Thematische Bibliographien / ?-1649 Criticism and interpretation

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Auswahl der wissenschaftlichen Literatur zum Thema „?-1649 Criticism and interpretation“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 13. Februar 2022

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Zeitschriftenartikel zum Thema "?-1649 Criticism and interpretation"

Stanglin, Keith D. „The Rise and Fall of Biblical Perspicuity: Remonstrants and the Transition toward Modern Exegesis“. Church History 83, Nr. 1 (März 2014): 38–59. http://dx.doi.org/10.1017/s0009640713001674.

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The purpose of this article is to examine the biblical exegesis of two seventeenth-century Dutch Remonstrant theologians, Simon Episcopius (1583–1643) and Étienne de Courcelles (1586–1659). Their hermeneutic was characterized by an emphasis on the perspicuity, or clarity, of scripture through the use of reason, combined with the marginalization of spiritual meanings in favor of the literal-grammatical sense alone. In both of these emphases, they went beyond their theological forebear, Jacob Arminius (1559–1609), and adumbrated the methods of later Enlightenment thinkers. The stress on perspicuity and authorial intention led to increasing fascination with text criticism, linguistic analysis, and historical contextualization, highly rarefied disciplines that became prerequisites for correct, scholarly biblical interpretation. This development also pushed the question of biblical fallibility closer to the center of the doctrine of scripture. As a consequence of the philological, scientific study of the Bible, biblical interpretation was relegated to the field of scholarship and doctrinal formulation to the church. The original ideal of biblical perspicuity resulted in biblical obscurity.

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Havelock, Rohan. „THE “UNITARY EXERCISE” OF CONTRACTUAL INTERPRETATION“. Cambridge Law Journal 76, Nr. 3 (November 2017): 486–89. http://dx.doi.org/10.1017/s0008197317000745.

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LORD Hoffmann's famous “restatement” of the principles of contractual interpretation in Investors Compensation Scheme v West Bromwich Building Society [1998] 1 W.L.R. 896, 912–13, was heralded as a “quiet revolution” (McLauchlan (2000) 19 N.Z.U.L.R. 147, at 148) in that it appeared to overthrow the legalistic approach of the past. That approach, often associated with the “plain meaning rule” (Bank of New Zealand v Simpson [1990] A.C. 182 (PC), 189) involved giving effect to the expressed meaning of the text, which (limited exceptions aside) could not be contradicted by the relevant background (or matrix of fact). By contrast, the approach in ICS mandated the Court to search for the apparently intended meaning by consulting the relevant and admissible background in all cases. The ICS approach rapidly became dominant, and indeed orthodox, across multiple jurisdictions. However, in a series of judgments commencing with Re Sigma Finance Corporation [2009] UKSC 2; [2010] 1 All E.R. 571, the Supreme Court of the United Kingdom has gradually moved away from the approach in ICS (albeit without expressly overruling it) and emphasised the importance of giving effect to the natural and ordinary meaning of the words used, in combination with other factors (see especially Marley v Rawlings [2014] UKSC 2; [2014] 2 W.L.R. 213, at [18]–[19]; Arnold v Britton [2015] UKSC 36; [2015] A.C. 1619, at [14]–[23]). This return to a more traditional approach to interpretation vindicates sustained criticism of the validity of the ICS approach in principle and practice (see e.g. Staughton [1999] C.L.J. 303; Berg (2006) 122 L.Q.R. 354; Buxton [2010] C.L.J. 253).

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Zhezhko-Braun, Irina. „"Project 1619" as an alternative to "American project"“. Ideas and Ideals 13, Nr. 1-1 (19.03.2021): 80–111. http://dx.doi.org/10.17212/2075-0862-2021-13.1.1-80-111.

