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Abstract Stuart Hall, a founding scholar in the Birmingham School of cultural studies and eminent theorist of ethnicity, identity and difference in the African diaspora, as well as a leading analyst of the cultural politics of the Thatcher and post-Thatcher years, delivered the W. E. B. Du Bois Lectures at Harvard University in 1994. In the lectures, published after a nearly quarter-century delay as The Fateful Triangle: Race, Ethnicity, Nation (2017), Hall advances the argument that race, at least in North Atlantic contexts, operates as a 'sliding signifier,' such that, even after the notion of a biological essence to race has been widely discredited, race-thinking nonetheless renews itself by essentializing other characteristics such as cultural difference. Substituting Michel Foucault's famous power-knowledge dyad with power-knowledge-difference, Hall argues that thinking through the fateful triangle of race, ethnicity and nation shows us how discursive systems attempt to deal with human difference. In 'Fateful Triangles in Brazil,' Part II of Contexto Internacional's forum on The Fateful Triangle, three scholars work with and against Hall's arguments from the standpoint of racial politics in Brazil. Sharon Stanley argues that Hall's account of hybrid identity may encounter difficulties in the Brazilian context, where discourses of racial mixture have, in the name of racial democracy, supported anti-black racism. João Nackle Urt investigates the vexed histories of 'race,' 'ethnicity' and 'nation' in reference to indigenous peoples, particularly Brazilian Indians. Finally, Thiago Braz shows, from a perspective that draws on Afro-Brazilian thinkers, that emphasizing the contingency of becoming in the concept of diaspora may ignore the myriad ways by which Afro-diasporic Brazilians are marked as being black, and thus subject to violence and inequality. Part I of the forum – with contributions by Donna Jones, Kevin Bruyneel and William Garcia – critically examines the promise and potential problems of Hall's work from the context of North America and western Europe in the wake of #BlackLivesMatter and Brexit.

The photographic work of Gordon Parks (1912-2006) reflects the many ways in which the African American community evolved and changed during the 20th century. Taking as a starting point the concept of visibility – as tackled by George Didi-Huberman in his essay Peuples exposés, peoples figurants or Nicholas Mirzoeff in his book The Right to Look -- this thesis will question the interweaving of aesthetics and politics in Parks's monumental and eclectic photographic output. Parks's work finds its roots in the black Chicago Renaissance of the late 1930s, and then evolved under the supervision of Roy Stryker at the Farm Security Administration (FSA) during the Great Depression. For the next two decades, Parks's vision expanded as he worked for Life magazine, where he was the first African American to join the staff of photographers in 1949. If the photograph's own visibility in American and African American cultural and artistic history cannot be understated, this dissertation will try to go beyond the image of Parks as a pioneer of black photography or as a "Renaissance Man", as he was often portrayed in mainstream media. We shall strive to bring to light the ambiguities in Parks's photography which stemmed from his anchoring in different cultural spheres. His own dealings with racism and segregation as well as his knowledge of classical Western painting gave his photographic representations of the African American experience a powerful resonance. The fact that Parks chose to have his vision broadcasted on media outlets with catered mainly to a white audience, like Life magazine, generated tensions to which particular attention will be paid in this dissertation. ; L'oeuvre photographique de Gordon Parks (1912-2006) reflète les nombreuses évolutions et transformations de la communauté africaine-américaine au XXe siècle. En prenant comme point de départ de la réflexion le concept de visibilité, tel que théorisé, notamment, par Georges Didi-Huberman dans Peuples exposés, peuples figurants ou Nicholas Mirzoeff dans The ...

