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

Abstract
Vincente Minnelli was one of only two major Hollywood filmmakers who began as art directors (the other was Hitchcock). Having started in Chicago designing shop windows for Marshall Field’s, Minnelli quickly graduated to New York, where he worked for the Paramount Theater, moonlighting with Earl Carroll’s Vanities. For Carroll, Minnelli displayed his two principal influences: contemporary art deco and the Russian Ballet’s lush, decadent orientalism (“a decidedly Negroid sense of color,” Robert Benchley called it in the New Yorker). In 1933, he became art director of Radio City Music Hall, which, after an enormously publicized December 1932 opening, had nearly failed. At Radio City, Minnelli produced the kind of elaborate, sophisticated kitsch that paralleled Busby Berkeley’s simultaneous inventions for Warner Brothers (see 42nd Street). By 1934, Minnelli was staging his own monthly Radio City spectacles: “Coast to Coast,” for example, took audiences on tours of the Riviera, Ascot, Africa, and San Francisco, all concocted from picture books and paintings of places he had never seen. Two years later, he was directing Broadway musicals, including some work on a 1936 revival of Florenz Ziegfeld’s Follies (in which Bob Hope introduced “I Can’t Get Started”). His finale, 1939’s Very Warm for May, was a famous flop, the last of the Jerome Kern–Oscar Hammerstein collaborations, wrecked by changes Minnelli ordered out of town. Even the show’s great hit, “All the Things You Are,” couldn’t save it.
Cat (Agnes’s and Bertrand Russell’s)
Authors: Ray Robert B 
Published: November 2023

Abstract
In the opening kitchen sequence, Agnes sits holding her cat, LadyBabby, preparing to decorate her with a blue ribbon. After threeshots (lasting 26 seconds) of Mrs. Smith, Grandpa, and Rose, thecamera rediscovers Agnes, completing a bow in the ribbon thatnow encircles Lady Babby’s neck.
Entrance (Mr. Smith’s)
Authors: Ray Robert B 
Published: November 2023

Abstract
As the family sits in the dining room, eating ice cream after the flurry of Halloween adventures (a scene that reveals Garland’s left-handedness), Mr. Smith suddenly enters. Although Esther’s previous arrival has been announced by the offscreen, right, sound of the front door’s closing, neither a door nor footsteps precedes Mr. Smith, whose abrupt appearance from a direction without a previously established door seems uncanny. In fact, this stealthy entrance is narratively motivated. With all immediate crises averted (Tootie’s lip has been repaired, Esther and John have overcome their shyness), the movie seems to be ending after running for barely an hour. Mr. Smith’s abrupt entrance, however, resembles his only other noticeable arrival, when he halts Rose’s and Esther’s singing of “Meet Me in St. Louis” and does his unwitting best to ruin Rose’s long-distance call. Mr. Smith’s entrances, in other words, disrupt utopia, and the unexpectedness of this one implies that something bad is about to happen. It will: Mr. Smith announces the move to New York.
Names
Authors: Ray Robert B 
Published: November 2023

Abstract
In Meet Me in St. Louis, the original stories’ “Waughop” becomes “Braukoff,” a homonym for “beerhead.” This unsubtle character- ization reveals the calculus of names permeating the movie. Braukoff reduces to “Germanic,” “alcoholic,” “hostile,” metonymized in the name’s pronunciation: a severe brow punctuated by the staccato, pestilent burst of a cough. In the midst of World War II, his name stamps him indelibly. (Tootie: “I hate you, Mr. Braukoff!”) In comparison, the protagonists’ surname, the bland and obviously preferable “Smith,” conceals the family’s Catholicism (present in the book) while also referring to it (New York governor Alfred E. Smith, who in 1928 had become the first Catholic presidential candidate). The universal Anglo-American surname, redolent of industry and steadiness, Smith carries no negative connotations.
Orioles
Authors: Ray Robert B 
Published: November 2023

