bluuebunny/crossref_metadata_2025_split huggingface dataset:
Louis MacNeice’s Early Poetry (1924-1930)
Authors: Mcdonald Peter 
Published: November 2023

Abstract
If some poets prefer their earliest work to be given a quiet burial, there are others who find youthful productions, and mistakes, serviceable in their mature careers. Louis MacNeice belongs to this second category. The poetry of his early years, though for the most part dropped from the collected editions of his work, has distinct relevance for his writings from the 1930s until his death in 1963. Indeed, MacNeice gave public burials to his early work with some regularity in his critical essays. The reasons for this have largely failed to interest his critics, but the juvenilia have enough inherent value to be of interest outside the small circle of MacNeice scholars. This largely forgotten body of work casts a revealing light on the poetic experience of the ‘thirties generation’, the first poets in England whose encounter with Modernism was, in the phrase T. S. Eliot used for his generation’s reading of Shelley, ‘an affair of adolescence’. This article will survey MacNeice’s creative writing from 1924, when he was a pupil at Marlborough School, until 1930, when he left Oxford with a First Class Honours degree in ‘Greats’ (specializing in philosophy and classical literature) to take up an appointment as a lecturer in Greek at Birmingham University.
Basil of Caesarea: The Classic Model
Authors: Elm Susanna 
Published: November 2023

Abstract
In the autumn of the year 355 a young man of 25 or 26 returned from his studies in Athens to Caesarea in Cappadocia. Following in his late father’ s footsteps, he intended to turn his extraordinary talents to a career as a rhetor. However, the initial attraction to the glamours of that profession was short-lived. His years as a student had already been marked by what he calls the search for ‘ a more perfect life’ (filov teXsqjtepod). Within the year, in 356, he was baptized by the local bishop, Dianios of Caesarea. Dianios, well aware of the young man’s potential, immediately began to draw him more and more into the affairs of the Church.
Homoiousian Asceticism
Authors: Elm Susanna 
Published: November 2023

Abstract
In the year 340 or 341 thirteen bishops under the leadership of one Eusebius decided to meet in Gangra, the metropolis of the province of Paphlagonia, ‘on account of certain necessities of the Church, and for the investigation of the affair of Eustathius; and having found that many improprieties had been committed by the Eustathians, [they] therefore sought to remove the evils occasioned by him, Eustathius. ‘ These improprieties were of such a magnitude that they raised concerns far beyond the boundaries of Paphlagonia itself. The bishop presiding at Gangra, Eusebius, was at the time bishop of Constantinople,2 and the assembled Fathers not only issued twenty canons, but also sent a warning letter to their colleagues in the neighbouring province of Armenia.
In the Desert and in the Countryside, in Towns or Villages’: the Historia Lausiaca and the Historia Monachorum
Authors: Elm Susanna 
Published: November 2023

Abstract
When compared to Asia Minor the variety of ascetic practices in Egypt was even more bewildering and more individualistic, ranging from various ways of ascetic life within the village, via the solitary life in lesser or greater depths of the desert, to forms of semi-desert communities as represented by Pachomius and Shenoute. Even the communities, however strictly organized they were, performed experiments with individual ascetic practices, and these were often initiated by their very leaders. All experiments included women. Indeed, the variety of female ascetic practice seems if anything to have exceeded that of the men, but certain tendencies are evident.
Ithyphallic Males Behaving Badly; or, Satyr Drama as Gendered Tragic Ending
Authors: Hall Edith 
Published: November 2023

Abstract
While historians of European culture are familiar with ancient Greek tragedy and comedy, they are unlikely to be well acquainted with the third ancient theatrical genre, satyr drama. Hundreds of satyr plays were produced, yet only Euripides’ Cyclops survives in its entirety, together with a substantial part of Sophocles’ Trackers (Ichneutae ).One of the few certainties about this enigmatic genre is that its gender orientation was more profoundly male than that of tragedy and comedy. Like them it was produced by male poets and performed by male actors, in front of an almost exclusively male audience. Yet unlike the choruses of tragedy and comedy, which could represent either females or males, the chorus of satyr drama by convention consisted of male satyrs with conspicuous phalluses.
Discovering the Body in Roman Oratory
Authors: Gunderson Erik 
Published: November 2023

