bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Stage Works Of Giacomo Balla
Authors: Berghaus Günter 
Published: November 2023

Abstract
Giacomo Balla (1871-1958) was a mature and well-established painter when he joined the Futurist movement, and was more than ten years older than most members of the circle Marinetti had assembled around himself. He had moved from Turin to Rome in 1895 and subsequently shed his early, Impressionist style of painting, influenced by the Italian Macchiaioli. Although at heart a Verist, he adoped Divisionist and then Symbolist techniques, giving expression to his strong social concerns and left-wing political convictions. Through his pupils Boccioni and Severini he was made familiar with the aims of the Futurist movement, with which he associated himself around April or May 19m.
Futurism Under The Fascist Régime
Authors: Berghaus Günter 
Published: November 2023

Abstract
We do not know exactly when Marinetti and Mussolini first heard of each other and their respective cultural-political programmes. It was certainly during the interventionist campaign, when both of them were amongst the first to join the demonstrations in the piazze, that they discovered a considerable degree of convergence between their nationalist ideologies and revolutionary politics. In the course of 1915, personal contacts were established between Mussolini and the Futurists. During the war, the Arditi served as a trajectory between revolutionary nationalism and Futurism, and after the armistice they offered a recruiting ground for the Futurist Political Party. In March 1919, the Futurists aligned themselves with Mussolini and were actively involved in the founding of the Fasci di Combattimento. The Fascists ‘ political programme of 1919 was based on the Programme of the Futurist Political Party. Both were revolutionary, subversive groups, who combined a Leftist social policy with a Rightist concept of nation and government.
Heimat Regained, Dissolved, or Multiplied?
Authors: Boa Elizabeth , Palfreyman Rachel 
Published: November 2023

Abstract
This study has concentrated in the main on literature and film. But from the turn of the century to the 1990s, Heimat discourse has always stretched beyond the arts to include sociology, ethnography and folk studies, local history, geography and regional studies, tourist publications, and a whole host of other kinds of texts, not least significant being Heimatkunde as an interdisciplinary school subject designed to develop pupils’ knowledge not only of their own locality but also of the troubled history of the concept of Heimat in the wider history of Germany. Renegotiation of Heimat in the late twentieth century was a feature of the 1980s which continued into the last decade of the century, fuelled by the continuing reverberations of the Historikerstreit, by the popular success of Edgar Reitz’s Heimatsequence,and as an exercise in identity-building following unification of the two Germanies. In 1990, the Federal Political Education Centre brought out two fat volumes dedicated to the theme of Heimat, with suggestions for school syllabuses, a wealth of essays on a whole range of topics, and extensive bibliographies.
The Good Neighbor Program and Gilda;Global Commodities and The Third Man(with George Yudice)
Authors: Miller Toby 
Published: November 2023

Abstract
Because Orson wasn’t in Vienna, we had to shoot something. This is where the shadows started. Carol said, ‘Guy, can you make a shadow running down that wall?’ I found I was rather good at running in front of an arc light and moving down the wall. I was a skinny young lad so I was given a big hat and a heavy coat with shoulder padding. So we shot all this shadow stuff and that’s me you can see running down the streets at night. Orson finally arrives, and he’s quite happy with the hat and coat I’d worn for the shadow shots. His first scene was in the sewers. Al] he had to do was stand there as water poured over him. Carol did the shot and said, ‘Isn’t that wonderful?’ Then Orson went into a tirade.
The Good Neighbor Program and Gilda; Global Commodities and The Third Man (with George Yùdice)
Authors: Miller Toby 
Published: November 2023

Abstract
Sid Furie the director and Harry [Saltzman, producer] went off to ‘de-gay’ my role in the script. The supermarket cart problem had already been solved by having me use mine as a weapon. The glasses were satisfactorily’butched up’ by having Sue Lloyd, who played the romantic lead, ask me if I always wear glasses. I say, ‘I only take them off in bed,’ she looks at me for a moment, then reaches forward and takes them off ... The cooking we made fast, expert and delicious. In this scene, I make her an omelette using the macho trick of breaking two eggs simultaneously and with one hand-very spectacular. I could not do this, ... , so we had to use the hands of Len Deighton [ novelist]-Michael Caine, referring to The IPCRESS File.
Looking
Authors: Gordon Robert S C 
Published: November 2023