Abstract
Although a Baltimore team called the Orioles (with John McGraw and Willie Keeler) competed in the National League from 1892 through 1899 and in the American League in 1901– 1902, by 1903 the “Baltimore Orioles” no longer existed, having moved to New York to become the Highlanders (and eventually the Yankees). Thus, the team anticipated the Smith family’s relocation. The modern Baltimore Orioles would only resume 50 years later when the St. Louis Browns moved to Baltimore in 1953 and revived the name. The allusion, in other words, provides another example of Meet Me in St. Louis’s selective, intermittent historical accuracy, designed less to reproduce the real 1903–1904 than the popular memory of it. Like the sham- poo that Rose is “bringing from downtown” For most of the musical numbers, Minnelli admitted, Judy Garland provided “the much-needed continuing thread in the integration of the songs to the story.” In the case of Meet Me in St. Louis, the audience knows that Judy Garland sings: her stardom derives from that talent. Thus, the audience will readily ascribe this ability to Esther, making it seem “natural” for her to break into song. With this predilection for spontaneous singing already built into Esther’s character, the film can seem “realistic” by simply coaxing this character trait to the surface.
Red
Authors: Ray Robert B 
Published: November 2023

Abstract
Although we know that MGM constructed a full-scale model of 5135 Kensington Avenue, all areas of the house seem to shift in relationship to each other, thereby rendering the exact architecture uncertain. Where is the kitchen in relation to the front door? Does the older sisters’ bedroom connect to that of Agnes and Tootie? How did Mr. Smith enter the house on Halloween? How many rooms are there on the ground floor? In 1969, having lost his nerve during a solo race around the world, Donald Crowhurst began to sail aimlessly up and down the coast of South America, forging progress by means of fake radio signals, bounced from different satellites to indicate navigationally significant positions. Like Crowhurst’s “voyage,” the Smith house is an effect of carefully orchestrated, but frequently contradictory, clues; it is, in other words, despite the presence of its referent, a working simulation. Or, in another analogy, it resembles the pulse achieved by certain African music, never itself played, but implied by the different elements surrounding it.
Tennis Racket
Authors: Ray Robert B 
Published: November 2023

Abstract
Judy Garland enters Meet Me in St. Louis carrying a tennis racket, thereby suggesting that her character has a rich off screen life in places not covered by the movie. We do not quite know how to account for this effect. A photograph seems “real” to the extent that its people and objects appear to have an existence that exceeds the image, both before and after the shutter’s click. Thus, candid snapshots often seem more “genuine” than composed portraits. By combining narrative with photography and stringing images into sequences, the cinema complicates the matter. Judy Garland entering the frame carrying a tennis racket, for example, while part of a story, is not the equivalent of the sentence “She entered carrying a tennis racket,” a statement with no truth value before its composition.
X(Grandpa’s Crossed Sabers)
Authors: Ray Robert B 
Published: November 2023

Abstract
Although Lucille Ballard greets Grandpa as “Grandpa Prophater” at the dance, finally identifying him as Mrs. Smith’s father, the movie omits almost everything else about him. Benson’s stories had given him a historically important hometown (Harpers Ferry, West Virginia), a military past (as a Civil War veteran and prisoner in the notorious Andersonville), and a previous career (“At one time he had owned three boats that ran from St. Louis to New Orleans”). But the stories never explain what appears in the film, his room’s collection of exotic hats and antique weapons (the sabers, mounted in an X on the wall, near the matched pair of pistols: “They’ll all be safe with me,” he cheerily assures Mr. Smith. “I’ve got twelve guns in my room”). The fez (French Foreign Legion?), the Zouave cap (the Civil War?), the Chinese hat (an overseas mission?), the crossed sabers (souvenirs of a victory or a defeat?)— these objects offer a set of potential histories, any combination of which would complete the character named “Grandpa Prophater.” The writer, who must assert such details, withholds their significance at the risk of provoking the reader’s question: “Why are you keeping something from me?” In the cinema, however, where objects are simply presented without apparent effort (Hollywood hides its work), and where what Seymour Chatman calls “a plenitude of visual details, an excessive particularity” appears “natural,” that question is forestalled. Thus, Grandpa himself remains the X in an equation, an unknown requiring additional information. Or, in another analogy, Meet Me in St. Louis seems to underwrite “Grandpa” with something like Fermat’s promissory note accompanying his famous theorem: “I have discovered a truly marvelous proof of this, which, however, this margin is not large enough to contain.
You and I”
Authors: Ray Robert B 
Published: November 2023

