bluuebunny/crossref_metadata_2025 huggingface dataset:
Solvothermal Syntheses and Structure of a New Polyoxomolybdate Functionalized with Carboxyphosphonate
Authors: Wang Wei‐Nan , Li Jing , Sun Zhen‐Gang , Tong Fei , Zhu Yan‐Yu , Xu Lin , Gong Jian
Published: October 2010

A new functionalized polyoxomolybdate [(HOOCC5H9NCH2PO3)2Mo5O15]4– (1) was synthesized by solvothermal reaction at 120 °C and structurally characterized by X‐ray single‐crystal diffraction, X‐ray powder diffraction as well as with infrared spectroscopy, elemental analysis, and thermogravimetric analysis. The title polyoxoanion consists of a ring of five distorted MoO6 octahedra linked through four edge‐sharing and one corner‐sharing junctions. Two pending carboxyphosphonate ligands are attached on opposite sides of the ring by the two PO3 groups. As a result the two dangling arms with their terminal carboxylate groups protrude away from the {Mo5O15} framework in diametrically opposed directions. Each Mo5‐ring is further connected to adjacent Mo5‐ring through hydrogen bonds, which consist in the protonated nitrogen atoms, the carboxyl oxygen atoms from L3– ligands and oxygen atoms from {Mo5O15} cluster to form a 2D framework structure.
Supramolecular Architectures with Open Frameworks Constructed by Transitional Metal Ions, Linear Dicarboxylic Acid, and 2,2′‐Bipyridine
Authors: Sun Chang‐Yan , Dong Bin , Lv Qiong , Zheng Xiang‐Jun
Published: October 2010

Four new transitional metal supramolecular architectures, [Zn(cca)(2,2′‐bpy)]n·n(2,2′‐bpy) (1), [Cu(cca)(2,2′‐bpy)]n (2), [Zn(bpdc)(2,2′‐bpy)(H2O)]n·0.5nDMF·1.5nH2O (3), and [Co(bpdc)(2,2′‐bpy)(H2O)]n·nH2O (4) (H2cca = p‐carboxycinnamic acid; H2bpdc = 4,4′‐biphenyldicarboxylic acid; 2,2′‐bpy = 2,2′‐bipyridine) were synthesized by hydrothermal reactions and characterized by single crystal X‐ray diffraction, elemental analyses, and IR spectroscopy. Although the metal ions in these four compounds are bridged by linear dicarboxylic acid into 1D infinite chains, there are different π–π stacking interactions between the chains, which results in the formation of different 3D supramolecular networks. Compound 1 is of a 3D open‐framework with free 2,2′‐bpy molecules in the channels, whereas compound 2 is of a complicated 3D supramolecular network. Compounds 3 and 4 are isostructural. Both compounds have open‐frameworks.
Synthesis, Crystal Structure, and Physical Properties of a Barium(II) p‐(Carboxyl‐methyloxy)‐benzenecarboxylic Acid Complex
Authors: Wang Xiao‐Feng , Yu Li , Wei Hao , Wu Gang
Published: October 2010

A coordination polymer [Ba(pcmb)(H2O)2.5] (1) was obtained by self‐assembly of the corresponding metal carbonate with a flexible ligand, p‐(carboxyl‐methyloxy)‐benzenecarboxylic acid (H2pcmb), and its structure was determined by single‐crystal X‐ray diffraction studies. The result revealed that complex 1 has a three‐dimensional structure, in which the barium(II) atom takes a distorted eight‐coordinate bicapped anti‐prism arrangement. The pcmb2– anion acts as a μ4‐bridge ligand, in which carboxylate groups adopt monodentate and μ3‐η2:η1‐bridging two different coordination models to generate a three‐dimensional network structure. The luminescence property and thermal stability of 1 were investigated.
A Chemical View of the Giant Au102(SR)44 (SR = P‐Mercaptobenzoic Acid) Cluster: Metalloid Aluminum and Gallium Clusters as Path Making Examples of This Novel Type Open Our Eyes for Structure and Bonding of Metalloid Aun(SR)m (n > m) Clusters
Authors: Schnöckel Hansgeorg , Schnepf Andreas , Whetten Robert L. , Schenk Christian , Henke Patrick
Published: October 2010

The outstanding position of metalloid clusters as intermediates between the bulk metals and bulk salts on the one hand and of naked metal atom clusters and salt‐like clusters on the other hand is described first. Subsequently, a different more chemical description of structure and bonding of a recently published gold‐thiolate Au102(SR)44 cluster based on the results of aluminum‐/gallium clusters is presented., This comparison shows that there is no principal but only a gradual difference between the Au102 cluster and the large number of metalloid aluminum‐/gallium clusters: both have a metalloid character, i.e. there is a highly mixed valent bonding situation of the metal atoms involved. Therefore these clusters represent a highly complex system and are far from being only nanoscaled metal particles surrounded by a shell of protecting ligands. In detail this comparison shows that the metalloid gold and the aluminum‐/gallium clusters are similar in the center, as these metal‐metal interactions are energetically similar to those of the metallic solid state. However, there are significant differences between metalloid gold and aluminum‐/gallium clusters in the outer regions since the interactions of the metal atoms of the outer shell with the ligands are different: i.e. in contrast to strong Al–ligand interactions there are weaker Au–ligand bonds. Furthermore it will be shown that the special Au–ligand interactions of the Au102 cluster, which have been discussed as a novel staple motif so far, might be better attributed to the well established structural chemistry of AuI species. To sum up, structure and bonding of metalloid gold clusters, even if they have not been structurally characterized in detail, like the well‐known Schmid cluster, show that they belong to the family of metalloid clusters like the large number of aluminum‐/gallium ones; i.e. they have to be seen in a novel light. Consequently, these conclusions may have a large impact on the great variety of investigations of surface reactions between crystalline gold surfaces and sulfur‐containing molecules.
Synthesis and Structure of a Rare Unsolvated Bis(amidinato) Lanthanide Chloride, (Piso)2CeCl (Piso = [tBuC(NAr)2]–, Ar = C6H3iPr2–2,6)
Authors: Dröse Peter , Hrib Cristian G. , Hilpert Liane , Edelmann Frank T.
Published: October 2010

