bluuebunny/crossref_metadata_2025 huggingface dataset:
Sound Symbols of Falling
Authors: Nuckolls Janis B
Published: November 2023

This chapter analyzes four sound-symbolic adverbs, all of which concern various types of falling. Palay describes the rapid falling of a group of objects or entities from a relatively high vantage point. Pak describes the contact made by a falling object or sub stance which is in some way reconfigured by that fall. Patang describes the contact made by someone or something that falls, but which does not suffer any evident loss of shape as a result of the fall; it also usually involves a fall from a relatively low vantage point. Ki describes a deliberate tossing, throwing, or sprinkling of a collection of objects or entities, as well as the configuration resulting from this tossing, throwing, or sprinkling.
Sound Symbols of Deformation
Authors: Nuckolls Janis B
Published: November 2023

This chapter analyzes six sound-symbolic adverbs that concern various types of de formative actions. All of these adverbs concern the description of actions or processes that cause the violation of an object or entity’ s integral structure. Tsuk describes the removal of something from its medium or structural mass. Waling describes an empty hollow left by a decaying, eating, or burning away. ChYu describes the deliberate cutting or breaking off of something, usually involving the use of a tool such as a knife.
Sound Symbols of Suddenness and Completiveness
Authors: Nuckolls Janis B
Published: November 2023

This chapter analyzes nine sound-symbolic adverbs that cannot easily be included with any of the previous chapters, but which are nonetheless important in the communication of schematic images that assist grammatical aspect. Dzing describes a sudden aware ness or intuition. Dzas describes the punctual accomplishment of an action. Tay describes a nondynamic, permanent, or completely realized action or condition. Tsuping describes a complete bareness. Tsung describes the complete absorption of a liquid substance. Saw describes the unbroken movement of a fluid substance considered as a whole. Shaw de scribes the creation of a whole two-dimensional entity or a continuous two-dimensional gesture. Ton describes a complete filling or covering.
Conclusion
Authors: Nuckolls Janis B
Published: November 2023

With their use of sound symbolism the Pastaza Quechua seek to integrate language with perceptual experience. From the perspective of Western science, this is an important task because of the difficulty, historically, of recognizing or representing the link between language as a cultural form and environmental phenomena, without reducing one or idealizing the other. The relationship between the two has always been deeply contested-hence the intractable debates on culture and nature and arbitrari ness and motivation.
Gershwin’s Blue Monday (1922) and the Promise of Success
Authors: Johnson John Andrew
Published: November 2023

By nearly all accounts, George Gershwin’s “American folk opera” Porgy and Bess is among his greatest achievements, certainly his magnum opus, challenging for performers and audiences alike. The task of composing Porgy and Bess was unusually laborious for Gershwin as well, requiring more than two years of concentrated effort, due largely to the sheer size of the workitslengthy libretto, big cast, and full-scale orchestration. The enormity of the undertaking even encouraged him to expand and develop his compositional technique with various teachers, including Joseph Schillinger. For Gershwin had a lot at stake in Porgy and Bess: fulfilling a public expectation to produce another musical coup d’etat along the lines of his previous concert hall successes. And Porgy and Bess, Gershwin’s admitted “labor of love,” posed a problem with which he would grapple considerably-the exacting of a faithful embodiment of his fascination with DuBose Heyward’s story of Charleston blacks. Fully ten years earlier, however, in “the heyday of the new jazz,” when “Gotham was in the midst of a concurrent Negrophilia,” Gershwin was already pondering opera and, earlier still, the role of black cultural expression in his own vernacular experience.
Rhapsody in Blue: A Study in Hollywood Hagiography
Authors: Greenspan Charlotte
Published: November 2023

Rhapsody in Blue: The Story of George Gershwin was made at the Warner Brothers studios in 1945, eight years after the composer’s death. Produced by Jesse Lasky and directed by Irving Rapper, the film starred Robert Alda as George Gershwin, Herbert Rudley as Ira Gershwin, and Charles Coburn as Max Dreyfus; the female leads were taken by Joan Leslie and Alexis Smith, both playing fictional characters invented for the film.
George Gershwin and Jazz
Authors: Barbera C Andre
Published: November 2023

Gershwin, for all of his profound talents as a pianist and a composer of a modern classical music form, had little in common with jazz. His was a superficial knowledge at best, acquired chiefly from his occasional visits to Lenox avenue, uptown, and from his acquaintances among colored musicians on Broadway.
Tracing Gershwin’s Piano Rolls
Authors: Wodehouse Artis
Published: November 2023

1915 to 1925 was the decade during which George Gershwin successfully negotiated the increasingly challenging hurdles of the music industry to become a commercially successful songwriter and achieve worldwide recognition as an American composer. During that time, too, Gershwin made 140 piano roll arrangements of popular sheet music, participating in an industry created to meet the huge demand for home entertainment music in America.
What about Ira?
Authors: Jablonski Edward
Published: November 2023

