bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dynamic Finite Element Modeling of Fracture in Charpy V-Notch Specimens of Weld Material 72W
Authors: McCoy JH , Kumar AS 
Published: April 2006

AbstractDynamic finite element modeling of the fracture behavior of fatigue-precracked and V-notch Charpy specimens was performed using ABAQUS Explicit. The purpose of this modeling effort was to predict the upper shelf energies of full-size precracked and Charpy V-notch full-size and sub-size specimens based on the upper shelf energy (USE) of precracked specimens. To achieve this end, finite element model prediction of the USE of a precracked Charpy specimen was calibrated to the corresponding experimental data. Based on this calibration, a material model incorporating a stress-strain curve and fracture strain properties was developed for the nuclear reactor pressure vessel 72 material. The calibrated material model was then applied to the modeling of crack extension and propagation for predicting the USE of both full-size and sub-size Charpy precracked and V-notch specimens. Finite element modeling of Charpy V-notch models has not been performed previously using this methodology. It was found that the predicted USE of standard and sub-size specimens in both notched-only and precracked conditions based on the USE of third-size specimens were in reasonable agreement with the corresponding experimental data. However, when full-size precracked USE was used as the calibration point, full-size notched USE matched well, half and third-size precracked USE were within normal scatter and half and third-size notched USE did not acceptably match with the corresponding experimental values.
The Mirror and the Dynamo: On Brecht’s Aesthetic Point of View
Authors: Suvin Darko 
Published: April 2006

The time has come to give art, by a pitiless method, the
precision of the natural sciences. But the principal difficulty for
me is still the style, the indefinable Beauty resulting from the
conception itself.
Flaubert,
Correspondence

In the preface to his most famous theoretical essay, the
Little Organon for the Theatre, Brecht in
part retracted his early vituperations against aesthetics, which in the
1920's had led him to ask (as the title of an article of his goes):
“Shouldn't we liquidate aesthetics?” With the growing maturity and
complexity of his poetry and plays, the feedback from practice to theory
which was a permanent feature of Brecht's work led him to recognize that
those vituperations —which he never wholly abandoned —were directed at the
bourgeois German aesthetics of his epoch, at “the heirlooms of a depraved
and parasitic class” (SzT VII.8), and not at a
philosophical and sociological discipline dealing with the pleasing and the
beautiful (mainly in art), as such or as a whole. For, by the end of the
193O's, Brecht had in his lyrics and dramas, as well as in his theoretical
writing, recognized that his own work was also pleasurable —if pleasure were
no longer opposed to learning.
A Theatre
Authors: Fuller R. Buckminster , Sadao Shoji 
Published: April 2006

Theatre, at mid-twentieth century, finds itself in a position of “change or die.” The rapid development of television and cinema have been to it what photography was to representational painting: they can do many of the same things better and more simply. The only means of survival clearly lies in making the very most of the unique quality of theatre—the relationship between a live audience and live performers.Traditional theatre, with its reliance on “real” props and staging, contributes to audience-performer separation by constantly defining physical limits of size, scale, and distance. The theatre of the future will have to provide an environment which permits the spectator to do more than merely look. He should experience a direct and, as nearly as possible, total involvement, both individually and in relation to the actors.
Le livre de Mallarmé A Mise en Scène
Authors: Polieri Jacques 
Published: April 2006

Mallarme attempted to write an absolute book, the quintessence of all literature and all reality—the Total Book. The world exists to arrive at a book, he said. This book would be proclaimed by a sacred ceremony of predetermined detail, a proof as well as a communion.The form of The Book can be described briefly: four books, which can be ordered as two pairs, make up The Book. Each book is subdivided into five volumes (not only interchangeable within each book, but also from book to book). Thus, Mallarme envisions the mixing and exchange of the volumes of one book with those of another.
Some Notable Developments in the Practice of the UN Secretary-General as Depositary of Multilateral Treaties: Reservations and Declarations
Authors: Kohona Palitha T. B. 
Published: April 2006

