bluuebunny/crossref_metadata_2025_split huggingface dataset:
Calibration Using Option Price Data
Authors: Guthrie Graeme 
Published: October 2023

Abstract
This chapter shows how to calibrate the tree for the state variable using current market prices of options and other derivative securities with payoffs that are sensitive to the level of the state variable. Thus, rather than relying on historical data on the state variable as in Chapter 12—and hoping that historical behavior gives an accurate guide to future behavior—we are able to use current market data exclusively. Because option prices are typically sensitive to the level of volatility of the underlying asset’s price, current option prices have the potential to yield useful information about the future volatility of the state variable. And it is future volatility, not the historical volatility that we estimate using historical data, that is relevant for current decision making.
Developing a Gas Field
Authors: Guthrie Graeme 
Published: October 2023

Abstract
An all-equity firm owns the right to develop and exploit a natural gas field in the South Central United States. The field has already been explored and is believed to contain 100 billion cubic feet (Bcf) of recoverable gas. The lease agreement that gives the firm these development rights requires the firm to relinquish them if development is not completed within ten years. The firm’s manager expects that it will take four years of continuous development and $60 million of expenditure per year to develop the field. However, she is conscious of possible cost overruns, estimating that the development time has a standard deviation of one year. Our task is to derive an optimal development policy and value the firm’s development rights as at the beginning of 2008.
Detection and monitoring of nonadherence
Authors: Buckley Peter F , Foster Adriana , Patel Nick C , Wermert Anastasia 
Published: October 2023

Abstract
Since the time of Hippocrates, adherence to treatment has been recognized as a critical factor in treating all illnesses, medical and psychiatric. Medication adherence is related to clinical outcome, and suboptimal adherence reduces the effectiveness of a treatment intervention. Simply put, no medication will be successful in treating an illness if the medication itself is not taken as prescribed.
Separating Church and State
Authors: Guiora Amos N 
Published: October 2023

Abstract
Governments struggle with how to effectively and appropriately separate church and state. In the U.S. context, the First Amendment states, “Congress shall make no law respecting an establishment of religion.”1 Freedom of religion in the United States involves two equally important clauses—the Establishment Clause and the Free Exercise Clause. The Establishment Clause prevents the government from establishing a national religion or showing preference to one religion over another.
A Philosophy of Moonshine: Coleridge, Memory, and Imagination
Authors: Lennard John 
Published: October 2023

Abstract
Coleridge is fortunate to have attracted, in John Livingstone Lowes, a critic who tried to approach him on his own terms. The Road to Xanadu(1927) offers a fantastically detailed and often cogent argument about the imaginative fashioning of the “Ancient Mariner” and “Kubla Khan”. Lowes was faithful to his subtitle, A Study in the Ways of the Imagination; and Coleridge was both a notably imaginative poet, and a distinguished critic of the imagination.
1942-The Modern Range
Authors: Lennard John 
Published: October 2023

Abstract
Between the 1580s and the 1630s the use of lunulae was widespread and strongly practical. Many purchasers of books were new readers, to whom the printed page was unfamiliar, and lunulae offered a means of signposting the text, thus making the construing of written sentences a less formidable task. But lunulae cannot offer that help unless their own semiotic value is understood, and hence it was the conventional meanings which were the dominant feature of use within those decades. In the simplest analysis, lunulae were used either to emphasize (as when they indicated sententiae) or to ‘de-emphasize’ (as when they indicated attributions of speech): that is, either pointedly to include or pointedly to exclude a particular clause. The practicality of conventions does not explain why any particular convention should have developed, but it does provide a necessary explanation of why such a large group of related conventions should have flourished within a limited period.
The Spoils
Authors: Makin Peter 
Published: October 2023

Abstract
Between The Well of Lycopolis (1935) and The Spoils (1951) Bunting experienced a great deal, so that the available matter for verse-writing was changed: there were new kinds of ‘things seen’, and the way of seeing things in general was different. What Bunting had to say now included a great deal more about history and the states of nations. The Spoils would be more a public poem, and less of a private phantasmagoria.
The Lindisfarne Gospels
Authors: Makin Peter 
Published: October 2023

