bluuebunny/crossref_metadata_2025_split huggingface dataset:
[1947], Kenneth Tynan on Donald Wolfit and Frederick Valk (1895-1956) in Othello at the Savoy Theatre, London, in his He that Plays the King pp. 84-8.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
To be present, to assist at the spinning out of events which will surely plume up and refurbish the tapestry of Western culture— is not this a pleasant thing? Had it not been fine to have snapped up and savoured the first copy of The Rape of the Loe# as it came, cool and acid and fair, from the press? To have seen and shaken at the face of Swift2 as he penned the last cruel, grimy pages of Gulliver? To have sat by and quivered at the embarrassed wriggles of some poor questioner, swallowed up in the terrific finality of a Johnsonian3 ‘No, sir ? My point, when at last it comes wheeling round to us, is that I have seen a public event of constellated magnitude and radiance.
[1950], Richard David (1912-93) on
Measure far Measure
directed by Peter Brook (born 1925) at the Shakespeare Memorial Theatre, Stratford-upon-Avon, with John Gielgud and Barbara Jefford, from
Shakespeare Survey 4
(1951), pp. 135-8.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The simplicity of the text of Measure far Measure, as compared with that of Love’s Labour’s Lost, is a function of its more serious mood. It is a play of ideas rather than of impressions and is concerned more with lines of conduct followed out to their logical conclusions than with the confusions and compromises of real life. There is still controversy as to how far these ideas form a coherent argument, and Shakespeare Survey’ has already given space to notable pleadings on either side. The one maintains that Measure far Measure is Shakespeare’s considered opinion on the apparent conflict in Renaissance theory between the Christian duty of the Ruler to secure Justice, and that of the individual to be merciful.
[1978], Roger Warren on
Love’s Labour’s Lost
directed by John Barton at the Royal Shakespeare Theatre, Stratford-upon-Avon; from
Shakespeare Survey 32
(1979), pp. 208-9.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
In his 1965 production of Love’s Labour’s Lost, John Barton sought to ‘explore the relationships of the characters beneath the highly jewelled surface’: the 1978 version took this process further, and paid even less attention to surface glitter. True, Ralph Koltai’s’ set was exquisitely beautiful and appropriate, enormous boughs of cascading autumnal leaves entirely enclosing a raked wooden forestage, behind which seats and a leaf-strewn floor suggested distant parkland. But there was no external glamour about the two courts, which seemed humbler, less formal, than usual: the lords took their oaths with little ceremony on a rustic seat; Rosaline cleaned the Princess’s travelling boots and the travel stained hem of her skirt in their first scene, and swept up autumn leaves with a broom in the last; the King and the Princess, especially, were very unelaborate, untidy even, in appearance, ordinary human beings rather than heads of state, especially when they first met, a rather endearingly unimpressive, bespectacled pair: a long silence indicated sudden (to them embarrassing) mutual attraction.
[March 1985], Nicholas Shrimpton (born 1948) on a production of the First Quarto version of Hamlet at the Orange Tree Theatre, Richmond, Surrey, in Shakespeare Survey 39 (1987), pp. 193-7.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The first version of Hamlet to be printed is the quarto of 1603, known as the “bad’ quarto because it appears to derive from an unauthorized text, perhaps compiled from memory by actors who had taken part in performances by Shakespeare’s company. In literary quality it is far inferior to the ‘good’ quarto of 1604 and to the version printed in the Folio of 1623; nevertheless, it has interesting differences, especially in structure, from those texts; it may incorporate revisions made for performances by Shakespeare’s company, and it provides information about early performances of the play, whether authorized or not.
[1992], Peter Holland (born 1951) on
Richard III
produced by Barrie Rutter for Northern Broadsides on tour, from
Shakespeare Survey 47
(1994), pp. 185-7.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
No one could accuse Barrie Rutter’s production of Richard III of taking its time. Spoken at high speed, the text whistled by, concentrating attention on the thrill of the unfolding narrative, the vitality of the characters’ relationships and the verve of the actors, much more than on the possible virtues of individual line-readings. Only rarely so fast as to be breathless, the lines had an easiness and immediacy, almost a contemporaneity, by the way they seemed to fit the actors’ tongues so naturally.
Shakespeare from the Margins
Authors: Taylor Michael 
Published: November 2023

