【摘要】：本文主要以現(xiàn)象學(xué)哲學(xué)家和美學(xué)家關(guān)于藝術(shù)現(xiàn)象的思想為依據(jù),考察現(xiàn)象學(xué)方法和他們所使用的主要概念,特別是意向性概念和視域概念對(duì)于藝術(shù)審美本質(zhì)研究有何意義與價(jià)值。 導(dǎo)言部分主要討論藝術(shù)審美本質(zhì)研究在我國(guó)美學(xué)和文藝學(xué)理論中的地位和面臨的問(wèn)題,以及西方現(xiàn)象學(xué)哲學(xué)和美學(xué)對(duì)這一問(wèn)題的研究情況。我國(guó)美學(xué)和文藝學(xué)在藝術(shù)審美本質(zhì)研究上主要的問(wèn)題是對(duì)藝術(shù)現(xiàn)象界定不明確,其原因是各自存在著非自明的理論設(shè)定�，F(xiàn)象學(xué)方法能夠懸置我們對(duì)事物理解中存在的成見,對(duì)文藝美學(xué)的藝術(shù)審美本質(zhì)研究具有重要意義。現(xiàn)象學(xué)的美學(xué)思想一方面體現(xiàn)為對(duì)具體的藝術(shù)創(chuàng)作、作品和接受的分析,另一方面體現(xiàn)為對(duì)藝術(shù)與存在或真理等關(guān)系的分析,這兩個(gè)方面分別與意向性和視域概念相關(guān),這兩個(gè)概念在不同現(xiàn)象學(xué)家那里既有明顯的傳承性又有很大差異,因此需要綜合起來(lái)進(jìn)行考察,才能幫助我們理解藝術(shù)現(xiàn)象的本質(zhì)結(jié)構(gòu)。 第一章主要討論“美的藝術(shù)”觀念的形成以及傳統(tǒng)哲學(xué)美學(xué)和藝術(shù)學(xué)的藝術(shù)本質(zhì)觀�！懊赖乃囆g(shù)”觀念的確立是一個(gè)長(zhǎng)期過(guò)程,藝術(shù)自身的發(fā)展是人們對(duì)“藝術(shù)”的理解和對(duì)“美”的理解明確起來(lái)的條件。傳統(tǒng)哲學(xué)美學(xué)的藝術(shù)本質(zhì)觀的內(nèi)在矛盾是一方面將美理解為感性的,另一方面試圖將其與理性觀念聯(lián)系起來(lái),其根源則在于主體性哲學(xué)感性與理性、主體與客體二元對(duì)立的立場(chǎng)；藝術(shù)學(xué)以實(shí)證科學(xué)的方法研究藝術(shù),但卻將藝術(shù)現(xiàn)象與審美現(xiàn)象割裂開來(lái),以藝術(shù)起源和藝術(shù)要素問(wèn)題取代藝術(shù)審美本質(zhì)問(wèn)題。 第二章和第三章分別以意向性和視域概念為出發(fā)點(diǎn),討論藝術(shù)審美本質(zhì)與審美意識(shí)和存在及真理的關(guān)系。 第二章主要分析胡塞爾的意向性概念,包括以此概念為基礎(chǔ)的客體化行為與非客體化行為、奠基、觀念直觀、價(jià)值直觀等概念之間的關(guān)系,以及意向性概念的不同變體,如海德格爾的憂慮概念、薩特的意向性概念和梅洛一龐蒂的身體意向性概念之間的關(guān)系,從而考察從審美意識(shí)的角度如何來(lái)界定藝術(shù)的審美本質(zhì)。第一節(jié)討論現(xiàn)象學(xué)的意向性概念和本質(zhì)還原方法的重要意義,它們能夠克服本質(zhì)與現(xiàn)象、存在與現(xiàn)象的二元論,從而克服藝術(shù)本質(zhì)觀念的理性、感性和主客體二元對(duì)立的內(nèi)在矛盾�，F(xiàn)象學(xué)方法的重要意義在于改變了對(duì)本質(zhì)與現(xiàn)象關(guān)系的傳統(tǒng)理解,但由于胡塞爾堅(jiān)持意識(shí)哲學(xué)立場(chǎng),將本質(zhì)理解為觀念,而由于藝術(shù)的特殊存在方式,它的本質(zhì)——美不能被理解為一般的觀念；現(xiàn)象學(xué)的本質(zhì)直觀與“藝術(shù)直觀”有相近之處,但前者是理論行為而后者是感性活動(dòng),二者還是根本不同的。第二節(jié)依據(jù)客體化和奠基概念分析審美意識(shí),審美意識(shí)包含審美直觀和審美感受兩個(gè)部分,應(yīng)該是這兩個(gè)部分的統(tǒng)一,但根據(jù)胡塞爾的意識(shí)分析,特別是將感受劃為非客體化行為,即不具有自身獨(dú)特對(duì)象的行為,我們將推導(dǎo)出審美直觀與審美感受相分離的結(jié)論。