bluuebunny/crossref_metadata_2025_split huggingface dataset:
Sensory Marketing in Advertising and Service Environments
Authors: Hultén Bertil 
Published: February 2021

Abstract
The chapter starts with an introduction to the notion of “sensory marketing” and the five human senses as an emergent marketing paradigm in theory and practice. In mainstream marketing, the shift from goods and services to sensory experiences emphasizes new concepts and practices in understanding sensory marketing. The ubiquitous role of music in our daily lives and in advertising is then briefly summarized, focusing on the emotional responses that music evokes. This chapter describes the influence of music in service environments and answers the question: How do consumers perceive and respond to music in different types of encounters in settings such as stores, restaurants, and banks? The author argues that concepts such as congruency and symbolism are central for understanding how music and sound shape consumers’ experience of service environments and perceptions of brand identities and products. Finally, suggestions for future research in “sound” sensory marketing are presented.
Methods for Testing the Emotional Effects of Music in Advertising and Brand Communication
Authors: Müllensiefen Daniel 
Published: February 2021

Abstract
Recent models of advertising perception distinguish between emotional and rational processing of advertising contents. These models are in agreement with the theoretical framework of heuristics and biases in decision making proposed by Kahneman and Tversky. While practitioners can target the two modes of advertising processing for different marketing purposes, the emotional mode has been shown to be a more effective vehicle for long-term brand building. Here, music can be an effective cue for the emotional appeal of advertising communication and therefore increasing advertising effectiveness. However, the effectiveness of music is conditional on its fit to the target brand. This chapter presents a practical, quantitative tool for determining the fit of candidate music tracks compared to a target brand in an emotional space. In addition, the chapter explains the importance of testing the effects of music for TV advertising and presents a range of behavioral and neuroscientific methods that are better suited to assess the emotional effects of music than traditional questionnaires or interviews. Also reported are findings from a series of studies done in collaboration with advertising agency adam&eveDDB that explore the potential of various testing methods when investigating the effects of music on the perception of TV ads.
“Once You Hear This, Act Fast”
Authors: Wissner Reba A. 
Published: February 2021

Abstract
During the 1950s and 1960s, the Federal Civil Defense Administration (FCDA), in cooperation with the Ad Council, featured television commercials that served as public service announcements and fifteen-minute television civil defense advertisements that educated the public about civil defense protocols. Part of its mission was to educate the public in the event of the detonation of a nuclear bomb. This chapter surveys the styles of music used in the televised civil defense advertisements from the early Cold War. The music is distinctly different from what was normally heard on television at the time, often featuring distinct moments of atonality or musical stylings of “us versus them,” that is, American political songs alternating with distinctly Soviet-style music to convey the origin of the threat without directly naming it. These musical oppositions were employed to persuade people to pay attention to the important message onscreen, underscore the potential destruction of the bomb, and relay the importance of civil defense.
Music and Sound Design as Propaganda in Hell-Bent for Election
Authors: Scoggin Lisa 
Published: February 2021

Abstract
Though political television and film commercials may be thought of as a recent phenomenon, these have in fact existed for a number of years. Consider, for example, the animated two-reel film Hell-Bent for Election from 1944. Created by the left-leaning studio Industrial Film and Poster Service (later UPA) for the United Auto Workers union, the cartoon pushes for the re-election of Franklin Delano Roosevelt over Thomas Dewey. The film is a metaphor where the two candidates are represented by trains. Joe Worker represents the voter, who must let the “Win the War Special” (Roosevelt) through the station rather than the “Defeatist Limited,” despite the obstacles put in Joe’s way. As with many propagandistic and political messages, the symbolism is not subtle, and the cartoon certainly gets the message across. This chapter examines how Earl Robinson’s music, along with the lyrics of Yip Harburg, works with the other aspects of the film to accomplish the mission of getting out the vote. Robinson, a classically trained composer who is best known for his pro-labor songs, uses a variety of musical styles to convey the message in the animated film, from classical modernist to popular song quotation to agitprop mass song, each of which is designed to appeal to the primary audience: the working class and union members.
About a B(r)and
Authors: Westrup Laurel 
Published: February 2021

