bluuebunny/crossref_metadata_2025_split huggingface dataset:
Finnegans Wake
Authors: Creasy Matthew 
Published: September 2018

An experimental masterpiece by James Joyce, published in 1939. Joyce began writing it during 1923 and parts of it appeared under the title Work-in-Progress within literary periodicals, such as transition, and in pamphlet form. It has a reputation as the most difficult text of literary modernism.
Joyce set out to write "a history of the world" and much of the structure of the book derives from Italian philosopher and historian Giambatista Vico’s New Science (1725), which breaks down history into a series of cyclic phases. The final title, however, alludes to a Dublin street ballad about a builder who falls from a ladder: Tim Finnegan is aroused from unconsciousness when a drop of whisky touches his mouth during the wake organized by his family, who think him dead. Joyce used this to allude to Viconian myths of fall and redemption or resurrection. It was written during the early years of Irish independence and the Wake’s mythic re-cycling of history and literature also bears upon contemporary developments. The absence of apostrophe in the title is deliberate: although derived from "Finnegan’s Wake," it also urges the Irish (Finnegans) to rise from their historical stupor.
Kojève, Alexandre (1902–1968)
Authors: Elmore Jonathan 
Published: September 2018

Alexandre Kojève was a French philosopher of Russian birth, most remembered for his introduction of Hegel into French and Continental thought. Kojève’s work on Hegel went far beyond simply exegesis or analysis, unstead constituting a radically original reinterpretation of Hegelian thought, specifically Hegel’s philosophy of history. Kojève’s readings of Hegel draw heavily on Heidegger’s ontology and the materialism of Marx. From Heidegger, Kojève draws temporality into Hegel’s universal process of history, arguing that humanity’s being is fundamentally defined by its temporality. From Marx, he takes the materiality of ontology, seeing history as the succession of that which humanity produces. Kojève’s career began in earnest when he settled in Paris to teach at the Ecole Pratique des Hautes Etudes. It was there, from 1933 to 1939, that he would teach a seminar on Hegel that, directly and indirectly, influenced so many twentieth-century intellectuals: Jean-Paul Sartre, Jacques Lacan, Georges Bataille, Louis Althusser, Raymond Aron, to name a few. Following World War II, he worked for the French Ministry of Economic Affairs and continued writing philosophy until his death. While he wrote multiple volumes on philosophy and philosophers, many published after his death, his most influential writings were his published lectures on Hegel, appearing in 1947 in French (Introduction à la lecture de Hegel) and later in English as Introduction to the Reading of Hegel (1969).
Camden Town Group
Authors: Furness Tom 
Published: September 2018

Founded in 1911 and active in London before World War I, the Camden Town Group played an important role in the development of a distinctively modern British visual art. Its sixteen members promoted modern art’s engagement with a modern world and, in particular, with the minutiae of everyday urban life across a range of characteristic subjects. These subjects included views of street corners, portraits of local girls, shabby bedsit rooms and theatre and music hall interiors, as represented, for example, in Spencer Gore’s The Balcony at the Alhambra (c.1911–1912). The group held only three official exhibitions, all between June 1911 and December 1912 at the Carfax Gallery, London, but the group’s members participated in a great many more contemporaneous events and displays that contributed to the burgeoning British post-impressionist art scene.
A list of members includes: Walter Bayes, Robert Bevan, Harold Gilman, Charles Ginner, Spencer Frederick Gore, Duncan Grant (following Doman Turner’s death in September 1911), James Dickson Innes, Augustus John, Henry Lamb, Wyndham Lewis, Maxwell Gordon Lightfoot, James Bolivar Manson, Lucien Pissarro (the son of French Impressionist painter Camille Pissarro), William Ratcliffe, Walter Sickert, and John Doman Turner.
Mallarmé, Stéphane (Étienne) (1842–1898)
Authors: De Rosnay Emile 
Published: September 2018

