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1
Greenspan, Charlotte. "Death Comes to the Broadway Musical." Daedalus 141, no. 1 (January 2012): 154–59. http://dx.doi.org/10.1162/daed_a_00137.
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The Broadway musical is an excellent prism for viewing the narrative of American life – as it is, has been, and perhaps should be. In the first part of the twentieth century, musicals viewed life through rose-colored glasses; musicals were equivalent to musical comedy. Starting in the 1940s, the mood of musicals darkened. One indication of the new, serious tone was that characters in musicals died in the course of the show. This essay examines several questions relating to death in the Broadway musical, such as who dies, when in the course of the drama the death occurs, and how the death is marked musically. It concludes with a look at musicals involving the deaths of historical characters and at AIDS-related musicals, works whose assumptions and ideals are very far from those of the musical comedies of the early twentieth century.
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McWhorter, John H. "Long Time, No Song: Revisiting Fats Waller's Lost Broadway Musical." Daedalus 142, no. 4 (October 2013): 109–19. http://dx.doi.org/10.1162/daed_a_00238.
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Just before he died in 1943, Fats Waller wrote the music for a Broadway book musical with a mostly white cast, the first black composer to do so–and the only one ever to do it with commercial success. Yet “Early to Bed” is largely ignored by historians of musical theater, while jazz scholars describe the circumstances surrounding its composition rather than the work itself. Encouraging this neglect is the fact that no actual score survives. This essay, based on research that assembled all surviving evidence of the score and the show, gives a summary account of “Early to Bed” and what survives from it. The aim is to fill a gap in Waller scholarship, calling attention to some of his highest quality work, and possibly stimulating further reconstruction work that might result in a recording of the score.
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MAGEE, JEFFREY. "“Everybody Step”: Irving Berlin, Jazz, and Broadway in the 1920s." Journal of the American Musicological Society 59, no. 3 (2006): 697–732. http://dx.doi.org/10.1525/jams.2006.59.3.697.
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Abstract In his four Music Box Revues (1921–24), Irving Berlin introduced a series of songs that many construed as jazz. That view has not prevailed, but the jazz label becomes more intelligible through efforts to restore its original milieu, including the songs' distinctive musical and linguistic elements, their theatrical context, and the cultural commentary surrounding Berlin and his work in that period. At a time when the term jazz had only recently entered public discourse, and when its meaning, content, and value remained in flux, Berlin deployed a variety of ragtime and blues figures that may be described as black topics, and combined them in such a way as to produce a jazz trope, a musical construct created by juxtaposing disparate or even contradictory topics. When repeatedly set to lyrics that celebrate illicit behavior, the music gains further associations with things that jazz was thought to abet. Theatrical setting further reinforced the songs' links to jazz. Berlin wrote many of the numbers for a flapper-style sister act, often placed them in a climactic program position, and juxtaposed them with sentimental and nostalgic songs that lacked jazz flavor and whose lyrics, in some cases, pointedly denied jazz's attractions. Beyond the stage, the songs and their theatrical presentation flourished within an emerging perspective that identified Jewish Americans, such as Berlin and George Gershwin, as the key figures in jazz and musical theater. Berlin's Broadway jazz stands as an influential and revealing intersection of musical, linguistic, theatrical, and social elements in the early 1920s.
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Loney, Glenn. "Entertaining Mr. Loney: an Early Interview with Joe Orton." New Theatre Quarterly 4, no. 16 (November 1988): 300–305. http://dx.doi.org/10.1017/s0266464x00002864.
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It is now twenty-one years since Joe Orton's death, though his relatively slender theatrical output has retained its freshness and power. After the modest West End success achieved by his first play to reach the stage. Entertaining Mr. Sloane, the New York production proved a failure, and the interview given by Orton to Glenn Loney in New York in October 1965, a few days before the Broadway opening, therefore went unpublished at the time. We print it now, as an intriguing sidelight on the attitudes and opinions of the playwright. It is placed in context by the widely-published theatre critic and teacher Glenn Loney, who also describes the brief, mainly epistolatory friendship with Orton that sprang from this first meeting.
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Guest, Kenneth J. "From Mott Street to East Broadway: Fuzhounese Immigrants and the Revitalization of New York’s Chinatown." Journal of Chinese Overseas 7, no. 1 (2011): 24–44. http://dx.doi.org/10.1163/179325411x565399.
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AbstractSince the early 1980s, immigrants from Fuzhou, southeast China, have revitalized and expanded New York’s Chinatown in Manhattan and established satellite Chinese communities in Brooklyn and Queens. Fuzhounese entrepreneurs have transformed the ethnic enclave economy of Chinatown into the staging platform for a dynamic national ethnic restaurant economy in which East Broadway in Lower Manhattan has become the central hub for the circulation of capital, labor, goods and know-how. Despite recent revitalization, Chinatown’s future as a gateway for new labor immigrants is threatened by real estate speculation and gentrification in the Manhattan and Brooklyn Chinatown areas.
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Spector, Susan. "Telling the Story of Albee's Who's Afraid of Virginia Woolf?: Theatre History and Mythmaking." Theatre Survey 31, no. 2 (November 1990): 177–99. http://dx.doi.org/10.1017/s0040557400009340.
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Who's Afraid of Virginia Woolf? opened on Broadway on 13 October 1962. The author, producers, director and two leading actors won Tony Awards for that season; the play won the New York Drama Critics' Award, and two members of the Pulitzer Committee resigned when that group refused to give Virginia Woolf its top honor. This production of the play captured the vigor and emotional daring of off-Broadway, brought it uptown, and made it pay, running for 644 performances on Broadway. Early in 1964, when Uta Hagen and Arthur Hill repeated their roles in London for twelve weeks, Who's Afraid of Virginia Woolf? became the first post-war American production to achieve a critical success in the West End. The story of this landmark production has been told piecemeal by writers in the popular press, by theatre historians, and in sharply differing accounts by its director, Alan Schneider. Collation of published testimony about the production with unpublished materials such as correspondence, diaries, and interviews with principals reveals the complex artistic process that led to the success of this play. The different versions of the story reveal the risks of storytelling and some of the challenges storytellers present to theatre historians.
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Gindt, Dirk. "WHEN BROADWAY CAME TO SWEDEN: THE EUROPEAN PREMIERE OF TENNESSEE WILLIAMS'SCAT ON A HOT TIN ROOF." Theatre Survey 53, no. 1 (April 2012): 59–83. http://dx.doi.org/10.1017/s0040557411000731.