Abstract
Politics in the widest sense of the word has always been a factor in the annals of literary criticism. If literature is what gets taught, as Roland Barthes believed, then what gets taught does not appear on the n twentieth-century curriculum by some kind of magical process but as the result of complicated, sometimes obscure, cultural movements. How what gets taught is similarly inflected politically. What was once a dominant method of reading Shakespeare may now be banished to the critical hinterland while something more responsive to the temper of our times takes its place, perhaps rescued from a dusty corner of the past or brought in spanking new from Yale or Paris. Sometimes a dominant method of reading Shakespeare fades into marginality then gets a new lease of life and shifts back to the centre again for a while. This is what has happened to reading Shakespeare as though his characters had inferable identities, though what is now inferred about them at the end of the twentieth century may well be very different from what A. C. Bradley found worthy of inferring about them at the beginning. More often than not, as we have seen in the course of this book, semi-defunct methodologies retain a vestigial Ricker of relevance or get transformed into something along similar but more fashionable lines. Hence the diffusion, for instance, of Christian criticism at the end of the century into an undenominational and undoctrinal spirituality. What was once central becomes marginal; what was once on the outside looking in is now the latest orthodoxy.
Introduction
Authors: Smith Bruce R 
Published: November 2023

Abstract
About a quarter of the way through The Tragedy of King Lear there comes a moment in which Lear, in a phrase widely understood today, ‘loses it’. What he loses is not just his self-control but his masculinity. The Fool has been taunting Lear with Goneril and Regan’s ingrati tude, when Lear exclaims: The precise terms in which Lear expresses his passion are gendered: ‘this mother’ he calls it and visualizes it as a womb inside his body. Hystera is the Greek word for womb, which in Galenic medicine was imagined to have no fixed place but to wander about the entire body cavity, producing ‘hysterical’ behaviour.
Introduction
Authors: Jones Anny Brooksbank , Davies Catherine 
Published: November 2023

Abstract
The common root of crisis and criticism in a moment of decision is by now familiar. However, the juxtaposition of crisis and theory in our title invokes a more telling and timely relation, and a more decisive way of looking at both. It acknowledges theory’s central but contested place in contemporary academic writing and it recognizes that in Latin American studies these tensions are compounded when theory declares itself feminist.
Literary Constructions and Gender Performance in the Novels of Norah Lange
Authors: DomίNguez Nora 
Published: November 2023

Abstract
Few Argentinian women have written more compellingly on the family than has Norah Lange. Her narrative reveals precisely how the modern family imaginary is constructed, and its crucial role in the definition of a writing project. Each of her novels registers the strength and resilience of the family model. They also demonstrate its complexity and diversity, and the process by which family and narrative articulate, condense, and manipulate material from the socio-political and subjective spheres. From Cuadernos de infancia (1937) onwards, Lange reworks these concerns until, with Los dosretratos (1956), the model breaks down. Each reformulation supports and inflects the family model, enabling Lange to create a very personal articulation of literature and gender.
Cross-Cultural Homebodies 1n Cuba The Poetry of Excilia Saldaña
Authors: Davies Catherine 
Published: November 2023

Abstract
Studies of Caribbean writing consistently draw attention to the polyphony, incompleteness, and ambivalence of its discourse. Similarly, they point to the precarious stance of Caribbean authors who are positioned at the crossroads of multiply interacting and hierarchically structured cultures and ethnicities. The resulting ‘creative schizophrenia’ is said to give rise to the split writer who bears the ‘wounds of fragmentation’ of the dissociated, alienated self (Gilkes 1986: 1). The situation is inevitably compounded when the author is a woman, when the problematic involves not only class lived through race but race and economics lived through gender. In this essay I suggest that W. E. B. Du Bois’s concept of double consciousness, or the double-voiced, ‘two-toned’ text referred to in African-American criticism (Gates 1984: 3), is inadequate to account for the fine shades of gendered ontological presence and hermeneutical practice in the work of Caribbean women writers, specifically black women writers in post-revolutionary Cuba. To engage with a feminist aesthetics of pluralism in a Caribbean context, a more subtle critical approach than that proposed by black essentialism and a more politically grounded approach than black deconstruction is needed.
Sources and Influences
Authors: Harding Phillip 
Published: November 2023

