The three secular plays of Sor Juana Inés de la Cruz :: a critical study /
Sor Juana Inés de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest of Mexican women writers. She was an intellectual prodigy, reportedly mastering Latin in twenty lessons, and at sixteen she entered a convent so that she might continue her learning. One of the most...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Lexington :
The University Press of Kentucky,
2000.
|
| Schriftenreihe: | Studies in Romance languages (Lexington, Ky.) ;
43. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | Sor Juana Inés de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest of Mexican women writers. She was an intellectual prodigy, reportedly mastering Latin in twenty lessons, and at sixteen she entered a convent so that she might continue her learning. One of the most influential early feminists in the New World, she answered a bishop's criticism in a letter that has become a classic defense of the education of women. She collected a private library of 4,000 volumes, but when she was told that her studies were delaying the progress of her spiritual education, she. |
| Beschreibung: | 1 online resource : illustrations |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9780813157467 0813157463 |
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| 100 | 1 | |a Schmidhuber de la Mora, Guillermo. | |
| 245 | 1 | 4 | |a The three secular plays of Sor Juana Inés de la Cruz : |b a critical study / |c Guillermo Schmidhuber in collaboration with Olga Martha Peña Doria ; translated by Shelby Thacker. |
| 260 | |a Lexington : |b The University Press of Kentucky, |c 2000. | ||
| 300 | |a 1 online resource : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 1 | |a Studies in Romance languages ; |v 43 | |
| 490 | 1 | |a Studies in Romance Languages | |
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover; Title; Copyright; Contents; List of Figures and Tables; By Way of Prologue; Glossary of Literary Terms from Spanish; First Critical Act: Introduction to Sor Juana's Dramatic Work; The Last of the Forgotten; On the Question of Dramatic Genres; Sor Juana's Dramatic Work; Early Editions and Dramatic Texts; Appreciation of Sor Juana's Theater by Her Contemporaries; Anonymous Editions; Editions of Doubtful Authorship; Dramaturgy and the Convent; Second Critical Act: The Dramatic Itinerary of Sor Juana; Chronology for the Compositions and Performances. | |
| 505 | 8 | |a The Second Celestina, in Collaboration with Agustin de Salazar y TorresThe Trials of a Noble House; Love Is Indeed a Labyrinth, in Collaboration with Juan de Guevara; Dramatic Itinerary Repertory of Works Performed during Sor Juana's Lifetime; Sor Juana's Readings of Dramatic Works; Comparative Study of the Three Plays; The Triangular Structure; Metric Study; Sor Juana's Art of Love; Reception Codes for the Theater; Third Critical Act: Sor Juana's Poetics for Drama; The Dramatic Theory of Sor Juana; The Author's Criteria; Theater as Visual Metaphor; Allegorical Characters and Human Characters. | |
| 505 | 8 | |a Conflicts of Thought and Conflicts of ActionPrincipal Dramatic Influences; Elements of Sor Juana's Theater; Dramatic Elements; Linguistic Elements; Dramatic Rhetoric; Metatheater; The Mexican Quality of SOT fuana's Theater; Fourth Critical Act: The Second Celestina; Introduction; Research into the Authorship of The Second Celestina; Documentary and Factual Evidence; Ideological and Thematic Evidence; Linguistic and Statistical Evidence; Proof of Sor Juana's Authorship; The Other Ending for the Play by Salazar y Torres; Dramatic Elements of The Second Celestina; The Plot; The Structure. | |
