bluuebunny/crossref_metadata_2025_split huggingface dataset:
Monodisperse aqueous microspheres encapsulating high concentration of l-ascorbic acid: insights of preparation and stability evaluation from straight-through microchannel emulsification
Authors: Khalid Nauman , Kobayashi Isao , Neves Marcos A , Uemura Kunihiko , Nakajima Mitsutoshi , Nabetani Hiroshi 
Published: June 2015

Abstract
Stabilization of l-ascorbic acid (l-AA) is a challenging task for food and pharmaceutical industries. The study was conducted to prepare monodisperse aqueous microspheres containing enhanced concentrations of l-AA by using microchannel emulsification (MCE). The asymmetric straight-through microchannel (MC) array used here constitutes 11 × 104 μm microslots connected to a 10 μm circular microholes. 5–30% (w/w) l-AA was added to a Milli-Q water solution containing 2% (w/w) sodium alginate and 1% (w/w) magnesium sulfate, while the continuous phase constitutes 5% (w/w) tetraglycerol condensed ricinoleate in water-saturated decane. Monodisperse aqueous microspheres with average diameters (dav) of 18.7–20.7 μm and coefficients of variation (CVs) below 6% were successfully prepared via MCE regardless of the l-AA concentrations applied. The collected microspheres were physically stable in terms of their dav and CV for &gt;10 days of storage at 40°C. The aqueous microspheres exhibited l-AA encapsulation efficiency exceeding 70% during the storage.
Analytic characterizations of gaugeability for generalized Feynman-Kac functionals
Authors: Kim Daehong , Kuwae Kazuhiro 
Published: June 2015

We give analytic characterizations of gaugeability for generalized Feynman-Kac functionals including continuous additive functional of zero quadratic variation in the framework of symmetric Markov processes. Our result improves the previous work on the analytic characterization due to Z.-Q. Chen (2003) even if we restrict ourselves to deal with non-local perturbations. We also prove that such a characterization is also equivalent to semi-conditional gaugeability and to the subcriticality of the Schrödinger operator associated to our generalized Feynman-Kac semigroup under the conditional (semi-)Green-tightness of related measures.
Relative benthic disturbances of conventional and novel otter boards
Authors: McHugh Matthew J. , Broadhurst Matt K. , Sterling David J. , Millar Russell B. , Skilleter Greg , Kennelly Steven J. 
Published: June 2015

AbstractReducing otter-board angle of attack (AOA) has been proposed as a way to limit the habitat impacts of demersal trawls, but there are few quantitative assessments. This study tested the hypothesis that a novel otter-board design, termed the “batwing” (comprising a 0.1-m wide sled with an offset sail at 20° AOA) would have relatively fewer bottom impacts than a conventional flat-rectangular otter board (35° AOA, with a similar hydrodynamic spreading force). Pairs of each otter board were suspended beneath a purpose-built rig comprising a beam and posterior semi-pelagic collection net and repeatedly deployed across established trawl grounds in an Australian estuary. Compared with the conventional otter boards, the batwings displaced significantly fewer empty shells (Anadara trapezia and Spisula trigonella) by 89% and school prawns (Metapenaeus macleayi) by up to 78%. These rates were similar to the difference in base-plate bottom contact (87%). Further, the batwing damaged proportionally fewer damaged shells, attributed to their displacement away from the board's surface area. Other debris (lighter pieces of wood) and benthic fish (bridled gobies, Arenigobius bifrenatus) were not as greatly mobilised (i.e. reduced by 50 and 25%, respectively); possibly due to their position on or slightly off the bottom, and a similar influence of hydrodynamic displacement by the hydro-vane surface areas. Although the consequences of reducing otter-board bottom contact largely remain unknown, low AOA designs like the batwing may represent a practical option for fisheries where trawling is perceived to be hazardous to sensitive habitats.
9–28 d of exposure to elevated pCO2 reduces avoidance of predator odour but had no effect on behavioural lateralization or swimming activity in a temperate wrasse (Ctenolabrus rupestris)
Authors: Sundin Josefin , Jutfelt Fredrik 
Published: June 2015

