bluuebunny/crossref_metadata_2025_split huggingface dataset:
Reading the Greek Discourse of Death. Reading Ancient Texts
Authors: Sourvinou-Inwood Christiane 
Published: November 2023

Abstract
This book consists of a series of investigations into Greek collective attitudes and behaviour towards, and beliefs about, death and the dead, and also into images and texts pertaining to death. The investigations are independent of each other but also comp lementary; they contribute to the exploration of some important facets of the Greek death discourse. They are placed in a historical perspective and the question of change in the different facets of the death discourse in the course of time is neither a priori assumed nor rejected, it is investigated through as neutral a methodology as possible. Each investigation examines in depth the different types of data that can be brought to bear on each question in their own right (not one set as an appendix to the other), and according to the methodologies that are appropriate in each case. Indeed the methodologies for reading the Greek discourse of death, which involves the reading of texts, images, and archaeological evidence and also the interrelation of these readings, is another major focus of the book, as part of the wider Problematik pertaining to the reconstruction of a culture and its mentalities. I have discussed elsewhere’ the Problematik of the ‘reading’ of Greek culture and its various cultural artefacts, and the methodologies capable of allowing us-in so far as this is possible--to read ancient texts through the eyes of their contemporary readers. Here I will elaborate a little on the reading of texts in order to provide the theoretical framework for the readings of the Homeric epics and of the epitaphs set out in Chapters II and III.
‘Ordering the House’: On the Domestication of Jewish Bodies
Authors: Baker Cynthia M 
Published: November 2023

Abstract
‘The geography closest in’ is one of many expressions used by poet Adrienne Rich in speaking of the body. She distinguishes this most intimate geography from that of ‘a continent or a country or a house’, in a phrase that implies both a closeness to, and a distance from, these other, larger geographies.‘The geography closest in’ tells us, as Rich’s words often do, that bodies not only move through, inhabit, exceed, imagine, and otherwise take up space, but that they are themselves space-and place-overlapping and intertwining with countless others. But ‘geography’ is also a discipline, a practice of describing and inscribing difference; it is about creating order, and borders, and separations between one place and another, one body and another. It is in all these senses, then, that this phrase serves as an appropriate starting-point for an exploration of ancient Jewish bodies, or rather, one Jewish body in particular: that of the ‘wife’ as constituted in rabbinic Jewish texts from the third century CE. In their earliest collections of stories and rulings, the rabbis, an emerging class of Jewish authors/authorities in Roman Pales tine, imagine the wifely body as precisely ‘the geography closest in’, as a body that is at once both place and practice, that is at once both ‘woman’ and ‘house’. In this chapter, I shall explore several aspects of this rabbinic construct, not only through examinations of texts in which it is found, but also through consideration of ancient Palestinian domestic architecture and its potential for elucidating the discursive spaces which the wifely body comes to occupy.
Lyudmila Petrushevskaya(b. 1938)
Authors: Laird Sally 
Published: November 2023

Abstract
Lyudmila Petrushevskaya was born in Moscow shortly before the outbreak of the Second World War, and, like all her generation, was marked for life by the events of her childhood: war, evacuation, the post-war hunger and deprivation, as well as the intangible, universal fear generated by Stalin ‘s Terror.
Introduction
Authors: Evans Peter William 
Published: November 2023

Abstract
Recent writing on film, especially on the Hollywood cinema and on issues related to authorship, has begun to recover some of the ground lost in the explosion of structuralist and post-structuralist approaches to cultural theory. In discussions of literature the notion of the deconstruction of the author has its origins above all in Nietzsche, Freud, Marx, and their influence over a whole generation of cultural theorists, including, most prominently, Lacan, Althusser, Derrida, Barthes, and Foucault, whose radically new perspectives led to a more rigorous contextualization of cultural production and an inevitable erosion of the previously largely undisputed notion of exclusive authorial hegemony. These trends were very quickly assimilated by film theory and criticism, and death-of-the-author approaches—given their most extreme promotion in Seventies’ issues of Screen—resulted in writing on film often giving the impression that, since they would inevitably be compromised by bourgeois notions of subjectivity, discussions of authorship had no real place in serious analysis. More recently, though, the author has made something of a comeback.
The Real Mann? Standing and Understanding
Authors: Reed T J 
Published: November 2023

