Representation Of Experience Research Articles

VASYL STUS IN THE THEATER: FROM THE HISTORY OF THE ISSUE (1980s — 1990s)

The theatrical interpretation of the life and work of Vasyl Stus began in the late 1980s. Dozens of productions across various genres appeared during the period of accumulating and systematizing biographical and artistic material, as well as reinterpreting the figure of Stus. Interest in his personality is evidenced by the performances of both experienced directors and beginners. One of the key tasks of Stus studies is to trace the history of the theatrical experiences that bring Vasyl Stus’s creative life into focus. To model the perception and artistic interpretation of Stus’s personality, it is important to identify various forms of professional performances centered on Vasyl Stus’s life or based on his works, while considering the chronological order of their appearance. These forms include poetic compositions, dramatic compositions, plays, etc. The paper starts a project focusing on the outlined issues and highlights the theatrical productions from the late 1980s and the 1990s. Decades of theatrical exploration of Vasyl Stus’s creative personality represent not only a time of popularizing his works and integrating the poet’s name into the cultural sphere but also a period of directors’ and actors’ search for the potential — both poetic and existential — within Stus’s texts. The strength and significance of the poet’s legacy were proved by the following performances: the poetic composition “Vasyl Stus” (1988) by Volodymyr Kuchynskyi, the dramatic composition “The Bird of Soul” (1989) by Vitalii Sementsov, the musical and dramatic composition “Return” (1989) by Myroslav Hrynyshyn, the monologue “Go through a Hundred Scaffolds, a Man, Having Sight in a Heart” (1992) by Marharyta and Kyrylo Bulkins, the monologue “Damned Years” (1992—1993) by Volodymyr Smotrytel, the play on the occasion of the 60th anniversary of V. Stus’s birth (1998) by Dmytro Stus and Serhii Proskurnia.

Redefining Theatricality: How the Fourth Wall Shapes Audience Interaction in Gaming Theater

This paper examines the role of the fourth wall in gaming theater and its impact on audience interaction. Traditionally, the fourth wall serves as an invisible boundary separating performers from spectators, dividing the fictional world from the audience. In gaming theater, this boundary is often broken, granting audiences a more active role in shaping the narrative and interacting with performers. Employing an analytical approach and case studies, this research investigates the effects of manipulating the fourth wall on the theatrical experience and audience participation. Two gaming theater productions are examined: In "Reflections of the Dream Realm," the fourth wall is completely dismantled, allowing audiences to participate through sensory engagement and voting. In "Harmony of Whispers," the fourth wall is partially maintained, yet audiences remain collaboratively involved in the storytelling process. Findings indicate that removing the separation between the stage and the audience can fundamentally alter the theatrical experience, transforming audiences from passive observers into active co-creators, particularly within the gaming theater genre, where interactive elements and innovative technologies like voting and augmented reality are employed.

Digital Transformation for Cultural Sustainability: The Bolshoi Theatre Experience

This paper studies the Bolshoi Theatre's digital transformation in cultural sustainability, focusing on innovation management and technology utilization, explores the critical need for cultural institutions to overcome hurdles and capitalize on opportunities provided by modern technologies, investigates the Bolshoi Theatres strategic ways of managing its digital transformation while preserving and improving its cultural history, its historical relevance and its digital projects, to reveal managerial obstacles, opportunities, and deep influences on both internal techniques and audience reviews. Key findings highlight the transformative significance of innovation management in changing market involvement via virtual performances, virtual reality reviews, and augmented reality programs. The study also emphasizes the need for knowing usage, as indicated by creating a centralized digital archive and combining device learning algorithms for customized target market interactions. This research contributes insights into managing cultural institutions in the digital age, with broader implications for strategic use of digital technology in cultural management.

