Crises

NARRATIVES VERSUS ANTENARRATIVES FOR STATISTICAL CRISES EFFECTS EVALUATION Professor Dr. Niculae V. MIHĂIŢĂ,

Abstract—Results are given of a cybernetic modeling and Informational Statistics application that relate to sustaining an analyses of the environmental crises in which was created the perfect narrative love poem Evening Star or Lucifer of Eminescu, and the antenarrative of Eugène Ionesco’s Absurd Theatre. Other results come from the American corporation Enron’s epic and tragic narration, and the mostly critical visual aesthetics and antenarrative spectrality described by David Boje regarding Empire Reading of Manet’s Execution of Maximilian. The love Poem is a perfect example of Narrative as traditionally written material that takes a more linear insight to information, whereby everyone moves sequentially through stanzas and distiches and provides a beginning, middle content, and end reading. It was created in a period of profound crises in Romania and the Titu Maiorescu play as antenarrative stories tell an of an infamous game. The Theater of the Absurd was born after the World War II Crises, and it is epitomized by its father, Eugène Ionesco, who builds perfect antenarratives. Antenarrative shifts from “What’s the story here?” composed of introduction, story and end incidents, to questions of “Why and how did this particular story emerge to dominate the stage?” meaning to “shift from linear, coherent narratives to emergent behavior of nonlinear, interactive, and fragmented antenarratives” [Boje]. Also in this paper it is shown how Informational Statistics can reveal the narratives behind the antenarrative thereby creating of a theatrical play. In the case study of Manet’s fictional Execution of Maximilian, we propose to look into the World Wide Web and find narrated stories, taking advantage that the designed nature of the web is nonlinear, so that one can jump from topic to topic, document to document, and site to site. In the first version of the Manet work, the firing squad is dressed in rebel republican army; in the second version the uniforms are French; a wall appears and remains from the 3 rd version; in the 4th version sombrero appears and some saying that is a critique of Napoleon III’s failed Mexico conquest. For this last example we use Fuzzy Sets Theory. The most salient of fuzzy models use: (1) the intermediary value (common knowledge), and (2) the intermediary value is not important, but the extreme ones are. It is shown that the combination with planning statistical experiments and Informational Statistics make fuzzy membership function a new approach for antenarrative analysis independent of initial conditions. This feature allows new arguments to be obtained by measuring the informational gains to be discussed in art, literature or conversation. This approach can be used to obtain either complete or generalized synoptic ideograms. Several simulations or scenarios could be carried out to illustrate how the methods’ combination clarifies the „black box” of understanding complex processes in Art.

Keywords

Informational Statistics, Factorial Experiments 23, Fuzzy membership, Octav Onicescu, Mihai Eminescu, Eugène Ionesco, Enron’case, David Boje.

1.

—

Nar rativ e versus Ante nar rative Analyse over the best

Lo ve Poem of Eminescu

Already common knowledge, narratives as traditional written materials “take a more linear insights to information, whereby ones moves sequentially through a document meaning a beginning, middle and end reading” [3]. We visualize in figure 1 the linear nature of a narrative story and the chaotic quest for antenarratives. Because the Web is a wide-area hypermedia system aimed at universal access, we illustrate narrative and antenarrative like that:

narrative

Figure1

Antenarrative Narrative

Contrary to classical narratives, in our modern life, exponentially, antenarratives appears on the Web, were the individuals will not be following the same structure or pattern of finding information in the same way.

1.1 Narrative arguments over the best Love Poem of Eminescu

The "Evening Star" ("Luceafarul") by Mihai Eminescu, a 98 stanzas (102 originally) long poem about the impossible love between immortal Evening Star and a beautiful mortal princess sets the world record for the Longest Love Poem. Appears on Web that “The Legend of the Evening Star ("Luceafarul") Lucifer, is a story about a young princess who prayed to the evening star each night. The evening star falls in love with her and is willing to give up his immortality, but realizes that the pure love he has for the young girl cannot be sustained in the mortal world”. The poem can be simply described (for the today's YouTube generation...) as a combination between "Gone with the Wind" (which is a romantic drama), "Star Trek" (because of the Lucifer’ flight thru universe looking for Demiurge that contains science fiction entertainment) and "Love Story" (because the world record judges said the Poem is one of the most romantic poems and it also ends in a drama)-all together, which means it is a romantic poem but also a third millennium modern poem.

