bluuebunny/crossref_metadata_2025_split huggingface dataset:
Poetry by Bums, Cowper, Crabbe, Southey, and Other Male Authors
Authors: Rossington Michael 
Published: November 2023

Abstract
This chapter is concerned with poetry by men which contributed significantly to the literary culture of the Romantic period in England and Scotland at the time but has subsequently, with some notable exceptions, been given less attention both textually and critically than that bestowed upon the seven male poets to whom individual chapters are devoted in this volume. For current purposes, it has been convenient to discuss male, non-canonical poetry in one chapter. But it must be acknowledged immediately that such a categorization, which groups together so many obviously different poets, is arbitrary except in the sense (crucial for this volume) that it derives largely from familiar critical taxonomies. Despite such problems of definition, however, there are gains as well as shortfalls in the perspective afforded here. To study these poets, and their female peers, is to gain a heightened awareness of the discrepancy between the still fairly inflexible hierarchy of poetic status amongst the ‘Romantics ‘ which has prevailed in the late twentieth century and the more fluid, embattled state of poetic reputations in the period itself. Furthermore, the modern reader is forced to question the often paradoxically exclusive orthodoxies at work within current definitions of writing at the margins. The chapter ‘s potential scope has necessitated discrimination of various kinds.
Walter Scott
Authors: Robertson Fiona 
Published: November 2023

Abstract
As the most prolific author of his day and the most influential novelist of the nineteenth century, Scott attracted extensive critical commentary for many decades. At the end of the Victorian period, however, his critical fortunes went into apparently irreversible decline. Their recent revival, stimulated by new developments in criticism and theory, has made Scott the focus of some of the most innovative and most illuminating scholarship in contemporary Romantic studies; and this revaluation has important implications for the study of the Romantic period as a whole. The range of Scott ‘s writing is in itself a challenge to narrower notions of Romanticism. He was prolific in all the major modern literary forms: famous first as a poet and ballad collector; a respected literary reviewer and editor; an influential supporter of Scottish theatre and a less influential dramatist; a letter-writer of very high quality and the keeper of one of literature ‘s greatest personal journals; a historian and biographer, most notably of Napoleon; the author of a highly successful series of historical works for children; and, most importantly of all, an innovative writer of historical fiction. The most central of marginalized figures, Scott requires critics to reconsider traditional configurations of the period and its characteristic literary modes.
Fiction of the Romantic Period (Godwin, Wollstonecraft, Bage, Edgeworth, Burney, Inchbald, Hays,and Others)
Authors: Matthews Susan 
Published: November 2023

Abstract
The authors grouped together in this chapter would probably have struck a contemporary as a very odd assortment indeed: Edgeworth and Burney are two of the highest-selling, most respected, and highest-earning novelists of the period, whereas other writers such as Hogg would have been seen as minor figures. The modern sense that Austen, Scott, and, perhaps for the last ten years, Mary Shelley are the most important novelists of the period does not (with the exception of Scott) echo how the period itself saw the novel. Moreover, the separate category of the Gothic novel is in some senses hard to sustain when so many novels contain Gothic elements; works such as Caleb Williams, Maria, or Confessions of a justified Sinner could belong within this category, and many women ‘s novels, including many of Burney ‘s, have strong Gothic elements. This chapter also deals with writers such as Godwin and Wollstonecraft who would not have been thought of primarily as novelists (and who thus also appear in other chapters).
Romantic Gothic
Authors: Garside Peter 
Published: November 2023

Abstract
The Gothic and the Romantic as literary historical terms have rarely stood easily together. When interest in Gothic literature began to revive in the early twentieth century, the mode was largely understood as a subgenre of the novel, at best providing an interesting link between rationalism and Romanticism, though some commentators were more inclined to sense a last gasp of the eighteenth-century sentimental tradition. In the 1960s an influential school of criticism positioned the Gothic rather as a counter-movement to the Romantic, as a kind of obverse or dark side to the latter ‘s optimism and pursuit of the organic and transcendental. More recently, interest in the Gothic has expanded to such an extent that it is sometimes regarded as offering a better site for investigating deep ruptures and divisions underlying the literature of the Romantic period: broadly ‘popular ‘ and relatively open to female writers compared with the allegedly ‘male ‘ and elitist tradition of the main Romantic poets, while at the same time more diverse and lasting in its cultural effects.
For a Theatre of Situations (1947)
Authors: Sartre Jean-Paul 
Published: November 2023

