bluuebunny/crossref_metadata_2025_split huggingface dataset:
Korean American Biblical Interpretation
Authors: Park Wongi 
Published: February 2022

Abstract
Korean American biblical interpretation is a new and emerging form of contextual hermeneutics that foregrounds the histories, identities, and concerns of minoritized communities. The answer to four questions defines what constitutes Korean American biblical interpretation: What is biblical criticism? Who are Korean Americans? What makes biblical criticism Korean American? Where is it located in the field? Korean American biblical interpretation is defined by a combination of factors: the identity and social location of the reader, whose theories, methods, sources, and contextual readings of the biblical text are informed by Korean American identity, history, and culture.
Post-Korean War Era (1945–1970)
Authors: Cheon Samuel 
Published: February 2022

Abstract
The two mainstreams of Korean biblical interpretation, fundamentalism and neo-Orthodoxy, continued even after the liberation of Korea from Japanese Imperialism. In South Korea, most churches and seminaries accepted the former, while a few Christian groups and theological institutes spread the latter. A continuing conflict arose, causing church splits and sectarian movements in the 1950s. Sectarians interpreted the Bible for their laity, an indigenous theology, and the secularization of the 1960s. All these movements responded to contemporary social change and a fluid ecclesial situation. These movements laid the foundation for the beginning of Minjung theology in the 1970s.
Historically Informed Experience
Authors: Barclay Bill 
Published: February 2022

Abstract
The role of music at Shakespeare’s Globe has radically evolved since its opening in 1997. What began as a scholarly embrace of historically informed performance (HIP), yielded to modern instrumentation, and eventually, to electronic lights and sound. What have we learned about Shakespeare and the actor-audience relationship over these profound changes? How have the practitioners evolved to meet the challenges of new leadership? What is the purpose of Shakespeare’s original architecture without his seventeenth-century toolkit? This chapter charts the changing of ‘authenticity’ from its devotional Original Practices through modern experimentation, using the inexhaustible lessons of Shakespeare’s spaces to vouch anew for live music in twenty-first-century Shakespeare everywhere.
‘Sing Willow, &c.’
Authors: Austern Linda Phyllis 
Published: February 2022

Abstract
From less than a century after Shakespeare’s death through the present time the search for the original ‘Song of Willow’ assigned to Desdemona in Othello (4.3) has occupied a wide range of antiquarians, philologists, musicologists, composers, and stage directors. What unifies these successive explorations is nostalgia for an English musical past and a literal reading of Desdemona’s claim that the song was already ‘an old thing’ and therefore part of collective memory in Shakespeare’s day. By the time of the early music movement and coincident folk-music revival of the 1950s and ’60s, one version, first identified as the original during the eighteenth century, had become central to what emerged as an ‘authentic Shakespeare music’ canon. It still remains the most recorded and widely circulating piece in the repertory of ‘original’ or ‘authentic’ Shakespeare music. This chapter traces its much-neglected history in the context of an entire genre of willow songs, all of which are concerned with musical and cultural remembrance, against the background of a nostalgic multi-century search for ‘original’ Shakespeare ephemera.
Shakespearean Concert Songs in Victorian England
Authors: Wilson Christopher R. 
Published: February 2022

Abstract
This chapter re-evaluates the status of settings of Shakespeare in the context of Victorian song from Macfarren to Henry Walford Davies, taking in Sullivan, Parry, MacKenzie, Stanford, Liza Lehmann, Maude Valérie White, Wood, and Somervell. Though often neglected today, Macfarren’s songs, including a number of Shakespeare settings, represented the ‘finest products of the period’. Seen as embodying the national emblem, Parry saw Shakespeare as central in his attempt to establish English ‘serious song’ comparable with the lieder of Schumann and Brahms and the dislodgement of commercial popular song prevalent in England. Parry’s settings of various sonnets in fact started life as German songs. Parry was not altogether successful in his mission; his only true disciple was Arthur Somervell. The last of the ‘Victorians’, Henry Walford Davies, was largely dismissed as a composer out of his time, his songs old-fashioned with their ‘forthright English melody’.
Shakespeare and Opera in the Czech Lands
Authors: Kopecký Jiří 
Published: February 2022