1.2 Antenarrative arguments over the best Love Poem of Eminescu

The Poem appeared in the first poetry edition of Eminescu in December 1883, edition printed by Titu Maiorescu, after it was published in April, the same year, in Almanac

of Academic Society “Romania Juna” from Vienna. During the years it suffered modifications, some because of the Poet, some because of Titu Maiorescu who is suspected by eliminating four stanzas of Demiurge speech. The poem’s subject can be assimilated as a repeating of the myth of the Saint Sun, a development of folklore theme of Zburatorul (Flyer man), who shows to the emperor’s daughter, made her to fall in love with him and then disappears, or like in genius drama, or like a love story which shows the theme of incompatibility. The Poem is an inspiration syntheses: Romanian fairy-tail “The girl in golden garden”, picked by the germane Richard Kunisch when it was traveling through Oltenia and published at Berlin in 1861, the motive of “Zburatorul” from Romanian folklore, the philosophy of Arthur Schopenhauer about Genius problem and other mythological sources.

2. Antenarrative versus Narrative Analyse over the Absurd Theatre of the Romanian-French playwriter EUGÈNE IONESCO 2.1 Examples of antenarrative plays: The Chairs and Foursome

Referring at The Chairs (Les Chaises), the Father of the Absurd Theatre said that the subject of the play „is not the message, nor the failures of life, nor the moral disaster of the two old people, but the chairs themselves. That is to say, the absence of people, the absence of the emperor, the absence of God, the absence of matter, the unreality of the world, metaphysical emptiness. The theme of the play is nothingness" But Ionesco knew there's more to nothing than meets the eye. So we see their unseen guests. The actors make the unreal real, and vice versa said the father of the Absurd Theatre. Critics said that the Eugẻne Ionesco’s The Chairs is one of the playwright’s most popular plays. First performed in Paris on April 22, 1952, The Chairs was only the third of Ionesco’s plays to be produced. Many stories tell that at that time, Ionesco was still a struggling playwright. Most critics and audiences did not know how to interpret The Chairs. In the play, an elderly couple sets up chairs and greets invisible guests who have come to hear the Old Man’s message to the world. The message is left in the hands of an Orator after the couple commits suicide, but he is deaf-mute and cannot relay it. I think that this is the shortest abstract made by one critic. In the program for the original production, Ionesco writes, ‘‘As the world is incomprehensible to me, I am waiting for someone to explain it.’’ As the idea of a theater of the absurd—a literary form that explored the futility of human existence— evolved, The Chairs came to be seen as a seminal example of the genre, highlighting the loneliness and futility of human existence. By the time the play was revived in Paris in 1956, most critics and audiences lauded Ionesco for his unique staging and profound sense of humor. Since these early productions, The Chairs is still regularly performed worldwide. Instead, the theme of the play Foursome we find out using Informational Statistics and other quantitative methods, that contrary as in The Chairs, on Foursome the actors make the Ionesco’s concrete void, the visible invisible. We believe that they (players) lives only in ONE ’s imagination and not feel the Grand Illusion.

The short piece Foursome (Scène à quatre), picks up the tragicomic send-up of language. Two foilfighters of words incessantly volley "But I said yes"/"But I said no," seemingly oblivious of their point of contention, though locked ludicrously at loggerheads. Another foilfighter of words joins them, reminding them repeatedly to "mind the flowerpots," while expanding the disagreeing duo into a brawling trio. Finally, an unsuspecting woman enters and, after entreating the men to stop fighting, has her limbs ripped from her body by the foilfighters' competitive solicitations. This is another remarkable example of a good resume. 2.2 The short piece, Foursome, an example of antenarrative construction

We defined the Profile of Performer's stage behaviour which consists in a number of six states: communicating with only one player (three states), being on stage in silence, communicating with two players, communicating with three protagonists. Informational gains are obtained by measuring the influence of others presence or action (e.g., dialog) over the overall Profile of Performer's stage behaviour using Information Theory and Informational Statistics besides factorial experiments: Table 1. Global importance of Foursome’ s performers

Importanc e

intrinsi c energie Name s Durand 0,327 Dupont 0,315 Martin 0,470 Pretty Lady 0,660 Sum x

extrinsic scriptlin es 162 162 112 46 x

global multipl y 52,97 51,03 52,64 30,36 187,00

comparab le informatio n 28% 28% 28% 16% 100%

Results: One man walking around a table with a flowerpot on it, while making assertions and denying them, being simultaneously ego, an alternative ego and superego, fantasizing about Pretty Lady while he awaits her and she never appears (like in Waiting for Godot, of Samuel Becket, an Irish-French play writer in the same period of World Crises). Our opinion: FOURSOME is a vast metaphor for the multiple and conflicting elements within a single human character.