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Returning fresh from her summer vacation, the suntanned managing director of Gothenburg City Theatre, Karin Kavli (1906–90), proudly announced at a press conference in early August 1955 that she had secured the rights to produce the European premiere of Tennessee Williams's acclaimed playCat on a Hot Tin Roof.1Well aware of the importance of creating a balanced repertoire that would satisfy the more artistically and literally minded audience and those who wanted some lighter forms of entertainment, Kavli understood that hosting the premiere of Williams's latest drama was quite a coup, especially in an age when television had begun to pose a great threat to theatre.
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Gibb, Andrew. "Early-Twentieth-Century Frontier Dramas on Broadway: Situating the Western Experience in Performing Arts by Richard Wattenberg (review)." Journal of Dramatic Theory and Criticism 27, no. 2 (2013): 185–87. http://dx.doi.org/10.1353/dtc.2013.0000.
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HUNTER, MICHAEL. "‘No historie so meete’. Gentry Culture and the Development of Local History in Elizabethan and Early Stuart England - By Jan Broadway." History 93, no. 309 (January 21, 2008): 127–28. http://dx.doi.org/10.1111/j.1468-229x.2008.416_32.x.
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LEFF, LEONARD J. "Representing Queerness: Clifton Webb on the American Stage." Journal of American Studies 45, no. 3 (August 2011): 539–58. http://dx.doi.org/10.1017/s0021875811000090.
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AbstractIn the American theater of the 1930s and 1940s, the designation “queer star” was an oxymoron – except when applied to Clifton Webb. The Indiana-born singer and dancer was (according to colleagues) homosexual and (according to critics and audiences) queer. He was also, after 1932, a star on Broadway and the road as well as a reliably queer presence in the gossip columns and arts pages of the daily paper. Unlike any other show business personality of his rank, he used his star text to raise the visibility of queerness in early twentieth-century entertainment culture.
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Asare, Masi. "Vocal Colour in Blue." Performance Matters 6, no. 2 (March 16, 2021): 52–66. http://dx.doi.org/10.7202/1075800ar.
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This essay invokes a line of historical singing lessons that locate blues singers Bessie Smith and Ethel Waters in the lineage of Broadway belters. Contesting the idea that black women who sang the blues and performed on the musical stage in the early twentieth century possessed “untrained” voices—a pervasive narrative that retains currency in present-day voice pedagogy literature—I argue that singing is a sonic citational practice. In the act of producing vocal sound, one implicitly cites the vocal acts of the teacher from whom one has learned the song. And, I suggest, if performance is always “twice-behaved,” then the particular modes of doubleness present in voice point up this citationality, a condition of vocal sound that I name the “twice-heard.” In considering how vocal performances replicate and transmit knowledge, the “voice lesson” serves as a key site for analysis. My experiences as a voice coach and composer in New York City over two decades ground my approach of listening for the body in vocal sound. Foregrounding the perspective and embodied experience of voice practitioners of colour, I critique the myth of the “natural belter” that obscures the lessons Broadway performers have drawn from the blueswomen’s sound.
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Sandeen, Eric J. "Looking After the Singer Tower: The Death and Life of Block 62." Prospects 30 (October 2005): 597–621. http://dx.doi.org/10.1017/s0361233300002192.
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In early 1968, two development sites lay virtually side by side in Lower Downtown Manhattan. West of Broadway, the clearing of thirty blocks spectacularly announced the Port Authority's intention to build a World Trade Center (WTC) complex. Along Broadway itself, a more modest, two-block site awaited the U.S. Steel Building, later renamed 1 Liberty Plaza. The northern half of this site, bounded by Cortland and Liberty Streets, block 62, had most recently been the address of the Singer Tower, an Ernest Flagg-designed building that, in the eighteen months after its completion in 1908, had been the tallest building in the world. In 1967, it once again attained record status, which it, in fact, retains: the tallest building in the world to be intentionally demolished by its owners.This essay resides in the cultural moment represented by these two sites, these two locations of erasures and reinscription. Instead of looking at what would be built — the intensely analyzed WTC site — let us examine what had been erased next door: a particular aesthetic, an earlier form of corporate capitalism massed in the outline of a grand cityscape. Produced by the burgeoning, international sewing-machine trade in the early 20th century and brought down by the pressures of the international, industrial competition of the 1960s, the life of the Singer Tower takes New York City from the exuberance of the first decade of the century to the decline of city fortunes at the end of American industrial dominance. Its demise is also the result of cultural triage performed by historic preservationists in the years immediately after the passage of New York City's Landmark legislation in 1965.
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CRIST, ELIZABETH B. "The best of all possible worlds: The Eldorado episode in Leonard Bernstein’s Candide." Cambridge Opera Journal 19, no. 3 (October 17, 2007): 223–48. http://dx.doi.org/10.1017/s0954586707002352.
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ABSTRACTIn January 1954 Leonard Bernstein began work with Lillian Hellman on a musical version of Voltaire’s Candide. A first draft of the show was complete by the end of the year but was subsequently revised with new lyricist Richard Wilbur, eventually opening for previews in October 1956 and on Broadway that December. From the beginning, Candide was intended as political satire. Both Bernstein and Hellman leaned to the left politically and were embroiled in McCarthyism during the early years of the Cold War; Candide was their indictment of ‘puritanical snobbery, phony moralism, inquisitorial attacks on the individual, brave-new-world optimism, [and] essential superiority’, as Bernstein himself explained. Voltaire’s critique of Enlightenment optimism is here deployed against the ideological certainties of Eisenhower’s America. Yet the letters, scripts and scores that document the genesis of Candide indicate that playwright and composer struggled with its meanings and, even more, with their own intent. Of particular interest as a site of that struggle is the Eldorado episode, a passage of central yet ambiguous significance in Voltaire’s conte. Although Hellman and Bernstein may have first been attracted to Candide for its political potential, changes to the Eldorado episode, involving a complete reworking of the second act, shifted the focus of Candide away from satirical critique and towards a romantic plot more typical of the Broadway musical.
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Kippola, Karl M. "Pioneer Performances: Staging the Frontier by Matthew Rebhorn, and: Early-Twentieth-Century Frontier Dramas on Broadway: Situating the Western Experience in Performing Arts by Richard Wattenberg." Theatre Journal 66, no. 1 (2014): 170–72. http://dx.doi.org/10.1353/tj.2014.0032.
