bluuebunny/crossref_metadata_2025_split huggingface dataset:
Unsupervised Memorization
Authors: Valiant Leslie G 
Published: November 2023

Abstract
Unsupervised memorization, as formulated earlier, appears on the surface to be a simple task. Following one presentation of an input, changes in the neuroidal system take place so that if an identical or similar enough input is presented in the future, the neuroidal system will recognize this repetition. By the term similar, we are not implying any abstract metric of similarity. We mean simply that the effects on the other circuits present in the system are substantially the same.
Objects and Relational Expressions
Authors: Valiant Leslie G 
Published: November 2023

Abstract
We regard a function of inputs as propositional if the function is best viewed as a predicate on the totality of the input. For example, when referring to a complex visual scene such predicates as “there is a green apple” or “there are three apples” can be viewed as propositions applying to the whole scene. Alternatively, if the input scene consists only of the image of an apple, then “green” is an appropriate propositional description. The representation of knowledge in the NTR can be viewed in the first instance as essentially propositional, each predicate being regarded as applying to the undivided totality of the input that is presented by the peripherals.
The Lower Intestinal Tract
Authors: Janowitz Henry D 
Published: November 2023

Abstract
This book focuses on disturbances of the lower intestinal tract or “the gut.” However, it is important to realize that the entire gastrointestinal tract is a wonderfully coordinated and programmed apparatus that handles our entire nutritional intake, its transportation and mechanical “blenderizing,” the digestion and absorption of the essential, vital materials and, finally, the storage of the waste residues and their periodic evacuation. The lower intestinal tract is a part of this machinery and must do its work at the correct time to insure harmonious, coordinated functioning.
The Performative Expression of Durativity and Perfectivity
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
The concept of markedness was used in chapter 3 to analyze the Quechua verb’ s grammatical aspectual structure. Urban (1985: 314), following Hymes (1974) and Silver stein (1976) has shown that markedness can also clarify the complex multifunctionality of speech styles. As stylistic types, sound-symbolic adverbs have both marked and unmarked tokens. This chapter examines the expressive possibilities for stylistically marking sound-symbolic utterances.
Sound Symbols of Opening and Closing
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
This chapter analyzes six sound-symbolic adverbs of opening and closing, most of which are based on bodily orifices. Ang describes a gaping, wide open mouth. Ing describes a slit-like opening, such as a smile, or a split on the surface of the skin. Awing describes the act of opening or exposing a hollow or enclosed space, which is typically noncorporeal. Tus describes the bursting open of something crisp or fleshy. Taw describes the closing up of a hollow space, or a hollow sound which can be corporeal or noncorporeal. Ping describes the act of closing the eyes and is metaphorically ex tended to describe an atmospheric change from light to darkness.
Gershwin’s Operetta Overtures: Medley or Composition?
Authors: Schneider Wayne 
Published: November 2023

Abstract
Leonard Bernstein, in his essay "Why Don't You Run Upstairs and Write a Nice Gershwin Time?," praised Gershwin's gifts as a songwriter—"[Gershwin] had the magic touch. Gershwin made hits, I don't know how. ... He wrote tunes, dozens of them, simple tunes that the world could sing and remember and want to sing again. He wrote for people, not for critics. . . . Gershwin was a songwriter who grew into a serious composer . . . starting with small forms and blossoming out from there"1—but seriously questioned his prowess as a composer.
The Academy and Its Structures
Authors: Weisz George 
Published: November 2023

Abstract
By the 1830s the academy was a fully functioning institution. In the next three chapters we shall examine its structures and activities from roughly 1830 to 1939. Our approach will be topical rather than chronological. But it may be useful for the reader to keep in mind that three chronological periods define the history of the institution.
During the first period, which lasted until 1870, the academy was a relatively impoverished institution whose intellectual, financial, and symbolic status was low. It was characterized by a certain administrative disorderliness, violent personal passions, and endless argument.
Academic Functions and Genres: Commissions and Prizes
Authors: Weisz George 
Published: November 2023

