bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Woman Who Decided to Die
Authors: Munson Ronald 
Published: November 2023

Abstract
She had one of the best rooms in the hospital. It was a single on the sixteenth coor that overlooked the long, stretched oval of the pond in the park below. Light from the sun’s low-afternoon angle turned the water into a shimmer of pearl and pink and brightened the greenness of the surrounding lawn.
Her name was Traci, which seemed a frivolous irony given the grave nature of her disease. She had a form of acute myeloid leukemia that had not responded well to the standard regimen of chemotherapy. Traci, in the peculiarly accusatory language of medicine, had “failed” the treatment. The description seemed to imply that chemotherapy was a test she could have passed if only she had worked harder.
Dr. Samuel Wontage was one of her physicians. He was a short man with quick, nervous gestures and a smile that cashed on and off and yet never lighted up his sad, chubby face. Sometimes the smile, as if controlled by a defective switch, cashed on for no apparent reason, then disappeared just as suddenly. I decided that the smile was only another of his various nervous tics, like his habit of rubbing the side of his nose with his finger.
Unsuitable
Authors: Munson Ronald 
Published: November 2023

Abstract
Rob Hardy was only twenty, but he looked like death.
He was lying in a hospital bed with the mattress tilted at a sharp angle so he was almost sitting upright. His face, smooth as a young child’s, was slack, and his hazel eyes, half-shut, were dull and blank. His short tar-black hair stuck up in feathery tufts, and a silver tracery of dried drool followed a curving path from a corner of his mouth to the tip of his pointed chin.
Rob’s skin, even on his neck and hands, had the dusky, lusterless burnt-orange color of preserved tangerine peel. This was the most obvious sign that he was in liver failure.
A plastic line dripped a colorless solution into the needle taped into place in his right arm, and leads from a heart monitor and an oximeter curled across the sheet, connecting him to the machines behind his bed. A pale blue tube clipped to his nostrils supplied extra oxygen. A third plastic line ran from under the sheet to a urine-collecting bag attached to the side of the bed. The bag’s sparse contents were the color of dark copper.
Rob seemed barely aware of the group gathered around his bed. Dr. Sara Gibbs, a hepatologist, was making morning rounds with six or eight residents. I was along because I was an outside observer of the committee recommending which liver-failure patients should become candidates for transplants.
Not More Equal
Authors: Munson Ronald 
Published: November 2023

Abstract
“Ron?” The woman’s voice was tentative, then confident. “This is Joan Marvin. I’m sorry to bother you so late in the evening, but we need an ethics consult.”
Joan Marvin was professor of surgery and chief of thoracic transplant surgery at Midwest School of Medicine. We had met several years earlier at a reception promoting organ donation, where we chatted over glasses of white wine. Each of us was speaking that evening, though, so we were too distracted to have a real conversation.
Joan, in her talk, defended altruistic donation, while I argued for selling organs in a regulated market. Our exchanges during the discussion period were courteous but sharp, so I was surprised when, at the end of the reception, she asked me to give my same talk to the residents in her transplant program.
“They need to hear some fresh ideas.” Joan’s smile was almost malicious. She seemed pleased with the idea of showing the residents that she wasn’t as predictable as they might think.
The Boy Who Was Addicted to Pain
Authors: Munson Ronald 
Published: November 2023

Abstract
Chase Granger arrived home from school around four-thirty. The moment he walked through the back door and dropped his school books on the kitchen table, he felt a small thrill of anticipation. He knew exactly what he was going to do and was eager to begin.
He had started thinking about it during his one o’clock class. He’d tried to pay attention to what Mr. Kalten was saying about German economic conditions causing World War II, but he’d felt sick to his stomach. His mind kept returning to what Lopez had said and done. Yet he couldn’t bear dwelling on them, so he’d nudged his thoughts onto a familiar path.
He imagined what he would do when he got home, going step by step and lingering over the images as they took shape. He saw himself from the outside, as if he were looking through the lens of a movie camera. He shot a wide angle to frame the scene that showed him in the bathroom, then pulled in for a tight shot of his almost-naked body. He finally narrowed the focus to an extreme close-up of his right thigh.
A Question of Balance
Authors: Thompson Gordon 
Published: November 2023

