bluuebunny/crossref_metadata_2025_split huggingface dataset:
Strength properties and variance of cement-treated ground using the pneumatic flow mixing method
Authors: Kitazume M. , Hayano K. 
Published: January 2007

In this study, field and laboratory tests were conducted to investigate the strength properties and variance of cementtreated ground, constructed with dredged soils mixed with a small amount of cement by the pneumatic flow mixing method, which has been recently developed in Japan. In the paper an outline of the pneumatic flow mixing system is first presented first. Then various factors causing strength variance of the cement-treated ground are described. It is found that the cement/water ratio of the cement-treated soils, which was monitored and controlled during their production, was stable. The effect of mixing adequacy of the soil/cement mixture and that of non-homogeneity of the dredged soils on the strength variance is discussed. Finally an effective measure to reduce the strength variance is described. Au cours de cette étude, des essais en laboratoire et in situ ont été réalisés pour examiner les propriétés et les variations de résistance de sol traité au ciment, construit avec des sols issus de dragage mélangés à une petite quantité de ciment au moyen de la technique de mélange dans le courant pneumatique récemment développée au Japon. Cet article décrit tout d'abord brièvement cette méthode. Il explique ensuite plusieurs facteurs à l'origine de variations de la résistance du sol traité au ciment. On a pu observer que le rapport ciment / eau des sols traité s au ciment, relevé et contrôlé pendant leur production, restait stable. L'étude discute également de l'effet de l'adéquation du mélange sol / ciment et celui de la non-homogénéité des sols issus de dragage sur les variations en résistance et décrit finalement un moyen efficace de les réduire.
On the Newness of the New Drama
Authors: Kaufmann R. J. 
Published: January 2007

“Even shapes and colours acquire their meaning only in cultural contexts. The less we know of this context the more we are forced to dream it up.”E. H. GombrichIt is a commonplace truth that irresponsible artists dream up contexts for fictions set in the past, but it is harder to realize that only the best artist, gifted with the Shavian power to “imagine things as they really are” can conjure up an adequate vision of the context of our present lives. Moreover, imaginative concentration on context or situation in the new drama is, paradoxically, a result of a deep wish to restore reverence for human character. This essay will repeatedly address this paradox as we try to isolate our period style. In drama as in other things, not everything is possible in every period.
The Three Sisters at the MAT
Authors: Stroyeva M. N. 
Published: January 2007

“After the success of The Seagull and Uncle Vanya the theatre felt that it could not do without a new play by Chekhov,” wrote Stanislavski. “The fate of the theatre was in his hands: if he gave us a play we would have another season; if he didn’t the theatre would lose all its prestige.”The Three Sisters was the first play Chekhov wrote especially for the Art Theatre; actually, on order from it. After a preliminary discussion, Nemirovich-Danchenko went abroad, so that the rehearsals were conducted by Stanislavski alone. His production plan (now in the MAT archives) clearly includes rehearsal changes, since Stanislavski finished it on January 8, 1901, and the first full run-through took place at the end of December, 1900.
Great Hatred, Little Room
Authors: Hethmon Robert 
Published: January 2007

On October 1, 1923, the Abbey Theatre produced a new one-act play by a Dublin laboring man, Sean O'Casey. The Abbey had created considerable interest in April, 1923, by giving the first production anywhere of an O'Casey play, The Shadow of a Gunman, a tragedy about the Black-and-Tan war. By the end of its three-day run, the Abbey was turning people away, despite the fact that the theatre was under armed guard because of the Civil War; Lady Gregory wrote in her journal after the final performance that The Shadow of a Gunman was “beautifully acted, all the political points taken up with delight.” O'Casey's new play, Kathleen Listens In, was received quite differently.The Abbey management was theatre-wise enough to schedule Kathleen Listens In as a curtain-closer to a revival of Shaw's Arms and the Man: the soothing syrup of Shaw's “pleasant” exposé of “romantic convention” cannily preceded the bitter pill of O'Casey's “phantasy”—which turned out to be a no-holds-barred, deadly accurate satire of warring contemporary Ireland.
On The Poetics
Authors: Fergusson Francis , Clurman Harold 
Published: January 2007

