bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Violence Of The Late Republic
Authors: Lintott Andrew 
Published: November 2023

Abstract
AT the time when Tiberius Gracchus was elected tribune, the majority of Romans would not have regarded political violence as mere primitive barbarism. Rather it was a recognized political weapon, which in recent years had been used rarely, but was nevertheless a necessary sanction, should law and its associated physical power prove inadequate. Violence had always played a considerable part in the settling of private disputes, where it had been ritualized into legal process but also remained in its natural form of extra-legal self-help. The outstanding feature of the domestic politics of the early Republic was the struggle of the orders, in which, according to tradition, violence and non-violent physical pressure had dictated the course of events, and the marks of the physical confrontation ofpatresandplebsremained fixed in the constitution. Stories of conflict between citizens stood out in the history books devoted to Roman law, custom, and virtue, which were essential reading matter for the young man aspiring to public life. In consequence it is not surprising that a man like Cicero, who possessed by temperament and education refined sensibilities and a horror of internecine strife, encouraged violence, if it was undertaken by theboniin defence of the established order against theaudacesandimprobiwho sought to disturb it.
Britain 1714-1815
Authors: Gee Austin 
Published: November 2023

Abstract
Baines, Paul. ‘Ossianic geographies: Fingalian figures on the Scottish tour, 1760-1830’, Scotlands 4:1 (1997), 44-61. Day, Roger William. Decline to glory: a reassessment of the life and times of Lady Hester Stanhope. (Salzburg: University of Salzburg, 1997), xiv, 416p. (Salzburg Studies in English Literature, Romantic Reassessment, 124.) Houfe, Simon. ‘A Northamptonshire lady in France: the travel diaries of Lady Pomfret, 1738 and 1749’, Northamptonshire Past and Present 51 (1998), 33-44.
Red Wine, Red Politics: The Wine Poems in Context
Authors: Burton Richard D E 
Published: November 2023

Abstract
In both the 1857 and 1861 editions of Les Fleurs du mat, Baudelaire gave a place apart in the overall ‘architecture’ of his work to five poems on the theme of wine which, it will be argued here, are the fullest—because most complex and contradictory—poetic expres¬ sion of his interrelated political, aesthetic, and ethical concerns during the period covered by the first four chapters of this book.
Metamorphoses of the Ragpicker: Interpreting ‘Le Vin des Chiffonniers’
Authors: Burton Richard D E 
Published: November 2023

Abstract
‘Le Vin des chiffonniers’ is without question the most interesting of the wine poems not only because of its amplification of the themes we have been discussing but also through its use of the ragpicker, a figure who is obsessively present in mid-nineteenth-century writings on Paris, both literary and non-literary. Furthermore, no other poem in Les Fleurs du mal appears to have been so frequently and so radically reworked by Baudelaire; no fewer than nine separate versions of the poem are known—ten if one includes the prose version in Du Vin et du haschisch. According to Prarond, this poem, like ‘L’Ame du vin’, was composed before 1843, and it is indeed probable that a version existed by that date.
Introduction
Authors: Fox Anthony 
Published: November 2023

Abstract
German is spoken as a first language by approximately 100 million people in the Federal Republic of Germany, the German Democratic Republic, Austria, Switzerland, and elsewhere, and as a second language by many others in Central and Eastern Europe. It is also learnt as a foreign language by people all over the world. There are many books which purport to describe the language, ranging from compendious grammars intended for native speakers to elementary textbooks for foreign learners, and from dictionaries of current usage to philological studies of earlier stages of the language. The present book is none of these, however. Though written primarily for foreign learners of German, it is not a language textbook, and makes no attempt to improve the reader’s practical mastery of the language in any direct way. And, though it presents a description of German, it is not a grammar of the language in the usual sense, and does not contain comprehensive lists of forms. Nor does it have anything to say about the historical development of German.
Phonology
Authors: Fox Anthony 
Published: November 2023

