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Media ownership and political news formation: a comparative study on two free dailies in Sing Tao News Corporation.January 2009 (has links)
Chow, Chun Shu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 180-187). / Abstract also in Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / Table of Contents --- p.iv / Tables and Figures --- p.vi / Chapter Part 1 --- An Overview / Chapter Chapter 1: --- Introduction --- p.1 / Chapter Chapter 2: --- Literature Review --- p.8 / Chapter Chapter 3: --- Theoretical Framework --- p.30 / Chapter Chapter 4: --- Methodology and Research Questions --- p.36 / Chapter Part 2 --- Comparison between Headline Daily and The Standard / Chapter Chapter 5: --- The July 1st Rally 2009 --- p.42 / Chapter Chapter 6: --- Legislative By-election 2007 --- p.67 / Chapter Part 3 --- Ethnography on Sing Tao Daily / Chapter Chapter 7: --- Newsroom observations and Newsmaking --- p.102 / Chapter Chapter 8: --- News Handling - Compliance of News Workers --- p.118 / Chapter Chapter 9: --- Interviews --- p.139 / Chapter Part 4 --- Discussion and Conclusion / Chapter Chapter 10: --- Discussion --- p.148 / Chapter Chapter 11: --- Conclusion and Limitations --- p.161 / "Appendix I: Comparison between Headlines, Word Count and Page Count of Headline Daily and The Standard on Legislative Council By-election 2007" --- p.167 / Appendix II: List of news articles written during the part-time working period in Sing Tao Daily --- p.174 / Appendix III: List of Reporters and Assignment Editors in Sing Tao Daily whom I have encountered during the working period --- p.179 / References --- p.180
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Le grand voyageGaret, Catherine Annie France January 2009 (has links)
For most writers who deal with displacement, rewriting themselves, articulating and communicating their sense of estrangment is their lifetime work. For displacement forces one to leave behind the familiar and embrace the unknown. In this process of deconstruction, the concepts of home, belonging and identity are renegotiated and questioned constantly. Le Grand Voyage – the working title for the draft of a novel that is presented in conjunction with this exegesis – is a fictional work that is produced out of the implications of displacement, which inscribes itself in a series of explorations I started in 2001, cumulating with two video works Frammento in 2003 and Footnotes in 2004. Le Grand Voyage investigates further the concept of home by questioning the home/mother relationship. The exegesis aims to contextualise the making of Le Grand Voyage by using another woman’s narrative as the main point of reference: Linda Olsson’s Let Me Sing You Gentle Songs (2005). Olsson’s work – like mine – is conceived out of the effects of displacement, and the literary form and structure display symptoms that are characteristics to narratives of displacement. By putting the home/mother/daughter in context, the narrative displays home as a patriarchal construct showing how the idealisation of home/place is predicated on a gendering of home, whereby, as McDermott notes, ‘home is constructed as a maternal, static and past, to which the (male) subjects longs to return’ (2003: 265). The narrative’s point of view is that of daughters but also that of mothers as daughters, and enables not only a feminist discussion of the notion of home but also of motherhood. Therefore, the theoretical approach for this work has encompassed feminists’ writings that have particularly focused their research on space, place and gender. In challenging the dominant form of gender constructions and relations, the first and second wave feminism have empowered many women to leave home in order to shape their own version of identity. I believe it is within the perspective of displacement, of being out of place, that many women continue to find the necessary distance to contest a particular reading of woman and home that still prevails in academic literature and fiction. Thus, an important part of this exegesis concentrates on the critic of home. I want to argue in a feminist way that our ideas of home and belonging still reflect gendered assumptions and are therefore contestable. That displacement as a catalyst for loss, emotional grief and mourning becomes an enabling way for women to rethink home in terms of what was at play rather than in place and to do the ‘memory work’ that feminists ask women to do: to remember in order not to forget because ‘forgetting is a major obstacle to change’ (Greene, 1991: 298). Their attacks on the feminisation of place have opened up for me possibilities to think of home outside the parameters of sameness. They have also enabled me to understand the paradoxical position a displaced person is faced with: if displacement is favored and privileged why then do longings for home still persist for some? – a fact that is well illustrated in the actual resurgence of the preoccupation to belong. The gain in displacement also involves the fact that distance forces one to look at the longing and nostalgia for what they really conceal. In the case of a woman and, motherless daughters, distance, as this exegesis demonstrates, enables the writer to unveil the longings as subversive and fraudulent, tricking women into thinking there was nothing better than the past: home sweet home, the safe, bounded nest where women could be women: could be the mother. With the ‘memory work’ they both learn to think away from the parameters of sameness and the past, outside the nostalgic stances of singularity, safety, boundaries and internalised histories, therefore outside of the maternal, the home/mother relationship. ‘What is home?’ is a difficult question to negotiate for a woman. The exegesis and the first draft of the novel show what is at stake when one asks the question and the responsibility of women when writing about home.
