bluuebunny/crossref_metadata_2025_split huggingface dataset:
Al-Afghani, Jamal al-Din جمال الدين الافغاني (1838–97)
Authors: Luce Mark D. 
Published: September 2018

Jamal al-Din Al-Afghani (1838–1897) is considered the "father of Islamic Modernism." As a philosopher, writer, orator, and journalist, Al-Afghani affected Islamic thought from the Indian subcontinent, to Iran and the Middle East. He advocated for national liberation and was the founder of the revivalist movement, which later gave rise to the Muslim Brotherhood.
Of Iranian origin, Al-Afghani traveled widely, spending time and working in Afghanistan, India, Iraq, Egypt, and Istanbul. His preaching and writings called for a Muslim revival, an abandonment of fatalism, and the application of intellect to work for freedom. He urged students to use journalism as a tool in the fight: to influence minds. He denounced Muslim rulers who opposed reform. Al-Afghani envisioned Muslims being governed in one state, free from Western imperialism, and reviving the past glories of Islam. He pioneered an Islamic awakening for Muslims through his writings, teachings, speeches, and political organizations, which sparked anti-imperialist, reformist, and pan-Islamic political activities.
Athenaeum, The
Authors: Gasston Aimee 
Published: September 2018

The Athenaeum, "A Journal of Literature, Science, and the Arts," was published weekly in London between 1828 and 1921. John Middleton Murray was appointed as editor in 1919, recruiting Aldous Huxley as his assistant. The magazine featured cultural, scientific, and political commentary, reviews, literary gossip, as well as original poetry and short stories. Contributors included Katherine Mansfield, T.S. Eliot, E.M. Forster, Wyndham Lewis, Paul Valéry, Ezra Pound, and members of the Bloomsbury set, such as Virginia Woolf and Roger Fry.
Eliot produced essays such as "The Perfect Critic" for the magazine between 1919 and 1920 while working on The Waste Land, quoting writers like Joseph Conrad and James Joyce alongside canonical references. Mansfield was also employed regularly at this time, reviewing the work of contemporaries such as Woolf, May Sinclair, and Dorothy Richardson, as well as collaborating on translations of Chekhov’s letters. The magazine was the first to publish Woolf’s short story "Solid Objects," and to host an early exposition of Einstein’s Theory of Relativity.
Neue Sachlichkeit in Architecture
Authors: Poppelreuter Tanja 
Published: September 2018

The term Neue Sachlichkeit was coined by Gustav Hartlaub with his exhibition: ‘Neue Sachlichkeit. Deutsche Malerei seit dem Expressionismus’ (New Objectivity. German Painting Since Expressionism) at the Kunsthalle Mannheim in 1925 and is now used to describe a movement during the politically, socially, and economically unstable years of the Weimar Republic in Germany (1919–1933) that includes painting, photography, design, and architecture (Rewald, 2006).
In architecture the term mainly relates to Neues Bauen (New Building) and avant-garde currents of rationalist and functionalist Modernism that existed alongside conservative counterparts and Expressionism. Among its contributors in Germany were Walter Gropius, Otto Haesler, Ludwig Hilberseimer, Ernst May, Hannes Meyer, Ludwig Mies van der Rohe, and Martin Wagner. Architecture and design was created in order to fulfill objective functions and not along the lines of personal taste, preexisting historical, national, or regional styles. The Sache–the object, subject matter–was scrutinized in order to fulfill its function and serve its user best as possible. The way in which this was approached was sachlich–objectively and factually–without emotional attachment to ways in which the object was designed or used previously. Neue Sachlichkeit therefore was an approach to design pursuing, but not always achieving, practicality, suitability, and objectivity by setting aside all matters considered by its practitioners as irrelevant (Schwartz, 1998 and Schmalenbach, 1940).
Angura
Authors: Swain John D. 
Published: September 2018

