bluuebunny/crossref_metadata_2025_split huggingface dataset:
From Hal to Henry
Authors: Graham Michael 
Published: February 2022

Abstract
This chapter explores the presentation of gender and sexuality in Gustav Holst’s At the Boar’s Head (1925), a one-act ‘musical interlude’ based on the Eastcheap tavern scenes from Shakespeare’s Henry IV. Holst’s third opera was received initially as an ingenious but ultimately trivial exercise in combining Shakespearean material with traditional English folk music. More recently, however, it has been interpreted as a work which encapsulates the profound sense of nostalgia and trauma present in British society during the post–Great War period. This chapter argues further that At the Boar’s Head’s liminal, microcosmic tavern space reveals the disruptions and reactive consolidations of gender identity and sexual expression that occurred during the First World War. Through the contrasting figures of its central ‘couple’, Prince Hal and Falstaff, the work especially scrutinizes the capacity of war to alter male personality and desire, the pressure placed on men to conform to a ubiquitous image of heroic, heterosexual masculinity, and the complex, conflicting reactions of soldiers at their moment of recruitment. Paying particular attention to Hal’s two intensely introspective arias, ‘I know you all …’ and ‘Devouring Time’, the chapter dissects the young prince’s protean journey to attaining the paradigmatic manliness of his later incarnation, Henry V, who was celebrated as the inspirational embodiment of British, martial male identity during the war years.
Otherness and Strange Sounds
Authors: Simonis Annette 
Published: February 2022

Abstract
This chapter examines how modern composers have developed a new approach to Shakespeare’s The Tempest by adopting creative approaches decidedly different from romantic interpretations or bel canto opera. Most twentieth-century musicalizations of the play—which is characterized by multidimensional, meta-poetical, and psychological intensity—present an experimental view of its structural potential and an intense exploration of the psychological dimensions of the personae. At the beginning of the twentieth century, a romantic opera by Nicholas Gatty (1920) still corresponds to nineteenth-century tastes. In contrast, Sibelius’s suite Stormen (1926) clearly reflects a modernist design, with harps and percussion representing the ambivalent character of Prospero, while the impressive chorus of winds and the intermittent sounds depicting Ariel underline the experimental and avant-garde nature of the composition. Since the second half of the century, composers’ efforts in adapting Shakespeare’s late comedy in stage music and opera have culminated in a series of notable works: Frank Martin’s Der Sturm (1956), Michael Tippett’s The Knot Garden (1971), Luciano Berio’s Un Re in Ascolto (1984), John Eaton’s The Tempest (1985), and Thomas Adès’s The Tempest (2004). This chapter compares these different operatic adaptations according to their poetical and musical devices, designs, and overall perspectives. What these very different compositions have in common is the fact that they no longer intend to provide musical settings for a Shakespearean play. Instead, they create their own works of art which (even in the wording of their libretti) are but loosely connected to the original version of their source.
Gender and Music in Shakespeare
Authors: Wong Katrine K. 
Published: February 2022

Abstract
The relationship between music and female characters in the Shakespearean canon has attracted much exciting discussion in recent years. This chapter starts with an overview of gendered designs of musical episodes in Shakespearean plays and the corresponding gendered responses within the playtexts. Textual interpretation of ‘male music’ and ‘female music’, informed by conventional early modern context, yields seemingly clear-cut expectations of and attitudes towards musical performance on Shakespeare’s stage; however, modern stage productions have complicated and, at times, subverted the dichotomy. Dramaturgical reading of musical episodes in selected plays offers us an opportunity to understand gender relativity and performativity in Shakespearean characters.
‘Let your indulgence set me free’
Authors: Cooke Mervyn 
Published: February 2022

Abstract
Director Julie Taymor and her partner, composer Elliot Goldenthal, collaborated on two location-shot Shakespeare films: Titus (1999) and The Tempest (2010). The freshness of the collaborators’ cinematic approach to Shakespeare is in part a consequence of their having also worked extensively together in the theatre (including stage productions of these two plays, and a filmed theatrical performance of A Midsummer Night’s Dream released in 2015) and their refusal to eschew dramatic stylization on the silver screen in favour of a populist realism. The eclectic music for Titus ranges from choral incantations to distorted jazz idioms, dynamic minimalism, searingly expressive orchestral writing, mesmerizing electronics, and a black-comedy application of carnival music familiar from the collaborators’ stage work; almost all the music is foregrounded, yet little attempt is made to endow this powerful composite score with the specious unifying function traditionally demanded of film music. By contrast, the score to The Tempest is more subliminal in its effect, while still experimental in its exploration of soundscapes which shift from Caliban’s ‘thousand twangling instruments’ to sparse ideas expressed in novel guitar tunings and sonorities, evocative keyboard timbres, saxophone multiphonics, glass armonica, and steel cello. Above all, the film’s soundtrack is distinguished by its contemporary response to the play’s songs, which here include an additional lyric borrowed from Twelfth Night in order to enhance the romantic subplot, and the climactic isolation of the (female) Prospera’s epilogue in the end credits.
Rhizomatic Harmonies
Authors: Rodgers Amy 
Published: February 2022