This Note will examine developments in the practice of the United Nations secretary-general on reservations and declarations to treaties, particularly since 1994 when the Summary of Practice of the Secretary-General as Depositary of Multilateral Treaties was last updated. This period was marked by some notable developments in the previous practice, especially in connection with human rights treaties.The Vienna Convention on the Law of Treaties of 1969 (Vienna Convention) provides the framework for the functions of the secretary-general in his role as depositary of multilateral treaties. Most aspects of the law relating to reservations and declarations to treaties are also codified in the Vienna Convention.Over five hundred multilateral treaties are deposited with the secretary-general. The complex requirements relating to these treaties and the concerns of the many disparate states that may undertake treaty actions with regard to them have significantly influenced his practice. He is also conscious of the political sensitivities surrounding his decisions and the need to protect his own integrity and impartiality.
The Observationes in M. T. Ciceronem of Marius Nizolius
Authors: Breen Quirinus 
Published: April 2006

Nizolius' Observationes is a lexicon of Latin based exclusively on the writings of Cicero. It was one of the best-known dictionaries from the sixteenth to the eighteenth centuries. Pagani has counted nearly seventy printings of various editions between 1535 to 1630. An edition was printed in England as late as 1820. Leibnitz wrote that the lexicon would last as long as Cicero. The historian Arnold Toynbee has remarked that he was brought up on Nizolius in the Latin school.This work has today been all but forgotten. The light of recognition is now begining to fall upon Nizolius' De veris principiis… philosophandi (Parma, 1553); the notice given to it is deserved, but the continuing almost total neglect of the lexicon is not justified. The De veris principiis has substance to contribute to our understanding of Renaissance philosophy; the Observationes offers a thread for a history of Ciceronianism in modern times.
On Representations of Centaurs in Greek Vase-Painting
Authors: Colvin Sidney 
Published: April 2006

Before coming to the discussion of the three unpublished vase-paintings which illustrate this article, and of the questions which they suggest (Plates I., II., III.), it will be proper to give some account of the Centaurs in general, as figured on the painted vases of the Greeks. The passages or episodes of the Centaur myth habitually illustrated in this form of art are five in number, viz.:—1. The battle of the Centaurs and Lapithae at the wedding feast of Peirithoos and Hippodameia, or Deidameia, on Mount Pelion; when the Centaurs, being present as guests, maddened themselves with wine, and one of them seized the bride; whereupon a general conflict ensued, ending in the rout of the monsters and their expulsion from Thessaly.This battle is said by Aelian to have been made the subject of a separate poem by an early epic writer, Melisandros of Miletus; but neither of Melisandros nor his work have we any other record. In our extant writings, allusion is made to the battle twice in the Iliad: once where Nestor extols the Lapith warriors, whom he had known in his youth, as having been the mightiest of earthly heroes, and having quelled the mightiest foes, to wit the Centaurs; and again in the catalogue of ships, where the Thessalian leader Polypoites is commemorated as the son begotten of Hippodameia by the Lapith king Peirithoos on the day when he chastised the monsters and drove them from Pelion.
Musique et Humanité
Authors: Dallapiccola Luigi 
Published: April 2006

Musique et Humanité est à mon avis surtout un sujet philosophique. N'étant pas philosophe moi-même, le langage philosophique ne m'est pas familier et je n'ai jamais été intéressé à ces jeux de la dialectique qui, par un habile maniement des paroles, nous démontrent la vérité ou son contraire. Je ne suis pas théoricien non plus. D'ailleurs, l'invitation qui m'a convoqué avec tant de gentillesse à cette conférence et de laquelle je tiens à remercier de tout mon coeur le Comité, n'a pas été adressée à un penseur éventuel, mais plutôt a un musicien et à un homme.Les deux substantifs du thème que l'on m'a proposé, méritent un commentaire. Musique: la transformation et le développement de la musique ayant été si rapides dès le début de notre siècle, personne de nos jours pourrait être tout à fait d'accord avec l'idéal musical exprimé par Mozart dans la fameuse lettre à son père, datée du 26 Septembre 1781, où il dit à peu près ceci: que tout comme les passions, violentes ou non, ne devaient jamais être exprimées jusqu'au dégout, ainsi la musique, même dans ses moments les plus terribles, ne devait pas déplaire à l'oreille, mais donner de la jouissance et “tester toujours musique”.
Comment entendre la musique populaire?
Authors: Chailley Jacques 
Published: April 2006