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Le grand voyageGaret, Catherine Annie France January 2009 (has links)
For most writers who deal with displacement, rewriting themselves, articulating and communicating their sense of estrangment is their lifetime work. For displacement forces one to leave behind the familiar and embrace the unknown. In this process of deconstruction, the concepts of home, belonging and identity are renegotiated and questioned constantly. Le Grand Voyage – the working title for the draft of a novel that is presented in conjunction with this exegesis – is a fictional work that is produced out of the implications of displacement, which inscribes itself in a series of explorations I started in 2001, cumulating with two video works Frammento in 2003 and Footnotes in 2004. Le Grand Voyage investigates further the concept of home by questioning the home/mother relationship. The exegesis aims to contextualise the making of Le Grand Voyage by using another woman’s narrative as the main point of reference: Linda Olsson’s Let Me Sing You Gentle Songs (2005). Olsson’s work – like mine – is conceived out of the effects of displacement, and the literary form and structure display symptoms that are characteristics to narratives of displacement. By putting the home/mother/daughter in context, the narrative displays home as a patriarchal construct showing how the idealisation of home/place is predicated on a gendering of home, whereby, as McDermott notes, ‘home is constructed as a maternal, static and past, to which the (male) subjects longs to return’ (2003: 265). The narrative’s point of view is that of daughters but also that of mothers as daughters, and enables not only a feminist discussion of the notion of home but also of motherhood. Therefore, the theoretical approach for this work has encompassed feminists’ writings that have particularly focused their research on space, place and gender. In challenging the dominant form of gender constructions and relations, the first and second wave feminism have empowered many women to leave home in order to shape their own version of identity. I believe it is within the perspective of displacement, of being out of place, that many women continue to find the necessary distance to contest a particular reading of woman and home that still prevails in academic literature and fiction. Thus, an important part of this exegesis concentrates on the critic of home. I want to argue in a feminist way that our ideas of home and belonging still reflect gendered assumptions and are therefore contestable. That displacement as a catalyst for loss, emotional grief and mourning becomes an enabling way for women to rethink home in terms of what was at play rather than in place and to do the ‘memory work’ that feminists ask women to do: to remember in order not to forget because ‘forgetting is a major obstacle to change’ (Greene, 1991: 298). Their attacks on the feminisation of place have opened up for me possibilities to think of home outside the parameters of sameness. They have also enabled me to understand the paradoxical position a displaced person is faced with: if displacement is favored and privileged why then do longings for home still persist for some? – a fact that is well illustrated in the actual resurgence of the preoccupation to belong. The gain in displacement also involves the fact that distance forces one to look at the longing and nostalgia for what they really conceal. In the case of a woman and, motherless daughters, distance, as this exegesis demonstrates, enables the writer to unveil the longings as subversive and fraudulent, tricking women into thinking there was nothing better than the past: home sweet home, the safe, bounded nest where women could be women: could be the mother. With the ‘memory work’ they both learn to think away from the parameters of sameness and the past, outside the nostalgic stances of singularity, safety, boundaries and internalised histories, therefore outside of the maternal, the home/mother relationship. ‘What is home?’ is a difficult question to negotiate for a woman. The exegesis and the first draft of the novel show what is at stake when one asks the question and the responsibility of women when writing about home.
