bluuebunny/crossref_metadata_2025_split huggingface dataset:
Sliding Down the Evolutionary Ladder? Aesthetic Autonomy in The Metamorphosis
Authors: Siècle Fin de , Anderson Mark M 
Published: November 2023

Abstract
A Few years ago an art gallery in New York created a mild sensation by dousing a number of human models, clothes and bodies, in green paint and hanging them on its bare white walls. Although the models adopted various poses, they made no attempt to deny their living status, and interacted freely with the bemused public. Somewhat at a loss to describe the artwork, which apparently was not for sale, the media spoke of ‘Dada’, ‘performance’, and ‘action’ art. Franz Kafka’s literary masterpiece of 1912, The Metamorphosis, enacts essentially the same scenario when its human-sized bug hero climbs “the wall of his bedroom and usurps the aesthetic space occupied by a gilt-framed photograph, hugging his flat body against the glass until it ‘completely covers’ the picture. When his mother, less blase than a New York audience of the 1980s, enters the room, her senses are overwhelmed. She perceives only a huge brownish spot against the flowered wallpaper and, crying out ‘Oh God! Oh God!’, falls into a dead faint. No avant-garde artist of the modern period could ask for a more satisfying public response.
The Physiognomy of Guilt: The Trial
Authors: Siècle Fin de , Anderson Mark M 
Published: November 2023

Abstract
Few readers of The Trial would disagree that the central enigma of the novel is posed by its first sentence announcing Joseph K.’s arrest although apparently he has not done anything ‘wrong’ or ‘evil’: ‘Someone must have been telling lies about Joseph K., for without having done anything wrong he was arrested one fine morning.’ This same idea is repeated later in the first chapter when one of the arresting warders explains to K. that the Court officials ‘never go hunting for crime in the populace, but, as the Law decrees, are drawn toward the guilty’ (T6).1 In other words, this particular Court does not prosecute a criminal act that has already taken place, but is ‘attracted’ (angezogen) by a condition of guilt that either precedes or in some sense is independent of an actual crime. Confronted with this enigma, commentators have often turned to the biblical notion of original sin to explain K.’s ‘trial’, which the novel’s Christian symbolism admittedly seems to corroborate. Joseph K. eats an apple Oil the morning of his arrest, and shortly before his execution visits a cathedral where he discovers a painting of Christ’s burial.
‘Jewish’ Music? Otto Weininger and ‘Josephine the Singer’
Authors: Siècle Fin de , Anderson Mark M 
Published: November 2023

Abstract
In ‘Josephine the Singer, or the Mouse Folk’, his last story, Kafka took up a subject which he had explicitly sought to eliminate from his writing ‘organism’ as early as 1912: ‘When it became clear in my organism that writing was the most productive direction for my being to take, everything rushed in that direction and left empty all those abilities which were directed toward the joys of sex, eating, drinking, philosophical reflection and above all music’ (diary entry for 3 January 1912). Here music represents an organic, superfluous ‘ornament’ which the ascetic modernist must purge in order to write. Throughout his life Kafka aspired toward a non-musical, architectural purity in his writing, rather proudly characterizing his unmusical nature in a letter to Milena Jesenskà as a source of strength: ‘I have a certain strength, and if one wanted to designate it briefly and vaguely, it is my being unmusical.’ None the less, in March 1924, gravely debilitated by the illness that would lead to his death a few months later, Kafka wrote his moving if enigmatic story about a singing mouse named Josephine.
Introduction
Authors: Kennedy Elspeth 
Published: November 2023

