bluuebunny/crossref_metadata_2025 huggingface dataset:
Richard Kluger'sSimple Justice:Race, Class, and United States Imperialism
Authors: Gonzalez Gilbert G.
Published: January 2007

Richard Kluger's monumentalSimple Justicereaffirms the long-held liberal contention that any analysis of the complex social relations in the United States must acknowledge the centrality of racism. Racism historically contributed to shaping of the political culture, social interactions, and legal status of groups throughout the United States. This work is of epic proportions, tracing in great detail the evolution of the history of the black struggle to overturn the 1896Plessydecision which declared the fallacious, antidemocratic notion that “separate but equal” meets the test of the Constitution.
In Vitro and In Vivo Antibacterial Activities of Heteroaryl Isothiazolones against Resistant Gram-Positive Pathogens
Authors: Pucci Michael J. , Cheng Jijun , Podos Steven D. , Thoma Christy L. , Thanassi Jane A. , Buechter Douglas D. , Mushtaq Gohar , Vigliotti Gerald A. , Bradbury Barton J. , Deshpande Milind
Published: January 2007

The activities of several tricyclic heteroaryl isothiazolones (HITZs) against an assortment of gram-positive and gram-negative clinical isolates were assessed. These compounds target bacterial DNA replication and were found to possess broad-spectrum activities especially against gram-positive strains, including antibiotic-resistant staphylococci and streptococci. These included methicillin-resistant
Staphylococcus aureus
(MRSA), vancomycin-nonsusceptible staphylococci, and quinolone-resistant strains. The HITZs were more active than the comparator antimicrobials in most cases. For gram-negative bacteria, the tested compounds were less active against members of the family
Enterobacteriaceae
but showed exceptional potencies against
Haemophilus influenzae
,
Moraxella catarrhalis
, and
Neisseria
spp. Good activity against several anaerobes, as well as
Legionella pneumophila
and
Mycoplasma pneumoniae
, was also observed. Excellent bactericidal activity against staphylococci was observed in time-kill assays, with an approximately 3-log drop in the numbers of CFU/ml occurring after 4 h of exposure to compound. Postantibiotic effects (PAEs) of 2.0 and 1.7 h for methicillin-susceptible
S. aureus
and MRSA strains, respectively, were observed, and these were similar to those seen with moxifloxacin at 10× MIC. In vivo efficacy was demonstrated in murine infections by using sepsis and thigh infection models. The 50% protective doses were ≤1 mg/kg of body weight against
S. aureus
in the sepsis model, while decreases in the numbers of CFU per thigh equal to or greater than those detected in animals treated with a standard dose of vancomycin were seen in the animals with thigh infections. Pharmacokinetic analyses of treated mice indicated exposures similar to those to ciprofloxacin at equivalent dose levels. These promising initial data suggest further study on the use of the HITZs as antibacterial agents.
Francisella tularensis
Replicates within Alveolar Type II Epithelial Cells In Vitro and In Vivo following Inhalation
Authors: Hall Joshua D. , Craven Robin R. , Fuller James R. , Pickles Raymond J. , Kawula Thomas H.
Published: January 2007

Francisella tularensis
replicates in macrophages and dendritic cells, but interactions with other cell types have not been well described.
F. tularensis
LVS invaded and replicated within alveolar epithelial cell lines. Following intranasal inoculation of C57BL/6 mice,
Francisella
localized to the alveolus and replicated within alveolar type II epithelial cells.
Immunogenic and Protective Potential of Mutans Streptococcal Glucosyltransferase Peptide Constructs Selected by Major Histocompatibility Complex Class II Allele Binding
Authors: Culshaw S. , LaRosa K. , Tolani H. , Han X. , Eastcott J. W. , Smith D. J. , Taubman M. A.
Published: January 2007

Mutans streptococcal glucosyltransferases (GTF) have been demonstrated to be effective components of dental caries vaccines. We had previously selected peptide subunits of GTF for vaccine development based on putative functional significance and conservation of GTF primary structure among enzyme isoforms. In this study, 20 20-mer linear GTF peptides were synthesized, 17 identified on the basis of the highest potential major histocompatibility complex (MHC) class II-binding activity using computer-generated algorithms (Epimatrix and ProPred) and 3 with previously demonstrated functional significance. The immunoreactivities of these peptides were explored with rodent systems. Sera from GTF-immunized rats, assessed for binding to linear peptides by enzyme-linked immunosorbent assay, demonstrated immunoglobulin G antibody reactivity with peptides 6 and 11 and a T-cell proliferation response to peptides 6, 9, 11, and 16. Multiple antigenic peptide (MAP) constructs were synthesized from promising linear sequences. Rats that were immunized with MAP 7, 11, or 16, respectively, responded well to the immunizing MAP. Most importantly, a robust immune response (antibody and T-cell proliferation) was observed to native GTF following MAP 11 (amino acids 847 to 866; VVINNDKFVSWGITDFEM) immunization. This response inhibited GTF enzyme function. Two dental caries pathogenesis experiments were performed wherein rats were immunized with MAP constructs 11, 16, and/or 11 plus 16, followed by infection with cariogenicStreptococcus sobrinus. In both experiments cariogenic bacterial recoveries were reduced relative to total streptococci in the MAP 11- and MAP 11 plus 16-immunized groups, and the extent of dental caries was also significantly reduced in these groups. Thus, we have identified a peptide with projected avid MHC-binding activity that elicited immunoreactivity with native GTF and demonstrated protection against dental caries infection after immunization, implying that this peptide may be important in a subunit dental caries vaccine.
TOPOLOGICAL BACKGROUND FIELDS AS QUANTUM DEGREES OF FREEDOM OF COMPACTIFIED STRINGS
Authors: GOVAERTS JAN , PAYEN FLORIAN
Published: January 2007