Abstract
Again and again, in reading Levi’s work, we find ourselves turning back to its founding text, Sequesto e un uomo, and indeed to the first, stark pages of that text where the seeds of so much of his later work are sown. The first three chapters of the book, ‘Il viaggio’, ‘Sul fondo’, and ‘Iniziazione’ (I. 7-35), offer founding ‘lessons’ in physical violence and humiliation related with especial acuity and intensity; and alongside the fear and confusion of entering the univers concentrationnaire come founding moments in the denial of the ethical. In this transition towards horror, subsequently echoed and extended in the remainder of the book, the denial of one element of human interaction emerges as a devastating means of depersonalization, as the core of the camps’ ‘antiethics’: the excruciating refusal to answer the questions or even to return the look of the newcomer on the part of the SS, the Kapos, the other prisoners, and the rest.
Overt Fictionalization And Some Theories Of Narrative
Authors: Paver Chloe E M 
Published: November 2023

Abstract
This first chapter is concerned with establishing a theoretical framework for the comparative analysis which follows, and poses the question: how far can theories of narrative help us to categorize and understand the technique of overt fictionalization? Three of the most influential narratologists writing in German since the War are Eberhard Lämmert, Kate Hamburger, and Franz Stanzel. There are few studies of the postwar German novel which do not cite at least two of this trio in their bibliography, and many such studies make explicit use of the narratological categories established by the three theorists. It seems appropriate, therefore, to begin with a look at their theories. I examine them in the order Lämmert—Hamburger—Stanzel, since this order corresponds to the increasing sophistication of the theories.
Uwe Johnson: Das Dritte Buch Über Achim
Authors: Paver Chloe E M 
Published: November 2023

Abstract
When his first novel, Ingrid Babendererde(published post humously in r 985), was rejected by East German publishers, Uwe Johnson moved to West Berlin to secure the publication of his second novel, Mutma Bungen über Jakob( r 9 59). In this novel the reader is invited to unravel the mystery of the central character’s death with the help of statements from witnesses, whose evidence sometimes conflicts. McHale would classify it as a typical modernist text because it employs both multiple perspectives (which are juxtaposed in such a way as to highlight the limitations of each character’s knowledge) and elements borrowed from detective fiction. Moreover, the complex form of MutmajJungenensures that problems associated with the accessibility and reliability of knowledge are passed on to the reader.
Jurek Becker: Jakob Der lügner
Authors: Paver Chloe E M 
Published: November 2023

Abstract
Unlike Johnson, Frisch, and Wolf, who were already established writers by the I96os, Jurek Becker, an East German writer of Polish: Jewish origin, was still a novice at this time. His literary début, the novel Jakobde Lügnerwas published to great acclaim in I969, at a time when the controversy over Christa T. was still raging. Indeed, for the critic Volker Hage, looking back after the Wende, these two novels together mark a watershed in the development of GDR literature and can be credited with having made West German critics take GDR writing seriously.
Symbolist Beginnings
Authors: Mcguinness Patrick 
Published: November 2023

Abstract
In his essay-cum-manifesto ‘I Gather the Limbs of Osiris’ (1911-12), Ezra Pound declared: ‘Interesting works of art are of two sorts, the “symptomatic” and the “donative”.’ In ‘symptomatic’ works, he claimed, ‘we find a reflection of tendencies and modes of the time. [… ] They are what one might have expected in such and such a year and place’. ‘But the “donative” author’, he continues, seems to draw down into the art something which was not in the art of his predecessors. If he also draw from the air about him, he draws latent forces, or things present but unnoticed, or things perhaps taken for granted but never examined.
Maeterlinck, Mallarmé, and Symbolist Dramatic Theory
Authors: Mcguinness Patrick 
Published: November 2023

Abstract
It may be true to say that an instinctive malaise and a deep¬ rooted sense of unease await us when we go to any theatrical performance. [… ] Is it perhaps the fear of an intermediary world to which none of our manifest or secret senses correspond? It is not yet art but it is no longer an ordinary act of life, and the spectator is unable to see the links between this intermediary world and the eternal worlds.
Theatre and the Invisible Principle: Pelléas et Mélisande
Authors: Mcguinness Patrick 
Published: November 2023