Abstract
When Bunting set out at length his views on ‘The Craft of Poetry’, he began, not with verse, but with the illuminated pages of the Lindisfarne Gospels.
The subject was his own; he had made it his own by decades of pondering and sifting. In a way somehow typical of his career, the communication was not made; the slide-projector malfunctioned. To visualize the Gospel Book, the audience was left to its own imagination, and to Bunting’s passion.
Theory
Authors: Makin Peter 
Published: October 2023

Abstract
Bunting glossed this (in 1965): ‘The lice on the brocaded jacket, of course, are those who can enjoy and understand nothing because they are determined not to look at the world itself.’
Then to understand the world (including man) is to understand the world: there is no way of getting at it but through it, including its things. Therefore the writer will place a heavy emphasis on things. The model is Wordsworth: ‘I should have said about Wordsworth that occasionally his stress on “thing” is remarkable. Any competent writer must know the importance of things.’ Kenneth Cox tells us that Bunting himself would stress the word in reading Wordsworth’s lines.
The Dynamics of Change
Authors: Butler Christopher 
Published: October 2023

Abstract
These remarks by Malcolm Bradbury raise some quite general questions about the underlying conditions for a period of artistic innovation—he notes here a reaction against the past {anti-Realism), a strategy for gaining attention (the avant-garde), and a sense of relationship to the general culture of the time (anxious). In what immediately follows I develop this line of thought by outlining some of the influences upon the major early Modernists. These conditions for revolutionary change involved in particular a general atmosphere of scepticism, which prompted a basic examination of the languages of the arts.
Poetic Words in Late Old English Prose
Authors: Frank Roberta 
Published: October 2023

Abstract
Theorists since Isocrates have tried to epigrammatize the essential difference between poetry and prose. Prose is bread, sweet new wine, a stately walker; poetry is a wreath of flowers, heady mead, a swift runner.’ Prose is conceptual, intellectual, judicious, informative; verse is imagistic, emotional, playful, attitudinal. Prose raises the walls, poetry lays the roof; prose extends horizontally, poetry, vertically. Baffled, we suspect the worst, that nothing fundamental separates the two modes.
Early History Plays
Authors: Hunter G K 
Published: October 2023

Abstract
History plays are clearly different from comedies and tragedies in ways which do not resemble those that separate comedy from tragedy. Our understanding of this latter separation begins at the formal level: happy endings are set against sad endings, social integration and the future against social isolation and no [earthly] future, low life versus high life, reality versus mythology, colloquial immediacy against distancing rhetorical splendour. Of course, to rest on these formal points is not to assume that we cannot extrapolate larger distinction from such bases and invoke God, Time, and the seasons. But history plays can make little claim to participate in any of these grand binary schemes. It can easily be argued that this genre has a tendency to collapse like an unstable isotope into the more stable condition of either comedy or tragedy. Certainly the word ‘history’ as it appears in Elizabethan play titles shows us that the age had no clear generic definition in mind. We hear of (for example) The History of Troilus and Cressida, The True Chronicle History of King Leir, A Pleasant Conceited History Called The Taming of a Shrew. In such titles ‘history’ has collapsed into its basic synonymy with ‘story’.
The Boy Actors and the New Dramaturgy
Authors: Hunter G K 
Published: October 2023