Background: The incidence of cancer is rising but data available regarding prevalence of cancer and patient perception of the disease in Pakistan is limited. It is difficult to deal with Cancer if the main causes are negligence towards risk factors and bizarre myths. This study was aimed to investigate common cancer presentations at a government sector hospital and to gain insight into patient knowledge of the disease. Methods: This was a cross-sectional study conducted on cancer patients from Jinnah Postgraduate Medical Centre. A self-made questionnaire was used to assess the norms related to cancer prevalence in our society, associated myths, and the most common risk factors per them. Results: A total of 402 participants consented to participate in the study (mean age 42.3 ± 15.07 years), 204(50.7%) were females and 190(47.3%) were illiterate. Biomass exposure was found in 147(37%), drug abuse in 132(33%) and smoking in 63(16%). We found 103(25.6%) had positive family histories of cancer. The most common primary tumor site was breast for females 98(48%) and Head and neck 66(33.3%) for males. Patients considered fate 328(82%), gutka 284(71%) and injuries 282(70%) as the most common causes for cancer; while 222(55.5%) considered black magic and 236(58.75%) considered evil eye as a risk factor for cancer. Cancer treatment caused significant financial stress in 376(93.5%) patients. Conclusion: Breast and head and neck cancers were found to be prevalent among patients. It was noted that patients are negligent in daily life regarding the consumption of substances that commonly cause cancer. Individuals had diminished knowledge and majority linked cancer to unrelated causes and myths like black magic and fate. Almost all the patients complained of severe financial stress imposed by the disease.

This study aimed to determine the effect of using natural masks to moisturize dry skin. This natural mask was made of ingredients that are safe to use and based on special formulations which include; bengkoang powder (2 grams), chocolate powder (1 gram), black cumin oil (0.6 ml), and honey (5 ml). This formulation was made so that the resultied mask formed paste stucture that can be directly applied. Masks were given to ten probandal women who have dry skin types and are 30-40 years old. Masks were used twice / week for six weeks (12 times usage). The instrument used to measure the moisture level of facial skin was a skin analyzer (HL-611) by directly attaching it to the face area and the results can be seen after 4-5 seconds. The data were analysed using ANOVA test 95% confidence interval and significance test using SPSS 15 for windows. The results showed that skin moisture values increased around 3.9% within 6 weeks of use, with a 0.8% increase at week 2, at week 4 there was an increase of 1.65% and at week 6 there was an increase in skin moisture by 1.4%. The moisture value of the skin on the face area (forehead, nose, chin, cheeks) showed no significant difference with almost the same value of humidity. It is recommended for dry skin types to use a face mask that contains oil as a skin lubricant and to protect water evaporation from the skin. It is necessary to do further testing on this natural mask so that safety on the skin can be guaranteed. It needs to be done so that the final product obtained meets the face mask safety quality standards set by the government. Keywords: Bengkuang; cocoa; black cumin; honey; natural mask.

This article analyses the different assumptions about migrants in South Africa, coupled with levels of abuses and marginalisation of black African immigrants, which seem to be a source of depression and emotional pain for them in their strange land. Previous studies did reveal that African migrants face rejection, xenophobic attacks, abuses, marginalisation and socio-economic exclusion through rowdy practices of public officials and perceived institutionalised prejudice in South Africa. However, White Western and Indian-origin migrants are perceived to be better treated with dignity and respect in the same host country. This article investigates the argument that emotional pain suffered by the abused and traumatised Nigerian and other African immigrants could be responsible for the deviant behaviour of some of them in South Africa. Moreover, this article also scrutinises the notion people have that xenophobia in South Africa is Afrophobia. Most South African citizens are of the perception that all African immigrants are criminals, harbingers of disease and drug dealers, whose presence in their country is responsible for all their woes. On the other hand, Nigerian migrants are of the notion that they are the most hated at community and individual levels in South Africa. However, if appropriate social coalition policies are formulated and adopted by the government and all stakeholders, it can be of assistance in tackling the issues concerning citizens' suspicions, migrant abuses, marginalisation and social exclusion, which seem to be hampering the co-existence of citizens and African migrants in South Africa. We should bear in mind that almost all of us in South Africa are from somewhere or the other, as clearly explained in sahistory. org.za. The whites and Indian migrants, whom I call 'earlier alien settlers', are from Europe and Asia, respectively. I call black Bantus from Great lakes in Central Africa, 'earlier alien settlers', whereas the Khoikhoi who originated in the northern area of Botswana as the ...