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Hudební výchova jako mimoškolní aktivita / Music as freetime activityŠIMOTOVÁ, Kateřina January 2008 (has links)
The graduation thesis deals with possibilities of musical education in the homes of children and youth in South Bohemia. We focused on the offers of music activities, material equipment, kinds of teaching, and how could we present the results of the work. Next, the graduation thesis demonstrates the comparison of the private musical school, Yamaha, which works in five South Bohemian towns, and the competition of the musical teaching in the homes of children and youth. In the enclosure, we show photos and other materials, which specify the reviewing theme.
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Sing the Body ElectricTakacs, Stephen R. 24 August 2012 (has links)
No description available.
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'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde KerkFourie, Francois Paul. 01 1900 (has links)
Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die
Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en
kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die
"nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing.
Die brandende vraag wat "reg" of
hoegenaamd standpunt ingeneem moet
perspektief (die Woord van God)
"verkeerd" is en of daar
word, word uit 'n Bybelse
beantwoord, gegrond op die
beginsel van die Reformasie: ecclessia reformata semper
reformandum.
Die geskiedenis van die lied van die vroee kerk tot by die
Ref ormasie word kursories behandel. Die lied wat in die
geskiedenis uit die mond van die gelowige, die lidmaat gehaal is
en aan die priesters oorgelaat is, word deur Luther weer
teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn,
tsv die Ref ormasie slagspreuk, in sommige aspekte van sy
beskouing van die kerklied, steeds 'n Roomse standpunt bly
handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs
sgn "heilige" liedere, direk uit die Bybel, musiek sender
instrumentale begeleiding, kon gebruik word.
Saam met ons voorsate, wat van oa Nederland gekom het, het ons
liederebundels gekom. Van Riebeeck het met die Datheense Psalter
(die amptelike Nederlandse kerklied) wat later deur die 1805-
"Evangelische Gezangen" aangevul is, geland. Agv die "cuius
regio eius religio"-beginsel het die Hollandse kerklied voorkeur
bo Lutherse ea kerkliedere gekry.
Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom
is, het gelei tot misnoee in Colesberg en later in Rustenburg,
wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische
Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel
van die Trekkers, kommandolede (Anglo-Boereoorlog) en die
krygsgevangenes in die konsentrasie- en krygsgevangenekampe.
In die kampe was daar baie tyd vir die sing en skep van gewyde
liedere.
Nie-goedgekeurde bundels en die vertaling van die Bybel in
Afrikaans (1933) het aanleiding gegee dat liederebundels hersien
moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die
76/78-Psalmboek en die 1978 Gesangboek was die resultaat.
'n Dualistiese standpunt, dat sekere liedere geskik is vir
kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984-
Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM
en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie'
bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die
Psalm- en Gesangboek gebruik mag word.
Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe
fase van die kerklied in SA in as die Ned Herv Kerk ook begin om
"nuwe" liedere op die proef te stel.
Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare
evaluerings oor die kerklied gedoen.
Die "ou", die "nuwe" en die kontemporere kerklied (veral met
verwysing na die NG Kerk) m6et almal plek kry in die musiekskat
van die 21ste eeu. / The hymn and musical instruments play a cardinal role in
the Bible. The Song of Moses (Ex 15) is used in Psalms
and in Revelation 15:3.
The question with regards to what is acceptable and
unacceptable and whether it is at all imperative to take
a defendant stance, is clarified from a Biblical point of
view. It is based on the Reformation-principle: ecclesia
reformata semper reformandum.
The History of the 'Song' Hymn in the early church up to
the Reformation is shortly mentioned. The "songs"
(Hymns) of the believer were in the course of history
transferred to the priests and were only in the
Reformation once again bestowed on the believer by
Luther. It would appear that Calvin, despite the slogans
of the Reformation continued to postulate a Catholic
point of view with regard to the Hymns and that the
Reformation was restricted to the early church. Only socalled
holy songs, direct from the Bible and songs
without instruments/accompaniment could be usedo
The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was
Van Riebeeck who brought in the ''Datheense Psalter'' .
Later, the 1805 - "Evangelishe Gezangen" were added to
it. Owing to the cuius regio eius religio-principle, the
Dutch Church Hymn was given preverance.
