bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Nature And Techniques Of Violence
Authors: Lintott Andrew 
Published: November 2023

Abstract
In the last years of the Republic most of the violent incidents related in our sources were either stage-managed by a politician or purposeful acts springing from the common feeling of a mob. Caesar and Pompeius, Clodius and Milo all organized their violence for a specific end, and it was fair that their deeds were described in the language of military operations. It was also possible to have men ready to fight against any eventuality that might occur. Even when supporters were neither armed nor organized, a politician could work on a crowd’s passions and show that he encouraged violence in his interest.
States Of Emergency
Authors: Lintott Andrew 
Published: November 2023

Abstract
From time to time in the late Republic, when legal remedies for violence were judged to be inadequate, the so-calledsenatus consultumultimumwas passed and more drastic emergency measures were taken. Controversy over the nature and implications of this decree has not been confined to historians: there was fierce dispute among the politicians at Rome, which continued until argument took second place to civil war. It may be that the conflict of principles at the root of the Roman constitution forbade a definitive solution. The most exact formulation of the different interpretations of the decree will, however, shed light on the objects of this inquiry, the constitutional position of violence and the Roman attitude to its use.
Conclusion
Authors: Lintott Andrew 
Published: November 2023

Abstract
Polybius was right to hold that the Roman constitution was a mixture of monarchy, oligarchy, and democracy, but his belief that this blend was as stable as law could make it seems misguided. He ascribed to law what was in fact the product of the mos of his period. The oligarchy had gradually made the vital concessions to democracy during an era of intermittent civil strife, separated by armistices when external pressure was strong. The constitution evolved was more of a truce position than a peace settlement.
Ireland to c. 1640
Authors: Gee Austin 
Published: November 2023

Abstract
Cosgrove, Art. ‘Ireland’ [the new Cambridge medieval history], A4. Edwards, Nancy. ‘Early medieval Munster: summary and prospect’, A122, 200-5. Flanagan, Laurence. Ancient Ireland: life before the Celts. (Dublin: Gill & Macmillan, 1998), vii, 264p. Gillingham, John. ‘The travels of Roger of Howden and his views of the Irish, Scots and Welsh’, Anglo-Norman Studies 20 (1997), 151-69. Kew, Graham. ‘The Irish sections of Fynes Moryson’s unpublished itinerary’, Analecta Hibernica 37 (1995-96), 1-137. Lydon, James. The making of Ireland: from ancient times to the present. (London: Routledge, 1998), ix, 425p.
Ireland since c. 1640
Authors: Gee Austin 
Published: November 2023

Abstract
Agnew, Jean (ed.) The Drennan-McTier letters 1776-1793, volume 1, general editor Maria Luddy. (Dublin: Women’s History Project in association with the Irish Manuscripts Commission, 1998), lx, 612p. Johnson, Barry Cornish. Baronet in an earth lodge: the life of Sir St George Gore and his ‘singular adventures’ in the great West. (London: English Westerners’ Society, 1997), viii, 96p. McCabe, Ian. ‘Leaving the Commonwealth’, History Ireland 6:4 (1998), 5-7.
Empire to 1783
Authors: Gee Austin 
Published: November 2023

Abstract
Bayly, C.A. ‘The first age of global imperialism, c.1760-1830’, Journal of Imperial and Commonwealth History 26:2 (1998), 28-47. Frost, Alan. The precarious life of James Mario Matra: voyager with Cook, American loyalist, servant of empire. (Carlton (Vic): Miegunyah Press, 1995), xiv, 264p. Kulke, Hermann; Rothermund, Dietmar. Geschichte Indiens. Von der Indus-kultur bis Heute [History of India from the Indus culture to the present], 2nd edition. (Munchen: C.H. Beck, 1998), 509p.
Empire and commonwealth post 1783
Authors: Gee Austin 
Published: November 2023

