bluuebunny/crossref_metadata_2025 huggingface dataset:
A Tribute to the Great Ascetic of Bijapur, Padma Shri Kakasaheb Karkhanis
Authors: Lahiri Nayanjot
Published: January 2021

Translated from Marathi, this piece provides an insight into the life of the Gandhian Kaksaheb Karkhanis and also reveals the affection and respect that Deshpande had for him.
Conclusion
Authors: Orvell Miles
Published: January 2021

The conclusion of Empire of Ruins recalls the book’s examination of ruin photography as it relates to modernity—the traumas of war and climate change. But it places that narrative within a larger context by relating this theory of American ruins to a historical conjunction between ruins and revolution that has been visible in European history for centuries. Most notably, it is visible in Hubert Robert, who painted ruins during the French Revolution, and in Joseph Gandy, who depicted John Soane’s Bank of England as a future ruin, emerging from the financial crisis of the 1820s. Thomas Jefferson, during the American Revolution, had the same fear of future ruin that Thomas Cole had in his epic series, The Course of Empire, painted in the 1830s. And in the revolutionary moment of the Great Depression, Stephen Vincent Benét imagined—in a classic work of speculative fiction—a future world in which the ruins of the present world would be discovered. That same trope, recalling Doré’s New Zealander, is used by contemporary artist Ellen Harvey in her satiric sculptural installation, The Alien’s Guide to the Ruins of Washington, D.C. The book ends with a reflection on J. B. Jackson’s famous argument for the necessity of ruins and whether our present trajectory will allow us to begin again.
Subterranean and Anchialine Waters
Authors: Bishop Renée E. , Humphreys William , Jaume Damià
Published: January 2021

Crustaceans have successfully colonized the subterranean habitat, and many have become obligate inhabitants, occurring virtually everywhere there are interconnected voids underground. With the exception of most oniscidean isopods and a few talitrid amphipods, subterranean crustaceans inhabit water (stygobionts), where they dominate the stygofauna both in biomass and diversity of species. Four major taxonomic groups predominate: amphipods, isopods, copepods, and ostracods. Although most higher crustacean taxa have representatives in both epigean and subterranean habitats, some groups such as remipedes, thermosbaenaceans, spelaeogriphaceans, bathynellaceans, mystacocarids, and gelyelloid copepods are known only from the subterranean environment. Subterranean habitats vary physically and range from organically rich shallow habitats around seeps to cave systems more than a kilometer deep. Water quality, which can range from fresh to marine to hypersaline, static to flowing, and oxic to suboxic, impacts species distribution. Dispersal patterns in subterranean crustaceans are also diverse. Freshwater stygobiont crustaceans have narrow endemic ranges, and their dispersal is limited by saltwater. The distribution of several freshwater taxa might reflect the movement of tectonic plates. The extraordinarily diverse anchialine fauna, initially distributed along the Tethyan coast, was likely spread by vicariance due to movement of tectonic plates. Originating from epigean ancestors, many stygobionts have a marine origin. While the existence of preadaptations does not necessarily guarantee successful colonization of the subterranean habitat, a suite of characteristics is frequently observed in subterranean crustaceans, with most being weakly chitinized, lacking or with reduced eyes and pigments, and enhanced non-optic sense organs. Metabolic rates tend to be lower than in epigean crustaceans. Limited evidence indicates subterranean crustaceans are longer lived with lower reproductive potential. These adaptations make subterranean crustacean populations particularly vulnerable to anthropogenic impacts. The morphological, physiological, and life history adaptations to a subterranean existence are most likely common responses to the physical environment of each subterranean ecosystem. Extensive biodiversity and phylogeography studies are still required, and there is a pressing need to comprehend the functional role of stygofauna in subterranean waters.
Impossibilities, Normalized
Authors: Swenson Kristin
Published: January 2021

This chapter examines biblical oddities and assumptions. There are two general categories of biblical oddity: the matter-of-fact weird and the admittedly weird. The first category comprises peculiarities and strange events that biblical texts report without any notice of the fact that they are extraordinary. The second contains peculiarities that the Bible draws attention to as peculiar. Without resorting to one-size-fits-all scientific explanations or simply explaining away the Bible's oddities with modern arrogance, this chapter helps readers get a handle on the whys and wherefores of the Bible's miracles and its reason-defying assumptions, appreciating how they may have come to be, the roles they play, and the ways that one might either make sense of them today or simply recognize them for their very strangeness.
Biblical (Im)Morality
Authors: Swenson Kristin
Published: January 2021

This chapter considers those instances wherein the Bible espouses questionable ethics. In the process, it shows how the Bible often upends modern expectation. The texts beg us to take a step back and acknowledge that just because something is in the Bible does not make it right. From ethnic cleansing to owning human beings to not-so-Christian family values, the Bible is hardly a transparent model of righteousness through and through. This chapter notes some of those texts, contextualizes them where it is helpful and appropriate to do so, suggests ways besides the prescriptive to think about how one treats those passages, and simply acknowledges that their existence shows that the Bible may not always be what we expect or wish it to be.
The Perennial Bestseller
Authors: Swenson Kristin
Published: January 2021

