bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Date of Emerson's Terminus
Authors: Strauch Carl F. 
Published: February 2007

Whether scholars and anthologists have assigned a precise date of composition to Terminus or not, the general impression has been that Emerson wrote the poem upon approaching old age. Dr. Edward Waldo Emerson implied that it was written in the 'sixties:In the month of December, 1866, I, returning from six months on a Western railroad, met my father in New York just setting out for his winter's journey to the West, and we spent the night together at the St. Denis Hotel. He read me some poems that he was soon to publish in his new volume, May Day, and among them Terminus. I was startled, for he, looking so healthy, so full of life and young in spirit, was reading his deliberate acknowledgment of failing forces and his trusting and serene acquiescence.
Twilight or Dawn: The Present State of Modern Language Studies
Authors: Starck Taylor 
Published: February 2007

At a meeting held on 26 April 1886, to commemorate the tenth anniversary of the founding of the Johns Hopkins University, Basil Lanneau Gildersleeve, Professor of Greek, spoke some words that have with slight variations been more recently applied to the study of modern languages, and indeed to other disciplines. Gildersleeve said in part:To some, I do not know how many, certainly to some of those whom I am addressing, the special line of work to which my own life has been devoted may seem to have had its day, and to plan for the future of Greek is to plan for an elaborate structure on the foundation of some Table Rock, destined at no distant time to fall and disappear on the restless current of modern life. A monument was erected some years since to the memory of the last old woman that spoke Cornish, and it would require no great stretch of imagination on the part of some of our friends to fancy that some youth may be present here today who shall live to see the cremation of the last successor of Sir John Cheke on this side of the Atlantic, of the last old woman, trousered or untrousered, that shall have discharged the office of a Professor of Greek in an American university.
Adam's Hell
Authors: Pace George B. 
Published: February 2007

Although as a whole Chaucer's Monk's Tale is justly criticized for dullness, its opening two tragedies, the Lucifer and the Adam, form an effective and related pair:
LuciferAt Lucifer, though he an angel were,And nat a man, at hym wol I bigynne.For though Fortune may noon angel dere,From heigh degree yet fel he for his synneDoun into helle, where he yet is inne.O Lucifer, brightest of angels allé,Now artow Sathanas, that mayst nat twynneOut of miserie, in which that thou art falle.AdamLoo Adam, in the feeld of Damyssene,With Goddes owene fynger wroght was he,And nat bigeten of mannes sperme unclene,And welte al paradys savynge o tree.Hadde nevere worldly man so heigh degreeAs Adam, til he for mysgovernaunceWas dryven out of hys hye prosperiteeTo labour, and to helle, and to meschaunce.
E. A. Robinson's System of Opposites
Authors: Hepburn James G. 
Published: February 2007

In a letter to Harry de Forest Smith of 3 June 1894, E. A. Robinson says of his poem “The Night Before”:The story is unpleasant, founded upon my system of “opposites” that is, creating a fictitious life in direct opposition to a real life which I know. My recent mental disturbances have rendered some kind of more or less literary expression an absolute necessity; and this story, which by the way, comes dangerously near to being what the world calls “hot stuff” is doing me a good service in working off my general discontent. It reflects, in a measure, my present mood in the narration of things of which I know nothing except by instinctive fancy.
The Writer's Audience is Always a Fiction
Authors: Ong Walter J. 
Published: February 2007

AbstractWhereas the spoken word is part of present actuality, the written word normally is not. The writer, in isolation, constructs a role for his “audience” to play, and readers fictionalize themselves to correspond to the author's projection. The way readers fictionalize themselves shifts throughout literary history: Chaucer, Lyly, Nashe, Hemingway, and others furnish cases in point. All writing, from scientific monograph to history, epistolary correspondence, and diary writing, fictionalizes its readers. In oral performance, too, some fictionalizing of audience occurs, but in the live interaction between narrator and audience there is an existential relationship as well: the oral narrator modifies his story in accord with the real—not imagined—fatigue, enthusiasm, or other reactions of his listeners. Fictionalizing of audiences correlates with the use of masks or personae marking human communication generally, even with oneself. Lovers try to strip off all masks, and oral communication in a context of love can reduce masks to a minimum. In written communication and, a fortiori, print the masks are less removable.
The Ceremony of Innocence: Charles Dickens' A Christmas Carol
Authors: Gilbert Elliot L. 
Published: February 2007

