bluuebunny/crossref_metadata_2025 huggingface dataset:
Uso de imágenes de archivo en miniseries “basadas en un hecho real”: producciones dramáticas españolas entre 1990 y 2010
Authors: De-la-Cuadra-de-Colmenares Elena
Published: January 2021

La producción de series dramáticas en España entre 1990 y 2010 (desde el apagón analógico hasta la desregulación y la llegada de las nuevas cadenas y plataformas) se caracteriza, entre otras cosas, por presentar una gran cantidad de ficciones “basadas en un hecho real”. Bajo esta denominación se agrupan ficciones que relatan un acontecimiento histórico, otras que narran un hecho impactante aunque de poca trascendencia histórica, y aquellas que reflejan la biografía de un personaje conocido por el gran público. En estas líneas se analiza la presencia de imágenes de archivo en este tipo de producciones, profundizando en la veracidad de estas imágenes y en el papel que juegan en la narración de la ficción. Asimismo, se reflexiona sobre el uso de otros medios de comunicación (prensa, radio), y su función en este tipo de ficciones. Tras un análisis cuantitativo y cualitativo, y una extensa revisión bibliográfica, llegaremos a la conclusión de que no todas las imágenes que en principio puedan parecer documentos históricos lo son realmente. Precisamente por esta posible confusión en el grado de descodificación por parte del espectador, llegamos a la conclusión de que el uso de material de archivo acerca las ficciones dramáticas a otros géneros tradicionalmente considerados como no-ficción. Se ha observado en estas series un uso de imágenes de archivo (y de falsas imágenes de archivo) que cumplen una función ideológica en el relato audiovisual del pasado.
Galicja w 1831 roku w opiniach emigrantów-uczestników powstania listopadowego
Authors:   Uniwersytet Rzeszowski, Polska, Kuzicki Jerzy
Published: January 2021

In 1831 in Galicia there were former insurgents form the troops of the generals: Józef Dwernicki, Girolamo Ramorina, Samuel Różycki and others. They left their memories which are utilised by the present article: twenty five diaries, memoirs, journals and correspondence. The social- -economic features of Galician cities, towns and villages were selected from the above sources. The descriptions of itineraries also depict the picture of infrastructure or historical monuments of the locations passed by the insurgents. The analysed texts perceived circular cities as made of brick, with many so-called keepsakes of the past. Towns, dominant in Galician landscape were perceived as neat and tidy but muddy places with wooden buildings. The characteristic feature of the countryside was the so-called chimneyless huts. Galicia in 1831 was a land full of manor houses of various sizes where the nobility was sympathetic towards the national cause.
Diálogos entre o método da cartografia e alguns pressupostos filosóficos de Hannah Arendt na pesquisa em educação
Authors: Martinez Carolina Terruggi , Machado Adriana Marcondes
Published: January 2021

O artigo aventura-se nas fronteiras do método cartográfico e dos escritos de Hannah Arendt sobre ação, política e educação. Desse encontro, busca-se construir posições para uma pesquisa feita em campo no âmbito da educação, tendo em vista a implicação do pesquisador no processo da pesquisa, reconhecendo-se como parte desse processo e rompendo com sua suposta neutralidade; a aceitação da imprevisibilidade no percurso de criação da pesquisa; e, por fim, o compromisso político com o coletivo com o qual se trabalha e com o mundo que nós, pesquisadores e pesquisados, habitamos. Apresentam-se também questões suscitadas a partir da relação de uma das autoras, como pesquisadora, com o seu campo de pesquisa, tomando a experiência como produtora de pensamento sobre os desafios metodológicos de trabalhos pautados na cartografia.
A ressignificação da deficiência pela literatura: os impactos do Laboratório de Humanidades em mães de pessoas com deficiência
Authors: Mituti Junior Ricardo , Sass Simeão Donizeti , Gallian Dante Marcello Claramonte
Published: January 2021

Este estudo tem como objetivo demonstrar os impactos da literatura em mães de pessoas com deficiência, no que concerne à ressignificação da condição de “mães especiais”, por meio de participação na atividade Laboratório de Humanidades (LabHum), do Centro de História e Filosofia das Ciências da Saúde da Universidade Federal de São Paulo, Brasil, cujos propósitos são despertar afetos e sentimentos e fomentar a humanização pela discussão coletiva de temas existenciais suscitados nos clássicos da literatura universal. O estudo foi desenvolvido sob três metodologias qualitativas após leitura individualizada da fábula “Um apólogo”, de Machado de Assis: do próprio LabHum, História Oral de Vida e Observação Participante. Os resultados indicam transformações positivas de perspectivas e reelaboração de valores humanísticos acerca do papel que essas mulheres cumprem como cidadãs que buscam ampliar o debate sobre a inclusão de pessoas com deficiência na sociedade.
Influência dos parâmetros de ensaio na determinação da resistência de aderência de revestimentos de argamassa
Authors: Carvalho Costa Eliane Betânia , Carasek Helena
Published: January 2021

