bluuebunny/crossref_metadata_2025_split huggingface dataset:
Agee, James (1909–1955)
Authors: Neighbors Ryan 
Published: September 2018

James Agee was an American film critic, journalist, and novelist, who, like his modernist contemporaries, pushed against the constraints of his genres. Born in Knoxville in 1909, Agee attended Harvard University before working as a journalist for Fortune, TIME, and The Nation. In 1936 he and photographer Walker Evans spent time among Alabama sharecroppers with the intention of writing a journalistic story about their plight during the Depression. The essay and photographs that they produced were rejected by their editors but were later incorporated into their book Let Us Now Praise Famous Men (1941). Although the book sold poorly, it would become a modern classic and a groundbreaking work of literary journalism. During the 1940s Agee served as a film critic, and his intellectual film reviews elevated the medium from marketing device to literature. He lauded the work of Alfred Hitchcock, revived interest in silent film comedians, and hailed cinema as the preeminent art form of the 20th century. Eventually, he worked in film production himself, co-writing scripts for The African Queen (1951) and The Night of the Hunter (1955), before dying of a heart attack at the age of 45 years. Two years later, his semi-autographical novel A Death in the Family was published and then won the Pulitzer Prize, securing his place in the canon of American writing.
Italian Neorealism
Authors: Harvey-Davitt James 
Published: September 2018

Italian Neorealism is a filmmaking movement associated with a select group of Italian filmmakers in the latter years of, and the years immediately following, World War II, the most popularly regarded being directors Roberto Rossellini, Luchino Visconti, Vittorio de Sica, and Sica’s regular collaborator, the writer Cesare Zavattini. The films they made during this period share an interest in the state of Italian society in the wake of war, and a concern with what shape the reconstruction of that society should take. Benchmark titles of this kind include Ossessione [Obsession] (Luchino Visconti, 1943), Rossellini’s Rome, Open City [Roma, cittàaperta] (1945) and Paisan (1946), and de Sica’s Bicycle Theives [Ladri di biciclette] (1948). While its proponents often refuted its status as a generic or aesthetic style, the films of Neorealism were pioneering in their use of nonprofessional actors in key roles, their preference for contingency and neglect of classical narrative structure, and for shooting scenes on location in the city streets and country landscapes of war-torn Italy. Besides making some of most significant Italian neorealist films, Zavattini and Rossellini were also two of its most articulate commentators. Both regularly reiterated a desire to contemplate humanity in order to rediscover morality, a reaction to Fascism’s recent manipulation of both. While the great aims of these filmmakers were not matched by their audience reception (as illustrated by their box office returns), their poetic and aesthetic innovations made a lasting impression on the subsequent history of cinema.
Video Art
Authors: Spampinato Francesco 
Published: September 2018

The term "video art" is used to describe art made using video technology. Not to be confused with experimental cinema or art film, video art is based on a specific type of electronic image consisting of a two-dimensional composition of pixels. The main feature of video, both in technical and conceptual terms, is its instant playback capability, which is not possible with film, but which allows the creation of an instantaneous mirror-like replica of reality that is available to be manipulated, either live or in post-production. Video art was born in the mid-1960s and has developed in tandem with the evolution of video technology and its increasing availability.
Video has become a major tool for artists over the past fifty years, and a quintessential postmodernist medium, which has allowed critical and meta-linguistic responses to be made to what Guy Debord (1931–1994), French writer and leader of Situationism, has called "the society of the spectacle," referring to mainstream forms of media entertainment such as television, cinema, and advertising. Video is employed to document scripted performances and improvised actions, to appropriate preexisting moving images or to create new narratives. Artists’ videos display live or prerecorded images in single- or multichannel settings or as part of multimedia installations shown in exhibition spaces or in the public sphere, broadcast by television or distributed as videotapes, CDs, DVDs and recently as digital media files.
Anarchism
Authors: Cunningham Anne 
Published: September 2018

