bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Last Signs Of Life In Futurist Theatre
Authors: Berghaus Günter 
Published: November 2023

Abstract
The Futurists tried their utmost to alert the Fascist authorities to the lamentable state of Italian theatre, from both an artistic and a technical viewpoint. Apart from writing about it in newspapers and magazines, such as L ‘impero, Futurismo, Sant ‘Elia, Scenario, Comoedia, Teatro, etc., and intervening at conferences and symposia, such as the international congress of the Societa Universale del Teatro (29 April-3 May 1932) or the Volta conference in October 1934 (which counted amongst its participants Walter Gropius, Alexander Tairov, Jacques Copeau, and Gordon Craig), they voiced their concerns via the theatre and arts corporations, approached influential functionaries such as di Marzio, Alfieri, Pavolini, Gray, and sought direct contact with Mussolini in order to gain public and State support for the improvement of the Italian theatre system.
The concrete results of these numerous campaigns were minimal. Neither a permanent Futurist theatre nor a Futurist-inspired National Theatre was ever constructed. The only theatre seriously dedicated to innovative produc-tions - Bragaglia ‘s Teatro degli Indipendenti - was closed down in 1930. Attempts to reopen a Teatro Sperimentale in Rome were strongly supported by the Futurists,2 but neither this nor the plans for a Futurist People ‘s Theatre3 ever came to fruition. In 1937, Bragaglia opened a new venture, called Teatro delle Arti, but the work presented here until 1943 was - not unlike Pirandello ‘s Teatro d ‘Arte - normal repertoire fare in a modern production style. Attempts to step outside this narrow niche immediately brought down the sledgehammer from above (demonstrated by the prohibition ofLorca ‘s Blood Wedding on the day of the dress rehearsal).
Heimat Past and Present—A Land Fit for Youth Lenz’s Deutschstunde, Emil Nolde and Heimatkunst, Michael Verhoeven’s Das schreckliche Mäidchen
Authors: Boa Elizabeth , Palfreyman Rachel 
Published: November 2023

Abstract
Deutschstunde (1968) by Siegfried Lenz (born 1926 in Lyck in Masuria, East Prussia), tells the story of Siggi Jepsen, a young man who has been arrested for art theft and sentenced to be held in an institution for delinquent youth (‘schwererziehbare Jugend’, literally ‘difficult-to-educate youth’). The story is told in the first person by Siggi who shares a name with his author—his full name is Siegfried Kai Johannes Jepsen. As part of his rehabilitation, Siggi has to write an essay on the topic of ‘The Joys of Duty’ and tells the story, set during the Second World War, of his father Jens Ole Jepsen, policeman in the northernmost police station in Germany, in Rugbiill, on the border between Schleswig-Holstein and Denmark. The story proves so long in the telling, however, that the narrator cannot complete it in the hour or so provided, but instead voluntarily spends several months in solitary confinement, so arousing the interest of educational psychologists such asWolfgang Mackenroth who embarks on a case study of this unusual inmate to be presented for a diploma.
Homeward-Bound Edgar Reitz’s Heimatfor the 1980s
Authors: Boa Elizabeth , Palfreyman Rachel 
Published: November 2023

Abstract
Edgar Reitz’s epic film Heimatwas premiered at the Munich film festival on 30 June and 1 July 1984. It appeared on German television (ARD) split into eleven film-length episodes from 16 September to 14 November 1984. In 1986, it was broadcast for the first time on British television (BBC2) with subtitles from 19 April to 29 April, divided in the same way. It is estimated that one or more episodes were watched by 25 million Germans on television. In Britain, viewing figures of around 2.5 million were recorded, unprecedented for a subtitled art film of apparently off-putting length. Precedent suggested the BBC could have expected around 300,000 viewers. Though German and British reviewers were largely positive, indeed some were rapturous, the film also aroused controversy.4 As Colin Townsend documents, the film drew from Sunday Times critic Sean French the remark that the revisionist protrayal of a decent German officer was at times a bit hard to take, and it early on aroused disquiet also in France. Townsend also makes the point that the film’s episodic structure leaves gaps such as the crucial years of 1933 to 1935 when the process of Gleichschaltung (bringing into line) was being driven through in every institution and level of German civil society.
Spy Histories
Authors: Miller Toby 
Published: November 2023