3 ONICESCU Informational Statistics Paradigm

The Onicescu1 methodology of data processing performs the same types of operations as does traditional statistics yet with more information, clarity, accessibility and rapidity. For example, one of the major goals of traditional statistics is the testing of relations; much has been done in this respect, the basic notions being part of the answers found through the methodologies conceived for this. Participating directly or indirectly in this statistical work was the probabilities theory. The Onicescu methodology2 has developed under the pressure and following the junctions with this theory, creating a modern statistics. According to Academician Octav Onicescu’s outlook, the informational energy3 is „the statistical barometer of the systems measuring the general status of a system, either material or organic, economic or social, on the structure of which we are informed through the frequencies with which its characteristic elements are distributed among its components“. When the probabilities resulting from the frequencies of the appearance of characteristics are equal, this informational energy is minimal, therefore the informational energy is a measure of both the degree of uniformity and of differentiation/variety of a system4. The information on systems can be obtained through repeated and/or not-repeated experiments. If we use the survey as a cultural marketing experiment5, we can obtain data on collectivities, systems or systems of systems in most diverse fields. In probabilities’concept the X variable has a finit number of states. The states, xi, could happen with p(xi),) probability. In this case we have a distribution, a profile such a (1)

 x1  p( x1) 

X :

1

x 2 .... xi p( x 2)....p( xi)

xr   p( x r)  

(1)

Onicescu O. (1966). Theorie de l’Information, Energie informationelle, Paris, C.R. Acad. Sci. Ser. A., November 26, volume 263 2 Demetrescu M.C. (1969). Measuring Cohesion of Data Structures ADETEM, Paris, March 19-21 3 Onicescu O., Demetrescu M.C. (1971). Measuring Structures in Economy. Académie des Sciences Sociales et Politiques de Roumanie. Recherches sur la Philosophie des Sciences. Editions de l’ Académie Roumanie 4 Onicescu O., Demetrescu M.C. (1972). Energia informaţională ca măsură a gradului de uniformitate şi diferenţiere a unui sistem (Informational Energy as Measure of the Degree of a System’s Uniformity and Differentiation), Progresele Ştiinţei, no.2 5 Mihaita N. (1983). Onicescu Informational Statistics in a Multiple Marketing Data Processing Methodology, Economic Computation and Economic Cybernetic Studies and Research, review no. 2

(2)

where the average is computed as

M(X) =

r

∑ xi ⋅ p( x ) i=1 i

If we consider that the states (qualitative variables) could be replased with them probabilities of appearance, p(xi), we compute the ONICESCU’ informational energy:

E(X) =

r

∑ p (x ) 2

i

i =1

(3) Let’s define the behaviour of A with the alternatives Ai, where i = 1,….., r on rows (r) of Fig.1 and B, which behavior described by Bj, states with j = 1,……, c illustrated on columns (c)is supposed to cause changes in the behaviour of A.

Bj

1………. j……… c Total 1 Ai

i

Ti. .

x ij r

Total …….T. j …………. T. . Figure 2 Suggestive illustration of a Matrix (rxc)provided by a simple contingency table

In fig.2 case, x ij represents the number of A being in i’state simultaneously with B in j’state. Ti. represents the number of A being in state i (events) no matter what is happening with B or with the environment its behavior develop. T. j represents the number of B being in state j (events) no matter what is happening with A (indifference) or with the environment its behavior develop. In same way, T.. means the Grand Total, the number of events no matter that is produced by A or B behaviour. In this case we have: Ti. =

, c

∑ xij j=1

(4)

T.j

T.. =

c

r

∑∑ xij j=1 i =1

=

, r

∑x i=1

ij

The marginal probabilities estimated by frequences are: T x p( yxxijij)) == iijj TT..

..

