bluuebunny/crossref_metadata_2025 huggingface dataset:
Using Hazard Maps to Identify and Eliminate Workplace Hazards: A Union-Led Health and Safety Training Program
Authors: Anderson Joe , Collins Michele , Devlin John , Renner Paul
Published: September 2012

The Institute for Sustainable Work and Environment and the Utility Workers Union of America worked with a professional evaluator to design, implement, and evaluate the results of a union-led system of safety-based hazard identification program that trained workers to use hazard maps to identify workplace hazards and target them for elimination. The evaluation documented program implementation and impact using data collected from both qualitative interviews and an on-line survey from worker trainers, plant managers, and health and safety staff. Managers and workers reported that not only were many dangerous hazards eliminated as a result of hazard mapping, some of which were long-standing, difficult-to-resolve issues, but the evaluation also documented improved communication between union members and management that both workers and managers agreed resulted in better, more sustainable hazard elimination.
Novel Approaches to Development, Delivery and Evaluation of a Peer-Led Occupational Safety Training for Latino Day Laborers
Authors: De Souza Rachael Ann , Hecker Steven , De Castro A. B. , Stern Hilary , Hernandez Araceli , Seixas Noah
Published: September 2012

Latino day laborers experience high rates of work-related injuries and are a hard-to-reach group for safety interventions. This study describes the creation and implementation of safety training based in empowerment theory and its evaluation to address three levels in empowerment's hierarchy of change. Pictographic pre- and post-tests were used to assess knowledge level changes. Individual and large-group interviews were conducted to address attitudes and behavior-level changes. Results indicate that day laborers learn and apply lessons from this type of safety training. Findings also offer insight into challenges that day laborers encounter when trying to work safely as well as ideas for future training interventions.
Gender and Power in the Teacher's Union of Mexico
Authors: Cortina Regina
Published: September 2012

El presente artículo examina el Sindicato Nacional de Trabajadores de Educación y la influencia de la cultura sindical en las oportunidades de participación política de las maestras mexicanas.
Ideología, política y la cuestión de las prioridades: Lázaro Cárdenas y Adalberto Tejeda, 1928-1934
Authors: Ginzberg Eitan
Published: September 2012

During the years 1928-1932, two models for socioeconomic change were developed concurrently in the Mexican states of Michoacán and Veracruz. Yet, despite similar goals--the creation of a modern, integrative, and democratic Mexican state--the architects of these models, Lázaro Cárdenas and Adalberto Tejeda, operated on the basis of completely different political and ideological priorities. Focusing on the issue of the relationship between ideology and politics in the life of the states, the article tries to describe and explain the reasons for the enormous differences in the processes of change in the two states, and their significance for the achievements and political fortunes of the two governors.
B. Traven and the Paradox of Artisanal Production in Capitalism: Traven's Oaxaca Tale in Economic Anthropological Perspective
Authors: Cook Scott
Published: September 2012

Por medio de una lectura crítica del cuento oaxaqueño "Canastitas en serie" de B. Traven, se pretende determinar su aporte al conocimiento de las pequeñas industrias artesanales ubicadas en la frontera México/Tejas y en estados del interior como Oaxaca. Desde la óptica de la economía antropológica en el campo de estudios mexicanos, se propone que el aporte de Traven era precoz, sofisticado, perspicaz y además que, por su riqueza de imágenes e ideas, presenta un reto a los investigadores actuales. Sin embargo, se recalca que el antropólogo debe de consultar las obras de Traven con un cierto grado de escepticísmo, debido a su método de producir textos que a veces subordinaba el precisar empírico al efecto literario.
Martín Luis Guzmán y Rafael Muñoz: Un estudio contrastivo
Authors: Menton Seymour
Published: September 2012

The contrastive study of two Mexican short stories about a revolutionary general exemplifies a method for determining the quality of a literary work.
Language Use and Media Orientations in Bilingual Mexican-Origin Households in Southern California
Authors: Aguirre, Adalberto
Published: September 2012

Este ensayo presenta y relata los resultados de una encuesta de 142 personas bilingues de descendencia mexicana en el sur de California. Se examina la asociación entre el tipo de hogar (mexicoamericano vs. mexicano); el uso del idioma (inglés o español); y el idioma preferido en los medios de comunicación. Los resultados demuestran que hay una asociación entre el tipo de hogar y el uso del idioma pero no en la preferencia de idioma en los medios de comunicación. Sin embargo, el tipo de hogar está relacionado con el idioma preferido para los medios de comunicación.
The Integration of a Twelfth-Century Tower into a Thirteenth-Century Church: The Case of Notre-Dame de Donnemarie-en-Montois
Authors: Lane Evelyn Staudinger
Published: September 2012

