bluuebunny/crossref_metadata_2025_split huggingface dataset:
Xenophobia
Authors: Ray Robert B 
Published: November 2023

Abstract
The Maltese Falcon relies on a miseen-scène stripped down to the objects that “count.” Unlike many films, it does not offer what Seymour Chatman finds typical of the cinema, “a plenitude of visual details, an excessive particularity,” a “visual ‘over-specification.’” Instead, Huston’s film often resembles a cartoon: everything appears suffused with meaning, ready to further the narrative. Even the most insignificant objects seem deliberate: the statues and paintings of horses, a heart-shaped pill box (contents unknown), a movie poster (Swing Your Lady), the title on a marquee (The Great Lie), a partially dated theater ticket. This quasi- allegorical world, simultaneously remote and familiar, becomes, in Spade’s valediction, “the stuff that dreams are made of.” Humphrey Bogart (in The Maltese Falcon). But in Baudelaire’s original formulation, dandyism appeared as “an institution beyond the laws,” a practice of “opposition and revolt” against bourgeois conformity. Roland Barthes connected dandyism to the pleasures of perversity, arguing that “in a given situation—of pessimism and rejection—it is the intellectual class as a whole which, if it does not become militant, is virtually a dandy.” To the extent that classical Hollywood’s enterprise depended on the recruitment of the middle-class audience, the movies’ antibourgeois dandies would often appear threatening. But what Baudelaire called the dandy’s “elegance and originality,” his “joy of astonishing others,” his “burning need to create . . . a personal originality”—all seem definitions of photogénie. When Joel Cairo fondles his umbrella and purrs, “May a stranger offer condolences for your partner’s unfortu- nate death?”; when Kasper Gutman replies to Spade’s objection to being underpaid with, “This is genuine coin of the realm. With a dollar of this you can buy ten dollars of talk,” we are watching moments of villainy, foreignness, dandyism, and cinema.
Blue Slippers
Authors: Ray Robert B 
Published: November 2023

Abstract
Let us imagine two possible ways of filming Esther and Tootie’s cakewalk. The first will require the actors to execute a single continuous performance, covered by at least two cameras. Shot 1: a full shot of the two girls dancing, watched by 10 or 11 others, including Lon, sitting on the floor to the right and accompanying them on a mandolin. As the camera pans in his direction to follow the dance, cut to shot 2, a midshot, provided by another camera, showing only Esther, Tootie, and Lon. The girls reach down to the right for their hats and canes, and as they straighten up, cut to shot 3, a return to shot 1’s camera set-up. Since both cameras will presumably be running for the entire sequence, the articulation points will require no scrutiny for potential matching problems.
Dalmatians
Authors: Ray Robert B 
Published: November 2023

Abstract
The scene of Colonel Darly dropping off Rose begins with a close-up of his two Dalmatians. First possibility: the Dalmatians as signifiers of wealth. Pure- bred, slightly exotic in origin, dutiful, and purchased in matching pairs, the dogs suit a rich “colonel” with a decided streak of dandyism, the owner represented by his breed (as with Mr. Braukoff and his bulldog, attired in its studded leather collar).
Ice
Authors: Ray Robert B 
Published: November 2023

Abstract
Mr. Neeley’s ice wagon represents precisely the kind of syndecdochic detail regularly deployed by Hollywood cinema: like Esther’s corset, it is short- hand for an entire era. Nevertheless, the movie’s nostalgic image of the horse-drawn cart is ruthlessly ironic. With its electric light shows, 140 automobiles (driven from as far away as Boston), dishwashers, wireless telegraphy, and mechanized refrigeration (“mechanical refrigeration offers much that is spectacular,” proclaimed one ad), the 1904 World’s Fair would signal the death throes of Mr. Neeley’s world. The year before had already seen the founding of the Ford Motor Company and the publication of Frederick Taylor’s Shop Management, which proposed a method for scientifically organizing labor. As Tootie sits blithely singing in the back of the wagon, and the last few blocks of ice lie melting under their tarpaulins, this once-familiar routine of everyday life is on the verge of obsolescence. Designed to evoke the gentle quaintness of turn-of-the-century life, Mr. Neeley’s wagon and the dissolving ice only suggest its difficulties: the deadly provincialism, the nonexistent sanitation, the claustrophobic, endless summer heat.
Jockey
Authors: Ray Robert B 
Published: November 2023

