bluuebunny/crossref_metadata_2025_split huggingface dataset:
Anand, Mulk Raj (1905–2004)
Authors: Pillai Sharon 
Published: September 2018

Mulk Raj Anand, together with Raja Rao and R. K. Narayan, made up a distinguished trio in the vanguard of twentieth-century Indian writing in English. His roles as essayist, short story writer, playwright, art critic, food critic, editor, activist, and social commentator over a near century-long life attest to his versatile genius and varied interests. Today, however, Anand is most famous for his talent as a novelist whose commitment to artistic verisimilitude and social justice compellingly redrew the ambit of literary representation in India to include marginalized subjectivities and subaltern realities.
Mulk Raj Anand was born to a provincial Kshatriya Punjabi family in Peshawar. Anand’s formative years were spent in the cantonments of Nowshera and Mian Mir because his father, Lal Chand, was a subordinate functionary in the colonial army. During his years at Khalsa College in Amritsar, Anand became acquainted with the poet Mohammad Iqbal. He was also briefly involved in anti-colonial activities. Faced with familial strife and emotional tangles, Anand — with Iqbal’s encouragement — set sail to do his Ph.D. in England in 1925. He won a scholarship to University College, London, where he worked on a dissertation on British philosophy, and was awarded a doctorate in 1929.
Mishima, Yukio (1925–1970)
Authors: Jortner David 
Published: September 2018

Mishima Yukio is the pen name of Kimitake Hiraoka. He was an acclaimed novelist, playwright, poet, and essayist. He was nominated three times for the Nobel Prize in Literature during the post-war era. His work explores issues of sexuality, power, love, and death through a combination of classical and modern Japanese aesthetics and ideas.
Mishima was born in Tokyo in 1925 to a well-off family; his grandmother was a descendant of Japanese royalty and spent much time with Mishima, going as far as to raise him herself until the age of twelve years. Upon his return to his family he began to read both Western and Japanese authors voraciously, and to write short stories and waka poetry. Mishima was mistakenly declared unfit for military service during World War II and graduated from Tokyo University in 1947. Through his father’s connections he got a job in the finance industry but soon left it to concentrate on writing.
Mishima had several relationships with both men and women; he married Sugiyama Yoko in 1958 and fathered two children with her. In 1955 Mishima took up private weight training; he was to remain an avid bodybuilder for the remainder of his life. In 1968 Mishima formed the Tate-no-kai [Shield Society], a paramilitary group of young men who studied martial arts and military tactics with him.
Just Intonation
Authors: Hasegawa Robert 
Published: September 2018

Just intonation is a system of tuning musical intervals based on simple ratios between the frequencies of their constituent pitches. For voices and most musical instruments, just intonation minimizes the acoustical interference between simultaneous sounds and leads to the highest degree of blending and consonance. Though its roots are ancient, twentieth-century composers revived just intonation towards new esthetic ends.
The idea of using ratios to quantify interval size originated in ancient Greek music theory: In Pythagorean intonation, all intervals are measured with ratios made solely of multiples of the integers 2 and 3. In response to the growing use of thirds and sixths in the fifteenth century, Renaissance theorists expanded Pythagorean intonation to include multiples of 5, replacing the tense Pythagorean major third, 81/64, with the mellifluous just major third, 5/4—in all ratio-based tunings, simpler ratios produce smoother, more consonant intervals. Musicologists typically reserve the term ‘‘just intonation’’ for this Renaissance system, though it is also used metonymically to refer to all ratio-based tuning systems.
Kieślowski, Krzysztof (1941–1996)
Authors: Maeder Marie-Therese 
Published: September 2018

