bluuebunny/crossref_metadata_2025_split huggingface dataset:
Comparative Study of Morphological and Histological Changes between Differently Structured Expanded Polytetrafluoroethylene Implants in an Animal Model
Authors: Kim Ji Heui , Lee Jung Min , Ju Hyung Woo , Lee Jun Ho , Jun Ah Young , Park Chan Hum 
Published: April 2013

Background Expanded polytetrafluoroethylene (e-PTFE) is a popular graft material used in augmentation rhinoplasty. New e-PTFE has thicker fibrils and is more compact than first developed e-PTFE. This study aimed to compare morphological and histological changes between differently structured e-PTFE implants in a rat model. Methods Two types of e-PTFE were implanted in the cranial region of 30 adult male rats. En bloc specimens containing the implants and surrounding soft tissues were sampled 1, 3, and 6 months after implantation. We measured the three-dimensional size of the implants over time and evaluated histological changes using light and electron microscopy. Results Grossly, no implants were extruded, and there was no evidence of wound infection. All first developed e-PTFE samples were fixed to surrounding tissues after 1 month, whereas new e-PTFE samples tended to migrate and were easily separated from surrounding tissues until 3 months after implantation. The first developed e-PTFE height diminution rate was 14.7% of the initial value after 6 months; however, new e-PTFE size was not changed. Diameter and height diminution rates for first developed e-PTFE were significantly greater than those for new e-PTFE after 6 months. Histologically, connective tissue in growth was observed in first developed e-PTFE after 1 month, and the internodal space decreased over time; however, connective tissue did not infiltrate into new e-PTFE until 6 months and the internodal space was not significantly changed. Conclusion First developed e-PTFE should be carefully trimmed in augmentation because of its potential to decrease in size over time, whereas new e-PTFE is more likely to show migration and instability.
Book Reviews
Authors: Falk Signi , Meserve Walter , Weales Gerals , Pronko Leonard , Davis Jed , Barnes Robert , Hill Claude , Woodward James , Lesage Laurent , Page Malcom , Armstrong William , Trousson Raymond , Trowbridge Clinton 
Published: April 2013

Brom Weber, Sherwood Anderson, reviewed by Signi Falk Gerald Weales, Tennessee Williams, reviewed by Signi Falk Robert Hogan, Arthur Miller, reviewed by Signi Falk James M. Salem, A Guide To Critical Reviews Part I American From O'Neill To Albee, reviewed by Walter J. Meserve Garff B. Wilson, A History Of American Acting, reviewed by Gerald Weales Pierre Melese, Beckett, reviewed by Leonard Pronko Isabel B. Burger, Creative Play Acting: Learning Through Drama(2nd Ed.), reviewed by Jed H. Davis Willis Knapp Jones, Behind Spanish American Footlights, reviewed by Robert J. Barnes Richard H. Allen, An Annotated Arthur Schnitzler Bibliography, reviewed by Claude Hill Irwin Weil, Gorky. His Literary Development And Influence On Soviet Intellectual Life, reviewed by James B. Woodward John Gaywood Linn, The Theater In The Fiction Of Marcel Proust, reviewed by Laurent Lesage John Kershaw, The Present Stage. New Directions In The Theatre Today, reviewed by Malcom Page Raymond Williams, Modern Tragedy, reviewed by William A. Armstrong Aureliu Weiss, Le Monde Theatral De Michel De Ghelderode, reviewed by Raymond Trousson Leonard Moss, Arthur Miller, reviewed by Cilnton W. Trowbridge Edward Murray, Arthur Miller, Dramatist, reviewed by Cilnton W. Trowbridge
Yeats's The Hour Glass
Authors: Parker  
Published: April 2013