Although heartily welcomed, the "1805-Evangelische
Gezangen" lead to a split in the Church. The
"Evangelische Gezangen" (Hymns), and the Psalmbook were
used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer
war) and in the Consentration and prisoners of war camps.
In the camps was ample time for singing and composing new
sacred songs.
'Non-approved' song books and the translation of the
Bible in Afrikaans (1933) gave rise to the birth of
various Hymn and Psalter books. Youth Praise and Worship
books were also published.
The Dutch Reformed Church
opinion that certain songs
in the formal Church
inappropriate and should
gatherings.
struggles with the dualistic
are suitable for worshipping
service while other are
only be used at informal / Theology / D.Th. (Theology)
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37 |
'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde KerkFourie, Francois Paul 01 1900 (has links)
Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die
Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en
kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die
"nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing.
Die brandende vraag wat "reg" of
hoegenaamd standpunt ingeneem moet
perspektief (die Woord van God)
"verkeerd" is en of daar
word, word uit 'n Bybelse
beantwoord, gegrond op die
beginsel van die Reformasie: ecclessia reformata semper
reformandum.
Die geskiedenis van die lied van die vroee kerk tot by die
Ref ormasie word kursories behandel. Die lied wat in die
geskiedenis uit die mond van die gelowige, die lidmaat gehaal is
en aan die priesters oorgelaat is, word deur Luther weer
teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn,
tsv die Ref ormasie slagspreuk, in sommige aspekte van sy
beskouing van die kerklied, steeds 'n Roomse standpunt bly
handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs
sgn "heilige" liedere, direk uit die Bybel, musiek sender
instrumentale begeleiding, kon gebruik word.
Saam met ons voorsate, wat van oa Nederland gekom het, het ons
liederebundels gekom. Van Riebeeck het met die Datheense Psalter
(die amptelike Nederlandse kerklied) wat later deur die 1805-
"Evangelische Gezangen" aangevul is, geland. Agv die "cuius
regio eius religio"-beginsel het die Hollandse kerklied voorkeur
bo Lutherse ea kerkliedere gekry.
Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom
is, het gelei tot misnoee in Colesberg en later in Rustenburg,
wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische
Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel
van die Trekkers, kommandolede (Anglo-Boereoorlog) en die
krygsgevangenes in die konsentrasie- en krygsgevangenekampe.
In die kampe was daar baie tyd vir die sing en skep van gewyde
liedere.
Nie-goedgekeurde bundels en die vertaling van die Bybel in
Afrikaans (1933) het aanleiding gegee dat liederebundels hersien
moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die
76/78-Psalmboek en die 1978 Gesangboek was die resultaat.
'n Dualistiese standpunt, dat sekere liedere geskik is vir
kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984-
Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM
en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie'
bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die
Psalm- en Gesangboek gebruik mag word.
Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe
fase van die kerklied in SA in as die Ned Herv Kerk ook begin om
"nuwe" liedere op die proef te stel.
Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare
evaluerings oor die kerklied gedoen.
Die "ou", die "nuwe" en die kontemporere kerklied (veral met
verwysing na die NG Kerk) m6et almal plek kry in die musiekskat
van die 21ste eeu. / The hymn and musical instruments play a cardinal role in
the Bible. The Song of Moses (Ex 15) is used in Psalms
and in Revelation 15:3.
The question with regards to what is acceptable and
unacceptable and whether it is at all imperative to take
a defendant stance, is clarified from a Biblical point of
view. It is based on the Reformation-principle: ecclesia
reformata semper reformandum.
The History of the 'Song' Hymn in the early church up to
the Reformation is shortly mentioned. The "songs"
(Hymns) of the believer were in the course of history
transferred to the priests and were only in the
Reformation once again bestowed on the believer by
Luther. It would appear that Calvin, despite the slogans
of the Reformation continued to postulate a Catholic
point of view with regard to the Hymns and that the
Reformation was restricted to the early church. Only socalled
holy songs, direct from the Bible and songs
without instruments/accompaniment could be usedo
The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was
Van Riebeeck who brought in the ''Datheense Psalter'' .
Later, the 1805 - "Evangelishe Gezangen" were added to
it. Owing to the cuius regio eius religio-principle, the
Dutch Church Hymn was given preverance.
