bluuebunny/crossref_metadata_2025_split huggingface dataset:
A Convenient Method for the Preparation of Furan and Pyrrole Derivatives via Palladium(II)-Catalyzed Intramolecular Cyclization of 3- and 4-Alkenyl Alcohol or Amine Derivatives
Authors: Igarashi Susumu , Haruta Yoshihisa , Ozawa Motoyasu , Nishide Yoshiyuki , Kinoshita Hideki , Inomata Katsuhiko 
Published: May 2006

Abstract
Several furan and pyrrole derivatives were prepared through palladium(II)-catalyzed intramolecular cyclization of 2-(p-toluenesulfonyl)-3-butenols and 2-methanesulfonyl-4-pentenyl alcohol or amine derivatives in good yields.
Ruthenium Complex Catalyzed Selective Deoxygenation of Ketoximes to Ketimines
Authors: Akazome Motohiro , Tsuji Yasushi , Watanabe Yoshihisa 
Published: May 2006

Abstract
Ru3(CO)12 showed high catalytic activity for the deoxygenation of various ketoximes to the corresponding ketimines under carbon monoxide pressure (20 kg/cm2). For the deoxygenation of propiophenone oxime, ethyl phenyl ketimine was obtained in 100% yield. On the other hand, heptanal oxime which was aldoxime was dehydrated under the same reaction conditions to the corresponding nitrile in 32% yield.
The Law of Entropy and Dance
Authors: Gray Judith A. 
Published: May 2006

Have you ever wondered what distinguishes dance movement from random motion of the human body? To what degree is ordered or organized motion necessary for communication through dance? The Second Law of Thermodynamics deals with order and disorder, probabilities and tendencies, in physical systems. Can analogies drawn from this physical principle contribute something to our understanding of the nature and meaning of dance?The Second Law of Thermodynamics, also known as the Law of Entropy or the Law of Increasing Disorder, applies to physical systems in which a number of different configurations are possible. The law states that spontaneous changes in such a system will tend away from an ordered configuration towards the more probable one of greater disorder. An example of this is the distribution of oxygen and nitrogen molecules in the air in a room. Normally these molecules are distributed evenly throughout the room with about 20% oxygen and 80% nitrogen molecules in every region of the room. Since there is an enormously large number of ways in which all of the air molecules can be distributed in this uniform way, such a configuration is very probable. It is also possible, though much less probable, that all the oxygen molecules would congregate in one corner of the room, with the nitrogens elsewhere.
Concealment vs. Display: The Modern Saudi Woman
Authors: Deaver Sherri 
Published: May 2006

SummaryThis essay set out to explore the paradox of the Middle Eastern woman. The dichotomy of concealment vs. display is a stereotype in western culture and a function of sexual division in modern Arabian society. From the Saudi point of view, seclusion is necessary in the public domain whereas in the private domain display is appropriate. Private space is usually female space. It logically follows that belly dancing, a display mechanism, is done in female space by females for other females when the audience includes nonkin.In the college community, “proper” belly dancing (as defined by the Saudi subgroup of the community Dhahran) can take place only under certain cultural conditions. When constraints break down, both the style and the message change. There are two alternative explanations for the aberrant performance. It may be considered (1) a simple example of deviance, i.e., a violation of the rules, or (2) an example of culture change in mental notions and hence “airport art.” No attempt has been made to assign priority to either explanation or to say that one is more correct. Deviance compounded and perpetuated is culture change. Also, it is necessary to remember that in a multicultural community the same behavior may be categorized differently by different subgroups. Little is to be gained, except, perhaps, a false simplification of the data, by assigning priority to either of the analytical or folk interpretations.
Understanding Interpretation
Authors: Lavender Larry 
Published: May 2006