Use of the very bulky amidinate ligand [tBuC(NAr)2]–(= Piso, Ar = C6H3iPr2–2,6) allowed the synthesis and structural characterization of the chloro‐functional complex (Piso)2CeCl (1). Complex 1 represents a rare example of an unsolvated bis(amidinato) lanthanide chloride. An X‐ray diffraction study confirmed the presence of a pentacoordinate cerium(III) complex.
Complications of Suture Ligation Ablation for Ulnar Polydactyly: A Report of Two Cases
Authors: Patillo Dominic , Rayan Ghazi M.
Published: October 2010

We report two cases resulting in complications following suture ligation treatment for ulnar polydactyly. One case consisted of bilateral, retained gangrene and cellulitis, and a second case consisted of a residual, sensitive skin tag. The case involving gangrene and cellulitis developed after an unsuccessful suture ligation of bilateral pedunculated duplicated digits. The second case developed after suture ligature ablation of a rudimentary digit in the nursery but presented 3 years later with a residual symptomatic nubbin. Both cases were treated by surgical excision of the residual tissue in the operating room. The first case illustrates a morbid complication following unsuccessful ligature while the second case demonstrates the inevitable suboptimal long-term outcome associated with what has traditionally been considered “successful” suture ligation.
Normal development of the knee angle in healthy Indian children: A clinical study of 215 children
Authors: Saini Uttam Chand , Bali Kamal , Sheth Binoti , Gahlot Nitesh , Gahlot Arushi
Published: October 2010

Purpose

Physicians should be aware of the physiological variations of the knee angle in the local population to avoid unnecessary intervention in normal children. The normal development of the knee angle in children has been studied in various ethnic groups. However, there is a scarcity of such literature for Indian children.

Methods

Using clinical methods, the tibiofemoral angles (TFAs) were measured in 215 healthy Indian children ranging from 2 to 15 years of age. A record of the intermalleolar distance (IMD) and intercondylar distance (ICD) was also kept of all of the subjects.

Results

We found that physiological varus rarely persists beyond 2 years of age in Indian children. A progressive increase in knee valgus occurs after 2 years of age, with peak knee valgus averaging almost 8° at around 6 years of age. Thereafter, the valgus at the knee decreases and, after the age of 10 years, stabilizes to around 4–5° in most of the children. Indian girls show, overall, more valgus alignment of the knees as compared to boys.

Conclusions

The overall pattern of development might be slightly different in Indian children, especially in Indian girls, with early reversal of physiological varus (<2 years of age) and a late peak of maximal valgus at the knee (6 years of age). Varus after 3 years seems atypical for Indian children. We provide an elaborate set of data for the mean TFA of different age groups and believe that this data could be of potential benefit to the physicians while evaluating lower limb alignment in Indian children aged 2–15 years.
Membrane Protein Profiling of Human Islets of Langerhans Using Several Extraction Methods
Authors: Hansson Sara F. , Henriksson Åsa , Johansson Lars , Korsgren Olle , Eriksson Jan W. , Tornqvist Hans , Davidsson Pia
Published: October 2010

Introduction

Proteomic characterization of the human pancreatic islets, containing the insulin producing beta-cells, is likely to be of great importance for improved treatment and understanding of the pathophysiology of diabetes mellitus.

Objective

The focus of this study was to characterize the human islet membrane proteome.

Methods

In order to identify as many membrane proteins as possible, five different extraction procedures were used, i.e., phase separation using Triton X-114, a plasma membrane protein kit, cell surface protein biotinylation, total protein extraction, and lipid-based protein immobilization flow cell. Digested protein extracts were analyzed by nanoflow liquid chromatography tandem mass spectrometry. Then the identified proteins were categorized according to cellular location using their gene ontology annotation and by prediction of transmembrane helices in the sequence. This information was used to estimate the amount of membrane proteins identified.

Results

By combining the results from all extraction procedures, the total number of membrane proteins identified from the human islets was increased, accentuating that a combination of methods usually gives a higher coverage of the proteome. A total of 1,700 proteins were identified (≥2 unique peptides), and 735 of these proteins were annotated as membrane proteins while 360 proteins had at least one predicted transmembrane helix. The extraction method using phase separation with Triton X-114 yielded both the highest number and the highest proportion of membrane proteins.