Abstract
Austin, Dennis. ‘In memoriam: legacies of empire’, Round Table 348 (1998), 427-39. Aylmer, Richard John. ‘The imperial service of William Aylmer, 1800-14’, Irish Sword 20:81 (1997), 207. Feinstein, Charles H. ‘The end of empire and the golden age’, A38, 212-33. Jeal, Tim. ‘David Livingstone:a brief biographical account’, A113,13-74,220. Lovell, Mary S. A rage to live: a biography of Richard and Isobel Burton. (London: Little, Brown, 1998), xvii, 910p.
Baudelaire and Proudhon (II): A Reading of ‘Assommons Les Pauvres!’
Authors: Burton Richard D E 
Published: November 2023

Abstract
Il m’avait semblé seulement que je sentais, confineé au fond de mon intellect, le germe obscur d’une idée superieure àtoutes les formules de bonne femme dont j’avais recemment parcouru le dictionnaire. Mais cen’était que 1’id é e d’une id é e, quelque chose d’infiniment vague.
From Military Dictatorship to the European Union I967–I992
Authors: Beaton Roderick 
Published: November 2023

Abstract
The period of the Colonels’ junta, from 1967 to 1974, marks a significant transition from the polarized divisions of the period of Greek history that goes back to the Asia Minor disaster of 1922, to a new phase whose foundations, we can now see in retrospect, were quietly being laid in the 1960s. In the short term, the rule of the Colonels brought back much of the rhetoric and most of the repressive measures that had been used earlier by Metaxas, and against the Left during the civil war. In the first years of the Colonels’ rule, laws of censorship were so strict that many writers of literature refused to publish in Greece at all.
Literature and Language: The ‘Language Question’
Authors: Beaton Roderick 
Published: November 2023

Abstract
Literature is nothing if not language, and in a Greek context language, the raw material of literature, has not been something that writers or readers could take for granted. On the eve of Greek independence, in the second half of the eighteenth century, the need for a written ‘standard’ (in the sense in which the term is used in modern linguistics) came to be recognized and debated in intellectual circles. This was the beginning of the notorious ‘Language Question’, which reached a climax in the polarization and even violence of the first years of the twentieth century, and has still not entirely died down despite reforming legislation in the 1970s and 1980s.
Structuralism Utopian and Scientific
Authors: Knight Diana 
Published: November 2023

Abstract
BARTHEs’s model of myth as a two-tier sign system offers a powerful and self-confident analysis of the way in which alienating mystifications achieve their purpose. ‘Myth Today’, therefore, might be considered an optimistic declaration of the political potential of Saussurean semiology: ‘whatever its mistakes, mythology is certain to participate in the making of the world.’ Indeed the ethical impulse is explicitly utopian: ‘founded on a responsible idea of language, mythology thereby postulates the freedom of the latter.
Tricks of the Text
Authors: Knight Diana 
Published: November 2023

Abstract
IN the early I97os Barthes published a series of essays on the politics of utopia, all of which addressed, at least in passing, the question that had first appeared in his work more than twenty years earlier: could language be liberated ahead of history? The dilemma is clearly posed in a section of ‘Writers, Intellectuals, Teachers’ ( 1971) where Barthes argues from the helpful analogy of two sorts of typing error.
The Period In Close-Up
Authors: Kay Sarah , Cave Terence , Bowie Malcolm 
Published: November 2023

