bluuebunny/crossref_metadata_2025 huggingface dataset:
A STUDY OF IMMUNITY BASED ON PENNA AGING MODEL
Authors: HE MINGFENG , WANG SHUANG
Published: May 2006

This paper describes an evolutionary model based on sexual Penna model and shape space model with infection and immunity. Each individual is represented by Penna model with an immune system. In order to study how the infection and immunity influence the survival process, we modify the Verhulst factor. Then, we present the results of our simulations, and discuss the evolution of population and the effect of immunity respectively. In addition, we study the effect of the memory of the immune system and the effect of vaccination under different conditions.
Spectral prefetcher
Authors: Sharma Saurabh , Beu Jesse G. , Conte Thomas M.
Published: May 2006

Effective data prefetching requires accurate mechanisms to predict embedded patterns in the miss reference behavior. This paper proposes a novel prefetching mechanism, called the spectral prefetcher (SP), that accurately identifies the pattern by dynamically adjusting to its frequency. The proposed mechanism divides the memory address space into tag concentration zones (TCzones) and detects either the pattern of tags (higher order bits) or the pattern of strides (differences between consecutive tags) within each TCzone. The prefetcher dynamically determines whether the pattern of tags or strides will increase the effectiveness of prefetching and switches accordingly. To measure the performance of our scheme, we use a cycle-accurate aggressive out-of-order simulator that models bus occupancy, bus protocol, and limited bandwidth. Our experimental results show performance improvement of 1.59, on average, and at best 2.10 for the memory-intensive benchmarks we studied. Further, we show that SP outperforms the previously proposed scheme, with twice the size of SP, by 39% and a larger L2 cache, with equivalent storage area by 31%.
Software estimation in the maintenance context
Authors: Diev Sergey
Published: May 2006

This article describes an extension of the Use Case Points method of software estimation. The main goal of this extension, called UCPm, is to reflect the specifics of the maintenance phase of software life cycle. UCPm takes into consideration the complexity of the base system. Then, UCPm does not consider the environmental factor as size-contributing entity and defines product size only via unadjusted use case points and technical factor. UCPm also applies four technical factors at the use case level, rather than at the level of the overall product.The method has been applied to more than 30 projects in the course of work on achieving CMM Level 4. It was found that even when requirements are not produced in the use case style, it is relatively easy to build a use case model for the purpose of estimation. It is also believed that the relatively high level of UCP/UCPm reduces the amount of work on estimation. In our preliminary estimates, one use case point maps to approximately four function points.
Perceptions of extreme programming
Authors: Mišić Vojislav B.
Published: May 2006

Extreme Programming (XP) is probably the best known and (arguably) the most controversial of the so-called agile software development methodologies. The paper presents the main findings of a small pilot survey about user perceptions of XP.
Professor James E. Tomayko
Authors: Tomayko James E.
Published: May 2006

Carnegie Mellon professor and alumnus James Tomayko (HS'71,'80), a founder and former director of the Master in Software Engineering (MSE) program in the School of Computer Science (SCS), died on Monday, Jan. 9, 2006, after a long illness. He was 56.
Risks to the public
Authors: Neumann Peter G.
Published: May 2006

Edited by Peter G. Neumann (Risks Forum Moderator and Chairman of the ACM Committee on Computers and Public Policy), plus personal contributions by others, as indicated. Opinions expressed are individual rather than organizational, and all of the usual disclaimers apply. We address problems relating to software, hardware, people, and other circumstances relating to computer systems. To economize on space, we include pointers to items in the online Risks Forum: (R i j) denotes RISKS vol i number j. Cited RISKS items generally identify contributors and sources, together with URLs. Official RISKS archives are available at www.risks.org (which redirects to Newcastle and gets you nice html formatting and a search engine courtesy of Lindsay Marshall; http://catless.ncl.ac.uk/Risks/i.j.html gets you (R i j)) and at ftp://www.sri.com/risks.
Traits
Authors: Ducasse Stéphane , Nierstrasz Oscar , Schärli Nathanael , Wuyts Roel , Black Andrew P.
Published: May 2006

Inheritance is well-known and accepted as a mechanism for reuse in object-oriented languages. Unfortunately, due to the coarse granularity of inheritance, it may be difficult to decompose an application into an optimal class hierarchy that maximizes software reuse. Existing schemes based on single inheritance, multiple inheritance, or mixins, all pose numerous problems for reuse. To overcome these problems we propose
traits
, pure units of reuse consisting only of methods. We develop a formal model of traits that establishes how traits can be composed, either to form other traits, or to form classes. We also outline an experimental validation in which we apply traits to refactor a nontrivial application into composable units.
Modeling strategies and alternatives for data warehousing projects
Authors: Jukic Nenad
Published: May 2006

Choosing the appropriate modeling approach is often the critical factor in the success or failure of a data warehousing implementation.
Beyond stereotypes of IT professionals
Authors: Enns Harvey G. , Ferratt Thomas W. , Prasad Jayesh
Published: May 2006

IT professionals are complicated---managers need to go beyond stereotypes to truly understand them.
B-tree indexes for high update rates
Authors: Graefe Goetz
Published: May 2006

