bluuebunny/crossref_metadata_2025_split huggingface dataset:
England Calling
Authors: Thompson Gordon Ross 
Published: October 2024

Abstract
Migration between countries and continents characterized the second half of the twentieth century, and sixties British pop reflected these intercultural exchanges. Americans PJ Proby and Geno Washington arrived in the UK to work British stages and make records, as did Los Bravos from Spain and the Easybeats from Australia. Eric Burdon, in contrast, moved to the United States and recruited British musicians for a new version of the Animals. Commonwealth immigrants, for their part, brought optimism and a vast range of ideas to London. The Equals and the Foundations proved successful in creating Black British versions of American rhythm-and-blues, while others brought ska, rocksteady, and reggae to UK clubs and broadcasts. The Skatalites and Desmond Dekker attracted both Mods and the immigrant audiences, while the Equals moonlighted as the Four Gees to offer a ruder version of themselves.
Folk Pop
Authors: Thompson Gordon Ross 
Published: October 2024

Abstract
Many musicians responded to the urge to bring elements of folk music into pop. Cat Stevens commented on the urban condition with songs describing personal relations, meaningless employment, and personal resentment. The three Gibb brothers used folk forms such as the broadside ballad to reference recent events while ornamenting them with orchestras, Julie Driscoll and Brian Auger took songs by Bob Dylan and Donovan Leitch and gave them psychedelic jazz-tinged interpretations, and the Incredible String Band incorporated musical ideas from around the world as they reimagined folk forms as pop music. Some of the most direct importations of folk material into pop contexts came when Fairport Convention created British folk-rock versions of both traditional ballads and Bob Dylan. In comparison, Pentangle combined folk and jazz ideas with instrumental virtuosity.
English Tales
Authors: Thompson Gordon Ross 
Published: October 2024

Abstract
Toward the end of the sixties, some songwriters, musicians, and producers began using the word “opera” to suggest that they were bringing pop music aesthetics to an upper-class convention. In the summer of 1967, Mark Wirtz began writing and producing music with singer Keith West that claimed to be the beginnings of an opera while the Pretty Things’ Phil May came up with the idea of songs depicting scenes from the story of a working-class lad. Peter Townshend tells a story about a child who witnesses a murder, is told to suppress the memory of the experience, and consequently retreats into a semicatatonic state, only to be released through self-realization. Meanwhile, Ray Davies first described individuals connected to an idealized English village green and developed a televised musical about a family’s travails during the twentieth century.
Value Recruitment Defined
Authors: Nelson Thomas E. 
Published: October 2024

Abstract
This chapter begins by reviewing arguments from political theory and philosophy that foreground values in the analysis of how political systems operate. It also explains how political debate and rhetoric invoke and evoke social and political values. It is argued that value recruitment helps the partisan associate values with their position, dissociate values from the opponent’s position, and prioritize their values when they compete with the opponents. Next, the chapter describes three families of value recruitment tactics: framing, social cuing, and value qualification. The chapter concludes by previewing the two case studies and outlining the balance between qualitative (interviews) and quantitative (experiments) research methods used in the project.
Teaching Intelligent Design
Authors: Nelson Thomas E. 
Published: October 2024

Abstract
This chapter provides a concise history of the intelligent design (ID) movement in the United States. It shows the link between ID, creationism, and anti-evolutionism. The chapter describes the key values used in the debate and how both supporters and opponents of ID have recruited them. It makes the case that ID has been more successful than creationism and creation science because its promoters have obscured the link between ID and religion while emphasizing the links between ID and core values such as freedom, fairness, science, and education. The chapter discusses how this strategy has put evolution’s backers on the defensive because they must answer the accusation that they oppose these universal ideals. ID opponents have responded in the main by trying to reclaim the value of science and arguing that some appealing values must take lower priority in science class.
Intelligent Design Experiments
Authors: Nelson Thomas E. 
Published: October 2024

Abstract
This chapter describes the methods and findings of nine experiments conducted in laboratory, survey, and field settings. These experiments tested hypotheses about the psychological impact of value recruitment, including, most important, how value recruitment shapes attitudes about the intelligent design (ID) issue. The chapter describes novel instruments that were used to measure participants’ perceptions of how important various values are to the issue and to their personal opinions. There is evidence that all three broad categories of value recruitment tactics—framing, social cuing, and value qualification—have discernible impacts on respondents’ attitudes about the ID issue. For example, the experiments show that framing can affect respondents’ views about whether science should concern itself with supernatural forces.
James Bond's Socialist Rivals
Authors: Amar Tarik Cyril 
Published: October 2024