Resumo Ensaio de resistência de aderência à tração, um dos principais parâmetros para avaliação do desempenho de revestimentos de argamassa, é preconizado por diferentes normas, em âmbito internacional e nacional. No entanto, a existência de parâmetros divergentes ou pouco especificados tem ocasionado alta variabilidade dos resultados para uma mesma situação de ensaio. Assim, o objetivo deste trabalho foi avaliar a influência de alguns parâmetros do ensaio na variabilidade dos resultados de resistência de aderência. Para tanto, o estudo foi elaborado em duas etapas: uma modelagem computacional utilizando o método dos elementos finitos (programa ANSYS®) e outra experimental (em laboratório), com testes de resistência de aderência à tração de revestimentos de argamassa aplicados em placas de concreto, sendo ensaiado um total de 530 corpos de prova. Os resultados obtidos mostram que a geometria e dimensão dos corpos de prova, o procedimento de corte, o tipo de equipamento, a taxa de carregamento e excentricidade do corpo de prova contribuem com a variabilidade dos resultados de aderência. Além disto, constatou-se uma relação direta entre a resistência de aderência à tração e a umidade do revestimento no momento de realização do ensaio.
Impacto do tipo de misturador e do tempo de mistura nas propriedades de argamassas industrializadas
Authors: de Oliveira Romano Roberto Cesar , Schreurs Harry , Belizário da Silva Fernanda , Cardoso Fábio Alonso , Semensato Bottura de Barros Mercia Maria , John Vanderley Moacyr , Pileggi Rafael Giuliano
Published: January 2021

Resumo Argamassas industrializadas anidras usualmente empregam aditivos em suas formulações, sendo muito comum o uso de incorporadores de ar. Apesar do rigor da produção deste material em ambiente fabril, variações nas condições de preparo em obra podem afetar o teor de ar no revestimento. Usualmente, as argamassas são processadas manualmente em obras ou com o auxílio de equipamentos de mistura. Dessa forma, neste trabalho foi avaliado o impacto do tipo de equipamento e do tempo de mistura na incorporação de ar de argamassas industrializadas e o efeito nas propriedades após o endurecimento. Os resultados indicam que a incorporação de ar decorre da adequação entre o equipamento de mistura e a formulação da argamassa, sendo identificada diferença de sensibilidade das argamassas ao tipo de equipamento. Tal fato permite inferir que a alternativa para reduzir a variabilidade do teor de ar em obra depende do desenvolvimento de formulações com mínima sensibilidade ao processo de mistura.
Screening for Bioactive Compound Rich Pomegranate Peel Extracts and Their Antimicrobial Activities
Authors: Balaban Merve , Koç Cansel , Sar Taner , Akbas Meltem Yesilcimen
Published: January 2021

In this work, seven different extracts from pomegranate (Punica granatum L., cv. Hicaz nar) peel were prepared by using different solvents (ethanol, methanol, either alone or in combination with acid, acetone and water). The phenolics (punicalagins and ellagic acid), organic acids (citric acid and malic acid) and sugars of pomegranate peel extracts (PPEs) were determined. The highest amounts of punicalagins and ellagic acid were detected by ethanol-acid extract as 13.86% and 17.19% w/v respectively, whereas the lowest levels were obtained with acetone and water extracts. Moreover, the methanol-acid (3.19% malic acid) and ethanol-acid (1.13% citric acid) extracts contained the highest levels of organic acids. The antimicrobial activities of extracts were investigated by agar well diffusion method. Methanol-acid and ethanol-acid extracts exhibited the highest antimicrobial effects on all tested microorganisms, giving inhibition zones ranging in size from 17 mm to 36 mm. Although similar antimicrobial activities were observed by ethanol, methanol and acetone extracts (up to 24 mm), the lowest antimicrobial activities were attained by water extract (0–15 mm). All extracts were generally more effective against Gram-positive bacteria: Enterococcus faecalis, Bacillus subtilis, Bacillus cereus than Gram-negative ones: Escherichia coli and Enterobacter aerogenes (Klebsiella aerogenes). It was shown that extracts from pomegranate peels represent a good source of bioactive compounds.
The Georgetown Institute Language Program
Authors: Dostert Leon
Published: January 2021

In the fall of 1949, The Institute of Languages and Linguistics was established as a new department of the School of Foreign Service at Georgetown University. The program of instruction was planned to include intensive and semi-intensive training in languages and a related program in linguistics, cultures and civilizations. The Institute was initially to develop a curriculum leading to the degree of Bachelor of Science in Languages. The plan was to enroll students who had completed two years of liberal arts studies either at Georgetown or at other universities, and who desired to acquire professional competence in languages and a basic orientation in “area” studies.
XI.—Tom Tyler and his Wife
Authors: Schelling Felix E.
Published: January 2021

The comedy which appears in the following pages is reprinted from “the second impression,” as it is called on the title page, made by Francis Kirkman in the year 1661: the first edition is apparently no longer extant. Francis Kirkman occupies an interesting position in the history of the English drama as the first man to interest himself in the collection and preservation of old English plays. To him we owe the reprint of Lust's Dominion, which has been attributed to Marlowe, of The Thracian Wonder, of Gammer Gurton's Nedle, and of other plays; and from Kirkman we have the first attempt at a catalogue of English dramas, the foundation on which Langbaine, Baker, Reed, and others were later to build. The earlier form of Kirkman's “an exact Catalogue of all the playes that were ever yet printed” appeared as a supplement to the present play, and included six hundred and ninety items. A few years later Kirkman had increased his list to eight hundred and six. He tells us that he had seen and read all these plays and that he possesses most of them, which he is willing to sell or lend upon reasonable consideration.
A. Friend of Chaucer's
Authors: Kittredge G. L.
Published: January 2021