In some applications, data capture dominates query processing. For example, monitoring moving objects often requires more insertions and updates than queries. Data gathering using automated sensors often exhibits this imbalance. More generally, indexing streams is considered an unsolved problem.For those applications, B-tree indexes are good choices if some trade-off decisions are tilted towards optimization of updates rather than towards optimization of queries. This paper surveys some techniques that let B-trees sustain very high update rates, up to multiple orders of magnitude higher than traditional B-trees, at the expense of query processing performance. Not surprisingly, some of these techniques are reminiscent of those employed during index creation, index rebuild, etc., while other techniques are derived from well known technologies such as differential files and log-structured file systems.
Under New Management
Authors: Johnston-Watt Duncan
Published: May 2006

In an increasingly competitive global environment, enterprises are under extreme pressure to reduce operating costs. At the same time they must have the agility to respond to business opportunities offered by volatile markets.
MARS
Authors: Vollmar Kenneth , Sanderson Pete
Published: May 2006

We describe the implementation of "MARS," a GUI, Java-based simulator for the MIPS assembly language. MIPS, the computer architecture underlying the simulated assembly language, is widely used in industry and is the basis of the popular textbook
Computer Organization
and Design [6], used at over 400 universities. The MARS simulator has been implemented with characteristics that are especially useful to undergraduate computer science students and their instructors.
Loop scheduling with timing and switching-activity minimization for VLIW DSP
Authors: Shao Zili , Xiao Bin , Xue Chun , Zhuge Qingfeng , Sha Edwin H.-M.
Published: May 2006

In embedded systems, high-performance DSP needs to be performed not only with high-data throughput but also with low-power consumption. This article develops an instruction-level loop-scheduling technique to reduce both execution time and bus-switching activities for applications with loops on VLIW architectures. We propose an algorithm, SAMLS (Switching-Activity Minimization Loop Scheduling), to minimize both schedule length and switching activities for applications with loops. In the algorithm, we obtain the best schedule from the ones that are generated from an initial schedule by repeatedly rescheduling the nodes with schedule length and switching activities minimization based on rotation scheduling and bipartite matching. The experimental results show that our algorithm can reduce both schedule length and bus-switching activities. Compared with the work of Lee et al. [2003], SAMLS shows an average 11.5% reduction in schedule length and an average 19.4% reduction in bus-switching activities.
Predictability of Extratropical Cyclones: The Influence of Initial Condition and Model Uncertainties
Authors: Zhu Hongyan , Thorpe Alan
Published: May 2006

Errors in numerical weather forecasts can be attributed to two causes: deficiencies in the modeling system and inaccurate initial conditions. Understanding of the characteristics of the growth of forecast spread related to model uncertainty is less developed than that for initial condition uncertainty. In this research, the authors aim to construct a theoretical basis for describing such forecast error growth resulting from model uncertainty using mostly an empirical modeling approach. Primitive equation models with different vertical discretization and different horizontal resolutions are used to investigate the impacts of model uncertainties on the predictability of extratropical cyclones. Three sets of initial perturbations related to an upper-level trigger, with slightly different amplitudes, are designed for representing the situation when the initial condition uncertainty leads to significant forecast error growth.

Forecast error growth is here estimated by following the properties of a developing cyclone in the simulations. Generally, there are three phases for forecast error growth in the experiments with initial condition and model uncertainties. For the experiments with the structured initial condition uncertainties, the errors grow rapidly at the earlier transient stage, with the growth rate well above the fastest growing normal mode. Afterward the error grows exponentially at approximately the same growth rate as the cyclone, followed by a saturation period, when the growth rate starts to decline. For the experiments with the model uncertainties, the forecast errors are initially zero and increase as time to a power of μ, which is between 0.5 and 3 depending on the strength of the cyclone at the time the simulation is initiated. After a certain time interval, the exponential growth phase and saturation period start as in the initial error experiments. Starting an integration with a stronger initial cyclone, the forecast error associated with the model uncertainty takes a shorter time to reach the exponential growth period and the forecast error grows more rapidly initially with a smaller value of μ. Also, when the initial cyclone is strong enough, then the exponential growth phase may only last for a very short time.
Preparation of Novel Selenacrown Ethers and Their Complexing Abilities with Transition Metal and Heavy Metal Cations
Authors: Kumagai Takeshi , Akabori Sadatoshi
Published: May 2006

Cyclic polyselenaethers were prepared and their extraction abilities toward transition metal and heavy metal cations were determined. Toward methylmercury(II) cation, the extraction abilities of these selenacrown ethers were higher than those of structually corresponding thiacrown ethers. Also the structures of the complexes of these selenacrown ethers with transition metal and heavy metals were discussed.
Lipase-Catalyzed Highly Enantioselective Macrolactonization of Hydroxyacid Esters in an Organic Solvent
Authors: Yamada Hiroshi , Ohsawa Shoko , Sugai Takeshi , Ohta Hiromichi , Yoshikawa Sadao
Published: May 2006