The city of Sacramento is one of the most multicultural and multiethnic cities in the United States, and yet within the last year has been facing deep racial tensions. These tensions have risen in the aftermath of the shooting death of unarmed African American Stephon Clark, at the hands of two Sacramento police officers. What is taking place in Sacramento is just part of the broader divisiveness, polarization, and dehumanization plaguing the entire United States. Demonizing rhetoric targeted towards Black and brown people connected to the social issues of immigration, racial profiling, and religion dominates social media. Women within the arts, the marketplace, and politics are coming forward to tell their stories of sexual harassment and abuse. With the nation being deeply polarized and socially suffocating from injustice, it is important to ask what evangelistic, disciple-making, and mission credibility the Church has, even a diverse church. The development of the multiethnic Church alone is not enough to bring transformation to a diverse, divided, and polarizing mission field. Therefore, this project seeks to answer the question, "Will the development of cross-cultural and justice-oriented disciple makers in a multiethnic congregation increase the credibility and relevancy of a church located in an urban and multicultural context to advance reconciliation?" The multiethnic and reconciling church must equip and release cross-cultural and justice-oriented disciple-makers who forge unity, transformation, and social justice in their local communities and who innovate new paths of evangelism and missions. This doctoral project connects reconciliation theology, Black liberation theology, and urban apologetics in order to present a more robust ecclesiology that leads to a reconciling church. It also utilizes a sermon series, the development of a four-week class on reconciliation theology and the development of staff values for moving a diverse congregation to a multiethnic and reconciling church.

As a Jamaican poet, Linton Kwesi Johnson is the forerunner of dub poetry that combines words with the reggae rhythm. Johnson establishes a postcolonial discourse of his own and uses his dub poetry to fight against the dominant Western discourse. His poetry tells real stories from a black immigrant's life by using Creole English and the rhythmic music of Jamaican culture. Thus, his poetry voices the real immigrant experience in Britain in a highly dramatic way. This article focuses on two important poems by Johnson; "Inglan Is a Bitch" and "Sonnah's Lettah". In both poems, Johnson subverts English language, and thus shows his resistance to the colonial power in the level of language. Besides, both of his poems have the same political concern of revealing the British discrimination against black people. In this respect, Johnson's poetry is surely his artistic tool against racism and serves to his political activism. ; Jamaikalı şair Linton Kwesi Johnson sözcüklerle reggae ritimlerini birleştiren dub şiirinin öncüsüdür. Johnson, şiiriyle kendine ait bir sömürge sonrası söylem yaratır ve dub şiirini egemen Batı söylemine karşı yürüttüğü savaşında kullanır. Kreole İngilizcesi ve Jamaika kültürünün ritmik müziğini kullanan şiirleri siyahi göçmenlerin gerçek hayat hikâyelerini anlatır. Bu nedenle, Johnson'ın şiirleri İngiltere'deki gerçek göçmen deneyimlerini oldukça canlı ve yaratıcı bir biçimde gözler önüne serer. Bu makale Johnson'ın "Inglan Is a Bitch" (Kahpe İngiltere) ve "Sonnah's Lettah" (Oğlundan Mektup) başlıklı iki şiiri üzerine odaklanır. Johnson, her iki şiirde de bilinçli olarak dil kurallarına uymaz. Onun bu tutumu, sömürgeci güçlere karşı dil düzeyinde bir meydan okuyuş olarak yorumlanabilir. Ayrıca her iki şiir, siyahilere karşı yapılan İngiliz ayrımcılığını ve zulmünü ortaya koyarken, İngilizlerin siyahları tanımlamak için yarattığı vahşi "siyahi hayvan" stereotipinin ardındaki insanı gösterir. Johnson'ın şiirleri bu yönüyle şairin ırkçılığa karşı kullandığı sanatsal bir silahtır ve aynı zamanda onun ...

The photographic work of Gordon Parks (1912-2006) reflects the many ways in which the African American community evolved and changed during the 20th century. Taking as a starting point the concept of visibility – as tackled by George Didi-Huberman in his essay Peuples exposés, peoples figurants or Nicholas Mirzoeff in his book The Right to Look -- this thesis will question the interweaving of aesthetics and politics in Parks's monumental and eclectic photographic output. Parks's work finds its roots in the black Chicago Renaissance of the late 1930s, and then evolved under the supervision of Roy Stryker at the Farm Security Administration (FSA) during the Great Depression. For the next two decades, Parks's vision expanded as he worked for Life magazine, where he was the first African American to join the staff of photographers in 1949. If the photograph's own visibility in American and African American cultural and artistic history cannot be understated, this dissertation will try to go beyond the image of Parks as a pioneer of black photography or as a "Renaissance Man", as he was often portrayed in mainstream media. We shall strive to bring to light the ambiguities in Parks's photography which stemmed from his anchoring in different cultural spheres. His own dealings with racism and segregation as well as his knowledge of classical Western painting gave his photographic representations of the African American experience a powerful resonance. The fact that Parks chose to have his vision broadcasted on media outlets with catered mainly to a white audience, like Life magazine, generated tensions to which particular attention will be paid in this dissertation. ; L'oeuvre photographique de Gordon Parks (1912-2006) reflète les nombreuses évolutions et transformations de la communauté africaine-américaine au XXe siècle. En prenant comme point de départ de la réflexion le concept de visibilité, tel que théorisé, notamment, par Georges Didi-Huberman dans Peuples exposés, peuples figurants ou Nicholas Mirzoeff dans The ...

