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The article focuses on a high school English teacher Raymond Antrobus and his approach to teaching poetry to his 9th grade students including using poetry to engage marginalized students, incorporating diverse poets, and providing prompts to inspire personal writing.

This paper analyzes a set of poems written on banqueting trenchers aimed at literalizing the considerations of the material text by exploring poems on things. Topics covered include reason for scarcity of research on "non-paper" literature, trenchers as sources of texts and images, trenchers in the Metropolitan Museum of Art and in Ashmolean Museum and impact of material on depth and meaning of content.

The article reports that like several poems by Wallace Stevens, the composition of his wartime poem "Esthétique du Mal" was partly shaped by the dimensions of the legal notepad sheets on which it was drafted. Topics include examines when critics address the genesis of Stevens's poems, they reflexively recall the image of Stevens composing his poems on walks to and from work.

Good for the Soul: John Curtin's Life with Poetry: By Toby Davidson. Although the sources for this argument are less plentiful than those made in relation to Curtin's political career, Davidson traces the importance of poetry at key points of Curtin's life. Davidson shows that poetic allusions were not uncommon in 1940s political rhetoric, that Curtin fostered the publication of poetry, and that many citizens responded to his wartime speeches by sending him their own poems. [Extracted from the article]

This article traces a relationship between Dickens and the Portuguese Modernist poet Fernando Pessoa, who declared several times his longtime love for Pickwick Papers. While offering an introduction to Pessoa's life and thinking, the question which is posed is what Pessoa gained from Dickens, and here the significance of the different personae whom he created in his poetry needs to be taken into account: the pseudonyms he adopted which were more than that, but were other imagined lives, called "heteronyms." The relation of these to the concept of "Boz" and the other names Dickens adopted, and the concept of the "posthumous" in both Dickens and Pessoa, and the relationship of the real life to the imagined life, are all topics for investigation. They bring out more complexity in Dickens; they illustrate further how much the poet learned from him, and how much Dickens enabled him to survive and produce work which forms a significant contribution to European literature. [ABSTRACT FROM AUTHOR]

Young cautions us not to simplify poetic cognition, and argues that, "metaphors should not be thought of as objects; while metaphors can utilize preexisting structures in the brain ... they are realized as a process and not as an accessing of pre-stored metaphorical relations." We have gone off and explored metaphor and other meaning-making processes in practically everything that is human, but what has gone on in the world of poetry, where many people used to believe metaphor originated? Poetry is language at its most distilled and most powerful Rita Dove (David Streitfeld, Washington Post, "Laureate for a New Age", March 19, 1993). They ask two questions: (a) what make a metaphor good (and not just apt, more commonly associated with comprehensibility), and (b) the more specific question "what discriminates good poetic metaphors from good non-poetic metaphor. [Extracted from the article]

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper engages with the works of Thomas Kling (1957-2005) and elaborates on the specific incorporation of history in Klings poetics. Kling was both known for his wild style of lyrical performance as well as for his vast knowledge of history. Kling aptly puts the style of his lectures in the tradition of the "histrion", the actor in ancient Rome. The paper argues that the connection of history and the theatricality of the histrion becomes fundamental to his poetics. History is for Kling a material that combines linguistic, cultural and literary references that need a performative elaboration. The paper traces this constellation of performativity and history within Klings early poems and essays. It then turns towards a reading of his poems Manhattan Mundraum and Manhattan Mundraum Zwei. In these poems Kling intertwines the performative aspects of his poetics with an inquiry into the history that has shaped the island of Manhattan and the language of its "Mundraum". [ABSTRACT FROM AUTHOR]

The article offers information on the invitation of proposals for the "Modern Language Association Convention" to be held in Philadelphia from January 4–7, 2024, for the topic "Pan-European romanticism." Abstracts are invited on the literature and culture of the Romantic period throughout Europe, with special attention to the poetry, prose, aesthetic, and critical discourse of Romanticism that flourished beyond British, French, and German Romantic movements.