This article focuses on Notre-Dame de Donnemarie-en-Montois and the manner in which its twelfth-century tower was integrated into the early-thirteenth-century church. Notre-Dame's position as a moderately sized collegiate church places it in a field of medieval art-historical research that remains relatively unexplored. Three issues are investigated: the building practices that allowed for such a fusion; the rationale for saving the tower; and how the concept of unity-often a driving force in Gothic architecture-was affected by this integration. This study was conducted with the help of a surveyed plan of the site drawn up by the author and an in-depth examination of the fabric of the church to separate original construction from subsequent additions and alterations. Knowledge of how the church developed over time is provided at the outset and acts as a foundation for reconstructing the manner in which each mason dealt with the tower. Although this feature appears to be well integrated, it occupies an awkward position, hovering over a bay and a half on the south side, and was never used as a module for the church. Yet retaining the tower may have helped in the choice of a hollow-wall system for the choir bays; it certainly provided the first master mason with a natural buttress system for his construction. Thus, the decision to save the tower might have been based on structural considerations as well as cost effectiveness, aesthetics, function, and political gain.
Lucrezia Borgia's Palace in Renaissance Ferrara
Authors: Ghirardo Diane Yvonne
Published: September 2012

Lucrezia Borgia, duchess of Ferrara, constructed a palace in Ferrara between 1515 and 1518 adjacent to the convent of San Bernardino, which she had founded in 1509. Following her death in 1519, most of the palace was turned over to the nuns of San Silvestro for their new convent, and all historical memory of the palace disappeared. She did not intend the palace as a suburban residence or as a spectacular retreat, but as the head-quarters of her burgeoning agricultural and reclamation enterprises, activities also forgotten over the centuries. This study strips away the additions that were erected between 1520 and 1809 to arrive at a projected reconstruction of the palace as commissioned by Lucrezia, and explores the evidence for how she intended to use it.
Wordsworth, Lyrical Ballads, and the Problem of Peasant Poetry
Authors: McEathron Scott
Published: September 2012

Wordsworth's account in the "Preface" to Lyrical Ballads of the groundbreaking nature of his rustic poetics has long served as foundational to our understanding of Romanticism. Yet his representation of "the public taste in this country" in 1800 elided the presence of a decades-long tradition of "peasant" and "working-class" poetry in Britain. Figures like Stephen Duck ("The Thresher Poet"), Robert Burns, and Ann Yearsley ("The Bristol Milkwoman") had been the focus of fashionable critical interest because they were seen as embodying the very values of simplicity and rustic authenticity that Wordsworth claimed were absent from the contemporary scene. Though a review of this context exposes Wordsworth to charges of solipsism and historical repression, it also helps us to imagine how the pervasiveness of peasant verse complicated his efforts to establish himself as a legitimate conduit for rusticism and "the real language of men." While Wordsworth did not have to create a taste for rural subjects and pseudo-humble diction, he faced the more difficult task of creating a vital rustic verse that was distinct from peasant poetry. In staging confrontations between educated narrators and uneducated subjects, several poems of the 1798 Lyrical Ballads, including "The Thorn" and "Simon Lee," dramatize Wordsworth's historical dilemma as a gentlemanly chronicler of "low and rustic life." Through these experiments in narratorial perspective, class identification, and social sympathy, Wordsworth establishes both the contemporaneity and the innovation of his poetic project.
Frank Norris on the Evolution and Repression of the Sexual Instinct
Authors: Bender Bert
Published: September 2012

Frank Norris's emphasis on sex is best seen as part of a cultural response to Darwin's theory of sexual selection. Following Joseph Le Conte's effort to spiritualize evolution and move beyond Darwin and the neo-Darwinians, Norris first gave us characters like Vandover and McTeague-more fully animalistic than any American characters before them-and finally characters like the highly civilized and somewhat "divine" Laura Jadwin in The Pit. All of Norris's characters contend with the elements of sexual selection defined by Darwin-e.g., the male's "secondary sexual character" of "prehensile" power or the power of sexual attraction in music and dance. Only his later characters succeed in transcending sexual selection to express "love," a product of higher evolution that is simply beyond primitive characters like McTeague or people of mixed race in Norris's novels. Norris is best seen as a participant (along with Le Conte) in "the eclipse of Darwinism" by several "anti-Darwinian evolution theories" at the turn of the century. Norris's role in this cultural movement included his use of Darwin's theory of the expression and repression of emotions in order to repress, and to present characters who repressed, the sexual instinct. It is ironic that his most forceful effort in this regard (in The Pit) appeared at the moment when a new theory was developing, in popular Freudianism, that the sexual instinct must not be repressed.
Bleak House, Vanity Fair, and the Making of an Urban Aesthetic
Authors: Sen Sambudha
Published: September 2012

This essay focuses on the relationship between certain popular visual forms, such as the city sketch and the panorama, and the making of an urban novelistic aesthetic, of which Charles Dickens's Bleak House (1852-53) is the most developed embodiment. In order to delineate the specific features of this urban aesthetic I turn to the very different ways in which William Makepeace Thackeray in Pendennis (1848-50) and, especially, Vanity Fair (1847-48) articulates the city and those who inhabit it-despite Thackeray's familiarity with the representational modes that developed in the relatively "lower" forms of visual culture. Through this process of differentiation I show how this urban aesthetic involves distinct ways of negotiating such problems as the tension between the dispersive and the centralizing impulses of the city, as well as the threat that the teeming, socially unpredictable life of the city posed to the traditional domain of the novel, the middle- or upper-class home. Finally, by setting off Dickens's mode of figuring character against Thackeray's more self-consciously literary methods, I highlight the ways in which the urban aesthetic that underlies Bleak House affected Dickens's methods.
Forming Desire: On the Eponymous In Memoriam Stanza
Authors: Gigante Denise
Published: September 2012