IN THE OPENING YEARS OF THIS CENTURY, Yeats was consolidating the work of his first period of playwriting activity. On Baile's Strand (1903), The King's Threshold (1904) and Deirdre (1907) were the first works of his dramatic maturity. These plays share a unity of conception and tone which contrasts with the diversity and uncertainty of the other plays of this first major period. In the search for a dramatic conception and technique, he tried out many and various modes, ranging from the symbolist dreaminess of The Shadowy Waters to the broad peasant humour of The Pot of Broth. The Hour Glass was a by-product of this search, and it has received scant attention because of its very obvious defects. The central Haw in its dramatic scheme is a failure to make its spiritual world, which is set up our our admiration against a material world, convincing or even tangible. The agon fails to engage our attention. And yet the play has more to offer than is commonly supposed, and its revised versions are particularly valuable for the evidence which they afford of Yeats's developing dramaturgy during the Abbey period.
Book Reviews
Authors: Nethercot Arthur , Falk Signi , Wellwarth George , Aung Maung , Mikhail  
Published: April 2013

John O'Donovan, Shaw And The Charlatan Genius/ A Memoir By John O'Donovan With Eighteen Illustrations, reviewed by Arthur H. Nethercot Donald Haberman, The Plays Of Thornton Wilder, reviewed by Signi Falk Max Spalter, Brecht's Tradition, reviewed by George E. Wellwarth James R. Brandon, Theatre In Southeast Asia, reviewed by Maung Htin Aung Epifanio San Juan, The Art Of Oscar Wilde, reviewed by E. H. Mikhail
Theory And Practice In Artaud And Carballido
Authors: Peden Margaret 
Published: April 2013

EMILIO CARBALLIDO IS GENERALLY CONCEDED to be the best of the contemporary playwrights in Mexico. He is certainly among the most prolific, and he is the most productive in regard to imaginative, sound theatrical pieces. Also, his work is recognized and appreciated. Scarcely a year has passed in the last fifteen in which Carballido has not been awarded an academic or critical prize for his work. In addition to his productivity, Carballido stands alone in another aspect, in his variety and diversity. Mexican theater has generally been a staid, traditional theater. The large body of works since its emergence in the late twenties and thirties has been realistic-examinations of the emerging middle class, popular reviews of the music hall variety, and a militantly self-conscious social theater. There are striking exceptions of course, especially recently. Carlos Solorzano, for instance, has been experimenting with a theater that uses dance and music to create a poetic reality, and Elena Garro's theater is almost completely theater of fantasy. Nevertheless, the total picture remains traditional and realistic.
Self-Revelation In An Ideal Husband
Authors: Mikhail  
Published: April 2013

DESPITE ITS APPARENT OBJECTIVITY, An Ideal Husband is self-revelatory. In a letter to his friend Reginald Turner, written in 1899, Wilde said: I read a great deal, and correct the proofs of An Ideal Husband, shortly to appear. It reads rather well, and some of its passages seem prophetic of tragedy to come. A sense of damnation, a foreboding of tragic failure, is to be found in the writings of Oscar Wilde long before it is sounded in An Ideal Husband. It is the theme of the sonnet Helas! as it is of The Picture of Dorian Gray. The motive of the outcast is conspicuous in Wilde's two previous comedies, Lady Windermere's Fan and A Woman of No Importance, where both Mrs. Erlynne and Mrs. Arbuthnot describe in moving words the lot of an outcast; but it reaches an ominous significance in An Ideal Husband, written shortly before Wilde's own fall. One cannot avoid the impression that An Ideal Husband is an oblique expression of Wilde's inner torment, using Sir Robert Chiltern as a mask. Wilde has described in Chiltern's person his own fear of an imminent scandal. Charles Ricketts remembers Wilde saying of the play when he insisted on Ricketts being present at the first night: "It was written for ridiculous puppets to play, and the critics will say, 'Ah, here is Oscar unlike himself!,—though in reality I became engrossed in writing it, and it contains a great deal of the real Oscar." Mrs. Cheveley, while threatening Sir Robert, actually presages with amazing accuracy one prominent feature of Wilde's downfall, when she says
Pinter's A Slight Ache As Ritual
Authors: Burkman Katherine 
Published: April 2013