Abstract
An investigation and evaluation of the sources of a fragmentary work like the Atthis is much more complex than that of a fully preserved narrative. It is very rarely, if ever, possible to define the source(s) of the brief and often cryptic citations we have. All too often, then, source-criticism of the Atthidographers is more a matter of establishing what sources they could have used than whether they did, in fact, use them. The situation is further complicated by the great expanse of time covered by the Atthis, during which source material would have varied greatly. It would be crude to divide the subject-matter of the Atthis into mythical (the royal period down to the first archon, 683/2), pre-contemporary-historical (for the period 683/2 to c.500), and contemporary-historical, since these are arbitrary divisions and imprecise, especially in the case of the last, which will shift downwards with the date of each Atthidographer.
Intention and Interpretation
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
Is it possible for us to understand an ancient comedy? The obstacles are formidable. This is not just because our copies are derived from manuscripts containing scribal errors, written in an ancient language which we know imperfectly; those are difficulties in any classical Greek text, but modern scholarship has done much to correct the errors of transmission and to improve our knowledge of the language. But a play was more than a text.
The Audience and its Expectations
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
For the Athenians, a play was a special occasion. Now we are accustomed to seeing plays at any time, but in the fifth century BC plays were performed within the town’ of Athens at only two periods of the year. Both were festivals of Dionysos: the town Dionysia, which took six days in the month Elaphebolion (which roughly corresponded to our month of March), and the Lenaia, lasting four days in Gamelion (approximately January).’ These festivals were celebrations in honour of the god, and they included religious ceremonies, processions, and choral performances as well as plays. There were plays also at local festivals (the rural Dionysia), for example at Peiraieus and Eleusis, but little is known about those. It is possible that new plays were always performed first in the town, and the rural Dionysia saw only revivals.
Horsemen
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
The title of Aristophanes’ play performed at the Lenaia of 424 BC has usually been translated into English as Knights. That is a misleading name. In modern Britain a knight is a gentleman, usually over fifty years of age, who has been rewarded with the appellation ‘Sir’ in recognition of his services to administration, business, the arts, or some other field of public endeavour. Most knights have probably never ridden a horse in their lives. The title of Aristophanes’ play, by contrast, refers to the men, probably all young, who rode horses for their service in the Athenian army. Cavalry might be a suitable translation, but even that is not entirely satisfactory, since cavalry now generally use motor vehicles rather than horses. It is better, following the example of Bugh’s book The Horsemen of Athens, to use the name Horsemen, which translates the Greek word more literally and less misleadingly.
Clouds
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
In Clouds Aristophanes moves away from the political topics of Akharnians and Horsemen to a theme much closer to that of his first play, Banqueters: the education offered by sophists, especially in rhetoric. As in Banqueters, he uses a father-son relationship to dramatize it, but this time in a subtler way. Whereas Banqueters, as far as we can tell from the fragments, simply presented an old-fashioned father with two sons, of whom one learned the new rhetoric and the other did not, in Clouds the father urges his only son to take lessons from the sophists; when the son refuses, the father tries to take lessons instead, and then, when the father has failed, the son learns rhetoric in the end. This makes a more complex and varied plot.’ Except in one scene near the end, the play does not present a conflict between an old man representing what is old and a young man representing what is new, and modern interpretations in terms of ‘the generation gap” are wide of the mark.
Lysistrata
Authors: MacDowell Douglas M 
Published: November 2023