Abstract
Before turning to screen spying, we need to dear some ground and establish some definitions and histories. This chapter seeks to provide this, but not in a way that presupposes a radical differentiation between fact and fiction, truth and legend, history and film, as if we can explore the ‘real’ world then measure the ‘reel’ world against it, or vice versa. Rather, and in keeping with the seduction of both espionage and drama, their playacting, Chapter 1 sketches the mutual indication of these discourses, notably in the UK-US context. Wherever we turn in the comparatively anarchic world of states, we find deceit and treachery, and espionage seems to be the alpha and omega of this means-ends rationality. Unlike the internal life of government, where lawmakers struggle over the means of control over their citizens and vice versa, international relations is constitutively chaotic.
Introduction
Authors: Gordon Robert S C 
Published: November 2023

Abstract
Writing about the Holocaust, whether as survivor, chronicler, or mere glossator of the work of others, has become all but synonymous with ‘bearing witness’. Adopting the language of testimony has become quite natural, almost an inevitable consequence of tackling this most fraught of subjects. And the reasons for this are compelling. Testimony brings with it a genuine rhetorical power. It taps into time-honoured traditions of memory and mourning; it gives voice to a mass of individuals who have little or no expertise in speaking or writing, only the authority of having been there, ‘whose only claim to greatness is the greatness of their suffering’, as Levi put it in a I 947 article (I. 1384). Furthermore, it has the noble ring of collective, public action: testimony is a defiant deposition against crime, against evil.
Discretion, Or Language And Silence
Authors: Gordon Robert S C 
Published: November 2023

Abstract
Chapter 2 began with a recent tendency in Holocaust writing to draw on a rather cliched topos of memory as a marker of solemnity, arguing that Levi enacts a form of memory that is made denser and more difficult by its ethical dimension. We can usefully begin this chapter in much the same manner. There is a related, perhaps even more solemn topos about the experience of the Holocaust and the writing of it which, like all such topoi, contains a kernel of truth but also a deadening and simplifying reduction of the truth. It relates to the very real and profound difficulty in finding words and images to convey the sheer extremity of horror realized in the Final Solution and experienced by each individual who fell victim to it.
Common Sense
Authors: Gordon Robert S C 
Published: November 2023

Abstract
Throughout his work, Levi persistently presents himself as unexceptional, ordinary, as a normal man. He feels distinctly uncomfortable when others dress him in ‘higher’ garb, treating him, say, like a prophet or a seer, for the mere fortune of having survived Auschwitz: as he states in the preface to Racconti e saggi, ‘Tale non sono: sono un uomo normale di buona memoria che e incappato in un vortice’ (II. 859; emphasis added; ‘I am none of these: I am a normal man with a good memory who happened to get caught up in a whirlwind’).
Narrative and Fantasy in the Post-War German Novel
Authors: Paver Chloe E M 
Published: November 2023

Abstract
Narrative and Fantasy in the Post-War German Novel, a study of novels by Uwe Johnson, Max Frisch, Christa Wolf, Jurek Becker, and Günter Grass, investigates the fictions and fantasies invented by five narrators, examining the purpose which the fictions serve within each text and the means by which each author deliberately draws attention to them. All five authors are shown to be concerned with the kinds of stories which ordinary people tell about themselves and their past lives. While some of the texts demonstrate the positive power of imagination, others point to the dangers of fiction: its tendency to falsify reality and to encourage escapist and violent fantasies. This is the first major study of this distinctive trend in post-war German fiction.
Christa wolf: Nachdenken Über Christa T
Authors: Paver Chloe E M 
Published: November 2023

Abstract
Even before it reached the GDR’s bookshops early in 1969 Nachdenken überChristaT., Christa Wolf’s second major novel, was already the subject of speculation in the German book world. Delays in the book’s production and two lukewarm reviews which appeared in advance of the novel itself led to the suspicion that Christa T. was being suppressed because it was unpalatable to the SED. When it finally appeared, the novel became a cause célèbre, partly because of the undeservedly hostile reception which it received in the East, partly because of the equally undeserved tag of ‘oppositional literature’ which was attached to it in the West, and in no small part because its publisher took the extraordinary step of distancing himself publicly from the book, in the pages of Neues Deutschland
Introduction
Authors: Mcguinness Patrick 
Published: November 2023