When George Gershwin died in July 1937 at the age of thirty-eight, Hollywood gossip rumored that the career of his lyricist and older brother (by twenty-two months), Ira, would perish too. Theirs had been a unique fraternal collaboration, but, the word went, Ira Gershwin had been riding on his brother’s elegant coattails and had lived in his shadow. With George gone, Ira would fade into obscurity and inactivity.
Representation and Memory in the Academy
Authors: Weisz George
Published: November 2023

When the medical journalist Louis Peisse called the academy’s new building on the rue des Saints-Peres a “monument” in the 1850s, he was not just referring to the building’s classical architecture. The rooms and corridors were cluttered with works of art donated by the state (in whose storage rooms they had frequently languished) and by academicians or their loved ones. The new premises, said Peisse, were like a museum whose very walls communicated to those able to comprehend:
Jill
Authors: Freeman John M , Mcdonnell Kevin
Published: November 2023

Jill looks fine sitting there in front of you. She is in her late 40s, slender and attractive. She had first seen you five years ago when her company had signed their employees up with your HMO. Two years ago her gynecologist had sent a note telling you that Jill had been referred to the group’s oncologist for a suspicious lump detected on a mammogram. As Jill’s primary care physician, you were expected to direct her path through the HMO’s system of referrals and consultants.
Wanda
Authors: Freeman John M , Mcdonnell Kevin
Published: November 2023

Mary and I were married during the first year of my residency; Zack was born soon after. One hundred thousand dollars in debt, we decided that we couldn’t afford my taking any specialty training. We had to have an income. As soon as I finished three years in general internal medicine, I came to Whiteford.

Plain and simple, Whiteford needed a doctor and I needed a job to pay off my debts. The West Whiteford Outreach Clinic is part of a federally funded project to meet the needs of the underserved. In return for working with this population, the government forgives a portion of medical school loans, and the clinic’s doctor receives a reasonable salary.
Tom Revisited
Authors: Freeman John M , Mcdonnell Kevin
Published: November 2023

Four days have passed since what is now referred to as the “Memorial Day Massacre” (presented in Chapter 8, “Joey, Jessica, Roger, Tom, and Marti”). Everyone in the hospital echoes the sentiment: never again. But it is not long until the Fourth of July, and not a minute too soon to start planning. There is no reason to think that the Memorial Day problems will not recur. Even if the Fourth was not around the comer, both Tom and Marti deserve some longterm planning.
Billy
Authors: Freeman John M , Mcdonnell Kevin
Published: November 2023

Standard treatments of medical ethics often neglect to discuss the quality of medical care and the personal dimension of the physician-patient relationship. This chapter depicts medical practice that falls inside the boundaries of ethical medicine as they are set by principle-based ethics. All the physicians depicted in this case “play by the rules” of ethics and medicine; no one steps out of bounds. As in sports, however, playing by the rules is not the same as playing well. So decently competent and ethically acceptable medicine is not the same as good medicine.
The Harrisons’ Plans
Authors: Freeman John M , Mcdonnell Kevin
Published: November 2023

The Harrisons were getting more excited with each passing day. Their baby was due in two months. The room was ready, piles of blue baby clothes were stacked in the crib, and Judy’s folks had sent word that they were ready to start a college fund for their grandson or granddaughter.

While all babies are special, this one was a little extra-special, for Judy would not be giving birth herself. Judy and Frank had been married almost 15 years; they had met when Judy was part of the team that audited the bank where Frank worked. Judy was then beginning her career as an accountant; Frank was an assistant manager. Both had prospered in their respective careers. Frank was now a vice president well on his way to senior vice president.
1914–1915
Authors: Bordman Gerald
Published: November 2023

When the theatrical season of 1913–14 ended in mid-June, Americans were looking forward to another prosperous, carefree summer, months to come of comfortable, well-bred relaxation. Advertisements in leading newspapers and magazines promised no less. Elegant couples-carefully groomed men in tuxedos, white tie and tails, or impeccably tailored three-piece suits; attractively coiffed ladies in lovely, drapey gowns or becoming tea ensembles, and with their hairdos sometimes partially concealed by small, boxy hats, often startlingly punctuated by a single large feather-were featured in advertisement after advertisement, and not merely those for clothing. The Columbia Graphophone Company and its rival the Victor Talking Machine Company both depicted parties in huge, exquisitely furnished drawing rooms, with everyone listening attentively or dancing to the music from their large, horned instruments. This was, after all,. the era of “the Dancing Craze,” when America and much of the Western world went wild over tangos, fox-trots, grizzly bears, turkey trots, and similar ballroom dances. More sedentary people, just as sumptuously dressed, gathered around a Chickering piano. Even smoking Egyptian Deities, if you accepted the ads, required the finest attire. Publicity for Churchill’s showed a gilded, high-ceilinged main dining room and circling balconies filled to capacity with pictureperfect patrons. Its text proclaimed, “Here, in an atmosphere surcharged with the dash and spirit of Manhattan-buoyant, brilliant, scintillating-and suffused with refinement, one finds a phase of restaurant life representing the fashionable activities of New York at their zenith.” Making allowances for the oncoming heat, Arrow Shirts portrayed a handsome young man with well-combed, wavy hair playing pool-but with the jacket of his tuxedo removed. For those anxious to leave the city, sprawling, low-rising, frequently clapboarded resorts were framed by perfectly manicured lawns, serene lakes, and noble old trees. Their managements quietly assured interested readers of the best in boating, saddle horses, tennis, golf, and fishing. Regal, multi-stacked ocean liners were pictured sailing by Manhattan’s skyscrapers or steaming proudly along at sea. No hint was offered that some of these magnificent ships still carried passengers in steerage class. But those at whom these ads were aimed probably cared little about such matters. They were interested primarily in pursuing the good life-a good life which would also include starchily dressed evenings at the theatre once the new season opened. Then, on June 28, the Austrian Archduke Francis Ferdinand and his wife were assassinated at Sarajevo by a Serbian fanatic. Little more than a month later, World War I had erupted.
1917–1918
Authors: Bordman Gerald
Published: November 2023

