bluuebunny/crossref_metadata_2025_split huggingface dataset:
Music for Shakespeare at Stratford-upon-Avon
Authors: Brodie Val 
Published: February 2022

Abstract
This chapter explores music in the performance of Shakespeare at Stratford-upon-Avon in two crucial but very different eras. The Shakespeare Memorial Theatre opened in 1879, and in the thirty years before the First World War, most of the time actor-manager Frank Benson was in charge during the annual festivals. The study reveals the financially threadbare workings of a provincial touring company for whom music was a necessary add-on. Audiences had a lingering nineteenth-century taste for sumptuous effects with ballet and familiar songs, but it was a style that was waning. Latterly Ralph Vaughan Williams attempted to pare back extraneous effects (something that was to come fifty years later), but he struggled to change entrenched Bensonian practices. Radically different in the 1960s was the approach of the newly renamed Royal Shakespeare Company (RSC), which, under the rejuvenating leadership of Peter Hall, was rapidly established as a major national and international company. The influx of new talent included Guy Woolfenden embedded in a team of innovative directors and designers; he studied the work of the actors in rehearsal and sensitively wrote songs for their individual voices. He developed a skilled permanent instrumental team and a cornucopia of percussion was purchased. Eventually Woolfenden wrote for all the plays in the canon, some several times. This chapter argues that he influenced the approach to theatre-music in the second half of the twentieth century; it explores some of his scores and edges towards an understanding of the impact of his thirty-seven years with the company.
Shakespeare in Berlioz, Berlioz in Shakespeare
Authors: Rushton Julian 
Published: February 2022

Abstract
Berlioz’s obsession—it was hardly less—with Shakespeare set in when he witnessed performances of Hamlet and Romeo and Juliet, in English (a language he scarcely knew), at the Odéon theatre, Paris, in 1827. His feelings were complicated by his falling in love with Ophelia/Juliet, in the person of Harriet Smithson, whom he later married. His habit of citing lines, in the original, was life-long; he used Shakespeare for epigraphs to his scenes from Goethe’s Faust (1829) and other works, and often quoted him in his journalism and other writings. He was perhaps more cautious about exposing his feelings in music; his first Shakespeare-inspired composition is not from the tragedies he had witnessed, but is a fantasy-overture inspired by The Tempest (1830). The next year he composed an overture King Lear; he had, however, only read, and not seen, both plays. In 1839, however, Berlioz composed a large-scale concert work (‘dramatic symphony’) Roméo et Juliette, and in the 1840s he composed music connected to Hamlet. Writing the libretto for his great opera Les Troyens, he called it ‘Virgil Shakespeareanized’, and his swan-song was an opéra comique, Béatrice et Bénédict (1862–1863), based on Much Ado About Nothing. It is sometimes argued that he ‘misunderstood’ Shakespeare; more constructively, it will be suggested that he read Shakespeare to serve his own creative objectives.
Performing Verdi’s Otello in Fin-de-Siècle London
Authors: Streete Adrian 
Published: February 2022

Abstract
The premiere of Giuseppe Verdi and Arrigo Boito’s opera Otello on 5 February 1887 at La Scala, Milan was an event of international significance. The first London performances in July 1889 were given by many of the cast who had participated in the Milan premiere, including Francesco Tamagno as Otello, Victor Maurel as Iago, and the conductor Franco Faccio. This chapter considers the London premiere, arguing that contemporary discussions of subjects such as acting and singing techniques, finance, Wagnerian influence, celebrity, and national versus international style, are all bound up with larger questions of British national identity at the fin-du-siècle. The author also compares the reception of Tamagno’s performance with that of the Polish tenor Jean De Reszke, who took on the part two years later in London. The author contends that debates about these singers’ conceptions of the role recasts an earlier controversy about the relative merits of two of the most famous Victorian Othellos, the Italian Salvini and the British Irving. Shakespeare’s cultural status is, of course, central to all these debates. On the one hand, Victorian commentators on Verdi’s opera assert Shakespeare’s unique and dominant Britishness. On the other hand, the appropriation of the Bard in the ‘foreign’ medium of opera, and by foreign nations and performers, reveals nascent anxieties about the ideological security of Shakespeare, and by implication Britain, in the age of Empire.
‘Genuine attempts at enlarging the scope of film’
Authors: Hoyle Brian 
Published: February 2022

