bluuebunny/crossref_metadata_2025_split huggingface dataset:
Woman: The One and the Many
Authors: Spelman Elizabeth 
Published: November 2023

Abstract
Women of color have been distrustful of white women who point to similarities between them when it seems politically expedient to do so and to dissimilarities when it does not. They have wanted to know just why and when white women become interested in similarities and differences among women. At issue is not so much whether there are or are not similarities or differences, but about how white middleclass feminists try to use claims about similarity and differences among v,10men in different directions, depending on what they believe such similarity or dissimilarity implies. For example, as we have seen, sometimes feminists have insisted on the similarity between the treatment of’ women’ and that of ‘slaves’; other times they have insisted that the situation of free women and slave women is different enough that the situation of slave women cannot be a useful guide to that of free women. The issue is thus not so much a metaphysical one as a political one.
Authenticity and the Writing: Cure: Reading: Some Migrant Women’s Writing:
Authors: Gunbw Sneja 
Published: November 2023

Abstract
The title of this essay expresses a contradiction which has been haunting me for some time. It was prompted initially by such questions as: when does one start, or stop. writing as a migrant (an immigrant to Australia from a non· Anglo·Celtic culture). or ‘as’ anything) A related version was: what makes a text migrant writing, or women’s writing? After Derrida, this seems an impossible question because how can one still argue for writing in conjunction with any notion of authenticity? Authenticity has additionally been located in speech and in the self purportedly fully present behind the utterance.
Am I That Name? Feminism and the Category of ‘Women’ in History
Authors: Riley Denise 
Published: November 2023

Abstract
The black abolitionist and freed slave, Sojourner Truth, spoke out at the Akron convention in 1851, and named her own toughness in a famous peroration against the notion of woman’s disqualifying frailty. She rested her case on her refrain Aint I a woman?’ It’s my hope to persuade readers that a new Sojourner Truth might well-except for the catastrophic.
Recovering: Women in History from Feminist Deconstructionism
Authors: Stanley Liz 
Published: November 2023

Abstract
Denise Riley’s (1988) speculative deliberation on the category of women in history raises a major epistemological debate mat confronts cotemporary feminism and, although in a somewhat different form, also confronts con· temporary mainstream history and sociology too. Her thesis is that the category women (as well as me more obviously contentious Woman) is ‘historically. discursively constructed, and always relatively to other categories which themselves change’. This argument is more man an emphasis on conditioning or socialization, for what it disputes is the existence of any reality beneath or within me constructions (and terms it parallels or rather repeats Michel Foucault’s (1976) argument about ‘the homosexual’).
Queer Notions
Authors: Smyth Cherry 
Published: November 2023

Abstract
Each time the word ‘queer’ is used it defines a strategy, an attitude, a reference to other identities and a new self-understanding. And queer can be qualified as ‘more queer’, ‘queerer’ or ‘queerest’ as the naming develops into a more complex process of identification.) For many, the term marks a grov,1ing lack of faith in the institutions of the state, in political procedures, in the press. the education system, policing and the law. Both in culture and politics, queer articulates a radical questioning of social and cultural norms, notions of gender. reproductive sexuality and the family. we are beginning to realize how much of our history and ideologies operate on a homo-hetero opposition, constantly privileging the hetero perspective as normative, positing the homo perspective as bad and annihilating the spectrum of sexualities that exists.
Bisexual Feminism: Challenging the Splits
Authors: Sturgis Susan 
Published: November 2023

Abstract
Bisexual-conscious feminist theory and feminist-conscious bisexual theory have me potential to challenge western ways of thinking: and these western models form the basis not only of the oppression of bisexuals, lesbians and gay men. not only of women. but of the very construction of oppression. western philosophy conceptualizes the world along deep splits. Fragmenting human from animal, man from woman, mind from body, self from other, reason from emotion, culture from nature, enquirer from object of enquiry, and black from white, metaphysical dualism imposes polarities on what is in reality interconnected and interdepended.
Whose imaginary? The Televisual Apparatus, the Female Body and Textual Strategies in Select Rock Videos on MTV
Authors: kaplan E Ann 
Published: November 2023

