bluuebunny/crossref_metadata_2025 huggingface dataset:
The Calcutta Piano Trade in the Late Eighteenth Century
Authors: Wooqfield Ian
Published: November 2023

A significant factor in the trading strategy of London music retailers during the eighteenth century was their growing awareness of the demand for musical instruments among the inhabitants of the British overseas settlements. The early focus of this incipit colonial market lay along the as seaboard of Nonh America and in the West Indies, but profitable trading opportunities were also beginning to emerge in the East, fo1lowing the growth of British interests in the region.’ The transformation of India into a lucrative market for European instruments stemmed from the political earthquake that struck in the 1760s.
Musicians in the English Provincial City: Manchester, C.1860–1914
Authors: Russell Dave
Published: November 2023

In 1997 Cyril Ehrlich and I collaborated on a survey of recent writing on Victorian music.’ After our initial discussion, and refreshed by current tales of the musicological world, I set about producing a working draft. I have long har bored a fond belief that I could write both lucidly and economically but I watched with fascination (and, I hope, some benefit) as, over the next few weeks, my over-length draft was thinned and then toughened with a series of the taut, epigrammatic statements that are a hallmark of the Ehrlich style.
Miscellany vs. Homogeneity: Concert Programmes at the Royal Academy of Music and the Royal College of Music in the 1880s
Authors: Weber Vlilliam
Published: November 2023

The history of concert programming has yet to be written. Music historians have tended to take programmes for granted, turning to them chiefly to find dates of first performances. Cyril Ehrlich’s work on the Philharmonic Society is a major exception to this rule, inquiring into the nature of repertoire and providing extensive data on what was performed.’ We need to follow in his path to extend the systematic analysis of programmes and repertories, through quantitative techniques and through rethinking what programmes meant in broad cultural context. I have been struggling to move in such a direction in studying the evolution of canonic repertories between the late eighteenth century and the early twentieth. Big, important questions present themselves in this area.
Introduction
Authors: Piette Adam
Published: November 2023

When we read poetic prose, or prose we believe to be poetic, we are in the position of those auditors: hearing sweet sounds, a certain melody, being moved and softened, yet not knowing the precise causes. Is the music within the prose simply there as a meaninglessly ‘softening’ adjunct to syntax and sense-or is the author merely cheering him-or herself up along the bare and bitter tracts of narrative? Shelley’s sentence is sweet in this mysterious way. The -run along ‘sits’-’sings’-‘solitude’ resolves itself sweetly and aptly into ‘sweet sounds’, with the slight after-shock in ‘unseen’. ‘Melody’, similarly, finds echoes in ‘men’-’musician‘moved’, reinforced by a vowel-sound chiasmus. But beyond noticing this, how far can one go? The sounds of prose, even within the most intense passages, seem condemned to remain either pretty little mimetic tricks like the ‘melody’-‘sweet sound’ echoes, or unseen musical accompaniments threading through the halfsilent words to the satisfaction of the author alone. But Shelley’s poetic prose has another mimetic trick up its sleeve the mimesis of memory, memory of writing poetry.
Mallarmé and Poetic Prose: Le Démon et les rimes dissimulés
Authors: Piette Adam
Published: November 2023

Poetic prose cantend to direct its reader to meditate on the ways the imagination suffuses the people and words under its contemplation with the overflow of poetic desire, the rhythms and rhymes of the language of egotistical love. One of the directnesstors of this tradition is Nabokov’s Lolita. By 1955, deep suspicions about poetic prose are part of the writer’s arsenal. Critique of the egotism involved in the projection of desire has become a common accompaniment to an understanding of poetically in prose, to such an extent that the very presence of the acknowledged features of a ‘fancy prose style’ are sufficient witness to the rank wish-fulfilment of the narrative voice:
National and Post-National Identity
Authors: Price Monroe E
Published: November 2023

In addition to sustaining and strengthening the public sphere, government often claims a responsibility, to its citizens, to help sustain and enrich the national identity. As was true with respect to the public sphere, this government interest forces a relationship between the state and the media. In the first chapter, I defined national identity as the collection of myths, ideas, and narratives used by a dominant group or coalition to maintain power in a society. That is a fairly instrumental (and unusual) definition, but it is useful to set against the more appealing, popular, and less cynical uses of the term. The common invocation of national identity forwards the conviction that something is being described at a level of abstraction that all share in common above party or sectarian concern. Behind this second, more romantic view is that American-ness, German-ness, Russian-ness are all proper deeply rooted national identities and each has a unique historic essence. Institutions must be established to protect, nourish, articulate, and perpetuate such identities. Symbolic forms like flags, architecture, works of art, and treasured histories give form to these identities. The public schools, the university, the Church, and the broadcasting organizations are repositories of them as well. If the government supports these symbols and reinforces the ideas behind them, it is often assumed that it is doing so independently of sectarian political expedience.
A Taxonomy of Access
Authors: Price Monroe E
Published: November 2023