Abstract
Not all academic functions fit neatly into a three-tier schema of development. In this chapter we examine several forms of activity exhibiting more complex patterns of evolution. We begin with the academy’s permanent public health commissions, which carried out much of the academy’s day-to-day activity. We then go on to the elaborate system of prizes, which expanded substantially as the nineteenth century advanced.
Water Cures and Science: The Academy and Mineral Waters
Authors: Weisz George 
Published: November 2023

Abstract
During the nineteenth century the Academy of Medicine played a predominant role in the regulation and scientific study of spas and mineral waters. No one, I think, would argue that this represented the most important work done in the academy. There were, when all is said, few fundamental scientific discoveries in this domain. Nor were there many obvious repercussions for public health. Using the criterion of national mortality statistics, one discovers that the institutional activities of the nineteenth century which contributed most to saving lives were unquestionably those related to smallpox vaccination.
The Posthumous Laënnec: Creating a Modern Medical Hero
Authors: Weisz George 
Published: November 2023

Abstract
The Academy of Medicine evaluated works of medical science in reports, prize com petitions, and eulogies. It was not alone in this respect. Many other medical and scientific institutions performed similar functions. Wherever and however it took place, evaluation could occasionally merge into another characteristic scientific process: the elaboration of historical myth defining institutions, disciplines, or groups. In this chapter we shall examine this process in the evolution of a single medical reputation.
Maggie
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
Margaret Laura O’Sullivan, known to everyone at the home as Maggie, is as lively as one could be at age 84. You are a second-year resident in the family practice program who first met her on rounds with her private physician, Bill Loeb. Dr. Loeb makes rounds once a week at the Hillside Retirement Home to see anyone with a complaint or problem. Between his visits, you are in charge. It is one of the most pleasant rotations of the residency. Things aren’t too rushed, no one is very sick, and you have time to get to know the patients—they are your responsibility.
Ms. Williams
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
Ethics is more than confronting extraordinary moral dilemmas and making difficult decisions; it also concerns the process by which everyday decisions are made (see Chapter 19). The ethical practice of medicine includes the art of developing an effective relationship between patients and physicians, a relationship in which both are comfortable. The scenarios in this chapter, as in Chapter 11, raise issues that are not usually addressed by principle-based ethics, but are nevertheless genuine moral concerns.
The Smyth Saga
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
“Robert? Are you asleep yet, dear? The dance tonight for all those poor children. . . . I really think I’d like to be more involved with a charity like that. Maybe with my advertising background I could be of some help.”
“Hmm?”
“I don’t know what I’d do ifl had to cope with a handicapped child. Maybe we shouldn’t have children. Maybe we’re too old, too settled in our professional lives. Do you think so? But then I think of my niece, Amy—she’s so precious, so cute. It would be fun. I’d even cut back my work at the agency for one like that.
The Perfect Rexford
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
Mom, it’s all decided, and we want you to be the first to know. The baby’s name will be Shiboan Katherine. Don’t you love it? It seems very regal to us and speaks to our Irish heritage. And we’ve agreed that she will be tall, with red hair and green eyes. Brad wants her to be cuddly as a youngster and independent as an adult. We thought about naming her Lucretia, but that went with a tall dark girl and it didn’t sound like the rest of the family. It’s amazing to sit in front of a computer and, starting with your own genetic characteristics, choose what you want for your child.
1922–1923
Authors: Bordman Gerald 
Published: November 2023

