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Copyright of Trans/Form/Ação is the property of Trans/Form/Acao 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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 cultural turn makes translation shift from word – text to cultural register. According to the view of cultural translation, culture serves as the translational unit. The lacunarity phenomenon, which is a linguistic and cultural occurrence when two languages are compared, has grown into a significant issue that translators must resolve. Therefore, the urgency of this research has changed to how to eliminate cultural conflict and fill up lexical lacunas. In this paper, we first clarify the similarities and differences of terms related to the lacunarity phenomenon from the perspective of their relevance. Then, aiming at the compensation of linguistic lacunas (semantic and pragmatic) in literary works, we adopt inductive, deductive, and modeling research methods according to the adequacy principle of translation, and put forward for the first time the concept of constructing the lacuna’s translation model in modern linguistics (novelty), with the purpose of building a complete set of systematic solutions to the translation problem of this phenomenon, so as to make the translation harmonious and unified in three aspects: aesthetic value, text equivalence, and functional correspondence. We can draw this conclusion from the meta-theoretical analysis of the lacuna’s translation model in modern linguistics and its use in the translation of the book “Tales of Hulan River” by Chinese author Xiao Hong: The model is a systematic innovation and endeavor in the field of translation based on linguistic research, and it has practical methodological importance. It can provide a set of formulaic reference standards for translators to interpret lexical lacunas. The following are the justifications for the conclusion: First, the model’s foundation is linguistic research on the concept of “lacuna”, including the examination of the relationships between terms such as “reality”, “non-equivalent words”, and “lacuna”, as well as the investigation of their definition, nature, classification, and semantic range; Second, the model adheres to the “adequacy” principle of translation, which comprises acceptability, similarity, and transmissibility while taking into account both the reader-translator and original-author orientations. This approach is robust and universal exactly because it takes into account every side involved in the translation process; Third, the model’s three theories work well together. L. S. Barchudarov developed 6 levels of semantic equivalence for language translation units, which focused more on the text’s equivalent in translation and disregarded the text’s communicative and aesthetic purposes. As a pragmatic addition to the equivalency theory of the former, the 7 functional dimensions outlined by Juliane House in the idea of functional correspondence of text can be applied. Meanwhile, by using the 6 organization principles of Gestalt psychology, the lacuna’s translation model in modern linguistics incorporates the translation form and subjective feelings into the reference mechanism from the needs of the reader as the subject of aesthetic meaning. It can be said that the triple theory offers a variety of reference indicators for translators, and they are free to combine suitable reference indicators in the filling of lexical lacunas represented by material culture, behavioral culture, institutional culture, and conceptual culture. According to the different types of lacunas, they can use translation methods such as transformational, interlinear, pragmatic translation, as well as by combining transcription, transliteration, replacement, omission, amplification, reconstructing, permutations, explanations in the text and other translation techniques, which reflects the flexibility of the translation model. However, the lexical lacunas themselves can be interpreted as a defective vocabulary in the target language, and the primary goal of the translator should be to compensate for or fill this defect, to let the reader understand “what does this mean”, then the functional correspondence of the lacuna's translation becomes more important. In other words, the lacuna’s translation model in modern linguistics requires the translator to pay more attention to pragmatic function and aesthetic effect; when necessary, translators must abandon low-level semantic equivalence and strive for high-level equivalence.