It is shown that background fields of a topological character usually introduced as such in compactified string theories correspond to quantum degrees of freedom which parametrise the freedom in choosing a representation of the zero-mode quantum algebra in the presence of nontrivial topology.
A NEW FINITE ELEMENT METHOD FOR PRICING OF BOND OPTIONS UNDER TIME INHOMOGENEOUS AFFINE TERM STRUCTURE MODELS OF INTEREST RATES
Authors: YANG HONGTAO
Published: January 2007

In this paper we propose a new finite element method for pricing of bond options under time inhomogeneous one-factor affine models of short interest rates: the Hull–White model and the extended CIR model. The stability and weak convergence are established. Numerical results are presented to examine the method and to compare the calibrated models.
Minimal Access Surgery for Total Hip Arthroplasty – Current Beliefs and Activity Profile in The UK
Authors: White SP , Smith EJ
Published: January 2007

INTRODUCTION

There is a strong drive from patients, industry and the media to perform total hip arthroplasty (THA) through a minimal access incision. Currently in the UK, the exact definition and uptake of this procedure is not known.

PATIENTS AND METHODS

A postal questionnaire was sent to all consultant orthopaedic surgeons in the UK registered with the British Orthopaedic Association.

RESULTS

Of those performing THA, 23% have performed minimal access hip surgery (MAS). Of users, 63% perform less than 20 cases per year, 62% use the mini-posterior approach, and 12% intend to perform MAS in the future. There is an association with specialisation. The mean and mode scar sizes for MAS were 9.9 cm and 10 cm, respectively.

CONCLUSIONS

MAS is increasing in popularity but is currently performed in small numbers by those with a specialist interest in hip arthroplasty. Because no long-term results have been published regarding this procedure, it will be important to ensure that standards of implantation are not jeopardised and training remains critical. Cases should be registered with the National Joint Registry using the current definition of scar size less than 10 cm.
Universelles Verfahren zur interferometrischen Messung von Längen und Durchmessern auf KMG (Universal Method for Interferometric Measurements of Lengths and Diameters on CMM)
Authors: Härtig Frank , Kniel Karin
Published: January 2007

Durch die kombinierte Anwendung eines Laserinterferometers und eines Koordinatenmessgerätes (KMG) mit einem integrierten Drehtisch sind hochgenaue Längenmessungen möglich, die bisher nur mit speziellen Längenkomparatoren erreicht wurden. Das in der Physikalisch-Technischen Bundesanstalt (PTB) entwickelte Verfahren eignet sich in besonderer Weise zur Kalibrierung von Endmaßen, Stufenendmaßen, Dornen oder Ringen.
Phasen- und amplitudenfehlerfreie Filterung von störbelasteten Messsignalen mit quasistationärer Basiskomponente (Phase- and Amplitude Errorless Filtering of Measurement Signals with Quasi Stationary Fundamental Frequency Component)
Authors: Hesse Ralf , Turschner Dirk
Published: January 2007

Zur Vermeidung von Abtastproblemen und zur Vorbehandlung von störbelasteten Messsignalen werden bei einer vorgesehenen Verarbeitung auf Mikrorechnern oft Vorfilter eingesetzt. Die Vorfilterbehandlung führt zu Phasen- und Amplitudenfehlern am Basisfrequenzanteil des Messsignals, welche mit dem vorgestellten Verfahren kompensiert werden können.
Eine Untersuchung zur Beschreibung kleiner Luftblasen durch Ellipsoide (An Investigation Concerning the Description of Small Bubbles by Ellipsoids)
Authors: Hoppe Dietrich , Zaruba Aliaksandr
Published: January 2007

Zur Simulation von Blasenströmungen müssen die Kräfte berücksichtigt werden, welche unter realen Bedingungen auf die Blasen wirken. Diese Kräfte wechselwirken mit den Formen der Blasen und können deshalb anhand letzterer abgeschätzt werden. In ruhendem Wasser emporsteigende Luftblasen werden oft durch zweiachsige Ellipsoide beschrieben, ohne dass dies näher begründet wird. Eine Rechtfertigung dafür soll dadurch gefunden werden, dass eine reale Blase erst als dreiachsiges Ellipsoid modelliert und dann geprüft wird, ob sie zu einem zweiachsigen Ellipsoid vereinfacht werden kann. Für diesen Zweck erfolgen zunächst drei orthogonale optische Projektionen der Blase. Diese ebenen Abbildungen werden durch drei Ellipsen beschrieben, aus denen anschließend das gesuchte dreiachsige Ellipsoid berechnet wird.
Influence of micropile inclination on the performance of a micropile network
Authors: Sadek M. , Shahrour I. , Mroueh H.
Published: January 2007

Micropiles are defined as small-diameter, drilled and grouted piles. They are used in groups for underpinning existing structures and as a foundation support for new structures. They can also be used in networks as a technology of ground improvement. In this case, both vertical and inclined micropiles are utilised to create a geocomposite material with both high stiffness and resistance. This paper aims at analysing the performances of a micropile network implemented in a wall configuration. The first part of the paper describes the numerical model used for the analysis of this network, and the second and third parts analyse the performance of the micropile network under lateral and vertical loads. Analysis shows that the inclination of micropiles results in an improvement of both the tiffness and the bearing capacity of the micropile network.

