bluuebunny/crossref_metadata_2025_split huggingface dataset:
My Introduction to the Gospel of Judas
Authors: Ehrman Bart D 
Published: November 2023

Abstract
I first saw the Gospel of Judas on Sunday, December 5, 2004, in a restoration studio just outside of Geneva, Switzerland. I was exhausted but exhilarated. The day before, I had given two lectures on the history of early Christianity for the Program in the Humanities at my home institution, the University of North Carolina at Chapel Hill. I then drove straight to the Raleigh-Durham airport for an overnight flight to Geneva. From there it was a quick taxi ride to the hotel. The schedule was tight: I didn’t have time to unpack before meeting my contacts.
Judas in Our Earliest Gospels
Authors: Ehrman Bart D 
Published: November 2023

Abstract
Fact may be stranger than fiction, but it is also harder to find. One of the most interesting things about the people connected with the life of Jesus— whether Judas Iscariot, Mary Magdalene, the disciple John, Pontius Pilate, or any- one else—is that numerous legends survive about them, but few certifiable facts. Just take Mary Magdalene, for example. People today typically think of her as a reformed prostitute who was a particularly close disciple of Jesus— closer than most of his male disciples. Those who (think they) know even more about her recognize her as the one who anointed Jesus’ head with costly per- fume prior to his betrayal and arrest; some think of her as the woman who was caught in an act of adultery and whom Jesus saved from being stoned to death by saying, “Let the one without sin among you be the first to cast a stone at her.” Recently, because of the blockbuster success of Dan Brown’s page-turning thriller The Da Vinci Code, people have come to think of her not just as Jesus’ adoring disciple but as his adoring spouse, with whom he had sex and fathered a child.
Judas in Later Gospel Traditions
Authors: Ehrman Bart D 
Published: November 2023

Abstract
The earliest Christians lived in an oral culture. It is hard to establish reli- able demographic figures for the ancient world, but the best estimates suggest that at the time of the first Christian centuries, in the Roman Empire, only about 10 percent of the population was literate. That means that nine out of ten people could not read, let alone write. Those who could write—and by that I mean be able to compose entire paragraphs—were a much smaller per- centage. The vast majority of people living at the time of Jesus and in the centuries after could not write a sentence if their life depended on it.
Before the Discovery: Our Previous Knowledge of a Gospel of Judas
Authors: Ehrman Bart D 
Published: November 2023

Abstract
Thirty years ago, most of the reading public did not know that we have numerous Gospels from early Christianity that did not make it into the New Testament. To some extent that changed when Elaine Pagels published her best-selling study The Gnostic Gospels, a book that captivated a wide read- ership. But even Pagels’s book did not reach the masses: it was mainly written for, and read by, highly educated people with an interest in the history of early Christianity.
Harper
Authors: Robertson Lindsay G 
Published: November 2023

Abstract
While the Illinois and Wabash speculators were exploiting the young nation’s instability to further their claims to lands in the Northwest Territory, the New England Mississippi Land Company was attempting the same to appropriate title to lands farther south. Ultimately, the New England Mississippi Land Company’s chief counsel, Robert Goodloe Harper, would present both its claims and those of the United Illinois and Wabash Land Companies to the Supreme Court, tying together two of the Court’s most important early decisions, Johnson v. M’Intosh and Fletcher v. Peck, and setting the stage for the judicial conquest of Native America.
The Opinion
Authors: Robertson Lindsay G 
Published: November 2023

Abstract
John Marshall’s goal in drafting Johnson was to deny the Illinois and Wabash claims and lay the groundwork for the successful resolution of the claims of the Virginia militia grantees and their transferees. His judgment on the Proclamation of 1763 challenge would take care of the former but do nothing to help resolve the latter. Protecting the Virginia militia grantees required establishing that by its grants Virginia had actually conveyed a property right that would oblige Kentucky to recognize the grantees’ claims to land. This required first establishing that Virginia itself possessed a right that it could convey. It may be recalled that the British Crown had claimed a “preemption” right to lands west of the Proclamation of 1763 line: an exclusive right to purchase those lands, whenever the Indians were willing to sell. Virginia’s right had to be something more. If Virginia had conveyed to the militia grantees an exclusive right to purchase lands and Kentucky had chosen to ignore the preemption right and dis tribute the lands itself, the militia grantees would have had no legal remedy against Kentucky. A state-granted preemption right was enforceable only against other claimants within the state. Marshall’s challenge was to establish that Virginia had actually owned the Chickasaw lands.
Judging and Hoping
Authors: Mailloux Steven 
Published: November 2023