Since In Memoriam first appeared in 1850, critics have been trying to come to terms with the unusual verse form of the poem and the nature of the desire it seems to encode. This essay roots these two critical preoccupations in the one formal unit-virtually unique in the history of English prosody-so distinctive to the poem that it bears its name: the eponymous In Memoriam stanza. Repeated endlessly, almost relentlessly, seven-hundred-and-twenty-five times, the stanza itself contains hermeneutic potential yet to be unpacked. For while Tennyson claims to have originated the verse form on his own, more than two centuries before him Ben Jonson had used the so-called In Memoriam stanza to similar effect: to express elegiac sentiments on the topic of doomed or "lost desire." To take Tennyson's claim to formal autonomy at face value is to dismiss centuries of poetic syntax built into the verse form that necessarily informs his poem. From the dissident elegiac desire of the Latin poet Propertius, to the elegiac longing of Jonson and Gray, to the yearning "Elegies" (as Tennyson called the individual sections of In Memoriam), to the lyrics of Oscar Wilde, this essay performs a radical genealogy of the stanza, showing how its formal devices work to incorporate (and disguise) its "vague desire" in specific "matter-moulded forms of speech."
The Lament and the Rhetoric of the Sublime
Authors: Austin Linda M.
Published: September 2012

The appearance of melodramatic language and gesture in nineteenth-century lyric poetry was underwritten by two theories of ecstasis, the sense of losing oneself or going beyond the limits of comprehension. The first kind of ecstasis belonged to the sublime reaction, as Kant and Burke had imagined it. The second sort belonged to the picture of the disordered mind in the medical literature. A rhetoric of shock and loss in the melodramatic lyric bears the remains of the inchoate language and wild gestures in ancient lamentation but also refers to more recent performances of overpowering emotion on stage. Conventional reactions to sublime landscapes in painting, for example, employ expressions and gestures inventoried both in Longinus's treatise on the sublime and in acting manuals for tragedians. Percy Bysshe Shelley's "A Lament" (1821) and Richard Harris Barham's "Epigram" (1847) are performances of the sublime confrontation with the idea of death. Both poems were attempts to record ecstasis and to transcribe melodramatic acting. "Epigram," moreover, alludes to another interpretation of ecstasis in the lately popular Romantic ballet. This revolutionary technique created an illusion of bodilessness-a vision of the body losing itself and fading into nothing. The reformulations of the sublime in philosophy and medicine thus enabled a set of signifying practices that appear in transcriptions of lamentation and in dance. Both are efforts to perform the sublime moment.
Oscar Wilde: Orality, Literary Property, and Crimes of Writing
Authors: Saint-Amour Paul K.
Published: September 2012

Oscar Wilde was both an aficionado and a practitioner of literary crime. Most notoriously, his 1886 notes for a lecture on Thomas Chatterton are largely plagiarized from two biographies about the poet. Wilde's plagiarism and self-plagiarism have formerly been understood as coded expressions of nonliterary transgressions, as roundabout forms of self-promotion, and as the result of the time pressures of a professional writer. In this essay I propose that we understand Wilde's fascination with and commission of literary crime not only in light of his professed socialism but also through his well-known preference for talk over writing. By appropriating, recirculating, and donating language within literary circles, Wilde set up within a private print culture the lineaments of primary orality that he had encountered through his parents' ethnographic studies of the nonliterate rural Irish. In promulgating these oral dynamics of circulation, Wilde helped construct primary orality as the irrecuperable other of literate culture. But he also participated in a growing counterdiscourse to private literary-property law, particularly the conventions of individual and serial ownership proper to copyright, that were becoming consolidated in late-Victorian England. While the Chatterton lecture notes work partly to consecrate literary crime as a creative act, Wilde's story "The Portrait of Mr. W. H." (1889) warns that when ideas circulate like private property, they lose the power to unite their holders in a shared belief.
Domesticity, Cultivation, and Vocation in Jane Addams and Sarah Orne Jewett
Authors: Sawaya Francesca
Published: September 2012

