bluuebunny/crossref_metadata_2025_split huggingface dataset:
Vision and Satire: The Warped Looking Glass in Vanity Fair
Authors: Lougy Robert E. 
Published: February 2007

AbstractIn Vanity Fair Thackeray moves beyond the inherited traditions of moral and social satire as his vision of society darkens and as he realizes the anarchic potentials of laughter and satire. Examining not the particular ills of a certain society, but the diseased structures inherent in civilization itself, Thackeray creates a world defined by madness and emptiness; in it satire holds little sway. In trying to locate alternatives to or a way out of an apparently inexorable pattern of death and destruction, Thackeray looks, through the image of childhood, toward a pastoral vision, one that assumes various and yet similar configurations for those characters who travel into this visionary landscape. As Charlotte Brontë intuited, Thackeray's novel embodies both the impulses of the moral and social satirist and those of the visionary or prophet. It is the final irreconcilability of these double impulses that accounts for much of the power and haunting quality of Vanity Fair.
Risk and Redundancy
Authors: Norman Liane 
Published: February 2007

AbstractThere are two kinds of risk in the act of reading: that the reader will not understand what the author wants him to and that the emotional or moral risk involved in such understanding will be so great that the reader may reject it. Either kind of risk threatens the community between author and reader by jeopardizing the confidence the reader has in his own competence as reader and in the author's purposefulness. Failures of communication or too great resistance to the experience offered by a piece of literature prevent active, perceptive, and morally receptive involvement. Redundancy assures that the reader will understand, or that he will receive the message accurately and draw the intended conclusions; and it reassures him so that he will be able to tolerate the lessons he learns.
The Green Yeoman as Loathly Lady: The Friar's Parody of the Wife of Bath's Tale
Authors: Szittya Penn R. 
Published: February 2007

AbstractThe Friar’s Tale is replete with distinct verbal echoes of the Wife of Bath’s Tale that point to subtler structural similarities: clear parallels exist between the Friar’s green Yeoman and the Wife’s Loathly Lady in their mysterious shape-shifting, their knowledge of unearthly secrets, and their radical metamorphoses as each tale ends. The Friar’s quiet parody of the Wife’s romantic idealism contributes to a pattern familiar in the architectonics of the Canterbury Tales. The consecutive tales of Wife, Friar, and Summoner form a dramatic triad exactly parallel to the well-known triad involving the Knight, Miller, and Reeve where, as here, the unity of the three turns upon the parody in the pivotal second tale. The Friar’s parody of the Wife also suggests that the thematic center of the Third Fragment is in the idea of maistrie, and coincidentally, suggests that the Friar’s and the Summoner’s Tales do not interrupt the Marriage Group but advance its chief theme.
Flaubert: Trois Contes and the Figure of the Double Cone
Authors: O'Connor John R. 
Published: February 2007

AbstractIn A Vision, W. B. Yeats describes the principal symbol of his work as the figure of a double cone formed by tracing a line along the outer edges of two intersecting gyres, or vortices, the apex of each vortex in the middle of the other's base. He then asserts that the only writer outside speculative philosophy to have used the symbol was Flaubert, who had planned to write a story called “La Spirale.” Though it is impossible completely to credit Yeats's reading of “La Spirale,” his general assertion is nevertheless correct, extraordinarily, as a description of the Trois Contes, where the double cone appears both as a narrative structure and a theme, symbolizing the creative passage from material to spiritual life.
The Triumph of Clytemnestra: The Charades in Vanity Fair
Authors: DiBattista Maria 
Published: February 2007

AbstractThe charades of Vanity Fair represent an important but little understood fable of demonic and outraged womanhood as a subtext of Thackeray's larger historical fiction. In marking the culmination of Becky Sharp's career in the world of vanity—her triumph as Clytemnestra and her impersonation of the plaintive Philomele—the charades imply a corrupt sexual ideology threatening both violence and violation. But from the perspective of Thackeray as narrator, the verbally compressed and designedly opaque charades repress as much as they expose. His uncharacteristic narrative reticence in presenting the charades without comment reveals an uneasiness on Thackeray's part about the powers of the authorizing mind to know and to represent the darker laws that govern history and society.
The Vanishing Subject: Empirical Psychology and the Modern Novel
Authors: Ryan Judith 
Published: February 2007