In introducing and teaching art-critical skills—i.e., the skills of description, analysis, interpretation, and judgment—the greatest challenge for teachers of college and university dance students is to teach them confidently to formulate interpretations of the dances they see. With modest effort and practice students are able to gain proficiency in describing the visible features of a dance, as well as in marshaling descriptive/analytical evidence into defensible reasons for an aesthetic judgment. But the concept of interpretation is often difficult for students to grasp for two reasons. First, interpretation is tied to the philosophically slippery term “meaning.” Second, there is little consensus among theorists, artists, critics, and educators on what “interpretation” actually is, or how to go about doing it. This uncertainty in the professional ranks naturally filters down to students, causing some of them to grow nervously silent when faced with questions about meaning in dances and other works of art. Once silenced, of course, students are more likely to accept at face value the interpretive arguments of others rather than to develop their own aesthetic perspectives.If students are to become critically literate, however, it is imperative for dance educators to explore with them various approaches to interpretation. Only then is it possible to present to students—as I will try to do here—an account of interpretation that they will find sensible, easy to articulate, and directly applicable in their own critical practice.
Piaget for Dance Educators: A Theoretical Study
Authors: Stinson Susan W. 
Published: May 2006

Most individuals who spend serious time with children recognize that children are not simply small versions of adults. Not only are their bodies different, but they also think differently. The dance educator, just like other educators, must attempt to see the world from the child's point of view if the teaching-learning process is to be successful.One framework for conceiving the world from the child's point of view comes from Jean Piaget, a scientist who was interested in the development of cognitive skills used in science—ordering, classifying, inferring, thinking in propositions, and hypothesizing. Such skills are important not only in science, but in any logical use of the intellect. Inasmuch as dance educators claim interest in the child's intellectual as well as emotional and physical self, an understanding of Piaget's theories may generate valuable insight. Yet neither Piaget nor his many followers who have applied his theories to specific areas of education have examined dance education through this lens.
Kapila Vatsyayan and Dance Scholarship: India and Beyond
Authors: Md Nor Mohd Anis 
Published: May 2006

Beyond the Indian subcontinent Kapila Vatsyayan has become a legend. Although far from the center of the great Indian tradition, Southeast Asian dance scholars emulate Vatsyayan's work and have attempted similar studies of the classical dances within the Indie tradition in Thailand, Myanmar, Laos, Cambodia, Malaysia, and Indonesia. Many of us in Southeast Asia only hope that we can measure up to the strength of her scholarship. For us, the notion of the “great” and “small” traditions is both real and overwhelming.Thirty years ago scholarship in Asian dance attained new heights with the publication of Vatsyayan's celebrated Classical Indian Dance in Literature and the Arts, the first exploration by an indigenous scholar of the relationship between classical Indian dance, literature, and sculpture. In particular, Vatsyayan opened new frontiers in the understanding of rasa theory beyond its convention as mood and evocation. She explicated the notion of rasa as a state of being and aesthetic theories of dance along with the study of literature, sculpture, painting, music and theater. Her work demonstrated an implicit understanding of performance theory and of deconstruction and reconstruction processes, by which I essentially mean emic attempts to construe or interpret dance. Deconstruction involves the dismantling of a dance form, genre, or repertory into the smallest units of contrasted movements recognized by people of a given dance tradition, while reconstruction refers to the ways these movements are structured within a larger movement system (1).
The Vienna Years 1927–1939: Excerpts from a biography of Fred Berk (Fritz Berger of Vienna)
Authors: Ingber Judith Brin 
Published: May 2006

“My school work became more and more difficult for me. Nobody listened to me at school or at home. I gave up trying to do my homework and closed out everything but stolen outings to join my friends at the stage door. I got terrible grades, but still I found no way to study. I could not seem to learn anything from a book. I was expelled from school.“To make matters worse, my father constantly yelled at me and then he would end up beating me. Finally, I remember my father screamed, ‘You cannot spend your days at home anymore. You are fourteen and a half years old and it is time you start working. I will find you work as a furrier or a goldsmith apprentice, whichever allows you time off for the Sabbath.’ When he could get no response from me, he took his cane and beat me until it broke.”
Dance and the Politics of Orality: A Study of the Irish Scoil Rince
Authors: Meyer Moe 
Published: May 2006

