Как Много Девушек Хороших - Kak Mnogo Devushek Khoroshikh - So Many Nice Girls Lyrics by Vasily Lebedev-Kumach

Total Page：16

File Type：pdf, Size：1020Kb

СЕРДЦЕ S'ERDTSE HEART 1935 Как много девушек хороших - Kak mnogo devushek khoroshikh - So many nice girls Lyrics by Vasily Lebedev-Kumach. Music by Isaak Dunayevsky Originally the song was referred to by its first line as Как много девушек хороших (Kak mnogo devushek khoroshikh, So many nice girls). It was written for the 1934 Soviet film musical Jolly Fellows. The first singer of the song was Leonid Utyosov. In 1935, Pyotr Leshchenko, "the King of Russian Tango”, started to sing the song in Argentine tango fashion. Although music by Leshchenko was officially disliked in the Soviet Union, the version as sung by Leshchenko gradually became the norm. In the former Soviet Union, the song is still perceived as a traditional Russian romance, whereas elsewhere in the world, the song is seen exclusively as an Argentine tango song. Как много девушек хороших, Kak mnoga d’evushik There are so many nice girls! Как много ласковых имен! kharoshikh, There are so many endearing Но лишь одно из них тревожит, Kak mnoga laskavykh im’on names, but only one of them Унося покой и сон, No lish adno iz nikh trivozhit, fascinates and keeps away Когда влюблен. calm and sleep - when one is Unas’a pakoy i son, Любовь нечаянно нагрянет, kagda vl’ubl’on. in love. Когда ее совсем не ждешь, L’ubof’ nichayanna nagr’anit, Love takes you by surprise, when you expect it the least, И каждый вечер сразу станет kagda yiyo safs’em ni zhd’osh, and every evening suddenly Удивительно хорош, i kazhdyi vechir srazu stanet becomes wonderful - and then И ты поешь: Udivitil'na kharosh - i ty payosh: you sing. — Сердце, S’ertse – Oh heart - there is no way to тебе не хочется покоя! tebe ne khochits’a pakoya keep you calm! Сердце, Serdtse – Oh heart - how great it is to live как хорошо на свете жить! kak kharasho na sv’eti zhit' in this world. Сердце, S’ertse – Oh heart - how wonderful it is как хорошо, что ты такое! kak kharasho shto ty takoe that you are like that! Спасибо, сердце, Thank you, dear heart, for Spasibo, s’rtse, shto ty что ты умеешь так любить! being so good at the art of um’eish' tak l'ubit'! love! .

Copy Link

Recommended publications

“Music Is Music”: Anton Ivanovich Is Upset (1941) and Soviet Musical Politics
“Music is Music”: Anton Ivanovich is Upset (1941) and Soviet Musical Politics PETER KUPFER Abstract In this article I analyze the musical politics of the 1941 Soviet film Anton Ivanovich serditsya (Anton Ivanovich Is Upset), directed by Aleksandr Ivanovsky, original score by Dmitry Kabalevsky. The film tells the story of the musical “enlightenment” of the eponymous Anton Ivanovich Voronov, an old, stodgy organ professor who is interested only in the “serious” music of J.S. Bach. His daughter, Sima, however, wishes to become an operetta singer and falls in love with a composer of “light” music, Aleksey Mukhin, which upsets the professor greatly. Thanks to a miraculous intervention by Bach himself, Anton Ivanovich ultimately sees his error and accepts Muhkin, going so far as to perform the organ part in Mukhin’s new symphonic poem. While largely a lighthearted and fun tale, the caricature and censure of another young, but veiled “formalist” composer, Kerosinov, reflects the darker side of contemporary Soviet musical aesthetics. In the way that it does and does not work out the uneasy relationship between serious, light, and formalist music, I argue that Anton Ivanovich serditsya realistically reflects the paradoxical nature of Soviet musical politics in the late 1930s. Alexander Ivanovsky’s 1941 film Anton Ivanovich serditsya (Anton Ivanovich is Upset, hereafter AIS) tells the story of Anton Ivanovich Voronov (from voron, “raven”), a venerated professor at the conservatory who idolizes the music of “serious” composers, particularly J.S. Bach.1 His earnestness is established from the very start: we first see him in deep contemplation and reverence performing Bach’s somber Passacaglia and Fugue in C minor, BWV 582, which accompanies the film’s opening credits.
