bluuebunny/crossref_metadata_2025_split huggingface dataset:
The End of Prejudice?
Authors: Jenkins Philip 
Published: November 2023

Abstract
Tracing the history of anti-Catholic prejudice in the United States is rather like watching one of those slasher films that were so popular during the 1980s. Even after the villain has been spectacularly killed at the end of one episode, even when you have seen him decapitated, you have no doubt that he will infallibly be back in action at the start of the inevitable sequel. Anti-Catholic prejudice is equally resilient and, seemingly, indestructible. Its strength lies in its flexibility, its capacity to adapt to almost any circumstances. Just when it ceases to be the preserve of the racist right, it is reinvented as a mainstay of the anti-racist left.
Byron, Laughter, and Legitimation
Authors: Yu Christopher 
Published: November 2023

Abstract
If obliged to name the defining theme of Byron’s poetry, a reader would have good reason to choose the problem of legitimacy or literary authority. The poet evokes the theme at the beginning of his career in the diatribe of English Bards and Scotch Reviewers (1809), where with all of a twenty-one-year old’s ham-fisted self-importance he declares: “But now, so callous grown, so changed since youth, / I’ve learned to think and sternly speak the truth.” And he voices it at the end in “On This Day I Complete My Thirty-Sixth Year” (1824), where by laying claim to a “soldier’s grave” in the fight for Greek independence he proposes to write his own epitaph and thus take authorship of the public record of his life.
I will start this chapter with the observation that Byron achieved his most daring response to the problem in his satiric masterpiece Don Juan, which, along with his earlier poems Childe Harold’s Pilgrimage 4 and Beppo, suggests a reinvention of Augustan skepticism toward social convention.
Auden in the Polis of the Absurd
Authors: Yu Christopher 
Published: November 2023

Abstract
Auden’s notorious dictum that “poetry makes nothing happen” can be construed as the motto of a self-excusing complacency, a readiness to accommodate bourgeois philistinism that to some eyes may make the poet look like a “licensed jester.” Such a reading fastens to the exclusion of all else on his efforts to debunk Romantic illusions regarding art’s prophetic authority and, dismayingly, does so with his frequently expressed approval.2 This assessment, however, risks missing a larger point behind Auden’s insouciance, which becomes clearer if we restore the assertion from the poem “In Memory of W. B. Yeats” to its original context:
Introduction The Bible And Eros
Authors: Carr David M 
Published: November 2023

Abstract
The Bible. Sexuality. What word next comes to mind? Few people I know would say “spirituality.” Yet, in this book I will be arguing that the Bible, particularly the Old Testament, can help us bring our sexual and spiritual lives together. Biblical garden texts will be our orientation points. Starting with the paradise garden in Eden and continuing to the New Testament, we will examine often overlooked sensual aspects of the Biblical tradition. Many Biblical texts testify to how love can go wrong. Yet I will be arguing that we can read the broader Bible as a call to a life of erotic passion: passion for others, passion for God, passion for the earth.
The ‘‘Rules’’: Biblical Sexual Morality
Authors: Carr David M 
Published: November 2023

Abstract
Judging from the “family values” platform of religious conservatives, one might assume that the Bible condemns all forms of premarital or extramarital sex and all forms of homosexual sex. Actually, at least with regard to the Hebrew Scriptures, the Biblical perspective on sex is far from what any political party would want to endorse now. Some rules are harsher. Many things are not covered. In either case, as soon as we take a closer look at Biblical “shalt nots” and permitted behaviors, it quickly becomes apparent that “we aren’t in Kansas any more.”
Unromantic Eros: Divine-Human Gender Terror, Religious Exclusivism, and Love Gone Wrong
Authors: Carr David M 
Published: November 2023

