bluuebunny/crossref_metadata_2025_split huggingface dataset:
Proteus and his Texts: Opposition in Writing and Everyday Life, 1844—1848
Authors: Burton Richard D E 
Published: November 2023

Abstract
To the extent that our names are given names, given to us without our knowledge and consent, and impose a single social definition on the multiplicity of inner selves, actual and potential, we contain, they constitute a privileged terrain for the kinds of oppositional practice—opposition by subterfuge, irony, and paradox rather than by direct resistance—which, following Michel de Certeau, we outlined in the previous chapter.
The Revenge of Pluviosus: Baudelaire and the Agony of the Second Republic
Authors: Burton Richard D E 
Published: November 2023

Abstract
On 9 April 1851—by design or coincidence his thirtieth birthday —Baudelaire at last published, under the long-announced title Les Limbes, a sequence of eleven sonnets in Le Messager de 1’Assembl ée, the journal in which Du vin et du haschisch had appeared the previous month.
Introduction
Authors: Knight Diana 
Published: November 2023

Abstract
IT is the central argument of this book that utopias play a major role in Barthes’s work. A surprising proportion of his ideas are formulated through an explicit vocabulary of utopia as adjective or proper noun, while implicit utopias often lie behind more negative evaluations: ‘For me the ideal takes on a very precise form which is that of utopia. I have a utopian imagination and very often when I write, even if I’m not referring to a utopia, if, for example, I’m analysing particular notions in a critical way, I always do this through the inner image of a utopia: a social utopia or an affective utopia.’
Colonial Mythologies
Authors: Knight Diana 
Published: November 2023

Abstract
THE collection of photographs that opens Roland Barthes by Roland Barthes contains a distant photo of Barthes performing in a play put on by the Sorbonne theatre group of which he was a founding member (RB 33 / 37). The play is The Persians by Aeschylus, and the hooded and masked figure of Barthes represents the Persian King Darius, returned from the grave to lament the victory of the Greeks over his son King Xerxes.
Turkey and China: ‘But Where is the Orient?’
Authors: Knight Diana 
Published: November 2023

