bluuebunny/crossref_metadata_2025_split huggingface dataset:
P.Oxy. 4711 And The Poetry Of Parthenius
Authors: Bernsdorff Hans 
Published: January 2010

Abstract:P.Oxy. 4711 (from a papyrus codex of the sixth century AD) contains elegiacs with at least three metamorphosis myths (Adonis, Asterie, Narcisssus). In this article I argue against the suggestion by (among others) the first editor of this papyrus that the verses might be by Parthenius. I do so by examining the evidence for Parthenian authorship (especially the presumed imitations by Ovid and Gregory of Nazianzus) and by comparing the style of the new piece with what we actually possess of Parthenian poetry (especially withfr. 28 Lightfoot, which might come from theMetamorphoseis). Instead I suggest a late date of composition and would regard the fragments as a collection of the-matically arranged διηέματα in verse which are related to the production of progymnasmata in schools.
Celebrating poetic victory: representations of epinikia in Classical Athens
Authors: Biles Zachary 
Published: January 2010

Abstract:Although we are fairly well informed about the general organization and important events of the dramatic competitions in Athens, there remain significant gaps in our knowledge on many points of detail. In no place is this more true than with regard to the epinikian celebration honouring members of the victorious performance, about which scarcely any unambiguous testimony has come down to us. This study aims to provide new insights into the problem by demonstrating a connection between the iconography preserved in several sculpted reliefs of the Roman period commonly referred to as Dionysos' visit to Ikarios and the representation of a celebration for poetic victory in Plato'sSymposium. Central to the combined testimony of these sources is the ideal of Dionysos’ epiphany to the poet in order to acknowledge and honour his victory in person. So identified as an element of victory celebration, related articulations of this imagined moment can then be detected in several additional representations on vases and in Aristophanic comedy, in both of which other independent elements likewise suggest the activation of an epinikian syntax. Practical matters about the celebration still elude us; what we gain, however, is a clearer sense of the religious ideals that were conveyed through these celebrations in connection with the worship of Dionysos, which formed a nucleus for the dramatic festivals.
Trauma ek pronoiasin Athenian law
Authors: Phillips David D. 
Published: January 2010

Abstract:This article presents a comprehensive study of the offence oftrauma ek pronoias(intentional wounding) in Athenian law. Part I catalogues every occurrence of the words τραùμα and τιρώσκω in the Attic orators and concludes that the requisite physical element oftrauma ek pronoiaswas the use of a weapon. Part II analyses all attestedtraumalawsuits and concludes that the requisite mental element of the offence was a bare intent to wound. Part III addresses the procedural evidence fortrauma ek pronoiasand concludes that the action fortraumawas agraphê, not adikê. Two appendices discuss the use of the termstraumaandpronoiain Plato'sLawsand Aristotle'sRhetoric(Appendix A) and a reference totrauma ek pronoiasin Lucian'sTimon(Appendix B).
The Personality Of The Greek State
Authors: Anderson Greg 
Published: January 2010

Abstract:Were thepoleisof Classical Greece state-based or stateless communities? Do their political structures meet standard criteria for full statehood? Conventional wisdom maintains that they do not. According to a broad consensus, the Classicalpoliswas neither state-based nor stateless as such, but something somewhere in between: a unique, category-defying formation that was somehow both ‘state’ and ‘society’ simultaneously, a kind of inseparable fusion of the two. The current paper offers an alternative perspective on this complex but fundamental issue. It questions prevailing views on theoretical grounds, suggesting that the consensus ‘fusionist’ position rests ultimately upon a misunderstanding of what Thomas Hobbes would call the ‘personality’ ofpolispolitical structures. Focusing on the case of Classical Athens, it then proceeds to present a new account of the Greek ‘state’, an account that aims to be both theoretically satisfying and heuristically useful. Even if all those who performed state functions were simultaneously constituents ofpolis‘society’, the state was nevertheless perceived to function as an autonomous agency, possessing a corporate personality that was quite distinct from the individual personalities of the living, breathing citizens who happened to instantiate it at any particular time.
Do we have the end of Sophocles'Oedipus Tyrannus?
Authors: Kovacs David 
Published: January 2010

