bluuebunny/crossref_metadata_2025_split huggingface dataset:
Luminism: An Alternative Tradition
Authors: Novak Barbara 
Published: November 2023

Abstract
As I have suggested, Durand was not the only Hudson River artist who achieved a revelation of Emerson’s “spirit in the fact” through the development of certain aspects of luminist style. A similar development can be seen even more markedly in the works of John F. Kensett, who, like Durand, painted in the Hudson River salon style, who also produced pieces executed in a proto-Impressionist mode, such as Bash-Bish Falls (fig. 5.1), and an even larger number of serene landscapes that fall into the general category of luminism. Indeed, of all the Hudson River men, Kensett was the most clearly luminist in sensibility. In paintings such as View from Cozzen’s Hotel, Near West Point (plate 5), with its exquisitely subtle tonal modulations of golds, browns, and grays, proto-Impressionist scumble becomes a delicate equivalent for foliage, while vitrescent water confronts the spectator with no reference through stroke to the artist’s presence. As Jarves wrote of Kensett’s later works, “there is a phantom-like lightness and coldness of touch and tint, which gives them a somewhat unreal aspect. But they take all the more hold on the fancy for their lyrical qualities.”
Thomas Eakins: Science And Sight
Authors: Novak Barbara 
Published: November 2023

Abstract
When Thomas Eakins (1844–1916) visited the Universal Exposition in Paris in 1867, he was more interested in the locomotives and machinery than in the art. This curiosity about mechanism, with its concomitant respect for fact, led him into serious anatomical studies—like the Renaissance masters who dissected to use knowledge as an instrument of truth. With Eakins, this desire for knowledge—an almost obsessive one in his case—extended to the use of the machine as tool (photography) and into mathematics. His art thus belongs, in many of its aspects, to the mensurational, machine- connected aesthetic that characterizes much American art before and after him. In his grave attempts to reconcile knowledge with art, he was perhaps the most philosophical and conscientious of American artists.
Acknowledgments
Authors: Suskin Steven 
Published: November 2023

Abstract
Summer camp visiting day, 1962. All of the kids—and all of the fathers—are swarming toward one of the dads, who happens to be the head coach of the division-champ New York Giants. All except one nine-year-old, that is. I had learned that Ronnie Ramin’s dad was the orchestrator of West Side Story and Gypsy; while I didn’t know what an orchestrator was, I knew both cast albums by heart.
Assessing Orchestrators
Authors: Steven Suskin 
Published: November 2023

Abstract
For more than a half-century, Broadway’s most active and most well-known orchestrators—or, I should say, the orchestrators with the most well-known shows—were unquestionably Bennett, Walker, and Lang. While Bennett worked on more than the others—perhaps as many as 200 from 1922 through 1975—much of this activity was in the early Harms/Chappell period, when orchestration was by committee. Walker worked on fewer shows, but seems to have done more as a principal orchestrator than anyone else in Broadway history. (For our purposes, this includes shows split between two orchestrators.) With partiturs and invoices missing on so many musicals, it is impossible to compile accurate statistics; even so, of the 550 musicals for which I have found definitive proof of authorship, Walker was principal orchestrator on about 93; Bennett clocks in at around 70.
Meet the Colors
Authors: Steven Suskin 
Published: November 2023

Abstract
Before the orchestrator can begin to assign the composer’s notes to the instruments, the makeup of the pit band must be determined. Spialek, at the beginning of our discussion, compared orchestration to painting. If orchestration is indeed the combination of colors into harmonies and dissonances, instrumentation can be seen as the selection of the fifteen or twenty tubes of paint with which to work. Paint can be blended in any variety of colors, yes; but it can be seen that there is a difference in the palettes of Van Eyck and Van Gogh, and, further, that Van Gogh’s sun-drenched Arlesienne fantasies differ from his indoor, brown-and-muddy potato eaters. So, too, is the difference between Walker’s Carousel and Fiddler on the Roof, or Lang’s Li’l Abner and Carnival.
Lincoln and His Admirals
Authors: Symonds Craig L 
Published: November 2023