INTRAOPERATIVE MRI FOR BRAIN TUMOURS: A 15-YEAR RETROSPECTIVE REVIEW AT A SINGLE AUSTRALIAN INSTITUTION

Abstract AIMS Maximal safe resection is the objective of most neuro-oncological operations. The extent of resection can be maximized using imaging updated intraoperatively, including intraoperative MRI (iMRI) theatre, which may translate to improved overall survival. This study aimed to present our 15-year iMRI theatre experience and review its utility. METHOD A retrospective cohort analysis was conducted to include all intracranial tumour operations performed in the iMRI theatre (2007–2022). Cases were classified according to their histopathology: low- and high-grade gliomas (LGG and HGG respectively), meningiomas, pituitary adenomas, and metastases. Demographic, clinical, and histological data was extracted from SurgiNet and analyzed by using the WHO 2021 classification. The impact of intraoperative MRI on operative outcomes was reviewed. RESULTS A total of 478 neuro-oncology cases were identified, consisting of 194 pituitary adenomas (n= 69 cases via microscope), 162 HGG, 108 LGG (n= 7 cases for biopsy), 10 cerebral metastases, and 4 meningiomas. Intraoperative MRI theatre utilization averaged 41 cases per year throughout our 15-year experience. The median age was 47 years old (range 35-59 yo.) with a slight predominance in the female population (n= 298, 52%). We identified 85 (17.8%) re-do cases, which include: pituitary adenoma (n= 15, 17.6%), glioma (n= 68, 80%), and intracranial metastasis (n= 2, 2.4%). Of the 10 intracranial metastases, melanoma consisted of 5, lung carcinoma of 3, and renal cell- and colorectal-carcinoma represented 1 case, respectively. Intraoperative MRI confirmed complete resection in all meningioma cases. CONCLUSION In this series, iMRI has been utilised mostly for pituitary adenoma resection and gliomas. It provides near realtime intraoperative navigation and imaging to maximise the extent of resection, prevent injury to important structures and improve patient outcomes in tumour resections.

Return of the Movie Night? Analyzing the Impact of Netflix Subscriptions on Offline Movie Spending

The advent of streaming services, like Netflix and Prime Video by Amazon, has led to the expectation that demand for offline movie consumption is likely to die (i.e., consumers will simply stop going to the movies). We study this question in our work, and instead, we find that although streaming services provide value to customers in terms of comfort, convenience, and price, they do not lead to a reduction in offline movie consumption. Instead, we show that the offline movie consumption actually increases because streaming services do not fully substitute for the social aspects of going to the movies or the pleasure that is received from watching movies on the “big screen.” Our work thus speaks to the policies implemented in some countries where streaming platforms have been restricted given the concerns about disruption of the offline movie industry. We believe that these policies are potentially misguided because they assume perfect substitution between the two services. Our work also helps inform managers of movie theaters and streaming platforms by providing arguments for the specific types of service offerings that are more likely to be enjoyed at home versus at the movie theater. As we show in the paper, social and hedonic needs are more likely to be met at the movie theater rather than through streaming services. We reiterate the sentiments expressed by Steven Spielberg from 2019: “I hope all of us really continue to believe that the greatest contributions we can make as filmmakers are to give audiences the motion picture theatrical experience. I am a firm believer that movie theaters need to be around forever.”

A prospective cohort study on the role of surgical mentorship on medical students’ surgical experience and attitudes towards surgery

BackgroundExposure to surgery during medical school is limited. We ran a mentorship scheme pairing students at a medical school with local surgeons to improve undergraduate insight. We evaluated the effectiveness of mentorship in increasing surgical exposure and drivers for students seeking surgical mentorship.Methods35 surgeons across 7 specialties were recruited and matched with 37 students in years 2–4 for 7 months. Quantitative and qualitative evaluation was done with pre-, mid- and post-scheme questionnaires. Students rated confidence across pursuing a career in surgery, surgical exposure, career insight, understanding the application process, contacts, portfolio development, research knowledge and pursuing extra-curricular activities related to surgery using a 5-point Likert scale. Paired t-tests were performed to measure students’ confidence before and after the scheme.ResultsOf students that completed all 3 questionnaires (n = 21), conducting research/audit was most frequently selected as a main goal (81.0%), followed by theatre experience (66.7%) and career progression support (28.6%). The number of students that had assisted in theatre increased by 50.0%. Confidence ratings across all domains increased with 7/8 (87.5%) exhibiting a statistically significant improvement (p < 0.05). The greatest improvement was seen in having adequate contacts in surgery from 2.05 to 3.33 (p = 0.00). 95.2% would recommend the scheme.ConclusionsStudents gained significantly more surgical experience and were better equipped with the knowledge required to pursue a surgical career. Mentorship schemes are invaluable in supplementing the undergraduate curriculum and empowering students.Trial registrationEthical clearance granted by King’s College London Research Ethics Committee, Reference Number MRSU-22/23-34530. .