Anarchism is a term derived from the Greek anarkhia, meaning "contrary to authority" or "without a ruler." Anarchism narrowly refers to a theory of society without state rule, and generally to a social and political ideology advocating a society that does not use coercive forms of authority. Many advocates trace its roots to the Greek Stoics. William Godwin’s An Inquiry Concerning Political Justice and its Influence on General Virtue and Happiness (1793) is widely recognized as the first work to present a full articulation of the idea of anarchism.
The term was considered derisory until the French social philosopher Pierre-Joseph Proudhon used it in 1840 to describe his political program. Proudhon is credited as the first to call himself an anarchist. The Russian revolutionary Michael Bakunin (1814–1876), a key figure in anarchism, sought the violent overthrow of the state in order to replace it with a federation built on the basis of voluntary associations. Bakunin was a proponent of what would become anarcho-syndicalism, a term not coined until the early 20th century by Sam Mainwaring in Britain and Georges Sorel in France. Anarcho-syndicalism focused on trade unions as the transformative agent of social change, because they championed workers and could serve as a foundation for a new social organization after the successful overthrow of the existing state.
Carpenter, Edward (1844–1929)
Authors: Davis Michael T. 
Published: September 2018

Edward Carpenter was a British poet, essayist, philosopher, social activist, and early advocate for the social acceptance of same-sex relationships. Born in Brighton, East Sussex, the son of Charles Carpenter and Sophia Wilson, he was educated at Brighton College and studied mathematics at Cambridge. In 1868 Carpenter earned a fellowship at Cambridge and reluctantly took Anglican orders. When Leslie Stephen, later the father of Virginia Woolf, resigned his appointment at Cambridge due to religious doubt, he suggested Carpenter as his replacement. The reformist movement promoted at Cambridge by F. D. Maurice, Professor of Moral Philosophy and disciple of Henry Sidgwick, influenced Carpenter’s outlook. But Carpenter could not reconcile his clerical duties with his religious doubt and in 1873 resigned his fellowship.
By this time Carpenter had become aware of his homosexuality. He acquired a copy of William Michael Rossetti’s bowdlerized edition of Walt Whitman’s Leaves of Grass, and in 1874 wrote to the older poet initiating a relationship that lasted until Whitman’s death in 1892. Following Whitman’s lead, Carpenter wrote his poem Towards Democracy (1883). Like Whitman’s Leaves of Grass, the poem would grow in volume over the next two decades.
Nishida, Kitarō [西田 幾多郎] (1870–1945)
Authors: Van Overmeire Ben 
Published: September 2018

Arguably the most important Japanese philosopher of the 20th century, Nishida Kitarō was one of the first thinkers to engage deeply with the sudden massive influx of foreign ideas that characterized the Meiji era, while still maintaining a distinctive place for Asian ideas. Beginning with An Inquiry into the Good (1911), Nishida’s lifelong philosophical goal was to identify the foundation of consciousness and existence, something he later called the "place" [basho]. Successive works identified this foundation as "pure experience," "absolute will," and, finally, "absolute nothingness." All these "places" have in common the fact that they lack any distinctive features: being fields (another term Nishida employs) that contain oppositions (such as subject-object, me-you, knowledge-feeling), they cannot of themselves have distinguishable qualities.
Although Nishida’s actions during the Pacific War have been the subject of significant debate, his influence is uncontested: the so-called Kyoto School of Japanese philosophy comprises those building on or reacting to his ideas. Because he valued both Christian and Buddhist traditions, Nishida has also been a pivotal figure in East-West religious dialog.
Washington, Booker T. (1856–1915)
Authors: Pecora Vincent P. 
Published: September 2018

Born into slavery in Virginia, Booker Taliaferro Washington was the most prominent spokesman for Black Americans at the end of the 19th century. After attending the Hampton Institute, a school established to educate freedmen (freed black slaves), he was named head of the new Tuskegee Institute, a teachers college in Alabama that, like Hampton, would become one of the historically black universities in the United States. At Tuskegee, Washington earned the respect of a wide array of white businessmen, industrialists, and philanthropists, from George Eastman and Julius Rosenwald (a president of Sears, Roebuck and Company) to Andrew Carnegie and John D. Rockefeller.
Washington’s most important intellectual contribution may have been his Atlanta Address of 1895. In the midst of Jim Crow laws enforcing racial segregation, which arose in response to failed reconstruction policies in the American South, Washington argued that the direct legal confrontation of the segregation of white and black Americans was premature. Instead, in his address at the Atlanta Exposition of 1895 (also known as the "Atlanta Compromise"), Washington argued for a slow, ameliorative approach to racial equality and desegregation, one that emphasized technical and industrial schooling, self-help, and success in business in order to demonstrate a black citizenry capable of responsible and reliable political participation, one deserving of full civil rights, including equal access to electoral polls (that is, free of poll taxes and literary tests) and equal representation before the law.
Aoki, Shigeru [青木繁] (1882–1911)
Authors: Rosenbaum Roman 
Published: September 2018