| 505 | 8 | |a Final CommentaryPsychological Code; Ideological Code; Aesthetic-Theatrical Code; Linguistic Code; Fifth Critical Act: The Trials of a Noble House; Introduction; Study of The Trials of a Noble House; Loa; Lyrics for the Song Divine Phoenix, Allow ... -- Act I; Lyrics for the Song Most Beautiful Mary ... -- Act II; Lyrics for the Song Tender, Adored Adonis ... -- The Second Sainete; Act III; Dramatic Elements; Final Commentary; Aesthetic-Theatrical Code; Psychological Code; Ideological Code; Linguistic Code; Sixth Critical Act: Love Is Indeed a Labyrinth; Introduction. | |
| 505 | 8 | |a Study of Love Is Indeed a LabyrinthThe Loa Celebrating the Birthday of His Excellency, the Count of Galve; Act I; Act II; Act III; The Dramatic Structure; Could Sor Juana Have Collaborated on Act IB; Dramatic Elements in Love Is Indeed a Labyrinth; Final Commentary; Seventh Critical Act: Posthumous Reputation of Sor Juana's Theater; Notes; Bibliography; Index. | |
| 520 | |a Sor Juana Inés de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest of Mexican women writers. She was an intellectual prodigy, reportedly mastering Latin in twenty lessons, and at sixteen she entered a convent so that she might continue her learning. One of the most influential early feminists in the New World, she answered a bishop's criticism in a letter that has become a classic defense of the education of women. She collected a private library of 4,000 volumes, but when she was told that her studies were delaying the progress of her spiritual education, she. | ||
| 600 | 0 | 0 | |a Juana Inés de la Cruz, |c Sister, |d 1651-1695 |x Dramatic works. |
| 600 | 0 | 0 | |a Juana Inés de la Cruz, |c Sister, |d 1651-1695 |x Authorship. |
| 600 | 0 | 7 | |a Juana Inés de la Cruz, |c Sister, |d 1651-1695 |2 fast |1 https://id.oclc.org/worldcat/entity/E39PBJycVdJx3jpwVpQmb69JjC |
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| 700 | 1 | |a Peña Doria, Olga Martha. | |
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| 758 | |i has work: |a The three secular plays of Sor Juana Inés de la Cruz (Text) |1 https://id.oclc.org/worldcat/entity/E39PCFDWdJyGC88GbyhGdJt83P |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Schmidhuber, Guillermo. |t Three Secular Plays of Sor Juana Inés de la Cruz : A Critical Study. |d Lexington : The University Press of Kentucky, ©2000 |z 9780813120881 |
| 830 | 0 | |a Studies in Romance languages (Lexington, Ky.) ; |v 43. |0 http://id.loc.gov/authorities/names/n42023982 | |
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Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-ocn900344718 |
|---|---|
| _version_ | 1816882300335423488 |
| adam_text | |
| any_adam_object | |
| author | Schmidhuber de la Mora, Guillermo |
| author2 | Peña Doria, Olga Martha Juana Inés de la Cruz, Sister, 1651-1695 |
| author2_role | |
| author2_variant | d o m p dom domp j i d l c jidlc |
| author_GND | http://id.loc.gov/authorities/names/no2002028026 |
| author_facet | Schmidhuber de la Mora, Guillermo Peña Doria, Olga Martha Juana Inés de la Cruz, Sister, 1651-1695 |
| author_role | |
| author_sort | Schmidhuber de la Mora, Guillermo |
| author_variant | d l m g s dlmg dlmgs |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | P - Language and Literature |
| callnumber-label | PQ7296 |
| callnumber-raw | PQ7296.J6 Z874 2000 |
| callnumber-search | PQ7296.J6 Z874 2000 |
| callnumber-sort | PQ 47296 J6 Z874 42000 |
| callnumber-subject | PQ - French, Italian, Spanish, Portuguese Literature |
| collection | ZDB-4-EBA |