Abstract
Azar Nafisi’s Reading Lolita in Tehran vividly stages Iranian receptions of novels by Nabokov, Fitzgerald, James, and Austen. This “memoir in books” itself became a popular object of reception as a 2003 best-seller in the United States, a reception demonstrating the rhetorical effects of reading about reading in a globalized culture that is always local. American reviewers and academic critics of Reading Lolita not only testify to the power of these effects but also interpret and evaluate the acts of reading represented in the book they are reviewing. Specifically, they judge the hope offered by a book about college students reading and judging classic novels of “Western secular values” within a political context dominated by a theological autocracy—the Islamic Republic of Iran.
Richard Wright’s Native Son
Authors: Goldstein Philip 
Published: November 2023

Abstract
It is well known that Native Son is a naturalist protest novel in which Wright shows how racial discrimination and class oppression destroy Bigger Thomas, the novel’s hero. It is equally well known that Native Son depicts Bigger’s existential struggle for liberation. Less familiar is the incompatibility of these accounts. As the contrary responses of many critics testify, to treat the novel as protest fiction is to deny that Bigger wins liberation, whereas to treat the novel as a modernist or existential depiction of Bigger’s liberation is to deny that the novel protests his oppression and victimization.1 In other words, if he is liberated, the system does not defeat him, whereas if the system defeats him, he does not liberate himself. A liberated victim is a contradiction in terms. Edward Margolies comments, “Wright does not seem to be able to make up his mind. The reader feels that Wright, though intellectually committed to” the communist views of Max the lawyer, “is more emotionally akin to Bigger’s” existential views (79–80).
Learning from Philistines
Authors: Diepeveen Leonard 
Published: November 2023

Abstract
In an article entitled “Left Bankers Believe Bob Brown’s Pill Box Book Reading Machine Will Help Them Absorb Dozen Gertrude Stein Novels in Afternoon,” a reporter in the second decade of the twentieth century quipped: His idea is a mechanical reading machine which will move so swiftly that only major words will assault the mind and leave their impressions. Commas, capital letters, periods, the thes, buts, and all punctuation marks and articles—will be minimized, slaughtered, made entirely useless. And, with the public accustomed to such reading, surrealism will be more understandable. (Montparno)
Discourses in Dialogue
Authors: Templin Charlotte 
Published: November 2023

Abstract
Alix Kates Shulman’s Memoirs of an Ex–Prom Queen, published in 1972, was the first important novel to emerge from the women’s liberation movement. The early novels of such writers as Shulman, Erica Jong, and Marilyn French were lightning rods—the focus for a multitude of fears about changes in the status quo in a time of significant social transformation. The reception of these novels, and in particular of Shulman’s novel, reveals the complexity of the network of discursive structures and the way they organize aesthetic responses.
Kiss Me Deadly
Authors: Staiger Janet 
Published: November 2023

Abstract
Media studies have been engaged in academic analysis of audiences for at least ninety years. As early as 1914, the Reverend J. J. Phelan used surveys to study movie preferences of children, and in 1915 William Healy published a book on the relationship between watching films and juvenile delinquency, basing his arguments on case studies (Jowett et al. 26). Since then, the mass audiences of film, and then radio and television, have produced a profitable field for reception research on both everyday and fan spectatorship. Scarcely a subject or method has not been explored in at least an introductory way (Staiger, Media). A rich literature exists on fans, cult movies, stars, readers of various subjectivities, and violence, horror, and sexually explicit materials.
History
Authors: Ray Robert B 
Published: November 2023