Abstract
IN the early and mid-I97os Barthes often draws a distinction between ‘the political’ (le politique) and ‘politics’ (la politique). The political, he claims, is a fundamental order of history, of thought, of all that is done and spoken; it is the very dimension of the real. Politics, on the other hand, emerges when the political is converted into a repetitive, fixed discourse. This, clearly, is the general realm of politics evaluated through the familiar distinction between positive signifier (the political) and negative .signified (politics).
The Politics of Production Finance
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
The post-war Labour Government needed to resolve the production crisis for two reasons. Not only would it be able to provide employment for producers and technicians, but the more British films that could be shown in the cinemas, the smaller would be the dollar drain from showing Hollywood products.Hugh Dalton’s attempt in 1947 to stem the dollar drain by imposing a 75 per cent duty on the revenues of all foreign films had nearly ruined the British film economy. The Motion Picture Association of America (MPAA) immediately imposed an embargo on any new Hollywood films coming into the UK, causing chaos in the cinemas and a consequent fall in revenues from entertainment duty. When Dalton resigned over a Budget leak, Attlee replaced him by Sir Stafford Cripps, and appointed the young Harold Wilson as President of the Board of Trade. It fell to Wilson to negotiate an agreement with the MPAA President, Eric Johnston, that would normalize the film trade between Britain and America.
British Lion
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
BRITISH LIONDON was the second largest distributor of British Films in the 1950s. During the decade, it distributed about 150 films, many of them made by independent producers, and it became a central player in debates about state control and cinematic creativity. British Lion was a long-established company, and was founded in the 1930s, when it concentrated almost entirely on’ quota quickies’, and had a distribution deal with the American Republic Pictures Corporation. During the war, British Lion’s relationship with Republic was increasingly profitable, and in 1944 it achieved a record profit of £101,000, which enabled it to acquire 50 per cent of the Worton Hall studio at Isleworth. It was at this juncture that Alexander Korda became interested in the company, and in 1945 he sold his shares in United Artists in order to buy it. He also bought a controlling interest in Shepperton Studios, and large production offices in Piccadilly; his aim was to transform British Lion from a small-time outfit into a company that could distribute and produce large-budget international films. Korda, of course, had previously had a substantial career in British cinema. In the 1930s, he founded London Films and produced (and occasionally directed) a range of popular films such as The Scarlet Pimpernel(1935) which skilfully deployed residual elements in British culture. During the war, Korda thought his primary task was to persuade the Americans to enter the war, and in Hollywood he made the phenomenally successful Lady Hamilton(1941). As a major share holder in United Artists, he understood the economics of the major Hollywood companies. Unlike Rank, Korda was essentially cosmopolitan in his personality and tastes; he exuded a confident charisma, and his cultural and business instincts were acute during the1930s and the war. However, his plans went awry in the post war period, and by 1948, British Lion was deeply compromised.
Visual Style
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
IN order to map the field of visual style in 1950s British cinema, we need to relate the formal elements in the film text to their conditions of production. This means we have to provide an account of some of the shifting power relations in the technical side of the industry--of the struggles of, and accommodations between, art directors, lighting cameramen, costume designers, and others. Much depends on the career trajectories of individual workers-and of who became, or ceased to be, their patron. Having artistic talent was not enough; being offered chances at the right time was crucial. Much depended too on when designers came to maturity or went into artistic decline, and on the degree of autonomy permitted by the director or producer. This depended in turn on the management of the production process. British cinema in the 1950s was in a state of profound flux. Because of the shift away from producer-power and towards distributor-power, the older chain of command grew progressively weaker. This inevitably affected films’ visual style, since the management process engendered a different set of relations between technical workers, in which old patterns of dependence atrophied and new freedoms were seized. In addition, there were technical determinants on visual style. The 1950s was a period of important technological innovations in the film industry, and it had to deal with the artistic consequences of Eastman color, Cinema Scope, and single-strip Technicolor.
Gide‘s body
Authors: Segal Naomi 
Published: November 2023

Abstract
The body is with the king, but the king is not with the body. A dead author is embalmed in text and, however carefully wrapped up in advance, belongs to us to grave-rob. Once the author ‘s death had been fully established, arts of literary disinterring quickly devel¬oped: the last was psychoanalysis and the latest is the physical¬ psychical equivalent, in which no one is possessor of their verbal remains any more than they were in control of ‘how they looked ‘.
Her voice
Authors: Segal Naomi 
Published: November 2023

Abstract
At the end of March 1930, while writing Genevieve, Gide noted in his Journal: I find it easy to escape from myself and, supplanted by a personality different from my own, I can let go with perfect abandon and no sense of opposition, and let that other personality express itself through me exactly as it should. But I get no satisfaction from writing in a feminine manner, as the pen flows, and everything I write in that way displeases me. (} ii. 194) Used as we are to Gide ‘s hydraulic way of speaking about desire, we must find this statement paradoxical for a number of reasons. After all, in its most obvious vulgar Freudian significance, it puts the penis/pen where he claims to be at his most feminine, letting it all run out, exhausting himself but without the least pleasure or gratification.
Androgyde
Authors: Segal Naomi 
Published: November 2023