Abstract
While some critics have argued that music’s role in contemporary staged Shakespeare’s meaning has diminished since the Renaissance, this chapter explores music’s deeply significant role in filmed Shakespeare, particularly in the films of Vishal Bhardwaj. Arguing that a focus on alternative lexicons (such as those expressed by music and dance) that play a significant role in non-Anglophone Shakespeare, this chapter contends that the field can offer a broader hermeneutic, hence inclusive, epistemological field, via more careful attention to the ways that non-Western and non-Anglophone cultures interpret and use Shakespeare as mythic, narrative, and sociocultural commentary on their own historical moment outside of Shakespeare’s language. Such a reconsideration of language as the most significant locus of meaning within Shakespeare’s studies facilitates a more capacious template for understanding how Shakespeare can be deployed as a form of resistant participation in what Barbara Hodgdon has called ‘the Shakespeare trade’. Via a focus on Vishal Bhardwaj’s tragic trilogy—Maqbool (2003), Omkara (2006), and Haider (2014—this chapter explores how this composer-filmmaker’s Shakespearean oeuvre provides insight into these plays’ historical and performed past, and, even more significantly, their practice-based and interpretative present and future. In particular, the chapter focuses on Bhardwaj’s participation in a ‘Shakespeare’ that interrogates the (still rather strongly stratified) boundaries of its Anglophone performance and literary traditions. In doing so, these works imagine, even help bring into being, an entity that is fluid, multicultural, and endlessly ‘adaptive’.
Shakespeare and Folk
Authors: Hansen Adam 
Published: February 2022

Abstract
English folk has long been critical of and opposed to the political and cultural status quo, yet also rooted, atavistic, despairing, and utopian in equal measure. These characteristics combine to create a form of culture both integral and eccentric to understandings of ‘English’ national identity. So what happens when folk’s musics, histories, and meanings encounter or engage with another potent, iconic, and equally vexed and complex signifier of ‘Englishness’: Shakespeare? What assumptions and expectations come into play—about Shakespeare and about ‘folk’—when the two are combined? If Shakespeare used, and moved back and forth between, ‘high’ and ‘popular’ culture at various points in his career (and in his afterlives), might he now be considered part of ‘folk’ culture? This chapter tries to answer these questions by exploring how a range of these engagements have happened, focusing on and comparing two in detail: Harley Granville-Barker’s 1914 production of A Midsummer Night’s Dream, with music by Cecil Sharp, and Maria Aberg’s 2013 staging of As You like It, featuring music from the ‘neo-folk’ artist Laura Marling. Discussion broadens beyond Shakespeare in performance to consider what conflicts and contradictions about Shakespeare, ‘Englishness’, and ‘folk’ are suppressed or realized through aligning Shakespeare with a ‘folk’ aesthetic.
New Issue Politics
Authors: Jang Seung-Jin 
Published: February 2022

Abstract
This chapter reviews some of the new issues that have become, or will potentially become, salient in South Korean politics: welfare and redistribution, gender, and immigration. While traditional political cleavage based on generational differences in political ideology still persists, these new issues have gained political significance and public attention, creating different political coalitions across South Korean voters. Though they may have not fundamentally changed South Korean politics, they have certainly diversified its issue content. For each of these issues, the chapter discusses their background, how South Koreans think about them, and what implications they have in understanding contemporary South Korean politics.
Social Movements
Authors: Shin Jin-Wook 
Published: February 2022

Abstract
This chapter describes the developments and macrostructural changes of South Korean social movements after democratization in 1987. Several aspects will be highlighted: First, the developments in the number of civil society organizations, citizens’ participation in civil society activities, and non-violent protest culture have been accelerated since the 2000s. Second, the social movement sector has been differentiated into independent issue areas, leading to more diversity, but also to uneven development between movement areas. Third, with the rise of networked social movements, the communication and mobilization structures and the broader ecosystem of social movements have become increasingly decentralized. Fourth, not only has the ideological division between progressive and conservative movements intensified, but also radical right-wing movements are spreading. Fifth, most recently, a new generation of social movements representing the voices of women, youth, precarious workers, and local communities is growing quickly.
Labour Union Activism
Authors: Kwon Soonmee 
Published: February 2022

