bluuebunny/crossref_metadata_2025_split huggingface dataset:
Validity and Ultra Vires Acts
Authors: Gasbarri Lorenzo 
Published: May 2021

Abstract
The legal validity of the law produced by international organizations is a vexed issue. This chapter explores how it is affected by the absence of a comprehensive concept of an international organization. The functionalist perspective privileges a notion of ultra vires which refers to acts or actions of an international organization which overstep its attributed competences. Conversely, the constitutional perspective adopts a dynamic interpretation under which it is more difficult to determine the invalidity of a rule. First, the chapter describes how the International Court of Justice adopted an either/or approach based on the two conceptualizations. Afterwards, it applies the dual legal nature explaining how the rules have two parameters of legality, deriving from the international and the internal legal system. This finding is applied to the invalidity of a treaty caused by the violation of a rule and to the respect for customary law.
Imagining Socialism
Authors: Allison Mark A. 
Published: May 2021

Abstract
“Socialism” names a form of collective life that has never been fully realized; consequently, it is best understood as a goal to be imagined. So this study argues, and thereby locates an aesthetic impulse that animates some of the most consequential socialist writing, thought, and practice of the long nineteenth century. Imagining Socialism explores this tradition of radical activism, investigating the diverse ways that British socialists from Robert Owen to the midcentury Christian Socialists to William Morris marshalled the resources of the aesthetic in their efforts to surmount “politics” and develop nongovernmental forms of collective life. Their ambitious attempts at social regeneration led some socialists to explore the liberatory potential afforded by cooperative labor, women’s emancipation, political violence—and the power of the fine arts themselves. Imagining Socialism demonstrates that, far from being confined to the “socialist revival” of the fin de siècle, important socialist experiments with the emancipatory potential of the aesthetic may be found throughout the period it calls the “socialist century”—and may still inspire us today.
Poetic Vanguardism and Political Violence in Capel Lofft’s “Chartist Epic”
Authors: Allison Mark A. 
Published: May 2021

Abstract
In 1839, an economically battered Britain teetered on the threshold of revolution. The neo-Spencean poet Capel Lofft aspired to use his anonymously circulated epic, Ernest; or, Political Regeneration, to send it over the brink. Ernest describes, in sanguinary detail, the growth and eventual triumph of an agrarian-communist insurrection. A charismatic poet leads the revolt, using fiery oratory to inspire his co-conspirators. Because Ernest was clearly intended to galvanize militant elements within the Chartist movement into action—and because its author was alarmingly eloquent—hysteria greeted the epic’s appearance. This chapter’s reading of Ernest traces how Lofft employs vanguardism, the belief that artists can lead the masses in a progressive direction, to allay his own doubts about the viability of popular self-governance. More broadly, it utilizes Ernest, a hybrid of contemporaneous radical social and political thought, as a staging ground to investigate the uneasy comingling of Chartism and Owenite socialism, the two great working-class movements of the first half of the nineteenth century. Lofft’s epic stages several questions with exemplary clarity: is revolution a political event, or the anti-political mechanism by which “politics” is definitively superseded? Are the people the heroes of the emancipatory narrative? Or does the revolutionary leader, rendered sublime by the fervency of his commitment, inevitably eclipse them? Can poetry, a literary mode increasingly defined by its detachment from practical concerns, marshal the rhetorical and conceptual resources of the aesthetic to foster national regeneration?
“What Is to Come After This?”
Authors: Allison Mark A. 
Published: May 2021