Abstract
Pelléas et Melisande, published in 1892 and first performed on 17 May 1893, remains Maeterlinck’s best-known play. Its premiére-the first of one of his own works that Maeterlinck attended-inaugurated the Théatre de L’CEuvre, and was directed by Lugné-Poe and Camille Mauclair (who, with Maeterlinck, also designed the costumes), with set design by the painter Paul Vogler and music by Gabriel Fabre.
Urban Time: The Reproduction of Space?
Authors: Gallagher Mary 
Published: November 2023

Abstract
In Tristes tropiques Levi-Strauss recalls the mischievous description of America as bypassing civilization in its race from savagery to decadence and from newness to decrepitude, although he himself reserves this description for the cities of the New World.Refining this view, the Canadian writer Pierre Nepveu contrasts the cities of the American north with the paradigmatic city of the southern hemisphere, ‘ville du sud, sublime et tragique magma, space de decomposition qui fournitun merveilleux creuset aux metaphores organiques et aux hyperboles flamboyants’ (a ‘magma no less tragic than sublime, a space of decomposition that provides a wonderful crucible of organic metaphors and flamboyant hyper bole’), and instances Emile Ollivier’s Port-au-Prince as just such a frenzied site of premature blight.3 Although similar in many
Africa, a Critical Displacement: Between Authenticity and Ambivalence
Authors: Gallagher Mary 
Published: November 2023

Abstract
Is Africa still accorded a place of honour in French Caribbean writ ing after I950? Is it still claimed as an extension of Caribbean iden tity, serving as a distant continental backdrop, a vital, alternative hinterland? Does it afford a sense of continuity or of tension or ambivalence? To what extent is Africa viewed as ‘other’, to what extent as an inherent part of the Caribbean constitution? Is the continent embraced in its contemporary and multifarious reality, or is it instead romanticized or mythologized, reduced, or even rejected? And how did the relation to Africa evolve over the second half of the twentieth century?
Introduction
Authors: O’beirne Emer 
Published: November 2023

Abstract
Few living writers can embody as well as does Nathalie Sarraute the evolution of French literature, specifically (though not solely) of the novel, across the whole of the twentieth century. Born in 1900, she is as old as the century itself and has been writing for a full two-thirds of it (she began her first collection of short prose texts, Tropismes, in 1932 and published her latest work, Ouvrez, in 1997).
The Writing Self: Irony and Authority
Authors: O’beirne Emer 
Published: November 2023

Abstract
We saw in the last chapter that dialogic fiction has much in common with irony. Not only do both involve the representation of discourses, but both also make evident the limitations of the discourses they represent. The diversity of discourses in a dialogic text emphasizes the limits of each monologic perspective but also shows how these limits are transcended through dialogic interaction.
The self and language: Authenticity and convention
Authors: O’beirne Emer 
Published: November 2023

Abstract
Tune t’aimes pas, written immediately after Erifance and published in 1989, shares with it the structure of a fragmented authorial voice engaged in internal dialogue. The authorial status of the dialoguing self is less explicit than in Erifance where the autobiographical project emphasized the identity of narrated, narrating, and writing selves; none the less, Sarraute’s conversations with Simone Benmussa while Tu ne t’aimes pas was being written show her affinity to its ‘nous’ in terms of both the general lack of a unitary sense of self, and the particular experiences that plurality of voices describes, such as the death of its partner (see ITP122; Sarraute 1987a: 151-6).
Educating Tat’yana, Schooling Evgeny: Propaganda for Manners and Moral Education, 1760–1830
Authors: Kelly Catriona 
Published: November 2023

Abstract
‘Polite society is more or less the same all over Europe,’ Élisabeth Vigée Le Brun wrote in the 1830s, after decades of travel that had taken her to Britain and Russia, as well as Italy, Switzerland, and France.1 This sense of unity through civility is also asserted in one of the most splendid tributes to a Russian aristocrat ever written, Pushkin’s epistle ‘To a Grandee’ (1830).2
‘The Personal Does Not Exist’: Advising the Early Soviet Mass Reader, 1917–1953
Authors: Kelly Catriona 
Published: November 2023