Abstract
Theepigraph to this chapter comes from a woman who survived the cycle of spousal abuse. Unlike the prophetic polemics of the last chapter, we hear from a woman here. She is the human counterpart to the “vineyard” of Isaiah’s song. There, Isaiah’s “beloved,” a vintner, prepares to expose and starve a female vineyard for suspected infidelity. The beloved turns out to be God. Ultimately, in Isaiah (and in Hosea 2), God turns to woo his wife back to him. In the epigraph, however, a woman who has been wooed back describes her wait for a new cycle of violence. The abuser here is her human husband.
Epilogue: The Erotic Word
Authors: Carr David M 
Published: November 2023

Abstract
At the outset of this volume, we saw how the Bible has been used to suppress sexuality, but by now we have seen how the Bible-read through the lens of its garden texts-can be read to evoke eros, including sexual eros. From the garden of Eden story to the Song of Songs, the Bible can be used to cultivate a passionate life, one infused with eros for God, others, and the world. Where the Bible has separated sex and spirit, these garden texts can join them. Where advertising aims to warp human desire, these texts can root our diverse passions in love of God. Amidst the massive sexual shifts in our culture, the Eden and Song of Songs garden texts envision a sexuality grounded in intimacy and mutual desire. They neither endorse all forms of sexual exchange nor do they conform to the Victorian rules that have been used to police many nonmarital relationships.
Teaching Freud, Teaching Freud’s Values: A Graduate Course
Authors: Gay Volney 
Published: November 2023

Abstract
How can we teach Freud after Time magazine not long ago asked, “Is Freud Dead?” and many people responded “Yes, and about time, too!” As some wags noted, Time asked “Is God dead?” in the late 1970s and the answer to that query is still unclear. While Freud’s mortality is assured, the meaning of his work and his intellectual heritage is not. As someone who has written a lot on Freud and is a practicing psychoanalyst, I believe Freud is worth teaching-Freud died, but his values live. Whether this is a good answer for others is the concern of this paper.
Rethinking Freud: Gender, Ethnicity, and the Production of Scientific Thought
Authors: Jacobs Janet Liebman 
Published: November 2023

Abstract
Teaching Freud poses a number of challenges to those of us who view the academy as a site of intellectual resistance. Each year as I introduce the study of Freud and psychoanalytic theory in my courses, I tell my students that at best I have an ambivalent relationship to Freud, whose work embodies a particular kind of genius that is representative of the misogynistic thinking of the late nineteenth and early twentieth centuries. As I seek to legitimate my own fascination with Freud and the necessity for understanding the psychoanalytic mind, I remind my students that as a clinician working in Vienna, Freud was often a “healer” of last resort for women who were deeply troubled by fears, anxiety, and painful emotional memories. In reading Freud’s case studies, one is left with the impression that, as an analyst, Freud had a certain empathy for the women in his care and that the “talking cure” created an atmosphere of trust at a time when psychosis in women was rarely taken seriously. That being said, it is also painfully clear that Freud used the most intimate details of his female patients’ lives to construct theories of development and personality that reinforced notions of female inferiority and weakness within a gendered understanding of human psychology.
Teaching the Hindu Tantra with Freud: Transgression as Critical Theory and Mystical Technique
Authors: Kripal Jeffrey J 
Published: November 2023

Abstract
The “oceanic” works of which Rolland writes here were his famous biographies of Ramakrishna and Vivekananda, that “twin-headed, three-volume work” as Freud called them (Parsons 1999, 176), which played an especially important role in the historical genesis of the psychoanalytic theory of mysticism. Indeed, as Parsons has recently taught us, it was the unfinished correspondence between these two men that generated the parameters and general trajectories of the psychoanalytic study of mysticism itself.
The Challenge of Teaching Freud: Depth Psychology and Religious Ethics
Authors: Wallwork Ernest 
Published: November 2023