In the Hous of Fame, Chaucer mentions amongst harpers “the Bret Glascurion” (v. 1208). This personage was long ago identified with Glasgerion, the hero of a famous ballad; and a further identification of Glascurion with the Welsh bard Geraint (Y Bardd Glas Keraint) was made in 1845 by the Rev. Thomas Price. Professor Child was inclined to accept these identifications, though he expressed himself cautiously.
The Comedies of J. C. Krüger
Authors: Haas Albert
Published: January 2021

When the critics of the middle of the eighteenth century discuss the conditions of the German stage at that time, they invariably complain of the great losses caused to it by the untimely death of several young and promising authors. Brawe, Cronegk, and J. E. Schlegel are mentioned in this way; and their names are still remembered, if their works are forgotten. Together with these we repeatedly find a name that nowadays seems almost to have dropped out of the memory of the historians of literature. Yet the young Nicolaï was just as eager to praise Johann Christian Krüger as those other three men, and regretted that he, too, by a premature death, had been prevented from fulfilling what his early productions had promised. For a long time confused with Gottsched's unlucky disciple, B. E. Krüger, Johann Christian Krüger's personality and writings only now begin to be understood.
X.—Romantic Tendencies in the Novels of the Abbé Prevost
Authors: Woodbridge Benj. M.
Published: January 2021

The heroes of the novels of the Abbé Prevost present certain emotional states which are generally regarded as characteristic of the romantic school. Since these moods are not commonly supposed to have received literary expression until a later date, it may be worth while to point out the more striking among them. It is interesting to note the anticipation of some of the doctrines of Rousseau, and of the type of romantic rebel represented by Werther, René, and Childe Harold. Most of the following passages are from Cleveland, the novel which offers the greatest interest from this point of view. The others show the same tendencies, but in a less marked degree, and in a form less convenient for citation.
The Poe Canon
Authors: Campbell Killis
Published: January 2021

The first collective edition of Poe's works was that of Rufus W. Griswold, published in four volumes, the first three volumes in 1850 and the fourth in 1856. The latest collective edition is that of Professor James A. Harrison, comprising sixteen volumes and published in 1902. The Griswold edition contains 42 poems, 68 tales, and 74 essays and miscellaneous prose articles. The Harrison edition—otherwise known as the “Virginia Poe”—contains 55 poems, 70 tales, and no less than 285 essays and miscellaneous articles. There are listed, also, in the same edition, in an appendix to the sixteenth volume (pp. 355-379), some forty other items, which for various reasons are not reprinted in this edition. And there have been pointed out since the Harrison edition appeared a number of additional items, including eleven poems, two tales, and about fifty brief essays; making in all a total of 66 poems, 72 tales, and nearly four hundred essays of one sort or another that are now attributed to Poe.
XV.—The Shepheards Calender
Authors: Greenlaw Edwin A.
Published: January 2021

Certain critical conceptions regarding the Shepheards Calender require to be re-examined. One of these is the idea that the Calender is a series of experiments, lacking unity except through the rather imperfectly worked out idea of the seasons or the little drama of Colin and Rosalind. This view probably proceeds from the fact that in 1579-1580 Spenser and Harvey were discussing the subject of reformed versifying, and is strengthened by the well-known indebtedness of the Calender to certain types of Renaissance pastoral. But these discussions with Harvey are easily magnified; the careful reader of the famous letters finds abundant evidence that Spenser was none too serious. The indebtedness to foreign models is very real, but it has been stressed to the exclusion of elements not less important, and it no more proceeds from a supposedly experimental character of the work as a whole than the similar eclecticism of the Faerie Queene; a serious, unified purpose is by no means precluded. Moreover, we know by Spenser's own statement that his chief model was Chaucer; and this influence of Chaucer, strange to say, has not yet been thoroughly investigated. As to the idea that this so-called series of experiments possesses only the slight unity afforded by the seasons motif or by the Colin-Rosalind story, the fanciful importance attached to the Kalendrier des Bergeres as a possible model on the one hand, and the not unnatural desire to learn all that is possible of the life of Spenser on the other, have too long diverted attention from what I believe was Spenser's real purpose in writing the Calender.
XVI.—A Study in Renaissance Mysticism: Spenser's ‘Fowre Hymnes.‘
Authors: Fletcher Jefferson B.
Published: January 2021

It was probably during, or shortly after, his residence at Cambridge University that Edmund Spenser composed two ‘hymnes,’ or odes, in praise of love and beauty. The ‘love’ praised was ‘platonic love’; the ‘beauty’ praised was ‘intellectual’ beauty.