Abstract
31 March–29 June 1929: Vicki Baum publishes Menschen im Hotel (rendered in English as Grand Hotel) as a serialized novel in the Berliner Illustritre Zeitung. The novel will appear later that year in book form, this time under the title Menschen im Hotel: Ein Kolportageroman mit Hintergründen (Hotel People: A Pulp Novel with Undercurrents). January 1930: Menschen im Hotel opens as a play in Berlin, directed by Gustaf Gründgens, who will soon play underworld boss Schränker in Fritz Lang’s M. Gründgens will became famous as a director and actor, particularly for his stagings of Faust; he will Jews will lose their lives, Hitler and Hitlerism will pass; the Jews will still be there.” (He sees Communism as the greater threat.) Dr. Groedel, himself Jewish, will soon leave Germany for a New York practice. In 1936, he will attend Thalberg on his deathbed.
Jazz
Authors: Ray Robert B 
Published: November 2023

Abstract
Disgusted by Grusinskaya’s premature departure from the theater, her manager (Meierheim) pronounces the death-knell of the ancien régime. “After this,” he tells Pimenov, “it’s no more ballet for me. Jazz, just jazz.” Arno J. Mayer’s famous book long ago detailed “the persistence of the old regime,” the aristocratic tastes and values that survived all of Europe’s bourgeois revolutions, enduring until World War I. With its ballerina heroine and Blue Danube sound- track, Grand Hotel represents that “persistence.” “I am only old fashioned,” Grusinskaya admits to the Baron in Baum’s novel. “I am from another world, another century.” The name for the new century, on the other hand, will be the Jazz Age, and this shift from high to vernacular culture represents many of the other postwar transformations: the relocation of power to America, the search for non-European musical influences, the aristocracy’s final collapse.
Learning to Dance
Authors: Ray Robert B 
Published: November 2023

Abstract
To Flaemmchen in the Yellow Room, Kringelein confesses that he has never before danced in public. He stumbles, concentrates on his feet, and moves hesitantly. Why doesn’t Kringelein know how to dance? Grand Hotel’s “realistic” answer is Kringelein’s status as a poor factory bookkeeper (“Room 23, Building C, third floor”) who doesn’t get out much. The real answer is because he doesn’t go to the movies. During the studio era, for a provincial audience unaccustomed to travel or sophistication, the cinema served as an ongoing instruction manual, teaching its viewers how to do unfamiliar things: check into a luxury hotel, walk a dog through a lobby, order a cocktail, get in and out of a limousine, tip a bellboy, flirt with a pretty young stranger, dress for dinner, dance.
Values
Authors: Ray Robert B 
Published: November 2023

Abstract
For American audiences in 1932, Grand Hotel may have seemed “grown-up” and “European” simply because its characters were so casually “corrupt,” especially about sex and property: Flaemmchen is a prostitute, who admits to living off men. She agrees to Preysing’s offer of “an arrangement.” Preysing lies to the Saxonia Company about his deal with Manchester.
Buenos Aires
Authors: Ray Robert B 
Published: November 2023

Abstract
In its transposition from play to movie, The Philadelphia Story relocates missing brother Junius’s embassy from London to Buenos Aires, while also assigning to Dexter the Spy job held in the play by another brother, Sandy Lord, eliminated entirely from the film. Dexter, too, has been working in South America since his divorce. In 1940, “Buenos Aires” represents both a capitulation to world events and a gesture toward verisimilitude. With England at war since 1939, London has become too important to house a dilettante journalist like Dexter and, in a comedy, too dangerous for even an offscreen Junius. Like almost all screwball comedies (To Be or Not to Be is the exception), The Philadelphia Story depends on a strict isolationism. Thus, the movie cannot acknowledge the European war, even implicitly. “Buenos Aires” represents a kind of euphemism—an actual place, too remote to evoke any immediate connotations that might interfere with the narrative’s machinery. (See The Maltese Falcon: Honolulu.).
Dive
Authors: Ray Robert B 
Published: November 2023

