bluuebunny/crossref_metadata_2025_split huggingface dataset:
Magnetic Properties and Crystal Structure of Binuclear Copper(II) Complexes with 1,3-Bis(hydroxymethyl)-2-imidazolidinethione
Authors: Tokii Tadashi , Nakashima Michio , Furukawa Takahiro , Muto Yoneichiro , Lintvedt Richard L 
Published: May 2006

Abstract
Reaction of copper(II) carboxylates with 1,3-bis(hydroxymethyl)-2-imidazolidinethione (H2L) gives a new series of binuclear copper(II) complexes, [Cu(RCOO)(HL)]2 (where R = methyl and substituted phenyl). The magnetic data for the complexes conform to the usual dimer equation with values of −2J ranging from 227–1023 cm−1.
6-Propionyllumazines from the Marine Polychaete, Odontosyllis undecimdonta
Authors: Inoue Shoji , Okada Kunisuke , Tanino Hideo , Kakoi Hisae , Horii Naojiro 
Published: May 2006

Abstract
6-Propionyllumazine and its 3-methyl and 1,3-dimethyl derivatives have been isolated from the swimming polychate, Odontosyllis undecimdonta.
Evidence for Equilibration of 1,3-Alkyl Migration in Silyl(silylene)iron Intermediates
Authors: Ueno Keiji , Tobita Hiromi , Ogino Hiroshi 
Published: May 2006

Abstract
Photolysis of deuteriomethyl-substituted disilanyliron complex CpFe(CO)2Si2Me5−m(CD3)m (m = 1, 2) resulted in the formation of a mixture of silyliron complexes CpFe(CO)2SiMe3−n(CD3)n (n = 0–m). Distribution of the produced silyliron complexes indicates that the reaction accompanies alkyl scrambling between two silicon atoms and the scrambling is fast enough to attain an equilibrium.
Dissimilar Stereo-Anisotropy of the CN* (B,A) Radical Formation in the Reaction of Ar(3P) and CD3CN as Compared with CH3CN
Authors: Che Dock Chil , Kasai Toshio , Ohashi Kazuhiko , Fukawa Tohru , Kuwata Keiji 
Published: May 2006

Abstract
Dissimilar orientation-dependence of the CN* chemiluminescence as compared with the CH3CN system was observed in the reaction of Ar(3P) with the oriented CD3CN. The ratio of ≈1.8 of the CN*(B,A) emission cross sections for the head-on to the tail-end attacks was obtained by use of the hard-sphere model, indicating isotope effects on the branching ratio in the deuteration of CH3CN.
Novel Furocoumarin Derivatives as a Model Related to DNA-Intercalating Molecules. Synthesis and Photochemical Reactivity
Authors: Hager Alicia J , Evans Sheryl P , Otsuki Tetsuo 
Published: May 2006

Abstract
The synthesis and the photochemical reactivity of novel furocoumarins are studied. The formation of intramolecular photoaddition product suggests the importance of proximity effect in promoting the reactivity of the furocoumarin’s 4′,5′-double bond in the biological environment.
Palladium-Catalyzed Desulfonylative Homo-Coupling of Arylsulfonyl Chlorides in the Presence of Titanium(IV) Isopropoxide
Authors: Miura Masahiro , Hashimoto Hideo , Itoh Kenji , Nomura Masakatsu 
Published: May 2006

Abstract
The desulfonylative homo-coupling of arylsulfonyl chlorides efficiently proceeds on treatment with titanium(IV) isopropoxide in the presence of a catalytic amount of PdCl2(PhCN)2 to give the corresponding biaryls in good yields.
Novel 1:1 Complex of Rhodium(III)porphyrins with Nucleobases
Authors: Ogoshi Hisanobu , Hatakeyama Hitoshi , Yamamura Kazuo , Kuroda Yasuhisa 
Published: May 2006

Abstract
Axial ligation behaviors of nucleobases to Rh(III)porphyrins were investigated. Except the case of TPP·Rh(III)-1-methylthymine system, tight 1:1 complexations were observed between Rh(III)porphyrins and nucleobases and their binding constants were determined by spectroscopic titration.
2,3-Dimethyl and 2,3,6,7-Tetramethyl Derivatives of Anthra[1,9-cd:4,10-c′d′]bis[1,2]dichalcogenoles as New Electron Donors
Authors: Takimiya Kazuo , Miyamoto Hisakazu , Aso Yoshio , Otsubo Tetsuo , Ogura Fumio 
Published: May 2006

