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La prise en charge des patients souffrant d’un trouble mental justifie une meilleure compréhension des mécanismes influençant les comportements des patients et des cliniciens vis-à-vis des stratégies thérapeutiques. Le principal objectif de cette thèse est d’étudier et d’identifier le rôle des attitudes des patients et des cliniciens vis-à-vis du comportement d’usage d’une thérapeutique. Pour cela, nous avons réalisé plusieurs études permettant d’appréhender cette problématique dans différentes pathologies et envers différentes thérapeutiques.Concernant les attitudes des patients envers leur traitement, nous avons détaillé un travail visant à évaluer les croyances de patients souffrant de schizophrénie envers leur antipsychotique et une étude qualitative sur les attitudes des patients bipolaires envers leur prise en charge en phase d’euthymie. Nous avons montré l’impact des attitudes négatives sur le niveau d’observance ou d’adhésion des patients à leur prise en charge et l’intérêt de cibler des stratégies de prise en charge individualisées visant à améliorer ces attitudes. Concernant les psychiatres, nous avons présenté une étude évaluant les attitudes des cliniciens vis-à-vis des recommandations professionnelles ainsi qu’un travail concernant leurs attitudes envers les antipsychotiques d’action prolongée. Certaines attitudes des psychiatres apparaissaient associées à une plus faible utilisation des recommandations ou des formulations d’action prolongée. Nos résultats montrent ainsi que l’observance ou l’adhésion des patients à une prise en charge ou le choix thérapeutique des cliniciens sont sous-tendus par leurs attitudes. L’étude des attitudes dans le domaine de la santé mentale apparaît comme une étape indispensable dans la compréhension de certains comportements d’usage des thérapeutiques. Les données issues des travaux présentés mais aussi d’études récentes permettent d’envisager un changement de paradigme dans l’appréhension des comportements d’observance des patients et de décision médicale des cliniciens dans le choix d’une thérapeutique centré sur leurs attitudes. / The management of patients with severe mental illnesses needs a better understanding of thefactors affecting the behaviours of clinicians and patients toward therapeutic strategies.The main objective of this thesis was to assess and identify the role of the clinician’s attitudes and patients’ attitudes toward the medication use behaviour. We conducted several studies to address this point in different mental disorders and for different type of treatment. Concerning the patients ‘attitudes toward treatment, we reported data from a study assessing the beliefs toward antipsychotics of schizophrenic patients and from a qualitative study assessing the patient’s attitudes toward the management of bipolar disorder in euthymic periods. We showed that the negative attitudes had a marked impact on the level of adherence of patients and could determine individual targets of interventions to improve them. Concerning the psychiatrists, we reported two studies assessing the clinician’s attitudes toward guidelines and long-acting injectable antipsychotics. Some specific attitudes were associated with a lower use of guidelines or long-acting formulations. These findings showed that the adherence of patient to treatment and the medical decisions of clinicians were related to their attitudes. The assessment of attitudes or beliefs in the field of mental health appears to be an essential step to promote a better comprehension of some treatment use behaviours. Our results and from other recent studies support a new paradigm for the patient adherence to treatment and the medical decision of clinicians focused on their attitudes as predicting variables.

Exploring the process of designing, producing, directing and starring in a multimedia feminist re-interpretation of Shakespeare's Hamlet set in a contemporary social media landscape.

