bluuebunny/crossref_metadata_2025_split huggingface dataset:
Canagliflozin Compared With Sitagliptin for Patients With Type 2 Diabetes Who Do Not Have Adequate Glycemic Control With Metformin Plus Sulfonylurea
Authors: Schernthaner Guntram , Gross Jorge L. , Rosenstock Julio , Guarisco Michael , Fu Min , Yee Jacqueline , Kawaguchi Masato , Canovatchel William , Meininger Gary 
Published: April 2013

OBJECTIVE
To evaluate the efficacy and safety of canagliflozin, a sodium glucose cotransporter 2 inhibitor, compared with sitagliptin in subjects with type 2 diabetes inadequately controlled with metformin plus sulfonylurea.

RESEARCH DESIGN AND METHODS
In this 52-week, randomized, double-blind, active-controlled, phase 3 study, subjects using stable metformin plus sulfonylurea (N = 755) received canagliflozin 300 mg or sitagliptin 100 mg daily. Primary end point was change from baseline in A1C at 52 weeks. Secondary end points included change in fasting plasma glucose (FPG) and systolic blood pressure (BP), and percent change in body weight, triglycerides, and HDL cholesterol. Safety was assessed based on adverse event (AE) reports.

RESULTS
At 52 weeks, canagliflozin 300 mg demonstrated noninferiority and, in a subsequent assessment, showed superiority to sitagliptin 100 mg in reducing A1C (−1.03% [−11.3 mmol/mol] and −0.66% [−7.2 mmol/mol], respectively; least squares mean difference between groups, −0.37% [95% CI, −0.50 to −0.25] or −4.0 mmol/mol [−5.5 to −2.7]). Greater reductions in FPG, body weight, and systolic BP were observed with canagliflozin versus sitagliptin (P &lt; 0.001). Overall AE rates were similar with canagliflozin (76.7%) and sitagliptin (77.5%); incidence of serious AEs and AE-related discontinuations was low for both groups. Higher incidences of genital mycotic infections and osmotic diuresis–related AEs were observed with canagliflozin, which led to one discontinuation. Hypoglycemia rates were similar in both groups.

CONCLUSIONS
Findings suggest that canagliflozin may be a new therapeutic tool providing better improvement in glycemic control and body weight reduction than sitagliptin, but with increased genital infections in subjects with type 2 diabetes using metformin plus sulfonylurea.
O'Neill's Use, Of Dante In The Fountain And The Hairy Ape
Authors: Amend Victor 
Published: April 2013

IF HAROLD PINTER REPRESENTS THE PEAK of the post-war English drama, then that drama is not good enough. Good as he is, he nevertheless lacks that quality of greatness we so ardently desire in great plays that move us deeply. And in the phrase, "great plays that move us deeply," I have probably betrayed my own shortcomings in my response to Pinter as well as what in my opinion are his deficiencies. There can be no doubt that Pinter is the most accomplished dramatist writing in English for the Theater of the Absurd. His nearest rival is Edward Albee, who, like Pinter, can write a play with beautifully ambiguous overtones of meaning—The Sandbox, for instance—and who is very skillful in his use of the vernacular, but sometimes, unlike Pinter, lets the words flow on in a flood. Pinter, as a playwright of the absurd, invariably prefers the tense, symbolic manner of Samuel Beckett. The tight economy of his writing emphasizes the tension in the situations of his plays. A large part of his accomplishment is his ability to persuade us that he is presenting a life-like situation in traditionally realistic terms; that is, until we are jolted into an awareness of utter absurdity. Isolated elements in his plays are intensely realistic; the combination of elements is utterly absurd.
Book Reviews
Authors: Bowers Faubion , Flanagan John , Cohn Ruby , Mckee Mary , Vowles Richard 
Published: April 2013

E. R. Sarachchandra, The Folk Drama Of Ceylon, reviewed by Faubion Bowers Walter J. Meserve, Discussions Of American Drama, reviewed by John T. Flanagan Guy Dumur ed., Histoire Des Spectacles, reviewed by Ruby Cohn Haig P. Manoogian, The Film-Maker's Art, reviewed by Mary J. Mckee August Strindberg, Open Letters To The Intimate Theater, reviewed by Richard B. Vowles
Linda's Role In Death Of A Salesman
Authors: Bliquez Guerin 
Published: April 2013