Abstract
‘The monument sways and crumbles’, wrote a prominent literary journalist in 1977, reviewing Thomas Mann’s Tagebücher 1933--34.2 The diaries have certainly done much to change Mann’s image. But the process began much earlier, d it is ultimately positive. To be a monument was a mixed blessing in his lifetime, bringing him the often envious hostility of major contemporaries: Brecht, Musil, Doblin, Broch. In the even less manageable realm of posthumous reputation, it is a liability. So if the change has been sobering, if illusions have been undone and status-of a kind-has been lost, in return the man and his work can now be seen in their full and real humanity. A classic of which that cannot be said, whose standing is bought at the expense of understanding, is precarious.
Mapping the Indigenous ‘Mediasphere’
Authors: Hartley John , McKee Alan 
Published: November 2023

Abstract
Founded with modernity, news is a modernizing, modernist discourse, dedicated to progress, reason, truth and the commanding power of empirical, preferably quantitative evidence. News is not at its best, therefore, in dealing with what has been ‘negativized’ as modernity’s ‘other’. It has inherited from the militant eyewitness explorers of the nineteenth century the will to oppose the industriousness and democracy of the north to something understood as a natural, pre-modern state from which modernity has been emancipated (see MiJler, 1995).
Modern Times: Francisco Umbral's Chronicle of Distinction
Authors: Smith Paul Julian 
Published: November 2023

Abstract
If, in Vattimo’s apparent tautology, ‘modernity’ is that time in which ‘the modern’ is the highest or only value, then the Spain of the 1980s is surely the most modern of societies. And the journalist and novelist Francisco Umbral is its arbiter of elegance: both a commentator on and a contributor to social and aesthetic manners.
The Consequences of Symbolism: Hesitations, Problems and a Solution
Authors: Vilain Robert 
Published: November 2023

Abstract
Certain features of a poet’s work—images, preferred settings, character types, attitudes—recur frequently enough to be called characteristic. Before embarking on detailed analysis of selected poems from the early r8gos, it may be useful to identify, even somewhat schematically, some of these features in Hofmannsthal’s verse.
Conclusion
Authors: Edwards Rachel , Reader Keith 
Published: November 2023

Abstract
The number, complexity, and variety of the texts with which we have been dealing here—from contemporary daily journalism to psychoanalytic theory, from classics of the French theatre and cinema to popular novelistic recreations—not only makes this an ideal case for looking at in a cultural studies perspective but of itself suggests the ultimate futility of seeking anything so reductive as an ‘explanation’ of the Papin sisters’ crime.
‘Waiters upon the Violin’ The Twenty-four Violins at Court
Authors: Holman Peter 
Published: November 2023

Abstract
The traditional round of daily attendance or ‘waiting’ at Court ren,aif1ed the prime duty of royal musicians during the Restoration period. The chroniclers of court life took the presence of music so much for granted that they rarely bothered to mention it, but it is clear that the violinists, at least, were still required to attend Whitehall daily while the court was there. On 7 November 1666 twelve of them petitioned the king for arrears of wages, pointing out that they had ‘been com(m)anded to attend yo(u)r Ma(jes)tie and yo(u)r Royall Consort the Queene in all progresses, besides their dayly attendance heere’. A couple of years later, when wages were between six and seven years in arrears, the musicians complained as a body that they had ‘all this winter given their constant attendance morning and evening on this present mask’. We saw in Chapter 12 that John Banister’s Select Band had to be on hand ‘whensoever there shall be occasion for Musick’, and that Banister was required to attend the king ‘constantly to receive our Comands’.
‘lngenium’and‘Witz’’
Authors: Whittall Mary 
Published: November 2023