In the lipase-catalyzed macrolactonization of long chain hydroxy acid methyl esters, the presence of a double bond in the acyl part was found to favor the formation of the monomeric product.
The Stereoselective Synthesis of α,β-Unsaturated Ketones by the Stepwise Cross-Coupling Reaction of [E]-(2-Bromoethenyl)diisopropoxyborane
Authors: Ogima Masahiko , Hyuga Satoshi , Hara Shoji , Suzuki Akira
Published: May 2006

The palladium catalyzed stepwise cross-coupling reaction of (E)-(2-bromoethenyl)diisopropoxyborane, readily available by bromoboration of acetylene, with α-alkoxyalkenylzinc chlorides and organic halides gives α,β-unsaturated ketones in good yields with high (E)-selectivity.
Reduction and Coupling Reaction of Imines Promoted by Ytterbium Metal
Authors: Takaki Ken , Tsubaki Yuichiro , Tanaka Shinji , Beppu Fumikazu , Fujiwara Yuzo
Published: May 2006

Ketimines are readily reduced to the corresponding amines by the treatment with ytterbium metal followed by quenching with water. On the other hand, reductive coupling reaction of aldimines takes place to give predominantly 1,2-diaminoethane derivatives.
Reaction of Tris(β-diketonato)ruthenium(III) Complexes with Strong Acids in Acetonitrile. Formation of Bis(acetonitrile)bis(β-diketonato)ruthenium(III) Complexes
Authors: Kasahara Yuko , Hoshino Yoshimasa , Shimizu Kunio , Satô Gen P
Published: May 2006

Bis(acetonitrile)bis(β-diketonato)ruthenium(III) was readily formed through the reaction of the corresponding tris(β-diketonato)ruthenium(III) with perchloric, sulfuric, or hydrochloric acid in acetonitrile. The reaction was quantitative; the stoichiometry was 1:1 for each strong acid studied here. This reaction was employed to prepare several bis(acetonitrile)bis(β-diketonato)ruthenium(III) complexes, which proved to be convenient intermediates for the synthesis of mixed-ligand β-diketonato ruthenium(III) complexes of the [RuIIIL2L′] type.
Synthesis, Structure, and Magnetic Properties of a Novel Manganese(IV) Complex with the Schiff-base Ligand Containing Two Phenolic Oxygens
Authors: Mikuriya Masahiro , Shigematsu Shinji , Kawano Kouichi , Tokii Tadashi , Oshio Hiroki
Published: May 2006

A manganese(IV) complex with N-salicylidene-2-hydroxy-5-chlorobenzylamine (H2L), Mn(L)2·2THF (THF = tetrahydrofuran) has been prepared and characterized by X-ray structure analysis, magnetic susceptibilities (80–300 K), EPR and electronic spectra.
Maximal arcs in PG(2, q) and partial flocks of the quadratic cone
Authors: Hamilton N , Thas J. A
Published: May 2006

In this paper we show that there are several other structures that arise from the functions associated with the maximal arcs of Mathon type. So it is shown that maximal arcs of Mathon type are equivalent to additive partial flocks of the quadratic cone in PG(3,q) and to additive partial q-clans. Further they yield partial ovoids of Q
+(5,q) partial spreads of lines of PG(3,q), translation k-arcs of PG(2,q) and m-ovoids of a certain classical generalized quadrangle.
What Is Going On in a Dance?
Authors: Beardsley Monroe C.
Published: May 2006

I begin these rather tentative and exploratory reflections by calling upon some provocative remarks by George Beiswanger, from an essay written some years ago and later reprinted:

Muscular capacity is the physical means by which dances are made. But the means becomes available to the choreographic imagination only through the operation of a metaphor, a metaphor by which a moving in the muscular sense takes on the character of a doing or goings-on. … Strictly speaking, then, dances are not made out of but upon movement, movement being the poetic bearer, the persistent metaphor, by which muscular material is made available for the enhanced, meaningful, and designed goings-on that are dance.

Though this passage summarizes a view that I shall try to defend and articulate, the attempt to apply the concept of metaphor troubles me: it seems a strained extension of an otherwise reasonably clear and useful term. So instead of Beiswanger's rather mysterious “operation of a metaphor” I shall suggest we employ some concepts and principles borrowed from the philosophical theory of action. But I still like his favored expression for what we are all trying to understand better—those special “goings-on” that constitute dance.
Cross-Sectional Physiologic Profiling of Modern Dancers
Authors: Chatfield Steven J. , Byrnes William C. , Lally David A. , Rowe Sharon E.
Published: May 2006

Ballet and modern dance are aesthetic endeavors which utilize the human body as their primary instrument of expression. It therefore has been suggested by some dance theorists and authorities that competent aesthetic performance in these idioms requires support from enhanced physiologic capabilities including flexibility; muscular strength, power, and endurance; and cardiovascular endurance (American Alliance for Health, Physical Education, and Recreation, 1974, p. 405; Arnheim, 1980, pp. 74-85; Fitt, 1988, pp. 318-319; H'Doubler, 1974, pp. 150-151). However, original scientific investigations of dance physiology are in their infancy and have not yet fully substantiated these commonly held assumptions.
A Month in the Country: The Organization of a Score
Authors: Jordan Stephanie A.
Published: May 2006

Choreographers have always found difficulty in fitting stories to existing musical scores and there have been few occasions when such music has fitted the dramatic structure entirely satisfactorily at every instance. There are two solutions to the problem: either to commission new music or to manipulate an existing score so that it suits the choreographer's purpose, by editing, changing the order of events or the orchestration, even by finding a composer to write a few bars here and there ‘in the style of’ the main body of the music. Such manipulation is by no means the property of story dances; Balanchine altered the order of events in Serenade for instance.

