bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Quarrel Of Apôpi And Saqnûnrîya
Authors: El-Shamy Hasan 
Published: November 2023

Abstract
This narrative covers all that remains of the first pages of the Sa/lier Papyrus No. 1. For a long time it was regarded as an historical document; the style, the expressions employed, and the actual groundwork of the subject all indicate a romance in which the principal parts are played by personages borrowed from history, but of which the ideas are almost entirely those of popular imagination. Champollion twice saw the papyrus at the house of its first proprietor, M. Sallier, of Aix in Provence-a few days before his departure for Egypt in 1828, and again on his return in 1830. The notes published by Salvolini show that he recognised, if not the actual nature of the narrative, at any rate the historical significance of the royal names in it. The manuscript, bought in 1839 by the British Museum, was published in facsimile as early as 1841 in Select Papyri. Hawkins’ notice, evidently drawn up on indications given him by Birch, read the name of the antagonist of Apophis that Champollion had not read, but attributes the cartouche of Apophis to king Phiops of the Vth dynasty. E. de Rouge was the first who actually discerned what was contained in those pages of the papyrus. In 1847 he accorded Saqm1nriya his proper place in the list of the Pharaohs; in 1854 he pointed out the name Hauaru in the fragment, and contributed to the Athenceum Franrais’ a somewhat detailed analysis of the document.
The adventure of the sculptor ‘petesis And ‘king ‘nectonabo
Authors: El-Shamy Hasan 
Published: November 2023

Abstract
The form of the characters and the texture of the papyrus determined Leemans to assign the writing of the fragment to the second half of the second century B.C.; Wilcken placed it in the first half of the same century, and attributed it to a personage who formed one of the company of recluses of the Serapeum. The part that has survived is composed of five columns unequal in length. The first, which is very narrow, contains twelve lines, of which only a few words are legible; but these enable us to restore conjecturally the title of the story “the sculptor Petesis and the King Nectonabo.” The second and fourth columns each contain twenty-one lines; the third twenty-four. The fifth only consists of four lines, after which the story breaks off suddenly in the middle of a sentence, like the Quarrel of Apopi and Saqnunriya in the Sallier Papyrus No. I. The scribe amused himself by drawing a comic figure of a man below the writing, and left his story unfinished.
‘Fragments Of The ‘Theban Coptic ‘Version Of The ‘Romance Of Alexander
Authors: El-Shamy Hasan 
Published: November 2023

Abstract
The remains of a romance of Alexander were discovered among the manuscripts of Deir Amba Shenoudah, acquired through me in 1885-8 for the Bibliotheque Nationale at Paris. Three leaves of it were first published by U. Bouriant, Fragments d’un roman d’Alexandre en dialecte thibain, in the Journal asiatique, 1887, viiith series, vol. ix, pp. I-J8, with one plate; printed separately in 8vo, 36 pp. Then three more leaves, a few months later, by U. Bouriant, Fragments d’un roman d’Alexandre en dialecte thibain (Nouveau Mimoire) in the journal asiatique, viiith series, vol. x, pp. 340-349; printed separately, 8vo, r2 pp.
Kubrick in Space
Authors: Mamber Stephen 
Published: November 2023

Abstract
The pretentiousness of 2001: A Space Odyssey has been a considerable obstacle to appreciating its status as masterpiece. The collaboration with Arthur C. Clarke and Kubrick’s own statements about the film have obviously obscured how deeply it connects to the rest of his work. The diversion provided by the film’s technologies that has led to enjoyable but incidental books like HAL’s Legacy makes it too easily the Kubrick movie to talk about by people who don’t know much about movies.1 Pondering such issues as the meaning of the monolith, whether HAL is really IBM a letter-back-each, or Bowman’s journey to star child has kept 2001 criticism in an interpretive dead end for a long time.
The Cinematographic Brain in 2001: A Space Odyssey
Authors: Landy Marcia 
Published: November 2023

