bluuebunny/crossref_metadata_2025_split huggingface dataset:
Street-fighting Years (II): Baudelaire and the Second Republic, 1849-1852
Authors: Burton Richard D E 
Published: November 2023

Abstract
Whatever advance signs we may discern in the letter of December 1848 of Baudelaire’s eventual ‘depoliticization’, there can be no doubt, Louis Napoleon’s massive victory notwithstanding, as to the continuing intensity of his radical beliefs in early 1849.
Baudelaire and Proudhon (I): ‘Châtiment de l’orgueil’ in Context
Authors: Burton Richard D E 
Published: November 2023

Abstract
Few readers of Les Fleurs du mal, one imagines, would disagree with F. W. Leakey’s verdict that, considered from a purely aesthetic viewpoint, ‘Chiitiment de l’orgueil’ (first published in June 1850 and included as poem XVI in both the 1857 and 1861 editions of Les Fleurs du mal1) ‘must be counted amongst the weakest that Baudelaire wrote’.
Morphology
Authors: Fox Anthony 
Published: November 2023

Abstract
One complaint often made by learners of German is that it has ‘a lot of grammar’. This is, of course, somewhat misleading, since all languages are complex and difficult for foreigners to learn, and there is no evidence that, taken as a whole, any language is significantly more or less complex than any other; all languages have ‘a lot of grammar’. What is usually meant by this remark is that German has a particularly complex word structure, and in this respect certainly it may be said to be rather more complex than some other languages, including English. As we noted in Chapter 1, it is customary to divide grammar into two basic parts, morphology and syntax, the former dealing with word structure, the latter with the structure of sentences. Since German words may be quite complex, morphology is an important part of the description of the language, and we shall need to examine these complexities in some detail. In this chapter we shall attempt to identify the various components of German word structure, and consider the ways in which these components may be combined together.
Syntax
Authors: Fox Anthony 
Published: November 2023

Abstract
The study of grammatical structure is conventionally, and conveniently, divided into two parts, morphology and syntax, the former, which we considered in detail in Chapter 3, dealing with the structure of words, the latter, to which the present chapter is devoted, dealing with the structure of sentences. Morphology and syntax have many features in common: they are both concerned with grammatical entities and with the principles that underlie their combinations. But words and sentences are rather different kinds of units; words are not only very much shorter and simpler than the majority of sentences, they are also much more stable and fixed in their structure, offering fewer possibilities for innovation and improvisation. The more complex and much freer structure of sentences makes syntax a rather different kind of subject from morphology, requiring a different type and wider range of descriptive concepts and categories.
Introduction
Authors: Beaton Roderick 
Published: November 2023

Abstract
This book aims to provide a new overview of Greek poetry and prose fiction since approximately the time that the Greek nation-state came into existence in the 1820s. The purpose of this introductory chapter is, first of all, to set out the reasons why such an overview is necessary and timely, and secondly to explain the perspective, and the self-imposed limitations, which are integral to this particular attempt. It should be declared from the outset that this book has been conceived as a contribution to literary history (as opposed, say, to literary criticism or literary theory). By literary history I mean the whole network of interrelationships through which writings are linked both with one another and with the wider history of the culture of which they form a part. In this sense, literary history is by no means a mere chronicle of names and dates; in particular, it involves critical reading of texts which it may often seek, as criticism does, both to interpret and to evaluate. But interpretation and evaluation, in this book, will always take place against a background of a specific historical context, which defines both the production and the reception of the literary work.
Literature for a New Nation I82I–I88I
Authors: Beaton Roderick 
Published: November 2023

Abstract
Greece was the first of the European nation states to emerge out of the break-up of the multi-national empires of the eighteenth century. From 25 March 1821, the conventional date of the Greek revolt against the ruling Ottoman empire, it took seven years for the new state to win grudging international recognition, and it was not until 1832 that a system of government (monarchy) and stable frontiers were agreed by the Great Powers. The kingdom that was inaugurated in 1833 under the young King Otho of Bavaria was much smaller than Greece today, and many more Greeks (defined by language and religion) lived outside its borders than within. The northern frontier at this time ran from just south of the town of Arta in Epiros in the west, to the southern end of the bay of Volos in the east, and the only islands included were Evia (Euboea), the Sporades, and the Cyclades.
National Expansion and its Limits: From ‘Great Idea’ to Aftermath of Disaster I88I–I928
Authors: Beaton Roderick 
Published: November 2023

