bluuebunny/crossref_metadata_2025_split huggingface dataset:
A Supply of Provisions—A Grocer’s Shop—An Elastic Piece of Goods—Schuyler and MacGahan—A Russian Bank—Gold and Paper—Coutts’ Circular Notes —Cox’s Letter of Credit—What is the Paper Value of a Half Imperial ?— Russia on the verge of Bankruptcy—A Dinner Party—German Military Railway Carriages—The Russian Railway Gauge—Christmas Day—The Chief of the Police—An Intelligent Thief Catcher—A Podorojnaya—Arrival of the Prisoner—” Women, Women—there were two with him ! “
Authors: Burnaby Frederick 
Published: November 2023

Abstract
G—, though he was an American citizen, a man of the world in its fullest sense, and had travelled from the States to Orenburg, was not an efficient adviser with reference to the supply of provisions required by a traveller. Indeed, if I had taken my friend’s advice I should have bought the contents of nearly every shop in Orenburg. The grocers looked delighted as G—put aside tin after tin of preserved meats.
Ablutions under Difficulties—The Turkomans—An Escort of Cossacks—The Khan and his Executioner—In Search of Horses—Provisions for the March— Snow instead of Water—Exceptional Winter—Frozen to Death—The Unclean Animal—Kirghiz Amazons—Ural Cossacks—Dissenters and the Tzar—The Town of Kasala and Fever—Kibitkas—Mr. MacGahan and the Fair Sex—A Wife for One Hundred Sheep—The Matrimonial Lottery— A Russian Officer—”Liquor is the only thing worth living for”—Shadows of War.
Authors: Burnaby Frederick 
Published: November 2023

Abstract
The following morning at ten, Nazar, coming into my room, informed me that Colonel Goloflf was dressing, and that breakfast would soon be ready. On asking for a basin, I was informed that it was not the custom to wash in the sleeping apartment, but that a regular room was set aside for this purpose. I was then taken into a sort of scullery, with a sink and large copper utensil. In the last-mentioned article was a supply of water. This, on pulling a string attached to a plug in the vessel, streamed out from an aperture in the side.
Camels—Their Rate of March—How to divide the Marches—The Kibitka— Better be Cold than Blind—A Tartar Cook—The Turkoman’s Appetite— A Khivan Caravan—The Main Road goes to Khiva, the Branch Road to the Fort—Drinking Tea with the Khivans—Sheltering the Camels.
Authors: Burnaby Frederick 
Published: November 2023

Abstract
After marching for about five hours, the guide asked me to halt the caravan. The sun was fast disappearing in the west. We had started late, and as it is always as well to make a short journey on the first day, in order to see how the saddles fit, and if the luggage has been well adjusted on the camels, I consented, but with the express stipulation that we must strike our camp and start again at twelve that night.
A Lazy Guide—A Cold Pig—Insubordination—How to awake Arabs—Hot Embers better than Cold Water—Power of Camels to Carry Burdens much Exaggerated—Quickest Road to a Tartar’s Affections—Sores from Frdstbites.
Authors: Burnaby Frederick 
Published: November 2023

Abstract
I found the guide lying at full length on an old piece of carpet, which he had placed by the fire. He showed no readiness to resign his place on my arrival. The little Tartar, however, soon removed him, for taking up the cooking-pot, which was by that time filled with ice and water, he poured a portion of the contents on the head of the delinquent. The latter started up, uttered some fearful language at this summary proceeding, which he did not seem to relish, then rolling the folds of his sheepskin tighter round his body, he threw himself down a few yards further off from the fire.
The Concept of Structure
Authors: Bourdieu Pierre 
Published: November 2023

Abstract
Interpreting agency within the context of its duration helps link the notion of action to those concepts—that is, structure, institutions and so on—which have been so important to objectivist social scientists. To see how these connections might be made, we have however to consider afresh the concept of structure. Among English-speaking social scientists, the concept of structure has ordinarily been a received notion. In contrast, for example, to the concept of function, the idea of structure has received remarkably little discussion.
Culture and Structure: Social History Orthodoxy: The Making of Class
Authors: Thompson E P 
Published: November 2023