THE DRAMA OF HAROLD PINTER EVOLVES in an atmosphere of mystery. While the surface of life is realistically detailed, the patterns that lie below the surface are as obscure as the motives of the characters, the pause, as prominent and suggestive as the dialogue. "The more acute the experience the less articulate its expression," is the author's own defense of his technique, a technique that he uses to heighten the sense of mystery and of menace in A Slight Ache. Still, the audience experiencing Pinter's "comedy of menace" is not simply thrust into the world of a nameless terror and left there. Although Pinter is unwilling to explain the mysteries in his dramas and is impatient with critics who seek to pin down his meanings, a close examination of his plays reveals their careful structure and precise use of symbol. At the same time that his art reflects the mysterious universe as he perceives it, it also attempts to approach the mystery that it reflects.
Brecht's Galileo: Its Development From Ideational Into Ideological Theater
Authors: Sorensen Otto 
Published: April 2013

OF ALL OF BRECHT'S WORKS, perhaps his Leben des Galilei has caused greatest consternation among critics, and for several reasons. Gunter Rohrmoser finds it can be classified neither as tragedy, history, parable, nor as a didactic play. Walter Weideli calls it "the most finished example" of epic theater,2 which it clearly is not, if Brecht's own remarks on it are taken into consideration. In a diary entry of February 25, 1939, three months after completion of the work, the author noted: The Life of Galileo is technically a great step backward, like Senora Carrar's Rifles. All too opportunistic. The play would have to be completely re-written in order to attain this 'breeze, which comes from new shores,' this rosy dawn of science. Everything more direct, without the interieurs, the 'atmosphere: the empathy .... And still, even though Brecht worked and reworked the play, he appears never to have been satisfied with it.
Book Reviews
Authors: Brie Germaine , Walker Augusta , Gershman Herbert , Day Cyrus , Lesage Laurent , Wilmeth Don , Frazer Winifred , Richmond Farley , Nethercot Arthur , Hartman Murray 
Published: April 2013

Centre National de la Recherche Scientifique, Le Theatre Moderne Depuis La Deuxieme Guerre Mondiale, Vol. II, reviewed by Germaine Brie Arnold Hinchliffe, Harold Pinter, reviewed by Augusta Walker Henri Behar, Etude Sur Le Theatre Dada Et Surrealiste, reviewed by Herbert S. Gershman Winifred Dusenbury Frazer, Love As Death In The Iceman Cometh, reviewed by Cyrus Day John Batchelor, Existence And Imagination, The Theatre Of Henry De Montherlant, reviewed by Laurent Lesage Maris LeyPiscator, The Piscator Experiment: The Political Theatre, reviewed by Don B. Wilmeth Paul T. Nolan ed., Provincial Drama In America, I870-I9i6-A Casebook Of Primary Materials, reviewed by Winifred L. Frazer ina Singha And Reginald Massey, Indian Dances: Their History And Growth, reviewed by Farley Richmond Bernard Shaw, You Never Can Tell, reviewed by Arthur H. Nethercot John Russell, American Theatre, reviewed by Murray Hartman
The Same Enemies: Notes On Certain Similarities Between Yeats And Strindberg
Authors: Lapisardi Fredrick 
Published: April 2013

THE ONLY KNOWN MEETING BETWEEN August Strindberg and William Butler Yeats is recorded by the latter artist in "The Trembling of the Veil." He writes, "I am sitting in a cafe with two French Americans, a German poet Douchenday, and a silent man whom I discover to be Strindberg, and who is looking for the philosopher's stone." Thirty years later Yeats had reason to recall this brief meeting. When the Irish poet-playwright was in Strindberg's native Sweden to receive the Nobel Prize, he was handed a pamphlet defending Strindberg and attacking the Swedish Academy.
Book Reviews
Authors: Lyons Charles , Bree Germaine , Masinton Charles , Gerstenberger Donna , Page Malcom , Faber M. , Hogan Robert , Meserve Walter 
Published: April 2013