舍勒則將本質(zhì)還原理解為價(jià)值還原,即將胡塞爾理解的非客體化的感受(情感、意愿等)行為理解為指向價(jià)值客體的行為,從而使審美意識(shí)能夠構(gòu)造自身的對(duì)象,成為一種獨(dú)立的意識(shí)行為。但舍勒理解的價(jià)值是超感性的,這就又導(dǎo)致審美意識(shí)感性與非感性的矛盾。因此在意識(shí)哲學(xué)立場(chǎng)上理解藝術(shù)現(xiàn)象還是存在著很大局限性。 第三章主要分析胡塞爾的視域概念,包括以此概念為基礎(chǔ)的本真性與非本真性、體現(xiàn)與共現(xiàn)、在場(chǎng)與不在場(chǎng)、存在、交互主體性、生活世界等概念的關(guān)系,以及視域概念的不同變體,如海德格爾的大地、薩特的前反思的我思、梅洛一龐蒂的肉身、伽達(dá)默爾的歷史視域等概念的關(guān)系,從而考察從藝術(shù)與世界的關(guān)系角度如何來(lái)界定藝術(shù)的審美本質(zhì)。第一節(jié)討論視域概念的重要意義,它改變了我們關(guān)于世界的客觀存在的理解,即我們能夠作為對(duì)象來(lái)把握的在場(chǎng)的存在是以不在場(chǎng)的存在為前提的,現(xiàn)象學(xué)首次將不在場(chǎng)引入了西方哲學(xué)�，F(xiàn)象學(xué)要研究的不只是個(gè)別的存在物,更重要的是一般的存在,因此個(gè)體的視域就要拓展為世界視域,而這種拓展必須以交互主體性為基礎(chǔ),胡塞爾、薩特、梅洛一龐蒂等人都對(duì)交互主體性問(wèn)題做了深入分析,但仍然存在著主體性立場(chǎng)與交互主體性立場(chǎng)的矛盾。交互主體性問(wèn)題對(duì)藝術(shù)本質(zhì)研究有重要意義,薩特、英伽登等都將藝術(shù)理解為交互主體性的活動(dòng),這對(duì)于解決藝術(shù)之美的主觀性與客觀性之間的矛盾很有意義。第二節(jié)根據(jù)胡塞爾關(guān)于生活世界、科學(xué)世界和哲學(xué)世界的劃分,討論藝術(shù)作為一種把握世界的獨(dú)特方式的屬性。生活世界是非課題化的世界視域,而在科學(xué)、哲學(xué)以及其他的文化活動(dòng)中世界作為對(duì)象被把握,但不同屬性的文化活動(dòng)在對(duì)世界或存在理解的深度上是不同的。海德格爾認(rèn)為存在本身不是在場(chǎng)的存在物而是不在場(chǎng)的,而人這種特殊的存在者既是對(duì)存在的遮蔽又能夠進(jìn)行去蔽,或者說(shuō)人的文化“世界”與它的存在基礎(chǔ)“大地”之間總是處于遮蔽與去蔽的辯證關(guān)系之中,藝術(shù)比科學(xué)更能揭示不在場(chǎng)之物的意義。這種對(duì)藝術(shù)與世界關(guān)系的辯證理解由于引入了不在場(chǎng)這一概念,比傳統(tǒng)的表現(xiàn)論和再現(xiàn)論都更為深刻。但這種對(duì)藝術(shù)本質(zhì)的理解比較抽象,而在受海德格爾影響的解釋學(xué)美學(xué)尤其是接受美學(xué)中,總體的、抽象的視域轉(zhuǎn)化為歷史的、具體的視域,因此藝術(shù)的主觀性與客觀性問(wèn)題又凸顯出來(lái)。第三節(jié)依據(jù)海德格爾對(duì)真理概念的理解討論藝術(shù)審美本質(zhì)與真理的關(guān)系。海德格爾理解的真理不是“符合論”的真理,因?yàn)榉险摰恼胬碇慌c在場(chǎng)之物有關(guān),而海德格爾理解的真理是在場(chǎng)與不在場(chǎng)辯證關(guān)系中呈現(xiàn)的真理,在此意義上的真理就與藝術(shù)之美具有密切的關(guān)系。這種觀點(diǎn)啟示我們不應(yīng)當(dāng)僅僅將藝術(shù)審美本質(zhì)理解為某種抽象的、固定的東西,而是應(yīng)當(dāng)理解為一種活生生的、在每次具體的藝術(shù)活動(dòng)當(dāng)中自身顯現(xiàn)的東西。 第四章和第五章分別從藝術(shù)創(chuàng)作和藝術(shù)接受的角度分析審美感知、審美想象、圖像意識(shí)、符號(hào)意識(shí)和審美情感之間,以及它們與作為審美對(duì)象的藝術(shù)作品之間的關(guān)系問(wèn)題。 