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Marie Corelli (1855-1924) was the most popular novelist of the turn of the century, outselling Hall Caine, Mrs. Humphry Ward, H. G. Wells, and Arthur Conan Doyle by the thousands. For thirty years she was ridiculed by reviewers and the literary elite--Edmund Gosse dismissed her as "that little milliner"--but these opinions had no impact on her mass appeal. In 1895, with The Sorrows of Satan, she broke all previous publishing records, and by 1906 a Corelli novel sold 100,000 copies a year.
Idol of Suburbia returns Marie Corelli to conversations about the late-Victorian and Edwardian literary world. As Annette R. Federico points out, Corelli's participation in the cultural life of her time was highly creative, combative, and contradictory. Her ongoing war with highbrow literary critics and her management of her own image illuminate continuing debates about literary value, class hegemony, and gender politics at the fin de siecle.
In examining Corelli's celebrity and her protean literary talents in the context of a changing book market, Federico reveals the profusion of the late-Victorian literary imagination. She analyzes Corelli's participation in literary decadence, feminism, and New Woman fiction, and she discusses how seriously we should take her aesthetic and its literary influence. Federico asks why heterosexual love seems pathological in so many of Corelli's novels and assesses the validity of biographical and psychoanalytic explanations of her celibacy and her lifelong companionship with another woman.
Idol of Suburbia is the first full-length study to address these questions and to set Corelli within the framework of literary history and contemporary critical theory.
The literary world was shocked when in 1889, at the height of his career, Robert Louis Stevenson announced his intention to settle permanently on the Pacific island of Samoa. His readers were equally shocked when he began to use the subject material offered by his new environment, not to promote a romance of empire, but to produce some of the most ironic and critical treatments of imperialism in nineteenth-century fiction. In these stories, as in his work generally, Stevenson shows himself to be a virtuoso of narrative styles: his Pacific fiction includes the domestic realism of `The Beach at Falese, the folktale plots of `The Bottle Imp' and `The Isle of Voices', and the modernist blending of naturalism and symbolism in The Ebb-Tide. But beyond their generic diversity the stories are linked by their concern with representing the multiracial society of which their author had become a member. In this collection - the first to bring together all his shorter Pacific fiction in one volume - Stevenson emerges as a witness both to the cross- cultural encounters of nineteenth-century imperialism and to the creation of the global culture which characterizes the post-colonial world. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
In The Politics of Writing in Iran, Kamran Talattof emphasizes the pattern of literary change in Iran, as he focuses on the relationship among the constructive elements of literary creativity, literary, movement, ideology, and metaphorical language of modern Persian authors.
Emerging in the late nineteenth and twentieth centuries as a secular activity, Persian literature acquired its own modernity by redefining past aesthetic practices of identity and history. By analyzing selected works of major pre- and post-revolutionary literary figures, Talattof shows how Persian literary history has not been an integrated continuum but a series of distinct episodic movements shaped by shifting ideologies. Drawing on western concepts, modern Persian literature has responded to changing social and political conditions through complex strategies of metaphorical and allegorical representations that both construct and denounce cultural continuities.
The Politics of Writing in Iran provides a unique contribution in that it uses texts that demonstrate close affinity to such diverse ideologies as modernism, Marxism, feminism, and Islam. Each ideological standard has influenced the form, characterization, and figurative language of literary texts as well as setting the criteria for literary criticism and determining which issues are to be the focus of literary journals.