Abstract
Although they collaborated fully on only three feature films, the partnership of Sir Laurence Olivier and Sir William Walton remains one of the great filmmaker‒composer partnerships, one which bears comparison with the teaming of Alfred Hitchcock and Bernard Herrmann, or Federico Fellini and Nino Rota. The chapter draws on primary source materials in both the Walton archive at Yale University and the Olivier papers at the British Library in order to undertake a close reading of the scores for Henry V (1945), Hamlet (1948),and Richard III (1955) and assesses the ways in which Walton’s music complements and counterpoints both Shakespeare’s texts and Olivier’s editing, acting, and mise-en-scène. Comparisons are drawn between Walton’s film scoring practices and those of such prominent contemporaries as Sergei Prokofiev and Max Steiner, as well as more recent film composers such as Patrick Doyle. The chapter also situates the scores within the wider context of 1940s and 1950s British film and film music, and confirms filmmaker Michael Powell’s assertion that this trilogy represented a genuine attempt to enlarge the scope of film as an art form through its complex combination of words, music, cinematography, and design.
Reshaping Shakespeare
Authors: Ford Fiona 
Published: February 2022

Abstract
Dmitri Shostakovich crowned an extensive film-composing career with his scores for Gamlet (Hamlet, 1964) and Korol’ Lir (King Lear, 1971) which were directed by his long-time collaborator Grigori Kozintsev and based on Boris Pasternak’s free translations. These films are regarded internationally as masterpieces in the Shakespeare filmic canon. Kozintsev drastically cut and re-ordered Pasternak’s translations, re-wrote sections, added many narrative elaborations, and—particularly in Hamlet—made use of dramatic mimes in which gestures expressed the essence of Shakespeare’s text without having the lines spoken. Drawing upon the most up-to-date publications of Shostakovich’s scores and correspondence between director and composer, this chapter demonstrates how Shostakovich’s music was vital to Kozintsev’s radical reshaping of Shakespeare’s texts, highlighting the occasions when the director requested that the music should reinforce and even replace entire sections. The resultant films merge Shostakovich’s often brutal but essentially humanist music with the timeless and universal themes in Shakespeare’s tragedies. Though arguably devoid of overt ideology, they are nonetheless deliberately provocative. Decades after their releases, these two magnificent Shakespeare adaptations can still provoke audiences to make their own associations and interpretations, to reflect on the current corrupt governments and senseless wars in which ordinary people are suffering because of the political machinations of their leaders.
Introduction
Authors: Wilson Christopher R. , Cooke Mervyn 
Published: February 2022

Abstract
Shakespeare and music—music in Shakespeare; Shakespeare in music—is a vast and alluring subject that has engrossed composers and performers since the late sixteenth century to the present day. Settings of Shakespeare words, themes, allusions, or mere references to play titles and poems have grown exponentially to become a global phenomenon, especially from the nineteenth century onward. It is necessary to approach the subject from differing angles and perspectives, including historical and interpretative issues, music in Shakespeare’s theatre across the ages, global music responses, opera and music theatre, and film. Issues relate to performative considerations and often involve co-dependent creative parameters. Responses to Shakespeare in modern popular culture indicate the vivid continuation of his ability to speak afresh to successive generations. ‘The world is a stage; the stage is an image of that world’. Music extends and intensifies that world. In attempting to articulate the attraction of Shakespeare, Benjamin Britten (whose A Midsummer Night’s Dream is arguably the finest operatic setting of Shakespeare in the original language) described the ‘beauty and intensity of the words’ and referred to the universal and timeless appeal of Shakespeare. More appropriately, as this book endeavours to show, it is the staggeringly comprehensive appeal of Shakespeare that shines through.
‘What’s in a name?’
Authors: Cunningham John 
Published: February 2022

