bluuebunny/crossref_metadata_2025_split huggingface dataset:
Bose, Buddhadeva (1908–1974)
Authors: Dev Amiya 
Published: September 2018

Buddhadeva Bose was a major Bengali poet, who showed an exemplary dedication to modernism. He was a novelist, short-story writer, essayist, playwright, children’s writer, and translator who authored over 150 titles. Born in Comilla, he grew up in Noakhali and Dhaka (all in Bangladesh now). While attending college, he started a monthly publication with Ajit Datta called Pragati (Progress, 1927–1929). At 23, he moved to Kolkata. With a distinctive book of poems and a novel to his credit, BandīrBandanā (Prisoner’s Song) and Sādā (Response) respectively, he took up writing as his profession. At 26, he married Protiva Som, a singer who later became a fiction writer as well.
By age 26, he had begun teaching at Ripon (now Surendranath) College. Within a year, he founded a periodical, Kavitā (Poetry, 1935–1961), with Premendra Mitra and Samar Sen. Kavitā was solely devoted to poetry, and became an important venue for multiple generations of poets. He also began publishing new poetry, including an anthology of modern Bengali poetry (ādhunikBānglāKavitā, 1940, which he later edited himself) and a series of sixteen-pagers, EkPaysāyEkti (Poems a Paysa Each).
Generation of ‘27
Authors: Restrepo-Gautier Pablo 
Published: September 2018

Generation of ‘27 was a group of poets in Spain also known as Generation of 1925, Generation of the Dictatorship (referring to Primo de Rivera’s regime), Generation of the avant-garde, and Generation Lorca-Guillén, among other appellations. The term "Generation of ‘27" arises from a gathering of Spanish avant-garde poets on 16 and 17 December 1927, to commemorate the 300th anniversary of the death of Andalusian baroque poet Luis de Góngora y Argote (1561–1627).
The term most often designates a group of ten poets born between 1891 and 1905: Pedro Salinas (1891–1951), Jorge Guillén (1893–1984), Gerardo Diego (1896–1987), Federico García Lorca (1898–1936), Vicente Aleixandre (1898–1984), Dámaso Alonso (1898–1990), Emilio Prados (1899–1962), Luis Cernuda (1902–1963), Rafael Alberti (1902–1999), and Manuel Altolaguirre (1905–1959). In a broader sense, the term may also include other artists such as painters Salvador Dalí (1904–1989) and Maruja Mallo (1902–1995), filmmaker Luis Buñuel (1900–1983), and musician Rosa García Ascot (1902–2002). Most members of the group met in Madrid at the influential cultural center known as the Residencia de Estudiantes.
Serapion Brothers
Authors: Shulga Jekaterina 
Published: September 2018

The Serapion Brothers was a collective of writers who formed a group in Petrograd in 1921 under the leadership of Evgeny Zamyatin and Viktor Shklovsky. The group was named after Serapion—a hermit who believed highly in creativity—from E. T. A. Hoffmann’s collection of stories The Serapion Brethren (1819–1821). The group members were united by their belief in freedom of creativity and the rejection of ideologically controlled literature, rather than through a devotion to a singular vision or artistic style; their individual writing styles differed widely.
The emergence of the Serapion Brothers was enabled by the more liberal atmosphere of the Soviet Union’s New Economic Policy period (NEP, 1921–1928). The group had its first meeting on 1 February 1921 at the House of Arts in Petrograd; the Serapions were united by their location as much as by their artistic inclinations. The original group included Nikolai Tikhonov, Veniamin Kaverin, Mikhail Zoshchenko, Victor Shklovsky, Vsevolod Ivanov, Elizaveta Polonskaya, Ilya Gruzdev, Mikhail Slonimsky, Lev Lunts, Vladimir Pozner, Nikolay Nikitin, and Konstantin Fedin.
Yehoshua, A. B.
Authors: Halevi-Wise Yael 
Published: September 2018

A leading Israeli writer and cultural figure since the 1960s, Avraham B. Yehoshua’s work was recognized, even when he was a young man, as representing a "new wave" in modern Hebrew literature. His absurd plots and obsessive protagonists signaled a break with the realist style and ideological collectivism characterizing the literature of a generation that had fought to establish the State of Israel in 1948. By contrast, the "new wave" writers moved toward abstract modernism, identity fragmentation, and absurd plots that, in Yehoshua’s case, revolve around dysfunctional families and tensions between nations and generations.
His first novel, Ha-Meahev [The Lover] (1977) surprised readers accustomed to his short stories, as it moved away from an abstract surrealism to engage more directly with Israeli reality in the aftermath of the Yom Kippur War of 1973. The social and political engagement of his subsequent fiction is so strong that all of his novels can be called condition-of-Israel novels, even when they are set in historical rather than contemporary contexts, as in his 1997 novel, Masah el Tom Ha-Elef [A Journey to the End of the Millennium], set in the Middle Ages, and his 1990 novel, Mar Mani [Mr. Mani], a postmodern historical novel composed of five complex conversations going back in time to cover two hundred years of Jewish life around the Mediterranean basin.
Page, Ruth (1899–1991)
Authors: Meglin Joellen 
Published: September 2018