Along with Arthur Rimbaud and Paul Verlaine, Stéphane Mallarmé is a preeminent poet of the latter part of the nineteenth century, notably as the head of Symbolism (with Verlaine). Like many of his generation, Mallarmé built upon Charles Baudelaire’s, Théophile Gautier’s and Edgar Allan Poe’s contributions to poetry and criticism, and anticipated the various Modernist and avant-garde movements to come, being a key voice of modernism. Mallarmé is mostly known for his very difficult, hermetic language, for his conceptualization of a "crisis of verse" (crise de vers), and for his innovations in versification and free verse.
Étienne Mallarmé, commonly known as Stéphane, was born in Paris to Numa Mallarmé, a government administrator, and Élisabeth Desmolins, who died when Stéphane was five, after which point Stéphane came, along with his sister Maria, under the tutelage of his grandfather. His father remarried Anne-Hubertine Léonide Mathieu, who had three girls and a son. Mallarmé’s performance at school was mediocre, and his teachers at Passy reproached him for his "rebellious and vain character"; he was subsequently expelled in 1855. His first poems date from 1854. He was deeply affected by the death of his sister in 1857, as testified in some early prose ("Ce que disaient les trois cigognes," "Plainte d’automne").
Bretyenbach, Breyten (1936–)
Authors: Viljoen Hein 
Published: September 2018

Breyten Breytenbach is the foremost poet among the "Sestigers," a prolific painter, and also a controversial public figure. He was born in Bonnievale, South Africa, studied in Cape Town and went into voluntary exile in Paris after marrying Ngo Thi Huang Lien, a Vietnamese woman (also known as Yolande). To date he has published nineteen volumes of poetry, several collections of essays, seven parts of an autobiography, two highly controversial plays, and two novels. His surrealist-type work is inspired by a Zen-Buddhist sense of the mindful continuity underlying mutable existence. An uncanny ability to transform and permutate words and to bend language to his own will characterises his work.
After studying at the Michaelis School of Art at the University of Cape Town, Breytenbach travelled to Europe, working in different places before settling as a painter in Paris in 1962. He lived in voluntary exile in Paris, as the South African government refused to give his "non-white" wife a visa.
He made his debut in 1964 with the poetry collection Die ysterkoei moet sweet [The Iron Cow Must Sweat] and a collection of uncannily flavored short prose works, Katastrofes [Catastrophes] (both awarded the APB Prize in 1966). These works were highly original and innovative, and made use of surrealist techniques to depict a reaching out towards Zen satori.
Rulfo, Juan Nepomuceno Carlos Pérez Vizcaíno (1917–1986)
Authors: Lisi Laura 
Published: September 2018

Juan Rulfo was a Mexican writer and photographer and is considered one of the most influential writers of Spanish-language literature in the modern age. His literary production is mainly limited to two brief works—a collection of short stories, El Llano en llamas [The Burning Plain], and a novel, Pedro Páramo—which sufficed to assign him a central place in world literature. Rulfo was a man of few words who in his writing attempted to fulfil his ideal of a literary style without ornament. His stories and novel have been described as masterpieces of prose, considered ‘poetic prose’ by some, where direct descriptions are avoided and every word is calculated to depict environments, characters and actions by pure insinuation or allusion to elements that they lack.
Rulfo’s early life was marked by his father’s assassination in 1923 and his mother’s death only a few years later, in 1927. At the age of eight, during the unrest caused by the Mexican Revolution and the anti-clerical measures that led to the Cristero War (1926–29), Rulfo remembers having discovered his love for reading, when the town priest hid his library in his grandmother’s house, to save it from being confiscated by the revolutionary forces.
Schnitzler, Arthur (1862–1931)
Authors: Garloff Katja 
Published: September 2018

Arthur Schnitzler was a leading exponent of Viennese modernism. The son of a Jewish laryngologist, Schnitzler studied and practised medicine before devoting himself exclusively to writing. His literary works explore the themes of love and death, reality and illusion, and changing codes of honour and morality. In his dramatic plays, Schnitzler emphasizes dialogue over action and often shows how people speak past each other. In his prose, he experiments with subjective modes of narration that give readers access to the thoughts and feelings of the characters.
In 1895 Schnitzler achieved a breakthrough with Liebelei [The Reckoning], a play about love, betrayal, social class, and gender roles. Liebelei features a prototypical ‘sweet girl,’ a young woman from the lower middle classes involved in a relationship with an aristocratic man. The 1896/97 Reigen [Hands Around] was to become Schnitzler’s most controversial work. The play consists of ten dialogues between lovers, one of whom will find a new sexual partner in the next scene in each case. Linking members from different social classes into a sexual chain, the play exposes the power asymmetries between them. While Schnitzler was primarily a chronicler of his time and society, he also wrote several historical plays, including the 1899 Der grüne Kakadu [The Green Cockatoo], which is set at the beginning of the French Revolution.
Svevo, Italo (1861–1928)
Authors: Van Den Bossche Bart 
Published: September 2018

