bluuebunny/crossref_metadata_2025_split huggingface dataset:
Introduction
Authors: Rai Shirin M. 
Published: July 2024

Abstract
The Introduction outlines major debates on social reproduction and an analysis of how racial and class disparities and crises such as COVID-19 affect social reproduction and practices of caring. It also introduces the main themes of the book. It argues that in the absence of recognition of the value of this work to the economy and society, depletion results in harm and at the same time is obscured and therefore cannot be systematically mapped or addressed. This chapter assesses the theoretical boundaries of care and social reproduction as well as the overlaps and suggests that we need to expand both to decenter their Global North bias.
Depletion, Harms and Struggles to Reverse Them
Authors: Rai Shirin M. 
Published: July 2024

Abstract
This chapter outlines the key concept of the book: depletion through social reproduction and its travels. It describes depletion, identifies its key indicators, and outlines how this concept has been and can be used to understand the everyday costs of care and caring, of social reproduction, when unsupported, as harmful to individuals, households, and communities even though it is essential and also provides joy and sustenance. The chapter also extends the reach of the concept in the context of its deployment across disciplines. Depletion is a facet of capitalist development, which can only be eliminated through struggles for transformative change of unequal gendered social relations that are classed and raced and that reproduce the inequalities of care and caring at the heart of depletion.
Conclusion
Authors: Rai Shirin M. 
Published: July 2024

Abstract
The conclusion brings together the arguments of the book and reflects upon how the concept of depletion through social reproduction travels through the different political economy landscapes. In particular, it reflects upon the various strategies for reversing depletion the book has explored and looks forward to see if and under what conditions these might be useful in changing policy frameworks that address women’s work. To make change happen, reflexive solidarities are needed, built on solid ground of recognition of historic cruelties and dispossessions and addressed through reparations and redistribution.
The Rabbi of the Revolution
Authors: Jortner Adam 
Published: July 2024

Abstract
This chapter focuses on Gershom Seixas, the rabbi of the American Revolution. Seixas forged his place in the country and the movement through position, theology, and a fierce patriotic theology. Moreover, he raised the notion that Jews and Gentiles had shared responsibilities in terms of social contract and civic virtue. Seixas joined in the national fast day of 1776 even though the fast day did not require Jews to join. When threatened by British invasion, Seixas and his synagogue took a Torah and fled New York, choosing to live in patriot Connecticut rather than worship under British rule. By education and temperament, Seixas, Jefferson, and other Founders versed themselves in the rights of man. Seixas led the Jews in an effort to support the revolution and faced the danger of British attacks in New York and Connecticut. The Revolution had rabbis.
Jews at War
Authors: Jortner Adam 
Published: July 2024

Abstract
This chapter explains the war experience of American Jews and Jewish patriots. Jews served in wartime alongside their Gentile countrymen. Washington and others accepted Jews as soldiers and promoted them as officers, something no other country did at the time. When Jewish patriots wrote of their experiences in wartime, they simply assumed citizenship and membership in the struggle against Britain and the colonial apparatus. They believed the war made them citizens. At least twice, British officers ordered the expulsion of Jews from occupied areas—Georgia and St. Eustatius. Meanwhile, Britain’s attempt to widen religious citizenship to Catholics resulted in the Gordon Riots of 1780. Jews fought for the revolution and Washington’s decision to include Jews as soldiers served the United States far better than anti-Semitism served Britain. After the war, the Jewish patriots had all ended up in the town of Philadelphia and started building a national religious organization and consciousness alongside their community and institution, Mikveh Israel.
“Congress Shall Make No Law . . .”
Authors: Jortner Adam 
Published: July 2024

Abstract
Americans in the revolutionary period specifically considered and rejected an explicit acknowledgment of Christianity by the government. This chapter discusses the history of disestablishment and the US Constitution. Jews played a role in shaping the debate over religious freedom and full religious citizenship; by and large, wherever Jews lived, they were included as part of the state. Jews were also discussed in the ratification debates as Americans at the state and federal level. The presence of Jews became part of the argument over whether the new state was only for Christians. Founding Fathers disagreed on the issue, but the laws and amendments framed from 1786–1800 repeatedly rejected state churches, explicitly Christian states, and religious limitations to citizenship.
The Black Synagogue
Authors: Jortner Adam 
Published: July 2024