Conclusion

This study gave an enhanced characterization of the human islet membrane proteome which may contribute to a better understanding of islet biology.
Data accuracy on automatic traffic counting: the SMART project results
Authors: Bellucci Patrizia , Cipriani Ernesto
Published: October 2010

In this paper the results of an experimental survey on traffic monitoring devices, named SMART Project, are presented. Aim of the project was to define the requirements to be applied to traffic technologies to match specific applications. The project involved the construction of a test site on a main road, where seven different traffic monitoring systems were installed. A 1 year survey was carried out to assess technologies response to environmental and mechanical solicitations. A reference system specifically devoted to check and validate the devices under test was designed for the project. Test procedures were also developed to control the results achieved. The outcomes accomplished for vehicles counting are described in details in the essay hereunder.
Finite-dimensionality in Tanaka theory
Authors: Kruglikov Boris
Published: October 2010

In this paper we extend the Tanaka finiteness theorem and inequality for the number of symmetries to arbitrary distributions (differential systems) and provide several applications.
Monotonicity constraints and supercritical Neumann problems
Authors: Serra Enrico , Tilli Paolo
Published: October 2010

We prove the existence of a positive and radially increasing solution for a semilinear Neumann problem on a ball. No growth conditions are imposed on the nonlinearity. The method introduces monotonicity constraints which simplify the existence of a minimizer for the associated functional. Special care must be employed to establish the validity of the Euler equation.

On démontre l'existence d'une solution positive et radialement croissante pour un problème de Neumann semilinéaire sur une boule. Aucune restriction de croissance n'est imposée sur la nonlinéarité. La méthode indroduit des contraintes de monotonie qui simplifient la preuve de l'existence d'un minimum pour la fonctionnelle associée à l'équation. Une attention particulière est consacrée à la preuve de la validité de l'équation d'Euler.
Leu628 of the KIX domain of CBP is a key residue for the interaction with the MLL transactivation domain
Authors: Arai Munehito , Dyson H. Jane , Wright Peter E.
Published: October 2010

MINT‐8044564, MINT‐8044580, MINT‐8044598, MINT‐8044616, MINT‐8044634, MINT‐8044656:Cbp (uniprotkb:P45481) and MLL (uniprotkb:Q03164) bind (MI:0407) by isothermal titration calorimetry (MI:0065)MINT‐8044696:Cbp (uniprotkb:P45481) and MLL (uniprotkb:Q03164) bind (MI:0407) by nuclear magnetic resonance (MI:0077)
Understanding signal integration through targeted mutations of an adapter protein
Authors: Zou Tao , May Rebecca M. , Koretzky Gary A.
Published: October 2010

Immunoreceptor engagement leads to the activation of multiple second messenger cascades, and integration of these pathways requires proper function of a number of adapter proteins. Although adapters possess no intrinsic enzymatic function, they nucleate the formation of multi‐molecular protein complexes to support downstream signaling. Since adapters contain functionally distinct domains, intense investigation has been devoted to understanding how these regions act to integrate signals. This review describes the evolution of studies investigating one of these adapters, the SH2 domain‐containing leukocyte protein of 76 kDa. Through utilizing biochemical, genetic and imaging techniques, a model has emerged describing how this adapter regulates signals resulting in complex immune responses.
Candida albicansPHO81 is required for the inhibition of hyphal development by farnesoic acid
Authors: Chung Soon-Chun , Kim Tae-Im , Ahn Chan-Hong , Shin Jongheon , Oh Ki-Bong
Published: October 2010

Farnesoic acid is a signaling molecule that inhibits the transition from budding yeast to filament formation in Candida albicans, but the molecular mechanism regulated by this substance is unknown. In this study, we analyzed the function of CaPHO81, which is induced by farnesoic acid. The pho81Δ mutant cells existed exclusively as filaments under favorable yeast growth conditions. Furthermore, the inhibition of hyphal growth and repression of CPH1, EFG1, HWP1, and GAP1 mRNA expression in response to farnesoic acid were defective in pho81Δ mutant cells. These data suggest a role for CaPHO81 in the inhibition of hyphal development by farnesoic acid.
Computational analysis of T cell receptor signaling and ligand discrimination – Past, present, and future
Authors: Germain Ronald N.
Published: October 2010

Signaling through the T cell receptor for antigen (TCR) has been studied for years by conventional biochemical means. More recently, attempts have been made to develop computational models of signaling through this receptor, with a specific focus on understanding how this recognition system discriminates between closely related (self and non‐self) ligands. Here we discuss recent advances centered on the role of feedback regulation, especially the key finding that a combination of digital and analog control circuits is fundamental to the discrimination properties of the TCR. We end by pointing to future, more biologically accurate models that incorporate spatial aspects of molecular organization in antigen‐engaged T lymphocytes with this underlying biochemistry.
A free radical‐generating system regulates APP metabolism/processing
Authors: Recuero María , Muñoz Teresa , Aldudo Jesús , Subías Marta , Bullido María J. , Valdivieso Fernando
Published: October 2010

Oxidative stress, a risk factor in the pathophysiology of Alzheimer's disease, is intimately associated with aging. We previously reported that the X‐XOD free radical generating system acts as a modulator of lipid metabolism and a mild inducer of apoptotic death. Using the same cell model, the present study examines the metabolism/processing of the amyloid precursor protein (APP). Prior to inducing cell death, X‐XOD promoted the secretion of α‐secretase‐cleaved soluble APP (sAPPα) and increased the level of APP carboxy‐terminal fragments produced by α and γ secretase (αCTF and γCTF/AICD). In contrast, it reduced the activity of β‐secretase and the level of secreted Aβ. The present results indicate that mild oxidative stress maintained throughout culturing regulates APP metabolism/processing in SK‐N‐MC human neuroblastoma cells.
ATP dependent charge movement in ATP7B Cu+‐ATPase is demonstrated by pre‐steady state electrical measurements
Authors: Tadini-Buoninsegni Francesco , Bartolommei Gianluca , Moncelli Maria Rosa , Pilankatta Rajendra , Lewis David , Inesi Giuseppe
Published: October 2010

