bluuebunny/crossref_metadata_2025_split huggingface dataset:
Anti-Foundationalism, Theory Hope, and the Teaching of Composition
Authors: Fish Stanley 
Published: October 2023

Abstract
In the past twenty years the literary landscape has been transformed by the emergence of theory. Although it remains true that theory is not seriously taught in the majority of our departments of literature and is a regular part of the curriculum in only a few avant-garde outposts, it is nevertheless the case that much of the energy-and especially the polemical energy-in the literary academy is centered on theory; so much so that even those whose acquaintance with theory is second hand regularly debate its value and its consequences. Not surprisingly, the question of theory has found its way into discussions of the teaching and practice of writing, and, also not surprisingly, the appearance of theory in the world of composition has provoked the same expressions of hope and fear that attend its appearance in every other discipline.
Withholding the Missing Portion: Psychoanalysis and Rhetoric
Authors: Fish Stanley 
Published: October 2023

Abstract
I was led to this paper by two moments in the proceedings of the 1958 Style in Language Conference; they are moments in which the topic of persuasion is allowed to surface and then is immediately suppressed. the first such moment coincides with the only substantive mention of Freud at the conference. Roger Brown is discussing the resistance of cognitive psychologists to psychoanalytic procedure in which, it is feared, “anything can mean anything.” Brown replies, in apparent defense of psychoanalysis, that one must take into account the fact that its results are often persuasive, and if they are persuasive there must be a good reason. The reason, he suspects, is that psychoanalytic evidence, while not falling obviously into the linear and logical forms with which we are familiar, must nevertheless be speaking to the criteria by which we determine validity, so that at a certain point it must be the case that the accumulation of evidence reaches a level which satisfies those criteria and at that point persuasion occurs.
Introduction
Authors: Tooke Adrianne 
Published: October 2023

Abstract
The idea for this study sprang in the first instance from a fascination with Flaubert’s works of travel writing. They are wonderful texts, as great in their way as the Correspondance. Unfinished though they are, they are a mine of information and inspiration for the traveller, the general reader, and the scholar. The artcommentaries, which are our main preoccupation here, bring an extra imaginative dimension to visits to museums and art-galleries. Flaubert’s quirky and highly personal approach to art makes his commentaries rank among the most provocative and stimulating I have read. More theoretical considerations inevitably followed on these earlier encounters of a purely pleasurable kind, concerning the relationship between the works of art which Flaubert saw, his descriptions of them, and the development of his own descriptive techniques. Thus, the broader question of the relationship between painting and writing, image and text, came into focus, and of what it means to say that Flaubert is a pictorialist writer.
Images, Memory, and the Imagination
Authors: Tooke Adrianne 
Published: October 2023

Abstract
In the first Education sentimentale (1845), Flaubert set out the blueprint of a system of aesthetics which, though subsequently refined, was never substantially modified, as he later told Louise Colet.1 One of the passages from this early text which relates closely to that system and on which Louise commented was the ‘voyage en Italie’ undertaken by the two main protagonists, Jules and Henry.
Art Commentaries (ii): The ‘Voyage en Orient’, 1849-1851
Authors: Tooke Adrianne 
Published: October 2023

Abstract
The Voyage en Orient introduced Flaubert to a wide range of new forms of pictorial art —new worlds of colour and strange iconography in Egypt, Rhodes, and Asia Minor, new forms of bad art in the churches of the Holy Land, new forms of realism in Persian illuminated manuscripts, new forms of stylization in early Christian mosaics in the churches of Rome.
Had Flaubert pursued his original intention of finishing and publishing his Voyage, it would have been a masterpiece, adding something entirely new to the genre.
The Power of the Image
Authors: Tooke Adrianne 
Published: October 2023

Abstract
All Flaubert’s practising artists are painters. None of them re­presents the ‘Artist’, in the usual sense, about whom there is noth­ing to be said. The ‘Artist’ is a non-subject, the only true monster, genuinely outside the system: ‘L’artiste, selon moi, est une mon­struosit é, —quelque chose de hors nature’ (CI 720).2 The average practising artist, whether professional or amateur, is less ‘artistic’ (‘quels imb éciles sont les peintres’) than those who confine them­selves to imaginary art works —visions, fantasies, and dreams. The archetypal practising artist is of course Pellerin.
Love stories: Annie Ernaux’s Passion simple (1991)
Authors: Davis Colin , Fallaize Elizabeth 
Published: October 2023

