bluuebunny/crossref_metadata_2025_split huggingface dataset:
“The Little Gray Schoolhouse”
Authors: Tidwell John Edgar , Sanders Mark A 
Published: November 2023

Abstract
We slowed up by the school. It was small, weather-beaten gray, with a squat belltower. The roof sagged slightly and a few shingles were off. A pole in the beaten, grassless yard had a barrel hoop fixed against it; another hoop was on the stock of a pine tree from which the lower branches had been cut. These were basketball goals. Roots stuck up as extra hazards for the players. Two outhouses were in plain view about twenty yards back in the loblollies. Bullock glanced over at me. “So that’s the school,” I said, noncommittally. “That’s not one of the most bad ones,” he said. “At least it’s a building, and it has outhouses. There are plenty that don’t have them. I’ve got the statistics in the office at Atlanta.” As we drove off, he told me how often Negro elementary schools had to be housed in churches and fraternal lodges of the Negro community. His voice droned on as the gray concrete sped under our wheels. “So they went to the county commissioners and asked for a school. The head commissioner told them ‘no funds.’ They pitched in, fixed up a schoolroom on the upstairs floor of their lodge hall. They paid the teacher’s salary, such as it was. When winter came, they went to the commissioner again. They wanted a little money for coal to heat the room. You won’t believe what answer they got.”
“And Gladly Teach”
Authors: Tidwell John Edgar , Sanders Mark A 
Published: November 2023

Abstract
Church was a graduate student at Atlanta University; he was writing his Master’s thesis on some aspect of romantic poetry. Though young, he had taught in three Southern states: North Carolina, Mississippi, and Alabama. He believed that his experiences would make a good book, and this is the story as he told it. His first teaching job was in a North Carolina community of about six or seven hundred people. It was in tobacco and cotton country, not really near anywhere, well the nearest place that might be known was Hamlet on the Seaboard. There were more whites there than Negroes. The cracker class was numerous and ignorant; the whites of power treated them as badly as they did Negroes. There was a beautiful school for whites in the community. The Negro school, though brick, was only fair: there were no lights, the toilets were open earth, and a pump furnished the water. In the community itself only two Negroes had electric lights, and there were no such things as bathtubs or commodes. There was no Negro doctor, nothing like that, and no Negroes of any wealth. The one educated Negro there was an ex-policeman from Chicago, who came back to retire. As far as the morals of the Negro community were concerned, the people did anything they wanted to do, anything they were big enough to do.
“One Language, One People”
Authors: Tidwell John Edgar , Sanders Mark A 
Published: November 2023

Abstract
As the time drew near for the meeting in Atlanta of the National Council of Teachers of English, both the white local committee and the Negro teachers of English in Atlanta became anxious. Believing the membership possibilities good in the South, the Council had voted, over some protest, to come to Atlanta upon assurance that provisions would be made for Negro participation. Unfortunately, the president of the Council, Robert C. Pooley of Wisconsin, did not ask to have the word “participation” specifically defined. A letter from Paul Farmer, chairman of the committee on arrangements, sent out a careful definition. He did this, regretting that “even a part of the privileges will be kept from the Negroes,” and sincerely hoping that Negroes would “manifest a generous spirit of understanding”: The precedent established here for Negro participation in such meetings; that is, Negroes would be admitted to all sessions with the exception of those of a social nature such as receptions, teas, breakfasts, luncheons, and the banquet; and would be seated, particularly in the large group meetings, in seats reserved for them.
“Count Us In”
Authors: Tidwell John Edgar , Sanders Mark A 
Published: November 2023