Abstract
This book has a clumsy title, but it is one which meets its purpose. Making because it is a study in an active process, which owes as much to agency as to conditioning. The working class did not rise like the sun at an appointed time. It was present at its own making.
Class, rather than classes, for reasons which it is one purpose of this book to examine. There is, of course, a difference. ‘Working classes’ is a descriptive term, which evades as much as it defines. It ties loosely together a bundle of discrete phenomena. There were tailors here and weavers there, and together they make up the working classes.
The Emergence of Liberal Governmentallty, I
Authors: Gordon Colin 
Published: November 2023

Abstract
As we have seen, Foucault sees the early modem conjunction of raison d’etat and science of police as momentously original in both an epistemological and an ethical sense. It constitutes the activity of government as an art with its own distinctive and irreducible form of rationality; and it gives to the exercise of sovereignty the practical form of a political pastorate, a government of all and each for the purposes of secular security and prosperity.
The Emergence of Uberal Govemrnentallty, II
Authors: Burchell Graham 
Published: November 2023

Abstract
What Foucault’s analysis brings out is the problematizing character of liberalism in relation to the existence of civil society as both the object and end of government. It is by reference to already existing society that the state’s role and function has to be defined, and it is the narural, self-producing existence of this society that the state has to secure so that it functions to optimal effect. The attempt to attain this objective by enframing its narural processes with mechanisms of security places society in a complex and variable position both within and outside the state. It exists within the state’s unifying framework of legal regulations yet, at the same time, is a natural reality which is, in essential respects, inaccessible to centralized political power.
Toward an Afrocentric Feminist Epistemology
Authors: Collins Patricia Hill 
Published: November 2023

Abstract
Black feminist thought, like all specialized thought, reflects the interests and standpoint of its creators. Tracing the origin and diffusion of any body of specialized thought reveals its affinity to the power of the group that created it. Because elite white men and their representatives control structures of knowledge validation, white male interests pervade the thematic content of traditional scholarship. As a result, Black women’s experiences with work, family. motherhood. political activism, and sexual politics have been routinely distorted in or excluded from traditional academic discourse.
Less Nature, More Technology
Authors: Strathern Marilyn 
Published: November 2023

Abstract
Technology, for those who are afraid of it, is a kind of culture without people. Meanwhile one is at the mercy of people. The reduction of naturally produced genetic material, like reduction in the diversity of the world’s species, is symbolised in the fantasy that if those with the power in fact get their hands on the appropriate technology, they would produce versions of themselves over and again and/or counter versions such as drones and slaves. A particular individual would be reproduced—but its multiplication would be the very opposite of individuation. Diversity without individuality; individuality without diversity.
Introduction
Authors: Dover K J 
Published: November 2023

Abstract
Greek is not a dead language, as any v1s1tor to Greece (or Melbourne, or Boston) may see and hear for himself. But all languages change all the time, and just as a modern English speaker cannot read King Alfred’s English version of Gregory’s Pastoral Care, made eleven hundred years ago, unless he has learned ‘Old English’, so a modern Greek-speaker will not make much headway with Plato’s Phaedo, written over two thousand three hundred years ago, unless he has learned ‘Ancient Greek’. Since languages change steadily, not in sudden leaps, the fixing of boundaries between the ‘ancient’, ‘medieval’, and ‘modern’ stages of a language must be to some extent arbitrary and conventional. In the case of Greek, the advent of Christianity, with the profound cultural changes which this entailed, is a helpful marker, and by common convention (especially in the English-speaking world) ‘ancient Greek literature’ means the literature which was written in Greek in the pre-Christian centuries, and by non-Christians in the first six centuries of the Christian era.
Strauss and Feuersnot—the Fourth Symphony in Vienna—marriage and journey to Russia—Beethoven Exhibition at the Secession—premiére of the Third Symphony—the Krefeld triumph (January–June 1902)
Authors: Grange Henry-Louis De La 
Published: November 2023

