bluuebunny/crossref_metadata_2025 huggingface dataset:
Colophons
Authors: Esler Dylan
Published: November 2022

This supplementary chapter is divided into the colophon of the author and that of the editor. The author’s colophon picks up on some of the information already provided in the preceding chapter concerning the appropriate recipients of the text and its manner of composition. Furthermore, the colophon gives brief summaries of the content of each of the bSam-gtan mig-sgron’s chapters. The editor’s colophon that follows, written by ’Jam-dbyangs mkhyen-brtse chos-kyi blo-gros (pron. Jamyang Khyentse Chökyi Lodrö, 1893–1959), alludes in poetic language to the preparation of the block prints that are at the source of the extant modern editions of the text. It gives the names of the main figures involved and also provides information on the transmission of the manuscript copies prior to the preparation of the block prints.
The Sacred Polity
Authors: Voekel Pamela
Published: November 2022

That Central America would experience twenty major conflagrations in the sixteen years between formal independence and 1840 can be attributed in large part to the liberals and conservatives with opposing religious beliefs. Their allegiances were never separate from teir ideas about the proper relationship between church and state, and the proper demarcation line between the sacred and the profane. As the new nations came into being, Central American ultramontanist and reformist Catholics picked up and marched behind conservative centralist and liberal federalist banners, respectively—this was not a battle between secular liberators and religious traditionalists, but between two factions of the Catholic Church.
The View from the Vatican
Authors: Voekel Pamela
Published: November 2022

In the 1820s, Pope Leo XII understood that in Central America the church faced an organized iteration of the highly self-conscious Reform Catholic International with a deep history of antagonism to Rome. The papacy was, of course, long aware of Spain’s history of reform challenges to its authority, particularly recent provocations like a 1799 church “schism” led by a faction in the Spanish court of Charles IV. And it was not lost on Leo that New World revolutionaries eagerly identified with the reformist network. They championed its history, recent councils, martyrs, and luminaries as part of their efforts to forge a future out of a past that was not even past. But the map of rebellion had shifted in the new century. From Rome’s perspective, the post-Napoleonic center of gravity of the reformist network had moved from France to the Spanish Empire to the new countries of Latin America.
Escalation and Confrontation
Authors: Voekel Pamela
Published: November 2022

Reformist and ultramontane Catholics were essentially in agreement about the righteousness—or at least the permanence—of independence from Spain, but still very much divided by religion in their own self-conceptions. Their enmity engulfed Central America in interminable conflicts after 1824. These battles were often fought at the granular level of the parish, but also spilled dramatically over the boundaries of the region’s all-important municipios and inchoate nation-states. Control over the sacraments—over salvation itself—quickly became an explosive flashpoint between factions, generalizing a theological dispute beyond elite circles, escalating the divisions into armed confrontations, and, eventually, and in combination with other factors, precipitating a three-year civil war that officially began in 1826.
The Literary Barricades
Authors: Voekel Pamela
Published: November 2022

The Central American “Republic of Letters” was born in a religious crucible. Not putatively universal secular reason but knowledge of church history, biblical exegesis, and other religious justifications entitled literate men to participate in public debate. Increasingly heated religious rhetoric paved the path to Central America’s Civil War of 1826–1829. While ultramontane Catholics certainly lost key El Salvadoran parish pulpits during the tumultuous 1820s, reducing their influence over the faithful, they simultaneously redeployed their resources into churning out numerous and often-lengthy treatises. They faced a talented and highly motivated contingent of Reform Catholic pamphleteers and newspaper men. Both sides displayed their membership in larger transatlantic networks of Catholics, and their debates spilled over regional borders.
Introduction
Authors: Munch-Jurisic Ditte Marie
Published: November 2022

The introduction discusses a range of methodological and ethical problems related to the study of perpetrators of mass atrocity and their emotional responses. Notoriously unreliable, perpetrator testimonies cannot be taken at face value. Instead, these accounts are used to critically examine the interpretative frameworks through which perpetrators and scholars have presented and understood the phenomenon of perpetrator disgust, and to interrogate the foundations of such views. In contrast to other philosophical works on emotions, which seek to establish analytical definitions of specific emotions, this study proceeds from an insistence that emotions must be studied with attention to their specific situational and contextual settings.
1° = 10° Zelator Covariant
Authors: Ó Maoilearca John
Published: November 2022

This section looks at the use of “spirit” and “spiritualism” in the French historical context of late nineteenth- and early twentieth-century discourse, and the relations between psychical research, emerging ideas in the natural sciences at that time, and spiritualism (especially those spiritualists interested in emerging theories within physics at this time). This leads to a subsequent discussion of reductionist and anti-reductionist interpretations of mystical experience, with some emphasis on the work of Katz and Forman. A continuism is also discussed that sees names like “material” segue into the “spiritual” and “spirit,” just as “psychical” research bleeds into “physics” research, spiritualism into “spiritisme,” and so on: such continuities represent what is later also called the “meta-spiritual.”
Meet the Bergsons
Authors: Ó Maoilearca John
Published: November 2022

