bluuebunny/crossref_metadata_2025_split huggingface dataset:
Demographic, Parental, and Personal Factors and Youth Athletes' Concussion-Related Knowledge and Beliefs
Authors: Register-Mihalik Johna K. , Williams Richelle M. , Marshall Stephen W. , Linnan Laura A. , Mihalik Jason P. , Guskiewicz Kevin M. , McLeod Tamara C. Valovich 
Published: September 2018

Context:
Currently, significant attention is focused on improving care for patients with concussions through legislative mandates that include educational interventions. Few researchers have examined young athletes' concussion knowledge and the factors that may influence their knowledge.

Objective:
To use the socioecological model to examine demographic, parental, and personal factors associated with youth athletes' knowledge of concussion. Our ultimate goal is to inform the planning and implementation of youth sport concussion-related interventions.

Design:
Cross-sectional survey.

Setting:
Gymnasium and classroom.

Patients or Other Participants:
North Carolina and Arizona youth athletes (n = 225; age = 8 to 15 years) active in football, boys' or girls' soccer, boys' or girls' ice hockey, or boys' or girls' lacrosse in 2012–2013.

Main Outcome Measure(s):
Participants completed a validated, self-administered survey. The intention and belief measures were guided by the theory of planned behavior. Perceptions of concussion and intention to seek care were examined using descriptive statistics. Athletes' concussion knowledge was modeled using linear regressions and generalized estimating equations, with child demographic and personal factors and parental knowledge and attitudes about concussion as predictors.

Results:
Geography, sport, parental attitudes toward concussion, and athlete age were associated with athlete knowledge in the univariable analyses (P &lt; .10). In the multivariable model, geographic location (North Carolina versus Arizona, mean difference [MD] = 2.2, 95% confidence interval [CI] = 1.1, 3.2), sport (girls' soccer versus girls' lacrosse, MD = 2.2, 95% CI = 0.7, 3.6), more favorable parental attitudes toward concussion (MD = 1.2 for a 2-standard deviation shift; 95% CI = 0.3, 2.1), and older age (&gt;12 years, MD = 1.6; 95% CI = 0.5, 2.6) were associated with better knowledge about concussion.

Conclusions:
Geographic location, sport, parental attitudes about concussion, and athlete's age influenced athletes' concussion-related perceptions, indicating the need to address multiple levels of the socioecological model when targeting youth sport interventions. Parental interventions that translate to an improved culture of youth sport by improving youth athletes' perceptions and experiences are key areas for future work.
Nijinsky, Vaslav (1889–1950)
Authors: Järvinen Hanna 
Published: September 2018

Vaslav Nijinsky was a Russian dancer and choreographer of Polish descent. He achieved international renown as the star of Serge Diaghilev’s Ballets Russes Company between 1909 and 1916. A dancing prodigy, Nijinsky was lauded as the best male dancer of his generation. From 1912 onwards, his choreographic modernism inaugurated the use of simpler movement language that de-emphasized virtuosity with L’Après-midi d’un Faune (Afternoon of a Faun, 1912), Jeux (1913), Le Sacre du Printemps (The Rite of Spring, 1913) and the little-known Till Eulenspiegel (1916), created during the company’s second North American tour.
Nijinsky refocused attention on the choreographer as the author of dance, which had great influence on how dance as an art form was understood and discussed after World War I. Because Nijinsky was institutionalized for mental illness in 1919, none of his choreographies survived intact and were, for decades, considered artistically irrelevant. This attitude began to change in the late 1980s, when new research and reconstructions of Nijinsky’s choreographies helped scholars and audiences to rethink his place in dance history, and his works are now considered to be important examples of modernism as well as precursors to both contemporary ballet and contemporary dance, more generally.
Disney, Walter Elias (1901–1966)
Authors: Leskosky Richard J. 
Published: September 2018