Abstract
This book is a study of one of modern theatre’s quietest, but most radical, innovators. By the mid-189os, the Belgian playwright and poet Maurice Maeterlinck had given the Symbolist movement something it had been seeking for more than a decade: a theatre. In so doing, he gave drama a new set of bearings: ‘static theatre’, ‘second degree dialogue’, and the ‘tragic of the everyday’. As Rainer Maria Rilke wrote, he ‘re-located theatre’s centre of gravity’, replacing action with inaction, events with eventlessness, and dialogue with a semantics of silence as expressive as any of Symbolism’s most sophisticated poetic constructions. The founder of the ‘theatre of waiting’ and the pioneer of dramatic minimalism, but also the free verse poet admired by the Surrealists and the author of speculative essays on dreams and the unconscious, Maeterlinck was celebrated by contemporaries as different as Mallarme and Rilke, Jarry and Chekhov,
La Princesse Maleine and Symbolist Theatre
Authors: Mcguinness Patrick 
Published: November 2023

Abstract
J’ étudie partout Les fragments d’un Thé âtre nouveau qui se prépare en France et que je prépare de mon coté; quelque chose qui éblouisse le peuple souverain comme ne le fut jamais empereur de Rome ou prince d’ Asie. Tel est le but; c’est roide. 11 faut du temps. I am studying on every front the fragments of a new theatre which is taking shape in France and on which I too am working; something to dazzle the sovereign people as no Roman emperor or prince of Asia was ever dazzled. This is the goal; it is hard. It takes time.
Using the Stage
Authors: Mcguinness Patrick 
Published: November 2023

Abstract
With his one-act plays, Maeterlinck produces dramatic forms which, more than any other theatre of their day, hold the clue to the shape of twentieth-century drama. In their time, these plays were felt to be not only original, but unprecedented; but they also seemed destined to lead nowhere. Whereas such plays as Maleine, Pe/leas, and Alladine et Palomides at least gestured to their Symbolist provenance and their ‘idealist’ heritage, Maeterlinck’s one-act plays seemed marooned in time, bereft as much of context as of tradition.
Theoretical Generations: Writing Identities
Authors: Gallagher Mary 
Published: November 2023

Abstract
In 1992, when Derek Walcott was awarded the Nobel Prize for literature, it was the second time that a Caribbean-born poet had been thus distinguished. There was, however, one conspicuous difference between the general perception of the tribute to Derek Walcott and that of the honoring in 1960 of the Guadeloupian born poet Saint-John Peres. Whereas Walcott’s prize secured a prestigious place on the world map of literature both for the tiny island of St Lucia and for the Caribbean basin in general, Saint-John Parse’s Nobel was widely perceived, not only in 1960 but for about three decades afterwards, as an honor for ‘the’ French language and Metropolitan French culture rather than for Guadeloupe, much less the Caribbean.We must be careful, of course, not to misconstrue this shift. Undoubtedly, the general reluctance to link the first Caribbean-born laureate with the ‘New World’ can be explained as much by the apparent absence of Caribbean texture from the greater part of Saint-John Parse’s poetry and by the poet’s ambiguous.
Novel Time: Reconstructing the Past?
Authors: Gallagher Mary 
Published: November 2023

Abstract
In the Caribbean in general, the past is commonly perceived as problematic and traumatic:it is variously viewed as excessively intrusive or inaccessibly remote. Some authors attempt to distance themselves from its dominion, embracing writing as an opportunity to escape the constraints of temporality, whether these are seen to reinforce the weight of the past bearing down upon the present, or to sever it brutally from a present that is left, bereft, to ponder its own mutilation. However, even in writing that seems more committed to recovering time past rather than to recovering from it (by replacing it, for example, with myth or fiction), the linear flow of time, or time as succession, is frequently neutralized, its specificity denied, or at least translated into spatial terms.
The Place of Memory
Authors: Gallagher Mary 
Published: November 2023