Although relatively few plays dealt with the war, which America had joined, the war seriously affected Broadway. A number of actors and authors enlisted and temporarily or, in a few cases, permanently disappeared from the theatrical scene. Those left behind found themselves working overtime, not merely doing their accustomed theatrical chores but heading recruitment and war bond rallies, busily knitting for the troops, or rushing to nearby army camps to entertain trainees. Of course, the extra work often resulted in extra publicity.
1920–1921
Authors: Bordman Gerald
Published: November 2023

Worriers who fretted that the new season could not possibly match the excellences of 1919-20 were early on made aware of how unnecessary their fretting had been. The new season was very good indeed. Of course, nothing is totally right, so those who insisted on something to cry over found reason enough. A sharp, if fortunately brief, post-war recession hurt playgoers and box offices. And the road continued its dismaying decline. This drop in attendance and loss of playhouses was attributed not merely to the growing popularity of films but, with surprising candor for many theatrical pundits, to the knowingly low, shameful quality of many road companies, which discouraged would-be theatre devotees. Yet there was substantial cause for optimism. Tradesheets, theatrical magazines, and articles in newspapers all perceived and welcomed “a growing demand for better fare.” The demand was by no means universal, and archly conservative middlebrows, such as George M. Cohan, pontificated on the virtues of good old-fashioned melodrama, noting, “The American play is never gloomy; we haven’t reached that decadent age when we can believe in tragedy.”
1921–1922
Authors: Bordman Gerald
Published: November 2023

Variety counted 142 new straight plays during the season, plus a handful of non-musical revivals; Best Play’s figure was 130. No matter which total is accepted it represented a huge jump over prior figures and, as such, a new record. That could be seen as good news, but wasn’t by everyone. Although the quality of the top entries remained satisfyingly high, the deluge brought with it a distressingly large amount of flotsam and jetsam. And playgoers found ticket prices beginning to creep up again. However, the dismaying number of flops soon took a toll on costs of admission. At the beginning of the season Variety noted that last year Clair de Lune had ventured a $5.00 top, which had failed largely because the mounting itself was not fully satisfactory, and the tradesheet reported several major producers planned price increases in the new term. By mid-September those optimistic plans had evaporated. In its issue of the 16th, the publication gloomily headlined “Broadway BadWorst Legit Season in Years,” and when a late summer and early fall heat wave hit, business plummeted further. On October 5, the paper predicted lower, not higher, prices, and a little over one month later it carried an item announcing one producer’s plan to bring in a new show at a $1.5 0 top. That particular show never came in, and during the season $2.00 and $3.00 remained the basic top ticket prices. Whether playgoers decided on the basis of quality or prices, they remained unhappy. Business continued limp throughout the theatrical year.
1931-1932
Authors: Bordman Gerald
Published: November 2023

With the shrinkage of the road, which often had allowed a show that failed in New York to recoup its costs on a post-Broadway tour, the percentage of out-and-out flops rose. Fewer than one in five productions closed in the black. Theatre, a popularly slanted magazine for playgoers since the beginning of the century, had shuttered in April 1931. Intermittent announcements that a new group had been formed to resurrect it finally were put to rest at the beginning of the new season. The more erudite Theatre Arts survived, suggesting that the theatre hereafter would be of interest to an increasingly elite audience. Survival was not in the cards for many of New York’s playhouses, which continued to desert the legitimate fold to serve other purposes. So did numerous once reliable figures.
1938-1939
Authors: Bordman Gerald
Published: November 2023

The seemingly ineluctable decline of the American theatre continued into the new season. The Times, acknowledging that the statistics made “rather gloomy” reading, counted a mere sixty-five new plays; Variety tallied sixty-eight. (Neither apparently included the Federal Theatre Project offerings in their figures.) To the reasons for the drop, which had long included the Depression, radio, and films, one new culprit-albeit a temporary one-was added. The New York World’s Fair opened on April 20. Initially, producers had hoped that visitors to the exposition would spend their evenings in the theatre. But attendance by out-of-towners at the fair at first was disappointing, and New Yorkers themselves elected to spend their money in Flushing rather than on Broadway.
1939-1940
Authors: Bordman Gerald
Published: November 2023

