bluuebunny/crossref_metadata_2025 huggingface dataset:
Anterior cingulate cortex is necessary for adaptation of action plans
Authors: Brockett Adam T. , Tennyson Stephen S. , deBettencourt Coreylyn A. , Gaye Fatou , Roesch Matthew R.
Published: March 2020

Previous research has focused on the anterior cingulate cortex (ACC) as a key brain region in the mitigation of the competition that arises from two simultaneously active signals. However, to date, no study has demonstrated that ACC is necessary for this form of behavioral flexibility, nor have any studies shown that ACC acts by modulating downstream brain regions such as the dorsal medial striatum (DMS) that encode action plans necessary for task completion. Here, we performed unilateral excitotoxic lesions of ACC while recording downstream from the ipsilateral hemisphere of DMS in rats, performing a variant of the STOP-signal task. We show that on STOP trials lesioned rats perform worse, in part due to the failure of timely directional action plans to emerge in the DMS, as well as the overrepresentation of the to-be-inhibited behavior. Collectively, our findings suggest that ACC is necessary for the mitigation of competing inputs and validates many of the existing theoretical predictions for the role of ACC in cognitive control.
Loss-of-function BK channel mutation causes impaired mitochondria and progressive cerebellar ataxia
Authors: Du Xiaofei , Carvalho-de-Souza Joao L. , Wei Cenfu , Carrasquel-Ursulaez Willy , Lorenzo Yenisleidy , Gonzalez Naileth , Kubota Tomoya , Staisch Julia , Hain Timothy , Petrossian Natalie , Xu Michael , Latorre Ramon , Bezanilla Francisco , Gomez Christopher M.
Published: March 2020

Despite a growing number of ion channel genes implicated in hereditary ataxia, it remains unclear how ion channel mutations lead to loss-of-function or death of cerebellar neurons. Mutations in the gene
KCNMA1
, encoding the α-subunit of the BK channel have emerged as responsible for a variety of neurological phenotypes. We describe a mutation (BK
G354S
) in
KCNMA1
, in a child with congenital and progressive cerebellar ataxia with cognitive impairment. The mutation in the BK channel selectivity filter dramatically reduced single-channel conductance and ion selectivity. The BK
G354S
channel trafficked normally to plasma, nuclear, and mitochondrial membranes, but caused reduced neurite outgrowth, cell viability, and mitochondrial content. Small interfering RNA (siRNA) knockdown of endogenous BK channels had similar effects. The BK activator, NS1619, rescued BK
G354S
cells but not siRNA-treated cells, by selectively blocking the mutant channels. When expressed in cerebellum via adenoassociated virus (AAV) viral transfection in mice, the mutant BK
G354S
channel, but not the BK
WT
channel, caused progressive impairment of several gait parameters consistent with cerebellar dysfunction from 40- to 80-d-old mice. Finally, treatment of the patient with chlorzoxazone, a BK/SK channel activator, partially improved motor function, but ataxia continued to progress. These studies indicate that a loss-of-function BK channel mutation causes ataxia and acts by reducing mitochondrial and subsequently cellular viability.
Impact of age and gender on frequency of interruption in dyadic interviews
Authors: Almoaily Mohammad
Published: March 2020

This paper investigates whether the gender and/or age of interviewees in dyadic interviews influences frequency of
speech interruption of young female interviewers. Forty female students at King Faisal University (KFU) and forty interviewees
participated in the study. The author compared the number of interruptions per ten minutes of conversation made by interviewees
belonging to four categories: young females, young males, older females, and older males. The author hypothesized that older male
interviewees interrupt young female interviewers more than younger male and female interviewees. Additionally, the author
hypothesized that older female interviewees interrupt young female interviewers more than young female interviewees. The results
did not support the hypothesis that males interrupt females more often. Female participants made significantly more interruptions
than male participants. The data do not support the hypothesis that older interviewees interrupt their interviewers more
frequently than younger interviewees.
Drawing insights from pion parton distributions *
Authors: Ding Minghui , Raya Khépani , Binosi Daniele , Chang Lei , Roberts C. D. , Schmidt S. M.
Published: March 2020

A symmetry-preserving continuum approach to the two valence-body bound-state problem is used to calculate the valence, glue and sea distributions within the pion; unifying them with, inter alia, electromagnetic pion elastic and transition form factors. The analysis reveals the following momentum fractions at the scale

,

,

; and despite hardening induced by the emergent phenomenon of dynamical chiral symmetry breaking, the valence-quark distribution function,

, exhibits the

behaviour predicted by quantum chromodynamics (QCD). After evolution to

, the prediction for

matches that obtained using lattice-regularised QCD. This confluence should both stimulate improved analyses of existing data and aid in planning efforts to obtain new data on the pion distribution functions.
Hunting potassium geoneutrinos with liquid scintillator Cherenkov neutrino detectors *
Authors: Wang Zhe , Chen Shaomin
Published: March 2020