[Show full text]
7.202 Roust For
Communal Singing as Political Act: A Chorus of Women Resistants in La Petite Roquette, 1943– 1944 COLIN ROUST At ten o’clock on a Monday morning in 1941, the courtyards of Paris’s La Petite Roquette prison erupted in song. Eighteen young women, all new arrivals who had been arrested about three weeks earlier, led their prisonmates in a rousing rendition of “La Marseillaise.” The nuns who managed the prison listened to the performance in respectful, but watchful silence. But when the prisoners began singing “L’Internationale,” the nuns flew into action, breaking up the impromptu chorus and forcing the women back to their cells. Exactly one year later, on Bastille Day 1942, the performance was repeated. This time, however, the nuns responded as soon as the first strains of “La Marseillaise” were heard. While punishing the singers, Sister Immaculate Conception, the director of the prison, incorrectly accused the women of singing “L’Internationale.” When one of the singers corrected her, she responded “C’est la même chose” (it’s the same thing).1 Facing the darkest time of their lives, these women faced an indefinite sentence that would, most likely, end with a transfer into the German concentration camp system. All former fighters in the French Resistance, they were now prevented from taking direct, physical action against the Nazi occupiers. Instead, they turned to song as a means of proclaiming their identity and demonstrating their political beliefs. Through songs such as “La Marseillaise” and “L’Internationale,” this group of women proclaimed that although they had been captured, they certainly had not been defeated.
[Show full text]
Department of Languages, Literatures and Cultures Fall 2020 RUT 3524 (Section RUT5/ Class # 26138) Russia Through Film
Department of Languages, Literatures and Cultures Fall 2020 RUT 3524 (Section RUT5/ class # 26138) Russia through Film Synchronous online classes via Instructor: Dr Aleksandr Lvovich Burak Zoom/Canvas: M W F / Period 6: 12:50- Dauer Hall, room 254 1:40 pm E-mail: [email protected] End-of-course final project (in the form Tel: (352) 273-3798 of a Russian film review) to be e-mailed Office hours online/Zoom: M, W Period to the instructor no later than 5:00 p. m. 8 (3:00-3:50 pm) or by appointment on December 16 Mode of Instruction This course will be taught entirely online in synchronous mode on the ZOOM/Canvas platform. The only difference from the F2F delivery is that instructor and students won't be in physical proximity but will be interacting in real time online at the designated class meeting times. The instructor will conduct instruction and monitor students' progress via direct interaction in class and by two graded exam papers – a midterm and a final one. Course Description This course examines Russian history, institutions, and everyday life against the background of period-defining historical, political and cultural events from the early 20th century to the present day as reflected and refracted in some of the emblematic feature, documentary, and animated cartoon films. You will get acquainted with the key events and personalities of Stalin’s Soviet Union, the Great Patriotic War, the Khrushchev Thaw, the Brezhnev “stagnation period,” Gorbachev’s perestroika and glasnost, the “wild/roaring” 1990s of the Yeltsin period, and the new era of Putin, Medvedev, and Putin again.
[Show full text]
01-ALEA Program May 3, 2019
F o r t y - f i r s t S e a s o n ALEA III 2 0 1 8 - 2 0 19 2018 – 2019 SEASON (continues from previous page) Memorial Gathering Saturday, April 13, 2019, 1:00 p.m. Annunciation Cathedral ALEA III 514 Parker Street, Boston A celebration of Theodore Antoniou’s life and work. -------------------- Music from Ukraine and Russia Friday, May 3, 2019, 8:00 p.m. Theodore Antoniou, Marsh Chapel Founder 735 Commonwealth Avenue, Boston Admission is Free Contemporary Music Ensemble Ukrainian pianist and conductor Alex Poliykov in residence at Boston University since 1979 presents a program featuring works by Ukrainian and Russian Composers. -------------------- A Celebration of Europe Day 2019 Thursday, May 9, 2019, 7:30 p.m. Old South Church Music from Ukraine and Russia 645 Boylston Street, Boston Admission is Free Curated by Aleksandr Poliykov Curated by the Consulate General of Ireland in Boston An evening with music to celebrate Europe Day, May 9th, 2019 -------------------- Marsh Chapel 735 Commonwealth Avenue, Boston ALEA III 2019 Summer Meetings August 23 – September 1, 2019 Island of Naxos, Greece A workshop for composers, performers, audio/visual and other artists to present their work and collaborate in new projects to be Friday, May 3, 2019 featured in 2019, 2020 and 2021 events. Daily meetings and concerts. FOUNDER ALEA III Theodore Antoniou 2018 – 2019 SEASON BOARD OF DIRECTORS BOARD OF ADVISORS President Mario Davidovsky Young Composers Workshop 2019 Margaret McAllister Spyros Evangelatos February 15-24, 2019 John Harbison Athens, Greece Vice President Leonidas Kavakos Panos Liaropoulos Dimitris Nanopoulos The second phase of an ongoing project that started in August 2018 Krzysztof Penderecki and will be completed with a USA tour in Spring of 2021.