Abstract
The social Imaginary that I shall explore in fustic Television (MTV)’ has been constructed through the contradictory post•196os historical moment in which rock videos arise as a mass popular culture form. It is the mapping in the 1980s of the new 1960s discourses about politics, sex and romance on to the increasingly high-tech stage of an already advanced capitalism that partly produces the extraordinary MTV Imaginary.
Reproductive Technologies: Tampering with Nature?
Authors: Stanworth Michelle 
Published: November 2023

Abstract
Technologies designed to intervene in the process of human reproduction fall, roughly speaking. into four groups. The first and most familiar group includes those concerned with fertility control-with preventing conception, frustrating implantation of an embryo, or terminating pregnancy. [... ] A second group of reproductive technologies is concerned with the ‘man- agreement’ of labour and childbirth.[... ]
Belief and Culture
Authors: Briggs Robin 
Published: November 2023

Abstract
Poised between the great ages of the Renaissance and the Enlightenment, the seventeenth century has never acquired its own equivalent label. This is not surprising, for the period was pre-eminently one of confusion and transition, representing a major watershed in the development of European civilization. The exploratory and uncertain character of much thought of the time stimulated great literary and theatrical achievements, while working against the establishment of grand syntheses.
Other early poetry
Authors: West M L 
Published: November 2023

Abstract
The rest of early Greek poetry down to about 500 B.C. is sometimes loosely lumped together as ‘lyric’. This is unfortunate, because it implies that that poetry had a unity which it did not have, and because the word ‘lyric’ has associations which are largely inappropriate. In an ancient context it properly refers to poetry sung or recited to the accompaniment of the lyre. But the rhapsodes who recited epic poetry at least sometimes accompanied themselves on the lyre; while much of the smaller-scale poetry to be reviewed in this chapter was accompanied by the pipes, or not at all. Often we do not know how it was performed. It is better (though still not completely satisfactory) to divide it into melic poetry, iambic poetry, elegy, and epigram.
The classical historians
Authors: Dover K J 
Published: November 2023

Abstract
In ancient Egypt and other civilizations of the Near East it was the immemorial practice of kings to set up inscriptions giving detailed and systematic narratives of their own achievements in war, administration, and public works: boastful in tone and no doubt often false, but none the less a frame of reference for the historical consciousness of those who could read, and admitting of transcription and circulation on papyrus or baked clay. By contrast, if a Greek in (say) 500 B.C. wanted to learn about the past history of his own city-state, he could not look it up. No historical writings were available to him, no archives, no chronicles; only (in some states) a bare list of the holders of annual magistracies or priesthoods and texts of laws, usually undated.
Classical science and philosophy
Authors: Dover K J 
Published: November 2023

Abstract
In the last few centuries the province of philosophy has been substantially reduced, since science has increasingly offered means, founded upon observation, calculation, and experiment, of answering questions to which at one time only a variety of purely speculative answers could be offered. We do not now ask a philosopher how the solar system originated or why certain plants do better in sandy soil, though we might invite his criticism of the reasoning and conceptual relations involved in scientific answers to those questions. Greeks of the archaic and classical periods whose curiosity was aroused by questions about the origin, constituents, and working of the universe did not have at their disposal, and could not readily envisage, those technical means of satisfying curiosity which our own civilization has developed. They inherited poetry (Hesiod’s, for example) which narrated the origins of the universe in terms of personified entities, such as Earth, Sky, and Night, who mated and pro created, and they explained its mechanical regularities, notably the course of the Sun and the chain of phenomena dependent upon it, in terms of laws made by Zeus and obeyed by subordin ate deities. The essential first step which was to lead both to scientific and to philosophical thought was taken when certain Greeks in the first half of the sixth century B.c. devised economic al and comprehensive theories intended to explain the origin and the working of the universe by reference not to the actions of deities but to the properties of supposed ‘basic elements’ such as air, fire, water, and earth. The earliest thinkers known to have put written work into circulation are Anaximander and Anaximenes, both natives of Miletus; they wrote in prose, but the very scanty surviving quotations do not tell us anything about its literary quality.
Introduction
Authors: Robertson Anne Walters 
Published: November 2023