Critics have typically treated Sarah Orne Jewett's The Country of the Pointed Firs (1896) either as a portrayal of a dying New England town or, more recently, as a depiction of a powerful but marginalized female community. Both kinds of readings remove the novel from its historical context, thereby overlooking the ways in which Jewett addressed national political issues and debates. By contrast, this essay argues that Jewett's work involves itself in a turn-of-the-century progressive discourse about class conflict and woman's labor. Comparing Jewett's work to Jane Addams's Twenty Years at Hull-House (1910), the essay shows how upper-class progressive feminists combined ideas from the "cult of domesticity" with new ideas about woman's role as a consumer of culture to imagine themselves as particularly able to understand and transcend difference. For these women, the cultivated lady tourist becomes the model figure who can unite teh divided nation. While this new vision of class conflict and woman's labor did not reverse the hierarchies of the national culture, it did attempt to create a new relation between margin and center, especially a new relation between woman's labor and the larger society.
"The Other Side of Silence": Matrimonial Conflict and the Divorce Court in George Eliot's Fiction
Authors: Dowling Andrew
Published: September 2012

The Matrimonial Causes Act of 1857 and the Divorce Court it created were hailed by some contemporary observers as "one of the greatest social revolutions of our time." Among the many "revolutionary" consequences of this new Court was an increased legal and social recognition of psychological cruelty in marriage and, through the journalistic reportage of its proceedings, the creation of a new reading public that had become fascinated with tales of marital strife. This essay suggests and examines a correlation between these legal and social changes and the emphasis found in George Eliot's fiction on silence as a sign of matrimonial conflict. Throughout Eliot's fiction, from "Janet's Repentance" in Scenes of Clerical Life, through to Felix Holt and Middlemarch, and culminating in the portrayal of Henleigh Grandcourt in Daniel Deronda, there is a progressive emphasis on the nonphysical signs of matrimonial conflict and, in particular, on the oppressive power of silence in sexual relationships. Eliot's use of silence to evoke this experience reflects a new social awareness of psychological cruelty in marriage, one that was being formally recognized in the law courts at this time. But by hinting at a form of matrimonial cruelty so terrible that it must remain veiled, Eliot's use of silence also functions as a rhetorical device that whets a new public appetite for tales of matrimonial conflict.
The Gentleman's True Name: David Copperfield and the Philosophy of Naming
Authors: Bottum Joseph
Published: September 2012

No one has ever accused Dickens of being a philosopher. But David Copperfield offers an opportunity for thinking philosophically about naming. Unlike the characters unconscious of their satirical names in Dickens's earlier novels, the characters in David Copperfield feel the tension of naming and explore with the author what their names are for. They find, of course, that the order of names-the hierarchy of terms by which they refer to and address one another-betrays rank and sentiment, power and desire. But they find more than that a name expresses and enforces the will of the namer. Names in David Copperfield have a way of coming true, and the possibility of names coming true requires there be such a thing as truth. David as he grows must find in falsity and failure the possibility of truth and reform. Dickens always believed in truth. Beneath the jokes and abused language, there is for Dickens an intelligible order of reality that is finally moral and true. No reformed Scrooge or Chuzzlewit comes to fix the broken lives at the end of David Copperfield, but truth wells up in the novel, nonetheless. After Dora and Steerforth die, David reaches at last an adult understanding of names beyond the childish assumption of meaning and the adolescent assumption of emptiness.
The World as Text in Hardy's Fiction
Authors: Wike Jonathan
Published: September 2012

The inscribed landscape serves as the central figure in the fiction and poetry of Thomas Hardy, from the images that stand out like "gilded letters upon the dark tablet of surrounding Egdon" in The Return of the Native to those "written on terrestrial things" in the poem "The Darkling Thrush." This paper concentrates on the use of writing imagery in the novels that make up the first half of Hardy's career as a writer. Although it can be traced to the tradition of writing metaphors described by E. R. Curtius, this body of imagery is give particular freshness and depth in Hardy's work, where it is organically related ot other visual patterns. It connects ideas of perception to patterns of individual and historical development, as experiences inscribe themselves on faces and lives. It also aids in and comments on the project of extracting meanings from sensation, which is itself central to Hardy. Further, Hardy's writing metaphors, by creating a "world as text," determine relations between his texts and the world they represent, placing his characters as secondary readers in the text and redefining text and world as objects of interpretation. Hardy's use of writing imagery, therefore, not only rehabilitates a commonplace figure but throws light on the function of metaphor in the discovery of meaning.
Hopkins, Community, Functions: "Tom's Garland"
Authors: Isomaki Richard
Published: September 2012

"Tom's Garland" responds to demostrations by the unemployed and the poor in London in the latter 1880s. Hopkins's response is mediated by a conception of society as a commonwealth, a notion he elaborated in his sermons, and by contemporary representations of poverty, which assumed the demonstrators could be divided into two groups, those willing to work and the merely shiftless. Hopkins's poem represents both groups as excluded from the commonwealth; it distinguishes them from each other, and both from the employed working class, by several means, including the formal: Tom, representative of the employed, appears in the inner sonnet, the willing unemployed in the first coda, the shiftless in the second. Hopkins relies upon a metaphor of the commonwealth as body to suggest that Tom, the foot of the society, is justly performing his natural function, although Hopkins in other writings demonstrates that he knew this conclusion was untenable. The poem therefore must establish by rhetorical and tropological means that the working class is happy with its position in the commonwealth. The poem's essential move in establishing this judgment is a trope of suspension, based in a relation between Tom's physical actions and mental acts of judgment-a fundamental Hopkinsian figure. Contrary to Hopkins's self-understanding of this relation as mimetic, it is best analyzed on the model of mathematical functions. This analysis reveals that the judgment is not grounded mimetically in Tom's happiness but in Hopkins's class beliefs.
Nineteenth-Century Racial Thought and Whitman's "Democratic Ethnology of the Future"
Authors: Phillips Dana
Published: September 2012

