bluuebunny/crossref_metadata_2025_split huggingface dataset:
Shame in the Labeling of Mental Illness
Authors: Scheff Thomas J 
Published: November 2023

Abstract
Tiiis study shows how a new level can be added to an existing theory. By analyzing the details of the dialogue in a single therapy session, I propose that my earlier labeling theory of mental illness can be enriched by including discourse analysis at a microlevel. The session that I use is between an anorexic woman and her therapist. The same session was analyzed in an earlier study (Labov & Fanshel, 1977). I show how discourse analysis complements earlier work on labeling of mental illness. Unacknowledged shame is seen as a cause of both primary and secondary deviance. In family systems, it causes primary deviance, and in the interaction between the family and the community, it causes secondary deviance. Labov and Fanshel’s (1977) case, “Rhoda,” provides an extended example. It suggests that the family labeling process is subtle and outside of awareness. In the anorexic patient’s family, stigmatization is a two-way street; through innuendo, all the family members-including the patient-surreptitiously attack each other. But only the patient’s violence has an overt component. Like the family members, she attacks others through innuendo, but she also starves herself. All the others use only emotional violence. Since the violence of the family is hidden, it is the patient who was formally labeled. The labeling appears to be extremely subtle and complex, inadvertently reaffirming the status quo in the family. To the extent that the mental health professions side with the family, they too reaffirm and maintain thestatus quo.
The Sacred and the Social: Cultures of Honor and Violence
Authors: Cohen Dov , Vandello, Joseph , Rantilla Adrian K 
Published: November 2023

Abstract
It is a ritual for those who complain about the decline of our culture to point out all the trivial things that people have been killing their acquaintances, friends, and family members over recently. It’s almost never hard to find these examples. Open the newspaper and in a week one can pretty easily find an extensive list of things that one party deemed important enough to kill the other party over. Somewhere near the top of the list is going to be sexual jealousy, and in terms of male-on-male violence, you can add things like spilled beer, suspicious glances, escalated name calling contests, and stepped-on shoes. That’s the American list. Certainly, the lists of offenses that must be punished by death are going to vary from culture to culture, but they will have one thing in common. That is, many of the acts that led to a killing will probably seem quite trivial to outsiders.
Are Men and Women Alike Around the Globe?
Authors: Townsend John Marshall 
Published: November 2023

Abstract
The Don Juan of the village was a sleek, discreet man of about forty, a wid ower, a matai, a man of circumspect manner and winning ways ... he noticed that Lola had reached a robust girlhood and stopped to pluck this ready fruit by the way ... after three weeks which were casual to him, and very important to her, he proposed for the hand of the visitor ... the rage of Lola was unbounded and she took an immediate revenge, publicly accusing her rival of being a thief and setting the whole village by the ears.
The inexhaustible demand for rural Residences 1853-1856
Authors: Kowsky Francis R 
Published: November 2023

Abstract
For four years following Downing’s death,Vaux remained in Newburgh, where he continued to enjoy success as a designer of country houses.With Withers, who apparently graduated from assistant to partner in the firm some time in 1853,Vaux prepared designs for houses along the Hudson and elsewhere that continued to embody the values he had espoused during his days with Downing. Eventually the greater attractions and opportunities of New York City induced him to move there. In 1856,Vaux, married and with a young family, left Newburgh as a resident, but his ties to the Hudson Valley never loosened.
Theearth 1857-1858
Authors: Kowsky Francis R 
Published: November 2023

Abstract
As his career developed and the memory of Downing receded,Vaux must have come more and more to realize that the true path to future success lay not in Newburgh but in New York City. To be sure, Newburgh by the mid-nineteenth century ranked almost as a far suburb of the metropolis; yet it was enough removed to pose a handicap for an architect who might wish to attain a more central place in the profession. And probably forVaux, who had grown up in the heart of London, the Hudson River town of 15,000 inhabitants, no matter how agreeable, would have seemed provincial and unexciting. His frequent trips to New York would have opened his eyes to the wide possibility for business that existed there, as well as to the opportunity for him and his family to live in company with other men and women of culture. By the end of 1856, the year in which Vaux became an American citizen, he had taken up residence in New York City, where he was to remain until his death in 1895.
The Onlything That Gives Me Much Encouragement That I Have In Me The Germ Of An Architect
Authors: Kowsky Francis R 
Published: November 2023

