bluuebunny/crossref_metadata_2025_split huggingface dataset:
Mapreading (1969)
Authors: Kildea Paul 
Published: November 2023

Abstract
MITCHELL: Earlier this year you were heavily engaged in the television production of Peter Grimes. I know it was a great physical strain for you, because it must have been an enormous undertaking. But I think you were impressed and intrigued-were you not?-by all the possibilities of putting one of your major operas on television?BRITTEN: It was a very great experience. It was, as you say, also rather alarming and tiring, simply because the handling of this enormous force of performers, and also of course fitting in with the wishes of the cameramen and the producers and directors, was something that I had never tried before. It was a much bigger enterprise than I had imagined I could ever try. But actually the people I was working with were so musical and understood the musical side of the work so well that my task was made much easier.MITCHELL: Do you think, Ben, as a result of this experience with televisionwhich took place, almost literally, on your own doorstep-that television opera has got a great future? That the possibilities for opera on television are really very considerable?BRITTEN: I think the answer is a definite ‘yes’ for that, but I think there are one or two lessons that one must learn before really committing opera to television; and ifl can be slightly technical for a moment I would like to say what they are, these lessons. One is that I am sure the opera must have a musical intensity on television: it must not get broken up into a vehicle for the cameras only. I have seen quite a few television versions of operas, and I think the danger can easily come that they are made, if I may say so, too reasonable, too realistic. And then one asks-I am sure the audience, the non-operatic audience, asks itself-why in the blazes people are singing and not speaking. You have got to keep this knife-edged balance between the photograph, the picture, which of course in a television medium must be rather realistic, it has that realistic impact on one, and also the musical excitement.And I think what I have learnt from the television [production] of Peter Grimes is that the drive forward of the music, the singing of the tunes, the elaboration of the ensembles, must never be forgotten. If you do, you get a kind of misfire, which is neither straight drama nor good opera. And that is the sort of thing that I’ve learnt and I’m trying to put into practice in this opera I’m now writing for television.
Money For The Maltings (1970)
Authors: Kildea Paul 
Published: November 2023

Abstract
TusA: The second time in five years you’re setting out to raise money; how do you feel about it?BRITTEN: Very depressed quite frankly. Depressed because one depends-one has depended in the past so much on our near and dear good friends to give us money. We’ve virtually never had one big gift; I mean the Arts Council has been very generous, and one or two business firms-Decca, for instance-have been very generous, but the bulk of the money in our first big money-raising appeal came from our subscribers to the Festival and the artists who’ve helped us over and over again. But the thought of having to start again, literally within a month of having achieved the first lot, is very frightening.TusA: Are you finding that there is more and more of a clash between the time that you have to spend in fund-raising and administration and the time you spend in writing music?BRITTEN: Well one’s life without administration is a very, very full one. And up ‘til now one’s been able to do it-to combine the two activities fairly easily. There have been clashes, I must admit, but now, with this big planning operation coming, the battle is already lost, I would say. I mean, for instance, these last few days I have been up in London conducting the operas, I’ve done some records,1 and I came down here today to write music quickly before I go off to America and of course . . .
Aaron Copland: Seventieth-Birthday Tribute
Authors: Kildea Paul 
Published: November 2023

Abstract
Over the last few years Copland has been a regular visitor to this country; his lively and versatile conducting of the London Symphony Orchestra has become remarkably popular. It is a lot to do with these concerts that his own music has become so much better known here. For many of us no other music quite expresses the individual character and atmosphere of North Americayoung, fresh and gay, with considerable friendliness and warmth-but which also faces up to the disturbing problems which rack that enormous continent today. Notwithstanding this considerable ‘local’ colour the music is expressed in sophisticated and ‘international’ techniques which we can all appreciate. Not many people on this side of the Atlantic realise, however, although they might guess it if they had heard or met him during his visit to the [Aldeburgh] Festival in 1960, what a strong and healthy influence Aaron has had on the American musical scene; how he has supported all kinds of new music, helped younger composers, fought for higher standards of performance, for more adequate subsidies, and has taken brave stands on moral issues outside the purely musical world. Those who wish to find out something of his sympathetic attitudes should read his wise, instructive and entertaining books.
James Blades: Percussion Instruments And Their History (1970)
Authors: Kildea Paul 
Published: November 2023

