bluuebunny/crossref_metadata_2025_split huggingface dataset:
Choosing Partners for Marriage Male Status and Female Competition
Authors: Townsend John Marshall 
Published: November 2023

Abstract
In Chapter 3 we saw that professional women prefer to date and marry men whose incomes and job status were equal to theirs or higher, and the farther up the socioeconomic ladder they climb themselves, the higher their standards are. Do women have difficulty finding such men? Do women have to compete for high-status men? What forms does this competition take? Are men threatened by ambitious, intelligent women? These are some of the questions we will explore in this chapter.
Systemic Scleroderma— Diffuse
Authors: Mayes Maureen D 
Published: November 2023

Abstract
The next two chapters will deal with the systemic forms of scleroderma, both diffuse and, as well as scleroderma sine sclerosis, in which there is internal organ involvement but no thickening of the skin (sine means without and sclerosis means hardening). The term systemic means that this form of scleroderma affects the internal organ systems. (Many textbooks use the terms systemic sclerosis and systemic scleroderma interchangeably.) The terms limited and diffuse refer to the ex-tent of skin involvement. Both forms are associated with internal organ damage, but the limited form tends to result in less severe organ problems than the diffuse form. Limited scleroderma sometimes occurs as the CREST form.
Scleroderma and the Lungs
Authors: Mayes Maureen D 
Published: November 2023

Abstract
Before I begin to discuss how scleroderma can affect the lungs, it is helpful to describe normal lung structure and function. The purpose of the lungs is pretty simple: to extract oxygen from the air we breathe (normal room air is 21 percent oxygen) and to get rid of carbon dioxide (CO2), which is a by product of metabolism, the process of converting food products to energy. To do this, the lungs consist of thousands of tiny air sacs (one air sac is an alveolus, more than one are called alveoli), which are arranged around breathing tubes like grapes on a stalk. Air is brought in through the nose and mouth, pulled into the main breathing tube through the voice box, or larynx, and into the trachea, or windpipe (see Figure 2).
Scleroderma and Joints, Tendons, Muscles, and Nerves
Authors: Mayes Maureen D 
Published: November 2023

Abstract
Stiffness and achiness are common problems in scleroderma. Sometimes patients can’t tell whether the aching is coming from the joints, the muscles, both, or neither. The thickness and tightness of the overlying skin can make it hard even for the doctor to determine if joint swelling is present. This can be an important distinction to make, since joint pain and swelling (arthritis) may require different treatment than muscle aches or tendon inflammation. A small percentage of patients will have a true overlap between rheumatoid arthritis and scleroderma and may need to be treated with medications that are usually considered to be specific for rheumatoid arthritis. Most, however, will not have this overlap.
Systemic Scleroderma and Pregnancy
Authors: Mayes Maureen D 
Published: November 2023

Abstract
Young women with systemic scleroderma often ask me if it is okay to get pregnant. The answer is that it depends on several factors: the stage of the disease, the medications that are required to control the disease, and the risks that people are willing to take in order to have a child. (Note that this does not apply to people with localized scleroderma, a condition that does not present a higher-than-usual risk during pregnancy. However, the use of any medication needs to be reviewed by the patient and her doctor before pregnancy occurs.)
Overlap Syndromes and Sclerodermalike Conditions
Authors: Mayes Maureen D 
Published: November 2023

Abstract
In most cases, the autoimmune connective tissue diseases— rheumatoid arthritis, lupus, scleroderma, polymyositis, and dermatomyositis—occur as separate entities. Occasionally, more than one of these diseases will coexist in the same patient, and these people are said to have overlap syndromes, with features of two or more diseases. Sjogren’s syndrome (dry eyes and dry mouth) is the exception in that it usually coexists with the above diseases, although there are cases when it occurs alone. Sometimes one connective tissue disease will exist by itself for several years before the features of another condition develop. This tends to cause confusion in people who, having been told that they have one disease, are then told that they have another. Since many symptoms are similar among these diseases, making the diagnosis of one versus another can be difficult, particularly in the early stages.
You and Your Doctor
Authors: Mayes Maureen D 
Published: November 2023