Professor Else explains in his preface that this book is not intended as a complete new edition of the Poetics, for he omits five and a half chapters, and does not deal with all of the textual problems. On the other hand, it is not a coherent account of Aristotle's theory; Professor Else promises to provide that in a later work. It is, in his words, “a close line-by-line analysis of Aristotle's argument,” to clear the way for a new and more accurate interpretation of the Poetics.His method is to present a short segment of the Greek text, as emended by himself, and then his own translation into English. His translation incorporates his own interpretations of key phrases, sometimes departing very far from the literal meaning of the Greek—if one can speak of a literal meaning when translating from one language to another. He then defends both his textual emendations and his interpretations, taking on a frightening array of grammarians, editors and commentators who have been disputing over the Poetics in many languages for the last twenty centuries.
Marlowe's Spectacle
Authors: Powell Jocelyn 
Published: January 2007

Critics show more toleration than enthusiasm for Marlowe as a dramatic artist. They praise his thought, his poetry, his psychology, but they offer excuses for his stagecraft. This is a pity, for there is no need to excuse it. Marlowe handles his medium with imagination and subtlety.The root of the difficulty lies in mistaking a drama of spectacle for a drama of character. Marlowe was writing in a period of transition, when an abstract theatre was fast becoming a narrative one, and the development entailed an important shift of emphasis. Narrative throws stress on the characters of men and the motives that lead to the actions portrayed, while the abstract world of the morality play uses the stage action as a projection of an inward and spiritual action of the soul. A drama in which action is image was changing to a drama in which action is fact.
Marlowe and the Critics
Authors: Ribner Irving 
Published: January 2007

Christopher Marlowe in a real sense belongs to the twentieth century. Not only did he reflect the doubts and uncertainties of his own time in a manner which we today can find particularly meaningful, but only in the last fifty years have either the man or his works come to be seen for what they really were. In his own day, Marlowe was slandered while he lived by his fellow dramatist Robert Greene and reviled after his death by moralists like Thomas Beard in his Theatre of God's Judgements (1597) and William Vaughan in his Golden Grove (1600) as merely another blasphemous sinner whose murder might fittingly illustrate the visitation of God's judgment upon atheists. Among the poets, Chapman, who probably had been his friend, did praise him, and Michael Drayton wrote the only appreciation of any consequence:Marlowe, bathed in the Thespian springs,Had in him those brave translunary thingsThat our first poets had: his raptures wereAll air and fire, which made his verses clear:For that fine madness still he did retain,Which rightly should possess a poet's brain.
The World of Harold Pinter
Authors: Cohn Ruby 
Published: January 2007

Each of Harold Pinter's four plays ends in the virtual annihilation of an individual. In Pinter's first play, The Room, after a blind Negro is kicked into inertness, the heroine, Rose, is suddenly stricken with blindness. In The Dumb Waiter, the curtain falls as Gus and his prospective murderer stare at each other. Stanley Webber, the hero of The Birthday Party, is taken from his refuge for “special treatment.” In The Caretaker, the final curtain falls on an old man's fragmentary (and unheeded) pleas to remain in his refuge.As Pinter focuses more sharply on the wriggle for existence, each of his successive hero-victims seems more vulnerable than the last. Villain assaults victim in a telling and murderous idiom.
A Theatre of Language
Authors: Vannier Jean 
Published: January 2007

If we consider only the theatrical movement which felt Artaud's influence during the period between the wars, or the “poetic” theatre of the post-war period which is merely its continuation, the problem of the language of the avant-garde seems to have only a very limited interest. In the works which these movements have produced, the originality of the language is more spectacular than profound. Or more precisely, we might say that it lies more in its nature than in its function.The traditional dramatist, whose only end was to interest the spectator by the analysis of passions and characters, used a language which was never disquieting or bewildering because it represented more or less—decorated only with certain literary attributes— the language of the public for whom it was written. In the avant-garde we have just spoken of, theatrical language changes to the same degree that the dramatist's attitude towards his audience changes.
The Queen Is Dead: Brecht's Eduard II
Authors: Svendsen Juris 
Published: January 2007