Abstract
The word ‘ Witz’ meant approximately the same thing as ‘esprit’ in the eighteenth century, and the concept was one of the fundamental categories of Enlightenment poetics, applicable to both literature and music; although the meaning changed, its importance carried over into the early Romantic era. Sturm und Drang, in very broad terms, contrasted the combinatory facility of ‘Witz’ with the intuition of genius, and the aesthetics of the Classical era, too, assigned ‘Witz’ only a peripheral role. And yet, not only in the case of Haydn, where the facts are unmistakable, but also with Beethoven, it is plainly one of those fundamental aesthetic principles that can be established analytically beyond a shred of doubt.
The ‘New Path’
Authors: Whittall Mary 
Published: November 2023

Abstract
There are few aesthetic commonplaces that nobody will dispute, but they must surely include the maxim that musical form is not so much architectural as linear. The statement needs qualification, however, if it is to serve the purposes of analysis or historical commentary. This chapter will investigate the proposition that, in works written in and after 1802, Beethoven expressed the processual character of form in a way that justified his speaking of a ‘new path’ or a ‘wholly new style’; but the thesis remains vague and impalpable for as long as the ideas that commingle in the concept of ‘musical process’ are not examined.
Fidelio
Authors: Whittall Mary 
Published: November 2023

Abstract
According to classical and romantic aesthetic theory, an essential qualification of those works that belong to the ‘imaginary museum’ of the great art that transcends history is that they should be unrepeatably individual. Hence, if the tradition of its genre is so deeply ingrained in a work that the work can be explained in terms of that tradition, then it is commonly regarded-at least in recent musical history-as a sign of inferior rank.
Introduction: Sketches and Drefts
Authors: Zychowicz James L 
Published: November 2023

Abstract
Gustar Mahler’s Fourth Symphony (1899–1900) is one of the composer’s most accessible compositions, and while it is difficult to find a single work that unequivocally embodies his style, this Symphony contains elements that may be seen to emerge throughout his oeuvre. For some the Fourth Symphony is Mahler’s response to Beethoven’s Ninth Symphony, while others assign other meanings to it. To probe the Fourth Symphony thoroughly, however, it is important to understand Mahler’s approach to its composition, and this is possible through analysis that includes an exploration of the sketches documenting the process that Mahler used to create it.
Revisions of the Fourth Symphony and the Problem of Editing Mahler’s Music
Authors: Zychowicz James L 
Published: November 2023

Abstract
For Mahler the publication of a symphony rarely concluded his involvement with the work, since he continued to revise published music after he performed it. The same refinement of detail that he took from his earliest sketches to the fair copy continued after publication, as he further clarified his intentions at various times. For some works, like the Fourth Symphony, Mahler revised the score not once but several times after its premiere and first publication, and he left a complex series of alterations that reflect the development of his conception of the work.
The Organist’s Place in Musical Performance
Authors: Hurford Peter 
Published: November 2023

Abstract
THE nature of music and its effect upon the spirit has inspired numerous essays, poems, analogies, and comments throughout the ages. The fact that its effect (varying from listener to listener) cannot be analysed beyond recognizable technical features has led men to describe it as ‘the divine art’–a phenomenon which defies identification. Philosophers have tried to pin down the innumerable facets of its appeal, and the application of rhetorical theory has led in the past to analogies with language. and even to rules for composition and performance derived from rhetorical theory.
A Basic Physical Approach to the Organ
Authors: Hurford Peter 
Published: November 2023