Angura has been called the most effective fusion of art and politics from Japan’s turbulent years of social protest in the 1960s and 1970s. Angura is the Japanese contraction for the term ‘andaaguraundo engeki,’ or ‘underground theatre.’ Although Japan borrowed the term ‘underground’ from the counterculture movement in the U.S. and England in the 1960s and applied the word to many different aspects of evolving youth culture, the contraction angura refers only to the theatre form. Some scholars conflate ‘angura’ with ‘shōgekijō-undō’ (‘the little theatre movement’), while others argue the two are separate movements within the same stream of counterculture theatre beginning in 1960.
The aesthetic genesis of angura was the growing dissatisfaction of Japan’s first post-WWII generation with shingeki. The generation that came of age in the late 1950s and 1960s was hungry for alternate forms of theatrical expression. In the political arena, that same generation was mobilized by opposition to renewals of the Japan/U.S. Security Treaty in 1960 and 1970. Although angura gave highly effective artistic voice to the politics opposing treaty renewal, the fusion of art and politics in angura covers a wide spectrum that includes apolitical authors and directors such as Betsuyaku Minoru (b. 1937) and Terayama Shūji (1935–83). Others at the heart of the angura phenomenon are Kara Jūrō (b. 1940), Suzuki Tadashi (b. 1939), Ōta Shōgo (1939–2007), and Satoh Makoto (b. 1943).
Apollinaire, Guillaume (1880–1918)
Authors: Thomson Tara  S. 
Published: September 2018

Guillaume Apollinaire (1880–1918) was a poet, literary and art critic, playwright, novelist, editor, and journalist. Born in Rome to a Polish-Russian mother and an unknown father, Apollinaire’s birth name was Guglielmo Alberto Wladimiro Alessandro Apollinare de Kostrowitzky, though his family called him Wilhelm (the German form of the Italian Guglielmo). After spending his early years moving throughout Monaco, France, Belgium, and Germany, he finally settled in Paris in 1902, adopting the pen name Guillaume Apollinaire. Apollinaire became a prominent cultural figure in Paris and was a key player in the literary and artistic avant-garde movements of the early twentieth century, particularly Cubism and Surrealism.
Apollinaire first gained literary recognition for his poetry collection Alcools (1913) but is best known for inventing calligrams, a form of visual poetry. While Apollinaire was primarily a poet, he earned his living as a journalist and art critic. In his articles and reviews he championed avant-garde art, and was friends with such artists as Pablo Picasso and Henri Matisse.
Apollinaire fought for France in WWI and returned home in 1916 after receiving a head wound. He survived the war but died of Spanish Flu in 1918.
Mansfield, Katherine (1888–1923)
Authors: Welch Bronwen 
Published: September 2018

Katherine Mansfield Beauchamp was born in Wellington, New Zealand on October 14, 1888. Yet this bare factual statement in no way indicates Mansfield’s importance to the modernist movement, nor how she transformed the English short story. Mansfield’s writing utilizes key themes and dichotomies such as loneliness versus society; woman versus man; nature versus culture. Moreover, her style is characterized by its neutral (as opposed to emotional) tone, and her use of Symbolism to depict personal alienation.
Growing up in an arguably patriarchal, colonialist family, Mansfield adopted her middle name as a pseudonym when she was 19, perhaps to provide herself with a certain psychological distance from her upbringing. Indeed, much of her writing characterizes the tension between her unconventionality and her family’s solid affluence and high social standing. Her father, Harold Beauchamp, a successful banker, a vigorous and energetic man, longed for a son, but, to his disappointment, his first four children were female: Charlotte, Vera, Katherine and Jeanne (another sister, Gwendoline, died at four months). The longed-for son, Leslie Heron, did not arrive until 1894 (tragically Leslie was killed in 1915, fighting in France during World War I).
Eastern Art Group (Tung fang/ Ton Fan hua hui)
Authors: McIntyre Sophie 
Published: September 2018

The eastern art group, or Tung fang/ Ton Fan hua hui, was one of Taiwan’s first modern art groups. It was formed in November 1956 by a group of artists who came to Taiwan from Mainland China during the mid- to late 1940s, and most were graduates from the Taipei Municipal Teachers College. Although their artistic styles were dissimilar, these artists shared a common purpose in modernizing Chinese painting by synthesizing traditional Chinese aesthetic values with Western modern art forms, particularly American abstraction. The Eastern art group evolved under the guidance of artist-educator Li Chung-sheng (Li Zhongsheng, 李仲生), who arrived in Taiwan in 1949 from Mainland China. Li played an instrumental role in the development of modern art in Taiwan, mentoring many artists, including members of the Eastern art group, and he is often referred to in Taiwan as "the father of modern art." Influenced by surrealism and abstract expressionism, he encouraged his students to delve into the subconscious and to embrace free and spontaneous artistic expression.
Artists in this group included Chen Tao-ming (Chen Daoming, 陳道明), Ho Kan (Huo Gang, 霍剛) (original name Huo Xuegang, 霍學剛), Hsiao Chin (Xiao Qin, 萧蕭勤), Hsiao Ming-hsien (Xiao Mingxian, 蕭明賢) (original name Xiao Long, 蕭龍), Hsia Yang (夏陽) (original name, Hsia Zuxiang夏祖湘), Li Yuan-chia (Li Yuanjia, 李元佳), Ouyang Wen-yuan (歐陽文苑), and Wu Hao (吳昊) (original name Wu Shilu, 吳世祿). These eight core members were often referred to as "The Eight Bandits" (Ba da xiang ma, 八大響馬) because of their rejection of artistic convention and of academic training.
Bergman, Ernst Ingmar (July 14, 1918–July 30, 2007)
Authors: Humphrey Daniel 
Published: September 2018