Abstract
In April 1981 the Metropolitan Museum of Art in New York City mounted a major exhibition at The Cloisters, ‘The Royal Abbey of Saint-Denis in the Time of Abbot Suger (1122–1151)’.1 In conjunction with this, an international symposium on Saint-Denis and Abbot Suger was held at Columbia University. The papers presented there focused upon this brilliant period in the history of the abbey from the vantage points of monastic life, political and social history, art, architecture, and literature.2
The Idea of a ‘Faust’ Theatre
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Wagner’s first fascinated encounter with Goethe’s Faust was one of the most fundamental aesthetic experiences of his life. It was an experience, moreover, which was to be repeated in different circumstances at various stages from early youth to ripe old age.1 Countless remarks in his letters and conversations, together with frequent allusions to, or quotations from, the play in his theoretical writings, are eloquent testimony to a fascination which was not merely literary but musical, too: as early as 1831—in other words, while Goethe was still alive—he wrote a series of Sieben Kompositionen zu Goethes ‘Faust’, inspired by part I of Goethe’s drama. They are immature and unimpressive pieces. On a wholly different level, by contrast, was his planned ‘Faust’ Symphony, of which, however, only the first movement was completed (1839–40). When revising the piece in 1855, he retitled it A Faust Overture, the indefinite article apparently indicating that the work—arguably Wagner’s most important purely instrumental piece—lays no claims to being regarded as the definitive accompaniment to Goethe’s incommensurable poem.
Oedipus and Der Ring des Nibelungen
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
One of Germany’s leading Greek scholars, Wolfgang Schadewaldt, has described Wagner’s music dramas as ‘mythic palimpsests’1 in which the underlying script of Greek myth is constantly decipherable beneath the surface layer of Germanic and Christian legend.2 Wagner himself gave frequent emphasis to the importance of Greek myth and Attic tragedy whenever he was discussing the type of subject-matter he felt appropriate to the musical drama. Nowhere is this truer than in his self-apologia, A Communication to my Friends, although it must be added that if, in this essay, he claims to derive the themes of even his Romantic operas from classical archetypes, it is because of his palpable wish to reconcile his earlier ideas with his present beliefs as influenced by Feuerbach and revolutionary ideology.
The World in a Dying Light: Tristan und Isolde and the Myth of Night
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Tristan und Isolde was ‘the end of all Romanticism’, Richard Strauss wrote to Joseph Gregor on 8 January 1935: ‘the yearning desire of the whole of the nineteenth century’ was ‘captured here in a single focus’.1 For Thomas Mann, too, Tristan und Isolde was ‘a Romantic work, deeply rooted in Romantic thought and sensibility’, since night was ‘the true domain and dwelling place of all Romanticism, its real discovery’.2 It was the early Romantics in Germany who had created the myth of night, contrasting the raven down of darkness with that light of reason which they associated with the Enlightenment. This latter, after all, was a movement which saw itself, as no other, as being transfigured by light. The very term ‘Enlightenment’ says it all: light must be shed on things, all things must be progressively illumined. (In German the term is Aufklärung, deriving from the Latin clarus, while the French refer to this rationalistic age as ‘le Siècle des lumières’.) The metaphysical metaphor of light on which this concept is based is expressed with particular potency by Leibniz’s Monadologie, first published in German in 1720. Monads are simple, windowless entities which, by a process of entelechy, strive to achieve a state of greater and greater brightness until they are united with the brightest, and most enlightened, monad, God.
Stylistic Layers in Eleventh-Century Polyphony
Authors: Arlt Wulf 
Published: November 2023

