bluuebunny/crossref_metadata_2025_split huggingface dataset:
Quo vadis on the Stage
Authors: Mayer David 
Published: January 2021

Abstract
In contrast to the applause and attendance figures generated by the several film adaptations which followed from 1913, theatrical renderings of Quo vadis were ridiculed, and stage runs were conspicuously brief. Theatre was not able to realise the strongly physical episodes the novelist had imagined and that motion pictures could supply. Although posters advertising the play depicted Lygia’s ordeal in the arena and her rescue by the strong-man Ursus grappling with a maddened aurochs, this crucial ‘sensation scene’ was never brought before theatre audiences. At best, stage versions of Quo vadis were disappointing, at worst they were dismal failures. On the English-speaking stage, three separate iterations of Quo vadis, not adapted until 1900, followed Wilson Barrett’s 1895 play The Sign of the Cross by five years and followed William Young’s theatrical version of Ben-Hur by a year. It wasn’t merely that these earlier plays had consumed the oxygen that might have given life to Quo vadis, it was also that stage versions of Quo vadis relied on similar configurations of characters found in The Sign of the Cross, of Christian-Pagan conflict, and of plots of martyrdom at the whims of despotic Roman emperors and their lubricious wives. Even Wilson Barrett’s adaptation failed to generate much enthusiasm and was readily replaced by his money-spinning biblical dramas and toga-plays. This study will consider adaptations by Jeanette L. Gilder, by Stanislav Stange, and Wilson Barrett. It will account for more successful stage versions of the novel performed in the Roman Catholic countries Italy and France.
Dangerous Liaisons: Quo vadis? (1913, dir. Enrico Guazzoni) and the Previous Theatrical Adaptations of Sienkiewicz’s Novel
Authors: Dagna Stella 
Published: January 2021

Abstract
Quo vadis?, directed by Enrico Guazzoni in 1913, is still one of the most faithful film adaptations of the novel by Sienkiewicz. When the silent feature came to cinemas around the world, the story was already familiar to the majority of the audience, due to the popular success of the book and a proliferation of many derivative works, especially theatrical. In various ways, these adaptations developed audiences’ previous knowledge of the plot and the characters. Some of them were set in an openly illustrative relationship; others focused on a single narrative thread of the novel. The most complex examples, especially the 1909 opera by Jean Nouguès, offered a skilled concentration of the plot in a few scenes that were complex both in terms of narrative and staging. The director Guazzoni was quite familiar with the ‘horizons of expectation’ that adaptations of such a popular novel created, but he decided to use them differently. In his film, faithfulness to the original text became the most important trait of a new, ambitious staging strategy: the protection of the plot’s complexity and its spatial fragmentation. Performing a comparative analysis of the narrative spaces in Guazzoni’s film and in a few theatrical adaptations, this chapter delves into two different examples of interaction between the original novel, the adaptation, and viewer expectations: the centripetal model, in which the most important quality is the ability to synthesize, and the centrifugal one, based precisely on fidelity to the original text and to historical accuracy.
Illustrating Quo vadis in Italy (1900–1925)
Authors: De Berti Raffaele , Gagetti Elisabetta 
Published: January 2021

Abstract
In Italy, from the beginning of the twentieth century, illustrated editions of Quo vadis multiply, starting from that of Treves with drawings by Minardi (1901), down to the popular edition by ‘Gloriosa’ (1921). Related paratexts from the novel and its two cinematic adaptations by Guazzoni (1913) and D’Annunzio–Jacoby (1924) flank these numerous illustrated editions, such as a series of photosculptures by Mastroianni and postcards displaying scenes from the films. Sienkiewicz’s novel itself works on several levels, each one involving a large audience: from a popular one to educated readers. The illustrated editions and postcard series will be dealt with as paratexts, analysed not in terms of their aesthetics or fidelity to the plot but as elements widening the interpretation of Quo vadis in the context of Italian society and culture of that time, and taking into consideration the expectations of an Italian audience. Placed in editions of the novel, the iconographic choices displayed in the illustrations play the role of glosses, or even act as the voices of readers/viewers. Thanks to these paratexts, the novel gains new meanings. Our inquiry has been limited to the period 1900 to 1930, to coincide with the end of the silent-film era and the fading of the echo caused by D’Annunzio and Jacoby’s film. The two films will be the constant iconographic reference point because of their accumulation of all the preceding illustration strategies for Quo vadis and their influence on the subsequent typology of illustrations in a continuous circulation of media.
Horror amid Sweetness
Authors: Górecka Ewa 
Published: January 2021

