bluuebunny/crossref_metadata_2025_split huggingface dataset:
Odd Man in
Authors: Pavlovsky Eduardo 
Published: October 2007

Teatro Abierto (‘Open Theatre’) was launched in Argentina in 1981. It was the idea of a number of playwrights, directors and actors, many of whom had spent all or many of the years following the 1976 coup in exile abroad. They were determined to demonstrate that theatre was still a living art in Argentina in spite of repeated government censorship and outright repression by means of bannings, threats and blacklists. ‘We reckoned that if we all appeared together, they couldn't possibly silence the whole thing,’ one of the founding group commented. Their idea was to put on 21 short plays at the rate of three a day over a week, with repetitions of the plays over a month. However, halfway through the first week, just after the performance of a play which contained references to the thousands of ‘disappeared’ in Argentina (see Box), the theatre staging the plays was burnt out. Several people, never subsequently identified, broke into it and spread phosphorus bombs throughout the auditorium. The theatre was gutted, and since it was not insured, has remained empty ever since. The outcry against such a blatant attack on freedom of expression was so great that the season of plays was quickly offered a home in a larger theatre, where the remaining works were performed, arousing enormous public interest. Teatro Abierto 1981 was an important psychological turning point for cultural life in Argentina under the military. The fact that a group of artists had stood together and refused to allow any interference with their work greatly encouraged others. Their initiative was soon followed by similar events in dance, cinema and photography, all of them demonstrating the vitality of Argentine cultural expression despite six years of official censorship and neglect. The play which follows, Odd Man In, was one of the works presented in the 1981 series of Teatro Abierto. Its author, Eduardo Pavlovsky, returned recently to Argentina after spending several years in exile in Spain. He has described his escape from Argentina in the following fashion: ‘In my play Telarañas (‘Cobwebs’) there is a scene in which two gas board officials force their way into a home. In fact, they are not from the gas board at all, but are torturers. Cobwebs was written in 1976 and put on at the Teatro Payró in 1977. It lasted two days. I received a letter from the Secretary of Culture of the City of Buenos Aires asking me to withdraw it. Possibly because I wasn't fully aware of the kind of situation we were really in, I took no notice, and forced them to issue a formal banning decree. Three months later, two ‘gas board officials’ came to my place asking for me. Luckily my secretary realised what was going on, and phoned to me upstairs. By this time, another eight ‘gasmen’ had appeared. If I'm here to tell the story, it's because by then I had climbed out of my window and escaped across the roofs.’
Shanty Town Theatre
Authors: Radrigán Juan 
Published: October 2007

‘The critics awarded us the prize for the “Best play of the year” … but the main thing was that that year in the shanty town enabled us to attract an audience among trade-unionists and slum dwellers, who later followed us into the playhouses …’ Though many Chilean intellectuals and writers were forced into exile by the repression which followed the 1973 coup, others stayed to fight the restrictions and harassment as best they could from inside the country. One notable example of this is the playwright Juan Radrigán. To survive, writers have developed a kind of self-censorship which means that their message is there to be understood if the public knows what to look for, but is never overtly expressed. The author situates his work not on the level of everyday reality, but couches it in the most general terms possible. It is left to the audience to work back from this universal level to a discovery of the relevance of the work to the reality surrounding them. Many of those writing poetry and for the theatre in Chile since 1973 have adopted religious themes and language since these lent themselves best to this kind of approach, and also because the Catholic Church was the only source of criticism which could not be suppressed by the authorities. Radrigán, however, has remained outside this current, perhaps unable to accept the message of hope which underpins the Christian tradition. He came to writing plays late in life, after working in a textile factory and elsewhere, and since 1979 has been one of the most significant voices in Chilean theatre. His characters are drawn from the poorest groups in Chilean society, but are projected on to the level of universal archetypes. In the main, they have abandoned hope about their own situation, and are worn out, old, defeated, or mentally disturbed. They are the end result of a brutal process which has left them at the bottom of the social scale stripped of all hope. In Radrigán's best-known work Unalterable Facts, death is the only exit. This message of despair in Radrigán's work has been criticised both inside Chile and abroad by opponents of the military regime as not emphasising enough the possibilities for social and political change, but his plays do give a convincing psychological portrait of how more than a decade of repression can work on the minds and expectations of a people. Juan Radrigán was interviewed recently by the Chilean writer Tito Valenzuela.
Interview
Authors: Sobol Joshua 
Published: October 2007

