bluuebunny/crossref_metadata_2025_split huggingface dataset:
Conceptions of the Word: The Mother Tongue and the Incarnation of God
Authors: Watson Nicholas 
Published: November 2023

Abstract
This paper is one in a series written to lay the groundwork for a book which has the working title ‘Balaam’s Ass: Vernacular Theology in Medieval England’. In particular, it forms half of a diptych of papers whose joint theme is the theological meanings of the vernacular; the other is ‘Visions of lnclusion: Universal Salvation in Pre Reformation England’, Journal of Medieval and Early Modern Studies 27 (1997), 145-87. Other papers whose concerns overlap with this one are The English Mystics’, in David Wallace (ed.), The Cambridge History of Medieval English Literature: Writing in Britain, Io66-I547 (Cambridge, forthcoming); and ‘Censorship and Cultural Change in Late-Medieval England: Vernacular Theology, the Oxford Translation Debate, and Arundel’s Constitutions of 1409’, Speculum, 70 (1995), 822-64. Early versions of parts of the paper were read at ‘The Cultural Work of Ritual, Symbol, and the Other’, University of Western Ontario (London, Ontario, Canada) in February 1995; at ‘Women in the Christian Tradition’, European Science Foundation Conference (Strasbourg, France), October 1995; and to the medieval seminar at Berkeley, California, in March 1996.
Childhood, Pedagogy, and the Literal Sense: From Late Antiquity to the Lo/lard Heretical Classroom
Authors: Copeland Rita 
Published: November 2023

Abstract
The study of English religious dissent in the Middle Ages has become entrenched in the synchronic regimes of social and literary historicisms. The Lollard movement and some of its radical textual effects are read as products of, or factors in, historically localized intersections: late medieval theology and ecclesiology; English sacramental and devotional practices; social and political ruptures; and literary and intellectual relations in late medieval English culture. The vernacular textual effects of the Lollard movement find a remarkable historiographical fit in the now-dominant materialist orientation of English literary studies, and it is probably safe to say that no Continental heretical tradition of the Middle Ages has been so successfully incorporated into a mainstream literary historicism.
When a body meets a body: Fergus and Mary in the York Cycle
Authors: Evans Ruth 
Published: November 2023

Abstract
Within postmodernism the body is no longer a foundational category but an object of persistent critique. For Biddick, historicizing Judith Butler,1 the body in the Middle Ages does not pre-exist its inscriptions of sex, gender, sexuality, or ethnic identity but is constructed and maintained as ‘natural’ through the historical meanings of these other categories. Medieval theories of sex difference, for example, derive not from biological ‘realities’ but from the meanings ascribed to the corporeality of the body (such as Galen’s well-known theory that bodily heat is a sign of perfection), and these are both produced by and in turn produce other categories as ‘natural’ (that woman is cold by nature and therefore less perfect than man).2 The body is a thoroughly political, not ontological, category.
Unknown Ends Volpone
Authors: Donaldson Ian 
Published: November 2023

Abstract
AT the end of the fourth act of Jonson’s late comedy, The Magnetic Lady (1632), the restless spectator Damplay is confident that he knows how the play will conclude. ‘Why, here his Play might have ended, if hee would ha’ let it’, he declares, ‘and have spar’d us the In the Boy’s precocious commentaries throughout The Magnetic Lady, Jonson, ‘finding himselfe now neare the close, or shutting up of his Circle’, makes a final statement about the assumptions and strategies that had governed a lifetime’s work in the theatre, and the ‘bounds’ and limitations within which he had chosen to operate as a dramatist. 1 ‘Perplexe’, ‘cheat’, ‘unexpected’ are suggestive terms in relation to Jonson’s dramatic practice, which traded always in com plexity, secrecy, and surprise. The endings of Jonson’s plays are sel dom predictable, and Damplay is soon to discover that his guesses about the resolution of The Magnetic Lady are entirely mistaken. In their final acts, Jonson’s plays grow denser, busier, more perplexing, as the action moves through unforeseen complications to equally un foreseen conclusions.
Politic Picklocks Reading Jonson Historically
Authors: Donaldson Ian 
Published: November 2023