This chapter presents the ways the Bible has permeated modern culture, especially outside of predictable settings such as synagogues and churches. From characters and poems to sayings and storylines, the Bible provides an astonishing number of expressions, practices, and tropes that still resonate today. The chapter discusses a mere fraction of biblical phrases and imagery that have found their way into modern discourse, making familiar what nevertheless bears surprising peculiarities. Individual characters and stories also show up in reimaginings that are sometimes quite rich and provocative. It is not always necessary to know their biblical origins to appreciate modern usage, but the value of knowing about the Bible, regardless of what one believes, can be a safeguard against the kinds of misuse that cause discord and outright damage.
Introduction
Authors: Mercer-Taylor Peter
Published: January 2021

THIS IS NOT an autobiography. This book’s central characters were in their graves decades before the Oklahoma in which I grew up—far from the American Northeast that was home to most of them—even achieved statehood.1 But the American musical journey I trace in these pages has stronger autobiographical overtones than we might expect....
Heyday
Authors: Mercer-Taylor Peter
Published: January 2021

The vast expansion of the American music-making infrastructure through the 1840s brought with it a vast expansion of interest in psalmodic adaptations of classical music. Hundreds of such adaptations appeared in a gathering wave of activity that crested around 1850. This chapter’s survey of this midcentury mania sets off with George Kingsley, whose 1838 Sacred Choir (with 24 tunes culled from major composers’ work) spearheaded this wave, and whose commitment to such adaptations proved more energetic and sustained than any contemporary’s. The discussion goes on to center on two hubs of activity in turn: New York (home to such compilers as Ureli Corelli Hill, Elam Ives, William Bradbury, and Thomas Hastings) and Boston (where the effort was led by Lowell Mason and Benjamin Franklin Baker). The chapter closes with reflections on the manifold reasons for the practice’s steep decline after about 1853.
Product of Her Mother’s Imagination
Authors: Wink Paul
Published: January 2021

This chapter, “Product of Her Mother’s Imagination,” probes the origins of Callas’s life-long conviction that she was celebrated not for her intrinsic worth but for her exceptional talent. Callas developed early in life an ambition to become a celebrated artist, one that she pursued with fierce dedication and commitment. Yet throughout her life she maintained that her career had been imposed upon her, that her mother compelled her to sing professionally, and this lingering view led to an ambivalent relationship with the world of opera. Callas’s sense of superiority derived from being celebrated by her mother as a gifted child but coincided with feelings of vulnerability and inferiority reflecting her perception that she was loved only because of her voice. Her feelings of being unloved and inferior were further exacerbated by her mother’s favoring of Maria’s older sister Jackie and the emphasis placed on physical appearance in the Callas household.
Nothing Left to Give
Authors: Wink Paul
Published: January 2021

This chapter, “Nothing Left to Give,” focuses on Callas’s life after the breakup with Onassis. Never a quitter, Callas showed resolve in dealing with the abandonment but was ultimately unable to find meaning in life nor derive satisfaction from her past accomplishments. She accepted the leading role in Pasolini’s film Medea that, despite critical acclaim, was a box office failure. Her master classes at New York’s Juilliard School exposed Callas’s limitation in conveying to others her idiosyncratic artistic skills. Reviving their singing partnership, Callas embarked in 1973 on a year-long concert tour with Giuseppe Di Stefano, the success of which was undermined by her visibly deteriorated voice. Following the tour and the death of Onassis, who continued to be the love of her life, Maria died at age fifty-three, secluded in a Paris apartment. She spent the last decade of her life battling feelings of emptiness, envy, and despair.
Introduction
Authors: Heyman Barbara B.
Published: January 2021

Barber began his life as a composer in the 1930s, with his music veering into eighteenth- and nineteenth-century European traditions. There were three major influences in his career. The first was his formal musical education at the newly founded Curtis Institute of Music, which provided a sturdy structure to his work and was also known to be European-oriented. The second was his travels to Europe, where his acquaintances as well as the culture itself were infused into his work. The last influence was the mentoring and guidance of his uncle, composer Sidney Homer, who was married to Barber’s maternal aunt, the famous opera singer Louise Homer. For more than twenty-five years, Sidney Homer had the most profound influence on Barber of all, encouraging him to “listen to his inner voice,” which enabled him to infuse the very soul of his compositions with the romantic passion that ultimately deeply moved his audience.
Beginnings
Authors: Heyman Barbara B.
Published: January 2021