Abstract
In 1991, Nirvana’s Nevermind not only launched grunge and alternative rock into the mainstream but also helped launch the DGC imprint of Geffen Records. Following Nirvana singer/songwriter Kurt Cobain’s suicide in 1994, Nirvana’s recordings, and Cobain’s previously unreleased solo recordings, have continued to be a lucrative asset for Geffen and their corporate parent, Universal. They have regularly released and reissued Nirvana material, often with the promise of new songs and other bonuses. This chapter surveys Geffen/Universal’s strategies in packaging and marketing Nirvana, with a focus on the band’s posthumous releases. Geffen initially followed Cobain’s lead, striking a balance between underground credibility and mainstream promotion. However, Universal has increasingly lost that balance, raising questions about Nirvana’s and Cobain’s long-term marketability. This case study demonstrates the complex negotiation of industrial forces, legal concerns, fan demand, and artistic integrity involved in marketing a paradigm-shifting act.
Contextual Marketing
Authors: Strank Willem 
Published: February 2021

Abstract
The online distribution of music has altered its materiality, its presentation, and the practices of its interpretation. Participatory online environments empower listeners to rank, review, and classify music, adding new layers of meaning and context to the works in question. At the same time, popular streaming platforms provide the means for compilations by listeners, once again creating new and often arbitrary connections. This approach to music is accompanied by the concept of “contextual marketing” introduced in this chapter. The professional online contextualization of music complements the amateur approaches, leading to a new network of references and pop-cultural connections. The chapter shows how some of these labeling techniques work and how some of the related platforms are organized to provide a snapshot of the status quo of online music distribution and the resulting consequences for the way we perceive and construct musical affiliations in the digital age.
Music and the Formal Structures of Contemporary Action Film Trailers
Authors: Watts Catrin 
Published: February 2021

Abstract
Music and sound are key to creating film trailers that are coherent pieces of media because the visual and narrative content is so fragmented in trailers. Deaville and Malkinson note that sync points “tend to occur with greater frequency in trailers than in narrative films” (Chion, 1994). This chapter develops this claim further: Not only are sync points more frequent in trailers than in narrative films, but also they more commonly extend to small-scale characteristics such as the beat and rhythm of the music. Using a corpus of fifty contemporary action film trailers, this chapter demonstrates the integral role of “tightly organized synchronization” (Watts, 2018) in unifying and organizing a trailer’s materials into a compact audiovisual experience, as well as outlining common trailer structures. This work begins to unpack the relationship between music, narrative, and spectacle that is imperative to understanding how contemporary trailers go beyond promoting and previewing the feature film.
Creating Big-Screen Audiences Through Small-Screen Appeals
Authors: Deaville James 
Published: February 2021

Abstract
Film trailers have begun to garner scholarly interest among film and music specialists, whereas spots or trailers produced for cinematic campaigns on television remain unexamined. This chapter attempts to redress the gap by studying the history, functions, and aesthetics of film advertising on television, primarily from the perspective of their soundtracks. The study documents how film studios only gradually accepted the medium of television for promoting their products, initially experimenting with a variety of formats and distribution models into the 1960s. Analysis of recent television trailer texts and practices reveals their reliance upon music as a narrative and gestural force, which increases as the release day draws closer and the short forms become shorter: music’s concision dictates its leading role in creating the urgency of last-minute appeals. Closer examination of one television marketing campaign in particular, for The Dark Knight Rises (2012), illustrates how music functions within typical small-screen advertising promotion.
Organized Labor and Commercial Advertising
Authors: Getman Jessica 
Published: February 2021