Perhaps the exemplification of the European art-film director throughout the late 1950s and the 1960s, Ingmar Bergman developed what would become an almost instantly recognizable aesthetic and catalogue of concerns – widely imitated, often satirized – in a theater and cinema career spanning seven decades. Born in Uppsala, Sweden, of parents in a troubled marriage, Bergman spent his childhood largely at the home of a beloved maternal grandmother. This served in part as an escape from his relationship with his cold chaplain father. Innumerable biographical events and familial dynamics dating to his childhood would eventually be found in thinly disguised dramatic form throughout Bergman’s oeuvre, which often involves sympathetically portrayed strong and intelligent women and harshly regarded male authority figures. This is particularly the case in his final theatrical motion picture, Fanny och Alexander (1982) (Fanny and Alexander).
Bergman initially came to the cinema from the Swedish theater, where he, like Orson Welles in the U.S. a decade earlier, managed to establish a formidable reputation by his mid-20s. Perhaps as a result of his work for the stage, which Bergman continued throughout the rest of his life, the acting in the director’s films is always particularly impressive; not surprisingly, his films are often set in the milieu of the performing arts, with performance and creative expression as recurrent themes.
Ruttmann, Walter (1889–1941)
Authors: Juan Suárez A 
Published: September 2018

Born in Frankfurt, Ruttmann studied architecture and design, and started his career as a painter and lithographer before turning to film. His earliest films, Lichtspiel: Opus I–IV (1921–1925), were composed of animated shapes made of cardboard, wood, and plasticine. Some of these films were hand-colored. They are quite close in conception and execution to the experiments in "absolute film" – or "optical music" – developed by Hans Richter (the Rhythmus series) and Viking Eggeling (Diagonal Symphony, 1922) in the early 1920s. The success of the Lichtspiel series earned Ruttmann commercial film commissions. He designed some special effects for Lotte Reiniger’s silhouette animation The Adventures of Prince Achmed (1926) and made an animated sequence for Fritz Lang’s Die Nibelungen (1924).
Ruttman’s fame, however, rests on his participation in Berlin: Symphonie of a Great City (Berlin: Simphonie der Grossstadt, 1927), an emblematic city film scripted by Carl Mayer and filmed mostly by Karl Freund, which Ruttmann himself edited. Occasionally criticized for its detached, superficial rendition of urban life, the film was successful with audiences and immensely influential on subsequent filmmakers.
Vertov, Dziga (b. January 2, 1896, Bialystok, Poland; d. February 12, 1954, Moscow, Russia)
Authors: Eubanks Ivan 
Published: September 2018

Derived from the sound of a working film-reel and the word "vertet´sia" (to spin), Dziga Vertov is the pseudonym of David (aka Denis) Kaufman, a Soviet documentarian and prominent avant-garde director. Like his Futurist and Constructivist associates, Vertov believed machines would liberate people from their physical and cognitive limitations. Viewing cinema as a hybrid human-mechanical mode of perception, he asserted that it could transcend subjectivity and unveil aspects of reality not otherwise accessible, because the camera’s ability to show us "life caught unawares" (Kino-Eye, 41) helped the edited film product to "show and elucidate life as it is" (Kino-Eye, 47).
Vertov’s neo-empiricist methodology originated with his early journalistic experience making a newsreel series called Kino-nedelia (Cinema-Week; 1918–1919). In 1919, he formed a group named "Kino Glaz" (Cinema Eye), along with his editor, Elizaveta Svilova (whom he married in 1923) and his brother Mikhail Kaufman. The members called themselves "kinoki" (cine-eyes). Vertov outlined their principles in "We: Variant of a Manifesto" (1922). Decrying theatrical cinema, he insisted that film’s potential to reveal truth could only be realized when filmmakers overcame their addiction to scripts, actors, costumes, and sets. From his perspective, the production methods of theatrical cinema obligated filmmakers to peddle illusions and thereby perpetuated bourgeois values.
Pani Darqui, Mario (1911–1993)
Authors: Santoyo-Orozco Ivonne 
Published: September 2018

