bluuebunny/crossref_metadata_2025_split huggingface dataset:
Lope's Leonido: An Existential Hero
Authors: Barnstone Willis 
Published: January 2007

In the past The Outrageous Saint (La fianza satisfecha) was interpreted solely on religious grounds and as such was considered monstrous and shocking. Leonido's sins took him beyond the limits of repentance and salvation. This wayward prototype of Don Juan should in the end have been destroyed, and since he was not, the work was condemned to the oblivion of remaining unpublished after the seventeenth century. Finally, the play was begrudgingly included in the late nineteenth century in Menendez y Pelayo's academy edition of Lope, still safely unavailable to the common reader. It has not been reprinted since.Some thirty years ago, Valbuena Prat discovered the play. He found it an excellent pre-Freudian case study of incest, sadism, masochism, and other sexual aberrations. The work was at once of contemporary interest. In this postwar period The Outrageous Saint again adapts with ease to the concerns and anxieties of our day.
Tragedy as Limitation: Comedy as Control and Resolution
Authors: Eberhart Richard 
Published: January 2007

This paper is one of six lectures on “Will and Psyche in Poetry.” These terms set up a bipolar, arbitrary framework for the study of poems against which, and between which, poems were evaluated in the context.Will poetry exists because of the power in the cell beyond its energy to maintain itself. Will results in action, through wish, zeal, volition, passion, determination, choice, and command. Will makes something happen in poetry.Psyche poetry pertains to the soul, to peace, quiet, tranquility, serenity, harmony, stillness and silence. It provides psychic states of passive pleasure.It might be interesting in attempting to set limits to our Will-Psyche dichotomy to define, but not absolutely, what these types of poetry are not. I take it that they do not include the world of tragedy, a vast area of literature, because tragedy presupposes fatality, against which will is useless and because tragedy is self-contained, engaging its own laws, against which there is no recognition beyond itself.
Musset's “Lorenzaccio”
Authors: Falk Eugene H. 
Published: January 2007

Lorenzaccio, published in 1834, was revised by Alfred de Musset for the 1853 edition. This final text is reproduced by Paul Dimoff in his La Genèse de Lorenzaccio (1936) together with those passages of Benedetto Varchi's Storia fiorentina which were used by Georges Sand for her Une conspiration en 1537 as well as by Musset, who amply availed himself not only of Varchi's chronicles but also of Sand's brief play.The play has five acts, each of which is divided into six to eleven scenes. Very seldom do the individual scenes of any act occur in the same setting. This complete disregard for the unity of place produces the effect of a constantly changing panorama of early sixteenth-century Florence, wherein glimpses of the seemingly unrelated actions of a great number of characters gradually merge into an integrated impression which creates a mood, an atmosphere. The technique anticipates the more recent impressionistic concern for apparently fleeting or accidental phenomena.
One of Many
Authors: Chekhov Anton 
Published: January 2007

An hour before the departure of the train, a pater familias staying at a summer cottage walks into a friend's house, holding in his hands a glass lamp globe, a toy bicycle, and a child's coffin, and sinks down on the couch, completely exhausted.“My dear fellow,” he mumbles, out of breath, and senselessly rolling his eyes, “I'd like to ask you a favor. I beg you, lend me your revolver until tomorrow. Be a friend.”“What do you need a revolver for?”“I do need it… Oh, Lord! Give me some water. Quickly, some water—I need it. At night I have to drive through dark woods— so, in case anything happens—lend it to me, be so kind.”The friend looks at the pale, exhausted face of the pater familias, at his perspiring forehead and mad eyes, and shrugs his shoulders.
O’Casey at your Bedside
Authors: Barzun Jacques 
Published: January 2007