Italo Svevo was born as Aron Ettore Schmitz in 1861 in Trieste, a city in the north-east of Italy that until 1919 was part of the Austro-Hungarian Empire.
Due to the economic woes that hit his bourgeois family, he was forced to work as a bank clerk, albeit without giving up the dream of a literary career. Initially interested mainly in theatre, he published a couple of short stories and two novels, Una vita [A Life] (1893), and Senilità [As a Man Grows Older] (1898). During the first decades of the twentieth century, Svevo’s interest in literature seemed to have waned, at least in appearance, both because of the limited success of his work and his busy professional life. In the same period, however, he made a close friend of James Joyce (who lived in Trieste from 1905 to 1914) and discovered Freudian psychoanalysis, two important factors in the genesis of his third novel, La coscienza di Zeno [Zeno’s Conscience] (1923), soon recognized as one of the ground-breaking novels of international modernism. Encouraged by this success, Svevo planned a fourth novel and published several short stories. Svevo died in 1928 from the injuries sustained in a car accident.
Ungaretti, Giuseppe (1888–1970)
Authors: Fabietti Elena 
Published: September 2018

Giuseppe Ungaretti was a major Italian author of the first half of the twentieth century. In his poetry he achieves a massive reinvention of Italian poetic language, abolishing punctuation, dismembering syntax and fragmenting the verse into single verbal units. Words acquire a completely new relevance and density, which counterweigh the abundance of silence and blank space, in ways that resonate with the models of Symbolism and the avant-garde, without coinciding with these.
Born in Alexandria in Egypt in 1888 as the son of an emigrant family, Ungaretti received a bilingual education in Italian and French. After moving to Paris in 1912, he became part of Parisian intellectual and poetic life, attended classes at the Sorbonne and came into contact with all major cultural personalities of the time, such as Henri Bergson, Guillaume Apollinaire, Pablo Picasso, and the Italian futurists, among others.
Ziadeh, May (1886–1941)
Authors: Haddad Bayan 
Published: September 2018

May Ziadeh was a prominent literary figure and salonnière in the Arab world in the late nineteenth century and early twentieth century. A journalist, essayist, author and literary critic, she was also known for being a spellbinding orator and an unusually gifted stylist and translator. Ziadeh was best known for instituting a long running weekly salon (1911–1931) in her home that brought together leading men and women in the period when Egyptian anti-colonial nationalism was at its height. Ziadeh was also a strong advocate of the emancipation of women in the Arab society.
Famous for being moderate, Ziadeh did not equate modernity with the denial of Arabic cultural heritage in blind imitation of the West. Many critics believe that modern Arabic literature has not produced a female writer of Ziadeh’s calibre and that her contribution to the feminist cause cannot be overlooked.
Wang, Wenxing (王文興)(1939– )
Authors: Chen Lingchei Letty 
Published: September 2018

Wang Wenxing is one of the most important fiction writers in the Chinese language in modern times. His experimentation with the Chinese language—pictography and syntax, narrative form, and narrating perspectives—together with his exploration of existential themes establishes him as a paramount figure in Taiwan’s literary modernism and Chinese-language literature worldwide.
Born in Fuzhou, Fujian Province, China, Wang and his family moved to Taiwan in 1946 and settled in Donggang, a small city in the south of the island. Two years later the family moved to Taipei. Wang received his BA from the Foreign Languages and Literatures Department of National Taiwan University. In 1958 Wang published his first short story, Shou ye [The Lingering Night]; a few more stories followed in the next two years. In 1960 Wang and several of his classmates, including Bai Xianyong, Chen Ruoxi and Ouyan Zi—all of whom later became important writers in Taiwan—founded the journal Xiandai wenxue [Modern Literature], which nurtured Taiwan’s modernist movement in the 1960s. After receiving his BA in 1961, Wang served in the military, as was required by law. In 1963 he attended the University of Iowa and received an MFA in creative writing.
Watts, Myrtle Eugenia ‘Jim’ (1909–1968)
Authors: Murphy Emily Christina 
Published: September 2018

