bluuebunny/crossref_metadata_2025_split huggingface dataset:
Henry James and the Creative Process
Authors: Schneck Peter 
Published: September 2019

Abstract
Creativity as a process may be said to constitute a particular mode of experience and to own a specific phenomenology which can be described, compared, and evaluated. Creativity can be viewed as a cultural practice whereby contextual factors, with the environment that lies outside the brain, must be considered beyond the exclusive biological and neural foundations of aesthetic experience. The work of Henry James presents a writer’s continuous attempt to come to a deeper understanding of the creative process at the center of his art, driven by an understanding of human experience as essentially based and grounded in creativity. Looking at James’s notebooks, his prefaces, and also some of his works, we can trace the creative process in all its complexity, as a particular mode of experience and also as a “method” or strategy to stimulate and sustain the creative state. James shows us that there are distinct features of “creative states” which are not exclusive to literary creativity. The diversity and innovativeness of human experience is a creative factor in itself, so that “everyday” little-c contributes to big-C. James’s thorough exploration of the creative process may be compared to more recent attempts in the sciences to understand creativity in cognition in general and literature in particular.
Contrasting Modes of Creativity
Authors: Foster John Burt 
Published: September 2019

Abstract
This chapter probes the distinction between higher and lower levels of artistic creativity developed in works by an intergenerational cohort of supremely gifted Russian writers, with Nietzsche’s disillusionment in Wagner as a parallel. In imagined renditions of exceptional achievement in music, painting, or fiction, Pushkin, Tolstoy, and Nabokov enact their own high literary aspirations even as they allow for rivalries with lesser talents, for the blindness and hostility of various authorities, and for the urgency imparted by Russian belatedness vis-à-vis the West. In Pushkin’s tragedy of Mozart poisoned by the lesser composer Salieri, inspiration, originality, and many-sidedness emerge as hallmarks of literary/artistic creativity at its fullest. These qualities reappear in the paintings of Tolstoy’s alter ego, the expatriate artist Mikhailov, which include a portrait of Anna Karenina that eclipses the artistic efforts of her lover Vronsky, and in the pseudo-memoir by Nabokov’s megalomaniacal murderer Hermann, whose grandiose delusions are punctured by the parodic virtuosity of the hidden real author. “Genius,” the honorific word often used for exceptional creativity, applies most directly to Pushkin’s portrayal of Mozart (as well as to Pushkin himself). But Tolstoy’s Mikhailov chapters undercut the exceptionality of genius with their dawning interest in emotional infectiousness, which can unite artists with their audiences. In a further qualification, Hermann’s belief in his own genius perverts the ideal of exceptional creativity, indeed reveals its purely destructive potential; while Nabokov in the background gives the issue another twist, in his dazzling experiments with parody as second-order creativity.
Conceptual Blending and Genre Invention from Chrétien de Troyes to Cervantes and Shakespeare
Authors: Wehrs Donald R. 
Published: September 2019