Abstract
In order to appreciate the stakes in the game of the deployment of the male body in public oratorical performance at Rome, we first have to take seriously the idea that the orator is a good man, a vir bonus. In the Roman tradition, Cato lays down the definition that the orator is a good man skilled at speaking, and the social morality of his definition persists throughout Latin literature. The public speaker will be called upon to prosecute and to defend in the courthouse, to explain and to propose resolutions to the people, and to debate with peers in a legislative body. Yet when the orator is defined by way of his essence rather than his function, the space for an elaborate technology of presence opens up at the site of rhetorical performance: rhetoric in this case can never be ‘mere rhetoric’ as we say today.
The Rhythms and Intonation of Reading Aloud
Authors: Mitchell T F 
Published: November 2023

Abstract
In earlier chapters, with the main exception of Chapter 6, concern has been with words. In this chapter, emphasis is on the phrase and similar stretches as well as sentences and longer elements. Illustrations are provided from passages in Writing Arabic which are reproduced in Appendix A. Proceeding slowly at first helps the learner to avoid infelicitous stops and starts, hesitations, hummings and hawings, and to inculcate in himself the confidence necessary to speak out at all times positively and vigorously in the Arab manner. Words and phrases should first be practised before they are run together into breath- and sense-groups. It is quite un-Arabic to pause on and unwantedly lengthen a vowel which is omissible pre-pausally. Such vowels are better dropped altogether than brought into undesirable prominence. Again, if pause is advertently made before hamzatu lw@SI (6.2), for example in the case of the article, it has to be remembered to include the glottal stop before proceeding, but, better still, pause in such places should be avoided. It is important, therefore, to decide beforehand where pauses will be made.
Andrei Bitov (b. 1937)
Authors: Laird Sally 
Published: November 2023

Abstract
Andrei Bitov was born in Leningrad in 1937 and, except for a brief period during the war, spent his childhood and formative years in that beautiful, haunted, neverquite-Russian city. Several generations of Bitovs had lived there before him, and the survivors in his day—grandmother, parents, aunts, uncles, and grandchildren—all lived together in one big apartment. Members of the old St Petersburg intelli-gentsia, their tastes and values harked back to pre-revolutionary times and formed a partial bulwark against the contemporary Soviet world outside. Bitov later wrote of his home that it formed ‘a whole world and comprised my whole life, and it strengthened a certain isolationism in me . . . providing an abundance of the best, the finest, people, painlessly dividing my life into two indisputable, a priori cat-egories, my own personal world and the external one ‘.
Yevgeny Popov (b. 1946)
Authors: Laird Sally 
Published: November 2023

Abstract
Yevgeny Popov, best known as a short-story writer and master of parody, was born in 1946 in the Siberian town of Krasnoyarsk, immortalized in his work as ‘the town of K. on the banks of the river E. ‘. In the 1960s he studied geology in Moscow, and in 1968, having unsuccessfully applied to the Gorky Institute of Literature and the Institute of Cinematography, he returned to Siberia to work as a geologist. In 1975, he abandoned this first career, moved back to Moscow for good, and thenceforth devoted himself to literature, earning his living with a series of hack jobs.
Female Desire
Authors: Evans Peter William 
Published: November 2023

Abstract
Victor J. Seidler’s reminder (1991) that ever since the En lightenment masculinity has been associated with rationality, femininity with irrationality, seems especially appropriate for the framework of a discussion on Buñuel’s representation of women. For the international Surrealist struggling to free himself from the primacy of reason, submission through amour Jou to a female order of unreason seems only natural. But for the Aragonese provincial, partly moulded by a predominantly Catholic culture, an embrace of the feminine risked opening up a Pandora’s box of dreaded, ultimately equivocal pleasures. This inner conflict reflects itself in a duality of approach noticeable throughout the films. Characters like Lope, Pierre, Mateo, and Alejandro, among others, hurl themselves at women, sacrifice their independence, lavish care, attention, and material rewards on the Tristanas, Séverines, Conchitas, or Catalinas in their lives, only to be spurned, humiliated, or even destroyed by these irresistible sirens.
The Glosses of Roland Barthes: The Encyclopedic and the Novelistic
Authors: De Obaldia Claire 
Published: November 2023