Abstract
Between Villon, who was writing in the mid-fifteenth century, and Rabelais, whose Pantagruel first appeared in 1532, there are no French writers whose names are widely remembered. During this period, the rich and powerful culture of Burgundy is in decline, while the political and economic shift which, by the third decade of the sixteenth century, brings about a concentration of affluence and cultural resources at the French royal court and in the trading city of Lyons, is still in process.
Independent Producers
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
THE 1950s ushered in a new climate for independent production. The retrenchment of the Rank empire in 1948 9 meant the closure of Independent Producers Ltd. and most of its privileged incumbents went to work for Korda at British Lion. Moreover, the closure of Gainsborough meant that Sydney Box also became free-lance. Independent production became artisanal and each producer had to subsist between pictures. It was not until the end of the decade that independent producers managed to regroup into two self-governing consortia. The support of independent production was therefore central to the politics of 1950s cinema. For several years, the perceived need to support independent production justified what were effectively state subsidies for the financially ailing British Lion, where producers like Powell and Press burger, Launder and Gilliat, David Lean and Ian Dalymple were sheltering under Korda’s wing. Moreover, the official aim of the British Film Production Fund was to support the independent producer by channelling a proportion of exhibition revenues directly to him, thus reducing the distributor’s share. On the financial front, the role played by the NFFC was crucial. In May 1949, the Treasury’s Capital Issues Committee decided to reject any application from a film producer to raise a bank loan. The only exceptions were to be the smallest opera tors, such as Exclusive, who needed less than £50,000 per year. This ruling effectively compelled most independent producers to rely on the distributors for production finance. It was not until the Conservatives won the 1951 election that the Treasury agreed to regard bank loans as self-liquidating funds, provided they were still guaranteed by the distributor.3 A fortnight later, the Treasury also agreed to allow a producer to borrow additional funds to guarantee completion of production, largely because ‘anything which strengthens the production of films in this country becomes a dollar saver.’4
The Cinema Audience Responds
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
BRITISH cinema during the 1950s was a social institution as well as an industry. Films were watched as well as made; and the manner in which cinema audiences responded to them offers an insight into the changing cultural and psychological values of the decade. For many, cinema-going was a social habit, but others selected from the films those elements which assuaged their anxieties or stimulated their imagination. Even though the films of the period do not offer the historian a direct reflection of social reality, they do provide a series of insights into the fears and fascinations of a society that both looked back with pride to the nation’s military and social achievements in the Second World War and sought to negotiate the social and cultural challenges posed by the emergence of a consumer society. Moreover, while some cinema-goers looked to Hollywood’s melodramas and musicals for insights into life and values at the leading edge of post-war modernity, many others, who felt trapped in Britain’s traditionally class-bound society, looked to British films for ways in which to adjust to the changing values of the nation’s newly emerging meritocracy. For most cinema-goers, however, the choice of which film to watch was often highly restricted. The principal distributors, some of whom owned their own exhibition outlets, carefully structured the supply of films, in order to maximize their revenues. It was only in London and the large metropolitan cities that audiences were able to exercise an extensive choice between programmes mounted by competing cinemas. In many provincial cities, competition was restricted to two or three circuit cinemas which could show only their national release, while cinema-goers in small towns often had access to only a single cinema.
Conclusion
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
THE narrative of 1950s British cinema is one in which successive Governments struggled desperately to keep a national industry alive in an international market place, while simultaneously nurturing a domestic electronic rival-the television industry. Harold Wilson’s early interventions at the Board of Trade, which were particularly designed to support independent producers, were well-intentioned but half-baked. The Treasury never allowed the NFFC sufficient funds to fulfil its responsibilities, and although the Corporation’s attempts to establish semi-autonomous groups promised much, they delivered little that was new. The NFFC also expended a great deal of energy and money in keeping both British Lion and Group 3 afloat. It was not until 1957 that a change in the Corporation’s terms of reference enabled a new generation of its directors to work with the market rather than against it. The Corporation then began to take more cultural risks by sup porting films that would appeal to the younger, more adventurous, audiences. Hammer and Anglo-Amalgamated started to flourish, while Ealing, Rank, and ABPC stagnated.
Male chains
Authors: Segal Naomi 
Published: November 2023

Abstract
IN the last chapter we followed femininity in Gide through fantasies of triangulation towards a female chain which could not material¬ize. I suggested that in his writings there are no couples, and that while heterosexual couples multiply out into triangles, the m-m pair tends to be extended into a chain modelled on the structure of pederastic desire. ‘I am very curious to know Caloub ‘ (p. 1248) are the last words of Les Faux-monnayeurs; spoken in Edouard ‘s voice, they point the way out beyond the sexual-epistemological couple to a line of possibilities continuing in time and space. This is the male chain. It will appear in a number of different modes: fraternal, genealogical, narratological, educational, religious, logical; it may flow like a liquid or form institutional structures. We saw its base formation in Chapter 2 in the shape of Gide ‘s three successive objects of desire. Progressing temporally or spatially, it can be read either this way or that: Nature forms a network without beginning or end, an uninterrupted succession of links which might be taken hold of in any direction; and nothing is more difficult than to decide whether each piece finds its raison d ‘etre in the one before or the one after (assuming, that is, that it has any raison d ‘etre) or whether the whole book of Nature, in order to be really understood, docs not need to be read in reverse order-in other words, if the last page is not the explanation of the first one, the last link the secret motive of the beginning ... A tclcologist is someone who reads the book backwards.
Uncles and aunts
Authors: Segal Naomi 
Published: November 2023