Abstract
The title compounds involving all chalcogen heterecycles of sulfur, selenium, and tellurium were synthesized as new electron donors, in which the introduced methyl groups served to improve not only the donor character but also the solubility. They with TCNQ, DMTCNQ, or TCNQF4 formed various charge–transfer complexes, some of which were electrically high-conductive.
A High Temperature(1200 °C) Probe for NMR Experiments and Its Application to Silicate Melts
Authors: Shimokawa Shigezo , Maekawa Hideki , Yamada Eiji , Maekawa Takashi , Nakamura Yoshio , Yokokawa Toshio 
Published: May 2006

Abstract
A high temperature NMR probe was developed and applied to the measurement of 29Si nucleus in sodium silicate glasses and melts. The highest temperature attained was 1200 °C. The observed 29Si NMR spectra show narrowing above the glass transition temperature, due to the increase of the rate for exchange reaction among various structural species constructing the network structure.
Preparation of Porous Material by Replacing Microstructure of Anodic Alumina Film with Metal
Authors: Masuda Hideki , Tanaka Hideki , Baba Nobuyoshi 
Published: May 2006

Abstract
A new type of preparing method of submicron scale porous conducting materials was demonstrated. A microporous structure of anodic alumina film was replaced with metal by using a two step molding technique. The procedure and condition of the fabrication process of the porous film was described.
The Potential Energy Calculation for Conglomerate Crystals
Authors: Kimoto Hiroki , Saigo Kazuhiko , Hasegawa Masaki 
Published: May 2006

Abstract
The potential energy calculation for the hypothetical crystal structures of two chiral salts was carried out by using the program WMIN. The calculation revealed that the most stable structure of the chiral salts belonged to the space group P212121, which was in agreement with the real structure.
New Optically Active Perfluoro(2-dialkylamino-propionic acids)
Authors: Hayashi Eiji , Fukaya Haruhiko , Abe Takashi , Omori Kota 
Published: May 2006

Abstract
Some new optically active nitrogen containing perfluorocarboxylie acids, (+)- and (−)-perfluoro(2-dialkylamino propionic acids), have been obtained by the optical resolution of perfluoro(2-dialkylamino-propionic acids).
Tetraphenylphosphonium Salts-Grafted Copolymers as Catalysts for Halogen-Exchange Fluorinations
Authors: Yoshida Yasuo , Kimura Yoshikazu , Tomoi Masao 
Published: May 2006

Abstract
Cross-linked styrene/2-(4-chlorophenyl)propene copolymergrafted tetraphenylphosphonium salt was an effective and reusable catalyst for the reaction of aromatic chlorides with anhydrous potassium fluoride to afford the corresponding aromatic fluorides in good yields.
Stereocontrolled Synthesis of (22R)-22-Hydroxycholesterol Guided by α-Silyl Radical Stabilization
Authors: Koreeda Masato , George Irene A 
Published: May 2006

Abstract
The synthesis of (22R)-22-hydroxycholesterol, featuring formation of three contiguous chiral centers (C-17, 20, and 22) in a single step by the use of a 6-endo α-silyl radical-mediated cyclization is presented. Additionally, an interesting protiodesilylation used to activate a cyclic siloxane towards C–Si bond oxidation, and a modified, bulky aryl thionocaronate reagent for regioselective diol-monodeoxygenation are described.
Ferromagnetic Hetero–Metal Assemblies, {NBu4[CuCr(ox)3]}x and {[{Cu(bpy)}2Cr(ox)3]NO3}x
Authors: Zhong Zhuang Jin , Matsumoto Naohide , Okawa Hisashi , Kida Sigeo 
Published: May 2006