AbstractMost studies on the impact of near-future levels of carbon dioxide on fish behaviour report behavioural alterations, wherefore abnormal behaviour has been suggested to be a potential consequence of future ocean acidification and therefore a threat to ocean ecosystems. However, an increasing number of studies show tolerance of fish to increased levels of carbon dioxide. This variation among studies in susceptibility highlights the importance of continued investigation of the possible effects of elevated pCO2. Here, we investigated the impacts of increased levels of carbon dioxide on behaviour using the goldsinny wrasse (Ctenolabrus rupestris), which is a common species in European coastal waters and widely used as cleaner fish to control sea lice infestation in commercial fish farming in Europe. The wrasses were exposed to control water conditions (370 μatm) or elevated pCO2 (995 μatm) for 1 month, during which time behavioural trials were performed. We investigated the possible effects of CO2 on behavioural lateralization, swimming activity, and prey and predator olfactory preferences, all behaviours where disturbances have previously been reported in other fish species after exposure to elevated CO2. Interestingly, we failed to detect effects of carbon dioxide for most behaviours investigated, excluding predator olfactory cue avoidance, where control fish initially avoided predator cue while the high CO2 group was indifferent. The present study therefore shows behavioural tolerance to increased levels of carbon dioxide in the goldsinny wrasse. We also highlight that individual fish can show disturbance in specific behaviours while being apparently unaffected by elevated pCO2 in other behavioural tests. However, using experiments with exposure times measured in weeks to predict possible effects of long-term drivers, such as ocean acidification, has limitations, and the behavioural effects from elevated pCO2 in this experiment cannot be viewed as proof that these fish would show the same reaction after decades of evolution.
Pursuing Attainment versus Maintenance Goals: The Interplay of Self-Construal and Goal Type on Consumer Motivation
Authors: Yang Haiyang , Stamatogiannakis Antonios , Chattopadhyay Amitava 
Published: June 2015

Abstract
This research examines how self-construal (i.e., independent vs. interdependent) and goal type (i.e., attainment vs. maintenance) are conceptually linked and jointly impact consumer behavior. The results of five experiments and one field study involving different operationalizations of self-construal and goal pursuit activities suggest that attainment (maintenance) goals can be more motivating for participants with a more independent (interdependent) self-construal and that differences in salient knowledge about pursuing the goals are one potential mechanism underlying this effect. This interaction effect was found within a single culture, between cultures, when self-construal was experimentally manipulated or measured, and when potential confounding factors like regulatory focus were controlled for. The effect was also found to impact consumer behavior in real life—self-construal, as reflected by the number of social ties consumers had, impacted the likelihood that they opted to reduce versus maintain their bodyweight. Further, after setting their goal, consumers who were more independent exhibited more (less) motivation, as measured by the amount of money they put at stake, when their goal was weight reduction (maintenance). These findings shed light on the relationship between self-construal and goal type, and offer insights, to both consumers and managers, on how to increase motivation for goal pursuit.
What Is Opera?
Authors: Carter Tim 
Published: June 2015

Abstract
Chapter 1 provides an overview of possible answers to the question of its title by establishing the terminology, then moving through considerations of what one might call the opera industry and the institutions that support it, of the artists who engage in it in the theater, of the repertory from the Baroque period to modern times, and of the issues and techniques that might underpin a given libretto and how it is set to music. This leads to a discussion of the oft-claimed exoticism and irrationality of opera and how one might best respond.
Genre
Authors: Senici Emanuele 
Published: June 2015

AbstractOpera counts among the very few genres in the history of artistic creation in which theory came before practice: rather than recognized as a genre after it had been in existence for some time, as usually happens, opera was famously “invented.” At the same time, perhaps no other genre relies on convention as heavily as opera. How could such a convention-bound genre be “invented”? This chapter attempts to answer this question, discussing first the “invention” of opera, and then the ways in which the category of genre has been employed in the aesthetic and historiographical discourse on opera, with special focus on a few emblematic cases such as Don Giovanni, Fidelio, Carmen, Wagner’s music dramas, and modernist music theater.
Operatorio?
Authors: Hennemann Monika 
Published: June 2015