Abstract
A Central problem in the methodology of both the new and ‘old’ historicism turns on the nature of the link that is assumed to exist be tween historical description and literary interpretation. The mono lithic accounts of Elizabethan systems of belief assembled by so-called old historicists such as E. M. W. Tillyard (it is common these days to complain) often seem quite at variance with the diverse and at times rebellious energies of the literary texts which they are apparently devised to illuminate. Even in the work of a more sophisticated old historicist such as L. C. Knights the supposedly related activities of historical and literary investigation seem often to tug in contrary directions. The divergence is apparent, for example, in the very structure of Knights’s influential study, Drama and Society in the Age of Jonson, the first half of which offers a stolid, Tawney-derived historical account of economic conditions in England during the late Elizabethan, early Jacobean period (entitled ‘The Background’), while the second half (‘The Dramatists’) advances livelier readings of the work of individual authors. The connections here between foreground and ‘background’, text and context, ‘drama’ and ‘society’, literature and history are quite loosely articulated and theoretically undeveloped.
Fathers and Sons
Authors: Donaldson Ian 
Published: November 2023

Abstract
Literary relationships are in some respects like family relation ships, as Ben Jonson and John Dryden were each acutely aware. The notion of a poetic lineage was of particular and absorbing interest to both men, and it seems natural therefore to ask about the kind of relationship, the family tie, that may subsist between them. There are fortuitous but significant similarities in the shape of the two writers’ careers. Both Jonson and Dryden attended Westminster School, and retained from their schooldays a lifelong interest in classical transla tion, imitation, and precedent. Both were converted in adult life to Roman Catholicism, Jonson returning to the Anglican faith after a dozen years, Dryden persevering in his new religion until death. Both men for a time received a royal salary and a butt of wine in recogni tion of their poetic eminence, Jonson being (in fact if not in name) England’s first Poet Laureate in the modern sense, Dryden later suc ceeding to this (by now officially designated) position. 1 Each presided over a literary coterie: Jonson, gregariously, at the Mermaid tavern, Dryden, more soberly, at Will’s Coffee House. Each at tempted also to shape public opinion through numerous critical writings which often defended, and set in a longer historical per spective, their own literary practice.
Contributions to Periodicals
Authors: Peterson William S 
Published: November 2023

Abstract
AS a general rule, I have recorded only the first appearance of poems in periodicals, but there are a few exceptions to this practice: I do list some of the reprintings of Betjeman’s early poems in Oxford magazines and the Architectural Review , because they illustrate his growing literary reputation, and when poems appeared more or less simultaneously in British and American periodicals, I have recorded both. Additional details about the poems can be found in the Notes about the Poems section. Reprintings of prose pieces in the standard col- lections of Betjeman’s works (such as First and Last Loves and Coming Home ) are recorded.
Translations
Authors: Peterson William S 
Published: November 2023

Abstract
THE brevity of this section certainly suggests that Betjeman’s poems do not translate easily into other languages or cultures. E1 Hawkins, A. C. ‘Le poète Anglais John Betjeman.’ Le journal des poètes , no. 10 (December 1958): 4. ¶Accompanied by translations into French (by Georges Sion) of ‘Business Girls’, ‘Sun and Fun’, and ‘Devonshire Street w.1’. Illus. E2 Donini, Filippo. Gerani . Milano: Nuove Edizioni, 1966. ¶In the section entitled ‘Traduzioni da poeti inglesi’, there is a translation into Italian of ‘A Subaltern’s Love Song’ (‘Canto d’amore di un subalterno’, pp. 65–6).
Interviews
Authors: Peterson William S 
Published: November 2023

Abstract
BETJEMAN was a well-known public personality for a good part of his life and was much in demand for journalistic interviews; the number of them actually published is probably beyond counting. And it is not difficult to understand why: he clearly was an amusing and lively subject, full of opinions and energy (inter- viewers often seem to have been pulled along in his wake as he stepped briskly across a street), and he was capable of clever improvised monologues on most of his favourite subjects.
Recordings
Authors: Peterson William S 
Published: November 2023

