bluuebunny/crossref_metadata_2025_split huggingface dataset:
At War Within
Authors: Clark William R 
Published: November 2023

Abstract
In the seventeenth century, smallpox reigned as the world’s worst killer. Luck, more than anything else, decided who would live and who would die. That is, until Lady Mary Wortley Montagu, an English aristocrat, moved to Constantinople and noticed the Turkish practice of “ingrafting” or inoculation, which, she wrote, made “the small-pox … entirely harmless.” Convinced by what she witnessed, she allowed her six-year-old son to be ingrafted, and the treatment was a complete success--the young Montagu enjoyed lifelong immunity from smallpox. Lady Montagu’s discovery would, however, remain a quiet one; it would be almost 150 years before inoculation (in the more modern form of vaccination) would become widely accepted while the medical community struggled to understand the way our bodies defend themselves against disease. William Clark’s At War Within takes us on a fascinating tour through the immune system, examining the history of its discovery, the ways in which it protects us, and how it may bring its full force to bear at the wrong time or in the wrong place. Scientists have only gradually come to realize that this elegant defence system not only has the potential to help, as in the case of smallpox, but also the potential to do profound harm in health problems ranging from allergies to AIDS, and from organ transplants to cancer. Dr. Clark discusses the myriad of medical problems involving the immune system, and he systematically explains each one. For example, in both tuberculosis and AIDS, the underlying pathogens take up residence within the immune system itself, something Clark compares to having a prowler take up residence in your house, crawling around through the walls and ceilings while waiting to do you in. He discusses organ transplants, showing how the immune system can work far too well, and touching on the heated ethical debate over the use of both primate and human organs. He explores the mind’s powerful ability to influence the performance of the immune system; and the speculation that women, because they have developed more powerful immune systems in connection with childbearing, are more prone than men to contract certain diseases such as lupus. In a fascinating chapter on AIDS, arguably the most deadly epidemic seen on Earth since the smallpox, Clark explains how the disease originated and the ways in which it operates. And, in each section, we learn about the most recent medical breakthroughs. At first glance, it may appear that our immune system faces daunting odds; it must learn to successfully fend off, not thousands, but millions of different types of microbes. Fortunately, according to Clark, it would be almost impossible to imagine a more elegant strategy for our protection than the one chosen by our immune system, and his At War Within provides a thorough and engaging explanation of this most complex and delicately balanced mechanism.
The Anatomy of an Immune Response
Authors: Clark William R 
Published: November 2023

Abstract
On Christmas Day in 1891, a desperately sick baby girl was brought to the Bergmann Klinik in Berlin, Germany. Like many infants in Europe and America at the end of the nineteenth century, she had contracted diphtheria. The outlook for anyone coming down with this disease was not good, but it was particularly poor for small children. Diphtheria was in fact often referred to as the “strangling angel of children.” It was not at all unusual for half of infected youngsters to die, whether they made it to a hospital or not.
Hypersensitivity and Allergy
Authors: Clark William R 
Published: November 2023

Abstract
The preceding chapter makes it painfully clear what the absence or failure of certain components of the immune system can mean in terms of human well-being. The immune system truly is a wall that stands between us and the world of microscopic agents of disease. The slightest crack, or missing stone, can spell disaster. So the possibility that this beautiful, elegant defense system could also cause harm was at first very difficult to accept. Some of the very earliest findings pointed in that direction, but were largely ignored.
The Licensing of NPs
Authors: Baker Mark C 
Published: November 2023