Abstract
The question of freedom, in the philosophical as well as the political sense, was a lifelong preoccupation of Jean-Paul Sartre (1905-80). A philosopher, essayist, novelist, and political activist of the left as well as playwright, he formulated a brand of existentialism which stressed the possibility of choice, however stark, for the individual, in spite of the Bad Faith concealing this possibility from his or her own consciousness. In other words, what Sartre endeavoured to show was man inventing himself through his actions. In the article quoted below in full, which first appeared in La Rue (November 1947), he rejected psychology, i.e. the dramatic element carrying the weight of the past with its constraints on freedom of action, in favour of the borderline situation in which the hero is able to define himself by an existential choice.
Death of a Salesman: A Modern Tragedy? (1958)
Authors: Miller Arthur 
Published: November 2023

Abstract
Undoubtedly the most eminent American playwright since Eugene O’Neill, Arthur Miller (b. 1915) has shown considerable technical variety in his dramatic output, from the Ibsen-type ‘retrospective’ structure of All My Sons (1947), to the nearexpressionism of Death of a Salesman (1949), the quasi-Greek structure, complete with Chorus, of A View from the Bridge (rev. version, 1956), the tightly classical structure of The Price (1968) or the lyrical and dreamlike duet, Elegy for a Lady (1982). Although profoundly American, he has perhaps been appreciated more in Europe than in the United States, at any rate as far as theatrical performance is concerned.
Certain Noble Plays of Japan (1917)
Authors: Yeats William Butler 
Published: November 2023

Abstract
I am writing with my imagination stirred by a visit to the studio of Mr. Dulac, the distinguished illustrator of the Arabian Nights. I saw there the mask and the head-dress to be worn in a play of mine by the player who will speak the part of Cuchulain,1 and who, wearing this noble, half-Greek, half-Asiatic face, will appear perhaps like an image seen in a reverie by some Orphic worshipper. I hope to have attained the distance from life which can make credible strange events, elaborate words. I have written a little play that can be played in a room for so little money that forty or fifty readers of poetry can pay the price. There will be no scenery, for three musicians, whose seeming sunburned faces will, I hope, suggest that they have wandered from village to village in some country of our dreams, can describe place and weather, and at moments action and accompany it all by drum and gong or flute and dulcimer. Instead of players working themselves into a violence of passion indecorous in our sitting-room, the music, the beauty of form and voice all come to climax in a pantomimic dance.
On the Theatre: The Fairground Booth (1913)
Authors: Meyerhold Vsevolod Emilievich 
Published: November 2023

Abstract
The Russian director Vsevolod Emilievich Meyerhold (1874-1942) had been a theatrical innovator long before he was to become the dominant (though never uncontroversial) director in the Soviet theatre of the 1920s and early 1930s. He began his career in 1897 with the Moscow Art Theatre, but broke away from Stanislavsky as early as 1902 to seek out his own defiantly anti-naturalistic path. In his quest for a pure theatricalism unclogged by over-elaborate psychology, Meyerhold looked to older forms of theatre such as the commedia dell’arte, to popular entertainments such as circus and fairground, and to exotic types of performance such as Japanese Kabuki.
A Dramatist’s Notebook (1933)
Authors: O’Neill Eugene 
Published: November 2023

Abstract
I advocate masks for stage crowds, mobs—wherever a sense of impersonal, collective mob psychology is wanted. This was one reason for such an extensive use of them in Lazarus Laughed.In masking the crowds in that play, I was visualizing an effect that, intensified by dramatic lighting, would give an audience visually the sense of the Crowd, not as a random collection of individuals, but as a collective whole, an entity. When the Crowd speaks, I wanted an audience to hear the voice of the Crowd mind, Crowd emotion, as one voice of a body composed of, but quite distinct from, its parts.
Preface and Prologue to The Breasts of Tiresias (1903)
Authors: Apollinaire Guillaume 
Published: November 2023