In this section, short biographies of Henri and Mina Bergson are set forth, including a description of the rituals practiced by Mina within the Hermetic societies of the Golden Dawn and Alpha et Omega. The question of knowledge is addressed in more depth, and how these hermetic groups also acted as places of para-academic and nonstandard learning. This was especially true for their female members, who had no other access to higher education, whereas the Golden Dawn practiced a strict equality among the sexes in its organization, beliefs, and activities. This feminist strain of thought is then followed through the early reception of Henri Bergson’s philosophy, its criticism, and subsequent scholarly interpretations. There is a subsequent discussion of how “Bergsonism” was regarded as a feminine philosophy (often by its attackers), was popular with female audiences, and was latterly preserved within the academy by women researchers.
Hyper-Ritual
Authors: Ó Maoilearca John
Published: November 2022

This section introduces and examines some of Mina Bergson’s ritualistic practices and texts, along with paraphernalia from the Golden Dawn and Alpha et Omega societies: the grimoires, symbols, languages, props, costumes, sets, mathematic equations, colors, choreographies, and stagings that were part of any member’s initiation and ongoing training as they moved from neophyte through the higher grades within the Order. The issue of performance (for instance, of the Rites of Isis) and performativity is also addressed, alongside Mina’s use of multiple names, her model of actively engaged mysticism, as well as her claim that material science was spiritualizing itself and occult science was materializing itself (because matter and spirit are “only opposite poles of the same universal substance”).
4° = 7° Philosophus Covariant
Authors: Ó Maoilearca John
Published: November 2022

This section continues the discussion of mereology, now more in terms of scale, utilizing the Hermetic principle of “as above, so below.” The macroscopic and microscopic are discussed as forms of anthromorphism, while the meanings of scale, bigness, and smallness are addressed via memory theory, both as individual and collective (as an “upscaling” of memory), in Henri Bergson, Jung, and the Golden Dawn. Also discussed is Catherine Malabou’s treatment of Spinoza on superstition as a form of productive overinterpretation regarding the “above” (God operating above us) and the “before” (witnessing events at which we were not present). Her theory of brain plasticity (the neuron as plastic part) is shown to be her own overinterpretation that she replaces in favor of a tempered plasticity (epigenetics), and so demonstrating her own processuality that is contextualized in terms of Henri Bergson’s theory of “thinking in duration” and Mina Bergson’s use of multiple names.
Spirit in the Materialist World
Authors: Ó Maoilearca John
Published: November 2022

This section concludes the book’s engagement with materialism and spiritualism by further analyzing the concepts of supernormalization and the ordinary. The example of time travel is used again, only here by relating it to shifting forms of personal identity. Contrasting conceptions of continuity are also explored while unpacking the idea of heterogeneous continuity—a concept that has been essential throughout the book. This leads to a final discussion of the continuity of movement, covariance, that allows us to think alongside the two Bergsons, Henri and Mina, about the past as real and immanent within the present, through an indivisibility of time or holism of durée (duration).
The Identity Model
Authors: Burke Peter J. , Stets Jan E.
Published: November 2022

The four basic components of identities are identified in this chapter: the identity standard, perceptual input, the comparator, and the error, and the connections among them are presented. In discussing these components, the authors trace the flow of meanings from the environment, where identity meanings are perceived, to the comparator where they are compared with other meanings (the identity standard), to the error (the identity discrepancy). The error is seen to go to the output function where behavior is altered, to the input function where perceptions and cognitions may be altered, and to emotions.
Identity Verification
Authors: Burke Peter J. , Stets Jan E.
Published: November 2022

This chapter discusses in detail the processes involved in identity verification. Identity verification is consistency between self-in-situation meanings (perceptions of the meanings of who one is in a situation) and meanings held in the identity standard. People control their perceptions of self-relevant meanings in the situation to match their identity standard. When they have difficulty doing that, when they have difficulty verifying their identities, they become distressed and may engage in different behaviors or cognitive processes to resolve the problem. The authors discuss four classic studies on identity verification in some detail in this chapter to show the reader how identity verification operates.
Sources and Outcomes of Identity Verification
Authors: Burke Peter J. , Stets Jan E.
Published: November 2022

This chapter focuses on the multiple sources and responses to identity nonverification. The sources include reflected appraisals (how individuals think others see them), actual appraisals (how others actually see individuals), and self-appraisals (individuals own views as to how they see themselves). The outcomes of identity nonverification include cognitive, behavioral, and emotional responses. The goal is to realign perceptions of the meaning of the self in the situation with the meanings held in the identity standard. These are not alternative responses, but all occur simultaneously. Some of these are deliberate and some are more automatic, occurring without much thought. The responses act in concert to restore a verifying state for individuals.
Why Be a Jew?
Authors: May Isaac Barnes
Published: November 2022

