bluuebunny/crossref_metadata_2025_split huggingface dataset:
(Un-)Happy Families Heimat and Anti-Heimat in West German Film and Theatre
Authors: Boa Elizabeth , Palfreyman Rachel 
Published: November 2023

Abstract
Students of German are familiar with a syllabus centred on post-war realist literature dealing with the war and its aftermath of shattered cities and a starving populace, which then modulated in the mid-1950s into a formally more complex, critical reckoning with the National Socialist past. To claim that escapist Heimat films showing happy, if naive, country dwellers in beautiful surroundings such as the Black Forest, the Luneburger Heide, or the Alps might offer a more authentic image of postwar West Germany than authors such as Böll or Grass would be perverse. Yet the enormous popularity of Heimatfilms in the 1950s and their continuing success in the video market and as standard fillers in the television schedules suggest that such films did and still do in some sense represent an authentic expression of widespread attitudes among the German population: as the essayist and film critic Siegfried Kracauer put it, every popular film corresponds to popular desires. Film does not, of course, simply emanate from a people as a spontaneous expression of feeling. Of all art forms it is arguably the most institutionally bound, being dependent on a complex process of production and distribution which in Occupied Germany was also politically steered; the different cultural policies pursued by the Americans and the Russians would in part account for the very different film histories in East and West. Through its marketing the film industry builds up a public for popular genres and helps to shape public attitudes by the films it distributes, the choices frequently being informed byan underlying political agenda.
39/Thirty-Nine Stepsto ‘The Borders of the Possible’ by Alfred Hitchcock, Amateur Observer
Authors: Miller Toby 
Published: November 2023

Abstract
That is the way the newspapers talk about the world. These actual words were splashed across the StaronAugust 29,1938....Of course, that is assuming that Britain, and the rest of Europe, really were at that time ‘tensely watching’. But were they? The first of these quotations details a shift in discourse between fiction and fact of the kind mentioned in Chapter 1. This transformation happened because Le Queux claimed his novel was founded in fact, that thousands of Germans were ‘planted’ as barbers and waiters across the Edwardian Jerusalem.
Cultural Imperialism and James Bond’s Penis
Authors: Miller Toby 
Published: November 2023

Abstract
Chapter 4 looked for points of weakness in the domination of class and governmentality. The burden of this chapter to discern something progressive may seem more formidable. The James Bond books and films are routinely held up as significant contributors to, and symptoms of, imperialism, sexism, Orientalism, class hierarchy, and jingoism; even as the first form of mass pornography (Baron 69-70; Bold; Drummond 66-7; Moniot 29; Denning 225). And the usually non moralistic Manny Farber refers to Thunder ball(Terence Young, 1965) as ‘a catalogue of posh-vulgar items for licentious living’ (Farber 161).
Women Making Trouble—The Avengers, Honey West, and Modesty Blaise
Authors: Miller Toby 
Published: November 2023

Abstract
John le Carréalls spying ‘the passion of my time’ (‘Spying ... ‘ 270 ). And there is something truly passionate about this least typical of bureaucratic pursuits. Julie Wheelwright’s feminist history traces a nostrum in popular accounts of spying that stereotypes women as the ‘poisoned honey’. Male officials, propagandists, journalists, and historians have produced accounts of women as incapable of separating emotion from intelligence and/or as seducing secrets from hapless men. The New York Timesrefers to a 1987 story told by a marine.
Reading Nathalie Sarraute
Authors: O’beirne Emer 
Published: November 2023

Abstract
Spanning seven decades, Nathalie Sarraute's literary career has established her as one of the most prominent and highly respected French writers of the twentieth century. From the outset she has sought, through consistent formal innovation, to develop a mode of literary expression adequate to an endlessly mobile and mutable self stifled as much in public discourse as in traditional fictional characterization. Central to that enterprise is the dream of full and transparent communication with another, and ultimately with an ideal reader. This study is the first to explore in detail the interaction between the increasing move towards dialogue in Sarraute's prose works (Tu ne t'aimes pas is an extreme example), and the dialogue those works initiate with their readers. Intensely aware of the pitfalls of communication, both spoken and written, Sarraute's prose writings illuminate not only the dynamics of conversation, but also those of the reading process.
Reading in Theory and Practice
Authors: O’beirne Emer 
Published: November 2023