Abstract
Two types of hetero–metal assemblies {NBu4CuCr(ox)3]}x (1) and {[{Cu(bpy)}2Cr(ox)3]NO3}x (2)(NBu4 = tetrabutylammonium ion, ox = oxalate ion, bpy = 2,2′-bipyridine, x = infinite number) have been synthesized and their cryomagnetic properties (4.2–300 K) have been examined. The compound 1 has an oxalate-bridged three-dimensional lattice and show a ferromagnet-like property (Curie point 7 K): the moment (per CrCu) increases from 4.37 μB at 300 K to 14.80 μB at 9 K and diverges below 9 K. The compound 2 also shows a ferromagnetic interaction and its moment (per CrCu2) increases from 4.82 μB at 300 K to 8.78 μB at 5 K.
Radii minimal projections of polytopes and constrained optimization of symmetric polynomials
Authors: Brandenberg René , Theobald Thorsten 
Published: May 2006

Abstract
We provide a characterization of the radii minimal projections of polytopes onto j-dimensional subspaces in Euclidean space

. Applied to simplices this characterization allows to reduce the computation of an outer radius to a computation in the circumscribing case or to the computation of an outer radius of a lower-dimensional simplex. In the second part of the paper, we use this characterization to determine the sequence of outer (n – 1)-radii of regular simplices (which are the radii of smallest enclosing cylinders). This settles a question which arose from an error in a paper by Weißbach (1983). In the proof, we first reduce the problem to a constrained optimization problem of symmetric polynomials and then to an optimization problem in a fixed number of variables with additional integer constraints.
The Claire Holt Collection
Authors: Holt Claire , Shawcross Nancy 
Published: May 2006

The Claire Holt Collection of Indonesian dance materials is one of those special chronicles of a time and place long since changed. Accumulated mostly during the 1930s, the collection comprises approximately 9,000 photographic prints; 3,500 photographic negatives; several reels of 16mm motion picture film; and a small but significant group of manuscripts. These documents present a rich and sensitive account of the cultural life of five islands of Indonesia. The islands, then part of the Dutch East Indies, include Java, Bali, Sulawesi (known in the 1930s as the Celebes), Nias, and Sumatra. In addition to the pre-World War II material are photographic prints, negatives, and slides of artists working in Java and Bali in the mid-1950s.Claire Holt's first exposure to Indonesia, in 1930, left her with an overwhelming and enduring impression of a complete integration of art in the spiritual and daily lives of its people. It was this pervasive interplay that held Holt there for ten years, brought her back twice, and kept her researching, advising, teaching, and writing about Indonesia for the remainder of her life. In the 1930s she formally studied Javanese dance at the Krida Beksa Wirama in Surakarta, and she also assisted Rolf de Maré in preserving on film the dance of Java, Bali, Sulawesi, Nias, and Sumatra. She was a devoted friend of Mankunagara VII of Surakarta and welcome at his court. The result was first-hand experience observing and considering Indonesian dance, the production of visual and written records of the dance, and the gathering of additional source materials from colleagues and the Mankunagaran archive.
Voices of Young Women Dance Students: An Interpretive Study of Meaning in Dance
Authors: Stinson Susan W. , Blumenfield-Jones Donald , Van Dyke Jan 
Published: May 2006

What is dance and what is the experience of dancing? What does dancing mean for those who do it?Dance scholars and critics have written many words in response to these questions. Choreographers give their answers to “what is dance?” in the work they create and, often, in commentary about it. Professional dancers have also spoken, primarily in biographies and autobiographies, of what dance and dancing mean to them. Not all voices are heard in dance literature, however. In particular, the voices of children and adolescents, especial ly those not enrol led in professional schools, are silent. What is the dance experience like, and what does it mean, for them? What do their experiences—and the meanings they make of them—say to us, who work with young people in dance?These were the questions that propelled three researchers into this study focusing on a group of 16–18 year old young women. In particular we were interested in finding out what young women dancers thought of their place within dance and dancing. This research focused initially on young adolescents and, as such, represents only a beginning of what we view as an important area of investigation.
The Beseda: The Czech National Dance in Cedar Rapids, Iowa
Authors: Chadima Helen 
Published: May 2006

The nineteenth century brought a tidal wave of immigrants from many European countries to the United States. The immigrants tended to cluster in various areas across the country. One group came from what is now known as Czechoslovakia and settled in an area of eastern Iowa. Today, Cedar Rapids has the largest Czech community in the state. The population of the town and its metropolitan area is 125,000 and the Czech population is estimated at 30%, counting third and fourth generation Czechs.From their earliest arrival in the community around 1852 the Czechs congregated in an area that became known as “Little Bohemia,” where they formed their own community life. They continued their traditional hobbies of lace-making, egg-painting, theater, music, gymnastics, and dancing.
Alaskan Eskimo Dance in Cultural Context
Authors: Johnston Thomas F. 
Published: May 2006