Abstract
Postcards, once an important form of communication which has now been driven out of contemporary culture by emails and other instant messages, are the least known among the metatexts of Sienkiewicz’s novel. The time of the novel’s creation and the fact that it was quickly recognized as a bestseller contributed to the production of numerous postcards that presented scenes and characters from Quo vadis . They deserve attention not only for their artistic variety (style, technique, format, and so on), but also for their coexistence with kitsch. The presence of this aesthetic category in intersemiotic interpretations of Sienkiewicz’s work implies the need for determining which parts of the novel particularly encourage kitsch. Postcards referring directly to Quo vadis reveal the presence of different types of kitsch. Due to the novel’s subject matter, religious, erotic, and patriotic kitsch are observed most often, followed by the kitsch of death and suffering. In order to understand the connection between Sienkiewicz’s Quo vadis and kitsch, it is not enough to determine its types. Kitsch on postcards tends to be integrated into an intertextual and periphrastic strategy. Whether through the vehicle of a photograph, watercolour painting, oil painting, engraving, or sculpturography, the purpose of creators of illustrations was usually to put across the idea of the novel and its aesthetic value. Importance was also attached to the expectations of potential purchasers of postcards, both those who had and those who had not read Quo vadis. Thus, the postcards are valuable evidence not only of the artistic interpretation of the novel in different semiotic systems but also of the perception of ancient Rome in twentieth-century European culture.
MGM’s Quo vadis
Authors: Winkler Martin M. 
Published: January 2021

Abstract
The 1951 epic Quo Vadis, directed by Mervyn LeRoy, is the most famous adaptation of Henryk Sienkiewicz’s novel and eclipsed all earlier and later versions made between 1912 and 2001. This chapter is intended to illustrate the complexity of the Quo vadis (novel)/Quo Vadis (film) phenomenon by examining a few representative strands. To a large extent, credit for the impact of Quo Vadis belongs to actor Peter Ustinov, who made Rome’s most notorious emperor more familiar to viewers than any other actor has managed to do, especially through his portrayal of Nero as poet and musician. Ancient sources commenting on Nero as performer differ from what cinemagoers saw and heard in 1951. The spectacular climax of novel and film is set in the arena. Quo Vadis radically changed Sienkiewicz’s conception, which had been preserved, albeit in abbreviated form, in earlier films and would be presented at length only in 2001. By contrast, the Italian television adaptation of 1985 is a variation on the MGM version. The parallels to Sienkiewicz’s strongman Ursus in and beyond all these films are particularly illuminating. The title of Sienkiewicz’s novel, which quotes the Apostle Peter’s question to an apparition of his Lord, became a household phrase and has been applied in countless contexts since; a few telling instances are considered here. The chapter concludes with brief comments on the recent parody-plus-homage to Quo Vadis in the Coen brothers’ Hail, Caesar! (2016).
‘O omnivorous powers, hail!’
Authors: Woźniak Monika 
Published: January 2021