Abstract
The eighteenth century saw the birth of modern Shakespeare, and what we might call ‘Shakespearean music’. By the end of the century, Shakespeare’s works reached a much wider audience thanks to the availability of cheap single editions of the plays, which themselves formed a small but significant portion of the performed repertoire. On the public stages there were revivals of all but one of the plays, moving from the heavily adapted forms of the Restoration to the ‘written by Shakespear’ versions of the 1740s. These plays often interpolated songs from other Shakespeare plays, sometimes creating performance traditions that lasted well into the next century. Plays also generated new songs, which although wholly inauthentic in the modern sense formed an essential part of how Shakespeare’s works were understood and perceived at the time. Despite an increased appetite for unaltered Shakespeare, eighteenth-century audiences were largely unconcerned with who wrote the songs. Moreover, distinguishing between original and interloping songs would have been impossible for an audience member without detailed knowledge of the play or reference to a printed edition. Through an examination of a range of media and cultural spheres this chapter seeks to answer two central questions: (1) how was Shakespeare authorially represented in printed songs and song collections? And (2) and what did it mean for eighteenth-century audiences and readers?
Living with Ghosts
Authors: Roberts David 
Published: February 2022

Abstract
Beethoven and Wagner shared a lifelong passion for the plays of Shakespeare, but their enthusiasm took different forms and enjoyed contrasting relationships to the German critical tradition. Where Beethoven only contemplated setting Macbeth, Wagner completed an opera based on Measure for Measure; where Beethoven had no great literary ambitions, Wagner wrote drama and fiction influenced by Shakespeare. To Beethoven, Shakespeare offered prompts that ultimately were transcended by music; Wagner, while increasingly finding source material in German mythology, continued to see in Shakespeare proof of the transcendence of the artist. Speculation about sources for the works of both composers has often assumed a Shakespeare unmediated by eighteenth- and nineteenth-century German philosophy, literary criticism, and theatre performance. This chapter describes what Beethoven and Wagner knew of Shakespeare and reviews critical opinion on how that knowledge may have informed their music. An account of trends in German literary criticism of the late eighteenth and early nineteenth centuries, with particular reference to the spectral, leads to distinctions between Beethoven’s and Wagner’s engagement with Shakespeare and concepts of the ghostly and the heroic.
‘In comes Romeo, he’s moaning’
Authors: Wilde Howard 
Published: February 2022

Abstract
Ever since George Harrison’s remark that Bob Dylan ‘makes Shakespeare look like Billy Joel’, comparisons between Dylan and Shakespeare have been something of a cliché. On the one hand, there is a substantial list of Shakespearean echoes in Dylan’s lyrics; on the other, to the rock critics and Dylan hagiographers of the 1960s, Shakespeare’s name was a shorthand for ‘canonic’, ‘authentic’, ‘transcendent’. Arguably, the idea of the rock auteur was born around 1965—the point when Dylan renounced his ‘folk’ status and executed a decisive stylistic swerve, not only by ‘going electric’, but by littering his work with cryptic allusions, direct Shakespeare references, and a list of theatrical characters. Later, in the Chronicles (2003), there seems to be a swerve in the opposite direction, when Dylan reclaims his ‘folk’ status, and reassumes the mantle of folksinger, folklorist, and musicologist. These tensions between ‘high’ and ‘low’ art (and the secondary axis of ‘folk’ and ‘anti-folk’) have characterized much of the academic and non-academic literature. This chapter will explore some of the intersections between Shakespeare scholarship and the work of rock auteurs from Dylan onwards. In particular, it will focus on the theme of melancholy, as personified by Jaques in As You Like It who, as an anxiety-ridden character prone to rhetorical flourishes and self-pity, is a recognizable trope in much of the post-Dylan singer-songwriter repertoire, and consider Ophelia as a similarly rich seam in pop songwriting.
Race and Evidence
Authors: Gonzales Rose Jasmine 
Published: February 2022