| contents | Cover; Title; Copyright; Contents; List of Figures and Tables; By Way of Prologue; Glossary of Literary Terms from Spanish; First Critical Act: Introduction to Sor Juana's Dramatic Work; The Last of the Forgotten; On the Question of Dramatic Genres; Sor Juana's Dramatic Work; Early Editions and Dramatic Texts; Appreciation of Sor Juana's Theater by Her Contemporaries; Anonymous Editions; Editions of Doubtful Authorship; Dramaturgy and the Convent; Second Critical Act: The Dramatic Itinerary of Sor Juana; Chronology for the Compositions and Performances. The Second Celestina, in Collaboration with Agustin de Salazar y TorresThe Trials of a Noble House; Love Is Indeed a Labyrinth, in Collaboration with Juan de Guevara; Dramatic Itinerary Repertory of Works Performed during Sor Juana's Lifetime; Sor Juana's Readings of Dramatic Works; Comparative Study of the Three Plays; The Triangular Structure; Metric Study; Sor Juana's Art of Love; Reception Codes for the Theater; Third Critical Act: Sor Juana's Poetics for Drama; The Dramatic Theory of Sor Juana; The Author's Criteria; Theater as Visual Metaphor; Allegorical Characters and Human Characters. Conflicts of Thought and Conflicts of ActionPrincipal Dramatic Influences; Elements of Sor Juana's Theater; Dramatic Elements; Linguistic Elements; Dramatic Rhetoric; Metatheater; The Mexican Quality of SOT fuana's Theater; Fourth Critical Act: The Second Celestina; Introduction; Research into the Authorship of The Second Celestina; Documentary and Factual Evidence; Ideological and Thematic Evidence; Linguistic and Statistical Evidence; Proof of Sor Juana's Authorship; The Other Ending for the Play by Salazar y Torres; Dramatic Elements of The Second Celestina; The Plot; The Structure. Final CommentaryPsychological Code; Ideological Code; Aesthetic-Theatrical Code; Linguistic Code; Fifth Critical Act: The Trials of a Noble House; Introduction; Study of The Trials of a Noble House; Loa; Lyrics for the Song Divine Phoenix, Allow ... -- Act I; Lyrics for the Song Most Beautiful Mary ... -- Act II; Lyrics for the Song Tender, Adored Adonis ... -- The Second Sainete; Act III; Dramatic Elements; Final Commentary; Aesthetic-Theatrical Code; Psychological Code; Ideological Code; Linguistic Code; Sixth Critical Act: Love Is Indeed a Labyrinth; Introduction. Study of Love Is Indeed a LabyrinthThe Loa Celebrating the Birthday of His Excellency, the Count of Galve; Act I; Act II; Act III; The Dramatic Structure; Could Sor Juana Have Collaborated on Act IB; Dramatic Elements in Love Is Indeed a Labyrinth; Final Commentary; Seventh Critical Act: Posthumous Reputation of Sor Juana's Theater; Notes; Bibliography; Index. |
| ctrlnum | (OCoLC)900344718 |
| dewey-full | 862 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 862 - Spanish drama |
| dewey-raw | 862 |
| dewey-search | 862 |
| dewey-sort | 3862 |
| dewey-tens | 860 - Spanish & Portuguese literatures |
| discipline | Romanistik |
| format | Electronic eBook |
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Title; Copyright; Contents; List of Figures and Tables; By Way of Prologue; Glossary of Literary Terms from Spanish; First Critical Act: Introduction to Sor Juana's Dramatic Work; The Last of the Forgotten; On the Question of Dramatic Genres; Sor Juana's Dramatic Work; Early Editions and Dramatic Texts; Appreciation of Sor Juana's Theater by Her Contemporaries; Anonymous Editions; Editions of Doubtful Authorship; Dramaturgy and the Convent; Second Critical Act: The Dramatic Itinerary of Sor Juana; Chronology for the Compositions and Performances.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">The Second Celestina, in Collaboration with Agustin de Salazar y TorresThe Trials of a Noble House; Love Is Indeed a Labyrinth, in Collaboration with Juan de Guevara; Dramatic Itinerary Repertory of Works Performed during Sor Juana's Lifetime; Sor Juana's Readings of Dramatic Works; Comparative Study of the Three Plays; The Triangular Structure; Metric Study; Sor Juana's Art of Love; Reception Codes for the Theater; Third Critical Act: Sor Juana's Poetics for Drama; The Dramatic Theory of Sor Juana; The Author's Criteria; Theater as Visual Metaphor; Allegorical Characters and Human Characters.