National identity claims automatically raise conflicts over content: whose identity, whose balance or perspective on race or gender or violence, will prevail and how will the narrative of the media change. In the US setting, there has been profound discomfort, as we have seen, with any explicit government role in affecting content. To cir cumvent this unease, but yet to address problems of great significance, government has sought, often, to shift to a focus on process, on the rules of the game, and to divert attention from outcome to the opportunities that competing speakers in the society have to tell their story. In this circumvention, the doctrine called ‘access’, an intriguing and fugitive element tom between democratic theory and notions of representation, serves as an umbrella, a catch-all term for the determination of who can use the electronic media to speak, when, and under what conditions.
The Open and Closed Terrain of Speech
Authors: Price Monroe E
Published: November 2023

Each communications technology, in the convoluted jurisprudence of the US Supreme Court, gives birth to a different test for the permissible regulatory capacity of government. Newspapers are virtually immune. Broadcast television warrants oversight so long as frequencies are scarce. Cable television is susceptible to federal governance because it presents a bottleneck between programmers and the house hold. These are the oft-criticized justifications for judicial decision. There are, however, other hidden distinctions that explain the Court’s preoccupation with differences among the media, distinctions based on the relationship between each technology and the social geography it generates.
Rules and Protocols, Beliefs and Understandings
Authors: Worthington Kim L
Published: November 2023

What scope is there for creative representation, if the human subject is simply the structural determinant, the’subjectum’, of’the structure of representation’, as Derrida seems to aver in the above citation? When considering the value and validity of the poststructuralist challenge to subjective essentiality we need to return to questions raised in my previous chapter: if my knowledge of myself and my world is wholly constituted within the bound aries of delimiting representative structures, how do I ever gain the (external) critical perspective which allows me to recognize, let alone challenge, them? How does the possibility of contestation ever arise if all thought is wholly constituted by social structures which reinscribe conventional norms and practices? Indeed, how do we begin to question the terms of our social and linguistic embeddedness when the terms, the questions, and the answers too are all performed in the circumscribed arena of social discourse? One needs to be sufficiently independent, and possess a degree of autonomous objectivity, a capacity for critical self-reflection, in order to become aware of one’s structural incarceration and to contemplate (let alone act on) alternative modes of being. Quite simply, a hardline poststructuralist conception of subjectivity fails to provide an adequate account of the human capacity for con testation, and certainly fails to account for the possibility of its own anti-authoritarian posture.
Rebellion from Within: Designing Alternatives
Authors: Worthington Kim L
Published: November 2023

Here Valentin Volosinov (thought to be a pseudonym of Mikhail Bakhtin) intends’word’ as both a word and as discourse, utterance (the Russian word slovo means both), an understanding which is crucial to the socio-linguistic work of the Bakhtin school of theorists. For Bakhtin,’word’ is always a social or’dialogic’ act; it is always directed outwards from a situated speaker in anticipation of a response:’The word in living conversation is directly, blatantly oriented towards a future answer word. It provokes an answer, anticipates it and structures itself in the answer’s direction.’ The meaning of’word’ is thus situated in the context of its utterance, in the dialectal play of articulation and response. The contexts in which words mean are always much more than verbal, involving the status, historical placement, and relationship between speaker and addressee and the object or subject of their discourse.
Parable, Professionalization, and Literary Allusion in Victorian Scientific Writing
Authors: Beer Gillian
Published: November 2023

Victorian scientific writing frequently invokes literary allusion or knits parable into argument. What were the functions of these invocations? What light can they throw on the social, ethical, intellectual, and even economic conditions of Victorian science? And how do they relate to the processes of professionalization? Language is a large institution.
The Reader ‘s Wager: Lots, Sorts, and Futures
Authors: Beer Gillian
Published: November 2023

When I first imagined this essay I set it in the late 1920s and 193 os, the period when the elegant expositions of Eddington and Jeans, and the fame of Einstein, were communicating to nonscientists how modern physics crazed categories and dislimned boundaries.
Square Rounds and Other Awkward Fits: Chemistry as Theatre
Authors: Beer Gillian
Published: November 2023

So writes Victor Frankenstein of his studies, studies that eventually led to the production of a monster. His description communicates enthusiasm, intelligence, obsession.
New Medieval Literatures: Breaking the Seal
Authors: Sease Wendy
Published: November 2023

The Essays in this first volume of New Medieval Literatures were mostly commissioned (not all of them-a few gained their places later, somewhat in Canons Yeomans Tale fashion, once the project had gathered momentum). What we wanted were essays that would challenge readers and potential contributors, and so in turn generate uncommissioned submissions for future issues of NML and a readership for them. Apart from being partly commissioned, in all other respects the volume was compiled along the lines we plan for future issues. Beyond requiring that all contributors should deal with some aspect of the textual cultures of medieval Europe (however defined), no theme or organizing principle was imposed. The subject of the volume is the essays themselves.
Textual Territory: The Regional and Genealogical Dynamic of Medieval Icelandic Literary Production
Authors: Ross Margaret Clunies
Published: November 2023