Although heartily welcomed, the "1805-Evangelische
Gezangen" lead to a split in the Church. The
"Evangelische Gezangen" (Hymns), and the Psalmbook were
used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer
war) and in the Consentration and prisoners of war camps.
In the camps was ample time for singing and composing new
sacred songs.
'Non-approved' song books and the translation of the
Bible in Afrikaans (1933) gave rise to the birth of
various Hymn and Psalter books. Youth Praise and Worship
books were also published.
The Dutch Reformed Church
opinion that certain songs
in the formal Church
inappropriate and should
gatherings.
struggles with the dualistic
are suitable for worshipping
service while other are
only be used at informal / Theology / D.Th. (Theology)
|
38 |
明清的鐘錶(1582-1911) / Clocks and watches in Ming-Ching period (1582-1911)李侑儒, Li, Yu Ju Unknown Date (has links)
本文從社會、經濟、物質、科技、文化交流等層面探討鐘錶自十六世紀起傳入中國,並逐漸在中國社會中流傳和普及的情形,並藉此討論明清時期中國人的時間觀念和日常生活是否因鐘錶傳入而有所改變。
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Analysis and Categorization of Selected Musical Elements within Forty-three Solo Jazz Vocal "Standards" with Pedagogical Application to Repertoire Selection and the Teaching of Jazz Concepts in the Jazz Voice LessonBuchholz, Timothy C. 03 May 2010 (has links)
While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.
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Les vieilles enseignes, partie intégrante du patrimoine culturel immatériel de Pékin / Non communiquéDu, Lili 26 November 2012 (has links)
Depuis son adoption de la « Convention pour la sauvegarde du patrimoine culturel immatériel » en 2003, la Chine a lancé au niveau national, le répertoire de son patrimoine culturel immatériel, et a élaboré, mis en action des mesures pour sa sauvegarde. Pékin, ancienne capitale des cinq dynasties, possède une source abondante du patrimoine culturel immatériel. Les vieilles enseignes pékinoises représentent un vecteur particulier du patrimoine oral, l’art de la dénomination, l’art de l’enseigne, la culture traditionnelle à travers le Confucianisme ainsi que des savoir-faire. Cependant, par rapport à la valorisation économique, la valorisation culturelle de ces entreprises a été longtemps négligée. En recourant à la formulation du patrimoine culturel immatériel, le présent travail a voulu explorer et étudier la pluralité du patrimoine immatériel des vieilles enseignes pékinoises, afin de montrer son enjeu dans le développement et la pérennité de ces enseignes ainsi que pour la préservation de la culture locale de Pékin. / Since its adoption of the « Convention for the Safeguarding of Intangible Cultural Heritage », China has launched in its territory, the identification of its intangible cultural heritage, and has elaborated, applied the safeguarding methods accordingly. Beijing, capital of five dynasties in ancient times, possesses an abundant resource of intangible cultural heritage. The time-honored brands, for example, are the vehicle of several elements strongly local-colored, such as oralheritage, name art, art of sign-board, traditional philosophy mainly represented by Confucianism, and traditional craftsmanship. Nonetheless, the cultural valorization of Beijing’s time-honored brands has not been stressed, on the contrary to their economical valorization. Relying on the formulation of intangible cultural heritage, this study explored and examined the plurality of these time-honored brands’ intangible heritage, in order to demonstrate its importance for these brands’ development and durability, as well as for the preservation of Beijing’s local culture. / 自从2003 年中国加入«非物质文化遗产保护公约»以来,开展了对其非物质文化遗产的 全面普查,并相应制定和执行了保护政策及措施。北京,作为中国五朝古都,拥有极为丰富 的非物质文化遗产资源。北京老字号就承载了从口头遗产,命名艺术,牌匾艺术,以儒家为 代表的传统思想,到其传统技艺等极具北京特色的项目。但是相对于其经济价值,北京老字 号的文化价值长期处于被忽视的地位。本文利用非物质文化遗产概念的提出,发掘并研究了 北京老字号的非物质文化遗产的多面性,借以阐明其对这些企业的生存和发展,及其对维持 北京地方文化特色的重要性。
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