Abstract
In Chapter 1 phonology was introduced as that part of linguistics which is concerned with pronunciation. In this chapter we shall be examining in some detail the phonology of German, but in order to do this we shall need to make a little more precise the scope and meaning of the term ‘phonology’ itself. It is useful to draw a distinction between speech as a physical activity on the one hand and speech as language on the other. Speaking involves making bodily movements and producing sounds, and these can be described in much the same way that any movements or sounds can be described, in physiological and acoustic terms. The investigation and description of speech-sounds and articulations from this point of view is called PHONETICS; it is an important and legitimate area of study in its own right, concerned with articulation and the acoustic and auditory aspects of the sounds produced, and it forms the indispensable starting-point for the linguistic study of pronunciation.1 But in considering the role of sounds in language we must go beyond the purely articulatory and acoustic facts and take into account the relationships between the sounds, and the way in which these relationships are exploited in the expression of meaning. It is this approach to which the term ‘phonology’ is applied. The terms phonetic and phonological are generally used in contrasting and complementary senses: we may speak of the ‘phonological’ as opposed to the ‘phonetic’ characteristics of speech-sounds. Just how a phonological description differs from a phonetic one will be demonstrated in the course of this chapter.
Classes and Categories
Authors: Fox Anthony 
Published: November 2023

Abstract
In our consideration of the word in the last chapter, we were concerned primarily with its structure, i.e. with the parts of which it is composed and their relationships to one another. In the course of our discussion a number of other features of the word were briefly touched on, but not developed. This chapter is devoted to two such features: the different types of words that are found in German, and the nature and significance of the various inflectional categories that are associated with them.
Return Journey: The South-West
Authors: Knight Diana 
Published: November 2023

Abstract
IN the first part of Camera Lucida, Barthes reproduces a beautiful nineteenth-century photograph of the Alhambra in Granada: ‘An old house, a shadowy porch, tiles, a faded Arab decoration, a man sitting against the wall, a deserted street, a Mediterranean tree (Charles Clifford’s “Alhambra”).’ In the first instance the photograph moves him (me touche), and what it supposedly moves him to is a recognition: ‘it’s quite simple-I want to live there.’
Introduction: The Long View
Authors: Kay Sarah , Cave Terence , Bowie Malcolm 
Published: November 2023

Abstract
If you stand on the great Cour Napoléon of the Louvre in Paris, with Mitterrand’s glass pyramids in the foreground, there are, more or less visible in the scene behind, signs of constructions going back to the Middle Ages. It was on this spot that King Philippe Auguste constructed a fortress in the late twelfth century; the foundations of the fourteenth-century castle which King Charles V built on the same site have now been excavated and opened to the public; the present palace was begun in the sixteenth century and was continued into the nineteenth. There has always been a palace at the Louvre and it has always monumentalized a view of French power and culture. The glass pyramids would not be here if Philippe Auguste had not built there, and conversely, if the pyramids had not been built, we would have known much less about the medieval fortresses beneath them.
Overview of the Period
Authors: Kay Sarah , Cave Terence , Bowie Malcolm 
Published: November 2023

Abstract
Time did not pass more slowly in the past than it does today. Although to the modern eye the centuries that make up the Middle Ages may blur together, to the people who lived in them one decade was as different from another then as it is now. Time may have been reckoned more by human activity than by instruments, just as distances were reckoned in journey times rather than in miles, but this made the experience of change central to people’s concept of time rather than a consequence of measuring its passage. Life expectancy was low, which could only increase awareness that time was feeting. Some communities, such as some monastic or rural ones, may have been slower to evolve than others.
The Period in Close-Up
Authors: Kay Sarah , Cave Terence , Bowie Malcolm 
Published: November 2023