Abstract
The song that serves to reunite the Smith family is not, in fact, an old tune from the turn-of the century, although it was designed to sound like one. “You and I” appears to have been written expressly for Meet Me in St. Louis by Nacio Herb Brown (music) and producer Arthur Freed (lyrics), the team responsible for “Singin’ in the Rain,” a much older song dating back to 1929. For the movie, Freed himself supplied the singing, dubbing for Leon Ames, who mouths the part. What conceals this substitution? First, the human brain’s inability to retain a sound’s precise timbre ensures that a viewer will only remember the exact register of Mr. Smith’s speaking voice for a few seconds: By the time the song begins, the voices of Ames and Freed will have become indistinguishable. Second, and more important, the timbre of a singer’s performance often fails to coincide with his speaking voice. With Judy Garland, for example, a distinct “break” occurs when she begins to sing, and someone familiar only with her speaking voice might prove unable to identify her in performance. By 1944, however, this break had begun to sound increasingly old-fashioned. Bing Crosby, the most popular singer of the first half of the twentieth century, was also among the first to make his singing voice an extension of speech. By avoiding the operatic break, which suggests artifice, Crosby’s apparently natural style conveyed sincerity and intimacy.
A Physical Response
Authors: Garland-Thomson Rosemarie 
Published: November 2023

Abstract
Staring is a universal part of our cognitive architecture that natural selection has bequeathed us. The evolutionary origin of staring is a startle response. When staring is intentional—as in the long loving look or the hostile glare— we are masters of our eyes. When an unexpected sight grabs our attention, however, staring is spontaneous and volatile. As the epigraph to the previous section says, “staring, in its pure and simple essence, is the time required by the brain to make sense of the unexpected.” We cannot, even when we try, ignore compelling visual stimuli; we can only withdraw the stare once it is in play (Yantis 1998, 239). Intense, persistent looking and the ability to interpret such stares are fundamental to our survival as social beings as well. Human infants and mothers stare long and emphatically at each other to cement their relationship (Baron-Cohen 1985, 39). We enact social hierarchies through visual dominance displays (Ellyson and Dovido 1995). Even very young infants show surprise by staring for longer periods at scenes that violate the laws of physics or seem physically implausible than they look at a predictable or expected event.
Revelation And Its Transmission
Authors: Martin Francis 
Published: November 2023

Abstract
The dogmatic constitution Dei verbum was promulgated on November 18, 1965. The final vote that day on what was the seventh form of the document was 2,344 placet and 6 non placet: a major accomplishment for a constitution that twice required papal action in order to facilitate an impasse on the council floor. It is not my intention to trace the ‘‘text production’’ process of Dei verbum; there are excellent historical studies of Dei verbum that the reader may consult. I wish rather to offer a theological commentary on the document as it stands, with particular attention to its power for renewal, a power it possesses precisely because of its fidelity to tradition.
Inspiration And Interpretation
Authors: Farkasfalvy Denis 
Published: November 2023

Abstract
The dogmatic constitution Dei verbum was the product of a lengthy ‘‘struggle,’’ and even the final version is not the ‘‘mature conclusion’’ of the process that produced it. Here I neither discuss its detailed history nor trace the path that the theology of revelation and inspiration has traveled between the two Vatican councils. Instead, I undertake a historical inquiry to demonstrate a double thesis: For the theology of inspiration, inerrancy, and the ecclesial use of scripture, Dei verbum has successfully restored the proper context in which tradition developed and nurtured them. In chapters 3–5 Dei verbum applied a renewed theology of revelation, to which the aforementioned topics belong, but the effort of synthesis resulted in an incomplete text that is still awaiting full development.
The Decree On The Apostolate Of The Laity, Apostolicam Actuositatem
Authors: Oliver Robert W 
Published: November 2023