The Goethe Yearbook is a publication of the Goethe Society of North America, encouraging North American Goethe scholarship by publishing original English-language contributions to the understanding of Goethe and other authors of the Goethezeit while also welcoming contributions from scholars around the world. Volume 21 contains eleven articles, including contributions by leading scholars David Wellbery and Katharina Mommsen; innovative work on the reception of Goethe's works around 1900, on women writers, and on Goethe's contemporary Albrecht von Haller; theoretically sophisticated interpretations, including articles on concepts of space in Alexis and Dora and on notions of sacrifice in Faust; and interdisciplinary pieces ranging from a discussion of contemporary psychological and medical theories of ill humor in relation to Goethe's Werther and an economic reading of Goethe's Faust to an analysis of illustrations of Goethe's works. The review section collects responses by eminent scholars to a wide swath of recent books on Goethe and his age, both in German and English. Contributors: Liesl Allingham, William H. Carter, Sarah Vandegrift Eldridge, John B. Lyon, Waltraud Maierhofer, Catherine Minter, Katharina Mommsen, David Pan, Michael Saman, Leif Weatherby, David E. Wellbery. Adrian Daub is Associate Professor of German at Stanford. Elisabeth Krimmer is Professor of German at the University of California Davis. Book review editor Birgit Tautz is Associate Professor of German at Bowdoin College.
Queens, by definition, embody a historical contradiction between femininity and power. Queen Victoria, whose strength and longevity defined an age, possessed immense cultural as well as political power, even becoming a writer herself.
This cultural sovereignty, argues Gail Turley Houston, in the hands of a female monarch troubled writers, especially men, who worked during a reign that viewed women as domestic angels. By exploring a wide range of representations of the queen by significant Victorian writers, Houston points out the complexity of Victorian constructions of gender, representation, authority, and identity. She works to demystify such canonized authors as Charles Dickens, Elizabeth Barrett Browning, and Margaret Oliphant by examining the ways they encounter Victoria in their writings. The queen's feminine power seems to be at odds with the masculine profession of author, which was also coming to be viewed as a significant representative of the culture.
Part of the recent movement by feminist scholars to recuperate and analyze Queen Victoria's important meanings in nineteenth-century British culture, Royalties dissects the anomaly of the queen and her effect on dominant cultural attitudes about gender.
In recent years Christina Rossetti's star has soared. Now, as we have reached the centenary of her death, Rossetti (1830-1894) is considered one of the major poets -- not just one of the major women poets -- of the Victorian era. Leading critics have demonstrated how studies of Rossetti's work, her daily life, her relationships with the Pre-Raphaelites, and her interactions with other women authors of the period can help us understand the unique cultural situation of Victorian women writers. When complete in four volumes, this project will make available all of Rossetti's extant letters, almost two-thirds of which have never been published.
The letters in this second volume "expose a woman of powerful intellect, complex emotions, unshakable convictions, and loving heart." Rossetti, forty-three years old in 1874, is now an established poet with a strong literary reputation among her contemporaries. But, as Harrison points out in his introduction to the volume, "two thirds of her life was over, and its losses were mounting." The marriage of William Michael, the death of her sister, Maria, Dante Gabriel's addiction to chloral and the illness that led to his death in 1882, and the deaths of close personal and family friends overshadow these years. Her own affliction with Graves' disease contributed to her becoming reclusive and a semi-invalid. She nonetheless continued to work and publish.
The Gendered Lyric argues that gender difference contributes to the definition of aesthetic values and, indeed, shaped the representation of masculine and feminine subjectivity in nineteenth-century French poetry. Gretchen Schultz analyzes works by the leaders of the Romantic, Parnassian, and Symbolist schools to show that their implicit conceptions of gender were central to the formulation of their aesthetics. Prominent Romantic poets (Hugo, Lamartine, Musset) appropriated feminine cultural attributes to construct an empathetic male poet, while the Parnassians of the following generation, including Leconte de Lisle and Gautier, repudiated Romanticism for a more "muscular" and masculinist poetic practice.Women poets writing in the shadows of these great men devised varying strategies, ranging from assimilation to satire, to gain access to poetic subjectivity. Schultz devotes chapters to the Romantic Desbordes-Valmore, as well as several lesser-known Parnassian women, and through close readings explores their accommodations of, and revolts against, the dominant movements. Schultz's appendix of works by women poets provides the reader with a valuable source of heretofore unavailable texts. Symbolists readmitted femininity with a broader, more fluid definition of lyric subjectivity. Even the notoriously misogynist Bauldelaire contributed to the representation of otherness. And in different ways, Verlaine's gay male poetry and Marie Krysinska's innovative free verse battled poetic conventions to fulfill the promises of Symbolism's open poetic stance. The Gendered Lyric is recommended for scholars and students of nineteenth-century French studies, poetry and poetics, and gender studies.