The diversity of readers' responses in literary works is called reception aesthetics. This study aims to elucidate the readers’ response and the reception aesthetics towards the values of religious moderation in Serat Carub Kandha by Prince Linggabuana. Employing the research design of the synchronic experimental reception method, the data collection utilized note-taking and literature study techniques. It involved twenty respondents of Islamic university students as the readers. The data analysis technique used reader criteria assessment and Hans Robert Jauss' theory concerning the reader's experience of the novel, horizon of expectations, aesthetic distance, the spirit of the times, literary series, and literary history. The chosen manuscript was Serat Carub Kandha Pupuh Mijil as the fifth branch of the story. The results demonstrated that the noble value readers capture is in the form of religious moderation values. They are tolerance (tasamuh), neutral (tawassuth), uprightness (i’tidal), deliberation (al-shura), anti-violence (la' unf), and culture friendly (i'tibar al-'urf). These are manifested through respect for diversity and multicultural in the part of allowing residents to establish Islamic learning centers even though the Padjajaran kingdom practiced Buddhism. Notably, the wife of Prince Linggabuana, Dewi Subang Kranjang, embraced Islam, while his three sons secretly studied Islam with Sheikh Quro'. Keberagaman tanggapan atau respon pembaca pada karya sastra disebut estetika resepsi. Penelitian ini bertujuan untuk mendeskripsikan tanggapan dan estetika resepsi pembaca terhadap nilai-nilai moderasi beragama dalam Serat Carub Kandha karya Pangeran Linggabuana. Dengan memakai rancangan penelitian metode resepsi sinkronis eksperimental, pengumpulan data menggunakan teknik simak catat dan studi kepustakaan. Penelitian ini melibatkan dua puluh mahasiswa universitas Islam sebagai pembaca. Teknik analisis data menggunakan penilaian kriteria pembaca dan teori Hans Robert Jauss yang meliputi pengalaman pembaca terhadap novel, horizon harapan, jarak estetik, semangat zaman, rangkaian sastra dan sejarah sastra. Naskah yang dipilih yaitu Serat Carub Kandha Pupuh Mijil, yang merupakan cabang cerita yang kelima. Berdasarkan hasil penelitian, nilai luhur yang bisa ditangkap pembaca berupa nilai-nilai moderasi beragama. Nilai tersebut meliputi tasamuh (toleransi), tawassuth (netral), i’tidal (lurus), al-shura (musyawarah), la' unf (anti kekerasan), dan i'tibar al-'urf (ramah budaya). Hal ini tercermin dalam penghormatan akan keberagaman dan multikultural pada bagian diperbolehkannya penduduk membangun pusat kegiatan belajar agama Islam meskipun kerajaan Padjajaran beragama Buddha. Bahkan istri Pangeran Linggabuana, Dewi Subang Kranjang beragama Islam, sementara ketiga putranya diam-diam mempelajari Islam kepada Syeikh Quro’

Copyright of Journal of Hubei Open Vocational College is the property of Journal of Hubei Open Vocational College Editorial Office 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 development of Chinese opera art, in modern times, has greatly changed with the times. Explaining the essence of Chinese opera and vocal music art from the Western modern hermeneutics and reception aesthetics theory is conducive to sorting out the development context and characteristics of Chinese opera in different times. At the same time, providing a systematic analysis method for modern opera and vocal music aesthetics promotes the aesthetic development of the art and contributes to the form innovation and technical refinement of domestic opera and vocal music art. The research starts with the theoretical analysis of hermeneutics and reception aesthetics and verifies and explores the development history of Chinese opera. The analysis of the artistic essence of opera and vocal music will be summarized mainly from the perspective of the object of the opera text and the subject of the aesthetic audience. The purpose of this research is to explain the essential characteristics of opera and vocal music art from the relationship between the subject and the object. Besides, it aims to examine the relationship between the understanding behavior of the masses and the creators and performers’ summary behavior for opera and vocal music art.

The paper focuses on different forms of historiographic autofiction in contemporary Hungarian Literature, notedly in a decisive segment of it, that of the authors’ from Transsylvania/Romania, and has as it’s aim a broad presentation and a contextual analysis of the so called „Transsylvania-novels” published in the last two decades. With the main stresses on autofiction, newrealistic codes and documentary fiction of the last years, it contains a broader theoretical discussion of the genre, of the relationship between history and fiction, or “time and narrative”, while examines the presence and forms of autofiction within the chosen authors’ prose works. These writers employ a mode that is questioning and skeptical of so-called master narratives of history, while readers are led to assess the boundaries between individual experience and collective history. However, the examined works show how historical narratives can be at the same time subjective and objectively exact, accurately researched and imperfectly remembered, yet bounded deeply into Transsylvania/Romania’s past of the 20th century. The paper aims to highlight these connections and modes of discourse that can be specifically applied to the works of György Dragomán, Andrea Tompa, András Visky, Sándor Zsigmond Papp, Gábor Vida and others, a row of contemporary Hungarian writers not only bound together as a generation, but also as sharers of common childhood in the 1970’s and 1980’s Romania, a burdened past and sometimes traumatic memories. [ABSTRACT FROM AUTHOR]

The presented paper takes a look at Pavel Vilikovský’s (1941 – 2020) novella Fleeting Snow (2014). It adopts the lens of reception theory and demonstrates the use of the so-called textual gaps and places of indeterminacy (Wolfgang Iser, Wolf Schmid). The selected literary text is specific mainly for its composition and narrator. The story is divided into short and concise segments marked with a number and a letter: The number expresses the theme, the letter the sequence of narration. The textual gaps can be identified at the level of composition, narrator, and metaphor. The reader has to homogenise the heterogeneous elements involved in the production of meaning at the level of narration and composition of the text. However, this does not mean that the reader can identify and remove all textual gaps: these remain objects of reflection even after reading the entire text. The aim of this article is to (1) demonstrate how places of indeterminacy can be understood in a specific literary text, (2) determine which parts of Fleeting Snow can be considered as places of indeterminacy, and (3) which places of indeterminacy present the key issues, topics, and aspects of the text.