Abstract
With classic Hollywood movies, even the smallest details open into complexities. After quarreling with Dexter, who has called her (among other things) a “virgin god- dess,” Tracy sheds her bath-robe and then, dressed only in a pale-striped white bathing suit, walks determinedly to the diving board. Having climbed up, she pauses, glances off screen left (in the direction of the now- departed Dexter), squares her shoulders, and dives into the pool. The shot lasts under 15 seconds, unaccompanied by any dialogue or music. It seems longer. Tracy’s dive is one of The Philadelphia Story’s most memorable images.
Framing
Authors: Ray Robert B 
Published: November 2023

Abstract
Cukor told Peter Bogdanovich that although he didn’t believe in “meticulous,” line-by-line rehearsing, he often asked his actors to practice “the movement” of a scene: “They walk through it and they indicate it; they try it themselves. And I’m looking for camera angles; it just helps me, really.” Cukor, of course, was talking about framing, an aspect of filmmaking neglected by most critics. Eisenstein’s abiding prestige has always made editing seem the cinema’s most important tool, and unless a movie’s framing deploys the obvious devices inherited from German expressionism (grotesque tilts, extreme low or high angles), it usually gets ignored. Cukor’s choices, however—subtle, almost perfectly transparent—contribute enormously to The Philadelphia Story’s effect. They amount to the movie’s invisible writing, which can be made to appear only through comparisons to other, less-successful films. Juxtaposing identical scenes in The Philadelphia Story and High Society, the musical remake, confirms that the aptness of Cukor’s framing is primarily a function of his camera’s distance from the events being recorded.
Light
Authors: Ray Robert B 
Published: November 2023

Abstract
The greatest classic Hollywood films seem endlessly mysterious, evocative, surprising. Despite the increasingly sophisticated analytical tools developed by film studies, the effect of these movies, so often dependent on formulaic plots and stock characters, continues to elude complete explanation. In the 1920s, the French impressionist filmmakers struggled to make explicit the intuition they called photogénie, “the purest expression of cinema.” Jean Epstein’s approach suggests a discourse seeking to account for the cinema’s magic while approximating its spell: The cinema is essentially supernatural. Every thing is transformed. All volumes are displaced and reach flashpoint. Life recruits atoms, molecular movement is as sensual as the hips of a woman or young man. The hills harden like muscles. The universe is on edge. The philosopher’s light. The atmosphere is heavy with love. I am looking.
Vegetation
Authors: Ray Robert B 
Published: November 2023

Abstract
With its lush, suburban setting, The Philadelphia Story rejects screwball comedy’s typical New York world of art deco apartments and stream- lined skyscrapers. Instead, the Lord mansion appears in its establishing shot proudly surrounded by trees, lawns, and shrubbery. Inside, the house is a virtual arboretum, with plants sprouting from corners and flowers floating on every tabletop. As the film progresses, the vegetation becomes increasingly prominent. Indeed, after Mike and Tracy walk home from the library, through a park she casually identifies as “part of our place,” only three brief scenes will take place indoors: Mike’s nocturnal visit to Dexter, Dexter’s goodnight to Liz, and the final flurry of proposals that leads to the wedding in a room crammed with enormous bouquets. Significantly, no one is ever shown tending to anything; all the flora seem to operate on their own. In other words, the movie ignores physical labor while displaying its picturesque results, precisely the practice of studio filmmaking.
Yare
Authors: Ray Robert B 
Published: November 2023

Abstract
This esoteric word, initially an assessment of Dexter’s sailboat, the True Love, appears twice in The Philadelphia Story, the first time suggesting the filmmakers’ assumptions that (a) Kittredge must not understand it, and (b) the audience will also require an explanation. “Yare, what does that mean?” George asks, stand- ing in for us. Tracy’s definition (“quick to the helm, fast, right, everything a boat should be”) may suggest her intellectual superiority over George, whom Dexter has described as “beneath” her (“a difference of mind”). But since Tracy has proved incapable of spelling omelet, her vocabulary signifies not differences of intelligence but of class. The film could more effectively imply George’s intellectual inferiority by demonstrating his ignorance of a common word known to the audience.
Golden Gate Bridge
Authors: Ray Robert B 
Published: November 2023

