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Ling 131 Language and Style Course Handbook 2002-3


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Ling 131 Language and Style
Course Handbook

2002-3



Course tutors

Rooms and Office hours

Email addresses

Mick Short

Bowland B87, Tel. 93035

m.short@lancaster.ac.uk

Derek Bousfield

Lonsdale C33a

Office Hour in Bowland B 80,

Thursdays 1-2

d.bousfield@lancaster.ac.uk



Hazel Medd

Office Hour in Bowland B100,

Fridays 11-12



h.medd@lancaster.ac.uk


Course venue:

Faraday Building Room A205

Time:
Group A

Monday 2-4 pm

Thursday 2-3 pm


Group B

Monday 4-5 pm

Thursday 3-5 pm



Web address:

http://www.ling.lancs.ac.uk/internet_stylistics/introduction/start.htm

Username: stylistics Password: 131course
NB: Please do not give these details to anyone not on the

course, otherwise we will infringe the copyright agreements

we have for the literary texts we use on the course.

Discussion site:

http://domino.lancs.ac.uk/linguistics/ling131.nsf

All sessions will be held in the computer room Faraday A205. There will not be any lectures on this course as it is entirely web-based. It is important that you attend both sessions allocated to your group each week. Seminar groups are posted on the Language and Style notice board in the Department of Linguistics and Modern English Language, next to room B83. If there is a problem, please see Mrs. Jennifer Ward, the undergraduate secretary (Bowland B76).


Please read through this handbook carefully at the beginning of the course and keep it handy as a reference.

1. What you will learn on this course
LING 131 Language and Style explores how we understand literary texts by considering how we use language in general. All three major literary genres, poetry, prose and drama, are examined in this course. The fundamental philosophy of the course is to develop a set of ANALYTICAL SKILLS with which you can examine texts - analysing their words, sounds, structures, interactive aspects and so on - in order to explicate how we understand texts and how they affect us. You will learn about particular aspects of the structure of English (e.g. grammatical, sound and conversational structure) at points where it is of particular relevance to the texts you happen to be studying at the time. Below is an outline of the course, followed by a weekly schedule to guide you as you work through the course.
1.1 Course Content
The course consists of 13 topics (sub-divided into sessions), concentrating mainly, in turn, on the three main literary genres: Poetry, Prose Fiction and Drama.

Topics 1- 5 cover mainly poetry

1: Levels of language. Linguistic choice, style and meaning

2: Being creative with words and phrases

3: Patterns, deviations, style and meaning

4: The grammar of simple sentences

5: Sound

Round Up & Self Assessment

Topics 6-10 cover mainly prose

6: Style and style variation

7: The grammar of complex sentences

8: Discourse structure and point of view

9: Speech presentation

10: Prose analysis

Round Up & Self Assessment

Topics 11-13 cover mainly drama

11: Conversational structure and character

12: Meaning between the lines

13: Shared knowledge and absurdist drama

Round Up & Self Assessment


1.2 Week-by-week schedule


Week 1

Topic 1 Levels of language. Linguistic choice, style and meaning
Session A and Session B

Week 2

Topic 2 Being creative with words and phrases
Sessions A and B

Week 3

Topic 3 Patterns, deviations, style and meaning, Sessions A and B

Topic 4 The grammar of simple sentences



Week 4

Topic 5 Sound
Topic 6 Style and style variation

Week 5

Topic 7 The grammar of complex sentences
Topic 8 Discourse structure and point of view

Week 6

READING WEEK: Poetry Round Up & Self Assessment

Week 7

Topic 9 Speech presentation
Topic 10 Prose analysis

Week 8

Prose Round Up & Self Assessment
Topic 11 Conversational structure and character

Week 9

Topic 12 Meaning between the lines
Topic 13 Shared knowledge and absurdist drama - Session A

Week 10

Topic 13 Shared knowledge and absurdist drama - Session B
Drama Round Up & Self Assessment