Abstract
Lancelot and the Grail would seem to represent opposite poles—the hero whose love for Arthur’s Queen inspires him to become the greatest of all knights, and the holy vessel, from its first appearance (in Chretien’s Conte def Graal) described in a context of Christian ritual as ‘sainte chose’ and in the Vulgate Queste only to be approached by chaste or virgin knights. Yet these two themes and that of the Death of Arthur are combined in the Lancelot-Grail cycle. This vast work fills six volumes in Sommer’s edition, starting with an early History of the Grail, followed by a Merlin, giving an account of the birth of Merlin, the early history of Arthur’s reign (based on Robert de Boron), and a suite leading up to the three volumes of the Lancelot propre (volumes III, IV, and V), the last of which prepares the way for the Queste. The cycle ends with la Mort Artu. The contrasts and contradictions (including a reference to Perceval/Perlesvaus as Grailwinner and accomplisher of the adventure of the Perilous Seat) within a closely interlacing structure have puzzled and fascinated scholars for more than a hundred years.
The Making of a Name or Quest for Identity
Authors: Kennedy Elspeth 
Published: November 2023

Abstract
One of the recurring themes in twelfth-century romance is the identity theme. A young man has to discover who he is, to make his name (sometimes in the most literal sense) through his exploits as a knight, or an older knight has to prove his right to a reputation won in the past, or recover a good name which he has lost. This theme, under its various aspects and in relation to a range of characters who provide a counterpoint to the development of Lancelot’s quest for identity, runs right through the PL. It emerges clearly in terms of the narrative structure and the handling of the interlace (as will be examined further in Chapter VII) and is emphasized through interplay with the existing literary tradition by means of variations on familiar narrative patterns, subtle allusions to the heroes of earlier Arthurian romances.
The Grail Allusions
Authors: Kennedy Elspeth 
Published: November 2023

Abstract
There is another kind of Arthurian supernatural, more directly associated with Christianity, namely that of the Grail theme. The relationship between the Grail story and the tale of Lancelot as presented in the PL is of crucial importance in any examination of the position of the non-cyclic romance in the development of the Lancelot-Grail cycle. We have seen that there are many passages in the text which serve to set the story within a wider Arthurian tradition and to link it with the past history of the Arthurian kingdom and with the magic and marvels associated with the time of the Prophet Merlin, son of a devil, whose activities are placed in the past in relation to the events in the life of Lancelot. There are also a number of passages which refer to the Christian marvels associated with the Grail and with Joseph of Arimathea which form another main thread in the texture of Arthurian romance early in the thirteenth century.
The Tale and the Interlace
Authors: Kennedy Elspeth 
Published: November 2023

Abstract
Le Conte is the basis of the work, as the recurring references to it make clear. The author does not intervene frequently in the first person singular; the source of almost all comments or explanations is le conte, and it is cited as the authority for the relevance and accurate reporting of all the adventures related. We have already seen in earlier chapters that the tale of Lancelot is presented as part of a larger whole, and it is in this context that the references to the conte are particularly important. Two passages already quoted in Chapter VI explain that Arthur’s clerks recorded in a great book all the adventures of the knights (PL 571.24-31, 611.38-612.1 ). This recording is linked with the oath sworn by knights leaving court on a quest that on their return they will give a truthful account of all that happens to them while they are away.
Repetition and other linking devices
Authors: Kennedy Elspeth 
Published: November 2023

Abstract
Frequent repetition of familiar episodes and situations and the doubling of characters are features of Arthurian romance which may in some texts produce a monotonous effect. However, repetition, contrasts, and parallels can be used with subtlety and to good purpose, especially at a time when logical development of plot according to modern ideas of cause and effect often plays a restricted role in literary structure. The non-cyclic Prose Lancelot provides a particularly good example of the skilful use of repetition both to give a firm texture and cohesion to the romance and to bring out the complex relationship between the individual work and a wider whole, existing beyond the text and encompassing it.
Lancelot with the Grail: first stage
Authors: Kennedy Elspeth 
Published: November 2023