Once again the count of new plays fell-Variety tallying sixty-two; the Times sixty. Since Congress had written finis to the Federal Theatre Project late last spring, only a handful of off-Broadway offerings might have been brought in to swell the totals. But Off Broadway was still not taken seriously, so its productions did not count. And once again, in a pattern that would become general for most ensuing seasons, no new plays opened in the summer. This year the on going World’s Fair undoubtedly convinced many producers to hold off their openings. But just as the fair was preparing to close its first of two seasons, another diversion gripped potential playgoers. In early September, Germany invaded Poland, prompting England and France to come to Poland’s aid by declaring war on the Nazis. World War II was under way.
1940-1941
Authors: Bordman Gerald
Published: November 2023

For the eleventh successive year the number of new plays fell. Variety listed forty-nine; the Times, fortyeight. Mantle gave no figure but spoke with patent sadness of “a new low statistically,” apparently unaware that a similar count had been given for 1901-02. Of course, that older tally did not include the numerous cheap touring shows packing in playgoers at neighborhood and backwater theatres, nor the many designedfor-touring dramas lighting up some of several thousand road houses. But cheap touring shows, killed by early silent films, had disappeared three decades earlier, while the road was a pathetic skeleton of its once robust self.
1945-1946
Authors: Bordman Gerald
Published: November 2023

Even though business remained generally strong at the box office and more and more plays were asking a $4.80 top, the number of new dramas and comedies dropped precipitously-by roughly 20 percent. Variety counted forty-eight novelties; the Times, forty-six. Broadway’s on going decline had resumed after a wartime respite. Quality also sagged noticeably. Moreover, playgoers had many things to distract them, from the pressures of readjustment to peace to the upheavals caused by a post war outbreak of labor unrest (including a New York newspaper strike, which very briefly did affect business adversely). After World War I, Tin Pan Alley had poured out a rash of songs in which the loss of a beloved woman was generally acknowledged to have been a sublimated dirge for a son or husband killed in the war (“Oh, What a Pal Was Mary,” “Old Pal, Why Don’t You Answer Me?,” “My Buddy”).
1946-1947
Authors: Bordman Gerald
Published: November 2023

“This has been a year of revivals, but not one of revival, in the theatre,” Burns Mantle wailed. He was right. While the count of new plays remained roughly steadyat between forty-two and forty-six, depending on which tally was employed-the number of revivals, including musicals, soared to between seventeen and twenty-six. Of course, any healthy theatre ought to enjoy a good number of revivals, a testimony to its sense of balance and history. But the discouraging side of this picture was the paucity of novelties critics and playgoers could unstintingly rejoice in.
1949-1950
Authors: Bordman Gerald
Published: November 2023

Any notions that the new season could repeat the brilliance of the preceding one were brutally disabused early on. Continually inflating production costs so discouraged producers from gambling on an always risky Broadway reception that the number of new plays crashed by nearly 30 percent-a wrenching drop. Fewer than thirty new plays came before the footlights. Moreover, not even half of these were original American works. The others were either English pieces, adaptations from the French, or dramatizations of novels. (The total of new plays, revivals, and musicals was fiftyseven-far and away the lowest figure thus far in the century.)
1950-1951
Authors: Bordman Gerald
Published: November 2023

Although the number of novelties spurted during the season-the count given variously as somewhere between forty-three and forty-six-there was little cause for optimism. The Pulitzer committee felt no new play was worthy of its award-only the fifth time in more than forty years that it had passed over a season’s new dramas. And the dearth of quality was aggravated by a continuing economic crunch. The day when a play that ran 100 performances could reasonably expect to recoup its costs and be considered a commercial hit were gone forever. Thus Billy Budd and The Autumn Garden, both of which inched past the 100-performance mark, closed with losses of $105,000 and $70,000 respectively, while the relatively low-budget Second Threshold ran for 126 performances yet wound up $30,000 in the red.
1952-1953
Authors: Bordman Gerald
Published: November 2023

Much of the commentary at season’s end was evasive or at least equivocating. Reactions to the just terminated theatrical year ran from “so-so” to “it has not been a particularly auspicious one” to the assessment by the Best Plays’s new, brahmin editor, Louis Kronenberger, that no small part of the season’s interest rested with the controversies several plays provoked rather than with the plays themselves. But then there were far fewer new plays to think about. The number of novelties was listed variously between twenty-nine and thirty-four. By way of compensation, business was somewhat better, and therefore the runs, at least of several hits, were longer than in the prior year.
1958-1959
Authors: Bordman Gerald
Published: November 2023

