bluuebunny/crossref_metadata_2025_split huggingface dataset:
Spatial Effects in Dyadic Data
Authors: Neumayer Eric , Plümper Thomas 
Published: January 2010

AbstractPolitical units often spatially depend in their policy choices on other units. This also holds in dyadic settings where, as in much of international relations research, analysis focuses on the interaction or relation between a pair or dyad of two political units. Yet, with few exceptions, social scientists have analyzed contagion in monadic datasets only, consisting of individual political units. This article categorizes all possible forms of spatial effect modeling in both undirected and directed dyadic data, where it is possible to distinguish the source and the target of interaction (for example, exporter/importer, aggressor/victim, and so on). This approach enables scholars to formulate and test novel mechanisms of contagion, thus ideally paving the way for studies analyzing spatial dependence between dyads of political units. To illustrate the modeling flexibility gained from an understanding of the full set of specification options for spatial effects in dyadic data, we examine the diffusion of bilateral investment treaties between developed and developing countries, building and extending on Elkins, Guzman, and Simmons's 2006 study. However, we come to different conclusions about the channels through which bilateral investment treaties diffuse. Rather than a capital-importing country being influenced by the total number of BITs signed by other capital importers, as modeled in their original article, we find that a capital-importing country is more likely to sign a BIT with a capital exporter only if other competing capital importers have signed BITs with this very same capital exporter. Similarly, other capital exporters' BITs with a specific capital importer influence an exporter's incentive to agree on a BIT with the very same capital importer.
Do Democracies Make Inferior Counterinsurgents? Reassessing Democracy's Impact on War Outcomes and Duration
Authors: Lyall Jason 
Published: January 2010

AbstractA core proposition from decades of research on internal wars asserts that democracies, with their casualty-averse publics, accountable leaders, and free media, are uniquely prone to losing counterinsurgency (COIN) wars. Yet one should question this finding, for two reasons. First, existing studies overwhelmingly adopt no-variance research designs that only examine democracies, leaving them unable to assess their performance relative to autocracies. Second, these studies do not control for confounding factors that bias causal estimates. Democracies, for example, typically fight wars of choice as external occupiers, while most autocracies face homegrown insurgencies, a function in part of divergent levels of state capacity possessed by democratic and autocratic combatants. This study corrects for both problems using a new dataset of insurgencies (1800–2005) and matching to test whether democracies experience significantly higher rates of defeat and shorter wars. No relationship between democracy and war outcomes or duration is found once regime type is varied and inferential threats are addressed.
Depression and cancer mortality: a meta-analysis
Authors: Pinquart M. , Duberstein P. R. 
Published: January 2010

BackgroundThe goal of the present study was to analyze associations between depression and mortality of cancer patients and to test whether these associations would vary by study characteristics.MethodMeta-analysis was used for integrating the results of 105 samples derived from 76 prospective studies.ResultsDepression diagnosis and higher levels of depressive symptoms predicted elevated mortality. This was true in studies that assessed depression before cancer diagnosis as well as in studies that assessed depression following cancer diagnosis. Associations between depression and mortality persisted after controlling for confounding medical variables. The depression–mortality association was weaker in studies that had longer intervals between assessments of depression and mortality, in younger samples and in studies that used the Beck Depression Inventory as compared with other depression scales.ConclusionsScreening for depression should be routinely conducted in the cancer treatment setting. Referrals to mental health specialists should be considered. Research is needed on whether the treatment of depression could, beyond enhancing quality of life, extend survival of depressed cancer patients.
Reconciling reason and religion: a response to Peels
Authors: ZAMULINSKI BRIAN 
Published: January 2010

AbstractIn ‘The ethics of belief and Christian faith as commitment to assumptions’, Rik Peels attacks the views that I advanced in ‘Christianity and the ethics of belief’. Here, I rebut his criticisms of the claim that it is wrong to believe without sufficient evidence, of the contention that Christians are committed to that claim, and of the notion of that faith is not belief but commitment to assumptions in the hope of salvation. My original conclusions still stand.
A critique of religious fictionalism
Authors: CORDRY BENJAMIN S. 
Published: January 2010

AbstractAndrew Eshleman has argued that atheists can believe in God by being fully engaged members of religious communities and using religious discourse in a non-realist way. He calls this position ‘fictionalism’ because the atheist takes up religion as a useful fiction. In this paper I critique fictionalism along two lines: that it is problematic to successfully be a fictionalist and that fictionalism is unjustified. Reflection on fictionalism will point to some wider problems with religious anti-realism.
Jonathan Edwards's ontology: a critique of Sang Hyun Lee's dispositional account of Edwardsian metaphysics
Authors: CRISP OLIVER D. 
Published: January 2010