MRS. WILLY LOMAN HAS A MORE FORCEFUL ROLE in Death of a Salesman than most commentators have thus far noted. To overlook the part she plays in her husband's pathetic downfall is to miss one of the most profound levels in Arthur Miller's subtle structuring of his tragedy. Linda's facility for prodding Willy to his doom is what gives the play its direction and its impetus. Death of A Salesman is more than the story of one man's failure. Its theme includes the disintegration of a family in a particular social world, brought about by self-blindness and a refusal to know or to acknowledge others. It demonstrates how a fear of the responsibilities of knowledge can lead only to ruin. Miller's ironic rendering of Linda as the bulwark deserves closer examination.
Friedrich DÜRrenmatt As Wolfgang Schwitter
Authors: Usmiani Renate 
Published: April 2013

An Autobiographical Interpretation of The Meteor Dürrenmatt's latest play, The Meteor, has proven a failure with audiences and critics alike, both in Zurich, where it was first performed in the winter of 1965, and in London, where it was premiered the following season. This may be due to the unusual theme of the play, centering as it does around the heightened sense of life developed by a dying man who keeps on mysteriously resurrecting from clinical deaths while all around him healthy men inexplicably die. The general feeling of puzzlement and rejection is perhaps best summed up by Martin Browne when he says, referring to the play's central character, the forever resurrecting Schwitter: "we are unsure whether to take this giant as fact or phantasy ... (and we) don't care." He accuses Diürrenmatt of having failed as a dramatist, since the play is not able to get its audience "involved." Maybe so. But shouldn't we, before bowing to critical opinion, bear in mind Dürrenmatt's dictum (formulated in self-defense though it may be) that "the audience, too, must be evaluated the night of a premiere. The audience fails to pass at least as often as the authors." However, it is not the intention of this article to pass judgment on the literary and dramatic value of the play, nor to discuss the perceptiveness of Durrenmatt's audiences. Rather, I would like to suggest that with the character of Wolfgang Schwitter we have at last been given (consciously or unconsciously) a comprehensive autobiographical statement by an author whose personality has been safely entrenched until now behind the fortress of his apodictic statement "I do not have a biography."
Book Reviews
Authors: Greene David , Cohn Ruby , Hogan Robert , Mcdowell  , Walker Augusta 
Published: April 2013

Donald Torchiana, W. B. Yeats And Georgian Ireland, reviewed by David H. Greene Martin Esslin, Harold Pinter, reviewed by Ruby Cohn Micheal MacLiammóir, All For Hecuba: An Irish Theatrical Autobiography, reviewed by Robert Hogan Ruth Adam, What Shaw Really Said, reviewed by Frederick P. W. Mcdowell Harold Fromm, Bernard Shaw And The Theater In The Nineties: A Study Of Shaw's Dramatic Criticism, reviewed by Frederick P. W. Mcdowell Fred Mayne, The Wit And Satire Of Bernard Shaw, reviewed by Frederick P. W. Mcdowell Walter Kerr, Harold Pinter, reviewed by Augusta Walker
Old And New In London Now
Authors: Kennedy Andrew 
Published: April 2013

