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Journal articles on the topic 'Adorno'

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Published: 4 June 2021

Last updated: 31 July 2024

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1

Bertram, Georg W. "Jazz als paradigmatische Kunstform – Eine Metakritik von Adornos Kritik des Jazz." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 15–28. http://dx.doi.org/10.28937/1000106234.

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In dem Aufsatz diskutiere ich Adornos Kritik des Jazz, um eine Metakritik zu entwickeln. Ich rekonstruiere den zentralen Vorwurf Adornos, demzufolge Jazz-Performances kein Formgesetz realisieren und aus diesem Grund Subjekte nicht herauszufordern vermögen. Diese Einschätzung von Jazz ist, so diagnostiziere ich, in Adornos Kunstbegriff begründet, da Adorno erstens die Formgesetzlichkeit von Interaktion nicht zu fassen vermag und zweitens die von Kunst geleistete Reflexion von Subjektivität nur verkürzt fasst. Wenn man den Kunstbegriff so anlegt, dass er diesen Momenten Rechnung trägt, wird es möglich, Jazz als eine paradigmatische Kunst zu begreifen.<br><br>In this paper, I discuss Adorno’s critique of jazz to develop a metacritique. I explain the basic objection of Adorno against jazz which states that jazz performances do not realize a law of form and therefore are not able to challenge subjects. According to my diagnosis, Adorno’s assessment of jazz is based on his conception of art for, firstly, Adorno excludes interactions of contributing to a law of form and, secondly, has a one-sided account of how art reflects subjectivity. If one works out a conception of art that avoids these shortcomings it is possible to conceive of jazz as a paradigmatic form of art.

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2

Andrade Dias, João Paulo. "Ancoragem nos nomes, persistência nas ideias. Adorno interpreta Hölderlin." Educação e Filosofia 37, no. 81 (March 27, 2024): 1601–32. http://dx.doi.org/10.14393/revedfil.v37n81a2023-70301.

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Resumo: O artigo aborda a interpretação da poesia tardia de Hölderlin feita por Theodor W. Adorno. Seu objetivo principal é demonstrar os passos da análise estética do discurso proferido em 1963 à Hölderlin-Gesellschaft, pontuando a presença da ideia de parataxis. Assim, o artigo divide o procedimento de Adorno em três camadas interpretativas: os conceitos de teor de coisa, lei imanente da configuração e teor de verdade. Primeiro, Adorno busca as referências filológicas e de sociologia da arte para insistir na proximidade de Hölderlin com o idealismo alemão, estratégia empregada para refutar a leitura de Heidegger, então corrente na Alemanha. A seguir, Adorno analisa a configuração poética para demonstrar como Hölderlin tomava parte nos debates filosóficos do período, marcando sua posição e afastando-se da teoria do conhecimento e filosofia da história de Hegel. Por fim, o teor de verdade resgatado da análise estética sugere conceitos já empregados por Adorno em sua filosofia de juventude, como história natural, mas também prepara noções que aparecerão somente na Dialética negativa, obra que responde à crítica da razão formulada pelo próprio autor na Dialética do esclarecimento. A tese central do artigo consiste na transversalidade da ideia de parataxis. Palavras-chave: Theodor W. Adorno; Friedrich Hölderlin; teor de coisa; teor de verdade; parataxis. Verankerung in den Namen, Verharren in den Ideen. Adorno spielt Hölderlin auf. Zusammenfassung: Der Aufsatz geht um Theodor W. Adornos Interpretation von Hölderlins Spätlyrik. Das Hauptziel hier ist es, die Schritte der ästhetischen Analyse der im Jahr 1963 Rede an die Hölderlin-Gesellschaft zu demonstrieren und dabei die Präsenz der Idee von Parataxe zu betonen. So gliedert der Aufsatz Adornos Vorgehen in drei interpretative Schichten: die Begriffe Sachgehalt, immanentes Gesetz der Gestaltung und Wahrheitsgehalt. Erstens sucht Adorno nach philologischen und kunstsoziologischen Bezügen, um an die Nähe Hölderlins zum deutschen Idealismus zu erinnern. Das war eine Strategie, mit der er die damals in Deutschland gängige Heidegger-Interpretation widerlegen ward. Im Folgenden analysiert Adorno die poetische Gestaltung, um zu zeigen, wie Hölderlin an den philosophischen Debatten seinerzeit teilnahm, seine Position markierte und sich von Hegels Erkenntnistheorie und Geschichtsphilosophie entfernte. Der aus der ästhetischen Analyse gerettete Wahrheitsgehalt schlägt zuletzt Begriffe vor, die Adorno in seiner Jugendphilosophie schon verwendet hat, wie etwa den Begriff der Naturgeschichte, bereitet aber auch Begriffe vor, die erst in Negativer Dialektik erscheinen werden, einem Werk, das auf die vom Autor selbst in Dialektik der Aufklärung formulierte Vernunftkritik antwortet. Die zentrale These des Aufsatzes besteht in der Transversalität der Idee von Parataxe. Stichwörter: Theodor W. Adorno; Friedrich Hölderlin; Sachgehalt; Wahrheitsgehalt; Parataxe. Anchor in Names, Persistence in Ideas. Adorno plays Hölderlin. Abstract: This paper deals with Theodor W. Adorno’s interpretation of Hölderlin’s late poetry. It aims to demonstrate each step of the aesthetic analysis of his well-known speech delivered in 1963 to the Hölderlin-Gesellschaft, and punctuates the presence of parataxis’ idea through the essay. Thus, the paper divides Adorno’s procedure into three main concepts: thing content, immanent law of configuration and truth content. First, Adorno asks philology and sociology of art for help to insist on Hölderlin’s closeness to German Idealism, a strategy employed to rebut Heidegger’s version, then current in Germany. Next, Adorno analyses the poetic configuration as to demonstrate how Hölderlin took part in philosophical debates of his time, marking his position out and moving away from Hegel’s theory of knowledge and philosophy of history. Finally, the truth content rescued from the aesthetic analysis suggests concepts already mobilized by Adorno in his youthful philosophy, such as natural history, but also prepares some notions that will appear only in Negative Dialectics, a work known as a reply to the critique of reason formulated by the author himself in Dialectics of Enlightenment. The central thesis of this paper consists in the transversality of parataxis’ idea. Keywords: Theodor W. Adorno; Friedrich Hölderlin; thing content; truth content; parataxis. Data de registro: 01/08/2023 Data de aceite: 24/01/2024