2. How you will learn
This is a new, web-based version of Ling 131 Language and Style, a course which has been previously taught using traditional lectures and seminars. This course is based on web-based workshop sessions. It will require you to work together in pairs at a computer in your two weekly workshop sessions. See 41. below for how to log on outside class. The web-based course has been designed to be fully comprehensive and to make learning fun (or as much fun as an academic course can be!). It includes an innovative interactive self-assessment mechanism for practising stylistic analysis in preparation for the coursework assignment, which you will be required to do in the Easter vacation.
The amount of material to work through is suggested for each week (set out in section 1.2 above, in the Week by Week Schedule). In addition to the 3 hours of workshops, we expect you to devote extra time to complete each week's material, and to do the recommended reading. The recommended reading for each topic can be found by clicking on the ‘READINGS’ link, which can be found in the ‘USEFUL LINKS’ section of the menu (on the left-hand side of the screen) for each topic of the course. We will also make the reading list available on a discussion group site dedicated to the course (the Language and Style Chat Café - see section 5 below). In section 9 we provide a list of the books we have placed on Short Loan in the library, and we will also post this list up on the Language and Style Chat Café site.
In total we expect you to spend a third of your total weekly work time (i.e. about 13-14 hours per week) on this course, including the three workshop hours, and so you will have time outside the workshops for both the web-based work and the reading, which complement one another. Although students may work at different rates we believe it will be beneficial for you to work together in the workshop sessions, sharing ideas and learning together. You may also want to work cooperatively with other students on the course outside the workshops (that is for you to decide). Although the course is designed for self-learning there will be a tutor present in all the workshop sessions to give you help and guidance.
During the two-hour workshop each week (but not the one-hour workshop) there will be a group discussion session lasting for about 15 minutes, led by your tutor. In these we will look at one selected topic from the material for that week and discuss it together. We will indicate at the start of the two-hour session which topic will be dealt with in this way. In group discussion you will have the opportunity to ask questions and add your comments within the larger group. For the rest of the workshop time you will be working with your partner at the computer and you will also be able to ask your tutor individual questions and/or post questions and comments for other students and your tutors in the Language and Style Chat Café (see section 5 below)
Week 6 has been designated a Reading Week on the course and so you do not have to attend any workshops in this week. You are meant to work, though! During Reading Week you are expected to catch up on your reading and other work, and do the first Self-assessment exercise (on a poem), which follows the material for Topics 1-5 on the Course Contents page of the website. The three Self-assessment exercises (one on a poem, one on an extract from a novel and one on an extract from a play) are innovative and integral parts of the course. They are designed (a) to give you practice at doing stylistic analysis before you do your coursework assessment at the end of the course (and your Part I English Language examination in the summer term), and (b) to help you assess how well you are doing on the course, as you go along. There is a Self-assessment exercise at the end of each of the three main sections of the course, poetry, prose and drama.

3. Approaching the course
This course differs from the traditional lecture-seminar format, and we think that you will find that its design offers several advantages to you. We have designed the course so that you are actively involved throughout, and to help you take more responsibility for your own learning:


  • The main aim of the course is to teach you how to use the analytical skills that stylistics offers you to explore texts. The best way to do this is hands-on, and so each workshop session will involve you in a number of interactive tasks. The interactive nature of the course is designed to give you more active control of your own learning process.




  • Working cooperatively with a partner in the workshop sessions gives you an extended opportunity for discussion and sharing of ideas with other students (and you may want to carry on this cooperation outside class).




  • You and your partner will be able to work through the web material at your own pace - although we do suggest a weekly schedule of work to be covered (see section 1 above), to help you pace yourself, and so get through the material by the end of term. You can choose to spend more time on the topics you find more interesting or difficult, and less time on the areas you are already (partly) familiar with.




  • You will have access to the whole of the course from the time that you begin the course until the end of the academic year, 24 hours a day and 7 days a week, using your own computer or one in the lab. This will allow you to work at times most convenient to you, and to go over any of the topics at any time outside the workshop sessions (see section 4 below for more about accessibility). You should find the continuous accessibility of Ling 131 particularly helpful when you are preparing your coursework assessment or revising for your examination.




  • Similarly, you will have extended access to the Language and Style Chat Café, where you can ask questions of tutors (who will log on regularly), debate issues with other students and read course notices.




  • You can make personal notes about any of the material at any time, whether in the workshop sessions or working alone on the material.




  • You can select for yourself which of the material you want to print out for reference (see section 6 below for information about your personal printing allowance).