Abstract
There is another Prose Lancelot which, as great scholars such as Ferdinand Lot and Jean Frappier have shown, possesses a unity as a literary work, in spite of contrasts between the different branches. In that romance the tale of Lancelot’s childhood and adventures up to his installation as a companion of the Round Table forms only the first part of a great cycle which includes a Grail Quest firmly integrated in Lancelot’s own story through the person of his son Galahad, and a Mort Artu which recounts the tragic conclusion of Lancelot’s love for Guinevere and the destruction of Arthur and the Round Table. The non-cyclic and the cyclic Prose Lancelot share the same text up to Lancelot’s welcome into Arthur’s court (at the end of Sommer III), although some scribes, seeing the obvious contradictions between the Grail allusions in this part of the tale and the Galahad Quest, have tried to remove them or alter them, as will be seen in the last part of Chapter XI. The cyclic and non-cyclic romances, therefore, only diverge at the end of Sommer III (at the end of phase V in the work studied in Part I of this book), when Galehot takes Lancelot away from court and journeys to his own lands. It is this divergence into two different versions of the journey to Sorelois, the False Guinevere episode, and the death of Galehot which I propose to study in this chapter. I use the title ‘version (a)’ to designate the brief version (‘special version’ in the terminology of Micha) which corresponds to phase VI of the non-cyclic Lancelot and which brings the story to an end with the death of Galehot.2 I use the title ‘version (b)’ to designate the cyclic version. We have seen that version (a) (phase VI) is linked through references back and a
‘Uthmīn And ‘Alī
Authors: Crone Patricia , Zimmermann Fritz 
Published: November 2023

Abstract
Sālim b. Dhakwān was an Iba9i, possibly an Omani, and apparently an acquaintance of Jabir, which is to say that he was a sectarian, possibly a provincial, and apparently a very early figure. The discovery of an epistle by such an author ought greatly to increase our understanding of early Islamic history and beliefs, not only because early texts can be expected to contain new information, but also, and more particularly, because they make well-known information come alive by preserving early perspectives. However faithful a tradition may be, it cannot transmit the contemporary view of things because it cannot transmit all the information on which that view is based.
The Murji’a and Fatana
Authors: Crone Patricia , Zimmermann Fritz 
Published: November 2023

Abstract
Sālim only takes issue with the Murji’ites on two points: they suspend judgement on the participants in the first civil war, and they insist that their ‘kings’ are believers. As regards the former point, the MurjPites argue that one can only pronounce on the rights and wrongs of things on the basis of personal observation (autopsy in the original sense) or unanimous testimony (III, 91, 95, 97). Since the first civil war is a disputed event which happened before their time, they cannot tell who was right and who was wrong in it, and Sālim implies that they neither affiliate to nor dissociate from its participants.
A Brief Glance at Art History
Authors: Rouet Philippe 
Published: November 2023

Abstract
We shall resume our investigation into the history of connoisseurship by examining the thinking of Giovanni Morelli and Bernard Berenson. There seems little doubt that, although archaeologists were of course capable of realizing for themselves that many of the styles of drawing they observed on vases could be attributed to individual artists, works such as those of Morelli (whose influence on Furtwängler has already been mentioned) must have spurred them on to go further down the road of attributionism.
Beazley’s Background
Authors: Rouet Philippe 
Published: November 2023

Abstract
Like Morelli, Berenson, and most connoisseurs of the time, Beazley acquired most of his training for himself by going to museums. It should be explained straight away that he had the best possible education in Classical Greats at Oxford University; not only was he very much a product of Oxford, he also spent the whole of his adult life there, from October 1903 until his death on 6 May 1970. At the beginning of the century, however, there was no real teaching of art history or archaeology on offer at the university.
The Workshop and the Circle, the Painter and his School
Authors: Rouet Philippe 
Published: November 2023

Abstract
Apart from those painters whom Beazley identified very early on, such as the Kleophrades Painter and the Berlin Painter, Beazley took little trouble to explain the reasons for his attributions. We therefore need to examine his work on those two painters; this will help us not only to analyse his method, but also to identify clearly the radical changes that he introduced to the study of pottery from the very beginning of his research. On the Berlin Painter he published one of the few articles in which he explained his ideas about the connoisseurship of vases in detail. His conclusion was a sharp reaction against erroneous interpretations, which he saw as distorting any overall picture one might have of the production of painted vases in Athens, and also any sense of the status of the painters.
Epilogue
Authors: Rouet Philippe 
Published: November 2023