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SCHWEITZER, MARLIS. "‘The Canny Scot’: Harry Lauder and the Performance of Scottish Thrift in American Vaudeville." Theatre Research International 36, no. 3 (August 30, 2011): 254–68. http://dx.doi.org/10.1017/s0307883311000484.
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Scottish vaudevillian Harry Lauder epitomized Scottishness in the Anglo-American cultural imaginary for much of the twentieth century. Yet Lauder's Scottishness was a carefully crafted performance, a collaborative effort between Lauder and his American agent, William Morris, centred on Lauder's embodiment of the ‘canny Scot’ stereotype. The article argues that this performance served two primary objectives within the context of early twentieth-century vaudeville. First, stories of Lauder's ‘characteristic’ Scottish thrift worked to deflect commentary about the star's status as a highly paid foreign commodity. By planting stories and arranging interviews that represented Lauder as a skilled and cunning Scot, Morris addressed growing anxieties that men, as well as women, were becoming mere cogs in the machine of corporate Broadway capital. Second, Morris's representation of Lauder as the epitome of all things Scottish guaranteed the loyal patronage of the Scottish diaspora and supported expressions of nationalist pride that were not antithetical to Scottish membership within the Union.
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Detweiler, Robert. "Carnival of Shame: Doctorow and the Rosenbergs." Religion and American Culture: A Journal of Interpretation 6, no. 1 (1996): 63–85. http://dx.doi.org/10.1525/rac.1996.6.1.03a00040.
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“Literature can turn language, for the moment at least, against the sentence of death.”Considering the national and international furor provoked by the sensational early 1950's “atom spy” trial and execution of Julius and Ethel Rosenberg, one may be surprised that these dramatic and traumatic events have not inspired more literary artistry than they have. But a prominent playwright, Arthur Miller, did write The Crucible (produced in 1953) in part as a response to the rabid McCarthyism of that era, and two highly regarded novelists in a later decade composed ambitious novels drawing directly on the Rosenberg affair: E. L. Doctorow in The Book of Daniel (1971) and Robert Coover in The Public Burning (1977). In 1987, Sidney Lumet produced the little noticed film Daniel, based on Doctorow's novel, and still more recently Tony Kushner's Pulitzer Prize-winning play, Angels in America, with Ethel Rosenberg as one of the characters, has been playing on Broadway.
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Moore, James Ross. "Cole Porter in Britain." New Theatre Quarterly 8, no. 30 (May 1992): 113–22. http://dx.doi.org/10.1017/s0266464x00006564.
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The place of Cole Porter – the centenary of whose birth fell last June – within the tradition of the American musical has been well documented and fully discussed. Usually, however, this is at the expense of his earliest work, first as an exponent of Gilbertian pastiche, later as a dilettante ex-legionnaire in France – and then, as he grew aware of his own potential as a professional, in his work for the London theatre in the 1920s and early 1930s. Much of this was for revues mounted by the legendary impresario C. B. Cochran, though in 1933 the production of Nymph Errant proved to be his first and last original, full scale book musical for Britain, shortly before Porter's decision to move his home as well as his ambitions to Broadway. James Moore is a Cambridge-based writer, whose current work in progress includes a book on the British–American musical theatre and a full-length biography of Cochran's great rival, André Chariot – with whom Cole Porter finally collaborated in 1934, contributing ‘Miss Otis Regrets’ to the topical revue Hi Diddle Diddle.
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Kolin, Philip C. "“Cruelty … and Sweaty Intimacy”: The Reception of the Spanish Premiere of A Streetcar Named Desire." Theatre Survey 35, no. 2 (November 1994): 45–56. http://dx.doi.org/10.1017/s0040557400002787.
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The circumstances surrounding the national premieres of Tennessee Williams's A Streetcar Named Desire reflect not only the play's vibrant theatre life but also the particular culture that responded to it, validating past or anticipating future critical interpretations. Within two years of the Broadway (and world) premiere of Streetcar in December 1947, the play had been staged in Austria, Belgium, Holland, France (adapted by Jean Cocteau), Italy (with sets by Franco Zeffirelli), England (directed by Sir Laurence Olivier), Switzerland (with a translation by poet Berthold Viertel), and Sweden (directed by Ingmar Bergman). In March of 1950, Streetcar premiered in U.S.-occupied Germany, at Pfozheim. The premiere of the play in some of the former Communist Bloc countries followed in the 1950s or early 1960s. Streetcar opened on the same day—December 21, 1957—at Torun and Wroclaw (Breslau in pre-War Germany), Poland, and in Warsaw the subsequent April of 1958. The Czechoslovakian premiere of Streetcar was in November 1960 in Moravia and its Hungarian debut occurred shortly after.
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Ванг Юй. "БАГАТОВИМІРНІСТЬ ВТІЛЕНЬ СЮЖЕТУ ТУРАНДОТ В ЖАНРІ ТЕАТРАЛЬНОЇ МУЗИКИ." World Science 3, no. 3(43) (March 31, 2019): 34–44. http://dx.doi.org/10.31435/rsglobal_ws/31032019/6419.
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The article deals with the historical projection of the 300-year-old path of the Turandot image in the genre of theatrical music. After completing all the stages of European exoticism in Chinese subjects, Turandot was embodied in the main stages of the development of musical drama - from the baroque French Fair Theater Fory Saint-Lauren (Le Sage / d'Orneval for the first time analyzed music by J.C. Gillіer) through the pre-classical model of Italian folk (K. Gozzi) to the concept of German romanticism (F. Schiller ‒ F. Destush, K.M. Weber, W. Lyahner), oriental readings of the early modern days: neoclassical (F. Buzoni), symbolist (W. Ferst), primitive-naive (Y. Vakhtangov), psychologically-expressionistic (W. Stenhammar), household-entertaining variants (Broadway Theater) and complex multicomponent phenomena of the second half of the twentieth century, embodied in the "epic theater" (B. Brecht / H. D. Hosalla, Y. Lakner, A. Schnitke) and means "Theater of absurd" (W. Hilderschmayer), based on postmodernistic parameters of hybrid genre formations in Ukrainian culture (M. Denisenko, I. Uryvskiy) in the globalized reference of intercultural communication of the beginning of the third millennium.
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Brock, Alan. "This Very Old Fair Lady: the Last Years of Mrs. Patrick Campbell." New Theatre Quarterly 6, no. 21 (February 1990): 57–63. http://dx.doi.org/10.1017/s0266464x00003973.