Although this is a web-based course we do not want you to experience it as just a solitary encounter between you and the screen. We hope that (a) working with a partner in the workshop sessions, (b) having a tutor present and available for questions, (c) having a short, weekly tutor-led workshop discussion and (d) constant access to the Chat Café will give you more support overall than a standard lecture-seminar course, as well as making your learning interactive and more fun. In any case, we have tried hard to make the materials as interactive and fun as we can.



4. Accessing the course
To access the web based course materials for LING 131, simply enter the course URL: www.ling.lancs.ac.uk/internet_stylistics/introduction/start.htm and, when prompted, enter this year’s username: stylistics and password: 131course and you are there!
When you start the first session of the course you will find some advice on basic web skills in the Introduction. It will be helpful to read through them however confident you may feel about using the web, as they contain information about course-specific icons.
4.1 Logging on to the website: from inside the university and from outside the university.
As a student registered on the web-based version of Ling 131 Language and Style you have an automatic right of access to the web-based course materials for the duration of your course. This means that outside the course workshops, if you have access to the world wide web, on campus or off, you can access the Ling 131 course materials 24 hours a day, 7 days a week. You can access the Language and Style site using Internet Explorer (version 5.5 or above). Simply type in the URL, and, when prompted, the course username and password. If you are using a university lab (you can access labs using your library card as a swipe card), it is best to go to the one your workshops are in (Faraday A205), or the teaching lab in the Department of Linguistics and Modern English Language. These labs both have the necessary specialist software for the course already installed on the lab computers. If you are using your own home computer, or a computer in another lab on campus, you will probably have to download some software to make the graphics and other facilities run properly. This software is free, and you will be invited to download it as and when required. Once it is on the hard drive of your computer, you should not need to download it again unless you delete it from your machine.
4.2 Information Systems Services (ISS)
As you are taking a web-based course, you will need at least some basic web-surfing skills. If you have already been taking Ling 101 in Term 1, you should have no problems (though it is a good idea to familiarise yourself with the special symbols we use in the course on the ‘Basic web-based skills’ page in the Introduction to the course website). If, after reading the advice we give you on basic web skills, you feel you need extra tuition, then the university’s Information Systems Services (ISS) dept can help. ISS provide central computer hardware, software and access to the campus network infrastructure. ISS also provides support and training in a variety of areas. They can be found in the Library, or via their website at: http://www.lancs.ac.uk/users/iss.


5. The Language and Style Chat Café

We have provided you with a ‘chat café’ (an electronic discussion group) to use while you are doing the course. You can enter the chat café by clicking the button Chat Café button which appears in the top and bottom bar of each page of the web-based course, or by entering the URL into your web browser in the normal way. You can use the café in workshops or when you are working on your own. The chat café is designed to help you ask questions, debate issues, discuss texts and analyses, and so on with all other students doing the course, and your tutors too. Your tutors will go to the chat café at least once a week to answer questions and join in any discussions. They will also pop along to the café during workshops, when they have a free moment, to help out on any electronic discussions taking place in class. Although it is best if everyone knows who everyone else is, it is possible for you to ask questions and leave messages anonymously, if you prefer. Just use the ‘show/hide’ option at the top of the page when you send a message.
We will post discussion topics, questions, advice and much, much more to help you during the course. A copy of the document you are currently reading will be posted there, in case you mislay it.


6. Printing allowance




All the material you need for the course is on the course web pages. But in case you feel you need to print out any pages in hard copy form (e.g. the various course checksheets), we have arranged, via ISS, for you to be credited with a printing allowance of 150 pages per student in order for you print out what you need. Just print materials from your account in the normal way.


In order to help you get the most benefit from your printing allowance, we have provided the pages we think you will need in printer friendly form, via a button at the top of the Contents page for the course. This will allow you to print out the pages as Word documents in a readable reduced-print format, so that you can print two pages for the price of one!