Teatr w szkole: efektywna i przyjemna nauka

Introduction: the theatre arts within the school curriculum has sparked a growing interest in schools as they have unique qualities that can help teachers propose teaching methods and strategies to train subjects who are able to identify their feelings in social contexts, but also a way to attract students' attention and at the same time have an enjoyable and entertaining learning experience. Research aim: was to evaluate the effectiveness of using the arts within curricular learning through a literature review. In addition, a questionnaire was administered to primary school teachers in Taranto, Italy, and its province, on the validity of the use of theatre at school. Evidence-based facts: the experience of theatre in education also enables students to explore help-seeking options. Even apart from explicit learning, there is evidence that engaging children and young people with the arts can have a positive impact on their mental health and well-being. Summary: This should be considered as a starting point for incorporating theatre practice into the school learning program, as it appears to be not far removed, in terms of education, from the school needs of the pupils themselves. The teachers interviewed themselves turn out to be, in this sense, still very restrained and tied to curricular activities to the detriment of the implementation of training interventions that are essential and geared to enhancing different skills.

Towards an Egyptian Theatre: Syncretic Aesthetics in the Works of Tawfiq al-Hakim and Yousuf Idris

Tawfiq al-Ḥakīm (1898-1987) and Yūsuf Idrīs (1927-1991) are two towering figures in Egyptian and Arabic theatre, not only for their poignant social commentary but also for their bold theoretical and theatrical innovations. Their contributions served to decolonize the Egyptian stage and paved the way for subsequent generations to reclaim an Egyptian identity. The objective of the current research paper is to investigate how the two playwrights syncretized elements from Western and Eastern theatrical traditions that created unique and impactful theatrical experiences which are neither Western nor indigenous but amalgamation of both. Moreover, the paper delves into the dramatic world of al-Ḥakīm and Idrīs, specifically al-Ḥakīm’s Agamemnon (as revisited and reworked in Qālibunā al-masraḥī [Our Theatrical Mold (1967) and Idrīs’s al-Farāfīr (1964). Through an examination of these plays, the analysis explores the playwrights' experimentation with dramatic form, which draws upon the rich tapestry of Egyptian folk culture, while simultaneously engaging with the universality of content found within the Western dramatic canon. The research paper is grounded in a multifaceted theoretical framework that integrates several theoretical concepts. Deploying Christopher Balme’s “syncretism,” along with Homi Bhabha’s “third space” and Erika Fischer-Lichte’s “interweaving” as analytical framework, this paper examines the transaction between indigenous and colonial theatrical productions that led to the emergence of new dramaturgies by al-Ḥakīm and Idrīs that bridge the precolonial, colonial, and postcolonial paradigms. The paper concludes that the playwrights’ incorporation of syncretic forms in their plays represents the recognition of multifaceted cultural heritage.

599 From Classroom to Theatre: Analysis of an Undergraduate Surgical Mentorship Scheme to Support Tomorrow’s Surgeons

Abstract Aim Exposure to surgery during medical school is limited. We ran a mentorship scheme pairing students at a medical school with local surgeons to improve undergraduate insight. We evaluated the effectiveness of mentorship in increasing surgical exposure and drivers for students seeking surgical mentorship. Method 35 surgeons across 7 specialties were recruited and matched with 37 students in years 2-4 for 7 months. Quantitative and qualitative evaluation was done with pre-, mid-and post-scheme questionnaires. Students rated confidence across pursuing a career in surgery, surgical exposure, career insight, understanding the application process, contacts, portfolio development, research knowledge and pursuing extra-curricular activities related to surgery using a 5-point Likert scale. Paired t-tests were performed to measure students’ confidence before and after the scheme. Results Of students that completed all 3 questionnaires (n=21), conducting research/audit was most frequently selected as a main goal (81.0%), followed by theatre experience (66.7%) and career progression support (28.6%). The number of students that had assisted in theatre increased by 50%. There was a statistically significant improvement (p&amp;lt;0.05) in confidence ratings across all domains. The greatest improvement was seen in understanding of the application process from 2.33 to 3.52 (p=0.00). 95.2% would recommend the scheme. Conclusions Students seek mentorship to develop their clinical and academic skills. Students gained significantly more surgical experience and were better equipped with the knowledge required to pursue a surgical career. Mentorship schemes are invaluable in supplementing the undergraduate curriculum and empowering students.