The research on geoneutrinos is a new interdisciplinary subject involving particle experiments and geo-science. Potassium-40 (40K) decays contribute roughly to 1/3 of the radiogenic heat of the Earth, which is not yet accounted for by experimental observation. Solar neutrino experiments with liquid scintillators have observed uranium and thorium geoneutrinos and are the most promising experiments with regard to low-background neutrino detection. In this study, we present the new concept of using liquid-scintillator Cherenkov detectors to detect the neutrino-electron elastic scattering process of 40K geoneutrinos. Liquid-scintillator Cherenkov detectors using a slow liquid scintillator achieve this goal with both energy and direction measurements for charged particles. Given the directionality, we can significantly suppress the dominant intrinsic background originating from solar neutrinos in conventional liquid-scintillator detectors. We simulated the solar- and geo-neutrino scatterings in the slow liquid scintillator detector, and implemented energy and directional reconstructions for the recoiling electrons. We found that 40K geoneutrinos can be detected with three-standard-deviation accuracy in a kiloton-scale detector.
Neutron-antineutron oscillations in the deuteron studied with NN and N̄N interactions based on chiral effective field theory *
Authors: Haidenbauer Johann , Meißner Ulf-G.
Published: March 2020

Neutron-antineutron (

) oscillations in the deuteron are considered. Specifically, the deuteron lifetime is calculated in terms of the free-space

oscillation time

based on

and

interactions derived within chiral effective field theory (EFT). This results in

s, which is close to the value obtained by Dover and collaborators more than three decades ago, but disagrees with recent EFT calculations that were performed within the perturbative scheme proposed by Kaplan, Savage, and Wise. Possible reasons for the difference are discussed.
Calculation of disconnected quark loops in lattice QCD *
Authors: Cheng Zhen , Zhang Jian-Bo , Xiong Guang-Yi
Published: March 2020

Calculation of disconnected quark loops in lattice QCD is very time consuming. Stochastic noise methods are generally used to estimate these loops. However, stochastic estimation gives large errors in the calculations of disconnected diagrams. We use the symmetric multi-probing source (SMP) method to estimate the disconnected quark loops, and compare the results with the

noise method and the spin-color explicit (SCE) method on a quenched lattice QCD ensemble with lattice volume

and lattice spacing

fm. The results show that the SMP method is very suitable for the calculation of pseudoscalar disconnected quark loops. However, the SMP and SCE methods do not have an obvious advantage over the

noise method in the evaluation of the scalar disconnected loops.
Applicability of 9Be global optical potential to description of 8,10,11B elastic scattering *
Authors: Xu Yong-Li , Han Yin-Lu , Liang Hai-Ying , Wu Zhen-Dong , Guo Hai-Rui , Cai Chong-Hai
Published: March 2020

We achieved a set of 9Be global phenomenological optical model potentials by fitting a large experimental dataset of the elastic scattering observable for target mass numbers from 24 to 209. The obtained 9Be global optical model potential was applied to predict elastic-scattering angular distributions and total reaction cross-sections of 8,10,11B projectiles. The predictions are made by performing a detailed analysis comparing with the available experimental data. Furthermore, these elastic scattering observables are also predicted for some lighter targets outside of the given mass number range, and reasonable results are obtained. Possible physical explanations for the observed differences are also discussed.
Static fluid spheres admitting Karmarkar condition
Authors: Singh Ksh. Newton , Bisht Ravindra K. , Maurya S. K. , Pant Neeraj
Published: March 2020

We explore a new relativistic anisotropic solution of the Einstein field equations for compact stars based on embedding class one condition. For this purpose, we use the embedding class one methodology by employing the Karmarkar condition. Employing this methodology, we obtain a particular differential equation that connects both the gravitational potentials

and

. We solve this particular differential equation choosing a simple form of generalized gravitational potential

to describe a complete structure of the space-time within the stellar configuration. After determining this space-time geometry for the stellar models, we discuss thermodynamical observables including radial and tangential pressures, matter density, red-shift, velocity of sound, etc., in the stellar models. We also perform a complete graphical analysis, which shows that our models satisfy all the physical and mathematical requirements of ultra-high dense collapsed structures. Further, we discuss the moment of inertia and M-R curve for rotating and non-rotating stars.
Joule-Thomson expansion of the regular(Bardeen)-AdS black hole *
Authors: Guo Sen , Pu Jin , Jiang Qing-Quan , Zu Xiao-Tao
Published: March 2020

We study the Joule-Thomson expansion of the regular black hole in an anti-de Sitter background, and obtain the inversion temperature for the Bardeen-AdS black hole in the extended phase space. We investigate the isenthalpic and inversion curves for the Bardeen-AdS black hole in the T-P plane and find that the intersection points between them are exactly the inversion points discriminating the heating from the cooling process. The inversion curve for the regular(Bardeen)-AdS black hole is not closed and there is only a lower inversion curve, in contrast to the Van der Waals fluid. Most importantly, we find that the ratio between the minimum inversion temperature and the critical temperature for the regular(Bardeen)-AdS black hole is 0.536622, which is larger than any known ratio for the singular black hole. The large ratio for the Bardeen-AdS black hole may be due to the repulsive de Sitter core near the origin of the regular black hole.
Influence of the layered Moon and Earth’s orientation on lunar rotation
Authors: Yang Yong-Zhang , Ping Jin-Song , Yan Jian-Guo , Li Jin-Ling
Published: March 2020