Abstract
Stendhal’s endeavour to theorize, and so at once to promote and to contain, love is not in itself unprecedented. On the contrary, from the codifications of medieval courtly love to the seventeenth-century carte de Tendre and beyond, writers have played with—or preached—the possibility of systematizing lovers’ behaviour within explicit rules and repeatable models. More specifically, Stendhal is a pupil of the eighteenth-century Ideologues, proponents of a science of man according to which all mental operations might be apprehended following a rational methodology. What is at stake here, in part, is the power of observation and reason: humankind, in even its most intimate and private emotions, is seen to be essentially unified, reacting (even when appearances suggest otherwise) according to shared patterns which can be dispassionately chronicled and rationally explained.
Heritage, History and ‘New Realism’: French Cinema in the I 990s
Authors: Powrie Phil 
Published: October 2023

Abstract
Continuity and difference, the subtitle of this volume, are terms used by Susan Hayward in her introduction to French National Cinema. As Hayward points out, however, the issue of a national cinema is a complex one, and not always useful in defining the panorama of French film production at any given time. At best one might be able to distinguish a mainstream cinema, or cinema of the ‘centre’, as Hayward calls it, following Gauthier, and a vaguely oppositional cinema of the ‘periphery’ (Hayward 1993: 13). And yet the terms continuity and difference can be profitably used, less in relation to defining any national specificity than in isolating certain key moves in the complex network formed by French film production in the 1990s, which is the focus of this volume. In what follows, I shall outline these key moves, linking them to social and political factors, before returning to the issue of ‘national’ cinema.
‘Dusting off’ Dehousse: Un h éros tr ès discret (Audiard, I996)
Authors: Lauten Kathryn M 
Published: October 2023

Abstract
The director of Un h éros t èes discret (1996), Jacques Audiard, is quoted in the press releases for this film as saying, ‘I remember very clearly the first time I read the book by Jean-Fran\’.ois Deniau, as it reminded me of why the 1944-45 period had always fascinated me. It was then that the biggest lie of our generation was create theidea of France resisting, the idea of France at the victor’s table. The lie of France as a war resister ... a country that after five years of zealous collaboration tries to reconstruct its identity and its virtue around a great lie.’ Certainly when the novel was published in 1989 the idea that France had woven a post-war tale of non collaboration was not new, and certainly the examination of this phenomenon in the 1996 film is not ground-breaking.
Right-Wing Anarchism and Le Bonheur est dans le pr é (Chatiliez, I995)
Authors: Reader Keith 
Published: October 2023

Abstract
LE Bo NH Eu R est dans le pr é was Étienne Chatiliez’s third, and at the time of writing last, feature film, following on La Vie est un long fleuve tranquille (1988) and Tatie Danielle (1990). La Vie est un long fleuve tranquille, made on a shoestring budget using largely unknown actors, was the surprise box-office hit of its year in France, where its acerbic family romance in which two children from families at opposite ends of the social scale are exchanged at birth clearly struck a number of chords.
Besson’s ‘Mission Elastoplast’: Le Cinqui ème él ément (I997)
Authors: Hayward Susan 
Published: October 2023

Abstract
LE Cinqui ème él ément continues the tradition begun with Le Grand Bleu of ‘serious’ critics trashing Besson’s work, but popular audiences acclaiming it in their millions. The film is Besson’s most audacious coup to date: a French-financed blockbuster, a special effects film that beats Hollywood at its own game. Completely financed by the French producers Gaumont for 500 million francs ($90 million), it had already made its money back in pre-production sales before Besson had shot his first image, a phenomenon unheard of in the French film industry. Criticized for not being ‘French’, because the dialogue is in English and the setting a futuristic New York of the twenty-third century,
‘Il N’y A Plus Nobles Logiz Que Sont Cons’: The Body As A Building (I)
Authors: Cowling David 
Published: October 2023