Abstract
When we teach psychoanalysis, what exactly do we hope students will learn? Is it satisfactory to follow the usual scholarly route and teach psychoanalytic ideas in the abstract, apart from analytic practice and experience? If, as I believe, something more than mere intellectual comprehension is necessary to avoid misconstruing psychoanalytic theories and practices, what should our pedagogical aims be and how should we go about trying to achieve them? For example, should we seek to convey how psychoanalytic ideas are used in practice? And if we do aim for something more than mere intellectual knowledge of psychoanalysis, should we also aim for some change in the way students think and feel about themselves and others? If so, is it really possible to change the lives of students within the constraining context of a graded course in a contemporary college or university? And how do we relate the study of psychoanalysis to that of religion and morality? If religion and morality also require something more than mere intellectual comprehension, how do we invite experiential knowing in an academic context without moving beyond generally accepted scholarly goals? These are some of the disquieting questions that I want to pursue in this paper, by way of clarifying issues with which I struggle every year as I approach the task of teaching a course on psycho-analysis and religious ethics to undergraduates.
The Arranger
Authors: Kenner Hugh 
Published: November 2023

Abstract
A line across the page divides, nine and nine, the first extant list of Ulysses episodes, the one Joyce sent John Quinn in September 1920 (Letters I, 145). Correspondingly, the words “End of First Part of Ulysses” appear on the last page of the Rosenbach fair copy of episode 9, “Scylla and Charybdis.” If we append to this half its coda, “Wandering Rocks,” we have a ten-episode block, homogeneous in its style1 and reasonably self-contained in its themes and actions. It is instructive to linger on this fragment. What should we make of Ulysses if it had ended with “Wandering Rocks”? We should have, by contrast with the book we know, a moderately orthodox novel of under 100,000 words, its ten chapters each of fairly normal length. The interior monologue, tactfully introduced, would be its striking technical feature: that and a certain penchant for abrupt scene shifting (and both have precedents in Meredith). It would follow, contrapuntally, Stephen Dedalus and Leopold Bloom from 8 a.m. till midafternoon, when the ostensible business of each is done for the day.
Book of Many Turns
Authors: Senn Fritz 
Published: November 2023

Abstract
Joyce ‘ s Works Can Be Seen , with equal validity, either as one great whole or as a series of self-contained units. Seemingly contradictory statements can make good sense: Joyce kept reshaping the same material in more complex ways—he never repeated himself. The reiteration, even permutation, of some fundamentals is striking. We can trace the terminal actuality of Finnegans Wake from the germinal potentiality of Dubliners; but conversely we are also tempted to emphasize the unique whatness of every single work. Joyce kept repeating himself in metempsychotic succession—but if we highlight the individual incarnations, each of his major works is essentially and unpredictably different from its predecessors. In coming to terms with Joyce’s particular other world of words, we can choose between two different sets of terminology. Taking up Joyce’s own, or Stephen Dedalus’s, insistent metaphors, we can see literature as a process of conception and parturition.
The Female Body, Technology, and Memory in “Penelope”
Authors: Ziarek Eva 
Published: November 2023

Abstract
My Reading Of The Female body in “Penelope” starts in fact with the last, unanswered, question of “Ith aca”: “Where?” Providing a transition of sorts to Molly’s monologue, this suspended question problematizes the discursive location of the female body. Indeed, where is she when she is at home—seemingly in the most familiar and intimate space? Where is the meaning of the female body, and by extension, of sexual difference to be found? In what discursive space? An inquiry into the discursive position of the female body in the context of modernity involves rethinking not only the public and private distinction but also the problem of a specific rhetoric through which this distinction is expressed. My reading of “Penelope” focuses on the contrast between the private space, intertwined with the pronounced rhetoric of organicism, and the public space, associated with the equally compelling, though much less frequently discussed, rhetoric of mechanical reproduction.
Ulysses, Narrative, and History
Authors: Nolan Emer 
Published: November 2023

