bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Beginnings of Miscegenation of the Whites and Blacks*
Authors: Woodson Carter G 
Published: November 2023

Abstract
Although science has uprooted the theory, a number of writers are loath to give up the contention that the white race is superior to others, as it is still hoped that the Caucasian race may be preserved in its purity, especially so far as it means miscegenation with the blacks. But there are others who express doubt that the integrity of the dominant race has been maintained.1 Scholars have for centuries differed as to the composition of the mixed breed stock constituting the Mediterranean race and especially about that in Egypt and the Barbary States. In that part of the dark continent many inhabitants have certain characteristics which are more Caucasian than negroid and have achieved more than investigators have been willing to consider the civilization of the Negro. It is clear, however, that although the people of northern Africa cannot be classed as Negroes, being bounded on the south by the masses of African blacks, they have so generally mixed their blood with that of the blacks that in many parts they are no nearer to any white stock than the Negroes of the United States. This miscegenation, to be sure, increased toward the south into central Africa, but it has extended also to the north and east into Asia and Europe. Traces of Negro blood have been found in the Malay States, India and Polynesia. In the Arabian Peninsula it has been so extensive as to constitute a large group there called the Arabised Negroes. But most significant of all has been the invasion of Europe by persons of African blood. Professor Sergi leads one to conclude that the ancient Pelasgii were of African origin or probably the descendants of the race which settled northern Africa and southern Europe, and are therefore due credit for the achievements of the early Greek and Italian civilizations.
American Literary Tradition and the Negro *
Authors: Locke Alain 
Published: November 2023

Abstract
I doubt if there exists any more valuable record for the study of the social history of the Negro in America than the nai’ve reflection of American social attitudes and their changes in the literary treatment of Negro life and character. More sensitively, and more truly than the conscious conventions of journalism and pub lic debate, do these relatively unconscious values trace the fundamental attitudes of the American mind. Indeed, very often public professions are at utter variance with actual social practices, and in the matter of the Negro this variance is notably paradoxical. The statement that the North loves the Negro and dislikes Negroes, while the South hates the Negro but loves Negroes, is a crude generalization of the paradox, with just enough truth in it, however, to give us an interesting cue for further analysis. What this essay attempts must necessarily be a cursory preliminary survey: detailed intensive study of American social attitudes toward the Negro, using the changes of the literary tradition as clues, must be seriously undertaken later. For a cursory survey, a tracing of the attitude toward the Negro as reflected in American letters gives us seven stages or phases, supplying not only an interesting cycle of shifts in public taste and interest, but a rather significant curve for social history. And more interesting perhaps than the attitudes themselves are the underlying issues and reactions of class attitudes and relationships which have been basically responsible for these attitudes. Moreover, instead of a single fixed attitude, sectionally divided and opposed, as the popular presumption goes, it will be seen that American attitudes toward the Negro have changed radically and often, with dramatic turns and with a curious reversal of role between the North and the South according to the class consciousness and interests dominant at any given time. With allowances for generalization, so far as literature records it, Negro life has run a gamut of seven notes,-heroics, sentiment, melodrama, comedy, farce, problem-discussion and a:sthetic interest-as, in their respective turns, strangeness, domestic familiarity, moral controversy, pity, hatred, bewilderment, and curiosity, have dominated the public mind.
The Tragic Mulatto Theme in Six Works of Langston Hughes *
Authors: Davis Arthur P 
Published: November 2023

Abstract
The Weary Blues (1925), the first publication of Langston Hughes contained a provocative twelve-line poem entitled “Cross,” which dealt with the tragic mulatto theme. Two years later when Mr. Hughes brought out Fine Clothes to the Jew (1927), he included another poem on racial intermixture which he named “Mulatto.” During the summer of 1928 when Hughes was working with the Hedgerow Theatre at Moylan Rose Valley, Pennsylvania, he completed a full length drama on the tragic mulatto theme, which he also called Mulatto. This play was produced on Broadway in 1935 where it ran for a full year, followed by an eight month’s tour across the nation. From the play, the poet composed a short story, “Father and Son,” which though written later than the play, appeared in The Ways of White Folks (1934), a year before the drama was produced. Returning once more to the theme, Hughes in 1949 reworked the play Mulatto into an opera, The Barrier, the music for which was written by the modern composer Jan Meyerowitz. The opera was first produced at Columbia University in 1950. And finally in 1952, Hughes published another short story on the tragic mulatto theme en titled “African Morning.” This sketch appears in Laughing to Keep from Crying, a second collection of short stories. In short, for over a quarter of a century, the author has been concerned with this theme; returning to it again and again, he has presented the thesis in four different genres, in treatments varying in length from a twelve-line poem to a full-length Broadway play.
Othello in America: The Drama of Racial Intermarriage *
Authors: Edelstein Tilden G 
Published: November 2023