Krzysztof Kieślowski was a highly influential Polish filmmaker in the tradition of auteur cinema. Kieślowski tackled the tension between the political, spiritual, and ethical, and his camerawork often involved close framing and sequence shots. His first works, documentaries that examined everyday aspects of Polish reality, were followed by the fiction film Bez Końca [No End] in 1985, a distinctive audio-visual narration that launched his collaboration with Krzysztof Piesiewicz, his co-scriptwriter, and Zbigniew Preisner, who scored his films. Bez Końca considers the impossibility of understanding human misfortune and provokes the audience’s empathic involvement. In his early fiction films, Kieślowski scrutinized the restrictions produced by communist ideology alongside metaphysical questions (No End, Prspadek [Blind Chance] (1987), but in his middle phase, which began with Krótki film o zabijaniu (A Short Film about Killing, 1988) followed by the television mini-series Dekalog [The Decalogue], he emphasized social themes. The Decalogue, set in a Warsaw housing project, is loosely based on the Ten Commandments. In the 1990s Kieślowski focused increasingly on moral issues, and works such as La double vie de Véronique [The Double Life of Véronique] and Trois couleurs [Three Colors] have a more spiritual dimension. Kieślowski found funding outside Poland, but he also became disillusioned with Polish critics, who, he felt, misjudged him. They often ignored his engagement with existential and ethical questions by aligning his work with a politically and socially concerned Polish cinema.
Méliès, Georges (1861–1938)
Authors: de Fren Allison 
Published: September 2018

Georges Méliès (born Marie-Georges-Jean Méliès) was a French showman, illusionist, and filmmaker best known for his early silent fantasy and science fiction films, such as Trip to the Moon (1902) and Impossible Voyage (1904). While most early films were actualities, he took an innovative, non-realist approach to the medium, employing its unique capacities for altering space and time to produce allegorical and dream imagery. He is sometimes called the first cinemagician due to his pioneering work in special effects, including the stop-trick film, double exposure, split screen, dissolve, and superimposition.
Méliès launched his entertainment career as a magician in the arcades of late 19th-century Paris. In 1888 he purchased the Théâtre Robert-Houdin, the most famous magic theater at the time, which came complete with stage props, illusions, automata (whose parts he used to build his first film camera), and performers, including Jeanne d’Alcy, who became his muse, long-time mistress, and second wife. The performance skills that he developed in the theater were later incorporated into filmmaking, an occupation that he began pursuing passionately after attending the première screening of the Lumière brothers’ Cinématographe at the Grand Café in 1895. A year later, he helped to found the Star Film Company and built what is considered the first film studio of the silent period, whose main stage area featured a steel frame surrounded by glass walls to capture the sunlight.
Tokyo Monogatari; 東京物語
[Tokyo Story] (1953)
Authors: Anderson Joel Neville 
Published: September 2018

Tokyo Monogatari [Tokyo Story] (1953) is a Japanese family drama co-written and directed by Ozu Yasujiro at Shochiku Studios. Renowned as one of the greatest films ever made, Tokyo Story regularly tops "best film" lists devised by domestic and international critics alike.
Tokyo Story portrays three generations of the Hirayama family who are brought together by the visit of their retired grandparents to postwar Tokyo from the town of Onomichi. The elderly couple (Ryu Chishu and Higashiyama Chieko) receive little attention from their children who are preoccupied with work and their own young children. Upon returning home, the grandmother falls ill and dies. Their mistreatment is contrasted with the generosity of their veteran son’s widow (Hara Setsuko), who the grandfather encourages to remarry in order to live a happy life. Ozu’s films, including Tokyo Story, employ archetypal narratives that chart shifting family relations in Japanese modernity. Often ending where they begin, these stories appear circular. However, Donald Richie describes them as spiral narratives that do not close the circle completely, "often beginning a new if similar film in the final minutes" (Richie 1974: 161). Ozu has been credited with applying traditional Japanese aesthetics to modern film form (including narrative ellipses and negative space in composition), and for emulating early Hollywood comedies—Tokyo Story is itself partially inspired by Leo McCarey’s Make Way for Tomorrow (1937).
Wajda, Andrzej (1926--)
Authors: Ionita Maria 
Published: September 2018