Abstract
Dialogue in historical films is often the weakest component of the presumed ‘authenticity’ of the vision of the past to which they aspire. Its artificiality is especially evident in productions about ancient worlds, because the historical characters typically speak in a language which has nothing to do with the reality presented on the screen, yet somehow needs to convey the idea of diachronic distance and diversity. This chapter will examine the stylistic strategies used by the screenwriters of Quo Vadis in order to create a dialogue functional to the film’s ideological message, but at the same time sufficiently credible and ‘authentic’. Special attention will be paid to the way the scripts deal with forms of address and with military or honorific titles, as these are usually the most important and evident signals of ‘historicity’ in film dialogues. From this point of view, the verbal strategies of Mervyn LeRoy’s Quo Vadis (1951) are rather complex and multilayered, and they will be the focal point of the analysis. Produced in the aftermath of the Second World War, the film relied heavily on the strategy of presentism, clearly audible in large chunks of the dialogue. On the other hand, as part of a ‘trustworthy’ reconstruction of classical antiquity, its cinematographic speech had to be at least superficially compatible with the image of imperial Rome. Finally, Quo Vadis also drew generously on its literary source and adapted for the screen some of the novel’s elegant, literary dialogues. The chapter will also examine the relation between the cinematographic and literary dialogue in two later adaptations to screen: Franco Rossi’s 1985 TV miniseries and Jerzy Kawalerowicz’s Polish heritage production (2001).
The ECOWAS Court as a (Promising) Resource for Pro-Poor Activist Forces
Authors: Okafor Obiora C. , Effoduh Okechukwu J. 
Published: January 2021

Abstract
This chapter examines the extent to which the human rights case-law of the Community Court of Justice of the Economic Community of West African States is either pro-elite or pro-poor. Without assuming that “pro-human rights” necessarily translates to “pro-poor,” the chapter discusses how the Court functions more as a resource for local pro-poor activists than as a tool in the hands of anti-poor elements. The chapter conceptualizes expressions such as “the poor,” “sovereign hurdles,” “brainy relays,” and “flipped strategic social constructivism” to undergird its analysis. For example, the authors analyze the extent to which activists’ forces, acting as brainy relays, co-created and enhanced normative resources in a process styled in the chapter as “flipped strategic social constructivism.” The chapter also demonstrates the ways in which the court has been a valuable resource to the domestic activist forces who together with the Court have worked to advance the social conditions of the West African poor. Finally, the chapter examines the gaps that militate against such pro-poor activism.
The African Court of Human and Peoples’ Rights as an Opportunity Structure
Authors: Gathii James Thuo , Mwangi Jacquelene Wangui 
Published: January 2021

Abstract
This chapter discusses the manner in which the African Court of Human & Peoples’ Rights (African Court) has created a political opening for litigants with grievances against their governments. Using the inaugural fair trial violation cases decided by the African Court, the chapter examines how the Court developed robust jurisprudence on fair trial rights that created a favorable legal opportunity structure. By permissively interpreting its rules in these foundational cases, the African Court made itself very accessible to civil society groups, high profile opposition politicians, and opposition parties closed off from pursuing their goals of political reform under national law and through national institutions. In addition to the fair trial cases, three additional cases form the subject of this chapter. The first is a case filed against Rwanda by an opposition politician, Ingabire Victoire Umuhoza against the government of Rwanda. The second is a case filed by a Tanzanian politician, the late Christopher Mtikila regarding rights to political participation of independent candidates in national elections. The third is a case filed by a human rights non-governmental organization, Actions Pour La Protection Des Droits De L’Homme (APDH) against the government of Ivory Coast (Côte d’Ivoire) relating to exclusion of certain individuals and parties from participation in national elections. In so doing, the chapter uses the legal opportunity structures literature to explain why some groups resort to courts to advance their causes, while others do not.
Breaking Symmetry
Authors: Zangwill Andrew 
Published: January 2021