Abstract
Located at the north end of the Mall, where it overlooks the lake and the Ramble, the Terrace is the architectural centerpiece of the Central Park landscape and Vaux’s most important work (Fig. 5.1). Its cascading staircases carry visitors from the formal ambience of the Mall down to the lakeside, where winding footpaths wait to lead them off into the picturesque byways of the park. An abundance of carved ornament evocative of nature and country life decorate the Terrace’s railings, posts, and walls, offering strollers a fictive sampling of the innocent beauties of flora and faun.a that the park holds to delight them. Contemporary observers held all of the park masonry in high esteem, but they regarded the handsomely molded and carved stonework of the Terrace as demonstrating the highest standards of craftsmanship yet achieved in America.1 Although it was never completed as Vaux wished it would be, theTerrace, begun in 1859, is the masterpiece of his park architecture.
Monitoring the Health of a Population
Authors: R. Owen Devine , Parrish Gibson 
Published: November 2023

Abstract
To react effectively to events affecting the health of a population, public health practitioners must be able to monitor accurately the occurrence and risk factors for disease and injury. This monitoring involves two separate but interdependent efforts: the efficient collection of meaningful measures of the population’s risk and the use of suitable methods to evaluate these measures. These two efforts are the focus of this chapter, which covers methodological issues related to both the collection and preliminary evaluation of public health monitoring data. We begin with a discussion of issues related to the efficient collection of information on the health of a target population. We examine the goals of public health monitoring and strategies for identifying and collecting the information necessary to attain those goals. Then we describe a variety of exploratory techniques that are useful in the preliminary analysis of public health monitoring data. The chapter concludes with a brief evaluation of the potential utility of geographic information systems (GIS) as components of public health monitoring systems.
Setting Priorities for Health Needs and Managing Resources
Authors: Meltzer Martin , Teutsch Steven M 
Published: November 2023

Abstract
Although the national public health system in the United States once dealt exclusively with the health problems of a small segment of the population (i.e., navy seamen), it is now responsible for the health of the entire U.S. population. This responsibility includes (J) attempting to prevent infectious diseases, chronic diseases, unintentional and violent injuries; (2) maintaining optimal occupational and environmental health; (3) addressing the health problems unique to minorities and special populations; (4) improving the population’s access to health care; (5) providing some forms of health care; and (6) monitoring the quality of health care. These activities require considerable resources, and as the total expenditure on health care in the United States takes a larger share of the gross domestic product (currently about 14%), questions have been raised about the benefits derived from this investment (Gold et al., 1996). For example, there are large discrepancies in the success rates of surgical and other procedures from community to community, leading to questions as to whether the widespread use of many of these procedures is appropriate (Wennberg et al., 1989).
What is Scleroderma?
Authors: Mayes Maureen D 
Published: November 2023

Abstract
This book will tell you a lot about scleroderma. But there are two things it cannot tell you: the cause of scleroderma and the cure. These are the two most important things about any disease, and it is upsetting to the patient and frustrating for the physician that there are no clear answers to the most basic questions: “How did I get this?”and “How do I get rid of this?” However, to say there is no cure for scleroderma is not to say that there are no effective treatments. There are many medications that can relieve the symptoms of scleroderma and others that can slow down the progression of the disease. In addition, there are new therapies under investigation that hold the promise of actually halting the disease.
A Neurobiological Approach to the Noninvariance Problem in Stop Consonant Categorization
Authors: Sussman Harvey M 
Published: November 2023