Andrezj Wajda is a Polish film and theater director, best known for his politically engaged films exploring Polish history, and his collaboration with the actor Zbigniew Cybulski.
In 1940 Wajda’s father was killed by the Soviets in the Katyn Forest massacre. In 1942 he joined the Polish Resistance, fighting in the Army of the Interior, which had ties to the Polish government in exile in London, rather than to the Soviet Union. He would later translate some of his wartime experiences in his highly acclaimed film trilogy, A Generation (1955), Kanał (1957), and Ashes and Diamonds (1958).
The heroes of these movies are young and desperate: in A Generation they are communist partisans. In Kanał they are Jewish fighters during the bloody Warsaw Ghetto uprising. The intensity and passion of their struggle stands in stark contrast to the historical hell they are traversing (Kanał’s descent into the Warsaw sewers is shot to resemble a Dantean inferno). Nowhere is this more evident than in the masterful Ashes and Diamonds, which takes place in the immediate aftermath of the war and details a minor episode in the murky struggle for power between the communist partisans and the Army of the Interior.
Acéphale
Authors: Elder Bruce 
Published: September 2018

The name Acéphale refers to two related projects: one is a journal, founded by Georges Bataille (1887–1962), published between 1936 and 1939, whose articles often extolled Friedrich Nietzsche’s philosophy; the second refers to a secret society that formed around Bataille. That the term derives from the Greek ἀκέφαλος (akephalos, "headless") made it an appropriate name for the counter-religion Bataille aimed at founding to revitalize the mythic experience of plenitude: the head, Bataille maintained, stands for hierarchical organization and God, so the society and journal that gave the gnostic-inflected counter-religion expression should be headless.
Bataille’s interest in an atheological counter-religion was grounded in the principle of expenditure that he saw manifested in unproductive forms of consumption, which have no end beyond themselves, and thereby constitute an irrecoverable loss. This anti-Platonic, anti-renascence social body would be headless because it would recover, within the isolation that confines modern humans, the vitalizing experience of the sacred—that is, of a privileged moment of communal unity and convulsive communication of ordinarily suppressed sensations. It would headless, too, because the Dionysian-orgiastic rituals of the secret society would be aimed against both reason and identity. Bataille’s conviction that ultimate expenditure is "the gift of the self" led the participants in Acéphale to an interest in sacrifice.
Abbott, Berenice (1898–1991)
Authors: Miller Sarah M. 
Published: September 2018

Berenice Abbott was a photographer, theorist, teacher, and inventor who first learned photography as Man Ray’s studio assistant in Paris. In 1926, she established an independent portraiture studio in Paris, attracting clients from international avant-garde circles. She befriended French photographer Eugène Atget and, after his death, acquired thousands of his prints and negatives with help from Julien Levy. Through her advocacy, Atget’s oeuvre became a touchstone for avant-garde and documentary photography in Europe and the United States.
Returning to the United States in 1929, Abbott embarked on a study of New York City titled Changing New York (supported by the Federal Art Project 1935–1939), while developing unique theories of documentary photography and realism predicated on "communicative interaction". She taught photography at the New School for Social Research and was active in the Photo League, which comprised a number of New York photographers who had similar political, social, and aesthetic interests. Often collaborating with Elizabeth McCausland, she authored pioneering essays about the history and theory of photography including the pedagogical text, A Guide to Better Photography (1941).
Prudencio, Cergio (1955--)
Authors: Juarez Camila 
Published: September 2018

Cergio Prudencio was a composer, director, researcher, and teacher. He studied Latin American Contemporary Music Courses at the Bolivian Catholic University and participated in the Venezuelan National Youth Orchestra. Prudencio studied under Carlos Rosso, Alberto Villalpando, Rubén Vartañán, Coriún Aharonian, and José Antonio Abreu. He also served as a resident composer in Australia (1996), Germany (2001), and Italy (2007), was awarded a Guggenheim Foundation Fellowship (2008/9), and has received assignments from the Perth Festival (Australia, 1996), the Pro Helvetia Foundation (Switzerland, 1997), the Donaueschingen Musiktage Festival (Germany, 1999), the TaG Ensemble (Switzerland, 2001), the Buenos Aires Contemporary Music Festival (2003), and the Klangspuren Festival (Austria, 2009).
Prudencio’s music establishes a dialogue between Andean and European avant-garde traditions. In 1980, Prudencio cofounded and directed the Experimental Orchestra of Indigenous Instruments (OEIN): an ideological, musical, and pedagogical project that asserts the Aimara music tradition from the Bolivian Altiplano by means of a contemporary expression. OEIN’s program links local materials and forms to procedural techniques from avant-garde contemporary music. The OEIN has achieved wide international renown, performing in Uruguay, Argentina, Brazil, Mexico and Colombia, as well as Germany, Austria, Switzerland, Australia, Italy, and Korea.
Serialism/Twelve-Tone Technique
Authors: Whittall Arnold 
Published: September 2018