‘I feel the necessity to go back to the past in order to understand what happens here, what the hell is going on with our Zionism here in Israel’ Joshua Sobol is one of Israel's most controversial dramatists. He is the author of the much discussed and much acclaimed plays Soul of a Jew and Ghetto. Clive Sinclair talked to him in Tel-Aviv about his plays and the censor. The interviewer is the literary editor of the Jewish Chronicle, London.
The Game
Authors: Rathenow Lutz 
Published: October 2007

Lutz Rathenow (32), together with Frank-Wolf Matties, Jürgen Fuchs and Bettina Wegner, represents a new generation of opposition writers in East Germany. Brought to early prominence, they filled the gaps in a literary community decimated by the expulsion and emigration of many leading spokesmen. Rathenow has been fighting state censorship since 1980, when he became the first East German writer to be imprisoned for the crime of publishing a book abroad. In early June 1984, the staging of his pantomime play, Keine Tragoedie (No Tragedy) was cancelled a few days before opening at a university theatre in Leipzig. The director of the play was later suspended and the actors submitted to a ‘personal and artistic aptitude test’ to gauge their suitability for continuing in the pantomime group. This action followed a protest letter by Rathenow to the Ministry of Culture, which was leaked to the Western press, sharply attacking restriction on literary freedom in the GDR. The following sketch (translated by Jean Brown) is published here by permission of Piper publishing house (Munich); it appeared in Lutz Rathenow's book Boden 411. Stücke zum Lesen und Texte zum Spielen (Ground 411. Pieces for Reading and Texts for Acting). This book was impounded by the authorities when it was sent to Rathenow by his West German publisher – a fact which he duly included in his letter of protest to the Ministry of Culture.
‘I will not Work in such Conditions any more…’
Authors: Lyubimov Yuri 
Published: October 2007

‘When my first production The Fallen and the Living was closed down, some friends of mine arranged a meeting for me with Andropov. He was Secretary to the Central Committee at that time. I had a long conversation with him. He started by saying: “I thank you as a father”. I didn't understand and said, “What for exactly?” He replied: “You didn't accept my children into the theatre”.’ The chief director of the Moscow Taganka Theatre Yuri Petrovich Lyubimov was in London at the end of 1983 and in early 1984. He collected the Evening Standard prize — England's most prestigious theatre award — for his staging of Crime and Punishment based on Dostoevsky's novel. In London, Yuri Lyubimov made a number of statements in which he severely criticised official Soviet cultural policy, in particular with regard to the theatre. These statements caused anger among Soviet embassy officials in London and even provoked threats. On 17 February 1984 Lyubimov granted M. Fillimor, a correspondent of L'Alternative, the interview which we publish below. Yuri Lyubimov asked for the interview to be prefaced with two epigraphs: one from A. Pushkin — the second from F. Shalyapin's book The Mask and the Soul. The quote from Shalyapin comes from the 1932 Paris edition of the work (the corresponding pages are omitted in the Soviet edition). The interview was first published in the magazine L'Alternative, Paris.
Gyorgy Konrad
Authors: Heron Elizabeth 
Published: October 2007

‘I engage in politics so that I can write freely and we can develop peacefully without political interference,’ says Hungary's well-known writer Gyorgy Konrad's latest book Anti Politics has been welcomed by E. P. Thompson as ‘a book of exceptional importance’. It has reinforced the international acclaim won by his earlier works, but has also accentuated his position at the forefront of dissident politics in his native Hungary. Yet Konrad is a writer who thinks politics is like a contagious infection, something to get rid of. Elizabeth Heron went to Budapest to find out how a writer survives on the Cold War frontier.
A Tale of Two Brothers
Authors: Elansari Nour al-Din 
Published: October 2007