Abstract
Although Barthes has produced several volumes of self-declared ‘critical essays’, critics tend to hesitate to refer to him as an essayist and prefer labels such as ‘critic’, ‘mythologist’, and perhaps above all ‘semiologist’ —as well, less flatteringly (but typically when categorizing essayists), as ‘dandy’ or ‘minor writer’.’ In practice, his texts are mostly referred to as ‘essays’ when their unclassifiability is emphasized. And this unclassifiability has to do both with form and with content, given the wide range of Barthes’s concerns which include food, wrestling, toys, advertising, fashion, paintings, foreign countries, etc., as well as books. If these concerns have anything to do with essayism, however, this is above all in so far as they provide the various myths of mass culture for Barthes’s counter-ideological pursuit. In this respect, the project of Mythologies is probably most representative of Barthes’s enterprise as a whole, since in it Barthes purports to ‘account in detail for the mystification which transforms petit-bourgeois culture into a universal nature’, a transformation which he refers to as a ‘mythic inversion’.
The Art of Ambivalence: Der Tod in Venedig
Authors: Reed T J 
Published: November 2023

Abstract
In Der Tod in Venedig, Thomas Mann returns from excursions into allegory and once more writes directly about a literary artist. But the directness is not that of Tonio Kroger. There he was expressing lyrically his immediate experience, formulating and coming to terms with what he had gone through. In the figure of Gustav von Aschenbach, by contrast, he experiments2 with a possible future, with ‘how it would be if ... Author and character have of course a great deal in common—racially mixed ancestry, disciplined bourgeois background, slow and tortured compositional method, concentration on a certain type of character, residence in Munich, Upper Bavarian country house, and many other details: without such initial similarities, the fictional experiment would not have been relevant to Thomas Mann. But the most important indication of how the character is related to his author is their difference in age. Aschenbach in the story is over fifty (fifty-three according to one of Mann’s working notes). Thomas Mann when he wrote the story was thirty-six.
Identities
Authors: Reed T J 
Published: November 2023

Abstract
‘Suddenly this happened: Hans Hansen and Ingeborg Holm went through the room.’ With a shock the italics hint at, the mature Tonio Krӧger sees again the two young people he loved in childhood. It is of course not really Hans Hansen or Ingeborg Holm. The girl is only ‘a little more grown up than before’, the boy is ‘exactly as he was’; perhaps they are brother and sister (viii. 327, 333). The text is as plain as literary delicacy allows. Then why that dramatic statement of identity? Because literal statement is the most striking metaphor to convey the point: that there are patterns of recurrence into which personal experience fits. Identity is real, not at the personal, but at this typical level: ‘... Hans und Ingeborg. Sie waren es nicht so sehr vermoge einzelner Merkmale und der Ǟhnlichkeit der Kleidung, als kraft der Gleichheit der Rasse und des Typus.’ (Hans and Ingeborg.
Reckoning
Authors: Reed T J 
Published: November 2023

Abstract
Doktor Faustus attempts the impossible: to encompass and explain the German catastrophe. What happened to Germany and what was done by Germans under Hitler was horrible on such a scale that it defies the resources of artistic imagination to formulate it and perhaps even casts doubt on the possibility of an adequate tragic art in modern times. But to defy means to challenge. How could Thomas Mann have refused the challenge? He had spent a lifetime evolving means for just such a task, learning to say the general-by allegory, symbol, myth-through the particular. In Der :(,auberberg he had embodied complex truths about an earlier phase of German history and society in the fate of a single individual. Besides, he was at root an Erlebnisdichter. He had put too much of his substance into the fight against Hitler, brooded too much over what made Hitler possible, suffered too much from the distortion of his country and its culture to be able to leave the account artistically unsettled.
Apollo and Dionysus
Authors: Reed T J 
Published: November 2023

