bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Byzantine Arts and Byzantine Literature
Authors: Maguire Henry 
Published: November 2021

Abstract
This chapter examines the relationships between literary and visual forms in Byzantium. Both in the Early and in the later Byzantine periods there were clear parallels between the ways that literary and visual compositions were structured, whether through the rhetorical techniques of repetition, variation, and acrostic in Early Byzantine art, or through comparison and antithesis along with the selective realism of ekphrasis and ethopoiia, after Iconoclasm. These parallels involved both fundamental principles of design and organization and more isolated instances of quotation, raising the complex question of whether one medium can be said to have exerted influence on the other, or whether the same forms occurred in literature and the visual arts as parallel expressions of common habits of thought.
Georgia
Authors: Skhirtladze Zaza 
Published: November 2021

Abstract
Georgia’s location at the crossroads of East and West determined the character of its culture, expressed in architecture and the visual arts, among other spheres. Along with centuries-old original and uninterrupted local traditions, Georgia maintained a close relationship with the surrounding world and cultural circles throughout the Middle Ages. Particularly significant were aspirations of closeness to Byzantium and an active involvement in the Christian Orthodox commonwealth, based on common interests and confessional unity. All this is evident in the architecture and various artistic expressions of medieval Georgia, which are marked by a combination of original forms inspired by the Byzantine themes and elements.
Islamic States and the Middle East
Authors: Dodd Erica Cruikshank 
Published: November 2021

Abstract
Byzantine art, born in the Middle East, is still alive in the area. The oldest Christians in the world—Armenians, Copts, Georgians, Syrian, and Eastern Orthodox—still have vital communities in the Middle East that express themselves through later forms of “Byzantine” artistic language. Byzantine art developed through four historical periods in this area: (1) early formation and growth in the Middle East; (2) art under the Muslim conquest; (3) the continuing Christian art under Islamic domination; and (4) the Crusader period. Despite these cataclysmic changes, an artistic language led by Constantinople developed in this area and survives in the modern world, somewhat erratically, but distinctive nonetheless.
“Byzance apre`s Byzance” and Post-Byzantine Art from the Late Fifteenth Century through the Eighteenth Century
Authors: Schilb Henry D. 
Published: November 2021

Abstract
The study of the post-Byzantine world is now regarded as a field in its own right, separate from Byzantine studies or Renaissance studies. However, the scope of the discipline and the meaning of the term post-Byzantine—its conceptual, geographical, and chronological limits—remain unsettled. For art historians, the term typically refers to certain tendencies (especially in iconography and style) observable in and around one of a few centers of activity or spheres of influence within the Orthodox Christian world, typically identified as Ottoman-held vs. Venetian-held lands, or as Venetian Crete, Mt. Athos, and the “periphery” (i.e., everywhere else). Scholarly attention has also focused primarily on portable icons. Broadening the field to consider more types of objects across the whole geography under scrutiny, we can consider how art and ideas were received and adapted over time and across regions.
The Byzantine Revival in Europe
Authors: Bullen J. B. 
Published: November 2021

Abstract
The nineteenth-century interest in Byzantium was essentially a romantic revival following the Gothic revival, triggered by the imagination of Ludwig I of Bavaria and his passion for the Byzantine architecture of Italy. His acquisitional taste was taken up by his brother-in-law, Friedrich Wilhelm IV, in socio-political terms, and by Ludwig II on aesthetic terms. French interest in Byzantium was archaeological, connected to what was called Byzantine or Romanesque building in southwest France. Britain’s contribution was highly individualistic, depending on a small number of strong-minded characters who were willing to challenge the prevailing Gothic orthodoxies. Strengthened first by John Ruskin and then by William Morris, it shifted attention away from the “primitive” simplicity of Byzantine work to its simple majesty.
Secular Architecture: Domestic
Authors: Snively Carolyn S. 
Published: November 2021