Abstract
This chapter examines the notion of the “Black synagogue.” Revolutionary-era American Jews lived in a multiracial society, and early American Judaism was multiracial. Biracial Jews found almost no institutional support and freedom in the United States, but they sometimes retained their Jewish knowledge and sometimes lived Jewish lives. The chapter discusses how the condition of freedom for Jews existed alongside and within a racial slaveholding system of unfreedom. It examines the history of American Judaism and slavery, and explores the world of biracial Jews in antebellum America. It then overviews a Black synagogue that appeared in Suriname and compares it to the American institutions of the Black church.
Yankee Doodle Dandy
Authors: Craft Elizabeth T. 
Published: July 2024

Abstract
Composer, lyricist, playwright, director, theater owner, and star performer George M. Cohan (1878–1942) definitively shaped the burgeoning genre of musical comedy and the institution of Broadway in the early twentieth century. Remembered today for classic tunes like “You’re a Grand Old Flag” and “Give My Regards to Broadway,” he has been called “the father of musical comedy” and is memorialized with a statue in Times Square. In his day, he was famous as the “Yankee Doodle Boy” from his hit song and as the “Man Who Owned Broadway” from his musical of the same name. His songs and shows captured the spirit of an era when staggering social change gave new urgency to efforts to define Americanism. This book, the first on Cohan in fifty years and the first scholarly study on the subject, is not a biography but rather situates Cohan as a central figure of his day, placing his multifaceted contributions within overlapping historical and cultural contextual webs to examine his wide-ranging impact on Broadway and beyond. Chapters interweave discussion of his songs and shows with explorations of the roles he played in public life—entertainer, Broadway magnate, Irish American, celebrity, and, above all, emblem of patriotism. This approach offers not only a fuller understanding of his shows and career but also new perspectives on fundamental debates about American identity and the performing arts in the early twentieth-century United States.
The Celebrity
Authors: Craft Elizabeth T. 
Published: July 2024

Abstract
This chapter examines Cohan the celebrity, demonstrating how he harnessed the mass circulation press and burgeoning journalistic attention to celebrities to establish his compelling Yankee Doodle patriotic persona. As “Broadway’s press agent,” Cohan also promoted Broadway and linked his own fame to it. In the 1920s through to the end of his life, after his unsuccessful stand against Actors’ Equity Association and as styles on Broadway changed, Cohan cashed in on celebrity in various ways, including through writings in the print media, performances in films and radio programs, starring roles in other playwrights’ shows, and popular songs. He continued to harp on familiar themes like patriotism and Broadway, but now largely through the lens of nostalgia. The last section of this chapter examines Cohan’s portrayals of Broadway celebrity in The Man Who Owned Broadway (1909) and his last, unfinished work The Musical Comedy Man.
Introduction
Authors: McMurray Peter , Mukhopadhyay Priyasha 
Published: July 2024

Abstract
This introduction presents key concepts of an “acoustics of empire,” bookended by brief historical examples of such acoustics in the South Pacific at the beginning and end of the long nineteenth century. This book explores the entanglements of “acoustics,” on the one hand, understood here broadly to include sound, sound technologies, listening practices, and thinking/discourse about sound, with the expansion of (mostly) European empires in that period, on the other. We argue that the two are inextricably connected: concepts and techniques of sound both in “the West” and around the globe have been profoundly shaped by imperial and colonial encounters; and in turn, the functions and practices of making, maintaining, and resisting empire reveal deep connections with sound. Auditory histories of Polynesia highlight key sonic practices, both in encounters with missionaries and explorers around 1800 and in the poetry of Queen Sālote Tupou III of Tonga a century later.
Action
Authors: Ganz Marshall 
Published: July 2024

Abstract
In this chapter the author describes “action” as the mobilization and deployment of resources to create real change. Organizing enables people to mobilize individual resources and deploy them as collective power. The basic question is on whose resources we depend, what they are, and whom they empower. Mobilizing effective action requires balancing motivational energy and disciplined commitment. We need to design metrics which enable sustained learning-based clarity of what we are actually doing. We evaluate the impact of our action by asking did we achieve our goal, did we come out of it stronger than when we went in, and did we develop new leadership to carry the work forward.
Rock Logic
Authors: Tymoczko Dmitri 
Published: July 2024