Jan Kott, Theatre Notebook: I947-1967, reviewed by Charles R. Lyons Eugene H. Falk, Types Of Thematic Structure, reviewed by Germaine Bree Rudolf Stamm, The Shaping Powers At Work: Fifteen Essays On Poetic Transmutation, reviewed by Charles G. Masinton Emil Roy, Christopher Fry, reviewed by Donna Gerstenberger John Russell Taylor, John Osborne: "Look Back In Anger": A Casebook,, reviewed by Malcolm Page Geoffrey Morgan ed., Contemporary Theatre: A Selection Of Reviews 1966-67, reviewed by Malcolm Page Allardyce Nicoll, English Drama: A Modern Viewpoint, reviewed by M. D. Faber C. W. E. Bigsby, Confrontation And Commitment, A Study Of Contemporary American Drama. 1959-66, reviewed by Robert Hogan Jack Poggi, Theater In America, The Import Of Economic Forces, 1870-1967, reviewed by Walter J. Meserve
Book Reviews
Authors: Krause David , Pronko Leonard , Hammer John , Albrecht Erich , Lightfoot Marjorie 
Published: April 2013

The Playwright As Entertainer, reviewed by David Krause Eugene Ionesco, Fragments Of A Journal, reviewed by Leonard C. Pronko Arnold Heidsieck, Das Groteske Und Das Absurde Im Modern En DramaDas Groteske Und Das Absurde Im Modern En Drama, reviewed by John C. Hammer Armin Arnold, Fredrich Dürrenmatt, reviewed by John C. Hammer Sol Gittleman, Frank Wedekind, reviewed by Erich A. Albrecht by E. Martin Browne, The .Making Of T. S. Eliot's Plays, reviewed by Marjorie J. Lightfoot
Alfred Jarry And The Theater Of His Time
Authors: Grossman Manuel 
Published: April 2013

INSPIRED BY Mallarme's challenge that realism was "a banal sacrilege of the true meaning of art" the Symbolists during the turn of the century in France organized a reaction against realistic art and theater. Although he was not a Symbolist in the orthodox sense, Alfred Jarry became a participant in this campaign. Jarry devoted much of his energy to a critique of realistic theater which reached a climax in 1898 when with a defiant gesture he let Ubi Roi loose upon the Paris stage. This gesture ignited the biggest explosion in the French theater since the premiere of Victor Hugo's Hernani in 1830. Jarry's attack against realistic theater warrants study not for its vehemence, but for its significance in the evolution of the modern theater. Out of his reaction against realism and his search for a more viable alternative, Jarry developed the ideas and engaged in the experiments that made him a forerunner of both the Theater of Cruelty and the Theater of the Absurd.
Book Reviews
Authors: Nethercot Arthur , Heller Francis , Hammer John , Czerwinski  , Weisstein Ulrich , Rienzi Miguo 
Published: April 2013

Charles A. Carpenter, Bernard Shaw & [Sic] The Art Of Destroying , reviewed by Arthur H. Nethercot Arthur Schnitzler, Lugend In Wien: Eine Autobiographie, reviewed by Francis H. Heller Rainer Taeni, Drama Nach Brecht: Eine Einführung In Dramatische Probleme Der Gegenwart, reviewed by John C. Hammer Jerzy Grotowski, Towards A Poor Theatre, reviewed by E. J. Czerwinski Frederick Brown, An Impersonation Of Angels: A Biography Of Jean Cocteau, reviewed by Ulrich Weisstein Ruby Cohn, George Armstrong, and Arlin Hiken ed., Classics For Contemporaries: Old Dramas For New Theaters, reviewed by Miguo Rienzi
"Barefoot Into Hell": Clothing Imagery In Woyzeck
Authors: Messenger Ann 
Published: April 2013