Abstract
‘This humorous celebration of the female anatomy, attributed to the Burgundian indiciaire Jean Molinet, hinges around a metaphor whose wide diffusion at the end of the Middle Ages made it a vehicle for bawdy wit and fi:)r serious moral teaching, for secular narratives of the sexual act and for devotional instruction on the threats to female chastity. Sometimes, as in the case of Molinet, the work of a single writer il1ustrates both extremes, bridging the ideological gap that separates secular allegories from their devotional counterparts (which will be discussed in the next chapter).
Negotiating Agency: Ana Mariscal
Authors: Martin-Marquez Susan 
Published: October 2023

Abstract
How has Rosario Pi’s career been ‘read’ in more recent years? Other than the exceptional analyses of El gato mantés undertaken by Caparrós Lera and Gubern, Pi generally garners only the briefest of mentions in Spanish film criticism, and the information which theorists do choose to emphasize is sometimes surprising.
Melodramatic Feminism: The Popular Fiction of Carmen de Burgos
Authors: Louis Anja 
Published: October 2023

Abstract
At first sight the phrase ‘melodramatic feminism’ might appear to be a contradiction in terms. While melodrama is associated with the feminine because of its concern with the display of emotion, its politics are often regarded as escapist and reactionary and thus likely to work against a feminist agenda. I hope in this essay to justify my use of the phrase ‘melodramatic feminism’ and its relevance to the popular novellas of the early twentieth century feminist campaigner Carmen de Burgos. My discussion is divided into two parts. First, I discuss Peter Brooks’s key concept of melodramatic excess. I shall take two features of melodrama that are usually seen as negative—its manichaean world view and its rhetorical excess—and show how they are used positively both in Brooks’s theories and in de Burgos’s 1921 novella El artículo 438. Since Brooks does not deal with gender issues, the second part of my discussion draws on Tania Modleski’s feminist analysis of romance and the Gothic novel, and on the work of other feminist critics as appropriate.
Good Girls go to Heaven: The Venerable Mari Carmen González Valerio y Sáenz de Heredia (1930–1939)
Authors: Harvey Jessamy 
Published: October 2023

Abstract
A small devotional card distributed by a convent of the Discalced Carmelite Order in Aravaca, Madrid, features the portrait of a solemn little girl, around 4 years old, under the phrase: ‘El mejor adorno en una niña es la virtud’ [The greatest embellishment in a little girl is virtue]. Printed on the reverse of this card is a prayer of intercession for divine graces or favours to be channelled through the Venerable Mari Carmen González Valerio y Sáenz de Heredia (1930–9), a Spanish child whose heroic virtues were approved in Rome in 1995, and who was declared Venerableby Pope John Paul II the following year. The devotional card attempts to resemble in appearance an illuminated manuscript; the initial letter of the prescriptive phrase is an ornate calligraphic design of multicoloured leaves on a vellum tinted background. This collaboration between words and image serves an eternalizing function bridging religion, history, and femininity, and because the card is an example of what David Morgan (1998) calls ‘visual piety’—the process of social con struction that is encoded in the visual culture of religion—it is a primary document in understanding the construction of a particular identity: the good Catholic girl.
The Guggenheim Museum Bilbao: High Art and Popular Culture
Authors: Deros Xon 
Published: October 2023

Abstract
Cultural icons are central to the definition of national heritage. They are instrumental in projecting the nation’s image into a discursive space and are therefore the object of governmental attention and the subject of cultural policy. The emergence of a cultural icon is a complex phenomenon related to both public perception and the politics of nationalism. The issue becomes more problematic when the icon a society collectively comes to adopt as part of its cultural patrimony is an import, as exemplified in the controversies surrounding the public funding of foreign art. Cultural technologies such as the museum, the art gallery, and the exposition play an important role in the process of naturalization through public display.
End of the Line
Authors: Smith G S 
Published: October 2023

Abstract
There are individuals in all human societies who become legendary: thoughts and deeds are attributed to them by popular invention, embroidered, and passed on through various channels. Soviet society was particularly active in creating legends. The reasons are not far to seek. The public media were efficiently censored, and very little of normal human interest could be written about or permanently recorded in other publicly accessible ways. For reasons as much to do with long-standing notions of propriety as with official censorship, information about such matters as the private lives of eminent individuals was never committed to print. But people naturally speculated about these things, and the smallest scraps of information were transformed into fullblown narratives.
The Architecture of Norman England
Authors: Fernie Eric 
Published: October 2023