Abstract
Byzantine domestic housing of the fourth–fifteenth centuries is preserved predominantly in the Balkans and Asia Minor. Peristyle houses dominate in the Early Byzantine period and continue later: their construction and decoration, subdivision, and disappearance in the sixth century have been studied. The Middle Byzantine courtyard house was a typically urban form, centrally located in towns with Classical predecessors; it provided privacy for the residents who may have been merchants dealing in agricultural or industrial products. Most people in the Byzantine period, however, probably lived in variations of the “longhouse,” in agriculturally based small towns and villages, where they shared living quarters with livestock. Houses in Late Byzantine/Frankish centers such as Mystras were large and elaborate longhouses in an urban setting.
Secular Architecture: Military
Authors: Arvanitopoulos Stavros I. 
Published: November 2021

Abstract
The Byzantine state inherited a large number of defensive structures, on its borders and in the hinterland where ancient cities were refortified in response to barbarian raids, primarily during the third century. The fundamental characteristics of fortification architecture developed during the sixth century. Nevertheless, criteria for the selection of the location, dimensions, and certain construction and morphological features of the forts, towers, and city/barrier walls, were continually adapted to changes in society and state until the end of the empire. Systematic study of the defensive architectural remains including excavation, creation of synthetic works, and reliable maps will allow researchers to date, compare, and understand the evolution of fortification architecture as well as aspects of daily life in the empire.
Monumental Painting: Pre-Iconoclasm
Authors: Bolman Elizabeth S. 
Published: November 2021

Abstract
Early Byzantine artists (active ca. fourth–early eighth century) continued to employ traditional Roman techniques. In most of the empire, they painted on wet plaster (fresco) but in Egypt they applied pigments onto dry plaster (secco) using bonding agents of animal protein (tempera) or molten wax (encaustic). By far the largest number of surviving wall paintings from this period is found in Egypt, especially in desert monasteries and burial grounds. Painted buildings also survive in the city of Ephesus (Turkey), as well in other sites scattered across the empire. Although regional styles probably existed, too little survives to identify their characteristics. Instead, the extant paintings indicate considerable unity in in both styles and subjects.
Monumental Painting: Post-Iconoclasm
Authors: Gerstel Sharon E. J. 
Published: November 2021

Abstract
Although few secular examples of Byzantine monumental painting survive, hundreds of churches throughout the Mediterranean and the Balkans preserve impressive decorative programs. Many of these churches are well studied. Others, however, remain unpublished. Close study of the paintings provides valuable information about techniques, materials, and artistic styles. Church decoration can show enormous regional variation: specific communities and patrons often exerted influence on subject matter. Inscriptions played an important role in many churches, providing an archive of liturgical texts to be spoken and sung and epigrams to be read. Liturgical texts, hymns, and ritual performance were important inspirations for painters and communities in the Middle and Late Byzantine periods. Phenomenological effects of sound and light were also considered in monumental decoration.
Ceramics
Authors: Papanikola-Bakirtzi Demetra 
Published: November 2021

Abstract
During the Early Byzantine period, ceramic vessels evolved from Roman pottery; red-slip tableware produced by Asia Minor and North African workshops dominated the market. Christian motifs enriched the decorative repertoire. From the seventh century onward, glazing signaled a major change in the appearance of vessels during the Middle and Late Byzantine periods. Glazed White Ware from Constantinople monopolized the tableware market until the eleventh century. From this time onward a light-colored slip layer on red fabric ensured a surface suitable for decoration and allowed for the development of sgraffito decoration, the Byzantine pottery decorative technique par excellence. It also made the production of glazed decorated ceramics possible in parts of the empire without white clay. During the Late Byzantine period, decentralization of pottery workshops allowed the development of local characteristics.
Glass
Authors: Antonaras Anastassios 
Published: November 2021

Abstract
This essay discusses the presence and distribution of glass in Byzantium and the different ways in which glass was used. Glassware, employed for the preservation and display of goods and above all as tableware, was in continuous use in throughout Byzantine history, and is found at both urban and rural sites. The greatest part of the glass produced during these eleven centuries was used in architectural decoration, that is, wall and floor mosaics, opus sectile, and as window glazing. Glass was also widely used in the production of jewelry and for the embellishment of metal jewelry and objects.
Ivories and Steatites
Authors: Connor Carolyn L. 
Published: November 2021