第四章主要討論藝術(shù)創(chuàng)作與審美感知和審美想象的關(guān)系。審美感知和審美想象是藝術(shù)創(chuàng)作的關(guān)鍵環(huán)節(jié),但藝術(shù)創(chuàng)作最終要落實(shí)到技術(shù)性的操作層面,梅洛-龐蒂將胡塞爾意識(shí)主體的感知轉(zhuǎn)化為身體主體的感知,使感知與客觀事物融為一體,進(jìn)而與不在場(chǎng)的世界的整體相協(xié)調(diào),從而克服了藝術(shù)創(chuàng)作中審美感知與技術(shù)操作的矛盾,同時(shí)也克服了感知與情感的矛盾；在此基礎(chǔ)上我們對(duì)藝術(shù)形式在創(chuàng)作中的作用進(jìn)行了分析,認(rèn)為形式不僅是客觀的藝術(shù)作品的特性,而且滲透到了整個(gè)藝術(shù)創(chuàng)作過(guò)程中。薩特則將想象理解為對(duì)自在存在的克服和對(duì)人的自由世界的構(gòu)造,認(rèn)為現(xiàn)實(shí)世界是破碎的而想象能夠構(gòu)造一種不在場(chǎng)的完整性,指出美和藝術(shù)的本質(zhì)就在于創(chuàng)造性的、自由的想象活動(dòng),他強(qiáng)調(diào)了審美想象的實(shí)踐性,從而也解決了想象與情感的矛盾；在此基礎(chǔ)上我們對(duì)虛構(gòu)在藝術(shù)創(chuàng)作中的作用進(jìn)行了分析,認(rèn)為虛構(gòu)是建立在想象的創(chuàng)造性和自由性基礎(chǔ)上的對(duì)現(xiàn)實(shí)時(shí)空關(guān)系的克服和對(duì)虛擬時(shí)空關(guān)系的構(gòu)造的活動(dòng)。但由于哲學(xué)立場(chǎng)的局限,梅洛-龐蒂和薩特都沒有將審美感知和審美想象視為一個(gè)整體,反而有使它們對(duì)立的傾向,因而都具有片面性。 第五章主要以文學(xué)和視覺藝術(shù)這兩種藝術(shù)類型為例,討論藝術(shù)作品的存在方式和藝術(shù)接受的問(wèn)題。英迦登的作品存在論與形式主義的、結(jié)構(gòu)主義的作品存在論的區(qū)別在于,他將作品理解為意向性存在而不是實(shí)體性存在,因此我們可以將藝術(shù)作品的存在方式還原為藝術(shù)接受的過(guò)程,作品不是純客觀的,接收過(guò)程不是純主觀的,二者不可分割。由于文學(xué)以語(yǔ)言符號(hào)為載體,而視覺藝術(shù)是一種圖像,文學(xué)和視覺藝術(shù)這兩類藝術(shù)可以還原為符號(hào)意識(shí)和圖像意識(shí),胡塞爾對(duì)圖像意識(shí)和符號(hào)意識(shí)的分析表明,圖像對(duì)象和符號(hào)對(duì)象比直觀對(duì)象復(fù)雜,它們是三重對(duì)象,即它們的物質(zhì)載體、它們的意義內(nèi)容和它們所指向的對(duì)象的復(fù)合體,文學(xué)與視覺藝術(shù)的特殊存在方式,或者說(shuō)它們與一般的符號(hào)和圖像的區(qū)別則在于,它們的對(duì)象既不是實(shí)在的觀念也不是實(shí)在的實(shí)體,具體說(shuō)它們的三重對(duì)象之間的關(guān)系不同于一般符號(hào)和圖像,它們的意義內(nèi)容與客觀對(duì)象之間的聯(lián)系被削弱,從而構(gòu)造出具有虛擬性的對(duì)象,此虛擬對(duì)象既是有限的、在場(chǎng)的形象對(duì)象,又包含著無(wú)限的、不在場(chǎng)的總體性的意蘊(yùn)。但將藝術(shù)接受還原為圖像意識(shí)和符號(hào)意識(shí),并不意味著藝術(shù)接受與審美感知的脫離,藝術(shù)接受中的圖像意識(shí)、符號(hào)意識(shí),包括審美情感,都是以審美感知為基礎(chǔ)的。杜夫海納的審美經(jīng)驗(yàn)分析表明,感知是審美經(jīng)驗(yàn)中的關(guān)鍵因素,想象、情感以及圖像意識(shí)和符號(hào)意識(shí)等都包含在感知當(dāng)中,這是作為審美對(duì)象的藝術(shù)作品的客觀性的保證。 第六章試圖借鑒現(xiàn)象學(xué)的理論對(duì)中國(guó)傳統(tǒng)美學(xué)概念“意象”和“情”“景”進(jìn)行分析。