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Mrs. Patrick Campbell had captivated New York, in her distinctively grand manner, well before Bernard Shaw wrote the part of Eliza for her in Pygmalion, and immortalized her reputation on stage – as, perhaps, his own protracted and largely epistolatory affair with the temperamental actress immortalized her off-stage. But by the early 1930s, when Mrs. Pat was approaching her own seventh decade, her stage appearances were infrequent, and less fortunate times found her living well beyond her means in New York. There, Alan Brock, at the time an aspiring young actor, made her acquaintance, and in due course became her agent. In the following article he tells the story of Mrs. Pat's declining years – which were marked by a final triumph, half the proceeds of which evaporated, instantly and characteristically, on celebrating the success. Alan Brock went on to become an actor for George Abbott, Howard Lindsay, and the Shuberts. Also a New York actors’ agent, he represented numerous leading players, and later worked with Ben Hecht and Billy Rose on two Broadway shows, while authoring his own radio series and contributing a regular column to the trade weekly Backstage.
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Ward-Griffin, Danielle. "As Seen on TV: Putting the NBC Opera on Stage." Journal of the American Musicological Society 71, no. 3 (2018): 595–654. http://dx.doi.org/10.1525/jams.2018.71.3.595.
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This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.
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LYNCH, CHRISTOPHER. "Cheryl Crawford'sPorgy and Bess: Navigating Cultural Hierarchy in 1941." Journal of the Society for American Music 10, no. 3 (August 2016): 331–63. http://dx.doi.org/10.1017/s1752196316000237.
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AbstractThis article analyzes the revisions producer Cheryl Crawford and her team made toPorgy and Bessfor a revival that opened in Maplewood, New Jersey, in 1941 and moved to Broadway in early 1942. Crawford's revisions addressed criticisms of the opera that had first been issued at its premiere in 1935, especially complaints about its dramatic viability and the appropriateness of African American performers in opera. The revisions distancedPorgy and Bessfrom the practices of the Metropolitan Opera House, which the press routinely criticized as antiquated and dull. They also reduced the amount of operatic recitative, which Crawford saw as “out of keeping with the black milieu,” strategically reserving the device for specific moments that played into the stereotype of African Americans as naturally musical. In her marketing of the show, Crawford reframed the critical discussion ofPorgy and Bessby deflecting attention away from disputes over genre and race and toward the structural and formal qualities of the work. These strategies, which were aimed at attracting a broad audience with divergent values and aesthetic preferences, proved successful. Whereas the 1935 production was a commercial failure, Crawford'sPorgy and Bessbecame a hit, marking a crucial step toward the establishment of the work in the American operatic repertoire.
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CASHMAN, NICKY. "Politics, Passion, Prejudice: Alice Childress's Wedding Band: A Love/Hate Story in Black and White." Journal of American Studies 43, no. 3 (October 28, 2009): 407–23. http://dx.doi.org/10.1017/s0021875809990855.
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Last night I dreamed of the dead slaves – all the murdered black and bloody men silently gathered at the foot-a my bed. Oh, that awful silence. I wish the dead could scream and fight back. What they do to us …Julia Augustine, Wedding BandHistorical and universal issues of love and hate, patriarchy and bigotry prevail in Alice Childress's tragic drama Wedding Band: A Love/Hate Story in Black and White. Originally written in the early 1960s, the play was not printed or performed professionally until 1966, despite some interest in producing the play on Broadway. Hence, due to its alleged controversial subject matter, the play remained largely unknown to mainstream audiences. Childress, it seems, unfashionably portrays a long-standing, committed interracial relationship set in 1918 South Carolina. This representation conflictingly juxtaposes with the well-documented fervent civil rights period of the mid-1960s. Additionally, with predominantly black and white male civil rights activists peacefully enforcing laws upholding desegregation in the South, Childress demonstrates segregation's insidious nature primarily through the insightfulness and experience of black women. This perceptiveness introduces what Childress herself penned as “anti-woman laws,” patriarchal norms that made living incredibly difficult for black and white women alike.
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Mayeux, Sara. "“An Honest But Fearless Fighter”: The Adversarial Ideal of Public Defenders in 1930s and 1940s Los Angeles." Law and History Review 36, no. 3 (August 2018): 619–66. http://dx.doi.org/10.1017/s0738248018000202.
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Early one Sunday in 1948, Frederic Vercoe set out from his home in San Marino, California, for a speaking engagement in downtown Los Angeles. Perhaps he took the Arroyo Seco Parkway, which had opened for drivers 8 years before, linking the city more tightly with its “vast agglomerate of suburbs.” Although the roads may have changed, Vercoe had been making some version of this commute for decades. He had recently retired after a long career with the Los Angeles County Public Defender—13 years as a deputy, followed by 19 years as head of the office—and now maintained a small private law practice downtown. Many mornings, Vercoe would have had business at the Hall of Justice, the ten-story box of “gray California granite” that housed the jails and courtrooms. On this particular morning, he was headed instead to Clifton's Cafeteria at Seventh Street and Broadway. Perhaps, as he drove the dozen miles west into the city, he admired the “geraniums, cosmos, sweet peas, asters and marigolds” that lined the “gardens, parkways, and driveways,” or perhaps he was used to the foliage by now. Vercoe had lived in California for more than 30 years, making him, by West Coast standards, a real “old-timer.”
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McConachie, Bruce. "Method Acting and the Cold War." Theatre Survey 41, no. 1 (May 2000): 47–68. http://dx.doi.org/10.1017/s0040557400004385.
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Triumphalist accounts of the spread of “the Method” in post-World War II America generally explain its success as the victory of natural truths over benighted illusions about acting. In Method Actors: Three Generations of An American Acting Style, for instance, Steve Vineberg follows his summary of the primary attributes of “method” acting with the comment: “These concerns weren't invented by Stanislavski or his American successors; they emerged naturally out of the two thousand-year history of Western acting.” Hence, the final triumph of “the Method” was natural, even inevitable. Vineberg's statement, however, raises more questions than it answers. Why did it take two thousand years for actors and theorists of acting to get it right? Or, to localize the explanation to the United States, why did more American actors, directors, and playwrights not jump on the Stanislavski bandwagon and reform the American theatre after the appearance of the Moscow Art Theatre in New York in 1923 and the subsequent lectures and classes from Boleslavski and others? The Group Theatre demonstrated the power of Stanislavski-derived acting techniques in the 1930s, but their substantial successes barely dented the conventional wisdom about acting theory and technique in the professional theatre. Yet, in the late 1940s and early fifties, “method” acting, substantially unchanged from its years in the American Laboratory and Group theatres, took Broadway and Hollywood by storm.
