bluuebunny/crossref_metadata_2025_split huggingface dataset:
Sound-Symbolic Involvement
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
Examples of sound symbolism from preceding chapters have consisted of isolated utterances. This chapter illustrates sound-symbolic communication in a sustained stretch of discourse. I will adapt the sociolinguistic concept of “involvement” to an examination of the multiple functions of sound symbolism in a narrative of personal experience. I will argue that sound-symbolic utterances are used by the Pastaza Quechua to create a particular kind of interlocutionary involvement. Quechua speakers’ sound symbolic performances present perceptual images that enhance an understanding of and involvement in a communicative interaction.
Signs of Life in Sound
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
Sound-symbolic images allow the Pastaza Quechua to share moments of focused attention on the salient qualities of an action, event, or process as it unfolds in time. The use of sound-symbolic imagery contributes to an involved conversational style that legitimizes Quechua speakers’ conversational ideal of amiability. This chapter concerns the deeper cultural significance of sound in daily life. It links the conversational ideal of amiability with its emphasis on the sharedness of basic perceptual experience, to an encompassing view in which sound, the body, and the perceptions it simulates are tied to an ideology of unity with the natural world.
Sound-Symbolic Iconicity and Grammar
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
Part I laid the conceptual foundations for understanding the interconnections between sound symbolism, aspect, and performance. Sound-symbolic utterances exploit the embodied properties and constraints of language. The linguistic sign vehicle is intrinsically durative because it consists of a spoken chain of significant differences. It is also intrinsically completive because of the limitations of the human breath which must spend itself at regular intervals of articulation. These given features of linguistic communication are then enhanced through performative movements of the mouth, shapings of the vocal tract, and fluctuations in voice pitch, all of which imitate movements and processes of perceptual experience.
Sound Symbols of Contact and Penetration
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
This chapter consists of six sound-symbolic adverbs describing various kinds and gradations of contact and penetration. Tak describes the moment of contact between two surfaces.1 Tyapi elaborates the notion of contact by describing instances in which con tact results in adhesion. Dzir describes situations in which contact between surfaces is maintained even though one or possibly both surfaces are moving. The first real ad verb of penetration is tsak. It describes the shallowest degree of penetration, such as that experienced by an insect’ s sting. Ling describes a deeper degree of insertion usually involving empty or enclosed spaces.
Sound Symbols of Falling
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
This chapter analyzes four sound-symbolic adverbs, all of which concern various types of falling. Palay describes the rapid falling of a group of objects or entities from a relatively high vantage point. Pak describes the contact made by a falling object or sub stance which is in some way reconfigured by that fall. Patang describes the contact made by someone or something that falls, but which does not suffer any evident loss of shape as a result of the fall; it also usually involves a fall from a relatively low vantage point. Ki describes a deliberate tossing, throwing, or sprinkling of a collection of objects or entities, as well as the configuration resulting from this tossing, throwing, or sprinkling.
Sound Symbols of Deformation
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
This chapter analyzes six sound-symbolic adverbs that concern various types of de formative actions. All of these adverbs concern the description of actions or processes that cause the violation of an object or entity’ s integral structure. Tsuk describes the removal of something from its medium or structural mass. Waling describes an empty hollow left by a decaying, eating, or burning away. ChYu describes the deliberate cutting or breaking off of something, usually involving the use of a tool such as a knife.
Sound Symbols of Suddenness and Completiveness
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
This chapter analyzes nine sound-symbolic adverbs that cannot easily be included with any of the previous chapters, but which are nonetheless important in the communication of schematic images that assist grammatical aspect. Dzing describes a sudden aware ness or intuition. Dzas describes the punctual accomplishment of an action. Tay describes a nondynamic, permanent, or completely realized action or condition. Tsuping describes a complete bareness. Tsung describes the complete absorption of a liquid substance. Saw describes the unbroken movement of a fluid substance considered as a whole. Shaw de scribes the creation of a whole two-dimensional entity or a continuous two-dimensional gesture. Ton describes a complete filling or covering.
Conclusion
Authors: Nuckolls Janis B 
Published: November 2023