Abstract
This chapter engages with Britain’s fin-de-siècle socialist revival by investigating its presiding spirit, William Morris. Morris is revered for inspiring a socialist culture characterized by its fusion of artistic and emancipatory commitments. From the longer perspective that Imagining Socialism affords, however, this synthesis of aesthetics and socialism looks less like an unprecedented development than a change in modalities. Imagining Socialism demonstrates that the aesthetic was constitutive of an important strand of the British socialist tradition; sublimated aesthetic energies underpinned and invigorated a succession of anti-political schemes of communal regeneration. Morris corrected this excessively instrumentalizing tendency by promulgating a highly self-conscious aesthetic of sensuous surfaces. By desublimating socialism’s aesthetic impulse, he fostered an environment in which successful socialist art and literature was finally possible. But despite Morris’s own intentions, this chapter contends, his intercession also conspired to drain socialism of its anti-political vitality. This argument is staged through a thickly contextualized reading of News from Nowhere. In his utopia, Morris employs an erotically saturated style and plot to entice readers to embrace his own vision of Britain’s socialist future. However, this approach sanctions the emergence of a privatized aesthetic ideal that is fundamentally at odds with the nongovernmental utopia of the craft arts that News from Nowhere officially espouses. By desublimating the aesthetic impulse, Morris inadvertently contributed to the dispersal of the vitality and resources that the aesthetic had hitherto lent Britain’s socialist anti-political tradition.
Epilogue
Authors: Allison Mark A. 
Published: May 2021

Abstract
This Epilogue sets the waning of British socialist anti-political aspiration in the context of the literary career of H. G. Wells, on the one hand, and the coalescence of the Parliamentary Labour Party, on the other. In their respective spheres, both Wells and the Labour Party represent a decisive turn toward a statist—and forthrightly political—conception of socialism in the early decades of the twentieth century. Wells, the new century’s most prolific and influential socialist writing in English, shares with his antecedents an abiding preoccupation with the aesthetic dimension of socialism. In stark contrast to his predecessors, however, he self-consciously subordinates this aesthetic impulse to his overmastering vision of an emerging socialist world state. Concurrently, the fledgling Labour Party became a locus for the longstanding debates about how socialism was to be made and what posture the socialist movement should adopt to Britain’s existing political institutions and traditions. These debates were foreclosed by the party’s adoption of a new constitution and party program in 1918, which were drafted by the Fabian socialist Sidney Webb. The constitution includes the famous Clause IV, which affirms the party’s commitment to the collective ownership of the means of production. Labour’s reorganization effectively confirmed that in Britain, socialism would be pursued via the parliamentary road—and that state socialism would be its ultimate institutional goal. Consequently, 1918 provides a symbolic end to the anti-political tradition Imagining Socialism delineates—and of the socialist century that it surveys.
Against Jazz Combo Theories of Meaning and Reference
Authors: Taylor Kenneth A. 
Published: May 2021

Abstract
The “jazz combo theory” captures the common spirit of various theories that reject reference and the “bottom up” approach to the problem of objective representational content. We can imagine the members of a jazz combo initially playing together without any shared musical norms. But they continually adjust to one another until norms emerge and are mutually endorsed. Players start holding one another to these norms, and it’s this that gives the sounds they produce—what would otherwise be mere noise—determinate musical content. Similarly, on the jazz combo theory, what would otherwise be productions of meaningless strings by language users, come to constitute determinate linguistic acts with determinate propositional contents, by virtue of the users adopting, and holding one another to, a shared set of linguistic and discursive norms. This chapter argues that jazz combo theorists overstate the case against reference, although they’re right in stressing the importance of norms and their dependence on social interaction. Jazz combo theorists tend to reject bottom-up approaches, including causal theories, because they take those approaches to be incompatible with the explanatory priority of the sentence and to fail to bridge the supposed gap between cause and norm. A number of conceptual tools are introduced to counter their arguments and to defend the consistency of the dynamic priority of the sentence, the syntactic correlativity of sentences and their constituents, and the semantic priority of constituents.
The Things We Do with Empty Names
Authors: Taylor Kenneth A. 
Published: May 2021