(5)

cr

c

p(x11) p(x12) p(x1j) p(x1c)    p(x21) p(x22) p(x2j ) p(x2c)  P ( X, Y ) =  p(xi1) p(xi2) p(xij ) p(xic )    p(x ) p(x ) p(x ) p(xrc)  r2 rj  r1 

(6)

∑∑ ∑ ij=1 j=1

p( xp( xij ,) y=j )p(x p(y = 1ij ) where i,y

(7) In this case, the informational energies X, behaviour of A it is:

. ∑ ..

 Ti E(X) =  T i =1  r

and X, the behaviour for B, E(X) =

. ∑ ..

2

  = 

∑p

2

c

r

( xi )

(8)

2

(9)

i =1

T j    = T   j=1 c

2

∑p

(y j )

j=1

If we introduce the third profile, the behaviour of C, every state k of the third noted by Ck, like conditioning the A and B behaviour, the bidimensional matrix is the following:

Bj 1………. j……… c

Ti . k

1 Ai

i

x ijk

Ti . k

r T. jk …….T. jk …………. T..k Figure 3 Suggestive illustration of a k Matrix (rxc) provided by a contingency table with two entries

Conditioned probabilities of X/Y and Y/X are computed in (10) and (12): p(x1/y1) p(x1/y2 ) p(x1/yj ) p(x1/yc )    p(x2/y1) p(x2/y2 ) p(x2/yj ) p(x2/yc ) P( X / Y ) =   p(xi /y1) p(xi /y2 ) p(xi /yj ) p(xi /yc )    p(xr /y1) p(xr /y2 ) p(xr /yj ) p(xr /yc ) 

(10)

r

∑ p( x / y ) = 1

Where j = 1,.........,c and

i

j

(11)

i =1

Also:

p(y1/x1) p(y2/x1) p(yj /x1)  p(y1/x2) p(y2/x2) p(yj /x2) P( Y / X ) =  p(y1/xi ) p(y2/xi ) p(yj /xi )  p(y1/xr ) p(y2/xr ) p(yj /xr )

p(yc /x1)   p(yc /x2)  p(yc /xi )   p(yc /xr ) 

(12)

r

∑ p(x /y ) = 1 iar p(y /xi ) = p(xi , y )/p(xi ) i

j

j

j

i =1

p( y j ) =

r

∑ p( y

j

/ xi ) ⋅ p( x i )

i =1

The Bayesian approach allows a less stringent modeling of available a priori information, by assuming that the parameters are random with some probability distribution p(xi) called the prior distribution. In confomity with Bayes we have: p( xi / y j ) ⋅ p( y j ) = p( y j / xi ) ⋅ p( xi ) (13)

The well known author Nicholas Georgescu-Rőegen, with the occasion of celebrating the 90th bithday of OCTAV ONICESCU, said at the conference that informational energy is one of the measures of the quantity of information and that „L’énergie informationelle peut servir, aussi bien que l’entropie, comme fondement d’une

Theorie de l’Information.“ It is pointed out by Nicholas Georgescu-Rőegen6 that the real object study of statistics is the rational guess in a random structure. The role of definitions he said (pp.222) is not to falsify reality, but to facilitate communications about it as it. Thus, the use of „estimation” instead „rational guess” is delusive as well as misleading; it only adds a false aura of scientism to the notion described mor faitfully by the latter term. So, we could consider at least two theorems on the „rational guess” of informational energy in case of the repeated and non-repeated investigation showing that the empiric informational energy is a correct estimation of the theoretical informational energy but it is not the theme of this approach now. Nicholas Georgescu-Rőegen also said (op.cit.pp.223) that „the object studies by statistics is the set whose elements possesess the same quantitative or qualitative attribute”. In the usual jargon, we speak of a „population” or „collective”. The raison d’etre of statistics is the fact that population – just like atoms (in physics) molecules (in chemistry), cells (in classical biology on the organism) etc, - have some strictly specific properties, such as, for example, only a population can display dispersion or structural skewness. An individual may have a height, but not an average height. Population of only one individual are degenerate structures, which may appear in statistics only in some analytical arguments. „A most instructive example in this respect is supplied by thermodynamics, where we are explicitely told that there is no sense in associating collective coordinates such as pressure or entropy, for instance, with a single molecule.