Abstract
In Soviet literature and film of the 1930s and 1940s, representatives of the partiinaya znat’ (Party aristocracy) figured commonly enough. But the deepest and most striking portrayal of the pampered upper echelons of the Party hierarchy during the Stalin era is to be found in a historical novel written more than ten years after the dictator’s death, Solzhenitsyn’s The First Circle. One of the three central figures in the narrative, the diplomat Innokenty Volodin, is a high-ranking Soviet diplomat who inhabits a closed world of enclosed information, dynastic marriages, and long stays in Paris.
Editions Of Molinet’S Poetry
Authors: Armstrong Adrian 
Published: November 2023

Abstract
Yet it is uncertain how far Molinet exploited the medium to his own advantage. Not until over twenty years after his death was a substantial collection of his poetry published; this anthology, Les Faictz et dictz, appeared three times in Paris between 1531 and 1540. Editions of single Molinet poems are quite numerous, but are mostly unattributed, suggesting that they were published without Molinet’s involvement. However, Jean de Liège printed three editions during Molinet’s lifetime in Valenciennes; since Molinet lived in this town, it has been considered likely that he co- operated in these editions’ publication.
Manuscripts Of Lemaire’S Poetry
Authors: Armstrong Adrian 
Published: November 2023

Abstract
Though his career partly overlapped with Molinet’s, Jean Lemaire de Belges belonged to a younger generation of poets, to whom printing was more familiar and who were apt to exploit the new medium. Accordingly, printing plays a greater role in transmitting his works than it did for Molinet; indeed, as I discuss in the next chapter, Lemaire apparently participated in publication on several occasions. Yet his work also survives in numerous manuscripts. Several of these exhibit features which, in con- junction, suggest they were probably presentation manuscripts: they are of high material quality (written on parchment, illustrated, or both), and transmit pieces by Lemaire in versions which pre-date their printed redactions, or which were never printed in the sixteenth century.
Introduction
Authors: Perriam Chris 
Published: November 2023

Abstract
The question of how far we can apply such a term as ‘star’ to actors in a relatively small and only intermittently global market such as that of Spanish cinema must be considered an open one, although, obviously, one of my intentions in this book is at least to half close it. The useful Diccionario de las estrellas cinematográficas españolas de los años noventa (Clemente 1998) (Dictionary of Spanish Film Stars of the 1990s) lists thirty-nine contemporary male stars, their names culled from magazine polls, awards, and nominations in the main Spanish festivals and ceremonies.
Imanol Arias (b. 1956)
Authors: Perriam Chris 
Published: November 2023

Abstract
Imanol Arias is described in Cinerama’s ‘Diccionario de actores’ (1995/6) as ‘el galán más reputado de su generatión’ (the best regarded lead male of his generation), has appeared in some thirty feature films to date, and has an ongoing (if up and down) career in theatre (having joined the Centro Drámatico National in his early twenties, encouraged by its director Adolfo Marsillach), and in mass audience television drama series stretching from Anillos de oro (Gold Rings) (TVE 1983) to Querido maestro (Dear Teacher: third series, Tele 5 1998) and Dime que me quieres (Tell Me You Love Me) (Antena 3:2001). In part because of his presence on television, in part because of the gossip-magazine appeal of his long relationship (from 1984) to actress and broadcaster Pastora Vega and their family life (González and Pasquím 1990), of the actors discussed in this book Arias has the second most extensive press coverage (with Antonio Banderas a clear first, but with relatively little on the Spanish period).
Antonio Banderas (b. 1960)
Authors: Perriam Chris 
Published: November 2023

Abstract
With his move to Los Angeles in 1991 and the shooting of The Mambo Kings (Arnold Glimcher), a shift into English-speaking roles, and his assumption into the hyperbolic imaginary of US show business, Antonio Banderas began for a time to be the most famous of twentiethcentury Spanish actors. Simultaneously he became no longer Spanish but ‘Hispanic’. Interview with a Vampire (Neil Jordan, 1993) denationalized Banderas and translated his adventurous representations of sexuality and his prior associations with contemporary Spanish drug, crime, and youth culture, into a higher perversity.
Carmelo Gómez (b. 1962)
Authors: Perriam Chris 
Published: November 2023

