bluuebunny/crossref_metadata_2025 huggingface dataset:
EFFECT OF PSYCHROPHILIC BACTERIA TO ESTIMATE FISH QUALITY
Authors: MOL SUHENDAN , ERKAN NURAY , ÜÇOK DIDEM , TOSUN Ş. YASEMIN
Published: January 2007

Growth of psychrophilic microorganisms in chilled seafoods is important but they have limited use in shelf‐life studies because there is not an acceptability limit. In this study, pH, total volatile bases nitrogen (TVB‐N), trimethylamine nitrogen (TMA‐N), total mesophilic and psychrophilic aerobic bacteria analyses were used to estimate the shelf life of cold stored (+4 ± 1C) fish. Shelf life of horse mackerel was determined as 1 day, while cod and anchovy spoiled on the second day, and rainbow trout spoiled on the third day of storage. Total mesophilic aerobic bacteria counts did not indicate the spoilage remaining lower than the acceptability limit; but psychrophilic aerobic bacteria counts were around 6 log cfu/g, when the samples spoiled. It was determined that, estimation of the psychrophilic microorganisms gives better results to the shelf‐life estimation of chilled fish than mesophilic bacteria and 6 log cfu/g could be accepted as the acceptability limit.

PRACTICAL APPLICATIONS

Seafood is mostly stored and transported under chilled conditions. However, there is not a limit of acceptability for the psychrophilic microorganisms which are important to estimate spoilage of chilled foods. Thanks to this study, a limit of acceptability (6 log cfu/g) was determined for these microorganisms in cold storage conditions. This limit will be helpful in further studies to estimate the shelf life of chilled seafoods definitively.
The Origins of Progressive Education
Authors: Reese William J.
Published: January 2007

By the dawn of the twentieth century, a new way of thinking about the nature of the child, classroom methods, and the purposes of the school increasingly dominated educational discourse. Something loosely called progressive education, especially its more child-centered aspects, became part of a larger revolt against the formalism of the schools and an assault on tradition. Our finest scholars, such as Lawrence A. Cremin, in his magisterial study of progressivism forty years ago, have tried to explain the origins and meaning of this movement. One should be humbled by their achievements and by the magnitude of the subject. Variously defined, progressivism continues to find its champions and critics, the latter occasionally blaming it for low economic productivity, immorality among the young, and the decline of academic standards. In the popular press, John Dewey's name is often invoked as the evil genius behind the movement, even though he criticized sugar-coated education and letting children do as they please. While scholars doubt whether any unified, coherent movement called progressivism ever existed, its offspring, progressive education, apparently did exist, wreaking havoc on the schools.
Notes on the Origins of Meritocracy in American Schooling
Authors: Powell Arthur G.
Published: January 2007

In The Big Test Nicholas Lemann argues provocatively that the seemingly benign use of academic merit as a principal criterion for admission to selective American colleges has had perverse effects. Selection devices like SAT scores may have given a previously under-advantaged group an admissions advantage, but that advantage cannot be fairly characterized as helping to equalize educational opportunity. Those who cannot play the academic merit game fall behind. Opportunity for all is thus not really broadened.
Murine Innate Immune Response to Virulent Toxigenic and NontoxigenicBacillus anthracisStrains
Authors: Drysdale Melissa , Olson Gwyneth , Koehler Theresa M. , Lipscomb Mary F. , Lyons C. Rick
Published: January 2007

Effective treatment of anthrax is hampered by our limited understanding of the pathophysiology ofBacillus anthracisinfection. We used a genetically complete (pXO1+pXO2+) virulentB. anthracisstrain and four isogenic toxin-null mutants to determine the effects of the anthrax edema toxin (ET; edema factor [EF] plus protective antigen [PA]) and lethal toxin (LT; lethal factor [LF] plus PA) on the host innate response during systemic infection. Using the spleen as an indicator for host response, we found that intravenous inoculation of LT-deficient mutants into C57BL/6 mice significantly increased production of several cytokines over that observed after infection with the parent strain or an EF-deficient mutant. Bacteria producing one or both of the toxins were capable of inducing significant apoptosis of cells present in spleens, whereas apoptosis was greatly reduced in mice infected with nontoxigenic mutants. Mice infected with toxin-producing strains also showed increased splenic neutrophil recruitment compared to mice infected with nontoxigenic strains and neutrophil depletion prior to infection with toxin-producing strains, leading to decreased levels of apoptosis. Together, these studies indicate that anthrax LT suppresses cytokine secretion during infection, but both EF and LF play roles in inducing neutrophil recruitment and enhancing apoptosis. Interestingly, in the absence of LF the effect of EF-induced cell recruitment is further enhanced, perhaps because LF so effectively suppresses the secretion of chemokines.
MASSLESS SCALAR FIELD PROPAGATOR IN A QUANTIZED SPACETIME
Authors: ELIAS V. , STEELE T. G. , TANAKA K.
Published: January 2007