Ruth Page was a Chicago-based dancer, choreographer, and director of ballet companies whose experimentalism, disregard for genre boundaries, and affinity for collaboration led her in directions at once cosmopolitan and modern. Her theatrical inventions were urbane and often risqué, leading to clashes with censors despite the popular appeal of her works. Regardless of their mixed critical reception, her ballets combined eclectic tastes with her unique sensibility as a woman drawn to the unconventional and offbeat for the greater part of the twentieth century.
Page is best known for her 1938 Americana ballet Frankie and Johnnie, which she choreographed with Bentley Stone. A closer look at Page’s works over a lifetime reveals how she incorporated modernist currents: futurism, abstraction, primitivism, African-American jazz and vernacular dancing, popular entertainments (circus, Broadway revue, floor show), cityscapes, syntheses of voice and movement in danced poems and dance-plays, and re-creations of operas as ballets.
Mokhtar, Mahmoud (1891–1934)
Authors: Seggerman Alex 
Published: September 2018

Mokhtar deftly blended Pharaonism with neoclassicism to create modern, nationalist sculpture. Born in 1891 in Tanbara, he enrolled in the first class at the École Égyptienne des Beaux-Arts in 1908. After graduating top of his class in 1912, Mokhtar traveled to Paris on a government scholarship to join the studio of French sculptor, Jules-Felix Coutan at the École des Beaux-Arts. In response to the 1919 Revolution in Egypt, he sculpted Nahdat Misr (Egypt’s Reawakening) for the Salon des Artistes Français in 1920. The work depicts a peasant and a sphinx, representing the magnificent history of ancient Egypt and the agricultural prowess of the Nile Valley. After many years of public fundraising, a monumental version of the sculpture was unveiled in 1928 in Bab el-Hadid Square, facing the Cairo railway station.
Because of Nahdat Misr, Mokhtar rose to national prominence, maintaining studios in Cairo and Paris. In 1930, he exhibited bronze, marble, and stone pieces at the renowned Bernheim-Jeune Gallery in Paris. In these works, he blended Pharaonic imagery with a stylized, classicist aesthetic. The most famous, Khamasin, portrays a peasant woman battling the sand storms, her cloak blown back, revealing her body.
Mokhtar continues to be esteemed as Egypt’s most famous sculptor despite his early death of leukemia in 1934. His works, Nahdat Misr in particular, played an active role in larger history of modern Egypt.
Fitzgerald, Zelda Sayre (1900–1948)
Authors: Templeton Erin 
Published: September 2018

On 24 July 1900, Zelda Sayre was born into a prominent Southern family in Montgomery, Alabama, the youngest of six children. Her father had a distinguished career in Alabama politics and jurisprudence, eventually serving on the Supreme Court of Alabama. Much younger than her siblings, Zelda was independent, headstrong, and it was claimed, enjoyed being the centre of attention. She studied ballet during adolescence, but the demands of her social calendar overtook dance lessons in 1916. At the time, Montgomery was home to Camp Sheridan, a training facility preparing American soldiers for the First World War. Among Zelda’s many admirers was Francis Scott Key Fitzgerald. The couple first met at a dance in July 1918. After a tumultuous long-distance courtship and a broken engagement, they married on 3 April 1920, and Zelda moved north to New York City.
The early years of their marriage saw the Fitzgeralds as the embodiment of the riotous ‘Jazz Age.’ With her bobbed hair, fondness for dancing and jazz, and rebellious sense of style, Zelda Fitzgerald was one of the original American flappers. The Fitzgeralds’ only child, a daughter named Frances Scott (Scottie), was born in October 1921.
The Oshogbo Group
Authors: Weise Constanze 
Published: September 2018