Frederick Ashton has more often than not chosen the ‘welding’ approach, as he calls it, and this is the method he and John Lanchbery used in A Month in the Country. The two men spent a week in September, 1975, working out action to music before any of the dance was choreographed. Before A Month in the Country, Ashton had already collaborated with John Lanchbery in a similar fashion, on La Fille mal gardée (1960), The Two Pigeons (1961) and The Dream (1964), and, much earlier in his career, he had worked with Constant Lambert who introduced the approach to him and was on hand to arrange and orchestrate pieces, even to suggest which music Ashton should use.
Systemic Aesthetics: Kiowa-Apache Ritual
Authors: Beatty John
Published: May 2006

The Kiowa-Apache are a small group of Apachean speakers living in the area in and near Anadarko, Oklahoma. Many anthropologists believe they separated from the other Apachean speakers, who now live in the Southwest, about 400 years ago, when they moved out onto the plains and began to function as a band of the linguistically unrelated Kiowa. Some of the early literature (Mooney 1895,1907), dismisses the Kiowa-Apache as simply being a band of the Kiowa, and in no way different than their Kiowa neighbors. This view has been refuted in some detail by McAllister (1937), Bittle (1954,1960,1962), Opler and Bittle (1962), Brant (1949, 1950,1953,1969) and Beatty (1974). There still seems to remain, nonetheless, some confusion among many people as to whether the Kiowa-Apache should be classified as Kiowa or Apache. Although the Kiowa-Apache themselves are quite clear on the fact that they are Apaches and not Kiowas, the surrounding population frequently holds that they are Kiowa. Bittle (1962) suspected that the continued confusion over the identity was in part responsible for the revitalization of the Manatidie society and the accompanying ceremonial dance.

The Manatidie is one of the Kiowa-Apache societies as well as the name of the dance performed by that society. McAllister (1937) discusses it in some detail although he had never seen the ceremony. Bittle (1962), who was present during the revitalization also describes it, as does Beatty (1974) who saw it after revitalization. Beatty's study of Kiowa-Apache music implies that although the music is generally in a “typical” Plains Indian style, it deviates occasionally into the musical style associated with their linguistic relatives (the south-western Apache and Navajo). The deviation is especially interesting in the Manatidie songs which tend to have more characteristics of the southwestern music style than might be expected. The Kiowa-Apache seem to borrow easily musical forms such as peyote songs, which stem from the Southwest and tend to have typical Southwest music patterns (Roberts 1936; Nettl 1954; McAllester 1949). The Manatidie society, on the other hand, seems not to be a southwestern institution as is peyote, and hence the appearance of southwestern music patterns in the Manatidie is somewhat surprising. The patterns can also be found in some of the more recently composed songs as well.
José Limón's The Moor's Pavane: An Interview with Lucas Hoving
Authors: Mindlin Naomi
Published: May 2006

José Limón's The Moor's Pavane, subtitled “Variations on the theme of Othello,” premiered on August 17, 1949, at the American Dance Festival in New London, Connecticut. The original cast consisted of José Limón as The Moor, Lucas Hoving as His Friend, Pauline Koner as His Friend's Wife, and Betty Jones as The Moor's Wife. With costumes by Pauline Lawrence and music arranged by Simon Sadoff (conductor and pianist for the José Limón Dance Company) from Henry Purcell's Abdelazar, The Gordian Knot Untied, and The Pavanne and Chaconne for Strings, the work was quickly recognized as a major modern dance classic. Now more than forty years old, The Moor's Pavane continues in the repertory of the Limón Dance Company, as well as in that of many ballet companies throughout the world.

John Martin, reviewing the premiere in The New York Times, declared that Limón had “definitely made a place for himself among the best of them” with his latest work. And Louis Horst wrote in The New London, Conn., Evening Day, “With a quartet of dancers… José Limón has, within the strict limitations he has set himself, produced a gripping and absorbing composition.” Horst also praised the dancers, noting that ”[t]he performance by the quartet was on a very high level, especially the stunning portrayal of the Iago role by Lucas Hoving, which was one of unforgettable malevolent intensity”.
Chandralekha: Negotiating the Female Body and Movement in Cultural/Political Signification
Authors: Ananya
Published: May 2006