We consider in detail the analytic behaviour of the non-interacting massless scalar field two-point function in H. S. Snyder's discretized non-commuting spacetime. The propagator we find is purely real on the Euclidean side of the complex p2 plane and goes like 1/p2 as p2→0 from either the Euclidean or Minkowski side. The real part of the propagator goes smoothly to zero as p2 increases to the discretization scale 1/a2and remains zero for p2>1/a2. This behaviour is consistent with the termination of single-particle propagation on the ultraviolet side of the discretization scale. The imaginary part of the propagator, consistent with a multiparticle-state spectral function branch discontinuity, is finite and continuous on the Minkowski side, slowly falling to zero when 1/a2<p2<∞. The multi-particle aspect of this spectral function within the Källen-Lehmann representation of the propagator leads to the interpretation that the propagation of free-fields in a quantized spacetime is analogous to propagation of interacting fields in a continuous spacetime.
INVERSIONS IN CLASSICAL WEYL GROUPS
Authors: DING KEQUAN , WU SIYE
Published: January 2007

We introduce inversions for classical Weyl group elements and relate them, by counting, to the length function, root systems and Schubert cells in flag manifolds. Special inversions are those that only change signs in the Weyl groups of types Bn, Cnand Dn. Their counting is related to the (only) generator of the Weyl group that changes signs, to the corresponding roots, and to a special subvariety in the flag manifold fixed by a finite group.
Pharmacokinetics, Safety, and Tolerability of the Oral Renin Inhibitor Aliskiren in Patients With Hepatic Impairment
Authors: Vaidyanathan Sujata , Warren Vance , Yeh ChingMing , Bizot Marie‐Noelle , Dieterich Hans Armin , Dole William P.
Published: January 2007

Aliskiren is the first in a new class of orally active, direct renin inhibitors for the treatment of hypertension. This open‐label, nonrandomized, single‐center, parallel‐group study compared the pharmacokinetics and safety of a single 300‐mg oral dose of aliskiren in patients with mild, moderate, or severe hepatic impairment to that in healthy subjects. When pooled across subgroups, there were no significant differences between patients with hepatic impairment and healthy subjects in aliskiren AUC0‐∞ (ratio of geometric means, 1.12; 90% confidence interval, 0.85, 1.48) or Cmax (mean ratio, 1.19; 90% confidence interval, 0.84, 1.68), and there was no correlation between severity of hepatic impairment and either AUC0‐∞ or Cmax. Aliskiren was well tolerated by healthy subjects and patients with hepatic impairment. In conclusion, hepatic impairment has no significant effect on the pharmacokinetics of aliskiren following single‐dose administration, and dosage adjustment is unlikely to be needed in patients with liver disease.
Concurrent transcriptional deregulation of AML1/RUNX1 and GATA factors by the AML1-TRPS1 chimeric gene in t(8;21)(q24;q22) acute myeloid leukemia
Authors: Asou Norio , Yanagida Masatoshi , Huang Liqun , Yamamoto Masayuki , Shigesada Katsuya , Mitsuya Hiroaki , Ito Yoshiaki , Osato Motomi
Published: January 2007

The Runt domain transcription factor AML1/RUNX1 is essential for the generation of hematopoietic stem cells and is the most frequent target of chromosomal translocations associated with leukemia. Here, we present a new AML1 translocation found in a patient with acute myeloid leukemia M4 with t(8;21)(q24;q22) at the time of relapse. This translocation generated an in-frame chimeric gene consisting of the N-terminal portion of AML1, retaining the Runt domain, fused to the entire length of TRPS1 on the C-terminus. TRPS1 encodes a putative multitype zinc finger (ZF) protein containing 9 C2H2 type ZFs and 1 GATA type ZF. AML1-TRPS1 stimulated proliferation of hematopoietic colony-forming cells and repressed the transcriptional activity of AML1 and GATA-1 by 2 different mechanisms: competition at their cognate DNA-binding sites and physical sequestrations of AML1 and GATA-1, suggesting that simultaneous deregulation of AML1 and GATA factors constitutes a basis for leukemogenesis.
Acute Renal Failure and the Critically Ill Surgical Patient
Authors: Sykes Eliot , Cosgrove Joseph F
Published: January 2007

Acute renal failure can occur following major surgery. Predisposing factors include massive haemorrhage, sepsis, diabetes, hypertension, cardiac disease, peripheral vascular disease, chronic renal impairment and age. Understanding epidemiology, aetiology and pathophysiology can aid effective diagnosis and management. A consensus definition for acute renal failure has recently been developed. It relates to deteriorating urine output, serum creatinine and glomerular filtration rate. In the surgical patient, precipitants are often pre-renal, although intrinsic damage and obstructed urine flow can occur. Worsening renal function results in distal organ damage. Acute renal failure is a marker of disease severity, carrying a poor prognosis if associated with deteriorating respiratory and cardiovascular function. Acute renal failure in the critically ill surgical patient exerts a massive impact on the evolution of complications and prognosis. Management relates to treating life-threatening problems, maintaining effective ventilation and circulation, removal (or reduction) of nephrotoxins and, where appropriate, establishing either renal replacement therapy or palliative care.
Agronomic Performance and Multiple Disease Resistance in T2BS.2RL Wheat‐Rye Translocation Lines
Authors: Hysing Shu-Chin , Hsam Sai L. K. , Singh Ravi P. , Huerta-Espino Julio , Boyd Lesley A. , Koebner Robert M. D. , Cambron Sue , Johnson Jerry W. , Bland Daniel E. , Liljeroth Erland , Merker Arnulf
Published: January 2007