Abstract
A young European scholar, back from a swift trip through the South, picked up from my desk a copy of Hal Steed’s Georgia: Unfinished State. A passage on the last page confused him. It read: “I would not say that the Anglo-Saxon is superior to other races, but that this race makes up nearly one hundred percent of the population of the South augurs well for unity—unity in political beliefs, in religion, in social problems.” The European was amazed at the figure—nearly one hundred percent Anglo-Saxon. “But I saw so many Negroes there,” he said. I could have mentioned other oddities in the enumerating of the Negro, from the adoption of the Constitution when a Negro slave counted as three-fifths of a man, to the present when a Negro is counted as a unit, a fraction, or a zero, according to the purpose of the counter. Instead I assured him that the evidence of his eyes could be trusted: the gatherings at one side of the depot to see the train go through, the hordes in the ramshackly slums of the cities, the crammed Jim Crow waiting rooms and coaches. Negroes were there all right. Even the publicists who excluded Negroes as part of the population would admit that they were there. Too much so, some might say ruefully, pointing out the large numbers of Negroes as the cause of the poverty and backwardness of the South, apologizing for the belt of swarming cabins engirdling the cities, hoping that the stranger might soften his verdict on the town until the business section around the depot slowly came into view. Too numerous, therefore Negroes had to be kept in their places, the argument might run. Such spokesmen would have a glib reply to reconcile the statistics of “nearly one hundred percent Anglo-Saxon” with the patent reality: “Oh, that’s easy to understand. By population, we mean the people that count.”
The Gospel of Judas and Early Christian Gnosticism
Authors: Ehrman Bart D 
Published: November 2023

Abstract
As a scholar of early Christianity, I give a lot of lectures on Gnosticism. Over the years I have found that people—regular lay audiences—like to hear and talk about Gnostics in broad terms, because they can relate to the Gnostics’ basic idea of the world and our place in it. But people are not so interested in the details of the Gnostic texts, which are nothing if not detailed. The complexities of these texts can be a real turn-off, with their aeons, lumi- naries, archons, firmaments, Pleromas, and oddly named divine beings: Autogenes, Barbelo, Yaldabaoth, Saklas, Nebruel, and on and on. Reading these texts takes you into a different world, and without a map, it is nearly impos- sible to navigate your way through it. People tend to be more interested in the map than in the world it describes. The world of Gnosticism is complex and virtually impenetrable. But the map makes sense.
Jesus, Judas, and the Twelve in the Gospel of Judas
Authors: Ehrman Bart D 
Published: November 2023

Abstract
When scholars talk to nonscholars, they often tell them what they ought to be interested in. That’s not necessarily bad—in fact, it can be very good. Enormous chunks of a scholar’s time are devoted to research into mat- ters that most other people can think about only in passing, in the evenings or on the weekends. But one result is that scholars tend to have different perspec- tives from others and to emphasize different things. Most scholars coming to the Gospel of Judas, for example, will be interested in recondite questions concerning the relationship of this text to other documents from Christian an- tiquity and to the precise character of its form of Christian Gnosticism. Regu- lar readers are more likely to be interested in what the book has to say about its main characters: Jesus, the twelve disciples, and Judas. Both sets of concerns are completely legitimate.
The Gospel of Judas in Perspective
Authors: Ehrman Bart D 
Published: November 2023

Abstract
The newly discovered Gospel of Judas Iscariot has obviously sparked a new interest in understanding the betrayer of Jesus. Throughout this book we have seen how Judas is portrayed in our ancient writings—both those that made it into the New Testament and those of later times. We have also recon- sidered who Judas really was, what he stood for, what he believed, what he did in betraying Jesus to the authorities, and why he did it. But the center of our attention, and the ultimate object of our concern, has been the Gospel of Judas itself, one of the earliest surviving Gospels from outside the New Testament. In this final chapter I would like to take a step back and consider the overall significance of this unusual text, which portrays Judas not as a demonically inspired or money-grubbing betrayer of the cause but as the one disciple who both understood Jesus and did his will.
Legacies
Authors: Robertson Lindsay G 
Published: November 2023

Abstract
In their immediate objectives, both Johnson v. M’Intosh and Green v. Biddle were only partly successful. Virginia’s opposition to the Court did di minish in the wake of these decisions, but at the cost of Kentucky’s in creased hostility. The invalidation of the occupying claimant laws, which ought to have benefited Virginia landholders, failed to deliver as expected because Kentucky’s legislature and courts refused to follow the Green decision.1 The Virginia militia lands question, which ought to have been helped toward favorable resolution by Johnson’s elimination of the Indian title objection as a conceivable bar, was put on hold for a year while Kentucky at tempted yet again to garner Virginia’s support in protesting the Court’s usurpation of power in Green.2 When this was not forthcoming, Kentucky simply opted to ignore Virginia’s interests and started distributing the lands west of the Tennessee.
Activating the Multitude
Authors: Bratich Jack 
Published: November 2023