Abstract
Shakespeare inspired Czech Romantic composers almost exclusively in the genre of comic opera, but adapting a Shakespeare play into the form of a high-quality libretto was an extraordinarily difficult task, which then had to be matched by the musical setting and performance. Moreover, it was difficult to compete with Verdi’s Otello premiered in Prague in 1888 as the first production outside of Italy. Given these circumstances, it is not surprising that Shakespearean comic operas were first successfully produced at Prague’s National Theatre only once the quality of the opera company there had been stabilized, that is, around 1900: Karel Weis’s Viola (1892), Zdeněk Fibich’s The Tempest (1895), Josef Nešvera’s Perdita (1897), and Josef Bohuslav Foerster’s Jessika (1905). While it was through theatre that political questions were dealt with in the Czech lands under Habsburg rule, and Shakespeare became a leading artistic authority for the Czechs (unlike Schiller, whose legacy was fostered mainly by German theatres), the operas of Czech composers based on Shakespearean subjects aroused the hope of promoting the Czech arts in the struggle for national independence in an international context.
Audio-Visual Metaphors in Operatic Shakespeare
Authors: Kysová Šárka Havlíčková 
Published: February 2022

Abstract
This chapter considers both the ways of transforming Shakespeare’s plays into opera librettos, and the staging practice of particular Shakespearean operas. It focuses on staging of two operas based on Shakespeare’s plays composed by Giuseppe Verdi—Macbeth and Otello. The topic is treated with special reference to operatic scenography, especially regarding the issue of creating innovative audio-visual metaphors on stage. One of the essential questions may be summarized as follows: how are these (stage) metaphors rooted in Shakespeare’s plays as such? In the investigation of this topic, many specific productions of Shakespearean operas are included, both from the Czech Republic (and former Czechoslovakia, especially from the State Theatre in Brno) and from prominent world opera houses. The chapter’s central aim is to consider what operas based on Shakespeare’s plays bring to the theatrical stage, from the point of view of (for example) theatrical aesthetics and semantics, especially in the area of scenography—which is treated here not just as a visual parameter, but as an audio-visual artistic discipline.
Translation and Transformation in Britten’s A Midsummer Night’s Dream
Authors: Larson Katherine R. , Wiliford Lawrence 
Published: February 2022

Abstract
Benjamin Britten’s writings reveal a fascination with the question of how music evokes experiences of spatial and temporal change. Nowhere is this more evident than in his operatic reworking of Shakespeare’s A Midsummer Night’s Dream (1960). This chapter’s argument begins in the forest surrounding Athens, which Britten foregrounds to a much greater extent than Shakespeare does. Both musically and structurally, the opera revolves around the forest, positioning the characters and the audience from its opening measures within a space that facilitates and demands ‘translation’. The forest’s effects are revealed most strikingly through the metamorphosis of Shakespeare’s ‘rude mechanicals’ into Britten’s ‘rustics’, and especially in Britten’s depiction of Francis Flute, who blossoms from nervous bellows-mender to self-assured thespian. The remarkable trajectory of this adolescent character offers a productive case study for considering how Britten’s opera reframes the transformative encounters that lie at the heart of Shakespeare’s celebrated comedy. Drawing on the experience of tenor and co-author Lawrence Wiliford, who has portrayed Flute in recent productions by the Canadian Opera Company and the Aldeburgh Festival, this chapter also illuminates the crucial interpretive role that directors and singers play in bringing Britten’s operatic adaptation to life.
‘If it’s good enough for Shakespeare, it’s good enough for us’
Authors: Francis Ben 
Published: February 2022