Abstract
Sarraute’s attitude to the reader is, as we have seen, a highly complex one: while the amount of attention her work gives him makes clear that his cooperation is considered vital (‘il ne m’est pas possible de m’en passer’: EVM 171), his ideal role in relation to the text seems limited to recognizing and acquiescing in its authority. The fact that her novels progressively abandon the representation of such an ideal reader may acknowledge at some level the impossibility of an addressee who on the one hand would be other enough for his affirmative response to have value, yet whose total approbation would deny that otherness.
Manuscripts Of Molinet’s Poetry
Authors: Armstrong Adrian 
Published: November 2023

Abstract
During his long career, spent primarily as indiciaire of the dukes of Burgundy while based in Valenciennes, Molinet composed a wide variety of poems, with differing forms and functions. In his capacity as oficial historiographer, he produced encomiastic and occasional poems, including weighty prosimetrum pieces on political subjects. However, his proliic output also includes didactic, devotional, parodic, and bawdy verse, and epistles in both verse and prose. It is only to be expected that such a heterogeneous œuvre should display a varying range of self-conscious techniques.
Gioseffo Zarlino and the Accademia Venetiana della Fama
Authors: Fenlon Iain 
Published: November 2023

Abstract
In his treatise on the academies, Scipione Bargagli recommends them as ‘contributing to the glory of cities and to the education of young nobles in the government of the state’. This strong sense of the responsibilities of the academy, of its function as the engine of civic virtue, was as common in Venice as it was elsewhere in Italy, but there it took the particular form of a direct equation between the Academy and the Republic in which the one could be expressed as a metaphor of the other.
Civil Politics and Musical Opinion
Authors: Mccoll Sandra 
Published: November 2023

Abstract
During the fin de siecle, while Austria’s foreign affairs gave no particular cause for concern, conflicting forces inside the state were hardening their fronts against each other. Pan-Germanic, pan-Slavistic and Italian Irredentist movements were preparing to tear the Dual Monarchy apart.1
Given that so many of Vienna’s newspapers were owned and run by specific political parties and interest groups, it is not surprising to find that often all manner of reporting, including reporting of musi€al events, has a strong political flavour. The most significant issue in Austro Hungarian politics in the 1890s was the issue of nationality, with the numerous non-German minorities of the empire seeking at most independent self-determination and at the very least the right to conduct business and to be educated in their own languages. These aspirations had been mirrored in the arts of these peoples throughout the nineteenth century, whose latter half in particular had seen the flowering of outspokenly nationalistic schools of musical composition, especially among the Slavic peoples of central and eastern Europe. Among the responses of the dominant German population of the empire in general and of Vienna in particular was a rise in German nationalism, a xenophobic reaction of a section of the populace which saw its privileges being eroded. With the rise of German nationalism, anti-Semitism, which had once been religious in origin, giving Jews a chance of assimilation into the dominant society by means of baptism, was now racially driven, leaving Jews with no escape from their minority status.
Musical Theatre before French Opera
Authors: Powell John S 
Published: November 2023

Abstract
As the first French repertory companies formed in the latter sixteenth century, they were naturally drawn to seek their fortunes in Paris. There, itinerant troupes struggled to survive in a city where a religious confraternity, the Confrerie de la Passion, held the rights to the only public playhouse as well as a monopoly on all theatrical performances. During this formative period of French theatre, Valleran Le Conte, his company of viol-playing actors, and his playwright-in-residence, Alexandre Hardy, emerged as the first Paris-based repertory company. By 1628 another company bearing the King’s name and sponsorship had emerged as pre-eminent, and established itself at the Hotel de Bourgogne. Another troupe sponsored by Richelieu came to found the Theatre du Marais, and built in Paris the first playhouse specifically designed for spectacular plays. These two rival theatres employed as their in-house playwrights Jean Rotrou and Pierre Corneille, who furnished a constant supply of fashionable comedies and dramas for a new theatregoing public.
Musical Theatre and the Opera Privilege
Authors: Powell John S 
Published: November 2023