It is now over twenty years since Kurt Schier published an important essay on medieval Icelandic literature, which he entitled ‘The Rise of Literature in “Terra Nova”: Some Comparative Reflections’ .1 It is an important essay because it attempts to find plausible modern explanations for an extraordinary medieval phenomenon, the uniqueness and plenitude of the vernacular literature written in Iceland, which sharply distinguishes that island’s medieval literary production from that of all other medieval European societies. Even though we now better appreciate the debt of Icelandic writing to medieval Latin and other foreign models, thanks to the research and scholarship of the last hundred years, we still return to a set of striking characteristics of medieval Icelandic literature, which distinguishes it even from the literary products of the Icelanders’ closest geographical and cultural neighbours, the Norwegians.
Conceptions of the Word: The Mother Tongue and the Incarnation of God
Authors: Watson Nicholas
Published: November 2023

This paper is one in a series written to lay the groundwork for a book which has the working title ‘Balaam’s Ass: Vernacular Theology in Medieval England’. In particular, it forms half of a diptych of papers whose joint theme is the theological meanings of the vernacular; the other is ‘Visions of lnclusion: Universal Salvation in Pre Reformation England’, Journal of Medieval and Early Modern Studies 27 (1997), 145-87. Other papers whose concerns overlap with this one are The English Mystics’, in David Wallace (ed.), The Cambridge History of Medieval English Literature: Writing in Britain, Io66-I547 (Cambridge, forthcoming); and ‘Censorship and Cultural Change in Late-Medieval England: Vernacular Theology, the Oxford Translation Debate, and Arundel’s Constitutions of 1409’, Speculum, 70 (1995), 822-64. Early versions of parts of the paper were read at ‘The Cultural Work of Ritual, Symbol, and the Other’, University of Western Ontario (London, Ontario, Canada) in February 1995; at ‘Women in the Christian Tradition’, European Science Foundation Conference (Strasbourg, France), October 1995; and to the medieval seminar at Berkeley, California, in March 1996.
Childhood, Pedagogy, and the Literal Sense: From Late Antiquity to the Lo/lard Heretical Classroom
Authors: Copeland Rita
Published: November 2023

The study of English religious dissent in the Middle Ages has become entrenched in the synchronic regimes of social and literary historicisms. The Lollard movement and some of its radical textual effects are read as products of, or factors in, historically localized intersections: late medieval theology and ecclesiology; English sacramental and devotional practices; social and political ruptures; and literary and intellectual relations in late medieval English culture. The vernacular textual effects of the Lollard movement find a remarkable historiographical fit in the now-dominant materialist orientation of English literary studies, and it is probably safe to say that no Continental heretical tradition of the Middle Ages has been so successfully incorporated into a mainstream literary historicism.
When a body meets a body: Fergus and Mary in the York Cycle
Authors: Evans Ruth
Published: November 2023

Within postmodernism the body is no longer a foundational category but an object of persistent critique. For Biddick, historicizing Judith Butler,1 the body in the Middle Ages does not pre-exist its inscriptions of sex, gender, sexuality, or ethnic identity but is constructed and maintained as ‘natural’ through the historical meanings of these other categories. Medieval theories of sex difference, for example, derive not from biological ‘realities’ but from the meanings ascribed to the corporeality of the body (such as Galen’s well-known theory that bodily heat is a sign of perfection), and these are both produced by and in turn produce other categories as ‘natural’ (that woman is cold by nature and therefore less perfect than man).2 The body is a thoroughly political, not ontological, category.
Unknown Ends Volpone
Authors: Donaldson Ian
Published: November 2023

AT the end of the fourth act of Jonson’s late comedy, The Magnetic Lady (1632), the restless spectator Damplay is confident that he knows how the play will conclude. ‘Why, here his Play might have ended, if hee would ha’ let it’, he declares, ‘and have spar’d us the In the Boy’s precocious commentaries throughout The Magnetic Lady, Jonson, ‘finding himselfe now neare the close, or shutting up of his Circle’, makes a final statement about the assumptions and strategies that had governed a lifetime’s work in the theatre, and the ‘bounds’ and limitations within which he had chosen to operate as a dramatist. 1 ‘Perplexe’, ‘cheat’, ‘unexpected’ are suggestive terms in relation to Jonson’s dramatic practice, which traded always in com plexity, secrecy, and surprise. The endings of Jonson’s plays are sel dom predictable, and Damplay is soon to discover that his guesses about the resolution of The Magnetic Lady are entirely mistaken. In their final acts, Jonson’s plays grow denser, busier, more perplexing, as the action moves through unforeseen complications to equally un foreseen conclusions.
Politic Picklocks Reading Jonson Historically
Authors: Donaldson Ian
Published: November 2023

A Central problem in the methodology of both the new and ‘old’ historicism turns on the nature of the link that is assumed to exist be tween historical description and literary interpretation. The mono lithic accounts of Elizabethan systems of belief assembled by so-called old historicists such as E. M. W. Tillyard (it is common these days to complain) often seem quite at variance with the diverse and at times rebellious energies of the literary texts which they are apparently devised to illuminate. Even in the work of a more sophisticated old historicist such as L. C. Knights the supposedly related activities of historical and literary investigation seem often to tug in contrary directions. The divergence is apparent, for example, in the very structure of Knights’s influential study, Drama and Society in the Age of Jonson, the first half of which offers a stolid, Tawney-derived historical account of economic conditions in England during the late Elizabethan, early Jacobean period (entitled ‘The Background’), while the second half (‘The Dramatists’) advances livelier readings of the work of individual authors. The connections here between foreground and ‘background’, text and context, ‘drama’ and ‘society’, literature and history are quite loosely articulated and theoretically undeveloped.
Fathers and Sons
Authors: Donaldson Ian
Published: November 2023