CRITICAL JARGON-HIGHBROW AND PHILISTINE IS one of the things parodied in Tom Stoppard's new one-act comedy, The Real Inspector Hound, and it would require some courage to parrot, even approximately,Moon, the second-string critic, who makes this pronouncement about the Agatha Christie-type thriller he has just been watching (from the far side of the stage where another 'audience' confronts the audience): If we examine this more closely, and I think close examination is the best tribute that the play deserves, I think we will find that within the austere framework of what is seen to be on one level a country-house weekend, and what a useful symbol it is, the author has given us-yes, I will go so far-he has given us the human condition. We need not then go so far as to see in the two-level action of the play "the human condition." On the contrary, the play's interest may well lie in the cheerful and seemingly amoral way in which it makes the theatre feed on the theatre withoug urging us to perceive the old analogies between the world and the stage. When, towards the end of the play, the two parodied critics one after another step on the stage, get sucked into the mad logic of a theatrical thriller and assume parts that lead to a quick death by revolver shot, nobody is likely to experience the "felt life" that is always there in Pirandello's theatricality; nor is one invited to recognize some social nightmare as in the somewhat over-obvious metamorphosis of logical-political man into Ionesco's rhinoceros. No-one, not even a critic, needs to feel involved beyond the level of a fine cerebral fal1ce. It is comfortingly classical, as though Sheridan's The Critic were performed in Alice's Looking Glass; and the element of absurdity in the play rests in the comfortingly witty dream where everything is topsy-turvy-the Inspector turns critic, the Critic inspector, and so on-and the words of a card-game are jumbled up into the familiar stage rhubarb. The point is that Stoppard is not only using absurd elements that pre-date the so-called theatre of the absurd, but he plays with the latter—parodistically.
Book Reviews
Authors: Fletcher John , Block Haskell , Gaskell Ronald , Cohn Ruby , Fratti Mario , Miller Jordan , Hogan Robert , Alexander Doris , Steene Brigitta 
Published: April 2013

Ruby Cohn ed., Casebook On Waiting For Godot. The Impact Of Beckett's Modern Classic: Reviews, Reflections, Interpretations, , reviewed by John Fletcher Dorothy Knowles, French Drama Of The Inter-War Years: I9i8-39, reviewed by Haskell M. Block John Russell Brown ed., Modern British Dramatists, reviewed by Ronald Gaskell Phyllis Hartnoll, The Oxford Companion To The Theatre, reviewed by Ruby Cohn Giovanna Capone, Drammi Per Voci, reviewed by Mario Fratti John Henry Raleigh, Twentieth Century Interpretations Of The Iceman Cometh, reviewed by Jordan Y. Miller Brooks Atkinson, The Sean O'Casey Reader: Plays, Autobiographies, Opinions, reviewed by Robert Hogan Chester Clayton Long, The Role Of Nemesis In The Structure Of Selected Plays By Eugene O'Neill, reviewed by Doris Alexander by Niklas Brunius, Goran O Eriksson and Rolf Rembe, Swedish Theatre, reviewed by Brigitta Steene
DÜrrenmatt's Play Strindberg
Authors: Sharp Corona 
Published: April 2013

"PLAY-QUICK MOVEMENT, ACTIVITY" PLAY AREA (in the sense of freedom), play for amusement. (in the sense of pastime), sport, joke, game of chance, match, style of playing, way of acting, stageplay, drama." This definition, rather loosely composed of variously related terms, headed the programme notes of the latest play of Friedrich Dürrenmatt, at its first run in Basel, February-June, 1969. Although prepared by further explanatory notes and illustrations, the audience was surprised by a new dramatic experience, to which some critics took exception. It is only after an overview of Dürrenmatt's concept of "play" as shown in the corpus of his comedies, that one gains a better appreciation of what Play Strindberg aims to achieve.
Arrabal And Surrealism
Authors: Gerstenberger Donna 
Published: April 2013

"My THEATRE IS NOT SURREALIST and is not only realist," declares Fernando Arrabal; "it is realist including the nightmare." Le theatre panique is the term he prefers for it-the theater of panic-playfully suggesting that Pan is the real muse or deity of the theater and seriously reiterating the Artaudian concept that panic should be one of the primary emotions evoked in an audience. No one would deny that there are elements of realism, perhaps even of naturalism, in Arrabal's plays. In fact, it is these very elements, and the recognition they elicit, that give to his work that Kafkaesque or nightmarish quality for which it is partly known. In Guernica~ for example, his play inspired by the Picasso canvas of the same title, such realistic touches as the old woman's being caught in the water closet, the rubble continuing to cascade about the characters, and the simple, earthy dialogue about urination and erection contribute immeasurably to the audience's unconscious realisation that Fanchou and Lira are real people who suffer privately and personally from the larger, public gestures of war and oppression.
The Price Of Salvation: Moral Economics In Major Barbara
Authors: Albert Sidney 
Published: April 2013