One of the most efficient ways to probe the lunar inner structure at present is through the study of its rotation. Range and range rate (Doppler) data between the Chang’E-3 lander and station on the Earth were collected from the beginning of the Chang’E-3 lunar mission in 2013. These observation data, taken together with the existing lunar laser ranging data, provide a new approach to extend research on the Earth-Moon system. The high precision of current observation data imposes exacting demands, making it necessary to include previously neglected factors. In this paper, motivated by progress of the Chinese lunar exploration project and to use its data in the near future, two lunar models: a one-layer model and a two-layer model with a fluid core, were applied to the rotational equations based on our implemented algorithm of the Moon’s motion. There was a difference of about 0.5″ in ϕ and ψ, but 0.2″ in θ between the two models. This result confirms that stratification of the inner structure of the Moon can be inferred from rotation data. We also added precise Earth rotation parameters in our model; the results show that this factor is negligible at present, due to the limited precision of the existing data. These results will help us understand the rotational process clearly and build a more realistic Earth-Moon model when we combine Lunar Laser Ranging data with high precision radio data to fit lunar motion in the near future.
Amplifying magnetic fields of a newly born neutron star by stochastic angular momentum accretion in core collapse supernovae
Authors: Soker Noam
Published: March 2020

I present a novel mechanism to boost magnetic field amplification of newly born neutron stars in core collapse supernovae. In this mechanism, that operates in the jittering jets explosion mechanism and comes on top of the regular magnetic field amplification by turbulence, the accretion of stochastic angular momentum in core collapse supernovae forms a neutron star with strong initial magnetic fields but with a slow rotation. The varying angular momentum of the accreted gas, which is unique to the jittering jets explosion mechanism, exerts a varying azimuthal shear on the magnetic fields of the accreted mass near the surface of the neutron star. This, I argue, can form an amplifying effect which I term the stochastic omega (Sω) effect. In the common αω dynamo the rotation has constant direction and value, and hence supplies a constant azimuthal shear, while the convection has a stochastic behavior. In the Sω dynamo the stochastic angular momentum is different from turbulence in that it operates on a large scale, and it is different from a regular rotational shear in being stochastic. The basic assumption is that because of the varying direction of the angular momentum axis from one accretion episode to the next, the rotational flow of an accretion episode stretches the magnetic fields that were amplified in the previous episode. I estimate the amplification factor of the Sω dynamo alone to be ≈ 10. I speculate that the Sω effect accounts for a recent finding that many neutron stars are born with strong magnetic fields.
High throughput physiological micro-models for in vitro pre-clinical drug testing: a review of engineering systems approaches
Authors: Zhang Huagui , Whalley Richard D , Ferreira Ana Marina , Dalgarno Kenneth
Published: March 2020

To address the low success rate of new drug discovery, there has been significant growth of in vitro physiological micro-models based on human cells. These may be in the form of cell spheroids, organs-on-a-chip, or multi-cellular tissue cultures, and it is expected that the more biomimetic environment they create will be more accurate than standard cell culture in drug screening prior to clinical testing. However, commercial use of complex co-cultures is still limited. This is due to a lack of validation, low throughput rates, and a lack of compatibility with standard assessment techniques. This review paper focusses specifically on the different engineering approaches used to create, mature and analyse these micro-models, with the aim of exploring which approaches have the potential for high throughput. Active and passive pumping and nozzle based dispensing techniques are considered for fluid handling, with transwells, cell patterning, spheroid cultures and microfluidics considered for establishing and maintaining co-cultures, together with conventional analysis techniques (proteomic and genomic approaches, and immunohistochemistry) and novel sensor systems for downstream analysis are considered. It is concluded that (i) throughput is essential for validation as well as exploitation of the models, and (ii) an integrated approach to model re-design for high throughput is key, with the limitations on throughput at each stage considered in order to develop a system which can deliver and analyse at high throughput rates at all stages of the process.
One- vs Two-Burr-Hole Technique for Combined Endoscopic Third Ventriculostomy and Pineal Region Biopsy: Volumetric Analysis of Brain at Risk
Authors: Liebelt Brandon D , Chen Fangxiang , Biroli Antonio , Zhao Xiaochun , Nakaji Peter
Published: March 2020

BACKGROUND

Pineal region tumors are associated with the ventricular system. Endoscopic third ventriculostomy (ETV) is often performed at the same time as tumor biopsy.

OBJECTIVE

To investigate the volume of brain possibly undergoing injury and forniceal stretching during ETV and tumor biopsy.

METHODS

We performed a retrospective review of preoperative magnetic resonance imagings (MRIs) and computed tomography (CTs) of patients with pineal region masses and used volumetric image-guided navigation to simulate a 1-burr-hole vs a 2-burr-hole approach through the brain parenchyma. We compared the volumes of parenchyma and fornix at the risk of injury.