Wheat (Triticum aestivum L.)‐Rye (Secale cereale L.) T2BS.2RL translocations were shown to increase grain yield, resistance to biotic and abiotic stresses, and had minor effects on baking quality. The objective of this study was to test agronomic performance and resistance of a new wheat‐rye translocation (T2BS.2RL, SLU) to powdery mildew (Blumeria graminis f. sp. tritici (DC.) E. O. Speer), leaf rust (Puccinia triticina Eriks.), stem rust (Puccinia graminis f. sp. tritici Eriks. & Henn.), stripe rust (Puccinia striiformis f. sp. tritici Westend.) and Hessian fly [Mayetiola destructor (Say)]. F2 derived F4–F6 T2BS.2RL lines, non‐translocation lines, and the wheat cultivar Holme were compared using intact seedlings or leaf segments. T2BS.2RL conferred seedling resistance to 17 powdery mildew isolates, 14 leaf rust and one stem rust pathotype. The T2BS.2RL lines were susceptible to 3 stripe rust pathotypes as seedlings, while showing adult plant resistance under natural conditions. Agronomic characters were compared in a 2‐yr hill‐plot field trial in Sweden. T2BS.2RL lines flowered 2 to 3 d later and had an increased number of spikelets per spike. The T2BS.2RL had no significant effect on yield, straw length, lodging, volume weight, 1000‐kernel weight, fertility, α‐amylase activity, or starch or protein content. The multiple disease resistance and the minor negative effects on agronomic performance of the T2BS.2RL, SLU translocation encourage its use in wheat breeding.
The Role of Puroindoline A and B Individually and in Combination on Grain Hardness and Starch Association
Authors: Wanjugi H. W. , Hogg A. C. , Martin J. M. , Giroux M. J.
Published: January 2007

Endosperm texture in wheat (Triticum aestivum L.) is an important criterion affecting end‐product quality. Grain hardness is controlled by the Hardness (Ha) locus which contains the puroindoline a (Pina) and puroindoline b (Pinb) genes. Hard wheats possess mutations in Pina or Pinb while soft wheats possess the Pina‐D1a and Pinb‐D1a alleles. Here, we determined the role of PINA and PINB individually and in combination on grain hardness and association to starch. Pina‐D1a or Pinb‐D1a overexpressing transgenic lines were crossed to PINA or PINB null hard wheats. The crosses segregated for the transgene and the Ha locus. Random lines from each genotypic class were evaluated in replicated trials over 2 yr. Classes containing only native levels of PINA or PINB were hard textured. Homozygous classes with transgenic addition of PINA to the PINA+/PINB null Ha locus or addition of PINB to the PINA+/PINB null Ha locus were intermediate in texture with grain hardness values of 43.5 and 45.5, respectively. Soft endosperm texture was only obtained when both PINA and PINB were present with the softest grain observed with addition of PINB to the PINA+/PINB null Ha locus. Association of high amounts of either puroindoline to starch required both PINA and PINB. The results indicate that PINA or PINB can act alone leading to intermediate‐textured grain or can function together to give a soft grain texture.
The World of Hedda Gabler
Authors: Spacks Patricia Meyer
Published: January 2007

Although Ibsen's Hedda Gabler has recently enjoyed considerable off-Broadway success, critical confusion about the play has not appreciably abated. Reviews of the recent production merely emphasized the conflicting views which have been advanced since Hedda Gabler first appeared in 1890. It seems to be a play about an extraordinary woman—but extraordinary in precisely what way? Is she naturally cruel and malicious, or is she made so by the events one sees on stage? In a review entitled “A Beautiful Snake,” Whitney Balliett in the New Yorker, after admitting that various social problems are dealt with in the play, insists that Ibsen “was primarily interested in exploring ironically the cold depths of that changeless and most fascinating of all women—the bitch.” Alan Pryce-Jones, on the other hand, in Theatre Arts, complained that the New York production made Hedda's bitchiness too immediately apparent.
Giraudoux’ Approach to Tragedy
Authors: Fowlie Wallace
Published: January 2007

In his own style, in his own creation, Jean Giraudoux is an accomplished playwright. If the reader of his plays or the theatregoer is an addict of the Giraudoux manner of writing, he will be enchanted and stimulated as long as the reading or as long as the play lasts. But the opposite reaction is equally possible for the reader or the theatre-goer who finds such a style antipathetic.

Ever since his first book appeared in 1909, a collection of stories and sketches called Provinciales, Giraudoux has been explained by almost every critic who has referred to him, by the term “preciosity.” He has been called a précieux with the same monotonous regularity that Gide has been called a “sincere” writer and Cocteau a “tight-rope walker.” The word is applicable, without much doubt, and yet literary styles are not easily classifiable.
At War with Electra
Authors: Gassner John
Published: January 2007

I “discovered” Giraudoux in the late nineteen-twenties when his Siegfried impressed me as an intelligent contrivance. His comment on the evils of nationalism did not exactly startle me with originality or stir me with passion, but he had an engaging way of projecting a point of view. He was suave, aloof, and ironic while other European pacifist playwrights of the period usually sputtered with anguish and worked themselves up to expressionistic frenzies of protest. He was as articulate as they were inarticulate, and as urbane as they were hysterical. The Giraudoux of my first encounter was an exquisitely civilized writer. And in contriving a tale of amnesia and mistaken identities in consequence of which a French soldier became a German after World War I, Giraudoux was plainly a “fabulist.” His favorite strategy, that of inventing or adapting a fable or myth, was also already in evidence, although Siegfried had originally been a novel by Giraudoux.
Buskin and Farce: Notes on Pour Lucrèce
Authors: Dirks Mary Douglas
Published: January 2007

… Tous deux en chaussant le cothurne alors que vous plongez jusqu’au cou dans la farce.

