bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Corinthian System
Authors: Winter Nancy A 
Published: November 2023

Abstract
Centuries of literary tradition attribute to Corinth a major role in the invention and production of architectural terracottas. Excavations have amply proved that Corinth produced very high quality terracotta roof elements over a long period. As we have seen in Chapter 3, the earliest terracotta roof known at present belonged to the early temple of Apollo at Corinth, supporting at least one of these contentions. A second story (Pliny, Nat. hist. xxxv. 152), that the use of terracotta roof tiles spread from Corinth to Italy when Demaratus fled Corinth and settled in Etruria with three craftsmen c.657 BC, would also appear to have elements of truth.’
The Argive Systems
Authors: Winter Nancy A 
Published: November 2023

Abstract
ARGOS, another of the important Archaic city-states, with its sanctuary of Hera nearby, also played an important role in the production of architectural terracottas. Some early roofs display a distinctive style based on the Protocorinthian system, a style which continues in its basic form from its inception around or before the mid-seventh century BC until the first quarter of the fifth century BC. A second style, which probably represents a second local workshop centred in the eastern Argolid, begins somewhat later, early in the sixth century BC, and favours Corinthian style rather than the local one. This Corinthianizing workshop also continues production until the end of the Archaic period, its quality rivalling that of Corinth itself by the third quarter of the century.
The Central Greek System
Authors: Winter Nancy A 
Published: November 2023

Abstract
The areas of Thessaly, Lokris, Phokis, and Boiotia, and possibly also Euboia, shared at least two different roofing systems, one based on Laconian-style pan and cover tiles (see below), and a second, predominant one using flat pan tiles and pitched cover tiles. This latter system has many of the features which characterize the local roofing system found in the Argolid (see Chapter 8): separately made pan and cover tiles, the pans flat with upward-curving side borders, the covers pitched, eaves tiles whose taenia curves upward at the side edges, matching the line of the finished bottom edge of the separately made antefix; an early raking sima with a flat vertical plaque also occurs. Although these technical features would qualify these roofs as Argive, the decorative repertoire is not paralleled in the Argive system and, at least after c. 570 BC, seems to depend more on the Corinthian system (Chapter 4).
Conclusions
Authors: Winter Nancy A 
Published: November 2023

Abstract
The Archaic Greek mainland stands out from its neighbours in its distinctive and conservative use of architectural terracottas. Although the probable inventor from whom the practice spread to both Italy and Asia Minor, the Greek mainland evolved along separate, if parallel, lines. Unlike both east and west, Greece, for the most part, limited her use of tiled roofs in the Archaic period to sacred buildings, decorated roofs being restricted particularly to temples and treasuries, while plain tiled roofs may have been used for priests’ houses within a sanctuary. Unlike both Italy and Asia Minor, she preferred a considerably more sombre decoration which changed only at long and infrequent intervals, and followed set rules.
Seals and Seal Usage in Antiquity
Authors: Plantzos Dimitris 
Published: November 2023

Abstract
The Greek word for seal is o^payls (sphragis)) Seals were included in the generic family of characters, along with coins.1 2 3 4 The notion of sealing a cabinet or cupboard, a room or a cellar, a letter or a legal document to claim ownership, and hence safeguard its privacy, comes very early in Greek practice and is adequately reflected in literature.
Bending the Truth ‘Ceci n’est pas un conte’ —Froissart, Merigot Marches, and the well-ordered narrative
Authors: Ainsworth Peter F 
Published: November 2023

Abstract
Froissart’S style has long been recognized as remarkable, and it is an undeniably important element of his literary appeal. However, it is not the sole, or even the most fundamental element of the literary specificity of the Chroniques. The texts studied here and in subsequent chapters are all characterized, in their various ways, by their ability to generate connotative readings of considerable richness. They have, as such, no equivalent in the other historical works examined above, and are all marked by that feature which signals the ‘set towards the message’ of Froissart’s best writing: they promise, or threaten, or even purport, to say much more than their obvious, referential meaning. Instead of merely expounding or explaining the phenomena they recount (what ever may have been the intentions of their author), they appear to open up to question these very ‘facts’, for further reflection, scrutiny, or aesthetic enjoyment. From the end of Book II onwards, and especially in the opening chapters of Book III, the chronicler begins to show signs of leaving behind the primarily linear mode of the chronicle of events. The change involved is not easy to circumscribe, but there can be no doubt that, from this point on, we are at times dealing with a much richer textuality than hitherto encountered. The texts under discussion below in Parts II and III all spring, it seems to me, from a creative tension born of the chronicler’s ‘hesitation’ between an attitude of fascination and one of aversion with respect to a number of phenomena that challenge his understanding of what is acceptable in society (according to the consecrated paradigms that he himself recognizes). These texts are all responsive, in varying ways, to readings that allow for the presence of ‘configured’ or even metaphorical meanings.
Introduction: Reading The Body
Authors: Smith Paul Julian 
Published: November 2023