AbstractThe interaction between literature and psychology in the late nineteenth and early twentieth centuries is an important factor in the transition from realism to modernism. Empirical psychology, as developed by William James and Ernst Mach, unmasked the traditional concept of “self” as a delusion, replacing it by a new emphasis on the intentionality of consciousness. Writers such as Henry James, Robert Musil, and Hermann Broch had direct contact with empirical psychology and experimented overtly with modes of rendering this new understanding of consciousness; others, like Alfred Doblin or Virginia Woolf, while less directly influenced by empiricism, nonetheless reflect in their novels a similar attempt to abolish the “self” as a discrete entity. In this respect they differ radically from other modern novelists (e.g., Joyce and Faulkner), and they also resolve quite differently the technical problem of presenting consciousness in fiction.
Sidney's Feigned Apology
Authors: Levao Ronald 
Published: February 2007

AbstractIn his Apology, Sidney makes what appears to many readers to be an adroit synthesis of humanist defenses of poetry, joining Neoplatonic idealism to claims of ethical utility and delivering this synthesis with the winning playfulness of a shrewd rhetorician. A closer look at his argument, however, reveals it to be a complex and self-conscious fiction, which gestures toward external values only to turn back on its own assumptions. The playful tone shows that Sidney is fascinated by the conceptual difficulties that confront him but that he is incapable of resolving them. Sidney’s intellectual performance in the Apology demonstrates his affinities with Renaissance thinkers like Nicholas of Cusa, who imagined all mental activity to be a ceaseless fabrication of conjecture and metaphor.
Epistle, Meditation, and Sir Thomas Browne's Religio Medici
Authors: Hall Anne Drury 
Published: February 2007

AbstractThe Religio Medici has traditionally been called “an essay” or “an autobiographical essay.” If we examine it in its literary context, however, we will see that the principles generating its style and specifying the range of its feeling derive from two prose modes associated with other, more clearly defined seventeenth-century genres, the anti-Ciceronian epistle and the religious meditation. The Religio, in fact, might better be called “a meditation in the epistolary mode.” Although the witty exaggeration of Browne’s diction often pushes his epistolary voice toward the satiric, he holds off both indignant satire and solitary, self-absorbed meditation. In avoiding these extremes, Browne’s mixture of modes makes a clear ethical argument: that human beings must understand their limitations both as individuals in relationship to society and as creatures in relationship to God. In the Religio, Browne argues the importance to Christian humanism of the balance between private spirituality and public manners.
“Voice” in Narrative Texts: The Example of As I Lay Dying
Authors: Ross Stephen M. 
Published: February 2007

AbstractIn discussions of fiction, the implications of the term “voice” are seldom explored beyond its figurative uses. In As I Lay Dying, however, “voice” is central to our experience of narrative. The novel has two kinds of voice, mimetic and textual. Mimetic voice derives from represented speech, from the features of discourse by which readers identify speakers; but Faulkner’s novel dissimulates the origins of voices. The voices we hear turn out to belong to narrators and seem to originate in an author’s discourse. Textual voice arises from the printed text itself. Such features as italics, drawings, lists, and section headings generate signification independent of verbal meaning and establish an expressive context analogous to the paralinguistic context created by the voice in speech. As a result of the disruption of mimetic voices and of the presence of textual voice, language in As I Lay Dying transcends the conventional limitations of mimesis.
Supernaturalism and the Vernacular Style in A Farewell to Arms
Authors: Dekker George , Harris Joseph 
Published: February 2007