[Show full text]
Final Copy 2019 01 23 Carter
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Carter, Lindsay Title: Affective Communities Music, Emotion, and Subjectivity in the Popular Cinema of the Third Reich and the Soviet Union, 1933-1949 General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Affective Communities: Music, Emotion and Subjectivity in the Popular Cinema of the Third Reich and the Soviet Union, 1933-1949 Lindsay Rachel Carter A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty or Arts.
[Show full text]
© 2020 Thornton Miller
© 2020 Thornton Miller REACHING THROUGH THE IRON CURTAIN: PRACTICALITIES IN THE ANGLO-SOVIET CULTURAL EXCHANGE OF MUSIC AND MUSICIANS, 1955-1975 BY THORNTON MILLER DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology with a minor in Russian, East European, and Eurasian Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2020 Urbana, Illinois Doctoral Committee: Associate Professor Christina Bashford, Chair and Director of Research Professor Donna A. Buchanan Professor Diane Koenker, University College London Professor Gayle Sherwood Magee ABSTRACT This dissertation is an investigation of the position of British and Soviet music professionals (such as composers, concert agents, performers, and publishers) in the interchange of music and musicians between the United Kingdom and the Soviet Union from 1955 to 1975. This study determines how they were able to circumvent the difficulties inherent in these exchanges in order to further their own goals, and not on behalf of their governments’ political or ideological aims (which were focused explicitly on reducing Cold War tensions, and implicitly on cultural competition). A significant portion of these professionals were interested in material gain, while others sought to gain access to foreign audiences, music, and musicians. After setting the historical context for the opening of Anglo-Soviet cultural relations in the mid-1950s, I present four case studies that explore different aspects of these exchanges: 1) the concept of compatibility between the musical style of British and Soviet composers, 2) how Soviet performers and theater directors negotiated with the Soviet system to acquire and utilize their agency, 3) the attempts of both British and Soviet parties to facilitate the exchange of intellectual property, and 4) the position of British concert agents who profited from the interchange of performers between the UK and the USSR.
[Show full text]
A Song Helps Us Live the Narrative Function of Music in Soviet Musical Film
A Song Helps Us Live The Narrative Function of Music in Soviet Musical Film Thesis J.R. Hillebrand – 6035396 Under the primary supervision of Prof Dr E.J.M. Wennekes (Utrecht University) and the secondary supervision of Prof Dr W. van de Leur (University of Amsterdam) MA Applied Musicology, Utrecht University 21-8-2018 Table of contents Introduction 3 1 Soviet Film and (Popular) Culture, 1917-1939 4 1.1 Film comes to Russia 4 1.2 The USSR’s roaring ‘20s 5 1.3 Culture under Stalin, 1928-1939 7 2 Alexandrov’s Jolly Fellows and Volga-Volga! 11 2.1 Jolly Fellows 11 2.1.1 ‘March of the Jolly Fellows’ 11 2.1.2 Classical Music in Jolly Fellows 18 2.2 Volga-Volga! 19 2.2.1 ‘Song of the Volga’ 20 2.2.2 Classical vs. Folk: a Musical Feud 23 3 Pyriev’s Tractor-Drivers 28 3.1 The Kolkhoz Musical 28 3.2 Tractor-Drivers 29 3.2.1 ‘Three Tankists’ 29 3.2.2 ‘Thundering with Fire’ 34 Conclusion 44 Sources 46 2 Introduction During the reign of Joseph Stalin, especially during the 1930s, cinema was one of the most, if not the most popular form of entertainment in the Soviet Union. Within cinema, the genre that drew most Russians to the theater was the musical film.1 This genre of Soviet cinema was dominated by two directors: Grigori Alexandrov and Ivan Pyriev. Alexandrov’s and Pyriev’s films shared as much similarities as differences. Film scholars such as Trudy Anderson and Richard Taylor have explored a great many of these in their work already, such as the similar plotpoint of the love triangle, the importance of Moscow in Alexandrov’s films and the glorification of the collective farms (kolkhoz) in Pyriev’s.2 In fact, introductory articles on the Soviet musical - such as Taylor’s entry in The International Film Musical - focus almost exclusively on these directors.