Le traitement du virus de l'hépatite C (VHC) a connu une révolution récente, rapide et exemplaire grâce à l'arrivée des agents antiviraux directs (AAD) en plusieurs vagues depuis 2011, détrônant ainsi la bithérapie interféron-pégylé/ribavirine. Ces nouveaux traitements ont été rapidement confrontés à des limites concernant leur efficacité et leur tolérance notamment à leurs débuts avec les inhibiteurs de la protéase NS3/4A de première génération. L'arrivée de nouveaux AAD sur le marché lors d'une 2ème vague en 2014 a permis toutefois de surpasser celles-ci et de devenir le traitement de référence du VHC.Leur efficacité remarquable a laissé naître l'idée d'une potentielle élimination du VHC grâce à l'utilisation universelle de ces traitements. Cependant, leur coût élevé et les comportements à risque observés dans des sous-groupes de population (utilisateurs de drogues intraveineuses et homosexuels) restent encore des problématiques cruciales à surmonter pour espérer atteindre les objectifs fixés par l'Organisation Mondiale de la Santé en 2030 concernant l'élimination du VHC. De plus ces traitements, permettant l'élimination virale quasi-systématique et donc consécutivement une diminution du risque de complications hépatiques, ont été récemment confrontés à une polémique concernant un potentiel risque de récidive précoce de carcinome hépatocellulaire (CHC) suite à une exposition à ces derniers.Le travail présenté dans cette thèse s'articule autour de trois problématiques ayant toutes pour objectif principal d'optimiser l'utilisation de ces traitements dans l'optique de contrôler l'histoire naturelle de la maladie à l'échelle individuelle et à l'échelle populationnelle par l'intermédiaire de diverses méthodes statistiques.Nos résultats ont permis de montrer au sein d’une première problématique ayant exploré l'efficacité et la tolérance de ces traitements antiviraux à l’échelle individuelle: (i) une efficacité antivirale moindre que celle annoncée dans les essais de phase III des inhibiteurs de protéase de première génération(télaprévir et bocéprévir), (ii) un effet indésirable significatif des inhibiteurs de protéase de première génération sur la fonction rénale, (iii) une tolérance moins bonne de ces premières molécules que lors du traitement par bithérapie avec une incidence accrue d'anémie probablement liée à un surdosage en ribavirine induit par les inhibiteurs de protéase et (iv) une efficacité antivirale remarquable des AAD arrivés depuis 2014 sans impact des caractéristiques du patient ni des dosages pharmacologiques sur la réponse virologique. Dans un second temps, la problématique d'un risque de récidive de CHC accru après un traitement par AAD a également été explorée par l'analyse d'une cohorte locale, celle-ci ayant conclu à l'absence de risque accru comparé à un groupe de patients non exposés. Enfin, nos travaux basés sur la modélisation de la transmission du VHC en France dans la population coinfectée VIH-VHCont montré qu'un taux annuel de traitement par AAD de 50% était nécessaire dans la population homosexuelle ayant des pratiques à haut-risque de transmission pour contrer l'épidémie actuellement observée.Nos travaux ont donc permis d'apporter des données pour optimiser l'utilisation des nouveaux traitements anti-VHC par l'intermédiaire de diverses approches statistiques et ont apporté des éléments de réponse aux grandes problématiques actuelles. L'efficacité exemplaire et la tolérance quasi-parfaite des dernières molécules antivirales permettent une utilisation universelle de ces traitements dans toutes les populations de patients. Des études complémentaires robustes sont cependant nécessaires pour apporter des arguments à la question de la récidive du CHC. Des efforts sont également attendus concernant l'accès au traitement, la diminution des coûts associés et un dépistage renforcé du VHC pour espérer pouvoir éradiquer un jour cette maladie. / The arrival of direct-acting antivirals agents (DAAs) has spurred a rapid revolution in the treatment of hepatitis C virus (HCV), supplanting the previous standard of care, i.e. pegylated interferon and ribavirin. These new treatments are associated with an increased rate of virological response however they rapidly faced some limits more particularly at the beginning with the first generation NS3/4A protease inhibitors. From 2014 on the second wave of DAA was available for treatment of chronic HCV infection and surpassed previous encountered limits. These treatments are nowadays the gold standard for HCV treatment in high-income countries.The idea of HCV eradication recently emerged since DAA treatment are highly effective. However, their associated high cost and recent high-risk behaviors associated with an increased risk of HCV transmission (among intravenous drug users and homosexuals) have been reported. These issues need therefore to be