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Conflicts of Thought and Conflicts of ActionPrincipal Dramatic Influences; Elements of Sor Juana's Theater; Dramatic Elements; Linguistic Elements; Dramatic Rhetoric; Metatheater; The Mexican Quality of SOT fuana's Theater; Fourth Critical Act: The Second Celestina; Introduction; Research into the Authorship of The Second Celestina; Documentary and Factual Evidence; Ideological and Thematic Evidence; Linguistic and Statistical Evidence; Proof of Sor Juana's Authorship; The Other Ending for the Play by Salazar y Torres; Dramatic Elements of The Second Celestina; The Plot; The Structure.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Final CommentaryPsychological Code; 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| id | ZDB-4-EBA-ocn900344718 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:26:25Z |
| institution | BVB |
| isbn | 9780813157467 0813157463 |
| language | English |
| oclc_num | 900344718 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource : illustrations |
| psigel | ZDB-4-EBA |
| publishDate | 2000 |
| publishDateSearch | 2000 |
| publishDateSort | 2000 |
| publisher | The University Press of Kentucky, |
| record_format | marc |
| series | Studies in Romance languages (Lexington, Ky.) ; |
| series2 | Studies in Romance languages ; Studies in Romance Languages |
| spelling | Schmidhuber de la Mora, Guillermo. The three secular plays of Sor Juana Inés de la Cruz : a critical study / Guillermo Schmidhuber in collaboration with Olga Martha Peña Doria ; translated by Shelby Thacker. Lexington : The University Press of Kentucky, 2000. 1 online resource : illustrations text txt rdacontent computer c rdamedia online resource cr rdacarrier Studies in Romance languages ; 43 Studies in Romance Languages Includes bibliographical references and index. Print version record. Cover; Title; Copyright; Contents; List of Figures and Tables; By Way of Prologue; Glossary of Literary Terms from Spanish; First Critical Act: Introduction to Sor Juana's Dramatic Work; The Last of the Forgotten; On the Question of Dramatic Genres; Sor Juana's Dramatic Work; Early Editions and Dramatic Texts; Appreciation of Sor Juana's Theater by Her Contemporaries; Anonymous Editions; Editions of Doubtful Authorship; Dramaturgy and the Convent; Second Critical Act: The Dramatic Itinerary of Sor Juana; Chronology for the Compositions and Performances. The Second Celestina, in Collaboration with Agustin de Salazar y TorresThe Trials of a Noble House; Love Is Indeed a Labyrinth, in Collaboration with Juan de Guevara; Dramatic Itinerary Repertory of Works Performed during Sor Juana's Lifetime; Sor Juana's Readings of Dramatic Works; Comparative Study of the Three Plays; The Triangular Structure; Metric Study; Sor Juana's Art of Love; Reception Codes for the Theater; Third Critical Act: Sor Juana's Poetics for Drama; The Dramatic Theory of Sor Juana; The Author's Criteria; Theater as Visual Metaphor; Allegorical Characters and Human Characters. Conflicts of Thought and Conflicts of ActionPrincipal Dramatic Influences; Elements of Sor Juana's Theater; Dramatic Elements; Linguistic Elements; Dramatic Rhetoric; Metatheater; The Mexican Quality of SOT fuana's Theater; Fourth Critical Act: The Second Celestina; Introduction; Research into the Authorship of The Second Celestina; Documentary and Factual Evidence; Ideological and Thematic Evidence; Linguistic and Statistical Evidence; Proof of Sor Juana's Authorship; The Other Ending for the Play by Salazar y Torres; Dramatic Elements of The Second