Abstract
Objects carved from elephant ivory and steatite (soapstone) have been identified with Byzantine culture from Late Antiquity to the Late Byzantine period. Mainly relief icons, and ceremonial and liturgical objects, most are small enough to be held in the hand or worn as amulets. No other organic material carried as high an intrinsic and symbolic value as elephant ivory, and its increasing rarity in the Middle Byzantine era lent carved objects especially high status. When the trade ceased in the eleventh century, steatites took on greater importance. Evidence of polychromy on ivories has altered traditional perceptions of the medium and its aesthetic. Technical analyses and interdisciplinary approaches have the potential to shed new light on long-held issues.
Liturgical Objects
Authors: Klein Holger A. 
Published: November 2021

Abstract
From the Late Antique period through the end of the Byzantine Empire and beyond, liturgical objects were used for the preparation and celebration of the Eucharistic rites. Often of precious metals, these objects are documented in both written sources and the archaeological record. They provide important evidence for the development of Christian liturgical and artistic practices as well as elite attitudes towards charitable giving and expectations for the afterlife. This chapter discusses material and documentary evidence surviving from Late Antique Italy, North Africa, Syria, Britain, and Germany to Late Byzantine Asia Minor, Greece, and the Balkans, providing an overview of types, their relationship to objects of domestic silverware, and their material, artistic development, and epigraphic as well as iconographic decoration.
Archaeology: Sites and Approaches
Authors: Ivison Eric A. 
Published: November 2021

Abstract
This chapter presents an overview of the history, practice and results of Byzantine archaeology in modern Greece and Turkey. Originating in Classical and Early Christian archaeology, and Byzantine art history in the nineteenth and early twentieth centuries, its early focus was largely ecclesiastical; the modern field has widened to investigate the urbanism and rural settlements, fortifications, ecclesiastical, monastic and funerary monuments, along with remains of the Byzantine economy and landscape. The chapter considers sources, contemporary research goals and field methods, theoretical approaches, organization of field surveys and excavations, and the administration of archaeology in Greece and Turkey, as well as academic publishing and the place of the field in academia; It ends with a discussion of future prospects.
Barbara Hammer: Lesbian Feminist Iconography and Queer Aesthetics
Authors: Keller Sarah 
Published: November 2021

Abstract
This chapter discusses the early work of experimental filmmaker and artist Barbara Hammer. Focusing on the first two decades of her career, it demonstrates how Hammer’s working method demands the expansion of the parameters of the idea of feminist queer cinema to encompass the many methods, mediums, and types of experiments a queer artist might employ to capture changing notions of identity and art over time. In her shift from an emphasis on female and, especially, lesbian bodies in the 1970s to an emphasis on places and an exploration of her medium in the 1980s, Hammer illustrates an expansive approach to creativity and queer expressivity within her film art.
“A Panorama of Gay Life”: Nighthawks and British Queer Cinema in the 1970s
Authors: Davis Glyn 
Published: November 2021

Abstract
This chapter details the production history and reception of Paul Hallam and Ron Peck’s film Nighthawks (1978), often recognized as a “classic” of British LGBTQ cinema. It centrally engages with Vito Russo’s suggestion that the film offered “a community reaction to itself.” Making the film was a lengthy undertaking: the chapter draws on Peck and Hallam’s archives to reconstruct its creation, and unpacks Peck’s involvement with the Four Corners collective and its influence on the content and form of Nighthawks. The film is situated in relation to key events in British queer history and the landscape of British filmmaking during the decade, as well as in relation to Richard Dyer’s landmark 1977 film season “Images of Homosexuality.” The film’s “sequel,” Strip Jack Naked (1991), is also explored as a partial atonement for Nighthawks’s omissions.
For Shame!
Authors: Francis Marc 
Published: November 2021