addressed in order to achieve the objectives of the World Health Organization for 2030 of an HCV eradication. Moreover, these treatments allow a sustained virological response in almost all patients and consequently reduce the risk of liver-related complications, but a recent controversy regarding a potential increased risk of hepatocellular carcinoma after DAA treatment has been raised.Three issues will be extensively discussed in this manuscript regarding how these treatments can be used to optimize their effect on HCV natural history at the individual and population level through different statistical approaches.As regards the first issue, this project allowed us to demonstrate regarding the tolerance and efficacy of DAA treatment: (i) a lower antiviral efficacy than previously reported in the phase III trials for first generationprotease inhibitor regimen (telaprevir and boceprevir), (ii) impairment of renal function during first generation protease inhibitor treatment, (iii) an increased rate of reported side effects during first-generation protease inhibitor treatment and more particularly anemia, potentially related to an increased ribavirin biodisponibility induced by protease inhibitor intake and (iv) a remarkable antiviral efficacy of second generation DAAs without impact of patients' characteristics norpharmacology on virological response rate. The recent issue regarding a higher risk of HCC recurrence after DAA treatment was also explored through a local cohort study and no impact of DAA treatment was observed when comparing DAA-exposed vs non DAA-exposed patients. Finally, we conducted amodelling study on HCV transmission in the coinfected HIV-HCV French population and our results suggested that an annual DAA treatment coverage rate of 50% was required in the homosexual population with high-risk behaviors to counter the recent observed epidemic in this population.Our different works provide new insights on how to optimize the use of DAA treatment through several statistical approaches and bring new elements for discussion on the recent controversy. The new DAA have an excellent efficacy and tolerance profile and should be universally used in all populations without restriction. However, further studies are required to explore on a deeper level the question regarding HCC recurrence after DAA treatment. Efforts are also still needed regarding DAA treatment access, associated costs and HCV screening to reach the objective of HCV eradication

2 Mgr. Jan Petružela Alfréd Radok and His Stage Practices Analysis of the Production of Devil's Circle Abstract Alfréd Radok (1914- 1976) started his second term at the National Theatre (1954-1960) with two moderate productions, in which he, due to the Stalinist régime, suppressed his creative power. However, the following season Radok came with the production of Devil's Circle (1953), schematic play by Hedda Zinner about the Leipzig trial (1933), in which he found his essential topic - to grasp the Zeitgeist and manifest a universal mechanism of totalitarian power and trumped-up political trials. In this production, staged in the period of mild political "thaw", Radok managed to bring back to the Czech theatre modern stage directing practices and re-established the position of stage director, which was reduced in the previous years by the dogmatic aesthetics of socialistic realism. The production of Devil's Circle (prem. December 21, 1955) at the Estates (then Tyl's) Theatre, warmly received by audience as well as critics, renewed and developed for that time unprecedented, though historically verified principles: imaginative, non-descriptive theatre with a meaningful overlap, strict approach to acting with an emphasis on realistic, civil-like expression, interpretation of dramatic sitution, intense work...

Dissertation thesis Acting with the Inner Partner as a Way to Develop Teacher's Personal Dispositions focuses on specifics of a psychosomatic discipline called Acting with the Inner Partner, in professional training of future teachers. This discipline represents the pedagogy of experimenting with the phenomenon of self-speech in experimental conditions. The emphasis is on the personality of future teachers, as well as on cultivation of their self-reflection. This should lead to a becoming a professional teacher with an authorial approach and authentic acting. The objective of the dissertation thesis is a deeper understanding of psychosomatic disciplines pedagogy, whereas my very own teaching experience at The Department of Psychology and Pedagogy is essential. Specifics of future teachers' personal preparation in the view of psychosomatic disciplines, represents the basic part of this work. Another part focuses on the experience with Acting with the Inner Partner, at first described by a student and later by an assistant (lecturer) and researcher. Common features of so called psychosomatic condition are discovered. The author also searches the possibility of exporting Acting with the Inner Partner out of the Department of Pedagogy and Psychology at South Bohemia University. As the methodology of video recording analysis has not been accomplished yet, the starting points for further research are described. The empirical part focuses on typology documented on students' written self-reflections. The objective is to describe the assistant's experience. The interpretation of the research results shows the need to distinguish between the terms 'written teaching self-reflections' and 'written teaching reflections, commonly described as feedback.