Les micropiles sont définies comme étant des piles de petit diamètre, forées et cimentées. Elles sont utilizées par groupes pour soutenir les structures existantes et comme support de fondation pour les nouvelles structures. Elles peuvent aussi être utilizées en réseau, comme technologie d'amélioration des sols. Dans ce cas, des micropiles verticales et inclinées sont utilizeées pour créer un matériau géocomposite ayant aà la fois une forte rigidité et une haute résistance. Cet exposé a pour but d'analyser les erformances d'un réseau de micropiles implanté dans une configuration de mur. La première partie décrit le modèle numérique utilizé pour l'analyse de ce réseau; les seconde et troisième parties analysent la performance du réseau de micropile sous charges verticales et latérales. L'analyse montre que l'inclinaison des micropiles donne une amé lioration de la rigidité et de la résistance mais aussi de la capacité porteuse du réseau de piles.
A Freudian Character in Lope de Vega
Authors: Prat Angel Valbuena
Published: January 2007

One of the most attractive aspects of our national theatre is that it continually offers the most unexpected surprises. These surprises are multiplied within a dramatic world as extensive as that created by Lope de Vega. Furthermore, these surprises are seen in their fullest clarity when the illuminating light of modern ideas are turned on the art forms of the seventeenth century. This happens when we reread The Outrageous Saint. At first this comedy makes a very unsatisfactory impression. From a normal point of view, the monstrousness of the theme seems explicable only by supposing that Lope, always impulsive, had given way to irresponsible and uncontrolled fantasies. But after reading Freud and the works of other modern psychoanalysts—something that at first sight appears irrelevant to the understanding of an author of the Golden Age—we realize that Lope's play was far in advance of its time.
Lope's Leonido: An Existential Hero
Authors: Barnstone Willis
Published: January 2007

In the past The Outrageous Saint (La fianza satisfecha) was interpreted solely on religious grounds and as such was considered monstrous and shocking. Leonido's sins took him beyond the limits of repentance and salvation. This wayward prototype of Don Juan should in the end have been destroyed, and since he was not, the work was condemned to the oblivion of remaining unpublished after the seventeenth century. Finally, the play was begrudgingly included in the late nineteenth century in Menendez y Pelayo's academy edition of Lope, still safely unavailable to the common reader. It has not been reprinted since.

Some thirty years ago, Valbuena Prat discovered the play. He found it an excellent pre-Freudian case study of incest, sadism, masochism, and other sexual aberrations. The work was at once of contemporary interest. In this postwar period The Outrageous Saint again adapts with ease to the concerns and anxieties of our day.
The Popular, the Absurd, and the Entente Cordiale
Authors: Blau Herbert
Published: January 2007

If Strindberg is right that much of the labor of life is devoted to sweeping its dirt under the table, then the theatre's business is to sweep it out again. In the process we may discover some of the dirt wasn't dirt at all, but stray coins, curls, and paper clips, not golddust necessarily but a usable straight pin or two and maybe a piece of string, ravelled around the past. Art is an act of salvage, more so in a universe conscious, as ours is, of running down; not muckraking but recovery, and especially the kind of recovery that comes after crisis. In the Europe of the twentieth century, crisis has obviously not been of dustpan proportions. The salvage job has been immense. But one may yet walk amidst the recovery, as I did recently, brooding on broken wall and tower, and Agamemnon dead.
Shakespeare with Tears
Authors: Rogoff Gordon
Published: January 2007

We enter the theatre. There is no curtain. A raked stage extends well beyond the formal proscenium arch, reaching in almost desperate appeal to the potential responsiveness of the audience. We see what appears to be an enormous, high-beamed gallery, a candle chandelier hanging over a floor of heavy oak boards, supporting only the barest of furnishings, surrounded on three sides by towering, dark, red-brick walls, with a delicately curtained archway breaking the upstage center wall. This is the only suggestion of mobility in the entire set. All else is weighted, durable, lived-in, lending the atmosphere a peculiar, autumnally-colored sense of permanence. This room, we feel, is definitely in a theatre, but just as surely it has known life, an existence away from us, somewhere remote, in a past that we had comfortably connected only with the pleasing unreality of history. Like most English rooms, it seems to be weathered by a stern assumption that winter belongs inside as much as out.
Tragedy as Limitation: Comedy as Control and Resolution
Authors: Eberhart Richard
Published: January 2007

This paper is one of six lectures on “Will and Psyche in Poetry.” These terms set up a bipolar, arbitrary framework for the study of poems against which, and between which, poems were evaluated in the context.

Will poetry exists because of the power in the cell beyond its energy to maintain itself. Will results in action, through wish, zeal, volition, passion, determination, choice, and command. Will makes something happen in poetry.

Psyche poetry pertains to the soul, to peace, quiet, tranquility, serenity, harmony, stillness and silence. It provides psychic states of passive pleasure.