The background information related to health effects and damage caused to ecosystems by PM atmospheric pollution, particularly by its fine fraction, will be summarisedCurrent international policy instruments for reducing airborne emissions and, consequently, improving air quality, will be reviewed. In particular the EU clean air package and the UN/ECE initiatives under the Long-Range Transboundary Air Pollution Convention (LRTAP), including the recentlyadopted Long-term Strategy, will be considered. The air policy initiatives by EFCA related to improve air quality in relation to PM and its ultrafine fraction/Black Carbon will be described and assessed. Combustion of all kinds produces PM pollution, including its ultrafine fraction (UFP). Carbonaceous particles in form of Black Carbon (BC) and Organic Aerosols (OA) are of particular concern. UFPs are also formed as secondary pollutants. The latter have substantial influence on particle formation and their growth generates half of the cloud condensation nuclei in the atmosphere. Non-CO2 Greenhouse Gases (NCGG), however, are underestimated as pollutants by the climate policy community and deserve to be treated as equally important. UFPs play an important role in policy to reduce toxic air pollution and climate forcers. The series of UFP Symposia has provided strong evidence of impact, and information on sources and effective control techniques. EFCA therefore believes it is now timely to consider policy aspect. It fully supports UFP/BC regulation, including new ceilings in the EU NEC Directive and the revised Gothenburg Protocol under the LRTAP. Moreover, a new metric is urgently needed for UFPs, expressed in weight and by number of particles. Also, dual policy, integrating cleaner air and climate protection criteria, to combat UFPs can be more effective and generate co-benefits for both. The role of integrated policy, as opposed to the current practice of separate sectoral policies in combatting air pollution will be considered with reference to concrete examples, ...

<p class="abstract">Tendo como base os conceitos de práticas, representações e apropriação de Roger Chartier, memória coletiva de Maurice Halbwachs e memória subterrânea de Michael Pollak, propõe-se uma análise das formas como a figura umbandista dos pretos-velhos é apropriada atualmente. O estudo, pautado pela metodologia da história oral, permitiu analisar as formas como a experiência de se consultar e conviver regularmente com os pretos-velhos influencia na construção das perspectivas, dos valores e das expectativas desses consulentes, por meio da reelaboração da memória da escravidão negra no Brasil. Foi possível notar, sobretudo, a importância que essas entidades possuem para as pessoas que se reconhecem como negras e estabelecem um vínculo mais próximo com essa figura do escravo sacralizado.</p><p class="abstract"><strong>Palavras-chave</strong>: umbanda - representação - pretos-velhos - história oral - <br /> memória.</p><p class="abstract"><strong><em>Abstract</em></strong></p><p class="abstract"><em>Based on the concepts of practices, representations and appropriation (Roger Chartier), collective memory (Maurice Halbwachs) and underground memory (Michael Pollak), this article analyzes contemporary appropriations of Umbanda's pretos-velhos ("old black" spirits). Using oral history methodology, it investigates how the experience of regularly visiting and consulting with pretos-velhos informs clients' constructions of perspectives, values and expectations. The focus is on the re-elaboration of the memory of African slavery in Brazil. The analysis illustrates the importance of these entities for those who recognize themselves as black and who establish in this way a closer bond with this figure of a sacralized slave. </em></p><p class="abstract"><strong>Keywords</strong>: <em>umbanda - representation - pretos-velhos - oral history - memory.</em></p>