Abstract
The mythological and fantastic comedies of John Lyly (see Chapter 4) were the product not only of a particular talent but of the tradition of using English choirboys as actors. H. N. Hillebrand has traced the history of English drama written to be performed by boys back into the Middle Ages with a marvellous wealth of documentation, but we are left, after all the lawsuits and records of payment are transcribed, only with shadows cast by the events. We know the names of a number of the Tudor choirmaster-authors who were involved in the system-William Cornish, Sebastian Westcott, Richard Edwards, Richard Farrant, William Hunnis but, with the exception of Edwards’s Damon and Pythias (?1565), the relationship between the theatre tradition and the individual talent that could exploit it can only be guessed at. The first information that allows us to combine theatrical and literary perspectives comes when we learn in 1584 that John Lyly became the lessee of the indoor theatre in the Blackfriars that Richard Farrant, Master of the children of St George’s Chapel in Windsor, had set up in 1576 for the ostensible purpose of ‘exercising’ his boys in preparation for their court performance. Lyly was paid for taking two plays to court on January (Campaspe) and 3 March (Sappho and Phao) 1584. From the title-pages we learn that these plays were designed also for the Blackfriars (before a paying audience). The earliest documented commercial activity of the boy players thus remains a consequence of their court function.
Later Comedy
Authors: Hunter G K 
Published: October 2023

Abstract
The years 1593-4 mark an institutional divide in the theatrical enterprise of the English capital. Cessation of playing in time of plague had been written into the licence to perform since 1574. In such periods (notably 1581-2, 1592-3, 16o3-4, 1608-9, 16og-10, 1625, 1630) the always fragile economy of the profession was strained to breaking-point.2 In 16o4 and 1625 even the King’s Men, the best established of all the companies, had to be bailed out by gifts from their patron.3 In the catch-as-catch-can world of 1593 no such help could be imagined. Travelling into the plague-free provinces (with a reduced company) was an obvious resource, but even that descent into the unrewarding world of heavy wagons, muddy roads, hostile magistrates, unsuitable halls, unsophisticated audiences, could do no more than postpone the forced sale of such assets as costumes and playbooks, essential to a recovery of Lon don status.4 The 1592-3 outbreak seems to have caught a situation already in turmoil. In 1583 the profession had been granted a limited stability by the creation of a body of ‘Queen’s Players’, selected from the best actors from the extant troupes and provided with a courtly status (as grooms of the chamber). But such at tempts to secure control of an essentially fissiparous situation had only a temporary effect.
Later Tragedy
Authors: Hunter G K 
Published: October 2023

Abstract
Tragedy, I have suggested in Chapter 3, plots the urge of the individual to assert his freedom against the restrictions imposed by the community, against power as it is embodied in the existing social system. The hero’s bid is to overwhelm the restrictions, and it is his tragic destiny to fail, but also to show, in the process of failing, the power of the individual to represent a daring, an untamability, an inventiveness, occasionally a capacity for love and self-sacrifice that idealizes our own effort to achieve such separate identity. In Greek and Roman tragedy the struggle runs against impersonal forces, as expressed in oracle, customary religion, family inheritance, the decrees of the gods; and so the heroes must be supermen (‘greater than us’, as Aristotle says), unintimidated by the metaphysical odds against them. But Elizabethan tragedy tends to construe ‘greater’ in set social terms, so that we are shown neither classical defiance of the gods nor modern concentration on one temperament exerting its power over others in a tightly knit grouping, without recourse to social conventions of honour or hierarchy. Elizabethan tragedy deals with the violent emotions of princes and generals, men who create political turmoil in the process of asserting self over other by the most melodramatic methods avail able. The anti-theatrical polemicist, John Greene, tells us in his Refutation of the Apology for Actors that The matter of tragedies is haughtiness, arrogancy, ambition, pride, in jury, anger, wrath, envy, hatred, contention, war, murder, cruelty, rapine, incest, rovings, depredations, piracies, spoils, robberies, rebellions, treasons, killing, hewing, stabbing, dagger-drawing, fighting, butchery, treachery, villainy, &c. and all kinds of heroic evils whatsoever.
Tragicomedy
Authors: Hunter G K 
Published: October 2023