Abstract
To speak of active audiences today is an act that runs the risk of self-de-activation. What branch of media cultural studies has been so thoroughly pilloried as active audience studies? With the pendulum swing toward economic analyses over the last ten years, what does it mean to revisit reception, especially one as “excessive” as active audience studies? I turn to the “active audience” moment in reception and cultural studies (exemplified by Stuart Hall’s encoding/decoding model and the Gramscian culmination in John Fiske’s work) as a way of rethinking audience powers and of inquiring into an ontology of media subjects.1 I will argue that, while the active audience moment recognized the ontological level of audience powers, it took on a number of theoretical and political burdens that stopped it short of developing its own radical findings. These discursive and conjunctural limits included overemphasizing decoding (language, reading), inheriting the equation audience = consumer, and working within a constraining hegemonic politics of Gramscian power/resistance. Finally, I evaluate the backlash against active audiences, or the de-activation moment.
Manchester
Authors: Ray Robert B 
Published: November 2023

Abstract
Everything depends upon news from Manchester. Waiting, waiting . . . I’ve been waiting for news from Manchester. The Saxonia Company will never sign unless your firm is definitely tied up with the Manchester people. “Deal with Manchester definitely off.” Is that some- thing bad? A man in the textile industry must know Manchester. Have you any connections with Manchester? Manchester—that’s what we want to know.
Pavlova
Authors: Ray Robert B 
Published: November 2023

Abstract
Baum modeled the fading ballerina Grusinskaya on the Russian Ballet’s Anna Pavlova (1882–1931), who lived most of her life in hotels and trains. As her career wound down, she cut difficult sections and performed only less-demanding pieces. Her world- weary epigrams—”Life would be so wonderful if we only knew what to do with it,” “Happiness is like a butterfly that appears and delights us for one brief moment, but soon flits away”—seem to modern ears even more outlandish than Grusinskaya’s com- plaint about an evening without applause: “I was frantic!” Baum had presumably seen Pavlova in 1925, when the Russian had performed The Dying Swan in Berlin to a half-empty house. Pavlova was 43 then, 17 years older than Garbo during Grand Hotel’s filming. Indeed, Garbo was born in the same year as Pavlova’s official appointment to the rank of prima ballerina. Photographs of Pavlova as the swan clearly inspired Grand Hotel’s overhead shot of Grusinskaya removing her ballet shoes. This replication of bodies, however, seems unusual for classic Holly- wood, a period when the studios confidently advertised their stars’ individuality: Garbo, MGM insisted, could not be duplicated.
Underwear
Authors: Ray Robert B 
Published: November 2023

Abstract
At least three of Grand Hotel’s actors—Beery and, more provocatively, Crawford and Garbo—appear at certain points in their underwear. This casual eroticism suggests the movie’s precise date, during the brief four-year period (from 1930 to 1934) when the industry’s self-censoring Production Code had not yet acquired its enforcing agency. As film historian Thomas Doherty puts it, this was the pre-Code era, “when censorship was lax and Hollywood made the most of it.” Grand Hotel implies a chic, modern attitude about sexuality while also managing a certain discretion about it: we only see Grusinskaya and the Baron on the morning after. For the most Hotel suggests how much Thalberg admired some aspects of von Stroheim’s work and sought to reproduce it in more fiscally responsible and more marketable conditions. Thus, Grand Hotel amounts to an early example of commercial entertainment’s fantastic powers of recuperation, which reach one peak with the late 1960s ads “The Revolution is on Columbia Records!” Thalberg, himself, appeared unapologetic about what he had taken from von Stroheim.
Zigaretten
Authors: Ray Robert B 
Published: November 2023