Abstract
This chapter evaluates the role of race in evidence law. It explores ways in which attorneys use race and racism as de facto evidence, judges give White experience preferential admissibility treatment, and courts allow racial injustice to take on evidentiary value at trial. The chapter also considers how racial character evidence is at play in multiple ways in police killings of Black people. The use of racial character evidence is problematic from an anti-discrimination perspective and in light of core concepts of evidence law. With respect to the former, racial character evidence undermines the anti-discrimination principle that people should not be judged on the basis of their race. With respect to the latter, racial character evidence violates crucial commitments in evidence law. Nevertheless, racial character evidence often figures in litigation, unchecked and below the radar.
The War on Terror
Authors: Beydoun Khaled Ali 
Published: February 2022

Abstract
This chapter reviews and analyzes the protracted “War on Terror,” homing in closely on its domestic dimensions. By looking at cornerstone policies and programs of the War on Terror, it highlights how the War on Terror was fluidly and distinctly steered during the three presidential administrations of its span (thus far), the impact it had on Muslim communities and other targeted groups, and the state’s impact on and role in endorsing and emboldening private animus directed at Muslims and perceived Muslims. The 9/11 terror attacks spawned the War on Terror, but the state campaign that morphed into a global crusade is rooted in long-standing misrepresentations of Islam and its adherents. Indeed, the three phases of the War on Terror and the heightened Islamophobia it ushered in relied on the racialization of Muslims as presumptive terror threats. Although Muslim identity is a religious one and Islam a faith observed by a range of racial and ethnic groups in the United States and around the world, the War on Terror reified the idea that “Muslim” was a racial marker.
Race and Tax Law
Authors: Brown Dorothy A. 
Published: February 2022

Abstract
This chapter examines how federal income tax policy impacts Americans differently depending on their race. Whites and Blacks are differentially eligible for tax breaks and differentially situated to exploit loopholes created by a majority White Congress that enacts tax legislation with the experiences of White taxpayers in mind. The chapter focuses on three tax policy issues: the criteria that identify which income is subject to taxation and which is not, the types of taxable income that are eligible for the preferential (low) tax rate, and the types of expenses that are deductible. The analysis reveals that even though the tax provisions relating to these three issues are formally race-neutral, they systematically benefit White but not Black taxpayers. The chapter then provides the example of tax subsidies for home ownership to show how seemingly race-neutral provisions operate to advantage White taxpayers and disadvantage Black taxpayers.
Liberal Feminist Jurisprudence
Authors: McClain Linda C. , Hacker Brittany K. 
Published: February 2022

Abstract
Liberal feminism remains a significant strand of feminist jurisprudence in the United States. Rooted in nineteenth- and twentieth-century liberal and feminist political theory and women’s rights advocacy, it emphasizes autonomy, dignity, and equality. Liberal feminism challenges unjust gender-based restrictions based on assumptions about men’s and women’s proper spheres and roles. Second-wave liberal legal feminism, evident in Ruth Bader Ginsburg’s constitutional litigation, challenged pervasive sex-based discrimination in law and social institutions and shifted the Supreme Court’s interpretation of the Equal Protection Clause to a more skeptical review of gender-based classifications. Liberal feminists have developed robust conceptions of autonomy, liberty, privacy, and governmental obligations to promote gender equality, including in the family. Addressing internal feminist critiques, liberal feminism shows the capacity to evolve. Maintaining its focus on disrupting traditionally conceived gender roles and fostering meaningful autonomy, it adopts more a complex, nuanced discourse about sex, gender, and the gender binary and embraces new demands for inclusion and equality.
Classical Marxist Imperialism Theory
Authors: Noonan Murray Leigh 
Published: February 2022

Abstract
The classical Marxist theories of imperialism continue to have explanatory power despite the transformations that have occurred in global capitalism and international politics since the early decades of the twentieth century. Marxist thinkers and activists such as Rudolf Hilferding, Nikolai Bukharin, Vladimir Lenin, and Rosa Luxemburg were instrumental not only in identifying changes in capitalism that occurred after Marx’s death in 1883 but also in linking those changes with contemporary geopolitical conditions that, taken together, ultimately led to the imperialist carnage of World War I. For these Marxists, imperialism was specific and systemic; it was capitalism that had reached its moribund stage where monopolies and finance capital were dominant. Imperialism was capitalist imperialism. It still is; but the classical Marxist theories of imperialism have their contradictions, oversights, and blind spots too, as well as being products of their particular era. On the other hand, there is much that is still relevant, that still resonates in the theorizing of imperialism by the classical Marxists. This chapter undertakes a critical examination of the work of the classical Marxist theorists of imperialism in order to highlight the strengths and weaknesses of their analyses of capitalist imperialism and the relevance their work has for understanding present-day imperialism.
Jane Addams and Public Administration
Authors: Shields Patricia M. 
Published: February 2022