Abstract
Focusing on three blockbuster television series from the Soviet Union, Poland, and East Germany, James Bond’s Socialist Rivals recovers an essential aspect of the history of popular culture in Europe’s Cold War East. As in the West, fictitious spy characters achieved mass appeal through film. In their countries, and often beyond them as well, the protagonists of Seventeen Moments of Spring, Stakes Greater than Life, and The Invisible Visor were as prominent as super-agent icon James Bond on the other side of the Iron Curtain. The actors playing them were stars, and their roles as spy heroes defined their public image. For authoritarian political regimes in search of popular legitimacy, these shows offered an ideal blend merging ideological messages and suspenseful entertainment. Shaped by their cultural and political backgrounds in three societies in a heterogeneous postwar Eastern Europe, they also came to reflect different responses to the Bond phenomenon in the West.
Introduction
Authors: Amar Tarik Cyril 
Published: October 2024

Abstract
This introduction lays out the subject matter of this work—television spy stories in the Cold War East—and the approach used—combining political and cultural history. It lists the three series that are at the center of the study—Seventeen Moments of Spring (from the Soviet Union), Stakes Greater than Life (Poland), and The Invisible Visor (East Germany)—and discusses them in the context of the global history of Cold War popular culture, in general, in both East and West. It also locates them in longer historical trajectories—most importantly, the rise of the spy as a hero of popular culture—that have preceded and outlasted the Cold War. The concept of the Cold War is explicated, with an emphasis on its everyday effects and power to reshape imaginaries. The introduction also points out the significance of the global Bond phenomenon in the context of Soviet-dominated Eastern Europe.
A “Zone of Constant Compromise”
Authors: Amar Tarik Cyril 
Published: October 2024

Abstract
Chapter 2 of James Bond’s Socialist Rivals details the making of the film series Stawka. It discusses the politics shaping the series. Issues that arose from the beginning clustered around several recurring themes: competition with the West; the true nature of the hero Hans Kloss’s loyalty and allegiance; the depiction of the Germans and of Nazism; and the image of Polish society under occupation. The popularity of James Bond in the West raised questions regarding how far the approach of the Bond movies could be emulated and, if not, what Polish intelligence movies should rely on instead, The chapter also analyzes the influence of the early Bond movies, Poland’s memory of World War II and occupation, and the relationship between, on one side, Poland and the Soviet Union (historically, the Russian Empire) and, on the other, Poland and Germany (including Nazi Germany).
Conclusion
Authors: Amar Tarik Cyril 
Published: October 2024

Abstract
The conclusion of James Bond’s Socialist Rivals summarizes its findings regarding the three series at the center of the study. It puts them in the context of the rise of the spy to popular-culture hero. While this development began before the Cold War, to a large extent, this is a story of Cold War popular culture. Comparisons of fictional Cold War spy heroes from the East with James Bond are largely misleading, the chapter explains, because the Western Bond phenomenon exerted a complicated influence. The East’s spy heroes were sui generis and cannot be reduced to Bond imitations. The chapter argues that the history of the spy as a hero of global popular culture did not end with the Cold War. Neither did the special relationship between the media and intelligence services seeking to polish their image, and film and television still play a key role in these efforts.
Introduction
Authors: Peppard Michael 
Published: October 2024

Abstract
For Catholics, the Bible is rarely read as an individual printed book. This introduction describes how the Catholic Bible will be interpreted through the categories of story, imagination, and sacrament. While the book will eventually describe and explain Catholic methods of reading and scholarship, the majority of its chapters will illuminate how Catholic prayers, narratives, rituals, and artistic traditions are infused with biblical themes. That is to say, the Catholic Bible exists primarily in so far as it is proclaimed, prayed, embodied, and re-imagined. For readers unacquainted with the basics of the Bible, this chapter offers a brief history of the Jewish and Christian scriptures. It further explains the contents of the Catholic canon of the Bible and some general principles of its interpretation. Finally, it presents an overview of the book’s approach, author, audience, and brief chapter summaries.
The Bible in Catholic Prayer and Devotion
Authors: Peppard Michael 
Published: October 2024

Abstract
As this book transitions from the Bible in Catholic worship to the Bible in Catholic imagination, an appropriate bridge is the concept of visualization. This chapter covers visualization in common devotional prayers, such as the rosary, the Stations of the Cross, and the prayers of the Divine Office (also called the Liturgy of the Hours). The rosary has been the most popular devotional practice, which draws Catholics into meditative visualization on biblical scenes. These are interlaced with non-biblical scenes, too, especially those about the Virgin Mary. Prominent pilgrimages and festivals, such as Las Posadas and the Feast of Our Lady of Guadalupe for Latin American Catholic communities, show how rich biblical cultures are embodied in narratives of Marian devotion and national identity.
Poetry, Fiction, Song, and Screen
Authors: Peppard Michael 
Published: October 2024