Abstract
What came after was a coda. Where Doktor Faustus is the grand and painful synthesis of a lifetime’s themes, Der Erwäklte is a mechanical restatement. It uses an extreme montage technique2 no longer to master a compelling subject but to create the old illusion of substance. Kӧnigliche Hoheit, though distant in time, is its essential neighbour. True, Mann’s last work Felix Krull has given much delight. But its best scenes had been written long before; Mann considered its themes superseded and surpassed by Joseph before he returned to it.3 Completing it struck him as somehow unworthy, a mere pastime after his real task, Doktor Faustus. That novel is the terminal peak from which to look back over the whole range of his work and try to make out its basic pattern and meaning.
Introduction: The ‘Indigenous Public Sphere’
Authors: Hartley John , McKee Alan 
Published: November 2023

Abstract
A ‘locked cupboard of history’ can only be kept locked anew each day, in a continuously unfolding present. If there is a ‘new awareness’, that too must be disseminated on a daily basis. If there is a ‘central problem for the integrity and authenticity of Australian culture today’, then that problem must be pondered and wrestled with ‘today’. Responsibility for letting the skeleton out of the cupboard, for creating awareness, and for thinking through the central problems of a nation, is taken not only by the writers and artists to whom Bernard Smith referred in the passage quoted above, but also by the media of disclosure, the journalism of popular enlightenment, the reporting of governmental decision making. The locked cupboard itself, awareness of its contents, and the subsequent condition of Australian integrity and authenticity, are all, in short, questions of media.
Stubbie-Truth: Journalism, Media, Cultural Studies, and an Ethics of Reading
Authors: Hartley John , McKee Alan 
Published: November 2023

Abstract
Nothing here but a pleasant way to pass the time, and to learn some interesting facts about the Great State of Western Australia, home of the Swan Brewery and makers of Emu Bitter. The information was encountered in the everyday context of taking a beer out of the fridge; it was routine, non-political, and the opposite of provocative, since no commercial organization (apart from talkback radio) would knowingly put its customers offside in. the very act of appealing to them.
‘In the Arte of Musicke and Skill of Danceing’ The Jacobean Court Orchestra
Authors: Holman Peter 
Published: November 2023

Abstract
Seven ‘Violins’ walked with their fellow court musicians in Elizabeth’s funeral procession on 28 April 1603. They were a striking testimony to the continuity of English court institutions. All but one was descended from a member of Henry VIII’s string consort. Four of the seven were the children and grandchildren of Ambrose Lupo: his sons Joseph and Peter and their sons, Thomas I and II. ‘Anthony Coomes’ (or Corney) was probably the grandson of John Maria of Cremona, while Caesar Galliardello was the son of Mark Anthony, who had come to England from Brescia in 1545.
‘Coperarios Musique’ The Households of Prince Henry and Prince Charles
Authors: Holman Peter 
Published: November 2023

Abstract
IN the winter of 1609-10 the 15-year-old Prince Henry Frederick, eldest son of James I, formed his own household. It was an important constitutional and social event, for there had been no adult male heir to the throne in residence at the English court for almost exactly a hundred years-since the prince’s namesake became Henry VIII in 1509. In three years, from 1609 until his untimely death in the autumn of 1612, Henry became the focus of a second English renaissance. He established important collections of books, paintings, bronzes, antique gems, and medals. He patronized new developments in many of the arts and sciences, including navigation, military fortification, architecture, engraving, stage design, and gardening.
‘His Majesties Musique of Violins’ The Caroline Court Orchestra
Authors: Holman Peter 
Published: November 2023

Abstract
The accession of Charles I to the throne on 27 March 1625 caused a crisis at court. The sizeable household that Charles had assembled while he was Prince of Wales was largely a duplicate of the one that he now inherited from his father. Indeed, a Venetian diplomat reported at the time that the subject of debate at court was ‘whether the household of the dead king or that of the prince shall be the household of the present king’. It was a situation that had not arisen in England for over a hundred years, since Henry VIII, the last adult Prince of Wales to inherit the throne, had succeeded Henry VII in 1509. Edward VI came to the throne as a child, without a proper household of his own; the personal households of Mary and Elizabeth were small, for they were princesses rather than princes; and though James I and his family came from Scotland with a large retinue of their countfYII!en, they left their less exalted servants behind, including the musicians.
‘The Fideldedies’ Charles II and the Twenty-four Violins
Authors: Holman Peter 
Published: November 2023