For Theodor W. Adorno, the relevance of art lies in its capacity to penetrate, through its formal construction, the semblance of a false reality, thereby participating in the self-transcendence of reason. This article argues that, despite the timeliness of this insight, Adorno’s negativism, his conceptualization of reconciliation, and his formalist understanding of art have made it difficult to see how this account can explain art’s relation to social change. Alexander Kluge’s work, it is then argued, can help transcend such limitations in Adorno’s aesthetics. Art, Kluge agrees with Adorno, should work toward social change through the construction of a critical consciousness. Yet, this is not to happen through their correct interpretation, as Adorno thought. Art’s emancipatory potential, instead, lies in the power to engage the spectators’ capacities, enabling them to have their own experiences. With this, Kluge contends, art participates in the reconfiguration of rationality and of the public sphere.

This article introduces a theoretical perspective on young adults’ television news-viewing choices grounded in the synthesis of reception aesthetics, socialisation theory and qualitative research methodology. It argues that this theoretical framework allows for a deeper contextual reading of the reader-text relationship and for the argument that, despite post-apartheid social transformation, young adult South Africans’ readings of locally produced television news texts are still ideologically situated sociocultural imports traceable to their differential class, race and gender positions in the country’s social structure. Evidence produced through focus-group interviews is used to support the position of the introduced theoretical framework.

Background: There has been an increase in the number of women’s magazines in South Africa, which also contributes to the country’s economic growth and development. Objective: Magazines serve as a source of entertainment and information and they cater for readers interested in learning more about what features in society and even globally, which underscores the importance of quality and gender-sensitive material. The portrayal of females in magazines surfaced as a source of interest in the light of women’s liberation and gender equity. Method/Results: The purpose of this study was to explore the language and content of selected South African women’s magazines. The objectives were to determine how language and content are used to represent females in selected South African women’s magazines; and determine the professional editors’, journalists’ and readers’ perceptions of the representation of females in the selected English women’s magazines. Conclusion: A qualitative case study design was used, and semi-structured interviews were conducted to collect data from the selected participants. The corpus spanned three professional journalists and nine readers, including seven females and five males, purposefully selected, who participated. The data collected through interviews were analysed and thematically discussed. Readers’ reception aesthetics were used, in conjunction with feminist literary criticism, as theoretical lenses. Contribution: The study found that sexualisation and objectification continue especially in advertisements, but that much progress has been made in magazines to represent women as powerful and significant.

The presented paper takes a look at Pavel Vilikovský's (1941 - 2020) novella Fleeting Snow (2014). It adopts the lens of reception theory and demonstrates the use of the so-called textual gaps and places of indeterminacy (Wolfgang Iser, Wolf Schmid). The selected literary text is specific mainly for its composition and narrator. The story is divided into short and concise segments marked with a number and a letter: The number expresses the theme, the letter the sequence of narration. The textual gaps can be identified at the level of composition, narrator, and metaphor. The reader has to homogenise the heterogeneous elements involved in the production of meaning at the level of narration and composition of the text. However, this does not mean that the reader can identify and remove all textual gaps: these remain objects of reflection even after reading the entire text. The aim of this article is to (1) demonstrate how places of indeterminacy can be understood in a specific literary text, (2) determine which parts of Fleeting Snow can be considered as places of indeterminacy, and (3) determine which places of indeterminacy present the key issues, topics, and aspects of the text. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Slawistik is the property of De Gruyter 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.)

Background: There has been an increase in the number of women's magazines in South Africa, which also contributes to the country's economic growth and development. Objective: Magazines serve as a source of entertainment and information and they cater for readers interested in learning more about what features in society and even globally, which underscores the importance of quality and gender-sensitive material. The portrayal of females in magazines surfaced as a source of interest in the light of women's liberation and gender equity. Method/Results: The purpose of this study was to explore the language and content of selected South African women's magazines. The objectives were to determine how language and content are used to represent females in selected South African women's magazines; and determine the professional editors', journalists' and readers' perceptions of the representation of females in the selected English women's magazines. Conclusion: A qualitative case study design was used, and semi-structured interviews were conducted to collect data from the selected participants. The corpus spanned three professional journalists and nine readers, including seven females and five males, purposefully selected, who participated. The data collected through interviews were analysed and thematically discussed. Readers' reception aesthetics were used, in conjunction with feminist literary criticism, as theoretical lenses. Contribution: The study found that sexualisation and objectification continue especially in advertisements, but that much progress has been made in magazines to represent women as powerful and significant. [ABSTRACT FROM AUTHOR]