Abstract
Writing in mid-summer of 1923 in the preface to his latest Best Plays, Burns Mantle made a startling statement. “If the particular season of which this volume is a record, does not recommend itself to future historians of the theatre as the most notable of a generation,” he remarked, “it should at least be given credit for being the first theatrical season in a generation that has not been described as ‘the worst in years.’ “ That last clause is the eye-catcher. After all, in his first volume Mantle had called the 1919-20 season “the best we have enjoyed in years in the general quality of the productions made,” and he had more or less echoed those sentiments in subsequent years. (And we have quoted the excited commentary those same seasons evoked elsewhere.) The rash of failures and poor turnout at the box office last year was a minor matter when put in perspective. Indeed, producers began raising ticket prices again this season, with many straight plays now asking a $3.50 top ($3.85 with tax). In the fall these increases met with some resistance, especially the still higher admissions for musicals. And a few plays that relied heavily on cut-rate tickets, such as Abie’s Irish Rose, saw a goodly portion of the increase go into the pockets of Leblang’s and other cut-raters. Yet by early December, Variety noted that half the shows on Broadway were pulling in “exceptional profits,” and at year’s end its front page banner read “Wealth of Broadway Hits.”
1925–1926
Authors: Bordman Gerald 
Published: November 2023

Abstract
Looking back, decades later, the 1925-1926 season seems very good indeed. Like the rest of the nation, Broadway was raking in the money. Variety counted a record 178 new plays. And the quality of these new plays was often high. Yet contemporaries were not entirely pleased. They perceived a discernible drop from the preceding season. There was no smash hit on the order of What Price Glory? or Is Zat So?. Proportionately fewer novelties were seen as truly exciting. To many commentators the swelling list of revivals suggested a shortage of good new works rather than, as it probably should have, a healthy attempt to balance the new with the old, to keep alive bygone traditions. Possibly the season’s dreadfully bad and slow start set the stage for subsequent judgments. Only one squeak-by hit overcame the exceptionally hot weather in the first two and a half months. The lone late June entry was a return of last season’s controversial A Good Bad Woman, which Brady, forgetting his arguments that he had produced it to provoke an outcry from right-thinking folk, restored to his Playhouse on the 22nd. Its return was shortlived. (Hereafter, the season’s numerous return engagements will be ignored unless they hold some special interest.)
1929–1930
Authors: Bordman Gerald 
Published: November 2023

Abstract
Having been dealt a shaking blow by the advent of sound films in 1927, live theatre was hit hard again in the new season-this time by the stock market crash and the onset of the Depression. After an all too brief period in which it seemed like the crash downtown would not seriously affect playhouses uptown, business tumbled. A very few hits bucked the trend for a while, but failures were more frequent and more quickly hurried off the stage. Nearly seventy, or approximately half the new plays which premiered, ran three weeks or less. Several of these three-week runs were forced, since twenty four or more performances allowed a producer to share in screen rights and other additional royalties. Twenty-five of these duds were so feeble that a forced run was out of the question and they were closed in the same week in which they opened. As usual, statisticians and commentators could not agree on figures or evaluations. Both Variety and the Times reported a very slight increase in the number of new plays offered (giving 169 and 156 as their respective totals), while Burns Mantle insisted, “We had fewer plays last year.” Brooks Atkinson became curiously equivocal when assessing the merits of the season, noting that “thoughtful observers” found Broadway “steadily improving,” but nonetheless continuing, “People who love the theatre repeatedly discover that their love is not returned.” On the other hand, at year’s end Mantle looked back to hail “a more interesting season than many of those that have preceded it.”
1930-1931
Authors: Bordman Gerald 
Published: November 2023

Abstract
Without question the double whammy of talkies and the Depression took a sharp toll on Broadway in the new season. As usual, figures varied from one commentator to the next. Variety recorded 187 openings, of which 130 were new plays. The Times counted 197 and 124 respectively. Bums Mantle offered merely a total, without a breakdown. But he rationalized, “190 is enough.” Whichever count was accepted, it represented a stunning drop of approximately 20 percent in one year. Yet bad times, ironically, did not discourage bad plays. In the 1920s many of these had been mounted to launder bootleg money, display some gangster’s favorite, or assuage the ego of one of the more legitimately nouveau riche.
1932-1933
Authors: Bordman Gerald 
Published: November 2023