Abstract
The Great Workers’ Struggle of 1987 marked a critical juncture in the transformation of South Korea’s authoritarian labour regime. This chapter examines the political and historical development of the country’s unique labour activism. That militant unionism has contributed to the improvement of the economic and social status of the working class. However, it has also turned out to be one of the main causes of organized labour’s deepening social and political isolation. As a result, labour market inequality has been further exacerbated by the combination of enterprise unionism and a social insurance system that prioritizes protection for regular workers. This suggests the limits of South Korean labour activism, which has neither established an encompassing union structure, nor extended the protection of universal citizenship to non-regular workers.
Soviet Rock Carnival
Authors: Yoffe Mark 
Published: February 2022

Abstract
Despite its certain parochial quality, Soviet rock music was one of the most significant, culturally and socially impactful art forms developed during the 1960s–1980s, especially in the time of Perestroika. Subjected to political control and persecution, Soviet rock nevertheless created its own unique language and identity and was beloved by masses of adoring fans. This chapter focuses on the factors that made Soviet rock into such a cultural phenomenon and touches upon its poetics and evolution. It also gives an overview of work by some of the most prominent and notorious musicians and bands. Special attention is paid to the liberating and style-forming influence of punk rock and tendencies towards conceptualism, stiob, and carnival that are responsible for Soviet rock’s specific quality.
The Lianozovo School
Authors: Pavlovets Mikhail 
Published: February 2022

Abstract
The Lianozovo school–group was one of the first creative groups of the underground, arising in the second half of the 1940s and lasting until the beginning of the 1970s, a time when personal relationships and related outlooks on art were enough for practitioners of unofficial art to constitute membership in a common circle without, however, attempting at the same time to demonstrate uniformity. If we are speaking of the “school,” then it developed around the figure of the poet and artist Evgeny Leonidovich Kropivnitsky, who lived in a barracks at the Dolgoprudnaia railway station near Moscow and literally brought up his students, the poets Igor’ Kholin and Genrikh Sapgir and the artist Oskar Rabin. With regard to the Lianozovo “group”: it was located in the nearby barracks settlement of Lianozovo, where the artists Oskar Rabin and his wife Valentina Kropivnitskaia, the daughter of Evgeny Kropivnitsky, and also Kropivnitsky’s son, Lev, settled at the start of the 1950s. The Rabin apartment, like the Kropivnitsky room before it, became a place that attracted both unofficial poets (Vsevolod Nekrasov, Ian Satunovsky, and others) and artists (Nikolai Vechtomov, Vladimir Nemukhin, Lidiia Masterkova), a place for the holding of underground openings and for the formation of an “artistic circle” (Il’ia Kabakov) that not only facilitated professional communication but also the meeting of artists and of their audiences and admirers.
The Soviet Literary Underground during World War II
Authors: Barskova Polina 
Published: February 2022

Abstract
This chapter explores the complex bifurcation of identity that writers faced in the 1940s with special attention to the writers of Leningrad under Siege. During WWII, the potentially life-saving advantages of producing propaganda promoting the Soviet Union’s official values made publication attractive—despite authors’ private feelings. At the same time, writing honestly was dangerous; even work shared between friends carried a risk of arrest should a reader betray the author. The divide between the publishable and unpublishable forced authors to navigate the separation of public identities from private selves within their writing practices. Some, such as Anna Akhmatova and Olga Berggolts, published “official” war poetry while maintaining private creative networks; others, such as Tatiana Gnedich, did not attempt to publish but shared work with a close circle; still others, such as Gennаdy Gor, wrote secretly, producing work that remained hidden long after the Siege ended.
Renewable Energy, Energy Poverty, and Climate Change
Authors: Aklin Michaël 
Published: February 2022

Abstract
Renewable energy has the potential to reduce energy poverty in environmentally more friendly ways than fossil fuels. Given these benefits, observers often assume that the deployment of renewable energy should continue unabated, especially as its costs continue to decline. Yet, in practice, the growth of renewables has been uneven and several setbacks continue to plague such growth. The challenges faced by renewables are often political in nature. Given this context, this chapter briefly reviews the role played by renewable energy at the intersection of environmental, energy, and economic policies; clarifies how political, economic, and social factors shape the prospects of renewable energy deployment and how these factors vary within and across industrialized and emerging countries; and investigates the issues faced by renewable energy in the present and the future. These include problems of high costs to consumers, limited ability to raise living standards in developing countries, and struggles faced by the renewable energy industry under high political uncertainty.
Imperialism, the Mismeasurement of Poverty, and the Masking of Global Exploitation
Authors: Donnelly Seth Michael 
Published: February 2022