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T18:32:10Z No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-03T17:17:17Z (GMT) No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5) / Made available in DSpace on 2018-09-03T17:17:18Z (GMT). No. of bitstreams: 1 Texto completo_28_2_14_Ed_28_03_2014.pdf: 6894931 bytes, checksum: 5cc533a586af75f8297528e031545cfa (MD5) / Esta pesquisa se refere a um estudo prático-teórico, na linha de Poéticas e Processos de Encenação em Artes Cênicas e foi conduzida pelo desejo da pesquisadora de ampliar os conhecimentos de sua formação como artista e professora de teatro. Trata-se da produção de um contexto poético-reflexivo, no qual se cruzam três grandes campos: Processos Criativos, Imaginário e Teatro de Animação. Teve como objeto disparador a prática da atriz que construiu e animou seu próprio personagem-boneco no espetáculo Protocolo Lunar. Neste considerou-se as interfaces do Teatro de Animação como encenação contemporânea com estratégias metodológicas colaborativas. No referido contexto, foram compreendidos, interpretados e tornados visíveis Princípios e Procedimentos criativos de concepção, construção e atuação do personagem-boneco para cena a partir do ponto de vista de quem constrói e anima. Trata-se de metodologia adequada a processos de criação artística, que opera com a Abordagem Compreensiva apresentada por Sonia Rangel, a qual, entre outros autores, se apoia na Teoria da Formatividade de Luigi Pareyson. Igualmente, foram considerados os pensamentos de outros autores para fundamentar a pesquisa, tais como Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecília Almeida Salles, Ítalo Calvino, Klauss Vianna, Marco Souza. A pesquisa de campo foi desenvolvida a partir de Laboratórios Criativos com o Grupo Os Imaginários, além de incluir o diálogo com três outros artistas, Gil Teixeira, de Salvador, Bahia; Anibal Pacha, de Belém do Pará e Marcelo Lafontana, de Vila do Conde, Portugal, por meio de entrevistas. Eles foram selecionados pelo critério de também partilharem prática cênica semelhante. A perspectiva, além de registrar a memória de processos criativos em Teatro de Animação, é poder articular com outras pesquisas realizadas, colaborar com a discussão, o aprofundamento, os desdobramentos e a ampliação das reflexões que já existem neste campo. / This research refers to a practical-theoretical study, in the Poetics and Processes Staging Performing Arts in line and was driven by the desire of the researcher to broaden the knowledge of his training as an artist and teacher of theater. It is the production of a poetic-reflexive context in which intersect three major fields: Creative Processes, Imaginary and Animation Theater. Object was to trigger the practice of the actress who has built his own character and animated puppet-show in Lunar Protocol. This was considered the interfaces of the Animation Theater as contemporary staging with collaborative methodological strategies. In that context, were understood, interpreted and made visible Principles and Procedures of creative design, construction and performance character-puppet to the scene from the point of view of who builds and animates. It is suitable for artistic creation processes, which operates the Comprehensive Approach by Sonia Rangel, which, among others, rests on the theory formativeness Luigi Pareyson methodology. Also, we considered the thoughts of other authors to support research, such as Ana Maria Amaral, Valmor Beltrame, Henryk Jurkowski, Gaston Bachelard, Cecilia Almeida Salles, Italo Calvino, Klauss Vianna, Marco Souza. The field research was developed from Creative Labs with Imaginary Group and includes dialogue with three other artists, Gil Teixeira, Salvador, Bahia; Anibal Pacha, of Belém do Pará and Marcelo Lafontana, Vila do Conde, Portugal, through interviews. They were selected by the criterion also share similar stagecraft. The prospect, and to record the memory of creative processes in Animation Theater is able to articulate with other surveys conducted, supporting the discussion, deepening, the unfolding and expansion of reflections that already exist in this field.