Literary relationships are in some respects like family relation ships, as Ben Jonson and John Dryden were each acutely aware. The notion of a poetic lineage was of particular and absorbing interest to both men, and it seems natural therefore to ask about the kind of relationship, the family tie, that may subsist between them. There are fortuitous but significant similarities in the shape of the two writers’ careers. Both Jonson and Dryden attended Westminster School, and retained from their schooldays a lifelong interest in classical transla tion, imitation, and precedent. Both were converted in adult life to Roman Catholicism, Jonson returning to the Anglican faith after a dozen years, Dryden persevering in his new religion until death. Both men for a time received a royal salary and a butt of wine in recogni tion of their poetic eminence, Jonson being (in fact if not in name) England’s first Poet Laureate in the modern sense, Dryden later suc ceeding to this (by now officially designated) position. 1 Each presided over a literary coterie: Jonson, gregariously, at the Mermaid tavern, Dryden, more soberly, at Will’s Coffee House. Each at tempted also to shape public opinion through numerous critical writings which often defended, and set in a longer historical per spective, their own literary practice.
Contributions to Periodicals
Authors: Peterson William S
Published: November 2023

AS a general rule, I have recorded only the first appearance of poems in periodicals, but there are a few exceptions to this practice: I do list some of the reprintings of Betjeman’s early poems in Oxford magazines and the Architectural Review , because they illustrate his growing literary reputation, and when poems appeared more or less simultaneously in British and American periodicals, I have recorded both. Additional details about the poems can be found in the Notes about the Poems section. Reprintings of prose pieces in the standard col- lections of Betjeman’s works (such as First and Last Loves and Coming Home ) are recorded.
Translations
Authors: Peterson William S
Published: November 2023

THE brevity of this section certainly suggests that Betjeman’s poems do not translate easily into other languages or cultures. E1 Hawkins, A. C. ‘Le poète Anglais John Betjeman.’ Le journal des poètes , no. 10 (December 1958): 4. ¶Accompanied by translations into French (by Georges Sion) of ‘Business Girls’, ‘Sun and Fun’, and ‘Devonshire Street w.1’. Illus. E2 Donini, Filippo. Gerani . Milano: Nuove Edizioni, 1966. ¶In the section entitled ‘Traduzioni da poeti inglesi’, there is a translation into Italian of ‘A Subaltern’s Love Song’ (‘Canto d’amore di un subalterno’, pp. 65–6).
Interviews
Authors: Peterson William S
Published: November 2023

BETJEMAN was a well-known public personality for a good part of his life and was much in demand for journalistic interviews; the number of them actually published is probably beyond counting. And it is not difficult to understand why: he clearly was an amusing and lively subject, full of opinions and energy (inter- viewers often seem to have been pulled along in his wake as he stepped briskly across a street), and he was capable of clever improvised monologues on most of his favourite subjects.
Recordings
Authors: Peterson William S
Published: November 2023

THIS section includes only audio recordings by Betjeman himself that have been commercially distributed and sold, and even within those limits it does not aim at comprehensive- ness. If a recording is based on a particular broadcast, it is listed in the Radio and Televi sion sections, below. I have also excluded anthologies in which Betjeman reads just a few of his own poems. ¶The National Sound Archive at the British Library has hundreds of archival recordings of Betjeman reading his poetry, interviews, etc.
About Betjeman
Authors: Peterson William S
Published: November 2023

THIS section is highly selective. Although a great deal has been written about Betjeman, most of it takes the form of reviews of his books and ephemeral newspaper commentary. I have usually excluded the latter category of material, but I have tried to list enough journalistic coverage (especially from his Laureate period, while ignoring his school and university years) to give a reasonable sample. ¶The fullest accounts of the life are Bevis Hillier’s biography— Young Betjeman (1988), New Fame, New Love (2002), and The Bonus of Laughter (2004)—and Candida Lycett Green’s linking narratives in the Letters .
Unidentified or Unpublished Prose
Authors: Peterson William S
Published: November 2023

GIVEN the whirlwind pace of Betjeman’s literary career, inevitably one is confronted with fragmentary manuscripts, proofs, cuttings, lists of his own publications (uv), and ambiguous allusions in the correspondence that cannot be fully identified. These incomplete entries are listed here in chronological sequence. All are prose; drafts of poems are in Notes about Poems , above, and unidentified lectures and talks are in Lectures , also above. It is of course possible that some of these items are bibliographical ghosts, because Betjeman often began projects that were never completed, and some may be identical to items listed elsewhere in this bibliography.
De Quincey and the Edinburgh and Glasgow University Circles
Authors: Lindop Grevel
Published: November 2023