Abstract
This chapter deconstructs the widely publicized set of statistics purportedly showing that extreme poverty in the world has fallen dramatically since 1990 as articulated by the World Bank and reiterated by leading UN institutions, neoliberal think tanks, publications, and spokespersons. The analytical categories and methodology employed by the World Bank to calculate its poverty statistics are subjected to a systematic critique, demonstrating that they serve the interests of economic imperialism. By artificially reducing global poverty through the statistical manipulation of its poverty metric, the World Bank can trumpet the success of neoliberalism, legitimating its further expansion through US-backed coups in countries such as Haiti and Bolivia. The genocidal misery imposed on the people of the Global South by the World Bank and the IMF through neoliberal policies such as structural adjustment programs and free trade agreements is thereby statistically erased, laying the foundation for a narrative of dramatically falling global poverty in the ‘New Millennium’ at odds with reality. If more reasonable metrics are used, such as the United Nations Conference on Trade and Development (UNCTAD) $5 per day standard, global poverty has clearly not fallen as claimed. The chapter also shows how neoliberalism itself is a form of economic imperialism. Finally, the rise of the BRICS and China in particular, celebrated by neoliberals and some on the left, is analysed as a development that ultimately fortifies, rather than contradicts, the advance of imperialism in the twenty-first century.
The Political Economy of Militarism
Authors: Elveren Adem Yavuz 
Published: February 2022

Abstract
High levels of military expenditures are one key aspect of militarism, which is the set of material and ideological manifestations that promote militaristic values in the political, social, and economic domains. This chapter examines the determinants and economic costs of military expenditures with respect to different schools of economic thoughts, including neoclassical, Keynesian, and Marxist. There has been a growing literature on the role of military spending in capitalism in general and its impact on economic growth in particular. As Rosa Luxemburg noted, military power and the ideological influence of militarism were key mechanisms of primitive accumulation in the history of capitalism. That is, capitalism needs non-capitalist systems to expand, and military power makes it possible. Therefore, one key strategic motive of high military spending by core capitalist nations is to sustain the hegemony over peripheral countries and to regulate the rivalry between them. Resting upon this background, the chapter emphasizes three issues about the role of militarism: First, its role in capitalist accumulation and absorption of surplus with special attention to Luxemburg, and Baran and Sweezy; second, the use of militarism to the imperialist interests; and finally, its impact on employment and economic growth.
South Asian Economies in Two Imperialist Regimes between 1950 and 2020
Authors: Vakulabharanam Vamsi 
Published: February 2022

Abstract
The South Asian region experienced a steep economic decline during the period 1750–1950. This was primarily due to British Colonial rule that transformed this region from a vibrant production hub to a source of raw materials, a tribute paying region, and a market for manufactured goods from Britain. Between 1950 and 1980, the newly independent nations that constituted the region of South Asia implemented import substitution industrialization (ISI) policies that tried to reduce their dependence on imperialist powers. During this period, the South Asian share in the global economy declined. Between 1980 and 2020, as the imperialist countries moved from a regulated economic order to a more laissez-faire one, many of the South Asian economies were restructured towards becoming more open, more private, and more market oriented. The workforce that was educated during the 1950–1980 period became a source of cheap labour power for global corporations. At the same time, less educated workforce became available for labour-intensive exports to the imperialist countries. Many of these South Asian economies have also become suppliers of cheap raw materials and primary produce for imperialist countries as well as emerging economic powerhouses like China. During this period, interestingly, the share in the global GDP of South Asian economies increased. This chapter contrasts the two imperialist phases after 1950 and show how relations of dependence of South Asian economies with the imperialist countries have been perpetuated differently during these phases.
Colonial Legacies and Global Networks in Central Asia and the Caucasus
Authors: Hierman Brent D. 
Published: February 2022

Abstract
This chapter addresses the persistent economic and political effects of the Russian Empire’s establishment of extractive colonial institutions in Central Asia and the Caucasus. At a fundamental level, the infrastructure built by the Russian Empire in the nineteenth century and modified by the Soviet Union in the twentieth century to exploit the region’s resources endure into the present; however, the outflow of wealth and resources no longer moves towards a single imperial core. As this chapter details, new networks of extraction have been built. China has now emerged as the terminus for much of the region’s natural resources, whereas Russia is the leading destination for the region’s labour migrants, thus capturing a significant amount of human capital. Additionally, large amounts of wealth are transferred out of the region into Western financial institutions where it is held, laundered, and sometimes moved on. This chapter argues that the flourishing of these global networks of extraction strengthens the overwhelmingly autocratic regimes of the region and hinders the development of civil society. Finally, the chapter addresses the prospects for halting these extractive processes but ultimately finds that this is unlikely given the interwoven nature of political and economic power across the region.
Women, Domestic Labour, and Economic Imperialism
Authors: Cheng Han 
Published: February 2022

Abstract
This chapter discusses the relationship between the oppression of women and economic imperialism. Women’s unpaid domestic labour is a fundamental factor of fast capital accumulation. The oppression of women in production, reproduction, and gender relations are integral parts of neoliberal social structure. In a gendered global division of labour, the consumerist way of life in the developed countries is actually facilitated by the exploitation of labour and body of women from the developing countries. The super-exploitation of women has triggered a global crisis of labour power reproduction as well as the rise of women’s anti-imperialist movements.