Abstract
The naive or mythical view of Irish history is important for readers of Joyce, since he uses it throughout Ulysses and Finnegans Wake. The fact that it is endlessly interesting to most Irish-men and inifnitely tedious to most Englishmen can be a serious obstacle to the understanding of Joyce’s major works. Toward the end of chapter 15 of Ulysses (“Circle”) Major Tweedy, father of Molly Bloom, and member of the Royal Dublin Fusiliers, who “rose from the ranks” (U 4.63–64) of the British army, confronts the Citizen, a dropsical Irish nationalist: “(Major Tweedy and the Citizen exhibit to each other medals, decorations, trophies of war, wounds. Both salute with fierce hostility)” (U 16.4622–24). “Massed bands,” further stage directions tell us, “blare Garryowen and God Save the King.” Garryowen is the name of the Citizen’s dog in chapter 12 (“Cyclops”) and of a place in Limerick. It is also the title of an Irish drinking song.
Against Ulysses
Authors: Bersani Leo 
Published: November 2023

Abstract
Let Us Approach Ulysses as naively as possible, while admitting that in the case of Ulysses this decision can hardly be anything but a ruse. The ruseful naiveté I have in mind will consist in our pretending not to have any extratextual information about the novel—in particular, information about Joyce’s elaborate scheme of Holmeric correspondences and about the geography and history of Ireland’s capital city. In saying this, I of course expose our naiveté as, precisely, a decision: it is only because we know how important Homer and Dublin are in Ulysses that we can refer to a reading ignorant of that importance as naive. I do not mean that it is natural to read any novel in a state of cultural ignorance. I do, however, want to suggest that it would not be naive to set about reading La chartreuse de parme, War and Peace, and Moby Dick without, in the cases of Stendhal and Tolstoy, more than a fairly general, nonspecialist’s knowledge of Napoleon’s campaigns in Belgium and Russia, and, for Melville’s work, cetological expertise.
Introduction
Authors: Naremore James 
Published: November 2023

Abstract
When it was first released by RKO Pictures in 1941,Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
The Scripts of Citizen Kane
Authors: Carringer Robert L 
Published: November 2023

Abstract
The Best-Known controversy in film criticism of recent years has been over the authorship of the Citizen Kane script. Pauline Kael first raised the issue in a flamboyant piece in the New Yorker in 1971. Contrary to what Orson Welles would like us to believe, Kael charged, the script for the film was actually not his work but almost wholly the work of an all-but-forgotten figure, one of Hollywood ‘s veteran screenwriters, Herman J. Mankiewicz: Welles probably made suggestions in his early conversations with Mankiewicz, and since he received copies of the work weekly while it was in progress . . . may have given advice by phone or letter. Later, he almost certainly made suggestions for cuts that helped Mankiewicz hammer the script into tighter form, and he is known to have made a few changes on the set.
Citizen Kane: The Sound Track
Authors: Thomas Franccois 
Published: November 2023

Abstract
A Part From A Dialogue Track that had mainly been recorded live on the set, the sound of Citizen Kane was pieced together in a studio. It cannot be attributed to any single contributor because its function was progressively determined during various stages of the film ‘s creation and production. The role played by sound in the transitions from one scene to another was defined during the development of the screenplay (although several of the most striking transitions do not appear in the final shooting script) and took specific form during editing. Most of the dialogue was recorded on the set, whereas sound effects that give atmosphere and dramatic impact to each sequence were added at various points during editing and mixing. Co screenwriter Herman J. Mankiewicz, production mixer Bailey Fesler, editor Robert Wise, and the sound-effects engineers each contributed suggestions at one time or another, as did composer Bernard Herrmann, whose music occasionally acts as a substitute for sound effects.1 Chief among these collaborators was dubbing mixer James G. Stewart, who had been with RKO since 1931 and Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
Citizen Kane
Authors: Wollen Peter 
Published: November 2023

Abstract
To Write About Citizen Kane is to write about the cinema. It is impossible to think about this film without thinking about its place in film history. Most critics, despite Welles ‘s own unhappy relations with Hollywood, have seen him primarily within the framework of the American narrative cinema. Pauline Kael talks about the 1930s newspaper picture and builds up the role of Herman Mankiewicz, a hardcore Hollywood scribe if ever there was one. Charles Higham talks of a “wholly American work,” Andrew Sarris of “the American baroque,” and they leave no doubt, I think, that where the cinema is concerned, for them Hollywood such as Noel Burch places Welles in relation to Elia Kazan, Robert Aldrich, Joseph Losey, and Arthur Penn and condemns Kane for simply displaying an amplification of traditional narrative codes that it does nothing to subvert.
Out of the Depths: Citizen Kane, Modernism, and the Avant-Garde Impulse
Authors: Arthur Paul 
Published: November 2023