Abstract
The questions of gender and sexuality are amongst the most important facing the contemporary critic. Yet there has been almost no work attempting to analyse Spanish and Spanish American literature in the light of modern theories of sexuality . The aim of this book is twofold: to provide an introduction to the varied and complex treatments of sexuality since Freud; and to read a representative selection of major texts from different areas of Hispanic studies in the light of these treatments.
̒La Chair ouverte, blessée’: Tournier, the Body, and the Reader
Authors: Wilson Emma 
Published: November 2023

Abstract
In the summer of 1990 a colloquium was held at Cerisy about Michel Tournier. The author himself was invited and attended the seven-day gathering. Despite his enthusiastic participation, in the recently published Actes du colloque there is a postface by Tournier where he describes his original response to the idea of ‘une semaine Tournier’. He writes: ‘Surpris par cet honneur exorbitant, j’avais réagi par un refus paniqué. Je me voyais deja en cadavre nu et disséqué entoure de funébres personnages chapeautés de noir, comme clans la Leron d’anatomie de Rembrandt.’ While Tournier’s comment is amusing, and perhaps understandable, I would argue that it may also be read as a more serious revelation of the writer’s attitude to his readers.
Invention, or First Things
Authors: Gordon Robert S C 
Published: November 2023

Abstract
In everything from its title to its structure to its ethical core, Sequesto un uomo concerns itself with dehumanization, the gradual, inexorable destruction of what is human, within Levi himself and those around him. The destruction is physical, emotional, moral; it is completed in stages of humiliation and degradation and is chronicled in all its awful intensity with Levi’s typical complexity and clarity.
Maurice Maeterlinck and the Making of Modern Theatre
Authors: Mcguinness Patrick 
Published: November 2023

Abstract
This is a study of one of theatre's quietest but most radical innovators. The playwright, poet, and essayist Maurice Maeterlinck (1862-1949) has been called the prodigal father of the Theatre of the Absurd. Admired by writers as diverse as Mallarmé and Yeats, Artaud and Strindberg, Chekhov and Jarry, Maeterlinck was the most celebrated avant-garde playwright of his day. By 1900 he had given theatre a new set of bearings: 'static theatre', 'the theatre of the unexpressed', and 'the tragic of the everyday'. He had, according to Rilke, relocated theatre's centre of gravity, replacing action with inaction, events with the eventless, and dialogue with a semantics of silence as expressive as any of Symbolism's most sophisticated poetic constructions. The author of the supreme Symbolist play, Pelléas and Mélisande, and of haunting, minimalist dramas of waiting (L'Intruse, Les Aveugles, Intérieur), Maeterlinck laid the foundations for the most revolutionary theatre of the twentieth century. Opening with a chapter on Maeterlinck's Symbolist and decadent beginnings, and proceeding by way of comparative readings of Maeterlinck and contemporary Symbolist dramatic theory (with particular attention to Mallarmé), Maurice Maeterlinck and the Making of Modern Theatre provides close readings of the one-act plays, and his seminal theories of static theatre and the theatre of waiting.
Mar’ya Vasil’evna Sushkova: an Enlightened Woman of the Eighteenth Century
Authors: Rosslyn Wendy 
Published: November 2023