7. Evaluation of course
Because this is the first year in which we are running the course in its web-based form, your experiences and opinions are especially important for us. In each workshop you will have a sheet available to note down any problems you have, or comments on what you have been asked to do during that workshop, so that we can see how to improve things for future students - and for you too, later in the course. In addition, we will (a) videotape some of the workshop sessions (to try to learn more about how students actually work on-line with web-based material) and (b) ask you to fill in three brief questionnaires, one at the beginning of the course, one in the middle, and one at the end, to get your reactions. We will want to know how you feel about both the content and presentation of the material, at those different times, and how you feel about your overall learning process. We will also be asking you to take part in interviews and focus group discussions in order to explore in more depth the issues that are raised in the questionnaires. So you will probably get your views taken notice of more on this course than any other course you are likely to experience!

8. Assessment of course
50% of the marks for the course come from an exam at the end of the year (you take one exam for Part I English Language, and half of that exam will be devoted to Language and Style). The other 50% will come from a piece of coursework you will have to complete over the Easter vacation. Both the exam and the coursework will involve the analysis of texts or textual extracts. In section 10 below, ‘Coursework Assignments’ you will find the instructions for the coursework assessment, three texts to choose among for that work and some references to reading which you will find helpful in preparing the coursework.

9. Course Reading and Short Loan

It is important that you do regular background reading to support your web-based learning throughout the term. This will deepen your understanding and help you to see how the different parts of the course come together as a coherent whole. The recommended reading for each topic can be found on the website by clicking on the ‘READINGS’ link, which can be found in the USEFUL LINKS section of the menu (on the left-hand side of the screen) for each topic of the course.


The book which will be used as the main coursebook is Mick Short (1996) Exploring the Language of Poems, Plays and Prose (Longman). We recommend that you buy a copy of this book for the course, and perhaps another that you think you will make good use of. To reduce costs, it will be worth considering sharing the purchase of books, and access to them, with a friend on the course.
In addition, we will put at least one copy (and sometimes more) of each book we think you will need most on Short Loan in the library. Note that not all copies of a book will be on Short Loan: there should be others on popular or long loan too.
We have put the following books on Short Loan at the beginning of the course. If we decide to put other books on Short Loan as the course develops, we will inform you by posting a notice in the Language and Style Chat Café.
Carter, Ronald (1982) Language and Literature, Unwin Hyman.

Carter, Ronald, et al. (2001) Working with Texts, Routledge.

Culpeper, Jonathan, Mick Short and Peter Verdonk (1998) Exploring the Language of Drama: From Text to Context, Routledge.

Fowler, Roger (1986, 1996) Linguistic Criticism, Oxford University Press.

Leech, Geoffrey N. (1969) A Linguistic Guide to English Poetry, Longman.

Leech, Geoffrey N., Benita Cruickshank and Roz Ivanic (1989, 2001) A-Z of English Grammar and Usage, Longman.

Leech, Geoffrey N., Robert Hoogenraad and Margaret Deuchar (1982) English Grammar for Today, Macmillan.

Leech, Geoffrey N. and Mick Short (1981) Style in Fiction, Longman.

Short, Mick (1996) Exploring the Language of Poems, Plays and Prose, Longman.

Simpson, Paul (1997) Language Through Literature, Routledge.

Verdonk, Peter (ed.) (1993) Twentieth-Century Poetry: From Text to Context, Routledge.

Verdonk, Peter and Weber, Jean-Jacques (eds) (1995) Twentieth-Century Fiction: From Text to Context, Routledge.


10. Coursework Assignment
(See also the Department of Linguistics and Modern English Language Departmental Handbook for Part 1 for general departmental information and guidelines for assignment writing.)
LING 131 Language and Style CWA
For this piece of CWA we want you to submit an analysis of the language of ONE of the texts below, and relate this analysis to your interpretation.


  • Firstly, look at your chosen text and read it several times before you begin to prepare your notes.

  • Now write down for your future reference a brief account of your general understanding of the text, including its general topic, its style, or any specific overall effects you think the author wanted to produce.

  • Look carefully and systematically at the sorts of linguistic features that have been explored on the course, such as choices at each linguistic level (sound, writing, grammar, meaning, context), patterns of word classes, unusual uses of words, functional conversion, structure of phrases and sentences, parallelism and deviation, point of view, speech presentation, conversation structure, implicatures, politeness strategies, absurdist effects, etc. Clearly, your choice of text will determine which topics of the course are most central to your analysis, but do bear in mind that any topic we have covered could in principle be relevant to any text (e.g. deviation in drama, conversation structure in novels, point of view in poetry, etc.). You should also refer to relevant checksheets from the course in order to make sure that you don’t miss anything significant.