Abstract
In the Beatles’ improbable rise to musical and cultural triumph, an HMV technician changed the course of history when he offered the opinion that some of the material on Brian Epstein’s tape might be publishable. Jim Foy inadvertently set in motion more than his disk cutter; he facilitated a revolution in popular music. As with many of the best-known recordings of the era, our historical and ethnographic sense generally ignores the roles of technologists. However, if technology helped to define the era and fuel upheaval in the recording industry, then the varied individuals who bore the title “engineer” facilitated the insurrection.
“We Americans”: Henry Luce, Life, and the Mind-Guided Camera
Authors: Allred Jeff 
Published: November 2023

Abstract
In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable what-ever it photographs. The “anything whatever” becomes the sophisticated acme of value. We had an insatiable desire to search out every facet of American life, photograph it and hold it up proudly, like a mirror, to a pleased and astonished readership. In a sense our product was inbred: America had an impact on us and we had an impact on America.
What is a Chicken Worth?
Authors: Beauchamp Tom L , Orlans F Barbara , Dresser Rebecca , Morton David B , Gluck John P 
Published: November 2023

Abstract
“This must constitute, in both magnitude and severity, the single most severe, systematic example of man’s inhumanity to another sentient animal.”1 So said John Webster, emeritus professor of animal husbandry at the University of Bristol’s Veterinary School. He was referring, rather surprisingly, to broiler chickens. In reaching this conclusion, he noted that in the United Kingdom alone, one-quarter of the heavy strains of these animals are in chronic pain for at least one-third of their six-week lives; only 10% are able to walk normally; up to 6% die during rearing; 4% have chronic arthritis; 3% break their bones; and 2 million die during transport each year. In 2003, some 9.1 billion of these animals were eaten in the United States,2 3.5 billion in the European Union, and 840 million in the United Kingdom.4 In less than 50 years, the broiler chicken—so named because of the way it is cooked— has become one of the most common animals consumed in human diets. The poultry meat sector is a significant employer (40,000 to 50,000 jobs in the United Kingdom alone) as well as a major consumer of cereals, soy, and meat, bone, and fish meals. These birds are reared intensively, in large numbers and at relatively low cost, and they provide a ready source of palatable tender meat for many people.
Winky and Wanda at the Detroit Zoo
Authors: Beauchamp Tom L , Orlans F Barbara , Dresser Rebecca , Morton David B , Gluck John P 
Published: November 2023

Abstract
Winky, an Asian elephant, resided in the Detroit Zoological Institute for 14 years. Wanda, on loan from the San Antonio Zoo, lived with her for eight years. Their one-acre yard was about half the area of a professional soccer field. This outdoor area included trees, toys, and a pool. Inside the barn, they had heated floors for the days when the Michigan winters made it unpleasant for them to be outside. They received food, baths, pedicures, and expert medical care. In return, Winky and Wanda had only to wander through the yard, occasionally tossing dust on their backs to protect against insects and sunburn. Suddenly, in May 2004, the Detroit Zoo announced that it would be sending Winky and Wanda away and discontinuing the elephant exhibit permanently.2 At first glance, this news was unremarkable. Several zoos had closed elephant exhibits in previous years, causing little stir outside their local areas. Some zoos had decided that maintaining elephant exhibits caused too great a financial burden. Others were persuaded to relinquish their elephants by public pressure from the media or from protesters. The Detroit Zoo’s decision, however, was indeed remarkable, because it was motivated fundamentally by moral concerns with implications for many zoos.3 According to Dr. Ron Kagan, a biologist and the director of the Detroit Zoo, “The quality of life for the [elephants] is not adequate and is different from other animals.”4 Over several years, he and his staff observed that the elephants’ health was deteriorating in ways that would not likely have occurred in the wild. Kagan believed that the Detroit Zoo lacked the facilities to care properly for elephants.
Tomorrow And Tomorrow And Tomorrow
Authors: Weinstein Philip 
Published: November 2023