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Olsen, Christopher. "Theatre Audience Surveys: towards a Semiotic Approach." New Theatre Quarterly 18, no. 3 (August 2002): 261–75. http://dx.doi.org/10.1017/s0266464x02000349.
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Surveys are used to define an audience in a quantifiable way. Awareness of the typical gender, age, and income of their patrons, along with their rating of a theatre's facilities, help theatre producers to address an audience's needs. However, producers seldom explore the audience response to a specific performance – something that is difficult to quantify. Thus, the audience's interaction with the performance – whether with particular actors, the space configuration, or with fellow spectators – is neglected in favour of such demographics as age, income, and occupation. Christopher Olsen suggests that surveys handed out to audience members might benefit from a more qualitative approach based on semiotic analysis. He asked sixty professional theatres in the USA – ranging from major repertory institutions to small theatres targeting specific audiences – to send examples of recent audience surveys they have conducted. Using the surveys (of which the most extensive is reproduced in full), as a guide, he tabulates the most common questions asked, and offers examples of further survey questions guided by semiotic principles. Chris Olsen is currently an adjunct professor at Montgomery College and Shenandoah University in the Washington, DC, area. Having written his dissertation on the Arts Lab phenomenon in Britain during the late 1960s and early 1970s, he is now working on a book about the second wave of the Off-Off-Broadway movement in New York.
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Shingler, Martin. "Rich voices in talky talkies: The Rich Are Always with Us." Soundtrack 3, no. 2 (December 1, 2010): 109–15. http://dx.doi.org/10.1386/st.3.2.109_1.
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Darryl F. Zanuck produced The Rich Are Always with Us (Alfred E. Green, 1932) for Warner Bros. as a prestige star vehicle for Ruth Chatterton. Set among the New York high society, the picture features characters that, in addition to being wealthy, are clever, witty and well dressed, i.e. the smart set. They are adept at delivering banter in crisp articulate voices, speaking rapidly to signify intelligence, youth and modernity. This ultra-modern film had all the hallmarks of a prestige picture: a major star, a literary adaptation, stylish sets and props, elegant and fashionable costumes designed by Orry-Kelly, and some stunning cinematography by Ernest Haller. Nevertheless, it was shot quickly and cheaply, with a supporting cast made up largely of inexpensive contract players. As much as anything else, it was the rich voices of the cast that lent an air of distinction to this production, exploiting the audience's desire to hear smart talk delivered in voices that were full toned, highly modulated, carefully enunciated and refined. While this is not the kind of film most historians consider typical of Warners in the 1930s considering the likes of The Public Enemy (William Wellman, 1931), 42nd Street (Lloyd Bacon, 1931) and 20,000 Years in Sing Sing (Michael Curtiz, 1933) to be more representative this article reveals that there was a very different side to Warners' output during the early 1930s, one that sought to take advantage of Broadway talent and create articulate movies for upmarket audiences. This article, moreover, suggests that rich voices in talky talkies were a significant part of Warners' production strategy during the early 1930s and that New York's chattering classes provided the perfect subject for prestige talking pictures at this critical time of economic austerity.
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ADAMS, SARAH, CAROL J. OJA, and KAY KAUFMAN SHELEMAY. "Leonard Bernstein's Jewish Boston: An Introductory Note." Journal of the Society for American Music 3, no. 1 (January 15, 2009): 1–2. http://dx.doi.org/10.1017/s1752196309090014.
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Leonard Bernstein (1918–90)—the now-legendary composer and conductor—had deep roots among Eastern European Jewish immigrants in Boston. This volume of essays explores aspects of that personal and sociocultural experience as revealed through an intensive team-research seminar at Harvard University during the spring semester of 2006. Titled “Before West Side Story: Leonard Bernstein's Boston,” the course positioned Bernstein within interlocking local networks, primarily during the 1930s and early 1940s. Its aim was not to prepare a standard biographical narrative, but rather to interrogate the synergy between an individual and supportive communities, whether religious, ethnic, educational, or musical. Carol J. Oja and Kay Kaufman Shelemay designed and team-taught the seminar, guiding a group of nineteen graduate and undergraduate students in both fieldwork and archival research, and they timed it to precede “Leonard Bernstein: Boston to Broadway,” a major international festival and conference about Bernstein, which took place at Harvard in October 2006. By drawing on complementary methodologies and capitalizing on the multiple layers of activity made possible by such a large group of researchers, the students covered an extraordinary amount of turf in a short time, and they did so in innovative ways. As their work unfolded, intriguing insights emerged about the powerful, ongoing role played by Boston's Jewish immigrant community in shaping the identity and character of a man who was to become one of America's most illustrious musicians.
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OJA, CAROL J., and KAY KAUFMAN SHELEMAY. "Leonard Bernstein's Jewish Boston: Cross-Disciplinary Research in the Classroom." Journal of the Society for American Music 3, no. 1 (January 15, 2009): 3–33. http://dx.doi.org/10.1017/s1752196309090026.
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AbstractLeonard Bernstein is most often perceived as the quintessential New Yorker—music director of the New York Philharmonic from 1958 to 1969 and composer of Broadway shows that made New York their focus. Yet his grounding in the greater Boston area was powerful. He was born in 1918 in Lawrence, Massachusetts, and raised in various Jewish neighborhoods within Boston. The young Leonard went to Boston Latin, a prestigious public prep school, and graduated from Harvard in 1939.This article explores a team research project, made up of Harvard graduate students and undergraduates, which delved into the urban subcultures and post-immigrant experiences that shaped Bernstein's youth and early adulthood. It considers the synergy between an individual and a community, and it examines the complexities of blending pedagogy with research, analyzing the multilayered methodologies and theoretical strategies that were employed.Given Bernstein's iconic status, his life and career illuminate a broad range of questions about the nature of music in American society. Fusing the techniques of ethnographic and archival research, our team probed Bernstein's formative connections to Jewish traditions through his family synagogue (Congregation Mishkan Tefila), the ethnic geography that defined the Boston neighborhoods of his immigrant family, the network of young people involved in Bernstein's summer theatrical productions in Sharon, Massachusetts, during the 1930s, and the formative role of the city's musical venues and institutions in shaping Bernstein's lifelong campaign to collapse traditional distinctions between high and low culture.