"IN ALL MY PLAYS," Bernard Shaw wrote to Archibald Henderson in 1904, "my economic studies have played as important a part as a knowledge of anatomy does in the works of Michael Angelo.” But the inclusion of economics in his plays, he always maintained, did not make them mere tracts. "My plays are no more economic treatises than Shakespear's," he declared in his Sixteen Self Sketches. "It is true that neither Widowers' Houses nor Major Barbara could have been written by an economic ignoramus, and that Mrs Warren's Profession is an economic exposure of the White Slave Traffic as well as a melodrama. There is an economic link between Cashel Byron, Sartorius, Mrs Warren, and Undershaft: all of them prospering in questionable activities. But would anyone but a buffleheheaded idiot of a university professor, half crazy with correcting examination papers, infer that all my plays were written as economic essays, and not as plays of life, character, and human destiny like those of Shakespear or Euripides?" Shaw's comments invite inquiry into how economics functions aesthetically in his dramas: how it affects not only thematic content, but characterization and dramatic structure as well. From this standpoint it may be useful to consider the influence economics exerts on "life, character, and human destiny" in one of the plays he mentions, Major Barbara.
The Christian Concept In Murder In The Cathedral
Authors: Virsis Rasma 
Published: April 2013

ELIOT IS CONCERNED WITH THE IMPACT OF an unusual event, an event that partakes of eternity, on the passive, mystical women of the parish who are submerged in the temporal. They are witnesses being instructed to go through a purgatorial experience. There are really two struggles in the play, Becket's to do the right deed for the wrong reason, and the chorus's to witness, to accept, and to consent to the suffering and insecurity the martyrdom of Thomas will bring. The second ends in acceptance at the end of the play: the first ends in success at the end of the first section.
Book Reviews
Authors: Gale Steven , Tyson Brian , Reinert Otto , Fuegi John , Page Malcom , Hinchliffe Arnold , Hogan Robert 
Published: April 2013

Ronald Hayman, Harold Pinter, reviewed by Steven H. Gale John Russell Taylor, Harold Pinter, reviewed by Steven H. Gale John Lahr ed., A Casebook On Harold Pinter's The Homecoming, reviewed by Steven H. Gale Robert O'Driscoll, Theatre And Nationalism In 20th-Century Ireland, reviewed by Brian F. Tyson by Michael Meyer, Ibsen: A Biography, reviewed by Otto Reinert Hans Heiberg, Ibsen: A Portrait Of The Artist, reviewed by Otto Reinert Julian H. Wulbern, Brecht And Ionesco: Commitment In Context, reviewed by John Fuegi Ulick O'Connor, Brendan, reviewed by Malcolm Page Alrene Sykes, Harold Pinter, reviewed by Arnold P. Hinchliffe Katherine H. Burkman, The Dramatic World Of Harold Pinter—Its Basis In Ritual,, reviewed by Arnold P. Hinchliffe Robin Skelton, The Writings Of J. M. Synge, reviewed by Robert Hogan
Encounters with Eduardo De Filippo
Authors: D'aponte Mimi 
Published: April 2013

January 4,10:00 p.m. Teatro Eliseo, Rome "PEOPLE DO BECOME MONUMENTS." Eduardo De Filippo is sitting alone in his dressing room, smoking. I come in without an introduction (having made my way backstage between Acts 2 and 3 of II Monumento by looking stranded and murmuring something about an American study of Neapolitan theatre), and he immediately gets up and shakes my hand. He invites me to sit down, returns to his chair, and continues smoking. I explain my real wishes in nervous Italian (may I speak with him about his work when he returns to Naples in the spring?) and his answer is honest and to the point: "I won't remember your name. Tell my secretary you spoke with me in Rome." I compliment him on the first two acts of his new play. De Filippo is dedicated to II Monumento's philosophy, and words begin to pour out of him as he launches into a discussion of Ascanio Penna's character — his character. He speaks of Penna's entombment, both physically and psychologically, within his ideals. We sense someone standing at the door, and turn together to see my husband who has come to learn if I have found Eduardo. De Filippo greets him as warmly and openly as he had me, and picks up his thread of thought regarding the play. "People do become monuments because ... " The stage manager knocks and calls out, "It is time, Maestro," and the philosopher turns actor and is ready for his cue. He thanks us for coming and urges me to call him in Naples. He is off.
Book Reviews
Authors: Weintraub Stanley , Davison Peter , Bermel Albert , Archer Marguerite , Fuegi John , Meserve Walter , Smith Sylvester , Imhof Rudiger , Mueller Martin 
Published: April 2013