Abstract:The objections against the transmitted ending ofOT(1424–1530) raised by scholars since the eighteenth century and most recently by R.D. Dawe deserve to be taken seriously, but only the last 63 lines (1468–1530, called B below) are open to truly serious objections, both verbal and dramaturgical. By contrast, objections against 1424–67 (called A below) are mostly slight, and in addition they are protected by an earlier passage in the play that seems to prepare the audience for Creon's demand that Oedipus re-enter the palace. A is genuine and gives us the end of the play as Sophocles wrote it: probably we have lost only a brief reply by Creon to Oedipus’ requests and some choral anapaests. A postscript discusses the meaning of 1451–57. I argue that these look to the future (infinitive πέρσαι plus ἄν standing for optative plus ἄν), and that έπί τωι δειν⋯ι κακ⋯ι means that Oedipus is being saved ‘for some dreadful mischief’, i.e. to cause such mischief to others, an allusion to the cursing of his sons and its result, the war of the Seven against Thebes.
Rhesusrevisited: the case for a fourth-century Macedonian context
Authors: Liapis Vayos 
Published: January 2010

Abstract:A number of individual passages inRhesus, a tragedy whose attribution to Euripides has repeatedly been questioned, evince extensive familiarity with institutions and mentalities prevalent in fourth-century Macedonia. The paper argues thatRhesuswas composed and produced for a Macedonian performance context, probably between the late 350s and the late 330s BC, by an author who, while familiar with Athenian tragedy and conceivably of Athenian origin, may have lived in the court of Philip II or Alexander III.
Navigation of Deep Draught Vessels in the Southern North Sea
Authors: Winstanley J. D. 
Published: January 2010

Some 7 years ago the North Sea Hydrographic Commission took up the question of deep draught routes in the North Sea and a basic pattern was selected and examined against existing hydrographic materials by the members of this Commission. In 1966 Shell International Marine produced a publication entitledThe Channel and North Sea Routeing Folder. These more detailed routes together with the basic ones proposed by the Hydrographic Commission (although they are in no way official or necessarily accepted) form the basis of our present thinking on routes and planning of surveys in this area.It was only a few years ago that a draught of 50 ft. was exceptional and it was generally considered that draughts were unlikely ever to exceed 60 ft. In fact draughts have increased rapidly ever since and for this reason, last year, we extended the limit to which we show soundings in fathoms and feet from 11 to 15 fin. in areas where deep-draught vessels could be expected to operate.
Helicopter Servicing and the Collision Regulations
Authors: Pielow C. L. 
Published: January 2010

The servicing of ships off Cape Town by helicopter with stores and spares is now established practice. In addition, test exercises are in progress with the Rotterdam Port Authorities to embark pilots by helicopter, and preliminary enquiries are under way for helicopter servicing in the Arabian Gulf.Since the Institute is setting up a working party to consider the revision of the Collision Regulations, this may be a suitable time to raise the question of whether or not a vessel being serviced by helicopter or embarking a pilot by helicopter should be required to exhibit the day-time shapes prescribed in the Collision Regulations under Rule 4(c).From exchange of correspondence in recent weeks with various interested parties, it is noticeable that there are differences of opinion concerning the necessity for helicopter serviced vessels to exhibit specific shapes, notably those required under Rule 4(c), and due to the non-existence of published official ruling, the following notes may be of general interest.
THE KERNELS AND CONTINUITY IDEALS OF HOMOMORPHISMS FROM 𝒞0(Ω)
Authors: PHAM HUNG LE 
Published: January 2010

AbstractWe give a description of the continuity ideals and the kernels of homomorphisms from the algebras of continuous functions on locally compact spaces into Banach algebras. We also construct families of prime ideals satisfying a certain intriguing property in the algebras of continuous functions.
VARIANTS OF MIYACHI’S THEOREM FOR NILPOTENT LIE GROUPS
Authors: BAKLOUTI ALI , THANGAVELU SUNDARAM 
Published: January 2010