Abstract
At the end of a long historiographical study, what food for thought can we draw from the comparison between Beazley and Pottier? The reader already has some idea of this, since it was indicated at an earlier point that the discussion of Carlo Ginzburg’s ‘clue paradigm’ would be carried over to this conclusion. What is this theory? Ginzburg claims that the last quarter of the nineteenth century saw the emergence of a new explanatory model in the field of human sciences.
Telling the Truth: the discourse of history
Authors: Ainsworth Peter F 
Published: November 2023

Abstract
When the writers of the first vernacular French ‘histories’ were given the task of reflecting upon their masters’ antecedents, they had recourse to oral tradition, to myth, and to legend; to genealogy as it was understood and to written testimony (which was often fabricated). Historical ‘fact’ was thus inextricably intertwined with fictions of various kinds, but in a manner that did not preclude the emergence of texts witnessing to a certain reality.
Creating an Image: Edward III in the Rome Manuscript
Authors: Ainsworth Peter F 
Published: November 2023

Abstract
It is more than likely that the Rome manuscript version of Book I was undertaken at the same time as Froissart was completing the second half of Book IV, which deals with the final moments of the reign of Richard 11. As we saw in Chapter 6, Book III had already chronicled the nefarious influence upon Richard of Robert de Vere, his elevation to a dukedom, and the increasing baronial resentment caused by the king’s undue reliance on a marmouset.
Ni Victimes Ni Bourreaux: The Liberal Dilemma
Authors: Dine Philip 
Published: November 2023

Abstract
In the previous chapter, I drew attention to Roger Ikor’s tale of the stand taken against the army’s use of torture by a conscript sergeant. In fact, this action is prompted by that of a lieutenant, who, having been obliged to interrogate an Algerian suspect, leaves the army and enters a monastery. The character’s decision to devote himself henceforth to the imitation of Christ is explained by his belief that the Son of God is the ultimate victim of any use of torture (267). This attitude reflects the views consistently expressed by Francois Mauriac in his influential ‘Bloc-Notes’ column in L’Express, while the officer’s consideration in turn of the murder of his superior, suicide, and madness serves to draw attention to the properly ontological pretensions of such liberal Catholic soul-searching. Indeed, for Plaa and those he represents, torture is not primarily a military tactic, to be accepted or rejected —either for practical reasons, or on ethical grounds, or both —but rather an existential dilemma which must be suffered even unto death. The lieutenant thus leaves the Algerian stage, having rejected the modalities of French repression, but, crucially, nothing else.
The Will to Belong: The Myths of the Pieds-Noirs
Authors: Dine Philip 
Published: November 2023

Abstract
It was Pierre Mend às-France who, having only a few months earlier wound up the French army’s catastrophic Indo-Chinese campaign, first committed his country’s forces to the defence of Alg àrie francaise. This seemingly illogical reaction to the Algerian insurrection could, in fact, hardly be avoided, given the presence in the territory of some one million well-established settlers. Without the pieds-noirs there would have been no Algerian war: it was they who constituted ‘French Algeria’, and it was their entrenchment which made the 1954-62 conflict both so inevitable and so intractable.
Cinema Images of the Algerian Conflict, 1954—1992
Authors: Dine Philip 
Published: November 2023

Abstract
It has long been a critical commonplace to bemoan the lack of a French cinema of the Algerian war. More recently, however, the publication of substantial critical inventories of this supposedly non existent corpus has forced a reappraisal of the cinematic representation of the 1954--62 conflict. It is as part of this reassessment that Benjamin Stora, the leading historian of the French collective memory of the war, has sought to analyse not an objective absence, but rather a perceived one. Stora looks to the doubly partial—both fragmentary and partisan—character of the approximately fifty feature films which have so far dealt, directly or indirectly, with the Algerian conflict, in an attempt to account for this abiding impression of a cinematic absence.3 In what follows, I shall propose both a chronology and a typology of the corpus which draws on this and other contributions to the recent debate. However, as I turn in this final chapter to the processes of mediation performed by cinematic ‘texts’, it is the pivotal relationship between the ideological stances and the narrative strategies of the films in question that will constitute the primary object of my analysis.
̒La Passion selon H.C.’: Reading in the Feminine
Authors: Wilson Emma 
Published: November 2023