Abstract
Philip Sidney thought of tragicomedy as a ‘mongrel’ form, sup posing that both social decorum and classical tradition (not easily distinguished) demanded a mutual accommodation of form and content such as comedy and tragedy separately provide. Battista Guarini, in the practice of 11 pastor fido (1590) and the theory of the Compendia delta poesia tragicomica (1603), looked rather for the tension of potential imbalance that an integrated form offering near-death but no-death provides, and argued that this was a more appropriate mode for a Christian civilization. Fletcher’s The Faith ful Shepherdess (1608) brought this baroque ideal to the attention of the London audience of the boys’ theatre. But even this elite group was not much taken with such continental novelties. They were looking, Fletcher tells us in his Preface, for ‘a play of country hired shepherds ... sometimes laughing together, and sometimes killing one another’ (as in Greenian pastoral romance). True pastoral tragicomedy, he declares, is not an alternation of kissing and killing, but is defined by the fact that ‘it wants deaths, which is enough to make it no tragedy, yet brings some near it, which is enough to make it no comedy; which must be a representation of familiar people, with such kind of trouble as no life be questioned, so that a god is as lawful in this as in a tragedy, and mean people as in a comedy’.
The Waverley Romances
Authors: Jack Ian 
Published: October 2023

Abstract
The last chapter of Waverly is called ‘A Postscript, which should have been a Preface’, and in fact it might have served as a preface to the whole series of the Waverley Romances, for the paragraphs in which Scott outlines the great changes which had come to Scotland in recent times describe the inspiration of the finest of these books.1 ‘There is no European nation’, he remarks, ‘which, within the course of half a century, or little more, has undergone so complete a change as this kingdom of Scotland. … The present people of Scotland [are] a class of beings as different from their grandfathers, as the existing English are from those of Queen Elizabeth’s time.’
Hazlitt
Authors: Jack Ian 
Published: October 2023

Abstract
‘Essay on the Principles of Human Action, sm. 8vo. —The Eloquence of the Brit. Senate, 2v. 8vo. 1808. —A new and improved Engl. Grammar, 18mo. 181o.’ Such is the entry under Hazlitt’s name in A Biographical Dictionary of the Living Authors, published in 1816, and it may serve as a reminder that the man we remember as a great critic and essayist came rather late to both these arts. It was not until the year after the appearance of the Dictionary that he published his first volume of criticism and his first collection of essays. Before that time he was generally known only as a writer on philosophical and political topics and a contributor to the Examiner. the had been less deeply interested in philosophy and politics he would have been a less penetrating critic of the writers of his time. And since his political views accompanied him everywhere—as John Scott pointed out—like a large dog, something must be said about them at the outset.
Miscellaneous Prose
Authors: Jack Ian 
Published: October 2023

Abstract
The paradox that confronts us as we consider the literature of this period, the fact that it is so much easier to name the major writers than the major works which they produced, is in no department of literature more striking than in that of miscellaneous prose. ‘It is a great literary age’, as Bulwer Lytton remarked, ‘ —we have great literary men—but where are their works?’ —and he answered his own question by pointing out that ‘We must seek them not in detached and avowed and standard publications, but in periodical miscellanies. It is in these journals that the most eminent of our recent men of letters have chiefly obtained their renown.’ As we consider the work of the writers discussed in this chapter we shall find that the greater part of it first appeared in periodicals of different types, and that even if it was republished in book form it often retains the marks of its origin.
Interest In Foreign Literature And In Earlier English Literature
Authors: Jack Ian 
Published: October 2023