Mexican architect Mario Pani spent his formative years between Belgium, Italy, and France due to his father’s diplomatic posts. After graduating from the Écoles des Beaux-Arts (1934), he returned to Mexico just prior a period of massive urban transformation in Mexico City. During his first decades in Mexico, Pani worked intensively to establish his career, quickly winning his first commissions, perhaps the most important of which was the Hotel Reforma (1936), which Pani controversially took over from Carlos Obregón Santalicia. Indeed, his early career in Mexico saw him actively participating in many competitions against the most renowned architects of his time. In 1938 he founded the magazine Arquitectura/México (1938–1979) not only to disseminate contemporary architecture in Mexico but also to republish material from international magazines.
Over the course of his career, Pani designed a huge variety of projects. These included educational buildings, such as the National Conservatory of Music (1946), the National School of Teachers (1947), and his famous Rectory Building in Mexico City (1952); touristic complexes such as the Acapulco Yacht Club (1955); administrative centres like CondominioAcero in Monterrey (1959); and urban plans such as the Medical CenterMasterplan (with Jose Villagran Garcia, 1942), the University Campus of the National Autonomous University (with Enrique del Moral, 1952), among many others. However, Mario Pani is more commonly remembered for his housing projects.
Washington Color Painters
Authors: de Baca Miguel 
Published: September 2018

Washington Color Painters were a group of non-objective, post-painterly abstractionists working in Washington, DC, in the late 1960s, who believed that the formal property of color was fundamental to modern art. In June 1965, the Washington Gallery of Modern Art mounted Washington Color Painters, a travelling exhibition showcasing the artwork of Morris Louis, Kenneth Noland, Gene Davis, Thomas Downing, Howard Mehring, and Paul Reed. Subsequently the term "Washington Color School" or simply "Washington school" has come to characterize this style of highly chromatic, large-scale painting made by soak-staining or striping pigment onto un-primed canvas. Noland has noted that such a school never existed for the earliest Washingtonian abstractionists such as Louis and himself; rather, the term refers to students of these artists, who coined it in the later 1960s. Other notable artists associated with the movement include Sam Gilliam, Mary Pinchot Meyer, and Hilda Thorpe.
In 1953, Louis and Noland visited Helen Frankenthaler’s studio in New York City and saw her iconic Mountains and Sea (1952), a monumental painting, made by saturating areas of unprepared canvas with oil paint heavily diluted with turpentine. Upon returning to Washington, Louis and Noland experimented with Frankenthaler’s so-called "soak-staining" technique, working with viscous, fast-drying acrylic paints instead of oils.
Zukofsky, Louis (1904–1978)
Authors: Jennison Ruth 
Published: September 2018

Louis Zukofsky was an American avant-garde poet active from the 1920s upto the 1970s. Zukofsky’s masterwork long poem, ‘A’ (in company with his many other shorter works of poetry and prose), had a profound effect on the shape and development of American poetics. His work can be counted as a major influence on the Black Mountain, Beat, and Language poets, and on other contemporary poets working in conversation with the historical avant-garde. Major themes in Zukofsky’s work include the materiality of language, formalism, the place of the poem in history and politics, the musical structure of poesis and vice versa, and translation.
Zukofsky was born to working-class, Orthodox Jewish, Yiddish-speaking parents in the Lower East Side of New York City. His poetic career began following his graduation from Columbia University with an MA in English. A parody of T. S. Eliot’s The Waste Land, entitled ‘Poem Beginning ‘The’’, received the admiration of Ezra Pound. The poem features one of Zukofsky’s signature formal techniques: the strategic parataxis (juxtaposition) of high and low cultures, placed in the service of an anti-reactionary, and sometimes Marxist and revolutionary, avant-garde poetics. Zukofsky’s epistolary relationship with Pound was extensive, and the older poet would be a lifelong object of admiration — and negation — for Zukofsky.
Zweig, Stefan (1881–1942)
Authors: Rock Lene 
Published: September 2018