Pendant très longtemps, les musiciens de formation scolaire sont passés à côté de la polyphonie populaire sans même l'entendre. Leurs notations n'en tiennent aucun compte, leurs descriptions en font à peine mention dans des circonstances où cependant nous sommes certains qu'elle existait. Le fameux problème de l'existence ou la non-existence d'une polyphonie dans la musique grecque antique, n'est que l'un des aspects de ce meme problème. La réaction des musicographes de l'antiquité est exactement la meme que celle de nos observateurs classiques.En face de ce dédain, j'oserais dire de cette surdité qui s'est prolongée jusqu'à l'aube de ce siècle, notre attitude à nous est rigoureusement opposée. Il suffit presque aujourd'hui qu'un individu chante un peu faux dans un groupe pour que des missions scientifiques s'organisent, et que, appuyée de mesures rigoureuses au demicent près, une nouvelle classification de polyphonie soit proposée au prochain Congrès, sans négliger d'en offrir le modèle aux jeunes compositeurs en quête de nouvelles “élucidations bouleversantes.”
Chansons polyphoniques de l'Epire du nord
Authors: Peristeris Spyridon 
Published: April 2006

Parmi les différentes régions de Grèce, l'Epire nous présente, outre les chansons folkloriques monophoniques courantes, chantées également dans les autres régions de Grèce, une catégorie de chansons folkloriques polyphoniques spéciales, exécutées dans certaines régions et présentées non d'apres les règles connues, mais d'une manière plus ou moins primitive.L'étude que voici se base sur des éléments musicaux trouvés dans les chansons de la région Dropolis en Epire du nord, recueillis et enregistres durant deux missions speciales, en 1951 et 1956. Dropolis est un district situé en Epire du nord et s'étend du détroit de Sotiras et de la petite montagne de Mourganas jusqu'aux villes d'Argyrocastros et de Limbohovos. La partie méridionale se trouve inclue dans le territoire grec.
An Extension of Tone-Row Techniques Through Electronic Pitch Control
Authors: Schaeffer Myron 
Published: April 2006

In January of this year, on the occasion of the first electronic music concert held at the University of Toronto, I composed a work for voice and electronic sounds in which different tunings provided the basis of three different octave species. Whereas the voice part was based on the diatonic tempered scale, the two accompanying parts were each in a different system of tuning. One part was based on a scale of twelve tones in which there was a difference of 63 cents between the successive steps; the second part employed tones separated by 172 cents. The results were sufficiently encouraging to attempt a generalization and organization of a comprehensive system of tuning for further experimentation.The purpose of this paper is to draw attention to some aspects of this tuning method. It is offered as a suggestion to electronic music composers who are interested in tone-row techniques as one direction in which experimental music might grow.
Factors That Shape and Maintain Folk Music in Ghana
Authors: Aning B. A. 
Published: April 2006

The survival of any type of music in Ghana is dependent upon the extent to which the music is able to satisfy the values the people look for in such music. The values, which may be aesthetic or structural, social or religious, may operate individually or in a simultaneous complexity. In other words the factors that shape and maintain the folk music in Ghana may be found in the music per se, in the artist or in the context of performance.There are musical norms which the community expect in a musical performance. One such norm is the sound quality. The Ghanaian concept of music (and this may go for other African peoples too) does not unduly discriminate between sounds of definite pitches and sounds of indefinite pitches. It is true that in some situations the emphasis may be on one or the other. However, examples abound in which musical ensembles employ both pitched and unpitched instruments. And both categories of sound are given relatively equal roles in a performance.
Supplementary Jingling in the Instrumental Folk Music of Afghanistan
Authors: Hoerburger Felix 
Published: April 2006