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This article is the second in a series on the birth of a new elite in the United States, called ‘the minority elite’. The previous article hypothesized that what is happening is not so much the replenishment or evolution of the old elite, but the emergence of a new one, grown on the basis of the Affirmative Action Program, the culture of ‘woke capitalism’ and decades of the minority protest. The process of elite change intensified on the wave of protest activity of black minority, primarily ‘Black Lives Matter’ movement, in the summer of 2020, which coincided with elections to all branches of government. The new elite need to create their own version of American history and their liberation mission. The ideological paradigm of the black movement includes several social doctrines: ‘The 1619 Project’, critical race theory, Black liberation, theories of white privilege, white supremacy and anti-racism. ‘The 1619 Project’ clearly demonstrates how the new elite understand the past, present and future of the United States and their place in the social structure. This article analyzes the theses of ‘1619’, and also contains the main conclusions of the professional criticism of this project. The goal of the project, according to its authors, is to reframe American history. It places slavery and systematic racism at the very center of US history and thereby denies the foundations on which the ‘American project’ is based. ‘1619’ is considered in the article as a socio-engineering project that includes various programs: curricula for colleges and schools, podcasts for radio, TV shows and films, interviews and speeches in universities, exhibitions, press publications, ideological themes for elections and trainings for organizations and social movements. The unprecedented speed of implementation and the scale of financing of the new version of American history in all spheres of society without its professional assessment indicate that this large-scale action was prepared in advance. The article deals with the fundamental factual errors in the presentation of history, analysis and interpretation of economic data in ‘1619’, including those that were uncritically borrowed from the school ‘New History of Capitalism’. It also addresses the doctrine of anti-racism. The analysis of the project showed a low level of evidence of the revision of history conceived in it. The author shows by the example of ‘1619’ that scientific research is not combined with ideological tasks, since the latter inevitably lead to adjustment to the given answer, a decrease in the level of the applied scientific apparatus and simplification of the conclusions drawn. Criticism of the project was heard only in the academic sphere, but did not get into the media. One of the most serious consequences of the project is the creation of a new mythology, supplanting from the public consciousness a version of American history based on the Declaration of Independence, the Constitution and proven historical facts. The black movement, albeit temporarily, managed to impose its own narrative on public opinion and create a rationale for moving into power and receiving new privileges.

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Carvalho, Alda, Carlos Pereira dos Santos und Jorge Nuno Silva. „Allégorie de la Géométrie. A Mathematical Interpretation“. Recreational Mathematics Magazine 3, Nr. 5 (01.03.2016): 33–45. http://dx.doi.org/10.1515/rmm-2016-0003.

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Senchuk, Dennis M., und Michael Walzer. „Interpretation and Social Criticism.“ Noûs 26, Nr. 3 (September 1992): 389. http://dx.doi.org/10.2307/2215966.

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Zaret, David, und Michael Walzer. „Interpretation and Social Criticism“. Contemporary Sociology 17, Nr. 1 (Januar 1988): 122. http://dx.doi.org/10.2307/2069485.

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Rosen, Bernard. „Interpretation and Social Criticism“. Journal of Higher Education 59, Nr. 6 (November 1988): 704–6. http://dx.doi.org/10.1080/00221546.1988.11780237.

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Gorski, Philip S. „SCIENTISM, INTERPRETATION, AND CRITICISM“. Zygon� 25, Nr. 3 (September 1990): 279–307. http://dx.doi.org/10.1111/j.1467-9744.1990.tb00793.x.

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Rosen, Bernard, und Michael Walzer. „Interpretation and Social Criticism“. Journal of Higher Education 59, Nr. 6 (November 1988): 704. http://dx.doi.org/10.2307/1982241.

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Hill, Christopher. „Review: Lines of Authority: Politics and English Literary Criticism, 1649–1689“. Literature & History 5, Nr. 2 (September 1996): 79–80. http://dx.doi.org/10.1177/030619739600500211.

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Dissertationen zum Thema "?-1649 Criticism and interpretation"

Abouzia, Roya. „Van Dyck at the court of Charles I : thoughts on court life and the portraits of the Garter Sovereign“. Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55409.

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Anthony van Dyck's contemporary vision of sovereignty and knighthood made him the principal image-maker in England during the 1630s. His portraits of Charles I exemplified the Arcadian realm and philosophies held at court, as well as complying with the artistic and historical traditions of English painting. As a celebration of Monarchy by Divine Right, Van Dyck's portrayals of the Sovereign summarize the philosophical concepts of knighthood expressed in the Platonic Love theory and the Order of the Garter. Charles I was Defensor Fides, Pater Patriae, the suitor to his lady, and the courtly gentleman--all roles of the knight. Beyond his stylistic influence, Van Dyck's foremost contribution was the endowment of maiestas to the royal image, followed by divine apotheosis for posterity. A better understanding of Van Dyck's Charles as the Garter Sovereign leads us to modify our perception of the artist, since he became the painter of contemporary British history.

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Whicker, Jules. „Fiction, deceit and morality in the plays of Juan Ruiz de Alarcón, 1580-1639“. Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:50276c64-555f-4584-9956-74a0ef3407b0.