These two poems were written, it seems certain, before 1580. Over twenty years later, perhaps twenty-five,–at any rate not long before 1596,–the poet, grown older, professes to condemn them as conspicuous among “the many lewd layes” that “in the greener times of his youth” he had made

In praise of that mad fit which fooles call love.
Teofilo Folengo's Moschaea and José de Villaviciosa's La Mosquea
Authors: Crawford J. P. Wickersham
Published: January 2021

Among the literary types which reached their highest development and perfection in the Spanish literature of the sixteenth and seventeenth centuries, the epic alone offers little of permanent value. While the lyric, the picaresque novel, the short story and drama were cultivated with notable success, the epic poets were content, for the most part, to follow slavishly models which came from abroad. The names of Ariosto and Tasso dominated the epic poetry of Europe in the sixteenth and seventeenth centuries, and nowhere was their influence more clearly felt than in Spain.
The Source in Art of the So-Called Prophets Play in the Hegge Collection
Authors: Bonnell John K.
Published: January 2021

The seventh play in the Hegge collection of English mystery plays is unique: in it is to be found a striking, and I believe hitherto unnoted, influence of art. James Orchard Halliwell, in his edition of the Hegge plays, calls this play “The Prophets.” But whatever its superficial likeness to the liturgical Processus Prophetarum, and other prophet plays, it is my conviction that this single English play is directly influenced by — indeed, largely derived from—that pictorial representation of the genealogy of Christ which is known in art as the Tree of Jesse, Stirps Jesse, or Radix Jesse.
Stendhal and French Classicism
Authors: Searles Colbert
Published: January 2021

In Rouge et Noir, Stendhal (Henri Beyle) defines a novel as a miroir: qui se promène sur la grande route. We may apply this figure to his Correspondance which, less open to the suspicion of pose than his other writings, reflects much of la vie littéraire of France during the first four decades of the nineteenth century. Stendhal was brought up on a classicist régime, he saw the passing of pseudo-classicism, he contributed to the triumph of romanticism and was himself a realist, before the term had been: invented. In a letter to Mr. Stritch of London, written in 1823 in the midst of the romanticist ebullition, he declared: Le caractère principal de la nation française est la méfiance (II, p. 296). No one could offer more natural qualifications for recognition as the spokesman of his nation in this regard, than this man, who, French by birth, wrote under a German pseudonym and had himself buried as a citizen of Milan under the Italian inscription which he had composed for his own tombstone.
Richard Cœur de Lion and the Pas Saladin in Medieval Art
Authors: Loomis Roger Sherman
Published: January 2021

Every student of the literature of the Middle Ages is aware that Eichard I was a highly popular figure in medieval England, and that about the historical facts of his career there grew up with rapidity and luxuriance a considerable growth of romantic legend. As his fame challenged the pre-eminence of Arthur among British heroes, so his exploits, like Arthur's, multiplied and grew more marvelous in the imagination of the people, though for obvious reasons the process never went so far. To Richard's prestige among his own people we have abundant testimony in the seven manuscripts of the Middle English romance of Richard Cœur de Lion extant and in the three printed editions of the sixteenth century. As Ellis pointed out, as early as 1805, in introducing his synopsis of the romance, it is a curious texture of narrative mainly historical concerning the Third Crusade, interwoven liberally with bits of this legendary material. It will be profitable, before dealing with illustrations of certain episodes occurring in the romance, to devote some attention to its development and structure. In a review of Dr. Karl Brunner's critical edition of Richard Cœur de Lion, to be published elsewhere, I hope to deal fully with the subject, and merely summarize here the results of my investigations. I owe much to Dr. Brunner's discussion, but more to that of Gaston Paris, whose conclusions in general I adopt.
The Middle English Evangelie
Authors: Campbell Gertrude H.
Published: January 2021

The Middle English metrical paraphrase of the gospel narrative bearing the title La Estorie del Euangelie has been printed hitherto only from the fragmentary text in the Vernon MS. Indeed, Horstmann was not aware that any other MS. of this poem existed. In the following pages, the Evangelie is printed from two additional MSS.: (1) a fragment of 519 lines in Dulwich Coll. MS. XXII (D), which Sir George Warner dates about 1300, and (2) a complete text from Bodl. MS. Add. C 38 (B), which according to Mr. Madan was written between 1410 and 1420.
The Accentual Structure of Isolable English Phrases
Authors: Scott Fred Newton
Published: January 2021

The purpose of this brief paper is to study the characteristic and prevailing accentual rhythms of English prose in as far as these occur in phrases that can be detached from the context. Two types of such phrases have been examined. They may be distinguished as (1) phrasal idioms, and (2) titles. The first class embraces such examples as “in fact,” “of course,” “to be sure,” “ebb and flow,” “fits and starts”—the permanent “bromides” of the language, representing the most ordinary contacts of mind with mind, the most necessary aspects and currents of thought, and the homeliest logic. Stripped of every superfluity by incessant use, they exhibit with peculiar aptness the form and pressure of the language in its minuter elements.
The Mediæval Legend of Judas Iscariot
Authors: Baum Paull Franklin
Published: January 2021

The legendary Life of Judas the Betrayer, based, it is usually said, on the Greek myth of Œdipus, is found in almost every language and country of mediæval Europe. It was written down in Latin as early as the twelfth century. By the end of the thirteenth century it was turned into the vernacular in lands as far apart as Wales, Catalonia, and Bohemia. At the close of the Middle Ages it had become the possession of the folk, and since that period—to some extent even during the fifteenth century—it has spread northward and eastward into Scandinavia, Finland, Russia, and Bulgaria. It was related in Greek, probably in the Middle Ages, although the manuscripts are of a much later date. It was still told orally in Galicia at the end of the last century. As a regular part of the ecclesiastical literature of the West it received canonization, so to say, late in the thirteenth century, in the great legendary of Jacopo da Voragine; but, on the other hand, it is a remarkable fact that in the Middle Ages, so far as I have been able to learn, none of the reputable church writers (with the exception of Jacopo) recognized or even mentioned it. And furthermore, mediaeval sculptors and carvers of wood and ivory, who gave themselves with so much zeal to the plastic representation of legendary matter, completely eschewed or overlooked the ‘early life’ of Judas. Not indeed that either the church writers or artists sought to avoid contact with such a wicked character; on the contrary, they devoted considerable space to him, rejecting only his apocryphal career. However this omission may be explained, the fact must be recognized as of some interest.
The Mediæval Debate Between Wine and Water
Authors: Hanford James Holly
Published: January 2021