AbstractMuted allusions to second sight and revenants are crucial to the method and meaning of A Farewell to Arms. Like Joyce, Pound, and Eliot, Hemingway draws on European sources—particularly ballads—for his folkloristic motifs; like them, he uses these motifs to invest chaotic contemporary scenes with order and universal significance. For him to adapt the “mythical method” of these writers, however, is a formidable problem, since his vernacular rhetoric cannot accommodate their open, bookish allusions. Consequently, his references to prophetic gifts and returns from the dead, while undeniably present, are not prominent enough to have attracted the critical attention they deserve. For they point and contribute to an unresolved dialectic, between skeptical male and “croyante” female, that is characteristic not only of the Catherine-Frederic relationship but, Hemingway implies, of all love relationships between men and women.
Literary and Historical Context in Ronsard's Sonnets pour Hélène
Authors: Nagel Alan F. 
Published: February 2007

AbstractThrough her name and position at court Hélène de Surgères brings to Ronsard’s last collection of sonnets two conflicting referential systems: a literary tradition in which, beginning with the Iliad, Helen is a figure of love and war and a more or less realistic imitation of events in French society and the court of Charles ix. Ronsard adopts a local court convention in which love for Hélène allows successful evasion of the miseries of the civil wars, but he criticizes the convention by displacing its allegorical intent—transcendence of mundane and temporal difference—with an irony that internalizes and preserves that difference. Thus the irony, in aiming to avoid the referential contexts, actually marks them as ineradicable. Instead of presenting a platonizing view of the lady, the Sonnets pour Hélène reveal in her an inescapable contradiction that also is within the poems’ je and its constructions.
“How to load and… bend”: Syntax and Interpretation in Keats's To Autumn
Authors: Patterson Annabel M. 
Published: February 2007

AbstractKeats’s To Autumn is now generally accepted as a stable poem in praise of maturity, process, and the natural condition. Can new techniques of interpretation ever be objectively applied to such a poem, when its meaning is so well “known”? This question is germane to two recent attempts to apply syntactical analysis to To Autumn. Donald Freeman uses Chomskyan transformational procedures on the first stanza and endorses the conventional reading; Geoffrey Hartman discovers in the poem’s grammar signs of its status as a poem of the antisublime, or “Hesperian,” mood. Both readings are shown to depend on preunderstanding of the poem. Its grammar can equally be shown to support a quite opposite reading, one that undermines the traditional ideology of Autumn and presents the analogy between Autumn and human maturing as a cruel delusion.
Notes toward a Theory of the Referent
Authors: Lewis Thomas E. 
Published: February 2007

AbstractQuestions concerning textual referentiality figure among the most controversial in literary theory. The complementarity of semiotic and marxist notions of the literary referent suggests a new understanding of the referent based on the concept of “cultural unit.” The similarity in the relations that marxist epistemology (as defined by Althusser) posits between thought and the real and that semiotics (as defined by Eco) posits between language and the real warrants this reformulation. A discussion of the semiotic and marxist concepts necessary for a theory of the literary referent leads to its definition as a cultural ideological unit that, by virtue of its necessary but unrepresented relation to other, nonidentical cultural units, furnishes in the mode of a dialectical absence the materials requisite for an understanding both of certain textual properties and of the structure of the historical reality to which the text alludes.
The Carnivalization of Eighteenth-Century English Narrative
Authors: Castle Terry 
Published: February 2007

AbstractFollowing the institutionalization of the public masquerade in England in the first decades of the eighteenth century, the masquerade set piece becomes a standard, though problematic, topos in English fiction, figuring prominently in novels by Defoe, Richardson, Fielding, Burney, Inchbald, and others. Though characteristically considered an allegory for the corrupt “Town,” the masquerade “diversion” also serves crucial narrative and thematic functions. As a place of unexpected meetings and surprising assignations, it precipitates imbroglio and intrigue, the elaboration of plot itself; and its transgressive social and sexual reversals and exchanges intimate the collapse of ideological and didactic lucidity. Leaving in its wake a world upside down, it coincides with an incursion of mutability and ambiguity into the static world of eighteenth-century representation. Just as the real masquerade represented a carnivalesque disruption of the eighteenth-century symbolic order, the masquerade episode disturbs the prevailing decorum of eighteenthcentury English fiction.
Society and the Profession, 1958–83
Authors: Lauter Paul 
Published: February 2007