Abstract
THE mastery of any musical instrument requires a high degree of mental and physical co-ordination. For a keyboard player, the understanding and subsequent projection simultaneously of several lines of music, each with its own articulation and phrasing, adds to co-ordinative problems a dimension unknown to other performers. For the organist, who must often share several contrapuntal lines not only between ten fingers but with his feet as well, the degree of co-ordination required is greater than for any other musical performer (or indeed for any other occupation known to me).
In responding to such a challenge, the organist must learn to be an honest, self-critical listener; his own ear will be his best tutor, and its efficiency will improve with practice. However, first it might be helpful for him to consider several points of posture which are of basic importance to consistently good playing.
Quest for Leadership
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The year of Disraeli’s two nations, I 845, has already been identified as a turning-point in Philharmonic history. All manner of things fell apart and the directors seemed incapable of holding a plausible centre. Financial support collapsed, a mere 260 subscribers paying less than half the comparable figures of recent years. The Society’s image of excellence was badly dented, each concert bringing rancorous comment which rumbled on from criticism to diagnosis, prescription, and funeral oration.
Collapse
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
I regret I must refuse your proposal to play the concerto of Beethoven without rehearsal. I mean that would not be respectful to the composition, nor for the old Institution of the Phil harmonic Society, nor for myself as an artiste. Therefore I must beg you to arrange a rehearsal ⃛ If you are not able to arrange it I much fear that I must decline playing.
Ending and Beginning
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
In the immediate post-war years, when the contemporary history of Britain and of the Philharmonic, began, the nation’s thirst for "classical’ music was pronounced, and sometimes thought to be unquenchable. Orchestral concerts were preferred, consisting chiefly of a handful of romantic symphonies and piano concertos, the latter genuine or pastiche—Grieg, Tchaikovsky, Rachmaninov, "Warsaw’—given fresh endorsement by recently popular films.
Biography
Authors: Girdharn Jane 
Published: November 2023

Abstract
Stephen John Seymour Storace (1762-96) was one of the leading English composers in the last decade of the eighteenth century. Studies in Italy led to opera commissions in Vienna and a friendship with Mozart, then to a career as house composer at the Theatre Royal, Drury Lane, until his early death at the age of nearly 34. His brief career was both prolific and successful.
Music publishing In The Late Eighteenth Century
Authors: Girdharn Jane 
Published: November 2023

Abstract
The typical sequence to publishing operas in the eighteenth century is complicated by the number of different versions printed for various audiences. The words were published without music, both the complete libretto and the song texts alone, with different editors and publishers taking responsibility for the two versions. The music was published complete in a twostave reduction for voice and keyboard, and various numbers were also printed individually. English operas were never published with spoken dialogue and music together, nor as orchestral scores or parts.
Questions Of Genre
Authors: Girdharn Jane 
Published: November 2023

Abstract
In the eleven years of his career, Storace composed twenty stage works, most of them English operas with spoken dialogue. Unfortunately there has never been a consensus about what constitutes an English opera, nor any consistent terminology with which to discuss the genre. We therefore need to understand the flexibility of eighteenth-century attitudes, so that we can specify criteria by which to distinguish and name the various types of theatrical music of the period.
Afterpieces And Other Stage Works
Authors: Girdharn Jane 
Published: November 2023

Abstract
During his London career Storace composed eight afterpieces plus music for a number of other staged pieces. The scores of all but one of his afterpieces survive, along with some of the other larger works. His only ballet, Venus and Adonis (1793), was published in reduced score, and the play with music, The Iron Chest, was published posthumously in a volume with Mahmoud .
Borrowitngs
Authors: Girdharn Jane 
Published: November 2023

Abstract
An opera without some borrowed material was a rarity in late eighteenthcentury England. Composers of English operas regularly borrowed, arranged, and adapted existing material for their own operas. Storace was no exception, taking his cue from William Shield and Samuel Arnold, though they used different types of source material. They most often chose popular melodies to which they added new accompaniments, whereas Storaceborrowed most of his material from opere bujfe. Sometimes he used borrowed music with little alteration, but more often he made significant modifications to the original, fashioning the borrowed material to his own requirements and combining it with new music.
Parable Music II: The Church Parables
Authors: Elliott Graham 
Published: November 2023