Abstract
In her seminar series ‘A la recherche de l’auteur inconnu’ given at the Collège international de philosophie in Paris between 1989 and 1990, Helene Cixous spoke once, for some minutes, of her love of exotic flowers. This strategy of reading the self as text, and reading through the self, is a not uncommon feature of her writing practice. Cixous tends her own life with intimate care, offering to her readers fragments of her dreams, her passions, moments of being, and measured recollections. Her work incessantly draws into question the identity of the writer and of the reader, and, further, the relations between the two.
‘Mon histoire de Loi V. Stein’: Duras, Reading, and Amnesia
Authors: Wilson Emma 
Published: November 2023

Abstract
In her essay ‘La Maladie de la douleur: Duras’, Julia Kristeva writes: ‘il ne faut pas donner les livres de Duras aux lecteurs et lectrices fragiles’.1 How, we might wonder, may the fragile reader become a victim of Duras’s texts? Is it possible, indeed, that Duras’s texts work to undermine the reader’s certainty and sanity, forming, rather than reflecting, the trauma of noncathartic identification Kristeva has sought to analyse? And might this be understood in positive rather than negative terms? Kristeva’s argument works to suggest that Duras’s texts confront her readers with madness and horror, in unspeakable intimacy.
Introduction
Authors: Rowe William 
Published: November 2023

Abstract
For poets writing in Latin America since the 1950s there have been two main inheritances to be used, modified, or abandoned: the work of the avant-gardes and the tradition of politicized poetry. But whereas the latter is widely known, and associated in particular with the name of Pablo Neruda, the general reader is less likely to have come across the contributions of Latin American poets to the avant-garde tradition of experiment with language and form. Avant-gardism is regarded as a European phenomenon, with Surrealism and Dada as the prime examples, and Latin American poetry is taken to be distinctive in its preoccupation with politics. That view could be traced to a number of influences, such as the coloniality of established literary history and the populism of the Left, but the fact is that the way it divides up the territory is not accurate. Crucially, it diverts attention from the poetic imagination and its capacity to invent forms, which is a power that moves through all varieties of poetry. To perceive and respond to this is a prime condition for reading poetry.
Juan L. Ortiz: Verticality from the Margins
Authors: Rowe William 
Published: November 2023

Abstract
The introduction of doubts, vacillations, and uncertainties at the most intense moments of a poem is a prime characteristic of Juan L. Ortiz’s writing and it makes the act of reading approximative. Instead of giving definite contours to inner experience, making it distinct from public space, Ortiz’s poems move into ecstatic areas which cause such classifications to dissolve and a different sense of time and space to emerge. Let us begin by considering some specific features of their movement.
Futurist Theatre: A Preliminary Characterization
Authors: Berghaus Günter 
Published: November 2023

Abstract
Futurism, launched in 1909 by the Italian poet and publicist Filippo Tommaso Marinetti, was the first expression of a radical, modernist spirit in the arts. In their manifestos, the Futurists proclaimed the bankruptcy of a country that clung to the past and ignored the great advances of the modern world. They ridiculed the ossified cultural and political institutions, the servile respect paid to an intellectual and artistic cult of the glorious Italian past. Instead, they sought nothing less than to revolutionize life and society in all their diverse aspects: moral, artistic, cultural, social, economic, and political.
The Beginnings Of A Futurist Performance Art: The Early Serate
Authors: Berghaus Günter 
Published: November 2023

Abstract
The first performances of Marinetti ‘s plays Le Roi Bombance and Poupees electriques gave a clear idea of what Futurist theatre was going to look like. The serate were a natural progression from Marinetti ‘s political and aesthetic beliefs described in the introductory chapters of this volume. The term serata, plural: serate, is used in Italian for any kind of evening entertainment, just like the French soiree. There is no specific theatrical meaning attached to the word. However, the Futurists developed the serate into a kind of theatrical genre, to which I will refer throughout the book with the Italian term.