Abstract
This word, appearing as a stenciled sign on a lobby window, reminds us of Grand Hotel’s setting. In fact, such cues appear infrequently in the movie. Of the main characters, only Preysing has a German accent, a result less of some conscientious verisimilitude than of Beery’s demands for a showier part. Historical events, unfolding contemporaneously with the movie’s making, shifted the connotations of its crucial signifiers, Berlin and Germanicity, terms which now required repression or displacement into the vaguer, safer notions of “the continental.” Thus, if the film can only rarely pronounce the word Berlin, it must deploy an occa- sional sign to replace it. The movie’s realism, as a result, is intermittent, like a radio signal broadcasting a familiar tune, whose melody is inferable from a few notes. Here, the note is partially jammed, first appearing backward (NETTERAGIZ), thereby further disguising its newly pejorative associations.
Contracts
Authors: Ray Robert B 
Published: November 2023

Abstract
Roland Barthes used S/Z to argue that, in a market society, which converts even art into “merchandise,” popular fiction depends on an implicit contract obligating its authors to resolve every enigma and to honor conventional wisdom. Thus, Balzac will eventually have to reveal the source of the Lanty fortune and La Zambinella’s real identity. Similarly, his “reference codes” (“dark as a Spaniard, dull as a banker”) will adhere to the “already-written.” As heir to the nineteenth-century novel, classical Hollywood will maintain this regimen, showing no tolerance for open-ended plots (à la Antonioni’s L’Avventura) or surprising characterizations. And yet, as Barthes demonstrated, popular stories often produce contradictory mise-en-abymes in which characters openly repudiate contracts to which they had previously agreed. In Sarrasine, Barthes’s case study, the contracts between La Zambinella and Sarrasine and between the narrator and his lover both get broken. And by spending a year repeatedly rereading the story, Barthes himself was refusing Balzac’s proposition to move on to another book.
Grant
Authors: Ray Robert B 
Published: November 2023

Abstract
Cary Grant, according to David Thomson, “was the best and most important actor in the history of the cinema.” Inevitably, the Academy ignored him. Of The Philadelphia Story’s four principals, only Grant failed to receive even an Academy Award nomination. (James Stewart and screenwriter Donald Ogden Stewart won; Hepburn, Cukor, and the picture itself were nominated.) Recognizing this slight, the film’s producer, Joseph L. Mankiewicz, wrote to Grant: Whatever success the picture is having . . . is due, in my opinion, to you in far greater proportions than anyone has seen fit to shout about. your presence as Dexter, and particularly your sensitive and brilliant playing of the role, contribute what I consider the backbone and basis of practically every emotional value in the piece. I can think of no one who could have done as well or given as much.
Omelet
Authors: Ray Robert B 
Published: November 2023

Abstract
Tracy’s first words in The Philadelphia Story amount to a simple question: “How do you spell omelet?” Her mother doesn’t know (offering ommelet), and neither does Tracy: “I thought there was another l.” This latter joke is a sophisticated variant (you have to know how to spell omelet to get it) of a contemporary Jack Benny radio routine: after Rochester worried that he had misspelled Happy Birthday on Jack’s cake, Benny consolingly advised, “That’s OK, you can always add a p.” “Add one?” Rochester moaned. “I’ve gotta take one out.” The word omelet, of course, and the gift for which Tracy is thanking someone (an omelet plate) are both what Barthes’s S/Z croaks “Over the Rainbow,” the viewer infers that, last year, these characters must have seen At the Circus and The Wizard of Oz. Dinah and Mike, in other words, don’t inhabit a nonexistent, made-up universe; they live in the same world we do, and like us, they go to the movies.
Q The Quaker Girl
Authors: Ray Robert B 
Published: November 2023

Abstract
As a child, George Cukor was inspired by Ina Claire’s performance in The Quaker Girl (1911), a play turning on plot elements strangely similar to The Philadelphia Story’s. Disowned by her family for drinking champagne, the “Quaker girl” cavorts with a French princess before having to choose among three different men, one of whom she bribes with love letters. Champagne, “Frenchnicity,” three suitors, blackmail—all of these devices will reappear in The Philadelphia Story. References to Quakerism recur throughout The Philadelphia Story. Mrs. Lord has “the old Quaker spirit” when she gamely decides to welcome the Spy journalists; Kittredge is the general manager of Quaker Coal, a company in which Seth Lord owns the controlling interest; a librarian surprises Mike with her antique Quaker diction (“What is thee wish?”). These moments, of course, draw on the codes of “Philadelphianess,” established by the opening credits’ drawing of the Liberty Bell. Their repetition also suggests the paucity of signifiers for Philadelphia, whose skyline offers no immediate trademark as obvious as San Francisco’s bridges or New York’s skyscrapers. In fact, however, except for Boston, New Orleans, Miami, and Hollywood, almost no other American cities would prove any more capable of ready identification. With homogenization having depleted the store of regional signifiers, cities will have to be named, not merely implied.
Weidler
Authors: Ray Robert B 
Published: November 2023