Celestina; The Plot; The Structure. Final CommentaryPsychological Code; Ideological Code; Aesthetic-Theatrical Code; Linguistic Code; Fifth Critical Act: The Trials of a Noble House; Introduction; Study of The Trials of a Noble House; Loa; Lyrics for the Song Divine Phoenix, Allow ... -- Act I; Lyrics for the Song Most Beautiful Mary ... -- Act II; Lyrics for the Song Tender, Adored Adonis ... -- The Second Sainete; Act III; Dramatic Elements; Final Commentary; Aesthetic-Theatrical Code; Psychological Code; Ideological Code; Linguistic Code; Sixth Critical Act: Love Is Indeed a Labyrinth; Introduction. Study of Love Is Indeed a LabyrinthThe Loa Celebrating the Birthday of His Excellency, the Count of Galve; Act I; Act II; Act III; The Dramatic Structure; Could Sor Juana Have Collaborated on Act IB; Dramatic Elements in Love Is Indeed a Labyrinth; Final Commentary; Seventh Critical Act: Posthumous Reputation of Sor Juana's Theater; Notes; Bibliography; Index. Sor Juana Inés de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest of Mexican women writers. She was an intellectual prodigy, reportedly mastering Latin in twenty lessons, and at sixteen she entered a convent so that she might continue her learning. One of the most influential early feminists in the New World, she answered a bishop's criticism in a letter that has become a classic defense of the education of women. She collected a private library of 4,000 volumes, but when she was told that her studies were delaying the progress of her spiritual education, she. Juana Inés de la Cruz, Sister, 1651-1695 Dramatic works. Juana Inés de la Cruz, Sister, 1651-1695 Authorship. Juana Inés de la Cruz, Sister, 1651-1695 fast https://id.oclc.org/worldcat/entity/E39PBJycVdJx3jpwVpQmb69JjC DRAMA Continental European. bisacsh DRAMA Caribbean & Latin American. bisacsh Authorship fast Criticism and interpretation fast Peña Doria, Olga Martha. Juana Inés de la Cruz, Sister, 1651-1695. Plays. http://id.loc.gov/authorities/names/no2002028026 has work: The three secular plays of Sor Juana Inés de la Cruz (Text) https://id.oclc.org/worldcat/entity/E39PCFDWdJyGC88GbyhGdJt83P https://id.oclc.org/worldcat/ontology/hasWork Print version: Schmidhuber, Guillermo. Three Secular Plays of Sor Juana Inés de la Cruz : A Critical Study. Lexington : The University Press of Kentucky, ©2000 9780813120881 Studies in Romance languages (Lexington, Ky.) ; 43. http://id.loc.gov/authorities/names/n42023982 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=938432 Volltext |
| spellingShingle | Schmidhuber de la Mora, Guillermo The three secular plays of Sor Juana Inés de la Cruz : a critical study / Studies in Romance languages (Lexington, Ky.) ; Cover; Title; Copyright; Contents; List of Figures and Tables; By Way of Prologue; Glossary of Literary Terms from Spanish; First Critical Act: Introduction to Sor Juana's Dramatic Work; The Last of the Forgotten; On the Question of Dramatic Genres; Sor Juana's Dramatic Work; Early Editions and Dramatic Texts; Appreciation of Sor Juana's Theater by Her Contemporaries; Anonymous Editions; Editions of Doubtful Authorship; Dramaturgy and the Convent; Second Critical Act: The Dramatic Itinerary of Sor Juana; Chronology for the Compositions and Performances. The Second Celestina, in Collaboration with Agustin de Salazar y TorresThe Trials of a Noble House; Love Is Indeed a Labyrinth, in Collaboration with Juan de Guevara; Dramatic Itinerary Repertory of Works Performed during Sor Juana's Lifetime; Sor Juana's Readings of Dramatic Works; Comparative Study of the Three Plays; The Triangular Structure; Metric Study; Sor Juana's Art of Love; Reception Codes for the Theater; Third Critical Act: Sor Juana's Poetics for Drama; The Dramatic Theory of Sor Juana; The