意象概念和情、景這對(duì)范疇集中體現(xiàn)了中國(guó)傳統(tǒng)哲學(xué)思想中有與無(wú)、虛與實(shí)的辯證關(guān)系,同時(shí)與現(xiàn)象學(xué)關(guān)于在場(chǎng)與不在場(chǎng)、有限性與無(wú)限性的思想相通,我們根據(jù)現(xiàn)象學(xué)的相關(guān)理論對(duì)它們進(jìn)行重新闡釋,試圖更深入地分析藝術(shù)創(chuàng)作和藝術(shù)接受現(xiàn)象。具體地說(shuō),意象概念包含的言、象、意之間的辯證關(guān)系以及情與景之間的辯證關(guān)系,體現(xiàn)了具體的審美直觀、藝術(shù)接受中的圖像和符號(hào)意識(shí)與藝術(shù)的獨(dú)特審美意蘊(yùn)和審美情致的本質(zhì)聯(lián)系。
[Abstract]:This paper, based on the thought of phenomenological philosophers and aesthetionists on artistic phenomena, examines the phenomenological methods and the main concepts they use, especially the meaning and value of the concept of intentionality and the concept of field of view on the study of the essence of art and aesthetics.
The introduction part mainly discusses the status and problems of the study of the essence of artistic aesthetic in the theory of aesthetics and literature and art in China, as well as the research on this problem in the Western phenomenological philosophy and aesthetics. The main problem in the study of aesthetic and aesthetic nature of Chinese aesthetics and literature and art is that the definition of artistic phenomena is not clear, and the reasons are the various reasons. The phenomenological method can suspend the stereotypes that exist in the understanding of things, and it is of great significance to the study of the artistic and aesthetic essence of literary aesthetics. The aesthetic thought of phenomenology is reflected on the analysis of the specific artistic creation, the works and the acceptance, and the other is the art and existence or the existence or existence. The analysis of the relationship between truth and so on, these two aspects are related to the concept of intentionality and the concept of vision respectively. These two concepts have obvious inheritance and great differences in different phenomenologists, so it is necessary to make a comprehensive investigation to help us understand the essential structure of the art phenomenon.