Abstract
The J. Walter Thompson Company (JWT) collection at Duke University’s Hartman Center for Sales, Advertising, and Marketing outlines the swift changes that a revitalized organized labor culture made to music-making in the advertising industry between 1954 and 1960, as groups like the Screen Actors Guild (SAG), the American Federation of Radio and Television Artists (AFTRA), and the American Federation of Musicians (AFM) negotiated for updated talent guidelines. The papers of John F. Devine, JWT’s Vice President of Radio and Television during this period, are especially illuminating, as he served as a representative for the advertising industry in several union negotiations through the American Association of Advertising Agencies (AAAA) and was further responsible (in collaboration with JWT contracts officer Marion Preston) for enacting JWT’s operational responses to the new rules. This chapter traces, with a specific focus on issues faced by advertisers during this period, Devine and the AAAA’s role in talent negotiations, SAG and AFTRA’s tussle over jurisdiction regarding videotaped material, the significant transitional period the AFM endured as its contentious Music Performance Trust Fund was challenged by both its members and their employers, and JWT’s in-house responses to resulting talent contract changes.
The Conquest of Kool
Authors: Chapman Dale 
Published: February 2021

Abstract
This chapter takes up a case study that provides a window onto the shifting cultural significance of jazz during the 1980s, a decade that saw both the emergence of neoclassical jazz in the music industry and the consolidation of new strategies of market segmentation in the advertising industry. The present project examines internal corporate correspondence at the Brown and Williamson tobacco firm to trace the evolving understanding of jazz in the company’s formulation of its “Kool Music” campaign for its Kool brand of menthol cigarettes in the early 1980s. Brown and Williamson’s correspondence during this period foregrounds not only the reasoning behind its embrace of jazz as a symbolic property from the outset of the campaign but also why it would eventually come to abandon it. Brown and Williamson’s “Kool Music” campaign highlights the very different uses to which jazz was put in an earlier moment of targeted marketing. Brown and Williamson struggled to identify the music’s affective resonances, its appeal to specific race and class demographics, and its potential usage as a marketing tool. In this context, the internal debates surrounding jazz at Brown and Williamson help to make sense of the music’s later enlistment as a signifier of upscale consumerism.
‘para empresas más altas y de mayor importancia’
Authors: Nelson Benjamin J. 
Published: February 2021

Abstract
Due to the popularity of Don Quixote and later works, Cervantes’s La Galatea has suffered from being overlooked or maligned. This chapter argues that Cervantes, by choosing the pastoral as his first substantial narrative, continues the tradition of the pastoral novel initiated by Montemayor’s La Diana and supersedes it. Cervantes introduces himself as an Orphic poet who participates in the famed rota Virgilii, or Virgil’s Wheel, which may have originated from the enigmatic verses that appeared in the frontispiece of a first-century edition of Virgil’s Aeneid: ‘I am he who once tuned my song on a slender reed, / then, leaving the woodland, compelled the neighbouring / fields to serve the husbandman, however grasping— / a work welcome to farmers: but now of Mars’ bristling’. By starting with the pastoral, a writer would emulate the famed Virgil by later composing works comparable to the Georgics and, afterwards, to the Aeneid.
Novelas ejemplares (1613)
Authors: Ife Barry 
Published: February 2021

Abstract
Cervantes’s claim in the prologue to his Novelas ejemplares to be the first to write novels in Spanish is more than justified, not just on grounds of originality, but also for the skilful blend of entertainment and literary sophistication they offer. Whereas other Spanish collections of novelas are imitated or plagiarised, these are all his own work. And while other novelas are often little more than bawdy anecdotes, these novels offer the most wholesome entertainment, that is, entertainment that a book-buyer could allow his wife—or even his servants—to read. While there is evidence that the title was originally longer, what is certainly clear is that the title Cervantes eventually settled on would have struck most contemporary readers and book-buyers as an intriguing contradiction in terms. This chapter explores this uniquely Cervantine collection of novellas and its significance in the history of Spanish literature.
Cervantes and Genre
Authors: Brewer Brian 
Published: February 2021