This is a preliminary study of Alaskan Eskimo dance, the first findings of a three-year comprehensive survey of Alaskan Eskimo and Indian musical systems, funded by the National Science Foundation. The study is primarily synchronic; limited diachronic comparison may be made by consulting a recent study of nineteenth century Alaskan Eskimo dance (Johnston 1974a: 17–26). The populations investigated are the Inupiaq-speakers of Northwest Alaska, numbering about. 11,000, the Central Yupik-speakers of Southwest Alaska, numbering about 17,000, and the Siberian Yupik-speakers of St. Lawrence Island (Alaska), numbering about 1,000. A prime finding is that stylistic differences in Alaskan Eskimo dance coincide approximately with Alaskan Eskimo language (not dialect) areas, with the exception of St. Lawrence Island Eskimo dance, which follows Northwest Alaskan tendencies. The study presents both emic and etic information concerning dance elements, symbolism, functions, and accoutrements.Alaska Eskimo music has a relatively homogeneous style centering around use of the shallow frame-drum, unison singing, glottal pulsation, pentatonism (but with the additional use of microtones), asymmetrical rhythm, and sectionalized repetition. Intentionally rhythmic, patterned sequences of nonverbal body movement and gesture form an integral part of this musical system, for each complete dance routine (particularly of the sayuun category) is permanently associated with a specific melody, drum rhythm, and set of meaningful songwords. More significantly (from the anthropological point of view), each song-dance pairing is associated with and re-enacts either some recent, significant, true event in cultural history (such as a heroic or comic whaling incident), or a story involving a legendary figure or culture hero. Each song-dance pairing is associated with a specific Eskimo dancer, the latter usually being the creator. If the original creator of the dance is deceased, then the dance is associated with the present-day owner, usually the namesake, partner, or offspring of the creator.
The Aesthetics Of Dance
Authors: Best David 
Published: May 2006

In considering dance, the arts generally, human movement and physical education from a philosophical point of view, it has increasingly struck me that perhaps the biggest single area of confusion in the theoretical literature on these important aspects of human experience concerns the relationship of body to mind. This is, of course, a very large issue in contemporary philosophy, which I have tried to consider rather more fully in a recent book. But I want now to concentrate on one aspect of that issue, and to suggest that much popular talk and many theories of expression and meaning in the arts, especially dance, are vitiated by an underlying confusion about the emotions generally. In this paper I want to try to show just how a fallacious theory of the emotions creates insuperable difficulties for an understanding of any of the arts. It can, I suggest, be shown that though it is commonly accepted without question, this theory implies a position which few would want to accept, for a consequence would be that the arts, like the emotions in general, could not be intelligibly discussed. And even those who hold this traditional dualist view of the emotions usually contradict that consequence pragmatically, in that they exchange opinions about the arts as freely as anyone else.As an example, consider the dilemma in which a teacher of dance, imbued with such a theory, would find herself if she were to trace out the consequences of it, though we should remember that the same issue of principle would apply in other art forms and to discussion of expression in other physical activities.
A Characterization of Dance Teacher Behaviors in Technique and Choreography Classes
Authors: Lord Madeleine 
Published: May 2006

Very little is known about the process of teaching dance as it naturally occurs in daily classes at university level (Lunt, 1974). In the actual context of research on teaching, the identification of significant variables necessitates the systematic description of teaching activities as they naturally occur in class. The present study is a systematic observation of two types of dance classes: choreography and technique. It seeks to characterize the behaviors of two experienced teachers observed in their regular classes at the university level. This characterization is made in terms of (a) the proportion of verbal and nonverbal behaviors (b) the directness or indirectness of the instructional approach, and (c) the dominant teaching patterns. The study is regarded as a first attempt to gather valid descriptive data to be used as basis for identifying significant issues in the teaching of dance and eventually in dance teacher education.Observational studies conducted in movement classes reveal that few systems specifically designed to objectively describe movement classes (Anderson and Barrette, 1978; Costello and Laubach, 1978; Fishman and Tobey, 1978) have satisfied standards of research objectivity and reliability. They show, on the other hand, that numerous valid observational instruments have been developed by adapting systems designed for academic settings to make them compatible with the particularities of the movement setting.
Conditioning for Dancers: Investigating Some Assumptions
Authors: Fitt Sally 
Published: May 2006