(Pour Lucrèce, Act III, Sc. 4)

“Le monde de M. Giraudoux est celui des virginités reconquises.”

… Jean-Paul Sartre

Pour Lucèrce is Giraudoux’ last play, published posthumously in 1951, produced by the Madeleine Renaud—Jean-Louis Barrault company in Paris in 1953, and slated for Broadway production in an English adaptation by Christopher Fry.

On the face of it, the theme of outraged chastity, hallowed though it is by time, seems an odd dish to set before today’s theatregoers. Rape is not unknown on our stage; but chastity is rarely mentioned nowadays and Tarquin’s ravishing strides had quite subsided when Giraudoux came along with his Lucrèce. It should be noted, however, that he has given with one hand only to take away with the other.
The Preface to “The Marriage of Figaro”
Authors: Beaumarchais
Published: January 2007

In writing this preface, my purpose is not to conduct a futile investigation to determine whether I have written a good play or a bad one. It is too late for that. Rather, it is scrupulously to subject it to examination (and I should do this under any circumstances), in order to discover whether I have written a blameworthy piece of work.

Since no one is obliged to write a comedy in strict imitation of other comedies, if I have strayed from the well beaten path for reasons I felt to be sound ones, am I to be judged, as the Messrs. so & so have judged me, by rules which are not my rules? Or, as they fatuously proclaim in print, for taking art back to its infancy, because I am attempting to blaze a new trail for that art whose first, perhaps whose only law, is to entertain while instructing? But that is not the question.
Discovering the Theatre
Authors: Ionesco Eugene
Published: January 2007

When I am asked: “Why do you write plays?” I always feel very embarrassed, and am at a loss for an answer. It seems to me sometimes that I started to write for the theatre because I hated it. I read literary works and essays, or went to the movies with pleasure. From time to time I listened to music, or visited art galleries; but for all practical purposes I never went to the theatre.

When, quite by chance, I saw a play, it was in order to accompany someone, or because I had not been able to refuse an invitation, because I had been obliged to go.

I derived no pleasure from it, and did not participate in it. The playing of the actors disturbed me: I was embarrassed for them. The situations seemed arbitrary to me. There was something false in it all, I thought.
The Phoenix Has Two Heads
Authors: Bermel Albert
Published: January 2007

The most surprising fact about the Phoenix Theatre in New York City is that it has survived. Between opening night on December, 1953, and the end of the third season in the spring of 1957, the managing directors, T. Edward Hambleton and Norris Houghton, compiled a cheerful deficit of some $500,000. By the 1960-61 season, if conditions do not change, there is no reason why the deficit should not touch seven figures. Yet there are some citizens, most of them Broadway backers, who continue to pour into the Phoenix money that cannot possibly be recouped, let alone multiplied.

This may sound like an indelicate or misplaced emphasis; it is actually no more than a reminder that money is the prime mover in New York theatre. It takes, we are told, $400,000 to throw a Broadway musical together.
The "Demonic" in Ibsen's The Wild Duck
Authors: Crompton Louis
Published: January 2007

Ibsen's The Wild Duck has been universally recognized as a masterpiece of modern dramatic art. Two generations of critics, starting with George Brandes and George Bernard Shaw, have admired its powerful ironies and brilliant dramaturgy. Finally, it has been made the subject of a detailed and extremely perceptive analysis by Hermann Weigand, Ibsen's leading twentieth-century exponent, in his study The Modern Ibsen. All have seen it as a curious drama of mixed genre in which elements of satire, comedy, and tragedy exist together in a state of high tension. Beyond this, the critics have gone on to explore some particular vein in the rich texture of the play: its exposure of the dangers of jejune “idealism,” the elaborate comic irony surrounding the figure of Hialmar Ekdal, the teasing symbolism.
The Allegorical Theatre of Hugo von Hofmannsthal
Authors: Schwarz Alfred
Published: January 2007

In an essay, written in 1924, Mr. T. S. Eliot pointed to the effects in the English drama of an unlimited aim at realism. He saw that without a form to arrest the flow of spirit, without unrealistic conventions, the drama was bound to end in an “exact likeness to the reality which is perceived by the most commonplace mind.” Perhaps in only one play, Everyman, he thought, we had a drama within the limitations of art. In fact, one may say that the unchecked attempt at realism, the attempt “to escape the conditions of art,” has paradoxically become a limitation for die artist. The realistic theatre itself developed in time such stringent conventions that modern playwrights, at least since Ibsen, have sought to escape them. And some serious dramatists have looked for more than purely formal solutions (like the techniques of expressionism) to liberate the stage. They wanted to enlarge the scene in order to regain the scope of the great theatres of the past.
The Dispute Over the Valley
Authors: Bunge Hans-Joachim , Morgan Bayard Quincy
Published: January 2007

Conceptions of Bertolt Brecht's own staging of his play The Caucasian Chalk Circle in the “Berliner Ensemble am Schiffbauerdamm” (premiere on 7 October 1954) differ from the performance in Frankfort-on-the-Main (directed by Harry Buckwitz, premiere on 27 April 1955) in this respect, among others, that in Berlin the Prologue was performed, whereas in Frankfort it was deleted before rehearsals began.