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Alarcón was writing at a time when Spaniards increasingly came to perceive Spain as a nation in decline, and to seek the remedy for their country's malaise in a whole series of economic, political, social, and, in particular, moral reforms. One consequence of this was to intensify the debate concerning effect of the theatre on the moral values of the young, another was to stimulate a renewed interest in the art of war and the martial virtues which were held to have been the source of earlier glories, and yet another was to impel political philosophers and theologians alike to consider anew how the necessities of government in this uncertain political and economic climate might be reconciled with the ethical principles promoted by the Catholic Church. This study contends that both the style and the content of his plays show Alarcón to have been both well-informed and keenly interested in such matters, and indicate that, whilst he concurs with many contemporary moralists in identifying the source of the national malaise as a self-indulgent obsession with sensual pleasure and social posturing, and in suggesting that the cure lies in an adoption of a moral code based upon stoic self-discipline and other such virtues, he makes it clear that the implementation of these virtues in the complex situations encountered in everyday life depends to a large extent upon the prudent use of deception. Thus, in his work, Alarcón presents two principal forms of deception: the lies, slanders, illusions, and acts of imposture of those who seek the illicit gratification of their worldly desires; and the cautious equivocation, concealments, disguises, and stratagems of those who know that appearances deceive and who seek to ensure the reputation, integrity and safety of their compatriots and co-religionists. I also maintain that this is a distinction which applies to the comedia as much as to the world which it portrays, and that Alarcón is critical of the indecorous actions and the ornate language, music and spectacle of the comedia as popularised by Lope, and develops a dramatic technique which requires the spectator to submit his initial emotional and imaginative response to the drama to the scrutiny of reason if he is to understand the play. In this way, Alarcón's own creative technique proves to be yet another example of the prudent use of deception illustrated in his plays.

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Krejci, Caroline Paige. „Grice's implicature and Toulmin's warrants: Their arresting similarities and the resulting implications for the understanding of meaning in communication“. CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1679.

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Paul Grice's conversational implicature is a widely studied and commonly accepted theory in the field of linguistics, and Stephen Toulmin's model of argument is perhaps even more widely studied and accepted in the field of argument. I was struck by the great similarities between the two theories, particularly the leap of logic both are dependent upon, and surprised by the fact that it didn't seem that anyone had explored the similarities. In this thesis, I explore the similarities of the processes, of Grices's implicature and Toulmin's model of argument, and how looking at the two together increases the understanding of both.

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Harvie, Ronald. „Passion and patronage : Van Dyck, Buckingham and Charles I“. Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68100.

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The 1632 appointment of Van Dyck as Court Painter by King Charles I changed the course of art in England. But in spite of its importance, the dynamics and mechanics of this event remain imperfectly understood. This paper suggests that one determining factor was the influence of George Villiers, Duke of Buckingham. An early admirer of Van Dyck, Buckingham in turn incarnated the young artist's own aspirations to aristocratic status. For Charles, the Duke was a personal partner and aesthetic alter-ego whose presence in the King's psyche remained strong long after Buckingham's assassination in 1628. The examination of certain of Van Dyck's paintings of the 1620's shows how the interlocking agendas and affinities of the three men combined to affect the evolution of English art.

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Ntaganira, Vincent. „Alex La Guma’s short stories in relation to A Walk in the Night: A socio-political and literary analysis“. Thesis, University of the Western Cape, 2005. http://hdl.handle.net/11394/1640.

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Magister Artium - MA
The minithesis provides a detailed socio-political and literary analysis of A Walk in the Night: Seven stories from the streets of Cape Town. It investigates and systematically compares each short story to the novella or compares the short stories with each other and shows their thematic and formal similarities and differences. The results of the study will provide a valuable contribution to the study of African literature. It will complete what other critics have left out. No one among La Guma’s scholars has analysed the anthology as a single entity; most critics have analysed the novella and have not analysed the accompanying short stories. As a result, the relationships between the novella and the short stories are unknown to many readers. I argue that this needs to be corrected. In order to situate the thesis, the study also presents a selected list of critics who have studied the novella and the short stories, and indicates their achievements and their shortcomings. The study will be carried out from a Marxist perspective, and will explore the use of realist and naturalist literary styles. Marxism will provide the socio-political and theoretical framework. Naturalism and realism are the two main literary genres that occur in the anthology.
South Africa

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Rain, David Christopher. „The death of Clarissa : Richardson's Clarissa and the critics“. Title page, contents and summary only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phr154.pdf.

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Blaney, Gerald W. „Nicolas Poussin, Charles Le Brun and the Royal Academy of Painting and Sculpture, Paris 1648, a kinship of aesthetics“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50497.pdf.

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Bastien, Priscilla. „La diffusion des idées voltairiennes au XIXe siècle : Pigault-Lebrun“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37185.pdf.

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Meyer, Rüdiger. „Peter Paul Rubens and colour theory : an assessment of the evidence“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28850.