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Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (November 2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.
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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vision of the theatre that he shared with Bentley and Brustein. Collectively, these three critics championed the European modern dramatists, like Pirandello, Brecht, Beckett, and Genet, whose plays were rarely if ever performed on Broadway. They also embraced the early work of performance groups such as Julian Beck and Judith Malina's Living Theater when they were either ignored or deplored by most mainstream reviewers. Above all, they challenged the time-honoured idea that the primary goal of the theatre is to provide the audience with an emotional catharsis achieved by realistically identifying with the dramatic protagonist. By contrast, Bentley, Brustein, and Kauffmann championed a theatre that emphasized poetic stylization, intellectual seriousness, and social engagement. The discussion which follows, held on 27 October 2007 at the Philoctetes Center, New York, examines the legacy of these leading American theatre critics of the past fifty years. Bert Cardullo, who transcribed and edited the discussion, was Stanley Kauffmann's student at the Yale School of Drama and is the author, editor, or translator of many books, among them Theater of the Avant-Garde, 1889–1950, What Is Dramaturgy?, and American Drama/Critics: Writings and Readings.
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Stilwell, Robynn J. "Black Voices, White Women's Tears, and the Civil War in Classical Hollywood Movies." 19th-Century Music 40, no. 1 (2016): 56–78. http://dx.doi.org/10.1525/ncm.2016.40.1.56.
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Two musical trends of the 1930s—the development of a practice for scoring sound films, and the increasing concertization of the spiritual in both solo and choral form—help shape the soundscape of films based in the South and/or on Civil War themes in early sound-era Hollywood. The tremendous success of the Broadway musical Show Boat (1927), which was made into films twice within seven years (1929, 1936), provided a model of chorus and solo singing, and films like the 1929 Mary Pickford vehicle Coquette and the 1930 musical Dixiana blend this theatrical practice with a nuanced syntax that logically carries the voices from outdoors to indoors to the interior life of a character, usually a white woman. Director D. W. Griffith expands this use of diegetic singing in ways that will later be the province of nondiegetic underscore in his first sound film, Abraham Lincoln (1930). Shirley Temple's Civil War–set films (The Little Colonel and The Littlest Rebel [both 1935] and Dimples [1936]) strongly replicate the use of the voices of enslaved characters—most of whom are onscreen only to provide justification for the source of the music—to mourn for white women. Jezebel, the 1938 antebellum melodrama, expands musicodramatic syntax that had been developed in single scenes or sequences over the entire second act and a white woman's fall and attempted redemption. Gone with the Wind (1939) both plays on convention and offers a moment of transgression for Prissy, who takes her voice for her own pleasure in defiance of Scarlett O'Hara. The detachment of the spiritual from the everyday experience of African Americans led to a recognition of the artistry of the music and the singers on the concert stage. In film, however, the bodies of black singers are marginalized and set in service of white characters and white audiences.
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Keshavan, Matcheri S., Lynn E. DeLisi, and Larry J. Seidman. "Early and broadly defined psychosis risk mental states." Schizophrenia Research 126, no. 1-3 (March 2011): 1–10. http://dx.doi.org/10.1016/j.schres.2010.10.006.
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Mureithi, Peris Murugi, Dr Syprine Otieno, and Dr Wachuka Njoroge. "Relationship Between Access to Reproductive Health Information and Risky Sexual Behaviour Among Secondary School Adolescents in Kiambu County, Kenya." Journal of Health, Medicine and Nursing 6, no. 1 (January 17, 2021): 14–39. http://dx.doi.org/10.47604/jhmn.1197.
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Purpose: The study aimed to determine the relationship between access to reproductive health information and risky sexual behaviour among secondary school adolescents in Kiambu County, Kenya.
Methodology: This was a descriptive cross-sectional study. The study targeted 7002 adolescent students from all the 13 public secondary schools in Thika West Sub-County. The following schools were selected Chania girls’ boarding school; Chania boys’ boarding school and Broadway mixed day school. Thus, specifically, the study targeted 2047 students. Fisher’s formula was used to arrive at 364 respondents which 10% was added to cater for attrition. This gave a sample of 400. Stratified sampling techniques was adopted in selecting participating schools to allocate the sample in the respective strata. The study sampled 400-students, their guidance and counselling teachers as the key informants. The researcher administered questionnaires, interview schedules (KII) and focus group discussions (FGD) were used in data collection. Descriptive statistics such as mean, mode and percentages, and inferential statistics such as chi-square and binary logistic regression were applied. P-value ≤ 0.05 was considered statistically significant.
Results: Results revealed that the majority of the adolescent students were aware of contraceptives n=220 (64.7%), safe sex n=284 (83.5%) HIV/AIDS and STIs. The main source of information was found to be from parents and social media (n=172, 50.6%) and mass media as well as religious leaders (n=48, 14.1%). Majority of the students n=228 (67.1%) considered the availability of reproductive health information less easy, n=152 (44.7%) found the age-appropriate reproductive information helpful Majority of the students n=288 (84.7%) found age-appropriate reproductive information easy to understand, while n=192 (56.5%) found age-appropriate reproductive information easy to apply. Culture, religion and Poverty were also found to have a great and significant influence on age-appropriate reproductive health information. The study concluded that secondary school adolescents in Thika West Sub-County were aware of the contraceptives, safe sex and HIV/Aids and STIs, but the majority had a first sexual encounter at the age of 15 years and though they preferred reproductive information from sources they relied on such as their parents, teachers and social environment, what they received from such was minimal While culture, religious affiliation and economic status greatly influenced their access to age-appropriate reproductive health information.
Unique contribution to theory, policy and practice: The study recommends that policymakers should enhance on programmes that advocate for age-appropriate reproductive information through the engagement of all stakeholders like parents’ teachers religious and community leaders, who should be sensitized and in training to provide this information as early as six years of age through all stages of life. Adolescents should be imparted with age-appropriate reproductive information at the early stages of life before they start experiencing biological changes so that they can be in control of the changes.
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Goo, Leslie, Vrasha Chohan, Ruth Nduati, and Julie Overbaugh. "Early development of broadly neutralizing antibodies in HIV-1–infected infants." Nature Medicine 20, no. 6 (May 25, 2014): 655–58. http://dx.doi.org/10.1038/nm.3565.