The Prologue is an integral part of The Caucasian Chalk Circle and the play has never been published without it. In it Brecht shows how two Grusinian Kolchoses settle an argument over the possession of a valley claimed by both villages. The valley is obtained by those who give promise of administering it best, i.e., those who will irrigate it in order to make it produce more fruit.

The goat-raising Kolchos “Galinsk” had been evacuated from the valley by a government order when Hitler's armies were advancing.
Thornton Wilder Says 'Yes'
Authors: Hewitt Barnard
Published: January 2007

The prefatory note to the volume, Three Plays by Thornton Wilder, states that he is regarded by many as America's greatest living playwright. We may discount this considerably as a publisher's exaggeration, but there is no question that his name will appear on almost anyone's list of major contemporary American playwrights—and probably nearer the top than the bottom.

This is a little surprising when one stops to think that his reputation rests almost entirely on three plays, one of them an adaptation. True, he has written a number of one-act plays, one or two of which have become classics of the amateur theatre. He has translated André Obey's Lucrèce for Katharine Cornell and he has adapted A Doll's House for Ruth Gordon.
Eugène Labiche
Authors: Augier Emile , Dirks Mary Douglas
Published: January 2007

I was visiting my friend Labiche at his princely estate in Sologne, which is so unlike our cheerful countryside of Seine-et-Oise. Nevertheless, I enjoyed myself very much there with my old friend's delightful family, surrounded by the bustling activity of rural pursuits so new to me. A simple flower gardener myself, I derived great pleasure from following this tiller of the soil across the extensive fields which he had reclaimed from sand and briar and replenished with wheat, pine trees, cattle and sheep. And in the presence of this splendid yeoman who strode along the roadways, hobnailed stick in hand, his legs encased in leather gaiters, master of all he surveyed, I found myself completely forgetting the author of so many merry caprices, the grand master of laughter, our first producer of laughing gas.
Coleridge on Dramatic Illusion
Authors: Fogle Richard Harter
Published: January 2007

Coleridge's celebrated theory of dramatic illusion was doubtless formulated to deal with the problem of Shakespeare and “the three unities.” The unities of time, place, and action so dear to the hearts of the French were, he felt, based on a doctrine of literal delusion, mistakenly supposing that the audience is deceived into taking the play as a real happening. In his Preface to his edition of Shakespeare, Dr. Johnson, on the other hand, had maintained that a theatrical audience was never deceived for a moment. The spectator understood that he was viewing a presentation of fictional events, and judged it according to its adherence to sound morality, logical probability, and general human nature. For Coleridge the truth was a reconciliation of these two extreme views: the audience of a play is neither deceived nor wholly undeceived about its reality. It is in a state of illusion, a complex attitude in part self-willed, in part created by the skill of the playwright and the actors.
The Multiple Set in American Drama
Authors: Brooks Charles
Published: January 2007

Francis Fergusson suggests that the drama since Shakespeare and until the 1940’s, when The Idea of a Theater was written, is partial in its “perspectives”, each play a “fragment” of Shakespeare’s “great mirror”. Kenneth Burke suggests that there is a close relationship between the nature of a play’s setting and its sense of action (A Grammar of Motives). Taken together, these statements indicate a relationship between the partial perspective of modern drama and the naturalist settings which prevailed in that drama from the Restoration to the Second War. They also indicate a relationship between the multiple set that has become popular in the American theatre since the war and the perspectives which the dramatists are trying to achieve.
Tragic Perspectives: A Sequence of Queries
Authors: Gassner John
Published: January 2007

“It is about time someone wrote a new Poetics,” my friend said. He was thinking of Tragedy, of course, and he looked hopefully at me, or so my vanity led me to believe. And it occurred to me at once how easy it would be to join this enterprise of drafting new or modified “laws” for tragedy, and how difficult to extricate oneself from it. There hasn’t been a generation since the fifteenth century that hasn’t tried to rewrite Aristotle’s text whether by interpretation or augmentation. Yet nothing absolute has ever been said on the subject that went perceptibly beyond the prejudices or ambitions of a period, a nation, a species of litterateur, or a class of play-goers and readers. The very effort to define the limits of tragedy appears to have introduced more confusion into criticism and playwriting than it has eradicated.
Mirror of Shylock
Authors: Carnovsky Morris
Published: January 2007

There are certain characters of Shakespeare that assert their right to exist from the moment they come into view. They rear up and walk; they talk with unmistakable rhythm and inflection; they look you in the eye with the assurance of freedom, dignity, even defiance; they measure your worth against their own. They thrust and elbow and insinuate their way through the action, which they conduct in their own time; they are sometimes jeeringly aware of this characteristic tempo of theirs, as when crook-back Richard Gloster declares: “… and leave the world for me to bustle in.” The verb is precise in describing Richard's political energy, his impatience, his restless and gleeful egotism! You might even say, come Bosworth Field, that he has bustled himself to death. Or Juliet's nurse; it's not enough to say she lives, she gasps and heaves through the action; she sputters, rails, purrs and betrays.
The Plays of Jonesco
Authors: Watson Donald
Published: January 2007

It is only since the war that Eugène Ionesco has become known in Paris, where his name is linked with those of Samuel Beckett, Jean Genêt, Jean Vauthier and others. All these writers have come to be classed as avant-garde, because they are all in reaction against some aspects of our conventional drama. But their approach in each case is highly individual.