Abstract
The brief career of Virginia Weidler, who plays The Philadelphia Story’s precociously sentient Dinah, suggests the vagaries of Hollywood star- dom. Appearing in movies by the age of 4, Weidler arrived at MGM in 1938 when she was 12 and already a veteran of 17 pictures. She proved a perfect foil for the studio’s biggest juvenile, Mickey Rooney, appearing with him in Love Is a Headache, Out West with the Hardys, Young Tom Edison, and Babes on Broadway. She could sing (in what is reported to have been a “husky voice”), dance, and wisecrack, and she always seems alert, intelligent, and funny. Yet after 1943’s Best Foot Forward (a musical with a score by Meet Me in St. Louis’s Martin and Blane), she would never make another film. She was only 16, and at 40, she would be dead of a heart attack. Luck had been against her. In the studio system, stardom always depended on a complex calculus of roles and performers. Although MGM was the company most committed to the kinds of movies best suited to Weidler, it was also the one most stocked with young female talent, especially Lana Turner and Judy Gar- land. Then, near the end of 1940, with Weidler emerging from prominent roles in four top 10 box-office hits (Out West with the Hardys, All This, and Heaven Too, The Women, and The Philadelphia Story), MGM would sign Shirley Temple, almost exactly Weidler’s age, and the number-one movie attraction from 1935 to 1938.
Archer’s Murder
Authors: Ray Robert B 
Published: November 2023

Abstract
Archer’s murder at Bush and Stockton is the only scene that does not appear in Dashiell Hammett’s novel, John Huston’s script, or either of the two previous film versions. (Responding to preview audiences’ request for more exposition, Jack Warner had ordered the shot’s inclusion.) Although often described as the only moment in The Maltese Falcon when the viewer receives information before Spade, in fact it anticipates another: as the detective leaves Gutman’s hotel room, his hand shaking from his feigned anger, he enters an elevator without spotting Cairo getting off another. Retroac- tively, this event will explain what at the time seems utterly gratuitous, Spade’s drugging. “Cairo got in touch with me,” Gutman will reveal.
Honolulu
Authors: Ray Robert B 
Published: November 2023

Abstract
“Mother and Father are in Honolulu,” Brigid tells Spade, explaining the urgency of finding her supposedly missing sister. “It would kill them; I’ve got to find her before they get back home.” In Hammett’s novel, “Mama and Papa are in Europe.” As with The Philadelphia Story’s transfer of Junius from London to Buenos Aires, intervening events have forced the revision: the outbreak of World War II, otherwise unmentioned by the movie, excludes European vacations. (Ironically, by relocating Brigid’s “parents” to Hono- lulu, The Maltese Falcon, opening just two months before Pearl Harbor, inadvertently puts them in a new harm’s way.) The address change assumes that both audience and characters must inhabit the same immediate present, despite the novel’s 1929 publication. Thus, the movie must be fine-tuned to avoid any “dated” references that would challenge verisimilitude. The result is an asymptotic process attempting to align the diegetic and actual worlds, as if two axes were coming together.
Intuition (Women’s)
Authors: Ray Robert B 
Published: November 2023

Abstract
Brigid, of course, will prove to be anything but “all right”; the movie’s plot will reveal her as a liar, seducer, betrayer, thief, and murderer, thereby discrediting Effie’s woman’s intuition, a staple of popular fiction. Barthes’s S/Z suggests just how unexpected this move is. Commercial narratives, Barthes proposed, continually refer to conventional wisdom, deployed as the guarantor of a story’s verisimilitude. Balzac’s Sarrasine, for example, casually describes one character in terms of unquestioned stereotypes (“dark as a Spaniard, dull as a banker”) and its hero with the romantic clichés of artistic impetuosity.