With few exceptions, the understanding of the commedia dell'arte character of Pierrot in musicology focuses on aesthetic progress and the representation of the lonely artist. This dissertation examines a wide range of examples of Pierrots at the turn of the twentieth century, and argues that composers and performers used the character to express social-political identities, commentaries, and critiques. My study of French Pierrots focuses on music for pantomimes, outdoor spectacles, and piano. These Pierrots offered commentaries on gender, class, the social-medical condition of hysteria, national identity, the French military, and other issues. The Russian composer Igor Stravinsky composed Petrushka (1911) – a blend of French Pierrot and traditional Russian Petrushka – which musically constructed Russian national identity in France.Pierrots in the Francophone world made an oft-neglected impression on Pierrots in the German-speaking world. Hausmusik composers, catering to the middle class, consciously sought to distance Pierrot from any direct social-political critiques. Pierrots in cabaret-inspired music, exemplified by Arnold Schoenberg's Pierrot lunaire (1912), align more closely with the carnival origins of commedia dell'arte. Using Mikhail Bakhtin's carnival theory, I reveal Schoenberg's religious commentaries on social issues through sacred parody, as well as the song cycle's connection to existing German literature in presenting social critique through the themes of blood and death.The idea and practice of black Pierrots test the limit of the white-faced Pierrot character. I focus on a black Pierrot depicted by Brazilian-born, Italian-trained composer José Cândido da Gama Malcher. My analysis shows that Pierrot, taken to the extreme, can ultimately serve dehumanizing ends.My work reconnects the musical study of Pierrot with the character's deep social ties as part of the commedia dell'arte tradition. As a result, it urges composers and performers to consider social and political aspects as they create and perform new commedia dell'arte characters.

Hans Memlings Triptychon mit der Anbetung der Heiligen Drei Könige (ca. 1470, Museo del Prado, Madrid) besitzt aus soziologisch-kulturwissenschaftli-cher Perspektive eine historische Bedeutung für vormoderne Alteritäts- und Fremdheitskonzepte. Im Zentrum der Diskussion steht die Darstellungsweise des ›schwarzen Königs‹ innerhalb der christlichen Ikonographie der Drei Kö-nige. Der Beitrag fokussiert differenzbildende Konzepte menschlicher Kultur im (spät)mittelalterlichen Europa zu einem Zeitpunkt, als sich Körperfarbe von ei-nem individuellen Merkmal zu einer kollektiven Kategorie wandelte. Im Zuge dieser Entwicklung wurde diese Vorstellung ethnisiert und Teil einer kulturel-len Fremdheitskonstruktion. Vor diesem Hintergrund erzeugt das Gemälde vi-suell erfahrbare Differenzen und artikuliert qua entworfener Kontrastfigur ein spezifisches Verhältnis von Fremdem/Eigenem. So wird der ›schwarze König‹ als Anderer innerbildlich markiert und konstruiert. Memling greift hier auf ak-tuelle soziale und kulturelle Differenz markierende Konzepte zurück, um das Gemälde (über die Heilsbotschaft hinaus) mit politischen und sozialen Implika-tionen aufzuladen. Auf diese Weise wird im und mit dem Gemälde die Ab-/Aus-grenzung einer sozialen Gruppe betrieben und die hierarchische Ordnung der christlichen Welt bestätigt. ; Hans Memling's triptych with the adoration of the three magi (c. 1470, Museo del Prado, Madrid) holds a remarkable historical significance in terms of con-cepts of alterity and racialized otherness. The subject of discussion is the rep-resentation of the so-called ›black king‹ in the iconography of the Three Kings in Christian art. My paper focuses on concepts of human difference in medieval Europe once skin color had changed from an individual characteristic to a col-lective category. This category became ethnicized and part of a cultural con-struction of the other. The painting generates visual tangible differences and articulates qua a designed figure of contrast a specific relationship to the other/the own. In order to create alterity/otherness, the ›black king‹ is shown in contrast to the other figures, which is determined by the figure's dark appear-ance. Memling reverts to current social and cultural difference marking con-cepts to charge the painting (beyond any message of salvation) with political and social implications. Hereby the painting causes the dissociation and exclu-sion of a social group and confirms the hierarchical Christian world order.