Ionesco is certainly one of the most original, stimulating and personal among them.

He tells us that he came to write for the theatre because he had grown to detest it, and he started writing mainly for his own enjoyment. He was tired of the mean little intrigues, the superficial values and the barren preoccupation with the problems of everyday life that he found in naturalistic drama. And he was disturbed at the sight of actors struggling to create the illusion that they were the counterparts of the members of the audience.
The Possibilities and Perils of Modern Tragedy
Authors: Gassner John
Published: January 2007

A question that continues to agitate literary circles is whether it is possible to write tragedy in modern times and whether indeed it has been possible to produce tragedies at all ever since Ibsen's generation abandoned romanticism. The subject has become a veritable vested interest of academic criticism, but has also involved non-academic critics and creative writers. It has been impossible to declare a moratorium on the question because it thrusts itself into the foreground of discussions of the worth and pretensions of the modern theatre. Playwrights and critics who deplore the vogue of realism or the absence of poetry on the stage are especially inclined to make the impossibility of writing tragedy for the commercial theatre an article of faith. And it appears to be an absolute conviction on the part of some commentators that modern drama should be excluded from the aristocracy of letters altogether.
Yeats as Dramatist
Authors: Popkin Henry
Published: January 2007

The hallmark of Yeats’ dramatic writing is a pattern of profound complexity within a Spartan simplicity and brevity. Brevity is easily enough established: most of the plays are quite short. Even the few exceptions indicate that the full-length play was not a form Yeats found sympathetic. Of the two longest plays in the current Collected volume, one is The Countess Cathleen, Yeats's first stage-piece. This work straight forwardly dramatizes the efforts of Satan's agents to buy the souls of Irish peasants and their defeat at the hands of the great lady of the district, who sacrifices her own soul to save the peasants. The conflict is mainly external. Here is none of that spiritual and intellectual subtlety that marks the later plays; every thought and every emotion seem no more than reflections of stock peasant and Christian attitudes. Lady Cathleen gives up her soul; the sacrifice is great but conventional.
Hamlet Nearly Absurd: The Dramaturgy of Delay
Authors: Hapgood Robert
Published: January 2007

The actions of Hamlet are all beginning and end, with no middle. The play takes place in the shadow of three events—the murder of King Hamlet, the marriage of Claudius and Gertrude, and the death of Polonius. The consequences of these events—the suffering of the wronged, the remorse of the wrongers, the extensive repercussions in subsequent events—are fully and inexorably worked out. Within this atmosphere of prolonged aftermath, numerous actions are begun, stopped, started again, stopped, and not generally brought to completion until the finale. It is these arrested actions which set the main rhythm of the play.
Homosexuality and American Theatre: A Psychoanalytic Comment
Authors: Kaplan Donald M.
Published: January 2007

“In dreams begins responsibility.”

—W. B. Yeats

“The whole concept is thrilling, the realization of a dream. In the few days that we have been working together I have had more fun than I have had in years.”

—Elia Kazan (on the Lincoln Center Repertory)

Among the wrongs which the current theatre is said to sustain to its detriment, homosexuality is included with an increasing alarm, if not in print so much, then in conversation. If one believes what one hears, then homosexuality inflicts no mere indisposition on the general theatrical enterprise, but rather a grave disability. Homosexuals—the indictment goes—have exploited the theatre's traditionally liberal hospitality toward deviant and errant souls and have become numerous, widespread, and powerful; they discriminate in favor of their own kind, invariably betraying artistic considerations for sexual and social advantages. But most lamentable—the indictment continues—is the fact that even when the homosexual resolves to renounce immediate personal gratifications in the service of theatre itself, his good intentions (unlike yours and mine) go awry; for there is something in the nature of homosexuality itself, some vague though actual corruption of spirit and vision, which imposes certain inevitable limitations on the expressiveness of the homosexual performer, writer, director, or whatever.
Theatre Laboratory 13 Rzedow
Authors: Barba Eugenio
Published: January 2007

What has been called “the intellectual adventure of the twentieth century” is a sudden awareness of the unexploited possibilities of the arts. It is more than a lucid hubris, more than a deliberate effort to transcend the limits imposed by tradition and prudence. It is a deep conviction that art must change its structure and even its function. All the arts have purified themselves, eliminating the intrusions of other arts; they have rejected everything that was not necessary and vital to their own intentions.
Lorca to Date
Authors: Honig Edwin
Published: January 2007