Abstract
Gide‘s writing is haunted by genetics and genealogy. We have seen this in the structures ofheterosexual triangulation, the male chain, and the bastard as ‘swerve ‘. Nowhere, he seems to be saying, shall the tem¬poral line of the generations be a straight one. In Corydon most fo¬cusedly, we have seen his fascination with the horticultural re-routeing of plant reproduction and a very similar vocabulary used in the description of the natural history of animal sexuality: the female¬ feminine trunk as base and the male-masculine branches, leaves, and fruit as the aesthetics of excess. If we pull all these images together, we have the family tree, conceived as a closed hydraulic system in which fluid-semen/blood as sap-may be controlled, produced, and redirected.
From the Beginnings to the Middle of the Thirteenth Century
Authors: Caldwell John 
Published: November 2023

Abstract
WHEN during the course of the fifth century Britain was first colonized by Germanic peoples in appreciable numbers, they brought with them a long-standing tradition of sung narrative poetry, which according to. Tacitus was their only record of the past. Although similar traditions no doubt already belonged both to the Celtic peoples whom they eventually supplanted in most parts of Britain, and to the Scandinavians who invaded and settled in large numbers from ·the end of the eighth century, it was in the context of the Anglo-Saxon language and culture that the genre first made a noticeable impact on the artistic life of the country. The great monument of this tradition is Beowulf, a poem of over 3,000 lines and the oldest epic in any Germanic language. Neither its date nor its place of origin is known for certain, but an eighth-century Midlands or Northern milieu is generally assumed. The single manuscript in which it has come down to us, however, was written in Wessex in the tenth century, and it is uncertain how closely the extant version resembles chanted heroic poetry, orally composed and orally handed down from singer to singer. Nor do we know to what extent the poem, even if faithfully recorded in the first instance from an authoritative branch of the oral tradition, was subsequently modified on the basis of written copies. In all probability a poet of genius has at some point refined and polished a rougher original, perhaps arranging a number of distinct lays into a single cohesive narrative. That, after all, is a plausible view of the Homeric poems, or, in a period long after that of Beowulf, such European masterpieces as the Chanson de Roland and the Nibelungenlied.
Secular Vocal Music, 1575—1625
Authors: Caldwell John 
Published: November 2023

Abstract
THE secular music of Elizabethan and Jacobean England does not fall into such neatly defined categories as was once supposed. Even the word ‘secular’ is not very helpful for the purpose of definition, since much that was written for domestic use was unambiguously sacred in content.’ Consort-song, lute-song, and part-song (embracing the madrigal), are all interrelated. In addition, there are the various genres of domestic psalmody and sacred songs, including those for voice or voices with the accompaniment of’whole’ or mixed consort.
Instrumental Music, 1575—1625: Musical Life and Thought
Authors: Caldwell John 
Published: November 2023

Abstract
INSTRUMENTAL music existed in great variety and profusion during this period, far exceeding in quantity the written survivals from the preceding thirty years when it had first emerged as a fully independent repertory. Solo lute and keyboard music were assiduously cultivated, the former for the first time as a sophisticated and self-sufficient art-form, the latter newly weaned from its liturgical dependence. In the field of chamber music, while the ‘whole consort’, especially of viols, retained its pre-eminence, there was much experiment with the artistic use of new media, particularly of various kinds of ‘mixed’ consorts and, in the reign of James I, the combination of a keyboard instrument (usually the organ) with others.
French Influence in the Caroline Masque
Authors: Walls Peter 
Published: November 2023

Abstract
Shirley’s play was licensed for performance at the end of 1632 (the year in which the most sought-after Dutch portraitist, Van Dyck, took up residence in England). The Ball’s satire on the court and its prevailing fashions proved almost too close for comfort; Lord Herbert, the Master of the Revels, considered having the play banned because ‘there were divers personated so naturally, both of lords and others of the court, that I took it ill’. The word ‘ball’ is itself a French borrowing.
Realizations
Authors: Walls Peter 
Published: November 2023