Abstract
THIS section includes only audio recordings by Betjeman himself that have been commercially distributed and sold, and even within those limits it does not aim at comprehensive- ness. If a recording is based on a particular broadcast, it is listed in the Radio and Televi sion sections, below. I have also excluded anthologies in which Betjeman reads just a few of his own poems. ¶The National Sound Archive at the British Library has hundreds of archival recordings of Betjeman reading his poetry, interviews, etc.
About Betjeman
Authors: Peterson William S 
Published: November 2023

Abstract
THIS section is highly selective. Although a great deal has been written about Betjeman, most of it takes the form of reviews of his books and ephemeral newspaper commentary. I have usually excluded the latter category of material, but I have tried to list enough journalistic coverage (especially from his Laureate period, while ignoring his school and university years) to give a reasonable sample. ¶The fullest accounts of the life are Bevis Hillier’s biography— Young Betjeman (1988), New Fame, New Love (2002), and The Bonus of Laughter (2004)—and Candida Lycett Green’s linking narratives in the Letters .
Unidentified or Unpublished Prose
Authors: Peterson William S 
Published: November 2023

Abstract
GIVEN the whirlwind pace of Betjeman’s literary career, inevitably one is confronted with fragmentary manuscripts, proofs, cuttings, lists of his own publications (uv), and ambiguous allusions in the correspondence that cannot be fully identified. These incomplete entries are listed here in chronological sequence. All are prose; drafts of poems are in Notes about Poems , above, and unidentified lectures and talks are in Lectures , also above. It is of course possible that some of these items are bibliographical ghosts, because Betjeman often began projects that were never completed, and some may be identical to items listed elsewhere in this bibliography.
De Quincey and the Edinburgh and Glasgow University Circles
Authors: Lindop Grevel 
Published: November 2023

Abstract
De Quincey’s relationship with the world of scholarship was always a problematic one. The most brilliant and independent minded of students, he fled from Oxford in 1808 half-way through degree examinations which had augured outstanding success, just as six years earlier, an admired and privileged senior boy, he had absconded from Manchester Grammar School. It is somehow characteristic that the world of Scottish academia, which was to prove so fruitful and supportive for his later literary career, should first be mentioned in his work only to receive a contemptuous dismissal.
Teachers, Writers
Authors: Miller Karl 
Published: November 2023

Abstract
It would seem to be part of the point of institutions that they don’t get on, or at any rate, that the members of an institution are apt to attach importance to being seen as separate from the membership of other institutions in the vicinity. This has often been true of the two of which, for many years, I enjoyed a simultaneous experience: the humanities as pursued in the university system and the loose confederation represented by novelists, poets, critics and biographers. The literary community is not like the Norwich Union. It is as much a small world, or a diaspora, as it is an institution. But the term can be used here without undue discomfort. The literary community has, institutionally enough, its Society of Literature, its Society of Authors, its Public Lending Right, its cadres of poets, novelists and journalists, its honours, ceremonies and clubs, and its conventions of solitude and dissent.
Bienvenido Mr Marshall! (Berlanga, 1952)
Authors: Rolph Wendy 
Published: November 2023

Abstract
Of the seventeen feature films which Luis Garcia Berlanga has directed over a long and occasionally controversial career, ¡Bienvenido Mr Marshall! (1952) remains the one which has most consistently been identified as marking a turning point in the history of Spanish cinema. Hence the appropriateness of its inclusion in this volume. Successive generations of writers on Spanish cinema, regardless of their theoretical grounding, historical perspectives, or critical approaches, have repeatedly reaffirmed the film’s significance on both influential and qualitative terms. As a consequence, its reappearance continues to be virtually guaranteed on lists, surveys, and catalogues of the hundred, fifty, and even the ten ‘best’ films ever made in Spain.1 A canonical text from a break through decade, i Bienvenido Mr Marshall! has been etched into collective memory for the decisiveness of its impact on the audi¬ences of its era and the effectiveness with which it cracked open new possibilities for engagement with significant socio-political commentary within conventional comedic modes.2 But the future of the film is becoming as interesting as its past.
Fetishism and the Problem of Sexual Difference in Buiiuel’s Tristana (1s970)
Authors: Labanyi Jo 
Published: November 2023