Nour al-Din Elansari is a Moroccan poet, calligrapher and a member of the Moroccan Union of Poets. He came to France to study for his doctorate but soon got involved in the Paris-based campaign to release the jailed Moroccan poet, Abdellatif Laabi. This angered the Moroccan government, for his crime was twofold: poetry and activism. Police started to visit his family in Marrakesh regularly to interrogate them about Nour al-Din's activities. He chose not to return to his country or publish there, while his younger brother Ibrahim, also a poet, was arrested and jailed in January, 1984. In Paris, Index on Censorship met Nour al-Din, who explained what it was like to be an exile.
Mrs Hoffer's cat
Authors: Diószegi Olga 
Published: October 2007

A Play in One Act These complaints are echoed throughout Central and Eastern Europe. The fear of new, unconventional and non-conformist work by young writers and artists is markedly bigger in Communist countries than in the West. State media officials view the young newcomers with deep suspicion especially because they often voice doubts and disillusionment, and consequently are dangerous ideological heretics. The one-act play Mrs Hoffer's Cat is Olga Diószegi's first play. An amateur theatre group at Szeged University reportedly became very enthusiastic about it at first — they even wrote music for it — but then abruptly fell silent. Miss Diószegi has a strong feeling that pressure was exerted by the local Communist and Youth organisations, a result of her connections with samizdat literature.
In the pit
Authors: Djilas Milovan 
Published: October 2007

A short story On 3 March, the Reuter correspondent in Belgrade reported: ‘The Yugoslav literary newspaper Knjizevne Novine has published a short story by Milovan Djilas … His first work published at home for 34 years, it was printed so that readers could ‘judge him on his literary merits’. Mr Djilas (76), once a close lieutenant of Tito, fell into disgrace in 1954, serving nine years in jail and being expelled from the party for criticising Tito's policies. He is widely known for his political books and essays, not so much for literary fiction. We acknowledge the publication of his short story in Knjizevne Novine as a step in the right direction; when the same story was printed some time ago in Encounter and Tempo Presente, both periodicals were banned in Yugoslavia. We are proud to present another short story by Milovan Djilas; in sending the manuscript, Mr Djilas was the first writer to respond to our invitation to contribute to this 100th issue of Index on Censorship.
The National Theatre's Burning Down
Authors: Anderman Janusz 
Published: October 2007

Janusz Anderman (40) belongs to the angry 'Generation of 68'. He was an editor of Puls, one of the first uncensored literary periodicals in Poland. In 1980, he was involved in liaison work between the Union of Polish Writers and Solidarity. After martial law was declared in 1981, Janusz Anderman helped found the Committee of Aid for Internees and was arrested and detained at Bialoleka Prison. His first two books, Dead Telephone Games and Temporising were brought out by state publishing houses; Dead Telephone Games won the official award for the best first book in Poland in 1976. But Poland Under Black Light, which addressed life in Poland since December 1981, was not submitted to the censors. It was published simultaneously in Polish by Puls in London and by Kreg, an underground printing house, in Poland. An English translation was published by Readers International/Persea Books in 1986. The short story below appears in the second collection of stories by Janusz Anderman to be translated into English: The Edge of the World (Readers International 1988, translated by Nina Taylor). The author lives in Warsaw.
'Behind my back 14 were murdered'
Authors: Verdugo Patricia 
Published: October 2007

