bluuebunny/crossref_metadata_2025_split huggingface dataset:
Vision, Blindness, and Mask: The Radicalization of the Emotions in Sophocles’ Oedipus Rex
Authors: Calame Claude 
Published: November 2023

Abstract
As the twenty-first century draws near, one avenue of enquiry remains open to the contemporary student amidst the plethora of attempts to define Attic and Greek tragedy: the return to indigenous theory. However, if we wish to avoid the pitfalls of an image refracted through the lens of classical comedy, we must confront the profusion of readings of Aristotle’s Poetics. And if we find our way through this forest, we are faced with yet another set of difficulties and paradoxes in the form of a text written on the basis of class notes which appears to be interpreting tragic performances only at a certain remove and from the point of view of the culture of the fourth century, a culture in great part condemned to the written word.
What Can You Rely on in Oedipus Rex?Response to Calame
Authors: Buxton Richard 
Published: November 2023

Abstract
There are many things to admire in Claude Calame’s thought-provoking and scholarly paper. I single out three. First, he is right to emphasize the complexity of Aristotle’s view (or views) of the relationship between text and spectacle. Secondly, he very properly stresses the importance, for a full understanding of Sophocles’ play, of giving due weight to the pathos of Oedipus after the self-blinding. It sometimes happens that readers (although hardly audiences) under-interpret Oedipus Rex on the false assumption that nothing of importance happens after the messenger’s narrative—a view as untenable as that which would locate the effective end of the Oresteia at the moment of Orestes’ acquittal. Most important of all is Calame’s recognition that the theme of knowledge should be central to our appreciation of Oedipus Rex. To the first of these three points I shall not return: given the space available, I shall leave aside Aristotle and concentrate on Sophocles. The second point will concern us towards the end of this discussion; the third will form its principal topic. Before addressing the subject of knowledge, however, I propose to deal briefly with the ‘blind mask’, an issue which, though not decisive for Calame’s argument, is perhaps the most striking detail in it.
Tragedy and the Fragility of Moral Reasoning: Response to Foley
Authors: Trapp Michael 
Published: November 2023

Abstract
The heart of Helene Foley’s closely argued paper is a vindication of Antigone as the occupier of a coherent ethical standpoint and practitioner of a valid ethical style—against those somewhat patronizing, somewhat male, critics (mostly writing before 1965) who have belittled her as an irrational, impulsive female, more lovable for her instincts than exemplary in her clarity of thought. This central vindication is not meant as an end in itself; two paths may be seen leading from it to wider issues. The new view of Antigone, Professor Foley hopes, will prompt an enrichment of our sense of how fifth-century tragedy ‘problematizes Athenian civic values and discourse’, and a new examination of the workings of the key terms of Aristotle’s analysis of tragic poetry, ethos, prohairesis, and katharsis.
Something to Do with Dionysos—Tragedy and the Dionysiac: Response to Friedrich
Authors: Seaford Richard 
Published: November 2023

Abstract
I am in broad agreement with Rainer Friedrich’s criticisms of the four attempts to reinscribe the Dionysiac into tragedy. But I disagree with his belief that there is nothing much Dionysiac about tragedy other than its ritual origins and festival context. That is to say, I believe that tragedy is intrinsically Dionysiac in a way that has not been noticed, and that I will begin by summarizing.
Introductory Note
Authors: Silk M S 
Published: November 2023

Abstract
The papers in the third and final section are the most diverse. What they have in common is a specific orientation towards one or other of the relationships between the tragedy of Greek antiquity and the serious drama and theoretical perspectives of the modern world in and since Shakespeare. And if many of the issues and preoccupations of earlier essays are once again to the fore, one special recurrent theme is a commitment to definition, not least the definition of tragedy ‘as a whole’ itself.
Tragic Last Words: The Big Speech and the Lament in Ancient Greek and Modern Irish Tragic Drama
Authors: Macintosh Fiona 
Published: November 2023

