bluuebunny/crossref_metadata_2025_split huggingface dataset:
Britain, Ireland, and the South
Authors: Gillingham John 
Published: November 2023

Abstract
During the ninth, tenth, and early eleventh centuries, Britain and Ireland, two islands on the north-western edge of the known world, had not been much affected by contacts with continental European powers and cultures—much less so than in the seventh and eighth centuries. Merchants and pilgrims had always ensured that the populations of Britain and Ireland had not remained entirely impervious to the ideas and tastes of peoples living in mainland Europe and the Mediterranean region; such ideas had, for example, contributed to the attempts at monastic reform in mid-tenth-century England.
What Kind of Society Was Israel?
Authors: Coggins Richard 
Published: November 2023

Abstract
The potential value of archaeology for a better understanding of the Old Testament has been recognized for more than a century; any formal contribution from sociology, by contrast, has been a much more recent development and is, so far, of much more modest dimensions. That situation is, however, already changing, and in a number of ways it has come to be recognized that the understanding of the actual society which constituted ancient Israel can be very significant for many aspects of Old Testament study.
Jane Austen
Authors: Stafford Fiona 
Published: November 2023

Abstract
Although Jane Austen ‘s earliest surviving writings date from the late 1780s, her first published novel was Sense and Sensibility, which appeared in three volumes in 1811. By 1813 all the copies had sold, so Thomas Egerton published a second, revised, edition; the same year also saw the appearance of the first and second editions of Pride and Prejudice. Mans. field Park followed in 1814, but since Egerton was reluctant to authorize a further edition, the rights were bought by John Murray who published Emma late in 1815 (title-page dated 1816) and the second edition of Mans. field Park in 1816. After the death of Jane Austen, Northanger Abbey and Persuasion were published as a four-volume set in 1818, together with a ‘Biographical Notice ‘ written by her elder brother, Henry. There were no further English editions until 1833, when Richard Bentley published all the novels in his Standard Novels series. The first scholarly edition was R. W Chapman ‘s The Novels of Jane Austen, which came out in five volumes in 1923 and established the texts, based on collations of the early editions, that were to provide the basis of numerous subsequent editions. Of the recent popular editions, the New Penguin texts have been edited directly from the first editions; this is particularly significant in the cases of Sense and Sensibility and Mans. field Park, since all previous texts had used the second editions. Many of the twentieth-century editions of Austen ‘s novels retain their value because of the distinguished writers who have contributed introductory essays.
Melodrama (1966)
Authors: Bentley Eric 
Published: November 2023

Abstract
Eric Bentley (born in England in 1916) has been a seminal influence in the academic study and indeed in the general understanding of drama not only in the United States, where he has spent the greater part of his life, but also in other English-speaking countries. He has taught at Columbia University, at Harvard, Buffalo, Maryland, and elsewhere. He has written extensively on theatre as a theorist, a critic, and a reviewer; he has made a wide range of world drama available in English as a translator and an anthologist: a full bibliography of his works would number over 400 items. In the English-speaking world he pioneered the knowledge of, and the vogue for, Bertolt Brecht, with whom he had been personally acquainted during the latter’s stay in America; he is also well known as an expert on Shaw and Pirandello. He is himself a playwright and he has directed for the stage: hence his approach to drama has been informed by first-hand knowledge of the practicalities of theatre.
Author’s Note to A Dream Play (1901)
Authors: Strindberg August 
Published: November 2023

Abstract
Just as Strindberg had written the definitive manifesto of naturalistic drama in his Preface to Miss Julie (see pp. 88-9), he put forward precisely the opposite doctrine in equally memorable terms at the turn of the century. The following note to A Dream Play—which was his own favourite among all of his plays—sums up in few words what was to become a major trend in twentieth-century drama: an irrationalism which, if not invariably indebted to the inner world of the dream, at any rate cut loose from the constraints of the everyday reality of naturalism and reinstated the unfettered imagination upon the stage. The essentially dark tone of A Dream Play anticipated much of the angst expressed in various kinds of irrationalist drama. Although this brief seminal statement by Strindberg has (deservedly) been reproduced quite a few times before, it simply cried out to be included here yet once again.
On the Futility of the ‘Theatrical’ in the Theatre (1896)
Authors: Jarry Alfred 
Published: November 2023