Whitman's apparently positive depictions of racial others are intepreted in the light of his assumptions about biological indicators of racial identity and the role literature plays in recording that identity. Part one demonstrates that in the context of nineteenth-century racial thought a poem like "Salut au Monde!" seems directed less toward celebrating cultural diversity and more toward indicating the less-evolved status of other races compared to Americans. Whitman cannot describe the typical American as fulsomely as he can others, however, who serve in his poems as models of racy individuality-however backward they may seem. Part two therefore looks at Whitman's examination of various "specimens" of American identity, such as Lincoln, and at the ironies and contradictions that frustrate this examination. The problem for Whitman was not racial difference (racial others being for him and his contemporaries known quantities) but racial sameness. What Whitman needs, then, is some symbolic means of bridging the gap between actual American diversity and the ideological imperative of American identity, and this he finds in the concept of similitude (adumbrated in "Song of Myself"). But Whitman's poetry offers resolutions unavailable (and undesirable) in American culture. Part three describes Whitman's cultural discontent, chiefly as expressed in Democratic Vistas, where he chastises Americans for their bodily grossness and bad manners and discusses what he calls "the democratic ethnology of the future," a racial solution to America's cultural problems.
Tourist or Native Son: Wordsworth's Homecomings of 1799-1800
Authors: Butler James A.
Published: September 2012

After many years of wandering in England and abroad, in November 1799 Wordsworth returned to his native Lake District on a "picturesque tour." guiding his southern friend Coleridge. That tour made clear to Wordsworth that tourists-and worse, tourists who returned to settle in the Lake District-were damaging the landscape and the people. When he himself took up residence in Grasmere the following month, Wordsworth's anxiety about his tourist experiences found expression in several poems in which he eventually defined his poetic identity by weighing the tourist against the native son. Somehow the poet born in Cockermouth and educated in Hawkshead had to create a fictive self who had returned (through birthright and not because he happened to see an empty house while on tour) to a home at Grasmere. In "The Brothers," "Hartleap Well," Home at Grasmere, and several Inscriptions and Poems on the Naming of Places, Wordsworth constructed that persona-and built a secure and permanent habitation for his mind. Only when Wordsworth had in his own imagination shed the stigman of intruder and outsider, a "tourist" to Grasmere and the Lake District, coul he tap the spring of inspiration that produced the poetry of his great decade.
Taking a Perspective: Hawthorne's Concept of Language and Nineteenth-Century Language Theory
Authors: Roger Patricia M.
Published: September 2012

This essay examines Hathorne's concept of language and the characteristic indeterminacy of his writing in the context of nieteenth-century language study. Recently, two opposing theoretical postionss have emerged to account for this indeterminacy-the deconstructionist view as exemplified by J. Hillis Miller's analysis of "The Minister's Black Veil" and the more historical and political view that Jonathan Arac Takes in "The Politics of The Scarlet Letter." I argue that although Hawthorne's indeterminacy may invite a deconstructionist analysis, it is a product of his historical context, not ours, and although, as Arac argues. Hawthornes's indeterminacy may be connected to a politics of avoidance, it more directly arises out of the linguistic and philosophical issues being debated by his contemporaries. In his Notebooks and his fiction Hawthorne responds to these issues by experimenting with possible relations between literal and figurative meanings and with the role played by perspective in determining these meanings. In order to show the interaction bertweenn Hawthorne's writing and the context of mindineteenth-century language study, I first briefly outline this context; then, using examples from his Notebooks. I describe Hawthorne's concept of language; and finally, with "Rappaccini's Daughter" as an example. I show how in his fiction Hawthorne experiments with the language theories of his contemporaries.
"The Cock of Lordly Plume": Sexual Selection and The Egoist
Authors: Smith Jonathan
Published: September 2012

Despite a long-standing acknowledgment of the evolutionary chracter of George Meredith's poetry and fiction, and a more recent delineation of the specifically Darwinian elements of The Egoist (1879), the relationship between that novel and Darwin's The Descent of Man, and Selection in Relation to Sex (1871) has been overlooked. Both works focus on the evolutionary development of the human moral sense and on the process of courtship between the sexes, but Meredith's novel links these issues while Darwin's book keeps them separate. Through his characterization of Sir Willoughby Patterne, Meredith shows that "civilized" egoism is a sign of moral reversion most likely to occur during courtship, and he critiques Darwin's discussion of sexual selection in humans, exposing its inconsistencies and in particular challenging its portrayal of female choice. While modern feminist critics have rightly identified problems with the novel and the theory of comedy that governs it, Meredith's attack on Darwin's culturally powerful view of the sexes endorses a postion on "the woman question" close to John Stuart Mill's, and the novel's problems are best seen as part of this attack rather than as naive self-contradictions of Meredith's feminism.
Herman Melville's Planned Work on Remorse
Authors: Olsen-Smith Steven
Published: September 2012