Abstract
EARLY in 1902, in the midst of all the joys and worries of his engagement to Alma, Mahler had another fierce battle to fight: the Viennese première of the Fourth Symphony.1 Happily, Alma was now constantly by his side, attending all rehearsals. She became familiar with every detail of the work, though without understanding its overall structure and significance. During a walk along the banks of the Danube, Mahler tried to explain his symphony to her by comparing it to ‘a primitive painting on a gold background’, but she was baffled by its naïvety and intentional archaisms (Antikisieren) which she considered ‘childish’.
The Work of Art and the Market-Place: Festival or Repertory Theatre
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
In his 1841 article, ‘The Artist and his Public’, Wagner sought to attribute the artist’s ‘demonic secret of self-denial’ or self-alienation to his ‘urge to communicate’. This urge could not be the result of any feeling of social obligation, since ‘of all people the genius is the least responsive to the call of duty; he can do nothing with it in his art’. Nor, Wagner went on, was he motivated by the need to win honour, a need which, although it encouraged virtuoso accomplishments, could not produce true works of art. Only ‘the god-like impulse to communicate his own inner bliss to the hearts of all men’ could explain and justify the artist’s desire to communicate. But must the genius not immediately withdraw into himself when confronted by an indifferent, bored, vain, and ignorant audience bent only on enjoying itself, a public dominated by ‘envious and corrupt reviewers’, which saw itself as a market in which works of art were treated like consumer goods? If concern for his daily bread and the maintenance of his family were what motivated ‘the labourer and craftsman’ but not the genius, how was it that the latter was persuaded ‘to hawk his most precious possession’? The true artist ‘feels free’, and therefore ‘desires to be free in life, to have nothing to do with its necessities, to be borne along light-hearted, without a care in the world’, precisely in order to be able ‘to rejoice the world with his works’. But the pre-condition for freedom in modern society is money. That being so, there is nothing left for the man of genius but to ‘seek a market for his creations’ and come to terms with the institutions of a public that he despises.
A Theatre in the Provinces: Wagner’s Plans for Reform and the ‘German Spirit’
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
But whenever a public state has successfully come into being through political zeal and good fortune, bringing satisfaction to all its members, it will not be long before the question is asked as how best to set up a popular festival which will fix the decisive moments of that success in an artistically appropriate manner and re-create what has taken place, allowing those events to live again in beautiful tranquillity, freed from the burden of privation and care.
‘Intentionally Random Creativity’: Wagner’s Theory of Fixed Improvisation
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Wagner’s intense preoccupation with Goethe’s Faust during the 1870s was connected not least with the fact that he believed he had found in it a dramatic form which, unlike the structured model of ancient Greek tragedy, was particularly well adapted to his idea of fixed improvisation. Again and again in conversation with Cosima we find him referring to the ‘barbarian advantages’1 and ‘barbarian style of composition’ which, according to his letter to Schiller of 26 June 1797, Goethe had actively espoused in writing Faust, although he knew that, in doing so, he had offended against the ‘highest demands’ of artistic form as prescribed by the Greek classical ideal.2 When, on 8 February 1872, Cosima once again mentioned those barbarian advantages ‘on which Goethe says we must courageously insist’, Wagner’s reply was: ‘Yes, Faust, the Ninth, Bach’s Passions are barbarian works of that kind, that is to say, works of art which cannot be compared with a Greek Apollo or a Greek tragedy.’ And to these he added his conception of ‘the art-work of the future’.
Wagner’s Début as an Operatic Composer: Die Peen
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Wagner’s first attempt to write an opera—apart from a pastoral opera about which we know nothing except that it was begun in 1830 and quickly abandoned—dates from 1832, the year of Goethe’s death. In his Autobiographical Sketch (1843) he describes ‘an opera text of tragic purport: Die Hochzeit. I no longer remember where I found the medieval subject-matter.’ (i. 8.) (Later, in Mein Leben, he claimed that he had discovered it in Johann Gustav Büsching’s Ritterzeit und Ritterwesen, published in Leipzig in 1823: ML, p. 75, English trans., p. 66.) ‘A frenzied lover climbs up to the bedroom window of his friend’s fiancée, where she is waiting for his friend; she struggles with the madman and hurls him into the courtyard below, where, his body shattered, he breathes his last.
Venus in Exile: Tannhäuser und der Sängerkrieg auf Wartburg
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
Wagner’s various autobiographical writings offer a more or less detailed description of the way in which he was ‘inspired’ to write each individual music drama. Since then, word must have reached even the most dyed in-the-wool Wagnerian that these ‘inspirational myths’ generally deserve our deep distrust. This is certainly true of Tannhäuser. One of the principal dogmas of Wagner’s aesthetic ideology is that the musical drama is born out of the spirit of the Volk, and that its creator draws directly upon the figures of a mythopoeic popular imagination. From Der fliegende Holländer onwards, Wagner claimed that the basic idea for each of his works came from popular tradition, so that, in looking back over the history of each work, he either passes over in silence or else disparages the modern versions of the subjects which he himself has adapted. His reconstruction of the genesis of Tannhäuser is a case in point, and yet there can be no doubt that it was in modern adaptations that he first became familiar with the ‘popular’ subject-matter of all his ‘Romantic operas’, adaptations which were refracted, as it were, through a lens which was partly philological, partly poetical.1 In the case of Der fliegende Holländer and, above all, Tannhäuser, the lens in question had the name of Heinrich Heine written all over it.
Afterword: A Note on Wagner’s Anti-Semitism
Authors: Borchmeyer Dieter 
Published: November 2023