AbstractWe formulate and prove two versions of Miyachi’s theorem for connected, simply connected nilpotent Lie groups. This allows us to prove the sharpness of the constant 1/4 in the theorems of Hardy and of Cowling and Price for any nilpotent Lie group. These theorems are proved using a variant of Miyachi’s theorem for the group Fourier transform.
2 Creating a God: The Reception of Edgard Varèse
Authors: Oja Carol J. 
Published: January 2010

Abstract
When Edgard Varèse arrived in New York City in the midst of World War I, he joined the wave of European immigrants that also brought Ernest Bloch, E. Robert Schmitz, and Dane Rudhyar. His work ultimately may have come to define an important strain in the history of American music, but his European origins provided a strong international identity that he maintained throughout his career. Historians of 20th-century music assessed Varèse's work with an exceptionally serious tone. But it is the collective weight of the Varèse bibliography that makes the biggest statement, including the valuable (if incomplete) memoirs of his wife Louise, as well as a growing series of studies produced by music theorists and historians. What has been forgotten is the degree to which this admiration for Varèse took shape from his earliest years in New York. Far from being ignored or harshly criticized during the 1910s and 1920s, as legend has it Varèse was put on a pedestal. He became the matinee idol of modernism.
3 The Arrival of European Modernism
Authors: Oja Carol J. 
Published: January 2010

Abstract
The first period of the arrival of European modernism in New York City stretched from approximately 1914 to 1923. This was the time when Aaron Copland, Henry Cowell, Ruth Crawford, Virgil Thomson, and other American composers of the generation born around 1900 were adolescents. Their youth unfolded as modernism emerged. Even though so many of these figures eventually spent substantial residencies abroad, most of them first discovered the newest music from Europe while still at home, and the ways they did so depended on a blend of socioeconomic background, education, geographic location, and serendipity. For some, the newest works were readily accessible in the United States, while for others they were totally unknown. European modernism traveled through live performances, published scores, written accounts, and verbal testimony. Among those European composers who made an impact on New York's music scene were Arnold Schoenberg, Igor Stravinsky, Béla Bartók, Alexander Scriabin, Erik Satie, and Manuel de Falla.
7 The Ecstasy of Carl Ruggles
Authors: Oja Carol J. 
Published: January 2010

Abstract
Dane Rudhyar's closest bond during the early 1920s was with Carl Ruggles and Henry Cowell. Together, the three earnestly encouraged one another in their pursuit of a distinctive modernist idiom. Late in the decade, the young Ruth Crawford also entered their realm. Though never gaining full status in this nuclear brotherhood, she ended up being inspired most directly by Rudhyar. Among this select group of cohorts, Ruggles was the one most championed by Rudhyar himself. A New Englander by birth, Ruggles (1876-1971) gained a reputation as a salty eccentric, living in a converted Vermont schoolhouse and turning up regularly in New York City for performances of his music. Ruggles's music was consistently knotty and non-tonal, posing stiff challenges for listeners. It was precisely to confront this challenge that Rudhyar stepped in. As critic and advocate, Rudhyar tried to enrich the listening experience by applying his spiritual philosophy of dissonance to Ruggles's music. Ruggles's fusion of spirituality and dissonance aimed high on the whole, not low, and Rudhyar's ideas about tone and space opened up new perceptual possibilities in approaching his music.
15 Virgil Thomson’s “Cocktail of Culture”
Authors: Oja Carol J. 
Published: January 2010