Abstract
With their use of sound symbolism the Pastaza Quechua seek to integrate language with perceptual experience. From the perspective of Western science, this is an important task because of the difficulty, historically, of recognizing or representing the link between language as a cultural form and environmental phenomena, without reducing one or idealizing the other. The relationship between the two has always been deeply contested-hence the intractable debates on culture and nature and arbitrari ness and motivation.
Gershwin’s Blue Monday (1922) and the Promise of Success
Authors: Johnson John Andrew 
Published: November 2023

Abstract
By nearly all accounts, George Gershwin’s “American folk opera” Porgy and Bess is among his greatest achievements, certainly his magnum opus, challenging for performers and audiences alike. The task of composing Porgy and Bess was unusually laborious for Gershwin as well, requiring more than two years of concentrated effort, due largely to the sheer size of the workitslengthy libretto, big cast, and full-scale orchestration. The enormity of the undertaking even encouraged him to expand and develop his compositional technique with various teachers, including Joseph Schillinger. For Gershwin had a lot at stake in Porgy and Bess: fulfilling a public expectation to produce another musical coup d’etat along the lines of his previous concert hall successes. And Porgy and Bess, Gershwin’s admitted “labor of love,” posed a problem with which he would grapple considerably-the exacting of a faithful embodiment of his fascination with DuBose Heyward’s story of Charleston blacks. Fully ten years earlier, however, in “the heyday of the new jazz,” when “Gotham was in the midst of a concurrent Negrophilia,” Gershwin was already pondering opera and, earlier still, the role of black cultural expression in his own vernacular experience.
Rhapsody in Blue: A Study in Hollywood Hagiography
Authors: Greenspan Charlotte 
Published: November 2023

Abstract
Rhapsody in Blue: The Story of George Gershwin was made at the Warner Brothers studios in 1945, eight years after the composer’s death. Produced by Jesse Lasky and directed by Irving Rapper, the film starred Robert Alda as George Gershwin, Herbert Rudley as Ira Gershwin, and Charles Coburn as Max Dreyfus; the female leads were taken by Joan Leslie and Alexis Smith, both playing fictional characters invented for the film.
Tracing Gershwin’s Piano Rolls
Authors: Wodehouse Artis 
Published: November 2023

Abstract
1915 to 1925 was the decade during which George Gershwin successfully negotiated the increasingly challenging hurdles of the music industry to become a commercially successful songwriter and achieve worldwide recognition as an American composer. During that time, too, Gershwin made 140 piano roll arrangements of popular sheet music, participating in an industry created to meet the huge demand for home entertainment music in America.
What about Ira?
Authors: Jablonski Edward 
Published: November 2023

Abstract
When George Gershwin died in July 1937 at the age of thirty-eight, Hollywood gossip rumored that the career of his lyricist and older brother (by twenty-two months), Ira, would perish too. Theirs had been a unique fraternal collaboration, but, the word went, Ira Gershwin had been riding on his brother’s elegant coattails and had lived in his shadow. With George gone, Ira would fade into obscurity and inactivity.
Representation and Memory in the Academy
Authors: Weisz George 
Published: November 2023