Abstract
The postwar Red Scare and McCarthyism solidified Anderson’s left-of-center politics. He solidified his position at Bell Labs by using the concept of superexchange to explain neutron scattering data from transition metal oxides. He disengaged from Shockley and studied magnetism under the tutelage of Charles Kittel, Conyers Herring, and Gregory Wannier. The Heisenberg model is used to explain ferromagnetism and antiferromagnetism and Anderson’s discovery of spontaneous symmetry breaking in quantum antiferromagnets is described. He spends six months in Japan at the invitation of Ryogo Kubo, teaches magnetism, attends and, at an international conference, learns that he is a bone fide solid-state theoretician.
The Love of His Life
Authors: Zangwill Andrew 
Published: January 2021

Abstract
The solid state physics community is electrified when Bardeen, Cooper, and Schrieffer (BCS) announce their discovery of a microscopic model capable of explaining the phenomenon of superconductivity,which is observed in some metals at very low temperature. To understand Anderson’s contributions to this subject, this chapter begins with the phenomenology of superconductivity and then sketches a few key aspects of many-electron theory, including the concepts of collective excitations and quasiparticles. Anderson explains the apparent lack of gauge invariance of the BCS approach and then uses a sophisticated approximation to study the excited states of a superconductor. He travels to Russia where his theory gains the approval of Lev Landau and he demonstrates how to analyze so-called dirty superconductors. He collaborates indirectly with Robert Schrieffer to generalize the BCS model into a full-blown theory capable of describing any material where the electron-phonon interaction drives superconductivity.
Modal Structure
Authors: Mendola Joseph 
Published: January 2021

Abstract
This chapter develops an account of modal structure. Modal structure is the way in which various basic elements of reality, say properties and particularities, involve modality, which is to say possibility and necessity, in their essence. The specific form of modal structure involved in the cases this book considers is that of “the superworld.” It involves a local entwining in being of the merely possible and the actual. For instance, a specific shade of scarlet is entwined in being with the real possibility of other specific hues to which it bears essential relations of similarity. This view of the truth grounds of certain modal claims is motivated by a critical examination of extant views. For instance, there is a revealing analogy between time and modality, which undercuts standing views of mere possibilia. Presentism, the view that facts about the past are constituted by various facts now, can be legitimately accused of changing the subject, of not really providing an account of what is truly past, but rather talking about something else. So too standing views of possibilia. Possibilism, which identifies possibilities with existing things spatially disconnected to us, and actualism, which identifies possible concrete objects with various existing abstracta, also improperly change the subject, and so fail as accounts of what is truly merely possible. Rather, a genuinely different type of being is possessed by certain possibilia, which I call mere “subsistence.” This is a variation of some classical metaphysical views, for instance Aristotle’s notion of focal being.
Space, Time, and Location
Authors: Mendola Joseph 
Published: January 2021

Abstract
This chapter is an account of the particularity of spatial and temporal regions as they appear within our experience. It argues that the spatial and temporal relations of these regions are sufficient to individuate them, despite standard objections. This involves a kind of moderate substantivalism about space. The chapter also explores some of the complex modal structure of the spatial relations in question, relevant for instance to geometric truth and the way in which things seem to reverse in mirrors. The eternalist view of time presumed by this account is defended against alternative conceptions of time such as presentism and the moving spotlight theory.
Nominalism
Authors: Mendola Joseph 
Published: January 2021

Abstract
This chapter is a critical discussion of nominalist accounts of the ontology of the basic properties and relations present in our experience. Predicate nominalism, concept nominalism, class nominalism, resemblance nominalism, and trope theory are discussed. Several novel objections to forms of nominalism and trope theory, in other words to accounts of properties that deny they are universals, are developed. These include a series of objections that such accounts are not able to plausibly account for the essential features of specific basic properties that appear in our experience, such as colors, in other words that they misrepresent the modal structure of those properties.
Universals
Authors: Mendola Joseph 
Published: January 2021