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Karuna, Shelly T., and Lawrence Corey. "Broadly Neutralizing Antibodies for HIV Prevention." Annual Review of Medicine 71, no. 1 (January 27, 2020): 329–46. http://dx.doi.org/10.1146/annurev-med-110118-045506.
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In the last decade, over a dozen potent broadly neutralizing antibodies (bnAbs) to several HIV envelope protein epitopes have been identified, and their in vitro neutralization profiles have been defined. Many have demonstrated prevention efficacy in preclinical trials and favorable safety and pharmacokinetic profiles in early human clinical trials. The first human prevention efficacy trials using 10 sequential, every-two-month administrations of a single anti-HIV bnAb are anticipated to conclude in 2020. Combinations of complementary bnAbs and multi-specific bnAbs exhibit improved breadth and potency over most individual antibodies and are entering advanced clinical development. Genetic engineering of the Fc regions has markedly improved bnAb half-life, increased mucosal tissue concentrations of antibodies (especially in the genital tract), and enhanced immunomodulatory and Fc effector functionality, all of which improve antibodies' preventative and therapeutic potential. Human-derived monoclonal antibodies are likely to enter the realm of primary care prevention and therapy for viral infections in the near future.
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van den Kerkhof, Tom L. G. M., Zelda Euler, Marit J. van Gils, Brigitte D. Boeser-Nunnink, Hanneke Schuitemaker, and Rogier W. Sanders. "Early development of broadly reactive HIV-1 neutralizing activity in elite neutralizers." AIDS 28, no. 8 (May 2014): 1237–40. http://dx.doi.org/10.1097/qad.0000000000000228.
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Zazueta-Novoa, Vanesa, and Gary M. Wessel. "Protein degradation machinery is present broadly during early development in the sea urchin." Gene Expression Patterns 15, no. 2 (July 2014): 135–41. http://dx.doi.org/10.1016/j.gep.2014.06.002.
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Corrigan, John. "Early American Christianity. Edited by Bill J. Leonard. Nashville: Broadman Press, 1983. 415 pp." Church History 54, no. 1 (March 1985): 155–56. http://dx.doi.org/10.2307/3165828.
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Stephenson, Kathryn E., Kshitij Wagh, Bette Korber, and Dan H. Barouch. "Vaccines and Broadly Neutralizing Antibodies for HIV-1 Prevention." Annual Review of Immunology 38, no. 1 (April 26, 2020): 673–703. http://dx.doi.org/10.1146/annurev-immunol-080219-023629.
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Development of improved approaches for HIV-1 prevention will likely be required for a durable end to the global AIDS pandemic. Recent advances in preclinical studies and early phase clinical trials offer renewed promise for immunologic strategies for blocking acquisition of HIV-1 infection. Clinical trials are currently underway to evaluate the efficacy of two vaccine candidates and a broadly neutralizing antibody (bNAb) to prevent HIV-1 infection in humans. However, the vast diversity of HIV-1 is a major challenge for both active and passive immunization. Here we review current immunologic strategies for HIV-1 prevention, with a focus on current and next-generation vaccines and bNAbs.
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Meyerson, Nicholas R., Amit Sharma, Gregory K. Wilkerson, Julie Overbaugh, and Sara L. Sawyer. "Identification of Owl Monkey CD4 Receptors Broadly Compatible with Early-Stage HIV-1 Isolates." Journal of Virology 89, no. 16 (June 10, 2015): 8611–22. http://dx.doi.org/10.1128/jvi.00890-15.
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ABSTRACTMost HIV-1 variants isolated from early-stage human infections do not use nonhuman primate versions of the CD4 receptor for cellular entry, or they do so poorly. We and others have previously shown thatCD4has experienced strong natural selection over the course of primate speciation, but it is unclear whether this selection has influenced the functional characteristics of CD4 as an HIV-1 receptor. Surprisingly, we find that selection onCD4has been most intense in the New World monkeys, animals that have never been found to harbor lentiviruses related to HIV-1. Based on this, we sampledCD4genetic diversity within populations of individuals from seven different species, including five species of New World monkeys. We found that some, but not all,CD4alleles found in Spix's owl monkeys (Aotus vociferans) encode functional receptors for early-stage human HIV-1 isolates representing all of the major group M clades (A, B, C, and D). However, only some isolates of HIV-1 subtype C can use the CD4 receptor encoded by permissive Spix's owl monkey alleles. We characterized the prevalence of functionalCD4alleles in a colony of captive Spix's owl monkeys and found that 88% of surveyed individuals are homozygous for permissiveCD4alleles, which encode an asparagine at position 39 of the receptor. We found that the CD4 receptors encoded by two other species of owl monkeys (Aotus azarae andAotus nancymaae) also serve as functional entry receptors for early-stage isolates of HIV-1.IMPORTANCENonhuman primates, particularly macaques, are used for preclinical evaluation of HIV-1 vaccine candidates. However, a significant limitation of the macaque model is the fact that most circulating HIV-1 variants cannot use the macaque CD4 receptor to enter cells and have to be adapted to these species. This is particularly true for viral variants from early stages of infection, which represent the most relevant vaccine targets. In this study, we found that some individuals from captive owl monkey populations harborCD4alleles that are compatible with a broad collection of HIV-1 isolates, including those isolated from early in infection in highly affected populations and representing diverse subtypes.
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Herzberg, Max P., Kelly Jedd McKenzie, Amanda S. Hodel, Ruskin H. Hunt, Bryon A. Mueller, Megan R. Gunnar, and Kathleen M. Thomas. "Accelerated maturation in functional connectivity following early life stress: Circuit specific or broadly distributed?" Developmental Cognitive Neuroscience 48 (April 2021): 100922. http://dx.doi.org/10.1016/j.dcn.2021.100922.
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Due, Stephen. "Charles Broady Mingaye Syder (1797–1871): Medical Temperance Pioneer." Journal of Medical Biography 11, no. 1 (February 2003): 21–27. http://dx.doi.org/10.1177/096777200301100107.
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Mingaye Syder was a general practitioner, a medical teacher, a notable writer and editor of medical textbooks, and an outstanding early advocate of temperance. He started a temperance dispensary, possibly the first of its kind, and was the founder and editor of two medical temperance periodicals. Financial success eluded him, however, and he was twice imprisoned for debt. He later emigrated to Victoria, where he was a country doctor for the last 20 years of his life.