This paper advocates for a reading of John Scottus Eriugena's Carmina that situates his collection of poems within the genre of devotional poetry. Although the Carmina has recently benefited from scholarship on Eriugena's theology, typologies of his poems consistently overlook the significance of their theological themes. Most instead attribute more significance to their political themes, since Charles the Bald commissioned many of Eriugena's poems for special occasions at his royal court. This paper argues that a textual analysis which compares the significance of theological and political themes in the Carmina reveals several reasons why Eriugena's poems should be read as devotional poetry. First, it explains how typologies of Eriugena's poems overlook the significance of their theological themes by overstating the significance of Charles and his royal court. Then, it offers a close reading of three poems in the Carmina to show how Eriugena uses theological themes to frame political ones. [ABSTRACT FROM AUTHOR]

In this modern era of anxiety and posthumanism alienation is a critical ailment today. Caught in the web of dehumanising forces and pitted against hostile social stigmas, man is besieged with the problems of survival and growth. The more days are advancing, the more people are suffering from social distancing and social estrangement. Alienation results from powerlessness, meaninglessness, normlessness, cultural estrangement, social isolation, and self-estrangement. Alienation study comes from the angles of psychological, sociological, literary, and philosophical aspects. The silence-bound poet Jayanta Mahapatra was caught in the throes of alienation. His alienation from the Hindu culture was caused by his grandfather's acceptance of Christianity. His lingua-alienation was caused by his estrangement from the Oriya language. His alienation from the physical world was the outcome of his betrothal to the muse of poetry. So, this present paper is an attempt to stress how Mahapatra's poetry focuses on the theme of alienation and silence and paves the way for rejuvenation and revitalisation to come into the network of social ecology and human bonding overcoming the tenants of alienated predicament and identity crisis. [ABSTRACT FROM AUTHOR]

Three links between poetry and psychoanalysis are highlighted in this paper. These refer to the presence, in the clinical hour, of (i) poetic sentiment, (ii) poetic speech, and (iii) poetic specimen. Each is elucidated in detail and with the help of socio-clinical vignettes. The aim of the paper is to demonstrate that, through the affirmative holding and partial unmasking of the instinctual-epistemic conflation in verse and free-association, both poetry and psychoanalysis seek to transform the private into shared, the hideous into elegant, and the unfathomable into accessible. [ABSTRACT FROM AUTHOR]

Dalit literature is the articulation of protest and anger against the injustice and social exclusion the Dalits are subjected to in the caste-ridden, hierarchical society of India. The Dalit authors and critics argue that it is this protest and anger, a new literary strategy which can build the aesthetics of Dalit literature. Dalit literature, however, is yet to form a conceptual standard on which the Dalits can represent and universalise their experience of pain. Many Dalit poets have attempted to build a distinctive aesthetics through poetry. But poetry essentially related to emotion seems inadequate to build a conceptual framework which is essentially an intellectual phenomenon. Though Dalit writers resist the Sanskritised aesthetics of mainstream literature by using their own language, registers and idioms, they nonetheless partake of the mainstream aesthetics when they articulate themselves in poetry. Gopal Guru (2012) claims, "Poetry helps the Dalit in making connections through metaphors but not through concepts" (p. 23). My paper, however, will argue that as Dalit experience is at the centre of a distinct Dalit aesthetics, Dalit poetry based on rich experience can contribute to build a new aesthetics for Dalit literature. My paper will refer to a number of Bengali Dalit poets whose poetry can serve to build a separate aesthetics through poetic rendering of their distinct Dalit experience, conforming at the same time to many principles of mainstream aesthetics. [ABSTRACT FROM AUTHOR]

Teaching and learning isiXhosa poetry continues to pose challenges for both teachers and learners in South African basic education. The abstract nature of poetry makes it difficult for both groups to grasp the figurative meanings embedded in each line of the poems. Teachers who rely on rote learning and learners who master cramming find teaching and learning poetry difficult, as these skills offer little or no results in the teaching and learning of poetry. It is against such a backdrop that this paper seeks to investigate the use of augmented reality (AR) in education and how it can assist in the teaching and learning of isiXhosa poetry. The use of AR in language learning has been extensively studied by several scholars. AR is found to enhance learning and decrease learners' cognitive load. In contrast, some scholars argue that it is not ready for total integration into language classes. Despite strides that have been made in the study of augmented reality in language learning and teaching, there is a paucity of extended research on the use of augmented reality in teaching and learning isiXhosa poetry. In this paper, I will review existing data and examine augmented reality activities and technologies that can be used in the teaching and learning of IsiXhosa poetry. This paper will contribute towards improving the teaching and learning of isiXhosa poetry in basic education and assist literature educators in integrating modern technologies in their teaching. [ABSTRACT FROM AUTHOR]

Copyright of Latin American Law Review is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It is challenging to use unsupervised machine translation models to generate ancient poems. The current method has solved the problems of Under-translation and Over-translation caused by the huge length difference between the translated sentence pairs. However, the above method lacks guidance in generating intermediate vectors, and the denoising ability of the model is very poor. In this paper, we guide vector space distribution during training to improve the quality of the generated ancient poems and the convergence speed of the model. We also introduce the target language information while adding noise, which effectively avoids the recurrence of the Under-translation problem while improving the model's denoising ability. Experiment results on the VP dataset show that our model obtains state-of-the-art results with faster convergence speed. In addition to the BLEU scores, we also made a comparative analysis of ancient poetry sentences generated by different models. The analysis results show that the optimization method proposed in this paper is indeed helpful for generating high-quality ancient poems. [ABSTRACT FROM AUTHOR]