Abstract
Late in the second act of Requiem for a Nun (1951), Gowan Stevens and his wife Temple (miserably married for eight years now) ponder the painful sequence of events that has brought them to their current dilemma. Gowan’s uncle Gavin has gathered them together to figure out how they might have avoided the disaster at Frenchman’s Bend—the drunken car accident and subsequent rape that launched the vicious mayhem of Sanctuary. Looking back, they cannot imagine anything other than what occurred: “Tomorrow and tomorrow and tomorrow,” Temple murmurs, and Gavin (“speaking her thought, finishing the sentences” [RN 611]) says without missing a beat, “—he [Gowan] will wreck the car again against the wrong tree, in the wrong place, and you will have to forgive him again, for the next eight years until he can wreck the car again in the wrong place, against the wrong tree—” (611). Faulkner was fifty-three years old when he wrote this hybrid text—half epic prose history of Yoknapatawpha County, half stage play in which Temple Drake Stevens seeks to reclaim her soul. Despite strenuous attempts— by Gavin, the Governor, and (behind them both) Faulkner—to “confess” Temple, the project of self-recovery does not succeed. Looking back over the unenlightened years that had passed, Temple is unable to come upon a retrospective insight that might allow her, cathartically, to liberate her future. Rather than analyze Requiem for a Nun further, I stress the failed project of recognition. Temple cannot resee her past so as to begin anew. Nor could her author, with respect to his own life. Faulkner’s last two decades reenacted conflicts that had arisen earlier and remained irresoluble.
Work Life, Romantic Entanglements
Authors: Scanlon Jennifer 
Published: November 2023

Abstract
After Cleo and Mary returned to Arkansas, Helen Gurley moved in with a friend from work, at least until she entered into another phase of her single life—as a kept woman.”I’ve never worked anywhere . . . with- out being sexually involved with somebody in the office,” she stated bluntly in an interview years later. Given that she was employed as a secretary in seventeen different offices before she began her career as an advertising copywriter, Gurley undoubtedly engaged in numerous sexual relation- ships and an even greater number of sexual liaisons. When asked, “What about the boss?” she replied flippantly, “Why discriminate against him?” Such attitudes would get her in trouble not only with her more conservative contemporaries but also with many among her feminist peers, who saw inherent inequities and exploitation, rather than fun and games, in such alliances. Although the more radical among them would argue that marriage itself was a form of prostitution, most feminists felt that altering rather than simply manipulating women’s economic subservience to men was the correct path to take.
sexy from the start: The Earl Y Years of Second-Wave Feminism
Authors: Scanlon Jennifer 
Published: November 2023

Abstract
When people think about the early years of the second wave of feminism, many believe, simply, that “Betty Friedan did it all, with maybe a little help from Gloria Steinem.” Until Betty Friedan wrote The Feminine Mystique, the story goes, no one, not even women themselves, understood that sexism existed or that women could make a variety of choices about their lives. In recent years historians have begun to unravel the complexities of the feminists and feminisms that circulated in the 1960s and 1970s, but few acknowledge—never mind consider— Helen Gurley Brown. Yet Sex and the Single Girl, like Betty Friedan’s The Feminine Mystique, introduced feminist thinking to millions of readers, documented both women’s aspirations and their discontents, and refused to apologize for its bold demands for women.
The Heavy Blues of Sterling Brown: A Study of Craft and Tradition
Authors: Henderson Stephen E 
Published: November 2023

Abstract
Sterling Brown’s poetry may profitably be studied, and his achievement precisely assessed, by implicating his work in the stylistics of the Afro-American culture in which it is saturated. There are, of course, aspects of the poetry which can properly be studied within other parameters—the formal Anglo-American tra- dition found in “Vestiges,” for example, or the tradition of Frost and Masters, Sandburg and Robinson. But it is within the dimensions of Afro-American expressive culture that one may perceive most clearly the originality and sub- tlety of Brown’s work.
Worrying the Lines: Versification in Sterling Brown’s Southern Road
Authors: Manson Michael Tomasek 
Published: November 2023