AbstractOne of the commonplace theoretical distinctions between opera and oratorio is that the former is staged, and the latter is not; opera has dramatic movement, but oratorio is essentially static, contemplative, and by implication somewhat boring. But was the division between grippingly “secular” opera and reverently dull “sacred” oratorio really so clear-cut? There have in practice been numerous successful stagings of oratorios from Handel’s day to the present, albeit often overlooked or stigmatized in music historiography. This chapter chronicles and evaluates the concept of “dramatic” oratorio with special emphasis on the intriguing performance history of Mendelssohn’s Elijah and Liszt’s St. Elisabeth on the stage. In challenging the idea of a comfortably neat distinction between the genres of opera and oratorio, and providing a broader aesthetic perspective on the staging of these supposedly unstageable works, it attempts to reevaluate ideas of drama in both genres.
Oft-Told Tales
Authors: Giroud Vincent 
Published: June 2015

Abstract
Many operas are based on a subject treated in other operas, usually deriving from a common source—literary, mythological, or pseudo-historical. This chapter examines the various forms that those intertextual relationships can take in an operatic libretto, from faithful adaptation to parody and transposition, and illustrates the discussion with a survey of the many operatic versions of the myth of Ariadne, from Monteverdi to contemporary examples.
The Language of National Style
Authors: Frolova-Walker Marina 
Published: June 2015

AbstractThis chapter discusses the pursuit of national style in opera as a peculiarly nineteenth-century issue that first emerged among nations at the margins of operatic culture (Germany, Russia) but spread later in the century to the formerly confident operatic cultures of France and even Italy, in attempts to counteract Wagnerism. After a review of recent musicological studies that have examined the issue (with reference to Weber, Glinka, Charpentier, Verdi, and Puccini), the chapter then focuses on one type of practice in particular, the creation of a “national” style through the imitation of intonational and rhythmic patterns in spoken language, with a comparison of Musorgsky’s, Debussy’s, and Janáček’s “dialogue operas.”
Verisimilitude
Authors: Betzwieser Thomas 
Published: June 2015

AbstractThis chapter deals with the aesthetic paradigms in opera theory that concern the issue of verisimilitude. This issue has been the object of discussion and debate since the earliest days of opera until today, e.g. in music films. The importance of verisimilitude is mostly considered in regard to the function of music and the “reality” of singing. It was particularly prominent for such operatic genres in which two different media exist side by side, as, for example, in opéra comique. The chapter focuses primarily on the specific interplay of different media and the correspondent theoretical approaches by philosophers, writers, and scholars. By the example of opéra comique and its mixture of singing and speaking, the issue of verisimilitude could be detailed, since the evolving theoretical paradigms maintain their usefulness for later discussions, especially of the function of the orchestra or the issue of communication in theater.
Characterization
Authors: Rushton Julian 
Published: June 2015

AbstractChapter 15 discusses what Joseph Kerman has called “the most obvious” contribution of music to an opera, characterization. The primacy of music in this respect has been disputed, notably by Peter Kivy, who considers musical characterization to be an illusion. The chapter suggests that a rounded characterization in opera results from collaboration between poet, composer, and singer, and it reaches audiences through music as much as through words and plot. It takes issue with Edward T. Cone’s view that operatic characters are themselves composers, and that diegetic music in opera is impossible; and it discusses operatic acting with reference to a critique by David Hare. Examples are taken from operas by Verdi and Wagner, and allusion is made to, among others, Gluck, Mozart, Weber, Berlioz, Bizet, Debussy, Puccini, Berg, and Britten.
Divas and Divos
Authors: Poriss Hilary 
Published: June 2015