Abstract
The rapid development of Russian intellectual and literary culture in the second half of the eighteenth century was the work of a relatively small number of people. While the nobility as a whole and a few non-nobles gradually accustomed themselves to reading, the production of literary material was confined to the members of restricted and often close-knit circles, usually in the two capitals, who shared their knowledge of and interest in new European trends and supported and nourished each other’s work. The vast majority of these people were men. In 1772, when Novikov published his Opyt istoricheskogo slovarya o rossiiskikh pisatelyakh, he could find only 317 writers in all Russia’s past and present, and of these only nine were women. The role of women in intellectual life and in the production of literary texts was necessarily limited. The exceptions which prove the rule were Catherine II and Ekaterina Dashkova. But while they were not only familiar with classic Enlightenment texts but also personally acquainted with great minds of the day, few other men or women in Russia had the education and reading required to participate in disseminating the ideas and values of the Enlightenment.
Muslim And Jewish Musical Traditions Of The Middle Ages
Authors: Shiloah Amnon 
Published: November 2023

Abstract
In 1492, with the fall of the last Arab stronghold—the Nasarite Kingdom of Granada—eight centuries of Muslim domination over the Iberian Peninsula, as well as over Sicily and southern Italy, came to an end. After the conquest in 711, particularly with the inception of the emirate of ‘Abd al-Rah man II, who succeeded his father al-Hakam in 206/822, the Iberian Peninsula became the scene of one of the most fascinating examples of intercultural contacts.
Polyphonic Music in Central Europe, c.1300–c.1520
Authors: Ward Tom R 
Published: November 2023

Abstract
The fifteenth century saw the rapid development of musical institutions and the expansion of musical activity in the region east of the Rhine and north of the Alps, specifically that part of Europe now made up of Germany, Poland, the Czech Republic, and Austria (see Map 4). The picture of this region during the fifteenth century found in much of the literature of music history of the twentieth century is generally that it is backward, undeveloped, and well behind the times in comparison with northern France, the Italian city-states, and England. In terms of the totality of musical activity in each of these areas and significant figures in the development of music in the fifteenth century, this view is somewhat accurate—there was more activity and there were more major composers in other parts of Europe. Unfortunately, this view has, until quite recently, also influenced research to the extent that only in the last two decades have scholars begun to identify the composers, repertories, and institutions of the region that did indeed exist and thrive during the fifteenth century. Recent research has shown that this region, while not possessing a musical life the equal of that found in major centres in northern France or in Italy, did have developed musical institutions and a significant number of people engaged in the composition, performance, and discussion of music.
Lambach and Salzburg (1769)
Authors: Zaslaw Neal 
Published: November 2023

Abstract
The Benedictine monastery at Lambach, in Upper Austria near Wels, was a convenient way-station for the Mozart family on their journeys between Salzburg and Vienna. Like many other Bavarian and Austrian monasteries of the time, Lambach provided rooms and meals for travellers, and maintained a musical establishment to ornament its liturgy and to provide entertainment. Amand Schickmayr, a friend of Leopold Mozart’s, was at Lambach from 1738 and had become abbot of the monastery in 1746.1 At the beginning of January 1769 the Mozart family, returning to Salzburg from their stay of more than a year in Vienna, stopped at Lambach. The visit, not mentioned in the family’s surviving letters and diaries, is known solely from inscriptions on two musical manuscripts.
Italy: Fons et Origo (1769–1773)
Authors: Zaslaw Neal 
Published: November 2023

Abstract
Mozart’s youth in Salzburg was punctuated by three journeys to Italy lasting from 12 December 1769 to 28 March 1771, 13 August to 15 December 1771, and 24 October 1772 to 13 March 1773. Thus from just before his fourteenth birthday until shortly after his seventeenth, he spent a total of about twenty-two months in the land where the terminology and much else of modern music had originated. (Sonata, cantata, concerto, opera, oratorio, and sinfonia were, after all, not just Italian terms, but Italian inventions.)
Vienna (II): Independence (1780–1791)
Authors: Zaslaw Neal 
Published: November 2023