Abstract
In his influential essay on Zora Neale Hurston, Henry Louis Gates suggests that Their Eyes Were Watching God (1937) and Southern Road (1932) are “discursive analogues” in that they both signify “upon James Weldon Johnson’s arguments against dialect” (Signifying 194), the idea that poets should abandon the vernacular because it has only “two full stops, humor and pathos” (Johnson 41). For Gates, both works mediate between “a profoundly lyrical, densely metaphorical, quasi-musical, privileged black oral tradition on the one hand, and a received but not yet fully appropriated standard English literary tradition on the other hand. The quandary for the writer was to find a third term, a bold and novel signifier, informed by these two related yet distinct literary languages” (Signifying 174). Gates concludes that Hurston found this “bold signifier” in free indirect discourse, which allowed her to express a “divided self” (209) in a “third language” (215). Building on this insight, I want to suggest that Brown and Hurston possessed selves that were not only divided by the opposition be- tween the black vernacular and standard English but were also divided by other binaries, such as black and white, country and city, folk and modern, oral and written. The problem of the color line is thus accompanied by the problem of many lines.
Tune In
Authors: Nathan Amy 
Published: November 2023

Abstract
Amazing things can happen when you play a musical instrument. Magical sounds, marvelous melodies, and razzling-dazzling rhythms can float right out of your instrument—once you get the hang of how to use it. Figuring out how to do that can be fun and also a bit of a challenge. All kinds of hassles can pop up to frustrate even the most dedicated student, such as having no time to practice, getting the jitters before a performance, dealing with pesky fellow musicians, or messing with those big fat music books that flutter shut at all the wrong moments. If only you could find out from other musicians how they handled these problems. Now you can! This book gathers together a large ensemble of super musicians to share with you the strategies that have helped them deal with the frustrations they’ve met along their musical way.
Boring-Practice Blues
Authors: Nathan Amy 
Published: November 2023

Abstract
If you find practicing boring at times, you’re not alone. Many of our teen advisors feel that way. So do pros. Pianist André Watts recalls, “I liked playing piano as a kid but didn’t always like doing the work.” As Wynton Marsalis notes in his book, Marsalis on Music, “Almost no one likes to practice . . . You have to spend time working on things that you can’t do, which makes you feel bad about yourself. Often it’s just terribly boring, the same thing repeated over and over and over again until you get it.” Any activity that involves polishing a skill may get to be dull. Basketball star David Robinson played piano and guitar in his spare time when he was in the NBA. When asked if he found practice boring, he sighed and griped about having to do the same things over and over and over, or, as he phrased it, “The monotony, the tediousness of it.” Was he griping about practicing music? No. He meant practicing basketball can be boring, along with the training he had to do to stay in shape: running, biking, lap swimming. For him, practicing music was much less of a chore.
The Jitters
Authors: Nathan Amy 
Published: November 2023

Abstract
You always get nervous when you perform. That never goes away,” explains pro violinist Joshua Bell. “It’s just that you learn how to play while you’re nervous.” He and other pros may look cool and relaxed on stage, but deep inside they’ve got the jitters, too. As Wynton Marsalis notes, “Yeah, I get nervous. I just try to look calm and in control when I walk on stage.” Those nervous butterflies fluttering in your stomach may not be all bad, according to clarinetist Richard Stoltzman. “I like being nervous before I perform,” he claims. “It makes me feel excited about going on stage and making music.” The trick is to “learn how to deal with the nervousness so it doesn’t get in the way of your playing,” explains pro pianist Wu Han. In this chapter, pros and teens reveal how they do this. By taming her jitters, Abby, a trombonist, says, “I learned to enjoy my moments in the spotlight.”
Play On
Authors: Nathan Amy 
Published: November 2023