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3

Goetschel, Willi, and Martin Jay. "Adorno." German Quarterly 59, no. 2 (1986): 291. http://dx.doi.org/10.2307/407425.

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4

Misgeld, Dieter, and Martin Jay. "Adorno." Contemporary Sociology 14, no. 6 (November 1985): 782. http://dx.doi.org/10.2307/2071491.

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5

Wolin, R. "Adorno." Telos 1985, no. 64 (July 1, 1985): 165–74. http://dx.doi.org/10.3817/0685064165.

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6

Mario, Schäbel. "Marx als Schlüssel zu Adornos Negativer Dialektik. Oder: Adornos Negative Dialektik als Schlüssel zu Marx." Themenschwerpunkt Widerstand, transnational 10, no. 1-2019 (May 11, 2020): 87–102. http://dx.doi.org/10.3224/zpth.v10i1.06.

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Der Aufsatz stellt die gängige Meinung infrage, Adorno habe mit seiner negativen Dialektik eine kritische Philosophie entworfen, die keinerlei Beziehung zu Marx hat. Im Gegensatz zu dieser Meinung wird argumentiert, dass die strukturelle Analogie zwischen Adornos Kritik traditioneller Theorie und Marx Kritik der politischen Ökonomie als roter Faden der Negativen Dialektik gelten kann. Zugleich wird Adorno gegenüber zeitgenössischer Kritik verteidigt, die die Wichtigkeit von Marx für ihn zwar anerkennt, jedoch die Qualität seiner Marxinterpretation anzweifelt. Abschließend wird die Bedeutung ausgelotet, welche die zuvor angestellten Überlegungen zur Wesensverwandtschaft der Theorien von Marx und Adorno, sowie insbesondere die von beiden geteilte Kritik an der Positivierung der Negation der Negation, für die Frage nach einer Aktualisierung des Begriffs Kritischer Theorie hat. Dabei steht die Negativismusauffassung sowohl von Habermas als auch von Honneth zur Disposition, die für den von beiden befürworteten Paradigmenwechsel einen zentralen Stellenwert hat.