Abstract
When the medical journalist Louis Peisse called the academy’s new building on the rue des Saints-Peres a “monument” in the 1850s, he was not just referring to the building’s classical architecture. The rooms and corridors were cluttered with works of art donated by the state (in whose storage rooms they had frequently languished) and by academicians or their loved ones. The new premises, said Peisse, were like a museum whose very walls communicated to those able to comprehend:
Jill
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
Jill looks fine sitting there in front of you. She is in her late 40s, slender and attractive. She had first seen you five years ago when her company had signed their employees up with your HMO. Two years ago her gynecologist had sent a note telling you that Jill had been referred to the group’s oncologist for a suspicious lump detected on a mammogram. As Jill’s primary care physician, you were expected to direct her path through the HMO’s system of referrals and consultants.
Wanda
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
Mary and I were married during the first year of my residency; Zack was born soon after. One hundred thousand dollars in debt, we decided that we couldn’t afford my taking any specialty training. We had to have an income. As soon as I finished three years in general internal medicine, I came to Whiteford.
Plain and simple, Whiteford needed a doctor and I needed a job to pay off my debts. The West Whiteford Outreach Clinic is part of a federally funded project to meet the needs of the underserved. In return for working with this population, the government forgives a portion of medical school loans, and the clinic’s doctor receives a reasonable salary.
Tom Revisited
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
Four days have passed since what is now referred to as the “Memorial Day Massacre” (presented in Chapter 8, “Joey, Jessica, Roger, Tom, and Marti”). Everyone in the hospital echoes the sentiment: never again. But it is not long until the Fourth of July, and not a minute too soon to start planning. There is no reason to think that the Memorial Day problems will not recur. Even if the Fourth was not around the comer, both Tom and Marti deserve some longterm planning.
Billy
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
Standard treatments of medical ethics often neglect to discuss the quality of medical care and the personal dimension of the physician-patient relationship. This chapter depicts medical practice that falls inside the boundaries of ethical medicine as they are set by principle-based ethics. All the physicians depicted in this case “play by the rules” of ethics and medicine; no one steps out of bounds. As in sports, however, playing by the rules is not the same as playing well. So decently competent and ethically acceptable medicine is not the same as good medicine.
The Harrisons’ Plans
Authors: Freeman John M , Mcdonnell Kevin 
Published: November 2023

Abstract
The Harrisons were getting more excited with each passing day. Their baby was due in two months. The room was ready, piles of blue baby clothes were stacked in the crib, and Judy’s folks had sent word that they were ready to start a college fund for their grandson or granddaughter.
While all babies are special, this one was a little extra-special, for Judy would not be giving birth herself. Judy and Frank had been married almost 15 years; they had met when Judy was part of the team that audited the bank where Frank worked. Judy was then beginning her career as an accountant; Frank was an assistant manager. Both had prospered in their respective careers. Frank was now a vice president well on his way to senior vice president.
1914–1915
Authors: Bordman Gerald 
Published: November 2023

Abstract
When the theatrical season of 1913–14 ended in mid-June, Americans were looking forward to another prosperous, carefree summer, months to come of comfortable, well-bred relaxation. Advertisements in leading newspapers and magazines promised no less. Elegant couples-carefully groomed men in tuxedos, white tie and tails, or impeccably tailored three-piece suits; attractively coiffed ladies in lovely, drapey gowns or becoming tea ensembles, and with their hairdos sometimes partially concealed by small, boxy hats, often startlingly punctuated by a single large feather-were featured in advertisement after advertisement, and not merely those for clothing. The Columbia Graphophone Company and its rival the Victor Talking Machine Company both depicted parties in huge, exquisitely furnished drawing rooms, with everyone listening attentively or dancing to the music from their large, horned instruments. This was, after all,. the era of “the Dancing Craze,” when America and much of the Western world went wild over tangos, fox-trots, grizzly bears, turkey trots, and similar ballroom dances. More sedentary people, just as sumptuously dressed, gathered around a Chickering piano. Even smoking Egyptian Deities, if you accepted the ads, required the finest attire. Publicity for Churchill’s showed a gilded, high-ceilinged main dining room and circling balconies filled to capacity with pictureperfect patrons. Its text proclaimed, “Here, in an atmosphere surcharged with the dash and spirit of Manhattan-buoyant, brilliant, scintillating-and suffused with refinement, one finds a phase of restaurant life representing the fashionable activities of New York at their zenith.” Making allowances for the oncoming heat, Arrow Shirts portrayed a handsome young man with well-combed, wavy hair playing pool-but with the jacket of his tuxedo removed. For those anxious to leave the city, sprawling, low-rising, frequently clapboarded resorts were framed by perfectly manicured lawns, serene lakes, and noble old trees. Their managements quietly assured interested readers of the best in boating, saddle horses, tennis, golf, and fishing. Regal, multi-stacked ocean liners were pictured sailing by Manhattan’s skyscrapers or steaming proudly along at sea. No hint was offered that some of these magnificent ships still carried passengers in steerage class. But those at whom these ads were aimed probably cared little about such matters. They were interested primarily in pursuing the good life-a good life which would also include starchily dressed evenings at the theatre once the new season opened. Then, on June 28, the Austrian Archduke Francis Ferdinand and his wife were assassinated at Sarajevo by a Serbian fanatic. Little more than a month later, World War I had erupted.
1917–1918
Authors: Bordman Gerald 
Published: November 2023