This chapter discusses the roots of Barber’s family in Pennsylvania. He began his music education early in his life. By the time he was six, his various talents were apparent to his parents. However, it was only when Barber was nine years old that he realized his dream was not to be an athlete and go to Princeton as his father, a physician, would have wished, but rather, he wanted to be a composer. His family was supportive of his ambition and urged him to take on further formal studies. His sister, Sara, also was inclined toward music and was one of the first performers of his work. In this chapter, the close relationship between Barber and his uncle Sidney Homer is described; the two spent summers and countless hours together. Barber consulted his uncle about whether music was a good direction to go in for a career. Homer saw the unmistakable talent in the child, and he molded and guided his early compositions. The chapter also discusses Barber’s earliest job as organist for Westminster Church and an elaborate work he composed for the famous organ owned by Pierre du Pont at Longwood Gardens.
Independence
Authors: Heyman Barbara B.
Published: January 2021

This chapter focuses on Barber’s earliest involvement of the performer in the creative process of a composition, in this case the Cello Sonata, premiered by Orlando Cole. The two would meet regularly, with Cole offering suggestions for improvements to the music. This fresh new take in composing music was instantly recognized by friends and audience alike. The founder of the Curtis Institute, Mary Bok, made further efforts in advancing Barber’s and also Gian Carlo Menotti’s careers by conducting auditions with music publishers. This resulted in publications of Barber’s work by G. Schirmer, as well as national radio performances where he was recognized as a pianist, composer, and singer. The chapter also describes Barber’s second large orchestral work, Music for a Scene from Shelley. He also wrote incidental music for a play by Mary Kennedy, One Day of Spring, presented at the Annie Russell Theater in Winter Park, Florida.
The American Academy
Authors: Heyman Barbara B.
Published: January 2021

Barber continued to receive numerous recognitions and awards for his work. In 1935, he was given the Prix de Rome, for being the most talented and promising music student at the time. With the award, he was granted two years of study at the American Academy in Rome, with full lodging and a regular stipend. In this new environment, Barber continued to flourish, winning a Pulitzer traveling scholarship, which provided him with an extended stay at the American Academy, where his fSymphony in One Movement was composed. His uncle, Sidney Homer, proudly observed Barber’s triumphs as he read stories in the local newspaper about his music being performed in America. Uncle and nephew continued to communicate regularly through letters, exchanging queries, comments, and criticisms about Barber’s new compositions. Correspondence between Mary Bok and Barber flourished. Barber wrote many songs on emotionally charged poems, which seem biographically pointed. During the summer, he and Menotti lived in a game warden’s cottage in St. Wolfgang, Austria; there he began work on the String Quartet in B minor, the second movement of which later became the famous Adagio for Strings. Both the symphony and the String Quartet were premiered at the American Academy.
Recognition
Authors: Heyman Barbara B.
Published: January 2021

This chapter describes Barber’s close relationship with Italian conductor Arturo Toscanini. Barber would frequently visit the conductor in his home, most days ending with music. This friendship resulted in Toscanini requesting that Barber write a work for the newly formed NBC Symphony Orchestra. This was a rare privilege, as Toscanini in the past had ignored American composers. His broadcasts were received with much enthusiasm from audiences. Toscanini further advanced Barber’s career by bringing his music to Latin America, with Barber being the first American composer whose work reached those shores. For Toscanini, Barber composed Essay for Orchestra and arranged the second movement of his earlier string quartet as the Adagio for Strings, which brought him international fame and became, as it were, the national funeral music of the United States, associated with the deaths of such famous names as Albert Einstein, Franklin Roosevelt, and Grace Kelly and with the tragedy of September 11, 2001. The chapter also covers Barber’s unaccompanied choral works.
Composer as Conductor
Authors: Heyman Barbara B.
Published: January 2021

With an offer from the London FFRR label to conduct and record his works, including the Medea Suite and the Cello Concerto with Zara Nelsova, Barber studied conducting with Nicolai Malko in Denmark. He bravely took the challenge and was well accepted. Rehearsals proceeded well, and eventually he was invited to Berlin to conduct his Violin Concerto with Charles Turner as soloist. After answering an invitation by Charles Munch to conduct his Second Symphony with the Boston Symphony Orchestra, Barber decided he was “tired of rehearsing his own music.” He believed that good composers did not make good conductors, and he decided to devote all his energy toward his primary creative passion: composing music.
Song Cycles
Authors: Heyman Barbara B.
Published: January 2021

Back in America, Barber happily focused on composing songs. Drawn to Rainer Maria Rilke’s French poems, he created five songs, Mélodies passagères. When asked, he said that he composed in French because he had fallen in love with Paris. He sang excerpts of the cycle to his friend, composer Francis Poulenc, who confirmed the accuracy of the prosody and admired the songs so much he premiered them in Paris with Pierre Bernac in 1952, which Barber attended as he was there for a meeting of the International Music Council. In 1952, Barber received a commission from the Ballet Society to orchestrate some piano duets he had composed, inspired by his childhood trips to the Palm Court in New York’s Plaza Hotel. Completed in Ireland, the ballet, Souvenirs, included a waltz, schottische, tango, pas de deux, and two-step; it was choreographed and performed by Balanchine, who danced with Nora Kaye, Jerome Robbins, and Tanaquil LeClercq. His love affair with Irish poetry also blossomed during this time, inspiring his most famous song cycle, Hermit Songs, settings of ten poems by Irish monks inscribed on the corners of manuscripts. The cycle was premiered in the Coolidge Auditorium at the Library of Congress by Leontyne Price, with Barber at the piano. This chapter concludes with discussion of Barber’s one-movement orchestral work, Adventure, a television collaboration between CBS and the Museum of Natural History, which is scored for a mixture of recognizable Western instruments and non-Western instruments.
Lincoln Center Commissions
Authors: Heyman Barbara B.
Published: January 2021