Abstract
The more we learn of the Winchester organa the more clearly does the special position of this earliest polyphonic collection emerge. The main corpus as well as most of the additions clearly belong to the first quarter of the eleventh century.The collection is remarkable not only for its size—a total of 174 organa—but also for its systematic arrangement in fascicles, according to genre and the structure of the church year. In both respects it stands in sharp contrast to all of the other sources of polyphonic music copied before the middle of the twelfth century. From the ninth century on different kinds of organum had been dealt with in theoretical texts; however, polyphonic singing evidently belonged to a realm of ad hoc practice which required no written record. And the continental sources imply that, in every sense, the organized collection from Winchester constitutes an exception.
The Forms and Orders of Western Liturgy From The Tenth To The Eighteenth Century
Authors: Harper John 
Published: November 2023

Abstract
This book is an introduction to the principal forms and orders of Western liturgy between about 900 and 1700. It explains their nature and basic historical origin, and presents in detail the contents and orders of principal services as well as additional and special forms of worship. The book emphasizes the mainstream of Western liturgy derived from the medieval Roman Rite as found in secular and monastic churches. After the Reformation it concentrates on the rites of the Roman Catholic Church and the Church of England. There is consideration of the nature of liturgy, a historical summary, and individual chapters on medieval churches and their communities, the Christian calendar, medieval liturgical books, the Psalms, the Office, the Mass, Processions and Additional Observances, Holy Week and Easter, the Tridentine Rite, and the English Book of Common Prayer. There are two further chapters which raise the problems of establishing the order of a liturgical service, and introduce selected medieval sources accessible in facsimile or edition. A select, annotated bibliography and a glossary of ecclesiastical and liturgical terms are included.
French Polyphony of the Thirteenth Century
Authors: Crocker Richard 
Published: November 2023

Abstract
Up to the stage at which the discant clausula was provided with a Latin text in the duplum, the development of polyphony at Notre Dame in Paris could be traced in relative isolation from other music of the twelfth and early thirteenth centuries. Chapter XII describes the features that set Notre-Dame organa style apart-consistent use of a cantus firmus from the Gregorian repertory of the archetype, very extended melismatic writing for two, three, or four voices, modal rhythm, and eventually overlapping phrases between tenor and upper parts. All of that development seemed to have a logic and momentum of its own, and the kind of music it produced in the organa and independent clausulas in Perotin's style were distinctly different from any other music we know of that time. Then, with the Latin texting of the clausula duplum, more similarities with other kinds of music appear; and from then on, in fact, the Notre-Dame style merged with other music, eventually losing its individuality.
Interlude: Some Aspects of Technique
Authors: Smallan Basil 
Published: November 2023

Abstract
During its lengthy evolution the piano trio has come to be regarded, not altogether unjustly, as a taxing medium to control for both composers and performers. According to one commen¬tator, it is ‘one of the most difficult forms to manipulate’ and one which is ‘seldom satisfactory in balance’.1 It will, therefore, be appropriate, before proceeding further with our survey, to consider briefly some of the basic technical problems which surround trio composition, especially those related to the nature of the instruments involved, and the methods of scoring for them. Despite its intimacy of style and expression the trio genre has tended, throughout its development, to reflect microcosmically major aspects of other forms of music: initially, as we have seen, the classical sonata, the symphony, the concerto, the string quartet, and opera; and subsequently, after about 1830, the keyboard miniature, the solo song, the grand romantic concerto, and a variety of other instrumental forms of a dramatic, lyrical, or virtuosic character. Thus, it is hardly possible to identify a single set of techniques which is uniformly applicable to the genre. Before 1830, during the high days of Viennese classicism, tech¬nique functioned principally in support of structural logic, tex¬tural integrity, and the attainment of a democratic spread of interest among the parts, as much in the piano trio as in all other forms of chamber composition. But later stylistic changes brought about a weakening of the traditional aims, and the former technical criteria were gradually modified. One obvious source of difficulty was the inescapably fixed nature of the classical chamber media.
1869–1870
Authors: Bordman Gerald 
Published: November 2023