3 VestAndPage (2013) ' Antarctic dream - Ice as architecture of the human spirit: VestAndPage performative works in Antarctica ', Performance Research: On Ice 18 (6): 71 - 80. doi: 10.1080/13528165.2013.908059 Et Anima Est Sanguis et Sanguis Est Anima: "First let's make poems, with blood": VestAndPage blood writing Image © VestAndPage This piece of rice paper belongs to a series of four pieces of paper I wrote as part of our installation Afterwor(l)ds for the Oostende Triennial. [Extracted from the article]

This paper looks at the role of fathers in the family. Structured around three poems, it emphasises the need for a triangular structure in the mind, enabling the child (and any individual) to look at 'reality', internal and thus external too, from a third position. The Oedipal situation, what Hanna Segal called 'the core complex', lies deep within the mind of any individual, and continues to have vital relevance in the lives of modern families. Clinical material is included in the paper to illustrate the points made. [ABSTRACT FROM AUTHOR]

The article offers information on 43rd International Byron Conference on "Byron, Time and Space," that was held in Yerevan, Armenia from 29 June–1 July 2017. Topics discussed include problems of Armenian Translations of poem "Childe Harold's Pilgrimage;" Byron's use of metaphor as a tool of indirection in his poetry; and co-existence of antipodal time and space backgrounds in poetry.

Copyright of Journal of College of The Great Imam University is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper discusses a poetic output of a research project at the intersection of linguistic ethnography (LE) and poetic inquiry (PI) which explores the barriers experienced by refugee and asylum seekers, seeking access to Higher Education. The research draws on Jan Blommaert's applied ethnopoetics (AEP) work to reconstruct silenced voices (Blommaert, 2006). AEP as a 'means of recognition' of marginalised voices is explored. The paper goes on to explore the transformative possibilities for knowledge production offered by combining AEP with PI. This innovative approach and output are presented as act of resistance to normative expectations within academia which freeze conditions for voice (Blommaert, 2008). Questions are then offered to consider how we might advance the approach and its emancipatory potential further. [ABSTRACT FROM AUTHOR]

In this paper, we offer a collective, multi‐vocal reflection on using poetry for research purposes. These were reflections on an online sub‐plenary session organized as a workshop, which was held at the European Group for Organization Studies conference in 2021. During this workshop, the first three authors presented a step‐by‐step method for doing poetic inquiry and invited participants to apply it to their own empirical data or research praxis. The method was created in response to the marginalization of affect and embodiment in mainstream research in organization studies. Poetic inquiry aims to formulate specific practices of "writing differently" that assist researchers in their attempts to analyze and articulate their findings in embodied and affective ways. In this paper, we describe the method and bring together multi‐vocal reflections from the participants and organizers of the workshop on the affects of poetic inquiry and the (ethical) questions that it poses. [ABSTRACT FROM AUTHOR]

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Edgar Allan Poe's life was plagued by melancholy and disaster, which is evident in all of his writings. Among the many other poets of his generation, his solitude and individuality set him apart from the rest. He gave the Gothic genre a completely new meaning, making it both dark and significant at the same time. First, as an overview is given, of the 19th century, Edgar Allan Poe, and the tragedies that influenced his poetry. This study employs a comprehensive methodology focusing on the close reading of three of Poe's wellknown poems: "The Raven," "A Dream within a Dream," and "Alone." By analyzing how sadness and sorrow are portrayed in these poems, the paper investigates the extent to which these emotions impacted Poe's writing. The analytical approach involves delving into the thematic and stylistic nuances of the selected poems, shedding light on the intricate ways in which Poe articulates his emotions. The purpose of this study is to tackle the sense of gloominess and sadness by employing textual and analytical approaches. The significance of the feelings of loss and sorrow in Poe's writings is addressed, drawing connections to Poe's life story. The findings demonstrate that Poe's writings occasionally converge with personal catastrophes, tragedies from his own life, and stories about death sadness, and grief come together on multiple occasions over the course of his demanding career. Concluding that sadness, sorrow, and everything that comes with it were indeed lurking in every one of his statements, this paper contributes to the existing literature by portraying the semi-autobiographical image of the author within the realm of his poetry. The textual and analytical approaches used in this study provide a nuanced understanding of how personal experiences influenced Poe's poetic expression, enriching our comprehension of the intricate relationship between his life and art. [ABSTRACT FROM AUTHOR]