Abstract
Guillaume Apollinaire (1880-1918), the half-Polish, half-Italian poet (whose medium of expression was French) is remembered less as a playwright than as a journalist, author and editor of erotica, art critic, and highly influential champion of cubism. His play, The Breasts of Tiresias, mostly written as early as 1903, only had one Sunday matinee performance in Paris during the First World War, in 1917; it never had any significant stage history. Nevertheless, it has come to occupy an important place in the formulation of an anti-naturalistic theory of drama, more for its preface and prologue than for the actual text of the play.
Preface to The Immortals (1920)
Authors: Goll Yvan 
Published: November 2023

Abstract
Born in Alsace-Lorraine of Jewish parentage, lwan (or Yvan) Goll (1891-1950) was raised bilingually and wrote in German and French with equal facility. A poet of distinction in both languages (to which he added English during a wartime stay in the United States), he projected himself in the character of Landless John in his writings and borrowed much of the imagery of his late poetry from esoteric sources. His dramatic output was only a small part of his reuvre, but he represents a link between the French and the German avant-garde as well as a transition point between expressionism and surrealism in the theatre. Familiar with the work of Apollinaire in France-he wrote the latter’s obituary in a German paper in 1919-he was the first German author to use the word ‘surrealism’ (Überrealismus).
The Theatre of Cruelty: First Manifesto (1932)
Authors: Artaud Antonin 
Published: November 2023

Abstract
The life’s work of the French actor, author, designer, director, and —above all—theorist of the theatre Antonin Artaud (1896-1948) bristles with paradoxes. Though confined for many years to mental asylums, he had a committed following among the French intellectual elite. Though only fitfully successful as a stage and film actor, indeed a downright failure as a director —neither of his companies, the Theatre Alfred Jarry (1926-9) and the Theatre de la Cruaute (1935), managed to secure a lasting foothold in the theatrical life of Paris —his posthumous influence both inside and outside France has been immense.
An End to Masterpieces (1933)
Authors: Artaud Antonin 
Published: November 2023

Abstract
One reason for the asphyxiating atmosphere in which we live without possible escape or recourse —and for which we are all responsible, even the most revolutionary among us —is this respect for what has already been written, formulated or painted, what has been given form, as if all expression were not finally exhausted and had not reached the point where things must fall apart if they are to begin again.
The Holy Theatre: Happenings (1968)
Authors: Brook Peter 
Published: November 2023

Abstract
In a long directorial career in theatre and opera, Peter Brook (b. 1925) has experimented with a wide variety of styles both in the classical and the modern repertoire. Beginning before the age of twenty, he has worked professionally with hardly a break-in Britain, where he was a director of the Royal Shakespeare Company from 1962 to 1970, in the United States as well as in Paris, where he established the International Centre of Theatre Research in 1970 and has headed an international company ever since. Leading this group of actors from different traditions, he has attempted to cross all but insurmountable cultural divides with productions in Iran and various parts of Africa. By keeping himself constantly open to fresh ideas, he has not allowed his approach to petrify; his justly famous production of Peter Weiss’s Marat/Sade (1964; see p. 247) managed to combine the seemingly incompatible concepts of Brecht and Artaud.
Letter to a Creative Collaborator (1922)
Authors: Toller Ernst 
Published: November 2023

Abstract
The dramatist and poet Ernst Toller (1893-1939), generally classed as one of the leading German expressionist playwrights, was no ivory-tower writer: his prominent involvement with the uprising in Munich in 1918-19 caused him to be gaoled for four years after the defeat of the revolutionaries by government troops. He wrote the contemporary allegory Masses and Man (1920) as well as three further political plays in prison. The production of Masses and Man at the Berlin Volksb ühne in 1921, while the author was still in gaol, represented a milestone in non-naturalistic staging technique, especially in its bold use of spotlights.
Poetics of the Oppressed (1974)
Authors: Boal Augusto 
Published: November 2023

