bluuebunny/crossref_metadata_2025_split huggingface dataset:
Mexico, Brazil, and the Latin World
Authors: Sinclair John 
Published: November 2023

Abstract
We think of the development of television on a global scale as primarily an ‘American’ phenomenon, and so it has been in important ways, but as this chapter will demonstrate there is also a Latin American version of that story to be told. To most English-speakers, ‘America’ means the USA, even though that is just one zone within the two continents of America that join to form a virtual hemisphere, almost from one pole to the other. We also need to remind ourselves that the legacy of the Iberian colonization of America which began more than half-a-millennium ago includes the fact that the majority of the inhabitants of those continents speak Spanish or Portuguese. Not only do South and Central America, including Mexico, present a unique world region of contiguous nations with a common language, with the notable exception of Brazil, but now close to a tenth of the US population is Spanish-speaking. In significant respects, it has been Latin American corporations which have been best placed to perceive and exploit the commercial possibilities of the region’s demographics for television. Their comparative advantage in that regard has been the basis upon which they have built a major world market, one which the US television programme and service providers have begun to take seriously in only recent years.
Shakespeare and Eastern Europe
Authors: Stříbrný Zdeněk 
Published: November 2023

Abstract
Oxford Shakespeare Topics provides students, teachers, and interested readers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. Notes and a critical guide to further reading equip the interested reader with the means to broaden research. This is the first full account of Shakespeare's impact on the whole of Eastern and East Central Europe up to the present day. Starting with the tours of the English Comedians on the Continent during Shakespeare's lifetime and shortly after his death, it traces their routes as far as Poland (Gdánsk, Warsaw) and the core of the Habsburg Empire (Prague, Vienna, Graz). Later chapters explore the profound Shakespearian influence on Russian drama, literature, and criticism since the 18th century-Tsarina Catherine II's Russian adaptations of Merry Wives and Timon, Tolstoy's attack on King Lear, Stanislavsky's interpretation of Hamlet and Othello-and Shakespeare's major role in the national revivals in Poland, the Czech lands, Slovakia, Hungary, Romania, Slovenia, Croatia, Serbia, and Bulgaria. Chapters on Shakespeare after the Bolshevik revolution and behind the Iron Curtain deal with the appropriation of his plays for political interpretations but also with the ways his humanism became an increasingly inspiring voice of dissent from Stalinist totalitarianism. The book evaluates the Shakespearian achievements of the film-maker Grigori Kozintsev, the poet and translator Boris Pasternak, the composers Sergei Prokofiev and Dmitry Shostakovich, and the stage designer Josef Svoboda as well as the more controversial contributions of the critic Jan Kott and the playwright and director Bertolt Brecht.
[c.1700], Colley Cibber (167I-1757) on Thomas Betterton (1635-17Io) as Hamlet, from An Apology for the Life of Mr Colley Gibber (1740), ed. Robert W. Lowe, 2 vols. (1889), i. 100-2.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Over his fifty-year career Thomas Betterton was by all accounts the greatest actor after Richard Burbage and before David Garrick, and Hamlet was one of his greatest roles. Samuel Pepys noted in 1661, when Betterton was twenty-six, that he ‘did the Prince’s part beyond imagination’; he was still playing it at the age of seventy-four, when, according to a report in The Tat/er, ‘he acted youth; and by the prevalent power of proper manner, gesture, and voice, appeared throughout the whole drama a young man of great expectation, vivacity, and enterprise’. He appears to have used a somewhat truncated but not substantially adapted text. We lack detailed accounts of his performances, but a vivid glimpse of his Hamlet, along with a sense of the technical means by which he achieved his effects, is preserved by the actor, playwright, and theatre manager Colley Cibber in his autobiography, an invaluable source of information about the theatre of his time.
[1789-c.1817], Sir Walter Scott (1771-1832) on John Philip Kemble (1757-1823) as Macbeth (pp. 218-19) and on Coriolanus’ death scene (p. 224); from Scott’s review of James Boaden’s Memoirs of the Life of John Philip Kemble, in The Quarterly Review, 34 (June, 1826), pp. 196-248.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
John Philip Kemble, actor, manager, and play adapter, was the leading figure of the English theatre between the death of Garrick and the emergence of Edmund Kean, whose fiery genius threw him into eclipse in his final years. Kemble managed Drury Lane from 1788 to 1802, and Covent Garden from 1803 till he retired in 1817. He often played Macbeth with his sister, Sarah Siddons, as his Lady. Sir Walter Scott was a favourite drinking companion who helped him to write a farewell speech in verse, delivered after his last performance, as Macbeth, in Edinburgh during his final season. Scott’s long review of Boaden’s biography gave him the opportunity to assess the actor’s qualitities with affectionate but judicious nostalgia.