4. Narrative versus Antenarrative after David Boje Further, we discuss the Narrative versus Antenarrative Analyses concerning the Enron financial meltdown according to the vision of Boje. Not long before this meltdown the “Global Economic Crises” of world finance, the case of the seventh largest American corporation ENRON was described as “a rapid, disastrous, and uncontrolled climactic fall in share prises”. Why, do Boje and Rosile put in the title of their article “Enron’s Epic and Tragic Narration”? As they have written already written, it is because life imitates art and “epic theatre is not one narrator on one stage; it is a multitude of simultaneous theatric performances, collectively negotiated by inquiry participants (reporters, regulators, analysts), narrating while wandering in an unstable labyrinth of networked stages”. To achieve more information and knowledge we must interpret different narratives and antenarratives of disasters as that of the American corporation ENRON as “we contend that epic and tragic interpretations of corporate meltdown each have differential readings of the scope and coherence” [Boje, Rosile]. For example, the authors’ hypothesis “that conscribed tragic narration across education, news media, and political fronts keeps the charade in play; meanwhile, epic narrators keep expanding inquiry to crack the façade”. Looking for new antenarratives, they gain knowledge. Boje and Rosile write that: “The corporate world 6

Georgescu-Rőegen N. (1983). An Epistemological Analysis of Statistics; The Science of Collective Description and of Rational Guessing, in ONICESCU Studies in probability and Related Topics. M.C. Demetrescu and M Iosifescu (Ed.), Nagard Publishers, Bucharest, pp.221-259.

invokes the term meltdown to describe the uncontrolled spiraling of share prices falling fast and far. The tragic narration of meltdown seeks to assign the cause of the disaster to the classic elements of tragic drama: the tragic hero’s flaw (which causes both success and failure), their overweening pride (hubris), and the reversal of fortunes (changing circumstances)”.

4.1 Experimente factoriale si functii fuzzy.

In the following we illustrate an application of one methodology based on: (a) planning statistical factorial experiments 23, (b) using fuzzy membership function as minimum, intermediary, not intermediarybut extreme values are important, (c) finding interactions of zero, one and two order between three attributes, (d) measuring relationships information gains with Informational Statistics, (e) identifying strong, weak, false, hidden or spurious relationships between the A, B, C attributes, some identified during step (a) procedure, planning statistical factorial experiments 23. The challenge of this approach in this paper is that we try to illustrate the dynamics of narrative and antenarrative and their relation to stories told about Empire Reading of Manet’s Execution of Maximilian, as aesthetic theoretists, David Boje [3], Georges Bataille [2], Neil Larsen [5], Wilson-Bareau [12] who argue different ways of viewing the aesthetics of Manet’s Execution of Maximilian. In the first version, the firing squad is dressed in rebel republican army; in the second version the uniforms are French; a wall appears and remains from the 3rd version; in the 4thversion sombrero appears and some saying that is a critique of Napoleon III’s failed Mexico conquest. 4.2 Procedure for planning statistical factorial experiments 23

The young Emperor of Mexico, Ferdinand Maximilian, was executed/assassinated at Queretaro, the June 19th 1867, alongside two of his generals, Tomas Mejia and Miguel Miramón. Manet based his historical painting Execution of Maximilian on eyewitness reports printed in European newspaper. This could be assimilated as antenarrative. In David Boje writings, the antenarrative is defined as “a bet and a prestory that can be told and theatrically performed to enroll stakeholders in ways that transform the world of action”. Antenarrative shifts from “What’s the story here?” meaning a beginning, middle and end incidents, to questions of “Why and how did this particular story emerge to dominate the stage?” meaning to “shift from linear, coherent narratives to emergent behavior of nonlinear, interactive, and fragmented antenarratives” [3] On the other hand, fulfilling the traditional visual narrative of empire, more iconic images that appeared in the press and circulated as postcards presented Maximilian as a hero. We select as A in 23 factorial experiments the opinion about Maximilian with two alternatives a) executed, b) assassinated. As factor B we select the sentencesspoken by the theorists critics as a) in Manet’s favour, b) againstManet’aesthetics. For factor C, informationcomes from a) stories narrated and b) antenarratives. Because in this paper we illustrate only the methodology and data are imaginative we split for replication 1000 “attitudes” of criticism, 490 in “favour” of Manet, 510 “against”.findining this data in Internet. N.b. No real data.

The Figure 4 represent the data arranged for using the factorial experiments 23 and the relationships of order zero, A, B, C, one, AB, AC, BC, and two, ABC. As can be seen, Fisher coefficients shows that, no matter other variables, the common knowledge is that Maximilian was executed Fa equal to 121,19 is greater than Fisher (1,7) which is 5,59 and this collective knowledge is given by aestheticians with the same views as Manet in an antenarrated process, Fisher coefficient Fbc = 23,25 greater also than Ftab = 5,59.