Abstract
This article by Alfred Jarry (1873-1907) was published in the September 1896 issue of the Mercure de France, shortly before the opening night of his play, Ubu Roi (King Ubu), which was about to be staged at the Thé âtre de l’OEuvre by the avant-garde director Aur élien Lugn é-Poe. Lugn é-Poe published an article under the same title in the following month’s issue of the Mercure de France, in which he referred to Elizabethan staging methods as a precedent for the non-naturalistic decor employed in the production.
The Futurist Synthetic Theatre (1915)
Authors: Marinetti Filippo Tommaso , Settimelli Emilio , Corra Bruno 
Published: November 2023

Abstract
The propagandist activities, before, during, and after the First World War, of the Italian poet, novelist, journalist, and playwright F. P. Marinetti (1876-1944) were essentially theatrical, although they were in fact directed at a total renewal not merely of the theatre but of all the arts. Marinetti’s efforts to sweep the whole of traditional European culture (including classical, naturalist, and symbolist drama) into the dustbin of history in order to make room for the ‘Futurism’ which he was advocating and indeed helping to create together with like-minded friends, came in the form of public, highly staged provocations: serate (evenings) of mixed artistic events and sintesi (syntheses, i.e. extremely short performance pieces) designed to surprise and infuriate audiences.
The Modern Theatre is the Epic Theatre: Notes to the opera Aufstieg und Fall der Stadt Mahagonny(1930)
Authors: Brecht Bertolt 
Published: November 2023

Abstract
The figure of Eugen Berthold Friedrich (‘Bert’) Brecht (1898-1965) is bound to loom large in any consideration of dramatic theory in the twentieth century. Poet, director, and playwright, he let his theorizing arise out of and feed back into theatrical practice —whenever, that is, he was able to get near a theatre; for the greater part of his exile from Germany, between 1933 and 1946, this was rarely the case. Brecht’s thinking about drama and performance has influenced men and women of the theatre—writers, directors, designers, actors —all over the world, partly because of the strength of the plays that embody his theoretical position, partly because of the incisiveness of the theory in its own right, and partly because of the prestige of the Berliner Ensemble which he founded in 1949 and which he led until the time of his death.
Semiotics of Theatrical Performance (1977)
Authors: Eco Umberto 
Published: November 2023

Abstract
The career of Umberto Eco (b. 1932) has shown —at least —two distinct faces. He has achieved international fame as a writer of fiction: one of his novels, The Name of the Rose (1980), a medieval mystery story, has been translated into twenty languages and was made into a film in 1986. But he is also Italy’s leading semiotician who enjoys a worldwide reputation. At the University of Bologna, where he has been Director of the Institute of Communications and the Performing Arts since 1959, his Chair of Semiotics was the first appointment explicitly so designated at any university. Professor Eco has served as Secretary-General of the International Association of Semiotic Studies.
5
Authors: Boddy William 
Published: November 2023

Abstract
The Proliferation Of Digital imaging technologies in the early 1990s, with virtual reality (VR) as their most technically elaborate and high-profile application, inspired new scholarly attention to the relations between the histories of communication technologies and those of cultural forms. Part of the challenge in addressing the range of technologies and discourses constituting the field of virtual reality in American culture is an almost wilful slipperiness of the object.
The General Prologue
Authors: Cooper Helen 
Published: November 2023

Abstract
Although the General Prologue was probably written fairly early in the course of Chaucer’s work on the Tales, it was not necessarily the first item to be composed, nor need it all have been written at one time. There is at least a possibility that some parts were written or adapted when the writing of the tales was well advanced; the Wife of Bath’s deafness, for instance, acquires its significance only retrospectively, and the last five pilgrims, the Miller, Manciple, Reeve, Summoner, and Pardoner, are fitted into the scheme a little oddly, being both briefly listed and described in detail. There is however no evidence for extensive revision in the manuscripts, where the text is unusually consistent—a consistency that can itself be problematic, as the ‘preestes thre’ universally assigned to the Prioress result in the wrong number of pilgrims. Two couplets are omitted in some manuscripts; the second of these (on the Summoner’s speaking Latin when drunk, 637-8, missing from Hengwrt and apparently the cause of trouble to some other scribes) is required by the sense; the first, found in only five manuscripts including Hengwrt, notes the Friar’s territorial jealousy:
The Miller’s Tale
Authors: Cooper Helen 
Published: November 2023