For the opening week of the new Philharmonic Hall at New York’s Lincoln Center for the Performing Arts in 1962, Barber composed a piano concerto in honor of the 100th anniversary of his publisher. The concerto was tailored to the technical prowess and individual style of John Browning, reflecting the Russian influence of his piano teacher Rosina Lhévinne. The second movement was a reworking of an earlier piece, Elegy, written for Manfred Ibel, a young art student and amateur flute player, to whom Barber dedicated his piano concerto. This chapter details Barber’s compositional process and influences for each movement of the concerto and describes the enthusiastic reception of the debut performance. Nearing completion of the concerto, Barber was invited to Russia as the first American composer ever to attend the biennial Congress of Soviet Composers, where he freely discussed his compositional philosophy and methods. For the concerto, Barber won his second Pulitzer Prize and the Annual Award of the Music Critics Circle of New York. His second composition for the opening season of Lincoln Center was Andromache’s Farewell, for soprano and orchestra. Based on a scene from Euripides’s The Trojan Women, the piece displayed deep emotional expression and striking imagery. With a superior opera singer, Martina Arroyo, singing the solo part, the success of Andromache’s Farewell presaged Barber’s opera Antony and Cleopatra.
A New Opera House
Authors: Heyman Barbara B.
Published: January 2021

The commission that was one of the greatest tributes to Barber’s career turned out to be his nemesis. Antony and Cleopatra, written for the opening of the new Metropolitan Opera House at Lincoln Center in New York, was handicapped by the inflated Franco Zeffirelli production, with its problematic paraphernalia, including camels and goats and a malfunctioning pyramid, which eclipsed serious evaluation of the music. This chapter narrates how the opera based on Barber’s favorite Shakespeare play came to life, how he handpicked the major characters ̶—Leontyne Price for Cleopatra and Justino Díaz for Antony ̶—and how these artists devoted themselves to the literature and history of their roles. Although Barber’s work here was no less brilliant, the critics felt that the failure of the opera was due to overproduction, with an infusion of mechanical and technical failures. After the premiere, Barber boarded the SS Constitution for Europe. Over the next decade, he devoted his energies intermittently toward a revision of the opera in collaboration with Menotti. In 1975, four performances of the more intimate version with increased lyric meditation were presented at the Juilliard School. Critical reviews of a production at the Spoleto Festival in Italy after Barber died gave much attention to the musical strengths of the opera, with uniform appreciation of Barber as a master of orchestra and choral writing. Performances followed in Chicago, New York, and Philadelphia.
Introduction
Authors: Byrd James P.
Published: January 2021

The Bible saturated the Civil War, and this book offers the most thorough analysis yet of how Americans enlisted scripture to fight the war. This introduction describes the major themes examined in the book, including Abraham Lincoln’s use of scripture (and Americans’ use of scripture to praise and to attack Lincoln), slavery and the Bible, patriotic views of scripture, and the Bible’s use to cope with the war’s death toll. The book concludes with an appendix on new data on the most-cited biblical texts in the war, ranked in three tables, labeled “The Confederate Bible,” “The Union Bible,” and “Biblical Citations in the American Civil War: Union and Confederacy.” Americans fought the Civil War with Bibles in hand, with both sides calling the war just and sacred. Supported by this groundbreaking new data, this book examines how Americans enlisted the Bible in the nation’s most bloody and, arguably, most biblically saturated war.
“His Terrible Swift Sword”
Authors: Byrd James P.
Published: January 2021

The Civil War resulted from a division that existed since the nation’s founding. As Abraham Lincoln said in his Second Inaugural Address, “slaves constituted a peculiar and powerful interest. All knew that this interest was somehow the cause of the war.” This division pitted those who believed slavery to be a biblical institution—and compatible with the ideals of the nation—against those who believed slavery violated both scripture and the nation’s founding ideals. This chapter narrates the Bible’s use to support and to attack slavery in the decades leading up to the Civil War, focusing especially on uses of scripture to support violence.
“A Covenant of Death”
Authors: Byrd James P.
Published: January 2021

Many southerners celebrated the war’s beginning. Others spoke in somber tones. Opinions flew in all directions after Sumter’s fall, as Americans reflected on what the war would mean. One constant presence, however, was the Bible. It helped Americans to brace for war. As the greatest crisis of their lives came into focus, they clung to the scriptures for comfort and justification. This time was remarkable for the variety of biblical responses to the war. Southern women struggled with their zeal for war, which many believed was inappropriate. If many wanted war, others drew back from the conflict, or at least worried about what the war would do to the nation, regardless of which side God was on. Just as northern preachers were sharpening their exegesis for battle, southerners did the same, as did Mormons, who hurled biblical attacks on both North and South from the West.
“Welcome to the Ransomed”
Authors: Byrd James P.
Published: January 2021