The lights coming up from downstage left pick up a group of six women edging their way onto the stage from the diagonally opposite corner, their spines collapsed forward from their pelvises, backs jutting out to emphasize the broken line of the spine, knees flexed low, feet weighted to the ground, arms lying stiff and lifeless at their sides, but their heads still reaching searchingly forward. With their broken backs, they move painstakingly, slowly: the heel of one foot rises almost imperceptibly and drags the foot forward, the sole ever unable to dissociate itself fully from the ground. The weight shifts forward with this arduous endeavor as the body resigns itself onto the forward foot. Now the heel of the other foot rises in a barely visible movement and drags the foot, yet unable to lift itself from the ground, forward. The weight shifts one more time and another step is inched on. And again, the heel of one foot rises almost imperceptibly and drags the foot forward and another step is inched on. Each step speaks of weariness and pain, and a quest in spite of that. One by one, the feet pull themselves forward and haul the body across the stage in this terrifying, weighted effort. Halfway across the stage, the women are halted in this journey as if by some unseen attacker looming large in front of them. Acknowledging their arrested pathway, they begin to retrace their steps.
Les Noces: the American Premiere
Authors: Sullivan Lawrence
Published: May 2006

More than fifty years have passed since the American premiere of Stravinsky's Les Noces, which opened on April 25, 1929 at the Metropolitan Opera House in New York City. Generally overshadowed by the Bronislava Nijinska version (Paris, 1923) and by the later Jerome Robbins version (New York, 1965), the 1929 production presented a significantly different interpretation of the Stravinsky piece. The choreographer was Elizaveta Anderson-Ivantzova (1890–1973), former prima ballerina at the Bolshoi, whose life span parallels almost exactly that of Nijinska (1891–1972) and whose career intersects with that of Nijinska by virtue of her choreographing the second version. Of concommitant interest is that the first two versions of Les Noces were choreographed by women in an age when women were less than likely to be engaged as choreographers, a fact not unnoticed in 1929. Yet, little is known of this and other aspects of the production today. An examination, therefore, of the background, the production itself, and the choreography in particular is needed to describe, as clearly as the evidence will allow, what the 1929 production was like and how it differed from the better known version of 1923.

The little attention given to the New York premiere seems to have had less to do with its original performance than with a subsequent indifference to it.
The Maximum O2 Consumption in Dance Majors
Authors: Rimmer James H. , Rosentswieg Joel
Published: May 2006

Dancing has been an intrinsic segment of life for almost every nation in the world. Throughout every race, or creed, dance has symbolized the expression of a custom, tribe, religion or personal reflection. Dance has long been considered a part of the arts and looked at very closely from this perspective; however, when turning to the physiological nature of dance, there is very little information to be found.

Dancers are usually not considered highly trained aerobic athletes. One reason for this may be due to the fact that few in the dance world have taken the initiative to study the physiology of dancers. Most dancers themselves are more concerned with other aspects of dance than with the physiological components.
The Legacy to Nihon Buyō
Authors: Malm Joyce Rutherford
Published: May 2006

Nihon Buyō is the most recent form of Japanese classical art dance. Literally, Nihon means “Japanese” and buyō means “dance.” It developed as part of Kabuki, a theatrical blend of dance, drama, and music, dating from the seventeenth century. It is currently seen on the Kabuki stage as an integral part of the drama or in separate dance concerts, recitals, and entertainments. In performances off the Kabuki stage, the dances may be taken from the plays without any changes in the choreography. Or they may be the same but performed with modifications, as for example, a duet adapted as a solo. Also dances created in this style but originally meant to be viewed as separate entities, rather than as part of Kabuki, are seen more and more often today. These dances are known collectively as Nihon Buyō, or frequently just as Buyō. It is a style of dance considered to be essentially of the Edo period (1615–1867), and is continuing to evolve in the context of contemporary Japanese culture.
What is the Dance? Implications for Dance Notation
Authors: Van Zile Judy
Published: May 2006

In the Western music world a score written by a composer is distributed to members of an orchestra who individually learn their parts, come together to rehearse under the guidance or a conductor, and then perform before the public. In the drama world a script written by a playwright is distributed to actors who individually learn their parts, come together to rehearse under the guidance of a director, and then perform before the public. In both worlds a creator has written a kind of “instruction manual” for trained readers to use when preparing for an event to be seen and heard by the public. In both instances the performers as well as a conductor or director read the instruction manual, and each may contribute to interpretation in the process of “translating” that leads from the written medium to the performance medium. And in both instances differing views have evolved regarding how much liberty individuals should take in interpreting or modifying what is on the notated or scripted page as they prepare for performance.
Extending the Traditional Wedding Dance: Inbal's Yemenite Wedding and the Beggars' Dance in Habimah's The Dybbuk
Authors: Manor Giora
Published: May 2006

In this paper we will consider Jewish wedding dances in the theatrical situation on stage, rather than in their actual setting. Even in life there is an element of drama in weddings: some are comic, and many a tragedy begins with marriage. There can hardly be found two so dissimilar staged wedding dances as Sara Levi-Tanai's dance drama Yemenite Wedding (Tel Aviv, 1956) and Vakhtangov's Beggars' Dance in the second act of Habimah's drama The Dybbuk (Moscow, 1922). Nevertheless, the two works can be compared, revealing the basic problems to be solved by choreographers attempting to carry ethnic, traditional folk dance onto the theatrical stage without destroying its structure and ambience.
Searching for the Sylph: Documentation of Early Developments in Pointe Techninque
Authors: Hammond Sandra Noll
Published: May 2006

The development of pointe technique rightly can be viewed as a “technical revolution” in the history of ballet, but its origins and early manifestations are among the intriguing mysteries of this ephemeral art. The discussion that follows will explore those mysteries by examining sources heretofore largely ignored: the technical treatises about dancing written by ballet masters of the late-eighteenth through the early nineteenth centuries. These books and manuscripts reveal the most frequently taught steps and positions performed on full pointe, the dance phrases in which those movements occurred, and the exercises deemed necessary to “gain strength on the points of the toes.” Such an examination suggests that early pointe work was not an exclusively feminine activity, nor was the earliest exponent of this phenomenon a ballerina of the nineteenth century.