Abstract
This prelude introduces the spiral diagrams representing hierarchically nested transposition, or voice leadings without voice exchanges. These diagrams are central to the book’s argument, used to model harmonic procedures in many different styles. This chapter employs the 3-in-12 diagram of chromatic triads to analyze rock harmony, which often contravenes earlier harmonic conventions. I argue that this is not a matter of deliberate negation but rather exploiting pre-existing affordances. Standard rock idioms, in other words, trace natural paths through the space of musical possibility. In particular, rock progressions often arise from the desire to harmonize stepwise descending melodies with closely related triads; given the constraints of musical geometry, there are a limited number of options, many of which are characteristic of rock. Geometry thus allows us to model the intuitive logic underlying musical creativity.
Functional Progressions
Authors: Tymoczko Dmitri 
Published: July 2024

Abstract
This chapter presents a heterogeneous grammar of elementary functional harmony, in which functionality is produced by the three subsystems of harmonic cycles, fauxbourdon, and sequences. The grammar of harmonic cycles is based on a circle of descending thirds, allowing composers to titrate the degree of regularity found in their music. As a result, harmonic cycles are nearly sequential, making repeated journeys through the same small set of harmonic possibilities. Harmonic cycles therefore have something of the character of sequences while sequences have something of the character of harmonic cycles. The desire for descending melodies creates pressure to expand the harmonic vocabulary, leading to the embrace of seventh chords and second-inversion triads. The chapter ends by exploring J. S. Bach’s distinctive take on functional harmony, in which subdominant and dominant are both opposite and equivalent.
Modulation
Authors: Tymoczko Dmitri 
Published: July 2024

Abstract
This chapter uses voice leading to analyze modulation, presenting a new theory of enharmonicism and describing several modulatory schemas found in the functional tradition. Underlying these proposals is a model of key distance based on the spiral diagrams. I describe two different conceptions of key distance, both based on voice leading. The first limits itself to voice leadings that preserve scale-degree role, mapping tonic to tonic and dominant to dominant; the second allows scale-degree roles to change. In both, scales act like higher-level harmonies, moving inside the chromatic aggregate much like chords move inside the diatonic scale. We can combine the two approaches by reconceiving minor keys as extended regions rather than isolated points. The chapter uses the resulting models to consider the process of modal homogenization, by which different modes come to take on characteristics of ionian. It ends by outlining a “generalized set theory” that explores the deep analogies between different chord-and-scale environments.
Beethoven Theorist
Authors: Tymoczko Dmitri 
Published: July 2024

Abstract
This chapter interprets Beethoven as a pattern-making intellectual. It focuses on “The Ludwig,” a contrary-motion schema combining the diatonic third’s basic voice leading with a voice exchange; because the third is approximately one quarter of an octave, these two contrapuntal moves are approximately equal. After describing the schema, the chapter outlines a more flexible process of “Ludwiging” that replaces fixed building blocks with a more general and flexible “flow.” It then analyzes three iconic first movements: the Tempest sonata Op. 31, no. 2, the Fifth Symphony Op. 67, and the Op. 28 piano sonata (“Pastorale”). It continues with two pieces written in Beethoven’s shadow, Schubert’s Quartettsatz and the prelude to Wagner’s Lohengrin. These pieces illustrate the transition from a more schematic classicism to a more idiosyncratic Romanticism.
Storytelling in Motion
Authors: Oyallon-Koloski Jenny 
Published: July 2024