Abstract
Everyone knows that James Blades is one of our great percussionists.1 He plays all the various instruments with accuracy and an infectious sense of rhythm, and his timpani playing is noted for its impeccable intonation and beautiful tone. I have been a lucky composer because, under my direction, he has played in ten of my operas, and also in those two difficult percussive nuts to crackthe Nocturne and Cello Symphony.Not so many know that Blades is a brilliant and resourceful craftsman, experimenting with skill and ingenuity in the making and assembling of many of the instruments he plays, and in the creation of new ones. Some of the instruments he has made for me--often from the slenderest hints-are described in Chapter 16.2All his colleagues, and I am proud to consider myself as one, know what a generous friend Jimmy Blades is; how he will help an inexperienced player; how he will hurry to this or that school to advise the young in their percussion problems, or turn up at a recording session to give them confidence; and he will lend out his instruments, often at serious inconvenience to himself. We, who have toured abroad with him, have seen excited groups gathering around him after rehearsals and performances, commenting or questioning. Goodness knows what language he uses, but no matter, since he has a Slav-like ease of communication with everyone.Now, on the publication of this great book, a large public will realise what a scholar Professor James Blades is. Of course many will have heard his enchanting lectures, or read his informative guides to Percussion Instruments, but now the vast range of his learning must come as a surprise.
Therapy In Music For Handicapped Children (1971)
Authors: Kildea Paul 
Published: November 2023

Abstract
This is an intensely moving, as well as a very important book. It is the story of a distinguished American composer virtually stopping his ‘abstract’ composing, as it were, in mid-career and using his talents and energies to discover ways of helping by music mentally deprived children. I imagine Paul Nordoff previously knew little of this tragic side of life, and it was a shattering experience for him to come into contact with it: a glance at the illustrations at the back of this book can give a hint of that. This quietly written account of his and Mr. Robbins’ patient experiments, their journeys into the obscured world of these children, will not easily be forgotten.I am not qualified to comment on the importance of the psychological cures that these two men have achieved, nor of the extension of diagnosis. But this I can say-the book is as well highly important for musicians, particularly composers. At this curious moment in musical history the validity of communication in art has itself been called in question, and it is wonderful to have a book where the concentration is entirely on just this, on communication pure and simple. Any and every form of musical style and technique is tried and used: scales, old and new, chords, rhythms, new kinds of instruments-I long to introduce my friend Rostropovich to the one-stringed ‘cello, to find out what he could do with it. It is indeed salutary to have a description of a composer humbly and un-self-consciously indulging in every sort of freedom, and being guided solely by his success in communicating with, and concern for the wellbeing of, his young, sick listeners. I can recommend this book wholeheartedly not only to humanitarian readers, but to my musical colleagues as well.We can all learn from it.
Anthony Gishford: Grand Opera (1972)
Authors: Kildea Paul 
Published: November 2023

Abstract
I was most interested to learn that my friend Anthony Gishford was producing a book on opera, in the context of the great Opera Houses of the world.1 His knowledge of the subject is wide, for he has been a keen amateur of opera all his life, and for the last twenty years or so he has actively taken part in its administration, encouraging those who perform and create it.I am interested in the book because for thirty years writing operas has been my main musical occupation. Many complain about this, those who do not like the medium, who distrust it (‘impure!’), would rather I wrote more symphonies, quartets, concertos, song cycles and cello suites. Be that as it may, ever since those fruitless struggles with Paul Bunyan up to the immediate struggles with the problems of Death in Venice I have been fascinated by the most powerful medium of musical communication that I know.2There have always been Cassandras.3 Before Peter Grimes there was no future for an English opera. In spite of its favourable reception in 1945 those responsible for its production were all summarily removed from Sadlers Wells.4 There was no money (there never is) for opera, so a group of friends and I tried to devise a cheaper form of it-no chorus, tiny cast, an orchestra of twelve. After a successful opening of The Rape of Lucretia at Glyndebourne and an encouraging visit abroad, a dismal tour of the English provinces followed-’casts must be international’-and so we were compelled to start our own opera group, and our own Aldeburgh Festival.
Rossetti, the Sexualized Woman, and the Late I 850s
Authors: Bullen J B 
Published: November 2023

