bluuebunny/crossref_metadata_2025_split huggingface dataset:
Isolated Towers and Forts
Authors: McNicoll A W , Milner N P 
Published: November 2023

Abstract
During the Hellenistic period the numerous small fortifications were as indispensable as the defences of cities. A few ‘minor fortifications ‘ of the fourth century are described in Chapter 2, but in general I have preferred to limit the discussion of fortresses, towers, and field walls. The reasons for this are their frequent anonymity and their comparative lack of diagnostic features. In this chapter we shall examine four forts-a keep, a signal station, and two strongholds-probably be longing to the second and first centuries BC.
Greek Architectural Terra Cottas
Authors: Winter Nancy A 
Published: November 2023

Abstract
Ancient Greek buildings were renowned for their terracotta roofs, an invention which may have first occurred in prehistoric times and been rediscovered in the seventh century BC. This is the first book to look in detail at the complex variations in tile shape, technical features, and decorative motifs which occurs across Greece, particularly during the Archaic period. Inscriptions refer to Corinthian and Spartan tiles, and two different types of tiles characterizing the roofs of Corinth and Sparta confirm these nomenclatures. A careful analysis of the preserved elements or roofs found in each major city or district, however, reveals considerably more variation, and shows that there were regional styles which distinguished the roofs of north-western Greece. Arcadia, the Argolid, Central Greece, Attica, and the Aegean islands as well. The importance of this new work is not only that it brings a fresh approach to the topic, revealing the regional styles of roofs as of pottery and sculpture, but also that it shows exactly how ancient roofs were assembled, by providing detailed drawings of several characteristic roofs for each regional system. The book is illustrated with numerous photographs, figures, and maps. It should be invaluable for excavators, surveyors, and architectural historians.
The Evidence from Temple Inventories
Authors: Plantzos Dimitris 
Published: November 2023

Abstract
A number of temple inventories from the ancient world, that is lists of valuables kept in temple treasuries compiled by the officers in charge, offer a welcome insight into the way luxurious gifts to a deity would be stored and valued. The short entries for the objects recorded in these inscriptions provide a comment on what has actually survived from antiquity, while at the same time they point out those qualities of ancient crafts that were valued by their contemporaries. Needless to say, not all accounts from Classical Greek and Hellenistic temples survived, but we are fortunate to possess two almost-complete series of such inventories, from Athens (the Parthenon) and the sanctuaries of Delos, in convenient chronological sequence. These are complemented by scantier epigraphical evidence from other parts of the Greek world. Although the period covered by these temple inventories is wider than the span of the present book, it seems worth while to study the references to intaglios and rings from the fifth and fourth centuries also. These are bound to give a useful introduction on the appreciation of gemstones and jewellery in the Classical period, and also enable a comparison with what went on in the Hellenistic period.
Kafka’s Clothes
Authors: Siècle Fin de , Anderson Mark M 
Published: November 2023

Abstract
`One should either be a work of art, or wear one' proclaimed Oscar Wilde at the end of the nineteenth century; `I am made of literature, I am nothing else, and cannot be anything else' Franz Kafka proclaimed a brief decade later. Between these two claims lies the largely unexplored region in which the European decadent movement turned into the modernist avant-garde. In this original historical study, Mark Anderson explores Kafka's early dandyism, his interest in fashion, literary decadence and the `superficial' spectacle of modern urban life, as well as his subsequent repudiation of these phenomena in forging a literary identity as the isolated, otherworldly `poet' of modern alienation. Rather than posit a break between these two personae, Anderson charts the historical continuities between the young Kafka and the author of The Metamorphosis and The Trial. The book demonstrates how clothing functions as a semi-private code of meaning in his literary works and the extent to which the aestheticist notion of becoming the work of art haunts Kafka's conception of writing throughout his life. The result is a startlingly unconventional portrait of Kafka and Prague at the turn of the century, involving such issues as Jugendstil aesthetics, Otto Weininger's `egoless' woman, the Viennese critique of architectural ornament, the clothing-reform movement, anti-Semitism, and the question of Jewish-German writing.
The Traffic of Clothes: Meditation and Description of a Struggle
Authors: Siècle Fin de , Anderson Mark M 
Published: November 2023