Keats and The Stranger at Inveraray

On Friday 17 July 1818, Keats and Charles Armitage Brown arrived at Inveraray in Scotland, midway through their Scottish walking tour. Here Keats, a passionate theatre-goer, saw for the first time Augustus von Kotzebue’s play The Stranger at a makeshift playhouse inside a barn. Although Keats dedicated a long letter and a poem to this experience the precise location of the barn has never been located, nor has there been discussion of how this performance of The Stranger contributed to Keats’s theatrical experience. In this article I show that the barn-theatre at Inveraray still survives, and suggest how the Stranger performance at Inveraray, heavily ridden with Scottish inflections not present in the playscript, left an impression on Keats. I also point to traces of The Stranger found in later poems such as ‘La Belle Dame sans Merci’.

Digital communications in the field of opera: audience dynamics and problems of perception

Any area and industry faces the problem of adapting their communication strategies to the dynamically transforming requirements and perceptions of the audience. In a highly competitive cultural environment, theaters and concert venues are increasingly aware of the need to attract new users, primarily through digital channels. To develop an effective communications strategy and to improve the economic viability of theaters, it is critical to assess how consumers respond to new technologies in the context of traditional genres. The article analyzes the perception of cultural products and provides an overview of digital tools in the opera industry. For this purpose, an empirical study was conducted using an online survey of Russian respondents on the platform of an opera-thematic group on VKontakte social network. The authors analyzed audience opinions on the positive impact of digital technologies on opera, their presence on the platforms of opera institutions and on social networks, as well as the possibility of digital formats replacing live theatrical experiences. The obtained results indicate that the implementation of digital tools is becoming lively important to hold the audience, but should be carefully thought out to retain the authenticity of the art of opera.

The ritual artistic presence of the Marionette actor

The research dealt with the ritual artistic presence of the marionette actor, relying on a series of formation principles in scenic construction, in addition to its reliance on the transformation of the actor’s physical and psychological capabilities as a product of the philosophical awareness of the era. The actor acquires them and thus resembles the absent other and gives him a spirit that makes him an active presence, then transforms him into an object. (Marionette) with a mass that is organized and harmonious in its composition and formation. Therefore, the research was founded on four chapters. The first (methodological framework) contained the research problem, which was defined by the following question (What is the ritualistic artistic presence of the marionette actor in the firewood ritual show?), and the goal of the research is (to identify the ritualistic artistic presence of the marionette actor in light of technical harmony). The second (theoretical framework) included two sections, the first dealing with (presence in philosophical opinions), and the second (the ritual artistic presence of the marionette actor in theatrical experiences). The third chapter included the research procedures, and the fourth chapter included the results and conclusions that confirmed the effectiveness of the actor’s ritual presence through technology. A performance revealed by the show's actor, in which the process of transformation between self and other went through several stages that formed a tangible and influential ritual reality.

Augmented total theatre: shaping the future of immersive augmented reality representations

Abstract This work introduces Augmented Total Theatre (ATT), a new theatrical form that combines Total Theatre with Augmented Reality (AR) to transform theatrical experiences. We first explore ATT features, highlighting its capabilities in creating theatrical representations that surpass traditional theatre. We also examine current technological limitations that hinder the deployment of ATT potential. We venture then into a journey into the future, particularly focusing on the next decade. We try to envisage the evolution of AR and assess whether future advancements will yield a form of AR capable of creating digital worlds that can deceive human senses. Additionally, we explore the role of Generative AI systems in addressing the problems that hold back the current ATT. Specifically, we probe the feasibility of a cost-effective, autonomous, and highly efficient generative AI system to reshape and empower ATT, making it capable of real-time production of (theatrical and non-theatrical) representations of many events in the world. Finally, we try to imagine the ATT of the future: a sophisticated device that integrates cutting-edge AR technology with a super-performing generative AI system. This ATT, transcending its theatrical origins, emerges as a powerful tool for augmenting our sensory experiences and enriching our perception of reality.