Abstract
It is tempting to begin by suggesting that Carmelo Gómez is arguably the closest of the actors under discussion to the classic model as interpreted by Walker (1970: 362) of the leading man ‘repeating his personality in film after film’. He appears, in many roles, to line up with an older type of Hollywood star, a 1930s hero, in whom the combined impression of ‘still waters [and] deep roots’ (300) offered a manly and reassuring route to emotional identification with a perceived national destiny, who offered women a fantasy man ideal for his reliability rather than his capacity to thrill and to hurt, and offered men a fantasy role model.
Javier Bardem (b. 1969)
Authors: Perriam Chris 
Published: November 2023

Abstract
Of the actors I am concerned with it is Javier Bardem who most often is discussed explicitly in terms of masculinity, being represented at the popular end of the film publications market within Spain as, in the first part of his career, brutally attractive, full of morbo (another variant of that perverse sex appeal attributed to and refuted by Banderas), and as the archetypal and (comically) shameless macho. He has been seen from outside in middle- to highbrow commentaries—often with considerable but revealing inaccuracy—as epitomizing not only a general set of Spanish masculinities but a geographically non-defined machismo. This is an interpretation due in part to the relative unfamiliarity of non-Spanish audiences with a change of emphasis in the actor’s projected self-image and in the roles taken up.
Early Pomest’ e Grants as a Historical Source
Authors: Ostrowski Donald 
Published: November 2023

Abstract
Pomest’e is a prominent type of landholding in the history of Russia, but its own early history is little known or understood. This has been due in part to the scarcity of source evidence and in part to the tendency of historians to speculate in the absence of that evidence. Nonetheless, an unstudied body of source evidence exists in the form of grand-princely pomest’ e grants. Indeed, we have more such grants than was thought because a number of them had been misclassified as judicial immunities by the editors who published them. These early pomest’ e grants provide a significantly different picture of the initial development of pomest’ e from that represented in the historiography thus far.
The Grand Tour (II): Holland—France—Switzerland—Bavaria (1765–1766)
Authors: Zaslaw Neal 
Published: November 2023

Abstract
Writing from London, Leopold Mozart informed his correspondents the Hagenauers, ‘We shall not go to Holland, that I can assure everyone’, and ‘The Dutch Envoy in London several times begged me to visit the Prince of Orange at the Hague, but I let this go in by one ear and out by the other’.1 Leopold had plans to bring his family home by way of Paris, Milan, and Venice, but then in late July 1765 (as he later wrote), at the beginning of the return journey when they were near Canterbury, something happened to change his mind:
Strangers in Paradise: Dutchmen in Venice in 1525
Authors: Fenlon Iain 
Published: November 2023

Abstract
The prologue to Chaucer’s great unfinished epic presents a strong impression of the pilgrimage as a common experience, a ‘concise portrait of an entire nation, high and low, old and young, male and female, lay and clerical, learned and ignorant, rogue and righteous, land and sea, town and country’. Similarly, while the characters who participate in Chaucer’s journey to the shrine of St Thomas Becket are drawn from all orders and conditions of society, the tales that they tell, some drawn from contemporaries, others from antiquity or from the East, are a gentle reminder of the breadth of European experience and imagination, and of the intrusion of distinctly secular elements into what was conceived of as an essentially spiritual enterprise.
Lepanto: Music, Ceremony, and Celebration in Counter-Reformation Rome
Authors: Fenlon Iain 
Published: November 2023

Abstract
The victory of the Holy League against the Turkish fleet at Lepanto took place on 7 October 1571, a date that was to be permanently inscribed in the calendar of Christian celebration as one of the most momentous events in the seemingly endless struggle against the Ottoman Empire. Writers since Voltaire have contributed to an almost unanimous ironic chorus describing the victory as an empty one, a great spectacle that led nowhere as Fernand Braudel described it, yet whatever the judgements of history, the authentic period voice should not be forgotten. For many contemporaries the victory at Lepanto marked a decisive turning point in the fortunes of Christendom, a critical moment of enormous psychological importance in a historic struggle whose roots spread far beyond the immediate events that had inaugurated the War of Cyprus.