AbstractSophisticated readers of A Christmas Carol, moved though they may be by the dramatic reformation of Scrooge, are frequently inclined to question the psychological validity of the old man's change of heart. Far from being a sign of the story's inadequacy, however, this divided reaction is the key to its effectiveness. Dickens' chief target in A Christmas Carol is Scrooge's nineteenth-century rationalism, and the reader's skepticism about the old man's moral and spiritual recovery is an exact analogue of that rationalism. What the reader's delight, in the face of his skepticism, suggests, therefore, is that there is a level of the story on which Scrooge's regeneration is entirely authentic; that if A Christmas Carol is less than convincing as a psychological case history of an elderly neurotic temporarily reformed by Christmas sentimentality, it is certainly a success as the metaphysical study of a human being's rediscovery of his own innocence.
“Life Studies”—Robert Lowell's Comic Breakthrough
Authors: McFadden George 
Published: February 2007

AbstractThe fifteen “Life Studies” poems are distinguished as a separate work from the rest of the Life Studies volume. Their unicity arises from Lowell's use of the Freudian myths of maturation and the family romance, from a (largely Freudian) comic emphasis, and from a rhetorical, rather than merely confessional, project of the poet to vindicate himself by means such as Pound used in The Pisan Cantos. Lowell's parents are the victims of comic degradation in the poet's struggle to achieve maturity; his Grandfather Winslow is both a savior, as father surrogate, and a threat to dominate Lowell. A “plot” including parenthood, the loyal intimacy of his relationship with his wife, and Lowell's comic self-acceptance helps to give “Life Studies” a sense of renewed vitality. Also, Lowell's new, more open style reflects his response to the movements of the fifties in American poetry and supports the mythic and comic structures of renewal in the work.
“Figurando il paradiso”: The Signs That Render Dante's Heaven
Authors: Murtaugh Daniel M. 
Published: February 2007

AbstractThe structure of Dante's Paradiso is a mediating sign of “the love that moves the sun and the other stars.” Each time Dante the pilgrim moves to a higher sphere, his visionary power grows, passing through successive formulations of God's love. The growing beauty of Beatrice's smile measures his advance, and at several points (Par. x, xxiii, and xxviii) her words or her reflecting eyes explicate the semantic function of what Dante sees, thus projecting him one step closer to the Beatific Vision, to which all the signs refer. Finally, the pilgrim transcends Beatrice, just when her beauty transcends the poet's power to render it. In the last canti the pilgrim confronts a reality transforming itself in direct response to his visionary power, while the poet and we find vestiges of that reality in the transformations of his language through metaphor. This final dialectic of vision and language suggests themes of modernist poetry.
Monodrama and the Dramatic Monologue
Authors: Culler A. Dwight 
Published: February 2007

AbstractThe term “dramatic monologue” was not in use when the great Victorian dramatic monologues were being written. They were sometimes called “monodramas,” which Tennyson defines as works in which successive phases of passion in one person take the place of successive persons. This agrees with the form as invented by Rousseau in Pygmalion (1763) and as practiced in Germany from about 1772 to 1815. It is related to other forms, e.g., the “attitude,” in which virtuoso performers attempted to portray rapidly shifting roles through pantomime. Monodrama was introduced into England by William Taylor of Norwich, Dr. Frank Sayers, Southey, and “Monk” Lewis; and Tennyson’s Maud, “Locksley Hall,” and “CEnone” have some characteristics of the genre. The form arose partly out of the prosopopoeia and should be distinguished from the Browningesque dramatic monologue, where the “drama” is normally between the speaker and the reader rather than between different phases of the speaker’s soul.
The Deceptiveness of Lazarillo de Tormes
Authors: Mancing Howard 
Published: February 2007

AbstractThe anonymous author of Lazarillo de Tormes is a master of deception. He makes his protagonist supremely attractive to the reader by contrasting him with unlikable characters (the blind beggar, the priest, the squire) and by the intimacy of autobiography. The reader increasingly sympathizes with Lazarillo, reaching in the third chapter a point of genuine admiration for the boy’s self-sacrifice at the time of greatest physical suffering. The author then creates an illusion of passing time to reach the book’s final scene, in which the mature Lázaro profits from the sexual exploitation of his wife. Lazarillo de Tonnes, comic only on a superficial level, presents a corrupt society that forces its materialistic values on even its most virtuous members; Lázaro, like all men, eventually compromises. The reader, so attracted by the young Lazarillo who dominates the work, often fails to see the odious Lázaro who finally emerges and obliterates his former self.
Language, History, and Text in Eliot's “Journey of the Magi”
Authors: Harris Daniel A. 
Published: February 2007

Abstract“Journey of the Magi,” anticipating the Four Quartets, constitutes a vision of historical process and a metaphor of religious mystery more complex than in Eliot's earlier work. Experimenting with dramatic monologue, remembering Browning's interest in the Higher Criticism, Eliot juxtaposes oral recitation against recorded account to provide an analogy for the Incarnation. As elsewhere, Eliot finds symbol and writing suspect: the Magus, in ironic ignorance, uses literally a figurative language Christianity had not yet created, but he intuits the Word better than readers steeped in biblical symbolism. Simultaneously Eliot interfiliates the Magus' speech with Matthew's gospel, Andrewes' 1622 Nativity sermon, and his own “impossible” re-presentation of the original utterance: the resulting historical sequence, collapsed by anachronisms, makes the poem's structure emblematize the Logos. Through the ostensible “loss” of the scribe's transcription, Eliot implicitly questions biblical canonicity and the traditions of Christian interpretation. The poem approximates his religious position in 1927.
Literary System and Systemic Change: The Prague School Theory of Literary History, 1928–48
Authors: Galan F. W. 
Published: February 2007