One of the most remarkable aspects of Leben Eduards des Zweiten is that it is an almost womanless play. Complementary to this observation is that the various antagonists in Marlowe's play become protagonists in Brecht's version. Furthermore, these protagonists—Edward, Gaveston, Mortimer, and Edward's son—are all “youths” and have as their opponents, obviously, father figures. That some of these protagonists oppose themselves does not contradict this. In starting with the Queen, I do not mean that she is the chief character. Quite to the contrary, we find her to be an absence, a negativity which allows our protagonists to stand in sharper profile.The play consists of twelve captioned episodes which constitute a three-part structure: I. A-C; II. D, alone; and III. E-L. In the first episode (A), we find Gaveston back from exile, invited by the present King Edward, who has dared to recall his bosom friend against his now dead father's proscription and the peers’ wills.
The Good Scene: Off Off-Broadway
Authors: Smith Michael 
Published: January 2007

Off Off-Broadway is theatre without theatres, but it accounts for the most adventurous and promising work now being done in New York. Half a dozen plays or more, most of them by new playwrights, are produced every month on Off Off-Broadway's four principal stages. Many of the actors and directors are amateurs, students, or novices trying their wings; others are trained professionals who, finding few occasions to work and almost no chance to develop as artists within the professional theatre, are opting out of the system. They can—and sometimes do—work in the new regional theatres. But New York is still the center of the arts in America: someplace has to be.Off Off-Broadway began as entertainment in coffee houses. The Caffe Cino was producing plays regularly as early as 1959, and various other Greenwich Village cafés had occasionally presented theatre to their customers.
The Night Time Sky
Authors: Whitman Robert 
Published: January 2007

I began with an idea about a piece that had to do with the making of a theatre work, with itself as its own subject. It seemed to me that one of the first theatrical things is when the sun goes down, night falls the stars come out, and people imagine what the constellations are.Out of this came The Night Time Sky, performed in May, 1965.The audience arrive a few at a time and walk down a tunnel towards the place. They hear steel drum band music, crowd noises, and steamship whistles: boat-leaving sounds. At the end of the tunnel is a movie projected on a white cloth, of passenger liners leaving. As an audience member approaches this, his shadow is cast on the screen. His shadow is momentarily in the movie, participating in the boat leaving. All this is seen on both sides of the screen.
Graphis
Authors: Higgins Dick , Eisenhauer Letty 
Published: January 2007

The Graphis series is the result of a feeling that conventional theatre notation in which one action follows another leaves untried an enormous variety of techniques that could enrich our experience. This feeling was of course one of the causes of my “millieu play” form of which The Tart is an example. With the Graphises I was trying to set up a form that was unsemantic, even choreographic, in conception if not in execution.Experimental music has frequently used extraordinary notations. Stockhausen, Graettinger, and Cage have found notations which expand musical vocabularies. So I started out with drawn notations such as, “The higher up on this page this line goes, reading from left to right, the louder you speak. Where there are two lines to be read vertically you choose.” What I did not specify was what was to be said. I thought people would quote the newspapers.
The Great Gaming House: A Précis
Authors: Yeaton Kelly 
Published: January 2007

Strangers had come to town to construct and operate a new kind of recreation: a great fun-house for adults. A sinister Disneyland with overtones of the World's Fair, carnival, gambling house, brothel, side-show, circus, and The Balcony. Here one could buy adult adventure. The strangers leased a great, empty warehouse near the docks and in it they built a labyrinth of rooms and passages. There were gates, obstacles, puzzles, games, and other people. What choices one had no one knew, and these choices would often be changed. It was all synthetic and symbolic, safe and legitimate.But rumors alerted the town that concealed within the Great Gaming House were real games: gamblers could find high stakes, hostesses would sleep with patrons, etc. There was no way to distinguish the real from the synthetic, nor could the player sort the shills from the guests.
A Class of Algebraic Functions
Authors: Tanner H. W. Lloyd 
Published: January 2007