Abstract
In 1793 the minor playwright Philippe Fabre d’Églantine produced a dozen poetic neologisms. Created as the names of the months in the Republican calendar, they were the tribute of a fervent Revolutionary to the new social and political order that had just been inaugurated by the Convention Nationale. Although their period of ofﬁcial service ended in 1805, these products of the literary imagination were to enjoy a long afterlife in French literature and, in certain cases, to pass into international usage.
British Cinema of the 1950s
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences. Competition from television and successive changes in government policy all forced the production industry to become more market-sensitive. The films produced by Rank and Ealing, many of which harked back to wartime structures of feeling, were challenged by those backed by Anglo-Amalgamated and Hammer. The latter knew how to address the rebellious feelings and growing sexual discontents of a new generation of consumers. Even the British Board of Film Censors had to adopt a more liberal attitude. The collapse of the studio system also meant that the screenwriters and the art directors had to cede creative control to a new generation of independent producers and film directors. Harper and Porter explore the effects of these social, cultural, industrial, and economic changes on 1950s British cinema.
Introduction
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
BRITISH cinema of the1950s is a largely unknown country. There have been some recent forays to chart aspects of film culture of the period. But on the whole, 1950s British cinema has been neglected, and there has been no attempt to draw a comprehensive map of its landscape. This is because it is widely perceived as being a dull period-an interregnum sandwiched between the inventive 1940s and the exciting 1960s. Critics and film-makers as influential as Linsday Anderson have berated it as dull and uninventive-’a “hack” period ... a long period of marking time.’Raymond Durgnat considered it to be ‘middle-class’ in its style and provenance, and the editorial board of Movieregarded it as simply ‘dead’.Not so. The1950s was essentially a period of transition for the British film industry, and such periods are usually marked by a struggle between old-fashioned, ‘residual’ artistic forms and those newer, ‘emergent’ types which confer status upon their consumers. In 1950s cinema, this struggle was unusually acute, since it was predicated on a seismic shift in its cultural resources. In the 1930s and 1940s, the aristocracy was a key recurring motif in film culture, and that class was used as a symbolic, disguised means of addressing social and moral anxieties and resolving them. But in the 1950s, that class symbolism disappeared with astonishing speed. The aristocracy had reached the end of its usefulness as a dynamic explanatory model, for the cinema at least. That was because canny producers had recognized that its style-of elan, insouciance, je ne sais quoi-hadbeen appropriated by the up-and-coming middle classes, whose belief in meritocracy was only tempered by their desire for fair play.
The Rank Organisation
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
THROUGHOUT the 1940s, J. Arthur Rank had been seen as the saviour of the British film industry. But by the start of 1950s he was in deep financial trouble. This was partly due to his financial over-commitments, but also partly due to Dalton’s ill-fated attempt to impose an ad valoremtax on American films. In October 1948, Rank told the shareholders of Odeon Theatres Ltd. that the company had £13.6 million in bank loans and overdrafts, and a year later the figure had risen to £16.3 million. The youngest son of the milling magnate Joseph Rank, Arthur Rank started his career as an apprentice in his father’s flour mills and became a millionaire by his early forties. It was Rank’s Methodism that took him into films. In 1934, he set up British National, together with Lady Yule, the widow of the Calcutta jute magnate Sir David Yule. When Rank discovered that their first film, Turn of the Tide(1935), a melodrama about Yorkshire fishing folk with a moral message, had been denied a proper circuit release, he went into films in a big way. Rank quickly realized that the money was made in exhibition and distribution, rather than in production. By November 1941, he had acquired the Gaumont-British and Odeon cinema circuits, and was distributing all the films produced by his growing production empire. He owned studios in Pinewood, Shepherd’s Bush, and Islington, and in 1942 established a new holding company, Independent Producers, to provide production finance and management facilities to a number of artisanal production companies, notably the Archers (Powell and Pressburger), Cineguild (David Lean, Anthony Havelock-Allan, and Ronald Neame), Individual Pictures (Launder and Gilliat), and Wessex Productions (Ian Dalrymple). He also added Two Cities, with its studios at Denham, to his portfolio.
American-British Productions
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
THE American companies produced about 170 American-British films during the 1950s, some twenty more than British Lion. About half of them were first features. Great Britain had been Hollywood’s principal foreign market for several decades, because the American companies normally covered their production costs at home and made their profits abroad. But what Britain wanted was a space for a small indigenous production industry and, if possible, to attract inward investment from America. It had traditionally imposed a quota of British pictures on both film distributors and cinema exhibitors, but in 1948 it had to remove the distributors’ quota when it signed the General Agreement on Tariffs and Trade (GATT). This left screen quotas as the country’s sole protectionist measure, and meant that attracting inward investment became central to Government film policy. The importance of American investment for the British film industry was sharpened by the debacle following Hugh Dalton’s calamitous attempt to stem Britain’s dollar drain by imposing an ad valoremtax on foreign film rentals. The agreement that was signed between the British Government and the American film companies in March 1948 divided the Americans’ film rentals into remit table and non-remittable sterling, a distinction that persisted until 1954. The stated intention of the agreement was that the American companies would invest nearly all their blocked sterling on film rights, prints, or the production of British films. The agreement was renewed in 1950 and modified again in September 1951 (see Chapter 1).
Pedagogy, pederasty, difference, and desire
Authors: Segal Naomi 
Published: November 2023