ATP7B is a copper dependent P‐type ATPase, required for copper homeostasis. Taking advantage of high yield heterologous expression of recombinant protein, we investigated charge transfer in ATP7B. We detected charge displacement within a single catalytic cycle upon ATP addition and formation of phosphoenzyme intermediate. We attribute this charge displacement to movement of bound copper within ATP7B. Based on specific mutations, we demonstrate that enzyme activation by copper requires occupancy of a site in the N‐terminus extension which is not present in other transport ATPases, as well as of a transmembrane site corresponding to the cation binding site of other ATPases.
Inherently loyal or easily bored?: Nonconscious activation of consistency versus variety‐seeking behavior
Authors: Fishbach Ayelet , Ratner Rebecca K. , Zhang Ying
Published: October 2010

This article explores nonconscious effects on consumers' tendency to seek consistency versus variety in sequential choices. We propose that activation of concepts related to a positive frame of repetition (e.g., “loyalty”) triggers a preference‐based construal of consumption that encourages consistency seeking. In contrast, activation of concepts related to a negative frame of repetition (e.g., “boredom”) triggers a satiation‐based construal of consumption that encourages variety seeking. Four studies demonstrate that which construal of consumption consumers adopt can be activated outside of awareness, impacts consumers' experienced satiation, and determines in turn the amount of variety they incorporate into their choices.
Therapeutic options in patients with early T stage and advanced N stage of tonsillar squamous cell carcinomas
Authors: Chung Man Ki , Son Young‐Ik , Cho Jae Keun , So Yoon Kyoung , Woo Seung Hoon , Jeong Han‐Sin , Baek Chung‐Hwan
Published: October 2010

OBJECTIVE

To compare the therapeutic role of surgery followed by radiotherapy (OPRT) and concurrent chemoradiotherapy (CCRT) in patients with early T (T1/T2) and advanced N (N2/N3) stage tonsillar squamous cell carcinoma.

STUDY DESIGN

Historical cohort study.

SETTING

A tertiary hospital.

SUBJECTS AND METHODS

The medical records of 42 patients who met the eligible criteria (24 patients were treated by OPRT, 18 patients by CCRT) were reviewed.

RESULTS

Mean overall survival (OS) and disease‐free survival (DFS) were 49.0 months and 43.0 months in OPRT group, respectively, and 39.6 months and 35.0 months in CCRT group, respectively (P = 0.18 for OS, P = 0.29 fr DFS between the two groups). There was also no significant difference in survival estimates between OPRT and CCRT group in terms of two‐year OS (P = 0.18) and two‐year DFS (P = 0.45). In the European Organization for Research and Treatment of Cancer (EORTC) QLQ‐C30, the scores for global health status and symptom scales did not differ between the two groups. However, the OPRT group reported better functional scales and significantly higher scores for cognitive (P = 0.008) and social function (P = 0.03). Among single items, a significantly lower score for insomnia (P = 0.007) was noted in the OPRT group. In EORTC QLQ‐H&N35 modules, there were no significantly different scales between the two groups except scores for nutritional supplements, in which the OPRT group presented lower symptom scores (P = 0.02).

CONCLUSION

OPRT could be still a viable option for managing selected cases of advanced oropharyngeal cancer because one can expect comparable therapeutic outcome as well as quality of life.
Do British Party Politics Exhibit Cycles?
Authors: Merrill Samuel , Grofman Bernard , Brunell Thomas L.
Published: October 2010

Evidence for long-term cycles in the parliamentary seat share of the major British parties is presented in this article. Spectral analysis of data from 1832 to 2005 suggests a cycle period of about twenty-eight years, similar to findings in US studies and to cycle-length estimates restricted to the post-1950 period in Britain. A four-parameter voter–party interaction model developed by Merrill, Grofman and Brunell is adapted and applied to Britain. That model depends on tensions between parties’ policy and office motivations and between voters’ tendency to sustain the governing party while reacting against non-centrist policies. The model operates homeostatically, projects patterns consistent with the empirical record and fits the data better than models based on economic factors or autoregressive predictions.
Pioners and All: The Beginnings of Shakespeare Film
Authors: Ball Robert Hamilton
Published: October 2010

It was bright in London on that day toward the close of the nineteenth century—or at least there were bright intervals. In the early morning the sun sparkled on the silver Thames, and as one strolled north along the Victoria Embankment from Westminster Bridge, Wordsworth's sonnet came to mind. Farther north still, as the river turned more and more to the east above Charing Cross it was pleasant to wander in the gardens. This was historic ground. At the foot of Buckingham Street was the seventeenth century Water Gate of York House and then the region known as the Adelphi, built by the brothers Adam. It had once been the site of Durham House, the home of the fourteenth century Bishop of Durham, and later of Lady Jane Grey and of Sir Walter Raleigh. Adelphi Terrace, looking on the Thames, had been inspired by Robert Adam's visit to the palace of Diocletian at Spalato though remodeling had now altered its original design. Robert and James Adam had resided at No. 4; Thomas Hardy had worked at No. 8; the Savage Club occupied Nos. 6 and 7. There were dramatic associations too. David Garrick had lived and died at No. 5; Richard D'Oyly Carte was in the Adam residence; and Bernard Shaw had recently moved into No. 10.
Death of the Salesmen's Monopoly
Authors: Lippman Monroe
Published: October 2010