De Quincey’s relationship with the world of scholarship was always a problematic one. The most brilliant and independent minded of students, he fled from Oxford in 1808 half-way through degree examinations which had augured outstanding success, just as six years earlier, an admired and privileged senior boy, he had absconded from Manchester Grammar School. It is somehow characteristic that the world of Scottish academia, which was to prove so fruitful and supportive for his later literary career, should first be mentioned in his work only to receive a contemptuous dismissal.
The Critic as Journalist: Leavis after Scrutiny
Authors: Collini Stefan
Published: November 2023

How to have a human civilization in a world of academic specialism? The dominant answer of our century has been: journalism, which creates a human world and comments upon it, but only as it uses a language far less capable of showing thought than of providing amusement and stimulation.
Teachers, Writers
Authors: Miller Karl
Published: November 2023

It would seem to be part of the point of institutions that they don’t get on, or at any rate, that the members of an institution are apt to attach importance to being seen as separate from the membership of other institutions in the vicinity. This has often been true of the two of which, for many years, I enjoyed a simultaneous experience: the humanities as pursued in the university system and the loose confederation represented by novelists, poets, critics and biographers. The literary community is not like the Norwich Union. It is as much a small world, or a diaspora, as it is an institution. But the term can be used here without undue discomfort. The literary community has, institutionally enough, its Society of Literature, its Society of Authors, its Public Lending Right, its cadres of poets, novelists and journalists, its honours, ceremonies and clubs, and its conventions of solitude and dissent.
Introduction
Authors: Evans Peter William
Published: November 2023

Despite calls for greater effort in production, distribution, and exhibition, the Spanish cinema-still of course overshadowed by Hollywood which continues to earn by far the lion’s share of box office income-has been in recent years, through its own devices, but also sometimes helped by state or TV (especially Canal +) sponsorship, experiencing something of a boom.1
Bienvenido Mr Marshall! (Berlanga, 1952)
Authors: Rolph Wendy
Published: November 2023

Of the seventeen feature films which Luis Garcia Berlanga has directed over a long and occasionally controversial career, ¡Bienvenido Mr Marshall! (1952) remains the one which has most consistently been identified as marking a turning point in the history of Spanish cinema. Hence the appropriateness of its inclusion in this volume. Successive generations of writers on Spanish cinema, regardless of their theoretical grounding, historical perspectives, or critical approaches, have repeatedly reaffirmed the film’s significance on both influential and qualitative terms. As a consequence, its reappearance continues to be virtually guaranteed on lists, surveys, and catalogues of the hundred, fifty, and even the ten ‘best’ films ever made in Spain.1 A canonical text from a break through decade, i Bienvenido Mr Marshall! has been etched into collective memory for the decisiveness of its impact on the audi¬ences of its era and the effectiveness with which it cracked open new possibilities for engagement with significant socio-political commentary within conventional comedic modes.2 But the future of the film is becoming as interesting as its past.
Fetishism and the Problem of Sexual Difference in Buiiuel’s Tristana (1s970)
Authors: Labanyi Jo
Published: November 2023

BUÑUEL chose to film Gald6s’s 1892 novel Tristana because its heroine has her leg amputated (Sanchez Vidal 1984: 330; 1994: 272). While acknowledging the recurrence of foot fetishism in Bufiuel’s work, critics have largely seen his insistence on Tristana’s mutilated stump and artificial leg as a critique of a ‘castrating’ traditional society: a reading encouraged by Bufiuel’s surrealist iconoclasm and political exile, plus the scandal over the only other film he made in Franco’s Spain, Viridiana, which was stripped of its Spanish nationality and banned in Spain after winning the Palme d’Or as Spain’s official entry to the 1961 Cannes Film Festival.
Sex Change and Cultural Transformation in Aranda and Abril’s Cambio de sexo (1977)
Authors: Kinder Marsha
Published: November 2023

IN March I997 I attended a sold-out screening of Cambia de sexa (I977) in Los Angeles that was part of a ‘Vicente Aranda Tribute’ within the American Cinematheque’s annual series on ‘Recent Spanish Cinema’ -a screening which enabled me to see this film with new eyes. Recognizing many persons in the audience and overhearing conversations about the film, I realized this was not the typical crowd for the annual Spanish series, which usually has a particular interest in Hispanic culture. Rather, these enthused spectators were primarily gay males or fans of Victoria Abril, whom most of them probably came to know in Pedro Almodóvar’s outrageous melodramas, such as jAtame! ( I989 ), Tacanes lejanos (I99I), and Kika (I993); or in the French nominee for the I995 foreign-language Oscar, French Twist; or in Aranda’s noir thriller Amantes (I99I), his only box-office success thus far in the United States.
Feminism, Politics, and Psychosis in Fernán Gómez’s Mi hija Hildegart ( 1977)
Authors: Keown Dominic
Published: November 2023

THERE can be little doubt, even in a cinematographic context as anomalous as post-war Spain, that there can have been few careers as peculiarly incongruous as that of Fernando Fernán Gómez’s. His performance as actor, author, and director has ranged consistently from the highly acclaimed to the most rigorously censured: a creative trajectory which, perhaps not unsurprisingly, has been exactly paralleled in the perception of his endeavour in the sphere of political resistance to the regimer. As a result, it is not unusual that a similar disequilibrium should characterize his disturbingly provocative essay of 1977, Mi hija Hildegart.
Epílogo (Suárez, I984)
Authors: Ros Xon De
Published: November 2023