This chapter compares Rabbi Mordecai Kaplan, the founder of Reconstructionist Judaism, and Felix Adler, the founder of the earlier Ethical Culture movement. Kaplan had once been a student of Adler and drew many ideas from him. Despite a shared commitment to a religion without supernaturalism, both men reached radically different conclusions about what being Jewish meant to them personally. While Alder sought to move beyond his own Judaism, seeing Ethical Culture as surpassing Judaism, Kaplan sought ways to reinvent it so that it was not based on racial kinship or religious belief. Kaplan’s notion that Judaism was a “civilization,” a form of “peoplehood” or culture, offered a novel and important way to preserve Jewish identity for many Americans.
Making the Things of the World
Authors: Zoloth Laurie
Published: November 2022

In this chapter I reflect on my methodology, explaining the use of narrative, its interruption by source texts, and the place of the case story in the field of bioethics. Narrative ethics has assumed a central place in bioethics, offering a method in addition to principle based approaches to clinical consultation. I review a text about contingency and causation, and we think about a case involving a Christian Scientist family and their child after a series of medical complications that may or may not be because of medical error. I raise again the problem of “making a story” out of a tragic event in the lives of others. In what way can narrative ethics overcome this central ethical problem? I also discuss the Kantian issue of motive and intention, means and ends, as a way of thinking about medical error, and blame-worthiness in clinical ethics. Part of this chapter appeared in an earlier version in Like an Open Book: Reliability, Intersubjectivity and Textuality In Bioethics, Zoloth and Charon.
Tutankhamun and the Tomb that Changed the World
Authors: Brier Bob
Published: November 2022

The first section of the book chronicles Howard Carter’s early life and his search, with Lord Carnarvon, for Tutankhamun’s tomb. It shows what treasures were discovered and their significance. The second section reviews the past one hundred years of Tutankhamun research and what was learned from his mummy—was he deformed, was he a warrior? Research projects examining his armor, chariots, jewelry, and even the kind of wine he liked are presented. Also discussed is his role in the greatest revolution in ancient Egyptian history, monotheism. The third and last section discusses Tutankhamun’s legacy, including how the discovery of his tomb contributed to Egypt’s throwing off colonial rule and its quest for self-rule. Also discussed are how the tomb’s discovery contributed to changes in how tombs are excavated and changes in laws controlling the antiquities trade. Finally, the book discusses how Tutankhamun contributed to the invention of the blockbuster exhibition and changed the museum world forever.
Preferably a Non-Gentleman
Authors: Brier Bob
Published: November 2022

Howard Carter’s life before his discovery of Tutankhamun’s tomb is presented in some detail. The chapter traces his career in archaeology from his first work in Egypt as a teenager copying tomb paintings to his rise as a chief inspector in the Antiquities Service. It also chronicles his early training to be an excavator under Flinders Petrie and goes on to describe his work for a wealthy American named Theodore Davis in the Valley of the Kings. Finally, it discusses his partnership and eventual friendship with Lord Carnarvon and their quest to discover the missing tomb of the boy-king Tutankhamun.
Wonderful Things
Authors: Brier Bob
Published: November 2022

After years of searching for Tutankhamun’s tomb, Carter and Carnarvon finally found it and began to excavate. This chapter discusses the sensation the discovery created and also how Carter and Carnarvon conducted the excavation. Carter formed an all-star team of conservators, translators, draftsmen, and engineers, and he engaged the superb photographer Harry Burton to record every aspect of the expedition in detail. This chapter also reveals that Carter and Carnarvon broke into the Burial Chamber without telling the authorities. It also describes some of the treasures in the tomb, such as the Gold Throne and Gold Shrine, and what they revealed about Tutankhamun’s life. Unfortunately, just when the two excavators should have been at their happiest, tragedy struck and Carnarvon died of an infected mosquito bite. The chapter ends with Carter left alone to direct the expedition and deal with the authorities.
Tutankhamun’s Family Tree
Authors: Brier Bob
Published: November 2022

The sequencing of DNA has become a standard tool in paleontology, anthropology, and archaeology, but it has not always been as reliable as the public believes. Contamination of samples has always been a problem. This chapter describes the sequencing of Tutankhamun’s DNA and that of members of his family done by two Cairo laboratories in 2010. The results suggested that the mummy in KV-55 was Akhenaten, Tutankhamun’s father. Other findings suggested that Queen Tiye may have been found and also confirmed the relationships between Tutankhamun and Yuya and Tuya, his great-grandparents, and also his grandfather, Amenhotep III. As soon as the results were published, however, members of the research community suggested problems with the study. This chapter reviews this discussion and concludes that the results must be replicated by an outside laboratory experienced in ancient DNA before they can be fully accepted.
Tutankhamun’s Chariots
Authors: Brier Bob
Published: November 2022

The history of chariots in Egypt is reviewed, and then the chapter focuses on the six chariots found in Tutankhamun’s tomb. Their construction and use are described, and it is explained why so few chariots have been found, in spite of the fact that there must have been thousands used by the military. The depictions of Tutankhamun in his chariot on the famous “painted chest” are described, and it is shown that the circle that often appears behind the horses’ necks is really part of a “hood ornament” that was attached to the chariot. It is pointed out that not all chariots were suitable for military use, and some almost certainly were only used for state occasions.
Tutankhamun’s Sarcophagus
Authors: Brier Bob
Published: November 2022