Thomas Powell, an English-born journalist, claimed in April 1856 that Melville once announced to him a plan for a work "intended to illustrate the principle of remorse, and to demonstrate that there is, very often, less real virtue in moral respectability than in accidental crime." Powell was a thief and a forger who took refuge in Manhattan in 1849 after being banished from the London literary establishment, where he had been an intimate of Dickens and Browning. A crative liar, Powell could have fabricated his claim about the planned work on remorse. Yet he had ample opportunity to hear Melville discourse about a projected work that had not been printed by 1856. Upon his arrival in New York, Powell had attached himself to Melville's friend Evert A. Duyckinck, then quickly made Melville's acquaintance. In June 1849 he was a guest in Melville's house, perhaps the day Melville gave him a copy of the newly published Mardi. The theme was congenial to Melville, who had used "Remorse" as the title of a chapter in Mardi. Melville's later works, moreover, including what we know of the lost The Isle of the Cross, bear close affinities with the planned work as Powell described it. Unless further evidence corroborates Powell's claim, we cannot know for certain that Melville ever discussed writing a work on remorse. Still, considering the highly Melvillean nature of the theme as Powell recalled it, the words of this English scoundrel will ring true to many lovers of Melville.
Microscopy and Semiotic in Middlemarch
Authors: Wormald Mark
Published: September 2012

This paper reveals a frogotten formative influence on George Eliot. Most accounts of Eliot's debts to science examine the circle of eminent scientists she and Lewes knew in the 1860s and 1870s and his own late work, Problems of Life and Mind. Here I explore much earlier and less celebrated writing: the microscopical investigations of primitive water creatures that Lewes conducted as an amateur popularizer of science in the mid to late 1850s and the vigorous culture of microscopy to which he introduced George Eliot as early as 1856. After summarizing the technological advances in the microscope that had nurtured this culture and surveying the role of Victorian periodicals in sustaining it, I trace the significance of the discipline, particularly as conveyed in Lewes's neglected article "Only a Pond!," for the texture and structure of Middlemarch. The language of her characters' dialogues teems with details of vocabulary and metaphor first developed by Lewes to map the world of the water-drop onto the equally parasitic relationships of mid-Victorian society. More surprising, Eliot also made her narrator one of the novel's two amateur microscopists, the other being Camden Farebrother, Middlemarch's own amateur natural historian. The pater then explores the different kinds of "advantage" this interest in microscopes secures for Farebrother over Lydgate, the book's representative of professional science, and argues that Farebrother is the novelist's private tribute to Lewes's earlier enthusiams.
Narrating Cultural Encounter: Lady Morgan and the Irish National Tale
Authors: Ferris Ina
Published: September 2012

With the publication of The Wild Irish Girl in 1806 Sydney Owenson (Lady Morgan) inaugurated the national tale, a worldly and impure genre that operates out of a performative notion of representation. Building out of romance tropes and protoethnographic discourse, the national tale relocates the scene of cultural encounter, confounding the distinction between "over here" and "over there" in order to move the modern metropolitan subject/reader into a potentially transformative relation of proximity. Familiar categories come under pressure as the English protagonist/reader is transported to Irish ground, unhinger from familiar space, and subjected to disconcerting encounters that bring about a certain self-estrangement. Through its tactics of displacement, the national tale (practiced by Maria Edgeworth and Charles Robert Maturin as well as by the pioneering Morgan) brings about a troubling of the imperial narrative. Modern critics too often have ignored the destabilizing energies present in this neglected genre.
Commerce and Character in Maria Edgeworth
Authors: Michals Teresa
Published: September 2012

In her novels and didactic writing Maria Edgeworth links moral and financial credit in an attempt to turn a traditional idea of the corporate personality of the family into the foundation of commercial agency in a credit economy. Rejecting the individual as incapable of surviving in a credit-based market, Edgeworth's novels about the marriage market are fantasies of the larger marketplace, attempts to shape the kind of person required by England's credit-based market. The "charm of probability" with which Edgeworth enchanted her reviewers was both a formal device of realism and the foundation of the informal credit economy that she inhabited and advertised. Edgeworth's emphasis on rationality and predictability, however, excludes the irrationality inherent to consumer desire, one basis of the market itself. In Belinda, therefore, Edgeworth splits the commercial world into two separate and radically contradictory systems of representation-realist and Gothic. The marketplace is a benign and rational place governed by Adam Smith's laws, rules of probable behavior that are both moral and economic, and, at the same time, it is a realm of improbable behavior and insatiable consumer desires that are depicted through the conventions of the Gothic.
Beddoes, Pygmalion, and the Art of Onanism
Authors: Guy-Bray Stephen
Published: September 2012