Among the mediæval debates which have enjoyed the widest currency and have retained their hold on popular interest for the longest time is the contention between Wine and Water. Poems on this subject are extant in most of the languages of mediæval Europe; and the tradition has persisted with surprising vitality through more than seven centuries down to the present day. The bickerings of these two ancient foes may still be heard on the lips of the peasantry of Germany, France, and Spain, and a fragment of the same dispute was sung not long since as a nursery rhyme in Devon.
VIII.—The Beginnings of Poetry
Authors: Pound Louise
Published: January 2021

Certain [Indian] societies require that each member have a special song; this song is generally of the man's own composition, although sometimes these songs are inherited from a father or a near relative who when living had been a member of the society. These individual songs are distinct from songs used in the ceremonies and regarded as the property of the society, although the members are entitled to sing them on certain occasions. When this society holds its formal meetings a part of the closing exercises consists of the simultaneous singing by all the members present of their individual songs. The result is most distressing to a listener, but there are no listeners unless by chance an outsider is present, for each singer is absorbed in voicing his own special song which is strictly his own personal affair, so that he pays no attention to his neighbour, consequently the pandemonium to which he contributes does not exist for him.

The foregoing paragraph from Miss Alice 0. Fletcher's account of Indian music reads like a travesty of the accepted view of primitive song, its character and authorship. There is the familiar primitive “horde,” engaged in festal singing, without onlookers. Yet instead of collaborative composition, improvisation, and communal ownership of the ensuing “ballad,” we have individual authorship and ownership, and individual singing. This is the testimony of a specialist who has spent many years among the people of whom she writes, studying and recording their songs and their modes of composition. Easily recognizable is the homogeneous primitive group, singing in festal ceremony; but this group does not conduct itself in the way which literary historians have insisted that we should expect.
Some Tendencies of Italian Lyric Poetry in the Trecento
Authors: Whitmore Charles E.
Published: January 2021

It is not easy to form an adequate conception of the course of Italian lyric poetry in the fourteenth century; partly because not all the relevant material has been published, partly because the admitted faults of the period have been held to justify a neglect of most of its representatives in favor of a concentrating of attention on the great names of Dante, Petrarch, and Boccaccio. Such an attitude, however, involves the disregard of much that is needed for an accurate view of the time, and the neglect of many poets who, while not uniformly inspired, give us much of genuine beauty and significance. It is accordingly my design to set forth, in broad but not unfaithful fashion, the main causes which gave this large body of verse not only its easily noted defects, but also its real, tho not always recognized, merits.
Fashionable Society in Fielding's Time
Authors: Jensen Gerard E.
Published: January 2021

In using satire to ridicule the vices and follies of his contemporaries, Fielding is the direct successor of the last member of that “Triumvirate of Wit,” Lucian, Cervantes, and Swift, to which he so often refers in his works. In his novels and in his periodical essays Fielding often refers to the luxury of the times and the consequent general moral corruption among all classes of society. He ridicules especially the affectation of his contemporaries—their vanity and hypocrisy, the twin roots of affectation—and assails with direct invective their spiritual and moral degeneration. Believing that example is stronger than precept in reforming human conduct, he likes to place before them examples, ridiculous or odious, of what they are to avoid; but his satire is more kindly than Swift's.
The Renascence of Germanic Studies in England, 1559-1689
Authors: Brooke C. F. Tucker
Published: January 2021

About the close of the first year of Elizabeth's reign, the Primacy of all England fell upon a man peculiarly fitted by habit of mind and by previous experience to employ the vast prerogatives of the archbishopric for the revival of ancient knowledge. Master of Corpus Christi College, Cambridge, and twice Vice-Chancellor of the University, Matthew Parker had already shown during the reigns of Henry VIII and his son that boundless zeal for the promotion of academic culture of which one of the later fruits was to be the education of Christopher Marlowe.
The Story of Dante's Gianni Schicchi and Regnard's Légataire Universel
Authors: Altrocciii Rudolph
Published: January 2021