Between 1962 and 1966, after Nigeria gained Independence from Britain, a group of artists emerged in the Yoruba town of Oshogbo in southwestern Nigeria. They participated in art workshops conducted by expatriates, particularly Susanne Wenger, Ulli Beier and Georgina Beier. The artists combined traditional subject matter and stories with Western artistic media and techniques. Many had been involved in dance, theater and music as members of Duro Ladipo’s theatre company and remained creatively linked. Their works were characterized as trans-genre and retained the performative momentum of Gesamtkunstwerk (total artwork). The artists, among them Jacob Afolabi, Rufus Ogundele, Jimoh Buraimoh, Adebisi Fabunmi, Taiwo Olanyi (Twins Seven-Seven), Muraina Oyelami, Adebisi Akanji, Buraimoh Gbadamosi and Nike Okundaye, gained international fame and patronage, continuing with their work even after the Beiers left Nigeria. The Beiers continued to support Oshogbo artists in Sydney, Australia and Bayreuth, Germany while Susanne Wenger involved them in the artistic recreation of the Osun grove in Oshogbo itself.
In the early 1960s, three expatriate artists, the art critic Ulli Beier (1922–2011), and visual artists Georgina Betts (later Beier, b. 1936 ) and Susanne Wenger (Beier’s first wife, 1915–2009) settled around Oshogbo, setting an art movement in motion. At the same time playwright Duro Ladipo (1931–1978) arrived with his theatre group. In March 1962, Ladipo opened up his home as a cultural center housing the Oshogbo chapter of Mbari Mbayo (an outgrowth of an arts organization originating at the University of Ibadan) in his "Popular Bar."
Klee, Paul (1879-1940)
Authors: Bourneuf Annie 
Published: September 2018

Paul Klee was one of the most important and inventive figures in the development of Modernism in the visual arts. The Swiss-German artist's unusual oeuvre drew on the work of other modernist painters while also challenging foundational tenets of Modernism in painting.
The son of a music teacher, Klee was a talented violinist. As an adolescent growing up in Berne, Switzerland, Klee was interested not only in the visual arts but also in poetry and music. After graduating from the Berne Gymnasium in 1898, Klee moved to Munich to study art at the academy.
In 1906, Klee married the pianist Lily Stumpf; their only child was born the next year. Relatively isolated from avant-garde art, Klee undertook a prolonged artistic self-education, attempting to break down pictorial art into its elements—line, tone, color—and master them one by one.
In 1911 and 1912, Klee became friendly with the artists of Der Blaue Reiter, including Vassily Kandinsky, Franz Marc, and August Macke, who accompanied Klee on a trip to Tunisia in 1914. Through these new connections, Klee became familiar with a broad spectrum of modernist art. In 1916, Klee, a German citizen, was drafted; he served as a clerk in Bavaria, far from the front. During the war, the Berlin dealer Herwarth Walden energetically promoted Klee's work. By 1920, many in the German avant-garde acknowledged Klee as a major artist, and Walter Gropius invited him to join the faculty of the newly established Bauhaus.
Wilde, Oscar Fingal O’Flahertie Wills (1854-1900)
Authors: Riddell Fraser 
Published: September 2018

Oscar Wilde was an Irish playwright, essayist, author and poet, and one of Victorian England’s chief proponents of Aestheticism. His works are often characterised by the use of humorous paradox, which questions Victorian certainties of truth, value and morality. Wilde is best known today for his play The Importance of Being Earnest (1894), his novel The Picture of Dorian Gray (1890, revised 1891) and his imprisonment in 1895 on grounds of ‘gross indecency’ after a series of scandalous trials. Individualism is central to Wilde’s philosophy, and many of his works challenge or ironise social conventions that seek to limit autonomy of personal expression. Wilde prefigures the concerns of much twentieth-century Modernist literature in his critique of Realism, his scepticism regarding authentic selfhood and his often absurd dramatic mode.
Oscar Wilde was born in Dublin on 16 October 1854, the son of upper-middle class Anglo-Irish intellectuals. His earliest education was at the staunchly Protestant Portora Royal School in Enniskillen, before he progressed to Trinity College, Dublin in 1871. Wilde excelled as a student of Greek, and in 1874 was awarded a scholarship to read Classics at Magdalen College, Oxford. Here he was influenced by aesthetic theorists Walter Pater and John Ruskin. Having graduated with a double first, Wilde settled in London in 1879, where he soon set about cultivating an image as an aesthete and dandy.
Gubaidulina, Sofia Asgatovna (1931--)
Authors: Moody Ivan 
Published: September 2018