As Lorca's posthumous fame increases, the glint of political martyrdom, though still apparent, no longer dominates the picture. His plays are now performed almost everywhere, even recently in Spain itself. (There, for the first time since his murder in 1936, a dramatic work of his, Yerma, was produced in November, 1960.) He is required reading in hundreds of college courses. With Picasso's and Dali's his is one of the best-known of twentieth-century Spanish names. The new Aguilar edition of his complete works, a single leather-bound volume in the same format as Cervantes, Calderón de la Barca, and Lope de Vega, has made him a classic author. Perhaps the best sign that his reputation is secure is that some critics have begun to question his ascendancy over the five or six foremost Spanish writers of the period.
Who Was Ribot?
Authors: Bentley Eric
Published: January 2007

In his essay on “Emotional Memory” in TDR Summer 1962, and now, I believe, published as a pamphlet by Samuel French, Inc., Mr. Robert Lewis traces the phrase “emotional memory” back as far as 1925 and adds: “During the Group Theatre days, in the Thirties, we called it ‘Affective Memory’ (a term borrowed from an earlier French psychologist). But, by whatever name, it is accomplished, roughly as follows.”

The name is actually given in David Magarshack's Stanislavsky: A Life in these words:

Stanislavsky was struck by the fact that in his most successful part of Dr. Stockmann he had unconsciously endowed it with a number of external traits which he had observed in life and kept buried in his memory till the moment came for them to be combined in the delineation of a character with whom he felt a strong affinity.
Popular Theatre of the Thirties
Authors: Weales Gerald
Published: January 2007

The hardest literary game to play is that of typicality, choosing the work that most represents a period. Asked to make such a choice, to put my finger on the 1930's play, I would reach into the repertory open-handed, my fingers spread wide so that I could come down on more than one play. On Clifford Odets’ Awake and Sing! (1935) as the exemplary social play with its urban idiom and its amorphous Leftist solution. On Three Men on a Horse (1935), in which John Cecil Holm and George Abbott caught a tone of knowing innocence and a tempo of word and movement that marked much of the comedy of the decade. Perhaps on On Borrowed Time (1938), the play that Paul Osborn made from Lawrence Edward Watkin's novel, openly stuffed with the throat-lumping sentimentality that also lurks behind the seriousness of Awake and Sing! and the toughness of Three Men on a Horse.
The Missing Half of Hughie
Authors: Alexander Doris
Published: January 2007

O'Neill was alive when The Emperor Jones was staged. And a good thing too. What if the director had been on his own? Perhaps he would have read the descriptions of Jones' visions and decided that these “thoughts” couldn't be staged. This did not happen to The Emperor Jones, but it is exactly what happened to Hughie, which was published and produced posthumously. O'Neill was not there to oversee the staging and the result was two weird productions, one in Stockholm and the other on Broadway.

Hughie is very much like Jones in structure, a monologue counterpointed by the visions of the title character. With Jones, O'Neill made sure that the visions were presented in pantomime, like the flowing images of silent film.
London's Subsidized Companies
Authors: Wardle Irving
Published: January 2007

Government-subsidized drama is not exactly new to Britain. The idea of a National Theatre dates back to the 1840's, and from the early days of the Second World War a steady trickle of Treasury money has gone to the theatre. The wartime organization that controlled these grants (the Council for the Encouragement of Music and the Arts) and its present successor (the Arts Council) both gave their main attention to helping worthy companies in the provinces; their funds were meagre. What has happened in the past six years is that the claims of London have at last been recognized and there is now a good deal more money than there used to be. These two things have transfigured the theatrical landscape.
Fresh Sap for the Withered Tree
Authors: Rundall Jeremy
Published: January 2007

Just as 1956 saw the beginnings of the theatrical renaissance in London (however false a dawn that may have proved), so it was a significant year in the provinces. Not an annus mirabilis: countrywide revolutions take longer than capital revelations. But it marked the start of a change in receptivity, a change in policy, a change in the stratification of audiences, that may well have more far-reaching effects than Osborne's coup de théâtre at the Royal Court.

What was the magic of this particular year? Quite simply, it saw the construction of the first new playhouse to be built in Britain, outside London, since the Second World War: the first civic theatre. The Belgrade, Coventry, was conceived as part of the massive redevelopment scheme enforced by German bombing, which culminated in the new Cathedral and the functional, streamlined railway station.
Decimals
Authors: Borchardt W G.
Published: January 2007

Mr. Grant, in the last issue of this Gazette, having made several references to “Arithmetical Types and Examples,” perhaps a few remarks in reply will not be altogether out of place.

1. Multiplication. The only difference between the two methods first given is in the position of the various digits of the multiplicand.

We are told that the first rule (that “there are the same number of figures to the right of the decimal point in the first partial product as there are in the multiplicand,” and that therefore the first figure set down must be under the right-hand figure of the multiplicand) is mechanical; whereas the rule of “putting each first figure of a partial product underneath the figure to which that partial product is due” is sound and fundamental. It is not obvious to the writer that one is more mechanical than the other.
A Question of Time
Authors: Mair D. B.
Published: January 2007

Let A B C be three travellers going along a straight road, each at constant speed. Let the following three events happen in succession, the passing of C by A at O (Fig. 1), the passing of B by A at V, and the passing of B by C at W. At the meeting of A and C let A set his watch by C’s, and at the meeting of A and B let B set his watch by A’s. Our question is whether the watches of B and C will agree when they meet at W.
Porismatic Equations
Authors: Davis R. F.
Published: January 2007

Some idea of a system of such equations may be given in order to clear the way.