Abstract
The annexation of the rich agricultural province of Thessaly in 1881, although the result of Great Power diplomacy rather than of military success, appeared to the Greeks of the time as the first tangible proof that territorial expansion was a realizable goal. The need to extend the geographical frontiers of the new state had been implicit almost from the beginning, and it had been during the deliberations on the first constitution, in 1844, that the classic formulation of the Greek irredentist call had first been made. ‘Greece’, according to this formulation, did not mean only the kingdom of that name, but included all the Greek-speaking communities of the Ottoman empire as well. The goal of national policy was therefore to ‘redeem’ those Greeks living beyond the confines of the nation state, and in particular to re-establish Constantinople, the seat of the Ecumenical Patriarchate of the Orthodox Church and once the capital of the Greek-speaking empire of Byzantium, alongside Athens as the twin centres of this wider Hellenism.
In Search of a New National Identity 1929–1949
Authors: Beaton Roderick 
Published: November 2023

Abstract
Since the founding of the Greek state, political and cultural life in Greece had often been riven by sharply polarized divisions. But until the collapse of the irredentist dream in 1922 these divisions had been about means rather than about ends. The seeds of a more fundamental, and traumatic, division were sown in the National Schism of 1915-17, when the opposing views of King Constantine I and his prime minister, Venizelos, over Greece’s entry into the First World War also brought to the surface deeper divisions about the kind of nation that Greece was or should be, and about how it ought to be governed. The ensuing instability of the monarchy throughout the period covered by this chapter is only a symptom of a more fundamental disunity, this time about ends rather than means, that continued well beyond the end of the Second World War, up to the early 1970s.
The Aftermath of War and Civil WarI949–I967
Authors: Beaton Roderick 
Published: November 2023

Abstract
Despite the determination of the older generation of poets and novelists, during the years of occupation and the slide into civil war, to see the present trials of their country as the darkness before the dawn of a new period of reconciliation, the 1940s in reality proved to be a decade of disintegration unprecedented in Greece in modern times. The most visible consequence of the civil war of the late 1940s was the intense and continued political polarization, whose origin was described in the previous chapter. Between 1947 and 1974, when the Communist Party was outlawed, the face-off between the victorious Right and the obstinate rump of the Left which, particularly in intellectual circles, refused to lie down and admit defeat, reflected in miniature the stalemate in Europe as a whole throughout the cold war.
Making Space
Authors: Knight Diana 
Published: November 2023

Abstract
IT is ironic that Barthes’s structuralism, even as it harnessed semiology to the cause of ideological mystification, should have come under attack on the grounds that spatial structures are static, that they set aside time, and that those who analyse them therefore turn their backs upon history and change. If space along with language and sexuality-is one of the crucial dimensions of Barthes’s engagement with utopia, it is precisely because space is as socially and historically marked as everything else.
Charles Fourier: ‘An Inventor not a Writer’
Authors: Knight Diana 
Published: November 2023

Abstract
THE crux of Barthes’s inspired and very important reading of Fourier is his recognition that a set of idiosyncratic writing strategies could be the central ingredient of a political and ethical vision. That it is difficult to spell out a foll description of Fourier’s self-consciously mad cosmogony may explain why non-French commentators on utopia do not always recognize his importance, even if censorship, the relatively recent publication of New Amorous World, and the unavailability of translations may also have played a part here. For Barthes is right that there is not really a summarizable ‘content’ to be found in Fourier’s texts, and that the experience of reading him is above all a bizarre engagement with the experience of writing a utopia.
An Unhappy Sexuality: Morocco
Authors: Knight Diana 
Published: November 2023

Abstract
‘FouRIERIST pleasure is the end of the tablecloth: pull the slightest futile incident, as long as it concerns your happiness, and all the rest of the world will follow’ (SFL 80 / 85). In his own engaging and skilfully developed example, Barthes imitates Fourier’s practice of elaborating an entire social system on the basis of a trivial personal preference.
The Period in Close-up
Authors: Kay Sarah , Cave Terence , Bowie Malcolm 
Published: November 2023

Abstract
The oldest document to record this emergent French includes it alongside Latin and German: the Strasburg Oaths of 842 constitute a treaty sworn between two of Charlemagne’s grandsons, Louis and his brother Charles the Bald, against the third, a treaty which conﬁrms the division of Charlemagne’s empire into three. The framing description of the oath-taking is in Latin. But to guarantee public understanding and witness, each ruler pronounces his oath in the tongue of his brother’s supporters: the German Louis swears in French as do the supporters of the French Charles, while Charles swears in German in the same way as the supporters of the German Louis.
Overview of the Period
Authors: Kay Sarah , Cave Terence , Bowie Malcolm 
Published: November 2023