Abstract
Storytelling in Motion: Cinematic Choreography and the Film Musical demonstrates how figure movement can serve as a versatile strategy of meaning-making, particularly when filmmakers attend to the relationship between choreographed movement and film style. Using Franco-American film musicals as its main examples, this book analyzes the narrative and stylistic impact of figure movement in cinema and the subtle power of cinematic choreography, those moments when filmmakers deliberately combine the strengths of film style and organized figure movement to convey narrative meaning through motion. Integrating vocabularies and analytical systems from Laban/Bartenieff Movement Studies, film studies, and related fields to parse cinematic figure movement on multiple formal levels, this book uses performative research methods from videographic criticism to show the poetic and oblique connections between films through videographic as well as written chapters. Storytelling in Motion centers the crucial material conditions needed to make figure movement a significant component of narrative filmmaking: time, money, rehearsal space, industrial support, and performers and crew with the necessary embodied and institutional knowledge. The films discussed tell a clear story of how cinematic choreography was used by transnational filmmaking teams to innovate storytelling through figure movement, inspired by their predecessors’ aesthetics while working within differing industrial conditions.
Formal Conventions and Musical Practices
Authors: Oyallon-Koloski Jenny 
Published: July 2024

Abstract
Through an extensive dissection of musical numbers’ form, this chapter categorizes how musical numbers can move through various narrative, aesthetic, and stylistic functions, using instances from Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952) and other Hollywood musicals to illustrate the genre’s norms of practice. Singin’ in the Rain was made in the ideal industrial conditions for musical filmmaking; the support provided many resources for the film, in addition to the invaluable institutional memory of the Freed unit at Metro-Goldwyn-Mayer. The film is a canonical example of the genre, exploring the many ways musicals can use song, dance, and multiple diegetic layers in their storytelling. Focusing on the film’s titular number, this chapter emphasizes how much of this film musical’s magic comes from its use of movement and the implicit meanings it generates by weaving narrative depth, multidiegetic complexity, and stylistic richness in between its musical notes.
Rhythmic Realism
Authors: Oyallon-Koloski Jenny 
Published: July 2024

Abstract
In La La Land (Damien Chazelle, 2016), realism blended with fantasy is linked to duration and rhythm through the professional stagnation of Emma Stone’s character, Mia, and the narrative ambiguity created by the final dream ballet number. These patterns of rhythmic realism manifest through the collaborations between Chazelle, choreographer Mandy Moore, cinematographer Linus Sandgren, and Steadicam operator Ari Robbins. This chapter applies the analytical methods from Laban Movement Analysis to the camera’s range of motion, analyzing it both as a character with agency in the cinematic space as well as an extension of Robbins’s own craft-specific figure movement. Despite La La Land’s evocation of classical Hollywood musical conventions, many of the resources central to the studio era musical had changed by 2016, and the filmmakers’ choices emphasize what is lost as well as the rich ongoing potential of cinematic choreography.
Do You Promise Not to Tell?
Authors: Rogovoy Seth 
Published: July 2024

Abstract
Chapter 5 of Within You Without You, “Do You Promise Not to Tell,” is a deep dive into the Beatles song “Do You Want to Know a Secret,” written by John Lennon but sung by George Harrison. Harrison’s vocals were innovative and impassioned, at times reminiscent of Roy Orbison or doo-wop singing, employing gospel-derived melisma (stretching a single syllable over a series of notes) and rock ’n’ roll growls. The song itself is multilayered, perhaps Lennon’s response to manager Brian Epstein’s insistence that the Beatles keep their private lives secret. Epstein himself had a clandestine private life, and Lennon, at the time, was secretly wed to his first wife, Cynthia. While often considered a minor Beatles track, the single was a huge success, the highest-charting Beatles song with a lead vocal by George Harrison until “Something” went to number one in November 1969.
My Friend Came to Me
Authors: Rogovoy Seth 
Published: July 2024

Abstract
Chapter 22 of Within You Without You, “My Friend Came to Me,” closely examines George Harrison’s 1971 all-star benefit concert, Concert for Bangladesh, which set the template for large-scale celebrity charity events, in this case leveraging the drawing power of Harrison’s musical friends, including Bob Dylan, Ringo Starr, Eric Clapton, Leon Russell, Billy Preston, and Ravi Shankar, to raise funds for war-torn refugees suffering from famine and floods in the newly independent nation of Bangladesh. Two concerts at New York City’s Madison Square Garden were filmed and recorded, and the event produced a three-LP live concert recording, a movie, and a new Harrison single, “Bangla Desh,” tailor-written for the cause. The entire effort raised millions for humanitarian relief and is widely credited with having made “Bangladesh” a household name at a time when the news media were still referring to the newly independent nation as “East Pakistan.”
Running on a Dark Racecourse
Authors: Rogovoy Seth 
Published: July 2024