`I have in my heart of hearts a favourite child. And his name is DAVID COPPERFIELD,' wrote Dickens of what is the most personal, certainly one of the most popular, of all his novels. Dickens wrote the book after the completion of a fragment of autobiography recalling his employment as a child in a London warehouse, and in the first-person narrative, a new departure for him, realized marvellously the workings of memory. The embodiment of his boyhood experience in the novel involved a `complicated interweaving of truth and fiction', at its most subtle in the portrait of his father as Mr Micawber, one of Dickens's greatest comic creations. Enjoying a humour that never becomes caricature, the reader shares David's affection for the eccentric Betsey Trotwood and her protege Mr Dick, and smiles with the narrator at the trials he endures in his love for the delightfully silly Dora. Settings, (East Anglia, the London of the 1820s), people, and events are unified by their relationship to the story of Steerforth's treachery, which reaches its powerful climax in the storm scene. This edition, which has the accurate Clarendon text, includes Dickens's trial titles and working notes, and eight of the original illustrations by `Phiz'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This is the tragic story of a father whose obsessive love for his two daughters leads to his financial and personal ruin. It is set against the background of a whole society driven by social ambition and lust for money. The detailed descriptions of both affluence and squalor in the Paris of 1819 are an integral part of the drama played out by a wide range of characters, including the sinister but fascinating Vautrin. Unquestionably one of Balzac's finest novels, Pere Goriot still has the power to move the modern reader. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Recent book-length studies of Thoreau have focused either on his place in the history of the natural sciences or have applied political principles to his works. None, however, has fully addressed what ecocritic Rebecca Solnit calls "the Thoreau problem," the compartmentalizing of Thoreau's mind into either that of a hermit of nature or that of a champion of social reform. This book proposes an interdisciplinary solution to this problem through the connection between Thoreau's ecological study of nature and his intense interest in the emerging social sciences, especially the history of civilization and ethnology. The book first establishes Thoreau's "human ecology," the relation between the natural sciences and the social sciences in his thinking, exploring how his reading in contemporary books about the history of humanity and racial science shaped his thinking and connecting these emerging anthropological texts to his late nature writings. It then discusses these connections in his major works, including Walden and his "reform papers" such as "Civil Disobedience," the travel narrative A Week on the Concord and Merrimack Rivers, The Maine Woods, and Cape Cod. The concluding chapter focuses on Thoreau's attitude toward Manifest Destiny, arguing, against conventional views, that considering both his life and his writing, especially the essay "Walking," we must conclude that he both accepted and endorsed Manifest Destiny as an inevitable result of cultural succession. Richard J. Schneider is Professor Emeritus from Wartburg College. He has authored a monograph and many articles as well as edited three collections on Thoreau.
'York Notes Advanced' offer an accessible approach to English literature. This series has been completely updated to meet the needs of today's A-level and undergraduate students.
Founded by a band of young iconoclasts, the Pre-Raphaelite Brotherhood stunned Victorian England with its revaluation of culture and lifestyle. With Pre-Raphaelitism ascendant in the 1850s and canonical by the 1880s, the movement's refractory reception history is an object lesson in how avant-gardes burst upon the scene, dispense with their antagonistic posture, and become a mainstay of tradition. Wendy Graham traces the critical discourses that greeted the Pre-Raphaelites' debut, shaped their contemporary reception, and continued to inform responses to them well after their heyday. She explains the mechanics of fame and the politics of scandal contributing to the rise of aestheticism, providing a new interpretation of the place of aesthetic counterculture in Victorian England. Critics, Coteries, and Pre-Raphaelite Celebrity sheds new light on Victorian discourses on sexuality and masculinity through a thick description of literary bravado, the emotions of male bonding within cliques, and homoerotic frissons among the creators and reviewers of Pre-Raphaelitism. She threads together the qualities that made William Holman Hunt, John Everett Millais, and Gabriel Rossetti exemplary figures of aesthetic celebrity in the 1850s; Algernon Swinburne and Simeon Solomon in the 1860s; and Edward Burne-Jones and Walter Pater in the 1870s. The book documents the symbiotic relationship between periodical writers and the artists and poets they helped make famous, demonstrating that the origin myth of Bohemian artistic transcendence was connected with the rise of a professional class of journalists. Graham shows that the Pre-Raphaelites innovated many of the phenomena now associated with Oscar Wilde, arguing that they were foundational for him in forging an artistic and personal identity with a full-blown publicity apparatus. Wilde had models. This book is about them.