Walt Disney, (b. 5 December 1901, d. 15 December 1966) born in Chicago and raised in Kansas City, Missouri, was a film producer and entrepreneur who built an entertainment empire on the foundation of his animated cartoons. As a result of Disney’s resounding success and influence, the vast majority of animation studios across the world, at different times, either emulated or reacted against his style and production model.
After early business failures, Disney gained worldwide success with the release of the world’s first synchronised sound cartoon and the debut of Mickey Mouse, Steamboat Willie (1928). The cartoon’s huge popularity permitted Disney to launch the Silly Symphonies series – where he experimented with new animations techniques – leading directly to his first cartoon feature, Snow White and the Seven Dwarfs (1937).
Disney films are known for their Midwestern sensibilities, sentimentality, and a realistic style that aspired to create the ‘illusion of life’. Disney drew upon works by European artists and illustrators including Honoré Daumier, Gustave Doré, Heinrich Kley, Arthur Rackham, and John Tenniel to inspire his staff. Disney provided training for his animators, enrolling them in drawing classes at the Chouinard Art Institute.
Jones, Chuck (1912–2002)
Authors: Leskosky Richard J. 
Published: September 2018

Cartoon director Charles Martin ‘Chuck’ Jones studied drawing at Los Angeles’s Chouinard Art Institute. He briefly worked for Ub Iwerks and Walter Lantz before becoming an animator at Leon Schlesinger/Warner Bros. studio in 1933, where he was promoted to director in 1937 and was later instrumental in unionising the Schlesinger animators in 1941.
While best known for creating the characters of Road Runner, Wile E. Coyote, and the romantic Skunk Pépé LePew, Jones also helped to develop the characters of Bugs Bunny, Daffy Duck, and Porky Pig. He directed the campaign film Hell-Bent for Election (1944) for Industrial Films (later UPA), and anticipated UPA’s influential modernistic developments with Matisse-inspired backgrounds in Hold the Lion, Please! (1942); abstract, expressive backgrounds in The Aristo Cat (1943); and limited animation and stylized characters in The Dover Boys (1942). His 1950s and 1960s cartoons regularly featured layout artist Maurice Noble’s abstract and/or surreal backgrounds. The Roadrunner cartoons’ desert landscapes accented the absurdity of hapless Coyote’s inventions and misadventures, and surrealism permeated Duck Amuck (1953), Rabbit Rampage (1955), and One Froggy Evening (1955). Jones’s High Note (1960) and The Dot and the Line (1965) featured the most abstract characters in any Hollywood cartoon.
Science Fiction Films
Authors: Leskosky Richard J. 
Published: September 2018

Science fiction films are films where plot premises generally (1) depend on a scientific development or concept not actualised at the time of filming, or at least not advanced to the degree depicted in the film; or (2) present a vision of the future based on extrapolations of current trends in society. Science fiction film dates back to the earliest days of cinema, and it continues to flourish in the 21st century. While science fiction films valorise science, they just as often distrust it. As a genre, science fiction often raises basic philosophical issues: the meaning of being human, the way in which humans perceive reality, and humanity’s place in the universe, among others.
Science fiction films are generally set in the near or distant future, or an alternate present slightly more advanced than the contemporary moment. At other times, the setting may be an alternate past where scientific equipment or processes are far in advance of the actual technology of the period depicted. Disney’s 20,000 Leagues under the Sea (1954), for example, takes place in the 19th century, but the sophisticated submarine and underwater equipment at its centrepiece are far more advanced than technologies during that time. As such, the film qualifies as science fiction rather than as an adventure film.
Lankesh, P. (1935–2000)
Authors: Tharakeshwar V.B. 
Published: September 2018