DESPITE ITS FRAGMENTARY NATURE, George Buchner's Woyzeck is a powerful drama about the economic, and consequently the physical and emotional, suffering of a poor man at the bottom of a rigidly structured society, represented here in part by the army. Its anti-hero, Franz Woyzeck, is a surprisingly modern figure for a play left unfinished at its author's death in 1837; it was not performed until 1913, when its proto-Marxist message was easily understandable. Economic necessity drives Woyzeck to take on various odd jobs in order to support his mistress, Marie, and their baby. The most significant of these jobs is that of guinea pig in a medical experiment during which Woyzeck rapidly deteriorates into fever and madness caused by a diet of peas. He discovers Marie's infidelity with a drum-major and, in moral and psychological agony, kills her. Whether Woyzeck himself dies at the end of the play is unclear. The play is an indictment of the economic and social structure for the destruction it causes, destruction of the life and love of the natural animal called man. The obvious victims, Woyzeck and the others of his class, are not the only ones to be destroyed. The essential humanity of the Captain, the Drum-Major, and the "mad scientist" Doctor has been repressed and even, especially in the Doctor's case, extirpated by the artificiality and rigidity of the system within which they function. Throughout the play, this indictment is imaged in the frequent references to clothing, often in conjunction with references to animals or the human body. Clothing, as a mark of rank, economic status, or respectability, is something imposed on the natural, uncivilized body; it is both repressive and necessary. When it comes to take the place of the man it covers, human values have been destroyed.
Book Reviews
Authors: Martin Robert , Hinchliffe Arnold , Willeford William , Wells Henry , King Walter , Decoster Cyrus 
Published: April 2013

Tetsumaro Hayashi, Arthur Miller Criticism: (1930-1967), reviewed by Robert A. Martin Lois G. Gordon, Stratagems To Uncover Nakedness: The Dramas Of Harold Pinter, reviewed by Arnold P. Hinchliffe Ruby Cohn, Edward Albee, reviewed by William Willeford Richard E. Amacher, Edward Albee, reviewed by William Willeford Michael E. Rutenberg, Edward Albee: Playwright In Protest, reviewed by William Willeford Luther G. Jerstad, Mani-Rimdu: Sherpa Dance-Drama, reviewed by Henry W. Wells Philippe Jullian, Oscare Wilde, reviewed by Walter N. King Jose Ramon, El Arte Dramatico De Antonio Buero Vallejo, reviewed by Cyrus C. Decoster
Book Reviews
Authors: Rusinko Susan , Gianakaris  , Sheaffer Louis , Ware James , Nelson Raymond , Lesage Laurent , Scoti  , Calarco  , Masinton Charles 
Published: April 2013

Martin Esslin, The Peopled Wound: The Work Of Harold Pinter, reviewed by Susan Rusinko Ruby Cohn, Currents In Contemporary Drama, reviewed by C. J. Gianakaris Egil Tornqvist, A Drama Of Souls: Studies In O'Neil's Super-Naturalistic Technique, reviewed by Louis Sheaffer Simon Trussler, The Plays Of John Osborne: An Assessment, reviewed by James M. Ware R. F. Dietrich, Portrait Of The Artist As A Young Superman: A Study Of Shaw's Novels, reviewed by Raymond S. Nelson Bettina L. Knapp, Jean Cocteau, reviewed by Laurent Lesage James H. Brandon, On Thrones Of Gold: Three Javanese Shadow Plays , reviewed by A. C. Scoti Leroy R. Shaw, The Playwright And Historical Change: Dramatic Strategies In Brecht, Hauptmann, Kaiser And Wedekind, reviewed by N. Joseph Calarco Walter J. Meserve, Robert E. Sherwood: Reluctant Moralist, reviewed by Charles G. Masinton John Mason Brown, The Ordeal Of A Playwright: Robert E. Sherwood And The Challenge Of War, reviewed by Charles G. Masinton
Book Reviews
Authors: Bree Germaine , Cohn Ruby , Matlaw Myron , Johnson Walter , Coiner Miles 
Published: April 2013

an Jacquot and Denis Bablet, Les Voles De La Création Theatrale, reviewed by Germaine Bree Francke Verlag, Das Englische Theater Und Bert Brecht: Die Dramen Von W.H. Auden, John Osborne, John Arden In Ihrer Beziehung Zum Epischen Theater Von Bert Brecht Und Den Gemeinsamen Elizabethanischen Quellen, reviewed by Ruby Cohn Rolf Scheibler, The Late Plays Of Eugene O'Neill, reviewed by Myron Matlaw James Walter McFarlane and Graham Orton ed., The Oxford Ibsen, reviewed by Walter Johnson Clinton F. Oliver and Stephanie Sills ed., Contemporary Black Drama From "A Raisin In The Sun" To "No Place To Be Somebody", reviewed by Miles Coiner
Dialect In The Plays Of Sean O'Casey
Authors: Snowden  
Published: April 2013