Abstract
Chapter 24 of Within You Without You, “Running on a Dark Racecourse,” closely examines George Harrison’s third solo album, Dark Horse, as well as the North American tour—the first for an ex-Beatle—that took place concurrently with the album’s release. The album (and tour) also captured Harrison with a terrible case of vocal hoarseness, giving rise to the pun Dark Hoarse. The tone of the album was somewhat dark, probably because of the crumbling state of his marriage to Pattie Boyd. Nevertheless, the title track was a funky, rocking hit with a hint of Indian sonorities. Harrison brought Ravi Shankar’s ensemble along for his late-1974 tour, arranging the concerts as a kind of East-meets-West rock ’n’ roll revue, blending Indian music, jazz, funk, and Harrison’s brand of pop-rock music, sometimes all in the course of a single song.
Why Peggy Lee Matters
Authors: Rogovoy Seth 
Published: July 2024

Abstract
Chapter 28 of Within You Without You, “Why Peggy Lee Matters,” recounts the little-known interactions between pre-rock pop singer Peggy Lee and the Beatles, especially George Harrison. It was Lee’s version of the Broadway hit “Till There Was You” that inspired the Beatles to record the tune. The Los Angeles rental house in which Harrison composed “Blue Jay Way” belonged to Lee’s manager. And Lee was one of many pop singers to record Harrison’s “Something.” Harrison told an interviewer in 1979 that he long had in mind that his song “Not Guilty”—written in 1968 for The Beatles but not released officially until his 1979 eponymous solo album—would be recorded by Peggy Lee.
Names Used Twice Over
Authors: Ganeri Jonardon 
Published: July 2024

Abstract
Fernando Pessoa’s relationship with his heteronyms is complicated. They exist as protagonists in imaginary stories of his own creation, and Pessoa imagines himself as them, or imagines being them. In “Notes for the Memory of My Master Caeiro,” Pessoa has Caeiro suggest that things thus seen in “dreams”—that is to say, in acts of imagination—have much the same status as things seen in pictures. The use of a name twice over in this story seems to be a characteristic hallmark of heteronymy. This chapter analyses it further, with reference to the story of two Līlās in the Mokṣopāya. I discuss too Pessoa’s poem “Autopsychography.”
“One Intellectual Breeze”
Authors: Ganeri Jonardon 
Published: July 2024

Abstract
The idea of a cosmic consciousness is one with which Pessoa is familiar in his esoteric writings about neopaganism. During Pessoa’s time the idea was discussed by William James, Richard Bucke, Edward Carpenter, and others. Carpenter, whom Pessoa knew of, received the idea from an Indian savant he met, who is evidently channelling the Mokṣopāya. The topic is one that links Pessoa to Whitman. Coleridge, in his famous poem “Effusion XXXV,” later renamed “The Eolian Harp,” writes of “one intellectual breeze / At once the soul of each.” There are, this chapter claims, resources in Pessoa for a new variety of cosmopsychism, which I dub “heteronymic cosmopsychism.”
Linear Cities
Authors: Talen Emily 
Published: July 2024

Abstract
This chapter assesses linear cities, which are often the result of natural phenomena, for example when cities are sandwiched between ocean and mountains. Bern, Switzerland, is linear because it developed between two rivers formed by a deep bend in the meandering River Aare. Commerce is also a common factor. Medieval towns were often essentially “street villages,” for example, Appleton-le-Moors in North Yorkshire, UK. The modern American equivalent is the arterial commercial strip. Both the street village and the commercial strip elevated commerce and movement simultaneously. The most famous explicitly planned linear city is La Ciudad Lineal in Madrid, devised by Arturo Soria y Mata in the late 19th century. La Ciudad Lineal’s growth concept was intended to bring services into the countryside along rail lines, a very different approach from populating the countryside with nodes and clusters of houses. The chapter then considers the advantages and efficiencies of linear development. It also looks at The Line, a linear city under construction in Saudi Arabia which has all the hallmarks of La Ciudad’s top-down utopian vision.