Abstract
Immanent realism is the view that some fundamental properties are immanent universals, entities that can exist wholly in different places at the same time that yet only exist when instanced. This chapter develops the proper immanent realist account of the basic properties and relations that appear in our experience. It includes a new understanding of the relation between determinate and determinable universals. Another novelty involves determinable structural universals constituting one fundamental substantial form of ordinary concrete particulars. Various other complexities of modal structure are developed. Cases discussed include phenomenal color, other sensory properties, spatial and temporal relations, causal powers, and substantial forms. Some affinities but also differences with transcendental realism are considered.
Modal Structuralism and Color
Authors: Mendola Joseph 
Published: January 2021

Abstract
It is like something to have sensory experiences, and differences in this what-it’s-like, in this phenomenal consciousness, are called differences in “qualia.” Exploration of the modal structure of the superworld in earlier chapters is necessary groundwork for a plausible and novel account of how our neurophysiology is sufficient to account for the kinds of nonveridical qualia involved in our sensory experience, a physicalist account of at least the basic features of the naïve experience explored in this book. That is the focus of this chapter. Its core idea is that the apparent modal structure of such qualia as those involved in our experience is due to the actual modal structure of the neurophysiology that constitutes that experience. This chapter develops an initial sketch of this idea by treating the case of color. The robustly metaphysical modal structure apparently present in our experience of color is in fact a reflection of the much more mundane difference between activated and merely potentiated features of our neurophysiology.
Judicial Resistance to Merchant Demands: Factors and Paternalism in the King’s Bench
Authors: Televantos Andreas 
Published: January 2021

Abstract
This chapter turns to judicial resistance to merchant demands. In the 1820s, what counted as an agent's ordinary course of business became a major Parliamentary issue. The dispute was rooted in a profound disagreement between the government, merchants, and the Court of King's Bench — the most important common law court in the Regency period — as to what should properly be considered the course of business of a factor: a commercial agent given possession of his principal's goods to sell in his own name. The controversy arose over whether a factor had authority to pledge his principal's property. On the one hand, merchants contended that factors would typically appear as owners of the property, and so pledges made by a factor should bind principal's business assets under the doctrine of ostensible authority. The government took the same view — hoping to encourage foreign merchants to store and sell their wares in Britain through agents. However, the King's Bench rejected the argument, fearing that allowing factors to validly pledge their principal's property in respect of their own debts would facilitate widespread fraud and breach of fiduciary duty by factors. In turn, this would encourage the type of immoral trading which caused financial instability.
Conclusion
Authors: Televantos Andreas 
Published: January 2021

Abstract
This concluding chapter reiterates the points made in the previous chapters to tell a story of how a commercial law was created by giving voice in law to broader political economic concerns. Although, as with the Factors Acts, there were instances of conflict between judges and merchants, the overall picture here is not one of judges pushing back against merchants riding the tide of economic progress. Unlike many modern courts, judges did not see their role as simply encouraging commercial activity. This was rooted in the wider belief that commercial activity was not per se desirable, as too much trade was causing economic instability. This was not a mindset specific to judges or lawyers. This analysis itself raises a broader question. Given that large joint stock companies were perceived of us inefficient and even immoral, why did England introduce general incorporation in 1844, and limited liability in 1855? The chapter draws from the foregoing analysis to make some observations.
Introduction
Authors: Kilpatrick Claire , Scott Joanne 
Published: January 2021

Abstract
This volume has its origins in the 2017 Academy of European Law summer course on the Law of the European Union which focused on new legal approaches to studying the Court of Justice. The chapters explore a number of innovative legal approaches to studying the Court. Each of these approaches differs from the classic, and still dominant, doctrinal work of understanding and systematizing the Court’s jurisprudence. Developing critical, large data, historical, sociological, and reflective institutional approaches to the Court of Justice, the contributors aim to enrich our understanding of the Court of Justice and to expand our understanding of the range of methods, approaches, and sources available to study it. The contributions exemplify the inter-disciplinarity which increasingly characterizes the study of the CJEU.