In May this year, Index on Censorship (5/1990) reported on the series of revelations about the wave of murders of suspected oppoirents to General Pinochet's government in the weeks following the coup in September 1973. Chile is now bracing for the shock results expected from an inquiry set up by President Aylwin (see box) into the crimes of the dictatorship. Like Argentina in 1983, Chile is going through the terror and torment of putting together the story of the years of dictatorship. Recent documents published in Santiago are beginning to reveal the extent of the horror. These include the three volume Chile, La Memoria Prohibida 1973-1983 (several authors, Pehuen, Santiago 1989); and La Historia Oculta del Regimen Militar, Chile 1973-1988 (Antartica, Santiago 1990). The following is an extract from Chapter VII (What are we going to do, General?) of the book The Clawings of the Puma by Patricia Verdugo (Ediciones Chile America CESOC, Santiago 1989). It is accompanied by a brief radio interview Speaking out in Chile, where a cemetery worker describes his job in 1973. The opening speaker is Brigadier General Joaquin Lagos Osorio, commander of the Antofagasta region, behind whose back General Sergio Arellano Stark executed detainees awaiting trial.
The Gypsy Bible
Authors: Farhi Moris 
Published: October 2007

The brutal and relentless persecution of the Roma, unleashed soon after their arrival in Europe, has been one of the greatest crimes of history. Hopes that the 'enlightenment' that so strongly condemned the Nazi's genocidal policies would finally enable this peaceful people to take its rightful place in the family of women have proved tenuous. Today the persecution of the Roma continues; in Eastern Europe, particularly, its virulence generates fears of a new Holocaust. Children of the Rainbow tells the story of Branko, a survivor of Auschwitz, who sets out to liberate his people and to fulfil their secret yearnings for reunification in their mysterious homeland. Romanestan. And he comes to hear of the 'Gypsy Bible', the holy scripture that made the Roma a great people, but which, according to oral tradition, perished in the mire of time. A Bible miraculously reclaimed, by a seer, from the collective memory of the Roma as they stood before the crematoria of Auschwitz. A Bible hidden and awaiting discovery. A Bible that prophesies his leadership. A Bible that will regenerate his people. That will reunite them. That will lead them to Romanestan... And Branko finds this Bible...
Influence of Puroindolines A and B Individually and in Combination on Wheat Milling and Bread Traits
Authors: Wanjugi H. W. , Martin J. M. , Giroux M. J. 
Published: October 2007

ABSTRACTEndosperm texture in wheat (Triticum aestivum L.) is determined by the Pina and Pinb genes located within the Hardness (Ha) locus on chromosome 5D. We have previously shown that Pina and Pinb can act alone to produce intermediate‐textured grain or act together to produce soft grain. The objective here was to isolate the role of PINA and PINB individually and in combination on milling and bread traits by analyzing F3 recombinant lines created by crosses between PINA and PINB null cultivars with Pina‐D1a and Pinb‐D1a overexpressing transgenic lines. Homozygous lines that contained either the Pina‐D1b/Pinb‐D1a (Pina null) or Pina‐D1a/Pinb‐D1e (Pinb null) Ha locus with or lacking transgenically added Pina or Pinb were analyzed for milling and bread traits. Addition of Pina‐D1a to Pina‐D1b/Pinb‐D1a and addition of Pinb‐D1a to Pina‐D1a/Pinb‐D1e Ha locus genotypes gave soft grain with lower flour yield, flour ash, and a higher proportion of small flour particles. Addition of Pinb‐D1a produced greater negative effects on loaf volume than addition of Pina‐D1a. Grain hardness, flour protein, flour ash, and mixograph water absorption were positively correlated, which is indicative of the complex phenotype conditioned by PINs. The results demonstrate that PIN overexpression leads to a reduction in grain hardness and reduced flour yield, flour ash, and flour particle size. PIN expression also results in reduced loaf volume and flour water absorption.
Dynamic Water Adsorption Characteristics of Distillers Dried Grains with Solubles (DDGS)
Authors: Ganesan V. , Rosentrater K. A. , Muthukumarappan K. 
Published: October 2007