Author's Criteria; Theater as Visual Metaphor; Allegorical Characters and Human Characters. Conflicts of Thought and Conflicts of ActionPrincipal Dramatic Influences; Elements of Sor Juana's Theater; Dramatic Elements; Linguistic Elements; Dramatic Rhetoric; Metatheater; The Mexican Quality of SOT fuana's Theater; Fourth Critical Act: The Second Celestina; Introduction; Research into the Authorship of The Second Celestina; Documentary and Factual Evidence; Ideological and Thematic Evidence; Linguistic and Statistical Evidence; Proof of Sor Juana's Authorship; The Other Ending for the Play by Salazar y Torres; Dramatic Elements of The Second Celestina; The Plot; The Structure. Final CommentaryPsychological Code; Ideological Code; Aesthetic-Theatrical Code; Linguistic Code; Fifth Critical Act: The Trials of a Noble House; Introduction; Study of The Trials of a Noble House; Loa; Lyrics for the Song Divine Phoenix, Allow ... -- Act I; Lyrics for the Song Most Beautiful Mary ... -- Act II; Lyrics for the Song Tender, Adored Adonis ... -- The Second Sainete; Act III; Dramatic Elements; Final Commentary; Aesthetic-Theatrical Code; Psychological Code; Ideological Code; Linguistic Code; Sixth Critical Act: Love Is Indeed a Labyrinth; Introduction. Study of Love Is Indeed a LabyrinthThe Loa Celebrating the Birthday of His Excellency, the Count of Galve; Act I; Act II; Act III; The Dramatic Structure; Could Sor Juana Have Collaborated on Act IB; Dramatic Elements in Love Is Indeed a Labyrinth; Final Commentary; Seventh Critical Act: Posthumous Reputation of Sor Juana's Theater; Notes; Bibliography; Index. Juana Inés de la Cruz, Sister, 1651-1695 Dramatic works. Juana Inés de la Cruz, Sister, 1651-1695 Authorship. Juana Inés de la Cruz, Sister, 1651-1695 fast https://id.oclc.org/worldcat/entity/E39PBJycVdJx3jpwVpQmb69JjC DRAMA Continental European. bisacsh DRAMA Caribbean & Latin American. bisacsh Authorship fast Criticism and interpretation fast |
| title | The three secular plays of Sor Juana Inés de la Cruz : a critical study / |
| title_alt | Plays. |
| title_auth | The three secular plays of Sor Juana Inés de la Cruz : a critical study / |
| title_exact_search | The three secular plays of Sor Juana Inés de la Cruz : a critical study / |
| title_full | The three secular plays of Sor Juana Inés de la Cruz : a critical study / Guillermo Schmidhuber in collaboration with Olga Martha Peña Doria ; translated by Shelby Thacker. |
| title_fullStr | The three secular plays of Sor Juana Inés de la Cruz : a critical study / Guillermo Schmidhuber in collaboration with Olga Martha Peña Doria ; translated by Shelby Thacker. |
| title_full_unstemmed | The three secular plays of Sor Juana Inés de la Cruz : a critical study / Guillermo Schmidhuber in collaboration with Olga Martha Peña Doria ; translated by Shelby Thacker. |
| title_short | The three secular plays of Sor Juana Inés de la Cruz : |
| title_sort | three secular plays of sor juana ines de la cruz a critical study |
| title_sub | a critical study / |
| topic | Juana Inés de la Cruz, Sister, 1651-1695 Dramatic works. Juana Inés de la Cruz, Sister, 1651-1695 Authorship. Juana Inés de la Cruz, Sister, 1651-1695 fast https://id.oclc.org/worldcat/entity/E39PBJycVdJx3jpwVpQmb69JjC DRAMA Continental European. bisacsh DRAMA Caribbean & Latin American. bisacsh Authorship fast Criticism and interpretation fast |
| topic_facet | Juana Inés de la Cruz, Sister, 1651-1695 Dramatic works. Juana Inés de la Cruz, Sister, 1651-1695 Authorship. Juana Inés de la Cruz, Sister, 1651-1695 DRAMA Continental European. DRAMA Caribbean & Latin American. Authorship Criticism and interpretation |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=938432 |
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