Abstract
This chapter will look at how some plays of Shakespeare have been adapted as Broadway musicals, and how, in turn, the Broadway musical has influenced some productions of Shakespeare. In The Boys from Syracuse (1938) and Kiss Me, Kate (1948) Shakespeare is both treated as a showbiz personality and revered, albeit humorously, as a divine figure who brings healing to the characters. In West Side Story (1957) Shakespeare is not mentioned by name, but the memory of Romeo and Juliet hangs over the show, providing an ironic contrast with the world of gang-divided New York where there is no authority figure to impose order. In the seventies the Broadway show becomes an object of nostalgia. Kenneth Branagh’s film version of Love’s Labours Lost (2000) used songs popularized by Fred Astaire to provide a thoroughly familiar context in which to understand the play. The musical has appropriated Shakespeare’s plays, and in doing so, has given the audience a potential new set of aesthetic rules by which they can appreciate the plays themselves.
‘Where should this music be?’
Authors: Cunningham John 
Published: February 2022

Abstract
This chapter analyses the main collections centred on Shakespearean music published in the nineteenth century with a view to determining the underlying cultural processes that led to their creation. Largely through the frequent revivals of the plays, by the early nineteenth century there developed a significant number of settings of the songs, several of which had held the stage since the early eighteenth century. William Linley was first to anthologize the plays’ songs, thus presenting them as a coherent body deserving of prominence in the cultural imagination. By the end of the century, the repertoire had become vast enough to warrant catalogues of musical references and musical settings. The central argument offered is that this emergence of ‘Shakespearean song’ as a sub-plot within bardolatory was an expression of cultural nationalism, in which the idea of Shakespeare as inherently musical dramatist filled the cultural void created by the perceived failure of English music.
Shakespeare, Music, and South Africa
Authors: Cooke Mervyn 
Published: February 2022

Abstract
Perhaps no production of a Shakespeare play has highlighted the controversies, contradictions, and misunderstandings attendant on promoting the Bard’s work in a postcolonial anglophone environment as vividly as Gregory Doran’s staging of Titus Andronicus at the Market Theatre, Johannesburg, in 1995. This chapter examines the music for the production, by Dumisani Dhlamini, as well as Tayo Akinbode’s music for Doran’s later and similarly Africa-set production of Julius Caesar for the Royal Shakespeare Company (2012). In the process, the discussion draws on Natasha Stiller’s concept of ‘coconuttiness’ as an aid to understanding the cultural significance of—and the inevitable controversies engendered by—these bold stagings. The chapter concludes with a critical assessment of the striking transformation of Britten’s opera A Midsummer Night’s Dream by the Isango Ensemble into a distinctive brand of ‘township’ opera (2015), the project being a direct reflection of its remit to promote ‘performances with a strong South African flavour’ inspired by a ‘re-imagining [of] Western theatre classics within a South African or township setting and by creating new work reflecting South African heritage’.
Citizens’ Support for Democracy
Authors: Cho Youngho 
Published: February 2022

Abstract
This chapter examines the cultural deconsolidation of South Korean democracy from 1996 to 2018. Analysing the five waves of the World Values Survey, the chapter finds that public support for democracy has steadily eroded and openness to strongman and military rules has increased in South Korea. The analysis reveals that cultural deconsolidation of South Korean democracy started during the early 2000s and, more importantly, this downward trend continued even after the 2016–2017 Candlelight protest. Therefore, the cultural foundation of democracy in South Korea is shallow and its democracy has fallen into a low-equilibrium trap, in which resilient violation of liberal integrity among leaders is matched by the low confidence of citizens in democracy.
Protecting Water and Forest Resources against Colonization in the Indigenous Américas
Authors: Gómez-Barris Macarena 
Published: February 2022

Abstract
This chapter considers recent forms of uprising in the Global South that deal with the legacy of neoliberalism, debt, and economic imperialism that emanate from US economic imperialism and the Washington Consensus. It specifically addresses Chile as a laboratory for neoliberalism and the social and political movements that directly addressed histories of wealth accumulation through extractive and racial capitalism. It also addresses how state violence and an expanding prison and military infrastructure is used to criminalize protest and describe creative strategies of resistance and refusal.
Pacific Islands
Authors: Gentilucci Marta 
Published: February 2022