Abstract
The story of Kafka’s clothes begins with Kafka’s father, whose shop in Prague specialized in fashion accessories or what in German are called Galanteriewaren, ‘fancy goods’. Like many Jews of the Bohemian provinces, Hermann Kafka had decided to leave his native village to seek his fortune in the city. After a brief stint in the Austro-Hungarian army as a drill sergeant, he set up a retail store in Prague dealing in ‘haberdashery, fashion articles, fancy goods, parasols, umbrellas, walking sticks, cotton’,1 and gradually expanded it through hard work and an advantageous marriage into one of the major wholesale businesses in the city and the surrounding provinces. His first shop was in the Zeltner gasse; later he moved it to the Kinsky Palace, an elegant building on the Old Town Square which was also the site of Kafka’s Gymnasium.
The Jugendstil Body: Reform Clothing and the Cultural Politics of the Kunstwart
Authors: Siècle Fin de , Anderson Mark M 
Published: November 2023

Abstract
‘When I free my body from its clothes, from all their buttons, belts, and laces, it seems to me that my soul takes a deeper, freer breath. And when I get into bed after my Eastern ablutions, my entire being begins to expand. The will to life, struggle, and conflict fades away, and the longing for sleep resembles the yearning for death’. As witnessed in the previous chapter, Strind berg’s metaphysical lament in ‘Alone’ depicts clothing as the tangible incursion on the freedom of body and spirit. Clothes are fetters on the soul. The metaphor is a common one for the European fin de Siècle with its overdressed bodies and stuffed interiors. Strindberg responds with a mystical turn to Oriental philosophies of abnegation of the will, to the melancholy resignation of Schopenhauer. Others, younger than Strindberg, turn to a socially enlightened hedonism that frees the body from its material fetters and exposes it to the restorative elements oflight, air, water, and earth. Clothing reforms, especially for women, are proposed; nudist colonies and natural health centres are set up in isolated rural landscapes; the enervated, consumptive Stadt mensch yearns for the invigorating freedom of the country in which body and soul, unencumbered by the ‘clothes’ of city life, may at last thrive like innocent children or healthy plants.
The Ornaments of Writing: ‘In the Penal Colony’
Authors: Siècle Fin de , Anderson Mark M 
Published: November 2023

Abstract
In Kafka’s fictions certainty of perception is often undermined by an absence of light. Darkness, shadows, snow, or rain habitually obstruct the main character’s vision of the object or scene he must interpret. The evening landscapes of The Castle, The Trial, the darkness of Gregor Samsa’s room in The Metamorphosis—these elements distance the characters from truth and make Kafka’s fictional topography akin to that of Dante’s Inferno, which is not only the moral realm of guilt and sin but also an epistemological realm of error and confusion, the realm into which God’s light refuses to penetrate.
The epistle of sālim b. Dhakwān
Authors: Crone Patricia , Zimmermann Fritz 
Published: November 2023

Abstract
1. Praise be to God, beside whom there is no lord and like whom there is no thing (cf. 42: 11). ‘When He desires something, His command is simply to say to it “Be” and it is’ (36: 82). 2. We enjoin you to fear mighty God, for that is what God enjoined among the earlier and later generations, as He says: ‘We have enjoined those who were given the book before you, and you, to fear God. If you disbelieve, to God belongs all that is in the heavens and in the earth.
Introduction: reading Froissart
Authors: Ainsworth Peter F 
Published: November 2023

Abstract
Since the day when Caxton enjoined his contemporaries to ‘Read Froissart’, the chronicler of Valenciennes has not ceased to provoke admiration and enthusiasm in all those readers who have complied with the injunction. Even the more austere among his critics still read him for pleasure; others, historians of chivalry or of fourteenth-century society, continue to find in the Chroniques a choice terrain for the examination of the military and chivalrous mentalites of the period.
Knight, Magnate, King, and Clerk: Froissart’s vision of aristocratic and military society
Authors: Ainsworth Peter F 
Published: November 2023