Abstract
Perhaps the most important turning-point m Mozart’s life came at the age of twenty-five, when he already had to his credit a corpus of music that many a lesser talent would gladly have accepted as the fruits of a lifetime. He decided to break with his father and Salzburg, and to remain in Vienna as a free-lance teacher, performer, and composer—a decision that had far-reaching effects on his music and, hence, on the evolution of the Viennese classical style as a whole. Evidence of his disaffection toward Salzburg is presented at the beginning of the previous chapter: the Archbishop was stingy and unappreciative, Leopold was continually looking over his son’s shoulder and passing judgement, musical life was circum scribed and taste conservative in Salzburg, and Wolfgang’s opportunities to show what he could do in his favourite genres—piano concerto and opera—were few. Vienna, on the contrary, Mozart described to his father as ‘keyboard land’;1 he might equally have called it ‘orchestra land’ or even, as his admirer Johann Friedrich Schink put it, ‘the land of the blessed, the land of music’.2 In this ‘land of music’ symphonies naturally played their role.
Cremona
Authors: Arnold Denis 
Published: November 2023

Abstract
Cremona is built on the banks of the Poe ... tis eight miles in circuit, environed with Walls Bastions, and Ditches, and hath one Cittadel on the Eastpart, the most stupendious, strong and formidable work in all Italy ... The ordinary buildings are so great, that they may be termed Palaces, reared with great expense and excellent Architecture. It hath broad streets, with Orchards, Gardens, and Mills as well within as without the City, a Chanel for driving them being brought from the River thorow the City. In this way a seventeenth-century English writer describes Cremona, where Monteverdi was born. The town lies some fifty miles from Milan in the heart of the great plain of northern Italy. It is comparatively unvisited today, except by tourists who wish to look at the cathedral and the splendidly tall clock tower. Indeed it seems an almost isolated town, not even on a main road to the east or south.
El corazón del bosque (Gutiérrez Aragón, 1979): Mist, Myth, and History
Authors: Hopewell John 
Published: November 2023

Abstract
EL corazón del bosque (1979) was the film that made Manuel Gutierrez Aragón, plumping him on the always slippery plinth reserved for Spain’s most acclaimed cineaste, lionized by the left, the darling of its hard-core intelligentsia, fodder for Sunday supplement features. These were unlikely laurels for a wayward, discreetly savage, and ironic critic of an increasingly sanitized society. But he was to maintain a Spanish directors’ pole position for nearly a decade until Pedro Almodóvar’s Mujeres al horde de un ataque de nervios (1988) consecrated a mainstream Spanish cinema and replaced a meta-text of political debate by a postmodernist discourse whose extra-filmic referentiality was popular culture and Hollywood cinema.
Re-imaging the Community: Imanol Uribe’s La muerte de Mikel ( r98 3) and the Cinema of Transition
Authors: D’lugo Marvin 
Published: November 2023

Abstract
Imanol Uribe’s La muerte de Mikel ( r983) is one of the earliest demonstrations of the possibility of a popular and commercially viable Basque cinema. At the same time, however, the film poses an emotionally charged refutation of the intransigent identity politics at the root of regional cinemas. This apparent ambivalence reflects the underlying project of Mikel: to contest the Manichaean logic that shaped the cultural politics of cinema during the first decade after Franco’s death, and, more generally, to bring audiences to rethink the chain of allegiances and affiliations that have formed and deformed the notion of community for Spaniards.
Introduction
Authors: Rawson Claude 
Published: November 2023

Abstract
Swift’s works are a meeting-house for some of the most troubling moral nightmares of European intellectual history in the last five hundred years: war, imperial conquest, the impulse to extermin ate. His major satires, especially Gulliver’s Travels and A Modest Proposal, contain remarkable prefigurations, not always attractive to a modem sensibility, of later fantasies and anxieties about these subjects, much as A Tale of a Tub stands as an advance-parody, as well as a brilliant exemplar, of some of the best and worst of the forms of modern writing.
Marcel Mihalovici and Samuel Beckett: Musicians of Return
Authors: Fournier Edith 
Published: November 2023

Abstract
Translated from the French by Mary Bryden
‘The artist who stakes his being is from nowhere, has no kith.’What Samuel Beckett was saying here, in r 954, of the artist Jack B. Yeats, can be said of only a handful of artists, whether they be painters or poets, writers or composers: those who, without any pretence, ‘stake’ their entire being in each of their works. Such totally committed artists have no homeland other than their own creative impulse: a spiral ascending from the depths to rise towards the height of beauty. Being the only offspring of his own art, each of these exceptional creative spirits has, in his domain, no ‘kith’: he is incomparable.
Beckett’s Involvement With Music
Authors: Grindea Miron 
Published: November 2023