ABSTRACTDistillers dried grains with solubles (DDGS) is one of the coproducts obtained from dry‐grind ethanol manufacturing. As the ethanol industry is growing exponentially, the production of DDGS has been significantly increasing as well. To optimize the use of DDGS, it has to be economically transported from one part of the country to other parts, and stored efficiently. But DDGS has some flow issues, which often makes storage and transportation very problematic. So the objective of this study was to investigate the dynamic water adsorption characteristics of DDGS with four soluble levels at four temperatures and four relative humidities. Three mathematical models were then used to fit the adsorption data (Peleg, Pilosof, and Singh‐Kulshrestha). As there was no model available for describing the water adsorption characteristics of DDGS with varying soluble levels at various temperature and relative humidity conditions, a new comprehensive model was developed. The new model, Ganesan‐Rosentrater‐Muthu (GRM) model, encompassed soluble level, temperature, and relative humidity effects, along with time and moisture content. The GRM model (R2 = 0.94; F =16503.90) provided a good description of DDGS water adsorption behavior and can be used to predict the dynamic adsorption of water in DDGS for a broad range of storage conditions.
Modeling the Flow Properties of DDGS
Authors: Ganesan V. , Rosentrater K. A. , Muthukumarappan K. 
Published: October 2007

ABSTRACTDistillers dried grains with solubles (DDGS) are an excellent source of energy, minerals, and bypass protein for ruminants. With the remarkable growth of the U.S. fuel ethanol industry in the past decade, large quantities of distillers grains are now being produced. DDGS flow is often restricted by caking and bridging during its storage and transportation. In our previous works, increased soluble and moisture levels significantly affected the flow properties of DDGS. Currently, however, there is no model available to predict the flowability of DDGS. So the objectives of this study were to thoroughly investigate the data obtained from our previous work using exploratory data analysis techniques and to develop a comprehensive model to predict the flowability of DDGS. A simple and robust model (R2 = 0.93, SE = 0.12) was developed by combining the important flow properties obtained from conventional Carr and Jenike tests using dimensional analysis and response surface modeling. However, the model developed was exclusively based on the DDGS from one ethanol plant and, as DDGS flow properties will differ with each plant, it is suggested to use this methodology to develop similar models to predict the flowability of DDGS for other plants as well.
Protein reconstitution and three‐dimensional domain swapping: Benefits and constraints of covalency
Authors: Carey Jannette , Lindman Stina , Bauer Mikael , Linse Sara 
Published: October 2007

AbstractThe phenomena of protein reconstitution and three‐dimensional domain swapping reveal that highly similar structures can be obtained whether a protein is comprised of one or more polypeptide chains. In this review, we use protein reconstitution as a lens through which to examine the range of protein tolerance to chain interruptions and the roles of the primary structure in related features of protein structure and folding, including circular permutation, natively unfolded proteins, allostery, and amyloid fibril formation. The results imply that noncovalent interactions in a protein are sufficient to specify its structure under the constraints imposed by the covalent backbone.
Crystal structure of an apo form of Shigella flexneri ArsH protein with an NADPH‐dependent FMN reductase activity
Authors: Vorontsov Ivan I. , Minasov George , Brunzelle Joseph S. , Shuvalova Ludmilla , Kiryukhina Olga , Collart Frank R. , Anderson Wayne F. 
Published: October 2007

AbstractThe arsH gene or its homologs are a frequent part of the arsenic resistance system in bacteria and eukaryotes. Although a specific biological function of the gene product is unknown, the ArsH protein was annotated as a member of the NADPH‐dependent FMN reductase family based on a conserved (T/S)XRXXSX(T/S) fingerprint motif common for FMN binding proteins. Presented here are the first crystal structure of an ArsH protein from Shigella flexneri refined at 1.7 Å resolution and results of enzymatic activity assays that revealed a strong NADPH‐dependent FMN reductase and low azoreductase activities. The ArsH apo protein has an α/β/α−fold typical for FMN binding proteins. The asymmetric unit consists of four monomers, which form a tetramer. Buried surface analysis suggests that this tetramer is likely to be the relevant biological assembly. Dynamic light scattering experiments are consistent with this hypothesis and show that ArsH in solution at room temperature does exist predominantly in the tetrameric form.