The latter decades of the nineteenth century saw great industrial expansion in America, achieved in no small measure by men of business acumen, men with a vision of the future. If money was being made by two or three or four relatively small businesses competing with one another, how much more could be amassed if these businesses were combined into one, thus eliminating competition! So these years became a period of mergers—mergers of men, money, and materials. Huge industries created huge fortunes, and a few men acquired wealth and power. That the theatre could escape the trend of such mergers was as unlikely as a flood in Death Valley. Oil had its Rockefeller, steel its Carnegie, railroading its Harriman, Vanderbilt, Gould and Hill, finance its Morgan and Cooke, the meat industry its Armour-and the theatre its Klaw and Erlanger.
La Scena per Angolo—Magic by the Bibienas?
Authors: Burnim Kalman A.
Published: October 2010

Perhaps no family in the history of any art form has so completely dominated and influenced the artistic production of its century as did the Galli-Bibiena family from Bologna. Certainly in the sphere of theatrical scene design and decoration it was the family genius of the Italian Bibienas, working almost as a composite entity, that founded and maintained the Baroque Period of scene design as the age of supreme illusion.
Jacques Copeau and Shakespeare
Authors: Gild David
Published: October 2010

During the last quarter century the majority of France's greatest stage directors have drawn extensively from Jacques Copeau's rich legacy of teaching, directing, and acting, thus establishing his theatrical paternity for all time. The fame of his innovations is international, and an ordinary summary of his work would only contribute to the obvious. However, a discussion of Copeau's Shakespearean productions can be fruitful since he was the first one in France to establish the English-speaking tradition of producing Shakespeare. And, as Antoine before him, his finest hour was demonstrated in Shakespearean production.
“The Second Chronicler”: A Tentative Identification of the Unknown Hand in The MS. Diaries of the Drury Lane Theatre
Authors: Pedicord Harry William
Published: October 2010

Among the important collections of memorabilia concerning eighteenth-century London playhouses is that known as The Ms. Diaries of the Drury Lane Theatre, thirteen manuscript notebooks or theatrical calendars of quarto size among the holdings of The Folger Shakespeare Library, Washington, D.C. While there is a gap of two seasons, 1760–1762, and another of four seasons, 1764–1768, these documents are valued for their chronological record of theatrical seasons at the Theatre Royal, Drury Lane, throughout the management of David Garrick and his partner James Lacy, 1747–1776. Each night's reckoning is set down with the plays and entertainments produced, the box office receipts in round numbers, the numerical position of the performance in the particular season, and very often the prompter's notations concerning anything unusual about production, performers, the temper of the audience, or merely “the way things went” on a particular evening. Together with Course of Plays, 1740–1742, a similar calendar of the 1740–1741 season at Covent Garden Theatre and the 1741–1742 season at Drury Lane attributed to Richard Cross, these diaries have become known popularly as The Cross-Hopkins Diaries, after the two Drury Lane prompters, Richard Cross and William Hopkins, acknowledged compilers of the greater part of the series.
Servandoni at Württemberg
Authors: States Bert O.
Published: October 2010

On June 15, 1763, Jean Nicholas Servandoni was hired for one year at a salary of 15,000 marks (7,500 gulden), travel expenses, free lodging, and a carriage to work at the court of Herzog Karl Eugen in Württemberg. Thanks to the industry of Joseph Uriot, the Duke's librarian, we have brief but invaluable descriptions of the fifteen decorations which he produced for the spectacles of February 11, 1764, the magnificent festival in honor of the Duke's birthday.

Not at the opera, nor at any time in his career, was Servandoni's genius challenged as it was here, for he was in the company of Europe's most celebrated theatre personalities and perhaps its most sophisticated audience. His colleague for the occasion was Innocenz Colomba (1717–1793), an Italian designer of wide reputation, who had worked for the Duke since 1761. The operas were in the charge of Niccolo Jommelli, the chapel master there, and the ballets of Jean-Georges Noverre and his company of one hundred dancers, not including twenty principal performers each of whom had been first, dancer at one of Italy's chief theatres. The costumes were designed by Louis Boquet who spent a month each year at Württemberg.
Theatre Audiences of Japan
Authors: Lovell John
Published: October 2010

In Japan it is easier to realize than in America a basic but neglected truth, namely, that the audience, and not the people on the stage, is the heart of the theatre. In America plays are, and have been generally, written to attract audiences, but not definite audiences: actually audiences in hodgepodge, whatever multitude can be induced to attend. In Japan, traditionally, the drama has been created for definite audiences.