Abstract
In 1952, T. Harry Williams wrote the classic study, Lincoln and His Generals. Half a century later, Craig Symonds will write its necessary follow-up, Lincoln and His Admirals - a much-needed history of the Union navy during the Civil War. Given the wealth of books on the military history of the Civil War, surprisingly little has been written about the role of the navy. As Symonds shows, Abraham Lincoln began his presidency as well as the war with virtually no knowledge of naval affairs, lacking both exposure and interest given his upbringing in the Midwest. Despite his inexperience, he quickly came to preside over the largest national armada of the century, not eclipsed until the World War I. This was a remarkable feat given the poor shape, at least by European standards, of the Union navy in 1861. As Symonds argues, Americans had previously viewed the U.S. navy with some skepticism, regarding navies as essentially aristocratic bodies, or, worse, tools of empire. Symonds’s book outlines the four factors that explain Lincoln’s success in building a strong Union navy - his pragmatism, his willingness to judge men based on performance rather than politics, his command of new technology, and his deft hand at diplomacy. Mostly, however, this book will be a compelling portrait of the naval officers and their relationships to Lincoln, as well as a lucid argument for the role of the navy in securing victory for the Union.
Ouidah
Authors: Diouf Sylviane A 
Published: November 2023

Abstract
The Clotilda Weighed Anchor a mile and a half from shore at Ouidah on May 15. At 4 P.M., a man in a canoe came alongside the ship and asked what the captain’s business was. The American responded that he wanted “to exchange commodities” and wished to see the “prince and officials.” He was ready to go ashore but the sea was rolling “at a fearful height.” A large pirogue, sixty feet long, manned by twenty rowers who made a game of the high waves, took Foster in and landed him on the beach, where an interpreter assigned three men to take care of him. Since the city was located three miles from the shore, north of a lagoon, through woods, and at the end of a bad road, visitors and dignitaries were carried there. Hammocks were the favorite mode of portage for the elite. A ten-foot net was hung to a long bamboo post carried on its ends on the heads of two men. A canopy protected the passenger from the sun. This is how William Foster entered Ouidah.
Arrival in Mobile
Authors: Diouf Sylviane A 
Published: November 2023

Abstract
The Clotilda Entered The Mississippi Sound on Sunday, July 8, 1860. The crew anchored off Point-of-Pines in Grand Bay. There were a few things for the captain to do: according to his account, William Foster had to meet Timothy Meaher, who would have the crew’s pay; tug the Clotilda up the Alabama River; and lastly, go to the discreet spot already selected to land the Africans. Foster knew exactly what to do because he and Timothy Meaher had put together an elaborate plan four months earlier. Every detail had been taken care of. Once the Africans had landed and Meaher had paid the crew, he and his men were to sail further south to Tampico, a port on the Pánuco River in Mexico.There, the Clotilda was to reinvent herself one more time. The once innocuous schooner that had crossed the ocean as a slave ship would turn back into an innocent vessel. Foster would see to it that all traces of the jail it had been for six weeks were scrubbed away.
Slavery
Authors: A.Diouf Sylviane 
Published: November 2023

Abstract
Their Very Existence Disregarded by President James Buchanan, the men, women, and children of the Clotilda were hardly more acknowledged by their owners. They were not people with life stories, families, and personalities, but generic “slaves” who were expected to shed their identity and respond only to their assigned status, starting with new names. When they had first arrived and did not know what was going to happen, the shipmates had decided to be cautious. They thought it prudent not to disclose anything about themselves to hostile strangers. But their names said who they were: who they were named after, how they were born (feet first, for example), if they came after twins, if they were twins, if their mother died at birth, what people they belonged to, what religion they followed, or the day they were born, which meant something too. In their homelands when people said their name, an important part of their identity was revealed. To be on the safe side, during their early days in Mobile, they did not call one another by their real names: they invented new ones, or used other people’s names. It was a precaution that made sense, in case someone was listening and was bent on doing something harmful with the information. Although no other instance has come to light, it is quite possible, and actually probable, that other Africans deported to the Americas did the same. It was a logical safety measure that others most likely took.
Oberto, conte di San Bonifacio
Authors: Parker Roger 
Published: November 2023