I recently had the opportunity to reread Allegra Fuller Snyder's “The Dance Symbol” (1974), in which she claimed a central role for dance in non-literate cultures:It is my observation that dance is most significant in societies that are least literate, i.e. non-literate… and it is least significant in societies, such as our own, which are highly literate.… I feel that there is something about this pairing or counterbalance of dance and literacy which may offer us some insights. I am implying that dance functions in some cultures, the non-literate cultures, with as broad a spectrum of functions as the written word includes for others.Snyder explained that dance is able to occupy this all-inclusive, central role in maintaining and transmitting knowledge within such cultures because it communicates through what she calls the “dance symbol”. The dance symbol is the outer and observable aspects of the dancer (movement, costume, and paraphernalia) which are, in turn, both derived from and stand in relation to and for a culturally-specific environment, subsistence pattern, and mythic complex.
Agon: A Musical/Choreographic Analysis
Authors: Jordan Stephanie 
Published: May 2006

Agon has often been cited as a key composer/choreographer collaboration, and its choreographer, George Balanchine, himself considered it “the most perfect work” to come out of his creative relationship with composer Igor Stravinsky (I). It is surprising, therefore, that so little has been written regarding the details of the interaction of music and dance. Most writers have concentrated on the dance or on the musical aspects of Agon, or have made only broad generalizations about its musical/choreographic structure.In this article, I begin the analysis of structural relationships between music and dance with the main focus on rhythm. This is perhaps an obvious starting point for analysis, but it seems an especially important one, given the rhythmic complexity of the musical score and Balanchine's acknowledgement of the rhythmic lead that music provided forhim (2). It was Stravinsky's rhythmic style that Balanchine so often referred to when admiring the composer's work (3). In Agon, Balanchine seems to have been far less concerned with responding to pitch structure than to the rhythmic content of the music.
Hasta as Discourse on Music: T. Balasaraswati and Her Art
Authors: Poursine Kay 
Published: May 2006

The late T. Balasaraswati (1918–1984) is considered one of the foremost exponents of the south Indian dance form known today as Bharata Nātyam. Her mother (Jayammal) was a well-known singer and her grandmother (Vina Dhanammal) was a great vina artist who was a descendant of a dancer and musician (Papammal) in the Tanjore Court in the eighteenth century. Balasaraswati was trained by Kandappa Pillai, the brilliant dance master of the highly codified Tanjore Court style of Bharata Nāṭyam. A supreme artist who dominated the field for a generation and enriched the tradition, Balasaraswati was particularly noted for her interpretations of themes dealing with human striving for union with the Divine.In the Bharata Nāṭyam concert repertoire the padam has been considered by connoisseurs to be the litmus test for a dancer's artistic range, especially in the Tanjore Court style. This performance item is a rhapsodic song with a poetic text that is used as a medium for the creation of mood through drama, with the dancer using primarily hand gestures, facial expressions, and stylized walking. Critical to this “drama” is the use of hand gestures, known as hastas. Dance gestures are most often referred to as hastas, but are occasionally called mudrās, which is the Sanskrit word used for temple ritual gestures. To eliminate confusion regarding these two words, the hand gestures described here are called hastas. In padams each text line is repeated any number of times with different vocal and dramatic interpretations. The expectation is for the dancer to transcend the given poetic text (sāhitya) and sophisticated music conception of the padam in order to bring life to the hidden meanings and moods.
George Gershwin's Concerto in F at the Yale School of Drama
Authors: Kurath Gertrude Prokosch 
Published: May 2006