  • Now, having completed the analytical tasks, go back to your original interpretative comments from (2) above. Has your understanding of the text been affected in any way (e.g. changed or deepened)? If so, write down how.

  • Finally, when you have completed the above tasks, you should write up a finished version. It is important that you structure your analysis by dividing it into sections. Start off with your own interpretation of the text. Then proceed to the analysis proper, and structure it according to the linguistic features which you have identified as particularly important (e.g. using headings such as ‘lexis’, ‘grammar’, ‘deviation and parallelism’, ‘point of view’, ‘speech presentation’, ‘Grice’s Cooperative Principle’, etc.). Finish with a short paragraph summarising or synthesising your findings and commenting on how the analysis has affected your original interpretation.


Presentation: Your work should be word-processed, double-spaced and submitted on A4 paper, with writing on only one side, with margins wide enough to leave space for comments. The recommended length is between 1,500 and 2,000 words. Please do not go over 2,000 words.

Submission: Put the paper in the essay box in the Linguistics Department outside B 73 Bowland, opposite the two photocopiers. Don’t forget to enclose a completed COVERSHEET. These can be found near the essay box.

Reading: You may want to do some preparatory reading of examples of stylistic analysis. If so, we would recommend one or more of the following:

Chapter 12 and/or section 4 of chapter 11 of Exploring the Language of Poems, Plays and Prose (Longman 1996). [for all 3 genres].

Chapter 12 of J. Culpeper, M. Short and P. Verdonk (eds), Exploring the Language of Drama (Routledge 1998) [for drama].

Chapter 3 of G. Leech and M. Short, Style in Fiction (Longman 1981) [for prose].

Chapter 1 of P. Verdonk (ed.) Twentieth Century Poetry: From Text to Context (Routledge 1993) [for poetry].

SUBMISSION DEADLINE Monday April 28th 2003 4.00pm

It is important that you meet this deadline. If you cannot do so, read the Department’s guidelines for late submission (in a box near the Essay Box), and then contact your tutor immediately.


1. DRAMA
Context
The extract below is from 'Rosencrantz and Guildenstern Are Dead', a play which, as it were, takes place in the wings of Shakespeare’s ‘Hamlet’. When characters are on-stage in ‘Roszencrantz and Guilderstern are Dead’ they are off-stage in ‘Hamlet’ and vice versa. Thus Rosencrantz and Guilderstern are two minor characters in Shakespeare’s play, but major characters in Stoppard’s. Rosencrantz and Guilderstern are attendant lords and supposed friends of Hamlet, Prince of Denmark. In ‘Hamlet’ they agree to kill Hamlet at the behest of Hamlet’s step-father, King Claudius; but Hamlet discovers the plot and they are killed instead. After being summoned to the Royal Castle of Elsinore, Rosencrantz and Guildenstern meet the Players, who have arrived to perform a play. Just before the extract below they have been talking with the chief Player about what events have transpired, the play the Players are about to perform and, the role that they all have to play in the unfolding events which surround ‘Hamlet’. As this extract begins, the Player is trying to leave Rosencrantz and Guildenstern’s company while they frantically ask his advice about what to do. There are two other important pieces of contextual information concerning critical reception of Shakespeare’s ‘Hamlet’ which are useful to know: (a) there has been considerable critical discussion over the years concerning whether Hamlet feigns madness or is truly mad and (b) critics have commented on the fact that it is difficult to tell Rosencrantz and Guilderstern apart because neither of them are very developed in terms of characterisation.

PLAYER: Uncertainty is the normal state. You’re nobody special.



(He makes to leave again. GUIL loses his cool.)

GUIL: But we don't know what's going on, or what to do with ourselves. We don't know how to act.

PLAYER: Act natural. You know why you're here at least.

GUIL: We only know what we're told, and that's little enough. And for all we know it isn't even true.

PLAYER: For all anyone knows, nothing is. Everything has to be taken on trust; truth is only that which is taken to be true. It's the currency of living. There may be nothing behind it, but it doesn't make any difference so long as it is honoured. One acts on assumptions. What do you assume?

ROS: Hamlet is not himself, outside or in. We have to glean what afflicts him.