Abstract
Verdi’s first opera has a chequered history. As we first hear of it in 1836, it was called Rocester, with a libretto by Antonio Piazza. After unsuccessful attempts to have the work put on in Milan and Parma, and after a lengthy hiatus during which the composer was employed in his home town of Busseto, Verdi-with the help of the librettist Temistocle Solera-revised and renamed the opera for its La Scala premiere. Oberto was moderately successful and was revived a number of times during the next three years, Verdi taking the opportunity to add various new numbers to the score. For Milan (1840) he supplied a new cavatina for Cuniza and a replacement duet for Cuniza and Riccardo, and adapted the role of Oberto for baritone; for Genoa (1841) he wrote a replacement duet for Leonora and Oberto and new music for the chorus ‘Fidanzata avventurosa’; and for Barcelona (1841-42) he supplied a new first-act aria for Oberto, the cabaletta of which (‘Ma fin cheun brandovindice ‘) later became associated with Ernani.
Luisa Miller
Authors: Parker Roger 
Published: November 2023

Abstract
Melodramma tragico in three acts set to a libretto by Salvadore Cammarano after Friedrich von Schiller’s play Kabale und Liebe; first performed in Naples, Teatro San Carlo, on 8 December 1849. The cast at the premiere included Marietta Gazzaniga (Luisa), Achille De Bassini (Miller), Antonio Selva (Walter), and Settimio Malvezzi (Rodolfo). Verdi’s relationship with Naples, never entirely happy, continued inaus piciously during the late 1840s: in 1848, despite his efforts to withdraw, the Neapolitan authorities held him to a long-standing contract for a new opera at the San Carlo. The librettist was to be Salvadore Cammarano, resident poet at the theatre and a man of vast experience in both the practical and the artistic side of operatic production.
Stiffelio
Authors: Parker Roger 
Published: November 2023

Abstract
Opera in three acts set to a libretto by Francesco Maria Piave after Emile Souvestre’s and Eugene Bourgeois’ play Le Pasteur, ou L’Evangile et le fayer; first performed in Trieste, Teatro Grande, on 16 November 1850. The cast at the premiere included Gaetano Fraschini (Stiffelio), Marietta Gazzaniga (Lina), and Filippo Colini (Stankar). As was becoming the pattern, Verdi’s April 1850 contract for the work that became StifJelio was signed not with a theatre but with a publisher, in this as in most other cases Ricordi. The librettist was again to be Piave, who himself suggested an adaptation of Le Pasteur, a French play that had received its premiere only the previous year but was already available in Italian translation. It was a bold choice, a far cry from the melodramatic plots of Byron (fl corsaro, f due Foscari) and Hugo (Ernani): modern, ‘realistic’ subjects were unusual in Italian opera, and the religious subject matter seemed bound to cause problems with the censor. Giovanni Ricordi decided to have the premiere staged at Trieste-the theatre that had recently given such a lukewarm reception to fl corsaro-and, true to expectation, the local censors insisted on a number of important changes, in particular muting the action of the final scene so as (in the composer’s view) to make it ridiculous. The work’s reception was better than that accorded fl corsaro, although there were reservations about the opera’s novel shape and subject matter. Stijfelio had occasional revivals in subsequent years, but it was continually dogged by censorship difficulties; in the mid-185os Verdi decided to ‘rescue• his music by revising it to fit a different, less sensitive plot: Araldo.
The Operas
Authors: Rushton Julian 
Published: November 2023

Abstract
Intermezzo in three acts, K38, to a Latin libretto by Father Rufinus Widl; first performed in Salzburg, at the Benedictine University, on 13 May 1767, with the five-act Latin tragedy Clementia Croesi by Widl.
Mozart’s first stage work is an intermezzo, written to a text by the Gymnasium (school) teacher of syntax, for performance by students, some of them as young as the composer. The god Apollo (boy alto) and the wind god Zephyrus (boy alto) are rivals in love with Melia (boy soprano), daughter of Oebalus (tenor), King of Lacedonia—sanitizing the Greek myth in which Apollo is homosexually attracted to Hyacinth. In Widl’s version Hyacinthus (boy soprano), the son of Oebalus, is fatally wounded by Zephyrus to incriminate his rival and win Melia for himself. Melia denounces Apollo, but the dying Hyacinthus reveals the truth. Zephyrus is banished, Apollo and Melia marry, and the god turns Hyacinthus into the flower that bears his name.
Explaining The Early Decisions: The United States and the French War, 1945–1954
Authors: Lawrence Mark Atwood 
Published: November 2023