Abstract
De Quincey once suggested that all literatures ‘tend to superannuation’ unless they are ‘crossed by some other of different breed’, and it seems likely that one of the reasons for the variety and vigour of English literature at the beginning of the nineteenth century was the exceptional amount of cross-fertilization at that time between our literature and the literatures of other countries. But before we turn to the relations between England and Italy and Germany we must first acknowledge the continuing influence of classical literature. It is true that some observers believed that knowledge of the classics was declining. In his ‘Essay on Fashionable Literature’ (1818), for example, Peacock complained that ‘classical literature seems sinking into… repose’. It is his contention that while a few years before ‘the favorite journals of the day … were seldom without a classical … article for the grace of keeping up appearances … now we have volume after volume … almost without any thing to remind us that such things were’. Yet although the influence of Latin literature was much less strong than it had been a century before, it remains true that most writers and readers were far more familiar with Virgil and Horace than we are today, thanks to the educational conservatism of the schools at which a high proportion of the future writers were still educated. ‘Lily’s’ Latin Grammar, which had first appeared before Spenser was born, was to remain in use at Eton (with only slight modifications) until past the middle of the century. In the 184o’s a master at Eton unwittingly produced a fine reductio ad absurdum of the argument for a classical education.
Out, Such, and Between: Metaphor and the Languages of Knowledge
Authors: Birch Sarah 
Published: October 2023

Abstract
As I suggested in Chapter 1, Christine Brooke-Rose’s first four novels constitute a conceptual prologue to her later work, but because they fail to break with the assumptions of the conventional novel, they are unable adequately to articulate the relation of individual identity to language. In the novels which followed, manipulation of language is discovered to be the key to the integration of intellect and psyche which is unsuccessfully sought throughout her early fiction. The main concern of Out (1964), Such (1966), and Between (1968) is the process whereby the subject constructs his or her identity in and through the language of specialized discourses, and the way in which he or she acts on those discourses to make them ‘run here and there again’.
Christine Brooke-Rose and Contemporary Fiction
Authors: Birch Sarah 
Published: October 2023

Abstract
In Chapter I I discussed Brooke-Rose’s increasing frustration in the late 1950s and early 1960s with the linear, causal logic of traditional narrative and with the ontological presuppositions of realist character-portrayal. At the same time an intellectual climate was developing in France that was characterized by what Brooke-Rose calls ‘interdisciplinary all-inclusiveness’, in which ‘writers are influenced by and passionately interested in contemporary philosophers and scientists’ (1968c: 20). Beginning with her experimental fiction of the 1960s, she sought to bring to British fiction this same inter-animation of discourses by radically altering the discourse of the novel.
Diversity, Choice and Mean
Authors: Thompson N S 
Published: October 2023

Abstract
Both the Decameron and the Canterbury Tales are based on the idea of presenting a diversity of narratives from a variety of perspectives. In this chapter I investigate the idea of ‘diversity’ and see how it underpins a collection of narratives which is not only presented as an open or quodlibet ‘debate’, but also as a confusing range of perspectives which, in the metaphor of the day, could be termed a ‘labyrinth’. Like the architectural design, the metaphorical one presents the reader with choices of direction and interpretation, whereas medieval critical theory argued that literature should have a clear moral function. I would propose that the individual’s perplexity in the face of the excessive or defective attitudes so persuasively presented in the web of fiction is to be resolved by holding to the Aristotelian ‘mean’.
The Literary Debate
Authors: Thompson N S 
Published: October 2023

Abstract
The previous chapter introduced ideas about the usefulness of fiction(s), where narrators and narratives, collectively forming a labyrinth of appearance and reality for the reader to negotiate, may offer a useful paradigm for reading life, rather than the simple recipe of good advice, morals or precepts. Fiction need not be overtly didactic to have a useful function, and might be the more pleasurable for it. I now wish to explore further the ambiguity both collections foster around the Horatian aims of literature.’ Both authors introduce ideas of ‘delight’ and ‘instruction’ with regard to the narratives each company relates. Where Boccaccio uses the terms ‘utile’ and ‘diletto’ (or some cognate of ‘solazzo’), Chaucer has the terms ‘sentence’ and ‘solaas’; but whether a narrative delights or instructs is further complicated by—to use the Chaucerian terms—whether it is related in ‘game’ or in ‘earnest’. As we will see in later chapters on the analogues, both authors wish to frustrate the easy categorization of the companies’ fictions, both in terms of function (to delight and/or instruct), in terms of genre and appropriate style, and finally in terms of narratorial intention—whether it is told in a serious vein or not.