Tutankhamun’s sarcophagus was one of the few objects left inside the tomb when Carter completed the clearing. Because it was in a tomb that was constantly open to tourism, it received little attention from scholars. This chapter presents Dr. Marianne Eaton-Krauss’s careful examination of the sarcophagus and what it revealed. Her conclusion is that the sarcophagus had originally been intended for someone other than Tutankhamun. Close inspection showed that the wings of the four goddesses at the corners had been added later, and in order to make room for the wings, a previous inscription had been erased. The evidence suggests that the sarcophagus dates from the Amarna period, when all gods and goddesses other than the Aten were banished. Thus, the four goddesses were originally the mortal Nefertiti, and when the Amarna period was over her figure was altered to become that of a goddess. Further, the foot end of the sarcophagus is unfinished, with the knots of Isis and djd pillars only roughed out, suggesting the haste with which the sarcophagus was adapted for Tutankhamun. Even the lid of the sarcophagus shows signs that time was running out: it is not made from the same quartzite as the bottom. This chapter also discusses for whom the sarcophagus might have been originally prepared.
Is Nefertiti in Tut’s Tomb?
Authors: Brier Bob
Published: November 2022

A few years ago, high-resolution scans of the walls of Tutankhamun’s tomb were conducted in preparation for the construction of a replica tomb. Dr. Nicholas Reeves, one of the most respected Tutankhamun scholars, thought he saw what could be traces of a doorway beneath the paintings on the north wall. His subsequent analysis of the paintings led him to conclude that the figures of Tutankhamun were originally those of a female (Nefertiti), and that Nefertiti is still buried behind the wall. To determine if there was indeed a tomb behind the wall, three studies were conducted with ground penetrating radar, and the general conclusion (as well as the conclusion of this chapter) is that there is no tomb. However, Reeves is correct when he points out that sometime after the tomb’s discovery but before 1936 someone (Carter?) repainted Tutankhamun’s kilt. The chapter discusses why.
People of the Screen
Authors: Dyer John
Published: November 2022

This book traces the history of Bible software and app development, showing the unique and powerful role evangelical entrepreneurs and coders have played in shaping its functionality and how their choices in turn shape the reading habits of millions of people around the world. Though evangelicals are sometimes seen as those who retreat from or reject societal change, this book argues that evangelicals are adept at appropriating new technology—including early computers, the internet, mobile apps, and virtual reality experiences—in service of what they see as their mission in the world. In addition to historical research, this book includes interviews with developers at three of the largest Bible software companies and fieldwork with digital and print Bible readers in several churchs. This creates a comprehensive look at the interconnected ecosystem of publishers, developers, pastors, institutions, and software companies both within and outside of evangelicalism, and demonstrates how it affects the way churchgoers read and interpret the Bible.
Geological Pioneers of the Jurassic Coast
Authors: Goudie Andrew , Brunsden Denys
Published: November 2022

The Dorset and East Devon Coast World Heritage Site displays within its bounds some of the most important geological and geomorphological sites in the world. Its geology, which ranges in age from the Triassic through to the Cretaceous, has been fundamental in the development of geological thought. In particular, it has a remarkable fossil record, which includes the remains of dinosaurs. Dating back to the late seventeenth century, geologists have explored such themes as uniformitarianism and catastrophism, the age of the Earth, and evolution and extinction. It has become a mecca for all those interested in the Earth Sciences. Many of the leading figures of the discipline have worked in the area, including Robert Hooke, Mary Anning, William Buckland, William Conybeare, Henry De La Beche, W. J. Arkell, Joseph Prestwich, and Michael House. In addition, the area has some remarkable landforms, including huge landslips, raised beaches, dry valleys, shingle barriers, and coastal lagoons. This book describes the basic geology of the area before examining the lives and achievements of some 41 scientists, some of whom were fossil collectors, some of whom constructed geological maps, some of whom were gifted stratigraphers and palaeontologists, and some of whom were accomplished amateurs.
The Geological Map
Authors: Goudie Andrew S. , Brunsden Denys
Published: November 2022

At the beginning of the nineteenth century, in France and in Britain, geological and topographical mapping became a major occupation. A leading figure in Britain was William Smith, whose map of the geology of England and Wales appeared in 1815. In 1816, Thomas Webster produced a geological map of a portion of the Jurassic Coast and started to develop the nomenclature for the various geological formations in the geological succession, including Purbeck, Portland, Kimmeridge Clay, Lower Greensand, and Upper Greensand. Later mapping work in the area was produced by Edward Forbes, Henry Bristow, Alfred Jukes-Browne, Clement Reid, Horace Woodward, William Ussher, Aubrey Strahan, and Jocelyn Arkell.
Switched On
Authors: Glinsky Albert
Published: November 2022