Abstract
It was not a good season. Broadway, like the rest of the nation, was mired deep in the Depression. The total number of productions plunged. Of new comedies and dramas, there were only somewhere between 109 and 124, depending on who counted what. And runs were shorter, too. Seventy-seven non-musicals ran a month or less, and of these, a whopping thirty-two lasted no more than one week. Prices also tumbled, with even hits having to shave figures. Bums Mantle rued, “The day of the $3, $4, $5 and $6 theatre is about over.” Several playhouses, either determined to remain in the legitimate fold or poorly situated, stayed dark all season. And rather than help in such hard times, unions acted up, forcing a number of additional closings.
1935-1936
Authors: Bordman Gerald 
Published: November 2023

Abstract
After several seasons of holding more or less steady, the number of new plays plunged tellingly during the new theatrical year. The Times, which counted only unquestionably commercial Broadway productions, came up with the then startling figure of 89 (as opposed to 113 one season earlier). Mantle and Variety, casting wider nets, listed 102 and 108 respectively. However, never again after 1935-36 would any major accounting exceed l00 plays. Indeed, figures would continue to slip, and once the prosperous years of World War II were gone, the figures would never surpass 50.
1937-1938
Authors: Bordman Gerald 
Published: November 2023

Abstract
Production figures continued to drop. The Times, ignoring Federal Theatre Project offerings, counted seventyfour new plays; Variety, apparently taking into account some of them, tallied eighty-two. Thirty of these plays ran a week or less. Waving aside the implications of the on going numerical decline and the percentage of very short stays, most commentators were not unhappy. The new season seemed to them better balanced than the previous one. If there were considerably fewer of the deliciously madcap comedies the 1936-37 season had enjoyed, there were noticeably more good, substantial dramas. Several outstanding instances of fresh staging ideas also whetted interest.
1943-1944
Authors: Bordman Gerald 
Published: November 2023

Abstract
Warbom prosperity was evident on Broadway. Attendance was up, and more shows were produced. The number of novelties jumped to the upper fifties. Quality was another matter. As far as introducing meritorious new dramas and comedies, the season was virtually a washout. Because of additional money floating around, business during the summer perked, prompting several producers to risk hot-weather entries. The season’s opener was Edward Chodorov’s Those Endearing Young Charms (6-16-43, Booth). His friend Jerry (Dean Harens) introduces Lieutenant Hank Trosper (Zachary Scott) to Helen Brandt (Virginia Gilmore). Hank is a handsome, spoiled-rotten, reptilian navigator on a Flying Fortress. Helen is a pretty girl who sells lingerie in a New York City department store.
1959-1960
Authors: Bordman Gerald 
Published: November 2023

Abstract
Long before the season’s first play arrived, the new theatrical year got off on the wrong foot. On June 2, Actors’ Equity called the first general strike since 1919. Although the walkout ended on the 12th, it set a troubling tone for the rest of the year. At the season’s other end, statisticians could not agree on numbers. Variety saw the count of new plays rise by one to thirty-eight; the Times said it dropped to thirty-four. And there was little celebration of quality. In fact, in sharp contrast with last season, only four plays surpassed the 200- performance mark, while only five others slipped beyond the 100-performance figure. Time and again, critics suggested the acting was far better than the play. When prizes were announced, the Pulitzer committee bestowed its award on a musical (Fiorello!), only the third occasion it saw fit to do that.
1965-1966
Authors: Bordman Gerald 
Published: November 2023

Abstract
The parade of disappointing seasons continued. Only somewhere between thirty-three and thirty-eight new opened at the Shubert on May 3, remained before the footlights for only six weeks. plays opened, and the few truly memorable works all came from overseas. Neither the Pulitzer committee nor the Drama Critics Circle bestowed their awards on any native effort. In the former instance, it meant that no Pulitzer Prize had been awarded in three out of the last four seasons. If things were bad onstage, playgoers occasionally found some small relief at the box office, where a cut in the tax on theatre tickets reduced prices fractionally. Of course some producers tried to keep the difference for themselves, with the result that top tickets, heretofore basically uniform, now could be $7.00, $7.20, $7.25, or $7.50. In a few instances, such as The Impossible Years, patrons did not benefit, since the comedy’s producers did away with a cheaper weekday top and asked $7.50 for all performances.
1966-1967
Authors: Bordman Gerald 
Published: November 2023