Abstract
The title of the play is a woman’s name, and women predominate in the cast and in the action. We do not know how much of an innovation this was. There had been many tragedies about women; perhaps there had been comedies about women too. But if so, they are lost; the only women in surviving earlier comedies are minor characters.’ For us, comedy about women begins with Lysistrata.
From the French Revolution to Napoleon
Authors: Grab Alexander 
Published: November 2023

Abstract
‘In the beginning was Napoleon. His influence upon the history of the German people, their lives and experiences was overwhelming’. This statement by Thomas Nipperdey on Germany applies also to Italy. The Napoleonic invasion into northern Italy in 1796 laid the foundations of the modern Italian state and society and launched the long march toward the peninsula’s unification. No other country except Germany was so affected by Napoleonic rule. Before 1796, Italy was divided into ten states: the Kingdom of Sardinia (Piedmont); the Duchy of Milan, belonging to the Habsburg Empire; the republics of Venice, Genoa, and Lucca; the Papal State; the Duchies of Modena and Parma; the Grand Duchy of Tuscany; and the Kingdom of Naples, which included Sicily.
Religion and society, 1789–1892
Authors: Kertzer David I 
Published: November 2023

Abstract
Whether looked at from the viewpoint of culture or politics, the Roman Catholic Church looms large in the history of Italy in the nineteenth century. Not only was Italy an overwhelmingly Catholic land, but, as the home of the Holy See-with the pope and his curia-it lay at the centre of Roman Catholicism worldwide. Developments affecting the Church thus had implications far beyond Italy’s borders, implications that in turn affected life in Italy in major ways. Moreover, in a large swath cutting across the centre of the Italian peninsula, that of the Papal States, the pope was not only a religious leader but the political leader as well, head of the government.
Culture and society, 1796–1896
Authors: Grew Raymond 
Published: November 2023

Abstract
Concern for culture held a central place in Italian intellectual life. In the eighteenth century, the elites of Sicily and Naples were connected to those of Lombardy, the Veneto, and Piedmont by cultural ties more than by political or economic interests. Learned treatises on the subjects of the day and individual artists and intellectuals moved from city to city more easily than any commerce in material goods. Educated Italians took delight in their common culture: the Latin classics; Dante, and all the Italian poets after him; five centuries of paintings and sculptures recognized as Italian, and music that was admired and imitated across Europe. Culture ranked with geography-Italy’s distinctive shape, clear boundaries, and picturesque terrain-as a marker of Italian identity.
France in the l930s
Authors: Larkin Maurice 
Published: November 2023

Abstract
FRANCE in the 1930s was geographically the most varied country in Western Europe, stretching from the wind-swept agricultural plains of the north to the sun-baked scrubland of the Mediterranean. Its lateral sweep was no less chequered, ranging from the vineyards and sandy forests of the Atlantic seaboard to Europe’s highest mountain range in the east. If its mineral deposits were poor, its diversity of crops was prodigious, extending from potatoes and beet in the north to rice and olives in the south. Its wild animals included the seals of the Somme Estuary and the bears of the Pyrenees; there were wild boar within thirty miles of Paris, and scorpions in the gardens of Nice. And all this within a country that lay between narrower latitudes than the British Isles. Its variety of life and spectacle was such that even half a century later the great majority of its people chose to spend their holidays in France.
‘La République des Députés’ Politics in the 1930s
Authors: Larkin Maurice 
Published: November 2023

Abstract
To foreign observers, French politics and government seemed impossibly quarrelsome, unstable, and plagued with a multiplicity of parties. Forty years later, the President of the Republic was still lamenting that ‘it is as though political debate was not a competition between two points of view, but the confrontation of two rival and mutually exclusive truths ... Its style is that of a war of religion’. And in the 1930s the debate was rarely between less than six points of view. Indeed, Elliot Paul was driven to comment: ‘political parties, in the interests of clarity, should not have names but numbers, like football players on the field’. The impossibility of finding stable majorities on which to rest an effective government was the source of innumerable weary jokes: ‘American tourists go to London to see the changing of the guard, and then on to Paris to see the changing of the government’, etc., etc.
The Popular Front Legend and Legacy
Authors: Larkin Maurice 
Published: November 2023