Myrtle Eugenia Watts, known variously as Jim, Jean, or Gina, was a Canadian foreign correspondent for the Spanish Civil War, theatre artist in the Theatre of Action, and patron of Canadian leftist literary and theatre culture in the 1930s. In her short career, Watts had a significant impact on Canadian leftist modernist culture.
Jean Watts was born in Streetsville, Ontario to a wealthy family. By 1920, Watts’s family had moved to Toronto’s Annex neighbourhood, where Watts’s social and artistic circle would eventually include such prominent Canadian cultural figures as writers Dorothy Livesay and Stanley B. Ryerson, and theatre artists Toby Gordon Ryan and Oscar Ryan. Watts and Livesay would spend their adolescences as self-identified bluestockings, attending lectures by prominent feminist Emma Goldman, and reading the literary works of European and British modernists. Beginning in her early adulthood, Watts contributed significant resources to the Worker’s Theatre (later the Theatre of Action) and to the establishment of the leftist literary journal New Frontier (1936–1938), for which her husband Lon Lawson was editor. In early 1937, after the outbreak of the Spanish Civil War, Watts took up a position with the Canadian Communist Party newspaper, the Daily Clarion (1936–1939), as a foreign correspondent stationed at the Blood Transfusion Unit outside Madrid.
Rumba
Authors: McMains Juliet 
Published: September 2018

Rumba refers to a genre of Afro-Cuban dance music played on hand percussion, including the subgenres of rumba yambú, rumba guaguancó, and rumba columbia. It is danced by a single couple or solo dancer in an African style with playful improvised steps featuring segmented movements of the hips, torso, and shoulders. Rumba, which evolved in late-nineteenth-century working-class, black neighborhoods of Matanzas, Cuba, was marginalized by Cuba’s white elite until the Castro regime embraced it as a symbol of modern national identity in the 1970s. Since the 1980s, rumba increasingly became a major feature of Cuban cultural export and cultural tourism, figuring prominently in Cuba’s modernization strategy through sale of state-sponsored folklore.
Rumba also refers to a style of modern ballroom dancing that developed in the 1930s in the United States, England, and Europe that was loosely based on the Cuban music and dance form called son. In its early practice, ballroom rumba was characterized by a small box step incorporating swaying of the hips and partnered turns borrowed from American ballroom dances.
Robins, Elizabeth (1862–1952)
Authors: Gates Joanne E. 
Published: September 2018

Born in Louisville, Kentucky in 1862, Elizabeth Robins established herself in the American theater and then relocated to London in 1888. She epitomizes the grasp that the plays of Henrik Ibsen held on performers in the 1890s. Indeed, she outshone other professionals by laying claim to performing and producing the first English-speaking Hedda Gabler (1891) and the first Hilda Wangel (1893, in The Master Builder).
She felt that the stage-management system prevented women from having a say in their profession, and therefore she welcomed the Independent Theatre Movement. She formed the Joint Management Company with American actress Marion Lea, her stage partner and co-producer for Hedda Gabler, and she organized several subscription series to mount not only Ibsen’s plays but also other artistic theater. Her feminist play Votes for Women (1907) was at the vanguard of pro-suffrage drama.
Performances organized by Robins of Hedda Gabler and The Master Builder were rivaled in impact only by the initial sensation created by Janet Achurch as Nora Helmer in her London production of A Doll’s House in 1889. Robins’ other Ibsen roles included Martha in The Pillars of Society, Asta in Little Eyolf, Agnes in a production of Act 4 of Brand, Ella Reintheim in John Gabriel Borkman, Mrs Linde in A Doll’s House, and Rebecca West in Rosmersholm.
Grosz, George (1893–1959)
Authors: McCloskey Barbara 
Published: September 2018