Abstract
The pacifistic Christianity of Wagner’s old age which we examined in the previous chapter represents a renewed attempt on the composer’s part to come to terms with the Jewish question. As we noted, he played off the New Testament message of love and compassion against what he saw as the Old Testament emphasis on law and terror, the embodiment of that Judaic religion said to have eclipsed the Christian religion of peace and to have become the spirit of modern militarism. (Thus Wagner turns on its head the traditional prejudice against the Jews, that, as a race, they were wholly unfit for war.)
Remarks on the Alleluia and Responsory Series in the Winchester Troper
Authors: Huglo Michel 
Published: November 2023

Abstract
The two surviving witnesses to the Winchester Troper, Oxford, Bodleian Library Bodley 775 (Oxford 775) and Cambridge, Corpus Christi College 473 (Cambridge 473), derive from an earlier model of the beginning of the tenth century. Thanks to the critical edition of tropes published by the Corpus Troporum team and to Planchart ’ s study of the Winchester repertory, it has been possible — on the basis of an examination of Christmas and Easter trope elements — to understand the relations of this Winchester trope repertory to that in the other extant English Troper (London, British Library Cotton Caligula A. XIV)and to continental repertories, notably those of Priim, Echternach, and Saint-Germain-des-Pr é s.
Relations between Liturgical and Vernacular Music in Medieval England
Authors: Caldwell John 
Published: November 2023

Abstract
One of the effects of the Reformation in England (and doubtless elsewhere) was to create a mythology about the pre-Reformation liturgy according to which it was by virtue of its language and its musical adornment incomprehensible to and remote from ordinary people. This of course was far from being the case: the liturgy was not always clothed in elaborate music, or indeed in any music, and some of it, addressed primarily to the laity, had traditionally been in the vernacular: the dictation of the marriage vows, the Great Cursing, the Sunday bidding prayer, and above all the homily or sermon.In any case, a good deal of trouble was expended in bringing home the Christian message through visual means: painted glass and walls, carved stone and wood, ceremony and drama. Translated texts of the bible and parts of the liturgy were available at certain periods and for certain purposes.
The Formation of Christian Liturgy: A Historical Summary
Authors: Harper John 
Published: November 2023

Abstract
The earliest Christians were by race and religion Jews, and their worship was conducted in Jewish homes and in the Jewish synagogue and temple. They were familiar with the texts of the Old Testament, and the rites, ceremonies, and music they knew were Judaic. But the accounts of the Acts of the Apostles and the epistles of the New Testament underline the spread of Christianity to centres outside Palestine, to groups of people who had their own cultural and religious backgrounds. Jerusalem remained an influential centre until the seventh century.
The Divine Office
Authors: Harper John 
Published: November 2023