Abstract
There is as much thought in the body as there is shock and violence in the brain. There is an equal amount of feeling in both of them.
The brain gives orders to the body which is just an outgrowth of it, but the body also gives orders to the brain which is just a part of it. 2001: A Space Odyssey is an allegory of the evolution of human intelligence, deliberately appropriating the cinematic apparatus to embark on its philosophic journey, which is realized in its conception of the “cinematographic” brain. The film has a subversive agenda and a design on the spectator. Critical to its own journey, the Odyssey probes conceptions of the human brain: is it the rational center for and seat of knowledge about a constant and determined world, the embodiment of intelligence whose evolution began with the tool-wielding ape and culminated in the computer that never errs? Or is there more to understand about the history and trajectory of evolution? And how does the technology of space in conjunction with the cinematic apparatus enter into the film’s allegory of perception, affect, and intelligence.
Reading Hal Representation and Artificial Intelligence
Authors: Mateas Michael 
Published: November 2023

Abstract
In this chapter, I wish to focus on HAL 9000. Rather than reading HAL as a Frankensteinian cautionary tale, a representation of our disquiet over the cybernetic blurring of the human, of our fear of an evolutionary showdown with increasingly autonomous technologies, I’d like to read HAL as a representation of the goals, methodologies, and dreams of the field of Artificial Intelligence (AI). As a representation, HAL, and the role he plays within 2001, both captures preexisting intellectual currents that were already operating within the field of AI and serves as an influential touchstone, which has had a profound impact on individual AI practitioners and on the aspirations of the field.
Double Minds and Double Binds in Stanley Kubrick’s Fairy Tale
Authors: Toles George 
Published: November 2023

Abstract
Obviously space is our destiny, that much I concede. After all I live there myself. But the excitement of the great voyages of discovery will pass me by; I will always belong to those who are left behind on the quay waving goodbye to the departing; I belong to the past, to the time before Armstrong put his big corrugated footstep on the face of the moon. That was another thing I got to see that afternoon, for without thinking anything in particular I had drifted into a sort of theater where there was a film about space travel. I found myself sitting in one of those American swivel chairs that hug you like a womb, and setting off on my journey through space. Almost immediately tears came to my eyes. Emotion ought to be inspired by art, and here I was being misled by reality; some technical wizard had worked optical magic to strew the lunar gravel at our feet, so that it was just as if we ourselves were standing on the moon and walking around. In the distance shone (!) the unimaginable planet Earth.
“Just Looking” Charles Tomlinson and the ‘‘Labour of Observation”
Authors: Spiegelman Willard 
Published: November 2023

Abstract
To include in a book dealing primarily with American poetry a chapter on an Englishman may seem illogical or counterintuitive, but Charles Tomlinson makes an important connection between the age of high modernism and the contemporary scene and between the two sides of the Atlantic Ocean. As a technician he has remained conservatively, solidly at home, with few extraterritorial excursions in style or subject. To some readers his poetic landscape might seem spectral or monochromatic. But is consistency a flaw? Must the poet constantly reinvent himself? We can pose the question analogously with reference to painters: Matisse and Picasso offer one paradigm, the more exciting one, for the modern artist; Mondrian, Morandi, and Rothko another, perhaps more exacting one. Having found their terrain, they exploited it for all that it was worth.
John Ashbery’s Haunted Landscapes
Authors: Spiegelman Willard 
Published: November 2023

Abstract
Including John Ashbery in a book about description, indeed, labeling him a descriptive poet (or any other specific kind of poet) may seem presumptuous or simply special pleading, as it has been his fate to have evaded easy categorizing ever since the publication of Some Trees in 1956. Nevertheless, Ashbery’s descriptive urges and gestures can furnish readers with a handle or a possible entry into the vague morass, the swamps and thickets of the verbal terrain that he has mapped out for half a century. Ashbery’s poems often seem like verbal equivalents of a kaleidoscope that contains different parts of speech instead of rapidly whirling colored particles. Amid rambling speculations, syntactic confusions, obscure references, missed connections, layers of magnificently mottled diction that sometimes fail to cohere, his descriptions are often the first things that deviate into sense. They suggest that he is observing the world steadily if momentarily, and they prove the ineluctable modality of the visible as one strand, among many, in his various trains of thought.
Introduction: Crime Films And Society
Authors: Rafter Nicole 
Published: November 2023