In the thirtieth canto of the Inferno we find a Florentine called Gianni Schicchi, whom Dante puts in Malebolge among the falsifiers for having impersonated Buoso Donati and dictated a false will. Several of the old Commentators tell the story of Gianni Schicchi (sometimes Sticchi), who, though belonging to the illustrious family of the Cavalcanti, seems to have been a notoriously unscrupulous character and particularly clever at impersonation. The best account of the story is given by the so-called Anonimo, and runs, briefly, as follows: Messer Buoso Donati being sick with a mortal sickness, wished to make his will, inasmuch as he thought he had much to return that belonged to others. Simone, his son, delayed the old gentleman until he died. Fearing then that his father might not have left a will in his favor, he sought advice from Gianni Schicchi, who said to Simone Donati : “Have a notary come, and say that Messer Buoso wants to make a will; I will enter his bed, we will thrust him behind, I will bandage myself well, will put his night cap on my head, and will make the will as you wish.” Then he added : “It is true that I want to gain by this.” Simone agreed, all was done accordingly and Gianni Schicchi in a broken voice began to dictate : “I leave twenty soldi to the Church of Santa Beparata, and five francs to the Frati Minori, and five francs to the Predicatori,” and thus he went on distributing for God, but very little money. “And I leave,” he continued, “five hundred florins unto Gianni Schicchi.” At that the son jumped up and said : “We must not put that in the will, father; I will give it to him as you leave it.” “Simone,” replied Gianni, “you will let me do with what is mine according to my judgment.” Simone, out of fear, kept silent. “And I leave unto Gianni Schicchi my mule,” for Messer Buoso had the finest mule in Tuscany. “Oh, Messer Buoso,” said Simone to his supposed father, “this man Schicchi really does not care for your mule.” At which the testator replied : “Silence, I know better than you what Gianni Schicchi wants.” Simone began to wax wrathful, but out of fear he kept silent. Gianni continued to dictate : “And I leave unto Gianni Schicchi one hundred florins which are owed to me by a certain neighbor, and for the rest I leave Simone my universal heir with this clause, that unless every bequest be executed within fifteen days, the whole heredity shall go to the Convent of Santa Croce.” And the notaries having departed, Gianni Schicchi got out of bed, the body of Messer Buoso was replaced in it, and Simone began bewailing his father's sudden death.
Mary Wollstonecraft, Analytical Reviewer
Authors: Wardle Ralph M.
Published: January 2021

Mary Wollstonecraft was not born a feminist. However much she may have chafed under the tyranny of men, she kept silence until she had served her apprenticeship as a writer. In 1786, while she was teaching school at Newington Green, she wrote Thoughts on the Education of Daughters, a collection of innocuous platitudes which any maiden schoolmistress then might have approved; in 1787, while serving as governess in an Irish family, she wrote Mary, a semi-autobiographical novel of sensibility about a virtuous and long-suffering heroine.1 Then in 1790, at the age of 31, she emerged suddenly as a second Mrs. Macaulay, a female champion of human emancipation, when she published her Vindication of the Rights of Men in answer to Edmund Burke's Reflections on the Revolution in France. And early in 1792 she eclipsed even Mrs. Macaulay by urging, in her Vindication of the Rights of Woman, that her own sex be included in the general emancipation. She who had been an obscure schoolma'am dabbling in fiction became for many of her contemporaries the symbol of women's potentialities—and for others, a shameless vixen.
Spoken Letters in the Comedias of Alarcón, Tirso, and Lope
Authors: Hamilton T. Earle
Published: January 2021

Alarconian criticism has been given direction largely by Pérez de Montalbán's remark about the dramatist's extrañeza; consequently, much attention has been addressed to the spirit of his work—his philosophy, his moral concepts, his characterizations, his mexicanismo—but relatively little to the structure of his comedias. Thus the mechanical elements of Alarcón's plays have been largely neglected, this neglect apparently arising from the belief that in the matter of structure Alarcón relied heavily upon his masters Tirso and Lope. I have made some preliminary studies of the structure of the Alarconian comedia, and my examination of this subject reveals that in at least one respect Alarcón was demonstrably independent of these masters. The letter which is read aloud on the stage clearly illustrates how the poet departed from the practices of his contemporaries; in point of fact, the letter proves significant since a comparative study of Alarcón, Tirso, and Lope shows special patterns to be distinctive of each of these poets.
The Neo-Classical Chronicle of the Wandering Jew
Authors: Anderson George K.
Published: January 2021

It was inevitable that sooner or later the Wandering Jew, probably the most celebrated of all parcoureurs du monde, should come to be regarded as omniscient as well as ubiquitous. After all, he had been alive since the beginnings of the Christian era, and there was no spot in the generally known world of the Occident where he had not at one time or another passed by or spent his allotted period of residence. In his privileged condition of one who was all-wise, it would be easy for him, if he were so disposed, to assume the mantle of teacher and prophet, with a particular liking for history and geography; but he need not confine himself to those two subjects. The neo-classical age, which developed his didactic powers, sometimes appealed to him for social comment, criticism, and satire.
Symbolism in Coleridge
Authors: Stoll Elmer Edgar
Published: January 2021

After The Tempest, The Ancient Mariner and Kubla Khan are now the happiest hunting-ground for the symbolist. Mr. Wilson Knight's interpretation of both poems, but particularly of the latter, in The Starlit Dome (1941), is, to say the least, extraordinary; still more so than the similar one of Mr. Robert Graves in The Meaning of Dreams (1924), though not so entangled with inaccurate biography and irrelevant psychoanalysis. “We may imagine a sexual union,” says Mr. Knight, between life, the masculine, and death, the feminine. Then our “romantic chasm” and “cedarn cover,” the savage and enchanted yet holy place with its “half intermitted burst” may be, in spite of our former reading, vaguely related to the functioning of man's creative organs and their physical setting and, too, to all principles of manly and adventurous action; while the caverns that engulf the sacred river will be correspondingly feminine with a dark passivity and infinite peace. The pleasure-dome we may fancy as the pleasure of a sexual union in which birth and death are the great contesting partners, with human existence as the life-stream, the blood-stream, of a mighty coition [p. 95].
Meter and Meaning
Authors: Hamm Victor M.
Published: January 2021