It would seem reasonable to expect dance technique notebooks and manuals to yield clear documentation and definitions of such a “revolutionary” phenomenon as pointe work. At the very least it would seem that the authors of those treatises would call attention to the new “discovery” which soon was to become “one of the prime features of the Romantic ballet.” But, that view of the revolutionary nature of dancing on pointe comes from our own twentieth century hindsight, not from those who first experienced the phenomenon. Rather, the earliest nineteenth century accounts by dancing masters treat pointe work in a casual manner, thus suggesting they were depicting a quite logical, but hardly remarkable, development. For example, E.A. Théleur's book on technique, Letters on Dancing (London, 1831), describes and illustrates poses corresponding to second, fourth, and fifth positions that can be made either “on the balls of the feet or on the points of the toes.” Théleur, in an even more nonchalant manner, uses his only two illustrations of dancers on the tips of their toes as examples of proper positions for the arms rather than as depictions of positions on the points of the toes.
Arthur Schnitzler's The Bridal Veil at the American Laboratory Theatre
Authors: Sullivan Lawrence
Published: May 2006

Whatever the particular intentions of the playwright, Arthur Schnitzler's Der Schleier der Pierrette (The Veil of Pierrette), a ballet-pantomime first performed in Dresden, January 22, 1910, with music by Ernst von Dohnányi, became, in the first year of its composition, a vehicle of avant-garde experimentalists on the Russian theatrical scene. In October 1910, Vsevolod Meyerhold used Schnitzler's ballet-pantomime for his own avant-garde interests in commedia dell'arte motifs, producing Columbine's Scarf (a variant title) at the House of Interludes in St. Petersburg. Three years later, in 1913, Alexander Tairov, as anti-Meyerholdean as he was anti-Stanislavskian, also staged a version of Der Schleier under the title The Veil of Pierrette, at the Mardzhanov's Free Theatre in Moscow. Both directors, relying on different aesthetic principles, used the commedia dell'arte ballet-pantomime as a statement against Stanislavskian psychological realism (1).
Here We Come A-Fossiling
Authors: Forrest John
Published: May 2006

In the first decades of the twentieth century Cecil Sharp ushered in a revival of ceremonial dance in England through his own teaching of the dances and through published manuals such as The Morris Book and The Sword Dances of Northern England. Sharp's lead was followed almost immediately by a number of collectors. The demand for dance manuals has never slackened, so that now the literature on how to dance the English ceremonial dances is substantial. Publishing manuals on how to perform these dances has had the obviously salutary effect of preserving them for posterity, but it has also had a deleterious effect on the traditions as living, growing, aesthetic phenomena. At the outset I should stress that I am not naively claiming that “folk process” and “oral transmission” are synonymous phrases, nor am I making the simple assertion that folk materials cease to be “folk” when they are written down. The complex relationship between the broadside ballads and the oral singing tradition in England is well known. Certainly no folklorist today should be so romantic as to assert that writing is the curse of the folk classes. However, the evolution of English dancing has undeniably been radically affected by written manuals.
Annual International Bibliography of Dance History: The Western Tradition. Works Published in 1979. Part III
Authors: Benson-Talley Lois
Published: May 2006

The lack of bibliographic indexing services devoted exclusively to the field of dance has allowed a large body of literature to remain virtually inaccessible to the scholar and interested reader. Indexes and current bibliographies are sorely needed in this field.

This selected bibliography, covering 1979, is a continuation of the effort begun in 1978 by those who attended the ADG-CORD Dance Conference in Hawaii. Discussions on the need for bibliographic tools led to the compilation of the first “Annual International Bibliography on Dance History: The Western Tradition” (DRJ 12(2), Spring/Summer 1980), compiled by Nancy Chalfa Ruyter.

The 1979 bibliography has been compiled in much the same way as the 1978 one. An additional category has been added for references to materials on music as it relates to dance. There are thirteen categories in total. The seven indexes guide the reader to materials by time, geographic location, and subject matter; to individuals, dance works, and companies or schools named in titles; and to authors, editors or translators of materials.
Intentionalism, Anti-Intentionalism, and Aesthetic Inquiry: Implications for the Teaching of Choreography
Authors: Lavender Larry
Published: May 2006

One of the most heated debates in modern literary and aesthetic theory concerns the relevance to criticism in general, and to interpretation specifically, of information about an author/artist's intentions in creating a particular work. This intentionalist/anti-intentionalist debate is an important one for dance educators to examine and discuss with students, since teachers' beliefs about the relevance of an artist's intentions determine in large part the way they interpret and judge dances (and other works of art), and mentor student choreographers and critics. The critical advice of mentors who hold intentionalist assumptions naturally tends to be quite different from the input of those holding anti-intentionalist views.