Abstract
Crime films reflect our ideas about fundamental social, economic, and political issues while, at the same time, they shape the ways we think about these issues. When we look at the relationship between crime films and society, we see a dynamic interplay of art and life. This book examines that interplay from the multiple perspectives of film history and technique, social history, criminal justice, and criminology.
Why They Went Bad: Criminology in Crime Films
Authors: Rafter Nicole 
Published: November 2023

Abstract
Crime films serve as a cultural resource, creating a reservoir of images and stories on which viewers draw when they think about the causes of crime. Many crime films also endorse a particular explanation of crime. Whether they merely hint at a criminological theory or beat us over the head with one, crime films expose viewers to national (even international) debates about the causes of crime. Films draw on popular criminological explanations and in turn embody these explanations, feeding them back to mass audiences.
Prison and Execution Films
Authors: Rafter Nicole 
Published: November 2023

Abstract
The prison film genre took shape during the days of silent cinema; to¬ ward the end of that period, studios were releasing one or two movies about prison life each year. Ranging from stories of jailbreaks and inmate reformation through melodramas about unjust convictions and hangings, these silent films created a cinematic vocabulary that was incorporated by talkies in the 1930s and could still be found, almost unaltered, in the 1990s success The Shawshank Redemption (1994). Movies of this type are essentially fantasies, films that purport to reveal the brutal realities of incarceration while actually offering viewers escape from the miseries of daily life through adventure and heroism. Presenting tales in which justice is miraculously restored after long periods of harsh oppression, prison movies enable us to believe, if only briefly, in a world where long-suffering virtue is rewarded. But in recent decades, a few filmmakers have begun producing movies that critique the traditional fantasy formulas or bypass them entirely, an indication that, after close to one hundred years, the prison film may be on the verge of transformation.
The Alternative Tradition and Films of Moral Ambiguity
Authors: Rafter Nicole 
Published: November 2023

Abstract
Crime films provide a celluloid rendezvous where audiences engage with major social issues: criminal responsibility, the nature of heroism, the impact of gender and race on legal decisions, and the nature of justice. To treat these issues, mainstream crime films have traditionally relied on a formula whose main ingredients are heroes, villains, and satisfying endings. In these films, justice is achieved-not painlessly but without final frustration. Films in the classic Hollywood tradition, I have argued, characteristically exhibit a double movement, first challenging the status quo with questions, then reassuring us that justice has been served (or will be), that moral dilemmas can be resolved, and that good guys win.
How is Biodiver sity Threatened by Hum an Activity ?
Authors: Chivian Eric , Bernstein Aaron 
Published: November 2023

Abstract
Although species have gone extinct since life began, what distinguishes present-day extinctions from those that have occurred in the past is a distinctive human fingerprint. This chapter considers how human activity has resulted in environmental changes that are known to threaten species. Although each of these changes is discussed as if it were acting in isolation, the reality is that threatened species most often come under pressure from several environmental assaults at once. In some cases, these changes may even work synergistically, such that their combined impact is greater than the sum of their individual effects. They can also act in such a way that one insult sets the stage for another, as may have occurred with the demise of some species of harlequin frogs in Costa Rica, where climatic changes are thought to have predisposed them to chytrid fungal infections1 (see chapter 6, page 212).
Genetically Modified Foods and Organic Farming
Authors: Chivian Eric , Bernstein Aaron 
Published: November 2023