Sofia Gubaidulina was born in Chistopol in the Tatar Autonomous Soviet Socialist Republic, of mixed Russian and Tatar parentage. After graduating from Kazan Conservatoire in 1954, she studied in Moscow with Nikolay Peyko and Vissarion Shebalin, winning a Stalin Fellowship. Her unconventional approach to composition, including investigating microtonal tunings, led to her music being viewed with disapprobation by the authorities. She was, however, given encouragement by Shostakovich, and was able to continue experimenting in her film music.
In 1975 she founded the Astreia, an improvisational group using Russian, Caucasian, and Asian folk and ritual instruments, with composers Vyacheslav Artyomov and Viktor Suslin and, like Schnittke and Denisov, absorbed in a highly personal way new compositional techniques being developed in the West, something that contributed to her being blacklisted as one of "Khrennikov’s seven" at the Sixth Congress of the Union of Soviet Composers in 1979. She was nevertheless championed in Russia by a number of performers, including Gidon Kremer, Friedrich Lips, Mark Pekarsky, Valery Popov, and Vladimir Tonkha. Kremer’s performances of the violin concerto Offertorium were one of the contributing factors to Gubaidulina’s increasing success outside the USSR in the 1980s. She was allowed to travel to the West for the first time in 1985, and has lived near Hamburg since 1992.
Cubism
Authors: Kolokytha Chara , Hammond J.M. , Vlčková Lucie 
Published: September 2018

Cubism is an influential modernist art movement that emerged in Paris during the first decade of the twentieth century. The term was established by Parisian art critics, derived from Louis Vauxcelles, and possibly Henri Matisse’s description of Braque’s reductive style in paintings of 1908. Subsequently, it soon became a commonplace term and was widely used to describe the formalist innovations in painting pioneered by Pablo Picasso and Georges Braque from 1907 to 1914. Cubism signals the break with Renaissance tradition through the rejection of three-dimensional illusionist composition. The dull and monochromatic palette (Picasso, Still Life with a Bottle of Rum, 1911) of early Cubist painting, in addition to its emphasis on geometry, can be alternatively viewed as a reaction against the pure bright colors of the Fauves and the spontaneous color treatment of the Impressionists. Cubist art was largely influenced by the late work of Paul Cézanne and the study of primitive art and, more precisely, African religious masks, statuettes, and artefacts. Picasso’s Les Demoiselles d’Avignon (1907) and Braque’s Maisons à l’Estaque (1908) are considered to be the first manifestations of proto-Cubist painting.
However, artists such as Fernand Léger (Les fumeurs, 1912), Juan Gris (Grapes, 1913), and Robert Delaunay (Windows, 1912) developed their own distinctive styles, pushing forward the color perspectives, the shifting geometrical elements and the non-objective approach (Léger, Contraste de formes, 1913) of the Cubist synthesis. Alternative Cubist perspectives were also introduced by painters such as Jean Metzinger, Albert Gleizes, Henri Le Fauconnier, Roger de La Fresnaye, and André Lhote and sculptors such as Jacques Lipchitz and Henri Laurens. Its influence was not limited to painting and sculpture but extended to architecture, poetry, music, literature, and the applied arts.
Expressionism
Authors: Andrew Nell , Jordan Sharon , Głuchowska Lidia , Poppelreuter Tanja , Conrath Ryan 
Published: September 2018

Expressionism was one of the foremost modernist movements to emerge in Europe in the early years of the twentieth-century. It had a profound effect on the visual arts, as well as on music, dance, drama, literature, poetry, and cinema. Rather than depict physical reality, Expressionism developed as a reaction against the prevailing interest in positivism, naturalism, and Impressionism, as artists who were heavily influenced by the work of Edvard Munch and Vincent Van Gogh sought to explore subjective content, finding the visual means to fully evoke or express an emotion, mood, or idea through their artwork.
Expressionism’s theoretical underpinnings reside in Friedrich Nietzsche’s (1844-1900) philosophy and in Wilhelm Worringer’s (1881-1965) Abstraktion und Einfühlung (Abstraction and Empathy, 1908). In expressionist works, emotions and tensions were depicted with the help of symbolic color and lines in the belief that both carry their own innate expressive meaning and have psychological and spiritual effects—a strand of thinking pursued by Wassily Kandinsky (1866-1944) in his 1911 book Concerning the Spiritual in Art (Gordon, 1987).
Bearing Degradation Prognosis Using Structural Break Classifier
Authors: HUSSAIN Murtaza , MANSOOR Asif , QURESHI Shafiq ur Rehman , NISAR Salman 
Published: September 2018