Abstract
Chapter 17 presents an analysis of the most important themes occupying the growing field of diva and divo studies and an overview of the field’s most compelling research. It opens with an exploration of the stereotype of the diva/divo as divine monster and then takes into consideration its binary opposition, that of the normal, down-to-earth, hard-working musician. This chapter then turns toward one of the most important concepts currently enlivening scholarship on singers: the idea that as a collaborative art form, the responsibility for the creation of operatic works falls, in part, on the shoulders of its practitioners, that they too possess artistic authority. By way of drawing both of these sections together, this chapter concludes with a case study of Angelica Catalani, a prima donna whose life and career embody both the stereotype of the diva and the authority of the creative artist.
The Chorus
Authors: Minor Ryan 
Published: June 2015

AbstractThis chapter discusses the opera chorus throughout its history as a lightning rod for operatic reform, focusing in particular on the fluctuations of its dramatic and political responsibilities. In opera, the chorus’s dramaturgical role has frequently indexed the genre’s concerns more generally: referencing the chorus of ancient Greek tragedy by providing reflective commentary; providing a human spectacle to populate the scenic one; or embodying the sentiments of nationalism and other mass politics. But this chapter also makes the case that eighteenth-century debates over verisimilitude—particularly the idealized dramaturgy of spontaneous utterance by individuals, not groups—effectively removed the opera chorus from a central role in the genre. Although the chorus obviously remained a persistent presence on the operatic stage, it has struggled to recoup the dramaturgical grounding it enjoyed in earlier centuries.
Dance
Authors: Tomko Linda J. 
Published: June 2015

AbstractStudies of dance and opera in the past twenty years have issued chiefly from scholars working in the discipline of musicology, in some instances also from dance history and dance studies; collaborative investigations occur relatively infrequently. This chapter analyzes two modes of inquiry that have characterized research and debates about dance and opera in Europe of the seventeenth to the mid-nineteenth centuries. These are a materializing approach, one that tracks the “stuff” of dance in opera, including its aesthetics, performance practices, and repertoires, and a culturalist approach, which queries how dance and movement practices in and in connection with opera take action in and with respect to their historical, political, and social surrounds. A case study of Mark Morris’s late twentieth-century filmic Dido and Aeneas illuminates the debates through a performance optic.
Autographs, Memorabilia, and the Aesthetics of Collecting
Authors: Macchione Daniela 
Published: June 2015

Abstract
This chapter discusses music collecting as another expression of the music market and publishing industry. Music collecting is an activity closely associated with music-producing systems, but in the musicological arena, the phenomenon of “collecting” as a broader human phenomenon tout-court—a historical, socio-anthropological, economic manifestation of the same system—appears to be a field of only marginal interest, little explored and only rarely confronted as a topic for autonomous research, consigned, rather, to studies of a bibliographic nature, catalogues, and essays on single collections, collectors, or antiquarian firms. Also important to this discussion are reflections on the social dynamics of the production and transmission of collectible objects, specifically the privately owned autographs that circulate under the radar and inspire the work conducted in OperaCat.
Race and Racism
Authors: Graziano John 
Published: June 2015

AbstractFew researchers have addressed the issues of racism in the West that were central to the exclusion of African-American and Asian singers from mainstream white opera companies in the nineteenth and twentieth centuries. This chapter examines the alternative careers of some of these nineteenth-century singers. From Elizabeth Taylor Greenfield, the first African-American soprano, who achieved some renown in musical circles in the United States and England, to Emma Louise Hyers, who sang operatic excerpts in their own traveling company, to the international success of Sissieretta Jones, the “Black Patti,” the chapter traces the venues and repertory where they performed. Twentieth-century singers whose careers are examined include Lillian Evanti, Theodore Drury, Catarina Jarboro, and Tamaki Miura. The final part of the chapter addresses the question of blind casting and its changing significance as opera enters the electronic realm, with HD broadcasts and DVDs.
Gender
Authors: Wilson Alexandra 
Published: June 2015