14 March 1814, William Hazlitt on Edmund Kean as Hamlet at the Theatre Royal, Drury Lane, London, from the Morning Chronicle, reprinted in Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York, n.d. [1957]), pp. 10-14.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
In the opening paragraphs, omitted here, Hazlitt writes in general terms of Shakespeare and of the play, remarking that, though ‘This character is probably of all others the most difficult to personate on the stage’, ‘Mr Kean’s representation of the character’ which ‘had the most brilliant success’, ‘was a most striking and animated rehearsal [i.e. rendition, performance] of the part.’ Igh as Mr. Kean stood in our opinion before, we have no hesitation in saying that he stands higher in it (and, we think, will in that of the public), from the powers displayed in this last effort.
5 December 1819, Leigh Hunt on William Charles Macready as Coriolanus at the Theatre Royal, Covent Garden, London, from The Examiner, reprinted in Leigh Hunt’s Dramatic Criticism I8o8-I8JI, ed. L. H. and C. W. Houtchens (New York, 1949), pp. 223-5.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
M.R. Macready has appeared twice during the past week in the character of Coriolanus; and is to repeat it tomorrow. It is another unquestionable addition to his repute, though not so high a one as his Richard. In Richard, Mr. Macready seized one particular side of the character—the gayer and more sanguine—and appropriated it to himself
25 April 1820, anonymous review of Edmund Kean as King Lear at the Theatre Royal, Drury Lane, London, from The Times, reprinted in Eyewitnesses of Shakespeare, edited by Ga.mini Salgado (1975), pp. 280-2.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Public expectation has seldom been raised to a greater height than by the announcement of Kean’s appearance in King Lear, which, after numerous delays, took place yesterday evening. The admirers of this highly-gifted actor, confident in the extent and diversity of his talents, have long anticipated this trial as the last seal to his theatrical renown; while his enemies, on the other hand (for Kean, like other men of genius, has encountered the extremes of hostility as well as of admiration), have not scrupled to predict failure and loss of reputation. Such was the anxiety of all parties to witness the experiment, that a crowd was collected at the doors long before the period of admission; and the first rush filled the pit, with a great portion of those boxes where seats had not been secured.
November 1922, Stark Young (1881-1963) on John Barrymore(1882-1942) as Hamlet, directed by Arthur Hopkins, at the Sam H. Harris Theater, New York, from The New Republic, reprinted in his Immortal Shadows (New York and London, 1948; repr. New York, Dramabooks series, n.d., pp. 8-14).
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
MR. John Barrymore seemed to gather together in himself all the Hamlets of his generation, to simplify and direct every-ne’s theory of the part. To me his Hamlet was the most satisfying that I have seen, not yet as a finished creation, but a foundation, a continuous outline. Mounet-Sully’s1 Hamlet was richer and more sonorous; Forbes-Robertson’s2 at times more sublimated; Irving’s3 more sharply devised; and Sothem’s,4 so far as we are concerned strictly with the verse pattern, was more securely read. But there is nothing in Mr. Barrymore’s Hamlet to get in the way of these accomplishments also, with time and study.
[1923], Herbert Farjeon (18811945) on Nigel Playfair’s production Of The Merry Wives of Windsor, with Edith Evans (1888-1976) as Mistress Page, at the Lyric Theatre, Hammersmith; from his The Shakespearean Scene ([1949]), pp. 20-1.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
He revival of The Merry Wives of Windsor at the Lyric Theatre, Hammersmith, is a very jolly affair. This was almost inevitable, for the the play is essentially so jolly, so blithe, and, withal, so thick-skinned as tobe practically producer-proof The best possible description of the mood in which Shakespeare wrote it is to be found in the terms applied by the Host of the Garter Inn to Master Fenton: ‘He capers, he dances, he has eyes of youth: he writes verses, he speaks holiday, he smells April and May, he will carry’t, he will carry’t, ‘tis in his buttons, he will carry’t.’ Master Fenton does not fulfil the expectations aroused by these exuber-ant, bouncing words.
30 September 1933, Virginia Woolf (1882-1941), on Twelfth Night directed by Tyrone Guthrie (1900-71) at the Old Vic Theatre, London, from The New Statesmans reprinted in The Death of the Moth and Other Essays (1942; Harmondsworth, 1961, pp. 43-7).
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The great novelist wrote this review out of friendship for Geoffrey Maynard Keynes and his wife, Lydia Lopokova, who had won fame as a ballet dancer; she had a strong Russian accent. Woolf referred to it in her diary as Lydia’s extortidri (10 September 1933, in Diaries. .., vol. 4,1931-45, Hogarth Press, 1982); and in a letter to Ethel Smyth of 14 September she wrote ‘my horror is that I must write an article on it...’ (Letters, ed. Nigel Nicolson, vol. 5 (1979), p. 225). Her dismay increased when she read a review by W. A. Darlington in The Daily Telegraph, which declared that ‘Lydia Lopokova makes her bow... as the most humourless female in literature... What possessed anybody to give the part of Olivia to her?’ ‘My god; what shall I say?’, she wrote in a letter to Quentin Bell (19 September); ‘I think the only possible line to take is how very exciting it is to see Shakespr mauled... Well. Pity me.’ In the event she produced a beautifully written essay on the difference between reading and seeing plays.