Abstract
More, perhaps, has been written about tragedy than about any other dramatic form, and yet two of the mainstays of tragic drama—the big speech and the lament—have received relatively little attention. This is surprising not least because death, even if it does not always constitute ‘the necessary action’, is always present as ‘a necessary actor’ in tragic drama. And death as ‘action’ and death as ‘actor’ receives, of course, its fullest articulation through the big speech and the lament respectively. This paper will demonstrate, with comparative evidence drawn from Greek tragedy and modern Irish tragic drama, that a consideration of the last words uttered by both the dying characters and the chief mourners alike must be central to any discussion concerning the effect of tragedy.
Tragedy, Pure and Simple
Authors: Steiner George 
Published: November 2023

Abstract
‘Tragedy and the tragic’ ... : the excess of literary, scholarly, philosophical attention and the prodigality of magisterial treatments—from Aristotle to Dr Johnson, from Johnson to Nietzsche and Walter Benjamin—contrast strikingly with the paucity of first-order theoretical examinations of comedy. Very likely comedy is the more difficult, and the more elusive, of the two genres. And from this contrast arises a first, vexing question: why does human sensibility, in its creative and analytic motions, find the tragic to be more elevated, more fascinating, more conducive to major aesthetic forms and metaphysical suggestion, than it does the comic? Is there something in ‘tragedy’ which not only seduces imagination and intellect but flatters them, as ‘comedy’ does not? The ennobling solicitations of sorrow, of mourning, of drastic loss, have been explored by psychologists and philosophers as diverse as Boethius, Hume, and Freud. But there is a question which is much more embarrassing and very rarely asked, almost a taboo question, about the self-flattery, the self-aggrandizement in grief. Even where it is deeply personal, acute, and scarring (there, perhaps, most) —why is it that something in us feels good when we report disaster? Why is it that, deep within us, even the sickness of a child or the death of one close to us flatters, where the comic does not? The comic does not flatter sensibility. It does not bribe consciousness. We recount tragic experiences in which we have been involved, to which we have been witness, with an altogether different intonation of dignitas and pathos than we do their comic counterparts.
Foreign Policy
Authors: Elton Hugh 
Published: November 2023

Abstract
The Roman Empire had an army to keep out or destroy its enemies by whatever means necessary. There was no need, or even thought, of compromise. Ammianus Marcellinus’ account of a treacherous attack on a raiding band of Saxons in 370 concludes ‘and though some fair judge of these things will condemn this act as treacherous and hateful, yet on having considered the affair, he will not think it improper that a destructive band of brigands was destroyed once the opportunity was given’. This brutality was not confined to the battlefield. Earlier in the fourth century, Constantine the Great threw two Frankish kings to the beasts in the amphitheatre. Usurpers were as brutally treated, executed in public and their heads put on display. Thus in 422 Honorius celebrated his tricennalia by executing a usurper and his general in the arena at Ravenna.
The Eighteenth Dynasty Before The Amarna Period (c.155– BC)
Authors: Bryan Betsy M 
Published: November 2023

Abstract
Archaeological discoveries in the 1990s and 1990s, combined with the reexamination of older inscriptional evidence, suggest that the reunification of Egypt took place only in the last decade of the twenty-five-year reign of Ahmose (1550–1525 BC), first king of the 18th Dynasty. Thus the dynasty may be said to have begun officially around 1530 BC, but it was already well under way during Ahmose’s reign. Indeed, the nature of the Egyptian state at the beginning of the dynasty was surely mainly a continuation of forms and traditions that had never been entirely disrupted by the internal squabbles of the Second Intermediate Period. It must have been in part the commanding faith in those traditions that enabled Ahmose’s predecessors in the 17th Dynasty to consolidate a power base among other powerful Upper Egyptian families. As Ahmose and his successors later moved to assure their family’s dynastic line, they created or modified aspects of the kingship that, together with external pressures from the north-east and south, profoundly affected the rest of the 18th Dynasty.
The Amarna Period And The Later New Kingdom (c.1352–1069 BC)
Authors: Dijk Jacobus Van 
Published: November 2023