Abstract
Much of the work of the Brazilian theoretician, director and playwright Augusto Boal (b. 1931) represents political theatre at its most direct and committed —an attempt to abolish the gap between performers and spectators to the greatest extent possible. Imprisoned and tortured for his radical views in Brazil in 1971, he spent many years as an exile in Argentina, Peru, and France. His Forum Theatre in Paris (1978-86) developed improvisational techniques involving the audience, problem-solving games intended potentially to change real-life situations. Boal has also worked professionally in different European countries and in the USA. Returning to Brazil in 1986, he founded the Theatre of the Oppressed Centre in Rio de Janeiro. His book, Theatre of the Oppressed, which combines a series of scholarly essays on the European tradition of dramatic theory with a description of his practical work in Brazil, Argentina, and Peru, has been translated into twenty-five languages.
Political Dynamics: The Feminisms (1986)
Authors: Wandor Michelene 
Published: November 2023

Abstract
The poet, critic, and playwright Michelene Wandor (b. 1940), who has written extensively for the stage, for television and radio (including serial dramatizations of literary classics), is a leading British feminist author. The following excerpt from her book on sexual politics and the theatre, Carry on, Understudies, represents an informed and committed insider’s viewpoint. In Look Back in Gender (London: Methuen, 1987) Ms Wandor dealt with questions of sexuality and the family in postwar British drama. She has also run playwriting workshops, given poetry readings, and edited plays by women.
Dynamics of the Sign in the Theatre (1940)
Authors: Honzl Jindřich 
Published: November 2023

Abstract
Jind řich Honzl (1894-1953) differed from other members of the Prague Linguistic Circle to which he belonged, the group of scholars who from 1926 onwards applied the new science of semiotics to a wide range of subjects including theatre, in that he combined an intimate knowledge of stage practice with theoretical scholarship. A writer, teacher, and editor, he was also a stage director who made his mark in Czech theatrical life, his work ranging from proletarian mass spectacles to surrealist productions; as a theorist, he attempted to reconcile surrealism with structuralism. In 1926 he co-founded the Liberated Theatre, which specialized in avant-garde drama.
The Canterbury Tales
Authors: Cooper Helen 
Published: November 2023

Abstract
The writing of the Canlerbury Tales occupied the last dozen or so years of Chaucer’s life. He probably started work on it in the late 1380s; he died in 1400, and it is not known whether he continued working on it until his death. Within this period, all dates are conjectural, and are discussed separately for each tale in the course of the hook. Two of the talcs, the Knight’s and Second Nun’s, were written at some earlier date, and from time to time early composition has been suggested for a number of the others. Many were probably written before a specific place in the sequence was assigned to them, or a specific teller; the General Prologue need not have been written first, nor need the articulating device of the pilgrimage have given Chaucer the idea of writing a story-collection.
The Wife of Bath’s Tale
Authors: Cooper Helen 
Published: November 2023

Abstract
The Wife’s Tale was probably written specifically for her, displacing the tale now told by the Shipman, which seems to have been originally assigned to her. If it was written all at once, including the digression on friars, it is likely to be close in date both to the Prologue and to the Friar’s and Summoner’s Tales that follow it; the Friar’s interjection at the end of the Prologue and the Wife’s response in her Tale link the two together unusually closely.
The Friar’s Tale
Authors: Cooper Helen 
Published: November 2023

Abstract
Like so many links, the Friar’s Prologue starts by looking backwards, but in this instance it looks beyond the preceding tale to the Wife’s Prologue. It is there that ‘scole-mateere’ of ‘greet difficultee’ is found, packed with ‘auctoritees’ (1272–6). His own tale, he promises, will be very different.
The Summoner’s Tale
Authors: Cooper Helen 
Published: November 2023

Abstract
The Summoner’s Prologue binds firmly together the tales that it links: it continues the quarrel between himself and the Friar, and so prepares the dramatic ground for his Tale. The particular example of antifraternal satire given here, that friars are lodged in the devil’s arse, may possibly be a motif invented for the Summoner. The lines are closely cued by the ending of the Friar’s Tale, where Huberd dispatches his villain ‘where as that somonours han hir heritage’—which is very painful—and adds a prayer that Christ may keep ‘us’ (all the pilgrims, that is, except the Summoner) from hell and ‘the temptour Sathanas’. The Summoner’s response shows Satan equally to be the destination of friars.
The Squire’s Tale
Authors: Cooper Helen 
Published: November 2023