Abstract
In the preceding chapters a number of basic points about the function of music in the masque have emerged. We have seen that the dances of the main masque are presented as models of the happy peace, co-operation, and order characterizing a wisely governed commonwealth. While this is made explicit by the words of the songs which introduce them, the choreography and the clear formal structure of the music itself supports the idea. The masque songs themselves are stylistically sophisticated—worthy vehicles for (and illustrations of) the ideas they convey. The special importance of music and song is underlined in many ways, but most obviously through the characterization of musicians as priests, deities, or ancient poets.
London
Authors: Horton Peter 
Published: November 2023

Abstract
WHEN Sarah Wesley penned those damning words in 1817, the possibility that her seven-year-old nephew Samuel Sebastian would become the fore-most church musician of his generation would surely have filled her with amazement and disbelief But such is the power of human determination when allied with true talent that, even with such an inauspicious start as an illegitimate birth and a home in which he would often have experienced real poverty, ‘this poor Boy’ quickly rose to the top of his profession and, at the end of his career, received official recognition with the offer of a knighthood or Civil List pension.
Leeds
Authors: Horton Peter 
Published: November 2023

Abstract
It must indeed have been a shock to Samuel Sebastian and Mary Anne to exchange the fine buildings and rural surroundings of Hereford and Exeter for the ‘dirt, smoke, and inhabitants’ of Leeds, for the contrast between Devon and industrial Yorkshire could not have been greater. Whereas Exeter had owed its prosperity to traditional industries based on the wool trade, Leeds, whose population had risen from 53,162 in 1801 to 123,393 in 1 831 and was still increasing, 4 was very much a product of the industrial revolution, ‘situated in the midst of one of the most thriving manufacturing districts in the kingdom’.5 But for Wesley such things would have mattered little.
Captain Cooke’s Boys: Humfrey, Blow, and Turner
Authors: Spink Ian 
Published: November 2023

Abstract
Cooke’s first set of choirboys included Michael Wise, Pelham Humfrey, John Blow, Robert Smith, and William Turner. As has already been mentioned, Clifford includes the words of six anthems by Smith, five by Humfrey, and three by Blow in the 1664 edition of Divine Setvices. The encouragement given to these lads came from none other than the king, as Thomas Tudway (who had experienced it) reports.
Henry Purcell
Authors: Spink Ian 
Published: November 2023

Abstract
Purcell’s church music amounts to three services, sixty-five anthems, and a set of funeral sentences.1 Though some were written for Westminster Abbey, and others--probably the majority- -for the Chapel Royal, his output will be considered more or less chronologically, irrespective of function and place except in so far as these are inherent in the chronological sequence.
Cambridge
Authors: Spink Ian 
Published: November 2023

Abstract
The title-page of an anthem word-book printed at Cambridge in 1706 informs us that at King’s College the choral service was sung daily throughout the year; at Trinity, St John’s, and Jesus Colleges ‘upon Sundays and Holy Days’, and at Peterhouse, Pembroke, Christ’s, and Emmanuel ‘upon Extraordinary Occasions’. Services were also sung ‘before the University, in Great St. Mary's Church, upon the chief Festivals of the Year’.
Canterbury
Authors: Spink Ian 
Published: November 2023

Abstract
As befitted the dignity of the primatial see, Canterbury was one of the richest cathedrals of the new foundation. By the Henrician statutes the choir consisted of twelve minor canons in priests’ orders, twelve lay clerks, and ten choristers. Although it was a large choir, almost from the first the problem of finding so many priests sufficiently skilled in music to serve as minor canons led to the introduction of lay ‘substitutes’.
Carlisle
Authors: Spink Ian 
Published: November 2023

Abstract
Even before the Civil War it was said, somewhat derogatorily, of the music in Carlisle Cathedral that ‘the Organs and voices did well agree, the one being like a shrill Bagpipe, the other like a Scottish Tone’. In view of the extreme geographical situation and modest musical establishment of eight minor canons, four lay clerks, and six choristers, such a comment is hardly surprising.