Abstract
When Amenhotep III died, he left behind a country that was wealthier and more powerful than it had ever been before. The treaty with Mitanni concluded by his father had brought peace and stability, which resulted in a culture of extraordinary luxury. A large percentage of the income generated by Egypt’s own resources and by foreign trade went into building projects of an unprecedented scale; inscriptions enumerate the enormous quantities of gold, silver, bronze, and precious stones used in the construction and decoration of the temples. Egypt’s wealth was symbolized by the sheer size of the monuments— everything had to be bigger than before, from temples and palaces to scarabs, from the colossal statues of the king to the shabti figures of his élite.
Virgil’s Third Eclogue: How Do You Keep an Idiot in Suspense?
Authors: Henderson John 
Published: November 2023

Abstract
This chapter steps back into the dark days of triumviral Rome. Virgil sets bucolic poetry the impossibly enticing task of fuelling cultivated verse with Italian rusticity—he writes a valley full of peasantry, not just a farmer Horace by his villa in the clearing, but a hillside of lads fetching the animals up to lonely pasture, down to the shade to drink, the outside of rural living time out of mind (cf. Chapter 6). The Eclogues urgently practise and reflect on poetry-making, in the shadow of political upheaval, inhumanity, and massacre. Protected, or prevented, from too direct referentiality, these oblique meditations occupy vigorous but slight hexameter compositions that characteristically entrust their burden to young herdsmen, and so deny themselves urban, civil, Roman standing. As mimes, they background the great world of Rome as beyond their ken, while pressing us up close to salt-of-the-earth bumpkins who treat their headaches and squabbles as if they could matter. Yet every line palpably brings both primeval country ways and smart versicles to cosmopolis, to feed urban taste for alterity, for the tease of gauche naivete. Bucolic taunts poetry with its distance from its origins, the improvisational singing that must contain its true, real, pure essence (pastoral—not past-oral, post-oral). And bucolic must guy its own scriptedness, that plays dramatic illusion false.
The Pentekontaetia
Authors: Rood Tim 
Published: November 2023

Abstract
The Pentekontaetia, Thucydides’ account of the (almost) fifty years between the Persian and the Peloponnesian Wars, is sparse and uneven, it omits many (in)famous events, and its account of those events it does mention is chronologically imprecise and lacking in strategic guidance. These perceived inadequacies, and the professional frustration they have caused, have led some scholars to conclude that the Pentekontaetia is unfinished, hastily written, and inadequately integrated into its context, and that its variations in detail are related to the quality of Thucydides’ sources.
The Structure of German
Authors: Fox Anthony 
Published: November 2023

Abstract
This book is a description of the major features of German according to the principles of modern linguistics. It considers aspects of German phonology, morphology, syntax, and semantics, as well as varieties and discourse, from a theoretical perspective, though theory is discussed only in so far as it can throw light on the structure of the language. The aim is not present a reference grammar, nor to provide definitive answers to the questions raised, but rather to foster a linguistically informed approach to the description of the language. No work of the kind has been available in English up to now, and the book is intended to fill this gap.
Lexical Semantics
Authors: Fox Anthony 
Published: November 2023

Abstract
We ‘have so far been concerned primarily with the formal’ aspects of language: with the various units, categories, structures, rules, etc. in terms of which German may be described. Though we have by no means ignored the meanings of these (some attention was given to the meanings of grammatical categories in Chapter 4, for example), meaning has mostly been kept in the background, in an attempt to focus attention on the forms themselves. The balance will to some extent be redressed in this chapter, where we turn our attention more explicitly to matters of meaning.
German And its Users
Authors: Fox Anthony 
Published: November 2023