Abstract
Although relatively few plays dealt with the war, which America had joined, the war seriously affected Broadway. A number of actors and authors enlisted and temporarily or, in a few cases, permanently disappeared from the theatrical scene. Those left behind found themselves working overtime, not merely doing their accustomed theatrical chores but heading recruitment and war bond rallies, busily knitting for the troops, or rushing to nearby army camps to entertain trainees. Of course, the extra work often resulted in extra publicity.
1920–1921
Authors: Bordman Gerald 
Published: November 2023

Abstract
Worriers who fretted that the new season could not possibly match the excellences of 1919-20 were early on made aware of how unnecessary their fretting had been. The new season was very good indeed. Of course, nothing is totally right, so those who insisted on something to cry over found reason enough. A sharp, if fortunately brief, post-war recession hurt playgoers and box offices. And the road continued its dismaying decline. This drop in attendance and loss of playhouses was attributed not merely to the growing popularity of films but, with surprising candor for many theatrical pundits, to the knowingly low, shameful quality of many road companies, which discouraged would-be theatre devotees. Yet there was substantial cause for optimism. Tradesheets, theatrical magazines, and articles in newspapers all perceived and welcomed “a growing demand for better fare.” The demand was by no means universal, and archly conservative middlebrows, such as George M. Cohan, pontificated on the virtues of good old-fashioned melodrama, noting, “The American play is never gloomy; we haven’t reached that decadent age when we can believe in tragedy.”
1921–1922
Authors: Bordman Gerald 
Published: November 2023

Abstract
Variety counted 142 new straight plays during the season, plus a handful of non-musical revivals; Best Play’s figure was 130. No matter which total is accepted it represented a huge jump over prior figures and, as such, a new record. That could be seen as good news, but wasn’t by everyone. Although the quality of the top entries remained satisfyingly high, the deluge brought with it a distressingly large amount of flotsam and jetsam. And playgoers found ticket prices beginning to creep up again. However, the dismaying number of flops soon took a toll on costs of admission. At the beginning of the season Variety noted that last year Clair de Lune had ventured a $5.00 top, which had failed largely because the mounting itself was not fully satisfactory, and the tradesheet reported several major producers planned price increases in the new term. By mid-September those optimistic plans had evaporated. In its issue of the 16th, the publication gloomily headlined “Broadway BadWorst Legit Season in Years,” and when a late summer and early fall heat wave hit, business plummeted further. On October 5, the paper predicted lower, not higher, prices, and a little over one month later it carried an item announcing one producer’s plan to bring in a new show at a $1.5 0 top. That particular show never came in, and during the season $2.00 and $3.00 remained the basic top ticket prices. Whether playgoers decided on the basis of quality or prices, they remained unhappy. Business continued limp throughout the theatrical year.
1931-1932
Authors: Bordman Gerald 
Published: November 2023