Abstract
This chapter undertakes to apply the previously developed theory of objective representational content to our thought and talk about apparently non-existent objects. It aims to show that we need not construe the referents of singular terms within fiction and within mathematics as possessing bona fide existence (or non-existence) while also providing a robust understanding of our singular representations when we think with such terms. The arguments depend on the trio of distinctions between merely objectual and fully objective linguistic and mental representations; non-veridical and veridical language games; and truth-similitude and literal truth. With these distinctions, the chapter exhibits the explanatory power of a theory on which empty singular terms are merely objectual yet are fundamental to our non-veridical language and thought games, possessing truth-similitude while falling short of literal truth.
Introduction
Authors: Hayashi Brian Masaru 
Published: May 2021

Abstract
The OSS did not use race in their recruitment of Asian Americans. Instead, they used loyalty to determine which Asian American with the necessary linguistic and cultural skills could join the agency. But to understand why the OSS leaders took the risk in bringing in a potential Asian American Trojan Horse one must see race and loyalty as not fixed but fluid social constructions. Using a wide variety of sources scattered across the globe, this chapter shows that Asian Americans had broken through racial barriers as they were tasked with gathering, translating, and analyzing intelligence data, creating propaganda pamphlets and radio programs, conducting hit-and-run operations miles behind enemy lines, and hunting for enemy spies behind Allied lines. Their roles, salaries, and military rank all point to how rapidly loyalty and not race became the primary determinant of employment with and treatment in the Office of Strategic Services during World War II.
Introduction
Authors: Peter J. Neumann , Joshua T. Cohen , Daniel A Ollendorf 
Published: May 2021

Abstract
The pharmaceutical industry has produced wondrous scientific advances, but the progress has come at a cost. US prescription drug spending has increased faster in most recent years than other categories of health and now comprises roughly one-sixth of total health expenditures. Rising costs strain already stretched public budgets. Increasing patient out-of-pocket spending for deductibles and coinsurance has created financial difficulties for many individuals and their families, particularly among the sickest patients. The dueling trends of scientific breakthroughs and ever-rising spending present enduring challenges. On its own, rising spending would not be so concerning, but evidence suggests that drug prices often do not reflect the benefits they provide. Thus, there is an imperative to measure the value of prescription drugs and incorporate such measures into drug pricing policies.
The Prescription Drug Market
Authors: Peter J. Neumann , Joshua T. Cohen , Daniel A Ollendorf 
Published: May 2021

Abstract
This chapter describes how prescription drug markets deviate from “normal” competitive markets. On the demand side, there is considerable uncertainty in disease prognosis and treatment effects; buyers have much less information than sellers; consumers usually do not pay directly for their prescriptions but rather have health insurance, which protects them from a drug’s full price; and physicians and insurers play a major role in consumer choices. On the supply side, firms are heavily regulated, subject to laws requiring that drugs undergo extensive testing before entering the marketplace. Monopolies are a system feature, designed to incentivize companies to invest in expensive and risky drug discovery by providing the prospect of a big payoff if the investment succeeds. Patents and market exclusivity restrict competition and provide drug developers considerable pricing power. The challenge for policymakers is how to achieve reasonable or fair drug prices in light of these market distortions.
The Founder
Authors: Martin Peter 
Published: May 2021

Abstract
Just as J. Edgar Hoover molded the modern FBI, Zhou Enlai’s personality and policy choices continue to shape how China’s foreign ministry interacts with the outside world today. This chapter tells the story of how the PRC’s first foreign minister and premier became a revolutionary and shows how his life experiences and beliefs continue to shape Chinese diplomacy. It also explores how the behavior of today’s Chinese diplomats is shaped by memories of “national humiliation” in the decades before the PRC’s founding. For Zhou and many of his contemporaries, communist revolution appeared to offer a way to save their country as well as to remake its society.
Chasing Respectability
Authors: Martin Peter 
Published: May 2021