AbstractStructural linguistics is commonly held to be preoccupied with static language systems at the expense of language history. Yet in the 1920s the Prague Linguistic Circle resolved the structuralist dilemma of a system that ceases to act systemically the moment it undergoes a change. Language changes must be studied not in isolation but with regard to the whole system. No language system, however, is perfectly self-contained, nor can language changes be perfectly predictable, for language must adapt to concrete situations. Similarly, literary history appears largely systemic, but only a semiotic conception can explain its immanent development while simultaneously taking into account extraliterary influences. Prague structuralism thus studies both the internal, systemic changes of literary forms and the sociological aspects involved in their reception by the reading public. Finally, structural literary theory explains the role of individual artists, whose originality is seen as the dialectical antithesis to the systematic literary structure.
Bertran de Born and Sordello: The Poetry of Politics in Dante's Comedy
Authors: Barolini Teodolinda 
Published: February 2007

AbstractThe figure of Sordello, who appears in Purgatorio vi and guides Dante and Vergil to the valley of the princes, has long puzzled critics, since his stature in the Comedy seems greater than his historical achievements warrant. He is noted chiefly for a planh with political overtones, the lament for Blacatz. Of the Comedy’s lyric poets, the other known especially for political poetry is Bertran de Born, among the “sowers of scandal and of schism” in Inferno xxviii. By comparing Dante’s treatment of these two “political poets,” we see that they are used within the poem in a way that necessarily transcends their historical identities: they have become emblematic, respectively, of the good and bad uses to which poets can put their verse in the service of the state.
Dialogics as an Art of Discourse in Literary Criticism
Authors: Bialostosky Don H. 
Published: February 2007

AbstractIf a dialogics, inspired by the work of Mikhail Bakhtin, were recognized as an art of discourse on the level of the arts of rhetoric and dialectic, it might shape a critical practice different from those governed by the more familiar arts. Tzvetan Todorov's recent essay on dialogic criticism and Merle Brown's account of F. R. Leavis's “collaborative exchange” in criticism contribute to the invention of such an art; further efforts to rationalize it seem desirable and possible in the present critical conversation.
Toward a Theory of the Engaging Narrator: Earnest Interventions in Gaskell, Stowe, and Eliot
Authors: Warhol Robyn R. 
Published: February 2007

AbstractNarrative theorists generally assume that narratees in novels are distinct from actual readers, as narrators are from authors. In early novels by Stowe, Gaskell, and Eliot, however, “engaging narrators” encourage actual readers to identify with the “you” that appears in narrative interventions. These novelists explicitly hoped to stir actual readers' sympathy for real-world sufferers, possibly even to move readers to action. An engaging narrator, unlike a “distancing” one, calls the narratee “you” (not “the reader”); assumes that the narratee sympathizes with the story; claims that the characters are “real”; and consistently directs the actual reader to consider the parallels between the fiction and “real life.” Since these strategies seem to originate in certain nineteenth-century women's texts, narrative theory's omission of them may have implications for gender criticism.
The Logic of Delegation in The Ambassadors
Authors: Rivkin Julie 
Published: February 2007

AbstractStrether's final gesture of renunciation, like his various attempts to live vicariously through those around him, follows from his own position of ambassador—both for Mrs. Newsome and for Henry James. The logic he invokes in the closing scene to justify his renunciation denies the ambassador any direct profits in his own person but permits him to delegate to others his desire to “live all [he] can.” This Jamesian logic of delegation conforms to the Derridean “logic of the supplement” and governs both the novel's fictional and its compositional plots of the deviation from authority and the mediation of experience. In particular, it regulates the novel's central thematic conflict between a New England theory of representation as the preservation of an original and a Parisian theory of representation as a potentially infinite dispersal of delegates without a guiding origin or authority.
“Turning and Turning”: Coleridge on Our Knowledge of the External World
Authors: Jackson H. J. 
Published: February 2007

AbstractAs a conceptual framework, the ascending spiral does not originate with Coleridge, but it appears in his work in a prominent and distinctive form. Although he used the figure at first to describe the external world—and modified it for that purpose during the 1820s—Coleridge soon connected it with the human world of the mind as well. Attempts to put it to work as a principle of development in his writings include the revisedFriendof 1818 and theAids to Reflectionof 1825.
Presidential Address 1991: One More Time: Explanation and Collective Understanding
Authors: Valdes Mario J. 
Published: February 2007