It might be interesting in attempting to set limits to our Will-Psyche dichotomy to define, but not absolutely, what these types of poetry are not. I take it that they do not include the world of tragedy, a vast area of literature, because tragedy presupposes fatality, against which will is useless and because tragedy is self-contained, engaging its own laws, against which there is no recognition beyond itself.
Musset's “Lorenzaccio”
Authors: Falk Eugene H.
Published: January 2007

Lorenzaccio, published in 1834, was revised by Alfred de Musset for the 1853 edition. This final text is reproduced by Paul Dimoff in his La Genèse de Lorenzaccio (1936) together with those passages of Benedetto Varchi's Storia fiorentina which were used by Georges Sand for her Une conspiration en 1537 as well as by Musset, who amply availed himself not only of Varchi's chronicles but also of Sand's brief play.

The play has five acts, each of which is divided into six to eleven scenes. Very seldom do the individual scenes of any act occur in the same setting. This complete disregard for the unity of place produces the effect of a constantly changing panorama of early sixteenth-century Florence, wherein glimpses of the seemingly unrelated actions of a great number of characters gradually merge into an integrated impression which creates a mood, an atmosphere. The technique anticipates the more recent impressionistic concern for apparently fleeting or accidental phenomena.
One of Many
Authors: Chekhov Anton
Published: January 2007

An hour before the departure of the train, a pater familias staying at a summer cottage walks into a friend's house, holding in his hands a glass lamp globe, a toy bicycle, and a child's coffin, and sinks down on the couch, completely exhausted.

“My dear fellow,” he mumbles, out of breath, and senselessly rolling his eyes, “I'd like to ask you a favor. I beg you, lend me your revolver until tomorrow. Be a friend.”

“What do you need a revolver for?”

“I do need it… Oh, Lord! Give me some water. Quickly, some water—I need it. At night I have to drive through dark woods— so, in case anything happens—lend it to me, be so kind.”

The friend looks at the pale, exhausted face of the pater familias, at his perspiring forehead and mad eyes, and shrugs his shoulders.
O’Casey at your Bedside
Authors: Barzun Jacques
Published: January 2007

The soil from which art will grow is ever unpredictable and its discovery after the fact often suggests that caprice, rather than mind or nature, governs the relation. Why Dublin?—one would like to know. The question recurs whenever one thinks of how much poetry and drama has come from that mediocre city in the last hundred years: Shaw, Wilde, Yeats, Synge, Joyce, Sean O'Casey—to say nothing of their lesser brothers inside or outside the Abbey Theatre: an unlikely but unmistakable golden age.

If we look at O'Casey, now its chief survivor, the mystery turns into paradox. For although commonly accounted a leading dramatist of the age, he commands no theatre and is rarely played. He is clearly in the Abbey tradition, but the Abbey rejected him early in his career.
Stanislavski and the Playwright
Authors: Corrigan Robert W.
Published: January 2007

No name in acting is accorded the reverence by the American theatre as is Stanislavski's. He has been the high priest of American acting since the 1930's when the Group Theatre incorporated his system into their program; and today, a modified Stanislavski System is central to the “Method” of the Actor's Studio. Whether this great regard for Stanislavski has been a good thing for our theatre is much debated, but very little has been said about the effect of Stanislavski's System upon the way the actor approaches the written text of a play. It is time this be considered, for the effects have been insidious and may well have been harmful to the art of our theatre.
The Light Is Dark Enough
Authors: Pechter William S.
Published: January 2007

Ingmar Bear-ih-mahn—not quite seven syllables, and somewhat less musically mellifluous on the tongue than Federico Fellini—but then whose memory is so faithful as to recall the enthusiasms of four years past? Which is not to suggest that Ingmar Bergman is merely the Federico Fellini of 1960 (and even less that Fellini was merely the Bergman of 1956); only to reaffirm a few platitudinous sentiments on the transience of our earthly affections: my old flame, I can't remember her name; yesterday's kisses are just memories; it's a long, long time from May to December; etc., etc. Bergman seems durable enough to survive what James Baldwin has dubbed his “precarious vogue,” but are we?
Alfonso Sastre
Authors: DeCoster Cyrus C.
Published: January 2007

The Spanish theatre in the forties was in a far from promising condition. Garcia Lorca and Casona, who had revitalized the drama in the thirties, had disappeared from the scene. Benavente was still active, but his best work had been done before the Civil War, and his recent plays had little new to offer. The principal writers for the theatre were a group of playwrights who were already well established in the thirties, capable craftsmen such as Jardiel Poncela, Neville, Mihura, López Rubio, and Ruiz Iriarte, who wrote largely teatro de evasión—escapist literature. They sought to entertain the audience rather than to treat the anguishing problems of postwar Spain.
Stanislavski and Freud
Authors: Sullivan John J.
Published: January 2007

Stanislavski and Freud share many common features, not the least of which is that each is supported by violent partisans, is attacked by violent antagonists, and is the object of unproductive discussion. Whatever the ultimate fate of their doctrines, we shall never go back to our pre-Stanislavskian naivete about acting in the theatre or our pre-Freudian naivete about living in the world. It must be born in mind in the following discussion that each is a great man, and if either is subjected to less than favorable comparisons it should not obscure the fact that each is pre-eminent in his field. The problem will be to estimate in some judicious and productive manner the nature and importance of their contributions in the light of the problems of the theatre.
Tragedy with a Purpose: Bertolt Brecht's Antigone
Authors: Jones Frank
Published: January 2007

Bertolt Brecht's adatation of Scophocles' Antigone, first performed in Switzerland in 1948, presents an interesting combination of ancient and contemporary elements. In this paper I shall describe and attempt to explain the playwright's handling of his material.