Abstract
All men are created equal; they are endowed by their Creator with certain unalienable rights; among these are Life, Liberty, and the pursuit of Happiness.” So proclaimed Ho Chi Minh on 2 September 1945, at the outset of his epochal speech declaring Vietnam’s independence from French colonial rule. The Vietnamese leader, speaking before thousands in Hanoi’s Ba Dinh Square, chose his words carefully. By quoting from America’s 1776 Declaration of Independence, Ho hoped to draw parallels between U.S. and Vietnamese history and thereby to encourage Americans to back the Vietnamese revolution. Above all, he wanted the United States, clearly destined to be the preeminent power in Asia after the Second World War, to block any French effort to reclaim the territory. Ho Chi Minh was, of course, badly disappointed. Over the next decade, Washington not only permitted the restoration of French colonialism in Indochina but also spent $3 billion trying to help the French military crush Ho’s fledgling state, the Democratic Republic of Vietnam (DRV). In 1954, Washington grudgingly accepted its failure in that effort, but it hardly gave up the fight against the Vietnamese revolution. On the contrary, the United States stepped into the role of the defeated French and worked strenuously over the next two decades to create a viable Vietnamese state capable of resisting Ho Chi Minh and all that he represented.
“No Place To Fight A War”: Laos and the Evolution of U.S. Policy toward Vietnam, 1954–1963
Authors: Jacobs Seth 
Published: November 2023

Abstract
The presidential transition from Dwight D. Eisenhower to John F. Kennedy occurred during one of the tensest periods in the history of American foreign policy. Many crises competed for the chief executive’s attention: Fidel Castro had established a communist beachhead ninety miles from Florida; Washington and Moscow clashed over a UN-sponsored peacekeeping mission to the Congo; and Nikita Khrushchev was threatening to force the Western allies out of Berlin. Most portentously, Ngo Dinh Diem had just barely survived a coup attempt that exposed the precariousness of the South Vietnamese government despite six years of lavish American support. Yet Eisenhower and Kennedy did not talk much about Cuba, the Congo, Berlin, or Vietnam when the outgoing president briefed his successor the day before Kennedy’s inauguration. Instead, the two men discussed Laos. A three-sided civil war in that country among the U.S.–backed Royal Lao regime, the communist Pathet Lao, and a neutralist front seemed about to conclude with the communists on top—an outcome which, Eisenhower warned, would make it impossible to prevent the rest of Southeast Asia from slipping behind the iron curtain.
Henry Kissinger and American Grand Strategy
Authors: Suri Jeremi 
Published: November 2023

Abstract
The late 1960s mark a historical divide. In nearly every society, the tenor of life changed. Social and cultural traditions endured concerted attack. Authority figures faced direct challenges from “ordinary” citizens. Fears of worldwide chaos replaced assumptions about international order. Like balls of yarn, the stable lines of postwar geopolitics came undone as people pulled at them from multiple directions. This was an era of global revolution—from within and without.
The Weight of Conquest: Henry Kissinger and the Arab–Israeli Conflict
Authors: Yaqub Salim 
Published: November 2023

Abstract
If a single drive motivated Henry Kissinger’s entire approach to the Arab– Israeli conflict, it was to shield Israel from pressure to withdraw from all or most of the territory it had occupied in the 1967 Arab–Israeli War. From 1969 to 1973, when Kissinger served as Richard Nixon’s national security advisor, much of that pressure came from the State Department, which promoted a comprehensive settlement involving Israel’s withdrawal from nearly all of the occupied territory. Kissinger strongly opposed this policy on the grounds that it would reward America’s Cold War adversaries and place intolerable strains on the U.S. –Israeli relationship. Nixon, for his part, officially countenanced the State Department’s approach but refused to implement it, a response that had as much to do with domestic American politics as with the effectiveness of Kissinger’s internal critique.
The Danger of Geopolitical Fantasies: Nixon, Kissinger, and the South Asia Crisis of 1971
Authors: McMahon Robert J 
Published: November 2023