Abstract
The Return to the flesh and to the body in Pre-Raphaelite painting took a form which Kingsley would not have predicted. Certainly it was influenced by Titian and the work of the Venetian Renaissance, but its mode was aggressively modern. Its subject was the sexualized female, desirable and sometimes desiring, but whose ‘beauty ‘ was determined more by libidinal drives than by classical precedents. It would be difficult to find a place in nineteenth-century culture where the struggle between fear and desire was more acute than in the representation of the sexualized woman, but it was through that representation that both the ‘fleshly school of poetry ‘ and the ‘fleshly school of painting ‘ came into being.
Burne-Jones and the Aesthetic Body
Authors: Bullen J B 
Published: November 2023

Abstract
In The 1860s the only member of the Pre-Raphaelite Brotherhood to perpetuate its original spirit was Holman Hunt. Rossetti disappeared from view, and, painting only on commission for private patrons, rarely showed his work at exhibitions. Under Rossetti ‘s influence, however, a second wave of Pre-Raphaelitism was developed in which Burne-Jones was the most prominent figure. Jones had met the first generation of Pre-Raphaelites in the late 1850s, had become friendly with Swinburne and Whistler. He had been taken up by Ruskin in the 1860s, and, though he had shown his work in London, he was, even in 1864, still ‘almost unknown to the public ‘.2 Meanwhile the challenge to orthodoxy shifted temporarily from painting to literature.
Introduction
Authors: Tate Trudi , Raitt Suzanne 
Published: November 2023

Abstract
In a curious poem published in 1917, Violet Hunt describes a kind of darkness which has descended during the Great War: It is all shiny and black, like bombazine or taffeta, Or the satin of my grandmother’s gown, that stood alone It was so thick; A screen between us and knowledge, That sometimes, when we are very good, gets on to the placards. Something stands between civilians and knowledge; a screen which Hunt likens to the surfaces of femininity: shiny cloth; a Victorian gown. The gown conceals forbidden knowledge from the viewer; and knowledge itself is figured as a female body, hidden and impenetrable. Yet the metaphor is even more complex, for the gown is remembered as empty, standing alone, supported by the weight of its fabric. Knowledge is figured as an absent female body; an empty space inside a woman’s gown. ‘Woman’ simultaneously represents an invisible body of knowledge, and the subject (the speaker of Hunt’s poem) prevented from knowing.
‘Contagious ecstasy’: May Sinclair’s War Journals
Authors: Raitt Suzanne 
Published: November 2023

Abstract
In Richard Aldington’s 1929 Death of a Hero, George Winterbourne sees troops returning from leave and muses: ‘These men were men ... They had been where no woman and no half-man had ever been, could endure to be.’ This notion that the front, where the ‘real’ business of war was carried out, was no place for a woman left many women feeling that they had no place in the war. Sandra Gilbert has suggested that women were liberated by the widespread absence of men from their domestic and working lives, although she does point out that as well as their ‘sexual glee’ women felt intense anxiety and guilt at having got what they wanted at so many men’s expense. But despite the government’s efforts to recast the roles of mother, wife, and indeed of ‘woman’ in the mould of war, women seem to have remained confused and uneasy, afraid of doing things wrong, but unsure how to do things right. For many women, especially older women who had no children to look after, and were beyond the age where they could be recruited for war service, the war heightened their feelings of uselessness. As Gilbert and Gubar see it, women felt curiously free, and so curiously unnecessary. Women like May Sinclair, already 51 when the war broke out, struggled to make a place for themselves in a world that was preoccupied with the vulnerability of young men, rather than of older women. Her war journals reveal in painful and awkward detail the shame of a middle-aged woman who sees in middle age her last chance at life.
Gertrude Stein and War
Authors: Gregory Elizabeth 
Published: November 2023