The Moog synthesizer “bent the course of music forever,” Rolling Stone declared. Bob Moog, the man who did that bending, was a lovable geek with Einstein hair and pocket protectors. He walked into history in 1964 when his homemade contraption unexpectedly became a sensation. Suddenly everyone wanted a Moog. The Beatles, the Doors, the Byrds, and Stevie Wonder discovered the synth, and it was featured in film scores like Apocalypse Now and A Clockwork Orange. The Moog’s game-changing sounds saturated 1960s counterculture and burst into the disco party in the 1970s to set off the electronic dance music movement. Bob had singlehandedly founded the synth industry and become a star. But he was also going broke. Imitators copied his technology, the musicians’ union accused him of replacing live players, and Japanese competitors were overtaking his work. He struggled to hang on to his inventions, his business, and his very name. His story upends notions of success and wealth, showing that the two don’t always go together. In Switched On, the author draws on his exclusive access to Bob Moog’s personal archives, and his probing interviews with Bob’s family and a multitude of associates, for this first complete biography of the man and his work. Switched On seats the reader on Bob’s roller coaster for a ride at turns triumphant, heartbreaking, and frequently laugh-out-loud absurd—a nuanced trip through the public and private worlds of this legendary inventor who permanently altered the course of music.
Depression’s Child
Authors: Glinsky Albert
Published: November 2022

The theme of Chapter 1 is Bob Moog’s inability to fit in with the world around him. He was born in 1934 during the Great Depression, though his family lived “the American dream” in Flushing, New York. With a Jewish mother and Gentile father, he was raised in a Jewish household, amid a predominantly Christian community. Because of discrimination, Bob had to join a Jewish Cub Scout troop. He didn’t fit in at P.S. 24, because he was more intellectual than the other children and didn’t share their interests. He didn’t even fit comfortably within his own home, where an upstairs/downstairs dynamic prevailed: his mother wanted him to become a concert pianist, while his father encouraged his interest in electronics projects in their basement workshop. The 1939 New York World’s Fair, just steps from the family home, introduced two musical instruments—the Storytone electric piano and the Hammond Novachord—which prefigure Bob’s future.
Transistor Man and the Crusaders
Authors: Glinsky Albert
Published: November 2022

Chapter 5 finds the newlyweds in Ithaca, near the Cornell campus. They break from their parents’ control, and Shirley now spells her name “Shirleigh” and insists on the “Mogue” pronunciation of the last name, a change that will reverberate through Bob’s career. The R. A. Moog Company becomes a one-man operation; Bob escapes every night to his landlord’s furnace room to build theremins. His customers are mostly Christian Evangelists. His “Vanguard” theremin still uses old, vacuum tube technology. As transistor prices fall due to the advent of Japanese consumer electronics, he offers the “Professional”—a fully transistorized theremin. In 1961, Electronics World runs Bob’s article on his “Melodia” kit, which proves an unexpected hit; Bob has more customers than he can handle, and he’s ambivalent about finishing his Ph.D. in engineering physics. Shirleigh gives birth to their first child, Laura. Chapter 5 includes discussion of Samuel Hoffman, a leading thereminist of the time.
Panicsville
Authors: Glinsky Albert
Published: November 2022

Chapter 16 bisects Bob’s story: it’s roughly the halfway point in his life, and also the start of a downward trajectory in his business. By 1970, Bob was a “star”—he’d received Billboard’s Trendsetter Award, was in Vogue magazine, the Moog was on the popular Muppets TV show, and Bob and Switched-On Bach won Grammy Awards that year. But everyone else made money from the Moog except for R. A. Moog—the company was a victim of its own success, with rising sales but diminishing profits. Bob hired another engineer, Jim Scott. While Bob resisted the idea of a small synth, Bill Hemsath, on a lark, built a miniature synth he named the “Min A” that would take the company into the future. Two investors, William Waytena and Vernon Siegel, made a tentative deal to rescue the company, but then withdrew their offer. The Moog’s fourth child, Matthew, was born.
The Gelatin Pit
Authors: Glinsky Albert
Published: November 2022

The modular continued to have fans. Bob thrilled to Keith Emerson’s exhibitionist performance at Gaelic Park; Disneyland’s Main Street Electrical Parade featured a Moog soundtrack daily; Gershon Kingsley’s tune, “Pop Corn,” was playing worldwide; producers Malcolm Cecil and Bob Margouleff got Stevie Wonder using a Moog on his recordings. Bob’s company, fighting off competition from ARP and EMS, struggled to operate in a dilapidated former gelatin factory. For an advertising mascot, the firm rolled out a little cartoon musician: Maestro Moog. Bob redesigned the Sonic V as the Sonic Six. The Moog Percussion Controller and Guitar Interface were released, along with a preset keyboard—the Moog Satellite—that Waytena licensed to the Thomas Organ Company to build into its home organs. New hires Roger and Kathy Luther found a freewheeling atmosphere among Moog workers. Ikutaro Kakehashi, the future head of Roland, appeared on the Moog factory floor to study Bob’s technology.
Genericide
Authors: Glinsky Albert
Published: November 2022