RESULTS

The ideal entry point for ETV using 2 burr holes was a mean ± standard deviation (SD) of 25.8 ± 6 mm from the midline and 11.4 ± 9 mm behind the coronal suture. The ideal entry point using 2 burr holes for tumor biopsy was 25.7 ± 8 mm from the midline and 53.7 ± 14 mm anterior to the coronal suture. With 1 burr hole, the mean ± SD volume of brain parenchyma at risk was 852 ± 440 mm3. The volume of brain parenchyma at risk with 2 burr holes was 2159 ± 474 mm3 (P < .001; paired t-test). The use of 1 burr hole predisposed the fornix to 14 ± 3 mm of possible stretch, which was minimized with the 2-burr-hole approach.

CONCLUSION

Using 1 burr hole for both the ETV and tumor biopsy is less likely to traumatize the brain parenchyma than using 2 burr holes. However, 1 burr hole predisposes the fornix to stretch injury. We recommend tailoring the entry to each patient according to their anatomy rather than using a 1-size-fits-all approach.
“Therefore Ha’ Done with Words”
Authors: Parsons Elinor
Published: March 2020

The chapter examines three ballets inspired by Shakespeare, created for the British Royal Ballet companies. Kenneth MacMillan’s Images of Love (1964) and The Prince of the Pagodas (1989) provide context for analysis of David Bintley’s The Shakespeare Suite (1999). The structural decisions, stylistic choices, and how these adaptations were received are evaluated. Particular attention is paid to the response to plot and to character, while more allusive connections with Shakespeare are highlighted. An analysis of gender roles and an engagement with meta-theatricality demonstrate the depth and complexity of these innovative ballets and also prompt fresh insights into individual plays.
“Hildings and Harlots”
Authors: McCulloch Lynsey
Published: March 2020

On February 9, 1965, the premiere of Kenneth MacMillan’s full-length dance adaptation of William Shakespeare’s Romeo and Juliet to a score by Russian composer Sergei Prokofiev took place at the Royal Opera House, Covent Garden. This chapter uses the figures of the three harlots in MacMillan’s ballet—characters that do not appear in Shakespeare’s play—to explore the real, practical, and pragmatic business of adaptation. The harlots, typically represented by soloists or first soloists within the ballet companies, appear prominently in the work’s ensemble scenes. As non-Shakespearean characters, they embody the gap between the source-text and MacMillan’s translation. This is a gap worth examining, offering an insight into the creative afterlife of a Shakespearean text and the infidelities that arguably constitute the success of any adaptation.
“Thou Art Translated”
Authors: Rodgers Amy
Published: March 2020

This chapter argues that the translation of Shakespeare’s works into dance functions as a rite of passage for twentieth-century choreographers, one that offers the opportunity for dance makers to place themselves in the “great man” genealogy inherent in the Western literary canon and to influence, even reshape, that canon through an alternative lexicon. Focusing specifically on George Balanchine’s A Midsummer Night’s Dream, this chapter argues that Balanchine uses Shakespeare’s work and experimentation with language as the inspiration to create a unique form of dance narrative—one that uses the lexicon of technical steps (rather than the approximations of mime) to relate the play’s narrative and thematic structures. In doing so, Balanchine’s work participates significantly in the intertextual construct of “Shakespeare,” one composed through myriad artistic and communicative vectors of which dance has been an undervalued part.
Hamlet, The Ballet
Authors: Butterworth Jo
Published: March 2020

Through the themes of literacy and polysemanticism, materiality and signification, this chapter investigates the creative and rehearsal processes of the choreography for David Nixon’s ballet Hamlet (2008) for Northern Ballet, United Kingdom. The chapter investigates the planning process, research and development sessions, choreographic approaches, dramaturgical guidance, and scenographic choices in this work. Questions are raised about the semiotic, aesthetic, and creative approaches of the choreographer and devising team. In Hamlet the ballet, the sociology of the original play and change of location—i.e. dominance of Nazism, ideology, historical conflict—influenced the creative process and the spectator’s reception of the work. But in what other ways can a non-text-based medium communicate the essence of the play?
Embodiment, Reciprocity, and Reception
Authors: Mazzocca Ann E. , Gillman Denise
Published: March 2020

This chapter explores meaning-making and reception in a range of Shakespeare adaptations within the black Atlantic context. Inspired by the authors’ own collaboration incorporating African Caribbean folkloric dance into Shakespeare’s Pericles: Prince of Tyre, the chapter examines historical and contemporary adaptations, revealing multiple ways in which African and African diaspora themes and cultural forms signify within Shakespeare’s colonial context. Orson Welles’s 1936 Negro Theatre Project’s production known as “Voodoo” Macbeth, Aimé Césaire’s 1969 adaptation, Une Tempête, and a more contemporary adaptation of A Midsummer Night’s Dream by the Classical Theatre of Harlem in 2013, directed by Justin Emeka, offer a range of diverse historical and cultural contexts in which African and African diaspora knowledges signify, including the United States’ neo-colonial occupation of Haiti, the postcolonial negritude and pan-Africanism movements, and contemporary Harlem. The results reveal modernist, postcolonial, and contemporary discourses through various significations of African and African diaspora embodied knowledges.
Introduction to Part I
Authors: Nevile Jennifer
Published: March 2020