For the most part, his version follows Sophocles' play, as translated into German by Friedrich Hölderlin, early in the 19th century. The parts added by Brecht are in verse, with rhythms not unlike Hölderlin's. In diction, then, there is no attempt at modern dress. Modernity appears in the changes made in the action.

In Sophocles' play, you will recall, Antigone's brother, Polynices, has enlisted aid from Argos and other cities to fight his way to the kingship of Thebes, and has died in the attempt. Creon, regent of Thebes, forbids the burial of Polynices, on the ground that he was a traitor.
Albert Camus as Dramatist: The Sources of His Failure
Authors: Sonnenfeld Albert
Published: January 2007

Nowhere but in France, it seems, do men of letters whose greatest talent clearly lies in other genres devote so much of their creative energy to the theatre. The Golden Age of Corneille and Racine, kept alive by an ever-growing number of French repertory companies, stands constantly before the writer, challenging him to try to rival its inaccessible perfection. An amazing number, from Balzac and Stendhal to Mauriac and Gide, have taken up the challenge. Even such transients in Paris as Turgenev and Henry James were affected by France's worship of the theatre as the supreme art and tried vainly to convince the public, and posterity, that they had mastered the dramatic form. Albert Camus’ passion for the theatre was lifelong, from his participation in the Algerian Workers’ Theatre in 1936 to his tragically short reign as director of a government sponsored avant-garde company in 1959.
The Bacchae: A City Sacrificed to a Jealous God
Authors: Schechner Richard
Published: January 2007

At the heart of Euripides’ masterpiece, The Bacchae, is a communal sacrifice. The city of Thebes is sacrificed to Dionysus to satisfy his capricious ego. In supporting this thesis I will contest several widely held theories about the play: (1) that Dionysus represents Fate or any of its equivalents; (2) that the god is a life force or some other pantheistic “god of ecstacy in religion”; or (3) that the play gathers its primary force from the encounter between Dionysus and Pentheus.

My reading of The Bacchae is an internal one: I want to see what the play will yield on only its own terms. I realize, of course, that political and social ideas both press in on the play and, if we seek them, emanate from it. These ideas are, I believe, extra-dramatic: they radiate from the script, enriching it and partially explaining its genesis, but they are not present as a dramatic immediacy.
Bertolt Brecht's J. B.
Authors: Baxandall Lee
Published: January 2007

Bertolt Brecht's Baden play for learning—Das Badener Lehrstück vom Einverständnis—is so named for having been first performed at the Baden-Baden music festival in 1929, and because it falls among his early Marxist plays with an explicitly didactic function. Einverständnis means agreement or acceptance. The piece was given at Baden-Baden accompanied by a score written by Hindemith, and in a shorter form than the version published in Brecht's Stücke. Hermann Scherchen conducted. The premier created a great scandal, marked especially by the exit of Gerhart Hauptmann in the middle of the Clown Scene.

I believe that of Brecht's plays this is the most unclear in conception and yet the most revelatory of the author's personal conflicts in relation to his thought and politics. It also happens to contain one of the most viciously funny scenes ever written. I want to set forth in this essay some tentative ideas regarding the play.
New Plays of Ionesco and Genet
Authors: Fowlie Wallace
Published: January 2007

The parable of Eugène Ionesco's new play, Le Rhinocéros, is simple and obvious. The inhabitants of a small provincial town are transformed into rhinoceroses. At first this process is gradual, and then more and more precipitous. The protagonist, whose name is Bérenger, like that of the protagonist in Tueur sans gages, sees in the first scene one or two of the inhabitants of his town metamorphosed. In the second scene, a colleague in the office where he works becomes a rhinoceros. In the third, his best friend, Jean, is transformed before his very eyes. In the last scene, his mistress rushes off to join the herd. He remains alone, the last soul in the town to resist the epidemic. He refuses to comply with the collective mania, the standardization or nazification of his world. The parable is on the sacred individuality of man. Alone the protagonist Bérenger remains faithful to his vocation of man.
Marlowe's Poetry
Authors: Morris Harry
Published: January 2007

Many of the critics who write on Marlowe feel compelled to pay tribute to the “mighty line,” perhaps even to rhapsodize upon it, and to note the new greatness that Marlowe brings to English blank verse; but mostly they fail to show explicitly Marlowe's achievement as a poet. There are only two essays that contribute materially to our understanding of the unrhymed iambic pentameter that alters into unshakable greatness in the hands of a cobbler's son from Canterbury: these essays were written by T. S. Eliot and C. F. Tucker Brooke. Both date from more than forty years ago, and both leave a great deal still to be said.

Eliot's statement is quite brief, and it abounds in those typical Eliotic pronouncements wherein the writer assumes, so infuriatingly, that the reader knows the exact nature of the unexpressed criteria that lie behind the given statement.
The Theatre and Cruelty
Authors: Artaud Antonin
Published: January 2007

A concept of the theatre has been lost. And in direct proportion to the manner in which the theatre limits itself only to allowing us to penetrate into the intimacy of some puppet or to transforming the spectator into a Peeping Tom, it is to be expected that the elite will turn away from it and the crowds will go to the movies, the music halls, or the circuses, in search of violent satisfactions which at least have no false pretenses.

