treatment from the Haymarket master and reciprocated in what became a most unusual symbiotic exchange: Foote taught Weston that his theatrical survival depended on exploiting his natural proclivity for low comedy, and Weston's subsequent success helped to finance Foote's dramatic experiments, aiding his creative development both as a comic actor and playwright.
Pageantry for Women's Rights: The Career of Hazel Mackaye, 1913–1923
Authors: Blair Karen J.
Published: July 2009

The early twentieth century found American suffragists experimenting with a diverse array of techniques to argue their cause. Among those who gave their talents to this effort was a skilled theatrical professional, Hazel MacKaye (1888–1944). A radical suffragist, MacKaye was a charter member of the Congressional Union, which in 1914 formally split off from the National American Woman Suffrage Association and evolved into the militant wing of the suffrage movement, the National Woman's Party. Hazel MacKaye created four women's rights pageants to propagandize for the suffragists between the years 1913 and 1923, which this paper will describe and examine.
Falstaff, Quin, and the Popularity of the Merry Wives of Windsor in the Eighteenth Century
Authors: Mace Nancy A.
Published: July 2009

How popular was The Merry Wives of Windsor in the eighteenth century? Because records show that the original, unadapted version of the play was performed a substantial number of times, scholars have usually assumed that it was both a critical and theatrical success during this period. This opinion is, however, based on an incomplete picture of the play's stage history, and it does not take into account the importance of casting to a play's popularity. A review of commentaries and theatrical records indicates that we should alter our view of the comedy's place in the eighteenth-century repertory. The play was not, overall, as popular as has long been believed, and it owed much of its vogue to James Quin in the role of Falstaff.
The Decline of a Shakespearean Tradition in Charleston, South Carolina, 1869–1900
Authors: Pagès Christina M.
Published: July 2009

The Academy of Music in Charleston, South Carolina, opened its doors in December 1869 to a public who, according to the local newspaper, “for the past four years … had been sighing for, writing for, combining for, and begging for–a first class Opera House and Theatre.” This first post-Civil War theatre in Charleston had inherited a theatre history dating back to as early as 1703, as well as an ardent and long-standing interest in Shakespearean playgoing which, despite the Civil War's devastating interruption, continued to be an essential part of the city's way of life for the next two decades. Because of its importance as both a literary and a drama centre before the Civil War, Charleston has already attracted the attention of several theatre historians, and numerous studies have been made of this city's brilliant antebellum stage. However, there were no records of Charleston's post-Civil War theatre until I undertook my study of the Academy of Music, the principal playhouse between 1869 and 1936—indeed, its only post-Civil War theatre except for approximately seven years between 1888 and 1893 when the Charleston Opera House offered sporadic entertainment. Particularly in the first three decades of the Academy of Music, the worlds of audience and stage seem to have coincided to a remarkable degree. Charleston's theatre years between 1869 and 1899 offer insights into the changing cultural attitudes and needs of an impoverished Southern city as its leaders struggled to meet the challenges of that difficult time. The best theatrical index to such cultural changes I have found is the degree of the Charlestonians' response to Shakespearean drama during these transitional years.
The People of the “People's Theatre”: The Social Demography of the Britannia Theatre (Hoxton)
Authors: Davis Jim , Davis Tracy C.
Published: July 2009

In 1882, Walter Besant declared that the hinterland beyond Aldgate had two million people yet “no institutions of their own to speak of, no public buildings of any importance, no municipality, no gentry, no carriages, no soldiers, no picture-galleries, no theatres, no opera—they have nothing.” The fact that Whitechapel first appeared in the theatrical annals in 1557, Stepney contained several of the largest engineering projects in Regency London, and Shoreditch's Britannia was one of the most successful theatres in Victorian Britain belies the prejudice in Besant's statement. Cultural historians of all types need to resist such propaganda and have good cause to suspect the entire record of life, leisure, and entertainment in the industrialized inner suburbs. The history of nineteenth-century English theatre has—with very few exceptions—focussed on London, yet apart from essays by Michael Booth and Clive Barker little serious attention has been paid to theatre in the East End. Booth points out the limitations arising from scholarship that ignores the area where half of the metropolitan theatre seats were located, while Barker shows the methodological difficulties that arise once a redressive investigation into the audience is undertaken. The omissions from the historical record are compounded by narrow selectivity of enquiries: leading performers receive scholarly attention while supernumeraries (supers), ballet dancers, front of house staff, property makers, and the many functionaries who made up the whole community responsible for running a theatre are consistently neglected. These characteristics are somehow more evident in scholarship on the East End, where no matter how sociogeographically biased the enquirers may be the working class and its conditions are central themes, and the repertoire has always been allowed (perhaps stereotyped) as sensational.
Joseph Urban and American Scene Design
Authors: Howd Dean
Published: July 2009