The debate over artists' intentions began in earnest in 1946 with the publication of a provocative and now famous essay entitled “The Intentional Fallacy” by W.K. Wimsatt and Monroe Beardsley. In this work the authors attacked the intentionalist idea that to achieve a valid, or true, interpretation of a work we must ascertain whatever meaning its maker intended it to possess. The essay laid the groundwork for a rigorous anti-intentionalism, which held that works of art and literature are autonomous entities whose meanings are carried entirely by their internal structures and do not depend on the so-called meaning-intentions of their creators.
Pages From One Life: Reflections on the Body of Work of Selma Jeanne Cohen
Authors: Aloff Mindy
Published: May 2006

I first met Selma Jeanne Cohen on the page, in the early 1970s, as a reader of her unique anthology The Modern Dance: Seven Statements of Belief. This ingenious volume, containing autobiographical essays by José Limón, Anna Sokolow, Erick Hawkins, Donald McKayle, Alwin Nikolais, Pauline Koner, and Paul Taylor, aims to show the variety of approaches to modern dance in the wake of Martha Graham and Doris Humphrey, and it does so, brilliantly; the essays concentrate on issues of choreography, performance, and aesthetics, and while the writers' voices are quite varied, their tone is consistently, and happily, focused and plainspeaking. Ultimately, of course, the triumph is Selma Jeanne's. As the editor, she reined in these diverse temperaments by asking each of them to address two questions: What are your general thoughts about modern dance? What would you do, given infinite resources, if you were commissioned to make a dance on the theme of the Prodigal Son? A canny choice, since the subject, more or less identified with George Balanchine's ballet, is both unexpected and non-competitive for a modern-dance choreographer. One might think that Selma Jeanne's unprecedented use of a common intellectual and imaginative focus for a book of dancer autobiographies to produce intellectually and imaginatively satisfying statements might have set a model for similar volumes. However, the only interviewer, at least to my knowledge, to adopt such a technique was Solomon Volkov, who, for his 1992 Balanchine's Tschaikovsky, teased his reluctant interviewee into speaking publicly and provocatively on many aspects of ballet, for an audience of all ages, on the premise that he would be discussing the music of Tschaikovsky for children.
Parallel Traditions: State Folk Dance Ensembles and Folk Dance in “The Field”
Authors: Shay Anthony
Published: May 2006

In the 1950s, the world saw the birth, growth, and development of a new dance genre, the choreographic creations of the professional state folk dance ensemble (1). The genesis of what became a worldwide phenomenon of professional, semi-professional and amateur folk dance ensembles, with the notable exception of the capitalistic Western powers and Japan, began, in my opinion, in response to the extraordinary success of the Ensemble of Folk Dances of the Peoples of the Soviet Union, known in the West as the Moiseyev Dance Company, under the artistic direction of founder Igor Moiseyev. This ensemble was begun in 1937 at the onset of World War II, but its major impact began with the political reformation of the world in the aftermath of the war. During this period the U.S.S.R.'s direct political domination of Eastern Europe and popularity and influence in other regions of the world led to widespread emulation of the Soviet model of different types of institutions, including the formation of professional state-sponsored dance companies. This dance symbol became so crucial that a small nation like Bulgaria had seventeen professional folk song and dance ensembles by the 1980s (Ilieva 1994, 35).
Dance to Song in Japan
Authors: Hoff Frank
Published: May 2006

Although there are dance types in Japan where movement is unaccompanied by song, dance to song comprises a major part of the various traditions of dance in its classical theaters and is widely found in the countryside as well. In some cases, of course, song includes meaningless words, or the voice is used like an instrument, simply to provide a musical element or beat to which to dance. But it has seemed to me that a unique aesthetic underlies a full appreciation of dance to song. What I have in mind is an associational process in operation when the movement of a dance is seen while one simultaneously hears and understands the verbal meaning of its song.

It may be true that since Japanese is not my native language I directed more attention, while watching dance of this sort, to the meaning of the song than a native speaker might.
The Grand Jeté En Tournant Entrelacé (Tour Jeté): An Analysis Through Motion Photography
Authors: Hinson Marilyn , Buckman Susan , Tate Judith , Sherrill Claudine
Published: May 2006

The medium of dance can refine its own instrument; the dancer gains fuller possession and utility of the body, of sensibilities, the uniqueness of total self. The rational and intuitive begin to flow freely into each other; the equipment becomes more subtle. Dance can thus be one more way, and a potent one, of enabling a human being to command more fully his powers.

Philosophical statements such as this exemplify the emphasis the dancer must put upon the ideal as well as upon the practical application of the real. Dance technique, how-ever, exhibits the gap between fact and theory. Today, the dance instructor has available literature related to kinesiology and research methods that could be of help to improve the theory underlying dance technique; but it appears that full advantage has not been taken of these resources to correct existing errors in technique.
Critical Evaluation in the Choreography Class
Authors: Lavender Larry
Published: May 2006

Choreography classes are structured in a way that places intrinsic value on peer criticism, or the evaluation by students of the works their colleagues present in class. For this reason, a choreography course may be conceived of (as writing courses often are) as a “revisions process” course. But while choreography teachers already devote class time to soliciting students' critical evaluation of each other's dances, approaches to training students in this activity, as documented in the literature on the teaching and learning of choreography, are neither consistent nor intellectually rigorous. The literature concerns itself primarily with the practice of producing dance studies: exploring and making creative choices about movement and structure in the dance.