Abstract
“For Shame!,” engages with the reclaimed “bad objects” or “guilty pleasures” of the queer canon that, once reviled by lesbian and gay liberationists, have acquired cult fandom and signal ways to liberate “contaminated” forms of enjoyment. Putting festival and repertory house programming from the 1970s to the 1990s in dialogue with lesbian feminist reclamations of campy sexploitation films (such as Faster, Pussycat! Kill! Kill! [1965]) and vampire films (such as Daughters of Darkness [1971]), “For Shame!” proposes a method for what the author refers to as the “reparative historicizing” of bad objects. The chapter argues that film programming and curation, practices that makes and remake attachments by continually producing new intertexts, help loosen the traumatic grips of individual texts deemed offensive. Programming, in turn, can lead the spectator to pleasures and critiques that interact in surprising and layered ways.
Representing Ourselves into Existence
Authors: Horak Laura 
Published: November 2021

Abstract
This chapter explores the energetic and innovative trans cinema movement that emerged in the 1990s by looking at case studies of the first transgender film festivals—Counting Past 2 in Toronto, the International Transgender Film and Video Festival in London, and Tranny Fest in San Francisco. Each festival took a different approach to trans film programming, community building, and arts funding. Together, the three festivals helped define a specifically transgender identity and community that overlapped with but were not the same as “queer.” They also influenced the programming of lesbian and gay festivals, carving out more room for trans-made work. These case studies demonstrate how film festivals can contribute to social and aesthetic movements, how festival organizers have overcome and become mired in the challenges they face, and the many ways in which trans has long put pressure on “lesbian and gay” and “queer” in the face of its erasure.
Queer Pedagogy
Authors: Waugh Thomas 
Published: November 2021

Abstract
This essayistic chapter dissects case studies of two international queer feature films from the 1980s and two queer shorts from twenty-first-century Quebec, all of which boldly grapple with—and arguably perform—queer pedagogy: Abuse (Arthur J. Bressan Jr., 1983, USA), A Strange Love Affair (Eric de Kuyper, 1985, Belgium, Netherlands), Rituels queer (Richard E. Bump and Ryan Conrad, 2013, USA, Quebec), and Rousings (Jamie Ross, web series, 2015, Quebec). Alongside, the author ponders pedagogical relationships over the years with his queer students, in terms of both their scholarly and artistic work and anecdotal memories of interactive relations between mentor and students. Inspired by Jane Gallop’s anecdotal theory, and in the shadow of the #MeToo sex panic, this autobiographical essay calls for far-ranging cultural and political conversations about sexuality and pedagogy, and their complex relations to cinephilia and the specificity of queer cultures.
Documentary Disclosures: The Emergence of Queer Independent Filmmaking in India
Authors: Ghosh Shohini 
Published: November 2021

Abstract
“Documentary Disclosures” is about the emergence of queer-identified filmmaking in India against the dramatic backdrop of a rapidly transforming mediascape in the last decade of the twentieth century. The restructuring of India’s urban mediascape in the 1990s—through processes of economic globalization, an open-sky policy, and the rise of the Hindu right—witnessed wide-ranging cultural transformations, including an unprecedented efflorescence of cinematic and televisual speech on issues of sex and sexuality. Against this backdrop, the works of three independent filmmakers—Pratibha Parmar, Riyad Wadia, and Nishit Saran—rendered queer subjects and communities visible while raising formalist concerns about documentary’s ability to “disclose.” This chapter discusses the work of these filmmakers as both intercultural texts and confessionals that shaped a new generation of queer interlocutors.
Queerly, Hopelessly, Precariously
Authors: Tsai Hwa-Jen 
Published: November 2021