Abstract
This chapter explores the value of the theory of conceptual blending, originating in cognitive science and linguistics, for understanding the kind of literary creativity involved in major generic inventions, as exemplified by the work of Chrétien de Troyes, Cervantes, and Shakespeare. Conceptual blending describes how, when humans draw upon metaphors, analogues, and paradigms from two or more experiential or cultural domains, they “blend” together aspects of each source domain. They thereby create a newly imagined conceptual space in which new scenarios and mini-narratives test the cogency and elasticity of particular blends and determine whether they may be “run.” Because literary art invites readers to engage not just in simulations of represented content, but also in emulations of the processes by which authors and characters transform content, such art clearly depicts and encourages blending creativity. The chapter suggests that Chrétien draws on Abelard’s theology as well as Latin and Celtic sources as input domains, that Wolfram von Eschenbach’s c. 1210 Parzival does likewise, and that elements of Abelard’s theology congenial to literary innovation are rearticulated by Erasmus, thereby helping to prime the literary creativity of Shakespeare and Cervantes. Cultural memories of diverse established forms and ideas offer possibilities for associative combinations and predictive representations. In the writers most consequential for literary history, these move from “everyday” creativity to daring and innovative blending of genres, styles, and thoughts.
Introduction
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Buried in the massive archives of Leonard Bernstein are many letters from two Japanese individuals: Kazuko Amano, who became a loyal fan of Bernstein in 1947, and Kunihiko Hashimoto, who fell deeply in love with Bernstein in 1979. What drove these two Japanese individuals to write, with such passion, diligence, and persistence, to this international celebrity so distant from their everyday reality? What was the nature of their love for, and relationships with, Bernstein? Why did Bernstein cherish these relationships so dearly? Was it purely coincidental that these two individuals were Japanese? Or were there specific factors that brought Bernstein and these Japanese individuals together? Why did Bernstein have such an impact on so many around the world? How did Bernstein, a quintessential American in so many ways, become the world maestro who reached and communicated so powerfully across borders?
Growing Pains
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Leonard Bernstein conducting the inaugural concert of the Philharmonic Hall in Lincoln Center for the Performing Arts in 1962 symbolized the national and international status he had achieved. Through his close relationship with the Kennedy family and his continued ties to the White House, combined with his unrivaled place in the world of the performing arts, Bernstein was a prime candidate to lead the John F. Kennedy Center for the Performing Arts. To manage the ever expanding scope of his work, Bernstein’s company, Amberson Enterprises, professionalized and corporatized its operations under Schuyler Chapin. But the popular leaning of the recording industry was beginning to cause some issues even for the foremost leader of American classical music.
The Maestro Pivots
Authors: Yoshihara Mari 
Published: September 2019

Abstract
With the arrival of Harry Kraut, Leonard Bernstein’s company Amberson entered a new phase of corporate enterprises that extended the maestro’s reach even further across the globe. Ironically, the enormous commercial success of West Side Story, the most American of Bernstein’s works, began to cause problems with some stakeholders, and Bernstein began to gradually pivot to the European market for publishing, recording, and films and videos. Bernstein joined the roster of the recording artists of Deutsche Grammophon upon the end of the contract with Columbia Records. The pivot exemplified the changes in the American music industry in the 1970s which made it increasingly challenging even for a musician of Bernstein’s caliber to conduct business in a way that was true to his artistic goals, economically sustainable, and culturally meaningful to a wide audience.
Japan Beckons
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Leonard Bernstein’s tour of Japan with the New York Philharmonic in 1974 featured the heavy involvement of commercial entities, exemplified by the effective campaign by CBS/Sony to promote Bernstein’s recordings. With a sophisticated and rich classical music fan base and a rapidly growing economy, Japan was becoming a key market for Bernstein and the classical music market generally. Kazuko Amano, who was now settled in Tokyo after years of frequent relocation from one city to another, delighted in listening to Bernstein’s music again, as did her daughter Kikuko, who inherited her love of music and of Bernstein.
Unions and Reunion
Authors: Yoshihara Mari 
Published: September 2019

Abstract
The late 1970s were a particularly turbulent time for the Bernstein household. Bernstein, who had struggled with his homosexuality since his youth but had managed to build a happy family life with his wife Felicia and their three children, left the family to live with Tom Cothran in 1976. With Felicia’s cancer diagnosis shortly thereafter, Bernstein returned home and dedicated himself to her care until she passed away in 1978. After the cancellation of his tour with the New York Philharmonic that year, he returned to Japan in 1979 as a grieving widow. His reunion with Kazuko Amano that summer was especially emotional, as Amano was herself caring for her husband, who was in the last stages of cancer.
The Maestro’s Place in a Changing World
Authors: Yoshihara Mari 
Published: September 2019