What is it to be clear? And will that question have the same answer in science, poetry, and philosophy? This paper offers a taxonomy of clarity, before focusing on two notions that are pertinent to the notions of clarity in science, poetry, and, in particular, philosophy. It argues that "scientific clarity," which is marked by its reliance on technical terms, is, though often appropriate, not the only way in which something can be clear. In particular, poetry entirely eschews technical terms—but can nonetheless be crystal clear. Poetry achieves this clarity by sensitivity to the richness of language: rhythm, ambiguity, and so on. The paper argues that some philosophy uses language in this same way to achieve its philosophical ends. Accordingly, we should allow that this is a legitimate philosophical method and should not judge the clarity of such philosophy by the standards of scientific clarity. [ABSTRACT FROM AUTHOR]

How to migrate text-to-image models based on pre-trained diffusion models to adapt them to domain generation tasks is a common problem. In particular, the generation task for Chinese landscape paintings with unique characteristics suffers from a scarcity of fine-grained contextual details specific to such artwork. Moreover, the use of substantial amounts of non-landscape painting data during pre-training predisposes the model to be swayed by alternative visual styles, thereby leading to generated images that inadvertently lack the distinctive traits inherent to Chinese paintings. In this paper, we propose a Fine-grained Hierarchical Semantic Adapter for Chinese landscape paintings generation, namely FHS-adapter. The method orchestrates the diffusion process in a batch-wise manner, leveraging external fine-grained multi-perspective information to guide it. It gradually diminishes the influence of other style images embedded in the pre-trained diffusion model, ultimately preserving a greater number of landscape painting elements. The encoder was also replaced with the Taiyi-CLIP encoder, which is adapted for Chinese. We propose T2ICLP, a multimodal dataset containing 10,000 high-quality image-text pairs of Chinese landscape paintings. Unlike previous datasets, this dataset extracts fine-grained textual information from four perspectives, including Meta, Description, Sentiment, Poem. We compared the proposed model with the mainstream diffusion-based T2I models. Through an anonymous user study, our FHS-adapter method performs well in simulating various aspects such as brushwork, e.g.'Gou, Cun, Dian, Ran' means hooking, texturing, dotting, and dyeing, compositional space, elemental proportions, and color usage of different painting genres and artists. Our dataset is available at https://github.com/T2ICLP/t2iclp. [ABSTRACT FROM AUTHOR]

This research paper delves into a stylistic analysis of Robert Browning's seminal poems, "My Last Duchess" and "Porphyria's Lover." Both works are exemplary of Browning's mastery of the dramatic monologue, offering rich grounds for exploring his stylistic techniques and thematic preoccupations. The analysis of Robert Browning's poems “My Last Duchess” & “Porphyria’s Lover” utilizes graphological, phonological, morphological, and lexico-syntactic features, this study aims to uncover how Browning crafts his narrators' voices and conveys their psychological complexities. The analysis will also consider the poems' use of imagery, irony, and narrative structure, highlighting how these elements contribute to the overall effect and meaning. "My Last Duchess" presents a portrait of a possessive and controlling Duke, whose speech reveals his authoritarian nature and moral ambiguity. In contrast, "Porphyria's Lover" explores themes of love, obsession, and madness through the perspective of a narrator who oscillates between tenderness and violence. By comparing and contrasting these two poems, the paper will illustrate Browning's nuanced portrayal of power dynamics and human emotions. Ultimately, this stylistic analysis will demonstrate how Browning's innovative use of the dramatic monologue form not only engages readers but also invites them to question the reliability and motivations of his speakers. [ABSTRACT FROM AUTHOR]

In this paper, attempt is made to delineate the English teachers’ experiment of teaching romantic poetry and students’ experience of learning. It focuses on the two famous short lyrical poems of the romantic period: William Wordsworth’s I Wandered Lonely as a Cloud (1804) and Lord Byron’s She Walks in Beauty (1815). These lyrical poems are written in iambic tetrameter. The former celebrates the beauty of the nature, while the latter celebrates the beauty of the unknown maid. The linguistic and literary peculiarities in both the contemporary poems are explored. The advanced learners of the literature are necessarily expected to know these linguistic and literary subtleties for better appreciation of these poems. The analyses of the selected poems are presented in the paper. These analyses are based on the framework of Leech (1969) in which he considers criticism and stylistics as complementary and necessary for literary analysis. The paper concludes that both Wordsworth and Byron succeeded in representing their perceptual experiences through I Wandered Lonely as a Cloud and She Walks in Beauty, respectively. We observed their unique style in their poetry despite of the numerous similarities. It is to be noted that a creator of the text (a poet), the process of creation (creativity, imagination, etc.), its representation in a form of the text (a product), and the (linguistic and/or non-linguistic) context are most prominent aspects in poetic composition. [ABSTRACT FROM AUTHOR]