Dancing was ubiquitous in early modern England and Europe, and the literature of this period inevitably reflects this practice. This introduction to Part I of The Oxford Handbook of Shakespeare and Dance—“Shakespeare and Dance”—traces the development of dance traditions during the period of Shakespeare’s life. Despite the scarcity of choreographic source material from dancers and teachers working in England, information relating to dance can be gathered from diaries, letters, and the records of public events—not to mention literature itself. As the chapters in Part I of the Handbook make clear, research into the dance of the early modern period can educate one on the features of national dance styles, the effect that social class had on dancing practices, and the expressive potential of movement. Without an intimate knowledge of the choreographic practices of the era, as demonstrated by the contributors to this Handbook, much of the layered meaning in Shakespeare’s writings would be lost.
Introduction
Authors: McCulloch Lynsey , Shaw Brandon
Published: March 2020

The editors’ introduction to the Oxford Handbook of Shakespeare and Dance offers an overview of the volume and brief descriptions of its chapters—comprising contributions from dance historians and scholars, literary critics, and movement practitioners. In addressing Part I of the collection—Shakespeare and Dance—it considers the context in which William Shakespeare was writing and performing, and the importance of dance to early modern culture. It also discusses—in reference to Part II, Shakespeare as Dance—the politics of adaptation and the attempts made by dance versions of Shakespeare’s work to challenge the supremacy of the literary source.
Interpretations and Reuse of Ancient Egyptian Hieroglyphs in the Arabic Period (Tenth–Sixteenth Centuries ce)
Authors: Sundermeyer Annette
Published: March 2020

This chapter presents a selection of the interpretations and reuses of Egyptian hieroglyphs and monumental inscriptions in medieval Arabic manuscripts dating from the tenth through the sixteenth centuries ce. The focus is on the genre of so-called alphabet books, which sometimes include extensive lists with hieroglyphic characters. Depending on the sources, these were interpreted either as logograms or as phonograms. A considerable amount of the earlier, mostly logographic, explanations document a still existing, more or less correctly transmitted knowledge of individual hieroglyphs and their respective functions. In contrast, the later, phonetic interpretations (notably in The Book of the Seven Climes) seemingly mark a secondary reuse of signs as elements of substitution codes without obvious links to their original functions.
The Rosetta Stone, Copying an Ancient Copy
Authors: Regulski Ilona
Published: March 2020

There had been no proper understanding of the ancient Egyptian language and script until the discovery of the Rosetta Stone and its eventual decryption in 1822. The Rosetta Stone not only provided the means to decipher ancient Egyptian but also elicited an unprecedented appreciation for accurately copied inscriptions. Work on the Rosetta Stone was groundbreaking with regard to both the decipherment of the ancient Egyptian writing system and the subsequent recognition that direct access to objects was the basis for solid research. This chapter focuses both on the Stone as an ancient copy itself and on the early copying of the Stone.
The Epigraphic Work of Early Egyptologists and Travelers to Egypt
Authors: Manniche Lise
Published: March 2020

This chapter, covering the period from the late eighteenth century up until 1850, presents the pioneers of Egyptian epigraphy with their different backgrounds and qualifications for the tasks ahead. From the beginning, gifted artists produced impressive architectural drawings, but the standards of accuracy in copying reliefs, paintings, and hieroglyphs only developed over time depending on the aids and funds available and, eventually, the entire complicated process of printing.
Nineteenth-Century Foundations of Modern Epigraphy
Authors: Emery Virginia L.
Published: March 2020

Through the efforts of Egyptologists like J. G. Wilkinson, Auguste Mariette, and Georges Legrain, early modern epigraphy developed through the course of the nineteenth century’s political shifts and technological advances, loosening its ties to the classical world to become an independent scholarly discipline. The invention of the positive-negative photographic process by William Henry Fox Talbot allowed for improved recording and publication of hieroglyphic texts and their accompanying images, as Talbot’s work demonstrates, alongside that of Félix Teynard and Francis Frith. Throughout the course of the century, epigraphy and epigraphic publications served to make Egypt increasingly accessible to those beyond Egypt, building an audience with an interest in ancient Egypt.
Recording Epigraphic Sources as Part of Artworks
Authors: Pieke Gabriele
Published: March 2020

Art history has its own demands for recording visual representations. Objectivity and authenticity are the twin pillars of recording artistic data. As such, techniques relevant to epigraphic study, such as making line drawings, may not always be the best approach to an art historical study, which addresses, for example, questions about natural context and materiality of the artwork, the semantic, syntactic, and chronological relation between image and text, work procedures, work zones, and workshop traditions, and interactions with formal structures and beholders. Issues critical to collecting data for an art historical analysis include recording all relevant information without overcrowding the data set, creating neutral (i.e., not subjective) photographic images, collecting accurate color data, and, most critically, firsthand empirical study of the original artwork. A call for greater communication in Egyptology between epigraphy/palaeography and art history is reinforced by drawing attention to images as tools of communication and the close connection between the written word and figural art in ancient Egypt.
Epigraphic Techniques Used by the Edfu Project
Authors: Kurth Dieter
Published: March 2020