Abstract
When Bernstein arrived in Japan in 1979, the global landscape of classical music was undergoing major transformations. Japan and South Korea were important producers and consumers of classical music, as reflected in the Philharmonic’s itinerary. Japan’s seemingly unrivaled technological and industrial power was symbolized by Sony’s release of the Walkman, which made the company’s name a household word around the globe. CBS/Sony played a central role in Bernstein’s tour, marking a clear contrast with Bernstein’s earlier Japan tours, which were led by government interests. To navigate the changing classical music market, Amberson further corporatized its operations, shaping and guarding the maestro’s image while propelling his reach far beyond the United States.
From Dear to Dearest
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Kunihiko Hashimoto, a Japanese man who was young enough to be Leonard Bernstein’s son, met the maestro at the end of the New York Philharmonic’s Japan tour in the summer of 1979, and the two men spent the night together. Hashimoto immediately fell deeply in love and subsequently wrote many long, passionate letters to Bernstein that reveal the life-changing impact that the encounter with the maestro had for him. Hashimoto’s many letters eloquently demonstrate that his love for Bernstein was far more than romantic love and sexual attraction: it was admiration, awe, and worship for the man whom he clearly saw as truly great power.
Faith and Resolution
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Kunihiko Hashimoto’s passionate love reached Bernstein, who flew him to Europe in August 1979. Their week together in Munich, Hamburg, and Positano gave Hashimoto’s love a more spiritual shape beyond romantic yearning and gave new meaning to his life. A year and a half later, Hashimoto flew to Munich to spend another week with Bernstein. Through these trips, Hashimoto began to see that in loving Bernstein, he was drawn to a spirit much bigger than the object of his personal love. He began to explore his own way of following the path, realizing his love for Bernstein while living his own life.
A Quiet Place
Authors: Yoshihara Mari 
Published: September 2019

Abstract
With a joint commission by the Houston Grand Opera, the Kennedy Center for the Performing Arts, and Teatro alla Scala, Leonard Bernstein undertook a serious new endeavor he had long wished for: the composition of a serious opera. By collaborating with librettist Stephen Wadsworth, Bernstein sought to create an “American opera” that took on real-life issues of the contemporary United States and expressed them in a distinctly American language. He centered the opera A Quiet Place on the issues of gender, sexuality, and family, which drove American politics during this period. The rising New Right turned “family values” into an ideology, the battle over which was further fueled by the AIDS epidemic. In the highly charged political environment of Houston, where the opera premiered, Bernstein challenged the prevailing social mores and eloquently advocated for AIDS research and support.
A Peaceful Place
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Leonard Bernstein had been a vocal activist for nuclear disarmament since the early years of the Cold War, and the growing antinuclear movement in the 1970s and 1980s provided a platform for his advocacy. He renewed his commitment to the cause when President Reagan announced the “Star Wars” program in 1983. For his sixty-fifth birthday, friends and colleagues wore blue ribbons to show support for a nuclear weapons freeze. Bernstein himself gave an impassioned speech calling for an end to the nuclear arms race at a concert in Lawrence, Massachusetts, where he introduced to the audience a young conductor from Hiroshima, Eiji Oue.
Representing Lenny
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Compared to the frequency of Hashimoto’s letters in the first few years of their relationship, his correspondence with Bernstein became much more sparse after he joined the Shiki Theatre Company in 1982. However, this did not reflect his weakening ties with Bernstein. Quite to the contrary, during Harry Kraut’s visit to Japan in the summer of 1984, Kunihiko Hashimoto served as his assistant and was subsequently appointed as Amberson’s Japan representative. No longer just a young man in love with Bernstein, Hashimoto was now a trusted professional working to realize the maestro’s goals. Beginning in the fall of 1984, Hashimoto worked to prepare for Bernstein’s Hiroshima Peace Concert to be held in August 1985, originally conceived by Mitsunori Sano.
A Summer of Prayer
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Leonard Bernstein arrived in Hiroshima in August 1985 to conduct his peace concert to commemorate the fortieth anniversary of the atomic bombing of the city. Bernstein, the musicians, and the organizers had to carefully navigate the local, national, and global politics surrounding the commemoration. While demonstrating his deep understanding of the complexity of the issues, Bernstein spoke vocally for nuclear disarmament and also formed a personal bond with the young musicians and the audience. The three Japanese people he had the closest relationship to--Seiji Ozawa, Kazuko Amano, and Kunihiko Hashimoto--were all in Hiroshima to witness and share in Bernstein’s prayer for peace, and each found new ways of expressing their love and dedication to the maestro.
An Early Autumn
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Only three weeks after the Hiroshima Peace Concert, Bernstein returned to Japan to tour with the Israel Philharmonic Orchestra (IPO). The days Bernstein and Hashimoto spent together during this tour were manifestations of their ripening relationship, both professional and personal. The IPO concerts took place amidst the volatile conflict in the Middle East, but the music Bernstein and the orchestra delivered clearly spoke across borders, and especially the performance of Mahler’s Symphony no. 9 became legendary. While many critics lauded the performance in the press, the most eloquent expression of what Bernstein communicated was Kazuko Amano’s letter to the maestro.
Turning Point
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Kunihiko Hashimoto’s correspondence indicates that he relocated to Sydney, Australia, at the end of 1987. Although the reasons for his decision are unknown, he had apparently begun a whole new life. The following year, Bernstein’s seventieth birthday celebration was held at Tanglewood, Massachusetts. Among the Japanese names on the invitation list, most of whom were the maestro’s musical colleagues or business partners, were Kazuko Amano and Hashimoto Kunihiko. But there was a striking contrast between their places in the festivities. Amano made the long journey to attend the celebration despite her health concerns, whereas Hashimoto did not travel to Massachusetts and sent a card and a gift instead.
Cultivating New Soil
Authors: Yoshihara Mari 
Published: September 2019