Maurice Valency, The Cart And The Trumpet: The Plays Of Bernard Shaw, reviewed by Stanley Weintraub J. S. R. Goodlad, A Sociology Of Popular Drama, reviewed by Peter Davison Albert Bermel, Contradictory Characters: An Interpretation Of The Modern Theatre, reviewed by Albert Bermel Kathleen White Kelly, Jean Anouilh: An Annotated Bibliography, reviewed by Marguerite Archer Walter Hinck, Das Moderne Drama In Deutschland, reviewed by John Fuegi Maurice F. Brown, Estranging Dawn: The Life And Works Of William Vaughn Moody, reviewed by Walter J. Meserve Allan Chappelow, Shaw — "The Chucker-Out,", reviewed by Warren Sylvester Smith Gunther Klotz, Individuum Und Gesellschaft Im Englisch En Drama Der Gegenwart: Arnold Wesker Und Harold Pinter, reviewed by Rudiger Imhof Robert W. Corrigan, The Theatre In Search Of A Fix, reviewed by Martin Mueller
Book Reviews
Authors: Knapp Bettina , Fuegi John , Percy Smith  , Davies Robertson , Messenger Ann , Mittenzwei Werner 
Published: April 2013

Franco Tonelli, L'esthetique De La Cruaute, reviewed by Bettina L. Knapp Werner Hecht ed., Bertolt Brecht Arbeitsjournal, 3 Vols, reviewed by John Fuegi Alan P. Barr, Victorian Stage Pulpiteer: Bernard Shaw's Crusade, reviewed by J. Percy Smith Bernard F. Dukore, Bernard Shaw, Playwright: Aspects Of Shavian Drama, reviewed by Robertson Davies Robert Bechtold Heilman, The Iceman, The Arsonist, And The Troubled Agent: Tragedy And Melodrama On The Modern Stage, reviewed by Ann P. Messenger Werner Mittenzwei in cooperation with Manfred Berger,. Manfred Nossig, et al. ed, Theater In Der Zeitenwende: Zur Geschichte Des Dramas Und Des Schauspieltheaters In Der Deutschen Demokratischen Republik 1945-1968, reviewed by John Fuegi
Book Reviews
Authors: Chinoy Krich , Percy Smith  , Teets Bruce , Adler Thomas , Paul Norman , Parkin Andrew 
Published: April 2013

Lise-Lone Marker, David Belasco: Naturalism In The American Theatre, reviewed by Helen Krich Chinoy Vincent Wall, Bernard Shaw: Pygmalion To Many Players, reviewed by J. Percy Smith Chester A. Garrison, The Vast Venture: Hardy's Epic-Drama "The Dynasts", reviewed by Bruce E. Teets C.W.E. Bigsby ed., Edward Albee: A Collection Of Critical Essays, reviewed by Thomas P. Adler Jacques Copeau, Registres I. Appels, reviewed by Norman H. Paul Robert O'Driscoll and Lorna Reynolds, Yeats And The Theatre, reviewed by Andrew Parkin
Book Reviews
Authors: Halsey Martha , Dietrich  , Champigny Robert , Lamont Rosette , Cohn Ruby 
Published: April 2013