After the wear and tear to which our ensibilities have been subjected, it is certain that, before all, we have need of a theatre that will awaken us: heart and nerves.

The misdeeds of the psychological theatre since Racine have made us unaccustomed to that violent and immediate action which the theatre must possess.
Ghelderode's Theatre of the Grotesque
Authors: Wellwarth George E.
Published: January 2007

Michel de Ghelderode can be compared to those novelists who have concentrated on the creation of a fictional world of their own. Like William Faulkner with his Yoknapatawpha County, Charles Dickens with his nineteenth century London, or James Joyce with his Dublin, Ghelderode has created a microcosm which reflects and comments upon our larger world. Ghelderode's medieval Flanders is savagely grotesque. His sadistic caricatures are shot through with a ribald scatological humor which reminds one of the pictures of his countrymen, Hieronymus Bosch and Pieter Breughel. So close is this relationship, indeed, that Ghelderode has specifically set some of his plays in a fictitious “Breughellande” where the painter's creations come to life. In all of his plays, with the exception of those written on specifically Biblical themes and set in the Holy Land, there is this quality of the frozen grimace on the canvas suddenly animated.
Shakespeare's Subtext: I
Authors: Brown John Russell
Published: January 2007

Today every actor understands what is meant by “subtext.” But it is a new word. It is not listed in The New English Dictionary or its Supplement of 1939. It comes from the Moscow Art Theatre and is associated with the “Method.” When we use the word, we are usually talking about twentieth century acting, an art distinguished by its conscious attempt to portray the subconscious nature of man, its “psychological” truth. For Stanislavsky, “subtext” was:

… the manifest, the inwardly felt expression of a human being in a part, which flows uninterruptedly beneath the words of the text, giving them life and a basis for existing.

He used the word as a means of talking about the “inner truth” of a play, its “inner action,” “inner images,” “inner motives,” “inner line,” “inner tempo.” And all these concepts were particularly applicable to the revolutionary plays of Chekhov.
The Development of Brecht's Theory of the Epic Theatre, 1918-1933
Authors: Hecht Werner
Published: January 2007

The theatre of today has been significantly changed because of Brecht's influential work as a playwright, producer, and theoretician. In fact, anyone working in the theatre of today must come to grips with the phenomenon that is Bertolt Brecht. True, such an undertaking will be difficult. Brecht's achievements—literary, theoretical, and practical—are all parts of a whole which is not understandable if one part of it is examined by itself. Furthermore, as he wrote in his poem “Behauptung,” Brecht by no means “always remained the same“; both the man and his views changed. For this reason an investigation of the development of Brecht's theatrical theories apart from the rest of his work is a questionable undertaking. There are, however, two justifications for it: 1) So far nothing coherent about Brecht's early ideas concerning the theatre has been written.
After Paranoia, What Next?
Authors: Fergusson Francis
Published: January 2007

It is of course only the playwrights who can show us the next phase in our theatre, and even they can't tell us about it in advance. They have to work it out according to their own temperament, experience, and taste, taking what advantage they can of the shifting sanctions of fashion. The by-stander can neither prophesy, nor tell the playwrights what to do. So, these remarks are offered as remote wishful thinking.

If there is a dominant fashion in playwrighting now, it consists in exploiting the mentally and morally underprivileged, the lonely, frustrated, and pathological, to express the playwright's own desperate feelings about “our times.” As Mr. Martin Esslin says in his excellent Theatre of the Absurd, “A feeling of helplessness when confronted with the vast intricacy of the modern world, and the individual's impotence in making his own influence felt on that intricate and mysterious machinery, pervades the consciousness of Western man today…. The convict who is being physically separated from the outside world has literally been deprived of any means to make his presence felt, to make an impact on reality; and in that sense the convict experiences the human condition in our time more intensely and more directly than any of us.” What Mr. Esslin is saying here about Genet's convict applies to countless other lost figures in the contemporary theatre. And our American playwrights, whether Absurd, Beatnik, Freudian-day-dreamy, or reportorial-realistic, are portentously dredging up sad-sacks of every description as the real low-down on “the chaos of the modern world.”
Corydon Revisited: A Reminder on Genet
Authors: Svendsen J. M.
Published: January 2007

It is as easy to dismiss (too much) with “parenthetical insults” as with intellectual assaults. Both tactics smack of arrogance. The end result, when the veil is rent, is usually rhetorical catastrophe. Nevertheless, can we afford not to dismiss Genet?

Whether rhetorical or not, all theatre is catastrophic (katastrophe, to overturn); bad theatre is rhetorically so to boot. This is certainly the case in the theatre of language and logic of which we have had too much and against which only the genius of the poet can prevail. However, should the theatre of linguistics continue to prevail, we will be forced to rewrite our poetics again, calling production and performance accidental to the essence of the play.