In Professor Chrystal’s Algebra, Chapter XIV., No. 18, p. 303, we have:

“Of the equations

with two similar equations in y, z, where x, y, z are unequal; prove that any two imply the third.” (Cayley.)
“The Philosophical Magazine” and the History of Mathematics
Authors: Loria Gino
Published: January 2007

Before reviews devoted to particular branches of science had come into existence, results obtained by individual research were diffused by means of letters to those who were likely to be interested. At a later date they were published in encyclopaedic journals, in literary periodicals, and in the Proceedings of the various academies. This makes it extremely difficult to obtain accounts both accurate and complete of much that has been written in this or that particular subject. To assist in removing this difficulty, and to bring within the reach of the student the results of historical research, I have suggested, for instance, an examination of the periodicals, etc., which, while not exclusively devoted to science, may nevertheless contain material of the greatest value to us in the history of science. The suggestion had the honour of receiving the approval of one eminent bibliographer, and, in his turn, he did for three rare German periodicals what I had done for two of the most celebrated Italian literary journals.
An Arbitrary Veto
Authors: Gheury Maurice E.J.
Published: January 2007

Having read with more than ordinary interest the Address delivered by Professor Perry on “The Correlation of the Teaching of Mathematics and Science,” I should like to lay before the members of the Mathematical Association a few remarks which, I trust, will be found to the point.

I need not further endorse the view that as long as a student does not specialize in mathematics or in science, the teaching of both these subjects will be greatly improved if in the hands of the same teacher Such an arrangement must benefit both teacher and student. By “science” I mean physics, and those parts of applied mechanics, electricity, and magnetism, generally comprised with certain other practical subjects under the general term of “engineering.”
The Geometry of the Triangle
Authors: Piggott H. E.
Published: January 2007

Teachers of elementary Mathematics are generally very glad to find some unfamiliar field into which they can turn their pupils to exercise themselves in elementary processes. The following is a suggestion of a method of approaching certain theorems in connection with the Geometry of the Triangle which, although well known to Mathematicians, are not, as a rule, studied as part of a school course, except perhaps by specialists. The Brocard Points and Circle are generally approached, via the theory of Isogonal Conjugates (see Casey’s Sequel to Euclid, Supplementary Chapter, Section I. etc.). But many of the properties connected with these points can be obtained in a more direct manner, and this suggests some interesting investigations involving nothing but the ordinary processes of Geometry and Trigonometry.
The Slide Rule and Its Use in Teaching Logarithms
Authors: Jackson C. S.
Published: January 2007

I should like at the outset to disclaim any intention of laying down the law dogmatically. The opinions expressed are stated definitely, but they are submitted with deference for your consideration.
Some Deductions from the Form of the Equation of the Conic Section
Authors: Benny L. B.
Published: January 2007

In teaching Analytical Geometry very little attention is often given to the interpretation of the form of an equation, although this may often convey a good deal of information; by grouping the terms of an equation in different ways, a variety of useful and interesting results may be obtained with very little labour.

Some suggestions as to the possibilities of this method may be afforded by the cases given below. A considerable number of results are obtained, purely by simple manipulation of the general equation of the conic section in point and line co-ordinates. Except in one instance, no reference has been made to infinite elements; if we include the notions of infinite points and lines, and of the circular points, the power of the method increases very greatly. The only knowledge that has been assumed is that which is quite fundamental in point and line co-ordinates, and the meanings of certain simple typical forms.
Proofs that the Arithmetic Mean is Greater than the Geometric Mean
Authors: Muirhead R. F.
Published: January 2007

What follows is a condensed statement and classification of various proofs of the above well-known theorem.

For two positive quantities, a and b, the proof may be put as follows:
Presidential Address: The Use of Mathematics
Authors: Greenhill George
Published: January 2007

The use of Mathematics we understand as not merely utilitarian applications, such as those by which astronomy is employed in navigation, “whereby our nautical logbooks can be better kept, and water transport of all kinds has grown more commodious”; flight too can be made in the air, but also the cultivation at the same time of the intellect, to think correctly, and arrive at the right conclusion from data which are certain ; and the enlargement generally of the interest in this life.

And so our subject received its name from MA⊖HMATA, meaning disciplined exact knowledge, and formed an important branch in the old University ideal, to teach how to live a life, not merely to make a living. To keep the soul alive, body and soul together, and to cure intellectual timidity, the worst form of cowardice.
The Uses and Functions of a School Mathematical Library
Authors: Milne William P.
Published: January 2007

There is nothing more extraordinary in the educational world at the present day than the change of attitude among teachers towards the subject they have to teach. Teachers of bygone ages were to a large extent content to regard their pupils as so many buckets into which they were required to pour a prescribed amount of intellectual material. In most cases the teacher did not know himself the sources whence came his stock-in-trade. He had so many hard facts at his disposal which he had either got out of a printed text-book or from lecture notes, and it was his business according to his genius and ability to breathe upon these dry bones that they should live.