Abstract
It was the most boisterous, near-ecstatic crowd New York’s Madison Square Garden had seen in many a year. Nearly 40,000 fans fortunate enough to secure tickets packed the legendary arena for a landmark one-day event: an afternoon and evening concert featuring ex-Beatles George Harrison and Ringo Starr, Bob Dylan, Eric Clapton, Ravi Shankar, and several other luminaries from the ordinarily separate worlds of rock and roll and traditional Indian music. The artists were performing free of charge in order to raise funds for, and call attention to, the desperate plight of millions of East Bengali refugees who had recently fled their East Pakistan homeland to escape a raging, government-initiated civil war.
From Atlantic History To A Continental Approach
Authors: Wood Peter H 
Published: November 2023

Abstract
For several centuries, chroniclers of the North American experience before 1800 have faced a basic dilemma—so basic, in fact, that it is rarely recognized or stated. Put bluntly, the familiar but vexing paradox is this: Should “early American history” concern the growth and expansion of European colonies, particularly those English-speaking ones along the east coast that eventually combined to form the United States and to push westward across the continent? Or should it concern all parts of the North American continent, and all the people living there before 1800?
Essays on Descartes
Authors: Hoffman Paul 
Published: November 2023

Abstract
This is a collection of Paul Hoffman’s wide-ranging essays on Descartes composed over the past twenty-five years. The essays in Part I include his celebrated “The Unity of Descartes’ Man,” in which he argues that Descartes accepts the Aristotelian view that soul and body are related as form to matter and that the human being is a substance; a series of subsequent essays elaborating on this interpretation and defending it against objections; and an essay on Descartes’ theory of distinction. In the essays in Part II he argues that Descartes retains the Aristotelian theory of causation according to which an agent’s action is the same as the passion it brings about, and explains the significance of this doctrine for understanding Descartes’ dualism and physics. In the essays in Part III he argues that Descartes accepts the Aristotelian theory of cognition according to which perception is possible because things that exist in the world are also capable of a different way of existing in the soul, and he shows how this theory figures in Descartes’ account of misrepresentation and in the controversy over whether Descartes is a direct realist or a representationalist. The essays in Part IV examine Descartes’ theory of the passions of the soul: their definition; their effect on our happiness, virtue, and freedom; and methods of controlling them.
Introduction
Authors: Hoffman Paul 
Published: November 2023

Abstract
When I began my serious study of Descartes a Pedeciding to write a dissertation under the supervision of Robert Adams on Descartes’s concept of matter, I did not, I believe, approach the text with any particular interpretative claims in mind. I took it as a sufficient goal just to try to Hgure out what Descartes was saying. As my work progressed, I fell into the camp of those scholars, mainly French, who had found it illuminating to try to understand Descartes in light of his scholastic-Aristotelian heritage. I noticed that he was saying various things that, given his revolutionary aims, sounded surprisingly Aristotelian, things that English-speaking commentators tended to ignore and many French-speaking commentators tended to dismiss as not being fully sincere.
Descartes’s Theory of Distinction
Authors: Hoffman Paul 
Published: November 2023

Abstract
I would like to raise and to attempt to answer some questions that will help us understand Cartesian dualism. These questions shed light on what Descartes means in asserting that mind and body are really distinct and on his argument for that conclusion. Real distinction between mind and body is my primary interest, and I will be defending an interpretation that is consistent with the claim I have made elsewhere that Descartes thinks the composite of mind and body is itself one substance.1 But I have broader interests as well. Real distinction is only one of three kinds of distinction recognized by Descartes, the others being modal distinction and rational distinction. The Hrst group of questions I will raise concerns Descartes’s entire theory of distinction. They involve the relations among the notions of distinctness, separability, number, and non-identity. I believe that they reveal that his theory of distinction as a whole merits more attention than it has received.
The Passions and Freedom of Will
Authors: Hoffman Paul 
Published: November 2023

Abstract
My aim in this essay is to gain a clearer understanding of Descartes’s account of how the passions influence our behavior and how this influence affects our freedom. I will begin by examining human action that Descartes considers to be fully free. I will then investigate at what points and in what way Descartes thinks the passions can intervene in the process by which bodily movements are produced. Finally, I will try to answer the question of how such interventions affect our freedom.