Abstract
This chapter explores how Pacific islanders have the desire to be present and acknowledged within the global system. The first part provides an overview of colonial imperialism in the region. Decades of colonial and economic imperialism have capitalized the natural and human resources influencing the course of social change in the region. In all the colonies of the Pacific, plantations and mines have had a strong impact on the islands including the expropriation of lands, the arrival of foreign workers, and in general all the long-term ecological consequences. The second part of the chapter focusses on the ways conflict over markets, trade routes, the supply of labour, and control over strategic commodities might be progressively halted. Looking at the contextual particularities of economic imperialism in the Pacific Islands allow us to analyse the various forms through which the global economic system is articulated in a specific local context, focusing on the different ways in which social actors resist, transform, and domesticate the hegemonic elements coming from outside. Capitalism, in particular mining activity, is not necessarily perceived by indigenous peoples as an antagonistic by definition, as often emerges in mainstream Western environmental discourse. For some communities it is a means to achieve economic, social, and cultural goals. Analysing mining activity from the lens of indigenous eco-cosmologies, the goal is to identify an alternative space to the rigid dichotomy between subjection and resistance.
Extractivism and Resistance in North Africa
Authors: Hamouchene Hamza 
Published: February 2022

Abstract
Northern African countries are key suppliers of natural resources to the global economy, from large-scale oil and gas extraction in Algeria, to phosphate mining in Tunisia and Morocco, and to water-intensive agribusiness paired with tourism in Morocco and Tunisia. This extractivist model of development has reaffirmed the role of these countries as exporters of nature and as suppliers of natural resources, entrenching their subordinate insertion into the global capitalist economy. The cases presented in this chapter exemplify broader patterns of primitive accumulation in the global South, where accumulation by dispossession takes the brutal form of the extraction and pillage of natural resources, and the degradation of environments and ecosystems through the privatization and commodification of land and water. This is accompanied by a surge in the forces of resistance and ‘the entrance of new actors onto the scene’ who demand that wealth be shared and distributed equitably.
Railway Imperialisms in East Africa
Authors: Zajontz Tim 
Published: February 2022

Abstract
Physical infrastructure has been central to the century-long exploitation of Africa’s soil and peoples by external powers. This chapter sheds light on the pivotal role of railways in the political economies of historical and contemporary imperialisms in East Africa. It first recounts how rail infrastructure developments in Britain’s East Africa and Uganda Protectorates as well as in German East Africa fostered colonial primitive accumulation by forcing local and imported labour power to construct the means that would accelerate the theft of the continent’s natural wealth. In a second step, the chapter examines how contemporary infrastructure development in the region has continually served economic imperialisms. China’s transition from a provider of anti-imperial infrastructure, in the form of the Tanzania-Zambia Railway Authority (TAZARA), to a neo-imperial investor is problematized in the context of East Africa’s gradual integration into the Belt and Road Initiative (BRI). Drawing on David Harvey’s theorization of spatio-temporal fixes as a tendency inherent to capitalist imperialism, the chapter documents how debt-financed large-scale infrastructure projects, such as Kenya’s new Standard Gauge Railway, serve the geographical expansion of Chinese surplus capital and lock the region into Chinese-centred systems of accumulation. The chapter concludes that Africa’s contemporary infrastructure boom perpetuates the continent’s dependent integration into the global capitalist economy and facilitates new forms of accumulation by dispossession.
Marxist Theories of Imperialism in the Post–Cold War Era
Authors: Gürcan Efe Can 
Published: February 2022