Abstract
French Caribbean writers appear more preoccupied with memory than with history, and more interested, perhaps, in collective than in personal memory. If we take memory to be, potentially at least, discontinuous and non exploited, then the French Caribbean concern with memory resonates with the heightened disjunctive and digressive movement felt to characterize Caribbean time. How, then, is memory written of in the French Caribbean? How does its mobilization resonate with the tendency observed in the previous chapter to translate temporal parameters into spatial paradigms? Is obsession with memory linked to fixation on place? To what extent is memory perceived as being more hospitable than history towards the expression of lived time, or better adapted to the life of consciousness? And is it because of their perception that access to the historical past is highly problematic that Caribbean writers honor the more modest heuristic claims of memory?.
French Connection, Metropolitan Mirror
Authors: Gallagher Mary 
Published: November 2023

Abstract
The Caribbean is a field-a ‘champ d’tles’2.-upon which many other spaces exert powerful forces of attraction or appropriation. How do these tiny spaces accommodate such pulls? How, for example, do French Caribbean writers balance the call of Africa, Europe, or other parts of the so-called ‘New World’ against the need to dwell in and on the Caribbean itself? Is it not so that the Caribbean is axiomatically relational, and that it inevitably seeps out, leaking into other spaces, its own reach being too restricted and its past too impacted for autonomy to be a plausible option?
‘New World’ Synchrony: Imagining the Local
Authors: Gallagher Mary 
Published: November 2023

Abstract
In his noted study The Black Atlantic, Paul Gilroy concentrates on transatlantic movement between the ‘New World’ and the ‘Old World’, thus limiting the scope of his resonant title. This neglect of Atlantic crossings within the ‘New World’ is faithful, however, to the binary thrust of Gilroy’s subtitle, which refers to ‘double conscious ness’. The decision to focus on the ‘image of ships in motion across the spaces between Europe, America, Africa, and the Caribbean’2. perhaps prevents Gilroy’s study from validating the specificity, the potential, and meaning of ‘New World’ relationality as revealed in intra-American circulation. For such gravitation towards other parts of the ‘New World’ could, perhaps, counterbalance the obsessive triangulation that Edouard Glissant once stigmatized as imprisoning the Caribbean mind within the dead-end orientations of the ‘Detour’
Negotiating Consumerism: The Dilemmas of Behaviour Literature, 1953–2000
Authors: Kelly Catriona 
Published: November 2023

Abstract
In 1976, the Russian émigré writer Vera Dunham published an extraordinary and eloquent study of Soviet culture, In Stalin’s Time: Middle-Class Values in Soviet Fiction. She argued that the Soviet system had lasted not because of its commitment to radical idealism, but because Soviet leaders had been able to manipulate popular opinion by crafting a new kind of social contract, one based, unlike Rousseau’s, on the cultivation of materialist self-interest rather than the assurance of basic human rights.
Bouchet’S Poetry
Authors: Armstrong Adrian 
Published: November 2023

Abstract
Jean Bouchet’s proliic literary career spanned some sixty years, during which print became the dominant medium of transmission for French poetry. Very few manuscripts of Bouchet’s work survive, perhaps partly because Bouchet was never a court poet proper and was therefore less likely to invest in presentation manuscripts for his works. However, unlike Lemaire, Bouchet was able to participate in the publication of most of his works long after their irst editions. After Paris printers published pirate editions of his earliest poetry, he had the irst editions of his material printed irst in Paris and then, from 1518, in his home town of Poitiers, though later editions often appeared elsewhere. First editions usually bore a privilege; later in Bouchet’s career, these were granted to Bouchet himself rather than to printers.
Stars and Masculinities In Spanish Cinema
Authors: Perriam Chris 
Published: November 2023

Abstract
Stars and Masculinities in Spanish Cinema focuses on the careers of ten Spanish film actors, including Antonio Banderas, Javier Bardem, and Eduardo Noriega. Chris Perriam traces their development as stars in the Spanish context and builds on recent, exciting work on Spanish film and culture by combining close study of performance in specific scenes with the theoretical paradigms of Star Studies and research into masculinities. Full use of popular and intellectual press coverage of these actors grounds the approach in the certain specifics of Spanish audience responses and production contexts in the period covered—more or less from Almodòvar’s Labyrinth of Passion to the latest premieres. Scenes from thirty key films are covered in detail, and the full range of each star’s Spanish career is studied by briefer reference to some seventy films or more. Spanish cinema is among the most exciting and distinctive cinemas in Europe and this new study is a key contribution to the growing fields of Spanish Cultural and Film Studies.
Jordi Molló (b. 1968)
Authors: Perriam Chris 
Published: November 2023