Abstract
Now that we have an account of why overt NPs in polysynthetic languages do not appear in argument position, we can address the converse question: Why do they appear in adjoined positions? On an intuitive level, the answer is obvious: NPs appear in adjoined positions because those are the only positions left, given the tacit assumption that all languages must be able to somehow make use of overt NPs. Although this answer is not tautological, it is extremely plausible. The question is an important one in the current context, however, because our purpose is to discover the basic parameters that characterize polysynthetic languages. We have seen that a parameter is required to force NPs out of argument positions. The question, then, is whether another parameter is necessary to welcome them into non argument positions. Such a parameter might be functionally related to the Polysynthetic Parameter, but it would not necessarily be formally related to it. Previous work on non configurationality within P& frameworks has devoted comparatively little attention to this question.1 Jelinek (1984), in particular, is somewhat vague on this point. She states that overt NPs in Warlpiri are “in apposition” to the clinic pronouns on the verbal auxiliary, drawing a comparison with English sentences such as (I).
Conclusion: On the Nature of Parameterization
Authors: Baker Mark C 
Published: November 2023

Abstract
This book has explored the idea that there is a class of languages in which the syntax differs from that of languages like English in one essential feature. The grammar of these languages includes the following statement, introduced in chapter 1.1Thus, if one thinks of the syntax of a language as a list of principles that determine the well-formedness of structures (“I-language” in the terms of Chomsky 1986b), then the syntax of polysynthetic languages is extremely similar to that of non polysynthetic languages. If, however, one thinks of the syntax of a language as the set of well-formed structures (Chomsky’s “E-language”), then the syntax of a polysynthetic language is very different. The reason is that (I) interacts with other principles of grammar to profoundly affect the range of structures permitted. Such a principle, which varies from language to language and has a fundamental impact on the character of the forms generated, I have called a “macroparameter.” That such macro parameters exist is my deepest theoretical claim in the present volume.
Chapter I
Authors: Sedgwick Catharine Maria , Davidson Cathy N 
Published: November 2023

Abstract
Mr. Elton was formerly a flourishing trader, or, in country phrase, a merchant, in the village of ——. In the early part of his life he had been successful in business; and having a due portion of that mean pride which is gratified by pecuniary superiority, he was careful to appear quite as rich as he was. When he was at the top of fortune’s wheel, some of his prying neighbours shrewdly suspected, that the show of his wealth was quite out of proportion to the reality; and their side glances and prophetic whispers betrayed their contempt of the offensive airs of the purse-proud man.
Chapter IV
Authors: Sedgwick Catharine Maria , Davidson Cathy N 
Published: November 2023

Abstract
“Robert Lloyd, having purchased the place of the late Mr. Elton, would be glad to engage Mary Hull to take charge of his family. Wages, and all other matters, shall be arranged to her satisfaction. He takes the liberty to send by the messenger, for Jane Elton, a work-box, dressing-glass, and a few other small articles, for which he has no use, and which, he hopes, she will do him the favour to retain, on account of the value they must have in her eyes.”
Chapter VII
Authors: Sedgwick Catharine Maria , Davidson Cathy N 
Published: November 2023

Abstract
Jane hoped for some favourable change in her condition, or some slight alleviation of it, from the visit of David Wilson, who had just arrived from college, to pass a six-weeks vacation with his family. At first, he seemed to admire his cousin; and partly to gratify a passing fancy, and partly from opposition to his mother and sisters, he treated her with particular attention. Jane was grateful, and returned his kindness with frankness and affection. But she was soon obliged, by the freedom of his manners to treat him with reserve. His pride was wounded, and he joined the family league against her. He was a headstrong youth of seventeen; his passions had been curbed by the authority of his mother, but never tamed; and now that he was beyond her reach, he was continually falling into some excess; almost always in disgrace at college, and never in favour.
Chapter XIII
Authors: Sedgwick Catharine Maria , Davidson Cathy N 
Published: November 2023

Abstract
As Jane entered Mrs. Harvey’s door she met her kind hostess just returning from a walk, her face flushed with recent pleasure. “Where upon earth have you been?” she exclaimed. “Ah! if you had gone with me, you would not have come home with such a wo-begone face. Not a word! Well—nothing for nothing is my rule, my dear; and so you need not expect to hear where I have been, and what superb papers have come from New-York, for the front rooms; and beautiful china, and chairs, and carpets, and a fine work-table, for an industrious little lady, that shall be nameless; all quite too grand for a sullen, silent, deaf and dumb school-mistress.”
Chapter XV
Authors: Sedgwick Catharine Maria , Davidson Cathy N 
Published: November 2023