Abstract
A recent historian of nineteenth-century race relations claims that pre-Victorian Americans so feared racial intermarriage and amalgamation that they “found it difficult to sit through a performance of Othello.” Given the history of American race relations such difficulty hardly seems surprising. Paradoxically, despite its racial and sexual elements, Othello has been one of the most frequently performed Shakespearean plays in a nation that has watched more Shakespeare than it has the works of any other playwright. Shakespeare encompassed art, culture, and the wisdom of Western civilization; and for American actors and audiences Othello’s volatile racial, sexual, and class themes provided drama surpassing the dimensions of the stage. Engrossing drama, exemplified by Othello, communicates symbolically, simultaneously presenting the recognizably concrete event with verbal and physical images transcending material reality. Two centuries of American Othello perform ances dramatized some of this country’s racial reality and its racial fantasies.
Victims of Likeness: Quadroons and Octoroons in Southern Fiction *
Authors: Arbery Glenn Cannon 
Published: November 2023

Abstract
At certain junctures since the mid-nineteenth century, American fiction about the antebellum South has explored the relations between the races, especially in matters of equality, by dwelling with fascination and perplexity on the enigmatic figure of the quadroon or the octoroon. The words themselves, now rather arcane, are liable to evoke the image of “a face like a tragic magnolia, the eternal female, the eternal Who-suffers”-Faulkner’s description of Charles Hon’s mistress in Absalom, Absalom! Derived from the Spanish cuarteron, “quadroon” denoted a person one-fourth black, that is, with one Negro grandparent; an “octoroon”-a word coined in this country-was one-eighth black, the child of a quadroon and a white parent. To the extent that full equality under the law was simply a matter of being white, it would seem that the more white ancestry a person had, the closer to full equality he would have come. But there was a kind of logical problem in this approximation: the numerator and the denominator of the octoroon’s white ancestry could never be equal, never quite resolve into a simple one. Unequal in himself, he could never be fully equal to others. The slave system therefore ig nored the mathematics of parentage-except insofar as the white blood increased the value of the slave-and treated virtually any fractional admixture of Negro blood (as little as one sixty-fourth) as dominant and decisive in the determination of race. The octoroon, who might look no different from a white man or woman and who might be educated in the same way, was no closer to real equality than a full Negro.
American Theriomorphia: The Presence of Mulatez in Cirilo Villaverde and Beyond *
Authors: Gonzalez Eduardo 
Published: November 2023

Abstract
Several years ago I traveled on Greyhound from New England to Indiana to attend a rite of passage. Besides the necessary clothes, a toothbrush, and Fredric Jameson’s The Prison House of Language, the only heavy piece I carried was my freshly typed dissertation bound in black. The driver (he was brown) who assumed command in Philadelphia, and who was to steer our transient lives only up to Toledo, was asked a question regarding St. Louis as a point of passage along someone’s trip to California. Thrice he stood firm and rather unhelpful in answering: “Lady, this goes to Toledo and points West!” Obviously, he was neither Hermes the Psychopomp nor an imperial agent; his map was defined by his salary, as mine was by the vague anxieties that litter the academic realm. It must have been beyond Toledo that I fell asleep resting my head on the shoulder of a massive brown woman; when I got up at Indianapolis, she told me not to forget my hat. A few years later this same appendage-bought at an army surplus store prompted some revelers to call me “rabbi” as I left an elevator at a Holiday Inn in wintry Syracuse, where I had gone to read a paper on Carpentier’s “Viaje a la semilla.” If I indulge in these colorless memories it is to underscore a point about the intended meaning of beyond in my title: that it should imply being away from home but in a new home; being homeless but reasonably happy; discovering home as it may be found, as much within the old as in the new.
Black Men-White Women: A Philosophical View *
Authors: Turner William H 
Published: November 2023

Abstract
Any student familiar with the literature on Black and white sexual relations and intermarriage knows that such offerings have been couched in one or a coupling of the following theses: (1) that sexual freedom and racial intermarriage is for whites the most important aspect of the Black-white caste system; and conversely, for Blacks such matters were of least importance among the various forms of discrimination they had to suffer (Myrdal, 1944); or (2) that the “sanctity” of the white woman and the savage “sexuality” of the Black man made them both the envied ones of the universe (Hernton, 1965). More recently though, a new di mension of the Black male-white female relationship has come to the attention of social scientists. That aspect concerns the political ramifications of such racial/ sexual “freedom” in the wake of the so-called Black revolution in America. This paper focuses on the latter theme; that is, in spite of the classical offerings of Myrdal and Hernton, and void of the common stereotypes about the sexual potency of Black men and the omnipresence of the white woman as a sex symbol, what are some other questions we might raise, which, when clarified, might more profitably help us in understanding the present-day status of such relationships? Among these questions are: (1) What are some of the basic assumptions regarding Black male-white female relationships? (2) In what ways have the assumptions changed over the past few years? (3) Have the social responses (rejections) to Black male-white female relations become biological? and (4) What are the prospects of such relationships in light of the liberation struggle? Relative to some prior points in the history of Blacks in America, things have improved.
Lent
Authors: “Jotabeche” José Joaquí Vallejo 
Published: November 2023