Esta pesquisa analisou o efeito transgressor de gênero artístico, de identidade de gênero, de sexualidade e de comportamento social apresentados na peça teatral Escravagina, produzida pelo grupo Rainha de Duas Cabeças, de Curitiba-PR, produção teatral estreada em 2014. A peça conta com dramaturgia e direção de Cesar Almeida e com atuação da atriz Maite Schneider. O espetáculo narra a história pessoal da atriz que passou por um processo de transexualização. Na peça são discutidos padrões de beleza corporal, instituições normatizadoras e reguladoras de sexualidade, gênero, orientação sexual, desejo e comportamentos sociais impostos. Buscamos compreender a maneira como os artistas utilizaram-se das tecnologias e das técnicas de cena, ou seja, os elementos e procedimentos constituintes para a produção do espetáculo teatral com o propósito de transgressão (FOUCAULT, 2009) das noções socialmente estabelecidas sobre identidades focadas em polaridades ou identidades fixas. Nossa pesquisa apontou para a utilização de traços do grotesco e da carnavalização (BAKHTIN, 2013), do kitsch (MOLES, 1975), da ironia, da paródia e do intertexto (HUTCHEON, 1991), do hibridismo cultural (CANCLINI, 2013), do Business gay (LIPOVETSKY, 2015), do paradoxo (COMPAGNON, 2010) e da profanação (AGAMBEN, 2007), percebidos por meio de elementos e procedimentos que incluem uma ou múltiplas técnicas/tecnologias da cena para obtenção do efeito desejado. Nossa pesquisa também questionou as aproximações entre corpo e tecnologia e sua relação com a transexualidade. Para tanto, o estudo se utilizou de metodologia da Análise dos Espetáculos (PAVIS, 2015) e da Análise Matricial (BRITO, 1999). Os materiais primários de análise foram o vídeo do espetáculo e o texto teatral. Como material secundário utilizamos as entrevistas realizadas com os artistas (em 2015 e em 2016), o material de divulgação, o paratexto publicitário, os diários de itinerância e a tomada de notas realizada pela pesquisadora durante a observação in loco do espetáculo, assistido no ano de 2016. / This research analyzed the transgressive effect of artistic genre, gender identity, sexuality and social behavior presented in the play Escravagina, produced by the group Rainha de Duas Cabeças, from Curitiba/PR, a theatrical production premiered in 2014. The play counts on the dramaturgy and direction of Cesar Almeida, as well as the performance of the actress Maite Schneider. The show narrates the personal story of the actress who underwent a process of transsexualization. In the play, the standards of body beauty are discussed, as well as the normative institutions and regulators of sexuality, gender, sexual orientation, desire and social behaviors imposed. We seek to understand the way in which the artists used the technologies and techniques of scene, that is, the constituent elements and procedures for the production of the theatrical spectacle, with the purpose of transgression (FOUCAULT, 2009) of socially established notions on identities focused on polarities or fixed identities. Our research pointed to the use of traces of the grotesque and carnivalization (BAKHTIN, 2013), of kitsch (MOLES, 1975), the irony, parody and intertext (HUTCHEON, 1991), the cultural hybridity (CANCLINI, 2013), the Business gay (LIPOVETSKY, 2015), paradox (COMPAGNON, 2010) and the profanation (AGAMBEN, 2007) perceived by means of elements and procedures that include one or multiple scene techniques/technologies to achieve the desired effect. Our research also questioned the approximations between body and technology and their relation with transsexuality. For this, the study was based on the methodology of Analysis of Spectacles (PAVIS, 2015) and Matricial Analysis (BRITO, 1999). The primary materials of analysis were the video of the theatre show and the theatrical text. As secondary material, we used interviews with the artists (in 2015 and 2016), the advertising material, the advertising paratext, the itinerancy journals and the notes taken by the researcher herself during the on-site observation of the theatre show assisted in 2016.