Variety and the Times agreed that thirty-seven new plays were offered on Broadway during the seasonessentially the same figure as the two prior years. But the daily noted the startling fact that, for the first time, a rising Off Broadway surpassed the uptown total. As to quality, there were some differences of opinion, with the lofty Louis Kronenberger, as editor of Best Plays, lamenting the paucity of “the dramatic high voltage of something new, fresh, vibrant.” Still, as it almost always did, Broadway offered lots to please all but the most hypercritical. Clearly, the public thought so. Even though producers began cautiously testing a $7.50 top, no fewer than ten Broadway plays ran for more than six months, albeit two of these, reflecting the theatre’s swelling economic strains, closed in the red.
1967-1968
Authors: Bordman Gerald
Published: November 2023

Theatrically speaking, there was both good news-some of it deceptively so-and bad news. The count of new plays took a sharp leap up, to between forty-one and forty-seven, depending on whose statistics were followed. For the fourth year running a new total record gross, a smidgen under $59,000,000, was set. Moreover, since there were no blockbuster musicals this season except the late-arriving Hair, a bigger share of the figure came from comedies and dramas. At the same time, though, inflation, which had been creeping along for several seasons, suddenly heated up. The $6.90 top disappeared, and prices of $7.50, $8.00, and $8.50 became commonplace. One play even asked and got $9.90 and $10.90. So the higher gross did not necessarily reflect more ticket sales. Also, once again, imports all but dominated the scene.
1968-1969
Authors: Bordman Gerald
Published: November 2023

Last season’s exciting leap in the number of new plays mounted on Broadway was not repeated in the current theatrical year. In fact, the figures plummeted to somewhere between twenty-eight and thirty-four, again depending on whose accounting was accepted, and never more would Broadway welcome anywhere near forty new plays in a single season. One immediate reason for this season’s drop in figures was that only about a third the number of foreign plays that Broadway had seen last year came in during the new session. Yet these few apparently were responsible for a disproportionate percentage of the year’s quality. Half of the ten works selected for the latest edition of the Best Plays were of foreign origin. By way of compensation, all the season’s major awards went to the same drama-an American one.
The Prehistory of Jazz
Authors: Gioia Ted
Published: November 2023

An elderly black man sits astride a large cylindrical drum. Using his fingers and the edge of his hand, he jabs repeatedly at the drum head—which is around a foot in diameter and probably made from an animal skin—evoking a throbbing pulsation with rapid, sharp strokes. A second drummer, holding his instrument between his knees, joins in, playing with the same staccato attack. A third black man, seated on the ground, plucks at a string instrument, the body of which is roughly fashioned from a calabash. An­ other calabash has been made into a drum, and a woman beats at it with two short sticks. One voice, then other voices join in. A dance of seeming contradictions accompanies this musical give-and-take, a moving hieroglyph that appears, on the one hand, informal and spontaneous yet, on closer inspection, ritualized and precise.
The Jazz Age
Authors: Gioia Ted
Published: November 2023

Revolutions, whether in arts or matters of state, create a new world only by sacrificing the old. With jazz, it is no different. To be sure, Louis Armstrong, who closed the book on the dynastic tradition in New Orleans jazz—putting an end to its colorful lineage of Kings Bolden, Keppard, and Oliver—stands out as an unlikely regicide. Armstrong always spoke with deference, bordering on awe, of his musical roots, and with especial devotion of his mentor Joe Oliver. Yet the evidence of the grooves does not lie: the superiority of Armstrong’s musicianship, the unsurpassed linear momentum of his improised lines, could serve only to make Oliver, Morton, Bolden, and the whole Nevv Orleans ensemble tradition look passé, a horse-and-buggy cantering by Henry Ford’s assembly line. The New Orleans pioneers exit stage left, Armstrong on trumpet enters stage right heralding the new Age of the Soloist.
Modern jazz
Authors: Gioia Ted
Published: November 2023

Long before modern jazz emerged as a distinctive style, an ideology of modernism had been implicitly embraced by the music’s practitioners. From its earliest days, jazz had been an forward-looking art, continually incorporating new techniques, more expansive harmonies, more complex rhythms, more intricate melodies. Some­ times this ideology of progress was stated explicitly, as in Beiderbecke and the Chicagoans’ oft-spoken praise of Stravinsky and other contemporary classical composers; in other instances, no words were necessary, as with the implicit modernism of Armstrong’s breakthrough recordings of the l920s. But whether they expostulated about the future of music or merely announced its arrival through the bell of their horns, the leading musicians of early jazz were modernists in the truest sense of the term.
The Emergence and Development of SVO Patterning in Latin and French
Authors: Bauer Brigitte L M
Published: November 2023

This book analyses--in terms of branching--the pervasive reorganization of Latin syntactic and morphological structures: in the development from Latin to French, a shift can be observed from the archaic, left-branching structures (which Latin inherited from Proto-Indo-European) to modern right-branching equivalents. Brigitte Bauer presents a detailed analysis of this development based on the theoretical discussion and definition of "branching" and "head." Subsequently she relates the diachronic shift to psycholinguistic evidence, arguing that the difficuly of LB complex structures as reflected in their painstaking and delayed acquisition accounts for the extensive typological shift from left to right branching that took place in Latin/French and the other Indo-European languages. The author uses data from child language acquisition studies to support her thought-provoking claim.
Antibody Structure and Function
Authors: Searle Stephen J , Pedersen Jan T , Henry Andrew H , Webster David M , Rees Anthony R
Published: November 2023