Abstract
In the chancel of Bunbury parish church, Cheshire, right in front of the sanctuary, lies an unusually powerful iconographic representation of the chivalry so beloved of Jean Froissart: the funeral effigy of Sir Hugh Calveley, former brother-in-arms of Edward, prince of Wales and—when truces permitted temporary changes of affiliation—of Bertrand du Guesclin. Calveley awaits the Last Judgement beneath his own effigy, recumbent upon a stone catafalque surrounded by its original cast-iron herse or spiked railing. A knight of modest extraction, he had been promoted to the ranks of the great captains on the strength of his qualities as a war-leader. He is in this way fully representative of the type of ‘opportunist’ knight whose career expressed, for Froissart, the happy triumph of genuine Proece over (mere) lineage: ‘pluiseur chevalier et escuier se sont fait et avanciet, plus par leur proece que par leur linage’.
Rewriting the Past: dramatic ‘landscape’ in the Rome Manuscript
Authors: Ainsworth Peter F 
Published: November 2023

Abstract
The manifold problems involved in interpreting the precise status and value of any of the three principal redactions of Book I constitute one of the thorniest issues in Froissart studies. The best initial approach to these matters is to be found in John Palmer’s opening chapter for the symposium edited by him and published in 1981. It informs the presentation offered here, which seeks to provide a necessarily concise introduction to the manuscript tradition of Book I in advance of a close reading of several key episodes in Froissart’s Rome Manuscript account of the reign of Edward III. It should be stated from the outset that, although I have myself written elsewhere1 about this manuscript tradition, the hypotheses presented by Palmer appear to me to represent the most judicious approach so far to the issues raised; they are, moreover, given cautious endorsement in the 1981 symposium by Richard Barber and P. E. Russell, as well as by George Diller—whose careful study of Book I will also be referred to below, in conjunction with references to his edition of the Rome manuscript. Readers wishing to enjoy the labyrinthine delights afforded by the various manuscripts of Book I are invited to consult these works and their scholarly apparatus (which must of course include Shears’s monograph of 1930, and the introductions to the editions prepared by Siméon Luce and Kervyn de Lettenhove for, respectively, the Société de l’Histoire de France, and the Academie royale de Belgique).
The Algerian War: History And Ideology, Mythology and Fiction
Authors: Dine Philip 
Published: November 2023

Abstract
The Algerian war of national liberation is generally held to have begun on the eve of All Saints' Day, 1 November 1954, when the newly formed Front de Liberation Nationale (FLN) launched its armed challenge to a century and a quarter of French colonial rule. However, the small-scale and amateurish execution of these first attacks on people and property meant that it was only with hindsight that their historical significance became apparent. Certainly the immediate response of the French press was to play down this latest manifestation of Algerian nationalist sentiment, presenting it as a mere footnote to troubles already being experienced elsewhere in France's North African territories.
The Myth of the Paratrooper
Authors: Dine Philip 
Published: November 2023

Abstract
In his 1962 novel Entre chiens et loups [Between Dogs and Wolves], the liberal Catholic writer Gilbert Cesbron describes the experience of a French schoolmaster who sets his class an essay on the ideal hero. Expecting a range of conventional answers, the teacher is horrified to discover that his star pupil has chosen a disturbingly contemporary subject:‘ For the disgusted schoolmaster, we learn, the subject of this paean is to be regarded neither as an ‘archangel’, nor yet as a ‘leopard-man’, but rather as ‘une brute’ (78). The teacher’s nearhysterical reaction draws the attention of the reader to the French paratrooper’s status as a central mythical figure of the literary and cinematic imaging of the Algerian war. For by the time Cesbron wrote his novel, the para had become well-established as a focus for hero-worship;
Le Même et L’Autre: Imaging The Algerians
Authors: Dine Philip 
Published: November 2023