A number of writers do acknowledge and articulate the importance of teaching students to develop a sharp critical eye.
Humphrey's Legacy: Loss and Recall
Authors: Siegel Marcia B.
Published: May 2006

Until I became involved in dance, I believed that art is public property. It seemed there was a definite connection between the personal, even intimate character of the artist's process and the generosity with which he or she relinquishes a work when it is completed. This interchange might partly define the altruism that people have associated with artists—up to the twentieth century anyway.

Since the last millenium, Western culture has undergone many drastic shocks that have redefined the transaction known as artmaking. Mechanical and electronic reproduction techniques have put the uniqueness of the art object into question. They have transformed visual arts and music into commodities—”cheapened” them by diminishing their exclusivity and multiplying the number of people who can enjoy them. Yet dance continues to elude capture by the potent, ever-present media of films, video and computers. A dance is still a singular event—but, it seems to me, one that's even more vulnerable now to disappearance. Dance images submerge almost instantly in the flood of other visual stimuli that's constantly washing over us; dance is everywhere but the choreographic entity has resisted translation to film. As an inherently live phenomenon dance preserves its aura of spontaneity and surprise, but it loses some of the visibility, and the standards and protections, that benefit artworks with a more permanent format.
Reminiscences of the American Dance Festival: Summer 1955
Authors: Genter Sandra
Published: May 2006

Immersion in the 1955 summer session of the Connecticut College School of Dance was a notable experience in my life. The opportunity to reminisce about Doris Humphrey and other seminal figures in residence in New London takes me on a splendid journey into the past. It was the eighth season of the American Dance Festival and the assembled artists/faculty represented the créme de la créme of modern dance. These teachers who inspired and nurtured approximately 160 students included: Louis Horst, assisted by Doris Rudko; Martha Graham with teachers from her company, David Wood and Alice Uchida; Margaret Dietz, a disciple of Mary Wigman; Pauline Koner, assisted by Lucy Venable; José Limón, assisted by Betty Jones; Lucas Hoving with his wife Lavina Nielsen; and the subject of this Centennial Celebration, Doris Humphrey, assisted by Ruth Currier. Other artists such as Pearl Lang and her company were in residence, but did not teach. In addition to these luminaries were composers, musicians, designers and critics. Norman and Ruth Lloyd, Simon Sadoff, Hazel Johnson, George McGeary, Pauline Lawrence, and George Beiswanger, among others, added their gifts to that summer's harvest.

The majority of the faculty not only taught but choreographed, performed, and/or directed work for the American Dance Festival scheduled for 18–20 August. Repertory for five different programs included seven premieres among the eighteen works of that season. Most of the pieces for the festival emanated from the Humphrey/Limón Group. Martha Graham, the other dominant artistic contingent, was not represented. Pearl Lang, long associated with Graham (as a principal soloist) presented her own choreography. The lineup of work by choreographer/performer members of the José Limón and Dance Company included: Limón (two new works); Hoving and Nielsen (two works, one of which was new); Currier (two new works); Koner, Guest Artist with the Limón Company (one new work); and Humphrey (one new work and one revival).
The Nutritional Status of Female Ballet Dancers 15-18 Years of Age
Authors: Bonbright Jane M.
Published: May 2006

The demand for ultra-leanness imposed on today's ballerina has evolved over primarily the last thirty years, and did not characterize the traditional classical ballet that dominated the field during its preceding four hundred years. Evolving public taste has tended to prefer increasingly slender figures, and the more Olympian levels of performance dancers must now exhibit further reinforce the demand for extreme leanness.

The author's forty years of dance education experience and performance of classical ballet have made her aware that excellent training has become ever more widely available to the younger members of our society. Their rigorous training— continued well into the high school years—supports the achievement of a high level of technical and aesthetic perfection. Today's elite classical dancers are trained to make ever more revolutions in ever more complex and faster paced turns, and to do quicker and more intricate allegro work. They are trained to execute more complex jumps with greater elevation, and to sustain their balances with less preparation time. Furthermore, as the quality and quantity of professionally-oriented ballet schools have increased dramatically, today's dancer is facing an exponentially increased level of competition.

Increasingly demanding techniques and more intense levels of competition require today's dancers to meet what are, in the author's view, extreme standards of leanness. Each year among the hundreds of beautifully trained dancers who audition for the few vacancies available in professional ballet companies, many are rejected on sight because they do not project the proper, or ideal, body image: long legs, long arms, long neck, oval shaped head; a body of excellent proportions; and, perhaps of greatest importance, a “bone-thin” frame. Ballet masters recognize that extreme leanness enables the dancer to become more energy-efficient, physically articulate, and agile; it facilitates partnering and pointe dancing; and projects an aesthetically pleasing athletic, or sylph-like, image to the public that subsidizes the art.