P. Lankesh was a prominent Kannada novelist, short story writer, playwright, and essayist. A strong voice in the Kannada public sphere from the 1970s to the 1990s, he acted as a conscience-keeper not only through his writings, but also through Lankesh Patrike, a weekly he edited. Lankesh began his career as a teacher of English at Bangalore University, but soon shifted to filmmaking, then journalism. His short story collections Kereya Neerannu Kerege Chelli (1963), Nanalla (1970), Umapatiaya Scholarship Yaatre (1973), Kallu Karaguva Samaya (1990), and Ullanghane (1996) are landmarks in Kannada literature for the way they framed the debates in the respective decades. In his first novel, Biruku (1967), Lankesh used modernist techniques in writing, while his second novel, Mussanjeya Katha Prasanga (1978), shifted to the epic mode with episodic, multi-plot structure and a more realistic style of narration tinged with the comic. His third novel, Akka (1991), which depicts a woman of a slum through the eyes of her brother, was more pronouncedly political, reflecting Lankesh’s changed sensibility in the context of the Dalit and Bandaya (revolt) movement in Kannada literature, of which Lankesh was a vocal supporter.
Lankesh was also one of the most important Kannada playwrights of his time, alongside Girish Karnad and Chandrashekar Kambar. His early plays exhibit the influence of existentialism and the Theatre of the Absurd. The best examples are T. Prasannana Gruhasthashrama (1962), Nanna Thangigondu gandu Kodi (1963), Polisariddare, Eccharike! (1964), Teregalu (1964), Kranti bantu, Kranti (1965), and Giliyu Panjaradolilla (1966). His later works Sankranti (1971) and Gunamukha (1993) are historical plays that reverberate with contemporary significance.
Modernism in Bengali literature
Authors: Bandyopadhyay Sibaji 
Published: September 2018

Just as ‘modernity’, ‘modernism’ too has variegated histories. Years back—to be precise in 1961—Carl E. Schorske had zeroed in on Vienna to chart out a general chronicle for the European trend of modernism (1981). He claimed, if modernism were to be understood as an intellectual movement with its sights set on cherished nineteenth-century binaries, such as, rationalism and romanticism, individualism and socialism, realism and naturalism, then various twentieth century ‘Viennese Schools’ supplied ample ammunition to batter them all. Schorske’s belief was that the gesture of ‘shaking off the shackles of history’ which most broadly characterized European modernism could be most effectively foregrounded if one hazarded to give a symptomatic reading to the ‘new culture-makers in the city of Freud’.
Needless to say, such an approach for Bengal would prove to be disastrous. Nonetheless, it is worth recording that whatever one may ascribe to the expression ‘Bengali modernism’, it mostly sprang from and flourished in Kolkata, the city of Rabindranath.
Modernism in Hindi Literature
Authors: Trivedi Harish 
Published: September 2018

The advent of modernism is Hindi literature is commonly dated to the publication in 1943 of an anthology of seven young poets, Tar Saptak (Septet). Besides a selection of his poems, each poet here contributed a prefatory statement of his poetic creed which, together with the introduction by the editor-contributor, Satchidanand Hiranand Vatsyayan ‘Agyeya’, effectively added up to a manifesto. A second Tar Saptak (1951) and then a third (1959), comprising seven newer poets each, consolidated virtually the whole canon of modernist poetry in Hindi, while a belated fourth anthology of seven more poets (1978) signalled no less clearly the exhaustion and decline of the Hindi modernist movement.
At about the same time as the first of these anthologies ‘Agyeya’ published a novel of his own, Shekhar: Ek Jivani (in two parts, 1941, 1944). This autobiographical bildungsroman describes, with astonishing psychological intensity, successive acts of mounting rebellion by the hero: against parental authority, against religious belief and practice, against social conventions, and then against British rule, as a member of a bomb-throwing revolutionary group. The novel opens with him in a prison cell, fully expecting to be hanged. It was instantly acclaimed as the first work of modernist fiction in Hindi and indeed as one of the greatest Hindi novels ever written.
Murry, John Middleton (1889–1957)
Authors: Ross Shawna 
Published: September 2018

John Middleton Murry, born in Peckham, London on 6 August 1889, was a prolific English writer best known today as the husband and literary executor of Katherine Mansfield. The son of an internal revenue clerk, determined to overcome his lower-middle-class surroundings, Murry won a scholarship to Christ’s Hospital, Sussex, and another to Brasenose College, Oxford, where he graduated with a first in Classics. He founded the journal Rhythm, beginning the editorial and critical labours that defined his reputation during his life. Murry edited a succession of literary magazines—most influentially, the Athanaeum. He steadily produced volumes of literary criticism, politics, religion, and other non-fiction until his death, drawing attention (and often ire) for his radical politics and his critical disagreements with T.S. Eliot.
Ramaswamy, Sundara (1931–2005)
Authors: Venkatachalapathy A.R. 
Published: September 2018