"A heroine whom no-one but myself will much like," the author famously proclaimed. In fact, in any league of likeability Miss Woodhouse is streets ahead of Miss Fanny - the ostentatiously "meek" heroine of Mansfield Park. Meek Emma is not. Indeed it is her sense of absolute sovereignty over her little world of Highbury - her right, as she presumes, to dispose of the marriage choices of those in her circle - which brings her to grief. And that grief, by the familiar course of the heroine's moral education in Austen's fiction, makes her, through remorse and repentance, a mature woman capable of forming correct judgements. Not least about whom Miss Woodhouse herself will marry. Emma, of all the six great novels, is the one which conforms most closely to Austen's famous formula that "three or four families in a country village is the very thing to work on". Emma is, by general agreement, the "quietest" of the novels. Some have complained that there is not enough of a story in it, but others, as this guide shows, have found the plot in Emma the most successful Austen achieved. It is, for example, unusual among the sextet in playing a cunning trick on the reader who - unless they are sharp (sharper certainly than Miss Woodhouse) - may well be deluded as to which eligible young (or less than young) man the heroine will end up spending the rest of her life with. Or whether, given her frequently uttered distaste for marriage, she will end up the only unwed of the six heroines at the end of it all.
Oscar Wilde was already one of the best known literary figures in Britain when he was persuaded to turn his extraordinary talents to the theatre. Between 1891 and 1895 he produced a sequence of distinctive plays which spearheaded the dramatic renaissance of the 1890s and retain their power today. The social comedies, Lady Windermere's Fan, A Woman of No Importance, and An Ideal Husband, offer a moving as well as witty dissection of society and its morals, with a sharp focus on sexual politics. By contrast, the experimental, symbolist Salome, written originally in French, was banned for public performance by the English censor. His final dramatic triumph was his `trivial' comedy for serious people, The Importance of Being Earnest' arguably the greatest farcical comedy in English. Under the General Editorship of Dr Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, there is a scholarly introduction and detailed annotation. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
With no comparable study in the English language, the first English translation of Fan Boqun's A History of Popular Modern Chinese Literature presents one of the most authoritative and significant studies on modern Chinese literature to a new readership. Starting in the late Qing Dynasty, a period often overlooked by literary scholars, Fan maps the blueprint of modern Chinese popular literature through a broad range of popular literary genres. Thoughtfully illustrated throughout and utilising courtesan novels, martial arts fiction, pictorial journalism and detective novels, Fan's innovative approach to this rich material develops pioneering new arguments which will be of interest to all interested in modern Chinese literature, popular and visual culture in late Qing and Republican China.
Beginning with the birth of science fiction in Mary Shelley's ""Frankenstein"", Jane Donawerth takes a broad look at science fiction and utopian literature written by women. In a creative close reading of ""Frankenstein"", Donawerth pinpoints the gender problems that reside in the male-oriented science fiction genre and shows how Shelley and other women science fiction authors have typically responded to such problems. Employing feminist, social and cultural theory, Donawerth identifies new forms of science fiction that emerge from women writers as they address the problems of the genre. She includes a number of close readings from original texts to flesh out these new paradigms for the genre. The range of works by women makes this volume an invaluable scholarly review of the entire field of feminist science fiction and criticism. Without falling prey to an elitist academic discourse or establishing an exclusive science fiction canon, she generates a rigorous and extensive intellectual approach, method and sensibility that reinvents the science fiction intertext itself. The book should be of interest to scholars in a number of fields, especially women's studies and literature.