Abstract
Morning and evening prayer were the main daily services celebrated by Christians in the early Church. Morning prayer began as a service of sung praise including the ‘Laudate’ psalms (Psalms 148–150)—hence its later Latin name, Laudes matutinales (morning praises), anglicized as Lauds. Evening prayer (Vespers) was marked by the ceremonial lighting of lamps (lucernarium). The custom disappeared in the medieval Western liturgy.
Romantic Opera: 1830–1850
Authors: Charlton David 
Published: November 2023

Abstract
THE phrase grand opera had been applied to French recitative opera since the eighteenth century, but it subsequently came to apply particularly to serious French works in the Romantic period. One significant milestone in the genre’s evolution was Fernand Cortez by Spontini (1809; rev. 1817), in whose preface the librettist, Etienne de Jouy, wrote: ‘French grand opera has at least as much connection with epic as with tragedy.’ Napoleon and the Bourbons who succeeded him gave the Paris Opera the traditional role of presenting operas inherently symbolizing the ‘grandeur’ of the State. This was done as much through richness of material means as through what was considered proper subject-matter from mythology or history. Those responsible for grand opera after 1830 did not abandon such criteria, but the various developments in public taste, in theatrical technique, and in musical language coalesced with them, resulting in a remarkably potent series of works.
Opera: 1850–1890
Authors: Abraham Gerald 
Published: November 2023

Abstract
Two operas produced in 1850 mark a turning-point in the de velopment of German opera: Schumann’s Genoveva (Leipzig, 25 June) and Wagner’s Lohengrin (Weimar, 28 August). Lohengrin, Wagner’s last ‘Romantic opera’, soon proved to be a success; Genoveva–with all its fine passages, such as Golog’s ‘Frieden, zieh’ in meine Brust’ near the beginning, and its recurrent ‘reminiscence themes’ –never was. Schumann died and Wagner’s next stage work, Tristan und Isolde, was not published until ten years later and performed five years later still. It was not styled ‘opera’ but–curiously–Handlung, an ‘action’.
La Tin Chant Outside the Roman Tradition
Authors: Levy Kenneth 
Published: November 2023

Abstract
During the centuries before the Carolingian Emperors imposed a single, ostensibly Roman, liturgical and musical usage throughout their domains, the various regions of Western Europe were served by distinctive local plainchant repertories. Four such repertories have come down to us essentially complete: (1) the Frankish-Roman, socalled ‘Gregorian’ chant that was spread during the sixth to eighth centuries from Rome, then during the eighth and ninth centuries from the Frankish centres of liturgical diffusion to become the universal plainchant dialect of the Latin Church; (2) the Urban-Roman or ‘old Roman’ chant, the chant used at Rome itself up to the late twelfth century; (3) the Milanese or ‘Ambrosian’ chant, used in the dioceses of Milanese Lombardy; and (4) the Hispanic, Old Spanish, Visigothic, or ‘Mozarabic’ chant of the Iberian peninsula. Vestiges of some other chant dialects have survived from the Beneventan and Campanian zones of southern Italy as well as from the Abruzzi, Ravenna, and other regions of the Italian centre and north. From outside Italy there are traces of the 'Gallican' chant that was native to the West Frankish kingdom until the later eighth century, and of the 'Celtic' chant that made its way to the Continent with the early Irish missions. If the unifying ideal of the Carolingians had been rigorously carried out, there would be none of the earlier dialects remaining other than the Frankish-Roman. But liturgical traditions die hard, and the European regions held on to certain local usages even after they were nominally expunged.
Liturgical Ma Te Rials of Roman Chant
Authors: Crocker Richard 
Published: November 2023

Abstract
Around 1900 there was an intense controversy involving F. A. Gevaert, Amadee Gastoue, Peter Wagner, and others, concerning the role of Pope Gregory I (590-604) in the development of the repertory of chant that bears his name. Since 1950 the controversy has shifted to a somewhat different issue; but the persistent reality behind the Gregorian issue is that the time-if not the reign-of Pope Gregory represents a barrier. Since his time we can imagine the development of the repertory as it is preserved in sources after 750; before his time, that is, before 600, the development of Roman chant is hidden from us, for lack of data that can be fitted into a continuum. After 600, to be sure, we still have no agreed version of the development; we have enough information to imagine several possible developments, but not enough to decide among them.