The remarkably diverse specificity of antibodies can now be explained both in genetic and structural terms. In the early 1970s Wu and Kabat compared the amino acid sequences of immunoglobulin variable domains and showed that certain segments of sequence were more or less conserved while others exhibited high variability between one sequence and another. They proposed that the highly variable segments, or complementarity determining regions (CDRs), formed a contiguous structural element at one end of the antibody that was responsible for antigen recognition. Ip. 1973, this prediction was confirmed by Poljak and coworkers who reported the first X-ray crystallographic structure of an antibody Fab fragment that contained the antigen binding region.
The fall of the Great Society
Authors: Isserman Maurice , Michael Kazin
Published: November 2023

In an issue of the Village Voice published late in 1966, cartoonist Jules Peiffer offered a wry analysis of the state of domestic politics in his weekly cartoon. “Big Daddy,” a young girl in western dress asks a stricken-looking, cow-boy-garbed Lyndon Johnson in the cartoon’s first panel, “That look on your face-yer hidin’ somethin’.” “Sit down, child,” Johnson replies gravely. “Yew gonna have t’be brave Great Society has had an accident, child.” She begs reassurance that it’s only a “li’l bitty accident,” but Johnson tells her not to get her hopes up. Then, in the final panel, the child looks up at Johnson with suddenly dawning suspicion: “This accident o’ Great Society’s, Big Daddy. Has it already happened-or are yew about t’have it happen?” “Naow,” Johnson responds slyly, “We don’t want t’grow up too fast, child.”2
Many Faiths: The ‘60S Reformation
Authors: Isserman Maurice , Michael Kazin
Published: November 2023

Nothing changed so profoundly in the United States during the 1960s as American religion. That may seem a startling statement. So many aspects of national life underwent turmoil during that decade and the years surrounding it-from race relations and relationships between the sexes to the citizenry’s trust in politicians. The most familiar images of the period depict Americans protesting, dancing, taking drugs, or marching off to war-anything but praying. Yet an era when little could be taken for granted was also a time when millions of people rethought and re-formed the place of the spiritual in their lives. Following a tradition as old as the nation, Americans made sense of rapid social and moral change in religious terms. Some expressed their faith by participating in the same movements for human rights and against war that attracted secular activists; a greater number confined their hopes and energies to matters of the spirit.
“No Cease-Fire:” 1969-1974
Authors: Isserman Maurice , Michael Kazin
Published: November 2023

By the time Richard Nixon was sworn in as thirty-seventh president of the United States, it seemed to many Americans as though “the Sixties” had been going on forever. As the 1960s drew to an end, the war in Vietnam was costing the lives of hundreds of young Americans every week; American communities were tom with racial conflict; and the political and cultural gap between the generations had widened into what many believed was becoming an unbridgeable chasm. “I foresee the rest of this century as a dangerous time,” Cornell University political scientist Andrew Hacker predicted in an essay in Newsweek in 1970. “We can no longer be a single nation, possessed of a common spirit. Neither ‘class struggle’ nor ‘civil war’ entirely describes the contours of this discord. Suffice it to say that increasingly we will encounter one another as enemies.”
Early Childhood
Authors: Machover Wilma , Uszler Marienne
Published: November 2023

Whether you are the parent of an infant, toddle,, preschooler, some of the most natural and intuitive choices you will make are probably those related to music. The songs of your own childhood still ring in your ears. Your child is the beneficiary of your fondest memories as you create a musical environment in your home. This chapter explores the experiences that can be woven into the fabric of even the busiest of lives. Also discussed are some of the many instructional programs developed to enrich the early childhood music experience outside the home.

The hope is to expand your child’s musical horizons and to help nurture the multiple miracles of early childhood growth. Parents can be partners in this dramatic blossoming. By being alert to your child’s emerging interests and strengths, you can help shape this development. Day-to-day opportunities to create “sound choices” are yours for the imagining. In the best of all scenarios, you will create an environment that includes not only the sounds of your childhood and past heritage, but as wide an array of musical styles as possible.
The Child from Nine to Twelve
Authors: Machover Wilma , Uszler Marienne
Published: November 2023

The years from nine to twelve ace makc-oc-btcak ycacs w;th regard to music study. Some children find these years just the right time to begin. This is especially true for those who want to play band or orchestra instruments such as the trumpet, flute, saxophone, or clarinet (some of the most popular choices). The child now has the physical readiness to hold and play these instruments that was not possible when he was younger. If your child doesn’t begin to study during these years, it is much less likely to happen when he is a teenager.