Layering identities as artist, advocate, and theatre educator: reflecting beyond experiences

ABSTRACT This study examines the negotiation of identities by teacher candidates and early-career theatre educators. Focusing on reflections written by teachers (n = 14) in a foundational course on theatre education, we considered how they develop a perspective beyond their own personal experiences in theatre and theatre classes. Participants focused on theatre class as a place where students can feel safe to be human, feel a sense of belonging, and develop creative and practical skills. They also identified the ways that theatre classes enrich students’ other school experiences. We found evidence of an important shift in which teachers take on the identity of both artist and educator, and noted that this shift allows them to take on a new layer as arts advocate.

Directing the Contemporary Theatre: The Case of Oki’s Night of Ijalo

In contemporary times, the sophistication of media gadgets coupled with the development of the media-savvy audience has necessitated the theatre to devise alternative ways to sustain audience attention and interest. This has required theatre directors to revisit their approach to interpreting contemporary performance by engaging several elements of aesthetic communication to enhance the overall outlook of the performance and boost show business. Contemporary theatre directors, as the example of Olumide Oki (2023) illustrates, have identified this need by establishing a deliberate use of media elements and thus birthing techniques essential for the creation and interpretation of the contemporary performance. This paper engages Hans-Thies Lehmann’s post-dramatic theatre as a theoretical framework. It is a descriptive study that secures its data through participant observation of the 2023 production of Night of Ijalo by the Zion Royal Theatre. Based on the perception that the media has become an intrinsic part of the daily routines of the contemporary audience, Oki prioritizes the need to create a media-intensive theatre experience for the media-savvy audience. Hence, he adopts a mixed-media technique to boost his directorial interpretation and provide a seamless connection with the audience's demand through the deliberate use of aesthetic communication, intermediality, sound prerecording, mediation and mediatisation, and spectacle. With the mixed-media technique which includes the use of several media elements, Oki presents the media as a quintessential part of the contemporary performance and recommends it to theatre directors as a valuable technique for enhancing directorial interpretation and creating a media-oriented theatre experience.

Managing motivations and satisfaction in Dark Immersive Theatre Experiences

Dark Immersive Theatre Experiences (DITE) have been growing in popularity in recent years as an innovative product that combines darkness with immersive theatre, attracting individuals all over the world who seek new and enticing experiences. This study aims to develop predictive models of participant satisfaction in DITE based on their underlying motivations. Based on Principal Component Analysis, we were able to identify five motivational components: "dark intensity", "survival", "immersion”, "theatre", and "unwinding", which explained 66.7% of the motivation’s variation. Furthermore, we performed multiple linear regression models to predict participants’ overall satisfaction in DITE. The final predictive models allowed to explain 66.0% of satisfaction’s variance, composed by six independent variables: "novel experience", "captivating plot", "push limits", "to have fun", "coparticipation", and "hyper-realistic experience". Our work contributes for optimizing DITE by presenting specific factors that allow to enhance satisfaction. Our data provide DITE managers useful information to improve and optimize experiences in such a way that enhances participant’s satisfaction and further increase their interest to such experiences.

Immersive Empathy in Digital Music Listening: Ideas and Sustainable Paths for Developing Auditory Experiences in Museums

With the development of modern technologies, museums have been engaged in the competition for novel sensory resources. Taking into consideration the main body of visitors, their experiential representation has gradually become the focal point of the museums. However, at present, the museum display is limited to visual effect. The scientific and technological methods proposed by existing research have not really formed a deep cultural memory of historical stories, and the sustainable development paths of museums need to be further optimized. Thus, the purpose of this study is to explore the conception and path of museum auditory experience development, and to verify the existing patterns of empathy in museum auditory experience development. We set up digital music vocalization tools in the museum to temporarily create the immersion experience for digital music. In this scenario, we could meticulously observe the tourists’ experience, with the joint effect of active cognitive environment and environment-driven emotion. We also conducted a timely survey on the cognition, emotion, and experience of the observation subjects after the experiment. Last, empirical methods has been used to analyze the role of immersive empathy in enhancing visitors’ experience, in order to gain insights into visitors’ perception and cognition of the museum, integrating with the digital music. After analyzing the collected data, this study found that cognitive empathy has a significant positive impact on visitors’ experience. It indicated that for the historical stories presentation, the properly integration of museum and digital can help tourists deeply understand the historical events, which could restore the cultural connotation conveyed by the designer. Emotional empathy also has a significant positive impact on visitors’ experience. It showed that that the rendering of digital music will motivate visitors’ emotional fluctuation, during their visit to the museum. And through the combination of audio-visual effects, the constructed spatial perception, allowing visitors to enjoy immersive experience. This study proposed a vision for the development of auditory experiences in museums, based on both cognitively active immersion and emotionally passive immersion of visitors. We also suggested that in the new era, museums need to reform with voice, to timely adjust and innovate their way to exhibit cultural relics, with the hierarchical design of audiovisual integration to construct a more appealing scene and atmosphere.