Abstract
David Wilson, not long after the affair of the robbery of his mother’s desk, went to New-York, in order to see his comrades, who were imprisoned there, and, if possible, to abate their demands on his purse. He succeeded in doing this; but having fallen in (attracted doubtless by natural affinities) with other companions as wicked, and more desperate, he soon spent in that city, which affords remarkable facilities for ridding men of their money, all that remained of the five hundred dollars.
Texture
Authors: Stein Deborah , Spillman Robert 
Published: November 2023

Abstract
The term TEXTURE refers to the relative density or thickness (as opposed to sparseness or thinness) of a piece. Horizontal or linear density involves how frequently notes or rhythms occur, whether sounds are separated or adjacent, and how far apart pitches are from one another; vertical density involves how many notes are sounding at the same time, including how many different pitches occur simultaneously. We begin by examining textural “norms” in Lieder, both within the vocal line and in the more complex accompaniment. We then explore textural variations, those given or hinted at by the composer and those which result from a performer’s personal decision. Certain textures are used to illuminate the drama of the text, and attention to textural concerns helps the performer to convey the nuances of the poetry. For example, a singer might approach two songs by Brahms very differently. “Vergebliches Standchen” might be sung with a slender, flexible sound, or vocal color, to convey more precisely the dialogue between the conflicted lovers, while “Sapphische Ode” might be sung with great richness and thickness of tone as a means of conveying that poem’s emotional intensity. A pianist, meanwhile, might decide to play Schubert’s “Standchen” with little or no pedal, but pedal heavily in Schubert’s “Die Krahe,” the variation in pedal effect conveying, once again, different aspects of the poetry. Each decision about tone or sound density adds an interpretive nuance to the vocal line or the accompaniment, which in tum contributes to the com poser’s expression of the poetic text.
Temporality
Authors: Stein Deborah , Spillman Robert 
Published: November 2023

Abstract
Our examination of TEMPORALITY explores how long things last, both the lengths of notes and their relative durations as suggested by notation, and the speed at which something is performed, as determined by consideration of TEMPO. In both cases, the composer’s indications may be either straight forward and precise or vague and open to interpretation. We will also consider those Lieder that involve significant changes in temporality, where the composer alters a musical pace in response to shifts in poetic progression. This chapter begins a discussion of temporality that continues in Chapters Five and Eight; together the three chapters provide performers with all the tools necessary to understand how music is organized and shaped in order to flow a particular way through time.’Composers indicate their concept of a song’s pacing and timing through notation and tempo indications. This topic is difficult at best; while performers can guide their tempo choices by notational conventions, such as the time signature, the notation of an underlying pulse, adherence to rhythmic and metric norms, and use of phrase slurs, these factors do not ensure understanding of the composer’s full temporal intent. In addition, two other factors of performance practice influence musical pace: first, per formers choose a slower or faster tempo according to their own interpretation of a composer’s general tempo indication, and second, performers use a certain amount of RUBATO, where some notes are held a fraction longer than others, as an essential interpretive agent in most nineteenth-century music.
Elements of Interpretation
Authors: Stein Deborah , Spillman Robert 
Published: November 2023

Abstract
This chapter focuses upon those musical elements that help shape the musical expressivity of Lieder: the composer’s use of dynamics, timbre, register, and techniques of stress and emphasis that the performer must interpret during performance preparation and convey with conviction during actual performance. In addition to the elements of musical sound mentioned already, this unit also explores the performer’s need to consider the concept of persona, the understanding of whose “voice” is being expressed within a given musical line or section. In all these areas, the interpretations and decisions are based first and foremost upon understanding the poetic text and how the composer is conveying that text in musical sound.While composers often give specific instructions to performers as to how loud or soft their music should be, there are almost limitless shadings of “forte” and “piano,” depending on range, texture, and individual abilities. As a consequence, the broad range of variables in choosing dynamics remains in the hands and voices of the performers themselves. We examine some of these variables in several Lieder, beginning with Schubert’s famous “Gretchen am Spinnrade.”
Harmony and Tonality
Authors: Stein Deborah , Spillman Robert 
Published: November 2023