Abstract
After the success of his Pastorale d’Issy (1659), Perrin envisaged the foundation of a national lyric theatre modelled after the Italian academies. Eager to prove the viability of opera in the French language, he immediately wrote two more opera librettos in the comic and tragic genres: Ariane, ou le Mariage de Bacchus and La Mort d’Adonis. According to the fréres Parfaict, Perrin and Cambert formed a partnership with the Marquis de Sourdéac and, assured of Mazarin’s protection, they petitioned for a privilége to produce operas in French; meanwhile, they gave several rehearsals of Ariane at the Hotel de Nevers. ‘Finally, everything was ready to open a new theatre in Paris, when the death of Cardinal Mazarin, which occurred at Vincennes on 9 March 1661, postponed the projects of these associates.’ Despite his solicitations to the King and Colbert, eight years were to pass before Perrin finally acquired the royal opera privilége.
Moliére’s Comedies-Ballets on the Public Stage
Authors: Powell John S 
Published: November 2023

Abstract
With the exception of Le Malade imaginair (1673), Moliére’s twelve so-called comedies-ballets were all originally designed for premieres at court; moreover, in many cases they formed but one part of an extended court entertainment. When the King summoned them, Moliére and his company cancelled public performances at the Palais-Royal, travelled to wherever the court happened to be, and adjusted their production to whatever stage was made available to them.
Music and Women of the Commedia dell’ Arte in the Late Sixteenth Century
Authors: Macneil Anne 
Published: November 2023

Abstract
Music and the Commedia dell’ Arte narrates the story of the most famous commedia dell’ arte troupe of the late Renaissance, focusing in particular on the representation of women on stage and on the role of music-making in their craft. In its thorough integration of the fields of music history, theatre history, performance studies, women’s studies and Classics, this is the first comprehensive analysis of the leading actresses of the Compagniadei Gelosi and their contributions to the Renaissance stage. Including an extensive survey of documents concerning comedians, their patrons, colleagues and audiences, Music and the Commedia dell’ Arte provides a rich context for the study of musical-theatrical performance before the advent of opera and re-defines our perceptions of women, music and theatre in the Renaissance.
Turn About is Fair Play
Authors: Macneil Anne 
Published: November 2023

Abstract
In the spring of 1589 Vittoria Piisimi, Isabella Andreini, and the Gelosi travelled to Florence to perform for the wedding of Grand Duke Ferdinando de’ Medici and Christine of Lorraine. Their presence is noted in none of the offlcial descriptions of the festivities, and Giuseppe Pavoni, an envoy to the Vizani family of Bologna, is the only eyewitness known to have recorded notice of the Gelosi’ scomedies for the Florentine wedding.
The Politics of Description
Authors: Macneil Anne 
Published: November 2023

Abstract
Seven years after Isabella Andreini’s conversations with Erycius Puteanus on the nature of love and virtue, Andreini’s daughter-in-law Virginia enacted the same debate on the stage of the Sala degli Specchi in Mantua. The play was Ottavio Rinuccini’s Arianna, set to music by Claudio Monteverdi, and the famous lament sung by Virginia Andreini revealed a woman caught between her desire for love and the suppression of that desire required by virtue: Standing on a rocky shore, Arianna wept for her fate at the wedding of Francesco Gonzaga and Margherita of Savoy on 28 May 1608, and all the ladies of the court were said to have wept with her.
Medical and Moral Authority in the Late Medieval Dream
Authors: Kruger Steven 
Published: November 2023

Abstract
Cresseid’s dream in Robert Henryson’s Testament of Cresseid is closely, indeed causally, linked to her illness, faithfully predicting and enacting disease. Awaking from her vision and taking up a mirror, the once ‘fair’ (42, 78) Cresseid discovers that she has become, as the closing words of the dream explicitly predict, ‘lyke ane lazarous’ (343).
The. Posture of Textual Dissemination
Authors: Worthington Kim L 
Published: November 2023