Abstract
The Decree on the Lay Apostolate presented unique challenges to the conciliar fathers relative to the other documents of the Second Vatican Council. The president of the initial commission on the lay apostolate, Ferdinand Cardinal Cento, observed to the Central Preparatory Commission that Vatican II would be the first ecumenical council to systematically consider the topics assigned to his commission. In contrast to the ‘‘vast patrimony’’ available to the other commissions, the commission on the laity faced a special task in developing proposals in accord with the Church’s tradition, doctrine, and legislation.
Introduction “Women Are the Backbone of the Church”
Authors: Braude Ann 
Published: November 2023

Abstract
An old saying among members of African-American churches can be applied to most religious groups in the United States: “Women are the backbone of the church.” The saying has a double meaning. Women provide essential support for the church and affirm its moral role, but their work happens in the background and their support is invisible. It is the men who play the leading roles in religious organizations. As a result, most people assume that women have had little importance in U.S. religious history. Few groups had women as leaders before the 1970s, and the largest ones still do not. Men administered the sacraments, wrote the prayer books, preached the sermons, and made the decisions.
I. Introduction
Authors: Gabriel Henry Deeb 
Published: November 2023

Abstract
The United Nations Convention on Contracts for the International Sale of Goods This book analyzes and compares the substantive law of the United Nations Convention on Contracts for the International Sale of Goods (“Convention” or “CISG”) with the Sales provisions of Article Two of the Uniform Commercial Code (“Code”) and the UNIDROIT Principles on International Commercial Contracts (“Principles”). The text follows the structure of the Convention. An appendix is included to enable readers to cross-reference the relevant provisions of the Convention with the Principles and the Code. Unlike the Uniform Commercial Code and the Principles, the Articles of the Convention do not have titles. To avoid creating unnecessary confusion and misunderstanding, I have not attempted to create titles for the Articles.
Articles 14-24
Authors: Gabriel Henry Deeb 
Published: November 2023

Abstract
Consistent with generally accepted contract principles, the Convention bases the effectiveness of an offer on the offeror’s intent to be bound as well as the commuication being definite enough to determine the substance of the offer. In addition, the Convention provides a safe harbor for definiteness by providing that “a proposal is sufficiently definite if it indicates the goods and expressly or implicitly fix or make provisions for determining the quantity and the price.” If there is an otherwise valid offer under Article 14, but the parties have not provided a price, under Article 55, the parties are presumed to have agreed to the price generally charged at the time the contract is concluded. Some have read the two sentences of Paragraph 1 of Article 14 not as stating a rule of definiteness and then providing a safe harbor, but instead, as providing an absolute requirement of a price term.
Third-Party Rights
Authors: Gabriel Henry Deeb 
Published: November 2023

Abstract
To the extent that the Convention applies to a transaction, it addresses only the rights of buyer and seller, and it does not cover the rights and obligations of third parties. The rights of third parties are found in law other than the Convention. The Principles provide rules that govern the rights of third parties to the contract. The third-party rights are determined by the agreement between the parties, and these rights may be either expressly or implicitly created in the agreement. To create rights in a third party, the beneficiary must be identifiable, but need not be in existence at the time the contract is made. The agreement may provide for lim ited or excluded liability of the beneficiary.
The International Chamber of Commerce: Incoterms 2000-The Terms And Their Usage
Authors: Gabriel Henry Deeb 
Published: November 2023

Abstract
Out of long-standing practice, international contracts for the sale of goods often contain standard shipping and delivery terms. However, even the most common terms, such as FOB or CIF, do not necessarily have the same meaning in different ports or centers of trade. In an attempt to end this confusion, the International Chamber of Commerce has published lists of shipping and delivery terms known as Incoterms. Incoterms were first published in 1936. Subsequent revisions and additions were made in 1953, 1967, 1980, 1990, and most recently in 2000. The Incoterms 2000 is set out in ICC Brochure No. 560, and these terms have important differences from the earlier versions.
Extra Masculinity: Looking for Mr. Goodbar and Cruising
Authors: Nystrom Derek 
Published: November 2023