Sundara Ramaswamy spent his early boyhood in Kottayam, Kerala. After his family’s return to Nagercoil in 1939 he lived there until his death. Nagercoil is at the cultural intersection of Tamilnadu and Kerala. This bilingual milieu is central to his writing, and he is one of the few Indian writers who are widely regarded in two linguistic cultures as their own.
Sundara Ramaswamy grew up ‘half-knowing’ Malayalam, Sanskrit, and English. An attack of juvenile arthritis saw him barely reach school final. He did not learn Tamil until he was 18. Sundara Ramaswamy was introduced to most Malayalam writers ‘at the first signs of the dawn of modernism in Malayalam literature’.
Art Deco
Authors: Jordan Sharon 
Published: September 2018

Art Deco was the predominant decorative style in Europe and the United States between the World Wars, before spreading internationally and reaching its climax in the mid-1920s. It is known primarily for its opulence in materials and sense of elegant glamour, luxury, and prosperity in its design. Art Deco’s alternating geometric vocabulary and reliance on stylized natural forms, including flowers, animals, and female figures in the decorations, were applied to objects in every area of the decorative arts, including furniture, jewellery, graphics, bookbinding, glassware, and ceramics.
In the United States, its ascendant stepped forms were ideally suited for the early developments in urban skyscraper architecture. Like the Art Nouveau, which it replaced in popularity, Art Deco was an all-encompassing style in which all aspects of an interior and exterior were coordinated in design. The streamlined curve of Art Deco was embraced by industrial designers in consumer products including the automobile and household products now being made from Bakelite and other new plastics.
Rees, Lloyd (1895–1988)
Authors: Gray Anne 
Published: September 2018

Lloyd Rees is known for his landscapes celebrating the area around Sydney and the south coast and for his masterly drawings. He was born in Brisbane on 17 March 1895 and studied art at Brisbane’s Central Technical College. He moved to Sydney in 1917 and then worked as a commercial artist for Smith & Julius Studios. For 40 years, between 1946 and 1986, Rees taught Art at Sydney University’s Faculty of Architecture, which gave him the freedom to paint without being concerned about sales. He made many trips to Europe, and was particularly inspired by the French and Italian countryside.
Spectralism
Authors: Drott Eric 
Published: September 2018

Spectralism is a tendency in contemporary art music that takes the material attributes of sound as the point of departure for composition. Originating in France and Romania in the 1970s, partly in reaction to the perceived hegemony of serialism and other high modernist styles, since the 1980s the influence of spectral ideas and techniques has spread across Europe, Asia, and North and South America. Its most prominent representatives are Gérard Grisey (1946–98), Tristan Murail (1947--), and Horatiu Radulescu (1942–2008).
In France, spectralism grew out of the work conducted by the circle of composers associated with the new music ensemble l’Itinéraire, founded in 1973 by Murail and Roger Tessier. Although the "spectral" moniker was not applied to the music of Grisey, Murail, or other members of this group until 1979, when composer Hugues Dufourt coined the term for a radio program outlining their compositional philosophy, many of the basic precepts of the spectral aesthetic had already taken shape by the mid-1970s. Foremost among these was the call to return to sound. Exploring the psychoacoustic properties of sound, it was argued, would provide a more secure foundation for musical communication, pointing a way beyond the abstractions of serial technique. This renewed attention to the materiality of sound led to a heightened appreciation for the interdependence of its constituent parameters (frequency, duration, intensity, timbre), which stood in contrast to their dissociation in serial theory and practice.
West, Rebecca (1892–1983)
Authors: Randall Bryony 
Published: September 2018