Abstract
Perhaps the ultimate challenge for cognitive neuroscience is to meaningfully relate the abstract and formal domain of language to the physiological and electrochemical domain of the brain. Such an interface will be expedited if appropriate and matching levels from each domain are chosen for study. For example, the abstract formalisms of syntactic theory cannot, at this time, be related to actual neural mechanisms. Likewise, neurochemical events at the synapse cannot be systematically related to the structure or function of language. The level of analyses within both domains must be functionally compatible.
Cavalieri’s Rappresentatione Di Anima, Et Di Corpo
Authors: Weiss Piero 
Published: November 2023

Abstract
There was much rivalry among the pioneering composers of opera over who was the true “inventor” of the new genre. Cavalieri (see p. 1 above) had as valid a claim as his two main competitors, Peri and Caccini, and Peri even had the good grace to concede him the priority. There is no question, at any rate, as to whose opera was the first to be published. The score of Cavalieri’s Rappresentatione di anima, et di corpo appeared in September 1600, three months before Caccini’s Euridice. The work had first been performed that February in the Oratory of St. Philip Neri, Rome, birthplace of the oratorio; and indeed the Rappresentatione, because of its Everyman-style morality and its many paraphrases of liturgy, may be considered as much an oratorio as an opera. Yet, unlike most later oratorios, it was not performed during Lent; more-over, it was staged. Indeed, the prefatory remarks in the published score, unsigned but most probably by Cavalieri himself, contain invaluable information on the staging, in the form of instructions to stage directors, singers, dancers, and instrumentalists. They are given below, preceded by a letter of dedication signed by the Bolognese editor Guidotti; written in the fulsome style of all such letters, it is nevertheless something more than the usual dedication, for Guidotti is at some pains to establish Cavalieri’s claims to precedence in the establishment of wholly sung drama. As a reflection, then, of how conscious the founders of opera were of its importance, the dedication, too, has its historical significance.
Monteverdi Criticizesalibretto
Authors: Weiss Piero 
Published: November 2023

Abstract
By the latest count, 127 letters of Monteverdi have survived, a gratifying number for a composer of such importance to the development of Western music in general and of opera in particular. The present letter, written from Venice in 1616, three years after he had settled there as Director of Music at St. Mark’s, is addressed to Alessandro Striggio (1573-1630), a diplomat-poet at the court of the Gonzagas in Mantua and author of the text for Monteverdi’s first opera, Orfeo (1607). In view of the Duke of Mantua’s forthcoming wedding, Striggio had sent him a “maritime fable,” asking him whether he would set it to music. It appears the choice, Le nozze di Tetide by Scipione Agnelli, was tentative, and in any case the commission was canceled a few weeks later. But meanwhile Monteverdi, just barely keeping his temper, reacted to the “little book” and in so doing preserved for us his views on operatic dramaturgy. Some of his allusions need to be clarified here. Since this opera was to deal with sea gods, tritons, sirens, and so forth, Monteverdi foresaw they and the orchestra would need to occupy the lowest portion of the stage, to the detriment of the acoustics. Further, he would have to set to music the speeches of abstractions such as Zephyrs and Boreals (west and north winds), in contrast to the speeches of passionate human beings like Orpheus and Ariadne, who had been the principal characters in his first two operas. Let the singers compose their own music, Monteverdi concluded, mentioning by name several well-known singers in the service of the court at Mantua.
Handel’s Rinaldo At The Haymarket Theatre
Authors: Weiss Piero 
Published: November 2023

Abstract
Italian opera came to England in 1706 with Giovanni Bononcini’s Trionfo di Camilla (Naples, 1696), translated into English and performed by an English cast at London’s Drury Lane Theatre. Its success was immediate and lasting, but the next few attempts at opera in English were failures. It was not long before Italian singers infiltrated the English casts. Camilla in 1707 featured two Italians (one of them a castrato), who sang their parts in Italian while the others continued to sing theirs in English. “At length,” wrote Joseph Addison in The Spectator, “the Audience grew tir’d of understanding Half the Opera, and therefore to ease themselves intirely of the Fatigue of Thinking, have so order’d it at Present that the whole Opera is perform’d in an unknown Tongue.” This acerbic remark was prompted by the success of Rinaldo, Handel’s first London opera, which was produced at the Queen’s Theatre in the Haymarket on 24 February 1711 with an all-Italian cast.
Pier Jacopo Martello On Opera (1715)
Authors: Weiss Piero 
Published: November 2023