Abstract
No discussion of biodiversity and food would be complete without an examination of the subjects of genetically modified (GM) foods and organic farming. Both practices have enormous implications for biodiversity and for food production, and as a result, for human health. And debates about their risks and benefits will continue to occupy policy makers and the general public worldwide for many years to come as they grapple with trying to feed rapidly expanding numbers of people using fewer and fewer acres of arable land and fisheries that are being increasingly depleted. As detailed in chapter 8, this issue is one of the central challenges of our time. We recognize that GM foods and organic farming are topics that are widely, and at times heatedly, debated, both generally and within the scientific community, with strong proponents on both sides of the issues. Below, we review the evidence for each of these agricultural technologies as completely as space allows, but we encourage those who would like to delve more deeply into their complexities to consult the references provided and form opinions of their own. The decisions we make in coming years about how we grow food, both for the health of world populations and for that of the global environment, must be based not on politics or vested interests, or on widely quoted but often inadequately studied assumptions, but on objective scientific grounds.
Introduction
Authors: Stafford Fiona 
Published: November 2023

Abstract
Lionel trilling’s essay on Emma begins with the startling observation that, in the case of Jane Austen, ‘‘the opinions which are held of her work are almost as interesting, and almost as important to think about, as the work itself.’’ The comment is especially surprising in view of the essay’s origin as an introduction to the Riverside edition of Emma: rather than take readers straight into the novel, Trilling ponders the impossibility of approaching it ‘‘in simple literary innocence,’’ because of the powerful feeling generated by the name ‘‘Jane Austen.’’ Almost half a century later, opinions of Austen have multiplied as fresh issues have arisen to divert and divide subsequent generations of readers.
Opinions of Emma
Authors: Austen Jane 
Published: November 2023

Abstract
Captain auste n.1—liked it extremely, observing that though there might be more Wit in P. & P.—& an higher Morality in M. P.—yet altogether, on account of it’s peculiar air of Nature throughout, he preferred it to either. Mrs. F. A.2—liked & admired it very much indeed, but must still prefer P. & P. Mrs. J. Bridges—preferred it to all the others.
Emma; a Novel. By the Author of Sense and Sensibility, Pride and Prejudice, &c. 3 vols. 12mo. London. 1815.
Authors: Scott Walter 
Published: November 2023

Abstract
There are some vices in civilized society so common that they are hardly acknowledged as stains upon the moral character, the propensity to which is nevertheless carefully concealed, even by those who most frequently give way to them; since no man of pleasure would willingly assume the gross epithet of a debauchee or a drunkard. One would almost think that novel-reading fell under this class of frailties, since among the crowds who read little else, it is not common to find an individual of hardihood sufficient to avow his taste for these frivolous studies. A novel, therefore, is frequently ‘‘bread eaten in secret’’; and it is not upon Lydia Languish’s toilet alone that Tom Jones and Peregrine Pickle are to be found ambushed behind works of a more grave and instructive character.
Jane Austen, ob. July 18, 1817
Authors: Farrer Reginald 
Published: November 2023

Abstract
The concluding storms of a great conflict had hardly died down, when her world, almost unaware, bade farewell to Jane Austen; now, amid the closing cataclysms of a conflict yet more gigantic, we celebrate the hundredth year of her immortality. Time is the woodsman who fells the smaller trees and coppice in the forest of literature, and allows us at last to see the true proportions of its enduring giants; and the century that has passed since Jane Austen’s death now sees her preeminence securely established. An early editor could only dare timidly to suggest that perhaps she might be found not wholly unworthy of a place in the same shelf with Miss Burney and Miss Edgeworth. Alas for both these, gone by now into the spare bedroom, and become the dusty curiosities of literature! Not even Jane Austen’s devotion has availed to save Fanny Burney from a too-general oblivion, whereas Jane Austen herself has long since taken rank as the centre of a cult as ardent as a religion.
Control of Distance in Jane Austen’s Emma
Authors: Booth Wayne C 
Published: November 2023