Rebecca West was a novelist, journalist, essayist, and travel writer, and a central figure in twentieth-century literary and political culture. Her The Return of the Soldier (1918) was the first World War I novel to be written by a woman. She was in her lifetime particularly celebrated for her travel writing, notably Black Lamb and Grey Falcon (1941), and her coverage of the Nuremberg trials for The New Yorker, published as A Train of Powder in 1955. Time magazine called her "indisputably the world’s number one woman writer" in 1947.
Rebecca West (born Cicely Isabel Fairfield) and her two older sisters were brought up by their mother in London and Edinburgh, having been abandoned by their father when she was eight years old. Her political interests were evident from a young age; her first publication was a letter written to The Scotsman when she was just fourteen, defending the suffragist National Women’s Social and Political Union (she was later to publish an appreciation of Emmeline Pankhurst, "A Reed of Steel," in 1933). In young adulthood she supported herself through her journalism while training as an actress, taking the nom de plume Rebecca West from the freethinking heroine of Henrik Ibsen’s Rosmersholm (although she later distanced herself from both the play and the character).
Niemeyer, Oscar (1907–2012)
Authors: Johnson Michael 
Published: September 2018

Oscar Ribeiro de Almeida Niemeyer Soares Filho, better known as Oscar Niemeyer, was a prolific Brazilian architect and one of the leading Latin American exponents of international Modernism. Like Le Corbusier, whom he admired, he explored the aesthetic possibilities of reinforced concrete, but used the plasticity of the medium to transcend the rigid dogmatism of European Modernism, while evoking elements of the Brazilian landscape. His reputation rests primarily on the ceremonial buildings he created for the utopian capital of Brazil, but at the time of his death in 2012 he had completed approximately 600 works throughout the Americas, Africa, and Europe.
Niemeyer attended the National School of Fine Arts in Rio de Janeiro from 1929 to 1934. He worked in the office of the influential Brazilian architect and urban planner Lúcio Costa in 1932, a professional partnership that would last decades and result in many important works of modern architecture. From 1936–1943 Niemeyer was a member of the team of Brazilian architects working with Le Corbusier on the new building for the Ministry of Education and Health in Rio de Janeiro. At the age of 29, he was assigned as a draftsman for Le Corbusier, but the changes he introduced after Le Corbusier’s departure convinced Costa to appoint him as the project's lead architect. The building, a horizontal bar bisected by a vertical slab, became an icon of Brazilian architecture and attracted international recognition.
Teatro del Murciélago [Theatre of the Bat]
Authors: Townsend Sarah J. 
Published: September 2018

Teatro del Murciélago (Theatre of the Bat) was a group that gave what appears to have been its only public performance at the Teatro Olimpia in Mexico City on September 17, 1924. Inspired by La Chauve-Souris, a touring revue troupe formed by Parisian-based Russian émigrés, the Murciélago brought together figures linked to the avant-garde movement known as estridentismo and artist-ethnographers who had worked among indigenous communities in central Mexico. Although its existence was ephemeral, the group served as an inspiration for other artists over the following decade and is regarded as one of the most significant theatre experiments of the Mexican avant-garde.
One of the roots of the Teatro del Murciélago grew out of a project led by Manuel Gamio, known as the founding father of modern anthropology in Mexico. In conjunction with his archaeological excavation of the ancient Toltec city of Teotihuacán, Gamio organized an anthropological study of the indigenous communities who lived in the surrounding valley and employed several artists whose task was to create pieces of ‘regional theatre’—stylized depictions of indigenous customs with the faint outlines of a plot, most often revolving around scenes of daily life and local fiestas. These short, simple plays were performed in an open-air theatre by indigenous actors for other members of the community as well as for tourists from urban areas as part of Gamio’s project to encourage an ‘ethnic’ or ‘cultural fusion’ among the nation’s diverse peoples.
Turnage, Mark-Anthony (1960--)
Authors: Venn Edward 
Published: September 2018

Mark-Anthony Turnage is one of the leading British composers of the late twentieth and early twenty-first centuries. His prolific output fuses stylistic elements, compositional techniques, and instrumentation from art music, jazz, and popular music, as well as, on occasion, more quotidian material such as football chants. The experience of working with jazz musicians such as Peter Erskine (a regular collaborator) has resulted in a long-standing commitment to improvisation in his music.
Born in Essex, 1960, Turnage encountered a considerable range of art music through his family and, particularly, BBC Radio 3. Turnage had compositional lessons as a teenager with Oliver Knussen; like Knussen, Turnage later studied with John Lambert at the Royal College of Music and Gunther Schuller at Tanglewood. It was during his time at the Royal College that he familiarized himself with jazz and soul; Miles Davis became a particular influence.