Abstract
Literary criticism in Italy around 1700 was very much preoccupied with the dominance of French culture in Europe and the consequent waning of Italian prestige. Gone were the days when Italian literature was held up everywhere as a model to be imitated. Instead, Italy for a century had been in the grips of a literary decadence that soon would acquire the derogatory name of secentismo, “seventeenth-century-ism.” Its poetry, ornate and mannered, was hardly exportable anymore. Instead, the main export item now was opera, and this, if anything, only held Italy up to further ridicule (see Saint-Evremond, p. 51 ff above). It was in this atmosphere that the Arcadian Academy was founded in Rome in 1690. An institution whose goal was the purification of Italian literature in all its forms, including, very importantly, tragedy (a genre in which France had recently offered the world supreme examples), the Academy soon turned its attention to opera. The Arcadians felt (quite rightly too) that opera had usurped the Italian stage, bringing about the decline of “legitimate” theater in Italy. Some writers wished to abolish opera altogether, as a degrading, “venal” spectacle. Pier Jacopo Martello (1665-1727), who helped found an Arcadian “colony” in his native Bologna, was more reasonable: he belonged to those who merely sought to reform opera. He had in fact written several librettos himself, as well as “legitimate” tragedies; and when he came to formulate his thoughts on tragedy in a treatise entitled Della tragedia antica e moderna (On Ancient and Modern Tragedy), he included in its second edition (1715) an entire section on opera. The premise of the treatise is this: on his way to France, Martello has met a stranger who, upon further acquaintance, turns out to be none other than Aristotle himself, the founder of tragic theory, miraculously come back to life. What follows, then, is a series of dialogues, carried on mostly in Paris and environs, between Martello and this latter-day philosopher, who reinterprets the classical “rules” of tragedy, adapting them quite sensibly to eighteenth-century conditions. With a light touch, pseudo-Aristotle teaches his disciple how to write a libretto. He dismisses the notion that such a work might be considered poetry in any serious way and instead gives him a down-to-earth, mildly satirical account of all the components of Italian opera that need to be taken into consideration by the would-be librettist.
Verdi’s Own Story Of How Nabucco Was Composed
Authors: Weiss Piero 
Published: November 2023

Abstract
Verdi, a very private man who hated all forms of publicity, did on one occasion dictate an autobiographical account of his early years to Giulio Ricordi (see p. XXX below) with a view to its inclusion in a forthcoming biography (Anecdotal Life of Giuseppe Verdi by A. Pougin, translated into Italian from the French and expanded by “Folchetto”). The year was 1879, Verdi was sixty-six, and the book appeared two years later. The events covered had taken place in the years 1834-42, so that between them and the interview with Ricardi lay all the composer’s mature operas except the last two, Otello (1887) and Falstaff (1893). By this time, of course, Verdi was an international celebrity, and his brief narrative soon gained wide circulation, becoming part of his official biography. Yet in more recent years, faith in its accuracy has been shaken by one surprising misstatement of fact. After his successful debut with Oberto, Conte di San Bonifacio at La Scala in 1839, Verdi had been engaged by Bartolomeo Merelli, the powerful impresario of that theater, to write three new operas, beginning with Un giorno di regno, an opera buffa. “But now,” recalls Verdi, “terrible misfortunes crowded upon me. At the beginning of April my little boy falls ill, the doctors cannot understand what is the matter, and the poor little creature goes off quickly in his mother’s arms. Moreover, a few days after the little girl is taken ill too, and she too dies, and in June my young wife is taken from me by a most violent inflammation of the brain, so that on the 19th June I saw the third coffin carried out of my house. In a very little over two months, three persons so very dear to me had disappeared for ever.
Wagner On The Evolution Of His Sme
Authors: Weiss Piero 
Published: November 2023