Abstract
Prior to getting scleroderma, most patients have little knowledge about the medical profession and all its sub-specialties. In the early period, soon after getting diagnosed, scleroderma patients are frequently uncertain about what kind of doctor they should see, so they rely on the advice of their general medical doctor. Most patients will benefit from an evaluation by a specialist who knows scleroderma, and most of the time this will be a rheumatologist. Whether or not the rheumatologist provides ongoing care after this evaluation will vary from case to case.
Living an Unpredictable Life Facing an Uncertain Future
Authors: Mayes Maureen D 
Published: November 2023

Abstract
What is different about you the day after your disease was diagnosed from you the day before? For many people, what has changed is their sense of mortality, of vulnerability, of order in life—basically their sense of the future. A diagnosis of a rare, chronic, incurable illness brings you up short. You are not in control, and it is this lack of control that is at the heart of the difficulty for many people. I try to point out to patients that in reality they have never been in control of much that happens inside their bodies, and indeed in their lives. In actuality, though, most of us live every day as if we are in control, and we plan for a future that is predictable on a day-to-day basis. It is not possible to live an organized and effective life without this attitude. We go to the grocery store and plan dinners for the coming week.
Introduction
Authors: Haiman John 
Published: November 2023

Abstract
The Cheapness of Talk Language is replete with cliches and commonplaces: we recycle. In fact, it is appropriate that a book like this one, devoted as it is to recycled speech (both my own and that of others), should be creaking under the weight of other people’s memorable quotations, and that it should begin with a quotation in order to justify the apparent flippancy of my title (itself, of course, a familiar slogan): “The world of human aspirations is ... a symbolic-behavioral world removed from the boundedness of the present moment, from the immediate stimuli which enslave all lower organisms” (Becker 1971:139; emphasis added). The symbolic world, being removed from the here-and-now, is therefore inconsequential in the real objective world. With all due respect for human speech, then, and in this technical--even laudatory-sense of “cheap” which I have emphasized in the passage above, I contend that what is true of the symbolic world of human aspirations is quintessentially true of the medium within which almost all of these aspirations are expressed: Talk is cheap, and actions do speak louder than words. That is why we can even consider allowing ourselves such luxuries as the First Amendment; in fact, a forceful defense of the principle of free speech is based on exactly this property of symbolic behavior (see F.S. Haiman 1972). Granted, much of what we do in our lives is talk. Granted, also, that almost everything we actually physically do is a response to, and is organized by, some kind of talk.
Alienation and the Divided Self
Authors: Haiman John 
Published: November 2023

Abstract
Like every actor, the sarcast has a divided self, existing both as the performer and the persona-the character portrayed. Unlike Laurence Olivier, however, who succeeds in submerging himself as a performer and appearing as a virtually unrecognizable person in each new role that he plays, and also unlike type-cast performers like Clint Eastwood who hardly seem to be acting (that is, playing roles) at all, the sarcast is a disdainful playactor who advertises his or her insincerity by self-consciously keeping the performer and the persona alive, distinct, and opposed. The ostensible message delivered in character expresses the role, but the metamessage-an aside directed to the other members of the play-expresses the performer’s sincere alienation from the role which, for whatever reason, he or she elects to play.
Zen Semantics
Authors: Haiman John 
Published: November 2023

Abstract
As an adolescent learning French, I was fascinated by the French expression for the verb “to mean,” as in “Qu’est-ce que cela veut dire?” (freely, “What does that mean?”; literally, “What does that want to say?”). If you want to say something, after all, why don’t you just come right out and say it? (The etymologies of English “mean” and German “bedeuten” prompt exactly the same question.) I now realize that this apparently pointless gap between “saying” and “meaning” is a necessary part of every language, as it is of every code, and presumably always will be until we evolve telepathy and eliminate the middle man. Moreover, the essence of understanding and interpreting every sign in a code lies in bridging the necessary yet perverse and ornery gap be-tween the signifier and the signified. Another word for this peculiar decoupling in every human language is the design feature of displacement, and I have devoted the first chapters of this book to a survey of the inescapability of this feature. I would like now to yield to the temptation to inquire where and how this feature may have arisen in the course of human evolution.
Jeepers Creepers
Authors: Warren Harry 
Published: November 2023