ONE OF THE DISADVANTAGES WHICH BOTH Synge and O'Casey suffered on the English stage was the difficulty English audiences experienced in trying to cope with the strangeness of the Irish vernacular. It was a strangeness that originated not only in the idiom of the characters but in the prolixity of their vocabulary and the rapidity of their delivery. In admiring O'Casey's faithful rendering of dialect, however, we might tend to overlook the very conscious control he exercised in its use, particularly in his later plays. Increasingly he employed dialect to serve clearly-defined purposes in his dramatic design. A comparison between any of O'Casey's earliest plays and any 'realistic' play of the same period shows a marked difference in the treatment of language. T. C. Murray and Lennox Robinson used language as the barest instrument of plot and characterisation: it might express feeling or mood but is rarely allowed to obtrude. O'Casey, on the other hand, in these early plays shows a preoccupation with language and an obvious belief in its power to transform reality.
Book Reviews
Authors: Yang Daniel , Cohn Ruby , Knapp Betiina , Lesage Laurent 
Published: April 2013

Walter J. Meserve and Ruth 1. Meserve ed., Modern Drama From Communist China, reviewed by Daniel S. P. Yang David H. Hesla, The Shape Of Chaos: An Interpretation Of The Art Of Samuel Beckett, reviewed by Ruby Cohn John A. Henderson, The First Avant-Garde (1887-1894), reviewed by Betiina L. Knapp Bettina L. Knapp, Jean Racine: Mythos And Renewal In Modern Theater, reviewed by Laurent Lesage
The Secret agent On Stage
Authors: Ryf Robert 
Published: April 2013

THERE CAN BE LITTLE DOUBT THAT THE DRAMATIZATION, by another writer, and the modestly successful stage production of Conrad's novel Victory revived his ambivalent fascination with drama and crystallized his determination to try his own hand again at writing a play. Victory ended its run in late June, 1919; by early November Conrad was hard at work on his dramatization of his novel The Secret Agent. On November 7, he wrote to his agent, J. B. Pinker, that all his thoughts and "vital energies" were concentrated on the play, which was assuming larger and larger proportions in his mind. He had by this time finished his first draft of Act I, and was at work on Act II. He was realizing already that his chief problem was to keep the play within its proper length. "There is so much to say" he wrote, "and so much must be left out that the choice perplexes one and checks one's work." The interesting thing about this comment is Conrad's perception of what the role of the dramatist is, namely, to "say" a great many things, and to leave out a great deal. Here we see one basis for Conrad's persistent difficulties in writing drama: dialogue and cutting cannot carry a playwright all the way. What is necessary is embodiment.
Book Reviews
Authors: Barclay  , Meserve Walter , Proffer Ellendea , Sidnell Michael , Marker Lise-Lone 
Published: April 2013

Francisco Ruiz Ramon, Historia Del Teatro Espanol. Siglo XX, reviewed by T.B. Barclay Lois Wheeler Snow, China On Stage, reviewed by Walter J. Meserve C.H.Bedford, The Early Plays Of Mikhail Bulgakov, reviewed by Ellendea Proffer E. H. Mikhail, Sean O'Casey: A Bibliography Of Criticism, reviewed by Michael J. Sidnell Paul F. Breed and Florence M. Sniderman, Dramatic Criticism Index, reviewed by Lise-Lone Marker Carl J. Stratman, Britain's Theatrical Periodicals, reviewed by Lise-Lone Marker