The first chapter mainly discusses the formation of the concept of "art of beauty" and the artistic essence of traditional philosophical aesthetics and art. The establishment of the concept of "art of beauty" is a long-term process, and the development of art itself is the condition for the understanding of "art" and the understanding of the understanding of "beauty". On the one hand, the inner contradiction of view is to understand beauty as sensibility. On the other hand, it tries to link it with the idea of reason. Its root lies in the standpoint of the two yuan opposition between the subjective philosophy and the reason, the subject and the object; the art studies art with the method of empirical science, but it separates the artistic phenomenon from the aesthetic phenomenon, with the art of art. The problem of origin and artistic elements replaces the essence of artistic aesthetics.
The second and third chapters discuss the relationship between the essence of artistic aesthetics and aesthetic consciousness, existence and truth, starting from the concepts of intentionality and horizon.
The second chapter mainly analyzes Husserl's concept of intentionality, including the relationship between objectified and non objectified behavior, foundation, idea intuition and value intuition, as well as different variations of the concept of intentionality, such as the worry concept of Hai Degel, the concept of Sutter's intentionality and the physical intention of Melo pponty. The relationship between the concept of sex, so as to examine how to define the aesthetic essence of art from the perspective of aesthetic consciousness. The first section discusses the significance of the concept of intentionality and the essential reduction method of phenomenology, which can overcome the essence and phenomenon, the existence and the dualism of the phenomenon, so as to overcome the rational, sensibility and subject and object of the essence of art. The intrinsic contradiction of the two yuan opposition. The important meaning of the phenomenological method is to change the traditional understanding of the relationship between the essence and the phenomenon, but because Husserl insists on the philosophical standpoint of the consciousness, the essence is understood as the idea, and because of the special existence of art, its essence, beauty can not be understood as a general idea; the essence of phenomenology is intuitionistic. It is similar to "art intuition", but the former is theoretical behavior and the latter is perceptual activity, the two is fundamentally different. The second section analyzes aesthetic consciousness according to the concept of objectification and foundation, and the aesthetic consciousness includes two parts of aesthetic intuition and aesthetic feeling, which should be the unity of the two parts, but according to Husserl's consciousness, In particular, we will deduce the conclusion that aesthetic intuition and aesthetic feeling are separated from the behavior of non objectification, that is, not having its own unique object. Scheler understands the essence reduction as value reduction, and Husserl understands the behavior of the non objectified feelings (emotion, will and so on) as the behavior of pointing to the value object. Thus, aesthetic consciousness can construct its own object and become an independent act of consciousness. However, the value of Scheler's understanding is super sensibility, which leads to the contradiction between aesthetic consciousness and non sensibility. Therefore, there is a great limit to understanding artistic phenomena in the standpoint of consciousness philosophy.
The third chapter mainly analyzes the concept of Husserl's horizon, including the true and non true nature based on this concept, the relationship between the representation and the co occurrence, the presence and absence, the existence, the intersubjectivity, the life world and other concepts, as well as the different variations of the concept of the horizon, such as the land of Degel, the former reflection of Sutter, and the flesh of Melo pponty. The first section discusses the significance of the concept of view in the first section, which changes our understanding of the objective existence of the world, that is, the existence of the presence we can grasp as the object is not present. On the premise of the existence, phenomenology first introduces the absence of the presence to the western philosophy. The phenomenology is not only the individual existence, but more important is the general existence, so the individual's horizons should be extended to the world view, and this expansion must be based on the interactive subjectivity, and Husserl, Sutter, Melo and Ponty are all interactive. The problem of subjectivity is deeply analyzed, but there is still a contradiction between the main position and the intersubjectivity. The question of intersubjectivity is of great significance to the study of the essence of art. Sutter and Ingaden all understand the art as the activity of intersubjectivity, which is very intentional for the contradiction between the subjectivity and objectivity of the beauty of art. The second section, according to Husserl's division of the world of life, the scientific world and the philosophical world, discusses art as a unique way of grasping the world. The world of life is a non subject world view, while the world is grasped in science, philosophy and other cultural activities, but the cultural activities of different attributes are in the world. The depth of the understanding of the world or existence is different. Heidegger believes that existence is not the existence of the presence of the presence, but the presence of the human being, and the human being is not only a shelter from the existence, or the human culture "the world" is always sheltered from its foundation "the earth". In the dialectical relationship, art can reveal the meaning of the object of absence more than science. This dialectical understanding of the relationship between art and the world is more profound than the concept of absence, which is more profound than the traditional expressionism and reappearance theory. But this understanding of the essence of art is more abstract, especially in the hermeneutic aesthetics influenced by Heidegger. The third section, based on Heidegger's understanding of the concept of truth, discusses the relationship between the essence of art and the truth and the relationship between the essence of art and the truth. The truth that Heidegger understands is not the truth of "conforms", because the truth of Heidegger's understanding is not the truth of "conforms". The truth of conforming is only related to what is present, and the truth that Heidegger understands is the truth in the dialectical relationship between presence and absence, and the truth in this sense has a close relationship with the beauty of art. This view inspires that we should not only understand the aesthetic nature of art as an abstract, fixed thing, but a certain thing. When it is understood as a living thing, it appears itself in every concrete art activity.