Abstract
The Squire’s Prologue, as Ellesmere and other manuscripts call it, is found as a unit in all the manuscripts that contain it; division into Epilogue and Introduction is editorial. Although Hengwrt and some other manuscripts use it to link the Merchant’s Tale to the Franklin’s, with appropriate changes in the names, the content of the lines strongly suggests that Chaucer wrote it with the Merchant and Squire in mind: it refers back to women’s deceits and it specifies the next teller as an expert on love. The logic of the progression of the link is disguised by its splitting in half. The Host avoids giving details of his own wife’s vices because he is sure his tale-telling would get back to her, so he invites instead a tale of love—that is, one that will offer a contrasting positive view of women. The Squire, as befits both his courtesy and his youth, has to be called on to speak: he does not, in contrast to the cherles, volunteer his services.
The Canon’s Yeoman’s Tale
Authors: Cooper Helen 
Published: November 2023

Abstract
The episode of the Canon’s Yeoman is normally divided in modern editions into a Prologue and a two-part Tale. In the first part, the Yeoman recounts his past life; the second part contains his story of a fraudulent alchemist. I shall refer to these two parts as the Life and the Tricks, in the hope that the blatant modernity of the titles will override the false impression, suggested by Ellesmere’s ‘prima pars’ and ‘secunda pars’, that the division must necessarily be Chaucer’s.
The Parson’s Tale
Authors: Cooper Helen 
Published: November 2023

Abstract
All the manuscripts of any significance follow the Manciple’s Tale with the Parson’s, as the first line of the Prologue indicates. The editorial habit of dividing the pair into individual Fragments is due to the inconsistency of the indicators as to the time of day in the prologues of the two tales : it is early morning, ‘morwe’, in the Manciple’s Prologue (IX(H) 15), but four in the afternoon in the Parson’s Prologue—a time confirmed by the calculation Chaucer gives, though most manuscripts specify ten o’clock, the Roman numeral ‘X’ presumably representing a miscopying of ‘IV’ or the tilted medieval form of the Arabic 4. In addition, Hengwrt substitutes ‘Manciple’ in the first line for an erased name. Given the uncertainty of the references to time and place in all the other links, the inconsistencies do not justify disregarding the overwhelming manuscript evidence that the two tales belong together.
Shakespeare’s Theatres and the Evidence of the Texts
Authors: Gurr Andrew , Ichikawa Mariko 
Published: November 2023

Abstract
The nearest thing to copyright protection that operated in Shakespeare’s time was not designed to give authors control over their products. Texts were still thought of principally as manuscripts, unique copies, and the only form of protection that existed was for texts that got into print. Even then the Stationers’ Company, which was responsible for controlling publication in printed forms, in fact served as a monopoly company protected by the government which, in return for its privileged position, did the work of licensing and regulating the 150 or so printers based in London. Printers and booksellers paid fees to register their copy with the company. This gave them a licence to print what and when their judgement of the bookselling market indicated might be profitable. Authors had no say in this process. It was a system designed to control what was printed, and to protect the rights of printers and publishers.
Other Aspects of Shakespearian Staging
Authors: Gurr Andrew , Ichikawa Mariko 
Published: November 2023

Abstract
Everything used to dress and equip the players on the early stages was symbolic. Because resources at the early venues were unpredictable, all the staging had to be flexible and all the properties had to be portable. Every object and item of clothing worked as a signifier. A cloak signified an outdoor location, riding boots indicated a traveller, a night-cap showed someone roused from his bed. Special signifiers augmented the routine signs. A sword in its scabbard made a gentle man, velvet cloth a lady, gold lace a nobleman or woman. A ghost wore a recognizable shroud, ‘antics’ or clowns wore their own distinctly incongruous and old-fashioned suits, Hamlet’s funeral black, Malvolio’s yellow stockings, a lover demonstrating his melancholy by sighing and pulling the brim of his hat down over his face, all these were instant signifiers of mood and plan.