Rick Wakeman and Jan Hammer used the Minimoog, but Bob remained in purgatory at the company. Norlin used him for publicity, portraying him in its “Imoogination” newsletter as the company’s guiding light, but he was subjected to “Merit Reviews.” Norlin wanted new products; Jim Scott designed the Micromoog; Dave Luce made the Polymoog—conceived as a groundbreaking advance. But to survive, the firm produced other companies’ products at new quarters in Cheektowaga, New York. Bob moved to East Aurora, New York, working from home on the Lab Series amplifier. ARP was legally stopped from using the Moog filter. Shirleigh attempted suicide, and the family bought land in North Carolina. Bob produced Clara Rockmore’s first LP. Donna Summer and Giorgio Moroder used a Moog for the disco hit, “I Feel Love,” initiating electronic dance music. The Moog name was becoming a generic term, a phenomenon called “genericide,” which can severely weaken a brand.
Yankee Go Home
Authors: Glinsky Albert
Published: November 2022

In 1978 Bob broke free of his Norlin contract and the family moved to rural North Carolina, building a custom house in an area called “Big Briar Cove.” Bob registered the name Big Briar, Incorporated, to make future products. Shirleigh published her cookbook, Moog’s Musical Eatery. Norlin issued new products—the Multimoog, the Moog Prodigy, Moog Liberation, Moog Opus 3, Moog Source, Memorymoog, and Rogue—but they didn’t bring in enough revenue, and Moog resorted to contract work, producing oddities like the Fisher Price Alpha Probe space toy and a Muslim Prayer Times Clock. A Radio Shack contract for a small synth, the Concertmate MG-1, was a company lifesaver. Bob’s contribution continued to be acknowledged: The film Apocalypse Now was a high-profile use of the modular Moog, and Eureka! was a traveling exhibit recognizing “America’s 12 most innovative inventions of the past 200 years,” among them the Moog synthesizer.
The Show That Never Ends
Authors: Glinsky Albert
Published: November 2022

Physicist and musician Cyril Lance was invited to visit Moog Music; he was being vetted as a potential hire. Steve Dunnington roomed with Bob at the January 2005 Anaheim NAMM convention, and they sketched plans for a new synth: the Little Phatty. Dunnington remembered Bob suffering a night terror. Bob presented a lecture at the University of Alaska in April at the invitation of his cousin, Ron Spatz, who noticed him having physical problems. The diagnosis was glioblastoma multiforme, a rapidly fatal inoperable brain tumor. As his condition progressed, he lost basic functions and became bedridden; he couldn’t work, and Lance assumed Bob’s duties at the company. Bob couldn’t attend the Ether Music 2005 festival in Asheville, and died on August 21. He was buried in a private Jewish cemetery. Following a Memorial Service at Asheville’s Orange Peel club, attended by visitors from around the world, an earthquake shook Asheville.
Introduction
Authors: Decker Todd
Published: November 2022

The introduction summarizes the studio-era career of Fred Astaire, which includes thirty film musicals made between 1933 and 1957 at many different studios but chiefly RKO and MGM. The quantitative methods used in the book are outlined and situated within other digital humanities approaches. The nature of time as captured in the film medium and as managed within studio production methods (as evident in assistant director reports) is also introduced on the way toward a theory of the screen dance body. Astaire’s intersectional identity as a straight white dancing man is discussed and theorized within women, gender, and sexuality studies and masculinity studies more broadly.
Numbers
Authors: Decker Todd
Published: November 2022

This part parses musical from nonmusical actions in the film musical genre, outlining both how the studios understood this distinction and the method used in the book that grounds musical actions in bodily performance. Astaire’s films are broken down into musical numbers along several criteria, and the formal qualities of his musical numbers are discussed, in particular his use of the fragment. Quantitative data precisely measures the extent to which the classical Hollywood studios and the musical genre were whites-only spaces. The relative modesty of Astaire’s dancing is compared to the work of other Hollywood dancers, such as Gene Kelly and the Nicholas Brothers.
Partners
Authors: Decker Todd
Published: November 2022

Two-thirds of Astaire’s dances are duos done with one other dancer. This part considers Astaire’s duo dances from two quantitative perspectives: how much time the partners touch each other and how the two partners relate to each other physically. Astaire’s use of closed ballroom position often indicates a conventional heterosexual relationship between the couple. His use of vaudeville double-act position—dancers facing front and dancing in unison—establishes a parity between partners. Surprisingly, Astaire relates to female and male partners in much the same way, with the major difference being more physical contact between Astaire and the women with whom he dances. Astaire’s only dance with a Black partner, from The Band Wagon, contains substantial differences from his dances with white partners. The formative influence of Adele Astaire and Hermes Pan (Astaire’s dance assistant and a closeted gay man) on Astaire’s partner dances is discussed.
Noisy Masculinity
Authors: Decker Todd
Published: November 2022

This part details how Astaire used foot sounds to secure an aggressively masculine on-screen dancing presence. His position as a dancing man always put Astaire’s masculinity in question. His strategies for appearing straight and manly draw directly on the Black dance style of jazz tap. Astaire’s regular use of nondance dance steps (kicks to the pants, stomps to the toes) is quantified beside his idiosyncratic use of familiar tap steps (time step, double flaps). All these steps work to strengthen Astaire’s masculine figure by way of a confrontational attitude toward others and himself. Astaire’s only yellowface number—“Limehouse Blues” (Ziegfeld Follies)—presents a highly contrasting, thoroughly feminized and queered Astaire who makes no noise.
Introduction to the Roman Fasces
Authors: Brennan T. Corey
Published: November 2022