[1945-6], Kenneth Tynan on Laurence Olivier and Ralph Richardson (1902-83, knighted 1947), in Henry IV, Part One and Part Two, directed by John Burrell for the Old Vic Company at the New Theatre, London, from his He that Plays the King (i95°)&gt; pp. 48-53-
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
From a production so unobtrusive that at times it looked positively mousy, three very great pieces of acting emerged. The Old Vic was now at its height: the watershed had been reached, and one of those rare moments in the theatre had arrived when drama paused, took stock of all that it had learnt since Irving, and then produced a monument in celebration. It is surprising, when one considers it, that English acting should have reached up and seized a laurel crown in the middle of a war, and that the plays in which the prize was won should have been plays of battle, tumult, conspiracy and death, as the histories are.
27 August 1965, Ronald Bryden on Peter Halls production of Hamlet at the Royal Shakespeare Theatre, Stratford-upon-Avon, in his The Unfinished Hero and Other Essays (1969), pp. 63-6.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The four captains kneel on either side of the body. Awkwardly they hoist it on their shoulders, its arms out flung as if in horizontal crucifixion.
29June 1984, Stanley Wells (born 1930) on Antony Sher (born 1949) as Richard III, directed at the Royal Shakespeare Theatre, Stratford-upon-Avon, by Bill Alexander (born 1948); from the
Times Literary Supplement,
p. 729.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Bill Alexander’s1 big, bold production of Richard mis distinguished by its respect for the text, its confident but sensitive response to verbal style, and its willingness to draw on the traditions of spectacular theatre to flesh out Shakespeare’s rhetorically sophisticated and self-conscious dialogue. William Dudley’s set fills the proscenium arch with a two-storey, elaborately sculpted and windowed screen; its style is continued in the benches and doors on each side of the forestage. The screen can rise to reveal a cathedral interior with four massive tombs, two to each side of the main stage. This is a society dominated by at least the forms of religion; Richard’s evil is measured by his revolt against it. The thematic deliberateness is stressed by the reprinting in the programme of Browning’s3 ‘The Bishop Orders his Tomb at Saint Praxed’s Church’.
[1986], Stanley Wells on Henry IV, Parts One and Two, and Henry V directed by Michael Bogdanov (born 1938) and performed on tour by the English Shakespeare Company, from Shakespeare Survey 41 (1989), pp. 159-62.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The new company’s first production presented Parts One and Two of Henry IValong with Henry Vas a cycle, and I saw all three plays at the Old Vic during a single day. Such theatrical endurance tests, though popular, are of doubtful validity. Of course, this one provided an opportunity to enjoy within a short space of time an extraordinary diversity of dramatic writing linked by a narrative thread. It also brought audiences together in a curious sort of bonding with their fellow theatregoers and the performers, with both of whom they experienced an unnaturally close relationship for a concentrated period of time.
II April 1987, Michael Billington (born 1939) on Antony and Cleopatra, directed by Peter Hall at the National Theatre, from The Guardian, reprinted in his One Night Stands: A Critics View of British Theatre from 1971-1991 (1993), pp. 278-80.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
I asked yesterday if we are facing a Shakespearean-acting crisis owing to dearth of opportunity and growing disregard for language. Time alone will teU. But I can say, with ringing certainty, that there is no hint of crisis in Peter Hall’s new production of Antony And Cleopatra at the Olivier. It is not only the most intelligently spoken Shakespeare I have heard in years but it also contains two performances from Judi Dench and Anthony Hopkins that, in their comprehensive humanity, rank with Ashcroft and Redgrave1 at Stratford many moons ago.
[1989], Robert Smallwood (born 1941) on Othello^ directed by Trevor Nunn at The Other Place, Stratford-upon-Avon, from Shakespeare Quarterly^ 41 (1990), pp. 110-14.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The most remarkable event of this first half of the Stratford season was certainly the production of Othello at the Other Place. Officially closed last January before demolition and rebuilding, the tin-shed studio theatre reopened for six weeks in August and September for Trevor Nunns first Shakespeare production in seven years. The company was a specially recruited one, not drawn from the Swan and main-house Stratford group, and the casting was strong even in the minor roles. The aim, clearly, was to rediscover the power and energy generated by this director’s Macbeth in the same space in 1976 and Ian McKellen (Macbeth then) returned now as Iago.
Others
Authors: Smith Bruce R 
Published: November 2023