Abstract
BUÑUEL chose to film Gald6s’s 1892 novel Tristana because its heroine has her leg amputated (Sanchez Vidal 1984: 330; 1994: 272). While acknowledging the recurrence of foot fetishism in Bufiuel’s work, critics have largely seen his insistence on Tristana’s mutilated stump and artificial leg as a critique of a ‘castrating’ traditional society: a reading encouraged by Bufiuel’s surrealist iconoclasm and political exile, plus the scandal over the only other film he made in Franco’s Spain, Viridiana, which was stripped of its Spanish nationality and banned in Spain after winning the Palme d’Or as Spain’s official entry to the 1961 Cannes Film Festival.
Sex Change and Cultural Transformation in Aranda and Abril’s Cambio de sexo (1977)
Authors: Kinder Marsha 
Published: November 2023

Abstract
IN March I997 I attended a sold-out screening of Cambia de sexa (I977) in Los Angeles that was part of a ‘Vicente Aranda Tribute’ within the American Cinematheque’s annual series on ‘Recent Spanish Cinema’ -a screening which enabled me to see this film with new eyes. Recognizing many persons in the audience and overhearing conversations about the film, I realized this was not the typical crowd for the annual Spanish series, which usually has a particular interest in Hispanic culture. Rather, these enthused spectators were primarily gay males or fans of Victoria Abril, whom most of them probably came to know in Pedro Almodóvar’s outrageous melodramas, such as jAtame! ( I989 ), Tacanes lejanos (I99I), and Kika (I993); or in the French nominee for the I995 foreign-language Oscar, French Twist; or in Aranda’s noir thriller Amantes (I99I), his only box-office success thus far in the United States.
Feminism, Politics, and Psychosis in Fernán Gómez’s Mi hija Hildegart ( 1977)
Authors: Keown Dominic 
Published: November 2023

Abstract
THERE can be little doubt, even in a cinematographic context as anomalous as post-war Spain, that there can have been few careers as peculiarly incongruous as that of Fernando Fernán Gómez’s. His performance as actor, author, and director has ranged consistently from the highly acclaimed to the most rigorously censured: a creative trajectory which, perhaps not unsurprisingly, has been exactly paralleled in the perception of his endeavour in the sphere of political resistance to the regimer. As a result, it is not unusual that a similar disequilibrium should characterize his disturbingly provocative essay of 1977, Mi hija Hildegart.
Epílogo (Suárez, I984)
Authors: Ros Xon De 
Published: November 2023

Abstract
GONZALO Suárez’s Epílogo stands as a marker in the cultural history of democratic Spain. The film registers the changing poetics of that period from the late 1960s to the early 1980s which saw the development of modern cinema: from the subversive cinema of the 1960s generation, whose aesthetics were absorbed and commodified in the films of the 1970s, until the 1980s where there was a drift back into genre revisited as parody or pastiche. From the vantage point implicit in its title Epilogo offers a reflec-tion on the demise of the second wave of modernism against the background of the culture industry.
Qué he hecho yo para merecer esto? (Almódovar, 1984)
Authors: Triana-Toribio Núria 
Published: November 2023

Abstract
QuÉ he hecho yo para merecer esto? is a story of the migrant rural poor, the urban dispossessed of Spain in the 1980s. Its characters live in the suburban Barrio de la Concepcion, a horrid Madrilenian 1960s high-rise complex overlooking the M30. Gloria (Carmen Maura) is an overworked working-class housewife who cleans, washes, and cooks for her uncommunicative and abusive taxi-driver husband (Ángel de Andrés), two teenage sons (Juan Martfnez and Miguel Ángel Herranz), and a mother-in-law (Chus Lampreave) who dresses in traditional black from head to toe. In order to supplement their income, Gloria cleans in a gym and other people’s flats and to keep herself going she takes ‘Minilip’, which is in fact amphetamine.
Las cosas del querer (Chávarri, 1989)
Authors: Perriam Chris 
Published: November 2023

Abstract
Las cosas del querer (Jaime Chávarri, 1989) tells the story of three musical variety performers, Pepita (stage name Dora) (Ángela Molina), Mario (Manuel Bandera), and Juan (Angel de Andres López), brought together by chance at the end of the Civil War and building a career in the first years of the Franco era with shows based around popular Spanish songs, traditional and contemporary.
Promiscuity, Pleasure, and Girl Power: Fernando Trueba’s Belle Époque (1992)
Authors: Jordan Barry 
Published: November 2023