A cursory glance at the history of the epigraphic work in the temple of Edfu shows that the scientific approach and the adopted methods have changed considerably. The temple of Edfu has survived in nearly perfect state of repair, and its vast number of inscriptions has been studied by the Edfu Project since 1986. Scrutinizing the earlier copy of the inscriptions by means of hand copies, photographs, and special telescopes, the members of the project collected a lot of information about the forms of the hieroglyphs, their arrangement, the ancient mistakes and corrections, as well as the influence of the cursive writing. Based on this information and by studying the remaining colors, it was possible to get a reliable idea about the ancient method of decorating a wall with inscriptions and images. Finally, a short insight is given into the epigrapher’s working conditions in a temple crowded with tourists.
Typical, Atypical, and Downright Strange Epigraphic Techniques
Authors: Schenck William
Published: March 2020

This chapter recounts the beginnings of William Schenck’s career in Egyptian epigraphy from the mid-1970s, working on various sites in Egypt. It discusses the lack of an agreed system of recording at that time and Schenck’s efforts over several decades to devise his own method of epigraphy. Work at key sites including the Temple of Merneptah and the Tomb of Suemniwet, on the West Bank of Luxor, and the Tomb of Hormose in Hierakonpolis led to the development of this method, and the chapter reveals the steps in its evolution. In conclusion, it explains how Schenck is now involved in teaching his method of epigraphy through various archaeological field schools to an aspiring younger generation of epigraphers working in Egypt.
The Egyptian Theory of Monumental Writing as Related to Permanence or Endurance
Authors: Ockinga Boyo G.
Published: March 2020

One of the primary factors motivating the ancient Egyptians to construct monuments, in particular those of a funerary nature, was the desire to overcome the transience of human existence. Many measures were taken to ensure that one would be remembered for eternity, such as building and inscribing texts in a durable material, including one’s name on an enduring monument, protecting against natural damage, and threatening against willful damage. The desire for permanence was also reflected in statements attesting that damage was not done to earlier monuments and that damaged monuments were restored.
Reading, Editing, and Appreciating the Texts of Greco-Roman Temples
Authors: Pantalacci Laure
Published: March 2020

This chapter describes and reviews the methods applied since the beginning of Egyptology for editing and reading the texts of “Ptolemaic” temples. Modern analyses focus on the elaborate network of scenes and texts, emphasizing the systemic construction of the decoration program. Because of the mass of textual and visual data, the balance is difficult to keep between global overviews and detailed studies. Paying more attention to the architectural setting of Ptolemaic texts, and revisiting the concepts of cryptography and iconography, could help to refresh the conception of the “temple grammar” and to better understand the frame of mind of the Ptolemaic priests who elaborated the last hieroglyphic monuments.
Medievalisms in Early Nineteenth-Century German Musical Thought
Authors: Stokes Laura K. T.
Published: March 2020

The concept of medievalism contains within it an element of the imaginative, and many early nineteenth-century musical and artistic works that draw on the medievalist aesthetic have a fanciful, storytelling quality. The early nineteenth century, however, was also a time in which music and music-related scholarship and criticism on the era that is now considered medieval developed at an accelerating pace. This essay will consider the writings of three scholar-critics who had different approaches and goals in their thinking about this period: Raphael Georg Kiesewetter, Anton Justus Thibaut, and Friedrich Heinrich von der Hagen.
Re-sounding Carl Theodor Dreyer’s La Passion de Jeanne d’Arc
Authors: Greig Donald
Published: March 2020

Carl Theodor Dreyer’s 1928 silent film La Passion de Jeanne d’Arc is one of the most famous films about the medieval period, and its status as a classic, together with its loss to fire and subsequent rediscovery, has attracted various musical commentaries. Dreyer, later in life, pondered the idea of a historically appropriate score, thereby showing his commitment to historical research, but he did so at a time when the performance of such repertoire was in its infancy. A recent live soundtrack of music from the time of Jeanne d’Arc answers his implicit demand, however, in an era where the very viability of the performance of medieval music stands questioned. That soundtrack provides the starting point for an investigation of the visual and musical representation of the medieval era in the film and raises questions about music’s historicizing potential.
Medieval Folk in the Revivals of David Munrow
Authors: Breen Edward
Published: March 2020

This article explores the close relationship between medievalism, orientalism, and folk music in the work of early music revival pioneer David Munrow, director of the Early Music Consort of London from 1968 to 1976. The focus of this study is his last television work Ancestral Voices, a BBC series exploring myths and legends surrounding early instruments and tracing those associations through history. It also examines other popular genres prevalent on British television at the same time and suggests that through a focus on a constellation of myth, medievalism, and foreign ancestry, Ancestral Voices demonstrates a significant cultural allegiance to other key 1970s works.
Hucbald’s Fifths and Vaughan Williams’s Mass
Authors: Heckert Deborah
Published: March 2020