Abstract
In the preceding chapters we have followed the fluid dynamics of a number of forms in texts by Gide: triangular desire, the male chain, the reversible chase, the passing of good and bad influence in avuncular relations, positive and negative attitudes to ‘her voice ‘, the impossibility of making a child. In this conclusion I shall try and draw out of these versions of fluidity and precipitation some tenta¬tive arguments about gender in desire. But first, closing the frame, we need to repeat the question that underlies this study: what (how) does Gide want? Two irresolutions inform all the material. The first is the gender indeterminacy that gives this chapter its title. What we have seen of Gide is masculine at least from his early adulthood on. By adult masculinity I understand the exercise of unconsidered entitlement, the right to respect, to a voice that is heard and read, the right to be obeyed. I shall argue in this chapter that the internalized (and often all too visible) ‘little boy ‘ in the authoritative adult is a further and more complex demonstration of the masculinity endemic to his thoughts and actions. But at the same time, his modus operandi is haunted by a feminine that underwrites it negatively, whether as the middle term to be used and drained in a mediate structure, as a natural genealogy upon which the contrary cultural genealogy is modelled, or as the vampirism that threatens either end of the process of the pedophilic chase in the forms of the aunt/mantis and the sacrificial girl victim.
The Later Thirteenth and the Fourteenth Centuries
Authors: Caldwell John 
Published: November 2023

Abstract
DURING this period English music acquired a distinctive national voice. In one sense the whole epoch can be seen as a preparation for the great outburst of creative energy associated with the age of the Lancastrian kings, which found material expression in the compilation of the ‘Old Hall’ manuscript, the first great monument of English music.1 But it would be wrong to see the era of the later Plantagenets as merely preparatory. It was one great artistic achievement in its own right, symbolized in music by such collections as the ‘Worcester’ repertory of polyphonic music, in literature by the writings of Chaucer and Langland and a whole series of devotional writers, in architecture by a host of fine churches, and in art, at the end of the period, by so splendid an artefact—if it is indeed the work of an Englishman—as the Wilton diptych.
Introduction
Authors: Walls Peter 
Published: November 2023

Abstract
Middleton and Rowley’s Courtly Masque would not, in fact, have given its audience at the Swan a very accurate picture of what real masques were like, but the prologue is absolutely right in suggesting that the balance between spoken drama and music (and I include dance here) would have been very much in music’s favour. When masques at court feature in seventeenth century letters and chronicles, music and dancing attract at least as much comment as the visual spectacle and rather more than the literary device.
Masque Song
Authors: Walls Peter 
Published: November 2023

Abstract
The most frustrating aspect of studying music for the English court masque is that, for so much of the time, it no longer exists. In this respect, masque texts are like fossils—they can give a vivid impression of what was once there, but the substance itself, the music, has often disappeared. Certain types of vocal music (most obviously ‘foll songs’ and almost all the other ensemble pieces) are missing altogether. Occasionally, the texts go as far as indicating the precise scoring of these pieces.
Dance and Instrumental Music
Authors: Walls Peter 
Published: November 2023

Abstract
Guerino’s complicated directions and Aurelia’s bemused reaction suggest that an onlooker might have had great difficulty in seeing this particular dance as a model of celestial order. Yet in the songs of Pleasure Reconciled to Virtue Jonson takes up the very image used by the bewildered Aurelia to communicate a sense of the beautiful orderliness of set masque dances and the revels.
The Younger Generation: Clarke, Weldon, and Croft
Authors: Spink Ian 
Published: November 2023

Abstract
For the last ten years of his life Purcell was recognized as the most gifted church musician of his time. Not only were younger men like Clarke and Croft influenced by him, so were his seniors Blow and Turner, who had been in the chapel since the earliest years of the Restoration. Rightly, Blow was honoured as doyen, and composers brought up in the chapel acknowledged their debt to him, but it was Purcell’s late anthems that provided them with their models.
Windsor and Eton
Authors: Spink Ian 
Published: November 2023