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Peter Paul Rubens' creative genius, as expressed with consummate mastery in his paintings, is but one of the many elements that have compounded to establish his fame. He is also renowned as a man of immense erudition. Indeed, his reputation is such that it is taken for granted that his great learning informed all aspects of his art in a fundamental way.
In accordance with this kind of thinking, current scholarship on Rubens accepts, as a matter of course, that the artist, whilst creating his painted works, followed the dictates of a colour theory, as we would know it today. In fact, on the basis of circumstantial evidence, it has been accepted that Rubens invented a colour theory that may be seen as innovative for his time.
This thesis assesses the evidence which has led researchers to formulate such a conclusion. As a consequence, it investigates the circumstances of Rubens association with Francois de Aguilon during the final stages of the latter's publication of his book on optics, the Opticorum libri sex. ... As well, the artist's correspondence with his friend, Nicolas Fabri de Peiresc, which contains allusions to an autograph manuscript purported to contain Rubens' thoughts on colour, is re-examined. Indeed, this very correspondence reveals that Rubens did not consider himself particularly knowledgeable about the theoretical aspects colour.
On the basis of a thorough review of these existing documents; an investigation into relevant biographical circumstances; and an examination of the artist's technique, it is here proposed that Rubens did not consciously apply theoretical principles to his craft, but rather, that any of the discernable elements of what is considered to be modern colour theory are in the paintings only because the demands of the painter's craft serendipitously parallel art historians' theoretical hindsight.

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Vargas, Javier. „Legados urbanos en el teatro alarconiano“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84205.

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This dissertation explores the influence of European and Mesoamerican traditions of urbanization on the plays of Juan Ruiz de Alarcon, a sixteen- seventeenth-century dramatist born in the Spanish Viceroyalty of New Spain. The objective of this dissertation is to study the analogy between urban designs and their representation in theatre from the Ancient Greece until the Golden Age Spanish Theatre. As we acknowledge the influence of the urban configuration on the mentality of that particular period, we also seek to explain how the surrounding reality becomes like an ideological postulate with the passing of time. By analysing and defining the cities from the Ancient Greece to the period known as the Baroque, we aim at defining the new form taken by their inherent spatial notions when they merge with those of the ancient historic capital of the Mexica empire, that is, Mexico-Tenochtitlan. As the two worlds were coming into contact, the changes as well as the exchange of cultural legacies and urban experiences endowed the author's town of birth with a new way of communicating, which was at the same time both Spanish and non-Spanish. This allowed the author to write plots where the urban setting would not determine all the characters' actions and reactions, as was the case with the Golden Age dramatists in Spain.

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Bücher zum Thema "?-1649 Criticism and interpretation"

Daniela, Scaglietti Kelescian, und Museo di Castelvecchio (Verona, Italy)., Hrsg. Alessandro Turchi: Detto l'Orbetto, 1578-1649. Milano: Electa, 1999.

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Roger, Vincent. Le cœur et la croix: L'esthétique baroque de Richard Crashaw (1612-1649). Paris: Classiques Garnier, 2012.

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1639-1689, Voet Ferdinand, Hrsg. Ferdinand Voet (1639-1689), detto Ferdinando de' Ritratti. Roma: U. Bozzi, 2005.

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Michael Kern (1580-1649): Leben und Werk eines deutschen Bildhauers zwischen Renaissance und Barock. Ostfildern: Thorbecke, 2003.

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Felipe de Ribas: Escultor, 1609-1648. Sevilla: Excma. Diputación Provincial de Sevilla, 1985.

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Richard Crashaw. Leiden: E.J. Brill, 1986.

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Castello, Lorenzo Carlo. Gio Francesco Baroncelli: Ivrea 28-10-1643, Torino 31-3-1694. Torino, Italia: Daniela Piazza, 1992.

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1940-, Spear Richard E., und Palazzo Venezia (Rome Italy), Hrsg. Domenichino, 1581-1641. Milano: Electa, 1996.

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Camillo, Gasbarri, Hrsg. Donato Teodoro pittore teatino, 1699-1779. Chieti: M. Solfanelli, 1986.

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Mihrdar Insṭīṭiyūṭ āf Rīsarc ainḍ Pablīkeshanz, Hrsg. ʻAbdullat̤īf Bhiṭṭāʼī, 1752-1689: Rāhnumā shāʻir. Koʼiṭah: Mihrdar Insṭīṭiyūṭ āf Rīsarc ainḍ Pablīkeshanz, 2013.

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Buchteile zum Thema "?-1649 Criticism and interpretation"

Bogel, Fredric V. „New Formalist Interpretation“. In New Formalist Criticism, 102–52. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137362599_4.