GONZALO Suárez’s Epílogo stands as a marker in the cultural history of democratic Spain. The film registers the changing poetics of that period from the late 1960s to the early 1980s which saw the development of modern cinema: from the subversive cinema of the 1960s generation, whose aesthetics were absorbed and commodified in the films of the 1970s, until the 1980s where there was a drift back into genre revisited as parody or pastiche. From the vantage point implicit in its title Epilogo offers a reflec-tion on the demise of the second wave of modernism against the background of the culture industry.
Qué he hecho yo para merecer esto? (Almódovar, 1984)
Authors: Triana-Toribio Núria
Published: November 2023

QuÉ he hecho yo para merecer esto? is a story of the migrant rural poor, the urban dispossessed of Spain in the 1980s. Its characters live in the suburban Barrio de la Concepcion, a horrid Madrilenian 1960s high-rise complex overlooking the M30. Gloria (Carmen Maura) is an overworked working-class housewife who cleans, washes, and cooks for her uncommunicative and abusive taxi-driver husband (Ángel de Andrés), two teenage sons (Juan Martfnez and Miguel Ángel Herranz), and a mother-in-law (Chus Lampreave) who dresses in traditional black from head to toe. In order to supplement their income, Gloria cleans in a gym and other people’s flats and to keep herself going she takes ‘Minilip’, which is in fact amphetamine.
Las cosas del querer (Chávarri, 1989)
Authors: Perriam Chris
Published: November 2023

Las cosas del querer (Jaime Chávarri, 1989) tells the story of three musical variety performers, Pepita (stage name Dora) (Ángela Molina), Mario (Manuel Bandera), and Juan (Angel de Andres López), brought together by chance at the end of the Civil War and building a career in the first years of the Franco era with shows based around popular Spanish songs, traditional and contemporary.
Promiscuity, Pleasure, and Girl Power: Fernando Trueba’s Belle Époque (1992)
Authors: Jordan Barry
Published: November 2023

In an industry normally characterized by almost permanent crisis, Belle Époque was undoubtedly one of the major Spanish film success stories of the early 1990s. At the Seventh Annual Goya Awards (held on 13 March 1993), sponsored by Spain’s own Film Academy, Trueba’s stylish, period sex comedy virtually swept the board, picking up nine out of twenty-three prizes, including those for best film, best director, best actress (Ariadna Gil), best supporting actor (Fernando Fernán Gómez), and best screenplay (involving Rafael Azcona and José Luis García Sánchez, as well as Trueba himself) (UK Press Book (Apr. 1994): 3-4; Cine & Teleforme (Apr. 1993): 52).
The Eroteticism of Nadie hablará de nosotras cuando hayamos muerto (Díaz Yanes, I995)
Authors: Bentley Bernard p. E
Published: November 2023

From present discussions and current film reviews, a ‘gripping’ film is frequently defined as one which contains much action, usually in sequences that have been rapidly edited, now more easily achieved with digitized editing, from a mosaic of different shots more often filmed with a steadycam camera closely tracking the characters portrayed. Nadie hablará de nosotras cuando hayamos muerto certainly reflects all these elements. It is packed with action and filmed with a constantly moving camera. Close shooting of the subjects, often framing out the tops of heads and cutting below the shoulders, as well as sharp editing, soon establishes itself as a norm, which lends medium and long shots particular significance.
Poetry, Narrative, and Violence
Authors: McDonald Peter
Published: November 2023

It is one of the current vices of critical style to hedge vocabulary with the visible protection of quotation-marks, a tricksiness which, in proclaiming so clearly the awareness of danger, succeeds often in conveying no more than the author’s anxiety to be seen as intelligently self-conscious.
Paul Muldoon and the Windlass-Men
Authors: McDonald Peter
Published: November 2023

The centrality of form to poetry, from the point of view of a critic, is always shadowed by its potential for apparent critical triviality. For the writing poet, on the other hand, the matter of formal constraint seems overwhelmingly serious; a rhyme missed, like a fluffed cadence or a clumsy repetition, looms much larger than a line’s critical ‘meaning’ in the process of composition. Yet for a critic only to analyse poems at this level would be, eventually, tedious beyond bearing, and would also deny readers access to much of what we understand by interpretation. Although we often choose not to ask ourselves the question of how important it is, the significance of poetic form in interpretation is central to what readers and critics do with poetry.
The Savage with Hanging Breasts Gulliver, Female Yahoos, and’Racism’
Authors: Rawson Claude
Published: November 2023