Abstract
This fundamental dichotomy has its origins in the exploitative economy of the colonial relationship, which is itself both articulated through and, crucially, legitimized by an all-encompassing colonial discourse. Such sub-varieties of this discourse as the administrative, juridical, academic, and anthropological paroles were all drawn upon and added to by that of the prose fiction produced in an attempt to come to terms with militant Algerian nationalism’s challenge to the existing social order. The primary thrust of this specifically literary contribution to the defence of the European ascendancy may be said to consist in the ideological manipulation of the linguistic/philosophical categories of the Self and the Other.
The Reading Encounter
Authors: Wilson Emma 
Published: November 2023

Abstract
‘Avant de faire l’amour vraiment, on le fait d’abord au cinéma.’2 These lines, spoken in Marguerite Duras’s novel Un Barrage contre le Paci-fique, focus the reader’s mind on the possibilities of previewing existence in fictions. For Duras, film prefigures reality; it performs the desire which will be replayed and commemorated by her characters. Hers are texts obsessed with relations between viewing and desire, between fictions and their lived re-enactment. The cinema becomes a privileged space and
The State Of Italian Theatre Before The Advent Of Futurism
Authors: Berghaus Günter 
Published: November 2023

Abstract
Since its unification in 1871, Italy had gained in national status and prestige and had experienced a resurgence of artistic activities, which led - especially in the fields of poetry and opera - to some achievements of the highest artistic merit. Theatre, however, had not yet recovered from a long history of decline. In terms of both dramatic writing and stage art, Italy lagged hopelessly behind developments in northern Europe. At the turn of the century, most theatre performances were still organized in a manner which did not differ much from that of the Renaissance period. Hamlet's question: ‘How chances it they travel?’ (Hamlet II.ii) would still have been topical in nineteenth-century Italy. Hundreds of companies still perambulated up and down the peninsula on their Thespis Wagons, because the teatro stabile system was still only in its infancy and had not yet progressed much beyond some first tentative steps.
The Revival Of Futurist Theatre In The 1920s
Authors: Berghaus Günter 
Published: November 2023

Abstract
In the 1920s, Futurist activities flourished throughout Italy and extended to the farthest corners of the peninsula. Year after year, new local branches sprang up in smaller cities and even in provincial towns, with the result that the movement increasingly lost its early character of a compact, centrally funded organization run more or less single-handedly by its original founder. Although Marinetti was still in charge of the headquarters - which he moved from Milan to Rome - he had only nominal control over the large number of artists operating under the Futurist umbrella. Many of the first adherents of the movement had in the meantime gone their separate ways. Quite a few of the remaining artists had changed their political allegiances (often from the Left to the Right). But there was also a new generation of Futurists, usually only in their early twenties, whose political and artistic concerns were very different from the ‘old guard ‘ gathered around Marinetti and the journal Roma futurista. Many of them maintained only loose contact with the headquarters, some even operated more or less independently. Primo Conti remembered the days of internal debates and dissentions: ‘Futurism was like a bar, where you could come and go at will. The thing that attracted us most about it was its anarchical feeling, this sense of unlimited freedom, which also allowed us to be against Futurism.
Futurist Cabarets, Artists ‘ Festivals, And Banquets
Authors: Berghaus Günter 
Published: November 2023

Abstract
After the extreme hardship of the immediate postwar era, Italian life began to return to normal. A clear sign of this was the development in the early 1920s of a sophisticated night-life in the capital. The Futurists made their contribution to this trend by founding three nightclubs, which became the favourite haunts of Roman Futurists, Dadaists, Metaphysics, and Arditi, of artists, writers, actors, and dancers, but also of the fashionable youth and haut monde of the capital. The Futurist nightclubs were no simple ‘watering holes ‘ for the chic and fanciful inhabitants of Rome, but trendy cabaret venues where the Futurist idea of a ‘reconstruction of the universe ‘ was given concrete realization. Although the format of the cabarets basically followed the French and German model, the Futurist nightclubs were very different in their design. French and German small-scale, artistic entertainment in the cabaret mould more often than not took place in rather dingy and seedy bars, where for a few sous or pfennig one could drink a ballon or Humpen, and maybe even get it free if one contributed a sketch or a song to the evening ‘s entertainment. In the Futurist cabarets, the thespian offerings followed the formulas of the serata and Futurist variety theatre. But rather than performing these shows in traditional music-hall venues, the artists now created their own environments, where everything from the furniture to the wall paintings, from the lampshades to the colours of the cocktails was designed according to Futurist principles.
The Machine Art Of Vinicio Paladini And Ivo Pannaggi
Authors: Berghaus Günter 
Published: November 2023