Abstract
Samuel Beckett’s lifelong passion for music remains one of the most fascinating aspects of his creative work. Andre Gide wrote a long essay on Chopin as well as some lapidary mentions in his Journal,but there is an element of histrionics in his remarks which now renders them rather unconvincing, whereas Sam remains as ‘secretive’ a musician as Julien Green, who, in his ninety-fourth year, still finds solace in his interpretations of Schumann.
Working with Beckett Texts
Authors: Daiken Melanie 
Published: November 2023

Abstract
I could talk of my childhood and theatre and the early days, when my father and mother, Leslie and Lilyan Daiken, visited Paris time and again for Sam’s new productions. My father had been part of the Trinity College group-Leventhal, McCarthy, Beckett-of the Dublin literary circle of the 1930s. Sam insisted on financing their trips: such was his generosity to his friends. ‘Sam is a saint,’ said my mother. When my father died suddenly at the age of 52, in 1964, I made a long summer visit to Ireland, travelling our old verdant haunts of Wicklow, Bray, Dun Laoghaire, and cycling round the whole of Dublin in a fervent attempt to imbibe my father’s spirit, to imbue myself with his character, to immerse myself in the childhood playground of his Circular Road.Once, I lost my route at Windy Arbours: it turned out to be a mental asylum and I wrenched myself away. I read all the books that Sam had presented to my parents, and so Sam and my father and Ireland became engrained in my soul for ever. Later, teaching at Goldsmiths’ College, I was asked by its Head of Music, Stanley Glasser, to write a piece for a summer concert. It seemed natural to want to work with ‘Echo’s Bones’, from the Poems in English.It started life as Band Music,and later I gave it the ironic name Gems of Erin.
A Note: Dead Calm
Authors: Kim Earl 
Published: November 2023

Abstract
Samuel Beckett has been central to my development as a composer. Most of my works which include the voice are based on his texts, taken from various sources-novels, poems, and plays. I identify closely with the beauty and virtuosity of his language in which every detail is reduced to its maximum-only essentials remain.
The following musical example, Dead Calm(over page), is a setting of a portion of Addenda ( r) of Wattwhich was suggestive of palindromes and silences. It is a part of a larger work entitled Exercises en Routewhich includes excerpts from Malone Dies, Krapp’s Last Tape,and The Unnamable.
‘A. Line of Absolute Correctness’: Ruskin’s Enlargements from Greek Vases and the Drawing Classes at Oxford
Authors: Levi Donata , Tucker Paul 
Published: November 2023

Abstract
From 1853, when he gave his first public lectures in Edinburgh, to the 1870s, when Slade Professor of Fine Art at Oxford, Ruskin, like many lecturers prior to the advent of the slide projector, made use of manually enlarged images as visual aids. More than fifty such images survive, some clearly Ruskin’s own work and some that of assistants such as George Allen and Arthur Burgess, while in many other cases they cannot be attributed to any specific hand. Further examples are known only from early photographs, taken by E. T. Cook and Alexander Wedderburn in the course of preparing the Library Edition of Ruskin’s Works.
Goddesses of Instruction and Desire: Ruskin and Music
Authors: Sousa Correa Delia Da 
Published: November 2023

Abstract
Throughout his work, Ruskin used musical vocabulary to discuss the visual arts and language, calling colour and form, for instance, ‘the musical elements of the arts relating to sight’. In Elements of English Prosody (1880), Ruskin revised the definition of poetry at which he had arrived in Modern Painters to make it ‘the presentiment, in musical form, to the imagination ... of noble grounds for the noble emotions’. Such musical analogies are clearly not without significance in relation to Ruskin’s own art. ‘Rhythmic’ and ‘melodious’ are terms which readily come to mind when attempting to describe the qualities of his writing. His exploitation of the musical lexicon in his aesthetic and social criticism also makes a specific contribution to the synaesthetic richness of Ruskin’s language. His writing was experienced as overwhelmingly ‘musical’ by at least one of his contemporaries. George Eliot’s review of the third volume of Modern Painters praised him (in terms closely echoed in the passage from Ruskin’s lecture quoted below) for a ‘voice that can thrill the audience and take possession of their souls’.