The ancient Romans in both the Republic (as far back as one can trace) and Empire made a familiar and highly effective spectacle out of bundling wooden rods and a single-bladed axe with leather straps into a “fasces.” They presented this instrument as a mobile kit for punishment, one intended to induce feelings of respect for the relevant authority, as well as fear. So ubiquitous is the device in ancient sources that we frequently find the word “fasces” denoting high office in general. Renaissance humanists and artists readily comprehended the emblem’s basic appearance, use, and official symbolism. However, what demonstrably made less of an impression on thinkers of this and indeed later ages (until Mussolini) was the psychological terror generated by the original Roman fasces. For that development, one can blame a learned conflation in the Renaissance era of an antiquarian understanding of the fasces with a famous ancient moralizing tale of Greek origin attached to Aesop’s collection of Fables, in which an aged father uses a bundle of sticks to instruct his sons on the dangers of division and the strength that comes from unity. Paradoxically, Mussolini, who made the fasces his actual symbol of state, ran roughshod over the original Roman tradition he supposedly wanted to revive. The structure of the book is outlined, as well as its overarching argument: that today’s understanding of the fasces necessarily is mediated by layers of significance accrued over the centuries, and in assessing individual appearances of the symbol, context is key.
Images of the Roman Fasces
Authors: Brennan T. Corey
Published: November 2022

When the institution of the fasces first confronts us in the visual medium, it appears quite evolved—and terrifying. That emerges from a second-century bce mural painting from the Esquiline in Rome which depicts lictors in distinctive dress, menacingly parading in triumph, and a coin (late second century bce) which represents a lictor about to dole out punishment. Moneyers of the Republic only sporadically include the fasces in their designs minted in Rome, and just once as an abstract symbol of state power. Rome’s emperors from Augustus through Nerva (i.e., 27 bce–98 ce) essentially avoid depicting the fasces on their coins, at Rome or in the provinces. The reason must be that the insignia primarily transmitted terror. In the second century ce, minters for Trajan, Hadrian, and Antoninus Pius revisited the fasces as a design motif, but with an emphasis on the lictors who carried them, sometimes acting as instruments of imperial philanthropy. By the early third century ce, the fasces had received a makeover, now as long curved rods with nonfunctional axe heads. This is the form that persists through late antiquity, certainly well into the sixth century ce in both West and East. Though the fasces proper does not play a major part in Byzantine ceremonial practices, lictor-like attendants with axes, twelve in number, show up in Constantinople at the coronation of the emperor Manuel II Palaeologus in the year 1391. All of this is powerful evidence for the tenacity of the basic institution.
Early Modern and Neoclassical Fasces
Authors: Brennan T. Corey
Published: November 2022

What propelled the fusion of Roman fasces with Aesop’s moralizing tale of sticks was the Nova Iconologia of Cesare Ripa (1555–1622), a compilation of emblems first published in an illustrated edition in 1603. There both Justice and Concord suggestively receive as their attributes a fascio di verghe (“bundle of sticks”). Later editors of Ripa completed the conflation. In France, the powerful cardinal and statesman Jules Mazarin (1602–1661, chief minister to the crown from 1642) shamelessly exploited the fasces, ostensibly as a family heraldic emblem but with the effect of creating a personal brand. Mazarin attracted many encomiasts, who did much to promote the emphatically non-Roman idea that the fasces represented unity, and good government in general. This whole understanding of the fasces culminates in a bronze full-length portrait statue of Louis XIV (reigned 1643–1715), dedicated in 1689 at Musée Carnavalet in Paris. Here the sculptor Antoine Coysevox (1640–1720) portrayed the king in a Roman cuirass, resting his left arm on an axe-less fasces topped by a helmet. In its context, the fasces conveys a balanced message of strength, dominion, moderation, and unity through reconciliation, while also rekindling memories of Mazarin’s own policies as advisor to the king. Yet in this period no nation shows much interest in putting the fasces on civic coats of arms, flags, coins, and the like. Even in the 1760s, when the antiquarian obsessions of the Neoclassical movement were at their peak, the fasces seemed fated to find itself just one derivative antique decorative element among many.
Popular and Revolutionary Fasces
Authors: Brennan T. Corey
Published: November 2022

In the seventeenth and eighteenth centuries, theater and pageants played an especially powerful role in communicating the basic nature and functions of the fasces. In France, the emblem was familiar enough that after the storming of the Bastille in July 1789, the revolutionaries almost immediately chose the fasces as a symbol of their movement’s strength, power, commitment to justice, unity, and—with a conscientious nod to the tradition on the insignia in Rome’s Republic—dependence on the assent of the people. When combined with a Roman freedman’s cap, they meant for the fasces to connote liberty, too. In 1792, in a first for any nation, the fasces figured in the semi-official seal of the new revolutionary state. The spirit of revolutionary coin types with fasces had a certain influence in the Americas even beyond France’s colonies in the New World, finding a place on the money of Mexico (1823–1863), then Ecuador and Chile (after 1830). In North America, it was the distinctly non-Roman theme of the fasces representing unity that prevailed, facilitated by the Second Continental Congress’s decision in August 1776 to adopt e pluribus unum (Latin for “out of many, one”) as a national motto. Though the new nation’s official seal (adopted 1782) did not include the fasces, it soon featured prominently in the repertoire of patriotic images, including an official place in American political life when the House of Representatives in 1789 adopted a fasces-like mace to serve as the badge of its sergeant-at-arms.
Constructing Fasces in Mussolini’s Italy
Authors: Brennan T. Corey
Published: November 2022