The soil from which art will grow is ever unpredictable and its discovery after the fact often suggests that caprice, rather than mind or nature, governs the relation. Why Dublin?—one would like to know. The question recurs whenever one thinks of how much poetry and drama has come from that mediocre city in the last hundred years: Shaw, Wilde, Yeats, Synge, Joyce, Sean O'Casey—to say nothing of their lesser brothers inside or outside the Abbey Theatre: an unlikely but unmistakable golden age.If we look at O'Casey, now its chief survivor, the mystery turns into paradox. For although commonly accounted a leading dramatist of the age, he commands no theatre and is rarely played. He is clearly in the Abbey tradition, but the Abbey rejected him early in his career.
Tragedy with a Purpose: Bertolt Brecht's Antigone
Authors: Jones Frank 
Published: January 2007

Bertolt Brecht's adatation of Scophocles' Antigone, first performed in Switzerland in 1948, presents an interesting combination of ancient and contemporary elements. In this paper I shall describe and attempt to explain the playwright's handling of his material.For the most part, his version follows Sophocles' play, as translated into German by Friedrich Hölderlin, early in the 19th century. The parts added by Brecht are in verse, with rhythms not unlike Hölderlin's. In diction, then, there is no attempt at modern dress. Modernity appears in the changes made in the action.In Sophocles' play, you will recall, Antigone's brother, Polynices, has enlisted aid from Argos and other cities to fight his way to the kingship of Thebes, and has died in the attempt. Creon, regent of Thebes, forbids the burial of Polynices, on the ground that he was a traitor.
The Bacchae: A City Sacrificed to a Jealous God
Authors: Schechner Richard 
Published: January 2007

At the heart of Euripides’ masterpiece, The Bacchae, is a communal sacrifice. The city of Thebes is sacrificed to Dionysus to satisfy his capricious ego. In supporting this thesis I will contest several widely held theories about the play: (1) that Dionysus represents Fate or any of its equivalents; (2) that the god is a life force or some other pantheistic “god of ecstacy in religion”; or (3) that the play gathers its primary force from the encounter between Dionysus and Pentheus.My reading of The Bacchae is an internal one: I want to see what the play will yield on only its own terms. I realize, of course, that political and social ideas both press in on the play and, if we seek them, emanate from it. These ideas are, I believe, extra-dramatic: they radiate from the script, enriching it and partially explaining its genesis, but they are not present as a dramatic immediacy.
Bertolt Brecht's J. B.
Authors: Baxandall Lee 
Published: January 2007

Bertolt Brecht's Baden play for learning—Das Badener Lehrstück vom Einverständnis—is so named for having been first performed at the Baden-Baden music festival in 1929, and because it falls among his early Marxist plays with an explicitly didactic function. Einverständnis means agreement or acceptance. The piece was given at Baden-Baden accompanied by a score written by Hindemith, and in a shorter form than the version published in Brecht's Stücke. Hermann Scherchen conducted. The premier created a great scandal, marked especially by the exit of Gerhart Hauptmann in the middle of the Clown Scene.I believe that of Brecht's plays this is the most unclear in conception and yet the most revelatory of the author's personal conflicts in relation to his thought and politics. It also happens to contain one of the most viciously funny scenes ever written. I want to set forth in this essay some tentative ideas regarding the play.
Marlowe's Poetry
Authors: Morris Harry 
Published: January 2007

Many of the critics who write on Marlowe feel compelled to pay tribute to the “mighty line,” perhaps even to rhapsodize upon it, and to note the new greatness that Marlowe brings to English blank verse; but mostly they fail to show explicitly Marlowe's achievement as a poet. There are only two essays that contribute materially to our understanding of the unrhymed iambic pentameter that alters into unshakable greatness in the hands of a cobbler's son from Canterbury: these essays were written by T. S. Eliot and C. F. Tucker Brooke. Both date from more than forty years ago, and both leave a great deal still to be said.Eliot's statement is quite brief, and it abounds in those typical Eliotic pronouncements wherein the writer assumes, so infuriatingly, that the reader knows the exact nature of the unexpressed criteria that lie behind the given statement.
The Theatre and Cruelty
Authors: Artaud Antonin 
Published: January 2007