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7

Chua, D. K. L. "Adorno's Metaphysics of Mourning: Beethoven's Farewell to Adorno." Musical Quarterly 87, no. 3 (January 1, 2004): 523–45. http://dx.doi.org/10.1093/musqtl/gdh018.

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8

Pensky, Max, and Peter Uwe Hohendahl. "Minimal Adorno." New German Critique, no. 75 (1998): 181. http://dx.doi.org/10.2307/488582.

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9

Clarke, David, Theodor W. Adorno, Richard Leppert, and Susan H. Gillespie. "Alongside Adorno." Musical Times 144, no. 1883 (2003): 54. http://dx.doi.org/10.2307/3650682.

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10

Riethmuller, Albrecht. "Adorno musicus." Archiv für Musikwissenschaft 47, no. 1 (1990): 1. http://dx.doi.org/10.2307/930513.

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11

Litvak, Joseph. "Adorno Now." Victorian Studies 44, no. 1 (October 2001): 33–39. http://dx.doi.org/10.2979/vic.2001.44.1.33.

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12

Ross, Alex, Theodor W. Adorno, Juliane Brand, Christopher Hailey, Edmund Jephcott, Rodney Livingstone, and Max Paddison. "Young Adorno." Transition, no. 69 (1996): 160. http://dx.doi.org/10.2307/2935245.

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13

Kołakowski, Leszek, and Isabelle Hausser. "Sur Adorno." Commentaire Numéro162, no. 2 (2018): 307. http://dx.doi.org/10.3917/comm.162.0307.

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14

Linguiti, Alessandro. "Francesco Adorno." RIVISTA DI STORIA DELLA FILOSOFIA, no. 2 (June 2011): 267–70. http://dx.doi.org/10.3280/sf2011-002004.

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15

Walter, Simon. "Theodor Adorno." Philosophers' Magazine, no. 24 (2003): 52. http://dx.doi.org/10.5840/tpm20032424.

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16

Lahiri, Madhumita. "Postcolonial Adorno." Novel 48, no. 3 (November 2015): 485–89. http://dx.doi.org/10.1215/00295132-3150477.

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17

Steven Helmling. "American Adorno?" symploke 15, no. 1-2 (2008): 353–58. http://dx.doi.org/10.1353/sym.0.0030.

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18

Brunsma, David L. "After Adorno." Contemporary Sociology: A Journal of Reviews 34, no. 1 (January 2005): 41–43. http://dx.doi.org/10.1177/009430610503400126.

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19

Litvak, Joseph. "Adorno Now." Victorian Studies 44, no. 1 (2001): 33–39. http://dx.doi.org/10.1353/vic.2001.0145.

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20

Buhler, James. "Adorno today." Modernism/modernity 6, no. 2 (1999): 161–68. http://dx.doi.org/10.1353/mod.1999.0017.

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21

Bégot, Jacques-Olivier. "Adorno épistolier." Critique 871, no. 12 (2019): 1033. http://dx.doi.org/10.3917/criti.871.1033.

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22

Tassone, Giuseppe. "Amoral Adorno." European Journal of Social Theory 8, no. 3 (August 2005): 251–67. http://dx.doi.org/10.1177/1368431005054793.

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23

Connell, Matt F. "Imagining Adorno." Theory, Culture & Society 17, no. 2 (April 2000): 133–47. http://dx.doi.org/10.1177/02632760022051158.

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24

Ray, Gene. "Conditioning adorno." Third Text 18, no. 4 (July 2004): 223–30. http://dx.doi.org/10.1080/0952882042000229836.

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25

Blencowe, David. "Adorno and the Ends of Philosophy; Adorno Reframed." Critical Horizons 18, no. 3 (July 3, 2017): 275–80. http://dx.doi.org/10.1080/14409917.2017.1341117.

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26

WRAGG, DAVID. "‘Or any art at all?’: Frank Zappa meets critical theory." Popular Music 20, no. 2 (May 2001): 205–22. http://dx.doi.org/10.1017/s0261143001001416.