Abstract
This important addition to the literature is the first overall study of the architecture of Norman England since Sir Alfred Clapham's English Romanesque Architecture after the Conquest (1934). Eric Fernie, a recognized authority on the subject, begins with an overview of the architecture of the period, paying special attention to the importance of the architectural evidence for an understanding of the Norman Conquest. The second part, the core of the book, is an examination of the buildings defined by their function, as castles, halls, and chamber blocks, cathedrals, abbeys, and collegiate churches, monastic buildings, parish churches, and palace chapels. The third part is a reference guide to the elements which make up the buildings, such as apses, passages, vaults, galleries, and decorative features, and the fourth offers an account of the processes by which they were planned and constructed. This book contains powerful new ideas that will affect the way in which we look at and analyse these buildings.
Castles, Halls, and Chamber Blocks
Authors: Fernie Eric 
Published: October 2023

Abstract
There were few purely military buildings in Norman England. This may sound a surprising claim to make of a people renowned for their castles and attachment to warfare, but it is none the less justified, as few castles have defence as their primary function. The breakdown of the authority of the Carolingian Empire from the mid-ninth century onward produced a new type of building in which the functions of a residence, a centre of government, and a fortification were brought together. These differed from the fortifications of the Roman world which were either communal, as in the case of city walls, or largely military, as with the forts of the army. This new type has come to be called the castle, although the terms castrum and castellum had wider meanings in the Middle Ages, including fortified towns and monasteries. One of the key considerations in understanding this type of the fortified residence is whether the military elements, such as thick walls, narrow windows, fore buildings, and machicolations, were primarily for military purposes or primarily for display.
The Radical Solution: The Anabaptists
Authors: Hamilton Alastair 
Published: October 2023

Abstract
In their treatment of the authority of the Church, Catholic admirers of 2 Esdras acted with circumspection and respect. But the matter of authority, which had been raised by Luther and his followers and culminated in Luther’s official break with the Church of Rome in 1521, was to come to the fore repeatedly in the course of the long history of the Reformation and would also be approached far more radically. One of the first conflicts within the Protestant camp, which would lead to a lasting schism and a fundamental rejection of the authority most Protestants accepted, was the work of the movement known as Anabaptism. In it 2 Esdras was to occupy a prominent position.
General Bibliographies Of And Guides To British Literature
Authors: Howard-Hill T H 
Published: October 2023

Abstract
6 Thompson, James. English studies; a guide for librarians to the sources and their organisation. [2d ed. rev. and enl.). London, C. Bingley, 1971; [Hamden, Conn.], Linnet books, [1971). (First pub. with var. title, 1968). 155p. 21cm. 7 Kennedy, Arthur G. and D.B. Sands. A concise bibliography for students of English. 5th ed. rev. by William E. Colburn. Stanford, Calif., Stanford U.P., 1972. (First pub. 1940; 4th ed. 1960). ix,3oop. 21cm. 8 Howard, Patsy C. Theses in English literature, 1894-1970. Ann Arbor, Mich., Pierian pr., 1973. xix,387p. 23cm.
General And Period Bibliography
Authors: Howard-Hill T H 
Published: October 2023

Abstract
257 Birley, sir Robert. One hundred books, selected [from Eton college library] and annotated .... Eton, Ptd. for the provost & fellows, 1970. (Preliminary ed. 1969). 44p. facsim. 23cm. (Eton college collections. Occas pubs. 2). Covertitle. 258 Kendall, Lyle H. A descriptive catalogue of the W.L. Lewis collection: part one, manuscripts, inscriptions, art. [Many association copies]. [Fort Worth, Texas Christian U.P., 1970]. xiv,196p. facsims. 24cm. Rev: J.T. Bratcher Pa Bib Soc Am 64:379–82 ‘70.
Book Production And Distribution
Authors: Howard-Hill T H 
Published: October 2023