Abstract
King Edward III refounded St George’s Chapel, Windsor Castle, in 1348 as the chapel of the Most Noble Order of the Garter. Its constitution was governed by the number thirteen: there were thirteen canons (one of whom was dean), thirteen vicars choral, and thirteen choristers, while the military establishment comprised twenty-six Knights of the Garter (the sovereign and twenty-five) and an equal number of Poor Knights, later reduced to thirteen. However, in the reign of Henry VIII the symmetry was destroyed by the introduction of a body of minor canons, at first eight in addition to the vicars choral, but ultimately absorbing them. Although the legal basis of these developments is obscure, by 1564 not only had the vicars choral ceased to exist-they had never been incorporated by charter···--but the minor canons had been reduced to seven.
Ut oratoria musica: The Rhetorical Basis of Musical Mannerism
Authors: Palisca Claude V 
Published: November 2023

Abstract
This and the following essay, ‘Towards an intrinsically Musical Definition of Mannerism in the Sixteenth Century’, were originally invited contributions to conferences on mannerism. The first was published in The Meaning of Mannerism, edited by Franklin W. Robinson and Stephen G. Nichols, Jr. (Hanover, NH: University Press of New England, 1972), 37–65. This book collected the six papers read at the New England Renaissance Conference held at Dartmouth College, 3 and 4 October 1970. The other five papers were on aspects of literature, by James V. Mirollo and Thomas M. Greene, of art history, by Samuel Y. Edgerton, Jr., on book-making, by Ray Nash, and on the concept of mannerism as applied in art history, by Henri Zerner.
Vincenzo Galilei and some Links between ‘Pseudo-Monody’ and Monody
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay was first published under the above title in Musical Quarterly, 46 (1960), 344–60. I should note concerning this title that there is nothing really pseudonymous about the monody called ‘pseudo-monody’. The label arose because ‘monody’ was thought to be a new genre of solo music brought about by a revolution in taste at approximately the time that recitative was invented. Caccini’s airs and madrigals were considered to be monody, as was recitative.
Musical Asides in the Diplomatic Correspondence of Emilio de’ Cavalieri
Authors: Palisca Claude V 
Published: November 2023

Abstract
This essay was first published in Musical Quarterly, 49 (1963), 339–55. The thread that holds this piece together is the fascinating personality of Emilio de’ Cavalieri, diplomat, administrator, impresario, composer, organist, teacher of singing, and choreographer. I recall first that he was a diplomat and administrator, because the correspondence studied here reveals him primarily in these roles, although our interest focuses on the light the letters throw on the musical life of Florence and Rome between 590 and 1602.
The Recitative of Lully’s Alceste: French Declamation or Italian Melody?
Authors: Palisca Claude V 
Published: November 2023

Abstract
This article was first published in Actes de Baton Rouge, edités par Selma A. Zebouni, as volume 5 (1986) of the annual Biblio 17, Papers on French Seventeenth Century Literature (Paris, Seattle, Tiibingen, 1986). These were the proceedings of a conference held in March 1985 at Louisiana State University in Baton Rouge by the North American Society for Seventeenth-Century French Literature. The topic of the meeting was the year 1674 in French literature and music. My paper was delivered at a session entitled ‘1674 et la musique’, organized by Georgia Cowart of the University of South Carolina.
Chopin
Authors: Hudson Richard 
Published: November 2023

Abstract
Frédéric Chopin (1810–49) marked the word rubato in fourteen different compositions which he wrote between 1828 and 1835 and which were published, except for one manuscript and two posthumous works, between 1832 and 1836. He usually wrote simply the single word rubato. Twice he marked poco rubato, once sempre rubato, and on another occasion languido e rubato. He never included the word tempo.
The United States
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The expansion of American piano manufacture after the Civil War was without parallel in any other country. By I 900 more than half of the world’s instruments were made in the United States, the industry employed six times as many men as in I 860 and the value of production had increased sevenfold. The number of firms increased more slowly, but this was indicative of a remarkable expansion in the average size of business unit and scale of production; in 1896 the five largest piano manufacturers in the world were all American. This efflorescence has been variously attributed to the quality of American iron and wood, or ‘the general atmosphere of freedom and enthusiastic encouragement of individual initiative and industry’. But such explanations neglect the fundamental economic determinants: an enormous and continuous increase in effective demand within a highly protected market which was amply satisfied by ideally elastic conditions of supply.
The English Piano Goes to War
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
A hazard awaits the historian who writes of small matters at a time of great events: a sense of proportion evaporates as his narrative assumes the mantle of self importance affected by his protagonists. In this chapter, therefore, it is advisable to begin with a reminder that the ‘great war’ was a hideous catastrophe in which millions existed or perished in conditions of uprecedented squalor, while creatures like Bottomley became national heroes. In such a context the achievements and sufferings of piano makers deserve a minor place. Yet the industry’s experience of new patterns of demand, supply and governmental interference are part of a wider economic history and its documentation, even its shabby vituperative jingoism, reflects aspects of a fundamental social upheaval.
Collective Creativity
Authors: Cohen Sara 
Published: November 2023