In a Musical Times review of a 1923 performance of Vaughan Williams’s Mass in G minor in Birmingham, H. C. Colles made the comment that “there hasn’t been so many parallel fifths since Hucbald.” This is just one blatant medievalist moment in a review that firmly places the Mass within a tangled web of historical images and associations. Colles’s description of the Mass evokes historicism by utilizing imagery related to the medieval cathedral and drawing on the well-rehearsed sixteenth-century/Tudor tropes prevalent during these years. More interestingly, Colles also identifies an inherent anti–nineteenth century, antiromantic sentiment underpinning the Mass, underlining his view that this work was something both very new and very old and not a throwback to a Victorian neo-Gothicism. Using Vaughan Williams’s Mass and its reception as a case study, this chapter explores the new musical medievalism current during the first decades of the twentieth century to outline changing attitudes toward the music of the past. This chapter argues that the cosmopolitan nature of Victorian medievalism was transformed into an aesthetic that worked both with nationalist agendas and with modernist ideologies in a manner that ultimately created a connection between “old” and “new” music and disenfranchised romantic, nineteenth-century forbears.
Past Tense
Authors: Colton Lisa
Published: March 2020

This essay examines a number of key works by British composer Margaret Lucy Wilkins, whose music regularly engaged with medievalism its inspiration, choice of texts, musical borrowing, and in the composer’s broader evocation of historical practices and architecture. Through analysis of pieces composed across two decades, the discussion confronts several tensions between Wilkins’ reception of the medieval past and her emphatically modern aesthetic. Focusing on four pieces—Witch Music (1971), Ave Maria (1974), Revelations of the Seven Angels (1988), and Musica Angelorum (1991)—this essay shows how Wilkins’s medievalism manifests an ambivalent relationship with central compositional aesthetics of the twentieth century such as serialism and modernism.
Miserere
Authors: Dolp Laura
Published: March 2020

Compositions by Arvo Pärt have been frequently described as alluding to medieval compositional practices and sound. Miserere (1989, revised 1992)—a work for soloists, chorus, and instrumental ensemble that sets Psalm 50/51 and the thirteenth-century Dies irae hymn—makes a useful case study of his engagement with medievalism, particularly its aesthetic, theological, and reception-based dimensions. Over a period of three decades, Miserere has been subject to numerous interpretations and has been absorbed into the labor of culture and commerce. This study considers three aspects of its story: first, how Pärt’s tintinnabuli technique, which emphasizes creative rebirth through early music, relates to the composition of Miserere; second, how the relationship of his music to the medieval has been immortalized in recording and debated by the academy; and finally, how his music has been popularly received and drawn into other media, including its evocations of virtual liturgy. This complex crossroad—what I later term “third-space medievalism”—can be characterized as a tension between the ontologies of tintinnabuli and its claims regarding the authority of early music; the alignment of Pärt’s music with medieval music praxis; the commercial immortalization of Pärt as both belonging to a premodern past and anticipating the postmodern future; the labor of some commentators to reconcile Pärt between modernism and postmodernism; the utility of Pärt’s music in the evocation of asynchrony in the moving image; and finally the positioning of Pärt’s music as a text encoded with images from a pre-Enlightenment world.
The Postmodern Troubadour
Authors: Stone Anne
Published: March 2020

The twenty-first century, barely two decades old, has already seen the production of two highly acclaimed modernist operas about troubadours, Kaija Saariaho and Amin Maalouf’s L’amour de loin (2000) and Written on Skin (2012), by George Benjamin and librettist Martin Crimp. The troubadour has been invoked repeatedly in Western culture as a nostalgic figure representing an idealized past and purity of poetic expression, a kind of anti-Pierrot. The librettos of both operas depart from troubadour razòs, thirteenth-century biographical accounts that tell the true story of the genesis of specific troubadour songs, a historically “authentic” move that appears to affirm an attitude of nostalgia for the lost Middle Ages. While L’amour de loin largely delivers on this affirmation, Written on Skin treats its medieval source in a radically different way. The story is told from a vantage point outside historical time, so medieval and modern times are equally distant and can be referred to with equal ease and ahistoricity. Text, music, and stage design foreground similarities between the medieval and modern, collapsing historical distance and underscoring commonalities between the medieval and the modern. Drawing on recent literary-critical uses of the metaphor of historical time as a palimpsest, in which historical moments are superimposed, never entirely erasing what is underneath, the chapter suggests that the opera effects a striking reversal in which the future, not the past, is the effaced text of the palimpsest. Thus the nostalgia of the opera can be read, paradoxically, as that of the past toward the future.
Early Music and Popular Music
Authors: Upton Elizabeth Randell
Published: March 2020

In the 1960s, recordings and performances of preclassical music brought new sounds to musical performers, creators, and audiences. Through play with new sounds and with ideas about the past, medievalist popular music helped to shape the range of meanings associated with “the medieval” for scholars as well as audiences. At first, early music sounds, especially that of the harpsichord, were used for their novelty, becoming fashionable and hip by the mid-1960s, first in London (as seen in recordings by the Beatles, the Rolling Stones, the Zombies, and Procol Harum; this trend fed into 1970s prog rock) and then, following the British Invasion, in the United States (particularly the Left Banke in New York and the Beach Boys and the Doors in Los Angeles). Some folk-rock performers used early music sounds to signal the past, drawing on tropes of nostalgia and medievalist fantasy (e.g., Simon and Garfunkel’s “Scarborough Fair/Canticle” [1966] and the Beatles’ “Penny Lane” [1967]).
Faith, Fear, Silence, and Music in Ingmar Bergman’s Medieval Vision of The Seventh Seal and The Virgin Spring
Authors: Luko Alexis
Published: March 2020