Abstract
Most manuscripts designate the links between the tales as ‘prologues’ to the following tales, and it seems likely that the terminology is in most instances Chaucer’s own, but it can on occasion be misleading. Many of the links function as epilogues as much as prologues: they both sign off the preceding tale and introduce the next, and in the process they often serve to indicate a relationship between the two.
The Cook’s Tale
Authors: Cooper Helen 
Published: November 2023

Abstract
The Cook enters the action of the pilgrimage, not through being called on for a story, but through the vigour of his response to the Reeve’s Tale. He picks out two aspects, both of which will colour his own tale: the ‘jape’, and the moral. The Reeve told of a ‘jape of malice’; he himself will tell of a ‘litel jape’. His addition of a third moral to the two the Reeve has already given (4320–1) demonstrates the taste for aphorisms that is to characterize his tale: ‘Ne bryng nat every man into thyn hous’ (4331). He cites Solomon as the source for the maxim (Ecclus. 11:29), though the dangers of herberwynge are pointed out in some of the analogues to the Reeve’s Tale; but the immediate stimulus to his comment is the ‘conclusion’, sexual rather than philosophical, that the clerks have brought to Simkin’s ‘argument of herbergage’ (4329, cf. 4122-6). There may be a punning comment on the tale’s genre here, for argumentum was the rhetorical term for a palpably fictional story— a category that includes most, if not all, fabliaux.
Tragedies
Authors: Miola Robert S 
Published: November 2023

Abstract
To create his tragedies, Shakespeare read classical and contemporary history and literature. Plutarch’s The Lives of the Noble Grecians and Romans provided a fascinating mix of fact and fiction, a storehouse of ancient history and legend. The book so charmed Tom Gilthead of BenJonson’s play, The Devil is an Ass, that he named his son Plutarchus:
Shakespeare as Reader
Authors: Miola Robert S 
Published: November 2023