Abstract
In Don Quixote I.47 and 48, Cervantes sets out his most sustained exposition of literary theory. This chapter points out that the dialogue staged in these chapters between the canon from Toledo and the priest from Don Quixote’s village contains in embryonic form the primary tensions that infuse Cervantes’s attitude toward literary genre as revealed in his fiction. The critical exchange is divided into two parts: the canon’s critique of the romances of chivalry that have caused Don Quixote’s insanity, and the priest’s appraisal of the state of contemporary popular theatre. In both cases, which are complementary, the characters’ criticisms are harsh without being completely uncompromising. Also, in both cases, the artistic precepts expounded accurately describe Cervantes’s actual practice of composing literary fiction, with the non-trivial caveat that they also contain important limitations.
First Writings for the Stage (1580s)
Authors: Burton David G. 
Published: February 2021

Abstract
In the 1580s, Cervantes turned to writing for the stage in pursuit of a career as a professional playwright, capitalizing on the popularity of the public theatres and the lucrative trade it produced. However, after a modicum of success his career was soon thwarted by the comedia nueva and the advent of Lope de Vega in the late-1580s would take that obsession to a national level. This chapter explores the first stage of Cervantes’s writing career prior to this new type of play establishing a monopoly on the tastes of the paying public.
Ocho comedias (1615)
Authors: Henry Melanie S. 
Published: February 2021

Abstract
Towards the end of his life, Cervantes returned nostalgically to his earlier days as a playwright, and in 1615 he published eight full-length plays that had never appeared on stage. As with most of his output, Cervantes strayed from form and convention and criticized the trendy theatre of the day that seemed to pander to the masses. This chapter explores the plays that Cervantes chose to publish in the same year as the second part of Don Quixote as a collection, and how his resistance to and departure from established norms are representative of his marginalization in the literary and theatrical world. In fact, they serve as a direct reaction to the comedia nueva.
The Ignominies of Persuasion in Cervantes’s Entremeses (1615)
Authors: Lukens-Olson Carolyn 
Published: February 2021

Abstract
The first part of this chapter is an extended development of Eugenio Asensio’s work on Cervantes’s innovations in the entremeses, examining the features of the genre both before and after Cervantes’s changes. With Cervantes’s innovations, he revitalized the humble and tired genre, updating its themes, expanding its repertoire of characters, and deepening its considerations of human nature, ushering the Spanish entremés into modernity. As Asensio describes, Cervantes achieved this through changes in character, resolution, and language, all further examined here. New to the analysis of language is a consideration of rhetoric, leading to the second part of the essay, a detailed look at Cervantes’ focus on the ignominies of the persuasion employed by these characters who represent, on the whole, the marginalized society of early seventeenth-century Madrid. Cervantes’s concerns with rhetoric are as present in the entremeses as in his other works and closely correspond to the nature of the genre.
Cervantes and the comedia nueva
Authors: Castillo Moisés R. 
Published: February 2021

Abstract
It is known that Cervantes wanted, above all things, to be successful on the Golden Age stage and to become a famous playwright. Due in part to the rising popularity of Lope de Vega and the comedia nueva, Cervantes gave up his aspirations to the stage and focussed on his prose. However, unlike any author during this period, Cervantes continued to breathe theatricality into that prose. Structures, themes, characters, and settings shift constantly between distinct genres, unveiling details about Cervantes’s life and worldview. Moreover, at times, the line between theatre and prose seems to mix or blur, demonstrating the dramatic imagination in Cervantes’s works. Additionally, the fact that Cervantes’s writing emphasizes dialogue is of no surprise, as it is infused with a profound humanism, often of Erasmian roots. This chapter explores the significance of this new type of comedy in the works of Miguel de Cervantes.
Versification in Cervantes’s Drama
Authors: Jeffs Kathleen 
Published: February 2021