Abstract
When the curtain rose on the 1869-70 season, the guns of the Civil War, that great watershed in American history, had been silent for more than four years. The victorious North’s main goals-the preservation of national unity and the abolition of slavery-seemingly had been attained. How truly unified the nation was remained moot. Secession was now out of the question for the foreseeable future, but the South could and did pounce quickly on the issue of states’ rights to constantly chip away at Washington’s ever greedier grasp. And beyond the legalities and technicalities of a sometimes enforced unity, frustration and rancor festered. Similarly, while by any common definition slavery had become illegal, the South lost little time devising ways to keep down its often feared and detested blacks. In this, surprisingly, southerners found tacit and occasionally open support from onetime foes, the former abolitionists, many of whom had railed against the idea and practice of slavery while harboring no love or respect for the slaves themselves.
1871–1872
Authors: Bordman Gerald 
Published: November 2023

Abstract
The 1871-72 theatrical season was a weird one, at least in New York. By 1871 the city finally could claim a population of more than one million, yet there was many a night when only three playhouses offered those carefully varnished dramas and comedies guaranteed to please most sophisticated playgoers. A curious potpourri of events and trends conspired to create this pinched situation. Except for a few weeks at the very end of the season, the Olympic was given over entirely to a hugely popular revival of the musical pantomime Humpty Dumpty, with G. L. Fox cavorting in the leading role. Opera bouffe and minstrelsy usurped most of the season at Lina Edwin’s. The Black Crook and other musicals, or prototypical musicals, occupied Niblo’s stage for much of the time, until the theatre burned to the ground in May.
1872–1873
Authors: Bordman Gerald 
Published: November 2023

Abstract
Although contemporary observers might not have agreed with the conclusion, the 1872-73 season seems one of transition. Of course, the view comes from the vantage of more than one hundred years, and the transition was quiet if steady. Yet change was everywhere. That ever present terror of the era, fire, which had destroyed Niblo’s late in the preceding season, blazed anew this year, removing forever the failing Lina Edwin’s Theatre (recently converted to minstrelsy) and gutting Daly’s Fifth Avenue (scarcely daunting the intrepid Daly and his determined band). The other side of the coin was the opening of a major new home for drama. And for several seasons to come, much of that drama would be of French origin. The floodgates that Daly had unlocked earlier with Frou-Frou were now to be opened wide. Of course, English drama continued to be a mainstay at all the firstclass theatres, and its allure would be potent for seasons ahead.
1876–1877
Authors: Bordman Gerald 
Published: November 2023

Abstract
It was certainly not the best of times. Nationally the outgoing Grant administration had reeled from one damning exposure of corruption after another. Now, in the new year, the next president, Rutherford B. Hayes, would enter the White House already under a cloud, for he had lost the popular ballot to Samuel J. Tilden by a sizable 250,000 votes only to win in an electoral count many felt was tainted. New York City, still wrestling with the debris left by Tweed’s skullduggery, seemed awash in a miasma of unsteady idealism, incompetence, and continuing chicanery. And, of course, effects of the 1873 panic continued to haunt the nation.
1878–1879
Authors: Bordman Gerald 
Published: November 2023

Abstract
Allowing the 1878-79 season to bring down the curtain on “Act I” may be giving it an undeserved importance. By theatrical standards of the late 1870s, and indeed by those of virtually all later good theatre except for what Max Beerbohm called the most “adramatic,” such a curtain is weakly anticlimactic. Historians taking a long view of our stage’s history might justify it by citing the Bowery Theatre, which at season’s end left the lists of New York playhouses offering drama in English. By that time, however, the fifty-three-year-old theatre long had ceased being a first-class house, sinking ever lower in appearance and in the caliber of its audiences and of its plays. When its name was changed in the summer of 1879 and it began catering to the immigrants whose tenements surrounded it, it was truly venerable only in memory.