Abstract
For many contemporary theorists and philosophers, introspection entails not the unmediated discovery of a unified and self transparent self, but the division of the introspective subject into reflecting subject (‘I’) and reflected object (‘me’). The’I’ which observes and the’me’ being observed can never cohere into a transcending self; they are always divided in the very act of self conscious observation. This is, of course, the familiar position of Benveniste, Lacan, and Derrida. So conceived, the self I imagine myself to be is always imaginary, a discursive construct fraught with hermeneutic uncertainty. It is subject to the radical temporality of differance which renders pure presence, true meaning, impossible of discovery. Selfhood is always less (and more) than the discovery of permanent presence; it is a textual process fragmented by gaps and omissions, riven by repressed drives and desires. I can only ever (mis)recognize the (mis)represented image of myself constituted in the symbolic realm of’reality’. I can never truly know the foundational presence which is my’real’ self. But why should I seek to know myself as a fixed, permanent presence? This is surely to look for the wrong thing entirely. The discovery of a transcendental self is hardly desirable, even if it were possible, for this must limit me to the given contours of the unchanging, permanent form I discover. In the lamentation of the loss of the permanent presence of an immanent self, discredited metaphysics and determinism are reconstituted with a vengeance, as unattainable desire.
Communal Contestation: Margaret Atwood’s Lady Oracle
Authors: Worthington Kim L 
Published: November 2023

Abstract
After an abortive attempt to escape what she deems the repressive conventions and expectations of her rational everyday existence, the protagonist in Renata Adler’s Pitch Dark resigns herself to determination within them, surmising that the best one can hope for is’under conscious pressure, a surprise within the rules’.1 Kate’s personal dilemma is her entrapment between, on the one hand her desire for the affirmation and’placement’ afforded by her relationship with her lover Jake and, on the other hand, a sense of lost spontaneity and thwarted individuality that characterize their affair, which has become’boring, ... droning, and repetitive’ (6).
‘Crimes of Criticism’: Virginia Woolf and Literary Journalism
Authors: Lee Hermione 
Published: November 2023

Abstract
‘Crimes of criticism’ is a phrase used in an unsigned essay by Virginia Woolf, published in The Times Literary Supplement in 1923 and called ‘How it Strikes a Contemporary’, on the difficulties of contemporary criticism. What guidance is there, the essay asks, for the modern reader? Contemporary criticism is suffering from a loss of authority. There used to be rules which controlled ‘the great republic of readers’, critics of authority like Dryden or Keats, Flaubert or Coleridge. Now it’s an age of fragments and interruptions and telephone calls. There has been a shift in the class structure. We are cut off from our predecessors. Modern work is ‘noted under pressure’, producing irritation as well as pleasure. Contemporary critics can no longer generalize. We have plenty of policemen, but no judges.
‘Silly like us’: Anglo-Irish Accommodations
Authors: McDonald Peter 
Published: November 2023

Abstract
In his late volume of memoirs Recollections: Mainly of ‘Writers And Artists, the English poet and literary impresario Geoffrey Grigson offered his last thoughts on the 1930s generation of poets, and on W. H. Auden’s pre-eminence amongst them, including his own reflections on the vicissitudes of critical success. In Auden’s case, that success was not, evidently, all it might have been:
Killing the Poor An Anglo-Irish Theme?
Authors: Rawson Claude 
Published: November 2023

Abstract
In The Soul of Man Under Socialism, first published in the Fortnightly Review in 1891 some time after he heard Shaw speak in a Fabian debate, Oscar Wilde poured scorn on sentimental do-gooders who ‘try to solve the problem of poverty ...by keeping the poor alive’.1 The phrase has a chilling ring, and may be set beside an utterance by Shaw himself, as late as 1927, in The Intelligent Woman’s Guide to Socialism: ‘I hate the poor and look forward eagerly to their extermination.’2 It is instructive in tum to read these statements beside a characteristic outburst from an earlier Anglo-Irish spokesman, much admired by Shaw, denouncing the easy con science-salving dispensation of charity to the poor, the majority of whom are ‘fitter to be rooted out of the Face of the Earth, than suffered to levy a vast annual Tax upon the City’. This is Swift, in a late tract, A Proposal forGiving Badges to the Beggars in all the Parishes of Dublin (1737), complaining about the cost of maintaining a population of unemployed beggars who have come to the city from country parishes.
Luciano Berio
Authors: Berio Luciano 
Published: November 2023