Aoki Shigeru, a Japanese painter active during the Meiji period, is noted for his combination of Western-style (yōga) painting with indigenous Japanese subjects (Nihonga). He is best known for his work Umi no kou (海の幸, Fortune of the Sea, 1904) and has achieved legendary status due to his early death at the age of 28.
Aoki’s legacy includes his versatility in synthesizing a variety of Western art trends, including Art Nouveau, Realism, and Symbolism, and combining them with themes from traditional Japanese classical literary works such as the Kojiki (古事記, Record of Ancient Matters, c.711–712) and the Nihon Shoki (日本書紀, The Chronicles of Japan, c.720). In his professional career he had a reputation for leaving paintings incomplete.
After leaving home for Tokyo to pursue his career, Aoki completed his education in 1904 and relocated to rural Japan, where his son was born. After his wife returned home to look after her ill father, their relationship came to an end and Aoki never saw his family again. In October 1908 he abandoned his homestead and went on an extended painting trip, creating numerous works. His peripatetic lifestyle eventually led him to Kyushu in the last years of his life. In 1911, he died of tuberculosis at a hospital in Fukuoka.
Anderson, Sherwood
Authors: Ritzenberg Aaron 
Published: September 2018

Sherwood Anderson was an American short-story writer, novelist, and memoirist. He was a businessman turned author whose writing often rendered the lives of ordinary people in the Midwest during the emergence of modern culture. His most enduring literary legacy is Winesburg, Ohio (1919), a work that explores the inner lives of an array of characters in a small, seemingly isolated town. His experimental prose style, along with his lyrical treatment of everyday lives, influenced a number of American modernists, including Ernest Hemingway, Hart Crane, Katherine Anne Porter, Henry Miller, William Faulkner, and Nathanael West.
Sherwood Anderson was born in 1876 in Camden, Ohio, the third of seven children. His experiences growing up in the small town of Clyde, Ohio — where he helped support the family by taking on a wide variety of jobs — served as the basis for much of his later writing. He served in the military, worked as an advertising man, and managed an Ohio paint factory. In 1912, he suffered what most historians think was a nervous breakdown in response to business and marital stresses. Anderson would later write about this time as a moment when he repudiated the life of materialism in order to fully invest himself in artistic pursuits.
Beier, Georgina (1938--)
Authors: Greven Katharina 
Published: September 2018

Georgina Beier, née Betts, was born in London in 1938. At age sixteen she enrolled in the Kingston Art School; however, she dropped out after fifteen months, later claiming that the academic atmosphere risked impeding her personal development. In 1959 she moved to Nigeria where she met and married Ulli Beier, becoming his second wife.
In 1964 Beier began conducting annual art workshops at the Mbari Mbayo Club (Osogbo, Nigeria), where she encouraged her students to be authentic, rather than becoming preoccupied with academic constraints. Famous artists who emerged from these workshops, such as Twins Seven Seven, Muraina Oyelami, and Rufus Ogundele, were, like Beier, never academically trained. Beier also participated in the theater company of the Mbari Mbayo Club, painting backdrops and designing costumes for plays and religious ceremonies.
Beier relocated with her husband to several different countries, including Papua New Guinea, Australia, India, and Germany. Despite these relocations, she continued to run workshops with local artists and maintained her own artistic practice, producing many works including paintings, sculptures, textiles, lithographs, furniture design, murals, mosaics, and illustrations for publications by Ulli Beier.
Denkmäler der Tonkunst in Österreich
Authors: Bangert Daniel 
Published: September 2018