Abstract
Can there be a hydraulic theory of pedagogy? I ask this question in order to start off the examination of a body of texts in which I shall be searching not simply for facts and readings or structures and shapes but for movements and flows and the issues they produce. The problem of the hydraulic theory is in a way very simple and well known: it models the functions of psychic desire on the supposedly mechanical processes of a man ‘s body. It does this by imagining a man ‘s body to operate very much like a machine. He is full of tubes and channels. Drives drive fluid down channels towards a point of outlet. Desire pumps out fluid; then he is at rest. The ideal post-orgasmic state, the state towards which in Freud all desire tends, is a blissful stasis of undesire in which all the fluid levels are steady, nothing presses, and release has provided the answer (the scratch) to which tension was the question (the itch). In hydraulic heaven, no vessel holds more than another.
The Oxford History of English Music
Authors: Caldwell John 
Published: November 2023

Abstract
The Oxford History of English Music will survey in two volumes the whole field of music by English composers. This first volume begins with the settlement of the North German peoples and the cultivation of church music following the mission of St Augustine in 597. Relations between France and England form the background to the account of medieval music after the Norman Conquest, and the growth of a distinct national style is then traced from the early fifteenth century, through the early Tudor period and that of the Reformation, to the outstanding achievements of Elizabethan and Stuart England. The arrival of Handel is related to the period of experimentation following Purcell's death in 1695 and the volume concludes with his decision to remain and the end of the Stuart monarchy. The contribution of such outstanding figures as Dunstable, Taverner, Byrd, and Purcell is placed in the context of the music of their contemporaries, while the social, religious, and historical background to their music is given full attention. There are over two hundred musical examples and sixteen pages of plates.
Chichester
Authors: Spink Ian 
Published: November 2023

Abstract
By September 1661 the vacancies in the choir at Chichester had been filled to the statutory complement of four vicars choral, four ‘Sherburne’ clerks, four lay clerks, and eight choristers-an establishment of average size but far from lavishly endowed.1 As at Salisbury and York, the vicars were exclusively priests, and despite the fact that the clerks were often called lay vicars, they did not belong to the college of vicars and thus did not share in its revenues.
Friends, Enemies, Teachers
Authors: Williamson John 
Published: November 2023