Abstract
Esther’s first appearance in Meet Me in St. Louis occurs as her buggy pulls up to the Smiths’ carriage step, a precisely placed signifier (like the muddy road) of turn-of- the-centuryness. Just to the step’s right stands a miniature statue of a black jockey, its right arm extended in greeting. While the carriage step amounts merely to an obsolete utility, nostalgia’s idea of a more graceful time (eliding the uncomfortable realities of horse-drawn conveyances), the lawn jockey represents an obsolete ideology, a tacit racism perpetuated by the movie. Although 1903 St. Louis included 97,000 African Americans, blacks appear in the film only as art (the Smiths’ African bust), an unacknowledged source (for Esther and Tootie’s cakewalk, a slave dance step), and exotica (the fair’s two men wearing Arab headdress). This exclusion of blacks suits the Smiths’ self-satisfied provinciality, camouflaged as whimsy: “Wasn’t I lucky to have been born in my favorite city?” Tootie sighs to Mr. Neeley. The exposition itself practiced an explicit racism, restricting black attendance to certain “Negro Days” and black employment almost completely. Its organizer.
Leaves
Authors: Ray Robert B 
Published: November 2023

Abstract
What happens when the cinema stages the accidental? As Esther sings “The Boy Next Door,” the leaves around her rustle in a studio-manufactured breeze, an homage to the Lumière brothers’ Le Déjeuner de bébé, whose background foliage had distracted viewers from the intended center of attention, an infant’s feeding. But by locating “the third meaning” in details left over after the deliberate informational and symbolic messages have been pared away, Roland Barthes proposed the coincidence of the filmic and the unintentional. André Bazin, although never cited by Barthes, had made the same argument, celebrating the dust carelessly kicked up by Boudu on a summer road. This tradition diminishes a meticulous craftsman like Minnelli, attentive to every detail.
Pipe
Authors: Ray Robert B 
Published: November 2023

Abstract
Esther and Rose stare longingly at John Truitt as he stands in his front yard trying a new pipe, an object intended to suggest both his maturity and his masculinity. For Meet Me in St. Louis, this latter quality proved to be particularly urgent: Tom Drake, the actor playing Truitt, never seems convincing as Esther’s boyfriend. (Drake, in fact, was gay.) Hence the movie mobilizes several devices (the pipe, basketball) to “heterosexualize” his character. The pipe, however, remains unlit, and is then tossed aside, implying an impotence confirmed by John’s subsequent behavior: He does not kiss the eager Esther at her party, he nearly misses the trolley, he cancels their date for the Christmas ball. Even when he finally proposes, he leaves Esther in tears, urging her to choose between him and her family. Truitt’s aversion to flame appears most tellingly in the party’s turning-out-the-lights sequence (to which the also gay Minnelli devoted four days), where he not only puts out the Smiths’ lights but Esther’s, too, extinguishing her hopes with a flaccid handshake and hasty departure.
Value
Authors: Ray Robert B 
Published: November 2023

Abstract
This single take amounts to a kind of Kuleshovian miseen-sc Smith turns his back to the camera and watches for almost 10 seconds as they sulk up the stairs. As Mr. Smith moves to his chair, music, previously absent from the sequence, appears, initially only in the soft ringing of chimes, but then as an instrumental reprise of “The Trolley Song.” Mr. Smith sits down, and the music segues into a halting version of “Meet Me in St. Louis.” As Mr. Smith lights a match (off his shoe!), the melody repeats at a louder volume, and the camera begins its slow zoom in on Mr. Smith’s face. His eyes widen and dart back and forth; he stares into space as the match burns down and threatens his fingers.
Zoom
Authors: Ray Robert B 
Published: November 2023