Abstract
The problem posed by other people in finding and maintaining one’s own identity is especially acute in Shakespeare’s sonnets. ‘Two loves I have, of comfort and despair’, declares the speaking persona in sonnet The word ‘suggest’ here carries the force of ‘promptor ‘propose’, so that the man right fair and the woman coloured ill function as tempter-figures in a morality play, with the persona as the central protagonist. The ‘I’ who speaks through all the sonnets may seem to enjoy an independent existence, but he is constituted by this ‘him’ and this ‘her’.
Narcissus in Bloom The Desiring Subject in Modern Latin American Narrative-María Luisa Bombal and Juan Rulfo
Authors: Rodenas Adriana Méndez 
Published: November 2023

Abstract
One of the most subtly disparaging criticisms of Latin American women’s writing came from the pen of Jorge Luis Borges in the 1938 issue of Sur, where the Argentine recounted his initial negative reaction to the projected plot of La amortajada (Borges 1938: 80-1). María Luisa Bombal had conveyed to Borges that her tale was to centre on a sole woman character who anticipates her own burial by looking back over the events of her life in a lucid moment of agonizing self-reflection. Borges was sceptical, however, as to the very possibility of narrating the story, which, for him, was ‘de ejecución imposible’ (impossible to carry out) (1938: So).
Response Cutting/Edge
Authors: Castillo Debra 
Published: November 2023