Abstract
With the overwhelming success of Don Quixote, many writers were as damning of his poetic verses as they were praising of the famous novel. However, students of Cervantine writing and its idiosyncrasies identify a wealth of ingenuity in his verse writing, including in poems and theatrical works. This chapter focuses on the use of polymetric verse in Cervantes’s drama, exploring its different uses and meanings in comparison with other writer, principally Lope de Vega, and demonstrating that it is much more sophisticated than it has been given credit for over the centuries.
Cervantes’s Sources and Influences
Authors: Triplette Stacey 
Published: February 2021

Abstract
Cervantes’s literary works reference a complex set of ancient, medieval, and early modern sources. Having been raised with a humanist education, Cervantes would have been familiar with many classical writes, such as Homer and Virgil, as well as European writers who lived and worked closer to his own time, such as Torquato Tasso and Mateo Alemán. This chapter does not pretend to be exhaustive in its treatment of Cervantes’s sources, but it does offer the reader a guide to many of the most important influences on Cervantes’s literary production from Spain, early modern Europe, and classical antiquity.
Cervantes and Other Literary Circles
Authors: Ríos Castaño Victoria 
Published: February 2021

Abstract
As a continuation of an understanding of Cervantes’s rapport with other well-known writers of his day, this chapter explores the world of the literary academies, in which he interacted with aristocrats, court officials, soldiers, preachers, lawyers, playwrights, and theatre impresarios, among many others. Firstly, it offers a brief introduction into the academies that Cervantes knew and into the literary contests in which he participated by looking at Cervantes’s own satirical remarks throughout his work. Secondly, it adopts a chronological approach and considers Cervantes’s attendance of several academies in Seville and Madrid. His comments and allusions to the members of these literary circles, as made in works like the ‘Canto de Calíope’ [Song of Calíope] and the Viaje del Parnaso, allow us an appreciation of the relationship he maintained with his peers and patrons, and how these contributed to or impinged upon his work.
Cervantes’s Biographers
Authors: Sliwa Krzysztof 
Published: February 2021

Abstract
As Cervantes became a famous writer during his own lifetime, information about the life and times of the man who composed the works that carry his name became in high demand. However, more than 100 years passed after his death before the first comprehensive biography was written. This chapter provides the reader with an overview of the most important biographers of Miguel de Cervantes, beginning with Gregorio Mayáns y Siscar in the early eighteenth century, and including Vicente de los Ríos, Juan Antonio Pellicer y Pilares, Martín Fernández de Navarrete, Jerónimo Morán, James Fitzmaurice-Kelly, Luis Astrana Marín, and concluding with Jean Canavaggio, contributor to this volume. The chapter lists these critics’ works and aims to analyse and meticulously compare all the major biographies in order to determine the vision obtained by the biographers of the hero of Lepanto.
Cervantes and Warfare
Authors: Triplette Stacey 
Published: February 2021

Abstract
Miguel de Cervantes travelled the Mediterranean as a professional soldier, fought in the battle of Lepanto in 1571, and endured five years in captivity in Algiers before he published his first literary work in 1585. References to warfare appear throughout Cervantes’s literary production, serving as a metaphor, background, or interpolation, even in texts that concern themselves primarily with civilian life. Though Cervantes celebrates his personal career as a soldier, he subjects the theme of warfare more generally to the irony and distance with which he treats other cultural phenomena of early modern Spain. In all his texts, Cervantes expresses a concern for justice in military action. For the individual soldier, citizen, or knight-errant, personal heroism and correct behaviour appear to be possible, but on the scale of the nation, warfare leads inevitably to financial opportunism and human suffering.
Cervantine Criticism until 1999
Authors: Oakley R. J. 
Published: February 2021

Abstract
This chapter presents a survey of Cervantine criticism until the closing of the twentieth century. With a single exception, the critical fortunes of Cervantes’s works are treated here in the order in which they were originally published. From his first published work in 1585 to the posthumous Persiles in 1617, the Cervantine canon has provided an immeasurable influence on world literature and culture. This chapter analyses their reception in Spain and around the world and describes the most well-known and significant academic studies in the nearly four centuries since the writer’s death.