Prognostics based on machine condition monitoring data are one of the key elements of modern maintenance philosophies. Machinery health prognosis follows a sequential methodology inclusive of various processes ranging from data acquisition till remaining useful life estimation. Every step depicts distinct statistical features, which are helpful in estimating health state of a machine. In this investigation, bearing vibration data has been analyzed by utilizing the technique of structural break point regression. Constructed model is also employed to observe degradation of bearing in different regimes to estimate remaining useful life. DOI: http://dx.doi.org/10.5755/j01.mech.24.4.20740
Características de la economía solidaria colombiana. Aproximaciones a las corrientes influyentes en Colombia
Authors: Davila Ladron de Guevara Miguel Ricardo , Prieto Amanda Vargas , Blanco Lina , Roa Edgar , Caceres Luz Stella , Vargas Luis Alfredo 
Published: September 2018

En Colombia, la procedencia teórica y doctrinal para la definición y conceptualización de lo que se entiende por economía solidaria no es muy clara, por esto consideramos la realización de un proyecto de investigación que nos llevará a ello. El primer resultado se presenta en este artículo. El objeto del mismo es presentar la reflexión teórica que nos permitirá tener una guía de análisis para definir la economía solidaria en Colombia. A través de una metodología cualitativa basada en el método de análisis documental y utilizando diferentes técnicas de recolección de información, analizamos dos corrientes demográficas que han tenido incidencia en la definición de la economía solidaria en Colombia. La primera es la corriente latinoamericana y la segunda es la corriente de economía social y solidaria. Finalmente hacemos una revisión del marco normativo para proponer algunos elementos teóricos que son la base de la investigación. Este artículo es la realización del primer objetivo específico del proyecto en mención.
Empresas capitalistas versus cooperativas: Análisis comparado de resultados económicos y financieros para España en 2008-2015
Authors: Atienza Montero Pedro , Rodríguez Pacheco Álvaro 
Published: September 2018

El objetivo del presente trabajo consiste, partiendo de las hipótesis establecidas en la literatura, en la realización de un análisis comparativo de ratios financieros relativos a solvencia, liquidez, rentabilidad y la financiación, de las empresas capitalistas respecto a las cooperativas, durante el periodo comprendido entre 2008-2015, en España. Además de una comparación general tomando como referencia a la economía española en su conjunto, es decir, sin distinguir por sectores o tamaños de empresas, también se realiza dicha tarea individualmente por sectores productivos y por tamaños. Asimismo, se persigue contrastar las hipótesis mencionadas. Los resultados muestran una mayor rentabilidad financiera en las capitalistas y con diferencia, tanto desde la perspectiva de la economía en su conjunto, como en cada uno de los cuatro tamaños de empresas y en 6 sectores. La rentabilidad económica, con resultados no ya tan indiscutibles, también es mayor en las empresas convencionales en las pymes y empresas medianas y grandes. En relación a la solvencia, ésta es mayor en las cooperativas, tanto desde una perspectiva general de la economía, como en las microempresas y en cinco sectores, lo cual contraviene la hipótesis establecida. En cuanto a la liquidez las capitalistas alcanzan mayores niveles en la comparación general de la economía y en el sector primario. Sin embargo, ocurre lo contrario para las microempresas y para tres sectores. Por último, en cuanto al endeudamiento, en la comparación general así como en ocho sectores productivos y en las microempresas y pymes, éste es mayor en las empresas capitalistas, no cumpliéndose la hipótesis teórica de partida.
La economía social ante los paradigmas económicos emergentes: innovación social, economía colaborativa, economía circular, responsabilidad social empresarial, economía del bien común, empresa social y economía solidaria
Authors: Chaves Ávila Rafael , Monzón Campos José Luis 
Published: September 2018

En los últimos quince años han irrumpido en el escenario político, económico y científico términos como la innovación social, la economía colaborativa, la empresa social, la responsabilidad social empresarial, la ciudadanía corporativa, la economía circular, la economía del bien común, la economía solidaria y las prácticas económicas alternativas. La irrupción de este nuevo léxico se ha hecho patente durante la última crisis y en el contexto de transformación estructural de las economías occidentales. Conforman paradigmas que nacen en el contexto de deslegitimación del modelo económico imperante basado en la empresa maximizadora de beneficios y poniendo en valor la dimensión social.El objeto del presente artículo es analizar estas nociones emergentes y compararlas con el ya consolidado concepto de la economía social. Para ello, en primer lugar y como punto de referencia, se presenta el concepto de economía social, su sentido socioeconómico y epistemológico y sus dimensiones cuantitativas actuales en Europa. En segundo lugar, se estudia cada una de estas nociones emergentes abordando su contenido, su grado de institucionalización académica y social y finalmente el grado de notoriedad alcanzado. En tercer lugar, se realiza una interpretación de la aparición de estas nociones y se ofrece un marco de análisis para su comparación con el concepto de economía social. El artículo finaliza con un apartado de conclusiones.