Most contemporary students of the subject seem to agree with Wellek and Warren's view that “the meaning of verse simply cannot be ignored in a theory of metrics,” and that “sound and meter must be studied as elements of the totality of a work of art, not in isolation from meaning.” The notorious exception is no doubt John Crowe Ransom's forthright theory which makes of the meters simply sound textures irrelevant to the meaning. Yvor Winters's well-known critique of Ransom's argument disposes of the latter's general thesis convincingly, it seems to me. The story does not, however, end there.
Hemingway Achieves the Fifth Dimension
Authors: Carpenter Frederic I.
Published: January 2021

In Green Hills of Africa, Ernest Hemingway prophesied: “The kind of writing that can be done. How far prose can be carried if anyone is serious enough and has luck. There is a fourth and fifth dimension that can be gotten.” Since then many critics have analyzed the symbols and mythical meanings of Hemingway's prose. A few have tried to imagine what he meant by “a fourth and fifth dimension.” But most have agreed that the phrase is pretty vague.
How Well Did Poe Know Milton?
Authors: Haviland Thomas P.
Published: January 2021

“All literary history,” wrote Edgar Allan Poe, “demonstrates that for the most frequent and palpable plagiarisms, we must search the works of the most eminent poets.” The term “plagiarism” may be variously defined in connection with a work of literary art, the crime ranging in degree from servile reproduction to such creative use of sources as one finds in Shakespeare and Milton. Indeed, the term is all too often used without any apparent recognition of the fact that an idea—or a phrase—may occur independently to two different minds. To Edgar Poe, harried, beset, frustrated, the thing became an obsession and for him the term gained the widest applicability—particularly as he saw, or fancied he saw, others poaching on his own preserves. Yet ironically the question arises as to whether the author of “Al Aaraaf” might not, by his own definition, be indicted for plagiarizing John Milton; whether, indeed, his reply to Outis —“Can any man doubt that between the Iliad and the Paradise Lost there might be established even a thousand idiosyncratic identities?—And yet is any man fool enough to maintain that the Iliad is the only original of Paradise Lost?”—represents to some degree a defensive attitude? In view of Poe's several footnotes indicating Milton as his source, additional annotation by his editors, and a considerable number of references to the blind bard in his essays and critical pieces, it would seem of considerable importance to determine just how familiar the poet was with his great predecessor.
The Love Affair in Pope's Rape of the Lock
Authors: Reichard Hugo M.
Published: January 2021

The love affair which has a title part in the Rape of the Lock was perhaps once so obvious as to need no comment; at least Dr. Johnson thought “the subject of the poem … an event below the common incidents of common life.” By the twentieth century the love story seemed so obscure as to defy analysis; at least Geoffrey Tillotson thought that the rejection of the hero by the heroine was unaccountable. A decade ago Cleanth Brooks refurbished the action as a neo-classic campaign in the unending “war of the sexes” over rites of possession. Some such pattern of pre-marital courtship is doubtless a norm assumed for the comedy of the poem, as it is—William K. Wimsatt reminds us—for Molière's Misanthrope, Congreve's Way of the World, and Meredith's Egoist. While suggestively approaching the plan of the action, however, Brooks has rather too closely assimilated Pope's particular campaign to the general war. If the comedy of the poem posits a norm, it also sets forth a divergence. One is free to speculate that in a hypothetical sequel to Pope's poem the Baron and Belinda might have gone on (like other gallivanting young people, indeed like Arabella Fermor and Lord Petre) to get married—he to another woman, she to another man. But as it stands the poem is not directly concerned with what Brooks calls “the elaborate and courtly conventions under which Belinda fulfills her natural function of finding a mate” (p. 84). Both Belinda and the Baron are at the age of exuberance where the armor of courtship fits rather loosely, like the helmet Swift stuck on Dryden. Feigning “death,” sophisticating love, and shunning marriage, they wage a mock war in a mock-heroic poem. Their maneuvers, I wish to show, make the plot of the poem a contest of wiles between commanding personalities—an uninhibited philanderer and an invincible flirt.
New Facts and Theories About the Parnassus Plays
Authors: Reyburn Marjorie L.
Published: January 2021

Students of English drama have long been interested in the Parnassus trilogy, produced in St. John's College, Cambridge, at the turn of the sixteenth century. The third play, The Reiurne from Parnassus, or The Scourge of Simony, was the only one published contemporaneously. Since the Reverend W. D. Macray's edition of the entire series in 1886, following his discovery in the Bodleian of a manuscript copy of the long-lost first two plays, the trilogy has been acclaimed as “the most brilliant product of the Tudor university stage.” Successive scholars have analyzed its sources, argued the problems of its authorship and dating, and variously interpreted its personal satire and allusion. Still unsolved, however, is the problem of authorship; still uncertain the answer to a famous crux in Shakespearean scholarship—the identification of Shakespeare's “purge” of Jonson, alluded to in the third play. It is the purpose of this paper (1) to introduce a new name in connection with the authorship of the trilogy; (2) by means of previously unused internal evidence to establish beyond any possibility of doubt J. B. Leishman's well-reasoned, but nevertheless inconclusive, identification of the “purge” with Dekker's Satiro-Mastix, despite the Parnassus poet's attribution of it to Shakespeare; and (3) to use this same internal evidence to reveal the Cambridge playwright's hitherto unsuspected satire of Jonson.
Die Aufnahme von Thomas Paines Schriften in Deutschland
Authors: Arnold Von Hans
Published: January 2021

Es Erscheint an der Zeit, der Aufnahme von Thomas Paines Schriften in Deutschland einmal nachzugehen. Sie standen seinen deutschen Zeitgenossen nicht nur in deren eigener Sprache zur Verfügung, sondern gewannen für sie eine Bedeutung, die im allgemeinen bisher unbeachtet geblieben ist.