A concept of the theatre has been lost. And in direct proportion to the manner in which the theatre limits itself only to allowing us to penetrate into the intimacy of some puppet or to transforming the spectator into a Peeping Tom, it is to be expected that the elite will turn away from it and the crowds will go to the movies, the music halls, or the circuses, in search of violent satisfactions which at least have no false pretenses.After the wear and tear to which our ensibilities have been subjected, it is certain that, before all, we have need of a theatre that will awaken us: heart and nerves.The misdeeds of the psychological theatre since Racine have made us unaccustomed to that violent and immediate action which the theatre must possess.
Shakespeare's Subtext: I
Authors: Brown John Russell 
Published: January 2007

Today every actor understands what is meant by “subtext.” But it is a new word. It is not listed in The New English Dictionary or its Supplement of 1939. It comes from the Moscow Art Theatre and is associated with the “Method.” When we use the word, we are usually talking about twentieth century acting, an art distinguished by its conscious attempt to portray the subconscious nature of man, its “psychological” truth. For Stanislavsky, “subtext” was:… the manifest, the inwardly felt expression of a human being in a part, which flows uninterruptedly beneath the words of the text, giving them life and a basis for existing.He used the word as a means of talking about the “inner truth” of a play, its “inner action,” “inner images,” “inner motives,” “inner line,” “inner tempo.” And all these concepts were particularly applicable to the revolutionary plays of Chekhov.
After Paranoia, What Next?
Authors: Fergusson Francis 
Published: January 2007

It is of course only the playwrights who can show us the next phase in our theatre, and even they can't tell us about it in advance. They have to work it out according to their own temperament, experience, and taste, taking what advantage they can of the shifting sanctions of fashion. The by-stander can neither prophesy, nor tell the playwrights what to do. So, these remarks are offered as remote wishful thinking.If there is a dominant fashion in playwrighting now, it consists in exploiting the mentally and morally underprivileged, the lonely, frustrated, and pathological, to express the playwright's own desperate feelings about “our times.” As Mr. Martin Esslin says in his excellent Theatre of the Absurd, “A feeling of helplessness when confronted with the vast intricacy of the modern world, and the individual's impotence in making his own influence felt on that intricate and mysterious machinery, pervades the consciousness of Western man today…. The convict who is being physically separated from the outside world has literally been deprived of any means to make his presence felt, to make an impact on reality; and in that sense the convict experiences the human condition in our time more intensely and more directly than any of us.” What Mr. Esslin is saying here about Genet's convict applies to countless other lost figures in the contemporary theatre. And our American playwrights, whether Absurd, Beatnik, Freudian-day-dreamy, or reportorial-realistic, are portentously dredging up sad-sacks of every description as the real low-down on “the chaos of the modern world.”
Corydon Revisited: A Reminder on Genet
Authors: Svendsen J. M. 
Published: January 2007

It is as easy to dismiss (too much) with “parenthetical insults” as with intellectual assaults. Both tactics smack of arrogance. The end result, when the veil is rent, is usually rhetorical catastrophe. Nevertheless, can we afford not to dismiss Genet?Whether rhetorical or not, all theatre is catastrophic (katastrophe, to overturn); bad theatre is rhetorically so to boot. This is certainly the case in the theatre of language and logic of which we have had too much and against which only the genius of the poet can prevail. However, should the theatre of linguistics continue to prevail, we will be forced to rewrite our poetics again, calling production and performance accidental to the essence of the play.“Here I am, all present and complete in this instant of ever-lasting time … “ declares Gide in one of his few attempts at dramatic composition—intending, thereby, to assault the universe anew, firmly holding himself precludedly victorious.
Sir Tony and the American Dream
Authors: Lineberger James 
Published: January 2007

People in Minneapolis were always asking me, “What does a Resident Playwright do?” And although I could usually come up with some high-sounding, evasive answer, I never found one that satisfied me. The Guthrie Theatre did not find an answer either, and my three years there were doubtless as frustrating to them as they were unproductive for me. Typically, our failure happened more from a lack of communication than from any real wish to do harm to one another, the result, perhaps, of a set of fortuitous circumstances that neither of us was prepared to accept.I came to the Minnesota Theatre Company in the fall of 1962, while a student at the university, before the Guthrie was even a building. In the long winter months, we used to go down behind the Walker Art Center and look at that black skeleton rising out of the snow.
Dramatic Form—And: Tracking Down Implications
Authors: Burke Kenneth 
Published: January 2007