The Noh drama was originally produced for an audience of nobility and high dignity, both from the religious and from the civil standpoints. Originally Noh plays were acted exclusively in shrines to propitiate the deities of Shinto. On the other hand, they were enthusiastically supported by theshōguns(the Japanese military dictators who, though paying nominal court to the emperors, were the real rulers in Japan for several hundred years) and somewhat regulated by the tastes and preferences of thedaimyōs(the hereditary feudal nobles).
The Stage Career of Eliza Haywood
Authors: Elwood John R.
Published: October 2010

Female playwrights of varying degrees of quality were reasonably plentiful in late seventeenth and early eighteenth century England; but, except for Eliza Haywood, few of these playwrights doubled as actresses, at least with sufficient success for us to be aware of their talents. Even the stage career of Mrs. Haywood, one extending at least from 1715 to 1737, has not been documented in its entirety before now. It deserves attention because it adds some details to the scanty biography of this woman who is best known as a novelist, a novelist who turned out scandal chronicles long before Richardson made the novel morally acceptable, and who in 1751 produced what may be the first domestic novel in English,The History of Miss Betsy Thoughtless. Along the way she had some success as a publisher, as the first woman writer of a periodical for women, as a poet, and as a playwright and actress. It was her efforts in the theater that drew the attention of such men as Jonathan Swift and Richard Savage and brought her into a rather lengthy association with Henry Fielding. And it was her theatrical experience that contributed much to her eventual skill as a novelist. She liked the stage, and much of what we like in her later work she owed to the stage.
William Warren's Financial Arrangements with Traveling Stars—1805–1829
Authors: Pritner Calvin L.
Published: October 2010

At the beginning of the nineteenth century the major American theatre companies in Boston, New York, Philadelphia, and Charleston relied little on the use of traveling stars. The theatres played a nightly change of bill, three or four nights each week; and the plays were performed almost entirely by the resident stock company. However, by the 1830's the regular use of traveling stars was firmly established. In later years the stars and the starring system were often blamed for the decline of the stock companies, the failure of theatrical managements, and a general deterioration of the theatre.
The Dorset Garden Theatre in Pictures
Authors: Langhans Edward A.
Published: October 2010

The so-called river view of the Dorset Garden playhouse and the Dolle engravings in Settle's The Empress of Morocco (1673) have long been familiar to theatre historians, but these are not the only pictures we have of this elegant Restoration theatre, and it may be helpful to gather together here all the pictorial material that has been found, much of which is new, intriguing, and sometimes baffling.
Wild Apaches in the Effete East: A Theatrical Adventure of John P. Clum
Authors: Ryan Pat M.
Published: October 2010

No one at the Indian Bureau, in Washington, seemed interested when, early in the summer of 1876, Indian Agent John P. Clum suggested taking a carload of his San Carlos Apaches back East –“to see the greatness of our United States and become impressed by the progress of their white brothers.” So Clum relates in the semi-autobiographical book Apache Agent.

Two years before, in Feburary, 1874, he had been commissioned :by President Grant as Agent for the Apaches at the San Carlos Indian Reservation, Arizona Territory.
Post-Restoration Shylocks Prior to Macklin
Authors: Coleman William S. E.
Published: October 2010

After the closing of the London theatres in 1642, William Shakespeare's The Merchant of Venice waited almost one hundred years before it was revived in an acting version approximating the original script. Charles Macklin was instrumental in bringing an unaltered, but somewhat cut, version to the Drury Lane stage on February 14, 1741. Though no contemporary account of Macklin's first performances as Shylock exists, later biographers and critics state that he performed the part in a serious, almost tragic, manner for the first time since the Interregnum.
Beerbohm Tree in America
Authors: Knight Leonard H.
Published: October 2010

Even allowing for the exaggeration implicit in obituaries as such, this American description of a nineteenth-century English actor seems excessive. Yet Beerbohm Tree was not primarily an actor at all, certainly not (as some of his contemporaries would have put it) a “professional.” An unusually diverting mixture of jack-in-the-box and Jack-of-all-trades, his lack of conspicuous, all-consuming dedication to the principles of the profession he had chosen for himself, coupled with his obvious delight in its shallower aspects (spectacle, makeup, effects), gained him admiration from the audience at large and aroused suspicion among his fellow artists.
Anne Brunton in Bath and London
Authors: Doty Gresdna
Published: October 2010

William Dunlap thus records his impression of Anne Brunton's Covent Garden debut as Horatia in The Roman Father, October 17, 1785. Until less than a year before her London debut this young woman had never stepped before an audience. Her mercurial rise from the Theatre Royal, Bath, to London did not prepare her to displace or challenge Mrs. Sarah Siddons, reigning queen of the London stage. It did, however, launch Anne Brunton on a successful Covent Garden engagement, preparing her for a career in the United States between 1796 and 1808.
From Forestage to Proscenium: A Study of Restoration Staging Techniques
Authors: Martin Lee J.
Published: October 2010

Relatively little is known about the actual techniques employed in staging a play in the theatres of Restoration England (1660–1700), and consequently many problems concerning these techniques remain unsolved. One such problem, that of the amount of action which took place within the scene, that is, behind the proscenium arch, has received scant attention in published works. Theatre historians generally assume that Restoration actors confined their movements to the forestage and that they moved into the “scene” infrequently, if at all. However, a detailed study of the techniques for changing the scene and an analysis of the stage directions and lines of a large number of plays written and produced during the period under consideration affords an indication of the significant amount of action which took place within the scene.
The Old Corrals of Spain
Authors: Falconieri John V.
Published: October 2010