Abstract
Huston’s version of The Maltese Falcon immediately establishes its setting by superimposing “SAN FRANCISCO” over stock footage of the Bay and Golden Gate bridges. Popular narratives, as Barthes saw, are “marked by the excessive fear of failing to communicate meaning”; hence, they rely on “a certain redundancy, a kind of semantic prattle.” Studio Hollywood will always assume the viewer’s ignorance of even unmistakable landmarks: The Eiffel Tower must come equipped with an explicit marker, “PARIS.” And yet, commercial filmmaking also practices a certain laconic economy, dependent on the audience’s knowledge of stereotypes.
Journeys
Authors: Ray Robert B 
Published: November 2023

Abstract
This chart, with its blank spaces, suggests The Maltese Falcon’s mixture of precision and incompleteness. The prologue’s scroll (“In 1539 the Knight Templars of Malta paid tribute to Charles V of Spain by sending him a golden falcon . . .”) and Gutman’s history lesson track the peregrinations of both statue and pursuers. But about biographical details not crucial to its immediate narrative, the film remains discreet. When was Gutman born? Where was Brigid before Istanbul? What is Cairo’s real national- ity? How did Gutman find Wilmer, whom Spade identifies as a New Yorker? When Victorian fiction’s full-disclosure character introductions gave way to modernism’s elliptical impressionism, readers learned to accept a new condition: judgments must be made even in the absence of sufficient information. Ford Madox Ford described this situation: Supposing that your name is John, and that you have a friend called James, and for private reasons of his own James takes you into his billiard room and tries to shoot you with a rifle.
Red Herrings
Authors: Ray Robert B 
Published: November 2023

Abstract
While The Maltese Falcon’s plot offers numerous false trails, red herrings that lead nowhere, Effie plays a decisive role in two of them. “Suppose I told you,” she remarks to Spade the day after Archer’s murder, “that your Iva hadn’t been home many minutes when I arrived to break the news at three o’clock this morning?” Spade quickly dismisses Effie’s suggestion: “You’re a detective, darling, but she didn’t kill him.” But how can he be so casually sure? Given Iva’s infatuation with Spade, Effie’s revelation provides her with not only the motive but also the opportunity to have killed her husband. This possibility, of course, will come to nothing, and indeed the movie will simply abandon it, never providing any explanation for Iva’s whereabouts on that night.
Threes
Authors: Ray Robert B 
Published: November 2023

Abstract
be surprising, therefore, that it took Warner Brothers three tries to succeed with The Maltese Falcon. If we posit the 1931 version as the “informational” presentation of Hammett’s story (the facts, characters, and situations are all there) and Satan Met a Lady as the “symbolic” account (the same events and people have become comically allegorical), then the success of Huston’s Maltese Falcon derives from its “third meanings,” the photogenic appeal of Bogart’s louche resourcefulness, of Greenstreet’s rolling Shakespearean rhythm, of Astor’s perpetually surprised features, of the sets’ austere elegance, of the unexpected contents of Cairo’s pocket.
Umbrella
Authors: Ray Robert B 
Published: November 2023

Abstract
In rainy San Francisco, only Joel Cairo carries an umbrella, which he erotically caresses as he flirts with Spade. The umbrella’s dainty handle and polished sheen, Cairo’s white gloves and bow tie, his prissy manners and dainty stature— the signs converge to suggest the stereotyped homosexual, a figure banned from explicit representation by the Hays Office. Huston’s film quickly covers its traces: When Spade emerges from his office after his encounter with Cairo, the wet sidewalks retroactively justify the umbrella, providing an alibi for the previous scene’s codes, naturalized by “the weather.
Yells
Authors: Ray Robert B 
Published: November 2023

Abstract
The Maltese Falcon’s abstract, hermetic quality derives partially from its minimal evocation of off screen space, as if its plot were a chemistry experiment dependent on the reduction of variables. The avoidance of location shooting, the suppression of sounds coming from the edges of the story space (like the street and office noises in Godard’s Masculine-Feminine), the strict adherence of the camera to the main characters—these choices produce a self-contained world that rarely refers beyond itself.