AbstractThis chapter considers recent approaches to gender in opera studies, with a particular emphasis on the historical gendering of the operatic genre. It takes as a central case study Sir Thomas Beecham’s attempts to popularize and politicize opera in 1920s Britain by “masculinizing” the art form. The article analyzes and contextualizes the highly charged rhetoric used by Beecham’s Imperial League of Opera (ILO) and in its symbolically titled journal, MILO, which evoked Milo of Croton, the great athlete of the ancient world. The promotion of opera by the ILO was framed as a military campaign being waged on two fronts: against Britain’s foreign cultural rivals and against perceived British philistinism. The ILO’s appropriation of heroic classicism demonstrates how opera intersected in surprising ways with interwar debates about masculinity, imperialism, and national identity.
Critics
Authors: Watt Paul 
Published: June 2015

AbstractOpera has been a ripe topic for critics for centuries. The blend of music, words, and dramaturgy has made for a potent mix of elements on which critics have long delivered judgment. This chapter argues that opera criticism is borne not necessarily out of the act of passing judgment alone but is motivated by numerous social, intellectual, and economic interests. Critics past and present have included composer-critics, dilettantes, and intellectuals, who bring to criticism a variety of approaches and agendas through various media such as books, newspaper articles, and blogs. This chapter discusses cases studies from Britain with representative critics that include John M. Robertson, W. J. Galloway, Ernest Newman, and Barry Millington, while periodicals discussed in detail include the National Reformer, the Sunday Times, and the Speaker.
Soundings Offstage
Authors: Christensen Thomas 
Published: June 2015

AbstractThis chapter considers the critical role of keyboard transcription in the dissemination of opera through the eighteenth and nineteenth centuries. An astounding quantity of such arrangements was published during this time throughout Europe: simplified variations and potpourris for amateur pianists to play on the harpsichord or piano-forte, prosaic piano-vocal scores of full operas, and more virtuosic paraphrases and fantasies on operatic themes for professional salon and concert artists. Although this music has often been criticized as mere commercial ephemera distorting the integrity of the original music, a more generous view is suggested in which the transcriptional economy is seen to contribute positively to the literacy and aesthetic values of amateur pianists. Through these genres of transcription, operatic music enjoyed a vibrant life outside the opera house for some two centuries—in many ways as crucial to the reception and understanding of opera as what took place on stage.
Visual Media
Authors: Citron Marcia J. 
Published: June 2015

AbstractThis chapter discusses opera’s relationship with film and other visual media, a fascinating example of media convergence. Scholars have approached opera and film from various perspectives and drawn from many fields, including film music, cinema studies, media studies, and sound studies. The genre of opera-film has emerged as a major focus. Though the operas of many composers have received filmic treatment and elicited critical interest, this article pays special attention to Puccini in film and especially his opera Tosca. Giuseppe Patroni Griffi’s “live film” Tosca (1992), broadcast live from the original locations at the designated times of day, is an experiment in authenticity and technology that advances a global agenda but reveals the inherent tensions of a “live film.” In contrast, Benoît Jacquot’s Tosca (2001) foregrounds the manufactured nature of opera-film by fragmenting elements and creating a hyper-realism that renders the film a highly innovative example of its genre.
Predatory Pricing
Authors: Elzinga Kenneth G. , Mills David 
Published: June 2015

AbstractPredatory pricing occurs when a dominant firm adopts a strategy of charging prices below cost in order to drive rivals out of business—with the prospect of charging high prices in the future and recouping its losses. The economic conditions required for this strategy to be effective are constrained. Current antitrust case law, notably the Court’s Brooke Group decision, provides reasonable criteria for identifying genuine cases of predation.
Predatory Buying
Authors: Lopatka John 
Published: June 2015

Abstract
In theory, a buyer with monopsony power can exclude competitors and increase its power by engaging in predatory buying. The practice involves increasing the price paid for an input above the monopsony price that would otherwise prevail to achieve an anticompetitive effect. A buyer may profit solely by inflicting a loss on suppliers of the input, if it does not compete with input buyers in an output market and lowers input price after competing buyers are excluded. A buyer may also profit if it is a monopolist in an output market and does not compete in that market with competing buyers or competes with at least a group of the same competitors in both the input and output markets, using higher input prices to increase the costs of competing output sellers. But the use of predatory buying as an anticompetitive strategy in these contexts has different economic and legal implications.