Ordinarily we suppose that an accompaniment to a melody—in folk music as in art music—is provided by a groundwork which is harmonic or rhythmic, or both. This basis holds together the whole of the melody, either by underlining the harmonic (or rhythmic) idea which lies more or less hidden in the melody itself, or by creating the harmonic (or rhythmic) idea, if the melody itself moves in a very free manner.In some more highly developed styles of folk music, as well as in those of art music, we find this groundwork strengthened and intensified by the heterogeneous sound of a special instrument which stays more or less in the background. The most outstanding example of what I mean is the well known Gipsy band of southeastern Europe with the sounding background of the cimbalom (dulcimer). A similar principle can be seen in the harpsichord of the Baroque orchestra.
Performing Styles in Mongolian Chant
Authors: Vargyas Lajos 
Published: April 2006

During a mission sponsored by Unesco, I had the opportunity of becoming acquainted with some traditional types and styles of singing in Mongolia. The Mongols have an extraordinarily complex and developed musical tradition, and some of its types are of great interest for ethnomusicologists. I want to present to you two styles of singing which are closely associated with certain types of songs.The first is called “long chant” and ranks with the most archaic and most developed types of the Mongols. It is a song in stanza form with a free, rubato performance having long sustained notes: just like repercussions, ornamented by fiorituri, and giving the impression of an instrumental style. They are produced by a particular setting of the larynx. But its most impressive feature is its wide range. Some singers extend the compass of songs by using the falsetto extremely vigorously. Thus a voice can range over as many as three octaves.
Folk Song Migration in Aboriginal South Australia
Authors: Ellis Catherine J. 
Published: April 2006

Folk song migration in Aboriginal South Australia is a difficult subject to cover. There is great confusion over migration theories in Australia. No one as yet has provided conclusive evidence regarding the place of origin of the present aboriginal people, nor indeed of whether they are an homogeneous people or descendants of several racially and culturally distinct groups. But a study of the music of South Australia does make possible some suggestions, since distinct styles and their direction of diffusion can be seen.The various hypotheses about the coming of the aboriginal to Australia seem to differ depending on the aspect being covered by the particular researcher concerned. The theory put forward by Birdsell and Tindale is probably the best known. They based their theory on the classification of the blood groups of people from various regions, and believe that there were three separate migratory waves into Australia.
Presencia de mayólicas panameñas en el mundo colonial: algunas consideraciones acerca de su distribución y cronología
Authors: Rovira Beatriz E. 
Published: April 2006

ResumenEste trabajo aporta información acerca de la cronología y distribución de las mayólicas panameñas, a partir de los datos obtenidos en las excavaciones que se realizan en Panamá La Vieja (1519–1671) y en otros sitios coloniales del continente. Incluye una referencia a los aspectos estilísticos de los tipos definidos, y analiza la incidencia de cada uno de ellos en perspectiva diacrónica. Nuevos datos de localidades con mayólica panameña, permiten circunscribir su distribución a la vertiente pacífica (desde Guatemala hasta Chile), contribuyendo a la verificación de la hipótesis enunciada por Florence y Robert Lister (1974). El trabajo intenta explicar la ausencia significativa de mayólicas producidas en la ciudad de Panamá (costa pacífica del istmo), en las localidades de la costa atlántica, en contraposición a la constante presencia de cerámicas europeas en la ciudad de Panamá (las cuales, durante el auge de la industria local, alcanzaron frecuencias de alrededor del 20%). Tal situación no podría ser entendida tomando únicamente en consideración el alto costo de los fletes transístmicos (los cuales afectaban por igual ambas vías): ante el mismo valor agregado, resultaba socialmente deseable adquirir las mayólicas europeas en la ciudad de Panamá, mas no las panameñas en Portobelo. Resulta clara la existencia de valoraciones sociales diferenciales entre las mayólicas locales versus europeas, modeladoras de preferencias estéticas y hábitos de consumo.
From Discard to Divination: Demarcating the Sacred Through the Collection and Curation of Discarded Objects
Authors: Brown Linda A. 
Published: April 2006