In Chicago during the summer of 1961, I offered part of a paper on “Dramatic Form and Human Motivation.” I began with the theory of classical form (as the arousing and fulfillment of expectations) which I had originally developed in Counter-Statement. Form as so conceived was reduced to three principles: progressive, repetitive, and conventional.“Progressive” form was said to involve the use of situations which led the audience to anticipate or desire certain developments. “Repetitive” form involves the ways in which a work embodies a fixed character or identity, the ways in which a work, however disjunct, manifests some kinds of internal self-consistency. “Conventional” form (or “categorical expectancy”) involves the kinds of expectation which an audience brings to the theatre as an established institution.
Character and Theatre: Psychoanalytic Notes on Modern Realism
Authors: Kaplan Donald M. 
Published: January 2007

One of the persisting functions of art, even of iconoclastic art, is the restoration of morality. Art continues to find eloquence for our suffering, heraldry for our strife, lyricism for our passion. And one of its ways of doing this is by reminding us that while we exist in society, we are also participants in culture. Beyond the immediacies of our everyday lives, we have a kinship with generations.If it can be said that certain times are better and others worse for art, then these times seem very bad indeed. Cultural exponents of contemporary society have been especially scarce. I have in mind the past twenty years. Picasso's Guernica, a bit of fiction, some poetry by Randall Jarrell are among the last works of art which managed to salvage any dignity from society's military impulses.
Playwright at Work: Off Off-Broadway
Authors: Van Itallie Jean-Claude 
Published: January 2007

In September of 1963 Gordon Rogoff, to whom I had shown a couple of my plays, suggested I come with him to a loft on 24th Street where a group of actors were working together improvisationally and were looking for playwrights to help them in some new fashion. The group was the Open Theatre, and had been in existence a few months. At that time there was nowhere, to my knowledge, that an unknown playwright with a few unconventional one-act plays could go to see his work performed sympathetically, to say nothing of a place to experiment with actors and directors.I had just finished reading Artaud's The Theatre and Its Double. I had ideas about possible new relationships between action and audience, about plays for huge non-human figures (I had written one called America Hurrah) and plays involving improvisations (I had written one called War).
Evening
Authors: Ashley Robert 
Published: January 2007

Eight men sit in armchairs arranged in a circle at a comfortable distance for speaking. Each man's wife sits on the right arm of his chair in a casual, intimate way. Within the circle, on small, separate tables are: 1. a large, portable transistor radio; 2. a small, portable television set; and 3. a portable record player with a popular record. The radio and television set are pre-tuned to broadcast immediately when they are turned on. One of the men has a small transistor radio in his pocket. Each of the women carries a small, white paper bag full of grains of rice.Each performer's part is a list of eighty-one consecutive “moments.” There is no time schedule for these moments; they follow one another at any pace the performers as a group establish, and this pace can change continuously throughout the performance.
Some General Principles of Analytical Geometry
Authors: Picken D. K. 
Published: January 2007

The strength of analytical methods is generality. It is not quite easy to bring out effectively the essential generality of elementary Analytical Geometry, In that connection the following points appear to be of fundamental importance:1. (i) If P, Q, R are collinear points, the ratio PR : PQ is positive or negative, according as the directions * PQ, PR are the same or opposite.(ii) (1) Cartesian coordinates of the representative point P of a given plane are determined by reference to chosen axial lines xOx′, yOy′ in the plane, and the question of sign may be put thus, using (i) : If A, B are the points at unit distance from O on the half-lines Ox, Oy, respectively, and if the parallels through P to the axial lines intersect the x-axis at M and the y-axis at N, the coordinates x, y of P are given by x = OM: OA, y = ON: OB. They are essentially one-valued functions of the position of P.
Desargues’ Theorem
Authors: Dixon Edward T. 
Published: January 2007