Abstract
Minnelli admitted to modeling Meet Me in St. Louis less on the real 1903–1904 city than on Thomas Eakins’s paintings. As James Naremore puts it, “[H]e seems not to have asked himself what turn-of-the-century St. Louis was actually like. Instead, he asked what art in the period was like.” Nevertheless, the zoom-ins that introduce each of the movie’s four sections suggest that Minnelli understood the crucial difference between painting and cinema. Despite their careful geometric arrangements, Eakins’s still images accommodate idle scanning, detours to study The Swimming Hole’s nearly invisible dog, or the second scull in the distance behind Max Schmitt, the one with Eakins himself. Like so many others, these paintings seem to precede, or follow, a withheld narrative that would have disciplined the viewer’s eye, forcing it to attend to certain things at the expense of others. Thus, Minnelli’s zooms imply a revision of Chaplin’s famous dictum that “life is a tragedy when seen in close-up, but a comedy in long-shot.” In fact, the movie depends utterly on the zoom-ins: narrative cannot coexist with the wide view.
A Social Relationship
Authors: Garland-Thomson Rosemarie 
Published: November 2023

Abstract
An eye-snagging stare of intense attention opens a social relationship between two people. The kind of visual scrutiny leveled by a stare is both impersonal and intimate. On the one hand, staring is a social activity governed by rules of engagement, an etiquette of looking that people generally know and observe. On the other hand, staring affords a spontaneous moment of interpersonal connection, however brief, during which two people have the opportunity to regard and be known to one another. So while social rules script staring, individual improvisation can take the staring encounter in fruitful directions.
Regulating Our Looks
Authors: Garland-Thomson Rosemarie 
Published: November 2023

Abstract
Everybody knows that curiosity killed the cat. As an enactment of curiosity, staring is risky business. As we have seen, a long-standing wariness about curiosity pervades the Western tradition, underpinning America’s prohibitions against staring. To those who condemn it, the curiosity launched by the impulse to stare at inexplicable sights is a grab for unauthorized knowledge, a presumptuous overreaching. As the desiring mind following the desiring eye, curiosity can bespeak discontent and breed iconoclasm. A poke in the eye of the gods, curiosity puts us in charge of the story, trouncing obedience and risking sound punishment. Eve, Prometheus, Icarus, Oedipus, and Frankenstein warn us against the hubris of curiosity, of wanting to know more than is good for you. To understand our contemporary proscriptions against staring, we need to explore more fully the distrust of curious looking in the Western tradition.
Looking Away, Staring Back
Authors: Garland-Thomson Rosemarie 
Published: November 2023

Abstract
The contradictions among our desire to stare, the abundant offering of stareable sights, and the perpetual admonitions of our mothers make public staring a furtive pleasure at best for many Americans. Few of us get the unambivalent license to stare that the writer Walker Evans found, as we saw in the last chapter, in Parisian café society. Consequently, our eager stares often quickly shift to uncomfortable looking away. Our ocular id, in other words, jerks our eyes toward a stimulating sight and our ocular super-ego guiltily retracts them. We may withdraw a stare in simple deference to propriety or parental prohibition. Charges of rudeness further encourage us to cut and run. Sometimes, however, truncated stares come from our distress at witnessing fellow humans so unusual that we cannot accord them a look of acknowledgment. To be suddenly confronted with a person extraordinary enough to provoke our most baroque stares withers our ready curiosity and we turn away, snuffing out the possibility for mutual recognition. If the knowledge that staring delivers is unbearable, the expected elasticity of human connection that mutual looking offers becomes brittle. When we suddenly find ourselves face to face with some moment mirror our most dreaded fate—we look away.
General Provisions
Authors: Gabriel Henry Deeb 
Published: November 2023

Abstract
Chapter II of the Convention governs the interpretation of contracts. The chapter consists of seven articles (Articles 7–13). Because uniformity of interpretation adds to the long-term viability of the Convention, or any international commercial convention for that matter, Article 7(1) embodies the standard UNCITRAL language that the Convention should be interpreted in light of its international character.323 Uniformity of interpretation
Provisions Common to the Obligations of the Seller and of the Buyer
Authors: Gabriel Henry Deeb 
Published: November 2023