Abstract
Vinicio Paladini (1902-71)1 was born of a Russian mother and an Italian father in Moscow in 1902, but received his artistic and political education in Rome, where his parents had settled in 1903. He was active in the socialist movement, travelled to Russia, and was converted to the Bolshevik cause. In 1921 he began to frequent Bragaglia ‘s Circolo delle Cronache d ‘Attualita and collaborated with Virgilio Marchi on the outfitting of the Teatro degli Indipendenti. He became a disciple of Balla and joined the Futurists, but pursued an independent artistic and political line that sought to combine Futurism and Communism along the Soviet model. He became involved with Gramsci ‘s Ordine Nuovo circle in Turin and entertained good personal relations with the Italian Communist Party and their partisans at the Casa del Popolo in Rome.
Enrico Prampolini‘s Theatrical Career Inthe 1920s
Authors: Berghaus Günter 
Published: November 2023

Abstract
With his successful production of Matoum et Tevibar, his well-publicized contribution to the Teatro del Colore season at the Teatro Argentina, and the Synthetic Theatre bill in Prague, Prampolini had staked his claim to a position in the top rank of European avant-garde theatre design. In the following years he undertook concerted efforts to build on these achievements and to consolidate his reputation in the European art world. I mentioned above in Part II, Chapter 7 his collaboration with the Dadaists in Zurich, his contacts with Albert-Birot ‘s journal SIC, and the propagandist function of his own magazine Noi. At his Casa d ‘ Arte he ran a ‘Boite d ‘art futuriste: Club per la propaganda e lo sviluppo dell ‘arte italiana e internazionale contemporanea ‘ and organized major exhibitions of the German Novembergruppe and the French Section d ‘Or. In the following years he intensified his collaboration with a variety of avant-garde journals in Europe (e.g. Der Sturm, L ‘EspritNouveau, De Stijl, Het Overzicht), continued the publication of Noi, and acted as art critic of the Futurist-Fascist newspaper L ‘impero. He became a member of the International Society of Modern Art in Berlin and New York, the International League of Avant-garde Artists in Rotterdam and the International Union of lntellectuals in Paris. These contacts bore fruit when he was invited to exhibit in Geneva, Berlin, Paris, Prague, Dusseldorf, Amsterdam, London, New York, and Vienna.
Vasarl‘s Apocalyptic Vision Of The Futurist Machine Age
Authors: Berghaus Günter 
Published: November 2023

Abstract
Azari ‘s ultimate dream of a perfectly mechanized world found dramatic illustration in Anguish of the Machines (Angoscia delle macchine)1 by the Sicilian playwright Ruggero Vasari (1898-1968). This three-act play is set in a ‘Realm of the Machine ‘ which has been erected on an unnamed planet bearing a close resemblance to earth. A hierarchical structure according to the degree of mechanization divides the lower orders of inhabitants into robots, androids, workers condemned to become machines, and engineers who supervise the machine park. At the top we find a Promethean inventor aspiring to become God (Tronchir), a powerful commander (Singar), and a despotic ruler called Bacal, who has renounced all human feelings, has acquired ultimate power, and is ready to undertake ‘the conquest of the Sun ‘ (169). This triad exercises perfect control over its dominion by means of a Brain-Machine, which reads their thoughts, translates them into orders, and communicates these to their subjects.