Figure 4: Frequencies

The same data transformed in information using Informational Statistics shows the relationship between Critics and Information, if we are looking to Figure 5.

Figure 5: Informational Statistics results

4.3 Results using Informational Statistics

If we follow, the only arrows with informational gains, between B-C, Critics Information we see aestheticians with the same view as Manet are believing that Maximilian was assassinated and they received this information from stories narrated. The most interesting line in this ideogram with arrows is the last lines where

it looks like there is no relationship between A- B but C (source of Information) has INFORMATIONAL CHANGE POTENTIAL from executed to assassinated. Figures 6 and 7 take into consideration NOINTRM function and the intermediary value becomes zero and the extreme values are important. First, Fabc is the greatest meaning that aestheticians “with Manet” views from narrated sources believe in assassination and the others, the same, using antenarrated sources. Order ONE relationship it is only identified by Fbc, critics with Manet optic believe more in narrated sources. This time, the potential of CHANGE is better illustrated between A and B, Maximilian’s death and critics’s opinion, where the intervention of C variable Information sources, change the relationship from executed to assassinated. This is the problem in debate: Manet did claim that he was doing art for art sake, creating fictions with no socio-historical or political significance but in Manet’s paintings two worlds, the aesthetics of empire, and the aesthetics of revolutionary self-liberation collide and each has its regime of truth [David Boje’s opinion]. David Boje also write that in a way similar to Brecht’s epic theatre, antenarratively, Manet is an anarchist, and his painting is read as a seditious threat to empire.

Figure 6: The interactions for nointermediary (expert information and knowledge)

Figure 7: Informational Statistics results for NOINTRM

Conclusions In this article wedemonstrate that applying such interstitial methodology the obtained results are very promising for analyzing any communication, narrated or antenarrated that has a form of a conversation and make statistics useful in dealing with conversation analysis. Using it to map out other opinions, or real life situations, real life reports, other pieces of literature as Poetry or Absurd Theatre in real Crises situations. Just to see what outcomes one gets. ` REFERENCES [1]

Basch, Samuel, M.D. (2001). Recollections of Mexico: The Last Ten Months of Maximilian’s Empire. Wilmington, DE: Scholarly Resources Inc.

[2] Bataille, Georges (1955). Manet: Biographical and Critical Study. Translated by Austrian Wainhouse and James Emmons. Cleveland, OH: The World Publishing Company. [3]

Boje, David (2005). Empire Reading of Manet’s Execution of Maximilian: Critical Visual Aesthetics and Antenarrative Spectrality, TAMARA Journal, Vol.4 Issue 4.4 2005 ISSN 1532-5555

[4]

J.C. Bezdek, Pattern Recognition with Fuzzy Objective Functions. Press, 1981.

[5]

Larsen, Neil (1990). Modernism and Hegemony: A Materialist critique of Aesthetic Agencies. Foreword by Jaime Concha. Theory and History of Literature, Volume 71. Minneapolis, MN: University of Minnesota Press.

New York: Plenum

[6] Manet: The Heroism of Modern Life (2003) Roland Collection of Filmes & Videos on Art [7] Michael, Prince (1998) The Empress of Farewells” The story of Charlotte, Empress of Mexico. Translated from the French by Vincent Aurora. NY: Atlantic Monthly Press. [8]

Mihaita, Niculae & Capota, Rodica (2003). Relations statistiques fortes, caches, fausses et illusoires: applications de la statistique informationelle, Editura ASE, ISBN 973-594339, [email protected] http://www.ase.ro/biblioteca/digitala,

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[10] Sartre, Jean-Paul (1966). Essays in Aesthetics. Selected and translated by Wade Baskin. NY: The Citadel Press. 2nd edition. 1st edition, 1963sssss [10]Smith, Gene (1973). Maximilian and Carlota: A Tale of Romance and Tragedy. NY: William Morrow & Company, Inc. [11] Wilson-Bareau,

Juliet (1992). Manet: The Execution of Maximilian: Painting, Politics and Censorship. NJ: Princeton University Press.

[12] M.

Young, The Technical Writers Handbook, Mill Valley, CA: University Science, 1989.