Serialism or the twelve-tone technique is a way of composing music that involves replacing major and minor scales with a fixed ordering of the pitches in the chromatic scale. This generates a structure that, in principle, remains in place throughout the composition in question.
Prior to the modernist age, the idea that a musical composition should establish a fixed order of pitches, intervals, rhythmic values, and dynamic values would have seemed intolerably restrictive and mechanical. The additional requirement that a composition must maintain specific serial ordering throughout, either through literal repetition or by using any of the possible transpositions of the chosen series (thereby changing the pitch sequence while retaining the interval sequence) would have reinforced such negative conclusions and connotations. In earlier music, such fixed ordering applied only when motifs or themes were stated and literally repeated. Earlier music generally featured an interest more in the transformation and development of multiple, contrasting themes than in the reiteration of a single musical idea. Music preceding modernism made use of a major/minor key system based on a ‘‘common practice’’ of harmonic identities and functions. While distinct from a composition’s thematic material, this gave composers a comprehensive set of musical procedures from which to create coherent thematic processes.
Direct Carving
Authors: Cribb Ruth 
Published: September 2018

Developed in the 20th century, direct carving (taille directe in French) is a carving technique where the sculptor works with hammer and chisel that comes into direct contact with a block of stone or wood. Constantin Brancusi’s The Kiss (1907) is often cited as one of the earliest examples of direct carving. Though models were sometimes used, direct carving gave sculptors close and intimate contact with their materials. By using this direct method, sculptors rejected academic traditions where sculptors created clay models that were then scaled and transferred to marble by a workshop of technicians. Direct carving became a concept closely aligned with modernism as the 20th century progressed. In the United Kingdom (where the method gained significant traction due to the legacy of hand making of the Arts and Crafts movement), sculptures defined as modern were generally expected to utilize direct carving as their primary technique.
Direct carving allowed sculptors to reject the notion of stone as a representation of flesh; rather they professed themselves to be representing stone and remaining true to the material by self-consciously highlighting the act of manipulating stone. For most of those practicing direct carving, it became a way of knowing the material, usually a local one, and of working with that material to "reveal" the work of art within.
Dupain, Maxwell Spencer (1911–1992)
Authors: Ennis Helen 
Published: September 2018

Australian photographer Max Dupain distinguished himself as a professional and artistic presence from the 1930s well into the 1970s. His earliest works were in the Pictorialist style, but by the mid-1930s he had become an ardent modernist—using sharp focus, bold and geometric compositions, and contemporary subject matter. Dupain was strongly influenced by vitalist philosophy, the work of Australian artist Norman Lindsay, the photography of Man Ray, Margaret Bourke-White, and Edward Steichen, as well as writer D.H. Lawrence.
The son of Ena and George Dupain, Max Dupain lived in Sydney his entire life. He joined the studio of Cecil Bostock in 1930, taking night classes at East Sydney Technical College and the Julian Ashton School of Art. In 1934 he opened his own studio and quickly established his reputation in fashion, advertising, and celebrity portraiture. After World War II he reoriented his practice towards industry and government assignments, favoring a documentary approach. During the 1960s and 1970s, he specialized in architectural photography. Dupain’s photography is distinguished by its physicality and embrace of Australian sunlight and conditions (as seen in Sunbaker, his best-known work). He also regularly wrote on photography, contributing spirited reviews to the Sydney Morning Herald. His work was widely exhibited and published and is held in numerous public collections.
Guston, Philip (1913–1980)
Authors: Pocock Antonia 
Published: September 2018