Abstract
I composed the Sinfonia,which is for eight voices and orchestra, in 1968. The third, central section of this work develops many different musical layers which are partially generated by the Scherzo of Mahler’s Second Symphony. The text, sung and spoken by the eight voices, is taken from Beckett’s The Unnamable,and it generates other verbal layers. It would be too complicated to describe the musical criteria behind the employment-analogous in some respectsof a musical text by Mahler and a literary text by Beckett. They are immensely distant from each other, but at the same time they share an awareness-different though it is-of time past: Mahler developing it and commenting upon it, Beckett stoically pre-empting it and systematically suspending it.
Towards Parole da Beckett
Authors: Manzoni Giacomo 
Published: November 2023

Abstract
At the start of the I96os, there was much talk and writing about nuclear fall-out shelters. It was a very American vogue, and it seemed as if building oneself a fall-out shelter had become the distinguishing mark of the most well-to-do classes: it was dernier cri,and a proof that you had done so well in life that you could allow yourself not to fear even atomic war. These were crazy beliefs, of course, a pure and simple industrial and commercial opportunity, which nobody could really take seriously. It was in thinking about this phenomenon that the project of a theatre musical, Atomtod [Atomdeath],came about, with the intention of unmasking and denouncing this absurdity of present-day mankind. The stage was split, from a certain point in the development of the plot, into two sections: the external, which was to suggest an idea of desolation, linked with an encumbering mass of rubbish and rubble from an atomic explosion, as well as extending to piles of odd-shaped masses of a totally defenceless mankind; and some decors representing the interiors of atomic shelters, which we had seen being readied at the start of the performance
A Masque of Revelation: The Tempest as Apocalypse
Authors: Marx Steven 
Published: November 2023

Abstract
The Tempest is generally thought to be the last complete play Shake speare wrote, the final chapter in his book. It certainly is his most mysterious and sublime. Whether or not he intended it as a farewell to his audience, its magician-playwright protagonist prophesies his own death and the dissolution of his world. For those familiar with the Bible, such a strong ‘sense of an ending’ would suggest the ‘Last Things’ of its most mysterious final book, The Revelation of St John the Divine, often called the ‘Apocalypse’.
Ruskin’s Science of the I87os: Science, Education, and the Nation
Authors: O’gorman Francis 
Published: November 2023

Abstract
A portion of Ruskin’s creative energy in the 1870s was engaged in the writing of science. Three books emerged from this: Love’s Meinie (1873–81), which concerns birds, Proserpina (1875–86), which concerns flowers, and Deucalion (1875–83), which is a more recognizably orthodox book about geology. As was Ruskin’s familiar practice, each of these three ‘texts’ was published initially in serial parts, a fact which must be borne in mind when thinking of them as separate volumes. Love’s Meinie began life as part of Ruskin’s 1874 Oxford lectures and Deucalion also includes material from the Oxford lectures for the same year as well as material from London lectures, though Ruskin comes to describe it in chapter 8 (volume i) as ‘an absolutely trustworthy foundation for the geological teaching in St. George’s schools’ (Works 26. 197). Proserpina, the text which has attracted most of those modern critics of Ruskin who have looked at his science, did not begin as lecture material and was conceived more straightforwardly from the start as a serviceable serialized textbook for the St George’s Schools proposed in Fors Clavigera. All three of the texts, however, came eventually to be imagined by Ruskin as fulfilling this role.
Useful Travel: Moore’s Imaginative Forays Abroad
Authors: Stamy Cynthia 
Published: November 2023

Abstract
In 1907, when Marianne Moore’s poems were beginning to appear in Tipyn O’Bob,the undergraduate magazine at Bryn Mawr, a canon of scholarly works in English on the literature and arts of the Far East was already being established. As her writing career developed, this field burgeoned as private collections2 of Chinese and Japanese art became available to a public already given to Chinese curio-collecting. By 1930, published work on Chinese art and history as well as commendable, if not definitive, translations of Chinese poetry were widely available in English.
Habits of Privacy, Habits of Thought
Authors: Stamy Cynthia 
Published: November 2023

Abstract
The Chinese have been idealists, and experimenters in the making of great principles; their history opens a world of lofty aim and achievement, parallel to that of the ancient Mediterranean peoples. We need their best ideals to supplement our own—ideals enshrined in their art, in their literature and in the tragedies of their lives.