Abstract
962 Parks, Stephen. The English book trade, 1660–1853; 156 titles relating to the early history of English publishing, bookselling, the struggle for copyright and the freedom of the press. Repr.... in 38 vols. Ed. with bibliographical notes, by Skphen Parks. [New York], Garland, [1973?]. [20]p. illus. 22cm. 963 National book league, LONDON. One hundred and one books on the book trade; a selective annotated list of British books published in the last twenty years comp. by the staff of the Mark Longman library and Book information service. [2d ed.] London, Mark Longman library, National book league, 1978. (First pub. 1977). 26p. 20cm.
Anglo-Latin in the Ricardian Age
Authors: Rigg A G 
Published: October 2023

Abstract
The details of the threnody are unclear: does the pristine eloquence of the ancients perish in the darkness because no one reads them or because no one writes like them anymore? Cicero is absent (since there are no orators like him), but Virgil laments and Ovid banishes his own songs (since no one appreciates them).
From ‘Ricardian Poetry’ to Ricardian Studies
Authors: Morse Charlotte C 
Published: October 2023

Abstract
In publishing Ricardian Poetry, John Burrow offered the term ‘Ricardian’ as a replacement for the familiar ‘Age of Chaucer’. As much as any recent theorist of literature, Burrow had a political agenda within English studies. By elevating Chaucer’s three major contemporaries to something like parity with him and perceiving these four major Middle English poets as constituting a period, Burrow hoped to enhance the status of medieval English literature in the larger field of English literature.
Case Study I: Howards End
Authors: Higson Andrew 
Published: October 2023

Abstract
Howards End, one of the best known and most commercially successful heritage films, was released in 1992, at the tail-end of the Thatcherite period, a year after Margaret Thatcher’s downfall. Directed by James Ivory, produced by Ismail Merchant, and scripted by Ruth Prawer Jhabvala for Merchant Ivory Productions, it’s a very tasteful adaptation of Forster’s novel about Englishness, class, tradition, and modernity. There had of course been three other Forster adaptations in the previous few years. David Lean’s A Passage to India had appeared in 1984. The other two were both Merchant Ivory productions, A Room with a View (1986) and Maurice (1987); as we’ve already noted, the former proved an immense critical and box-office success for a low-budget literary adaptation. A fourth Forster adaptation, Charles Sturridge’s Where Angels Fear to Tread (1991), was released in Britain while Howards End was in production (it was released in the USA at the same time as the Merchant Ivory film), prompting cries of ‘Forstermania’. In each case, while Forster had set the novel in what for him was the present day, the film became a period piece, set in the past.
The Wit and Weight of Clarendon
Authors: Ricks Christopher 
Published: October 2023

Abstract
And as for books, if you had to choose between the serious study and the amusing gossip, say, between Clarendon’s History of the Rebellion and John Aubrey’s Scandal and Credulities, wouldn’t you choose the latter? Of course you would! Who would rather learn the facts of Augustus’ imperial policy rather than discover that he had spots on his stomach? No one. Fortunately, in the real world, as against the world of bluff broadcasting, we do not have to choose between Clarendon and Aubrey. Yet we must admit that in one respect their very different styles invite the same question: are we delighting in an inadvertence, a fluke, rather than in any intended effect? Those who still hold to the belief that it is possible for a reader to take an unwarrantable pleasure in a writer’s words are not obliged to equate intention with fully conscious decision; felicities are a coinciding of the happily unplanned with the deliberated. But Aubrey thrusts upon us the choice between apprehending his prose as genius or as ingenuousness.
Victorian Lives
Authors: Ricks Christopher 
Published: October 2023

Abstract
Condescension has long been visited upon biography, especially Victorian. Virginia Woolf began her essay on ‘The Art of Biography’ (1939): ‘The art of biography, we say-but at once go on to ask, Is biography an art? The question is foolish perhaps.’ No, not perhaps. Humphry House, in ‘The Present Art of Biography’ (1948), added a word to Virginia Woolf’s title, but not a word of dissent: ‘biography should not properly be spoken of as an art. An artist creates his own limits without the violation of anything except his own larger designs.” The show of reason always proffered is that biography, unlikethey say-art (or unlike literature), is fettered to facts. But the glum power of ‘fetters’ would be changed if we thought rather of bonds, that is of relations and restraints which certainly may thwart but which may be ties that rightly bind, the conditions of responsibility, love, respect for things other than one’s ‘own larger designs’, and such service as is perfect freedom.