Abstract
Orson Welles, who was seldom at a loss for an artistic opinion, complained in a 1965 interview: “I see that there are directors, full of future, sensitive, who explore new themes, but I see no one who attacks form, the manner of saying things.”1 The attitude expressed here is familiar, a combination of bitterness at creative opportunities lost and a disdain for those not seizing their moment in the light to reflect upon the nature of the medium. Admittedly Welles tried on many public masks besides that of intrepid formal investigator. Yet a twinned and on the surface seemingly discordant impulse haunts his public statements, and indeed his creative output, virtually from the beginning. Writing in 1938, at the pinnacle of his trek through the New York theater world, he asserts that the “business” of a director is “to make his playhouse a kind of magic trick in which something quite impossible comes to be.”2 What manner of aesthetic system binds a belief in magic with an “attack” on form? The key, perhaps, is to be found at the crossroads of what is meant by the “impossible.”
Palla-Huarcuna
Authors: Palma Ricardo 
Published: November 2023

Abstract
Whither marches the son of the Sun with so great a cortege? Tupac-Yupanqui,1 he who is rich in all the virtues, as the haravicus of Cuzco call him, is proceeding in triumph through his vast empire, and wherever he passes unanimous cries of benediction are raised. The people are applauding their sovereign, because he brings them prosperity and good fortune.
A Heretical Viceroy and a Rascally Bell Ringer
Authors: Palma Ricardo 
Published: November 2023

Abstract
The church and the convent of the Augustinian Fathers were at first (1551) located at the site where the parish church of San Marcelo stands today, until in 1573 they were moved to the vast area they now occupy, not without a great legal battle and much controversy with Dominicans and Mercedarians who were opposed to the establishment of other monastic orders.
A Viceroy and an Archbishop
Authors: Palma Ricardo 
Published: November 2023

Abstract
The colonial era, rich in events that were providentially paving the way for the day of Independence in the New World, is a source barely tapped as yet by American intelligences. Therefore, and pardon our bold presumption, each time that the feverish desire to write takes possession of us, a demon of temptation that youth can scarcely resist, we evoke in our nocturnal solitude the mysterious genius that watches over the history of the bygone days of a people that lives on, nourished not by memories or hopes but by realities.
The Corregidor1 of Tinta
Authors: Palma Ricardo 
Published: November 2023

Abstract
It was November 4, 1780, and the parish priest of Tungasuca, in order to celebrate his saint’s day, which was also that of His Majesty Charles III, had gathered together for a splendid lunch the most important members of the parish as well as friends from nearby towns, who had been arriving since daybreak to congratulate him.
Everyone the Master in His Own House
Authors: Palma Ricardo 
Published: November 2023

Abstract
I don’t know in exactly what year of the last century a Mercedarian, a friar of great influence and importance with the title of Visitor General of the Order, came from Spain to this City of Kings. The date doesn’t matter one iota, for even though I am of two minds as to when it took place, my story is nonetheless true.
Three Historical Questions Concerning Pizarro
Authors: Palma Ricardo 
Published: November 2023

Abstract
Historical opinions as to whether Pizarro did or did not know how to write vary greatly, and some are contradictory. Intelligent and thorough chroniclers assert that he didn’t even recognize the letter Oby its being round. That is how one anecdote has become common currency. It tells how one of the soldiers who were keeping watch over Atahualpa in the prison of Cajamarca wrote the word God on the Inca’s fingernail. The prisoner showed it to everyone who visited him, and once he discovered that all of them except Pizarro were able to read the word with no difficulty, he had nothing but scorn for the leader of the conquest and considered him the inferior of the least of the Spaniards.