Abstract
After the end of the Korean War, China sent its diplomats out on a charm offensive to win over global opinion, including sending delegations to the Geneva and Bandung Conferences, where its performance won plaudits in the West and across the developing world. During this period, China also deployed distinctively communist techniques in its diplomacy, including the use of “united front” tactics to charm influential social groups in countries where China didn’t yet have formal diplomatic ties. Many of the tools Chinese diplomats practiced during the 1950s are taking on renewed prominence in its foreign policy today as China seeks to increase its influence around the world.
Controlling Critical Messengers
Authors: Dukalskis Alexander 
Published: May 2021

Abstract
This chapter focuses on how Chinese authorities attempt to control the image of China that the world sees. It first sets the stage by describing China’s domestic media sphere. It then draws on semi-structured interviews with current and former foreign correspondents for European and North American outlets in China. The interviews reveal the techniques that the government uses to try to inhibit negative news about China from reaching global audiences. These include direct persuasion, restricting sites and/or persons from being investigated, surveillance, intimidation, and the specter of visa non-renewal. Ultimately, if these techniques fail, the government sometimes attempts to refute the story that results and/or to impugn the reputation of the journalist. Examining how foreign correspondents are “managed” in China is important because they help shape public opinion about China abroad and thus provide the backdrop to China’s other efforts at image management.
Promoting and Controlling the China Dream
Authors: Dukalskis Alexander 
Published: May 2021

Abstract
This chapter captures the myriad ways in which the Chinese government is packaging its image for international audiences (promotional/diffuse), cultivating messengers capable of conveying that image (promotional/specific), trying to respond to or downplay criticisms about its policies in international discourse (obstructive/diffuse), and intimidating and threatening activists outside its own borders (obstructive/specific). To do so, it draws on a variety of data, including speeches and documents from the leadership, close attention to China Global Television Network (CGTN) content about Xinjiang, interviews conducted by the author with targets of China’s promotional/specific efforts, and data from the AAAD about the country’s repression of exiled critics.
Coping with a Post-Communist World
Authors: Dukalskis Alexander 
Published: May 2021

Abstract
After a broad overview, this chapter analyzes two specific instances of North Korea’s authoritarian image management, spanning both the Cold War and post–Cold War eras. First, it focuses on North Korea’s Japan-based efforts to craft an appealing image among Koreans there through Chongryon (the General Association of Korean Residents in Japan). Second, it discusses the loose network of North Korea sympathizer organizations around the world. The chapter draws on primary North Korean media sources, online evidence of friendship group activities, and fieldwork conducted about Chongryon in Japan in 2019. The main argument is that North Korea’s image management efforts have been effective in some respects, but they appear outdated and ill-suited to the contemporary world because the country was slow and hesitant to adapt to new realities. The system was designed for a context of party-to-party relations and Third World solidarity initiatives that eventually faded in relevance.
Musical Motives
Authors: Auerbach Brent 
Published: May 2021

Abstract
Motives, the small, recurring shape elements primarily identified by their pitch and rhythm profiles, are near-ubiquitous in music. Yet despite their long-standing prominence in composition and in past and present discourse on music, motives have resisted systematic treatment. The present work, Musical Motives, establishes a methodology for identifying and labeling motives and for assembling viable, meaningful analyses with them. The book opens with a general introduction to motives and a review of their history in Western music. The body of the work prescribes a two-tiered system for working with motives: basic motivic analysis (BMA) concerns monophonic motives composed of pitch and rhythm, while complex motivic analysis (CMA) concerns polyphonic motives that present as a richer network of elements drawn from many domains, including but not limited to pitch, rhythm, counterpoint, harmony, texture, and articulation. In support of these methods, the book offers a generous set of tools to advance this analytic subdiscipline. One tool is a universal system of motivic nomenclature proposed to facilitate dialogue among analysts. Another is a technique for melodic reduction, rooted in principles of salience, that allows analysts to posit motives that admit flexibility without sacrificing methodologic rigor. Most significant, the work details specific procedures for creating, interpreting, and presenting motivic analyses that range in length from just a few measures to entire pieces. Extensive demonstrations of all points and procedures are given in the form of analyses of selections and full works by composers as diverse as Beethoven, Handel, Chopin, Bach, Mozart, Brahms, Cécile Chaminade, Marvin Hamlisch, Aretha Franklin, John Philip Sousa, and Radiohead.
Basic Motivic Analysis
Authors: Auerbach Brent 
Published: May 2021