For children who began music study earlier, these are make-or-break years in another sense. The child who has played for a few years may start to lose interest because taking lessons no longer seems special, because hobbies and other school activities may offer exciting new challenges, or because music studies were chosen by parents and the child is now more forceful about following personal inclinations. These are the years in which a child is likely to quit unless something happens to expand and support the child’s interest in music study.
The Adolescent Years
Authors: Machover Wilma , Uszler Marienne
Published: November 2023

“Adolescent is a disease from which I think I have recovered.” So begins the saga of one college student. What of these transition years? Certainly for the teen, they are among the most mercurial, dramatic, challenging, terrifying, and thrilling years of life so far. At no other time in your role as a parent has the thought of the daunting choices been more fraught with danger or filled with so many exciting possibilities. As we explore the world of adolescence, that very special time when the young person has one foot on either side of childhood, the terminology immediately changes. We can no longer refer to this young offspring of yours as your “child,” although that relationship will be true throughout your life. The years of developing a sense of independence and separation have arrived, whether parents like it or not.

Establishing his own identity, or ruminating over the possibility of doing so, becomes a major preoccupation for your teen. The transition is challenging for both of you. These are the years when you must redefine your relationship with your child, whom we shall hereafter refer to as your “teen” out of respect for his need not to be viewed as a child ever again, no matter how many times that label may be accurate.
The Gifted Child
Authors: Machover Wilma , Uszler Marienne
Published: November 2023

If your pceschool child docs most or all of the things listed below, you may be tempted to think that your child is musically gifted. Parents are usually pleased and excited by that possibility, even though they may have no special interest or talent in music themselves. It is also true that most parents have little or no idea how to foster such a talent and begin to search out experts for advice and guidance.

It is possible that even if your preschooler acts in the ways described, she may not be specially gifted. Most children respond to music and many do so overtly, for example, by dancing, swinging, humming, or stopping to listen. Many also sing to themselves while playing, either inventing words and tunes or echoing those heard elsewhere. While these are good clues that a child is interested in music, they may not indicate exceptional ability.
Making a Difference
Authors: Machover Wilma , Uszler Marienne
Published: November 2023

You are giving your child the gill of music—lessons, support, encouragement, enrichment. You are there to assist practice, pay the bills, applaud at recitals, and drive to rehearsals. You believe in what you do and celebrate your child’s growth and development. You are enriching the world because you are preparing an informed and sensitive being to live in and react to it.

Stop a moment and consider that world. Imagine what it will be when your child is your age, parenting the next generation. By creating its own art, a generation identifies itself with civilizations past and to come. Ultimately, the art, music, dance, prose, poetry, and architecture of a generation are its most lasting and revealing symbols. Why is it, then, that arts education is the neglected aspect of the school curriculum? Why is it that painting, singing and playing, sculpting, dancing, and writing novels or poetry are considered extras—outside the limits of “real life”?

It is one thing to provide your child with arts experiences and lessons, and quite another to help ensure that your child, and all children, see art as a powerful and vital force, not merely as entertainment or decoration. That cannot happen until all children, in each school, learn art by experiencing it as an important part of daily life, just as important as numbers, letters, and facts. By giving children tools for their own pursuit of beauty, we give them not only a means for communicating their emotions, but we also nurture the young voices of our culture.
Logic and Cognition
Authors: Macnamara John
Published: November 2023

The received position in logic and cognition is that the two subjects have little or nothing to do with one another. This position, adopted at the tum of the last century, is the result of two events. One was the divorce between philosophy and psychology. In the settlement after the divorce, logic, specifying standards of correct inference, went to philosophy, whereas to psychology went what were viewed as the facts of mental life. We can express the division of labour not too fancifully as:

The second event was the close of the psychologism debate. That was the debate about the proper relation between logic and psychology. One side maintained that the foundations of logic rest on a psychological basis; that the truth of logical claims and the soundness of logical inference rules are guaranteed by the facts of psychology.
Mental Logic and How to Discover It
Authors: Braine Martin D S
Published: November 2023

Before considering empirical ways of discovering what is in the mental logic, it seems a necessary preliminary, in order to avoid seeming to beg the question, that I discuss reasons why it is plausible to expect there to be a mental logic, and what sort of mental logic those reasons should lead one to expect. So I begin with these sorts of preliminaries, and they will, I hope, situate the concept of a mental logic in a theoretical frame work within which it makes sense.

In the second section of the paper I briefly defend the notion that there must be a mental logic against two currents of today’s cognitive psychological scene which have both been generally hostile to the idea of a mental logic–one a claim (that all reasoning is based on mental models), and the other a highly visible line of work (connectionism). Then, in the third section I tum to the main question in the paper.
Husserl’s Notion of Intentionality
Authors: Føllesdal Dagfinn
Published: November 2023

Intentionality is the central theme of phenomenology, its Generalthema, Husserl tells us in Ideas (§ 84). All of phenomenology can be regarded as an unfolding of the idea of intentionality.

It is well known that Husserl’s interest in intentionality was inspired by his teacher, Franz Brentano. However, there are many differences be tween Husserl’s treatment of this notion and that of Brentano. In this paper I will first discuss these differences and then consider further features of Husserl’s notion of intentionality that gobeyond the issues considered by Brentano.