Abstract
An early critic, Charlotte Lennox (175r4), acerbically surveyed Shakespeare and his habits of reading. In her opinion, Shakespeare introduced improbabilities and inconsistencies and usually changed his sources for the worse; witness, for example, her hostile account of Much Ado About Nothing: This fable, absurd and ridiculous as it is, was drawn from the foregoing story of Ginevra in Ariosto’s Orlando Furioso, a fiction which, as it is managed by the epic poet, is neither improbable nor unnatural, but by Shakespeare mangled and defaced, full of inconsistencies, contradictions, and blunders Shakespeare, by changing the persons, altering some of the circumstances and inventing others, has made the whole an improbable contrivance, borrowed just enough to show his poverty of invention, and added enough to show his want of judgment. (Vickers, iv. 140).
[1744-68], Thomas Davies on David Garrick (1719-79) and Mrs Pritchard (17u-68) in Macbeth, from Dramatic Micellanies [sic], 3 vols. (1784), ii. 140-1, 148-9, 166-7; with James Boaden, Life OfMrs Siddons, 2 vols. (1827), ii. 140-2.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The meteoric rise to fame of David Garrick was signalled by his performance of Richard III, in Colley Cibber’s adaptation, at the minor theatre in Goodman’s Fields, London, on 19 October 1741. He became Shakespeare’s greatest champion, playing in and adapting (sometimes drastically) many of his plays, and organizing in 1769 the Jubilee at Stratford-upon-Avon which inaugurated the Romantic deification of the dramatist. Garrick first played Macbeth, with great success, on 7 January 1744; Hannah Pritchard was his Lady Macbeth, and he relinquished the role when she died, in 1768. William Davenant’s considerably rewritten version (published in 1674) had held the stage.
[1789-c.1812], Julian Charles Young (died 1873) on J.P. Kemble as Coriolanus and Sarah Siddons (1755-1831) as Volumnia in Coriolanus at the Theatre Royal, Drury Lane, London, from his Memoirs of Charles Mayne Young (1840), pp. 40-1.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The first performances of Kemble’s version of Coriolanus were given at Drury Lane in 1789, with great success. Kemble based his version on one by Thomas Sheridan which borrowed from a play on the same subject by James Thomson. The title role, in which Kemble was finely portrayed by Sir Thomas Lawrence (see Pl. 2,), was especially suited to his talents as a heroic actor in classical parts, and Volumnia gave great opportunities, too, to Sarah Siddons, who played with him on these and later occasions. The Reverend Julian Charles Young (vicar of Ilmington, Warks.), son of one of Kemble’s disciples, the actor Charles Mayne Young (rm-1856), offers his account of Mrs Siddons’s performance in support of what he calls his ‘theory of the mute eloquence of gait and movement’, remarking that his father ‘used to speak in terms of almost wanton admiration, of a boldly conceived point he saw Mrs Siddons once make, while playing the comparatively inferior part of Volumnia for her brother’s benefit’.
21 January 1816, William Hazlitt on A Midsummer Night’s Dream, adapted by Frederic Reynolds (1764-1841) with music composed and arranged by Sir Henry Bishop , at the Theatre Royal, Covent Garden, London, from The Examiner, reprinted in Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York, n.d. [1957]), pp. 73-6.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
We hope we have not been accessory to murder, in recommending a delightful poem to be converted into a dull pantomime; for such is the fate of the Midsummer Night’s Dream. We have found to our cost, once for all, that the regions of fancy and the boards of Covent Garden are not the same thing. All that is fine in the play, was lost in the representation. The spirit was evaporated, the genius was fled; but the spectacle was fine: it was that which saved the play.
4 October 1818, Leigh Hunt on Edmund Kean as Othello at the Theatre Royal, Drury Lane, London, from The Examiner, reprinted in Leigh Hunt’s Dramatic Criticism I8o8-I8JI, ed. L. H. and C. W. Houtchens (New York, 1949), pp. 20I-2.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
M.R. Kean has returned from his tour to France and Italy—a very proper relaxation for a man of his talents—and has performed in the course of the week Richard the Third and Othello. We saw the latter on Thursday evening; and with all our experience of the stage, and with all our scepticism as to the powers of the very best actors in characters from Shakspeare, we never witnessed a performance that struck us so forcibly. It brought back upon us the earnestness and implicit attention of our younger days. We have admired Mrs. Siddons, been infinitely amused with Lewis,’ been sore with laughing at Munden, been charmed with Mrs. Jordan; but we never saw anything that so completely held us suspended and heart-stricken, as Mr. Kean’s Othello. In all parts it is as complete as actor can shew it-in the previous composure of its dignity, in its soldier-like repression of common impulse, in the deep agitation of its first jealousy,
31 October 1819, Leigh Hunt on William Charles Macready (1793-1873) as Richard III at the Theatre Royal, Covent Garden, London, from The Examiner, reprinted in Leigh Hunt’s Dramatic Criticism r808-r83r, ed. L. H. and C. W. Houtchens (New York, 1949), pp. 219-21.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