Abstract
A time of great delicacy and a subject that s also delicate, if you’re interested in going beyond doctrinal chitchat and sermons in considering it. And it’s a great pity, because Lenten customs would provide material for all sorts of articles if it were possible to publish them under the name of some free-thinker, some Lamennais or some … how should I know what name to give these courageous progressives, my contemporaries? Because I want you to know, dear readers, that I’d rather rot with the reactionaries to whose party I have the honor of belonging than work to correct doctrinal flaws at the risk of my own skin: if that’s the only way to make progress, let everyone remain as God made him and let me proceed with my usual circumspection so as not to fall into temptation in the process of writing such a perilous article.
The Provincial in Santiago
Authors: “Jotabeche” José Joaquí Vallejo 
Published: November 2023

Abstract
The Muslim has to make a pilgrimage to Mecca at least once in his life and visit the Holy Places of his religion and traditions. The European painter isn’t a painter if he hasn’t visited the important cities of Italy and the landscapes of Switzerland. The antique collector, to transcend the category of hobbyist, needs to go steal something from the ruins of Athens, exhume mummies in the sepulchers of the Pharoahs, or make a journey to Peru to search for burial-grounds. The elegant citizen of Santiago who hasn’t gone to Paris to study elegance at the source, to see in real life the fashionable types who come to us here in the form of lithographs, should abandon all hope of achieving celebrity in his career. And watch out, because those who dedicate themselves to fashion rarely shine in any other endeavor.
The Liberal
Authors: “Jotabeche” José Joaquí Vallejo 
Published: November 2023

Abstract
There are two things you can brag about mercilessly without fear of offending God with a lie, or aggravating modesty by exposing yourself as a fool: the first is being honorable, the second is being liberal. It’s understood that no one is going to deceive anyone about these two points. Anyone who says he’s more honorable than Z lies: such is the challenge every son of a neighbor makes to everyone he meets. Anyone who says he’s more liberal than Z, lies twicey replies the administration to the opposition and the opposition to the administration at every run- in they have in the newspapers and gazettes. So honorableness and liberal ideas are like everything else we all have and which we enjoy without taking them from anyone else: the air, the wind, the vacuum, and other attributes common to the honorable and liberal human species.
The History of Crime Films
Authors: Rafter Nicole 
Published: November 2023

Abstract
Crime films feed our apparently insatiable hunger for stories about crimes, investigations, trials, and punishment. From almost the first moment of moviemaking, film writers and directors realized that nothing pleases audiences more than deception, mayhem, and underdog characters who refuse to be trampled by institutions and laws. The plots of crime films may draw on actual historical events, reproducing celebrated cases while simultaneously fashioning out of the past new heroes for the present. More frequently, crime film plots are fictions that draw on general attitudes toward crime, victims, law, and punishment prevalent at the time of their making. Whatever the basis of their stories, crime films reflect the power relations of the context in which they are made—attitudes toward gender, ethnicity, race, and class relations, opinions about fairness and justice, and beliefs about the optimal relationship of state to individual. Examining the history of crime films helps explain why different types of crime films flourish at different points in time. By locating movies at some distance, in the sociohistorical contexts in which they were produced, film history enables us to see more clearly movies’ underlying ideological assumptions about American society.
Cop Films
Authors: Rafter Nicole 
Published: November 2023

Abstract
In The Great Cop Pictures, James Robert Parish writes that the main preoccupation of this genre is the “understanding of American law enforcers.”1 This statement has a patriotic ring, but it is at best a halftruth. Cop films do indeed focus on the nature of police work, but there are larger and subtler types of social definition at work in these movies, which are also concerned with distinguishing the realities of policing from its ideals, with defining the ideal man, and with projecting the ideal role of the police in a democratic society.
Courtroom Films
Authors: Rafter Nicole 
Published: November 2023

Abstract
It used to be easy to define courtroom films: They were dramas in which the main character was a heroic lawyer who solved the mystery and settled other dilemmas in the course of a trial. But this traditional definition has eroded. Contemporary movies, stressing activities that do not naturally occur in the courtroom, such as gun battles and sex, increasingly embed a short trial scene in a longer adventure story. Moreover, contemporary films seldom depict lawyers as heroes on the grand scale or courts as places where fundamental social and moral issues are settled.1 Law schools and legal studies programs, offering new courses in movies and law, have contributed to the evolution of the courtroom genre toward “law films.” The newer category includes movies which, like Do the Right Thing (1989), The Godfather trilogy (1972, 1974, 1990), Malcolm X (1992), and The Untouchables (1987), raise questions about the nature and functions of law while spending little or no time in a courtroom.2
Prison and Execution Films
Authors: Rafter Nicole 
Published: November 2023