One day, towards the end of his narrative about the land of the Houyhnhnms, Gulliver is, as we would nowadays say, sexually harassed by a female Yahoo, one of those bestial humanoids who live in the country of the rational horses. It is an ‘exceeding hot’ day, and he asks his Houyhnhnm ‘Protector’, the Sorrel Nag, for permission to bathe in the river: He consented, and I immediately stripped myself stark naked, and went down softly into the Stream. It happened that a young Female Yahoo standing behind a Bank, saw the whole Proceeding; and inflamed by Desire, as the Nag and I conjectured, came running with all Speed, and leaped into the Water within five Yards of the Place where I bathed. l was never in my Life so terribly frighted; the Nag was grazing at some Distance, not suspecting any Harm: She embraced me after a most fulsome Manner; I roared as loud as I could and the Nag came galloping towards me, whereupon she quitted her Grasp, with the utmost Reluctancy, and leaped upon the opposite Bank, where she stood gazing and howling all the time I was putting on my Cloaths.
Introduction
Authors: Bryden Mary
Published: November 2023

‘A book could be written on the significance of music in the work of Proust’, wrote Samuel Beckett in his 1931 study of Proust. Over sixty years later, it seemed to me that Beckett’s writing had supplied a similar proposition: namely that a book could-indeed should-be written on the significance of music in the work of Beckett. That the experience of music was profoundly important to Beckett was clear to those who knew him, including several amongst the contributors to this volume. The artist Avigdor Arikha spent many hours listening to music with Beckett and asserts that ‘Listening to music was essential to him.’ Although Beethoven, Schubert, Haydn, and Brahms featured prominently, they also listened, during the 19 50s, to twentiethcentury serialist music. Indeed, although Beckett’s interest in dodecaphonic music is not generally recognized, his correspondence with Thomas MacGreevy reveals a positive response to Schoenberg, Berg, and Webern as early as 1949.
Words for Music Perhaps
Authors: Worth Katharine
Published: November 2023

My title is borrowed from Yeats, who used it for a collection of his poems admired by Beckett and possibly in his mind at the time of writing Words and Music (Words’s ‘Arise then and go now’ makes sly allusion to ‘The Lake Isle of Innisfree’). The tentative, exploratory ring of Yeats’s ‘Perhaps’ seemed rather apt for Beckett’s dramatic uses of music in Words and Music (1962) and Cascando (1964). I offer a few reflections on the role of music in these plays, arising from the experience of producing new versions of them (in 1973 and 1984 respectively), with music by Humphrey Searle. I cannot speak of the music in musical terms, only from the viewpoint of someone seeking to understand better the thrust of the plays and how music enters into this. It is the account of a personal response, though I hope it may have some general interest.
Beckett and the Sound of Silence
Authors: Bryden Mary
Published: November 2023

The composer John Cage was adept at asking questions. In his spoken and written dialogues he often presents them in the guise of answers. Thus the reader is rendered recruit, co-respondent, neophyte. This is, I think, consonant with an art—that of music—which Samuel Beckett once described as ‘perfectly intelligible and perfectly inexplicable’ Those three activities cited by Cage—composing, performing, listening—are all implicated within the phenomenon we call music. Conventionally, and most simply, they are executed, in linear fashion, by three separate functionaries: composer composes…performer performs…listener listens.
Beckett and Holliger
Authors: Albera Philippe
Published: November 2023

When Heinz Bolliger chose to write musical settings for Beckett’s Come and Go and What Where, he was choosing two plays which undoubtedly lend themselves to music: not only does their structure combine the principle of variation with the rondo form, but also the language relinquishes much of its denotative function by concealing from us the very subject of the discourse: it remains secret, or unnamable. Come and Go and What Where can thus be affiliated with musical scores, in which everything is noted with the greatest of precision (especially at the level of playing directions), but which at the same time require a performance and an interpretation. It is in effect the reader-or the spectator-who is called upon to define the context in which archetypical situations and essentially banal conversation may assume meaning. In shifting Beckett texts into a musical space, Bolliger thereby suggests his own interpretation.
End Games
Authors: Szendy Peter
Published: November 2023

Among the texts Heinz Bolliger chose to stage were two ‘dramaticules’ by Samuel Beckett-Come and Go and What Where-which, by means of radical reduction, mould the dialogue within a strict combinatory pattern. Hence, the very mechanics of the dialogue are called into question: how can it achieve resolution, how can the end game be reached?
Songs Within Words: the Programme TXMSand the Performance of Pingon the Piano
Authors: Barlow Clarence
Published: November 2023

It was in early 1971 that I first treated music as an abstract art. My compositions previous to this show an abundance of permutatory and probabilistic mechanisms, but their methods of application and the resultant sounds were invariably and obviously a product of my cultural background, a phenomenon even more evident in my recent work. In 1971, however, a passing need to purge my methods of personal traits drove me to a closer awareness of the role of cultural roots within the act of composing.