Abstract
This paper reimagines a queer politics of globalization through three contemporary Taiwanese films. Lesbian Factory (2010) and Rainbow Popcorn (2013) were made by labor activists and focused on a landmark labor protest organized by Filipina migrant workers in Taiwan. However, during the filming process, the documentaries inadvertently turn into productions about migration, workers' protests, and new forms of queer intimacy and relationality forged among people who are on the move. Thanatos, Drunk (2015) is a feature film that centers on those who are forced to move, those without mobility, and those who have failed to move even when doing so is necessary for one's survival. Whether queer or straight in the film, everyone is on a downward spiral in life due to the neoliberal restructuring of the global economy. Drawing from queer theories of negativity, affect, and relationality, this paper rethinks queerness in regard to migration by establishing connections between queers' and migrants' negative relation to space and movement. Further, it cautions against the rhetoric of occupation in the Occupy Wall Street movement. It critiques the tendency to valorize mobility, capacity, and the logic of spatial expansion embedded in that of “occupy,” as well as the same logic that underlines contemporary Chinese nationalist and triumphalist thinking dominating large parts of Chinese and Sinophone locations. Ultimately, this paper is a critical intervention from the position of geopolitical and academic marginality. It reimagines the global politics of resistance against neoliberal economic order, the resurgence of nationalism, and imperialist ambition by placing subjects of resistance on the other side of mobility, spatial expansion, hope, and capacity—where new forms of intimacy and relationality also emerge.
Tracing Lesbian Cinema in Latin America
Authors: Venkatesh Vinodh 
Published: November 2021

Abstract
This chapter discusses the representation of lesbian bodies, desires, and identities in Latin American cinema. It contextualizes the production of LGBTQ cinema in Latin America, and its accompanying body of criticism. In doing so, the chapter identifies a critical lacuna that it then proceeds to address by first providing a historical tracing of several important films dealing with lesbian and gynosexual desires—including movies by such directors as Jaime Humberto Hermosillo, Abel Salazar, Diego Lerman, Lucía Puenzo, María Luisa Bemberg, Julia Solomonoff, and Raúl Fuentes. The chapter then proceeds to explore why these films are understudied within the field. The chapter broadens the scope of the current studies on queer Latin American cinema by adapting their theoretical and taxonomical structures to lesbian-themed films, to thus provide a point of reference for future filmic production and critique.
Queer Laughter in the Archives of Silent Film Comedy
Authors: Hennefeld Maggie 
Published: November 2021

Abstract
This chapter looks and listens for queer traces of lesbian sexuality in the archives of American silent film comedies, from 1894 to 1919. Like sexuality, laughter is arousing, ambiguous, and often difficult to understand out of context. Focusing on A Florida Enchantment (1914) and Phil-for-Short (1919), as well as several very early slapstick film comedies, the chapter pursues queer laughter as a historiographic method. It argues that potential queer subtexts emerge in tense conflict with their juxtaposition to offensive representations of blackface minstrelsy, patriarchal sexism, and capitalist class ideology. At once amusing and disturbing in their sexuality effects, these films provoke new intersectional strategies in queer critical reading.
Introduction
Authors: Fu Xiaolan , McKern Bruce , Chen Jin 
Published: November 2021

Abstract
In conceiving the Oxford Handbook of China Innovation, the editors were motivated by the belief that it should provide comprehensive and authoritative views of the role of innovation in China’s rise. Accordingly, the Handbook consists of chapters written by some sixty experts from universities and research institutions, who provide an exposition of the state of the art in their fields, with criticism and suggestions for further research. These ideas cover a review of China’s development policies, the place of innovation within national priorities, the specific components of the national innovation system, and the resources required for effective innovation. It gives detailed attention to the many elements of the system that provide incentives and support and the factors contributing to a technologically sophisticated society. The issue of foreign influence is also addressed, along with open innovation, foreign direct investment, and sectoral differences. Several chapters include examples of the capabilities and strategies of Chinese corporations that have become world-class innovators. This introduction provides a short overview of each of the book’s seven sections and an outline of each chapter. The editors hope that readers will find that the volume enhances their understanding of China’s march toward technological and innovation leadership and provides a foundation for informed conjecture regarding the challenges ahead.