This paper, which is part of the field of studies on Roman dialectal and regional phraseology, analyzes the idiomatic expression tre ppigne e 'na tenaja and its variant tre ppinze e 'na tenaja. This phraseological unit is documented in the 19th century: it is found in a roman poem of G.G. Belli (L'arma de Papa Grigorio, 1836). The aim is to reconstruct the history of this phraseologism and relate it to other expressions of the same semantic area. [ABSTRACT FROM AUTHOR]

Ecopoetics, a subgenre of the ecocritical movement, focuses on human beings' impact on nonhuman world and various ecological concerns. It draws people's attention to the deep link that exists between man and nature. Poets like A K Ramanujan, Nissim Ezekiel, and T Vasudeva Reddy have brought out the interrelationship between human and nonhuman realms in their own distinct way in their works. This paper analyzes selected works of the abovementioned Indian poets to highlight the presence of various ecopoetic elements in the same. [ABSTRACT FROM AUTHOR]

Space has various meanings; while sometimes it can be expansive, at others it can be condensed into a particular frame. When power comes into question, space is internalized and subsequently challenged. The spaces of Seamus Heaney's writings are an extension of the wide expanse of the space of Ireland in general. The geographical spaces project fault lines distributed across religious, political and social grounds, and Heaney's poetry broadens this view of the Northern and Southern Ireland, trying to reestablish the lost Irish identity, entangled within the complexities of history and culture. Through the recollections of childhood, Heaney dwells on the rural landscape forming an essential part of nativity arising from the regionalism in question. This paper explores the relationship between the social and spatial aspects of Ireland as seen in Heaney's writing space. It is interpreted through Edward Soja's concept of Thirdspace that encompasses the socio-spatial and the spatial-temporal. [ABSTRACT FROM AUTHOR]

As a world-renown American critic and theorist in poetry, Marjorie Perloff (1931-2024), with her in-depth exploration into western avant-garde poetry and poetics and her theoretical and methodological reconstruction by means of dialog with the 20th-century American critical theories, made great and unique achievements, which can be labelled as "the third path" in poetry criticism in terms of its transcending New Criticism and Cultural Criticism in the 20th and early 21st centuries. Since her first visit to China in 2007 and her co-founding of the Chinese/American Association for Poetry and Poetics in 2008, Perloff's critical theories and ideas have been translated or introduced into China. This paper presents an examination of Perloff's "third path" of poetry criticism, and its introduction to and influence upon China's poetry creation and criticism. [ABSTRACT FROM AUTHOR]

The Chinese academia's old friend, the world's leading scholar of avant-garde poetry, Marjorie Perloff died on March 24. Perloff was celebrated for her ability to explain difficult experimental poetry. This ability is seen in her early work on Yeats, middle works on 20th-century modernist movements as well as in her last books, 21st-Century Modernism: (2002), Unoriginal Genius (2010) and Infrathin (2021), comparing the new century's experimental poetry with early modernism. This paper, focused on the books of her later years, demonstrates her responses to the 21st-Century modernism and foregrounding the ideas and legacy in poetics of her later years, and reveals one of her major ideas that modernism is back in the forms of Eliot's verbivocalvisual complex and Duchamp's ready-mades, delays in glass, and the infrathin. [ABSTRACT FROM AUTHOR]

The struggle with becoming a tree in Sylvia Plath’s poems reveals her struggle to create a subjectivity for herself as a female poet in a patriarchal world. Becoming a tree epitomizes the tradition in which Plath strives to create her poetic subjectivity: the opposition between the male Romantic poet and the feminine nature that inspires him, the prototype of which is Ovid’s myth of Daphne becoming the tree muse for Apollo. Plath internalizes the death of the body imposed on the woman in the formula and creates out of the negativity within her. Instead of treating nature as an object in order to become a poet, she accepts that she is both the articulate poet and the nature that can never be fully expressed. Torn between the one who expresses and the one who is expressed, the bodies of trees in her poems painfully shine with layers of darkness. The trees represent a female subjectivity that closely communicates with the darkness, which is fairly dangerous for a formed subjectivity. This paper analyzes the complex layers of the question of becoming a tree imposed on the female body. It then discusses how Plath responds to this burden by creating a subjectivity expressed by black trees that intimately identify with the flourishing death and articulate the darkness within themselves as a landscape. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)