This chapter examines medievalism, music, and sound effects in Ingmar Bergman’s The Seventh Seal (1957) and The Virgin Spring (1960). As with his later work, Bergman uses music and sound in The Virgin Spring and The Seventh Seal in powerfully unsettling ways. He and Swedish composer Erik Nordgren (1913–1992) aimed for stylized medieval tunes alongside more modern and even jarringly anachronistic scoring. Bergman’s idiosyncratic approach to medievalism fuses medieval sources with northern angst, Strindberg, and Kurosawa in a medieval vision that is quintessentially Bergman’s own. Through deathly silence, music, and sound effects, the soundscapes of these films evoke a “Dark Age” struggle of faith and fear with profound resonance for a modern audience.
Fantasy Medievalism and Screen Media
Authors: Cook James
Published: March 2020

This chapter focuses on fantasy medievalism on screen and its connection to genres of music that may be seen as equally medievalist in origin and aesthetic: progressive rock, heavy metal, and folk. It gives an overview of the medievalist features of the genres before discussing how they are used in a range of fantasy screen media from Legend to Highlander and Game of Thrones to The Witcher. There has been a historical move from the representation of the fantasy medieval through rock to its representation through folk in more recent years. This representational shift not only relies on changes in the way that medievalist fantasy positions itself for audience but also represents a change in the way that aspects such as power, gender, sex, and social structure are formulated within medievalist fantasy.
Gaming the Medievalist World in Harry Potter
Authors: Cook Karen M.
Published: March 2020

This paper explores medieval tropes in the video games in the Harry Potter franchise. As the games engage the player in extensive exploration, sound objects signaling the medieval are triggered by interactive play: footsteps echoing in cavernous stone hallways, the opening and shutting of heavy wooden doors, the turning of thick parchment pages, the sounds of potions bubbling or fires in gaping fireplaces, the rush of wind while flying on a broomstick. These act as immediately immersive elements, situating the player more firmly within the already medieval context created by the visual scenery, the musical soundtrack, and the plot itself.
Romantic Medievalist Nationalism in Schumann’s Genoveva, Then and Now
Authors: Richardson Michael S.
Published: March 2020

Prior to Richard Wagner’s dominance of the German operatic scene in the second half of the nineteenth century, a healthy competition to establish a distinctively Germanic tradition of grand opera occupied the minds and activities of several prominent composers. In seeking to establish their own operatic tradition, a number of German composers looked to the Middle Ages for their source material. Schumann’s Genoveva represents an important contribution to the quest for German grand opera as well as the height of the German romantic medievalist aesthetic in opera. Martin Kušej’s 2008 production of Genoveva offers a fascinating twenty-first century reinterpretation of this aesthetic.
Nature, Reason, and Light in Vision—Aus dem Leben der Hildegard von Bingen
Authors: Bain Jennifer
Published: March 2020

Historical understandings of Hildegard (1098–1179) occupy a central position in the recent revival of the Middle Ages. Viewed as a protofeminist and the first documented female composer, Hildegard is often used as a role model in contemporary times. Through an examination of Margarethe von Trotta’s film Vision, this essay uncovers another image of Hildegard, as an enlightened thinker, deeply invested in the acquisition of knowledge, and as a scientific medical practitioner who abhors the idea of the mortification of the flesh. Using iconic sounds and musical references, the sound design for von Trotta’s film strongly supports this image. In acoustic, as well as in visual and narrative terms, the film epitomizes the contrast between the grotesque and the romantic that is so important to our reception of the Middle Ages.
Music, Exchange, and the Production of Value: A Case Study of Hindustani Music
Authors: Morcom Anna
Published: March 2020

This chapter uses Hindustani music as a case study, developing anthropology’s theoretical work on value and exchange toward the analysis of music. It focuses on the action-based theory of value devised by Nancy Munn (1986) and later developed by David Graeber (2001). Rather than something residing “in the music,” value is viewed as entirely social, and ephemeral, generated by acts and the codification of acts into distinctive patterned aesthetic forms. The chapter refines the analysis through Annette Weiner’s concept of “inalienable possessions,” that is, things which are not necessarily costly or of any objective value, but have gained immeasurable and irreplaceable value to particular groups in particular times and places through “keeping while giving,” and which inscribe lineage, heredity, and history. This enables an exploration of how history and transmission operate in value creation in the context of music and performing arts. The chapter also develops theoretical work on exchange to analyze musical performance, where what is “given” or “received” is intangible and highly subjective, making it particularly unpredictable in its value and with potential for immense excess and thereby implications for obligations, attachments, or even devotion. Thus, the chapter explores how the complex web of behaviors, discourse, knowledge, and skills variously continued, adapted, and discontinued from the past, and with new strands woven in, constantly re-create Hindustani music as an inalienable possession for middle-class audiences, for whom basic templates of value are in many ways radically opposed to those of the original patrons and performers.