Abstract
Article 71, along with Article 72, provides the Convention’s default provisions1074 on anticipatory breach. Article 71(1) permits the aggrieved party to “suspend1075 the performance of his obligations if . . . it becomes apparent that the other party 1073 Official Comment 3 to Section 2-510 indicates that this allocation of risk of loss is not to be disturbed by any subrogation right of an insurer. These provisions that tie risk of loss to deficiencies in the aggrieved party’s insurance coverage have been roundly criticized in the commentary on risk of loss under Article 2; however, Section 2-510 was retained in the revisions.
1900 and Beyond
Authors: Pickover Clifford A 
Published: November 2023

Abstract
It seems we all face a fundamental paradox in that it’s impossible to think about the universe except in terms of its relation to humans. You can’t make sense of language, or even scientific laws or mathematics, without the concept of an observer, and yet at the same time we know perfectly well that humans are a very late addition: the universe was here long before us and will be here long after us.
Introduction “As with a Startling Picture”: Modernism and the Domestic Sphere
Authors: Edmunds Susan 
Published: November 2023

Abstract
In his 1939 essay “What Is Epic Theater?” Walter Benjamin conjures up “a family scene” to explain the concept of Brecht’s alienation effect to his reader: Suddenly a stranger enters. The mother was just about to seize a bronze bust and hurl it at her daughter; the father was in the act of opening the window in order to call a policeman. At that moment the stranger appears in the doorway. This means that the stranger is confronted with a situation as with a startling picture: troubled faces, an open window, the furniture in disarray. But there are eyes to which even more ordinary scenes of middle-class life look almost equally startling.
“Not Sentimental”: The Double Bind of White Working-Class Femininity in Tillie Olsen’s Yonnondio
Authors: Edmunds Susan 
Published: November 2023

Abstract
When Tillie Olsen began Yonnondio in 1932, she was a committed member of the Young Communist League who had already been jailed once for her political activity. A portion of the novel’s first chapter appeared in Partisan Review in 1934; with the help of a Random House contract, Olsen spent the next several years balancing the demands of writing with childrearing, labor activism, and more jail time. As she cast back from the crisis of the early thirties to focus her novel on the impoverished domestic life of a working-class family in the 1920s, she wrote with a strong sense of the revolutionary import of her subject matter.
The Arbitrators
Authors: Madsen Finn 
Published: November 2023

Abstract
Any person who enjoys full legal capacity in regard to his actions and his property may act as arbitrator.The seventh section sets out the general capacity conditions applicable to arbitrators. The requirements are justified in the preparatory works1 on the grounds that an arbitrator should possess legal capacity and be able to take care of himself and his property. A person who is unable to do so due to lack of years or mental ill health should not be able to serve as an arbitrator and is therefore excluded from the group of conceivable arbitrators. The capacity requirements are absolute and thus apply irrespective of the issue which is the subject matter of the arbitration and irrespective of the identity of the parties. With an eye to foreign arbitrators, the rule has been formulated in a general manner in order to cover corresponding restrictions in foreign legislation.
Invalidity and Setting Aside Arbitral Awards
Authors: Madsen Finn 
Published: November 2023

Abstract
The arbitral proceedings are based on the dispute between the parties being conclusively determined through the arbitral award. In choosing arbitration, the parties waive the possibility to challenge the decision on the grounds that the arbitrators have reached an incorrect substantive decision in the referred matter in dispute, e.g., through erroneous application of law or evaluation of evidence. It might be said that the parties have sacrificed the possibility of enhanced substantive fairness in the decision, which the more formalistic, multi-instance court procedure is intended to ensure, in exchange for the other advantages offered by arbitration.
Recognition and Enforcement
Authors: Madsen Finn 
Published: November 2023

Abstract
An arbitral award which is issued abroad is deemed to be foreign. This follows from the first paragraph. Both the Model Law and the New York Convention are based on the same principle as the Act, namely that the nationality of the award is determined on a territorial basis.1 Conversely, an award is deemed to be Swedish if it is made in Sweden.2 The provisions of the New York Convention are aimed solely at foreign awards, i.e., awards made in a state other than the one in which recognition or enforcement of the award is sought. According to the second paragraph, for the purposes of applying the Act, an arbitral award shall be deemed to have been made in the country where the place of arbitration is situated. Pursuant to section 22, the parties determine the place of arbitration. The parties’ choice of place of arbitration may be made in an arbitration clause or after a dispute has arisen.
CISG: Talking the Leap into Drafting
Authors: Cook* V Susanne 
Published: November 2023