Abstract
The name of Harry Warren is sometimes invoked in support of the Horatio Alger myth: son of immigrants, born poor (in Brooklyn, like Arthur Schwartz) growing up without education, somehow fighting his way to the top with only his raw and untrained talent. Harry Warren was one of the most successful of all American song composers in that golden period. In the fifteen years from 1935 to 1950, he had forty-two songs on the top-ten list of Your Hit ,Parade, a network radio program that monitored the success of songs through a complex process of surveys. Next in success was Irving Berlin, who had thirty-three songs on that list in the same period.
Um Abraço No Tom
Authors: Jobim Antonio Carlos 
Published: November 2023

Abstract
Scime time in the 1960s, I interviewed Robert Russell Bennett in his office in New York. He was then, I would think, about seventy: he was born in Kansas City on June 15, 1894. Bennett was one of the countless American composers trained and shaped by Nadia Boulanger, whose influence on American music is inestimable. He was for a long time the premier arranger and orchestrator of Broadway musicals. Bennett talked of George Gershwin as if he were some sort of idiot savant. He said that Gershwin had a peculiar capacity to pick up any musical thought that was in the air and use it. He came just short of calling him a plagiarist.
Medications Other Than Hormones to Prevent and Treat Osteoporosis
Authors: Lane Nancy E 
Published: November 2023

Abstract
Other therapies are now available for the postmenopausal woman who wants to prevent osteoporosis. These include calcitonins, bisphosphonates, vitamin D therapy, and calcium. They have all been studied, and all prevent or decrease bone loss in postmenopausal women. Recent evidence also shows that all of these medications can prevent fractures. These compounds will be discussed in more detail in this chapter.
The Medici Wedding Festivities Of 1589
Authors: Weiss Piero 
Published: November 2023

Abstract
Opera was born in Florence at the end of the sixteenth century. It derived almost seamlessly from its immediate precursor, the intermedio, or lavish between-the-acts spectacle presented in conjunction with a play on festive occasions. Plays were spoken, and their stage settings were simple: a street backed by palace façades for tragedies, by lower-class houses for comedies; for satyr plays or pastorals, the setting was a woodland or country scene. Meanwhile the ever-growing magnificence of state celebrations in Medici Florence on occasions such as dynastic weddings gave rise to a variety of spectacles involving exuberant scenic displays: naval battles in the flooded courtyard of the Pitti Palace, tournaments in the squares, triumphal entries into the city. These all called upon the services of architects, machinists, costume designers, instrumental and vocal artists. Such visual and aural delights also found their way into the theater-not in plays, with their traditional, sober settings, but between the acts of plays. lntermedi had everything the plays had not: miraculous transformations of scenery, flying creatures (both natural and supernatural), dancing, singing.
Pietro Bardi On The Birth Of Opera
Authors: Weiss Piero 
Published: November 2023

Abstract
Opera did not spring from the brains of a few “inventors,” though that may be the impression one gathers from documents of its early history. Rather, it emerged from the rich matrix of theatrical practices at Italian courts of the late Renaissance, with an added component. The Florentine intermedi show that almost everything was already in place: a penchant for classical mythological subjects with their abundance of marvelous happenings; elaborate scenery and scenic effects involving “machines” for the realization of those happenings onstage; plenty of music, both vocal and instrumental, to accompany ballets and pantomimes, and to fill empty intervals in the action. To all of this, the “inventors” of opera added the one ingredient that would define the new genre throughout its later history, long after the Greek and Roman deities of early opera and their attendant machines were discarded and forgotten: solo singing of the actors’ lines. Yet the revival of classical antiquity had everything to do with the birth of opera. The group of poets, singer-composers, and theorists that gathered at the palace of Giovanni Sardi, Count of Vernio in Florence in the l 570s and l 580s, and who sometimes referred to themselves as a “camerata” (loosely, a club or gathering), were fascinated by the miraculous effects of Greek music as told by the authors of antiquity.
L’euridice, The Second Opera (1600)
Authors: Weiss Piero 
Published: November 2023