Abstract
The Revolution of 1789 represents an exemplary moment of discontinuity in the social and political history of France, and certain of its con- sequences are still unfolding over two hundred years later. If we look closely at the events and personalities of the Revolutionary decade we can see all manner of institutional, artistic, and intellectual survivals from the ancien régime, but for most practical purposes it makes more sense to think of 1789, in the manner of the Revolutionaries themselves, as the beginning of a new epoch. Social changes that had previously been the stuff of fantasy suddenly became possible. And, together with the American revolution of the previous decade, the upheaval of 1789 became the inspiration and the model for later revolutions in France and around the globe. In the ferment of these extraordinary times, a variety of new social roles became available to writers, and French literature became a scene of paradox, contradiction, and restless formal innovation.
The Associated British Picture Corporation
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
THE Associated British Picture Corporation (ABPC) was, like Rank, principally a cinema company with a production appendage. Its output was markedly smaller than that of British Lion, as during the 1950s it only invested in between four and six first features a year. ABPC was built up during the 1930s by the Glaswegian solicitor John Maxwell. His original aim was not just to make films to show in his cinemas, but to provide employment for skilled film technicians and manual workers. During the immediate post-war years, ABPC’s production losses regularly exceeded any profits it made from distribution, and it was not until 1950-1 that the two combined activities made a profit. Even though the company continued to make small profits on production alone, it had still not recouped its large post-war losses by1957. In order to try and ensure permanent employment for its workers, the company also hired out its Elstree studios to independent producers and kept under contract a small roster of actors that it could either use in its own productions or hire out to other companies. The latter included stars such as Audrey Hepburn, Richard Todd, and Sylvia Syms and contract artistes such as John Fraser, Susan Stephen, George Baker, and Janette Scott, who appeared in many of its films.
Catherine and ‘Victor)
Authors: Segal Naomi 
Published: November 2023

Abstract
I believe my great intellectual debt to Gide consists in this: he taught me never to be satisfied with ready-made ideas. I know I am not alone in having him to thank for that high standard. If he answered some of the questions I had begun to ask myself, he raised others, but he did it in such a way that I thought they were spontaneous, just as I believed the answers he had hinted to me were all out of my own head. Though less obvious than Socrates ‘ method of persuasion, his was for that very reason more effective: he made you enter into the game far more actively than all those ‘lvlost assuredly, Socrates ‘ or ‘I can see no objection in accepting that ‘. It was up to you to raise the objections, and it was you too who, with his guidance, provided the answers. He was the perfect example of that freedom, that lack of inter¬ference that he himself claimed as a right-more than a right: the obliga¬tion to think for oneself. He presented the method and showed how it should be applied.
Texts, Scores, and Musicians
Authors: Walls Peter 
Published: November 2023

Abstract
The soothsayer’s comment on the final reconciliation in Cymbeline comes after the descent of Jupiter in the vision scene; like so many of the climactic moments in Shakespeare’s late plays, it is shaped by the court masque. This is not simply a matter of borrowing clearly recognizable elements from masque devices, but a way of using these features to allude to the ethos of the masque-an assertion that just, benevolent, and cohesive human government participates in a much larger order. The image of such government as divinely inspired music permeates masque texts in the Jacobean and Caroline period and it endows the music heard in those entertainments with an immediate and vital significance.
Masques away from Whitehall
Authors: Walls Peter 
Published: November 2023

Abstract
The Jacobean masque was an invention specifically tailored to the tastes, aspirations, propaganda goals, and-not least-the resources of the court at Whitehall. But a great number of masques were in fact devised for performance elsewhere.All of these were inevitably adaptations of the Whitehall form—but they are so various (some grandiose, some technically modest yet intellectually sophisticated, some naïve) that they seem at first to form a confusingly miscellaneous group.
Wesley the Romantic
Authors: Horton Peter 
Published: November 2023

Abstract
LOOKING back at Wesley’s life and music we are faced with a remarkable paradox-a minor composer who, by developing an individual and instantly recognizable musical style, outshone many possessed of greater technical skill. That he did so in the isolated and circumscribed field of Anglican cathedral music makes it difficult, however, to assess his standing in a broader, European context. Difficult, but not impossible, as early in his career he regularly employed the (predominantly German) lingua franca, as familiar in Berlin, Paris, or Vienna as in London. But even in the 1830s this was regularly combined with an old-fashioned and typically English ingredient-a fondness for counterpoint-to fashion a unique blend of ancient and modern. And it was in his grafting of a contemporary harmonic vocabulary on to an old-fashioned contrapuntal technique-what could be described as ‘progressive conservatism’-that Wesley’s originality lay. Among those who commented on this marriage of the old and the new was Spohr, who noted that the sacred works were ‘distinguished by their dignified and, frequently, antique style … [with] rich and choice harmonies, and … surprizing … modulations’.
Bristol
Authors: Spink Ian 
Published: November 2023

Abstract
Despite the fact that Bristol was one of the largest cities in England, the musical establishment of the cathedral was one of the smallest. It was in its parish churches that the importance and prosperity of the city was reflected, there being according to Lieutenant Hammond in 1634 ‘18 Churches, which all are fayrely beautify’d, richly adorn’d, and sweetly kept, and in the major part of them, are neat, rich, and melodious Organs, that are constantly play’d on’.1
Exeter
Authors: Spink Ian 
Published: November 2023