Queridos Colegas, estimados amigos, bienvenidos a la conventión de la MLA. Especialmente quiero saludar a nuestros compañeros californianos y a todos los hermanos y hermanas hispánicos de estos Estados Unidos.In the past, the association's presidents have used this occasion to inform members about issues that have arisen during the year and the ways that the officers have responded. Some of my predecessors have had years as eventful as mine and have gone to considerable length to present the MLA's actions as clearly as possible. Here the memorable address of Barbara Herrnstein Smith comes readily to mind. In times of controversy this annual rite has served the equally significant purpose of providing leadership, and in this respect few can match the example of Catharine Stimpson. I too shall give you an accounting of what the association has said and done in your name and how it has represented your manifold interests. But I also devote a major part of my remarks tonight to still another aim of this tradition: to remind ourselves why we are here and what we are about. In attempting to fulfill these goals I look at the MLA from the outside, viewing it as a participant in the social and political reality of our times, and also from the inside, inquiring into how it works.
The Hermit's Scream
Authors: Rich Adrienne 
Published: February 2007

He said I had this that I could love,As one loves visible and responsive peace,As one loves one's own being,As one loves that which is the endAnd must be loved, as one loves thatOf which one is a part as in a unity,A unity that is the life one loves,So that one lives all the lives that comprise itAs the life of the fatal unity of war.Wallace Stevens, “Yellow Afternoon”I am a failure then, as the kind of revolutionary Anne-Marion and her acquaintances were. (Though in fact she had heard of nothing revolutionary this group had done, since she left them ten summers ago. Anne-Marion, she knew, had become a well-known poet whose poems were about her two children, and the quality of the light that fell across a lake she owned.)Alice Walker, Meridian (200–01)I've been haunted by a poem, as apparently simple as a ballad and with a ballad's appeal of timelessness. It's by Elizabeth Bishop, a white North American with middle-class roots. Orphaned and deracinated as a child, she grew up as a lesbian, a traveler-exile, living a significant part of her life in Brazil. She's not thought of as a political poet by most people who admire her; she's most often praised as a poet of minute observation and description. The poem is called “Chemin de Fer”:
Epilogue: Colonial Legacies, Multicultural Futures: Relativism, Objectivity, and the Challenge of Otherness
Authors: Mohanty Satya P. 
Published: February 2007

Your Reverence writes me that you would like to know whether the Negroes who are sent to your parts have been legally captured. To this I reply that I think your Reverence should have no scruples on this point, because this is a matter which has been questioned by the Board of Conscience in Lisbon, and all its members are learned and conscientious men. Nor did the bishops who were in Sao Thome, Cape Verde, and here in Loando—all learned and virtuous men—find fault with it. We have been here ourselves for forty years and there have been among us very learned Fathers…. [N]ever did they consider the trade as illicit. Therefore we and the Fathers of Brazil buy these slaves for our service without any scruple….Brother Luis Brandaon to Father Sandoval, letter dated 12 March 1610 (Zinn 29)So the question arises in my mind, Mary, do you really read the work of Black women? Did you ever read my words, or did you merely finger through them for quotations which you thought might valuably support an already conceived idea concerning some old and distorted connection between us? … Have you read my work, and the work of other Black women, for what it could give you? … We first met at the MLA panel, “The Transformation of Silence Into Language and Action.” This letter attempts to break a silence which I had imposed upon myself shortly before that date.Audre Lorde, “An Open Letter to Mary Daly,” dated 6 May 1979 (68–70)
Lead neurotoxicity in children: Decomposing the variability in dose–effect relationships
Authors: Bellinger David C. 
Published: February 2007

AbstractBackgroundEnormous progress has been made in recent decades in our understanding of lead neurotoxicology in children, but an important obstacle to additional progress is the striking variability that is evident in any plot of a lead biomarker versus a health endpoint.MethodsIn this article, three potential sources of variability are identified: (1) errors or imprecision in characterizing dose (and/or outcome); (2) incomplete characterization of endpoint variance attributable to factors other than lead; and (3) inter‐individual differences in susceptibility to lead neurotoxicity.ResultsStrategies are suggested for reducing the variability contributed by these sources, including the development of validated PBPK models and biomarkers of early biological effects; the development of more comprehensive models of outcome variance and, specifically, the application of multi‐level models that incorporate supra‐individual and supra‐family risk factors; and the use of study designs that permit assessments of the effect modifying influence of contextual factors on the form and severity of neurotoxicity.ConclusionDecomposing the variability in the distribution of observed scores around the best‐fit lines that describe the dose–effect relationships for lead neurotoxicity in children is a major research need. Am. J. Ind. Med. 50:720–728, 2007. © 2007 Wiley‐Liss, Inc.