Gertrude Kurath's article “George Gershwin's Concerto in F at the Yale School of Drama” gives us entry into the dances of two worlds. One is the Euro-American world of creative dance composition exemplified by the 1930 slice of time at the then newly established Yale School of Drama. The other is the Native American and Black American dance world that allows a glimpse into the expansive transformation of Kurath's “kinetic empathy” (Kurath 1986:3).For the first, Kurath reminisces about the 1930 Yale dance group. During an informal meeting Gershwin discussed with Kurath and Harriet Meyer their experimental choreography for his Concerto in F. This vignette is a gem that is salvaged for history by Kurath's reconstruction.Some persons in the 1930 Yale dance group became known by works that could not have been predicted by their activities at the Yale School of Drama, Virginia More Roediger, for example, later wrote the unique and valuable reference book Ceremonial Costumes of the Pueblo Indians (1941). Kurath later became the doyen of dance ethnology, her great life work. That two of this small group would contribute important studies about American Indians is noteworthy and startling. The influences of non-Euro-American dances — chronicled extensively — must have become embedded in the world view of Euro-American concert dancers by the time Kurath and her colleagues were studying at the Yale School of Drama.In footnote four of the current article, Kurath suggests “pertinent” references that are reprinted in her 1986 book of essays. Choreographic guidelines are packaged in “Dance Design” (1931 in 1986:2) along with “Harmony and Conflict in Structure” (1932 continuation of 1931 in 1986:9). She instructs that a group composition should have parallelisms and contradictions that are achieved, respectively, by repetition and counter-motifs. Kurath notes that “concentration and harmony are the first prerequisites; interest is increased and pattern enriched by contrasting and conflicting lines. All point is lost if the ensemble does not build to a climax” (1932 in 1986:14). That the Yale performance of Gershwin's Concerto in F follows these guidelines is demonstrated in her analytical description, and the pattern contrasts indicated by the drawings that accompany this current article.
The Cosmic Voyage in French Sixteenth-century Learned Poetry1
Authors: Ridgely Beverly S. 
Published: May 2006

Persée voltigeant, le heros Lathmien,Cephee, & sa familhe, & cil qu'á son lienUne mute de chiens encor la haut promeine,M'invitent á voler d'une plume hautainePar les dorés Lambris qui planchent ce grand ToutPour nous rendre du Ciel savans de bout en bout.When in 1583 the young French poet and savant Jean- Edouard du Monin included these lines in introducing the second book of his Uranologie, he was but paraphrasing, with the same classical allusions, both the aspiration and the intention expressed at the corresponding point in the text of his model, a manuscript version of the Sphera of George Buchanan.
William Harrison (1535-1593)
Authors: Edelen Georges 
Published: May 2006

The only serious study of the life of William Harrison, antiquarian and social historian, author of the much-quoted Description of England in Holinshed's Chronicles, was undertaken by Frederick J. Furnivall for his edition of the Description. All later biographies stem directly from Furnivall. I have recently uncovered new material which supplements the known facts of Harrison's life, corrects some inaccuracies in Furnivall's biography, and occasionally throws new light on Harrison's garrulous, anecdotal account of Elizabethan England.A search for Harrison material leads, somewhat improbably, to the Diocesan Library of the Church of Ireland in Londonderry, a phenomenon which can only be explained by the marriage of Harrison's daughter, Anne, to George Downham, a noted teacher of Ramian logic at Cambridge and later bishop of Derry.
On the Attitude toward the Vulgo in the Spanish Sigh de Oro
Authors: Green Otis H. 
Published: May 2006

Who o'er the herd would wish to reign,
Fantastic, fickle, fierce, and vain!
—Scott.First of all, a delimitation of the field: in this article I intend to discuss the vulgo, not the pobre, the villano, the labrador, or the pastor, eliminating in this way the entire theme of ‘contempt of court and praise of simple life’. It will be well to point out, however, that the ambivalent attitude of Golden Age Spaniards toward the villano, or peasant, is analogous to the ambivalence of their attitude toward the herd (necio-discreto) which will be our main concern
The Object of African History: A Materialist Perspective
Authors: Bernstein Henry , Depelchin Jacques 
Published: May 2006