Abstract
La Dafne, a “fable” by Ottavio Rinuccini set to music by Jacopo Peri and Jacopo Corsi, was the first opera. “It was performed in a small room and sung privately,” according to Pietro Bardi, who was there (seep. 8 above). It is quite possible that Peri was first apprised of Corsi’s and Rinuccini’s project “as early as 1594,” as he himself states (p. 15 below); but the most informed guess as to its first performance would place it in the carnival season of 1597-98. There are no questions, on the other hand, about the date of the very pub!ic premiere of the second opera, L’Euridice. That took place at the Pitti Palace, Florence, on 6 October 1600 in the presence of Maria de’ Medici, whose marriage to King Henry IV of France was being celebrated throughout the city in the grandest Medici style. A description of the event appeared in a printed account of the festivities by Michelangelo Buonarroti the Younger (grandnephew of the great artist). Only two stage settings were needed for the short work, but it is evident from the description below that no expense was spared to make them impressive. Elaborate stage effects were nothing new (see pp. 2-7 above), and it is worth noting therefore that, while the sung dialogue of early opera was innovative and experimental, the scenic component had by then reached a high degree of sophistication.
The First English Operas
Authors: Weiss Piero 
Published: November 2023

Abstract
The Restoration playwright and poet John Dryden (1631-1700) witnessed the birth of opera in England. It happened in 1656, while the Puritans ruled the country and regular theatrical performances were banned. Dryden himself tells us about it in the preface to one of his heroic plays, The Conquest of Granada by the Spaniards (1672): The first light we had of [heroic plays] on the English theatre was from the late Sir William Davenant [1606-67]. It being forbidden him by the rebellious times to act tragedies and comedies, because they contained some matter of scandal to those good people who could more easily dispossess their lawful sovereign than endure a wanton jest, he was forced to turn his thoughts another way, and to introduce the examples of moral virtue writ in verse, and performed in recitative music. The original of this music, and of the scenes which adorned his work, he had from the Italian operas; but he heightened his characters (as I may probably imagine) from the example of Corneille and some French poets. In this condition did this part of poetry remain at his Majesty’s return; when, growing bolder, as being now owned by a public authority, he reviewed his Siege of Rhodes, and caused it be acted as a just drama.
The Président De Brosses Initaly(1739)
Authors: Weiss Piero 
Published: November 2023

Abstract
Charles de Brosses (1709-77) was not yet President, that is, chief magistrate of Burgundy’s supreme court, when at the age of thirty he undertook the Grand Voyage to Italy in the company of five equally cultivated friends. The journey lasted from May 1739 to April 1740 and took the friends from Dijon to the south of France, across northern Italy, down through Tuscany to Rome and Naples, then back north by a different route. Brosses wrote letters home describing everything he saw-and heard; for he was exceptionally well prepared to describe not only the artistic and architectural wonders of Italy but its music too. These letters, fifty-eight in all, were read avidly in France, where they circulated in manuscript form. In later years Brosses revised them, adding further memories; but they were not published until long after his death, in 1799. A more complete edition appeared in 1836, winning the enthusiastic approval of Stendhal, who promptly placed Brosses at the top of his list of favorites, “after Mozart and Cimarosa.” The lengthy letter on Italian opera (no. 51) from which the following extracts are taken was originally dated from Rome, 2 December 1739, but was doubtless revised and enlarged a few years later. complete, they are so true to life that I must make an effort to detect where the pieces I have seen brought on are joined together.
Gluck In Paris
Authors: Weiss Piero 
Published: November 2023