Abstract
IN effect there are three composers in Hans Pfitzner. Preeminent is the composer of opera and music-drama, though music for the stage does not fill so permanent and regular a place in his career as other genres. Then there is the composer of instrumental music in the traditional genres: symphony, concerto, string quartet, and piano-led ensembles. Finally there is the master of the Lied, less versatile than Wolf, less ample in invention than Strauss, but none the less a setter of German lyric poetry as scrupulous as any of his predecessors. It would hardly seem necessary to draw attention to such many-sidedness had not Pfitzner lived in Wagner’s aftermath.
An Inner Emigration?
Authors: Williamson John 
Published: November 2023

Abstract
Had Pfitzner’s abandonment of composition after Mimi’s death and the valedictory Lethe proved permanent, his career as a composer would appear remarkably complete. But in practice there were too many ties to music to permit him to remain silent. There were collected papers to be published, and Werk und Wiedergabe to be written. Das dunkle Reich was another work of valediction, but on a scale to suggest that Pfitzner’s career was not over. Life too had an unexpected development, as the 60-year-old Pfitzner to his own surprise fell in love with a pupil nearly forty years younger, Lilo Martin.
The Italian Opera Establishment in London
Authors: Price Curtis , Milhous Judith , Hume Robert D 
Published: November 2023

Abstract
To attend the King’s Theatre in the late eighteenth century was to encounter a small part of Italy transported on to the south-west side of the Hay market. Management aimed to give well-travelled members of the nobility and gentry essentially the same operatic experience to be had at La Scala or La Fenice.
The Artusi-Monteverdi Controversy
Authors: Palisca Claude V 
Published: November 2023

Abstract
Giovanni Maria Artusi, like Eduard Hanslick, made the mistake of tangling with a great composer. Thereby he earned the fate of the Beckmessers of this world, to be branded a hopeless reactionary and a philistine unable to appreciate true genius. Music historians have had few kind words for Artusi. He has even been charged—unjustly—with composing a polemic pamphlet against his teacher Zarlino, when, actually, the pamphlet was a eulogy, and it was as Zarlino’s defender that he entered the debates on the rules of counterpoint.
Vincenzo Galilei’ s Arrangements for Voice and Lute
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay was first published in Essays in Musicology in Honor of Dragan Plamenac on his 70th Birthday, edited by Gustave Reese and Robert J. Snow (Pittsburgh: University of Pittsburgh Press, 1969), 207–32 and is reprinted by permission of the publisher.
G. B. Doni Musicological Activist and his Lyra Barberina
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay was first published in Modern Musical Scholarship, edited by Edward Olleson (Stocksfield, Boston, Henley, and London: Oriel Press, 1980), 180–205. This volume contained the papers presented in the fall of 1977 at the Oxford International Symposium at Christ Church, organized and chaired by Denis Arnold, then Heather Professor of Music. The theme of the symposium was ‘Modern Musicology and the Historical Tradition of Musical Scholarship’.
Stolen Time
Authors: Hudson Richard 
Published: November 2023

Abstract
The history of tempo rubato (‘stolen time’) is as old as music itself, composers and performers ever introducing expressive fluctuation of the tempo contrary to music’s precise notation. The technique has been variously described by theorists and composers as ‘an honest theft’, ‘a pernicious nuisance’, even ‘seductive’ (by Franz Liszt), yet it remains integral to the performance and history of music. Professor Hudson’s book is the first to present the complex history of this device. He identifies and traces the development of two main types of rubato: an earlier one in which note values in a melody are altered while the accompaniment keeps strict time, and a later, more familiar, one in which the tempo of the entire musical substance fluctuates. In the course of his narrative he ranges widely over western music, from Gregorian Chant to Chopin, from C.P.E. Bach to jazz, quoting extensively from the writings of theorists, composers, and performers. In so doing he not only suggests new ways of approaching the rubato in the music of nineteenth-century composers like Chopin and Liszt, where we expect to encounter the term, but also illuminates the music of earlier and later periods, revealing its use even in the music of that most metronomic of composers, Stravinsky. As such his book will be of wide interest and of particular relevance to performers. The text is illustrated throughout by some 150 music examples and a number of illustrations.