Abstract
Anny Jones’ s essay elegantly articulates a concern that has been exercising many of us for some time now about the role of the Western or Western-trained academic in relation to Third World cultural expressions and artefacts. As she points out, in Talking Back, I focus on questions of theoretical appropriation and on specific critical readings of (mostly) fictional texts that help me explore these concerns. I try to look at questions of knowledge production and the normalization of certain institutional practices. At the same time, one of the things I want to show in that book is how issues of curriculum, pedagogy, and politics unfold in tense imbrication with issues of crosscultural, interclass, and sexually charged exchanges.
Aristophanes and Athens
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
Aristophanes is the most versatile and iridescent of authors. It is hard to define his qualities at all, and quite impossible to discuss them all fully within one book of moderate length. This book is primarily an introduction for those reading him for the first time, and I concentrate mainly on the subjects of the plays in relation to the historical circumstances of Athens, because that seems to me a good way for a newcomer to approach them. I say relatively little about literary and theatrical features, although those are not entirely ignored.
Giuseppe Mazzini and his opponents
Authors: Sarti Roland 
Published: November 2023

Abstract
For Mazzini, the cause of Italian unity was part of the larger struggle for the emancipation of all oppressed nationalities and groups, particularly women, serfs, and slaves. Patriot and democrat at one and the same time, Mazzini lived at a time when it was still possible to imagine that free nations would not infringe on one another’s rights or on the rights of individuals. The optimism of such an outlook is perhaps surprising in one who belonged to the generation of romanticism which was more likely to despair at the hopelessness of the human condition than to accept the idea of progress.
Political development
Authors: Pasquino Gianfranco 
Published: November 2023

Abstract
Italy’s political development from 1945 to 1999 can be appropriately divided into three different phases: 1945–79; 1980–92; 1993–99. These phases do not coincide with the different alignments of the various Italian coalitional governments, that is: centrist coalitions (1947–62); centre-left coalitions (1963–76); national solidarity (1976–9); pentapartito (1980–92); centre-right vs. centre-left (1994–present), that have been traditionally utilized. None the less, I believe that a different criterion, referring to the nature and dynamics of democratic life, is overriding and can be precisely and profitably used.
The Church in post-war Italy
Authors: McCarthy Patrick 
Published: November 2023

Abstract
The Catholic Church describes itself as universal and eternal but it also lives and hence changes in space and time. The Italian Church is different from the Irish and French Churches. The post-war Italian Church is no longer the Church that Cavour or Mussolini faced. There is also much geographical and cultural diversity within the national Church: in central Italy Catholics are fewer and more likely to have centre-left political views; Romano Prodi is only one of many examples. In the Veneto the Church acted as an intermediary between the peasants and the Habsburg rulers, and it was rewarded with a mass following. In Calabria, however, the middle classes were agnostic and the peasantry superstitious.
The Bible
Authors: Swinburne Richard 
Published: November 2023

Abstract
The Church has always claimed that the first part of the Bible, the Old Testament, is the record of God’s revelation to Israel, and the second part, the New Testament, is the record of God’s final revelation through Jesus; and that the Old Testament has to be interpreted in the light of the New. It has claimed that the Bible was inspired by God, although written down by human authors; and so, at any rate when it has a clear message, it is true.
Two Routes Lead to Trap Building
Authors: Hansell Mike 
Published: November 2023

Abstract
I have a fish trap that I bought in a market in Thailand a few years ago. It is sausage-shaped, 60cm long, 12 wide, and made of fine strips of rattan palm. It is really a highly specialized basket in the form of an open lattice cage, permanently closed at one end and stoppered at the other. Into the side, at the end with the stopper, an ingenious valve has been fitted; a narrowing funnel of springy rattan teeth, through which a fish can force its way in but which bar its way out. It is a variant of traditional fish traps made of natural materials which can be found the world over: a baited cage with a valve entrance.
The Magic of the Tool Users
Authors: Hansell Mike 
Published: November 2023

Abstract
Imagine me facing a lecture theatre full of students, pointing out to them, as I did earlier in this book, that the height of a large termite mound is the equivalent of three times the height of our highest buildings. Having delivered this impressive statistic, I contrast this with our current realization that this is accomplished by a hoard of insects that communicate poorly with one another and almost certainly have no concept of what they are building. How different a termite mound is to this, I say, holding up a short stick, frayed at one end.