Might architecture be reconceived as a form of performance? I draw upon Nelson Goodman’s writing on architecture—including his account of architectural notation—and David Davies’s performance theory, which claims that artworks should be considered not as products made by generative performances, but rather as the performances themselves. I tie the exemplification that Goodman identifies as the primary way architectural works ‘mean’ to the role of the architectural ‘score’, recast not as a mere ‘constraint’ but as integral to the creative processes by which architecture establishes an ‘artistic statement’ and a distinctive ‘virtual’ realm. In so doing, I reconcile such a position with an aesthetics of reception, whereby the situated encounter with the physical building is seen as essential to the critical retrieval of any given architectural performance. I test this position against a late work by Sigurd Lewerentz, completed when he was in his eighties, and examine the extraordinary lengths necessitated by his idiosyncratic imperative not to cut any bricks, thereby articulating an artwork every bit as radical as contemporaneous works by conceptual artists.

The theory of reception aesthetics has brought about a radical change in the analysis of literary text and the necessity of discussing this process which produces reader-response meaning by many different disciplines has appeared in parallel with this. In this study, the marks of this literature centred approach will be discussed by following an intermedia method, through the receptors of the film media in a word, the audience. Hereby firstly, by discussing the definition and concepts of the descriptive method and reader-response reception aesthetics, the conceptual framework will be created and with reference to this theory, the intermedia equivalents of the reader, author and text facts will be searched. In addition, in this study, the possibility of film analysis which involves the reader to the narrative effectively in storytelling and which is described as a text with the concepts of the reception aesthetic theory. With literature centred approach, the evaluation of the narrative elements of the film media constitutes the essential feature of this study. The phase of the audience creates a meaning on the film enables to establish a bound between the realism theory and the reception aesthetics theory of cinema. This also shows that medias which are different from each others in terms of form and phraseology can be interpreted and analyzed in many similar ways, on the other hand, these works can reinterpreted in context of reader/audience. [ABSTRACT FROM AUTHOR]

Copyright of Compilation & Translation Review is the property of National Academy for Educational Research 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 Educación y Ciudad is the property of Instituto para la Investigacion Educativa y Desarrollo Pedagogico 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 focuses on the state-of-the-art analysis in the teaching of Portuguese language literatures in China and also on the discussion of a new methodological proposal for the literature class for Chinese learners of Portuguese as a foreign language (PLE). For this, the theoretical support will be on aesthetics of reception and aesthetics of effect, created by Hans Robert Jauss and Wolfgang Iser. The specific objective will be to justify the importance of such theory as guidance for teachers to choose works, authors and teaching methods that may facilitate students' understanding, and stimulate more interactions between literary works and learners in order to contribute to the improvement of current practices in the literature class. Finally, this reflection is also necessary to make literature learning an experience that values aesthetics as a point of convergence related to cultural understanding, intercultural competence and linguistic competence. [ABSTRACT FROM AUTHOR]

Copyright of Acta Hispanica is the property of University of Szeged, Department of Hispanic Studies 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 demand of the literary work to gain autonomous and fictional existence within the New Criticism in the first half of the twentieth century, radically breaks with the historicity in its interpretation. In the second half of the twentieth century, the Reception Aesthetics with the concept of 'historicity of reader' and New Historicism with the concept of 'historicity of text' and 'textuality of history' stand at a meaningful point among efforts to return to historical consciousness that disappeared after the New Criticism. However, in both approaches, it is seen that the historicity of understanding literary texts predominantly shape through the only historicity of reader or only historicity of text. In this paper, it will be argued that this situation impoverishes the two-way historicity of understanding literary texts at two opposite ends. This paper also will mainly focus on the fundamental problems in the context of the tension relationship of literature with history in historicist literary theory, New Criticism, Reception Aesthetics and New Historicism. It will also be stated that reading the literary text is basically historical with its different dimensions such as the reader finds himself/herself thrown into history, the temporal of experience, the incompleteness of human existence and literary text. The ability to establish a meaningful relationship with history and historical without damaging the fictional existence and autonomy of literary text can be realized through the historicity of reading. [ABSTRACT FROM AUTHOR]