INTRODUCTION: Sickle cell trait (SCT), the heterozygous carrier state for hemoglobin S, is present in an estimated 1.6% of all newborns and 7.3% in black individuals in the USA. SCT has long been considered a benign condition with anticipated normal life expectancy and no increased risk for chronic diseases. The medical literature is inconclusive on the potential association between SCT and chronic medical conditions (CMC) including chronic kidney disease, venous thromboembolism, and stroke. Studies addressing these questions are lacking particularly in non-Black young adults. MATERIALS AND METHODS: We conducted a retrospective cohort study among U.S. active duty, enlisted, service members who entered from 1992 to 2012 using existing Department of Defense (DoD Military Healthcare System databases). SCT positive subjects (1,323) were matched by demographic characteristics to SCT negative subjects (3,136) and followed through 2013 for CMC that included deep vein thrombosis, diabetes mellitus and hematologic, pulmonary, and renal conditions. RESULTS: The rate of developing any of the included CMC was higher for those with SCT (incidence rate ratio = 1.71 95% CI 1.61–1.81) compared with those who were SCT negative and their healthcare utilization rate for any of CMC studied was higher for SCT positive compared with negative individuals (URR = 2.45 95% CI 2.41–2.50), with the highest rate ratios observed for hematologic and renal conditions. SCT positive compared with negative individuals were more likely to have encounter diagnoses of sickle cell disease and diabetes Type II and were less likely to have encounter diagnoses of other hemoglobinopathies and diabetes type I. CONCLUSION: SCT in these racially diverse, young adults increased both the incidence of and healthcare utilization for thromboembolism, diabetes mellitus type II, sickle cell disease, pulmonary, and chronic renal conditions. These findings suggest that clinicians treating young adults with SCT should exercise heightened surveillance for these CMC to ...

Purpose of the paper: Alexandra was proclaimed in 1912 as the first formal township in South Africa where blacks could obtain ownership. Over the past century, a number of watershed changes in layout and ownership have taken place, most notably the promulgation of the 1913 Land Act that prohibited the proclamation of land for black ownership and a series of expropriations, resulting from apartheid policies that took place from 1950 onwards, culminating in a consolidation in 1985 that led to further expropriations. In 2011, former land owners established land claims. These claims were complicated by the fact that a number of residents had received legal right of ownership.Investigation of the validity of the claims required a comprehensive study of the change of ownership from the original proclamation (1912) to the situation in 2011. Methodology. An analysis of current and historical development and management of Alexandra is provided, supplemented by a visual overview of the changing patterns of ownership and densification. The present status of land claims and their legal implications is summarized and a reliable estimate of the present population of Alexandra is provided.Findings: The total population as determined by this study is more than 60 per cent more than the formal 2011 census estimate, resulting in a density of more than 44 400 persons per hectare. It was also found that Occupiers on one stand can have different kind of rights. However, adequate documentation has been assembled to drive the process of land tenure upgrading.Practical implications: The higher than previously estimated population density has severe implications - physical as well as political - for future planning of this vibrant area. The importance of a reliable estimate of the ownership of property in Alexandra becomes even more apparent when the implications of the Restitution Act are considered.

Severe problems of climate change, inequality, poverty, and unemployment have compelled the South African government to pass legislation that introduced programmes aimed at achieving energy security, promoting economic development, and realising environmental protection. The Renewable Energy Independent Power Producers Procurement Programme objective is to increase the share of renewable sources in the national energy mix, deliver jobs and economic empowerment for black communities (Africans, Coloureds, and Indians) and cut harmful greenhouse gas emissions. Independent power producers (IPPs) must demonstrate that their projects contribute to job creation and broad-based black economic empowerment during the bidding process. To date, studies suggest that IPPs are missing this government target. This study investigated this phenomenon through face-to-face interviews with key informants involved in the IPP process at two solar parks in Limpopo province. Qualitative content analysis was used to analyse and interpret the field notes. Findings reveal that the process of involving local communities in the governance of the IPP process is highly fragmented, leaving room for powerful stakeholders to thrive over vulnerable community members. The lack of monitoring by the government IPP office enables a prominent not-for-profit organisation to abscond from its responsibility of setting up a community trust for the benefit of local residents. Also, limited skills in the local communities mean that young people are employed in low-paying construction jobs that end after project commissioning. Lack of awareness and knowledge about IPP commitments made during the bidding process are responsible for the 'wait and see' approach of local leaders and community members. In the short-term, awareness and capacity-building interventions for local leaders and community members are urgently required to conscientise beneficiaries. It is imperative to create a participatory governance framework that prioritises vulnerable stakeholders as a long-term solution.