“Here I am, all present and complete in this instant of ever-lasting time … “ declares Gide in one of his few attempts at dramatic composition—intending, thereby, to assault the universe anew, firmly holding himself precludedly victorious.
Robert Lowell's The Old Glory
Authors: Hochman Baruch
Published: January 2007

Lowell the dramatist matches Lowell the poet, and his manner is unabashedly theatrical. The Old Glory, taut and laconic, the center of gravity less in words than in the action behind them, achieves in its three plays a classic fusion of style and substance, projecting an impersonal vision in tones of the gravest personal authority. Part of the spell is no doubt Lowell's gift, familiar from Imitations, of being past and present, self and other, here and there, all at once. He set out to dramatize a group of tales by Melville and Hawthorne and their voices sounded through him. For a moment Lowell made the old voices his own. Under the direction of Jonathan Miller at the American Place two years ago, it was immediately evident that the ground of this necromancy was a capacity for suffering the issues of the moral life at its most perplexing, for following them out to the end.
On Humor
Authors: Pirandello Luigi
Published: January 2007

Comedy and its opposite lie in the same disposition of feeling, and they are inside the process which results from it. In its abnormality, this disposition is bitterly comical, the condition of a man who is always out of tune; of a man who is at the same time violin and bass; of a man for whom no thought can come to mind unless suddenly another one, its opposite and contrary, intervenes; of a man for whom any one reason for saying yes is at once joined by two or three others compelling him to say no, so that yes and no keep him suspended and perplexed for all his life; of a man who cannot let himself go in a feeling without suddenly realizing something inside which disturbs him, disarranges him, makes him angry….
Sir Tony and the American Dream
Authors: Lineberger James
Published: January 2007

People in Minneapolis were always asking me, “What does a Resident Playwright do?” And although I could usually come up with some high-sounding, evasive answer, I never found one that satisfied me. The Guthrie Theatre did not find an answer either, and my three years there were doubtless as frustrating to them as they were unproductive for me. Typically, our failure happened more from a lack of communication than from any real wish to do harm to one another, the result, perhaps, of a set of fortuitous circumstances that neither of us was prepared to accept.

I came to the Minnesota Theatre Company in the fall of 1962, while a student at the university, before the Guthrie was even a building. In the long winter months, we used to go down behind the Walker Art Center and look at that black skeleton rising out of the snow.
Notes on the Theatre of Cruelty
Authors: Marowitz Charles
Published: January 2007

Since we weren't casting any particular play and therefore weren't on the lookout for any types, and since our main concern was to find actors who were open, adaptable, and ready to rush in where rigid pros fear to tread, it was necessary to devise a completely new audition technique. I decided to do away with those murky soliloquies where a single actor pulsating with suppressed but crippling hysteria gets up and reels off the same speech he has been carting around since drama school.
Dramatic Form—And: Tracking Down Implications
Authors: Burke Kenneth
Published: January 2007

In Chicago during the summer of 1961, I offered part of a paper on “Dramatic Form and Human Motivation.” I began with the theory of classical form (as the arousing and fulfillment of expectations) which I had originally developed in Counter-Statement. Form as so conceived was reduced to three principles: progressive, repetitive, and conventional.

“Progressive” form was said to involve the use of situations which led the audience to anticipate or desire certain developments. “Repetitive” form involves the ways in which a work embodies a fixed character or identity, the ways in which a work, however disjunct, manifests some kinds of internal self-consistency. “Conventional” form (or “categorical expectancy”) involves the kinds of expectation which an audience brings to the theatre as an established institution.
Character and Theatre: Psychoanalytic Notes on Modern Realism
Authors: Kaplan Donald M.
Published: January 2007

One of the persisting functions of art, even of iconoclastic art, is the restoration of morality. Art continues to find eloquence for our suffering, heraldry for our strife, lyricism for our passion. And one of its ways of doing this is by reminding us that while we exist in society, we are also participants in culture. Beyond the immediacies of our everyday lives, we have a kinship with generations.

If it can be said that certain times are better and others worse for art, then these times seem very bad indeed. Cultural exponents of contemporary society have been especially scarce. I have in mind the past twenty years. Picasso's Guernica, a bit of fiction, some poetry by Randall Jarrell are among the last works of art which managed to salvage any dignity from society's military impulses.
Playwright at Work: Off Off-Broadway
Authors: Van Itallie Jean-Claude
Published: January 2007

In September of 1963 Gordon Rogoff, to whom I had shown a couple of my plays, suggested I come with him to a loft on 24th Street where a group of actors were working together improvisationally and were looking for playwrights to help them in some new fashion. The group was the Open Theatre, and had been in existence a few months. At that time there was nowhere, to my knowledge, that an unknown playwright with a few unconventional one-act plays could go to see his work performed sympathetically, to say nothing of a place to experiment with actors and directors.

I had just finished reading Artaud's The Theatre and Its Double. I had ideas about possible new relationships between action and audience, about plays for huge non-human figures (I had written one called America Hurrah) and plays involving improvisations (I had written one called War).
Evening
Authors: Ashley Robert
Published: January 2007

Eight men sit in armchairs arranged in a circle at a comfortable distance for speaking. Each man's wife sits on the right arm of his chair in a casual, intimate way. Within the circle, on small, separate tables are: 1. a large, portable transistor radio; 2. a small, portable television set; and 3. a portable record player with a popular record. The radio and television set are pre-tuned to broadcast immediately when they are turned on. One of the men has a small transistor radio in his pocket. Each of the women carries a small, white paper bag full of grains of rice.