Abstract
Although arguably less glamorous than the other stars considered here, and in at least one authoritative dictionary (Borau 1998: 590) considered a secondary player, Jordi Molló has a very rapidly rising profile in the 1990s (see Filmography), and his name is aligned with major successes in the national cinema such as Jamón, jamón (1992) (with cumulative audience figures of over 670,000) Segunda piel I Second Skin (1999) (550,000), and Nadie conoce a nadie I Nobody Knows Anyone (1999) (with box office sales across fourteen countries, and significant DVD distribution). Despite his downbeat and studiously serious (and not universally liked) public image, indeed, Molló is one of only three names, along with Bardem and Cruz, associated in a recent major stock-taking dossier with a putative Spanish star system and cited as one of the industry’s principal box-office draws (Fotogramas 2000: 220).
Jorge Sanz (b. 1969)
Authors: Perriam Chris 
Published: November 2023

Abstract
Jorge Sanz, though born only in 1969, has the longest career of the actors discussed in this book, with two key directors underpinning his career in the 1980s and 1990s, Vicente Aranda and Fernando Trueba. He had already begun to be dubbed galán by his early twenties (Gracia 1992) in the wake of roles played opposite Victoria Abril in Si te dicen que caí / If They Tell You I Fell (Aranda, 1989) (winning the Goya for Best Actor) and Aranda’s television serial Jinetes del alba (Riders of the Dawn) (1990: adapted from Jesus Fernandez Santos’ novel of the same name). Starting his career at the age of 9, by 15 he had played in ten features within and beyond the Spanish film industry.
Older and Younger Recensions of the First Novgorod Chronicle
Authors: Timberlake Alan 
Published: November 2023

Abstract
The First Novgorod Chronicle is attested in two recensions, one ‘older’ and the other ‘younger’. It is an intriguing puzzle—one that has not been sufficiently recognized as such—that the two recensions are fundamentally similar throughout the three centuries of text they share, yet occasionally offer different readings. To elaborate, it will be useful to give some background about the two recensions. The older recension is a single manuscript, the Synodal codex (hereafter, ‘Novg,s’). The main part of this manuscript begins in medias res in 1o16 and reports events up to 1330. The extant manuscript has twenty-one numbered quires of eight leaves each. The first of these is numbered 17, implying that the initial sixteen quires have been lost. There is a gap between 1 273 and 1 298. It had long been assumed that the manuscript was written in three hands, but it has recently been argued that the first two hands are really one, and that the whole manuscript is actually written in two hands.
Franciscus Valsingamius: a Theological Drama of the Poznań Counter-Reformation
Authors: Murphy G Martin 
Published: November 2023

Abstract
Recent studies have shown that Jesuit college drama, far from being a mere byway of literary history, is an important source for the history of the Counter-Reformation. Polish Jesuit theatre in particular has been the subject of extensive scholarly research in recent years. One of the most important sources of play texts is codex R 380 in the library of the university of Uppsala, comprising eight early seventeenth-century plays from the college at Poznań. After the capture of that city in 1655 the contents of the college library, some 8,000 volumes in all, were removed to Sweden by Klas Ralamb, a general in the service of Charles X Gustavus, and in 1693 they came into the possession of the university of Uppsala. The first major study of the contents of codex R 380 was published in 1931 by A. Stender-Petersen, who included lengthy extracts in his general account.
Crossings, Returns: Césaire’s Cahier D’Un Retour Au Pays Natal
Authors: Suk Jeannie 
Published: November 2023

Abstract
The grand dimensions of the voyage across the ocean provide the imagination with an endless expanse for literary inscription. Travel from one side of the oceanic expanse to another finds in its literary representation all the momentousness and anxiety of failure that it tends to lack in today’s world of air travel. An ever-familiar trope in European literature of travel is the exotic voyage that puts the alienated traveller back in touch with his essential self, with an authenticity that is lost to Europe.