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Back in 1982, Max Paddison suggested that Frank Zappa's 1960s' Mothers of Invention recordings deserved to be read in the context of Adorno's views on mass culture. Based on a ‘critical, self-reflective attitude’ (Paddison 1982, p. 216) towards their musical processes, as anticipated in Adorno's essay, ‘Music and technique’ of 1959, these records could be seen to mount an incisive critique of the ‘culture industry’. The title of a series of essays in Telos (Spring 1991), ‘Special Section on Musicology: popular music from Adorno to Zappa’, locates Zappa in a debate about Adorno's continuing relevance where theories of popular music are concerned. More recently, Ben Watson's Frank Zappa, The Negative Dialectics of Poodle Play (1994) uses a theoretical admixture of Marx and Freud in which Adorno looms large. (The dust jacket photograph of Watson mirrors the photograph of Adorno at Oxford in December 1935 which now adorns the 1997 paperback edition of Paddison's Adorno's Aesthetics of Music.) The influence of Adorno remains in Watson's later essay in The Frank Zappa Companion (1997), which takes Dada as a crucial point of reference. Central to all this remains the question of Zappa's identity and status as an avant-gardist, and it is this issue which concerns me here. I agree that the Mothers' albums, together with later work, can be made to represent a radical popular music. It's the word ‘represent’ that causes the problem.

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27

Comay, Rebecca. "Adorno avec Sade…" En-Claves del pensamiento JULIO-DICIEMBRE, no. 32 (August 23, 2022): e557-e557. http://dx.doi.org/10.46530/ecdp.v0i32.557.

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Este artículo analiza cómo la obra de Sade puede leerse para iluminar las aporías de la razón ilustrada y la ley moral. Sade ha sido contemplado como el retorno de lo reprimido en la razón kantiana (Adorno) o como el secreto impensado que anima todo el sistema moral de Kant (Lacan). El artículo sostiene que leer a Sade con Adorno podría significar cuestionar el círculo vicioso de la repetición de la transgresión y la ley, así como el tedio de una racionalidad instrumental, para abrir una nueva comprensión de la ontología y la historia.

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28

Caskel, Julian. "Adorno, Schubert, Beethoven." Archiv für Musikwissenschaft 76, no. 2 (2019): 98. http://dx.doi.org/10.25162/afmw-2019-0005.

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29

Marino, Stefano. "Writing Songs after Auschwitz." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 62, no. 1 (2017): 26–41. http://dx.doi.org/10.28937/1000107634.

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Der Beitrag beginnt mit Adornos provokanter Aussage »Nach Ausschwitz ein Gedicht zu schreiben, ist barbarisch« und fragt, ob Kunst im Zeitalter der Völker- morde überhaupt noch möglich ist. Im Anschluss untersuche ich Adornos Begriff des Engagements in der Kunst, der ja eng mit dieser Frage verbunden ist, und die Bedeutung von »Auschwitz« in seiner Philosophie. Adornos Vorstellung von »wahrer« Kunst (d. h. Kunst mit einem relevanten »Wahrheitsgehalt«) führt dazu, den Gegenbegriff »falsche« oder »unwahre« Kunst, insbesondere Massenkultur und Popmusik, zu untersuchen. Adorno hätte es wahrscheinlich als eine Art Blasphemie angesehen, über Themen wie den Völkermord Pop- oder Rock-Songs zu schreiben und aufzuführen, aber das hier vertretene Argument ist, dass seine diesbezügliche Meinung auf Vorurteilen beruht, die seine Kunst- und Musikphilosophie negativ beeinflussen. Die Lieder über den Armenischen Völkermord, die von der Heavy Metal-Band System of a Down geschrieben und aufgeführt wurden, dienen dem Autor als ein Beispiel, das ein kritisches Überdenken einiger Aspekte von Adornos Ästhetik fördern soll. In this paper I start with Adorno’s famous and provocative statement “To write poetry after Auschwitz is barbaric”, aimed at asking whether art was still possible in the age of genocides. Then, I take into examination Adorno’s concept of commitment in art – which is closely related to these questions - and the meaning itself of the notion of “Auschwitz” in Adorno’s philosophy. Analyzing what Adorno called “true” art (i.e. art provided with a relevant “truth content”) leads to take into consideration what he understood vice-versa as false or untrue art, in particular mass culture and popular music. Adorno would have probably considered as a sort of blasphemy or heresy the idea itself to write and perform pop-rock songs about such subjects as genocide, but I argue that his views rely on some prejudices that negatively condition his philosophy of art and especially of music. The songs on the Armenian genocide written and performed by the heavy metal band System of a Down serve here as a profitable example that may be of help to foster a critical rethinking of some aspects of Adorno’s aesthetics.