None of the many activist Italian political groups of the late nineteenth and earlier twentieth centuries that called themselves “fasci” (“bundles”) exploited the Roman device in their public messaging until 1919. In that year, the newspaper editor Benito Mussolini (1883–1945), as founder and leader of the “Italian Fasci of Combat,” embraced the (previously pejorative) tag “fascisti” for his supporters, and used a threatening representation of the fasces to identify his favored political candidates. Use of the historical Roman emblem served as branding for his rapidly growing party, and to a stunning degree also helped valorize its violent methods, which intensified especially from the spring of 1920. Soon after his movement’s largely bloodless “March on Rome” (October 28–30, 1922) that felled the elected government, Mussolini—now as prime minister—successfully forced the fasces into every crevice of Italian daily life, from coinage and postage stamps to cigarette packaging. What followed was a twenty-year program to make the fasces ubiquitous in Italy and the territories it colonized in Africa. Mussolini’s regime’s relentless focus on the fasces, and propagation of the image on a massive scale, had no close parallel in world history. And Mussolini seems to have been the first statesperson ever to interpret the fasces as an instrument for imposing political unity by means of authority. (Everyone else had it the other way around.) It also was a special innovation of Mussolini to idealize the humble lictor who lugged the fasces, and raise him to prominence.
Eradication of Fasces and Epilogue
Authors: Brennan T. Corey
Published: November 2022

The defeat of the Axis powers in 1945 occasioned a comprehensive purge of the Nazi swastika emblem, and sent the image of the fasces sharply in retreat—even in the United States, where soon after war’s end it was dropped from the long-established (since 1916) 10-cent piece. However, Italy developed no master plan to address its now-ubiquitous Fascist symbols. Indeed, by 1953, its national Olympic committee was touting Rome’s former Foro Mussolini as an ideal site for the 1960 Summer Games. And once it won its bid, it made only a belated and feeble effort (quickly abandoned) to mitigate the effect of the hundreds of fasces embedded in the mosaic walkway that led to the principal stadium, which are still intact today. That said, in the post–World War II era—with the exception of a provocative twinned public sculpture (2001) on university campuses in Paisley (Scotland) and Princeton (New Jersey)—no one has been putting up new fasces in public art. However, the fasces’ long history, with all its twists and turns from antiquity through Fascist reimagining and then into present-day unfamiliarity, has given an opening to contemporary right-wing extremists searching for a symbol that is potent, but not widely provocative at first glance.
The Roman Empire
Authors: Fettweis Christopher J.
Published: November 2022

The first case examines the grand strategy of the Roman Empire. Its approach to dominance evolved over the years, largely in response to changing external conditions and some things they did worked better than others. Augustus, the founding father of Roman grand strategy, charted a course for the empire that differed drastically from the alternative inspiration for his many successors: Alexander the Great. Roman emperors would generally pattern themselves on one of those two precedents, with widely varied results. They ran history’s most successful grand strategy, though the enterprise eventually declined and fell. Even the most dominant of powers could not last forever.
The British Empire
Authors: Fettweis Christopher J.
Published: November 2022

The book’s final case study examines the most consequential of the great European empires. The dominance of the British did not last as long as that of some of the others in this volume, but it had greater long-term implications for the rest of the world. British leaders were able to adapt their strategic thinking in important ways, as they grappled with the apparent contradiction of being simultaneously liberal and imperial, and as governing and economic philosophies underwent substantial evolution. In the end, unlike the Spanish emperors, British leaders managed decline with aplomb and wisdom. Like Spain, however, the loss of empire did not prove catastrophic for the British people. Retrenchment, if sensibly handled, need not result in social or geopolitical disaster.
“The Party Makes Mistakes, the NKVD—Never”
Authors: Savin Andrei , Tepliakov Aleksei , Belokowsky Simon
Published: November 2022

In Chapter 2, Savin and Tepliakov investigate the importance of the role of released communists and other elites in the NKVD purge. Based on materials from Odessa Oblast, they argue that “the main share of convicted NKVD workers found themselves under prosecution as a result of complaints from victims who survived and were freed after the 17 November 1938 directive.” These freed victims were largely members of the Party with connections and status. The authors also note that the NKVD victims of the Beria purge tended to be precisely from among those NKVD operatives who worked specifically in the repression of Communist Party members. According to Savin and Tepliakov, the Great Terror had resulted in an imbalance “below” among mid- and lower-level NKVD workers who came to perceive themselves as above the Party.