Some context: Bernard Lewis, FBA (born 31 May 1916) is a British American historian specializing in oriental studies. He is also known as a public intellectual and political commentator. Lewis is the Cleveland E. Dodge Professor Emeritus of Near Eastern Studies at Princeton University. Lewis' expertise is in the history of Islam and the interaction between Islam and the West.
Lewis' influence extends beyond academia to the general public. He is a pioneer of the social and economic history of the Middle East and is famous for his extensive research of the Ottoman archives. He began his research career with the study of medieval Arab, especially Syrian, history. His first article, dedicated to professional guilds of medieval Islam, had been widely regarded as the most authoritative work on the subject for about thirty years. However, after the establishment of the state of Israel in 1948, scholars of Jewish origin found it more and more difficult to conduct archival and field research in the Arab countries, where they were suspected of espionage. Therefore, Lewis switched to the study of the Ottoman Empire, while continuing to research Arab history through the Ottoman archives which had only recently been opened to Western researchers. A series of articles that Lewis published over the next several years revolutionized the history of the Middle East by giving a broad picture of Islamic society, including its government, economy, and demographics. Lewis argues that the Middle East is currently backward and its decline was a largely self-inflicted condition resulting from both culture and religion, as opposed to the post-colonialist view which posits the problems of the region as economic and political maldevelopment mainly due to the 19th-century European colonization. In his 1982 work Muslim Discovery of Europe, Lewis argues that Muslim societies could not keep pace with the West and that "Crusader successes were due in no small part to Muslim weakness." Further, he suggested that as early as the 11th century Islamic societies were decaying, primarily the byproduct of internal problems like "cultural arrogance," which was a barrier to creative borrowing, rather than external pressures like the Crusades. In the wake of Soviet and Arab attempts to delegitimize Israel as a racist country, Lewis wrote a study of anti-Semitism, Semites and Anti-Semites (1986). In other works he argued Arab rage against Israel was disproportionate to other tragedies or injustices in the Muslim world, such as the Soviet invasion of Afghanistan and control of Muslim-majority land in Central Asia, the bloody and destructive fighting during the Hama uprising in Syria (1982), the Algerian civil war (1992-98), and the Iran-Iraq War (1980-88). In addition to his scholarly works, Lewis wrote several influential books accessible to the general public: The Arabs in History (1950), The Middle East and the West (1964), and The Middle East (1995). In the wake of the September 11, 2001 attacks, the interest in Lewis's work surged, especially his 1990 essay The Roots of Muslim Rage. Three of his books were published after 9/11: What Went Wrong? (written before the attacks), which explored the reasons of the Muslim world's apprehension of (and sometimes outright hostility to) modernization; The Crisis of Islam; and Islam: The Religion and the People.
did the paper get a lot of attention
A: had been widely regarded as the most authoritative work on the subject for about thirty years.

Some context: Alfred Cellier (1 December 1844 - 28 December 1891) was an English composer, orchestrator and conductor. In addition to conducting and music directing the original productions of several of the most famous Gilbert and Sullivan works and writing the overtures to some of them, Cellier conducted at many theatres in London, New York and on tour in Britain, America and Australia. He composed over a dozen operas and other works for the theatre, as well as for orchestra, but his 1886 comic opera, Dorothy, was by far his most successful work. It became the longest-running piece of musical theatre in the nineteenth century.
In 1885, Cellier composed a song, "There once was a time, my darling", for a piece produced by George Edwardes, Little Jack Sheppard (1885). Meanwhile he had composed what would become his greatest success, the comic opera Dorothy, with a libretto by B. C. Stephenson. To create the score, Cellier repurposed some of his music from his 1876 failure, Nell Gwynne, which had, nevertheless, received praise for its music. Dorothy had been announced for production at the Royalty Theatre in 1884, but ultimately Edwardes mounted it at his Gaiety Theatre on 25 September 1886. Cellier was in Australia from February 1886 to February 1887, conducting The Mikado and other Gilbert and Sullivan operas for the J. C. Williamson organization and was absent from London during the productions of The Carp, at the Savoy, and Dorothy. Neither the music nor the libretto of Dorothy initially attracted critical praise. The Times wrote, "Gentility reigns supreme, and with it unfortunately also a good deal of the refined feebleness and the ineptitude which are the defects of that quality." Stephenson rewrote the lyrics of one of Cellier's old songs, "Old Dreams" as "Queen of My Heart"; this helped the work to find success after it transferred in December to the Prince of Wales Theatre. The following year H. J. Leslie took over the production from Edwardes and introduced new stars, including Marie Tempest. Dorothy became an even greater success at the box office and transferred in December 1888 to the Lyric Theatre, built using the profits from the production, where it ran into 1889. Its initial run of a total of 931 performances was the longest of any piece of musical theatre up to that time, longer than even The Mikado, a fact that caused consternation to Cellier's friend Arthur Sullivan. Some critics reconsidered their earlier condemnation, the work became regarded as a classic Victorian piece, and the initially despised plot was traced seriously back to the Restoration playwrights David Garrick and Aphra Behn, and to Oliver Goldsmith and even Shakespeare. Its success led to revivals of some of Cellier's earlier works. Cellier returned to Australia in 1888 to conduct Dorothy and made a final brief visit there for health reasons in early 1891, together with Stephenson. His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful. Also after Cellier's death, Rutland Barrington used some of his music in his 1902 adaptation of Water Babies. Often in ill health throughout his life, Cellier was unable to finish The Mountebanks, and Ivan Caryll completed the score. Cellier owed much to the influence of Sullivan. He was a fertile melodist, and his writing exhibited elegance and refinement, although he was not able to infuse his music with humour in the way that Sullivan did. Cellier died at his home in Bloomsbury, London, at the age of 47. He was buried in West Norwood Cemetery.
Are there any other interesting aspects about this article?
A:
Dorothy had been announced for production at the Royalty Theatre in 1884,