The functions in question are those which involve only the differences of their arguments ; and the object of this note is to suggest that an elementary discussion of these functions would be a valuable addition to the usual school course in algebra.In his memoir on the Schwarzian derivative, Cayley gives the name ‘diaphoric’ to these functions (Art. 13). Invariants, seminvariants, covariants of quantics are diaphoric functions of the roots. Norms of complex numbers and ‘circulants’ are diaphoric functions, a particular case of which already appears in books on algebra under the properties of cube roots of unity.
So-Called Cases of Failure in the Solution of Linear Differential Equations
Authors: Neville Eric H. 
Published: January 2007

There are two ways in which the solution of a particular linear differential equation may “fail” although the solulion of a more general equation obtained by replacing certain constants by parameters is complete.where D as usual stands for d/dx.For the general equation(D — l)(D — m)y = enxthe perfectly general solution isA, B being independent arbitrary constants, but if we attempt to apply this solution to the particular equation (l), we find in the first place that the coincidence of n with l and m renders the first term infinite, and in the second place that the coincidence of m with l leaves us with only one effective constant, A + B. The method by which in the commoner textbooks the passage from the general solution to that of a particular equation is made in such cases as this is unconvincing.
Models of Functions
Authors: Elliott C. 
Published: January 2007

In a letter having the title “Classification and Mathematics,” which appeared in Nature of May 28th, it was suggested that models of spaces and correspondences might usefully be employed in elementary mathematics. The present paper is restricted to the consideration of some simple one-toone correspondences.It will be taken tor granted that, in order to arrive at any functional dependence or one-to-one correspondence of things, a classification and crossclassification is necessary. For example, the correspondence of English and French words tabulated in an English-French dictionary might be given as an illustration of a function (cf. Oliver Lodge, Easy Mathematics, 1905, p. 164). Here the words are divided into two classes, English and French, and are crossclassified by meaning.
The Organization of School Mathematics
Authors: Bolton P. 
Published: January 2007

When I began the preparation of this paper, I turned up the bulky report of 1912 published by the Board of Education. In the article by Prof. G. H. Hardy I found this passage :
“If only Schoolmasters would devote to the serious study of Mathematics a tithe of the time that they now devote to the organisation of examinations, the framing of schedules, the discussion of pedagogic methods and the writing of inferior textbooks I am sure that the results would soon become visible in our examinations.”
Notes on Elementary Dynamics. I
Authors: Muirhead R. F. 
Published: January 2007

In working problems on Collision or Impact, the following method is often useful:Imagine a rigid plane moving with velocity equal to that of the centre of gravity of two bodies, so that during collision it touches and separates the surfaces of contact. (We may either suppose that the mass of the plane is infinite, or that it is constrained to move as stated.) Then the motions of the two bodies due to their mutual impact will obviously be the same as if each separately had impinged on this plane. Thus the problem of two bodies is reduced to two simpler problems of one body impinging on a body whose motion is fixed. And we may by giving to each of the bodies in question, in addition to its own motion, a motion equal and opposite to that of the centre of gravity of the system, bring the plane of impact to rest, so that the motion of each body relative to this plane is the same as that of a body impinging on a fixed body.
Approximating to a Square Root
Authors: Muirhead R.F. 
Published: January 2007

The method explained by Dr. C. V Boys has great merit. I for one fully sympathise with his preference for vulgarity in fractions. What here follows is meant to be to some extent supplementary to Dr. Boys’ article.If we denote by P1/Q1, P2/Q2, … the successive convergents to √M in Dr. Boys’ series which are arithmetic means, and P1= p, Q1=q, the law connecting them isPr+1=Pr2+MQr2, Qr+1=2PrQr.
Some Doubts Doubted a Reply to Mr. Blackwell
Authors: Tuckey C. O. 
Published: January 2007