Abstract
Upon the cancellation of the China portion of the proposed project, the organizers of Bernstein’s Asia tour had to quickly come up with an alternative plan. The city of Sapporo in Japan’s northern island of Hokkaido emerged as a possible site, and the organizers decided to create a music festival in which Bernstein would work with young musicians from the Pacific Rim region akin to the Tanglewood Festival to which he had long dedicated himself. Kunihiko Hashimoto was brought in from Sydney to help prepare for the planning of what came to be named the Pacific Music Festival (PMF). Despite the initial hesitancy of the city officials and much uncertainty during the preparation process, Bernstein arrived in Sapporo in June 1990 for the opening of the PMF.
War
Authors: Alborn Timothy 
Published: September 2019

Abstract
For much of the eighteenth century, Britons remarked on gold’s sordid uses by their European rivals in diplomacy and war; only after 1750 did they start criticizing such abuses by their own rulers. After 1789, constant French allusions to “Pitt’s gold” prompted most British observers to discount the same associations between gold and foreign policy that they had long taken for granted as truisms of history. During the war against Napoleon, when British gold in circulation and in banks fell from more than £40 million to around £3 million, subsidies continued to occupy an exaggerated position in rhetoric surrounding this drain. The major debate pitted those who claimed trade as the culprit and those who blamed an over-issue of Bank of England notes. The result in either case was the same: twenty years of living without guineas permanently altered Britons’ perception of that precious metal.
Trade
Authors: Alborn Timothy 
Published: September 2019

Abstract
After 1820, most Britons recognized that the tight money supplies created by the gold standard had the effect of periodically depressing economic activity. These downturns also linked gold to poor harvests, since grain imports drained the metal from the Bank of England, and protectionists predicted disastrous consequences for the country under free trade, owing to the additional strains that such imports would place on gold reserves. This chapter places these mercantilist anxieties in the context of older fears of bullion drains to India and China, since the arguments in the 1830s echoed earlier Orientalist ethnographies, and examines the liberal response, which tried to divert attention away from gold and toward the Bank’s lending practices. Class fissures widened in a political system that secured the fortunes of financiers (through the gold standard) and landed aristocrats (through the Corn Laws) but left factory owners and urban laborers on the outside looking in.
Display
Authors: Alborn Timothy 
Published: September 2019