Abstract
This chapter summarizes what Lied performers need to know about harmony and tonality to perform well some of their most important tasks: sight reading new repertory, learning new pieces thoroughly, and participating in actual performances. You have probably learned some of the material in harmony classes, but you may find new ideas and ways of thinking in familiar territory. In addition, some of the later sections on “Directional Tonality” and “Implicit Tonality” will probably cover musical structures you have never encountered or considered in the way we suggest. Harmony is the substance of musical flow in common-practice music, and tonal structure is the basis of form and coherence. Thus this chapter explains the musical foundation of the German Lied, its building blocks and its architecture.
Melody and Motive
Authors: Stein Deborah , Spillman Robert 
Published: November 2023

Abstract
This chapter offers some general guidelines and analytical procedures for understanding how melody works within Lieder. The melodic component of a Lied is extremely complex, and we suggest three analytical approaches that demonstrate different aspects of melodic design: First, the Melodic Overview helps identify· the poetic and harmonic context for the melody and determines general characteristics of melodic construction and design; second, Linear Analysis demonstrates important elements of the underlying melodic structure; and third, Motivic Analysis identifies the repetition of small melodic ideas that creates melodic coherence. While each approach will be shown separately, performers will want to combine them all when preparing a Lied for performance. The song we chose to demonstrate these analytical procedures is one well known for its beautiful melody: Schubert’s strophic setting of “Litanei.”
Introduction: Breaking Bounds
Authors: Erkkila Betsy 
Published: November 2023

Abstract
One of the most controversial dimensions of this volume is certain to be the picture on the cover, a nude photograph of an old man taken by Thomas Eakins that bears a striking resemblance to Walt Whitman. Discovered by Ed Folsom in an exhibition catalog of previously unpublished photographs by Eakins (Photographer Thomas Eakins 33), the picture is part of a sequence of seven nude photographs, taken sometime in the 1880s, showing frontal, side, and posterior shots (Fig. I.I). Although we are unaccustomed to seeing our major American writers in the flesh, given Whitman’s words at the outset of the long opening poem of the 1855 edition of Leaves of Grass-”! will go to the bank by the wood and become undisguised and naked” (LG 1855: 25)-and the interest that Whitman and Eakins shared over many years in the glories of the undraped body, the existence of a nude photograph of Whitman taken by Eakins should come as no surprise. Indeed, rumors of the existence of such a photograph or painting have circulated for many years. Taken sometime after Herbert Gilchrist made sketches of Whitman sunbathing in the nude at Timber Creek in 1878 (Fig. 1.2) and sometime before Eakins began painting his well-known “Rabelaisian” portrait of Whitman in 1887 (Fig. 10.8), the “old man” appears to be part of “the naked series,” a series of photographic studies of male and female nude bodies that Eakins made at the Pennsylvania Academy of Fine Arts between 1882 and 1886.
Whitman and Problems of the Vernacular
Authors: Arac Jonathan 
Published: November 2023