There are many assumptions about dance conditioning which are thought to be “myths” and have no basis in fact. The use of kinesiological analysis is relatively new to dance and many of the “old wive's tales” of dance conditioning are still passed on in some dance studios. Following are listed four assumptions about dance conditioning:1. The dancer who works with weights will develop excessive muscle bulk.2. If a dancer increases strength of a given area or muscle group, there will be a reduction of the range of motion of that area.3. If a dancer increases range of motion at a given joint in one direction (for example: inward rotation of the hip joint), there will be an equal reduction of the range of motion in the opposite direction (in this case, outward rotation).4. The cardiovascular conditioning received in technique class is sufficient to achieve high physical performance levels.
Post-Historical Dance Criticism
Authors: Lavender Larry 
Published: May 2006

Since the early years of the twentieth century it has gradually come to pass that virtually anything, anything at all, can be considered a work of art. A sliced up cow can be art, and so can a pile of bricks or a hole in the ground. In the domain of dance, a choreographer having difficulty creating a dance work may, for example, simply walk onstage and describe for the audience how her work might have looked had she completed it. Or she can list the work in the concert program with an explanation that it will not be performed because it does not actually exist. The most advanced theories of art in circulation today would, without hesitation, confer the status of art upon either of these options as easily as upon an actual dance.How did it come to be that such things as these could be art? The quick answer is that it is one of the legacies of aesthetic modernism to have made it possible for virtually anything to be art. As Thomas McEvilley explains:To be art is to be called art, by the people who supposedly are in charge of the word—artists, critics, curators, art historians, and so on. There is no appeal from the foundation of usage, no higher court on the issue. If something (anything) is presented as art by an artist and contextualized as art within the system then it is art, and there is nothing anybody can do about it. (1985, 289)
Dance as an Expression of Islamic Culture
Authors: al Faruqi Lois Ibsen 
Published: May 2006

What, if anything, relates the dances of the Muslim peoples to the other arts produced by the culture to which they belong? Is there a community of belief and an aesthetic identity strong enough among the Muslim peoples, despite their wide geographic dispersion, that would result in a homo-geneous community of artistic production and appreciation? Is dance among the Muslims an art which, like the visual and aural arts, shares characteristics which reveal a consistency and unity despite regional differences? Or, on the contrary, is “Islamic” only a convenient label for an amorphous body of dance phenomena existing among peoples who share religious beliefs, but among whom little penetrating cultural affinity is revealed in their dance?Before attempting to answer the above questions, we must call attention to the fact that dance did not play the important aesthetic role in Islamic civilization that it played in some other civilizations (e.g., in Hindu culture, among the Amerindians, and in Western Europe-America during the last few centuries). The Muslims were never able to quite resolve the uncertainty which they, as a people, felt over the legitimacy of dance. There are various explanations for this problem regarding dance. Perhaps all of them can claim some validity.
Bazi-ha-ye Nameyeshi: Iranian Women's Theatrical Plays
Authors: Shay Anthony 
Published: May 2006

Iranian women's comic improvised traditional theatre is a rich and important, but little-known, source of performative and textual material that has been rarely documented or discussed by serious students of folklore and dance, either in Iran or in the West. I argue that this amateur theatrical form performed and created by women for other women is the single most important source representing the multivocality of traditional Iranian women of all classes. Both in content and performance, these theatrical plays or games are a unique form of expression that needs several analytic approaches to elucidate its meaning and place in women's lives as well as in the wider area of traditional Iranian performance practices.The term coined by S. A. ‘Enjavi-Shirazi, the Iranian folklorist and literary scholar, to describe the theatrical plays performed by and for women, bazi-ha-ye namayeshi, is probably best rendered in English as ‘theatrical’ or ‘dramatic’ plays. The bazi-ha (ha denotes the inanimate plural in Persian) are basically folk or traditional plays and games (bazi can mean either play or game, namayeshi translates as dramatic) that are primarily created and performed domestically by women throughout many parts of Iran, Afghanistan, and Tajikistan.