Abstract
France was traditionally a country of challenge and frustration for socialists. It had Europe’s longest record of universal male suffrage, and had provided socialism with a large proportion of its leading thinkers in the nineteenth century. Moreover, the Paris Commune of 1871 had created the myth of Europe’s first socialist government, a victory of international brotherhood destroyed by the self-interest of the possessing classes with the connivance of German militarism. Initially a figment of French conservative propaganda, this myth had been developed by the Left in a variety of conflicting forms, each suited to the polemical needs of the particular sect that propagated it. And yet France was to offer little again in the way of precept or example.
The Road to Compiègne Diplomacy and War, 1936-1940
Authors: Larkin Maurice 
Published: November 2023

Abstract
DEFEAT at the hands of Germany was no new experience for France in 1940. The German six-week sweep to victory of May-June had its parallel in the Prussian campaign of July-September 1870. It nearly happened again in May June 1918, after Russia’s withdrawal from the war, and was only averted by the belated arrival of the Americans in force. In 1940, however, France had to wait another four years before the Americans came again.
In a celebrated broadcast to the nation just before the armistice, Marshal Petain explained the French defeat in these terms:
The Occupation
Authors: Larkin Maurice 
Published: November 2023

Abstract
IT is not easy to compare the Occupation years with other sombre periods in French history. The Allied occupation that followed the defeat of Napoleon was brief and made little impact on the daily lives of the bulk of the population. The same might be said of the German occupation of 1871-3-despite the Paris Commune and the change of regime. More comparable with the 1940s was the German take-over of north-eastern France in the First World War; but the close proximity of continuous fighting on a horrendous scale, in which an un defeated France was managing to hold the line, gave the occupation a more unsettled character off ear mingled with hope. The 1940s, by contrast, saw not only the complete defeat and occupation of the nation, but the degradation of its government and people to being the spectators, when not the active accomplices, of Nazi policies. The refusal of a small minority to accept this situation only served to underline the humiliation of the rest.
Resistance and Liberation
Authors: Larkin Maurice 
Published: November 2023

Abstract
THE Resistance in France played three roles: it was part of the campaign against Germany, it was a forum for planning a new France, and it was an instrument for re-creating French self-respect. The last of these was arguably its greatest achievement, far outweighing the material damage that its limited resources could inflict on the occupying forces. The information it supplied to the RAF, the Allied air-crews whom it led to safety, the acts of sabotage that harassed German communications and morale, all these represented a tiny percentage of the factors that brought the Occupation to an end. Even the leadership of the provisional government that was to administer France at the Liberation was largely determined by other forces: it was primarily the result of distant decisions in London, Algiers, and New York, even if the predilections of the internal Resistance were among the many factors taken into consideration. But the heroism of the Resistance created a source of inspiration that helped to sustain the hopes of many during the humiliations of both the Occupation and the post-war chaos.
Retribution and the New Jerusalem the CNR Charter
Authors: Larkin Maurice 
Published: November 2023

Abstract
THE Liberation government was expected not only to find solutions to gigantic, material problems, but also to fulfil the far-reaching promises of the Conseil National de la Resistance in its charter of 15 March 1944. De Gaulle disliked redeeming cheques he had not signed. But his government was basically drawn from the two main strands of the Resistance; and he was well aware that he partly owed his triumph over Giraud and other Allied counter scenarios to the endorsement of the CNR. Not only did this make it awkward for him to postpone payment, but the CNR’s pledges were enthusiastically supported by a wide segment of popular feeling and political opinion. Even so, de Gaulle preferred to talk about ‘renovation’ rather than ‘revolution’ (as proclaimed by left-wing elements in the Resistance) —a distinction that perhaps caused the incarcerated Petain to give a wan smile of fellow-feeling as he remembered his own semantic scruples in 1940-1.