Abstract
Previous chapters have dealt with the structure of the various linguistic ‘levels’-phonology, morphology, syntax, semantics-and have tried to establish the regular and systematic relationships out of which these structures are made. But it was pointed out in Chapter 1 that the recognition of such structures and relationships inevitably involves a degree of abstraction and idealization: ‘real’ language is not quite as consistent, regular, or systematic as our description might lead us to suppose. In this chapter we shall take up this question again, examining the nature of the abstractions and idealizations made, and attempting to relate them to the reality of language. In noting that there are such idealizations and abstractions we are not, however, conceding that our descriptions and theories are necessarily false or illegitimate. On the contrary, any description or theory which purports to make general valid statements-whether in linguistics or in any other discipline-must look beyond the observable facts to the underlying principles which determine them. In the process it is inevitable that certain aspects of these observable facts must be systematically excluded, or at least relegated to secondary importance. To take a simple example from everyday experience, we know that water boils at 100 degrees Celsius, but if we take measurements under a variety of different circumstances we shall find that this statement is never true in actual practice. Other factors, such as the atmospheric pressure, intervene to affect the result, and these must be discounted if we are to make our general statement This does not mean that the statement about the boilingpoint of water is untrue, but merely that it is true only under ideal conditions, which may in practice never occur.
Outsiders and Mavericks
Authors: Harper Sue , Porter Vincent 
Published: November 2023

Abstract
THE new production/distribution arrangements of the 1950s shook loose a range of maverick companies; some groups were on the periphery of the industry, in either their politics, their status, or their style. They were varied in their cultural resources and their entrepreneurial flexibility, and this affected their fortunes in the market. The phenomenon of these ‘mavericks’ goes some way towards accounting for the variety of 1950s film culture. ‘Youth’ films such as The Tommy Steele Story(1957) and We are the Lambeth Boys(1958) differed profoundly in their provenance, style, and market performance, as did school comedies such as Miss Robin Hood(1952) and Carry On Teacher(1959). The crucial determinant for all of them was their relationship to the second-feature and non-theatrical markets.
Charles I, The Commonweal the and the Restoration
Authors: Caldwell John 
Published: November 2023

Abstract
THE seventeenth century in England was a period of transition: politically and constitutionally, from the medieval to the modern state; in philosophy and science, from a deference to authority to the rational interpretation of observed facts. Twice the monarchy veered towards absolutism; twice it was repelled, first by an extremism which became self-defeating, on the second occasion by an accommodation that satisfied the majority. The Church rose and fell with the monarchy; but when the monarchy itself became overtly Roman Catholic, a conflict arose which only the Revolution could put down.
Music in the English Courtly Masque 1604-1640
Authors: Walls Peter 
Published: November 2023

Abstract
Those privileged enough to attend performances of masques at court in the early seventeenth century invariably commented on the sumptuousness of the music (and often had little to say about the literary aspects of the entertainments). Yet our view of the masque has been dominated by the texts, and indeed, the modern scholarship has tended to treat the masque first and foremost as a literary genre. This book is the first complete study of the multi-faceted view of its subject, piecing together a picture of what the music was actually like from musical score, documentary evidence, and the dramatic texts. Vocal music and dance in the Jacobean masque are treated separately - a division that reflects the way in which the music was originally composed, with one group of composers writing songs while violinist/dancing masters prepared dances. There are chapters offering a reconsideration of the musical and documentary evidence for the William Lawes masques, on Inigo Jones's musical priorities, and an investigation of French influence in the Caroline masques. The book also describes the departures from court norms in masques which took place away from Whitehall.
Restoration Cathedral Music 1660-1714
Authors: Spink Ian 
Published: November 2023