Mr. A. Blackwell’s doubts, published in the February Gazette, make sad reading for one who has spent his life teaching mathematics.Mr. Blackwell and similar pessimists attack the basis of our ordinary curriculum, but he differs from some gloomy writers by including certain constructive suggestions which need consideration.
Expansions by means of the Fractional Calculus
Authors: Fabian W 
Published: January 2007

We have shown how the theory of the Fractional Calculus enables us to expand functions in various forms. In the present paper we shall obtain some further expansions.A λth integral of f(z) along a simple curve l is defined bywhere γ is the least integer greater than or equal to zero such that R(λ) + γ>0, D stands for d/dz, and the integration and differentiation are along l.
Functions of an Infinite Number of Variables
Authors: Burchnall J. L. 
Published: January 2007

The idea of a function of an infinite number of variables, like so many other mathematical ideas, has its origin in the study of problems of applied mathematics. Such problems, as is usual, preceded by some considerable time the explicit formulation of the idea. As an introduction to this discussion it will be sufficient to consider briefly two of them.The Problem of the Brachistochrone.—Given two points P, Q in a vertical plane, what is the shape of a smooth curve through P, Q for which the time required to descend from P to Q under gravity is a mimimum.
The Problem of A, B, C and D
Authors: Eddington A. S. 
Published: January 2007

If A, B, C and D each speak the truth once in three times (independently), and A affirms that B denies that C declares that D is a liar, what is the probability that D was speaking the truth?I understand that this problem appeared many years ago in a mock examination paper in the Granta. I heard of it from Dr. A. C. D. Crommelin in 1919, when A, B, G and D (or more strictly C, C’, D and E) were about to start on the eclipse expeditions which verified Einstein’s prediction of the deflection of light. Crommelin in an after-dinner speech hinted that this problem might arise. I made use of it in my book New Pathways in Science, and rashly gave my solution-—the result being a considerable increase in my correspondence. I hope the following explanation will be sufficiently clear to avert a similar sequel to its appearance in the Mathematical Gazette.
Mutuality
Authors: Gibbins N. M. 
Published: January 2007

This lecture grew out of an attempt to trace the consequences of putting together two examination questions. The subject-matter of both is the reflections X, Y, Z of a point P in the sides of a triangle ABC. In the first question we have to show that the perpendiculars from A on YZ, from B on ZX, from C on XY meet in P′, the centre of the circle XYZ, and that the relation between P and P′ is mutual.Since AY = AP =AZ, the perpendicular from A to YZ bisects it. Hence this perpendicular passes through the centre of the circle XYZ, as do similarly the other two perpendiculars. Let X′, Y′, Z′ be the reflections of P′ in the sides of ABC. Since BC is the common perpendicular bisector of PX and P′X′, PX′ =P′X, and similarly PY′ = P′Y, PZ′ =P′Z. Hence P is the centre of the circle X′Y′Z′, and the two radii are equal.
Two Kinds of Electricity
Authors: Sperling M. 
Published: January 2007

Very often it is proved experimentally that two electrified bodies repel or attract each other, and from this fact is deduced the conclusion that there exist two kinds of electricity of such properties that bodies of the same kind of electricity repel and bodies of different kinds attract each other. This proceeding is not quite correct.Example. If we consider two integral numbers, then their difference is divisible by 3 or not. But it is obviously wrong to deduce from this fact that we can divide the set of all integral numbers into two such classes, that the difference of two numbers belonging to one class is divisible through 3 and the difference of two numbers belonging to different classes is not. It is known that there exist three classes possessing these properties.
Notes on the Theory of Equations
Authors: Lewis E. P. 
Published: January 2007

Multiply throughout by a2 and write y for ax+ b ; the equation becomes where H ≡ac − b2, G ≡ a2d − 3abc + 2b3.Since in an equation with real coefficients complex roots occur in conjugate pairs, (i) must have at least one real root; so if α is this root, (i) may be written Accordingly the two remaining roots are also real if But since α satisfies (i), and so Hence if (i) has three real roots, G2 +4H3 ≤ 0; and clearly, when G2+4H3 = 0, two roots are numerically equal to and the third to .