Abstract
In an industry normally characterized by almost permanent crisis, Belle Époque was undoubtedly one of the major Spanish film success stories of the early 1990s. At the Seventh Annual Goya Awards (held on 13 March 1993), sponsored by Spain’s own Film Academy, Trueba’s stylish, period sex comedy virtually swept the board, picking up nine out of twenty-three prizes, including those for best film, best director, best actress (Ariadna Gil), best supporting actor (Fernando Fernán Gómez), and best screenplay (involving Rafael Azcona and José Luis García Sánchez, as well as Trueba himself) (UK Press Book (Apr. 1994): 3-4; Cine & Teleforme (Apr. 1993): 52).
The Eroteticism of Nadie hablará de nosotras cuando hayamos muerto (Díaz Yanes, I995)
Authors: Bentley Bernard p. E 
Published: November 2023

Abstract
From present discussions and current film reviews, a ‘gripping’ film is frequently defined as one which contains much action, usually in sequences that have been rapidly edited, now more easily achieved with digitized editing, from a mosaic of different shots more often filmed with a steadycam camera closely tracking the characters portrayed. Nadie hablará de nosotras cuando hayamos muerto certainly reflects all these elements. It is packed with action and filmed with a constantly moving camera. Close shooting of the subjects, often framing out the tops of heads and cutting below the shoulders, as well as sharp editing, soon establishes itself as a norm, which lends medium and long shots particular significance.
Paul Muldoon and the Windlass-Men
Authors: McDonald Peter 
Published: November 2023

Abstract
The centrality of form to poetry, from the point of view of a critic, is always shadowed by its potential for apparent critical triviality. For the writing poet, on the other hand, the matter of formal constraint seems overwhelmingly serious; a rhyme missed, like a fluffed cadence or a clumsy repetition, looms much larger than a line’s critical ‘meaning’ in the process of composition. Yet for a critic only to analyse poems at this level would be, eventually, tedious beyond bearing, and would also deny readers access to much of what we understand by interpretation. Although we often choose not to ask ourselves the question of how important it is, the significance of poetic form in interpretation is central to what readers and critics do with poetry.
The Savage with Hanging Breasts Gulliver, Female Yahoos, and’Racism’
Authors: Rawson Claude 
Published: November 2023

Abstract
One day, towards the end of his narrative about the land of the Houyhnhnms, Gulliver is, as we would nowadays say, sexually harassed by a female Yahoo, one of those bestial humanoids who live in the country of the rational horses. It is an ‘exceeding hot’ day, and he asks his Houyhnhnm ‘Protector’, the Sorrel Nag, for permission to bathe in the river: He consented, and I immediately stripped myself stark naked, and went down softly into the Stream. It happened that a young Female Yahoo standing behind a Bank, saw the whole Proceeding; and inflamed by Desire, as the Nag and I conjectured, came running with all Speed, and leaped into the Water within five Yards of the Place where I bathed. l was never in my Life so terribly frighted; the Nag was grazing at some Distance, not suspecting any Harm: She embraced me after a most fulsome Manner; I roared as loud as I could and the Nag came galloping towards me, whereupon she quitted her Grasp, with the utmost Reluctancy, and leaped upon the opposite Bank, where she stood gazing and howling all the time I was putting on my Cloaths.
Introduction
Authors: Bryden Mary 
Published: November 2023

Abstract
‘A book could be written on the significance of music in the work of Proust’, wrote Samuel Beckett in his 1931 study of Proust. Over sixty years later, it seemed to me that Beckett’s writing had supplied a similar proposition: namely that a book could-indeed should-be written on the significance of music in the work of Beckett. That the experience of music was profoundly important to Beckett was clear to those who knew him, including several amongst the contributors to this volume. The artist Avigdor Arikha spent many hours listening to music with Beckett and asserts that ‘Listening to music was essential to him.’ Although Beethoven, Schubert, Haydn, and Brahms featured prominently, they also listened, during the 19 50s, to twentiethcentury serialist music. Indeed, although Beckett’s interest in dodecaphonic music is not generally recognized, his correspondence with Thomas MacGreevy reveals a positive response to Schoenberg, Berg, and Webern as early as 1949.