Abstract
It has been argued that the peculiar literary project with which Gertrude Stein’s name is typically associated involved a nonhierarchic utopian aspect. Sometimes described as cubist for its presentation of its objects from many angles at once, Stein’s semi-grammatical work (i.e. at Chomsky’s second level of grammaticality-not devoid of meaning but not fully clear either) is characterized as well by some combination of frequently repeated phrases, modulating more or less gradually over long spans of page, a glancing focus that often conveys the sense that a subject-matter exists without clarifying quite what it is, and a preference for present tense. Though the style varies over time and between texts, the large effect is an insistence on multiplicities of possible readings. In insisting so, this ‘Steinese’ undermines the notion of hierarchy implicit in the view that one may master a text’s meaning, and raises questions about hierarchies of all kinds. Stein’s language has also been linked to the Kristevan semiotic and understood to re-create through its rhythms and its play with sound the pleasures of vocal interaction within a mother-child dyad. Such an honouring of the pre-symbolic over mature language use has also been read as a challenge to standard hierarchies.
Modern English Usage
Authors: Baldick Chris 
Published: November 2023

Abstract
New Words, 1910–1940 The processes of change in early twentieth-century life are most commonly presented in terms of technological inventions such as those in motorized transport, aviation, and radio, or sometimes by reference to new theoretical models such as Relativity and Psychoanalysis. But there were innovations in the sphere of language as well. Although now scarcely remembered as an event of any cultural significance, the arrival of the crossword puzzle in 1924 may be seen as marking a new kind of relationship between the literate public and the vocabulary, orthography, and morphology of the English language. It started as a newspaper craze, fomented by the offer of cash prizes, but it soon established itself as a national institution, confirmed by the inauguration in 1930 of The Times crossword. By this time, crossword fiends were beginning to appear in fiction, too: Sidney Quarles in Aldous Huxley’s Point Counter Point (1928), and two nameless mariners in the opening chapter of Evelyn Waugh’s Vile Bodies (1930), for example.
Modern Satire
Authors: Baldick Chris 
Published: November 2023

Abstract
Cyril Connolly observed in 1938 that ‘This is a satirical age and among the vast reading public the power of an artist to awaken ridicule has never been so great.’ There is a strong sense in which it was the ‘age’ itself that was satirical, not just its authors. The grim ironies of modern history provided enough mockery of human vanities, even before the literary satirist could get to work on them. Thomas Hardy shared the view that events themselves are the sharpest satirists, an assumption embodied in the title of his verse sequence ‘satires of Circumstance’ (1911). Of modern historical ironies, the most cruelly’satirical’ in its perceived implications was the Great War of 1914–18, an event whose moral devastations reverberated long after the Armistice. The War That Will End War (a slogan coined by H. G. Wells), the war that would be over by Christmas, it constituted in the eyes of many writers an unanswerable satire not only upon political blindness, military incompetence, journalistic dishonesty, and the English class system, but upon the higher ideals of European civilization itself.
A.E. Housman: The Nature Of His Poetry
Authors: Ricks Christopher 
Published: November 2023

Abstract
Housman thought that literary cnt1cs were even rarer than poets or saints, so he would not have been surprised that we are hard put to say why we like or dislike his poems. His admirers usually offer little more than pious generalities, and his detractors say ‘adolescent’—a word used by critics as different as Edmund Wilson, George Orwell, Cyril Connolly, R. P. Blackmur, and Conrad Aiken. There is an excellent annotated bibliography of early writings on Housman which is by R. W. Stallman, who not surprisingly found it necessary to include a section on that famous difficulty, ‘The Problem of Belief. ‘ After speaking of Housman’s pessimism, he summarised the critical groupings:
William Empson: The Images And The Story
Authors: Ricks Christopher 
Published: November 2023