Abstract
Lieutenant Hammond and his party visiting Exeter in 1634 noted ‘a delicate, rich and lofty organ’ in the cathedral, with pipes ‘of an extraordinary length and of the bigness of a man’s thigh’. He observed further that ‘with their viols and other sweet instn1ments, the tunable voices and the rare organist, together make a melodious and heavenly harmony, able to ravish the hearer’s ears’.
Salisbury
Authors: Spink Ian 
Published: November 2023

Abstract
At Archbishop Laud’s visitation in 1634 the choir of Salisbury consisted of ‘six vicars chorall, wch are to be in holy orders, seaven singing men, which are not required to be in holy orders and six choristers of wch seaven singing-men, one is teacher of the choristers, and another organist’. By this time the ‘singing men’, originally members of the college of vicars, had become mere stipendaries. By September r66r there were four vicars choral, six lay vicars, and seven choristers; and once the full number had been reached, it was more or less maintained throughout the period. In 1686, for instance, the vicars comprised the statutory six priests and seven laymen (each paid ꌕ20 a year), all of whom were said to be satisfactory in their attendance, though most of the priest vicars served parishes dose by. At that time the choir was made up of seven trebles, four countertenors, four tenors, and five basses.
York
Authors: Spink Ian 
Published: November 2023

Abstract
One of Thomas Mace’s great musical experiences occurred at York m 1644 during the siege.
Now here you must take notice, that they had then a Custom in that Church, (which I hear not of in any other Cathedral, which was) that always before the Sermon, the whole Congregation sang a Psalm, together with the Quire and the Organ; And you must also know, that there was then a most Excellent-large-plump-lusty-full-speaking-Organ, which cost (as I am credibly informed) a thousand pounds.
Music, Imagination, and Culture
Authors: Cook Nicholas 
Published: November 2023

Abstract
It is a common experience that words are inadequate for music; there seems always to be a disparity between how music is experienced, and how it is described or rationalized. This book is a study of musical imagination. Different musical cultures embody different ways of imagining sound as music, and thus every culture creates its own distinctive pattern of discrepancies between image and experience - discrepancies which are reflected in theoretical thinking about music. Drawing on psychological and philosophical materials as well as the analysis of specific musical examples, Nicholas Cook makes a clear distinction between the province of music theory and that of aesthetic criticism. In doing so he affirms the importance of the `ordinary listener' in musical culture, and the validity of his or her experience.
Introduction
Authors: Cook Nicholas 
Published: November 2023

Abstract
The main theme of this book is the difference between how people think or talk about music on the one hand, and how it is experienced on the other.
It is of course a general phenomenon, and not one confined to music, that words and images rarely if ever express quite what they are meant to. They distort the experiences that they are intended to represent, either through carrying false or unintended meanings with them or through leaving unexpressed the finer shades of what was intended. But in the case of music the problem of experience and its representation is so pressing and so specific that some theorists, like the ethnomusicologist Charles Seeger, have questioned the degree to which words can be regarded as capable of expressing musical experiences at all.
Palestrina
Authors: Williamson John 
Published: November 2023

Abstract
For most musicians outside the German-speaking world, Pfitzner’s name lives through his third music-drama, Palestrina. Deservedly this stands unchallenged as the peak of his art; Palestrina is not merely a music-drama (or musical legend, to use Pfitzner’s description), but a reflection (not a representation) of the Weltanschauung expressed in the composer’s prose works. It has been compared on dramatic grounds with the masterwork of his rival, Busoni’s Doktor Faust, but whatever the general validity of such comparison, major qualifications have to be expressed.
Ownership, Management, and Finances
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
The most crucial event in the history of opera in late eighteenth-century London was the sale of the King’s Theatre and its opera company to a partnership headed by Richard Brinsley Sheridan in 1778. The sale itself is well known, though its significance has never been recognized. Sheridan took little part in the management of the opera-house, and he sold out after just three seasons. But the catastrophic tangle of debt he left behind was to haunt Italian opera in London for nearly seventy years.
Opera under Taylor and his Trustees (1781–1785)
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
Few periods in the history of the King’s Theatre can match the four seasons between 1781 and 1785 for managerial chaos and artistic indirection. The emergence of William Taylor in autumn 1781 as the principal proprietor in succession to Sheridan and the series of unmitigated financial disasters that followed have already been discussed in Chapter 2. Their effect on opera production was not, however, straightforward and did not prove immediately disastrous.
Fire and Rebuilding, 1789–1791
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
The Gallini regime was rudely interrupted on 17 June 1789 when the King’s Theatre, Haymarket, burned to the ground. The company’s debts were upwards of £100,000, and unpaid interest was spiralling them ever higher. The budget cap of £18,000 per annum necessitated economies that made the audience restive, and Gallini himself was personally unpopular.