Along with Robert Edmond Jones, Norman Bel Geddes, and Lee Simonson, Joseph Urban brought the New Stagecraft to America in the 1920s. No other designer of his period lavished more lush color on the stage or brought scene design closer to the level his contemporaries called “Art.” Urban produced the backdrops of the famous Follies for Florenz Ziegfeld, and the Metropolitan Opera continued to use his sets for more than two decades after his death. As early as 1917 the New York Times risked the prediction that “when the historian of the New York stage writes the record, of the uplift of the art of its decoration received in the teens of the twentieth century he will have to give the greatest credit to Joseph Urban.” Instead, he has been virtually ignored: for example, Brockett and Findlay in their history of the modern theatre, Century of Innovation, fail to mention Urban at all. In view of his extensive design record it is surprising that he remains so little known.
Augustan Criticism and Changing Conceptions of English Opera
Authors: Gilman Todd S.
Published: July 2009

The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
Corpus Mysticum et Representationem: Hildegard of Bingen'sSciviasandOrdo Virtutum
Authors: Kobialka Michal
Published: July 2009

Ever since the project of supplying objective knowledge was challenged by the debates about colonialism, gender, sexual orientation, and ethnicity, academics from different fields have begun to share a conception of knowledge as representational, differing primarily in the accounts of how their, “representations” are related to objects that are represented. Understandably, Plato's and Aristotle's definitions of mimesis have acquired new currency. According to Plato, whenever “you see one, you conceive of the other.” According to Aristotle, the relationship betweentechneandphusisis contained in the formulation that, on the one hand, art imitates nature; on the other hand, art carries to its end what nature is incapable of effecting. Both Plato and Aristotle perceive mimesis as the process of either epistemological or ontological repetition or doubling in which “one” (thought or subject) becomes “two” (thought or subject doubles as idea or object), in theatre studies, for example, the prevailing tradition defines representation in terms of a promise of a performative act. Such an act signifies that the “I” or “we” making the promise understands or knows the problem, the object, or the text and will be able to transfer it from nature, that is, from the real space, to the theatrical, “imaginary” space where the declaration of its existence and the formulation of its speech will be staged in a tight spotlight. This process is authorized by an institutional structure that safeguards the promise, its execution, and its use.
Miss Scott and Miss Macauley: “Genius Comes in All Disguises”
Authors: Bratton J. S.
Published: July 2009

The first third of the nineteenth century is described by most theatre historians, from the enormously influential William Archer down to the present day, as the “winter solstice” of the British stage. The generally held estimation of the theatre in Britain at this time is that it was a wilderness of vulgarity, bad writing, and self-indulgent acting that pandered to the lowest common denominator of popular taste. This judgment is, of course, an ideological construct, and one that began to be forged at the time to which it is applied. I would contend that “the decline of the drama” was a concept generated in the press and in critical writing of the period for the particular purposes of a newly ascendant hegemonic fraction, the literate (and overwhelmingly male) middle classes, whose project was to recapture the stage, a powerful medium of communication, for the exclusive transmission of their own voice. One tool of this appropriation was the assertion of a superior public morality; and for that purpose it was necessary to cleanse the stage of its immoral associations—especially its association with independent women. It has recently been argued, by Julie Carlson, that “anxieties about women…drive the age's antitheatricality” and account for the failure of the canonical Romantic writers to produce plays.
“A True Jewish Jew:” Three Yiddish Shylocks
Authors: Berkowitz Joel
Published: July 2009

“Of all of Shakespeare's works, The Merchant of Venice holds the greatest interest for Jews,” writes critic and theatre historian Bernard Gorin in 1911. Gorin's observation may seem so obvious today as to verge on the axiomatic, but Yiddish theatre practice in the 1890s, when Shakespeare's plays began being produced in Yiddish, would not in itself have led to such a conclusion. The only recorded Yiddish production of the play in New York during that decade ran for just one weekend in February 1894, and such a commercial failure would have been an unlikely export to other American cities.
Others, Adults, Censored: The Federal Theatre Project's Black Lysistrata Cancellation
Authors: West Ron
Published: July 2009