AbstractSang Hyun Lee's account of Jonathan Edwards's ontology has become the benchmark of many recent discussions of Edwards's thought. In this paper, I argue that this Lee interpretation is flawed in several crucial respects. In place of Lee's understanding of Edwards I offer an account of Edwards's work according to which Edwards is an idealist-occasionalist, but not an advocate of a purely dispositional ontology of creation.
How left behind are rural parents of migrant children? Evidence from Thailand
Authors: KNODEL JOHN , KESPICHAYAWATTANA JIRAPORN , SAENGTIENCHAI CHANPEN , WIWATWANICH SUVINEE 
Published: January 2010

ABSTRACTThe consequences of adult children's migration from rural areas for older parents who remain behind are keenly debated. While the mass media and international advocacy organisations favour an ‘alarmist’ view of desertion, the academic literature makes more sanguine assessments using the ‘household strategy’ and ‘modified extended family’ perspectives. We examine the relationship between the migration of adult children and various dimensions of older parents' wellbeing in Thailand using evidence from a survey that focused on the issues. The results provide little support for the alarmist view, but instead suggest that parents and adult children adapt to the social and economic changes associated with development in ways not necessarily detrimental to intergenerational relations. The migration of children, especially to urban areas, often benefits parents' material support while the recent spread of cell phones has radically increased their ability to maintain social contact. Nevertheless, changing living arrangements through increased migration and the smaller family sizes of the youngest age groups of older people pose serious challenges for aspects of filial support, especially at advanced ages when chronic illness and frailty require long-term personal care. Dealing with this emerging situation in a context of social, economic and technological change is among the most critical issues facing those concerned with the implications of rapid population ageing in Thailand and elsewhere.
Regulation of SNAP-25 trafficking and function by palmitoylation
Authors: Greaves Jennifer , Prescott Gerald R. , Gorleku Oforiwa A. , Chamberlain Luke H. 
Published: January 2010