Abstract
ON Tuesday, 29 May 1660, Charles II entered London for the first time as monarch. Within a month the royal household, scattered since the outbreak of the Civil War in 1642, began to reassemble. The new Lord Chamberlain, Edward Montagu, Earl of Manchester, was appointed on 1 June, and the swearing-in of musicians began in earnest just over two weeks later, on Saturday 16 June. A record of the swearing-in ceremonies conducted that day and during the following week shows that the new royal music was based on the old: the individuals had either served Charles I, or were replacements for those who had done so.1 No attempt was made to take advantage of the Interregnum to reorganize the royal music, or to devise a logical and effective method of paying musicians. Musicians were still divided into those who received their money from the Treasury of the Chamber, and those who dealt directly with the Exchequer. Rates of pay, often fixed in the previous century, still bore little relation to the worth of the recipient, and were supplemented haphazardly by extra payments and plural appointments.
‘The French Fantastical Light Way’ Violins in the Chapel Royal
Authors: Holman Peter 
Published: November 2023

Abstract
The Chapel Royal, the royal choir, was the oldest and largest musical institution at court. Originally, it provided the king with choral services wherever he happened to be, but the Eltham Ordinances of 1526 restricted its travels, and after the Restoration its activities were concentrated almost entirely on the chapel in Whitehall Palace, at least during the working part of the year. The Chapel Royal was not, of course, just a musical organization. At its head were the Dean of the Chapel, often a bishop, and the sub-Dean, who was sometimes a prominent clergyman with musical interests-such as the composer and author William Holder, sub-Dean 1674-89. Among the non-musical officials were the royal chaplains, and the Serjeants, Yeomen, and Grooms of the Vestry. Nevertheless, the choir made up the bulk of the Chapel’s members: on paper there were twelve boys and twenty gentlemen during the Restoration period,
‘A Mighty Musique Entertainment at Court’ Reform and Retrenchment in the Royal Music, 1685-1690
Authors: Holman Peter 
Published: November 2023

Abstract
THE news of Charles II’s death on 6 February 1685 was received by his people with mixed feelings. He had endeared himself by his wit, intelligence, and charm; yet his fickleness, debauchery, and double-dealing had reduced Whitehall to ‘a dissolute annexe to Versailles’, in the words of David Ogg. John Evelyn expressed the thoughts of many when he wrote in his diary: The new king, Charles’s brother James, was no saint—he had had his share of amorous intrigue—but he was determined to bring order, economy, and decency to the British court, as his father had tried to do in 1625. He began with a thorough reform of the overgrown, ramshackle, and hidebound royal household, the first since the reign of Henry VIII.
Personal Style and the Individuality of Single Works
Authors: Whittall Mary 
Published: November 2023

Abstract
When we speak of individuality in music we are usually, without seeing any problem in it, thinking of a cast of individual character, which is understood as an expression of the composer’s individuality. Since, in a purely logical sense, everything that can be perceived as a closed, discrete whole presents an individual character, the specific element that characterizes the individuality of pieces of music is obviously its foundation in the composer’s personal style.
Form as Idea
Authors: Whittall Mary 
Published: November 2023

Abstract
It looks at first glance as if Beethoven meant nothing more than the obvious: no one part can be omitted without destroying the integrity of the piece, and he may have thought it necessary to say it because the Septet, Op. 20, originates in the tradition of the divertimento, but surpasses its limits. But his chosen form of words is eye-catching, even if modified by irony, and makes one wonder if he did not also wish to convey that, even though the work is a septet, every instrument has something independent to express from time to time, almost as in a string quartet.
Church Music and the Religion of Art
Authors: Whittall Mary 
Published: November 2023

Abstract
We have no means of knowing whether Beethoven ever read E.T. A. Hoffmanri ’s essay ‘Alte und neue Kirchenmusik’ (Church music old and new), but, to judge by the respect he expressed towards Hoffmann in a letter dated 23 March 1820, it is not at all unlikely (he did read the Allgemeine musikalische Zeitung, in which it was published in 1814). At all events, we arrive at a better understanding of the Missa solemnis, if we suppose that Beethoven’s attitude towards the issues of church music was similar to Hoffmann’s unconsciously, in his musical decision-making, if not consciously, in his theoretical reflections. Recourse to Hoffmann’s essay can be justified in terms of the history of ideas, by the conclusions to which it leads in discussion of the Missa solemnis.