Abstract
Virgil Thomson was one of the most outspoken critics of neoclassicism, at one point disparaging it as a “lingua franca” that was essentially “an indigestible mixture cocktail of culture”. Thomson's contradictory behavior is intriguingly present in Capital, Capitals, a work from 1927 that mixed sex, religion, and music. It was performed twice on the Copland-Sessions Concerts, first in New York City in February 1929 and two years later in London, England. Capital, Capitals is a key transitional work, reflecting a time when Thomson switched from a branch of neoclassicism that exhibited the acerbic harmonic edge of Igor Stravinsky to one which embraced the ultra-diatonicism of Erik Satie. It is daring for its simplicity rather than its complexity. But the internal tensions in Capital, Capitals reached beyond neoclassicism to involve an impish fusion of sacred and secular, both in its particular blend of historic styles and in the way it encoded a homosexual message within an aura of high church. With Capital, Capitals, Thomson found the voice that so distinguished him from other neoclassically inclined American composers.
Conclusion
Authors: Jarausch Konrad H. 
Published: January 2010

Abstract
This chapter presents some concluding thoughts. It addresses the following questions: Why did a more crushing defeat in World War II and the attending collapse of the Nazi dictatorship lead most Germans instead to eschew war, to abjure radical nationalism, and to reject special paths of modernization in the future? How have the lessons of the National Socialist past affected the German response to the new challenges of globalization? In recent decades, postcolonial criticism has begun to question the goal of transformation—whether it is called Westernization, liberalization, or civilization. To what extent were the successive changes really a positive gain? Answering such questions requires not just a reexamination of the record but some reflection on the criteria used to pass judgment.
“The Happiness of Liberty of Which I Knew Nothing Before”
Authors: FOOTE THELMA WILLS 
Published: January 2010

Abstract
This chapter shows that the final split between the English colonial rulers and settlers in British North America provided passports to freedom for runaway slaves, who during the white American War for independence deserted their passport masters. It provides a historical analysis of the formation of the binary racial division that arose out of the project of colony building on Manhattan Island during the early modern era and took shape in articulation with divisions of class, religion, birthplace, gender, sexuality, and language.
Epilogue: “What to the Slave Is the Fourth of July?”
Authors: FOOTE THELMA WILLS 
Published: January 2010

Abstract
This chapter discusses the abolition of slavery in the United States. It notes that the civil rights amendments were promulgated to protect the liberty of recently emancipated black citizens and their descendants. It explains that race no longer means something biological, but something political that race thinking continues to operate as a seemingly indispensable way of knowing the world.
Vocal Forces in Bach’s Passions
Authors: Melamed Daniel R. 
Published: January 2010

Abstract
What vocal forces did Bach use for his passion performances, and does that matter today? Few issues in 18th-century music have attracted as much attention as the size and composition of Bach's vocal forces. Our performing tradition has inherited the use of large choirs (and orchestras to match), but recent research suggests that Bach did not perform his compositions this way. We have also inherited a sharp distinction between the roles of vocal soloists and choir members, but this was not an 18th-century way of thinking about singers. Today we typically hear forces that are not only larger than Bach's, but that are also organized and deployed very differently.
Singers and Roles in Bach’s Passions
Authors: Melamed Daniel R. 
Published: January 2010

Abstract
Are Bach's passions dramatic? Whether we hear Bach's passions in concert performances or (rarely nowadays) as part of a liturgy, there is no missing the importance of narrative. The passion settings each tell a story in the voice of an Evangelist using the words of the New Testament; individual characters speak, and the work takes its structure, organization, and pacing from the progress of the narrative. But the tendency to hear Bach's passions as dramatic, and to interpret them by the standards of musical drama, has consequences for the way we perform and listen to these works today. In particular, it is central to figuring out what to make of performances likes Bach's own, that use small ensembles in which a very few singers took on multiple duties.
A St. Mark Passion Makes the Rounds
Authors: Melamed Daniel R. 
Published: January 2010

Abstract
What should we make of the 18th-century practice of reworking passion settings for performances in various times and places? In Bach's time passion settings were freely adapted to local needs. This practice is well-documented in an anonymous St. Mark Passion that Bach performed (in several different versions) throughout his career, a work which also saw adapted performances in other places as well.
Parody and Reconstruction: The St. Mark Passion BWV 247
Authors: Melamed Daniel R. 
Published: January 2010