When Europe moved from the Middle Ages through the Renaissance, dramatic representations became markedly divided into secular and religious performances. No longer adjuncts of liturgical drama, the secular plays took on a certain autonomy. They became an aspect of civic life and were produced and presented by professional playwrights and performers. Needless to say, the church courtyard and cathedral steps could no longer be used as stages. The company directors and their actors took to public squares and city streets but, for convenience or necessity, were obliged to set up their stages in the open spaces between houses, in patios of large houses, or in the corrals of large apartment houses. These early and temporary theaters were put together only when the occasion arose; they were in no sense permanent playhouses.
Shakespeare and Nineteenth-Century Realism
Authors: Shank Theodore J.
Published: October 2010

Although there was probably more drama written in English during the nineteenth century than in any previous century, the most popular dramatist of the period had been dead for two hundred years. The frequent presentations of Shakespeare's plays on the nineteenth-century stage caused certain problems—he had written for a different audience and a different theatre. The new audience found much in Shakespeare's plays to admire; but of special interest were the romantic and melodramatic aspects of the plays and the spectacle with which some of the managers interlarded them—the processions, the battles, the crowds, the tableaux, and especially the magnificent costumes and scenery.
The Queen's Theatre, Haymarket: Vanbrugh's Opera House
Authors: Mullin Donald C.
Published: October 2010

The Union of the Companies that had brought the theatre of London under the one roof of Drury Lane in 1682 degenerated under the mis-management of Christopher Rich into open rebellion in 1695. In that year Betterton and a group of followers abandoned the Theatre Royal to set up a rival company in the old theatre in Lincoln's Inn Fields. This new group managed quite successfully for several seasons, but a decline soon set in, partly due to the shabby old theatre itself, but mainly due to internal bickering and poor management. By the first years of the eighteenth century the company was in such straits that a revitalization was understood to be necessary if the players were to survive.
“Imagination Holds Dominion”: Stage Spectacle in Beerbohm Tree's Productions, 1897–1900
Authors: Ripley John
Published: October 2010

The opening of Beerbohm Tree's new theatre, Her Majesty's, on April 28, 1897, was a major social event, but hardly a landmark in stage history. Desmond MacCarthy felt that “Her Majesty's … frankly forewent the claim to be the last word in dramatic art” in favour of “the grandly, lavishly popular in that line.” The art critic of the Weekly Sun suggested that it had foregone dramatic art altogether as it had been traditionally understood. “This is the age of the biograph and the cinematograph,” he wrote. “Mr. Tree's object was to give us living pictures which talked.”
Some Notes on the St. George Play
Authors: Green Robert J.
Published: October 2010

In many English villages in the nineteenth century young farmworkers used to perform a traditional play, the origins of which probably stretch back to the centuries before the Conversion. William Barnes, the Dorset dialect poet and friend of Thomas Hardy, has left us this description of the actors in such a play:
From Covent Garden to the Bowery: Kemble and Hamblin Promptbooks for Henry VIII
Authors: Marker Frederick J.
Published: October 2010

John Philip Kemble, particularly during his palmy days at the rebuilt Covent Garden from 1809 to 1817, introduced a new style of production and management into English theatre. In producing Shakespeare's plays (twenty-seven in twenty-nine years) Kemble was determined “to bend every nerve to make them perfect, beyond all previous example.” His calculated “authenticity,” picturesque groupings, illusionistic scenery, and splendid processions revolutionized theatrical style. “Unquestionably all the truth, all the uniformity, all the splendour and the retinue of the stage came in, but did not die, with Mr. Kemble,” writes his biographer, James Boaden, with customary enthusiasm. “He transported us absolutely into the days of Henry VIII. or Coriolanus,” recalls one admirer.
“Shorn and Abated”–British Performances of The Duchess of Malfi
Authors: Wadsworth Frank W.
Published: October 2010

Samuel Phelps' revival of The Duchess of Malfi at Sadler's Wells on November 20, 1850 resulted in Webster's tragedy holding the boards in Great Britain and America for some twenty-five years. These performances were enumerated and their casts identified in an earlier article. I want now to attempt a fuller description of some representative productions, both for the light they throw upon the attitudes and practices of nineteenth-century theatre and for the useful insights they give us into the nature of Webster's tragedy itself.
Production Notes for Three Plays by Thomas Killigrew
Authors: Wertheim Albert
Published: October 2010

Little is known about the productions of Thomas-Killigrew's plays before the closing of the theaters, and there is even considerable doubt whether some of them were produced at all. During the Interregnum Killigrew lived in exile on the Continent and lacking playhouse, playgoers and actors, nevertheless continued to write his plays as “a diversion.” With the restoration of King Charles II to the throne of England, however, Killigrew's theatrical fortunes rose considerably. On August 21, 1660 Charles II issued a grant bestowing upon Killigrew, then a Groom of the Bedchamber, and upon Sir William Davenant “full power and authority to Erect two Companies of Players.”
“Elsslermania” in New Orleans
Authors: Hostetler Paul S.
Published: October 2010

The American theatre patron of the 1840's knew what he liked in entertainment, and he expressed himself vigorously on the subject. His tastes were highly eclectic. Melodrama and romantic spectacle were his dramatic staples at a theatrical buffet which also included phrenologists, magicians, ventriloquists, jugglers, automatons, and a whole range of human physical oddities from Siamese twins to Belgian giants, not the least of which was one Hervio Nanno who, although handicapped by withered legs, boasted hands and arms of such strength that, dressed as a green fly, he literally could climb all over the theatre and auditorium.
A Theatre Inventory of the First Empire
Authors: Carlson Marvin
Published: October 2010