Less than a week after the carnage at Shiloh, Congress voted to free enslaved people and to compensate slaveowners in Washington, DC. Daniel A. Payne, a bishop of the African Methodist Episcopal Church, visited President Lincoln and encouraged him to sign the bill, which he did on April 16, 1862. That same week, Payne preached his most influential sermon, Welcome to the Ransomed, or, Duties of the Colored Inhabitants of the District of Columbia. Lincoln impressed Payne as a man of “real greatness.” High praise for Lincoln would be in short supply, especially from African Americans. Lincoln had wavered on emancipation, many believed, and he needed to pursue a harder war focused on abolishing slavery. The war grew in intensity, and so did debates over slavery’s role in the conflict. Through this phase of the war, Americans turned to scripture to defend an even more brutal war for and against emancipation.
“Without Shedding of Blood Is No Remission”
Authors: Byrd James P.
Published: January 2021

As everyone soon learned in this war, anything could happen in battle. Strategies went awry when shots rang out. Some Americans found comfort in providentialism, believing God controlled all events, and their lives were in God’s hands. Yet people wondered why God would allow such a bloody war to continue. The Civil War challenged Americans’ belief in providence. Maybe that was why Americans spoke so much about providence in the war—to reassure themselves that there was some order in the disorder. These concerns drove Americans to the Bible, because the Bible was the best guide to God’s providence. The late summer months of 1862 would see a turning point in the war, and the events during this time compelled some of the war’s deepest and most self-serving views of providence in scripture.
“We Cannot Escape History”
Authors: Byrd James P.
Published: January 2021

After the victory at Antietam, Lincoln issued the Preliminary Emancipation Proclamation and hoped it would raise the intensity of the war. It did that, but in some ways that Lincoln had not intended. He wanted a righteous cause that would inspire the North—which it did—but it also inflamed the Confederacy. The proclamation directed many Americans to their Bibles—some looking for ammunition to assail it, others looking for barricades to defend it. Did the proclamation align the nation with the Bible, or did it further separate it from God’s will? Lincoln hoped, with some confidence, that the proclamation would give the war the cause it needed to inspire more than it repulsed. Only time, and more battles, would tell.
“Of One Blood All Nations”
Authors: Byrd James P.
Published: January 2021

As the nation wrestled with emancipation in 1863, many Americans called for a reassessment of racism in light of scripture. Americans looked to various texts, including the Curse of Ham, but especially Paul’s statement, God “hath made of one blood all nations of men for to dwell on all the face of the earth, and hath determined the times before appointed, and the bounds of their habitation” (Acts 17:26). This was a major proof text in a hotly contested debate over human origins. One view—represented by Swiss-born Harvard professor Louis Agassiz—supported “polygenism,” the belief that different races originated at different times and places. Others argued for “monogenesis,” claiming all races had a common origin and shared a common humanity. Paul’s “one blood” statement became a proof text for monogenesis and a key argument against slavery. Americans often cited it alongside the Declaration of Independence and the golden rule.
“Cursed Be He That Keepeth Back His Sword from Blood”
Authors: Byrd James P.
Published: January 2021

Americans turned to scripture to address various wartime needs in 1864. In the South, Confederates executed deserters while warning soldiers that the Jesus story was an execution story marked by betrayal. The biblical theme of loyalty came into play in the South as Lincoln tried to entice southerners into signing a loyalty oath in exchange for pardon. Loyalty and morale were not just southern problems, however. In 1864 Grant and Lee faced off in some of the war’s fiercest combat. Americans had seen Shiloh, Antietam, and Gettysburg—surely the worst was over, they had thought. Yet the devastation of 1864 surprised them again with lists of casualties that seemed only to get longer as the months dragged on. Americans grew more war weary than ever, which prompted Frederick Douglass and others to call on the Bible to remind Americans of the war’s sacred meaning.
“Baptized in the Blood of Their President”
Authors: Byrd James P.
Published: January 2021

Five days separated General Robert E. Lee’s surrender at Appomattox and Lincoln’s assassination at Ford’s Theatre. For Christians, it was Holy Week: Lee surrendered on Palm Sunday; Booth shot Lincoln on Good Friday. Did God send—or at least allow—this hated bullet to kill Lincoln? Was it providential? For most Americans, the best guide to providence was the Bible. Although many agreed that God was mysterious, they also agreed that scripture was the best guide to God’s will. The circumstances of the assassination made the Bible especially visible for Christians. Again, it was Holy Week: Booth shot Lincoln on Good Friday; he died on Saturday, so many preachers addressed the assassination on Easter Sunday. As news of Lincoln’s death shook the nation, preachers scrapped their Easter sermons and took on the task of addressing the crisis. This chapter examines how Americans cited scripture in response to Lincoln’s assassination.
Epilogue
Authors: Byrd James P.
Published: January 2021