Abstract
The Restoration of Charles II stimulated one of the greatest triumphs of Anglican cathedral music. A group of gifted men, led by Henry Purcell, succeeded in transforming the carefully preserved and revived traditions of the Golden Age of Tudor and earlier Stuart periods into a contemporary style that vigorously embraces the idioms of the French and Italian Baroque. But although perhaps a dozen masterpieces of the period remain in the cathedral repertory, few of us can have had any idea of the riches and variety of music awaiting rediscovery. Ian Spink, a leading authority on seventeenth-century English music, has carried out a remarkable new investigation of the musical sources of the period and of the archives of every cathedral and choral foundation. The result is not only a largely unfamiliar picture of the musical life and circumstance of choral foundations, from the Chapel Royal to remote Carlisle, but also a fresh assessment of the music taking in not only the work of the great men of the age—Purcell, Locke, Handel—but also many lesser masters such as Humfrey, Blow, Clarke, Weldon, and Croft. For the first time, perhaps, the true character and shape of the Restoration period of musical history is revealed.
Winchester
Authors: Spink Ian 
Published: November 2023

Abstract
The choir seems to have been quickly reassembled at Winchester Cathedral. Not only was an anthem sung at the proclamation of Charles as king on 12 May 1660, but by the end of the year it was up to strength, apart from four of the six minor canons. The 1638 statutes had laid down a choral establishment of six minor canons, ten lay clerks, and six choristers, with an organist who might also be master of the choristers unless it was felt that one of the minor canons or lay clerks would be more suitable.
Inspiration
Authors: Williamson John 
Published: November 2023

Abstract
In the aesthetic literature of the nineteenth century, the term ‘genius’ is something of a beacon. Mit dem Genius steht die Natur in ewigem Bunde, proclaimed Schiller in Kolumbus, and it was this poem that Pfitzner chose to set for unaccompanied chorus in 1905 to commemorate the hundredth anniversary of the poet’s death. Perhaps no one definition catches the full essence of what effectively was a talisman as much as a concept.
In the Footsteps of Wagner
Authors: Williamson John 
Published: November 2023

Abstract
PFITZNER’S problem as a music-dramatist was that he was a follower of Wagner who rejected Wagnerism. At first this may seem a puzzling statement in the light of several obvious parallels. Yet something like the shared admiration for Schopenhauer is put into perspective when a distinction is drawn between the erratic nature of Wagner’s encounter with the philosopher and Pfitzner’s much more systematic attempt to do him justice. The anti-Semitism common to both com posers may appear a more general bond. Yet comparison of their respective statements reveals little of Wagner’s apocalyptic tendencies in Pfitzner’s relentlessly abstract discussions of the subject.
The Earlier Rubato in Vocal Music
Authors: Hudson Richard 
Published: November 2023

Abstract
The idea of robbery was first applied by Tosi in 1723. He was a popular castrato singer, also a composer and teacher of singing, who lived at different times in various cities of Italy, Germany, and England. He admired most the singing of arias in what he called the ‘pathetic’ style, a style which was out of fashion by 1723 and which was cultivated probably thirty or forty years earlier—thus at the end of the seventeenth century. It was in the pathetic arias that he recommended the ‘stealing of time’.
Contemporaries of Chopin
Authors: Hudson Richard 
Published: November 2023

Abstract
A Number of composers with whom Chopin was acquainted were also involved with tempo rubato. The manner in which they used the device sheds some additional light, in some cases, on Chopin’s own practice. These composers include Kessler, whom Chopin knew in Warsaw; Filtsch, Mereaux, Pauline Viardot, Ernst, Franck, Gottschalk, Heller, and Liszt from his years in Paris; Clara Wieck and Robert Schumann, whom he visited in Leipzig in 1835.
Conclusion
Authors: Ehrlich Cyril 
Published: November 2023

Abstract
The Second World War was less disruptive to piano making than the first because there was less to disrupt. Some factories were destroyed in air raids, including Bliithner’s, and some firms were forced out of business by shortage of men and materials. But many small or weak makers had been eliminated during the depression, and further concentration through market forces or government decree merely continued an existing trend. In Britain, the most important difference was that the industry no longer depended upon foreign components, which again eased adjustment to wartime conditions. Production was diminished, of course, and standards tended to decline, which disturbed musicians but had little effect on a general public for whom pianos no longer occupied a central place in expenditure and aspiration.