In his Foundations of Geometry, Hilbert has shown “the impossibility of demonstrating Desargues’ Theorem for plane geometry without the help of the axioms of congruence.” But it must be remembered that his demonstration depends entirely on the form which he has given to the other axioms, or definitions as I should prefer to call them, and in particular on the way he defines “straight line,” namely “two distinct points always determine completely a straight line,” and “any two distinct points of a straight line completely determine that line.” What he has shown then is that in plane geometry this is an inadequate definition of “straight line.” He has not shown that that definition cannot be amended otherwise than by the introduction of the conception of congruence, or by that of three-dimensional space.One of the most interesting results of the theory of Order as defined by Boundaries is that it explains this apparent paradox. I propose to add to the papers already published in the Gazette on this theory a brief note on this point. To aid the imagination of my readers I shall not attempt to state the problem in general terms, but shall merely state it in homely geometrical language, and for the sake of brevity I shall not pretend to give formal demonstrations of each successive point in the argument, but shall leave obvious deductions to the reader.
Geometric Solution of the Quadratic Equation
Authors: Miller G. A. 
Published: January 2007

The main object of the present note is to direct attention to the fact that Lill’s method for solving geometrically the general quadratic equation with real coefficients can be used effectively for the purpose of impressing upon students that even in elementary mathematics some very useful advances have been made recently. In 1867 E. Lui published an article in volume 65 of the Paris Comptes Rendus, from which the following method for solving the equation
x2 − ax + b = 0
The Principles of Probability and Approximations in Arithmetic
Authors: Hope-Jones W. 
Published: January 2007

I suppose that most teachers of Elementary Mathematics, when first they broach the subject of finding the circnrnference of a circle, write on their blackboards for comparisonπ=3·14159,3 1/7 =3·14286,and draw the conclusion that “as these results agree a far as the third figure, the approxinlatioll π=3 1/7 can reasonably be expected to get the first 3 figures of your answer right.” The purpose of this paper is to allalyse to some extent a few practical rules of this type.
Note on Finding Prime Numbers
Authors: Gérardin A. 
Published: January 2007

It is sometimes very difficult to recognise prime numbers at sight, or to discover them without laborious opertions, and mathematicians from the remotest times have endeavoured with varying success to discover suitable methods for the purpose.In the present note I will assume that the junior student is familiar with the Sieve of Eratosthenes, and that he is required to make a complete list of primes and composite numbers between two limits such as 1601 to 1639.
The Discovery of Logarithms by Napier
Authors: Carslaw Prof. H. S. 
Published: January 2007

§ 11. We are now in a position to understand how Napier completed his Tables.We take, to begin with, his First Table. The logarithm of the first term is zero. From § 10, Theorem I., the logarithm of the second term lies between r-s and (r-s)r/s; that is, between 1.000 000 0 and 1.000 000 I. If this is taken as the A.M. of these two numbers, we have for the logarithm of the second term in that Table the value 1.000 000 05. The remaining terms in that Table form with these two a G.P., so that the logarithms have a common difference 1.000 000 05, and the logarithm of the last term can be taken as 100.000 005.
Mixture of “Arabic” with “Roman” Numerals During the Time of Transition
Authors: Langley E. M. 
Published: January 2007

Probably the most interesting example of this mixture is that given by Mr. R. Steele in the Introduction (p. xvii) to The Earliest Arithmetics in English, where he quotes from a British Museum MS. (Harl. 4350) a set of dates of successive birthsThese form an early example, for Britain, of the transition.
Homographic Ranges—Elementary Principles
Authors: Lodge A. 
Published: January 2007

My object is to indicate what seem to be the fundamental ideas connected with homography which would be readily understood and appreciated by a beginner.If a pencil of concurrent rays is cut by any transversal, the ratios between the parts into which it is divided are the same as for any parallel transversal. This is not the case when the two transversals are not parallel, and it becomes an important problem to find out what property of the segments is common to both transversals in such a case. To the Greeks, who so exhaustively studied the properties of the conic sections as sections of a cone, this problem must have presented itself quite early, and it appears that not only Pappus, but also Euclid, and therefore probably Apollonius, knew the solution.