Thomas Lovell Beddoes's almost unknown poem "Pygmalion" (1825) is one of the first nineteenth-century treatments of the Pygmalion myth. For his version Beddoes draws on Ovid's Metamorphoses, on Rousseau's Pygmalion, scène lyrique and Confessions, and on Beddoes's father's Hygëia (1802), a work on medicine and public health. Beddoes uses his father's writings on masturbation and its connections with literature to compare the artist's solitary labors with the solitary vice of masturbation. Beddoes's fusion of the discourse of artistic creation and the medical discourse that warned of the dangers of masturbation enables him to suggest that poetic activity drains the artist of his strength and prevents him from achieving any direct relation to the world in which he lives. Beddoes's apparent ambivalence about the value of artistic endeavour can be seen in his own vacillations between a literary and a medical career and his ultimate lack of success in either field.
Revisiting Fletcher Henderson's Copenhagen
Authors: Henderson Fletcher , Magee Jeffrey
Published: September 2012

In its recording by Fletcher Henderson and His Orchestra in 1924, "Copenhagen" has been judged an exemplar of big-band jazz appearing more than a decade before the Swing Era began; and its artistic success-celebrated as a break from commercial pressures-has been credited to Don Redman, Henderson's chief arranger. This article, however, argues that Henderson's "Copenhagen" was not the brainchild of a single musician but the product of a collaboration; further, its existence owes much to the workings of the popular music industry, not to Redman's transcendence of commercial forces. Using a wide range of primary and secondary sources, including a previously neglected published arrangement of the piece, the article proposes an alternative role for "Copenhagen" in historical narratives of jazz.
Of Modell-Typen and Modell-Typen: Berg, Schoenberg, F. H. Klein, and the Concept of Row Derivation
Authors: Ashby Arved
Published: September 2012

With the assistance of sources from the Berg Nachlaß at the Österreichische Nationalbibliothek, Vienna, this study readdresses a practice cited by those declaring Berg's twelve-tone techniques peripheral to a history of modernism: his use of more than one twelve-tone row in a composition. This technique, vital to Berg's work but proscribed by Schoenberg and the unity so often idealized in Schoenberg's writings, is found to have originated with the composer and theorist Fritz Heinrich Klein (1892-1977). Documentary evidence indicates that Klein's op. 14 Variationen proved especially significant as Berg developed a personal epistemology of twelve-tone music. Examination of Berg's debt to Klein illuminates the large-scale structure of Berg's Lyric Suite, impels exploration of the correlations that allow one to speak of an organic relationship between "row forms," and encourages clarification of Schoenberg's, Berg's, and Hauer's historical relevance to the origins of dodecaphony.
Ideologies of Aztec Song
Authors: Tomlinson Gary
Published: September 2012

Attempts to understand the place of song in indigenous New World societies have been stymied by powerful European ideologies of music and its uses. This is particularly evident in the case of the Mexica or, as they are commonly known, Aztecs of central Mexico. The crystallization of European conceptions can be followed through five centuries of accounts of Aztec singing. The nature, limitations, and contradictions of these conceptions can be analyzed through a re-reading of paradigmatic European texts such as Jean-Jacques Rousseau's Essai sur l'origine des langues, a re-reading that takes us to the heart of early poststructuralist thought. From all this emerges not only a broadened conceptual range for our understanding of Aztec song itself but also a defamiliarizing approach to the singing of others in any number of contexts.
The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse
Authors: Monson Ingrid
Published: September 2012

This essay situates hipness within a broader range of African American history and moral debate than is generally presented in accounts of jazz history. The perspectives of Amiri Baraka, Mezz Mezzrow, Norman Mailer, and Dizzy Gillespie are used to develop the thesis that there is a problem with white presumptions about how hipness relates to African American cultural life and history. This problem requires addressing interrelationships between race and gender, as well as the legacy of primitivism embedded in common assumptions about how jazz since World War II relates to social consciousness, sexual liberation, and dignity.
Magic Mirrors and the Seria Stage: Thoughts toward a Ritual View
Authors: Feldman Martha
Published: September 2012

This essay proposes a performative model of opera seria founded in ritual to argue that opera seria is better understood as a variety of spectacle than as drama in the modern sense. In this view, opera seria relies for its effectiveness on compositional, dramaturgical, and institutional forms that counteract representational congruities in plots, stage designs, and singers' genders. As both genre and institution, opera seria is rendered unintelligible in models of stageworks upheld by music critics like Tovey and Kerman or anthropologists of theater like Victor Turner. Extending instead the work of anthropologist Stanley Tambiah, the performative model of opera seria presented here sees the ritual mechanics of opera seria as both highly fixed and highly unfixed, ranging from the interactions of singers and audiences to the structuring and delivery of arias and norms of acting. At the base of this ritual process was the archetypal seria story, which delivered an unquestionable set of absolutist propositions that distanced viewers from states of continuous absorption. Attention to the stage was instead relegated mainly to the intersubjective play between viewer and singer in aria ritornello forms. Such interplay and many other seria practices were embedded in the larger rituals of Carnival, masking, and other forms of festivity. By replacing closed with open forms and raising the status of opera seria's authors above that of singers and audiences, efforts at reform attempted to eradicate the ritual and festive dimensions of opera seria.
Toward a Grammar of Singing: Tune-Text Association in Gregorian Chant
Authors: Chen Matthew Y.
Published: September 2012