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Cohen, Ralph. „Literary Criticism and Artistic Interpretation“. In Reason and Imagination, 279–306. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003222996-14.

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Bonelli, Paolo, Giorgio Guidotti, Enrico Paolini und Giulio Spinucci. „Pacemaker Stimulation Criticism at ECG“. In New Concepts in ECG Interpretation, 175–85. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91677-4_16.

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Wang, Fengzhen. „Marxist Literary Criticism in China“. In Marxism and the Interpretation of Culture, 715–22. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19059-1_49.

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Capellmann, Herbert. „Later Criticism of the Copenhagen Interpretation“. In SpringerBriefs in History of Science and Technology, 77–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61884-5_10.

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Amesbury, Richard. „Norms, Interpretation, and Decision-Making: Derrida on Justice“. In Morality and Social Criticism, 46–64. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230507951_3.

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Mallinson, Jane. „Objects of Attention: The Literary Criticism“. In T.S. Eliot’s Interpretation of F.H. Bradley, 23–34. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-017-0411-3_3.

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Gutiérrez Pozo, Antonio. „Subjectivity and Transcendence: Husserl’s Criticism of Naturalistic Thought“. In Man’s Self-Interpretation-in-Existence, 379–85. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-1864-1_30.

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Barrett, Michèle. „The Place of Aesthetics in Marxist Criticism“. In Marxism and the Interpretation of Culture, 697–713. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19059-1_48.

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Davis, Todd F., und Kenneth Womack. „Introduction: Moving beyond the Politics of Interpretation“. In Formalist Criticism and Reader-Response Theory, 1–10. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-4039-1916-8_1.

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Konferenzberichte zum Thema "?-1649 Criticism and interpretation"

Al-dabbagh, Asma. „The Nature of Interpretation in Architectural criticism“. In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.256.

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The expressive systems in architecture consists of two components: the system of forms and the system of meanings, these systems are linked together by unwritten rules, which are a matrix of correlations / implications that determine any meanings associated with any forms. The designer remains unsure of the possible interpretations of his design, because of the variation in the nature of meaning, discovered by the recipient, and this stems from the variation of reliance on the theory of interpretation in this regard. Many studies of architectural semiology indicate some of these theories; Classical theory believes in the natural meaning, which influenced by form's geometry, Pragmatic theory believes in the common meaning, which stems from the use of form within different contexts and according to social custom. The research attempts to explore the aspects of interpretation adopted by two critics, in order to determine the theory adopted by them, so the designer will be aware to the nature and type of meaning comprehended by viewers. The results showed the adoption of common and inclusive meanings, also showed the variation in the role of architectural Expressions in confirming or multiplying the meaning, influenced by contexts and signal types. The conclusion emphasized the importance of historical references, stylistic trend, and spatial contexts in form interpretation.

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„Interpretation of "Wuthering Heights" from the Perspective of Eco-criticism“. In 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.126.

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Verner, Inna. „The legacy of Maximus the Greek in the biblical revision of Euthymius Chudovsky (1680s)“. In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.04.

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The paper explores the use by Euthymius Chudovsky of Maximus the Greek’s achievements in the linguistic revision of biblical texts. Correction and translation of the New Testament by Euthymius in the 1680s demonstrates not only the appeal to the texts translated by Maximus as language patterns, but also the development of his philological criticism of the text of Holy Scripture and its interpretation.

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Xu, Manyan. „A New Interpretation of Chinese Versions of Stray Birds Based on Reiss's Translation Criticism A Case Study of the Translations by Feng Tang and Zheng Zhenduo“. In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.128.

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Aravot, Iris. „An Attempt at Making Urban Design Principles Explicit“. In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.42.

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Since its rise as an autonomous field in the seventies, Urban Design has been a conglomerate of diverse concepts and value outlooks.The present approach, which is an a posteriori propositional expression of applications in actual practice and education, presents both theory and method by means of ten points. The approach is basically generated by formal considerations, thus originating in and focussing on aspects which cannot be expressed through theory and methods of other disciplines. It starts with systematic, conventional and objective studies which are then connected to a system of manipulations – the rules of game – which emphasize interpretation and are clarified by narrative and formal metaphors. The ‘rules of game’ set a framework of no a priori preferred contents, which is then applied according to local characteristics, needs and potentials. This conceptual – interpretative framework imposes a structural, consistent and hierarchical system on the factual data, so as to assure the realization of two apparently opposed values: (1) unity and phenomenological qualities and (2) free development and unfolding of the design that .The propositional expression of the approach aims at its exposure to explicit evaluation and criticism.

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