The establishment of a journal specifically concerned with method in African history is to be welcomed. However, the early issues of History in Africa have demonstrated that the content of the term ‘method’ is itself at stake. The great majority of contributions to date have seized on a narrow and limiting conception of method as the development of techniques of collecting and evaluating data. The necessity of such techniques is not in question, but they are subordinate to, and indeed partially determined by, a broader and more fundamental conception of method as the principles of investigation and explanation in scientific practice. There are historians who do not regard the production of historical knowledge as a scientific enterprise, hence subject to certain theoretical demands, and they would not want to. Accordingly, they need not read on, but we are confident that there are others who are interested in method in the second sense and who may also have noticed its virtual absence in the pages of this journal.On the other hand, it would be disingenuous to imply that a common interest in method in the broader and more fundamental sense is sufficient ground for agreement. Our argument in what follows derives from an understanding of historical materialism that has nothing in common with the stereotyped views held by it bourgeois critics. Our central concern is with method as the principles of constructing scientific explanations. But what is to be explained? We attempt to show that method necessarily starts with the correct posing of questions, as well as bearing on their investigation.
Slave Systems in Africa
Authors: Harms Robert 
Published: May 2006

The slave trade has been a major theme of historical writing on Africa for many years, but it is only recently that scholars have begun to look seriously at slavery within African societies themselves. With the recent publication of three books the trickle of studies on this subject has now become a flood. The first of these, L'esclavage en Afrique précoloniale, edited by Claude Meillassoux, contains seventeen studies of slavery, mostly from francophone West Africa. Slavery in Africa, edited by Suzanne Miers and Igor Kopytoff, includes sixteen studies, eleven of which focus on west Africa. Frederick Cooper's book, Plantation Slavery on the East Coast of Africa, presents a regionally comparative study of east African plantations. Each of these volumes opens with a general introduction to the subject of African slavery, and these will form the primary focus of this essay.A salient impression that emerges from reading the three books is that African slave systems showed enormous diversity; plantation slaves in Zanzibar had little in common with the elite military tyeddo in Senegambia, or for that matter with Sena slaves in Mozambique, who were integrated into the acquiring lineages. Often, a single society would embrace several co-existing slave systems, and the picture is further complicated by the fact that slave systems changed over time. Miers and Kopytoff underline this diversity by suggesting no fewer than seventeen different (though sometimes overlapping) terms to describe different types of slavery (p. 77).
Du Hirsute Au Hamite: Les Variations Du Cycle De Ntare Ruhatsi, Fondateur Du Royaume Du Burundi
Authors: Chrétien Jean-Pierre 
Published: May 2006

A peine admises dans le monde de l'histoire académique, les sources orales sont vivement contestées par plusieurs spécialistes. L'ouvrage de David Henige, The Chronology of Oral Tradition, en 1974, s'en prend à la “chimère” qu'ont pu nourrir celles-ci, notamment en matière de chronologie, compte tenu du fonctionnement de la tradition orale et de ses contacts récents avec les cultures écrites. L'exemple du Bunyoro auquel, entre autres, il se réfère est particuliè rement éclairant aussi pour le Burundi. Quelles que soient nos convictions, enracinées sur l'expérience et sur les résultats acquis, concernant la richesse des témoignages oraux dans les sociétés de l'Afrique des Grands Lacs, la recherche ne peut que bénéficier de ces critiques radicales si elle en situe la portée exacte. Les problèmes d'interprètation historique sont particulièrement délicats en ce qui concerne les récits de fondation ou d'origine, vu l'ancienneté des faits évoqués et la redondance des traditions, généralement plus discrètes sur les périodes intermédiaires que sur les débuts. Aux difficultés de méthode face à des récits où les faits politiques, religieux, les mythes et la poésie, les localisations spatiales et temporelles s'emmêlent de façon aussi variée que contradictoire, s'ajoutent les problèmes idéologiques étroitement confondus avec les interprètations tirées de ces récits, voire avec les formulations les plus récentes de ces dernières. Idéologies nées des contradictions de la société locale, mais aussi du choc avec les cultures étrangères, musulmanes ou surtout, dans notre cas, occidentales.Depuis une quinzaine d'années nous sommes préoccupé par ce type de questions dans l'histoire du Burundi et nous avons relevé avec interêt les recherches parallèles sur d'autres anciens Etats de la région, telles qu'elles transparaissent par exemple depuis 1974 dans History in Africa.