American artist Philip Guston is best known for the comic-strip-inspired paintings he created during the last decade of his life. Though they prompted scathing reviews when first exhibited in 1970, Guston’s late works became a precedent for 1980s Neo-expressionism.
Born Philip Goldstein to Jewish-Ukrainian immigrants in Montreal, Guston was raised in Los Angeles, where he attended the Otis Art Institute, as well as the Manual Arts High School with Jackson Pollock. Inspired by Italian Renaissance frescoes and Mexican muralism, Guston began his career painting political murals—first in California and Mexico, and later in New York as part of the WPA’s Federal Art Project. While teaching at the University of Iowa and Washington University in St Louis in the 1940s, Guston gained critical acclaim for his allegorical street scenes. In 1951, he moved to New York and began producing gestural abstractions in the manner of Willem de Kooning. His return to figuration in the late 1960s, prompted by the social and political unrest of the period, combines the iconography of his early paintings; specifically, these works feature hooded figures and brick walls, with an expressionist style marked by his signature short, thick brushstrokes.
Hassan, Faiq (1914–1992)
Authors: Floyd Tiffany Renee 
Published: September 2018

Faiq Hassan was among the pioneers of Iraqi modern art. Along with Jewad Selim and Hafidh al-Droubi, Hassan held a premier position in the development of the modern art movement in Iraq and had a major influence on succeeding generations.
Born in Baghdad, Hassan became interested in art at a young age. His talent was evident and he became the second recipient of a government scholarship to study art abroad. While studying at the Ecole Nationale Supérieure des Beaux-Arts in Paris, Hassan was exposed to European modernism and produced copies of masterworks. When he returned to Baghdad after receiving his degree in 1938, Hassan took a position at the Institute of Fine Arts as the director of the Department of Painting and Sculpture. In this position, Hassan was able to focus on the education of young Iraqi artists, and he went to great lengths to ensure that his students had adequate equipment and instruction.
Husseini, Jumana (1932--)
Authors: Sherwell Tina 
Published: September 2018

Jumana Husseini was born in 1932 in Jerusalem. Her family was forced to leave Palestine during the 1948 war, re-settling in Lebanon where she met and married Ofran Bayazid in 1950. Between 1953–1956 Husseini studied political science at the American University of Beirut, where she discovered her interest in art. She went on to participate in multiple group exhibitions in Lebanon, the Middle East, and Europe, including at the Museum of Modern Art (Tokyo, Japan), The Barbican Centre (London, UK), and the Institute de Monde Arabe (Paris, France). In 1991 Husseini studied stained glass art at the Ecole Nationale Supérieure des Beaux-Arts in Paris.
Her early works give the impression of peering from a window at scenes of flowers, trees, minarets, and the cityscape of Jerusalem, each element of the compositions represented with icon-like reverence. Simplified architectural forms comprise a rather idealized city of memory, detailed in a lyrical style, as if frozen in time and void of deterioration. Over the years these series grew more simplified and serene. Following the devastating events of the war in Lebanon, Husseini shifted to abstraction, working in collage and layers of script, which appear as palimpsests. Her work is currently held in numerous private collections.
Jader, Khalid al- (1922–1988)
Authors: Floyd Tiffany Renee 
Published: September 2018

Dr Khalid al-Jader was born in Baghdad, Iraq. He had a distinguished career as an Iraqi artist, scholar, and administrator throughout the mid-20th century. He gained degrees in both law and art by studying at the Institute of Fine Arts and the College of Law in Baghdad simultaneously. He then traveled to Paris in 1954 where he subsequently received a PhD in Islamic Art from the Sorbonne and joined the Salon de Paris. After returning to Baghdad, al-Jader held several prominent institutional positions, including deanship at the Institute of Fine Arts and the Academy of Fine Arts, which he helped to found. He was also the chair of the National Committee for Plastic Art with UNESCO. As an administrator, he was known to hold his students and employees to a high standard and was meticulous in his responsibilities.
Adding to this impressive résumé, al-Jader was also an active participant in several art groups, such as the Pioneers, the Impressionists, and the Society of Iraqi Plastic Artists. Palestinian writer Jabra Ibrahim Jabra described al-Jader’s artistic production as having a distinct Iraqi nature; indeed, his canvases are focused on the urban inlets of Baghdad, as well as the crannies of Iraqi village life. He interprets these scenes through sweeping brushstrokes, as well as quick, concentrated strokes of color. Al-Jader exhibited his own work extensively both locally and internationally. His works have been displayed in France, Germany, Saudi Arabia, Poland, Russia, Poland, and Denmark.