Abstract
Cantata misericordium is a biblical parable which ends with a clear spiritual message; in this the work has a close relationship with the three Church Parables, the first of which (Curlew River) was written in the early months of 1964—less than a year after the completion of the cantata. Like the cantata, the Church Parables are set between a framing introduction and epilogue, in which the moral and spiritual message is expounded—respectively Faith, Hope, and Love. Robin Holloway finds this sequence ‘a little laboured’, since he believes that Curlew River embodies all three qualities. He goes on to suggest that ‘if the three parables have a common theme it is the drabbest stoicism: make do, knuckle under, hold fast, carry your burden, forgive and forget, dutifully kill the fatted calf’.
Parable Music IV: War Requiem
Authors: Elliott Graham 
Published: November 2023

Abstract
For Britten the pacifist, the folly of war was among the worst betrayals of innocence: the use of millions of young men as cannon fodder in a futile struggle which sought only to vindicate nationalist aspirations was an over- powering evil, and the reality and poignancy of that evil was epitomized by the writing of Wilfred Owen, whose life was wasted only a few weeks before the signing of the Armistice ended the First World War. The link between Owen, the pacifist chronicler of the First World War, and Britten, resulted in the creation of War Requiem, one of the most remarkable of the composer’s works.
The Shaftesbury Collection
Authors: Hicks Anthony 
Published: November 2023

Abstract
THE group of Handel scores first assembled by Anthony Ashley Cooper, 4th Earl of Shaftesbury (1711—71), was, until recently, the least known of the great Handel collections formed by the composer’s early patrons. It was said to have been preserved at St Giles’s House, the Shaftesbury family seat in Dorset, but no description of it had been published, and even its owner and his immediate predecessors were not fully aware of its contents. When finally brought to light it proved to be a remarkable combination of printed and manuscript scores covering the bulk of Handel’s output. The discovery of its full extent in 1983 was a happy precursor of the Handel tercentenary celebrations of 1985, but also led to changes. In 1987 most of the manuscript volumes were acquired by the late Gerald Coke and were moved to his Handel Collection at Bentley in Hampshire, while the printed material and two manuscripts were retained at St Giles’s House. Though the division may be regretted, there were good reasons for it, and it is fortunate that the early state of the Collection and its subsequent history can be described with reasonable accuracy. It is the purpose of this chapter to put on record the events of that history, especially those in which I had the privilege of playing a part, and to offer an overview of the contents of the Collection. I was pleased to have the company of Winton Dean at St Giles’s House on the day when the most important items in the Collection were first uncovered, and I am grateful to him for help over a number of matters, notably the identification of copyists. Both of us would wish to thank the present Earl of Shaftesbury for his kindness in allowing access to the Collection and other material at St Giles’s House on a number of occasions, and for assistance in other ways. The help and hospitality given by his staff in the estate office has also been much appreciated.
The Barrett Lennard Collection
Authors: Burrows Donald 
Published: November 2023

Abstract
THE great collections of manuscript copies of Handel’s music formed in the eighteenth century by such people as Elizabeth Legh, Charles Jennens, and Bernard Granville are dual testimony to the originators’ devotion to Handel’s music and to their desire for a distinctive personal library: these enthusiasts wished to own a collected edition of Handel’s works in an age when such an enterprise could not have been expected of London’s music publishers. Sometimes the identity of the original collector is disguised by the fact that the collection is now known by the name of a later owner, who may have added new materials to the received collection: thus, for example, ‘the Newman Flower Collection’ and ‘the Aylesford Collection’ describe entities that are not the same as the foundation corpus of material collected by Jennens. The problem of a collection’s identity occurs in a particularly acute form in the case of the Lennard Collection. On one hand, the sixty-seven manuscript volumes now in the Fitzwilliam Museum, Cambridge, (MU.MS. 789—855; see App. 2) that have been conveniently described as ‘The Lennard Collection’ or ‘The Barrett-Lennard Collection’ in modern Handelian literature bear the name of a fairly recent owner, while the identity of the original collector remains unknown: on the other hand, these volumes formed only a part of the (now dispersed) library of Henry Barrett Lennard.1 Since the manuscripts now in Cambridge are certainly the most significant part of Lennard’s Collection, they will be the prime concern of this article, but attention will also be given to other manuscripts from Lennard’s Handelian library.