Abstract
Thanks to a creeping inflation in ticket prices, Broadway grossed more than $55,000,000 during the new season, a record up to its time-and one, of course, created in large part by Broadway’s successful musicals. But that was virtually all the good news to report. By general agreement the season marked another dismal year for American playwriting. Of the ten top entries awarded a place in the annual Best Plays, only three were by American dramatists (and one of these came from Off Broadway). Three others were musicals-admittedly American-and the remaining four were British. At season’s end the New York Drama Critics Circle passed over native entries and crowned a British play as the year’s top offering. And the total number of new plays also plunged, to thirty or less.
New Orleans Jazz
Authors: Gioia Ted 
Published: November 2023

Abstract
With the lifting of trade restrictions on the Mississippi River following the 1803 Louisiana Purchase, the New Orleans economy entered a period of unprecedented prosperity that would last over half a century. The population of the city had already doubled by the time, less than a decade later, that the first steamboat—aptly named the New Orleans—was put into service on the Mississippi, facilitating upstream navigation and further enhancing New Orleans’ position as a major hub of commerce. The effect of this shift can be measured by the staggering growth in downriver cargo received at the port: between 1801 and 1807, an average of $5 million dollars worth of goods came downstream each year, but in 1851 alone almost $200 million dollars worth of freight was measured.
Diachronic Analysis: Early Right-Branching Structures
Authors: Bauer Brigitte L M 
Published: November 2023

Abstract
In this chapter I discuss three structures that underwent the shift from left to right branching at an early time: the prepositional phrase, the comparative construction, and the relative clause. As a first step I analyze the rise of prepositional phrases, which were RB in Latin, although one still finds instances of the former LB period. I then set out to analyze the comparative construction and the relative clause: the modern RB sequences arc the result of a long and complex evolution.
Sport and American Identity
Authors: Pope S W 
Published: November 2023

Abstract
Between the 1876 centennial and the 1926 sesquicentennial, a national sporting culture was firmly established in the United States. During this era, which one sport scholar has characterized as the “cusp between America’s Century of Work and its Century of Play,” baseball became the acknowledged national pastime; basketball was invented; boxing exploded in popularity under new rules; football grew into a national, widely attended spectator sport; a recreation movement blossomed on the nation’s playgrounds; and sports became central to the educational curriculum. In addition, tennis, golf, and bicycling swept through the middle class, while workers started their own semiprofessional and amateur leagues in a variety of team sports. Organizational and business structures arose to regulate and rationalize these new activities, which were enjoyed by professionals, college students, military personnel, industrial workers, African-Americans, Indians, town teams, and schoolchildren; games were played on sandlots, and in cow pastures, playgrounds, public parks, and modern stadiums.
Amateurism
Authors: Pope S W 
Published: November 2023

Abstract
Popular wisdom has it that amateurism is the original, pure state of sport. Every four years, during the Olympics, a bevy of sportswriters and cultural commentators credit the ancient Greeks for having initiated competitive athletics out of a deep, genuine love of sport for sport’s sake, and as an appropriate activity for praising their gods. In stark contrast, contemporary labormanagement disputes in American sports evoke diatribes about the “corrupting” influence of professionalism. For example, in 1995, the distinguished New York Times columnist Robert Lipsyte lamented that sports now “show us spoiled fools as role models, cities and colleges held hostage and games that exist only to hawk products.” Not only do athletes not “stand for anything beyond themselves,” Lipsyte says, but the “connection between player and fan has been irrevocably destabilized.” “Instead of sports,” he writes, “we happily root for cartoons competing in athletic theme parks fueled without apology by violent thrills and endorsement dollars.” Although Lipsyte notes that Americans lost faith in the promise of sport during the late stages of the Vietnam War (“Vietnam punched out the lights of manhood,” he says), such statements about the corrupting influence of commercialism and professionalism on sports are nothing new.