The fourth and fifth chapters analyze the relationship between aesthetic perception, aesthetic imagination, image consciousness, symbolic consciousness and aesthetic emotion from the perspective of artistic creation and artistic acceptance, as well as the relationship between them and the art works as aesthetic objects.
The fourth chapter mainly discusses the relationship between artistic creation and aesthetic perception and aesthetic imagination. Aesthetic perception and aesthetic imagination are the key links of artistic creation. However, artistic creation should be implemented at the technical level of operation. Melo Ponty transforms the perception of the body of Husserl consciousness into the perception of body body, so that perception and objective things are fused into one. As a result, the contradiction between aesthetic perception and technical operation in artistic creation is overcome, and the contradiction between perception and emotion is overcome. On the basis of this, we analyze the role of art form in the creation of art, and consider that the form is not only the characteristic of the objective art works, but also the infiltration. In the whole process of artistic creation, Sutter regards imagination as the overcoming of the existence of freedom and the construction of a free world for people. The real world is broken and imagination can construct a kind of absence of integrity. It points out that the essence of beauty and art lies in creativity, free imagination, and he emphasizes the reality of aesthetic imagination. It also solves the contradiction between imagination and emotion, and on the basis of this, we analyze the role of fiction in artistic creation, and believe that fiction is based on the creative and free nature of imagination to overcome the real time space relationship and to construct the virtual space-time relationship. But because of the limitation of philosophical standpoint, may Neither Lo-Ponty nor Sartre regards aesthetic perception and imagination as a whole, but they tend to oppose each other, so they are both one-sided.
The fifth chapter mainly takes the two types of art, literature and visual art as an example, to discuss the existence of art works and the issue of art acceptance. The existence of art works is reduced to the process of art acceptance. The work is not purely objective, the receiving process is not purely subjective, and the two is inseparable. As literature is the carrier of language symbols, visual art is a kind of image, and the two types of art, literature and visual art can be reduced to symbolic consciousness and image consciousness, and Husserl's image The analysis of consciousness and symbolic consciousness shows that the image object and the symbolic object are more complex than the visual objects. They are three heavy objects, that is, their material carriers, their meaning and the complex of the objects they point to, the special way of existence of literature and visual art, or the difference between them and the general symbols and images, Their objects are neither real concepts nor real entities, specifically their relationship between the three objects is different from the general symbols and images, and the connection between their meaning content and the objective object is weakened, thus constructing an object with a virtual nature, which is both a limited, present image object and a virtual object. It contains the overall meaning of infinite and unpresent. But the acceptance of art to image consciousness and symbolic consciousness does not mean that the acceptance of art is separated from the aesthetic perception. The image consciousness, symbolic consciousness, and aesthetic emotion in the acceptance of art are based on the aesthetic perception. The aesthetic experience of Duff hina shows that the sense of aesthetic experience shows that the sense of aesthetic experience is the basis of the aesthetic experience. Knowledge is the key factor in aesthetic experience. Imagination, emotion, image consciousness and symbolic consciousness are all included in the perception. This is the guarantee of the objectivity of the artistic works of the aesthetic object.
The sixth chapter tries to use the theory of phenomenology to analyze the traditional Chinese aesthetic concept of "image" and "emotion". On the basis of the theory of phenomenology, we reinterpret them and try to analyze the phenomenon of artistic creation and art acceptance more deeply. Specifically, the dialectical relationship between the words, images, meaning, and the relationship between feelings and scenery is embodied in the concept of image, which embodies the aesthetic intuition, image and symbol consciousness in the acceptance of art. Art and art
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：J01

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