In my eyes, the work of John Cage, then meaningful to me, sought to circumvent musical tradition by generating unpredictable sounds through multiple and complex operations. These he entrusted nonetheless to musicians, without whose cultural specialization the intended work could neither be realized nor performed.
Between Word and Silence: Bing
Authors: Bosseur Jean-Yves
Published: November 2023

How can we initiate a musical process in relation to a text by Samuel Beckett without taking away its nakedness, and violating its essential purity? How can we undertake a temporal project which is likely to place word and sound on equal terms? How can we conceive a musical thought which does not just tack itself onto the literary discourse, but which can melt into it? These arc just a few of the questions I pondered when I first considered working on a text by Samuel Beckett. In fact, I did not wish to set to music a pre-existent text, but rather to inflect it in a musical or even operatic direction-preferably with Beckett’s cooperation-while somehow bringing out its inherent musicality. In fact Beckett’s writing already seemed musical to me, each text having its own rhythm, and that is why I wasn’t the slightest bit surprised when he told me, during our first meeting, that he dreaded the domination by music of a spoken word which in itself represented an attempt to interweave these two modes of expression.
True Lies and False Truths: Measure for Measure and the Gospel
Authors: Marx Steven
Published: November 2023

The title of Measure for Measure comes from a prominent gospel saying of Jesus: ‘judge not that ye be not judged. For with what judgement ye judge, ye shall be judged: and with what measure ye mete, it shall be measured to you again.” Biblical references pervade this play, which more than any other of Shakespeare’s is constructed like a medieval allegory. Characters are named for abstractions.
Oriental Precedents: The Novelty of America and its Modernist Reform
Authors: Stamy Cynthia
Published: November 2023

Everyone who writes about the Orient must locate himself vis-à-vis the Orient; translated into his text, this location includes the kind of narrative voice he adopts, the type of structure he builds, the kinds of images, themes, motifs that circulate in his text —all of which add up to deliberate ways of addressing the reader, containing the Orient, and finally, representing it or speaking in its behalf. None of this takes place in the abstract, however. Every writer on the Orient (and this is true even of Homer) assumes some Oriental precedent, some previous knowledge of the Orient, to which he refers and on which he relies. Additionally, each work on the Orient affiliates itself with other works, with audiences, with institutions, with the Orient itself.
A Chinoiserie of Manners and Marvellous Creatures
Authors: Stamy Cynthia
Published: November 2023

‘One notes the surprising usefulness of animals as aids to self expression’, Marianne Moore wrote in ‘Art and Interpretation’, her review of the Museum of Modern Art’s ‘Exhibition of the Marvelous’ in 19 37. Her observations are appropriately linked to her opinions of the marvellous, for Moore was inspired by the dragons (long), kylin or Chinese unicorns (qilin), basilisks,2 tortoises (mythological figures in Chinese lore), and other strange, if not magical, beings which populate her poems. These and other imaginary beasts were of enormous interest to Moore, and her library and file collection attest to the range and depth of her study of them. References to dragons appear in published poems such as ‘The Plumet Basilisk’ and in its notes, ‘Half Deity’ (193 5 ),3 and ‘O To Be A Dragon’.
Combination and Conspiracy
Authors: Orth John V
Published: November 2023

Combination and Conspiracy covers the formative era of English labour law from the eighteenth century when organizations of skilled workers emerged from the guild system, to the early twentieth century when national unions used their democratic political power to secure a favourable legal regime. The notorious Combination Acts of 1799 and 1800 are placed firmly in the context of the preceding series of statutes for particular trades and places, as well as related to the developing law of conspiracy. This book rescues from obscurity the Molestation of Workmen Act in the mid-nineteenth century, the product of a curious collaboration by trade unionists and Conservative politicians, and integrates it with changing notions of contract as the basis of industrial relations. Finally, the book presents the foundations of modern labour law, the legislation of the 1870s (as amended in 1906), as the culmination of a centuries-long process of statutory and precedential development.
Master and Servant
Authors: Orth John V
Published: November 2023

‘Master and servant’ came to be the shorthand by which the legal profession described the employment relationship. The label was not inevitable; originally it had applied only to domestic service. Blackstone, for whom master and servant was one of the ‘three great relations in private life’-the other two being husband and wife and parent and child-lengthened the list to include (in addition to domestics): apprentices, agricultural labourers, and superior servants such as stewards, factors, and bailiffs. The society implied by this catalogue was familiar to the Oxford students who heard Blackstone lecture in the mid-eighteenth century: it was the world as seen by the landed aristocracy and country gentry. The world as remade by the Industrial Revolution, the world of the mill and the factory, was peopled by masters, lately called employers, and workmen or journeymen, once also called (as we have seen) manufacturers. None the less the legal profession in the nineteenth century subsumed all the above into master and servant. Certainly it lent an air of antiquity, perhaps comforting in an age of upheaval; perhaps it was also meant to put-and in so far as possible to keep-the new industrial proletariat in its place.
The Law of Strikes: 1859-1871
Authors: Orth John V
Published: November 2023

The strike was a product of the Industrial Revolution as surely as were the miles of cotton cloth that rolled off the looms of Lancashire. The use of the word ‘strike’ to mean a concerted stoppage of work was a neologism in the late eighteenth century, apparently borrowed from the practice of protesting sailors to strike or lower the sails. The 1824 select committee, as we have seen, introduced the word in its resolutions, explaining it as ‘suspension of work’. By the mid-nineteenth century it was established usage, although cautious writers continued to set it off in inverted commas in recognition of its recent origin. In 1867 a barrister could take for granted that a jury knew what it meant, the term being, he said, ‘now perfectly well understood’. By 1923, a few years before the General Strike, only children and animals could have been in doubt, so Dr. Dolittle obliged with his definition.