The Denkmäler der Tonkunst in Österreich (DTÖ) [Monuments of Music in Austria] is a series of critical editions of historical music, primarily by composers born or working in Austria during the sixteenth and seventeenth centuries. The DTÖ was an initiative of the musicologist Guido Adler who served as its founding General Editor.
In 1888, the musicologist Guido Adler petitioned the Austrian Ministry of Culture and Education for the publication of a series of editions of historical music (Monumenta Historiae Musices), a project that was to become the DTÖ. Adler became General Editor of the series at a meeting of the Gesellschaft zur Herausgabe von Denkmälern der Tonkunst in Österreich (Society for the Publication of Monuments of Music in Austria) held in 1893, and the first volume of the series appeared in 1894 (Masses by Johann Joseph Fux). Adler served as General Editor in 1893–1938; others who have held the position include Erich Schenk (1939–74) and Othmar Wessely (1974–98). Music critic Eduard Hanslick served as the first president of the DTÖ Society (1893–97) and members of the editorial board have included prominent composers such as Johannes Brahms, Gustav Mahler, and Richard Strauss. The journal Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich Studies in Musicology: Supplements of the DTÖ was founded in 1913.
Rugeles, Alfredo (1949--)
Authors: Ojeda Tovar Roberto Elias 
Published: September 2018

The Venezuelan maestro Alfredo Rugeles was born in Washington, D.C., on 13 December 1949, while his parents were on diplomatic service. Composer, conductor, lecturer, and pedagogue, his thirty years at the podium give testament to Rugeles’ brilliant and varied career as an orchestra conductor. Artistic Director of the Simon Bolivar Symphonic Orchestra since 1991, Rugeles is frequently invited to conduct renowned ensembles throughout the world, including Europe and North, Central and South America.
Rugeles is recognized as an opera and concert conductor of refined taste, accompanying world-class soloists such as Paul Badura-Skoda, Montserrat Caballé, Alexis Cárdenas, Chick Corea, Alirio Díaz, Monique Duphil, Jane Eaglen, Natalia Gutman, Maurice Hasson, Frans Helmerson, François Le Roux, Aquiles Machado, Wynton Marsalis, Shlomo Mintz, Gabriela Montero, Jorge Luis Prats, Ruggiero Ricci, Mstislav Rostropovitch, Edison Ruiz, and Renata Scotto, among many others.
Scratch Orchestra
Authors: Venn Edward 
Published: September 2018

The Scratch Orchestra grew out of an Experimental Music class run by Cornelius Cardew at Morley College (1968–73). Though a number of people contributed towards the discussions that led to the formation of the ensemble in 1969, it is Cardew, Michael Parsons, and Howard Skempton who are most frequently cited as the founders. (This is in part due to the three composers contributing £5 each to open the orchestra’s bank account.) Cardew wrote and published the ‘Draft Constitution’ of the orchestra in 1969, and the first meeting took place in November that year.
The Scratch Orchestra consisted of musicians and non-musicians, and was devoted to the exploration of experimental music. The constitution, written in a deliberately formal style, favoured a democratic, open form of governance, though in practice Cardew’s leadership was pivotal to the ensemble. More specifically, a range of activities were described: mental discipline (members were encouraged to write down ideas frequently for "scratch music’’—accompaniments that could be performed alongside, and as a background to, other scratch musics); collaboration (in the form of improvisation rites such as in the Nature Study Notes); irreverence ("popular classics" ranging from Beethoven to Schoenberg were to be performed in an ad hoc style); and imagination ("research projects"). Compositions such as Cardew’s The Great Learning were performed too.
Sojo, Vicente Emilio (1887–1974)
Authors: Ojeda Tovar Roberto Elias 
Published: September 2018