New and unexpected circumstance has taken place here, which promises to rescue the character of the house from the pantomimic degradation into which it was fast falling. Mr. Macready has performed Richard twice in the course of the week, with the greatest applause. We must confess we went to see him with no sort of expectations at all commensurate with the greatness of the part. We thought him a man of feeling, but little able to give a natural expression to it, and so taking the usual refuge in declamation. He appeared to us one of the best readers of a part we had seen, according to the received notions of good reading; but with the exception of a character now and then bordering on the melodramatic, like Rob Roy’-that was all.
[1832], James E. Murdoch (18n-93) on Charles Kean (18n-68) as Posthumus in Cymbeline at the Arch Street Theatre, Philadelphia, from his The Stage, or Recollections of Actors and Acting from an Experience of Fifty Years: A Series of Dramatic Sketches (Philadelphia, 1880; repr. New York, 1969), pp. 146-8.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
James Murdoch was a versatile and successful American actor and lecturer. Charles, son of Edmund Kean, first visited America in 1830 and played Post humus in late October 1832, when he was twenty-one. He seems never to have played it again. He returned to England in 1833. Murdoch was writing some fifty years after the event, but his account is interesting as one professional’s description of what another did during a precise stretch of action.
[1844], James Robinson Planche (1796—1880), description of Ben Webster’s neo-Elizabethan production of The Taming of the Shrew, from his Recollections and Reflections, 2 vols. (1872), ii. 83—6.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
After the Restoration of the monarchy, in 1660, performances of The Taming ef the Shrew were normally given in heavily adapted texts, such as John Lacy’s Sauny the Scot (1667), Christopher Bullock’s The Cobbler if Preston (17I6), and, above all, David Garrick’s Catharine and Petruchio (1754), which held the stage until the late nineteenth century with the exception of the production given at the Haymarket Theatre in 1844 and 1847 under the auspices of its manager, Benjamin Webster (1797-1873) and the playwright and antiquarian James Robinson Planche which, uniquely for its time, also attempted a reconstruction of Elizabethan staging methods.
November 1874, Clement Scott (1841-1904) on Henry Irving (1838-1905) as Hamlet, at the Lyceum Theatre, London; from his ‘The Bells’ to ‘King Arthur’ (1896), pp. 6I-7.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
All present longed to see Hamlet. Bernardo and Marcellus, the Ghost, the platform, the grim preliminaries, the prologue or introduction to the wonderful story, were, as usual, tolerated-nothing more. Away go the platform, the green lights, the softly-stepping spirit, the musical-voiced Horatio. The scene changes to a dazzling interior, broken in its artistic lines, and rich with architectural beauty; the harps sound, the procession is commenced, the jewels, and crowns, and sceptres, dazzle, and at end of the train comes Hamlet. Mark him well, though from this instant the eyes will never be removed from his absorbing figure. They may wander, but they will soon return. The story may interest, the characters may amuse, the incidents may vary, but from this moment the presence of Hamlet will dwarf all else in the tragedy. How is he dressed, and how does he look? No imitation of the portrait of Sir Thomas Lawrence,1 no funereal velvet, no elaborate trappings, no Order of the Danish Elephant, no flaxen wig after the model of M. Fechter,2 no bugles, no stilted conventionality. We see before us a man and a prince, in thick robed silk and a jacket, or paletot, edged with fur; a tall, imposing figure, so well dressed that nothing distracts the eye from the wonderful face; a costume rich and simple, and relieved alone by a heavy chain of gold; but, above and beyond all, a troubled, wearied face displaying the first effects of moral poison.
15 July 1895, Bernard Shaw on Augustin Daly’s production of A Midsummer Night’s Dream at Daly’s Theatre, London, from The Saturday Review, reprinted in Shaw on Shakespeare, pp. 125-31.I
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
The Two Gentlemen of Verona has been succeeded at Daly’s Theatre by A Midsummer Night’s Dream. Mr. Daly is in great form. In my last article I was rash enough to hint that he had not quite realized what could be done with electric lighting on the stage. He triumphantly answers me by fitting up all his fairies with portable batteries and incandescent lights, which they switch on and off from time to time, like children with a new toy. He has trained Miss Lillian Swain in the part of Puck until it is safe to say that she does not take one step, strike one attitude, or modify her voice by a single inflexion that is not violently, wantonly and ridiculously wrong and absurd.
13 November 1899, anonymous review of Richard II, produced by William Poel (1852-1934) in the lecture theatre of the University of London in Burlington Gardens, London, from The Times .
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
M.R. William Poel had a surprise in store for the large audience which filled the lecture theatre of the University of London on Saturday afternoon. Acting has not hitherto been the strong point of the society’s performances. A fair all-round representation of Richard II. was all that was expected. Yet the play had scarcely begun before it was dear that there was one player in the company whose talent would make the performance exceptionally interesting. A few months ago that oddly named piece The Weather-Hen showed Mr. Granville Barker in the light of a promising dramatist. Richard II. proved him to be also a wellgraced and intelligent actor, with gifts specially fitting him for romantic drama.