The SNARE (soluble N-ethylmaleimide-sensitive fusion protein-attachment protein receptor) protein SNAP-25 (25 kDa synaptosome-associated protein) is essential for regulated exocytosis in neuronal and neuroendocrine cells. Whereas the majority of SNARE proteins contain transmembrane domains, SNAP-25 is instead anchored to membranes by the palmitoylation of a central cysteine-rich region. In this review, we discuss the mechanisms of SNAP-25 palmitoylation and how this modification regulates the intracellular trafficking and exocytotic function of this essential protein.
The New Music Theater
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
Alternatives to grand opera and popular musical go back at least as far as Schoenberg's Pierrot Lunaire, early Stravinsky, and Kurt Weill as well as the Broadway and off-Broadway theater operas of the '30s and '40s, and the modernist experiments of the '60s. Yet this long and continuing history, with its complex ideas and philosophy as well as musical and theatrical achievements, has never been properly sorted out. This book is the first comprehensive attempt in English to cover a still-emerging art form in its widest range. It provides a wealth of examples and descriptions, not only of the works themselves, but of the concepts, ideas, and trends that have gone into the evolution of what may be the most central performance art form of the post-modern world. The first two sections of the book deal with Music in Music Theater (including the many new and various uses of the human voice) and Theater in Music Theater (including culture, text, visual strategies, and the multiple new concepts of space). The third section covers European and American music theaters in their various histories and manifestations, with chapters on the more innovative wing of popular music theater, extended voice, and the influence of new media. The fourth part of the book discusses criticism and analysis, improvisation, the issues surrounding pop and high art, and the crucial questions about the audience for music theater. An appendix includes a music-theater bibliography and information about some of the principal venues for the art form.
Chapter 2 Where the Sound Comes From
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses the evolution of instruments and the orchestra in the theater — onstage, offstage, in the pit, and in the theatrical space — along with issues of musical form in theatrical music. It ends with a discussion of the breakdown of the stage/audience barrier, the use of live electronics, and the introduction of digital technology to transmit, transform, and create sound.
Chapter 3 The Music
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses the following subjects in a music theater context: Verismo to expressionism to musical modernism; the development of neoclassicism, presentational theater and the new chamber opera; cross influences of musical populism and the return of modernism in the form of serialism, anti-theater and electro-acoustics; minimalism and the revival of tonality.
Chapter 5 Text
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter begins by tracing the old and widespread association of music and language through the history of traditional opera to the early 20th century. It then discusses some of the specific uses of words in music: storytelling, the libretto, and musical dramaturgy. Modern treatments include both linear and non-linear storytelling, the dynamics of subject matter often including contemporary news events and personalities as well as social situations. Spoken text with music (“melodrama”) and the issue of whether music itself can tell stories are discussed. The chapter ends with a section on “no sense or nonsense”, or how music theater sometimes moves away from storytelling to found text, and even to abandon words completely.
Chapter 8 The American Eccentrics
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses Harry Partch and “ corporeality”; the music theater of Partch (“Delusion of the Fury”, “Revelation in the Courthouse Park”) and his ideas about tuning, instruments, and voice; Marcel Duchamp and “de-semiotization” in the work and ideas of John Cage (from his early experiments to the late Europeras); the influence of Cage and Cage's circle in America and Europe; theatrical and conceptual work and concepts of Mauricio Kagel, an Argentinian working in Europe; and the conceptual work of Tom Johnson, an American composer living and working in Europe.
Chapter 10 From the Homeland: Teatro Musicale
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses fascism and futurism in Italy; Luigi Dallapiccola; politics, improvisation, post-serialism, the return of the human voice, relationship of opera and music theater; Berio, Nono, Bussotti, Maderna; the 1968 and post-1968 generations; and postmodernism and experimentalism in the work of younger Italian composers.
Chapter 12 Music Theater in Northern Europe
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses the work of British composers including Benjamin Britten, Peter Maxwell Davies, Harrison Birtwistle, Cornelius Cardew, Gavin Bryars, Michael Nyman, Mark-Anthony Turnage, and Andrew Toovey. British performing institutions have included the Pierrot Players and the Almeida Theatre. Also discussed are Louis Andriessen from The Netherlands (and his influence on younger British composers) and Per Nørgård from Denmark. Institutions mentioned are NewOp, Musiktheater Transparant in Antwerp, Die Munt (Théâtre Royal de la Monnaie) in Brussels, and Den Anden Opera in Copenhagen.
Chapter 14 Minimalism and Music Theater
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses the history of minimalism and the work of Philip Glass in music theater and opera, notably his influential Einstein on the Beach with Robert Wilson. It considers the influence of minimalism on opera, particularly in the work of John Adams. Steve Reich's multi-media works with Beryl Korot are discussed along with the spread of minimalism as exemplified by music-theater works of Bang on a Can, Michael Nyman, and other British and European composers influenced by minimalism.
Chapter 15 The Show Must Go On
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses Songspiel and vaudeville, show music, and other popular musical theater forms; Kurt Weill in Europe and Kurt Weill in America; “theater opera” on Broadway in the 1930s and '40s starting with the Thomson/Stein 4 Saints in 3 Acts and continuing with the work of Weill, Gershwin, Britten, Menotti, Rodgers & Hart and Rodgers & Hammerstein. The American works of Weill are discussed including Love Life and the so-called concept musical with its long range influence on Blitzstein, Bernstein, William Bolcom, Anthony Davis, and others, including many pop and jazz musicians. The Kurt Weill influence was brought back to Europe by Robert Wilson and Tom Waits in their Black Rider. Limited European influence can also be traced in the work of East German composers, Henze, the Vienna group around Kurt Schwertsik and HK Gruber, Heiner Goebbels, and Christoph Marthaler.
Chapter 16 The Art of the In-Between
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses certain forms of music theater, particularly in the United States and in France dominated by stage directors or choreographers acting as auteurs (rather than composers). It considers how much experimental theater has evolved towards the condition of music theater over the years; the term melodrama — originally a spoken or declaimed theater accompanied by continuous music — and many modern examples found in the work of Schoenberg, Cage and others; and other forms of in-between art involving jazz, percussion, and noise.
Chapter 17 Extended Voice
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses Roy Hart, the Roy Hart Theater, and the roots of extended vocalism; widening of vocal range and inclusion of non-traditional vocal sounds and techniques; the American monologists; Meredith Monk, her techniques, vocal esthetic, and music-theater works; other well-known performers; and Quog Music Theater and the American Music Theater Festival.
Chapter 18 New Media and Music Theater
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
Technology has a long history in both music and theater, and music theater may be the most technological of all the arts. The arrival of new technologies has always provided a focus as well as themes for new work: the history of the relationship of opera and music theater on the one hand; film, video, and television on the other. Robert Ashley's video work, various uses of technology in music theater works, and digital interactivity are discussed. A final section discusses theater itself as a medium in the work of Heiner Goebbels.
Chapter 20 Notation versus Improvisation?
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter discusses the impact of the growing constraints of notation (to achieve ensemble togetherness) on operatic performance. Solutions include text declamation over chordal punctuation, dry recitative (recitativo secco) or spoken text alternating with set musical numbers; also the introduction of improvisation, embellishment, and performance flexibility. It considers some recent works created with the collaboration of the performers and without a fixed score — as in dance or jazz; the whole range of possibilities for improvisation and performer involvement from modified strict notation to free improvisation; and the implications that follow such as the notion of music and music theater as play. Audiences do not always recognize improvisation, but all theater needs the aura of improvisation in order to convey a performance that lives in the moment.
Chapter 22 Is Anyone Listening?
Authors: Salzman Eric , Desi Thomas 
Published: January 2010