Abstract
Chapter 5 establishes the rules and guidelines for basic motivic analysis (BMA), the more elementary mode of analysis limited to examining the pitch and rhythmic content of music. The first part of the chapter establishes a standard procedure for reduction, or extracting motives from ornamented melodies; this includes rules for motives spanning multiple phrases. The second part of the chapter establishes rules for associating shapes within a work. Such associations are required to be literal, in stark contrast to Schoenberg’s philosophy of Developing Variation. The allowable transformations in pitch are transposition, inversion, and retrograde, and in rhythm are the duration scaling operations, augmentation and diminution. A single, informal associative relation, “sensed connection,” may be used to indicate an analyst’s artistic intuitions about motivic relationships that are unprovable. A last set of rules delineates a proper format for BMA. An analysis must be structured around a single source event called a Focal Point, that occurs near the beginning and furnishes all or nearly all relevant shapes in the piece. Motives must be derived from the Focal Point in forward order (propagative). Discussion is supported by analyses of excerpts by Bach, Beethoven, Brahms, Mozart, Rossini, and Pierre Leemans.
Complex Motivic Analysis
Authors: Auerbach Brent 
Published: May 2021

Abstract
Chapter 7 establishes the rules and guidelines for complex motivic analysis (CMA). CMA is the more advanced mode of motivic analysis, which centers around the activity of a larger, network-type motive composed of elements from many domains (similar to Schoenberg’s Grundgestalt). The chapter first provides an introduction to the expanded format for motive, including guidance on which domains to include and the proper format for each. It then guides readers through construction of a complex motive for a short Brahms waltz. The remainder of the chapter is given over to describing the paired end products of CMA, which are (1) an Organic Map illustrating the most significant motivic connections in the manner of an enhanced BMA, and (2) a “Narrative” that tallies and charts the number of Complex elements exhibited by each surface segment of the work. The result of the latter process is a Narrative Curve that charts the work’s fluctuating level of organicism and directly reflects the piece’s CMA archetype. The chapter concludes with demonstration of a full CMA analysis of the Brahms waltz.
Analysis of Three Works in Contrasting Styles
Authors: Auerbach Brent 
Published: May 2021

Abstract
The three analyses presented in this chapter expound on the theory and methodology presented in chapters 5–7. The first of these, an abbreviated complex motivic analysis of “L’Ondine,” by Cécile Chaminade, reinforces the content of chapter 7 by again taking readers through the processes of narrative construction: segmentation, Focal Point selection, quantification and tally, and the drawing of the Narrative line graph. The other BMA and CMA analyses examine modern works in other genres, a Broadway number by Marvin Hamlisch (“At the Ballet”) and a rock song by Radiohead (“Paranoid Android”). The latter two works are texted, offering a model for how to responsibly integrate a piece’s literal poetic and/or theatric meaning into an account of its motivic activity. As a group, the three analyses are intended to bolster the claim that motivic analysis applies broadly to music.
Conclusion
Authors: Auerbach Brent 
Published: May 2021

Abstract
This chapter concludes Musical Motives with an assessment of the benefits and disadvantages of motivic analysis. Listed among the benefits are the method’s general accessibility and its applicability to a wide range of musics. A disadvantage is that a great many pieces even within the Western Classical tradition, naturally resist motivic analysis. The chapter cautions that motivic analysis holds potential but is no panacea. What it does do is allow analysts to quickly and productively engage many dimensions of a musical work. Subsequent portions of the conclusion investigate the extent to which other musico-theoretic entities—specifically, fugue subjects, Galant schemas, and the hooks of popular music—intersect the motive concept. Last, consideration is given to the method’s reliance on literal association as a price to be paid for theoretic rigor.