Abstract
Just as the Bible infuses Catholic worship, prayer, and visual arts, it also does so with literature, lyrics, and film. This chapter shows how producers of fiction from Catholic regions of Europe and the Americas have remixed biblical characters and themes into new guises with powerful effects. As with other media we have analyzed, Catholic fiction draws biblical inspiration primarily from the Gospels, Psalms, prophets, and stories from Genesis—biblical sections emphasized also in Catholic worship and visual culture. Selected for in-depth analysis are examples from the poetry of Dante, the short stories of Flannery O’Connor, the lyrics of Bruce Springsteen, the films of Martin Scorsese, and the television show Daredevil. These literary and cinematic artworks share moral and tonal affinities with one another; and this chapter shows how one directly influences the next, in a chain of succession through the Bible and the Catholic literary imagination.
Conclusion
Authors: Peppard Michael 
Published: October 2024

Abstract
The book concludes by reflecting on a tiny biblical story with an outsized influence in Catholicism: the Annunciation to Mary. The many manifestations of the Annunciation show how Jesus and Mary remain united at the center of the Catholic biblical tradition. This conclusion uses the story of the Annunciation to think back through each chapter of the book in succession. The Annunciation embodies how Catholic traditions can use a few verses to refract, like a prism, manifold meanings in prayer, imagination, and doctrine. When combined with the Pietà of this book’s Introduction, these two scenes encompass the biblical interpretation enacted by story, imagination, sacrament—and, yes, occasionally by reading—during each church year and throughout a Catholic life.
Editing Chaucer, 1924–28
Authors: Bowers John M. , Steffensen Peter 
Published: October 2024

Abstract
While still at Leeds, Tolkien was commissioned to produce the Clarendon edition Selections from Chaucer’s Poetry and Prose, co-edited with George S. Gordon. Eight newly discovered letters in Oxford University Press’s archives trace the history of the project from 1924 until 1951. Working from Walter W. Skeat’s 1894 Complete Works of Geoffrey Chaucer in six volumes, Tolkien completed the text and glossary, but his nearly 200 pages of notes doomed the edition, as did his lengthy digressions such as one on “Chaucer and the Alliterative Tradition”. Besides headnotes in his commentary, this chapter includes selected transcriptions from Tolkien’s glossary and annotations for his Clarendon Chaucer.
Merton Professor of Chaucer, 1947–54
Authors: Bowers John M. , Steffensen Peter 
Published: October 2024

Abstract
After twenty years as Oxford’s Professor of Anglo-Saxon when he published his classic lecture “Beowulf: The Monsters and the Critics”, Tolkien was elected Merton Professor of Language and Literature in 1945 and undertook his new duties lecturing on the assigned Chaucer texts. His newly unearthed letter from February 1945 dismisses the notion that the poet was involved in any Wycliffite activities; Tolkien’s later lectures would therefore exclude any consideration of Chaucer’s involvement in religious or political controversaries. In 1947 he sketched out his first lectures on the Clerk’s Tale and the Pardoner’s Tale, expanding and revising these as the Michaelmas term unfolded. The next year when the Parlement of Foules replaced the Clerk’s Tale, Tolkien simply took his notes on the dream vision from his long-stalled Clarendon Chaucer and expanded their commentaries for use in the lecture hall. He revised his notes on the Pardoner’s Tale as he continued delivering these lectures from 1951 through Trinity term 1954. This chapter provides a sampling from these teaching notes when legible.
The Pardoner’s Tale: The Story and its Form, 1955–56
Authors: Bowers John M. , Steffensen Peter 
Published: October 2024

Abstract
After preparing The Return of the King for publication, Tolkien seems to have realized that he had told much the same archetypal story as Chaucer in his Pardoner’s Tale about men wrestling to the death over a gold treasure. Abandoning his usual word studies, his last lectures on this Canterbury Tale engaged in narrative analysis – implicitly arguing his own superiority as a storyteller over Chaucer – and thus he reversed his earlier judgment “We here come to one of Chaucer's best told tales.” These lectures were carefully revised in a fair copy transcribed here for the first time in full. Fantasy writer Diana Wynne Jones attended these lectures as an Oxford undergraduate and left an account of her memories of them.
The Axe’s Heart Work
Authors: Bielfeldt Ruth 
Published: October 2024