This epilogue examines the central themes of the Bible in the Civil War, including confidence in clear analogies between biblical texts and the war; faith in the war’s redemptive outcome, which, for many in the North, charged the United States with a divine mission in the world; and above all, reverence for the sacred sacrifice of the dead, whose blood had “consecrated” the nation. Through all the death and injury, endless debates over slavery, defenses of secession, and patriotism, the Bible was a constant reference. The American Civil War may not have been “a war of religion,” James McPherson wrote, but we should not forget “the degree to which it was a religious war.” In a similar way, the American Civil War was not primarily a war over the Bible, but it was a biblical war for many Americans.
Hardly Speaking
Authors: Donzelli Aurora
Published: January 2021

Within anthropological folk theory, rapport has often been understood as pivoting on unproblematic notions of co-presence, fuzzy relations of friendship, and the centrality of denotation—that is, what people talk about, rather than how they talk (see Goebel, Chapters 1 and 2, this volume). Contrary to this conventional view, this chapter focuses on the semiotic and meta-pragmatic components of the ethnographic encounter. Drawing on her gradual and unplanned involvement in the domestic chores of the household where she was hosted, the author describes how during her fieldwork in upland Sulawesi she learned how to make offers and elicit preferences in a pragmatically acceptable way. As her role shifted from being a guest to being a host of her host’s guests, she discovered, through a series of misunderstandings, the role of food-mediated commensality in the reproduction of local hierarchies and developed a new understanding of how ethnographic rapport is built through minute, yet meaningful, instances of conversational exchange.
Alignment and Belonging in the Sociolinguistic Interview
Authors: Manns Howard
Published: January 2021

This chapter examines five first meetings of the author (an Anglo-Australian researcher), a Javanese research assistant, and five Javanese study participants. The meetings were interviews within a larger project, which explored how Indonesian youth used language styles to enact an identity known as gaul (literally, “sociable”). In the current chapter, the author reviews transcripts of these meetings and highlights how the research assistant facilitates rapport and orients him (the researcher) and the participants (the researched) to youth identity as a stance object (cf. Du Bois, 2007). The research assistant often does this through a series of rhetorical moves that enable interview participants to achieve role alignment as “researcher” and “researched,” respectively. This chapter shows how such role alignment is an interactional process, which often entails snap judgments about interactional preferences, common ground, and moral concerns. These judgments may be recognized as acts of belonging, which interactants must tend to quickly, to establish rapport and to collect good data. Yet, this chapter ends by pointing out some of the perils of negotiated alignment and belonging, and how discursive moves to establish rapport can, in fact, lead to the collection of less-than-best data.
Rapport to Fit In—Rapport to Stand Out
Authors: Ewing Michael C.
Published: January 2021

This study examines rapport management language used for role alignment among participants in a group interview conducted as part of research on Indonesian youth language. Particularly relevant are repetition, vocatives, use of English, and questions. Role alignments emerge interactionally as participants (re)negotiate varied stances and subject positions and thus manage degrees of harmony and disharmony within the group. While most participants in this particular interview enact fairly stereotypical roles (e.g., as participant/interviewee or researcher/interviewer), one participant uses rapport management language in unusual ways and thus enacts for himself a liminal position between participants and researchers. Role alignments can thus be used differently by various participants in the production and maintenance of differing and flexible identity positions. Rapport is shown to be not only the concern of the researcher during a fieldwork encounter, but also something that community members are attuned to, both with the researcher and with each other.
Introduction
Authors: Rodgers Stephen
Published: January 2021

This chapter provides an overview of the book as a whole. It opens with a brief history of Hensel studies—starting with the rediscovery of Hensel in the 1980s, leading through the growth of Hensel scholarship toward the end of the twentieth century, and ending with the current state of affairs—and argues that we need to understand Hensel’s music better. It then outlines some of the book’s guiding principles—including a belief in power of music analysis to access and communicate the wonders of Hensel’s songs and a commitment to exploring Hensel’s songs within its many diverse contexts—and explains the book’s overall organization around these contexts.
Songs of Travel
Authors: Wollenberg Susan
Published: January 2021

The impact of gender on freedom is vividly conveyed by Fanny Hensel’s letter to her cousin Marianne from the Saint Gotthard Pass in 1822, on a family trip: I spent a day . . . I’ll keep forever in my heart, and will remember with emotion for a long time to come. . . . [I] was observing, on the Italian border, the finest, most gracious, and pleasant scene that man can imagine when destiny cried out to me: so far, and no further! . . . If I had been a young lad of sixteen yesterday, my God! I would have had to fight against committing some great folly.” As Felix’s career acquired an international perspective, Fanny craved his descriptions of foreign parts. The motif of travel was threaded through her life—whether as reality, dream, or vicarious experience. Also threaded through her life was her production of songs belonging to the categories of “songs of travel,” portraying journeying, wandering, and remote locations, whether reached or imagined. Immersed in such texts, Hensel was free to “travel” in her mind’s eye. This chapter offers close analytical and critical readings of the words and music of songs such as Hensel’s “Schwanenlied,” Op. 1, No. 1, “Gondellied,” Op. 1, No. 6, and “Bergeslust,” Op. 10, No. 5, in an effort to illuminate how the Lied (as a small, apparently enclosed genre) allowed Hensel to widen the horizons beyond her enclosed life.
Women’s Private Cosmopolitanism in Literary Translation and Song
Authors: Ronyak Jennifer
Published: January 2021