In the end of 1960's, in the world under the influence of modernism, changes are observed in every field of art. The available methods in literature field were insufficient to interpret some of the changes. Due to this fact, some theories which emphasize the reader's function instead of writer's function in relation to the meaning and interpreation of the literary works. The general theories which take the reader as center and define the value of the work in meaning and interpretation are called Reception Aesthetics. With the reflection of feminist movement based on the gender discrimination in social and political fields, which emerged during same years especially in America, France and England to the literature field; Feminist Criticism theory emerged. In this study, after giving information on Reception Aesthetics and Feminist Criticism Theory both of which emerged during almost the same years and under different conditions; Tahsin Yucel's "Biyik Soylencesi (Mustahce Myth)" novel will be reviewed within the context of "women as a reader" which are the two main approachs of Reception Aesthetics and Feminist Criticism Theory. It is revealed in the study that, a literary work can be evaluated by the aspect of different theories and reading types and as a result of this new meanings and values can be attributed to the literary work. [ABSTRACT FROM AUTHOR]

Copyright of Diyalektolog - Uluslararası Sosyal Bilimler Dergisi is the property of Diyalektolog 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 Revue des Lettres Modernes is the property of Classiques Garnier 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.)

"Photography and Society," edited by Thomas S. EBERLE contributes to the burgeoning debates about visuality and visual perception. The 25 chapters of the volume draw on Alfred SCHÜTZ's phenomenology to consider photography as a social phenomenon. They are concerned with the practice of taking and producing photographs as well as with the viewing and interpretation of photographs. Thus they deal with production and reception aesthetics. The analyses are also used to reflect on the status of photographs and their relationship to the Wirkwelt [world of working]. The book is notable for encompassing a wide range of theoretical and empirical analyses and including a large number of high-quality photographs. The inclusion of these photographs does not serve illustrative purposes but is critical to the analyses presented in the volume. I recommend "Photography and Society" to sociologists with an interest in debates about visuality and the analysis of visual perception. Some knowledge of the sociology of knowledge helps with the reading of the book. But the book can also be used to learn about the opportunities offered by the sociology of knowledge.

Copyright of Ágora: Estudos Clássicos em Debate is the property of Agora: Estudos Classicos em Debate 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 article aims to discuss the relationship between reality and fiction and its implications for the formulation of theological discourses. It is based on the assumption that, in general, the fictional is viewed with suspicion by religion and Christian Theology, insofar as it starts from a mistaken conception of reality, which is why relations between Theology and fictionality are still relatively unexplored. It is based on the discussions that originated the tradition of reception aesthetics, especially in its fictional aspect, as proposed by Wolfgang Iser, and analyzes the fictionality in its relation to rationalist discourse and dogmatic thinking. Finally, based on the contributions of Joseph Moingt and George Lindbeck, it proposes two theological contributions with the intention of recovering of the fictional thought as an alternative to the dogmatic/conceptual. Moingt helps us to understand God as a being-for-us. Lindbeck, through his cultural-linguistic theory, helps us to discuss the language and the place it occupies in the formulation and communication of theological contents. [ABSTRACT FROM AUTHOR]

This essay turns to Don DeLillos novel Point Omega to revisit a blind spot of narrative theory--narrative's relation with lyricality and poeticity. Responding to recent debates on this topic by shifting the emphasis toward modes of reception and readerly engagement, my essay examines how the novel's experimental mix of literary forms changes the game of what narrative commonly does. Point Omega's unusual brevity (it is the shortest of DeLillos recent short novels) and eventlessness (nothing much happens, and much of what happens evades reconstruction) are key to this operation. I argue that the novel endorses lyric and poetic strategies--among them, slowing down the reading process by amplifying the demand for "speakerly appropriation" (Schlaffer), and spacing the narrative by exploiting the cinematic frame as the prime compositional measure--with the effect of impairing the temporal reign of emplotment along with the knowledge-generating logic of cause and effect. As a result of downplaying narrative dominance (and frustrating our expectations to find out what has happened), we read for cohesion (a sense of unity) rather than for coherence (a system of rules). I contend that this poetological agenda and the receptive mode that it harbors mark a break with--or plot against--the concern with paranoia that was the staple of DeLillos earlier, longer, Cold War novels. And I suggest that Point Omega's post-paranoid style casts a lyric-poetic instance on the fundamental unknowability of reality against the blazing knowledge regimes of our crisis-ridden age. [ABSTRACT FROM AUTHOR]