Abstract
Gluck’s conquest of Paris in the 1770s did not occur without a carefully prepared publicity campaign designed to arouse the French capital’s disposition to burst into heated debate over controversial cultural issues; and that opera was just such an issue had been amply proved twenty years earlier by the War of the Buffoons (see pp. 106-11 above). Now, in 1772, the opening salvo was fired by Fran«;ois du Roullet, an attache at the French embassy in Vienna, who had fashioned a libretto for Gluck out of Racine’s tragedy lphigenie en Aulide; the work was written for Paris, without any assurance it would be produced there. Du Roullet’s lengthy, sensational letter, addressed to one of the directors of the Opera, was published in the Mercure de France and prompted, as expected, instant reactions from the Parisian litterateurs, touching off a debate that would occupy the capital for years to come. But the letter attained its purpose: Gluck came to Paris, and, after months of rehearsal, his lphigenie was performed at the Opera on 19 April 1774. We will follow Gluck’s Parisian career as it was reported on in an unusual source, the Correspondance litteraire. This was a monthly letter sent from Paris in manuscript form, on condition of confidentiality, to about a dozen royal and princely subscribers, among them Catherine the Great and Grand Duke Leopold of Tuscany (the dedicatee of Gluck’s Alceste; see p. 119). Started in 1753 under the editorship of Frederic-Melchior Grimm, friend and colleague of the encyclopedists, it passed in 1773 into the hands of a less famous editor, Jacques-Henri Meister (1744-1826), who guided it until the French Revolution forced him to leave Paris and suspend its publication.
The Making Of Le Nozze Di Figaro
Authors: Weiss Piero 
Published: November 2023

Abstract
The letters of Mozart and his family, such a rich source of information about earlier operas like Die Entfuhrung aus dem Serail (see pp. 130-36 above), tell us very little, unfortunately, about Le nozze di Figaro. The correspondence between the father in Salzburg and the son, now permanently settled in Vienna, had become less frequent. A first hint of the opera to come is contained in a letter written by Mozart to his father on 7 May 1783, less than a year after the premiere of Entfuhrung: Now the Italian comic operas have begun here again and are a big success.... I have looked through easily 100 librettos, in fact many more-however-I have hardly found a single one with which I am satisfied; at least there would have to be many changes made here and there. And if a poet were to busy himself with that, perhaps he would find it easier to write an altogether new one. And anyway, something new is always better.-We have here a certain abate da Ponte as poet.-At the moment he is frightfully busy with revisions at the theater-and he is under obligation to furnish Salieri with an entirely new libretto. That will take him at least 2 months. After that he has promised to write a new one for me; who knows whether he will be able to keep his word when the time comes--or whether he will want to! You know very well that these Italian gentlemen have very polite faces!-enough, we know them!-and if he is in league with Salieri, I shan’t get anything as long as I live-and yet I should very much like to show what I can do in the Italian opera as well.
Berlioz’s Estimate Of Spontini
Authors: Weiss Piero 
Published: November 2023

Abstract
Berlioz’s unbounded admiration for Gaspare Spontini (1774-1851) led him to devote numerous articles to the composer and to his three principal operas, La Vestale (1807), Fernand Cortez (1809), and Olympie (1819). In his amusing Les Soirees de l’orchestre (The Evenings of the Orchestra, 1852), Berlioz combined four of the articles, including his previous year’s lengthy obituary of Spontini, to produce a major study, the thirteenth Soiree, or chapter, in his book. “We are interested today in Berlioz’s raptures over composers like Spontini, but we find it difficult to share them, or even always to understand them,” wrote Ernest Newman in the introduction to the English version from which the following excerpt is taken. Yet one should certainly try to understand, if not share, Berlioz’s raptures in this case: Spontini’s influence was enormous, affecting opera composers from Weber and Schubert to Wagner, Verdi, and beyond. Berlioz is on firm ground (no “raptures” here) when, towards the end of his study, he turns to Spontini’s orchestration and dramatic vocabulary.