Abstract
This chapter contrasts the audience for contemporary music theater with the audience for traditional opera, arguing that a given performance in a certain place with a certain audience can totally change the reality of a piece or its performance. It addresses the following questions: What brings an audience into the theater? Are audiences now more global than local? What is the relationship between audiences, media and performance space? How have the changes in technological culture affected the relationship between the audience, the performer, and the work?
Swing Along
Authors: Carter Marva 
Published: January 2010

Abstract
Renowned today as a prominent African-American in music theater and the arts community, composer, conductor, and violinist Will Marion Cook was a key figure in the development of American music from the 1890s to the 1920s. This book looks at his life’s story, drawing on his unfinished autobiography and his wife Abbie’s memoir. A violin virtuoso, Cook studied at Oberlin College (his parents’ alma mater), Berlin’s Hochschule für Musik with Joseph Joachim, and New York’s national Conservatory of Music with Antonín Dvořák. Cook wrote music for a now-lost production of Uncle Tom’s Cabin for the Chicago World’s Fair of 1893, and then devoted the majority of his career to black musical comedies due to limited opportunities available to him as a black composer. He was instrumental in showcasing his Southern Syncopated Orchestra in the prominent concert halls of the United States and Europe, even featuring New Orleans clarinetist Sidney Bechet, who later introduced European audiences to authentic blues. Once mentored by Frederick Douglas, Will Marion Cook went on to mentor Duke Ellington, paving the path for orchestral concert jazz. Through interpretive and musical analyses, the book traces Cook’s successful evolution from minstrelsy to musical theater. Written with his collaborator, the distinguished poet Paul Lawrence Dunbar, Cook’s musicals infused American musical theater with African-American music, consequently altering the direction of American popular music. Cook’s In Dahomeym was the first full-length Broadway musical to be written and performed by blacks. Alongside his accomplishments, Cook’s contentious side is revealed—a man known for his aggressiveness, pride, and constant quarrels, he became his own worst enemy in regards to his career. The book also sets Cook’s life against the backdrop of the changing cultural and social milieu: the black theatrical tradition, white audiences’ reaction to black performers, and the growing consciousness and sophistication of blacks in the arts, especially music.
Boyhood
Authors: Carter Marva Griffin 
Published: January 2010

Abstract
This chapter discusses William Mercer Cook as he grew from child to adolescent. It explains several important points in his life, from the death of his father, his journey with his mother, and the life that he had when he stayed with his relatives. It also narrates Will’s decision to pursue his latent desire to study music at Oberlin College. It adds that his artistic ability was undoubtedly inherited from his paternal grandfather, who once organized an orchestra in Detroit, wherein he played the violin and clarinet. It then explains that the violin was to become the instrument upon which Will would choose to express his musicality.
Removing The “Minstrel Mask”
Authors: Carter Marva Griffin 
Published: January 2010

Abstract
This chapter discusses how a group of black contemporary intellectuals and artists elevated the content, form, and style of the Negro as theatrical writer, composer, and performer. It shows that Will Cook used compositional techniques that were employed by both black and white contemporary composers. It shows that Cook used the African themes, ethnic humor, and coon variety stereotypes that were common among black songwriters, but he also wrote songs about love, women, patriotism, nostalgia, and themes that were also common in the songs by whites. It clarifies that the ultimate purpose of masking was for deception, which for blacks was a method of coping with their dual role in a multiracial society. It highlights that in unmasking the musicals of Will Cook, African Americans came closer to revealing the truth about themselves and others in their pursuit of social justice and equality.
“A Hell of A Life”
Authors: Carter Marva Griffin 
Published: January 2010

Abstract
This chapter discusses the life of Will Cook during his latter years. It narrates that Will died on July 24, 1944 at the age of 75, after battling against several diseases such as tuberculosis, pancreatic cancer, and a heart condition. It discusses that Will Cook began to write his autobiography, A Hell of a Life, during his latter years. It explains that his autobiography shows that he recognized that his shortcomings in life were not brought by his complexion, but rather by his uncontrollable actions or reactions to the real or imagined wrongs. This chapter also tells of several versions of the story why Cook did not pursue his career as a violinist. It highlights that history is indebted to this troubled man of genius for pioneering black musical comedies, syncopated orchestra achievements, and uncompromising fight for racial equality.