Abstract
Let me start well within bounds, with a commonplace. Someone eager to learn about the author of Leaves of Grass could turn to recent works of good repute and find that Whitman is notable for his use of “the American vernacular” (Loving 453), that he was “the first genuine master of the American vernacular” (Zweig 182). But what is meant by this laudatory description? How did this term vernacular come to occupy a key place in discussions of Whitman? What is the value of maintaining it? The term was not part of nineteenth-century discussions of what Cmiel (1991) calls “popular language” in the United States, nor does it figure in the pathbreaking discussion of Whitman’s language in F. 0. Matthiessen’s American Renaissance (1941). So far as I can tell, the term begins to play its current role in the early postwar period, functioning among the founding premises for the institutionalization of literary American Studies. The specific premise is that Whitman, together with Mark Twain, inaugurated what Henry Nash Smith in the 1948 Literary History of the United States called, in praise, “the intrusion of the vernacular into consciously literary usage” (650). A decade later, Leo Marx developed this claim in “The Vernacular Tradition in American Literature,” which as late as 1988 Marx placed first in the warmly-reviewed volume of his collected essays.
“For America-For All the Earth”: Walt Whitman as an International(ist) Poet
Authors: Grünzweig Walter 
Published: November 2023

Abstract
Walt Whitman’s international reputation was carefully mapped out by the author himself. He saw his work as standing in an international context and himself as an international poet and cultural figure. Thereby he broke, from an American as well as a European point of view, yet another bound: that of the national--and at times nationalistic-bias frequently informing literature and the construction of the literary canon. Although Whitman is frequently said to be the first American poet, his work simultaneously reaches beyond the very national literary boundaries he himself is credited with having established. In a programmatic statement on “Poetry To-day in America,” he explained his wish to bind nations closer together through poetry: “I would inaugurate from America, for this purpose, new formulas-international poems. . . . I have thought that both in patriotism and song . . . we have adhered too long to petty limits, and that the time has come to enfold the world” (PW 2: 484). Thus, at a time when the definition of a nationally independent American literature was still new and far from being universally accepted, Whitman, through his poetry, wanted to push beyond the “petty limits” of a national literature.
Admitting the Holocaust
Authors: Langer Lawrence L 
Published: November 2023

Abstract
In the face of the Holocaust, writes Lawrence L. Langer, our age clings to the stable relics of faded eras, as if ideas like natural innocence, innate dignity, the inviolable spirit, and the triumph of art over reality were immured in some kind of immortal shrine, immune to the ravages of history and time. But these ideas have been ravaged, and in Admitting the Holocaust. Langer presents a series of essays that represent his effort, over nearly a decade, to wrestle with this rupture in human values—and to see the Holocaust as it really was. His vision is necessarily dark, but he does not see the Holocaust as a warrant for futility, or as a witness to the death of hope. It is a summons to reconsider our values and rethink what it means to be a human being. These penetrating and often gripping essays cover a wide range of issues, from the Holocaust's relation to time and memory, to its portrayal in literature, to its use and abuse by culture, to its role in reshaping our sense of history’s legacy. In many, Langer examines the ways in which accounts of the Holocaust—in history, literature, film, and theology—have extended, and sometimes limited, our insight into an event that is often said to defy understanding itself. He singles out Cynthia Ozick as one of the few American writers who can meet the challenge of imagining mass murder without flinching and who can distinguish between myth and truth. On the other hand, he finds Bernard Malamud’s literary treatment of the Holocaust never entirely successful (it seems to have been a threat to Malamud’s vision of man’s basic dignity) and he argues that William Styron’s portrayal of the commandant of Auschwitz in Sophie’s Choice pushed Nazi violence to the periphery of the novel, where it disturbed neither the author nor his readers. He is especially acute in his discussion of the language used to describe the Holocaust, arguing that much of it is used to console rather than to confront. He notes that when we speak of the survivor instead of the victim, of martyrdom instead of murder, regard being gassed as dying with dignity, or evoke the redemptive rather than grevious power of memory, we draw on an arsenal of words that tends to build verbal fences between what we are mentally willing—or able—to face and the harrowing reality of the camps and ghettos. A respected Holocaust scholar and author of Holocaust Testimonies: The Ruins of Memory, winner of the 1991 National Book Critics Circle Award for criticism, Langer offers a view of this catastrophe that is candid and disturbing, and yet hopeful in its belief that the testimony of witnesses—in diaries, journals, memoirs, and on videotape—and the unflinching imagination of literary artists can still offer us access to one of the darkest episodes in the twentieth century.