Made available in DSpace on 2016-12-23T14:36:48Z (GMT). No. of bitstreams: 1 Conselho Popular de Vitoria.pdf: 424320 bytes, checksum: 35ad75f50e1fc5dd7deeb968ced181fb (MD5) Previous issue date: 2008-04-27 / O trabalho é um estudo de caso sobre o Conselho Popular de Vitória (CPV) organização representativa das associações de moradores do município de Vitória de sua fundação, em 1986, até 2004. Ancorado em autores que estudaram a participação política da sociedade civil nas décadas de 80 e 90 o objetivo é empreender uma análise que especifique o perfil de atuação deste movimento em termos de interesses e demandas, do seu papel junto aos movimentos de bairro que representa e da sua relação com o poder municipal. A estratégia de apreensão do objeto de estudo deu-se pela metodologia qualitativa que possibilita a compreensão de fenômenos, fatos e procedimentos particulares de pequenos grupos. O resultado da pesquisa revelou que o CPV, ao longo da sua trajetória, sofreu modificações no seu perfil de atuação. Se nos anos 80 apresentou uma postura mais independente na relação com o poder público, nos anos 90 assume uma posição mais próxima ao governo, fortalecida pelo processo de abertura e institucionalização dos canais de participação. Contudo, essa postura levaria ao longo dos anos a um padrão de relação extremamente frágil com o poder público e entidades dos movimentos de bairro, visto que, assumindo uma postura de parceiro e legitimador das ações do poder público, tem deixado de ser um operador das demandas da sociedade civil e se transformado em agente cooperador do poder público. / This paper is a case study about the CPV (Vitória Popular Council) organization that represents the resident associations in the city of Vitória from its foundation and in 1986 to 2004. Based on authors who studied the political participation of civil societies in the 1980s and 90s, the aim is to perform an analysis to specify the acting profile of this movement in terms of interest and demand; its role in the movements of the neighborhoods it represents and its relation with the city government. The study strategy adopted qualitative methodology, which allows understanding particular phenomena, facts and procedures of small groups. Results showed that CPV, throughout its history, has changed its acting focus. If in the 80s the movement had a more independent position towards the city government, in the 90s it took a position closer to the government, strengthened by the opening process and institutionalization of channels of participation. Nevertheless, this posture would lead to an extremely fragile relation with the government and neighborhood entities, throughout the years. Since the CPV has had a position of government s partner and legitimator of actions, it has quit being an operator of the civil society s demands and become a government collaborator.

This study seeks to enter the Theatre of the Oppressed and the Permaculture Flower as potentializer methodology of Environmental Education experiences of a new meaning for young people from diverse communities that make up the Collective Youth Movement in Sergipe. The symbolic union of perceptive and sensitive fields aims to broaden the knowledge of the problems in environmental dimensions within that collective. The methodological development of this qualitative research draws on action research through thematic theatrical workshops, covering the methodology described by Augusto Boal in Theatre of the Oppressed, Theatre Games and Improvisation Theatre. Uses the concept of sustainability according to the vision of permaculture perspective of the sensitive environmental education, critique, dialogic, experiential and participatory. Data collection was conducted through questionnaires, interviews, wheels conversation and participant observation. Paintings, sculptures and individual and collective, 4 songs and 1 piece of forum theater on the pesticide issue as the problem - insertion case: many aesthetic materials such as were created. The results include 200 h of fieldwork, 1 workshop in character immersion for 8 days with 32 young people from the Youth Movement Collective in various localities of the state of Sergipe. The piece collectively created by young people was presented 16 times and 1 time in the state at the National Congress of Peasants in Brasilia/DF. People between 1183 and oficinandos audience were mobilized. / O presente estudo busca inserir o Teatro do Oprimido e a Flor da Permacultura como metodologia potencializadora das vivências de uma Educação Ambiental ressignificada para os jovens de diversas comunidades que compõe o Movimento Coletivo da Juventude em Sergipe. A união perceptiva dos campos simbólicos e sensível tem por finalidade ampliar os conhecimentos dos problemas nas dimensões socioambientais dentro desse coletivo. O desenvolvimento metodológico dessa pesquisa de natureza qualitativa inspira-se na Pesquisa-ação por meio de oficinas teatrais temáticas, contemplando a metodologia descrita por Augusto Boal no Teatro do Oprimido, Jogos Teatrais e o Teatro Improvisação. Utiliza o conceito de Sustentabilidade segundo a visão da Permacultura numa perspectiva de Educação Ambiental do sensível, crítica, dialógica, vivencial e participativa. A coleta de dados foi realizada por meio de questionários, entrevistas, rodas de conversa e observação participante. Foram criados diversos materiais estéticos tais como: quadros, pinturas e esculturas individuais e coletivas, 4 músicas e 1 peça de teatro-fórum sobre a temática agrotóxicos como inserção do problema-caso. Os resultados contemplam 200 h de trabalho de campo, 1 oficina em caráter de imersão por 8 dias com 32 jovens do Movimento Coletivo da Juventude de diversas localidades do estado de Sergipe. A peça criada coletivamente pelos jovens foi apresentada 16 vezes no estado e 1 vez no Congresso Nacional de Camponeses em Brasília/DF. Foram mobilizadas 1183 pessoas entre oficinandos e plateia.