Each performer's part is a list of eighty-one consecutive “moments.” There is no time schedule for these moments; they follow one another at any pace the performers as a group establish, and this pace can change continuously throughout the performance.
On Surfaces Traced out by the Motion of an Invariable Curve
Authors: Hilton Harold
Published: January 2007

Suppose that a curve Г of constant shape moves in space so as to trace out a surface Σ. The problem has suggested itself to various authors whether it is possible for Г to be always a line of curvature, geodesic, asymptotic line, etc., on Σ. The following elementary method of solving such problems may be of interest.
The Teaching of Numerical Trigonometry
Authors: Mercer J. W.
Published: January 2007

A little experience of problems in which it is necessary to divide by sine or cosine of an angle will prepare a boy for the definitions of secant, cosecant and cotangent as the reciprocals of the cosine, sine arid tangent respectively, though, as a matter of fact, he can get on very well without them. At this stage a boy will probably appreciate the fact that since an acute angle is determined if me know any one of the six trigonometrical ratios, it should be possible, if any one of the ratios is given, to find the others. Problems such as this : “Given sin A = ·64, find tan A” should be done (i) by drawing a figure to scale, i.e. constructing the angle A whose sine is ·64, and finding the tangent by measurement (ii) by drawing a right-angled triangle, hypotenuse 100 units, one side 64 units, and calculating the other side by Pythagoras’ theorern; (iii) by taking from the tables the angles whose sine is ·64 and looking up its tangent.
On the Expression, “Motion at an Instant”
Authors: Saunder S. A.
Published: January 2007

In a recent review of Prof. W. B. Smith’s “Infinitesimal Calculus,” fault is found with his statement that “In all strictness there can be no motion at an instant, and hence no speed (or velocity) at an instant. The concept of speed (or velocity) or motion will not combine with the concept of instant (or point of time) to form a compound concept.” Part of the reviewer’s criticism is as follows: “If we allow that motion at an instant is impossible, how are we to escape from Zeno’s paradoxical conclusion that all motion is impossible? How can I move from one place to another during a minute, say, if at every instant of that interval motion is impossible?”
A Method of Studying Non-Euclidean Geometry
Authors: Fletcher W. C.
Published: January 2007

In the address which he had the honour of giving at the Annual Meeting of the Association the object of the writer was twofold: (1) to urge Secondary School teachers to study non-Euclidean Geometry for the purpose of improving their own scholarship; and (2) to sketch a method of approach to the subject which seems both interesting in itself and much easier than that usually adopted. In preparing this paper for the Gazptte he has thought it better to omit the former and to develop the latter a little more fully than time allowed at the meeting; the title has been modified accordingly.
A Second Chapter on Conics
Authors: Rouse E. P.
Published: January 2007

Let PQ, PQ′ (Fig. 1) be tangents to a conic, S, H the foci, Q′Cq a diameter, then Kq the tangent at q is ⅡPQ′. By a construction and a proof identical with those of an article in the second number of this Gazette we can show that rectle PQ.QK = SQ.QH, ∠ SKQ = QHP = PHQ′, ∆s PKS and PHQ′ similar, and ∴ rectle PS . PH = PK. PQ′. Through C draw a straight line ⅡQQ′, meeting PQ, PQ′ in F, F′, and cutting the tangent qK in E. QQ′ being ⅡFF′ and bisected by CP, CF = CF′; also Q′q being a diameter, CE = CF′. Thus E and F are the same point and coincide with K, and ∴ KC is ⅡQQ′.
Some General Principles of Analytical Geometry
Authors: Picken D. K.
Published: January 2007

The strength of analytical methods is generality. It is not quite easy to bring out effectively the essential generality of elementary Analytical Geometry, In that connection the following points appear to be of fundamental importance:

1. (i) If P, Q, R are collinear points, the ratio PR : PQ is positive or negative, according as the directions * PQ, PR are the same or opposite.

(ii) (1) Cartesian coordinates of the representative point P of a given plane are determined by reference to chosen axial lines xOx′, yOy′ in the plane, and the question of sign may be put thus, using (i) : If A, B are the points at unit distance from O on the half-lines Ox, Oy, respectively, and if the parallels through P to the axial lines intersect the x-axis at M and the y-axis at N, the coordinates x, y of P are given by x = OM: OA, y = ON: OB. They are essentially one-valued functions of the position of P.
Herbart’s View of the Place of Mathematics in Education
Authors: Greenstreet W. J.
Published: January 2007

The claims of Herbart on the attention of the teacher are at last being recognised in this country. Not merely is he deserving of study as one of the founders of modern psychology, not merely does he attract our interest as the central object of veneration of a rapidly increasing school in his native country and in the United States, but he also takes up a position apart from most philosophers, in that he actually devoted a large part of his life to the work of teaching, and deliberately applied his psychology to education. To the readers of this Gazette, the opinions of Herbart, who offers us this rare combination of the theorist of the first rank with the successful teacher of boys and men, will be of additional interest when it is realised that he plays somewhat the same rôle as the staunch advocate of Mathematics in the curriculum that Herbert Spencer does for Natural Science. He urges that “for six hours weekly” Mathematics should be “the beginning, middle, and end” of every system of instruction. And the fact that Mathematik is of wider connotation than we should now award to it will not deprive his remarks of much of their value. It will be as well, however, to bear in mind that he includes in this term all that is not comprised in Geschichte.