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Legarra Herrero, Borja. "Recent developments in the study of Early Bronze Age Crete (Early Minoan period)." Archaeological Reports 65 (November 2019): 87–110. http://dx.doi.org/10.1017/s057060841900005x.
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The production and publication of new research on the Cretan Early Bronze has accelerated tremendously in recent decades. This article aims to present the highlights and main trends of the last 15 years: the sites, excavations, research projects and main publications. Moreover, it explores how the new data interlink with the extremely large body of information available from more than 100 years of archaeological studies on Crete. The aim of such a review is to identify patterns of research, popular themes and the strengths and weaknesses of the data recovered, and to consider the place of Early Bronze Crete in current trends in the fields of Mediterranean Prehistory and archaeology more broadly.
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Lavery, Grace. "Egg Theory's Early Style." TSQ: Transgender Studies Quarterly 7, no. 3 (August 1, 2020): 383–98. http://dx.doi.org/10.1215/23289252-8553034.
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Abstract This essay contemplates an enduring form of reasoning it titles “egg theory”: the type of reasoning that trans people use, prior to transition, to prove transition's impossibility or fruitlessness. It follows this reasoning in a critical and ironic framing in the work of the novelist and critic Sybil Lamb and then, in a less ironic mode, through some essays of Eve Sedgwick and, more broadly, the tranche of queer theory that her work continues to inspire. Egg theory's hostility to the logic of transition inheres in queer theory's own insistence on universality and virtuality as key aspects of queer politics. The essay concludes by considering, through Freud's “Schreber Case” and Dalí's “Metamorphosis of Narcissus,” alternatives to egg theory for approaching the condition of the egg before it hatches, the trans person before transition.
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Naito, Jonathan Tadashi. "WRITING SILENCE: Samuel Beckett's Early Mimes." Samuel Beckett Today / Aujourd'hui 19, no. 1 (August 1, 2008): 393–402. http://dx.doi.org/10.1163/18757405-019001032.
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In the twentieth century, French theatre was dramatically transformed by a reconsideration of the possibilities of mime. However, Samuel Beckett's three early mimes, "Dreamer's Mime A" and and , have not been identified with this phenomenon. This essay argues that rather than being eccentric works, these early mimes were crucial in Beckett's development of a decidedly corporeal dramatic aesthetic. In this respect, he has much in common with his French contemporaries Jacques Copeau and Jean-Louis Barrault, who, through a broadly conceived notion of mime, sought to return the body to the stage.
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Chen, Carol C. L., Preeti Goyal, Mohammad M. Karimi, Marie H. Abildgaard, Hiroshi Kimura, and Matthew C. Lorincz. "H3S10ph broadly marks early-replicating domains in interphase ESCs and shows reciprocal antagonism with H3K9me2." Genome Research 28, no. 1 (December 11, 2017): 37–51. http://dx.doi.org/10.1101/gr.224717.117.
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Richardson, Simone I., Amy W. Chung, Harini Natarajan, Batsirai Mabvakure, Nonhlanhla N. Mkhize, Nigel Garrett, Salim Abdool Karim, et al. "HIV-specific Fc effector function early in infection predicts the development of broadly neutralizing antibodies." PLOS Pathogens 14, no. 4 (April 9, 2018): e1006987. http://dx.doi.org/10.1371/journal.ppat.1006987.
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Press, Frances, and Jen Skattebol. "Early Childhood Activism, Minor Politics and Resuscitating Vision: A Tentative Foray into the Use of ‘Intersections' to Influence Early Childhood Policy." Contemporary Issues in Early Childhood 8, no. 3 (September 2007): 180–91. http://dx.doi.org/10.2304/ciec.2007.8.3.180.
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Many postmodern and post-structural analyses of government policies affecting early childhood education stress the hegemonic nature of neo-liberalism and subsequently primarily focus upon identifying the manifestation of neo-liberal values in such interventions. An unintended and stultifying consequence of such analyses is, at times, to close off the possibilities of envisioning a positive engagement with, and role for, government policy. In addition, the primacy offered to localised knowledges can engender the development of policy responses which are not cognisant of more broadly based social impacts. In response, the authors proffer the use of intersections as key points for the development of analyses and action. This necessitates an active awareness of the ways in which local knowledges and experiences cross, or overlay, information generated from other sites, including disciplinary knowledges and analyses that may be classified as modernist. By utilising points of convergence, as well as understanding points of divergence, intersections can be used to open up spaces for political action that recognise and generate localised responses, whilst at the same time engendering policy that enables more broadly based social justice.
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Butterfield, Nicholas J. "An Early Cambrian radula." Journal of Paleontology 82, no. 3 (May 2008): 543–54. http://dx.doi.org/10.1666/07-066.1.
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Microscopic teeth isolated from the early Cambrian Mahto Formation, Alberta, Canada, are identified as components of a molluscan radula, the oldest on record. Tooth-rows are polystichous and lack a medial rachidian tooth-column. Anterior-posterior differences in tooth-row morphology are interpreted as ontogenetic and correspond broadly to the diversity of isolated teeth, some of which correspond closely with those of extant aplacophoran molluscs. Associated pock-marked cuticular fragments are interpreted as having supported multiple biomineralized sclerites/spines in the manner of a modern chiton girdle. On the assumption that the cuticle and radula derive from the same species, there is a strong case for identifying this fossil as an aculiferan (aplacophoran + polyplacophora) mollusc, possibly a stem-group chiton. Similarities between the Mahto radula and the feeding apparatus of Wiwaxia and Odontogriphus are shown to be superficial. Terminal wear on some of the Mahto teeth indicate that they were used to scrape hard-substrates.
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WERRETT, SIMON. "Recycling in early modern science." British Journal for the History of Science 46, no. 4 (August 31, 2012): 627–46. http://dx.doi.org/10.1017/s0007087412000696.
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AbstractThis essay follows recent work in environmental history to explore the history of recycling in physical sciences in Britain and North America since the seventeenth century. The term ‘recycling’ is here used broadly to refer to a variety of practices that extended the life of material resources for doing science in the early modern period. These included practices associated with maintenance, repair, exchange and the adaptation or reuse of material culture. The essay argues that such practices were common in early modern science, and informed experimental spaces and techniques and the ideas that they generated. The essay considers some of the varied motivations that led to such practices, and concludes by examining the endurance of recycling in science since the end of the eighteenth century, particularly in recent efforts to create sustainable scientific research practices.