Abstract
Members of the Jactars and Crikey it’s the Cromptons! originated from the Wirral but their social and cultural activities had become focused in Liverpool. The four members of the Jactars were from West Kirby, a pleasant-looking borough situated along the seafront, whilst members of Crikey it’s the Cromptons! were from neighboring areas. All of them were good friends and the two bands usually performed together.
The Origin and Development of the Early Violin 1520-50
Authors: Boyden David D 
Published: November 2023

Abstract
Most accounts of the ‘inventor’ of the violin and the precise date and place of its origin bog down in the quagmires of history and terminology. The earliest stages of the violin’s emergence are obscured by a process of evolution from earlier instruments, and the date of origin depends on a somewhat arbitrary definition of what a violin is. What structural features must it have? How many strings? And so on. If, among other things, a violin is defined as having four strings, one approximate set of dates may be assigned to its origin; but if three strings will satisfy the definition, an earlier date may be given. However, even if the term violin is clearly defined, the date and place of origin can be determined only approximately, since not enough sixteenth-century violins have survived-indeed, only one or two before 1550-and the documentary evidence is scanty and often imprecise. Moreover, should all the instruments involved in the violin’s evolution before 1550 still exist, the date and maker of each would be almost impossible to determine. For these reasons, one cannot say precisely where, when, and by whom the violin was invented.1 Nevertheless, by means of a careful study of art objects, documents, and the few extant instruments of the early sixteenth century, these questions can be answered with sufficient clarity and accuracy for our purpose.
The New Violin Idiom. Violin Music and its Uses in Different Countries, 1600-50
Authors: Boyden David D 
Published: November 2023

Abstract
Gb. Doni’s enumeration of the violin’s many expressive possibilities may seem extravagant. Nevertheless his statement, however regarded, is a clear tribute to the progress of the violin and to the appreciation of its inherent qualities by musicians in the first half of the seventeenth century. What is true of the violin is true of all instruments in one degree or another, the specific and idiomatic capabilities of individual instruments being realized more and more clearly after r6oo. Mersenne expressed the new attitude very clearly: ‘While each instrument can be used to play such pieces as one desires, nevertheless experience shows that some pieces are more successful than others when they are played on certain instruments, and what is good on one is not so agreeable or so fitting on another.’
General Matters affecting the Violin to 1650
Authors: Boyden David D 
Published: November 2023

Abstract
To understand the history of violin playing involves more than a narrow focus on the mechanics of manipulating the violin and bow. In earlier chapters we have dealt with the historical ‘why’ of many matters relative to the progress of the violin, violin music, and the technique of playing it. In this concluding chapter to Part II we consider those questions of a general musical nature which are pertinent to our subject. The performance of violin music belongs to a larger context of musical performance in general, and such matters as ornaments, including the vibrato, often need special discussion in connexion with violin music. In addition, certain general musical facts of the time are imperfectly understood-for instance, rhythm and tempo in the early seventeenth century-and in so far as these questions affect the performance of violin music, we will report any significant results of the most recent investigations.