The Cambridge Edition of the Complete Fiction of Henry James provides, for the first time, a scholarly edition of a major writer whose work continues to be read, quoted, adapted and studied. The Bostonians is an extraordinary political and psychological drama narrating the struggle between Northern feminist Olive Chancellor and her cousin, former slaveholder and radical conservative Basil Ransom, for 'possession' of the beautiful, talented Verena Tarrant. The issues raised of the relations between the sexes, between North and South and between differing visions of 'progress' in America are as timely - and contentious - as when the novel first appeared. This fully annotated scholarly edition of one of James's most distinctive and important works features a detailed contextual introduction, full textual history and helpful explanatory annotation. It will be of interest to researchers, scholars and advanced students of Henry James, and of nineteenth- and twentieth-century British and American fiction and literature.
In Lost Saints Tricia Lootens argues that parallels between literary and religious canons are far deeper than has yet been realized. She presents the ideological underpinnings of Victorian literary canonization and the general processes by which it occurred and discloses the unacknowledged traces of canonization at work today. Literary legends have accorded canonicity to women writers such as Felicia Hemans, Elizabeth Barrett Browning, and Christina Rossetti, she contends, but often at the cost of discounting their claims as serious poets. "Saint Shakespeare", midcentury "Woman-Worship", and "Shakespeare's Heroines" provide three focal points for analysis of how nineteenth-century criticism turned the discourse of religious sanctity to literary ends. Literary secular sanctity could transform conflicts inherent in religious canonization, but it could not transcend them. Even as they parody the lives of the saints, nineteenth-century lives of the poets reinscribe old associations of reverence with censorship. They also carry long-standing struggles over femininity and sanctity into new, highly charged secular contexts. Through case studies of the canonization of Elizabeth Barrett Browning and Christina Rossetti, Lootens demonstrates how nineteenth-century literary legends simultaneously glorified women poets and opened the way for critical neglect of their work. The author draws on a wide range of sources: histories of literature, religion, and art; medieval studies and folklore; and nineteenth-century poetry, essays, conduct books, textbooks, and novels.
This book explores the multiple dimensions of the antebellum Kansas tempest as a microcosm of the larger history of sectional conflict and reconciliation. It shows, through an examination of the antislavery ends and means of the American Missionary Association, the American Home Missionary Society, and the New England Emigrant Aid Company, that the northeastern free-state contingent in Kansas represented a wide spectrum of opinion on black bondage, ranging from racially egalitarian Christian abolitionist absolutism on the one hand to free labor pragmatism on the other. Nevertheless, Yankee confrontations with the allegedly parallel unprogressive forces of "slavery, rum, and Romanism" in the territory evoked compelling public images of civilization and savagery, freedom and dependence that broadened the appeal of antislavery politics in the free North on the eve of the Civil War. At the same time, the book analyzes the ideology and dynamics of proslavery activism in Kansas, demonstrating how clashing conceptions of republicanism and capitalism helped frame the terms of debate over slavery. It pays special attention to the discrepancy between the strident optimism of proslavery rhetoric on the one hand, and the actual operation of the "peculiar institution" in the territory on the other--a discussion that incorporates a detailed study of Kansas slavery not found elsewhere. Finally, the book argues that the sharp polarities of slavery discourse in Kansas obscured a more ambiguous reality. Southerners resorted to fraudulent voting, and appealed to anti-abolitionism, nativism, and racism to battle not only northern elements but to score points over their proslavery whiggish rivals as well. Schisms within a competitive, business-minded pro-southern elite contained the seeds of Mammon's triumph over political ideology in some proslavery circles, and facilitated a sectional truce at the African American's expense even before the slavery question had faded from the political horizon of the territory. This work is unique in antebellum Kansas literature in that it employs census data in an attempt to reconstruct the reality of the rank-and-file lives--both slave and free, northern and southern, native-born and foreign--that lay behind the stirring public images conjured by "Bleeding Kansas."