Um dieser Bedeutung gerecht zu werden, muß die Untersuchung auch die Aufnahme unter den Deutschen in Amerika mit einschließen; denn die Wechselbeziehungen waren mannigfaltig. Sie erstreckten sich zuweilen rückwirkend auf das amerikanische Geistesleben, ja sogar—wie es vereinzelte Anhaltspunkte deutlich machen—auf Thomas Paine selbst. Als Friedrich von Gentz zur Jahrhundertwende in seinem Hislorischen Journal den Unterschied zwischen der französischen und der amerikanischen Revolution herausstellte und dabei Paines europäischen Radikalismus scharf verurteilte, traf er einen Ton, der den gemäßigten John Quincy Adams, seinerzeit Minister Plenipotentiary der Vereinigten Staaten in Berlin, so begeisterte, daß dieser von dem Essai sogleich anonym eine englische Übersetzung anfertigte und nach Philadelphia zum Drucken sandte. Wieweit sich Paine eines deutschen Widerhalls auf seine Schriften bewußt war, läßt sich genau nicht bestimmen; jedoch ist gewiß, daß sein Kontakt mit Deutschen und mit Deutschland enger war, als man bisher annehmen konnte. Seine eigenen Schriften sind irreführend, wenn er in der American Crisis mit einem Zukunftsbild von den Gefahren einer Besetzung Amerikas durch die “Hessen” aufwartet oder sich in den Rights of Man eines solchen erinnern will, der ihm berichtete, deutsche Untertanen äßen Stroh, wofern es ihr Fürst nur beföhle. Die Söldnertruppen waren schwerlich die einzigen Deutschen seines Umgangs in Amerika, und gar in Paris gab es neben dem Preußen Anacharsis Clootz genug, durch die er sich über deutsche Verhältnisse unterrichten konnte. Hier traf er Georg Forster und Carl Friedrich Cramer, und es ist wahrscheinlich, daß er von den vielen anderen Mitgliedern der deutschen Kolonie doch wenigstens die persönlich kannte, die auch in der englischen verkehrten. Jedenfalls wird die Übersetzung der einen oder anderen seiner späteren Schriften geradezu vor seinen Augen stattgefunden haben. Ja schon bei der ersten deutschen Ausgabe von Common Sense in Philadelphia hatte er möglicherweise seine Hand mit im Spiel; denn das Vorwort läßt darauf schließen, daß den Herausgebern der anonyme Autor wohlbekannt war. Eine deutsche Antwort auf Common Sense blieb schon in Amerika nicht aus; den einzigen Beweis aber, daß er nicht ganz im unklaren über die deutsche Aufnahme seiner Schriften war, liefert Paine erst viele Jahre später in Europa. In seiner Vorrede zu einer Neufassung der Rights of Man erklärt er nämlich 1794: “The Chancellor at Berlin, or the Judges at Vienna shall not punish unfortunate individuals for publishing or reading what tyranny may be pleased to call my libels upon their different States.” Er beschließt jetzt ausdrücklich: “I write for the world at large.”
Bernard Shaw's Beginnings on the London Stage
Authors: McKee Irving
Published: January 2021

In 1892, at the age of thirty-six, Bernard Shaw was a notorious socialist and a bachelor, living with his musical mother and sister in London. He had begun paying his way seven years before as a critic of art; now he assayed music; soon, in 1894, it was to be weekly evaluation of the drama. Four of his six novels—five of them written while his mother supported him—had appeared obscurely and unprofitably. In 1891 a young Dutch friend and fellow critic, Jacob T. Grein, had produced Ibsen's Ghosts to inaugurate the new Independent Theatre in support of Shaw's almost solitary campaign for the New Drama. Grein sought but could not at first find an adequate English play in the new vein. “This was not to be endured,” Shaw later recalled. “I had rashly taken up the case, and rather than let it collapse, I manufactured the evidence.” He had embarked upon Widowers' Houses in 1885 only to lay it aside uncompleted; he now finished it, and Grein produced it on 9 December 1892 at the Royalty Theatre, on quite unfashionable Dean Street in Soho. It was Shaw's first appearance on any stage.
The New Copyright Law
Authors: Achtert Walter S.
Published: January 2021

Most of the provisions of the Copyright Revision Act of 1976, the first thorough revision of United States copyright law since 1909, went into effect on 1 January 1978. Although publications addressed to scholars and teachers have focused attention on matters of photocopying and fair use, there are a number of other changes in the law that are also of interest to members of the Association. In describing any complex legislation, it is difficult to generalize, for almost every possible generalization should be followed by all the possible qualifications and exceptions. Thus members who have questions regarding the new law would be well advised to consult some of the publications listed at the end of this article and, when necessary, to consult an attorney.