Abstract
How have Marxist theories of imperialism evolved in the post–Cold War era? How do they inform us about contemporary forms of imperialism? This chapter reveals that post–Cold War theories of imperialism have developed in two distinct waves. The first wave was triggered mostly by reactions to the offensive of what one could call the ‘globalist’, or ‘transnationalist’ camp, which finds its strongest expression in the thesis of ‘empire’ and transnational capitalist classes. In turn, the detractors of globalism centred their analyses on the contradictions of neoliberalism as the strongest manifestation of contemporary imperialism, where states continue playing a leading role. With the recent decade, there has emerged a second wave of theorizing about imperialism, which took off following the crisis of global capitalism in 2007/2008 and the rise of imperialist interventionism since 2011. This second wave lays stronger emphasis on the North-–South divide without overlooking the chief role of states, and redeploys Lenin’s terminology of uneven development, labour aristocracy, and super-profits. Overall, the chapter uses the method of integrative review to re-visit contemporary theories of imperialism as a whole by discussing how they can contribute to a multidimensional understanding of the phenomenon of imperialism in (geo)political, economic, and sociocultural terms.
Development, Underdevelopment, and the North–South Divide
Authors: Raffer Kunibert 
Published: February 2022

Abstract
Historically shaped global economic structures do not support development, as orthodox economist have wrongly claimed. Starting from colonial times and based on Wallerstein’s World System theory, this Chapter analyses why the North-South divide does not disappear. It starts with what Max Weber dubbed capitalism based on the principle of looting, which transferred enormous values to the North, financing its industrialisation. Southern economies were destroyed and distorted to benefit colonialists. So far relatively few economies could shake off these distortions, essentially by not applying orthodox economic policies. Characteristic features of the present world economy are analysed. It is shown how trade disadvantages Southern Countries (SCs)—e.g. by Unequal Exchange or transfer pricing—how financial structures discriminate against SCs and their inhabitants, in particular by denying them any form of debtor protection. Tax evasion deprives SCs of resources needed to finance development. Although several SCs have specialised on helping tax dodgers, quite a few Northern Countries are also fostering tax evasion (e.g. Luxembourg, the US: Delaware). Finally, the role of international organisations, such as the IBRD, the IMF, or the WTO, or treaties such as Lomé-Cotonou in helping to hamper development and perpetuating the North-South divide is discussed.
Imperialism, Unequal Exchange, and Labour Export
Authors: Delgado Wise Raúl 
Published: February 2022

Abstract
In the international political economy, monopoly capital has become, more than ever, the central player. Through mega-mergers and strategic alliances, this fraction of capital has reached unparalleled levels of concentration and centralization. This trend, associated with the operations of Marx’s absolute general law of capital accumulation, has led to an increasing monopolization of finance, production, services, and trade, leaving every major global industry to be dominated by a handful of large multinational corporations. In the expansion of their activities, the agents of corporate, or monopoly, capitalism have created a global network and process of production, finance, distribution, and investment that has allowed them to seize the strategic and profitable segments of peripheral economies and appropriate the economic surplus produced at enormous social and environmental costs. The main aim of this chapter is to analyse the new modalities of unequal exchange engendered by the implementation of structural adjustment programmes in the Global South. These programmes have been the vehicle for disarticulating the economic apparatus in the periphery and its re-articulation to serve the needs of core capitalist economies, under sharply asymmetric and subordinated conditions. This has led to the emergence of a new international division of labour centred in the direct and indirect exportation of workforce which, in turn, has triggered new and extreme modalities of unequal exchange.
Closing the Gap
Authors: Anderson Ian 
Published: February 2022

Abstract
This chapter provides an overview of the negotiations led by the Council of Australian Governments (COAG) on the renewal of a set of agreements, first struck in 2008, referred to as the “Close the Gap” agenda. It covers three years of negotiations from 2017 to 2020. In the second phase of these negotiations, Aboriginal and Torres Strait Islander (hereafter also referred to as Indigenous) organizations were included as decision-making partners. This made a significant difference to the policy reforms and accountabilities outlined in the final agreement. The chapter provides an insight into how Indigenous Peoples can negotiate power in the context of liberal governmentality.