Abstract
With the shrinkage of the road, which often had allowed a show that failed in New York to recoup its costs on a post-Broadway tour, the percentage of out-and-out flops rose. Fewer than one in five productions closed in the black. Theatre, a popularly slanted magazine for playgoers since the beginning of the century, had shuttered in April 1931. Intermittent announcements that a new group had been formed to resurrect it finally were put to rest at the beginning of the new season. The more erudite Theatre Arts survived, suggesting that the theatre hereafter would be of interest to an increasingly elite audience. Survival was not in the cards for many of New York’s playhouses, which continued to desert the legitimate fold to serve other purposes. So did numerous once reliable figures.
1938-1939
Authors: Bordman Gerald 
Published: November 2023

Abstract
The seemingly ineluctable decline of the American theatre continued into the new season. The Times, acknowledging that the statistics made “rather gloomy” reading, counted a mere sixty-five new plays; Variety tallied sixty-eight. (Neither apparently included the Federal Theatre Project offerings in their figures.) To the reasons for the drop, which had long included the Depression, radio, and films, one new culprit-albeit a temporary one-was added. The New York World’s Fair opened on April 20. Initially, producers had hoped that visitors to the exposition would spend their evenings in the theatre. But attendance by out-of-towners at the fair at first was disappointing, and New Yorkers themselves elected to spend their money in Flushing rather than on Broadway.
1939-1940
Authors: Bordman Gerald 
Published: November 2023

Abstract
Once again the count of new plays fell-Variety tallying sixty-two; the Times sixty. Since Congress had written finis to the Federal Theatre Project late last spring, only a handful of off-Broadway offerings might have been brought in to swell the totals. But Off Broadway was still not taken seriously, so its productions did not count. And once again, in a pattern that would become general for most ensuing seasons, no new plays opened in the summer. This year the on going World’s Fair undoubtedly convinced many producers to hold off their openings. But just as the fair was preparing to close its first of two seasons, another diversion gripped potential playgoers. In early September, Germany invaded Poland, prompting England and France to come to Poland’s aid by declaring war on the Nazis. World War II was under way.
1940-1941
Authors: Bordman Gerald 
Published: November 2023

Abstract
For the eleventh successive year the number of new plays fell. Variety listed forty-nine; the Times, fortyeight. Mantle gave no figure but spoke with patent sadness of “a new low statistically,” apparently unaware that a similar count had been given for 1901-02. Of course, that older tally did not include the numerous cheap touring shows packing in playgoers at neighborhood and backwater theatres, nor the many designedfor-touring dramas lighting up some of several thousand road houses. But cheap touring shows, killed by early silent films, had disappeared three decades earlier, while the road was a pathetic skeleton of its once robust self.
1945-1946
Authors: Bordman Gerald 
Published: November 2023

Abstract
Even though business remained generally strong at the box office and more and more plays were asking a $4.80 top, the number of new dramas and comedies dropped precipitously-by roughly 20 percent. Variety counted forty-eight novelties; the Times, forty-six. Broadway’s on going decline had resumed after a wartime respite. Quality also sagged noticeably. Moreover, playgoers had many things to distract them, from the pressures of readjustment to peace to the upheavals caused by a post war outbreak of labor unrest (including a New York newspaper strike, which very briefly did affect business adversely). After World War I, Tin Pan Alley had poured out a rash of songs in which the loss of a beloved woman was generally acknowledged to have been a sublimated dirge for a son or husband killed in the war (“Oh, What a Pal Was Mary,” “Old Pal, Why Don’t You Answer Me?,” “My Buddy”).
1946-1947
Authors: Bordman Gerald 
Published: November 2023

Abstract
“This has been a year of revivals, but not one of revival, in the theatre,” Burns Mantle wailed. He was right. While the count of new plays remained roughly steadyat between forty-two and forty-six, depending on which tally was employed-the number of revivals, including musicals, soared to between seventeen and twenty-six. Of course, any healthy theatre ought to enjoy a good number of revivals, a testimony to its sense of balance and history. But the discouraging side of this picture was the paucity of novelties critics and playgoers could unstintingly rejoice in.