Abstract
Saturday Night Fever may have largely eluded the gender and sexual disorder of the 1970s, but it did so only by depicting its working-class characters as mired in a pre-1960s worldview. (Such strategic nostalgia was aided, no doubt, by the film’s adoption of many musical generic conventions.) But not every new nightlife film chose to avoid the 1960s. Richard Brooks’s Looking for Mr. Goodbar (1977) and William Friedkin’s Cruising (1980) both confronted contemporary gender and sexual relations more directly. In doing so, they seemed to indicate that this new social terrain could not be mapped using the old cinematic tools, whether those of the musical or romantic comedy—in large part because the terrain itself was so bewildering. Molly Haskell argued that the achievement of Goodbar came from its recognition of the “social nightmare” of heterosexual dating in the late 1970s, a world “in which there are no mutually understood signals, no rituals, no codes for deciphering the intentions of another individual.” Cruising, in turn, made visible another set of mixed social codes: the film’s persistent comparisons of gay S/M practices to law enforcement procedures (and vice versa) caused the New Yorker’s Roger Angell to be so unsure of the line dividing them that he wondered, “Are all cops, or most cops, gay?” Gender and sexual identity was being revised so quickly and so utterly in the late 1970s, it seems, that one needed a scorecard to keep all the players straight (as it were).
“For She Asks Forever Only Help”: The Critique of Maternalist Reform Discourse in Djuna Barnes’s Ryder
Authors: Edmunds Susan 
Published: November 2023

Abstract
In 1928, when Horace Liveright published Djuna Barnes’s avant-garde domestic novel, Ryder, two paragraphs on the dust jacket listed her among “the ré-voltés of The Little Review group” who “one by one … have come into their own.” Inducting Barnes into a hall of fame already inhabited by such American luminaries as Sherwood Anderson and Maxwell Bodenheim and such “international flgures” as Ezra Pound, T. S. Eliot, and James Joyce, Liveright’s advertising copy proudly swathed her debut novel in that charismatic—and faintly Parisian—atmosphere of aesthetic and social radicalism which we now routinely associate with a leading strand of literary modernism. When it came to being a révoltée, Barnes’s credentials were better than most. Upon moving to Greenwich Village in 1915 at the age of twenty-three, she found her way to the left-wing milieu of the Provincetown Players and the Theatre Guild, and supplemented her first literary and dramatic efforts with an impressive career in freelance journalism. Sent to Paris by McCall’s in 1921, Barnes soon became a fixture in that city’s expatriate community, using the earnings from her newspaper and magazine work to support a transatlantic lifestyle divided between Paris and New York. By the time Ryder became a brief bestseller in the fall of 1928, she was already known to New York readers as a witty commentator on topics ranging from urban amusements and Village bohemia to labor activism, women’s suffrage, and celebrity culture.
Tortured Bodies and Twisted Words: The Antidomestic Vision of Jean Toomer’s Cane
Authors: Edmunds Susan 
Published: November 2023

Abstract
In Jean Toomer’s 1922 play, Natalie Mann, the title character offers a shocking comparison to convey the force of her aversion to the domestic ideals of her day. When a well-meaning Washington matron advises Natalie to trade in her bohemian commitment to free love and modern art for a safer life of domestic respectability, the young woman protests the silencing of her creative potential that such a choice would entail. She declares, “I would rather die outright, be burnt or lynched, than to build myself such a sepulchre, to cheat death by calling it home” (NM 296). In characterizing the promise of domestic security as a form of cheating, a kind of death-in-life, against which even lynching would be preferable, Toomer’s protagonist signals her impatience not only with prevailing sentimental definitions of women’s domestic role, but also with the contemporary elaboration of sentimental and domestic discourse as a leading site and source of modern social transformation.
Freaked: Eastern European Immigration and the “American Home” in Edna Ferber’s American Beauty
Authors: Edmunds Susan 
Published: November 2023

Abstract
Between Barnes and Toomer, the earliest lineaments of a racially exclusive welfare state appear, one prepared—up to a point—to provide for and protect white women and children because they were white and to deny the same provisions and protections to black families because they were not. But in this period, exactly who was white, and on what grounds, was an open question. Disturbed by a new wave of immigration from Southern and Eastern Europe that began in the 1880s, nativist thinkers and reformers of various stripes entwined the racial question of who was white with the political and cultural question of who was “American.” Unable to come to agreement among themselves, they turned to the emerging welfare state with conflicting ideas of how that double question might be answered.