Abstract
Can the 18th-century practice of reusing vocal music help us recover a lost passion setting by Bach? There have been many attempts to reconstruct Bach's lost St. Mark Passion by drawing on the compositions whose music Bach evidently reworked to create the passion in a process known as parody. But there are gaps and problems, raising serious questions about the status of a work reassembled in this way.
Bach/Not Bach: The Anonymous St. Luke Passion BWV 246
Authors: Melamed Daniel R. 
Published: January 2010

Abstract
How did an anonymous passion come to be attributed to Bach, and what does it mean that it did? The St. Luke Passion BWV 246 sets Luke's words as a biblical oratorio with interpolated poetic arias and chorales, just like Bach's other passions. Everyone now agrees that the passion is not by Bach, but the work is still known today because, even after scholars gave up on the idea that the work was his, they clung to the problematic claim that he had performed the piece as part of his working repertory in Leipzig. The St. Luke Passion illustrates one of the most serious problems in the study of old music, and offers some discomforting insights into the assumptions we make about Great Musical Works and their composers.
Inside Early Music
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
The attempt to play music with the styles and instruments of its era—commonly referred to as the early music movement—has become immensely popular in recent years. For instance, Billboard’s “Top Classical Albums” of 1993 and 1994 featured Anonymous 4, who sing medieval music, and the best-selling Beethoven recording of 1995 was a period-instruments symphony cycle led by John Eliot Gardiner, who is Deutsche Grammophon’s top-selling living conductor. But the movement has generated as much controversy as it has best-selling records, not only about the merits of its results, but also about the validity of its approach. To what degree can we recreate long-lost performing styles? How important are historical period instruments for the performance of a piece? Why should musicians bother with historical information? Are they sacrificing art to scholarship? This book has invited many of the leading practitioners to speak out about their passion for early music—why they are attracted to this movement and how it shapes their work. Readers listen in on conversations with conductors Gardiner, William Christie, and Roger Norrington, Peter Phillips of the Tallis Scholars, vocalists Susan Hellauer of Anonymous 4, forte pianist Robert Levin, cellist Anner Bylsma, and many other leading artists. The book is divided into musical eras—Medieval, Renaissance, Baroque, and Classic and Romantic—with each interview focusing on particular composers or styles, touching on heated topics such as the debate over what is “authentic,” the value of playing on period instruments, and how to interpret the composer’s intentions.
Introduction: An Atmosphere of Controversy
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
A music performance can try both to reconstruct early practice and to give pleasure or dramatic effect. The results can be surprisingly vital, but the tension between the goals may explain part of why the early music movement has, as Joseph Kerman says, “always flourished in an atmosphere of multiple controversy”. This book presents insiders’ views of many of the controversies—what they are about, and why they might matter. Without such views, we cannot really understand why these artists play as they do. Some of the controversies arise within the realm of musicology, but others reflect the tension between scholarship and art. The crux of this book can be expressed in a question: How can you use historical information to enliven modern performance? Answers to that question fall on a spectrum from ignoring the evidence to following it to the letter. Those two responses, and others less extreme, underlie the most obvious of the controversies—what Kerman called “disputes over turf”.
You Can’t Sing a Footnote
Authors: Sherman Bernard D. 
Published: January 2010

Abstract
Medieval composers rarely expected their sacred music to be listened to for its own sake. They designed it to accompany church services—events of solemn meaning for medieval worshippers, but not for modern concert audiences. On top of that, they set texts with little appeal or resonance for most modern listeners. For these reasons, their music translates to the modern concert hall with difficulty. Anonymous 4 have been unusually successful in this act of translation. This chapter presents an interview with Susan Hellauer, who discusses how the group approaches it, how the group translates music written for one context to others that are very different, how they deal with objectionable texts, their performance of chant, expressiveness in singing chant, issues of authenticity, and the role of women in performing medieval music.