The question that he frames in all but words Is what to make of a diminished thing. Robert Frost, “The Oven Bird” When your women are ready and rich in their wish for the world destroy the leaden heart, we've a new race to start. Muriel Rukeyser, “More of a Corpse Than a Woman”When I was asked to write about the impact of society on our profession over the last twenty-five years, it occurred to me that the period also measures my own lifetime as a professional. I took up full-time teaching in 1957, the year before I received my doctorate. I gave my first paper at a Modern Language Association convention around that time, participated in producing two sons, and published my first article. I left one job, joined in antinuke, anti-ROTC, and prounion activities, and got fired from the second job. I remember complaining to my graduate school director, en route to a third job, how painfully remote upstate New York seemed from everything I valued. Said he, flatly, “You can publish your way out of any place.” Perhaps that was so, then; certainly I acted on that instruction. But I never really put it to the test, for somehow my career swerved that splinter and never returned quite to the groove.
Voice in The Prelude
Authors: Murphy Patrick D. 
Published: February 2007

Members of the association are invited to submit letters, typed and double spaced, commenting on articles published in PMLA or on matters of general scholarly or critical interest. Footnotes are discouraged, and letters of more than one thousand words will not be considered. Decision to publish and the right to edit are reserved to the editor, and the authors of articles discussed will be invited to respond.Although I thoroughly enjoyed reading J. Douglas Kneale's “Wordsworth's Images of Language: Voice and Letter in The Prelude” (101 [1986]: 351–61), I would like to quarrel with one of its basic concepts and with a few passages. Kneale establishes a false dichotomy between “speaking” and the “engraved or inscribed or imprinted word” in that he ascribes “voice, audience, and hence the idea of a rhetor” (351) only to speaking. Using Bakhtin in opposition to Saussure and Derrida, I would argue that both the spoken and the written consist of utterances and that every utterance has voice as one of its characteristics. This voice is invested in the utterance by both the utterer and the hearer or reader. This false dichotomy leads to certain mistaken emphases, such as the concept that all writing is a “dead letter” in contrast to a “living voice” (356). A legal will exemplifies the living voice present within the “dead letter” of a text. And how much stronger is the voice of the Wordsworthian narrator within the written text of The Prelude each time a reader reads the poem and renders it once more an utterance invested with a voice that mingles Wordsworth's initial voicing with the reader's own conception of the narrator's voice and the dual perceptions of the utterance's meanings—the author's perception integral to the formation of the utterance and the reader's perception brought to that utterance from his or her own cultural context.
Potential work‐related bloodborne pathogen exposures by industry and occupation in the United States Part I: An emergency department‐based surveillance study
Authors: Chen Guang X. , Jenkins E. Lynn 
Published: February 2007