Abstract
During the progressive era, two models of public administration emerged in the United States. One, crafted by male reformers, was a reaction to corruption and inefficiencies of crony political hiring practices. Their goal was to separate politics and administration and uncover a science of administration. The second model, developed by settlement women, had a social justice reform agenda. These women, who themselves could not vote, advocated for children, women, and immigrants as they sought municipal (e.g., cleaner cities, playgrounds, juvenile justice) and industrial (e.g., safer workplaces, child labor laws) reform. Jane Addams led the effort and through her social democracy, social ethics, and feminist pragmatism provided a sound theoretical underpinning to the undertaking. The settlement model failed to receive recognition in the male-dominated field of public administration. In the early 2000s, public administration scholars rediscovered the buried settlement model, which contained two themes—municipal housekeeping and industrial citizenship. Of the two, industrial citizenship is less well articulated. This chapter describes industrial citizenship and Jane Addams’s role in its development.
Labor Unions as a Factor in a Caring Democracy
Authors: Hamington Maurice 
Published: February 2022

Abstract
Led by the work of Joan Tronto, there has arisen a growing body of literature in the feminist political theory of care. That literature gestures toward how to evolve current policies and practices into an attainable caring democracy that is responsive to the needs of its constituency. However, care political theory has largely overlooked a role for labor unions. Jane Addams wrote extensively about labor, beginning prior to her entrance into public life. Addams, who some consider a forerunner of modern care theorists, offers an ethical vision of social democracy that is not only caring but achieved in large part through the work of collective bargaining organizations. This chapter interrogates Addams’s relationship to labor unions, including both her advocacy and critique. The analysis pays particular attention to how Addams juxtaposes labor unions with her vision of democracy, as witnessed in her work on the 1894 Pullman Strike and elsewhere. Next, that vision is compared with Tronto’s notion of caring democracy, concluding with a few suggestions for further exploration on how labor organizing might play a more vital role in theorizing about a caring society.
Jane Addams and John Dewey
Authors: Ralston Shane J. 
Published: February 2022

Abstract
In this chapter, the points of intellectual consonance between Jane Addams and John Dewey are explored, specifically their (1) shared belief that philosophy is a method, (2) parallel commitments to philosophical pragmatism, and (3) similar convictions that philosophy should serve to address social problems. Also highlighted are points of divergence in their thinking, particularly their positions on the United States’s entry into World War I and, more generally, the value of social conflict. Finally, the chapter concludes with what the author believes is Addams’s and Dewey’s most significant joint contribution to the contemporary philosophical landscape: a vision of practically engaged pragmatism.
Jane Addams and the Noble Art of Peaceweaving
Authors: Shields Patricia M. , Soeters Joseph 
Published: February 2022

Abstract
Throughout her life Jane Addams was critical of military means to solve problems in cities, nations, and international affairs. She often claimed that political and administrative challenges are too often approached with blunt military force. Acting in a quite different manner, she worked to calm tensions and conflicts in her neighborhood and larger environments, never arguing for or using violent methods to deal with friction. She sought to weave peaceful relationships and justice throughout the community. Leaping to today’s world and making use of essential features of Addams’s approach to peaceful communities filled with people of all walks of life, this chapter develops criteria to judge and improve peacekeeping missions conducted by the UN. These criteria, for simplicity’s sake indicated as 4Ps (practical, participatory, pluralistic, and provisional), provide the basis to advance the effectiveness of such missions. In general, Jane Addams’s ideas can be connected to numerous challenges and dilemmas the world faces in 21st-century international relations.