Administrative records of the French theatre during the First Empire are fairly abundant, but the researcher interested in documents concerning the physical side of production at this time faces a difficult and frequently unrewarding search. The documents preserved in Paris are few, and political vicissitudes, inadequate storage, and fire have combined to leave still fewer documents in the provinces. Particularly important, therefore, is a collection of dossiers preserved in the Archives départementales de l'Herault which include both mises en scène and information on settings at the Montpellier Comédie during the Empire period. No similar records have survived from any of the other great provincial theatres of this period–Bordeaux, Rouen, Marseilles, Nancy, Toulouse, and Strasbourg.
Fragmented Autobiography
Authors: Morley Malcolm
Published: October 2010

Malcolm Morley was born at Aldershot, England, on 20 May 1890. Intensely interested in the theatre from an early age, he took part in amateur and semi-professional productions. Due to some parental opposition to a theatrical career, he left England in 1912, to make his way as an actor on the American Stage. His early efforts are described in the following pages.

Returning to England in 1920, he led an active theatrical life as actor, producer and manager. He was associated with the management of the Everyman Theatre, Hampstead, during its most influential years, when its successes included the first English productions of Strindberg's The Father and Ostrovsky's The Storm.
Shakespeare in Edinburgh Playbills: The Theatre Royal, 1810–1851
Authors: Engel Wilson F.
Published: October 2010

In the National Library of Scotland under R.283.C. (bound volumes) and pressmrk Mus.Box.250 (boxes of loose materials) are collections of long-neglected playbills—a mine for detailed study of many aspects of theatre in Edinburgh. No printed catalogue of these ephemerae exists, though they provide valuable information that J. C. Dibdin chose to omit from The Annals of the Edinburgh Stage. The collections of Edinburgh playbills are uneven. Sixteen of forty-two Theatre Royal seasons between 1810 and 1851 are not represented by any bills.
Nazi Germany's Jewish Theatre
Authors: Gadberry Glen W.
Published: October 2010

In the Age of Enlightenment, prominent critics and theorists called for an innovative program that would significantly affect the nature, status and future of the German theatre. Johann Elias Schlegel in 1747, Christian Fürchtegott Gellert in 1751, Johann Friedrich Löwen in 1766 and Gotthold Ephriam Lessing in 1767 variously urged the creation of permanent national theatres with resident artists on established salaries, subsidized by the wealthy or by the state. To those working in the uncertain world of semiprofessional companies, criss-crossing central Europe in search of friendly cities or courts with paying audiences, it was a logical idea. Remarkably, it came to be accepted and realized, first in Vienna, then in Mannheim, Weimar, Frankfurt am Main, Berlin, all the major capitals and cities of the fragmented German states. It was an important advance, not only for the sake of the German theatre, but also for its performers because they were accorded the status of Beamten, or civil servants, in these new state theatres. Yet the Beamten classification allowed for an action unforeseen by Schlegel, Gellert, Löwen or Lessing: a hostile government could punish segments of its civil service it deemed offensive by forcing retirement.
The “Prodigal Son” at Bartholomew Fair: a New Document
Authors: May James E. , Winton Calhoun
Published: October 2010

In the papers of Sir Robert Walpole now deposited in the Cambridge University Library, there is an information prepared in 1724 by the office of the Attorney General for the prosecution of a number of players at the Court of King's Bench. This document provides insights not only into the climate of theatrical censorship at the time but also into the nature of the dramatic presentations at London street fairs such as this one at Bartholomew Fair in Smithfield. The actors and actresses involved were for the most part well-known professionals on the London stage. The offending dramatic vehicle, heretofore known only by its title as advertised in the periodical press, was a short comedy or droll called “The Prodigal Son,” based on the familiar parable in Luke's gospel (15: 11–32).
B.F. Keith and the Origins of American Vaudeville
Authors: Allen Robert C.
Published: October 2010

The origins and early development of American vaudeville remain shrouded in the fog of nineteenth-century theatre history. Most historical accounts focus upon the evolution of vaudeville from entertainments performed in honky-tonks, beer gardens, and “concert saloons” of the 1860s and 1870s. Itinerant artists were hired to keep customers in a drinking mood with jigs, songs, acrobatics, and jokes. According to Douglas Gilbert, the audience for “variety,” as the sum of these peripatetic performers was then called, consisted of “tosspots, strumpets, dark-alley lads, and shimmers.” Few “respectable” men would dare venture into such places because of the drunkenness of the audience and the salacious nature of the entertainment.
Eleanora Duse's Second Career
Authors: Longman Stanley Vincent
Published: October 2010

On May 5, 1921, Eleanora Duse presented her second debut, performing the part of Ellida in Ibsen's The Lady from the Sea at the Teatro Balbo in Turin. Her re-appearance at sixty-three, after an absence of twelve years, was a moment of extraordinary excitement, and when “Ellida” set foot on stage, she was greeted with a ten minute ovation. La Duse had retired in 1909, with no intention of ever performing again. Many praised her for leaving the boards at the height of a stunning career, ensuring an enduring image. And, indeed, it is the Eleanora Duse of the first career that is generally remembered, even today. Nevertheless, her second career, risking the destruction of that earlier image, serves to illumine much about the nature of her art, for her endeavor was to bring to the Italian stage a sweeping reform.