The act of writing is intimately bound up with the flow and eddy of a writer's being-within-the-world; the everyday practices, encounters and networks of social life. Exploring the geographies of literary practice in the period 1840-1910, this book takes as its focus the work, or craft, of authorship, exploring novels not as objects awaiting interpretation, but as spatial processes of making meaning. As such, it is interested in literary creation not only as something that takes place - the situated nature of putting pen to paper - but simultaneously as a process that escapes such placing. Arguing that writing is a process of longue duree, the book explores the influence of family and friends in the creative process, it draws attention to the role that travel and movement play in writing and it explores the wider commitments of authorial life, not as indicators of intertextuality, but as part of the creative process. In taking this seventy year period as its focus, this book moves beyond the traditional periodisations that have characterised literary studies, such as the Victorian or Edwardian novel, the nineteenth-century or early twentieth-century novel or Romanticism, social realism and modernism. It argues that the literary environment was not one of watershed moments; there were continuities between writers separated by several decades or writing in different centuries. At the same time, it draws attention to a seventy year period in which the value of literary work and culture were being contested and transformed. Place and the Scene of Literary Practice will be key reading for those working in Human Geography, particularly Cultural and Historical Geography, Literary Studies and Literary History.
There was a power of endurance about her, and a courage that was almost awful. Did Lady Mason forge a codicil to her husband's will, allowing Orley Farm to pass to her son or not? Orley Farm centres on this case of forgery, and the anguish and guilt of Lady Mason. Surrounding this enigmatic woman and her apparent crime are her elderly lover, Sir Peregrine Orme; her principled but thoughtless son, Lucius; and, not least, a group of determined lawyers. Orley Farm contains the plot with which Trollope was most pleased. Drawing on family experience of the loss of an inheritance, the novel tackles the tremendous question of property fraud. The result, as George Orwell observed, is one of the most brilliant novels about a law suit in English fiction. Orley Farm dates from a confident period of its authoras life. It breathes an air of writerly assurance, with Trollope at the height of his competitiveness with Dickens. In this work Trollope claims the Victorian legal novel as his own.
'What was merry Christmas to Scrooge? Out upon merry Christmas! What good had it ever done to him?' Ebenezer Scrooge is a bad-tempered skinflint who hates Christmas and all it stands for, but a ghostly visitor foretells three apparitions who will thaw Scrooge's frozen heart. A Christmas Carol has gripped the public imagination since it was first published in 1843, and it is now as much a part of Christmas as mistletoe or plum pudding. This edition reprints the story alongside Dickens's four other Christmas Books: The Chimes, The Cricket on the Hearth, The Battle of Life, and The Haunted Man. All five stories show Dickens at his unpredictable best, jumbling together comedy and melodrama, genial romance and urgent social satire, in pursuit of his aim 'to awaken some loving and forbearing thoughts, never out of season in a Christian land'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Between 1860 and 1897 Charles Lutwidge Dodgson, known to the ages as Lewis Carroll, produced over 180 booklets, leaflets, pamphlets, and instruction manuals. Varying radically in length and subject matter, they testify to Dodgson's unparalleled creativity and eclecticism. This volume, second in a series, concentrates on Dodgson's career as mathematical lecturerr of Christ Church, Oxford. Most of the material collected here has not appeared in print since the author's lifetime. Appearing in chronlogical order by mathematical subject, each section is preceded by an introductory essay providing background information to assist both the general reader and the specialist. Everal aspects of Dodgson;s personlaity as well as imprtnat events in the Victorian period that influenced his views and the mathematical topics he chose to write about are discussed in the general introduction.
The Poe-Ingram Collection at the University of Virginia Library is a known source of material about Edgar Allan Poe. This second edition in a larger format offers access to the original collection and to the microfilm edition of it published by the Library in 1967.
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