Abstract
Henry james once described Jane Austen as an instinctive novelist whose effects, some of which are admittedly fine, can best be explained as ‘‘part of her unconsciousness.’’ It is as if she ‘‘fell-a-musing’’ over her work-basket, he said, lapsed into ‘‘wool-gathering,’’ and afterward picked up ‘‘her dropped stitches’’ as ‘‘little masterstrokes of imagination.’’ The amiable accusation has been repeated in various forms, most recently as a claim that Jane Austen creates characters toward whom we cannot react as she consciously intends. Although we cannot hope to decide whether Jane Austen was entirely conscious of her own artistry, a careful look at the technique of any of her novels reveals a rather different picture from that of the unconscious spinster with her knitting needles. In Emma especially, where the chances for technical failure are great indeed, we find at work one of the unquestionable masters of the rhetoric of narration.
Emma “Woman, Lovely Woman, Reigns Alone”
Authors: Johnson Claudia L 
Published: November 2023

Abstract
There was a time, and not too long ago, when Jane Austen was considered to be above—or was it really below?—the anxieties of authorship. For Richard Simpson, as for many of Austen’s Victorian admirers, it was necessary to presume an “unconsciousness of [Austen’s] artistic merits” in order to regard her, in his own words, as “dear Aunt Jane,” a kindly spinster who never minded being interrupted while at work because her “powers were a secret to herself,” and who was gratefully surprised to earn even the little money she did because she rated her own abilities too low to expect acknowledgment.1 Encouraged by members of Austen’s own family, who in the “Biographical Notice” and the Memoir protest with obtrusive defensiveness that Austen put her family before her art, such views have survived well into our own century. Taking particular care to “redeem” Austen from “any possible suspicion of superiority or conceit,” R. Brimley Johnson asserts that Austen’s “taste was strong against any parade of authorship, and her affection would have accused herself of both conceit and selfishness, had she required privacy for work, or allowed herself to be so absorbed as to neglect any social or domestic duty.” R. W. Chapman later affiremed that “the sweetest reward of her labours” was nothing more ambitious or independent than “to have pleased her family.
Reading Characters: Self, Society, and Text in Emma
Authors: Litvak Joseph 
Published: November 2023

Abstract
In the madwoman in the a tti c, Sandra M. Gilbert and Susan Gubar describe the fate of the Austenian heroine as a “fall into literacy” (Gilbert and Gubar, 139). To fall into literacy is to “fall from authority into the acceptance of one’s status as a mere character” (GG, 161), to be at once silenced and confirmed—in the words of one chapter title, to be “Shut Up in Prose.” Yet Gilbert and Gubar show how heroines like Elizabeth Bennet, Emma Woodhouse, and Anne Elliot subvert the patriarchal structures in which they are inscribed, imaging Jane Austen’s own quiet subversion of the repressive ideology her novels seem to endorse. In reclaiming authority, both Austen and these characters assert their “irrepressible interiority” and their “belief in female subjectivity” (GG, 179).
Filming Highbury: Reducing the Community in Emma to the Screen
Authors: Troost Linda , Greenfield Sayre 
Published: November 2023

Abstract
Sir walter scot t, in his review of Austen’s Emma, observes that the “author’s knowledge of the world .. . reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand; but they are finished up to nature, and with a precision which delights the reader” (Scott, 197). To explain the different positions of the community of Highbury in the two 1996 films of Emma, let us start with a comparison to two Flemish painters that spring to mind. The Miramax film of Emma, written and directed by Douglas McGrath and starring Gwyneth Paltrow, is like the work of Vermeer. In his pictures, we see the artist’s gaze focus on the details of genteel life and on subjects that project calm self-possession. The Music Lesson, for example, focuses contemplatively on two people surrounded by the trappings of tasteful gentry life—a viola da gamba, a virginal, and a Turkish carpet—complementing the calm, confient, and independent subjects in the portrait, the woman’s face reflected in a mirror. The Meridian telefilm of Emma with Kate Beckinsale (screenplay by Andrew Davies and directed by Diarmuid Lawrence), by contrast, has something of Bruegel to it, perhaps his Wedding Feast.