Abstract
The prison film genre took shape during silent film days; toward the end of that period, studios were releasing one or two movies about prison life each year.1 Ranging from stories of jailbreaks and inmate reformation through melodramas about unjust convictions and hangings, these silent films created a cinematic vocabulary that was incorporated by talkies in the 1930s and that, as the 1990s success of The Shawshank Redemption demonstrates, continues to be popular today.2 Movies of this type are essentially fantasies, films that purport to reveal the brutal realities of incarceration while actually offering viewers escape from the miseries of daily life through adventure and heroism. Presenting tales in which justice is miraculously restored after long periods of harsh oppression, prison movies enable us to believe, if only briefly, in a world where long-suffering virtue is rewarded. In recent decades, a few filmmakers have begun producing movies that critique the traditional fantasy formulas or bypass them entirely, an indication that, after close to one hundred years, the prison film may be on the verge of transformation.
The Future of Crime Films
Authors: Rafter Nicole 
Published: November 2023

Abstract
Since the very early twentieth century, movies have dominated American popular culture. If one thinks of popular culture as the points of reference shared by members of a geographical or political unit—the images, values, histories, heroes, and myths they have in common—then this observation about the past is likely to apply in the future as well: Movies will continue to eclipse all other factors in the production of popular culture. As in the past, they will reflect popular culture, shape it, and comprise one of the major forces that unite people nationally and even internationally, giving them mutual touchstones. Crime films, while they are but one among many types of movie, are a particularly significant aspect of popular culture insofar as they give voice to ideas about right and wrong, the nature of criminality, the efficacy of courts, and the appropriateness of various forms of punishment. Unlike horror movies and romantic comedies, crime films help to forge agreement (as well as to expose differences) on issues fundamental to social health.
God and the Soul
Authors: Scheindlin Raymond P 
Published: November 2023

Abstract
In Chapter I we observed the turning inward of the theme of love, as the focus of the poems shifted from the national to the individual sphere. In the poems that follow, it is the soul, whether of the individual worshiper or of worshiping mankind, that stands at the center of the religious experience. The specifically Jewish element of the liturgy is either completely suppressed or drastically reduced, and the theme of love all but disappears. Yet the poems we are about to read are related to those of Chapter I in that their form derives from secular Arabic and Hebrew poems on love and wine drinking. Like them, they are short monorhymed poems in Arabic meters; like them, their language, though heavily influenced by Arabic, is very dose to that of the Bible. Like them, their form is an innovation of the Golden A e, instantly distinguishable from the liturgical poetry of earlier periods and even from the Golden Age liturgical poetry that carried on in the old vein. Not only the form but also the warmth, the intimacy, and the quiet intensity associated with secular and religious love poetry are carried over into these poems. But they are not religious ghazals; their theme sets them apart as an independent genre.
Contemporary Islam: Reformation or Revolution?
Authors: Esposito John L 
Published: November 2023

Abstract
Much of the reassertion of religion in politics and society has been subsumed under the term Islamic fundamentalism. Although ‘‘fundamentalism’’ is a common designation, in the press and increasingly among academics it is used in a variety of ways. For a number of reasons it tells us everything and yet, at the same time, nothing. First, all those who call for a return to foundational beliefs or the fundamentals of a religion may be called fundamentalist. In a strict sense this could include all practicing Muslims, who accept the Quran as the literal word of God and the Sunnah (example) of the Prophet Muhammad as a normative model for living.
Melville’s Typee U.S. Imperialism at Home and Abroad
Authors: Rowe John Carlos 
Published: November 2023

Abstract
Herman Melville’s Typee is one of the first U.S. literary texts to establish a connection between the institutions of slavery in the United States and Euro-American colonialism in Polynesia. Like other travelers to Polynesia in the first half of the nineteenth century, Melville reserves most of his criticism for the British and the French. In at least two significant ways, however, Melville turns the familiar nineteenth-century criticism of the British and the French into a critique more specifically 78 literary culture and U.S. Imperialism relevant to his white U.S. readers in the 1840s and 1850s. First, his references to Captain David Porter (1780”“1843), the U.S. naval commander who claimed the Marquesas Islands for the United States, and his general invocation of this little South Seas episode of the War of 1812 suggest that Melville wanted to use his experiences in the Marquesas for purposes that went well beyond the merely autobiographical or purely literary.