Abstract
Hephaestus’ animated creations and tools in Book 18 of the Iliad have garnered significant attention and debate in recent scholarship. Is the god’s smithy merely a poet’s vehicle for rhetorical vividness? Is it an expression of divine magic, or even an early example of robotics? This chapter takes a different approach, examining Hephaestus’ creations within the broader phenomenological framework of human craftsmanship. The study focuses on three extended similes centred on timberwork (Il. 3.60–63; Il. 15.410–413; Il. 17.742–746). The argument posits that the Iliad presents a clear concept of technological animation linked to the notion of the automaton—self-propelled material energy—rooted in the embodied experience of craft. The well-known simile (Il. 3.60–63), likening Hector’s heart to a carpenter’s axe, serves as the primary text for exploring this concept. It depicts a dynamic kinaesthetic event where human, material, and natural forces converge and resonate. Human manual labour emerges as a process that invokes a new sense of selfhood, intertwining somatic, cognitive, and psychological dimensions. By blurring boundaries between human and machine, body and matter, organic and non-living, and the inner and outer worlds, craft similes shed light on the anthropology of Homeric craftsmanship—a technique not of domination, but of animating the connection between humans and their world. Consequently, they provide valuable material for reader-response studies influenced by enactivist theories of cognition.
Automata and Other Technological Devices in Trimalchio’s Dinner-Party
Authors: Grillo Francesco , Panayotakis Costas 
Published: October 2024

Abstract
The wealthy freedman Trimalchio in Petronius’ Satyricon seems to be very fond of automata and other such animated devices: these include (but are not confined to) a clock and a trumpeter in Trimalchio’s dining-room (26.9); a celebrated zodiac dish (35.1–6 and 36.1–4) which contains birds, sow᾿s udders, a winged hare made to look like Pegasus, and fish swimming in a spicy sauce flowing out of the wine-skins of four figures of the satyr Marsyas at the corners of the dish; a self-opening ceiling that lets out a hoop adorned with golden crowns and perfumes (60.1–3); and a pastry figure of Priapus holding fruit and grapes which spurts out saffron when touched (60.4–6). These constructions are not merely decorative items but play an active role in Trimalchio’s house and have meaning in Petronius’ text. Considering the substantial scholarly advances that have been made recently in the field of technological animation ((water-)clocks, fountains, pneumatic devices, mobile automata) in the ancient world, we discuss the mechanics behind Trimalchio’s mechanical equipment and think about their originality, their value as sophisticated apparatus, and their usefulness as symbols of luxury and status. We also explore their role in the menacing atmosphere of Trimalchio’s dining-room and in the narrative of the Satyricon as a whole, bearing in mind that the information about Trimalchio’s automata is conveyed to us though the ambiguous and unreliable narrator Encolpius in a state of gradually increasing inebriation and panic at his inability to cope with Trimalchio’s world and with what it represents.
Affecting Artifacts
Authors: Steiner Deborah 
Published: October 2024

Abstract
This chapter seeks to reorient discussions of seemingly animated artifacts in the archaic and early Classical sources, arguing that the organic and manufactured are not two opposing categories, but that in their physical form, matter, function, ornamentation, and interactions with the environments around them, artifacts in metal, clay, and paint reflect and broadcast ideas about their incipient vitality and the embodied cognition they possess. Drawing on the recent theorists of ‘New Materialism’, I explore instances where, in poetic, visual, and the archaeological remains, these more symbiotic relations between humans and things manifest themselves, inviting us to see our bodies as composites, heterogeneous assemblages onto and into which tools can be adjoined and amalgamated by means of their users’ affective engagement with them. My discussion privileges three sites where these interactions occur: the tripod cauldrons fashioned by Hephaestus in Il. 18.373–381 and the material evidence for these in the early visual and archaeological sources; the bellows used by the craftsman-god (18. 468–473) in the creation of Achilles’ arms; and the objects—principally the furnace and the artisan’s other crafting tools—that populate the spaces where he plies his labours. Here we not only witness the two-way trajectory observed so far—even as the individuals acting in these scenes undergo objectivization, the artifacts and implements with which they engage are anthropomorphized—but this portion of my discussion additionally observes how those who typically work in this space, the artisan, slave, and satyr, are all figures whom our sources depict as hybrid or marginal in their bodily constitution, origins, ethos, and status.
Visualizing Time
Authors: Kim SeungJung 
Published: October 2024

Abstract
The Greeks had two words for time: the measurable, uniform time that is chronos, and the hard-to-grasp, opportune moment that is kairos. As the sole visual personification of a time concept in Classical and Early Hellenistic Greece, the celebrated sculpture of Kairos by Lysippos embodies the aesthetic principles of the artist—perhaps Kairos was his own ‘canon’, envisioned as a direct response to that of his predecessor Polykleitos. When encountering the sculpture in its reconstructed 3D form, it becomes clear that its technical tour de force, especially in its composition, balance, and weight distribution as well as its possible mechanization, must be understood within the context of fourth-century scientific and technological advancements, including that of astronomy. By reviewing more recent ideas regarding fourth-century development of the mechanistic arts—those involving Archytas and Eudoxus as well as time-measuring or time-telling devices that signal a more focused societal awareness of short-term temporality—and by revisiting Aristotle’s relationship to the branch of mechanics, the Lysippan Kairos is re-evaluated as a visual expression of the fleeting concept of time—one that is both an essential part of the contemporary lived experience as well as a product of the contemporary philosophical and scientific landscape.