Marion P. Holt, The Contemporary Spanish Theater (1949-1972), reviewed by Martha T. Halsey Daniel Dervin, Bernard Shaw: A Psychological Study, reviewed by R.F. Dietrich B.A. Lenski, Jean Anouilh: Stages In Rebellion, reviewed by Robert Champigny Bettina Knapp, Off-Stage Voices, Interviews With Modern French Dramatists, reviewed by Rosette C. Lamont Clas Zilliacus, Beckett And Broadcasting: A Study Of The Works Of Samuel Beckett For And In Radio And Television, reviewed by Ruby Cohn
Book Reviews
Authors: Dervin Daniel , Sykes Arlene , Kerckhove Derrick 
Published: April 2013

Lucinda Paquet Gabbard, THE DREAM STRUCTURE OF PINTER'S PLAYS: A PSYCHOANALYTIC APPROACH, reviewed by Daniel Dervin Steven H. Gale, BUTTER'S GOING UP, reviewed by Alrene Sykes Judith Graves Miller, THEATER AND REVOLUTION IN FRANCE SINCE 1968, reviewed by Derrick De Kerckhove
Book Reviews
Authors: Cohn Ruby , Weales Gerald , Sidnell Michael , Musumeci Antonino , Page Malcolm 
Published: April 2013

Artaud in Printreviewed by Ruby Cohn Harold Cantor, CLIFFORD ODETS: PLAYWRIGHT-POET, reviewed by Gerald Weales Liam Miller, THE NOBLE DRAMA OF W. B. YEATS, reviewed by Michale J. Sidnell Alba Amoia, THE ITALIAN THEATRE TODAY: TWELVE INTERVIEWS, reviewed by Antonino Musumeci Peter Cheeseman, FIGHT FOR SHELTON BAR; a documentary, introduction and notes, reviewed by Malcolm Page Stephen Poliakoff, STRAWBERRY FIELDS, reviewed by Malcolm Page David Mercer, "HUGGY BEAR" AND OTHER PLAYS, reviewed by Malcolm Page
Book Reviews
Authors: Adler Thomas , Manheim Michael , Dukore Bernard , Gianakris  , Diamond Eun , Harrop John , Nagy Moses , Kareda Urjo , Kirk Irina 
Published: April 2013

C. W. E. Bigsby, A Critical Introduction to Twentieth-Century American Drama: Volume One, 1900-1940, reviewed by Thomas P. Adler Normand Berlin, Eugene O'Neill, reviewed by Michael Manheim Kristin Morrison, Canters and Chronicles: The Use of Narrative in the Plays of Samuel Beckett and Harold Pinter, reviewed by Bernard F. Dukore Jim Hunter, Tom Stoppard's Plays, reviewed by C.J. Gianakaris Michelene Wandor, Understudies: Theatre and Sexual Politics, reviewed by Eun Diamond Peter Davison, Cotemporary Drama and the Popular Dramatic Tradition in England, reviewed by John Harrop Bettina L. Knapp, Paul Claudel, reviewed by Moses M. Nagy Robert Wallace And Cynthia Zimmerman, eds., The Work: Conversations with English-Canadian Playwrights, reviewed by Urjo Kareda Vera Gottlieb, Chekhov and the Vaudeville: A Study of Chekhov' s One-Act Plays, reviewed by Irina Kirk
High Points of Theatre in the First Czechoslovak Republic
Authors: Burian Jarka 
Published: April 2013

In the 1960s Czech theatre achieved international recognition through the work of such major artists as directors Otomar Krejca and Alfred Radok, scenographer Josef Svoboda, and playwright Vaclav Havel, to name only those in the vanguard of an extensive artistic movement. Often ignored, however, was the antecedent of that creative surge in the 1960s, the rich period of Czech theatre that dated back to the nineteenth century and reached a first major crest in the 1920S and 1930S as if in response to the creation of the First Republic of Czechoslovakia after World War I. Theatre in the First Republic had great vitality and great variety: the vitality due in large part to the enormous release of spirit accompanying the creation of an independent republic after several centuries of alien citizenship within the Hapsburg Empire; and the variety to Czechoslovakia's central location between east and west, which facilitated its access to the theatrical avant-garde of France, Germany, and the Soviet Union, and to such vital stimuli as American jazz and film.