The main objective of this paper is to discover some of the general but precise principles which determine the setting of words to music. This aspect of the language-music interface has come to be known as " tunetext association" in current linguistic parlance. I have chosen to investigate "psalmody," namely the chanting of psalm verses to fixed melodic formulas in Gregorian plainsong, as a particularly illuminating musical idiom.
Theory of Helmholtz-Beat Frequencies
Authors: Rasch Rudolf A.
Published: September 2012

In musical tuning, deviations from the simple frequency ratios of pure consonant intervals are often necessary. These deviations are called temperings. They result in beats in the sounding interval. Rules are developed according to which the beat frequencies can be determined, both exactly and by way of easy integer approximations. Beat frequencies of consonant intervals are most easily expressed as relative beat frequencies, the quotient of the beat frequency and the lower fundamental frequency of the interval. The relative beat frequency is a constant for a certain interval in a certain tuning, whereas the absolute beat frequencies vary with fundamental frequencies. Also described are the relationships between the beat frequencies of the three intervals that make up a consonant triad. Numerical data are given for five model tunings: Pythagorean, equal, Silbermann, meantone, and Salinas.
The Search for a Survival Value of Music
Authors: Roederer Juan G.
Published: September 2012

A most basic issue in the study of music perception is the question of why humans are motivated to pay attention to, or create, musical messages, and why they respond emotionally to them, when such messages seem to convey no real-time relevant biological information as do speech, animal utterances, and environmental sounds. Expanding on previous work (Roederer, 1979,1982) three possibly concurrent factors will be examined: (1) The inborn motivation to train language-handling networks of the brain in the processing of simple, organized sound patterns as a prelude to the acquisition of language; (2) The need to extract the information contained in the "musical" components of speech; (3) The value of music as a means of transmitting information on emotional states and its effect in congregating and behaviorally equalizing masses of people. In the discussion, special attention will be paid to the role of motivation and emotion in auditory perception, to the fact that in humans limbic system functions can be activated by internally evoked images in complete detachment from the current state of environment and organism, and to the existence of two distinct strategies of cerebral information processing, namely short-term time sequencing, as required in speech communication and thinking, and holistic pattern recognition, as required in music perception.
The Rhythmic Interpretation of Monophonic Music
Authors: Longuet-Higgins H. C. , Lee C. S.
Published: September 2012

The assignment of a rhythmic interpretation to a piece of metrical music calls for the postulation of an underlying meter and the parsing of the note values according to this meter. In this article we develop the implications of this view, which include the following propositions. 1. Any given sequence of note values is in principle rhythmically ambiguous, although this ambiguity is seldom apparent to the listener. 2. In choosing a rhythmic interpretation for a given note sequence the listener seems to be guided by a strong assumption: if the sequence can be interpreted as the realization of an unsyncopated passage, then that is how he will interpret it. 3. Phrasing can make an important difference to the rhythmic interpretation that the listener assigns to a given sequence. Phrasing can therefore serve a structural function as well as a purely ornamental one.
The Perception of Contemporary Pitch Structures
Authors: Bruner Cheryl L.
Published: September 2012

Do interval-class vector-based measures of similarity among pitch- class sets, such as Robert Morris's similarity index, predict how listeners relate sets? In a series of experiments listeners were asked to judge differences between pitch- class sets. The results did not argue convincingly for the similarity index as the primary determinant in the perception of similarity. They suggested, however, that an underlying pattern might show the relationships among set classes along a number of dimensions. In an experiment involving comparison of the twelve trichords, multidimensional scaling techniques were used to model the data. The dimensions of these models can be interpreted in terms of intervals, although none of the interpretations involve total interval content or correspond to the similarity index. The results suggest two conclusions. First, the perception of similarity among pitch-class sets is tied to context and manner of presentation. Second, theoretically plausible measures of similarity may not be immediately perceivable and may require considerable training to be heard.
Tonal Schemata in the Perception of Music in Bali and in the West
Authors: Kessler Edward J. , Hansen Christa , Shepard Roger N.
Published: September 2012

Krumhansl and Shepard's probe-tone method, in which listeners rate the musical relatedness of probe tones to preceding musical contexts, was adapted for a cross-cultural comparison of the perception of Western and Balinese melodies by both Western and Balinese listeners. Half of the Balinese listeners were remote villagers with no previous exposure to the diatonic scales or music of the West, and the Western listeners were unfamiliar with the pelog and slendro scales and the music of Bali. The Balinese and Western listeners used similar response strategies, but tended to demonstrate an internalization of tonal schemata most often in response to music of their own culture.