In Ideas, Husserl retains the following basic idea of Brentano: we under stand by intentionality the peculiarity of experiences to be “conscious ness of something”. Husserl’s formulation comes close to Brentano’s oft-quoted passage from Psychology from an Empirical Point of View: “Every mental phenomenon is characterized by what the scholastics in the Middle Ages called the intentional (and also mental) inexistence of an object, and what we could also call, although in not entirely unambiguous terms, the reference to a content, a direction upon an object... ”.
Cognitive Content and Semantics
Authors: Hanson Philip P
Published: November 2023

Do cognitive state ascriptions reveal the logical form of cognitive state contents? Not in general, says Hahn, because the interpretation of cognitive state ascriptions, which their logical form would make perspicuous, can include “direct reference” to objects in the world, whereas cognitive state contents are “essentially intentional” in a way that excludes such direct reference. But, Hahn continues, it is a mistake to sup pose that, in general, the logical form of cognitive state contents should be (fully) revealed by cognitive state ascriptions, the received view to the contrary notwithstanding. Instead, the interpretation of cognitive state ascriptions is importantly keyed to purposes and ontological commitments of ascribers: pragmatically, to their appropriateness for use in connection with the (e.g., explanatory) purposes and ontological commitments of particular ascribers in particular contexts of ascription; semantically, to whatever purposes or commitments the linguistic community has conventionally enshrined in the truth conditions it attaches to the sentences.
What’S My Name??
Authors: Harper Phillip Brian
Published: November 2023

The manipulation of personal pronouns is not the only means by which an articulate black subject might stake out a political position relative to other persons of African descent. Powerful political statements can also be registered through the designatory terms by which individuals reference themselves and other black people. We have noted, for instance, the emergence in the late 1960s of the word black as the chosen designation for a nationalistically conscious intelligentsia; later, of course, the political resonances of the term would be diminished somewhat as it came into general use to refer to any and all persons of African ancestry. More recently, African-American has gained widespread usage, its supposed desirability over other available terms deriving from its vaunted capacity to signal such ancestry explicitly.
At War Within
Authors: Clark William R
Published: November 2023

In the seventeenth century, smallpox reigned as the world’s worst killer. Luck, more than anything else, decided who would live and who would die. That is, until Lady Mary Wortley Montagu, an English aristocrat, moved to Constantinople and noticed the Turkish practice of “ingrafting” or inoculation, which, she wrote, made “the small-pox … entirely harmless.” Convinced by what she witnessed, she allowed her six-year-old son to be ingrafted, and the treatment was a complete success--the young Montagu enjoyed lifelong immunity from smallpox. Lady Montagu’s discovery would, however, remain a quiet one; it would be almost 150 years before inoculation (in the more modern form of vaccination) would become widely accepted while the medical community struggled to understand the way our bodies defend themselves against disease. William Clark’s At War Within takes us on a fascinating tour through the immune system, examining the history of its discovery, the ways in which it protects us, and how it may bring its full force to bear at the wrong time or in the wrong place. Scientists have only gradually come to realize that this elegant defence system not only has the potential to help, as in the case of smallpox, but also the potential to do profound harm in health problems ranging from allergies to AIDS, and from organ transplants to cancer. Dr. Clark discusses the myriad of medical problems involving the immune system, and he systematically explains each one. For example, in both tuberculosis and AIDS, the underlying pathogens take up residence within the immune system itself, something Clark compares to having a prowler take up residence in your house, crawling around through the walls and ceilings while waiting to do you in. He discusses organ transplants, showing how the immune system can work far too well, and touching on the heated ethical debate over the use of both primate and human organs. He explores the mind’s powerful ability to influence the performance of the immune system; and the speculation that women, because they have developed more powerful immune systems in connection with childbearing, are more prone than men to contract certain diseases such as lupus. In a fascinating chapter on AIDS, arguably the most deadly epidemic seen on Earth since the smallpox, Clark explains how the disease originated and the ways in which it operates. And, in each section, we learn about the most recent medical breakthroughs. At first glance, it may appear that our immune system faces daunting odds; it must learn to successfully fend off, not thousands, but millions of different types of microbes. Fortunately, according to Clark, it would be almost impossible to imagine a more elegant strategy for our protection than the one chosen by our immune system, and his At War Within provides a thorough and engaging explanation of this most complex and delicately balanced mechanism.
The Anatomy of an Immune Response
Authors: Clark William R
Published: November 2023

On Christmas Day in 1891, a desperately sick baby girl was brought to the Bergmann Klinik in Berlin, Germany. Like many infants in Europe and America at the end of the nineteenth century, she had contracted diphtheria. The outlook for anyone coming down with this disease was not good, but it was particularly poor for small children. Diphtheria was in fact often referred to as the “strangling angel of children.” It was not at all unusual for half of infected youngsters to die, whether they made it to a hospital or not.