This chapter considers the ways in which Fanny Hensel’s Drei Lieder nach Heine von Mary Alexander (unpublished, 1830) can be understood as part of cosmopolitan practices among elite women in the nineteenth century. In 1833, Mary Alexander, who wrote letters to Hensel in Berlin using her imperfect German from London, translated poems 1, 4, and 27 from Heinrich Heine’s Die Heimkehr into English. Hensel responded with her own settings of the English-language poems which she composed in Berlin and sent back to Alexander, working in a language she had only recently acquired. Aspects of both Alexander’s engagement with the German language and Hensel’s engagement with English show the ways in which both women intermingled cultures and language in their own textual practices. Hensel’s musical settings of Alexander’s translations show further evidence of an essentially cosmopolitan play between English, Scottish, and German musical and poetic traces.
Working with Words
Authors: Krebs Harald
Published: January 2021

Fanny Hensel was attentive to declamation, with respect to both correct accentuation and text expression. Her song autographs at the Mendelssohn Archive of the Staatsbibliothek in Berlin provide ample evidence for her meticulous, yet creative and artistic approach to declamation. The autographs contain numerous examples of her honing of text underlay, with the apparent aim of achieving optimal metrical placement of syllables, words, and lines, and/or of expressing the meaning of the poem. She experiments with the elongation of particular words or lines, with the metrical placement of individual words, and even with the metrical placement of entire texts. The chapter discusses numerous relevant song excerpts and complete songs, many of them unpublished.
Reading Poetry Through Music
Authors: Thym Jürgen
Published: January 2021

In an extension of Stephen Rodgers’s efforts to turn “an analytical lens” on Fanny Hensel, this chapter focuses on selected Hensel settings whose texts have also inspired other composers: “Verlust” after Heine (“Und wüssten’s die Blumen”), also set by Robert Schumann and Robert Franz; “Frühling” (Eichendorff) with Schumann’s and Curschmann’s “Frühlingsnacht” as companions; and “Du bist die Ruh” (Rückert), also set by Schubert (and many others). In order to avoid comparing stylistically incompatible settings, the selection has been limited to Lieder between ca. 1825 and ca. 1850. Taking stock of Hensel’s interpretations and comparing them with those of other composers will allow musicologists and music theorists to assess her place in the history of the Lied in the first half of the nineteenth century.
Making Music, Building Roads
Authors: Harvey Penny
Published: January 2021

This chapter explores how the analyses of audible infrastructures presented in this volume connect to the established and growing body of literature on civic infrastructures from scholars in the humanities and social sciences. There are clearly convergent interests between those who work on roads, water, and energy systems, on the one hand, and those who study the production, circulation, and reproduction of sound, on the other.
To analyze the materialities of music making, as with civic infrastructures, is to investigate the relational capacities of the materials from which things are made, the diverse types of labor through which these materials become integral to their emergent forms, and the uneven distribution of access to the wider structures that underpin the circulation and reproduction of such forms. In particular, the chapter focuses on how the relationship between the hardware of engineered systems and the software of sociality creates new possibilities for thinking about the politics of infrastructure.
The chapter explores these resonances between audible and civic infrastructures by considering the M1 Symphony, a work commissioned by the British Broadcasting Corporation to mark the sixtieth anniversary of the opening of Britain’s first long-distance motorway. The example provokes reflection on the relationship between media and infrastructure, between composition and improvisation, and between ontological experiment and artful design.
Glittery
Authors: Alejandra Bronfman
Published: January 2021

During the commercial broadcasting boom of the 1920s, mica became an essential component of various radio parts, especially the audion vacuum tube, which became central to signal amplification during this period. As uses multiplied and factories produced greater quantities of sound-reproduction machines, the demand for mica exploded. This chapter traces a history of mica through the interwar years, arguing that the newfound necessity of this mineral pushed radio manufacturing into an existing—and vexed—infrastructure held together through exploitative labor regimes, environmental degradation, and the tense politics of empire during this period. It uncovers the surprisingly far-reaching political and social contexts involved in the production of a single radio component. The point of departure is RCA’s effort to find alternative sources of mica, which was primarily controlled by UK interests that, in turn, controlled key mica mines in India. These mines relied on female and child workers, deemed by many observers as the most efficient at splitting the extracted mineral into fine sheets. Such considerations drew RCA into direct negotiations with the US Bureau of Mines, the US Army, and mica mines in Appalachia and New Hampshire, thereby tethering them to hundreds of women and children in various parts of the world whose labor they deemed essential to their enterprise.
The Infrastructure and Environmental Consequences of Live Music
Authors: Matt Brennan
Published: January 2021