GUIL: He doesn't give much away?

PLAYER: Who does, nowadays?

GUIL: He's–melancholy.

PLAYER: Melancholy?

ROS: Mad.

PLAYER: How is he mad?

ROS: Ah (To GUIL). How is he mad?

GUIL: More morose than mad, perhaps.

PLAYER: Melancholy.

GUIL: Moody.

ROS: He has moods.

PLAYER: Of moroseness?

GUIL: Madness. And yet.

ROS: Quite.

GUIL: For instance.

ROS: He talks to himself, which might be madness.

GUIL: If he didn't talk sense, which he does.

ROS: Which suggests the opposite.

PLAYER: Of what?

(Small pause.)

GUIL: I think I have it. A man talking sense to himself is no madder than a man talking nonsense not to himself.

ROS: Or just as mad.

GUIL: Or just as mad.

ROS: And he does both.

GUIL: So there you are.

ROS: Stark raving sane.

(Pause)

PLAYER: Why?

GUIL: Ah (To ROS.) Why?

ROS: Exactly.

GUIL: Exactly what?

ROS: Exactly why.

GUIL: Exactly why what?

ROS: What?

GUIL: Why?

ROS: Why what, exactly?

GUIL: Why is he mad?!

ROS: I don't know!



(Beat.)

PLAYER: The old man thinks he's in love with his daughter.

ROS: (Appalled): Good God! We're out of our depth here.

PLAYER: No, no, no–he hasn't got a daughter–the old man thinks he's in love with his daughter.

ROS: The old man is?

PLAYER: Hamlet, in love with the old man's daughter, the old man thinks.

ROS: Ha! It's beginning to make sense! Unrequited passion!

(Tom Stoppard, Rosencrantz and Guilderstern are Dead, Act 2)



2. PROSE
BOOK THE FIRST: SOWING
CHAPTER 1: The One Thing Needful
“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them. This is the principle on which I bring up my own children, and this is the principle on which I bring up these children. Stick to Facts, sir!”

The scene was a plain, bare, monotonous vault of a schoolroom, and the speaker’s square forefinger emphasised his observations by underscoring every sentence with a line on the schoolmaster’s sleeve. The emphasis was helped by the speaker’s square wall of a forehead, which had his eyebrows for its base, while his eyes found commodious cellarage in two dark caves, overshadowed by the wall. The emphasis was helped by the speaker’s mouth, which was wide, thin, and hard set. The emphasis was helped by the speaker’s voice, which was inflexible, dry and dictatorial. The emphasis was helped by the speaker’s hair, which bristled on the skirts of his bald head, a plantation of firs to keep the wind from its shining surface, all covered with knobs, like the crust of a plum pie, as if the head had scarcely warehouse-room for the hard facts stored inside. The speaker’s obstinate carriage, square coat, square legs, square shoulders – nay, his very neckcloth, trained to take him by the throat with an unaccommodating grasp, like a stubborn fact, as it was – all helped the emphasis.

“In this life, we want nothing but Facts, sir; nothing but Facts!”

The speaker, and the schoolmaster, and the third grown person present, all backed a little, and swept with their eyes the inclined plane of little vessels then and there arranged in order, ready to have imperial gallons of facts poured into them until they were full to the brim.


(Charles Dickens, Hard Times)


3. POETRY

Them and [uz]

for Professors Richard Hoggart & Leon Cortez


I
αίαϊ, ay, ay! … stutterer Demosthenes

gob full of pebbles outshouting seas –


4 words only of mi art aches and … ‘Mine‘s broken,

you barbarian, T.W.!’ He was nicely spoken.

‘Can’t have our glorious heritage done to death!‘
I played the Drunken Porter in Macbeth.
‘Poetry’s the speech of kings. You’re one of those

Shakespeare gives the comic bits to: prose!

All poetry (even Cockney Keats?) you see

‘s been dubbed by [s] into RP,

Received Pronunciation, please believe [s]

your speech is in the hand of the Receivers.’


‘We say [s] not [uz], T.W.!‘ That shut my trap.

I doffed my flat a’s (as in ‘flat cap‘)

my mouth all stuffed with glottals, great

lumps to hawk up and spit out … E-nun-ci-ate!


(Tony Harrison)






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