Abstract
This chapter provides a sample agreement that can be used as a guide when drafting contracts intended to be governed by the United Nations Convention on Contracts for the International Sale of Goods (“CISG” or “the Convention”). This reflects a proactive approach, in contrast to simply analyzing the effect of contract language inadvertently subject to the CISG because of the drafter’s inattention to the intricacies of opting out of the Convention. Anecdotal evidence tells us that even sophisticated practitioners hesitate to permit contracts to be governed by the CISG because the next step—actually drafting the agreement—would place the attorney on unfamiliar ground.
The Business Lawyer’s Perspective
Authors: Saiegh Sandra 
Published: November 2023

Abstract
I expect this chapter to serve as an appeal to all the experts on the U.N. Convention on Contracts for the International Sale of Goods (“CISG” or “the Convention”)1 to reach out to the legal business community and ensure that U.S. business lawyers have the necessary tools to take advantage of the CISG as a contract drafting tool.
Force Majeure and CISG Article 79: Competing Approaches and Some Drafting Advice
Authors: Garro* Alejandro M 
Published: November 2023

Abstract
The obligation to perform a contract involving an international sale of goods may be excused, in exceptional cases, under Article 79 of the Vienna Sales Convention (CISG) if extraordinary circumstances render the performance impossible-or at least virtually impossible. Although Article 79 seeks to establish a uniform standard of force majeure, the actual degree of protection to be received by the obligor will vary with competing interpretative approaches to the provision. Whether a court called upon to evaluate the alleged excuse will take a narrow or permissive approach to the notion of “impediment” may well depend on the legal culture of the court and the contextual set of circumstances surrounding the performance of the contract.
The Multifaceted Nature of International Investment Law
Authors: Geiger Rainer 
Published: November 2023

Abstract
International investment has expanded exponentially over the past decades. While industrialized countries still account for the bulk of outward investment, emerging market economies are becoming major sources of investment as well. There is a growing consensus that investment is a driving force for economic development and that there is a common interest in providing favorable conditions for investment—which implies a transparent and equitable set of rules governing the relations between investors and governments. The importance of investment and private sector initiatives is recognized in the Monterrey Consensus and the United Nations’ Millennium Development Goals.
Implications for the Future of International Investment Law
Authors: Alvarez José E 
Published: November 2023

Abstract
This volume, the product of a symposium on “Transparency and Consistency in International Law: Is There a Need for a Review Mechanism?” held at Columbia University on April 4, 2006, addresses a unique emerging regime that is neither the product of a single multilateral treaty nor the subject of an overreaching international institution. The international rules governing foreign direct investment (FDI) do not arise from anything resembling the enormous multi-year trade rounds that produced the World Trade Organization (WTO) and its impressive post-Uruguay Round dispute settlement system. Unlike the rules governing trade in goods, the world’s FDI rules emerge instead from some 2,500 bilateral agreements as well as an increasing number of free trade agreements that contain investment guarantees, such as the North American Free Trade Agreement (NAFTA)’s Chapter 11. Even while WTO lawyers still debate the virtues of increased transparency—such as whether or when amici briefs from non-state entities ought to be considered by the WTO’s dispute settlers or whether the emerging WTO case law has indeed generated harmonious interpretations over time—the WTO still inspires the envy of investment lawyers.
Variation in the Substantive Provisions and Interpretation of International Investment Agreements
Authors: Juillard Patrick 
Published: November 2023

Abstract
M. Sornarajah has been critical of bilateral investment treaties (BITs) for an extended period, and the views which he expresses in his chapter in this volume should thus come as no surprise. His criticism, however, should not be taken lightly, if for no other reason than that it does reflect positions that are held in some circles, be it within developing countries, or within developed countries. His criticism seems to be twofold. On the one hand, it deals with BITs, and on the other, it deals with the interpretation and application of BIT provisions through investor-State arbitration. This chapter is limited to the first aspect; i.e., the BITs themselves. The reason for this is that my contribution deals with the differences between the substantive provisions of international investment agreements (IIAs), including BITs.