Stefan Zweig was a prominent Austrian-Jewish novelist, playwright and journalist throughout the 1920s and 1930s. Growing up in a Viennese upper-class environment of assimilated Jewry, which attached great importance to the Bildung genre, Zweig devoted himself to literature from a young age. As a student of literature and philosophy at the universities of Vienna and Berlin, he moved in bohemian circles, focusing on his writing. At the age of 19, he published SilberneSaiten [Silver Strings] (1901), a selection of poems initiating his literary success. Theodor Herzl, founder of Zionism and then literary editor of the Viennese newspaper NeuefreiePresse, published some of Zweig’s early essays.
A defender of humanism and internationalism, Zweig himself was not attracted to the Jewish nationalist cause. Zweig did not, however, renounce his roots, and he would occasionally incorporate Jewish themes into stories such as ImSchnee [In the Snow] (1901). Zweig has been recognized, in particular, for his novellas. His most notable novellas include Schachnovelle [The Royal Game] (1942) and Der Amokläufer [Amok] (1922); historical miniatures such as Sternstunden der Menschheit [Decisive Moments in History] (1927); and novelistic biographies of figures like Erasmus, Magellan, Joseph Fouché, Marie Antoinette, and Napoleon. Zweig’s works are characterized by a careful construction of psychological veracity, illustrating the often tragic evolution of powerful emotions into an overall sense of resignation.
Das, Jibanananda (1899-1954)
Authors: Bandyopadhyay Sibaji 
Published: September 2018

Jibanananda Das was one of the pre-eminent Bengali poets of the first half of the twentieth century. With the posthumous entry of his prose writings into the public domain, it is now generally accepted that Jibanananda was also a storyteller and novelist of the first rank.
Jibanananda was born in the district town of Barishal (now in Bangladesh) in a Brahma household. After obtaining an MA in English from Calcutta University in 1921, he taught in various colleges.
Aestheticism
Authors: Ingelbien Raphaël 
Published: September 2018

Aestheticism refers to a late-Victorian tendency to argue that art is its own justification and should therefore be judged by purely aesthetic criteria. Closely related to the doctrine of l’art pour l’art (art for art’s sake) put forward by Théophile Gautier and to the radical aesthetic theories of Charles Baudelaire, British aestheticism found its leading exponent in Walter Pater. His work had an immediate and profound impact on writers and artists like Oscar Wilde, who are sometimes referred to as aesthetes, and more often as decadents, and his lasting influence has been traced in the work of several major modernist writers.
As a category of English literary history, the term "aestheticism" is a relatively recent scholarly construction. However, contemporaries used words like "aesthetes" and "aesthetic" to designate the late-Victorian phenomenon. The Greek word α ἰ σθητικός refers to "that which is perceptible by the senses;" in modern European thought, aesthetics is a branch of philosophy that analyses the ways in which artworks produce sensations in spectators and, more broadly, the nature and role of art.
Hall, Radclyffe (1880–1943)
Authors: Gunn Julian 
Published: September 2018

Radclyffe Hall was a British novelist, poet, and lyricist. A contemporary of the Bloomsbury Group and proponent of Havelock Ellis's sexological theories, Hall is best known for the ground-breaking novel of sexual inversion, The Well of Loneliness (1928). The novel was the center of a landmark obscenity trial, and has continued to attract controversy. Its depiction of inversion has been both lauded and criticized by feminist, queer, and trans theorists.
Hall was born Marguerite Antonia Radclyffe-Hall on August 12, 1880 to wealthy parents who divorced in 1883. She briefly attended King's College London and spent a year studying in Germany. In 1912 Hall converted to Catholicism with her partner at the time, the singer Mabel Batten. At Batten’s request, Hall did not serve in the women’s ambulance corps during the Great War (Baker). However, a number of Hall’s fictional characters find autonomy and sexual identity through their war service.
Bharati, Dharamvir (1926–1997)
Authors: Pandey Rakesh 
Published: September 2018

Dharamvir Bharati was one of the most versatile literary figures of modern Hindi Literature in independent India. Born on 25 December, 1926 in a Kayastha family in Allahabad in North India, Bharati grew up witnessing one of the most creative phases in the field of politics, education and literature during late colonial era of which the city was a central node. Bharati majored in Hindi literature at the University of Allahabad (gaining an MA in 1946 and a Ph.D in 1954) and devoted himself to researching mediaeval literary traditions of the Siddhas, a Buddhist Vajrayan sect. He later joined the same university as a lecturer before moving to Bombay in 1960 as the editor of the Hindi weekly Dharmayug, a position which he held until 1987.
Bharati’s wider literary reputation rings the name of the play Andha Yug (1954), based on the episodes of the Mahabharata, and two novels, Gunahon Ka Devata (1949) and Suraj Ka Satwan Ghoda (1952), capturing the themes of his city’s social life. Later Bharati earned a unique reputation as a writer-editor who nurtured a new style of journalistic writing in Hindi.