Though it has been almost completely overlooked, the arbitrary cancellation of the Seattle Negro Repertory Company's 1936 Lysistrata provides a remarkable opportunity to explore the connections between a single, seemingly localized action and a network of socially, politically, and racially repressive forces. Lysistrata's closure on ostensibly moral grounds reveals the operation of a set of cultural and social controls masked as standards of decency. An array of racist assumptions as rigid as those anywhere in the country, though somewhat more subtle, obscured the generally repressive ends that the control system served, both in Seattle and nationwide. The incident thus provides clues to the institutionalized antireform mechanisms that soon coalesced in a successful congressional attack on the Works Project Administration's Federal Theatre Project (FTP), of which the Negro Repertory Company (NRC) was a major unit. The Lysistrata cancellation's connection with that broader offensive also demonstrates the manner in which Hallie Flanagan's “free, adult, uncensored” national theatre threatened the nation's essentially conservative political power structure and drew the decisive backlash that eventually overturned efforts at social change during the Depression Era.
Representations of the Resurrection at Beverley Minster Circa 1208: Chronicle, Play, Miracle
Authors: Badir Patricia
Published: July 2009

Appended to Folcard's twelfth-centuryVitaof Saint John of Beverley is an account of a play of the Resurrection of Christ that was enacted by masked players in the churchyard of Beverley Minster in the presence of a great number of spectators. The story tells of some boys who, apparently desiring a better view of the play, entered the church and climbed up to the vaulting to look down at the performers from a window above. The church wardens, fearing the window might be damaged, chased after the boys in order to punish their rashness. One of the boys was able to dodge the blows inflicted upon his companions by scampering further up the stairs, but a stone was loosened by his foot and fell crashing to the pavement below. Shocked by the noise, the boy lost his balance and tumbled to the floor of the nave, where he lay, presumably dead. A group of people, who had entered the church to escape the crowds outside, gathered around the body that, to their amazement, rose from the dead without a mark of injury. And so it was brought about that those who were unable to see the representation of the Resurrection outside the church were provided with a sign of the Resurrection inside the church.
Writing the Unwritten: Morris Dance and the Study of Medieval Theatre
Authors: Sponsler Claire
Published: July 2009

During the course of her summer's progress in 1575, Elizabeth I spent nineteen days at Kenilworth, the Earl of Leicester's Castle in Warwickshire, where she was presented with various entertainments—including plays, fireworks, bear-baitings, water-pageants, acrobatic performances, and dancing—at a cost of over a thousand pounds a day, as part of what has been called “unquestionably sixteenth-century England's grandest and most extravagant party.” Robert Langham, a minor court functionary who wrote an eyewitness account of the party, describes a “lyvely morisdauns” that was featured in this festive show of fealty to the queen. According to Langham, the morris performed for Elizabeth was danced “acording too the auncient manner” and featured “six daunserz, Mawdmarion, and the fool.” The dance was part of a bride-ale procession made up of “lusty lads and bolld bachelarz of the parish” arranged two by two in “marciall order,” who preceded sixteen horsemen and the bridegroom; after the horsemen came the morris dance, followed by three “prety puzels” carrying spicecakes and leading the bride (“ill smellyng” and “ugly fooul ill favord”), who was accompanied by “too auncient parishionerz, honest toounsmen” and a dozen bridesmaids. The procession marched to the castle in the great court in which a quintain had been set up for feats of arms; when these games were concluded, a performance of the traditional Hock Tuesday play from nearby Coventry was enacted. Though these festivities were staged outside her window, apparently the queen did not see much of them because, Langham tells us, “her highnes behollding in the chamber delectabl dauncing indeed: and heerwith the great throng and unruliness of the peopl, waz cauz that this solemnitee of Brydeale and dauncing had not the full muster waz hoped for” (11. 722–26). Elizabeth asked that the Hocktide play be performed again for her on the following Tuesday; Langham does not mention whether or not the morris dance was also repeated for the queen's pleasure.
Emotion Memory and the Medieval Performance of Violence
Authors: Enders Jody
Published: July 2009

When Constantin Stanislavski'sAn Actor Preparesfirst appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. InAn Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:
The Ethiopian Art Theatre
Authors: Anderson Addell Austin
Published: July 2009

The Ethiopian Art Theatre was founded in response to the racial strife of early twentieth-century Chicago. From 1910 to 1920, the migration of Southern blacks to Chicago more than doubled the black population from 44,103 to 109,458. White citizens felt threatened by the influx, fearing unemployment and epidemics in crime and health. Racial tensions increased from 1917 to 1919 as white gangs openly assaulted blacks. So-called “neighborhood improvement societies” bombed black homes and realty offices suspected of attempting to break up white residential areas. The Chicago Association of Commerce and theChicago Tribuneencouraged blacks to return to the South.