Abstract
Have fun with your instrument and stick with it!” urges Claire. This enthusiastic oboist points out, “Even if you don’t become a professional musician, music is something you can always keep with you throughout your life.” Some of our troupe of teen advisors reported dreaming about becoming pros. Others aimed for different careers, such as becoming doctors, psychologists, teachers, sports lawyers, public relations specialists, and even ambassadors. Whatever their careers, their experience with music will probably help them. Chances are they’ll find ways to keep making music no matter what their day jobs. Read on for ways to keep the beat going. “Playing an instrument helps academically with other subjects,” claims Muh-Huey. This is something many of our teen advisors have noticed. She feels the time she put into mastering piano and violin has been time well spent. Don’t just take her word for it. Check out recent scores on the SAT (Scholastic Aptitude Test), the test students take when applying to college. In 2001, students who had experience performing music tended to score higher than average on both the verbal and math sections of the SAT. So did those who took courses in other arts areas, such as drama, art, or dance. Maybe music helps students do better, or perhaps teens who study music tend to be disciplined and serious about learning, which rubs off in other subjects as well. Education researchers have also noticed connections between music and learning. For example, a study in California found that preschoolers who took music lessons improved in their spatial reasoning skills, which play a part in learning math. In another study, older students improved in spatial reasoning after listening to Mozart.
The Culture of Calumny and Honor
Authors: Walton Charles 
Published: November 2023

Abstract
“There is no greater crime than calumny.” Thus wrote the author of Le véritable tableau de la calomnie in 1649 during the Fronde, expressing a view held widely in Old Regime France. In his treatise on injurious speech in 1776, the jurist François Dareau declared, “All that is the worst in crime can be found in calumny.” The jurist Daniel Jousse had already claimed in 1771 that it constituted “a kind of murder to attack the honor and reputation of someone, which are held to be dearer than one’s life.”
From the Cahiers de doléances to the Declaration of Rights
Authors: Walton Charles 
Published: November 2023

Abstract
The turbulent conditions that Condorcet believed would justify restricting press freedom in his 1776 Fragments sur la liberté de la presse were precisely those reigning in France when this freedom was declared. Futile assemblies of intractable notables, an unbridled speculation war accompanied by a vicious libel war, pitiless calumny campaigns directed by and against ministers, the impending bankruptcy of the monarchy, and highly contested judicial reforms were rocking the Old Regime at its foundations, paralyzing government and sparking popular violence.
Breathing and Singing
Authors: Katz Martin 
Published: November 2023

Abstract
The primary building block of successful collaboration is surely the breath. If you are to read only a single chapter of this book, please make it this one! Like me, many of my esteemed colleagues in collaboration admit to being secret would-be singers. It can be no accident then, that the voices and instruments we all accompany should enjoy the fruits of our vicarious but utterly complete physical identification where breathing is concerned. Any musician benefits from singing and, of necessity, breathing, but particularly those for whom air is not required to make the instrument work. A conductor, a violinist, an organist, and we hard-working pianists can play for hours at a time without taking a breath, and that is precisely the problem. For the pianist, singing and breathing are beyond crucial. Ignorance of this issue might limit a solo pianist’s success somewhat, but for an accompanist it would be a disaster. Whether it be a physical necessity or an artistic choice, nothing approaches the importance of breathing in the quest for true collaboration.
Five
Authors: Katz Martin 
Published: November 2023

Abstract
Lighting and costumes for an opera or a play can suggest things never expressed by the actors. A film’s soundtrack can manipulate our emotions before, during, or even after an event on the screen. A Wagnerian leitmotif heard in the orchestra can expand on what a character is feeling or can put the lie to what he is actually saying. In this chapter we will consider expressing that which is verbally unexpressed. The previous chapter discussed bringing to life at the piano the things that are concretely expressed in the text: verbal structures, characters, tangible elements, textual blacks and whites. Some subjectivity was involved, but I would wager that most pianists—those intent on real collaboration in its fullest sense—would make very similar choices. In this chapter, however, we proceed to the world of implication, innuendo, inference, and suggestion. Everything is subjective here, and the score’s instructions often give us little of what we need. An active and fertile imagination is the collaborator’s best friend here.