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30

Visic, Maroje. "Ivory tower and barricades: Marcuse and Adorno on the separation of theory and praxis." Filozofija i drustvo 31, no. 2 (2020): 220–41. http://dx.doi.org/10.2298/fid2002220v.

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The events of 1968/69 initiated a dispute between Adorno and Marcuse over the (alleged) separation of theory and praxis. While Marcuse ?stood at the barricades? Adorno sought recluse in the ?ivory tower?. Marcuse and German students perceived Adorno?s move as departure from fundamental postulates of critical theory as laid down in Horkheimer?s 1937 essay. Adorno died amidst the process of clarifying his differences with Marcuse and thus the ?unlimited discussions? between the two remain unfinished. This paper sets to examine how both Marcuse and Adorno remained dedicated to the unity of theory and praxis, albeit in different ways. I argue that Adorno did not separate theory and praxis; instead, he perceived the gap between critical theory and concrete historical situation. Adorno rejected simple and unreflective translation of theory into praxis. Hence his attempt to recalibrate critical theory. Marcuse?s and Adorno?s differences lie in their different evaluation of the student movement and this (mis)evaluation was context related. My second argument is that Marcuse/Adorno disagreement is partly caused by the absence of the two from the concrete historical context.

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31

Barciela González, Virginia, Gabriel García Atiénzar, Paula Martín de la Sierra Pareja, and Mauro S. Hernández Pérez. "Los adornos personales en la orfebrería de Cabezo Redondo (Villena, Alicante) y su contexto histórico." Complutum 34, Especial (March 13, 2023): 109–27. http://dx.doi.org/10.5209/cmpl.85236.

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En este trabajo se analiza un importante conjunto de adornos de oro y plata procedentes del poblado de Cabezo Redondo (Villena, Alicante). En base a un análisis tecno-tipológico y, especialmente, a partir del análisis de sus contextos arqueológicos y de otros objetos de adorno personal del asentamiento, se plantea su correlación con otros conjuntos áureos y ornamentales peninsulares de la Edad del Bronce.

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32

Paraná, Edemilson. "Adorno, Habermas, Honneth:." SER Social 18, no. 38 (November 7, 2016): 177–201. http://dx.doi.org/10.26512/ser_social.v18i38.14273.

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O trabalho apresenta uma breve revisão do desenvolvimento da tradição de pensamento da Teoria Crítica ao longo de suas três gerações (aqui representadas, respectivamente, por Theodor Adorno e Max Horkheimer, Jurgen Habermas e Axel Honneth) em relação ao modo de como tratam, aproximando ou afastando-se deste eixo, a contradição capital-trabalho na explicação da dominação na modernidade capitalista. Ao situá-lo a partir dessa categoria, objetiva traçar o referido panorama da trajetória intelectual dessa linhagem na perspectiva de seu projeto fundacional de crítica radical da realidade social ancorada nas formulações de Karl Marx, como núcleo teórico-conceitual. Feito esse apanhado, argumenta que as distintas formas de negação do imperativo de ruptura sistêmica pela via revolucionária frente ao modo produção capitalista, verificadas nas propostas de tais autores, estão diretamente relacionadas à secundarização teórica da contradição capital-trabalho que estes empreendem na construção de suas formulações.

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33

Rouanet, Sergio Paulo. "Adorno e Kierkegaard." Estudos Avançados 27, no. 79 (2013): 147–56. http://dx.doi.org/10.1590/s0103-40142013000300011.

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34

Cohen-Halimi, Mich�le. "Adorno d�cisif." Cahiers philosophiques N�154, no. 3 (2018): 5. http://dx.doi.org/10.3917/caph1.154.0005.

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35

Dandaneau, Steven. "Adorno on leadership." Leadership and the Humanities 4, no. 2 (September 2016): 143–52. http://dx.doi.org/10.4337/lath.2016.02.05.

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36

Barbosa, Wesley. "Adorno contra Nietzsche?" Perspectivas 6, no. 2 (December 30, 2021): 479–513. http://dx.doi.org/10.20873/rpv6n2-24.