AbstractBackgroundSince the early 1990s, researchers have attempted to assess the magnitude of potential work‐related bloodborne pathogen (BBP) exposures in the U.S. The only data‐derived estimate of 385,000 needlestick and other sharps injuries per year was reported in 2004. The estimate was derived from a convenience sample and did not include exposures outside of hospitals. This study seeks to understand the magnitude and distribution of the exposures across all industries and occupations.MethodsData were from the 1998 to 2000 National Electronic Injury Surveillance System (NEISS), a stratified probability‐based sample of U.S. hospital emergency departments (EDs). NEISS covers all industries and occupations. National estimates of exposures and exposure rates (the number of exposures/1,000 full‐time equivalents (FTE)) were computed.ResultsAn estimated 78,100 potential work‐related exposures to BBP were treated in hospital EDs annually in the U.S. While hospitals accounted for 75% of all these exposures, 11 other industries had a substantial number of exposures. While registered nurses accounted for 36% of all exposures, 13 other occupations had a substantial number of exposures. Hospitals had the highest exposure rate of 11.3/1,000 FTE, followed by nursing homes (2.8), and residential care facilities without nursing (1.9). Registered nurses had the highest exposure rate of 15.3/1,000 FTE, followed by clinical laboratory technologists and technicians (13.9), and physicians (7.1).ConclusionsWhile this study begins to more completely describe the problem of potential BBP exposure in the workplace, it is but a first step in further understanding the complex issues surrounding workplace BBP exposures. Am. J. Ind. Med. 50: 183–190, 2007. Published 2007 Wiley‐Liss, Inc.
Major fetal structural malformations: The role of new imaging modalities
Authors: Lee Young Mi , Simpson Lynn L. 
Published: February 2007

AbstractPrenatal diagnosis has embraced a recent wave of innovative imaging modalities including three‐dimensional (3D) ultrasound and fetal magnetic resonance imaging (MRI). Traditional two‐dimensional (2D) ultrasonography remains the standard method by which major structural abnormalities are diagnosed antenatally, but advances in technology are opening new doors. Growth in our knowledge about fetal development, improved patient counseling, and more favorable perinatal outcomes are all potential benefits of incorporating new imaging modalities into clinical practice. © 2007 Wiley‐Liss, Inc.
Interpenetrating Polar and Nonpolar Sublattices in Intermetallics: The NaCd2Structure
Authors: Fredrickson Daniel C. , Lee Stephen , Hoffmann Roald 
Published: February 2007

AbstractIn the 1960s, Samson solved the structures of some of the most complicated intermetallic phases known, including those of NaCd2, Mg2Al3, and Cu3Cd4(each with over 1000 atoms per unit cell). Following remarkable earlier constructions by Samson and by Andersson, we use quantum‐mechanical calculations as a guide to describing and understanding these structures. Our electronic Aufbau begins with the relatively simple Mg17Al12structure and works up to Samson's NaCd2structure. In both structures, a division of the sites into electron‐rich and electron‐poor (with respect to an average electron count) reveals MgCu2‐type fragments. Between the interiors and exteriors of these fragments, a change in bonding character takes place—the interiors are more polar, the interfaces relatively nonpolar. This electronic situation is traced to the geometry of the interface sites; they lie simultaneously on electron‐rich and electron‐poor networks. The resulting polar and nonpolar sites in NaCd2are separated by a minimal surface, the D surface. The driving force for assuming this structure is electronic: NaCd2features an interpenetration of polar and nonpolar bonding regions. This sort of thinking can be applied to other structures.
Chiral Ruthenium–Allenylidene Complexes That Bear a Fullerene Cyclopentadienyl Ligand: Synthesis, Characterization, and Remote Chirality Transfer
Authors: Zhong Yu‐Wu , Matsuo Yutaka , Nakamura Eiichi 
Published: February 2007

AbstractRuthenium complexes that bear both a fullerene and an allenylidene ligand, [Ru(C60Me5)((R)‐prophos)=CCCR1R2]PF6 (prophos=1,2‐bis(diphenylphosphanyl)propane), were prepared by the reaction of [Ru(C60Me5)Cl((R)‐prophos)] and a propargyl alcohol in better than 90 % yields, and characterized by 1H, 13C, and 31P NMR, IR, and UV/Vis/NIR spectroscopy and MS. Cyclic voltammograms of these complexes showed one reversible or irreversible reduction wave due to the allenylidene part, and two reversible reduction waves due to the fullerene core. Nucleophilic addition of RMgBr or RLi proceeded regioselectively at the distal carbon atom of the allenylidene array. The reaction took place with a 60:40–95:5 level of diastereoselectivity with respect to the original chirality in the (R)‐prophos ligand, which is located six atoms away from the electrophilic carbon center.