Abstract
“Display” discusses gold’s appearance in British ethnographies of a wide variety of people who broadcast foreignness with gold earrings, nose rings, chains, bracelets, bangles, and bells. This genre of writing was most evocative in descriptions of Greek and Middle Eastern women who brandished coins around their necks instead of concealing them in their pockets; but it was also present in depictions of African kings, Southern European peasants, and—most effusively—South Asians of nearly all castes and ethnicities. In the course of describing foreign adornment, travel writers developed a series of models that explained the brandishing of gold as rational for the stage of civilization under review but not, implicitly, for contemporary British society; and British visitors to almost every foreign clime viewed golden ornaments as picturesque signs of a society frozen in age-old customs.
Introduction
Authors: Holbo Christine 
Published: September 2019

Abstract
The introduction argues that the reconstruction of the American novel in the post-Civil War era had its roots in a confrontation with the legal remapping of the nation under the Fourteenth Amendment. William Dean Howells’s pivotal influence on the shaping of post-Civil War American literature, this chapter suggests, was rooted in his grasp of the challenge Reconstruction posed to the epistemological and legal foundations of the novel as form. Providing an initial definition of the idea of “legal realism” in fiction as the confluence between Fourteenth-Amendment universalism and a mandate to understand modern society from a plurality of perspectives, the introduction asserts that the project of creating an “autonomous art”—an art that was not subservient to politics, journalism, philosophy, or morality—involved embracing all of these fields in relation to the new definition of citizenship and in relation to a sociological panorama of American society. Oliver Wendell Holmes’s assertion that “the life of the law has not been logic: it has been experience,” cut against the novel’s universalism but also opened up new possibilities of representation, which were embraced, extended, and criticized by Albion Tourgée, in defending the rights of African-American freedmen to equality, and by Helen Hunt Jackson, in articulating the rights of Native Americans to enjoy either the rights of nations or those of citizenship. Concluding with the idea that objective exploration of nescience in relation to the suffering of others can be a source of knowledge in law as in literature, the introduction explores the connection between legal right and the novel’s frameworks of sympathetic imagination and multi-perspectival dissonance.
What Is Positive Evolutionary Psychology?
Authors: Geher Glenn , Wedberg Nicole 
Published: September 2019

Abstract
Positive evolutionary psychology is the marriage of positive psychology and evolutionary psychology. Evolutionary psychology focuses on using Darwin’s big idea to shed light on all kinds of psychological phenomena. Positive psychology seeks to use the scientific approach to understanding psychological phenomena to help people lead richer lives. Positive evolutionary psychology thus is the use of evolutionary principles to help guide people toward living richer lives. This first chapter spells out the basics of this approach to help set the reader on a journey toward understanding Darwin’s implications for living the good life. Laying the groundwork for the basic assumptions and parameters of positive evolutionary psychology, then, should have the capacity to lead to new research questions and new insights into the positive aspects of the human experience.
The Bright Side of Religion
Authors: Geher Glenn , Wedberg Nicole 
Published: September 2019

Abstract
Evolutionists are famous for being at odds with religion. However, a current movement in the field of evolutionary studies focuses on using evolution to help understand religion, as opposed to simply having ideological debates that can be draining. This chapter focuses on exactly this approach: using evolutionary principles to shed light on the nature of religious experiences. From this perspective, religion can be understood in terms of its ability to help cultivate social groups in which individuals take an other-oriented approach. Implications for understanding all kinds of human groups are discussed, with an eye toward demarcating principles that lead to positive group outcomes.