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O presente artigo busca aproximar Adorno de Nietzsche, não como a exaltar ressentimentos e picuinhas, mas como a dialogar aspectos da crítica de ambos a uma cultura igualitária formadora de uma humanidade decaída e violenta, além de dócil e pouco crítica. Como leitor de Nietzsche, Adorno acertou ao indicar os processos de nivelamento social promovidas pelas sociedades econômicas contemporâneas. Assim como sua racionalização instrumental que culminou na barbárie(1939-1945). Exporemos uma crítica que busque diminuir os esteriótipos dos autores aproximando mais, o social, de Nietzsche, e o sujeito individual, de Adorno. No fim, tentaremos demonstrar como o conceito de solidariedade em Adorno não resolve melhor a questão ética, que a avaliação como valor para a construção de valores, sendo a proposição imoralista de Nietzsche, muito mais um recurso provocativo, que uma assertiva de caráter fundamental.

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37

Belina, Bernd. "„Provinzialität“ bei Adorno." Geographische Zeitschrift 109, no. 2-3 (2021): 105. http://dx.doi.org/10.25162/gz-2021-0009.

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38

Müller, Frank. "Adorno: Kranichsteiner Vorlesungen." Zeitschrift für philosophische Literatur 2, no. 4 (October 16, 2014): 69–74. http://dx.doi.org/10.21827/zfphl.2.4.35347.

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39

Comay, Rebecca. "“Adorno avec Sade ...”." Symposium 11, no. 2 (2007): 371–82. http://dx.doi.org/10.5840/symposium200711234.

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40

Gray, Kevin W. "Sartre and Adorno." Symposium 13, no. 2 (2009): 224–27. http://dx.doi.org/10.5840/symposium200913245.

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41

Vincent, Jean-Marie. "Habermas versus Adorno." Actuel Marx 25, no. 1 (1999): 99. http://dx.doi.org/10.3917/amx.025.0099.

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42

Schmidt, Dennis J. "Adorno und Heidegger." International Studies in Philosophy 18, no. 1 (1986): 106–8. http://dx.doi.org/10.5840/intstudphil1986181101.

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43

Evangelou, Angelos. "Adorno on Genius." Philosophical Inquiry 29, no. 1 (2007): 132–39. http://dx.doi.org/10.5840/philinquiry2007291/29.

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44

Girard, Mathilde. "Kracauer, Adorno, Benjamin." Lignes 11, no. 2 (2003): 208. http://dx.doi.org/10.3917/lignes1.011.0208.

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Lauxerois, Jean. "Adorno - sur écoute." Lignes 11, no. 2 (2003): 226. http://dx.doi.org/10.3917/lignes1.011.0226.

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46

Corsi, Elena. "Adorno und Cornelius." Philosophisches Jahrbuch 128, no. 2 (2021): 291–320. http://dx.doi.org/10.5771/0031-8183-2021-2-291.

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47

Hodge, Joanna. "Adorno and Phenomenology." Philosophy Today 63, no. 2 (2019): 403–25. http://dx.doi.org/10.5840/philtoday2019826278.

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Adorno develops critiques in parallel of the phenomenologies of G. W. F. Hegel and of Edmund Husserl. While respecting their differences, he rehearses conjoined objections to their accounts of philosophy, and of progress, of history, and of nature. Critical of Hegel’s idealist dialectics, and of Husserl’s transcendental idealism, Adorno also in his readings of their texts reveals a textual materiality of their philosophical enquiries, which provides material evidence in support of his critique. This essay seeks to reveal the dynamic of this process, and show certain parallels with results supplied in the phenomenological enquiries of Michel Henry, and in the deconstructions of Jacques Derrida. If an epoch may still be captured in the concept, then the negative dialectical conceptuality developed by Adorno must capture a condition common to that epoch, and, in part, shared by other such thinkers.

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48

Dallmayr, Fred, and Hermann Morchen. "Adorno and Heidegger." Diacritics 19, no. 3/4 (1989): 82. http://dx.doi.org/10.2307/465391.

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Matthews, David, and Jonathan Cross. "No, no, Adorno." Musical Times 140, no. 1869 (1999): 68. http://dx.doi.org/10.2307/1004525.

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50

Hullot-Kentor, R. "Back to Adorno." Telos 1989, no. 81 (October 1, 1989): 5–29. http://dx.doi.org/10.3817/0989081005.

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