Vicente Emilio Sojo was born in Guatire, Miranda State, Venezuela on 8 December 1887, a son of Francisco Reverón and Luisa Sojo. He was a self-taught composer, conductor, choirmaster, and pedagogue, and arguably the most influential figure of the first half of the Venezuelan twentieth century. In 1896, he undertook his first music studies with Henrique León (1854–1895) and Régulo Rico (1878–1960). While studying and performing, Sojo also worked as a tobacco producer and house painter due to difficult economic conditions.
In 1906 he relocated to Caracas, and in 1909 he auditioned for the School of Music and Declamation (today José Angel Lamas Music School) where he studied solfège, music theory, harmony, composition, and violoncello with Ignacio Bustamante (?–1921), Andrés Delgado Pardo (1870–1940) and Eduardo Richter (1874–1912), respectively. In the meantime, he acted as Choirmaster for the San Francisco Chapel and the Caracas Cathedral. In 1921 he started his teaching activities at the School of Music and Declamation, where he was later appointed as Headmaster in 1936 and held his position until 1964. On 23 March 1926 he was married to Efigenia Montero, until her early death in 1932.
Tavener, John Kenneth (1944–2013)
Authors: Moody Ivan 
Published: September 2018

John Tavener was an English composer. He studied at the Royal Academy of Music in London, where his composition teachers were Lennox Berkeley and David Lumsdaine. His earliest success was with the cantata The Whale, first performed at the inaugural concert of the London Sinfonietta in 1968. This was followed by Celtic Requiem in 1969. Both works were recorded on the Beatles’ Apple label. Tavener began teaching at Trinity College in 1969.
Tavener was extremely prolific. Among his most significant compositions of the following decades are ÚltimosRitos (1972), the opera Thérèse (1973–76), Akhmatova: Requiem (1979–80), Ikon of Light (1984), Orthodox Vigil Service (1984), and Akathist of Thanksgiving (1986–87). The huge unexpected success of The Protecting Veil for solo cello and orchestra (1987) brought his music to the attention of a wider audience than ever before. Subsequent large-scale works of significance are Resurrection (1989), Apocalypse (1993), Fall and Resurrection (1997), Total Eclipse (1999), The Veil of the Temple (2001), Laila (2004), Sollemnitas in ConceptioneImmaculataBeataeMariaeVirginis (2006) and Requiem (2007). Tavener was knighted in the 2000 honours list.
Technique de mon langage musical
Authors: Broad Stephen 
Published: September 2018

Technique de monlangage musical [The Technique of My Musical Language] is a treatise by the French composer Olivier Messiaen (1908–1992), setting out some of the features of his compositional style and the processes that he had developed by the time of its publication in 1944. Technique gives an insight into both the mechanics of his compositional approach and the inspirations on which it draws, drawing copiously on examples from his own music and the music of others. These included his approach to melodic shaping (rooted in plainchant, folksongs, and certain fragments of earlier music); harmony (including the so-called "modes of limited transpositions" and various "special chords"); and rhythm. There is also a preliminary discussion on birdsong that predates his sophisticated use of birdsong in the 1950s, and a worklist to 1942, indicating "significant" works.
Technique was never updated by the composer and so does not reflect later developments. These are accounted for in the posthumously published Traité de rythme, de couleur, et d’ornithologie (1994–2002).
Technique de monlangage musical was originally published by Alphonse Leduc in two volumes. It was translated into English in 1956 by John Satterfield and into German in 1966 by Sieglinde Ahrens. In 2000, Leduc produced a single-volume version.
Ananthamurthy, U. R. (1932–2014)
Authors: H. Nikhila 
Published: September 2018

Udupi Rajagopalacharya Ananthamurthy is a major figure of the modernist literary movement in Kannada, a professor of English, a literary critic, and a leading public intellectual in Karnataka.
His interactions with socialists Ram Manohar Lohia, Jayaprakash Narayan, and Shantaveri Gopalagowda during his student days, and his close association in Mysore with Gopalakrishna Adiga and a group of writers who identified themselves with the Navya literary movement in Kannada became formative influences in his literary career. Ananthamurthy wrote his first published novel, Samskara (1965), in England where he had gone to pursue his PhD on a Commonwealth Fellowship. In Samskara, a death in a Brahmin agrahara gives rise to incisive scrutiny of the caste order and a journey of ruthless introspection for the protagonist, Praneshacharya. The novel, and the film version that followed in 1970, became controversial and were criticized for their peceived attack on the Brahminical order. Over the years, however, Samskara has achieved iconic status and has been widely discussed in academia, both in India and abroad. The novel has been translated into many Indian languages, as well as English, Russian, French, German, Hungarian, and Swedish.