This chapter offers a backstage perspective on the physical and organizational structures of touring and concertgoing. In doing so, it addresses the global challenges of climate change and environmental sustainability through the lens of the live music sector, focusing on the UK as a case study. More specifically, the chapter investigates how actors in the live music industry—made up of artists, audiences, and organizers—perceive and address climate change and sustainability, one of the most urgent problems facing the wider global community. The chapter develops the concept of a “live music ecology,” arguing that an ecological approach to live music draws attention to three other factors: (1) the materiality of the infrastructures and buildings in which live music happens; (2) the interdependence between the actors who identify themselves as operating within a music scene versus other nonmusic work spheres who have a significant impact on live music; and finally (3) the sustainability of live music culture, where all the factors above contribute to meet the needs of the present ecology “without compromising the ability of future generations to meet their own needs.” The underlying argument of this chapter is that the infrastructures at play in the production of live music are often directly at odds with the escapist ideology often found in live music performances as cultural events. Indeed, the chapter highlights some of the ideological contradictions embodied by concert spaces that style themselves as utopian and “green.” Ultimately, it argues that we need more efficient and sustainable musical infrastructures, and that a crucial part of achieving that goal involves developing critical infrastructural imaginaries.
Another Side of Shellac
Authors: Roy Elodie A.
Published: January 2021

Shellac discs were quickly eclipsed by the new “Vinylite” LP records after the 1950s and, eventually, discontinued entirely. Yet the hyper-plastic medium lived on, generating a number of widespread and enduring resonances in twentieth-century affective and material cultures. This chapter is about these lives and afterlives of shellac, focusing especially on marginal and deregulated (but not necessarily demonetized) markets since 1950. This chapter argues that repurposing shellac records may ultimately be seen as an act of unlocking, transforming, and liquidating recorded sound. Shellac can thus be interpreted as an allegory of the passages between solid and liquid modernities, where modernity is understood in terms of ceaseless material renegotiations. The chapter explores two main perspectives on material reshapings of history, power, and cultural memory. To study waste and its infrastructures prompts us to examine process-based aspects of culture, considered as an intricate entwinement of natural, historical, geological times. In doing so we may also release “a vitality intrinsic to materiality.” Indeed, this chapter deploys infrastructural analysis “as a political, deconstructive gesture of investigation into the scars, textures, and structures of the contemporary as it dynamically incorporates the past (without ‘resolving’ it).”
On the Significance of Duties to the Self
Authors: Schofield Paul
Published: January 2021

This chapter distinguishes between mere self-regarding reasons to treat oneself in particular ways, and more robust moral duties owed to oneself. While the former are a philosophical commonplace, the latter are absent from most contemporary accounts and their addition to our practical philosophy would be significant. Duties owed to the self are second-personal, in the sense of being directed at a specific person. When a person has a duty to herself, her reasons are particularly strict, they pre-empt other reasons, they require a special sort of acknowledgment of their moral quality, and they engage special moral emotions. As such, if a person accepts that she owes duties to herself, it will impact the way in which she treats herself, and the way she relates to herself, beyond the mere acknowledgment that she has self-regarding reasons.
Troubles for Duties to the Self
Authors: Schofield Paul
Published: January 2021

This chapter lays out and then develops the “waivability objection,” which has throughout philosophy’s history been the most serious objection to duties to the self. The objection holds that a person who has a duty to herself will always be in a position to waive it, and a duty that a person can simply escape by waiving it is no duty at all. Some attempts to answer this objection, including Kant’s, are considered and rejected. The chapter concludes that this objection is formidable and that any account of duties to the self should be constructed in response to it.
Defending Duties to the Self, Part 1
Authors: Schofield Paul
Published: January 2021

This chapter argues that a person can owe second-personal duties to herself by virtue of the fact that she occupies multiple temporal perspectives. An individual’s wellbeing at one time can conflict with her wellbeing at another time, and her ends at one moment can conflict with her ends at another moment. Because of this, a person can make demands on herself from one temporal perspective to another, pertaining to the protection of her wellbeing and ends, just as she might make demands on another person. Such demands can generate second-personal duties across time, as they can when they are issued interpersonally, and so a person can owe duties to her past and future selves, just as she owes them to others. Since duties owed to the self at a time other than the present cannot be waived, the waivability objection is answered.
Defending Political Duties to the Self
Authors: Schofield Paul
Published: January 2021

This chapter argues for the existence of political duties owed to the self, which justify state coercion for the sake of the individual coerced. A person can pose a threat to her own freedom, and to her own ability to acquire what she is owed. Thus, a person’s relationship to herself raises concerns about both right and justice, thereby licensing the state to subject her to paternalistic policy, justified on liberal grounds. Paternalistic laws discussed include those outlawing tobacco, those limiting the amount of debt a person can take on, forced savings programs, and prohibitions on slavery contracts.