George Grosz was a leading artist of Germany’s early 20th-century expressionist, Dada, and New Objectivity movements. His works from this period remain celebrated examples of the modernist avant-garde. Grosz began his career as a student at the Dresden Academy of Art in 1909. In 1912, he moved to Berlin, abandoned the academic rigor of his earlier work, and became part of the Expressionist avant-garde. His paintings and drawings soon adopted the fractured planes, vivid color, and psychologically troubled content of Expressionist art.
Grosz became politically radicalized by the outbreak of World War I in 1914. He helped to found Berlin Dada during the war years. His irreverent cut and paste Dada collages of this period assailed not only the concept of ‘‘art,’’ but also the vaunted notions of culture, militarism, and national pride that were part of a German social order Grosz had come to despise. At the end of World War I, Grosz joined the German Communist Party and became its leading artist. He fled to the United States in order to escape persecution after Hitler’s appointment as Chancellor in 1933. Grosz settled in New York, where he pursued his art under the utterly changed circumstances of exile.
Mussolini, Benito (1883–1945)
Authors: Jones David 
Published: September 2018

Known as Il Duce (the Leader), the son of a Marxist blacksmith, Benito Mussolini was the ruler of Fascist Italy (1922–43). A master of populist rhetoric, editor of the socialist newspaper Avanti! (1912–1914), Mussolini shaped the fascist movement as a party leader before rising to state power with his October 1922 March on Rome. He invaded Ethiopia in a brutal war for a new Italian Empire (1935–36), aided Franco’s Nationalists in the Spanish Civil War (1936–39), and fought on the side of Nazi Germany in the Second World War (1940–45). His fascist ideology made use of ideas offered by Italy’s ‘philosopher of fascism’, Giovanni Gentile (1875–1944), and manifestos written by the founder of Futurism, poet Filippo Tommaso Marinetti (1876–1944). Mussolini’s personality cult influenced dictators such as Adolf Hitler and Francisco Franco, and at times earned the admiration of Winston Churchill (Samuel) and Franklin Roosevelt (Schivelbusch, 2006, 31). On April 29, 1945, Mussolini was captured and executed, his body gruesomely displayed (‘Execution of Mussolini’). His legacy has spawned fascist movements throughout the world, from Oswald Mosley’s (1896–1980) English Blackshirts to Pierre Gemayel’s (1905–1984) Christian Phalange in Lebanon.
The Arts and Letters Club
Authors: Winter Caroline 
Published: September 2018

The Arts and Letters Club is a Canadian private club for artists and their patrons. For more than a century, the Club has played an important role in Canadian culture, providing a meeting space for and fostering a community of visual and literary artists, actors, musicians, designers, and architects. It is housed at St. George’s Hall in downtown Toronto, Ontario, a building of National Historic Significance.
The Arts and Letters Club was founded in 1908 by Augustus Bridle, an arts journalist, to promote the arts in Canada. The Club is best known for its connection with the Group of Seven. The original Group of Seven, established in 1920, included Frank Johnston, Lawren Harris, Arthur Lismer, J. E. H. MacDonald, Frederic Varley, Franklin Carmichael, and A. Y. Jackson. Members to join after the Group’s founding included Edwin Holgate, A. J. Casson, and LeMoine FitzGerald. The Group of Seven is known for their paintings of the Canadian landscape. These artists met frequently at the Club to socialize and share ideas.
Russolo, Luigi (1885–1947)
Authors: Curtin Adrian 
Published: September 2018

Luigi Russolo (b. Portogruaro, 1885–1947) was a painter, inventor, and musician. He was an Italian Futurist who responded to Filippo Marinetti’s call to revolutionize art and embrace the dynamism and affective power of modernity. Russolo, following Francesco Pratella, developed futurist music by working to transform worldly noise and make it musically meaningful. In his 1913 manifesto L’arte dei rumori (The Art of Noises), Russolo argued that the sounds offered by a symphony orchestra were a poor match for the acoustic force and timbral complexities of a modern city. He proposed to transform noise using newly invented instruments, aestheticizing and spiritualizing it in the process. Russolo devised a system of enharmonic notation, and, with the help of the painter Ugo Piatti, constructed the intonarumori (noise intoners) that were to constitute the new futurist orchestra.
Russolo intended audiences to recognize the aesthetic value of noise when specially composed and presented in a performance context. Alas, audiences, on the whole, seem to have been more nonplussed than impressed with Russolo’s music; they frequently made competing noise of their own.