Abstract
Among Wagner’s writings in mid-career (see p. 201 below), A Communication to My Friends (1851) stands out as retrospective, a summing up, more than a program for the future. It served in fact as a preface to the publication in book form of the texts of the last of his early operas, Der f/iegende Hollander (1843), Tannhauser (1845), and Lohengrin (1848). Wagner himself furnished the reason for this Communication: he wished to explain the apparent contradiction between the style of his early works and the dramatic theories he had been propounding lately. In the following excerpt he looks back at his very first operas, Die Feen (1834, after a fable by Carlo Gozzi), Das Liebesverbot (1836, after Shakespeare’s Measure for Measure), and at Rienzi (1840, after the novel by Bulwer-Lytton), the work that actually launched his career. He was from the first his own librettist, and in discussing the operas that followed (the three whose text he was now publishing in book form), he goes into some depth as he analyzes his dual role as both poet and composer of his operas. It is in the reciprocal influence of those two functions that he finds the driving force behind his unique stylistic development, one that took him from his frankly imitative youthful operas to the increasingly unconventional works of the 1840s, culminating in Lohengrin.
Verdi’s Otello
Authors: Weiss Piero 
Published: November 2023

Abstract
After the triumph of Aida (1871 ), Verdi seemed to have retired from the operatic stage. The story of how he was gradually lured back by his publisher Giulio Ricordi (1840-1912) has often been told. The earliest attempts to get him interested in a new project date from June 1879, when Ricordi paid him a visit with Boito, who showed him the outline of a libretto he had derived from Shakespeare’s Othello. And although the composer and poet were soon exchanging ideas regarding details of the versification, Verdi did not finally commit himself to writing the opera until 1884, by which time he had probably composed most of Act I and in any case hammered out with Boito much of the shape of the libretto as a whole. The following excerpts from their correspondence show them at work on the words for the Act Ill finale. Otello, overcome by jealousy as a result of Iago’s poisonous insinuations and by now helplessly out of control, insults Desdemona and violently throws her to the ground during a solemn state reception.
A First Reaction To Poulenc’s Dialogues Des Carmélites
Authors: Weiss Piero 
Published: November 2023

Abstract
The subject for Poulenc’s only full-length opera was suggested to him in 1953 by the director of the Ricordi publishing house, while the composer was in Milan on a tour of Italy; it was Georges Bernanos’s posthumously published scenario for a film, itself based on prior literary treatments of a true episode of the French Revolution: the martyrdom of sixteen Carmelite nuns who were guillotined on 17 July 1794, going to their death while singing the Veni Creator. Poulenc, who had been searching for a libretto, took to the suggestion eagerly and set Bernanos’s words directly to music, after shaping them to his purpose. He worked with great enthusiasm, though not without interruptions due to personal as well as legal, copyright problems. The premiere, in Italian, took place at La Scala on 26 January 1957 and was hailed by Le Monde in Paris as “A great international event. A great French victory.” The first performance in French took place on 21 June, after which Poulenc’s Carmelites was on its way to a notable international career. Massimo Mila (1910-88), Italy’s most distinguished music critic at the time, covered the Scala premiere for the weekly L’Espresso. His is by no means a rave review, but it helps to recreate for us admirably the effect Poulenc’s opera had on sophisticated European ears, inured to the problematic musical scene of the late 1950s. The Darmstadt avant-garde was in full cry. How to account for a major work by a retrospective composer like Poulenc?
Democrats and Domestic Economics
Authors: Edwards Rebecca 
Published: November 2023

Abstract
Despite the efforts of Prohibitionists and other reformers, Civil War issues did not fade quickly from politics. In the late 1870s and early 1880s, the erosion of Republican power disquieted many northerners and southern blacks without assuaging the immense bitterness of ex-Confederates. The contested presidential election of 1876, between Samuel Tilden and Rutherford Hayes, went unresolved for three tense months and aroused widespread fear of renewed war. The election hinged on contested returns from several southern states; in exchange for conceding the election, Democrats won a secret promise from Republican leaders that the last Union troops would withdraw from the South. With these developments, the GOP’s national prospects looked shakier than at any time since the war.