Abstract
Empson might not disapprove of one’s pondering a poem of his in terms of its story, since he has always stuck up for story as one of the great things about literature. Obviously so, one would have hoped, for a novel or a play. Of Virginia Woolf, Empson remarked that ‘the impressionist method, the attempt to convey directly your own attitude to things, how you connect one thing with another, is in a sense fallacious; it tries to substitute for telling a story, as the main centre of interest, what is in fact one of the byproducts of telling a story’. Which drew him to Shakespeare: ‘Even those delicate interconnections on which the impressionist method depends ... need a story to make them intelligible, and even if Shakespeare (since I have dragged him in) could afford to abandon himself to these delicious correspondences he had first to get a strong and obvious story which would be effective on the stage.’
Stevie Smith: The Art Of Sinking In Poetry
Authors: Ricks Christopher 
Published: November 2023

Abstract
Fausse—na ï ve: an odd turn, but Philip Larkin! devised it as a route into the world of Stevie Smith. All its quirks are right for this truly quirky poet: its feminizing, its Anglo—French, and its paradox. For the first question to ask about the poems of Stevie Smith is, can she possibly be as ingenuous as she sounds? An ingenue is of interest only if you can’t be entirely sure. A few critics raise the question and show that it need not be nailed down. If critics ‘portray her often as a na ï ve writer,’ says Michael Schmidt, ‘this reveals the success with which she projected the mock—innocence of her public image.’ 2 But her writing depends upon its being always in question to what degree her innocence is mock—innocence. She disliked ‘the false simple’ (which she associated with Nazism) as much as she liked ‘the childish delight in a daily use of colour and form, the naïvêtc that has in it something of innocence’. Not that innocence is a simple thing. In the words of ‘The Last Turn of the Screw’: ‘Some children are born innocent, some achieve it’.
Introduction
Authors: Mcgann Jerome 
Published: November 2023

Abstract
The words ‘sensibility’ and ‘sentiment’ name a momentous cultural shift whose terms were defined in the eighteenth century. The event all but founded the novel, and it produced an upheaval in the way poetry was conceived and written. Both romanticism and modernism organized themselves in relation to the traditions of sensibility and sentiment. So far as high culture is concerned, however, these traditions remain something of an embarrassment-at best a topic of academic interest, at worst a perceived threat to the practice of art.
Frances Greville’s ‘A Prayer for Indifference’
Authors: Mcgann Jerome 
Published: November 2023

Abstract
‘The most celebrated poem by a woman of the period’, the title promises (through both of its principal terms) a far more subdued performative work than we see in The Amourous Lady’s writing. Greville’s prayer is a reflective rather than a dramatistic action. None the less, the poem operates through the same logic of sensibility, and its passion, if less demonstrative, may appear all the more affecting for that reason.
Motherhood and the Self Unknown
Authors: Mcgann Jerome 
Published: November 2023

Abstract
Yearsley, Greville, and The Amourous Lady pursue love through a context of deprivation, and the literature of sensibility does largely function in a world assumed to be ‘fallen’. Yearsley’s Platonic remonstrance, however, suggests the possibility of a wholly uncorrupted realm, a glimpsed world of pure forms. Indeed, among the sub-genres of sensibility one does stand apart, trailing clouds of the glory of a condition of absolute purity. This is the literature of the child: ‘Infant Joy’, ‘The Lamb’, ‘The Idiot Boy’.
The Loss of Sentimental Poetry
Authors: Mcgann Jerome 
Published: November 2023

Abstract
‘For such loss ... abundant recompence’ (‘Tintern Abbey’, 88- 9): this formula governs a view of elegy now, apparently, become normative. Something works to redeem the harrowing logic of ultimate loss, perhaps even—as in certain Christian and Marxian mythoi—to transform it into splendour. In its lowest common denominator the formula traces out a dismal science of balanced books or capitalist growth. More impressive and even thrilling is the cancellation of loss executed through a general economy of gift-giving or potlatch. Of course ‘civilized’ cultures—witness the historical evolution of Christianity—have always tried to restrict the economy of wholesale sacrifice, to bring order and a measure of reasonableness to the sad, ecstatic, or spectacular stories of the deaths of kings.