AbstractThe artifact assemblage recovered in a sealed undisturbed context inside a ceremonial building (Structure 12) in the ancient village of Joya de Cerén (A. D. 600), a Classic Period site located on the Southeast Maya Periphery, has been particularly enigmatic and difficult to interpret. This assemblage consists of small portable worn objects, some of which show physical and chemical damage consistent with having been previously discarded prior to being carefully curated in a ceremonial building, suggesting that they were collected in antiquity. A review of the ethnographic literature reveals that contemporary Maya ritual practitioners routinely collect small portable objects, many of which are Pre-Columbian in origin, as personal sacra. This practice of “ritual collecting” serves multiple purposes including: 1) the acquisition of divining tools, 2) personal verification of divine election, and 3) evidence to one's community of supernatural sanction for a change in social status. Through engaging in this practice, social actors create and manipulate power in local ritual systems that exist outside of the control of contemporary institutionalized religions. It is suggested that collecting may represent an alternative avenue to supernatural power for past, as well as present-day, rural ritual practitioners.
Wari Ritual Power at Conchopata: An Interpretation ofAnadenanthera ColubrinaIconography
Authors: Knobloch Patricia J. 
Published: April 2006

AbstractIconographic studies often provide evidence to interpret ritual activities of archaeologically known cultures. Recent excavations at the site of Conchopata near Ayacucho, Peru, led to a re-analysis of the ritual behavior of Middle Horizon (A. D. 750-1000) Wari society. The identification of a hallucinogenic plant design, Anadenanthera colubrina, depicted on Conchopata offering pottery contributes a crucial understanding of a previously unknown artistic icon. This icon was discerned as depicted in various abstract renditions on Middle Horizon textiles, snuff paraphernalia, ceramics, and stone sculpture, including the Gate of the Sun at Tiwanaku, Bolivia. Based on historic and ethnographic evidence, the plant's prehistoric use as a hallucinogen is discussed with regard to suggested chicha drinking ceremonies, and the transitional role of Wari leaders from shamans to priests.
Determining the Function of One of the New World's Earliest Pottery Assemblages: The Case of San Jacinto, Colombia
Authors: Pratt Jo Ann F. 
Published: April 2006

AbstractOne of the earliest pottery assemblages in the New World (5900 B. P.) was manufactured by logistically mobile hunter-gatherers at San Jacinto I, in Colombia, South America. The vessels were constructed using fiber temper and were elaborately decorated. These characteristics along with the archaeological context of the pottery suggest that its use was unrelated to cooking or food processing. Visual and statistical analyses indicate the pottery had high economic and social value for this semisedentary group; it likely was utilized for feasting/serving activities and possibly for short-term storage. Comparative analyses indicate that the pottery from other early sites in northeast South American may have served similar functions during the early Formative period.
La Pintura Occidental de Felino de Cerro Sechin (Peru): Una Vista Diferente
Authors: Bischof Henning 
Published: April 2006

ResumenCon el título “La pintura occidental de felino de Cerro Sechin: ¿Es original o falsa?” Bonavia (1990) sugiere una alternativa arbitraria. Si bien es válida su crítica del método de restauración aplicado, no es suficiente para sostener que la obra merezca tacharse de falsificación. Al ser examinadas sine ira et studio las fotos reproducidas por Bonavia (1990), más bien demuestran que en 1971 todavía estaba conservada la parte inferior del mural original, sobre el cual se efectuaron en aquel año, y el siguiente, ensayos no muy acertados de restauración junto con necesarias, y cuidadosas medidas de consolidación.
La Pintura Occidental de Felino de Cerro Sechin: Contestacion a Bischof
Authors: Bonavia Duccio 
Published: April 2006

ResumenEn contestación a la nota de Bischof (1991) refutando nuevamente la aseveración de Bonavia (1990), sobre la falsedad de la pintura occidental de felino de Cerro Sechín, el autor se reafirma en su posición presentando la argumentación que considera pertinente para demonstrar lo que él juzga es el error de Bischof.