Postdigital theatre: Beyond digital alienation of live theatre on the Nigerian performance space

The challenges of studies in humanities in the wake of the ongoing digital revolution in science and technology sum up the crisis of the place of live theatre in response to skit making on social media apart from the traditional film medium like cinemas and home videos. There are perhaps arguments around the presumed effectiveness of digital theatre in terms of its ability to reach wider audiences across the globe at once through the deployment of technology. Nevertheless, it is clear from my experience of live theatre as recent as May 15 and June 19 2022 by the House of Arimata Theatre Studio in Osogbo, that digital theatre cannot take the place of a live theatre. The communal ritual essence of live theatre, its liminal phases, the necessary separation, the shattering of the performers in the limen, their re-assemblage/merging with the audience, and the communal re-emergence with a new consciousness, all in the transitions and the festivity of a live theatre, cannot be captured in/by a digital theatre. Thus, the lacuna is clear even in the rate at which humanity is commoditised with its knowledge and cultural productions monetised in most digital theatre productions. It is on the basis of the argument of postdigitalism that this paper uses direct observation and historical-analytic methods to argue that while live theatre retains the power to humanise through communal participation, digital theatre can only continue to commoditise/zombiefy humanity with its focus on traffic generation and advert placements essentially for materialism.

Theatre as Memory Site: Cultural Activities, Imaginaries, and Theatrical Things of a Regional Xiqu Theatre in Contemporary China

Abstract: This paper explores how the theatre of a Chinese regional opera, as a memory site and an actor, enunciates stories, theatrical experiences, and imaginaries of xiqu (traditional Chinese theatre) communities. The material presences of theatres ensure the continuities of cultural activities of xiqu traditions in Chinese society today. The institutionalized opera activities that emerged in the 1950s national xiqu reform campaign have molded the Chinese xiqu theatres toward an “enduring site” for constantly revamping regional cultures into the rubrics of national culture coherently. However, to the regional xiqu communities, a particular theatrical form, such as lüju (Shandong opera), intertwines with stories and embodied meanings in their quotidian practices. Drawing on the ethnographic observations of the Lüju Baihua Theatre, this article illustrates that Chinese xiqu theatres traffic the shared past, multi-generational memories, and regional stories that are communicable to the community members who resonate with them. It problematizes the perception of Chinese opera theatres as “static or disembodied sites” by unfolding how theatre as cultural activity constantly facilitates embodied knowledge to carve the contours of the group identity and imaginaries of the xiqu communities in contemporary China .

A Systemic Functional Linguistic Analysis of Spousal Conflictual Language in a Nigerian Play

This paperx-rayed language use drawn from excerpt of utterances by the spouses (characters) in the play, Clark’s The Wives’ Revolt anchoring on the Hallidayan Systemic functional linguisticas the theoretical framework known for analysing language structure and function. The purpose of this study is to reveal the experiential representation of conflictual language of the spouses in J.P. Clark’s Wives’ Revoltsthrough its transitivity processes. Twenty – nine (29) excerpts that depict the spousal conflictual lexico-grammatical forms are purposively selected from these plays after thorough readings and they are represented accordingly for easier referencing during analysis in order to determine the frequencies of the transitivity features, their roles, functions, and meanings. A qualitative method is used for data analysis. Results from descriptive analysis showed that spouses applied four (material, mental relational and verbal processes) out of six Hallidayan’s transitivity process types to express their experiences/actions feelings for each other, negative image of themselves, and their central point of argument during their conflictual interactivity. The result showed that experiential is construed through dominance of material process, followed by mental, relational, and verbal. The prevalence of the material is found to be as a result of spouses’ more of physical actions in their relations. Again, transitive verb which transfers action to an object is also found more prevalent and is used more by the male spouse. This reveals male dominance of power over his female counterpart. The occurrence of the transitive processes will help the reader to agree with the kernel structure of the conflicting issues.