[Show full text]
011-함충범 20-55.Hwp
1930년대 소련영화에 투영된 유토피아적 세계와 * 테크놀로지 표상 1) - <부유한 신부>(1937)와 <트랙터 기사들>(1939)을 중심으로 2)함충범 / 정태수 (한양대학교)** 1. 들어가며 시민혁명, 산업혁명, 과학․기술혁명의 연쇄적 발생을 거쳐 구성된 근 대적 서구 사회에 대한 가치 평가에서 가장 근본적인 준거로 들 만한 것 은, 그것(들)이 과연 인류의 번영 및 개인의 행복과 어떠한 영향 관계를 지니는지에 관한 문제라 할 수 있다. 근대 사회를 굳이 발전론적이고 진보 적인 관점에서 보지 않더라도, 이전 시대와는 달리 수세기에 걸쳐 혁신적 변화가 지속적으로 일어난 역사적 현상을 떠올릴 때, 그 기저에 행복한 삶 을 꿈꾸고 공동체적 화합을 추구해 왔던 인간의 기본적 이상이 자리하고 있었음은 부정하기 힘든 사실이기 때문이다. 특히 과학․기술혁명에 따른 테크놀로지의 발달은 경제적 풍요와 생활 * 이 논문은 2016년 대한민국 교육부와 한국연구재단의 지원을 받아 수행된 연구임 (2016S1A5B8914175) / 이 글은 2018년 4월 28일 한양대학교에서 개최된 현대영화 연구소 제2회 학술대회 ‘영화를 상상하고 재매개하고 넘어서기’에서의 동명의 발 표문을 논문화한 것임. ** 주저자: 함충범, 교신저자: 정태수. 266 유럽사회문화 제20호 의 편리를 견인하며 인류에게 희망적인 가능성을 제시해 주었다. 그러나 시간이 갈수록 그 ‘부작용’ 역시 만만치 않게 대두되었다. 그리고 20세기 에 들어와서는 제1차 세계대전과 경제 대공황을 거치면서 테크놀로지의 효과와 효용에 대한 인간의 의구심과 회의가 차츰 만연되어 갔다. 그리하 여 문학․예술 분야에서도, 1920년대까지 여러 장르의 작품들 속에 테크 놀로지의 긍정적 표상이 심심찮게 발산되어 있었던 데 반해, 1930년대에 는 이러한 경향이 다소 둔화되거나 오히려 반대의 양상을 띠기도 하였다. 그런데, 이와 같은 흐름 하에서도 다양한 문화 영역에서 테크놀로지에 대한 유토피아적 표상이 나타난 곳이 있었으니, 바로 사회주의 종주국 소 련이었다. 1930년대 소련에서는 스탈린(Joseph Stalin)의 권력 집중이 강화 되던 가운데 사회주의 국가 건설에 박차가 가해지고 있었다. 더불어 문 학․예술의 창작 방식이 이른바 ‘사회주의 리얼리즘’으로 집중화되어 갔 던 바, 그 영향은 당대 가장 유력한 선전․선동의 기제였던 영화 분야에도 파급되었다.
[Show full text]
Catalogo Giornate Del Cinema Muto 2015
ASSOCIAZIONE CULTURALE Filminstitut – DIF); Stefan Droessler (Filmmuseum “LE GIORNATE DEL CINEMA MUTO” München); Jeanpaul Goergen; Franz Werner Halft; Köln Film & Theaterwiss; Ulrich Lehner; Soci fondatori Martin Loiperdinger; Rainer Lotz; Anke Wilkening Paolo Cherchi Usai, Lorenzo Codelli, (Muranu Stiftung); Katja & Dieter Neumayer; Piero Colussi, Andrea Crozzoli, Luciano De Giusti, Christian Zwarg. Livio Jacob, Carlo Montanaro, Mario Quargnolo†, Piera Patat, Davide Turconi† Giappone: Ichiro Kataoka; Hiroshi Komatsu; Hisashi Okajma, Akira Tochigi (National Film Presidente Center, National Museum of Modern Art, Tokyo); Livio Jacob Johan Nordström. Direttore David Robinson Iran: Mohammad Zare, Shalale Kheiri. Italia: Aldo Bernardini; Elena Ferraguti; Davide Pozzi, Elena Tammaccaro (Cineteca di Bologna / Ringraziamo per la collaborazione al programma: L’Immagine Ritrovata); Matteo Pavese (Cineteca Argentina: Paula Félix-Didier, Andrés Levinson Italiana); Cineteca Nazionale; Claudia Gianetto, (Museo del Cine Pablo C. Ducrós Hicken); Gianna Chiapello, Stella Dagna (Museo Nazionale Fernando Martín Peña (Filmoteca Buenos Aires); del Cinema); Sergio Mattiassich Germani; Paolo Laboratorio Cinecolor. Emilio Persiani. Austria: Nikolaus Wostry (Filmarchiv Austria); Messico: Guadalupe Ferrer (Filmoteca de la Paolo Caneppele, Oliver Hanley, Alexander UNAM); Cineteca Nacional; Aurelio de los Reyes Horwath (Österreichisches Filmmuseum). García-Rojas; Paolo Tosini. Belgio: Cinémathèque Royale de Belgique/ Norvegia: Tina Anckarman (Nasjonalbiblioteket);
[Show full text]
TRACTOR in the SOVIET CINEMA* Rina Lapidus Bar-Ilan University, Ramat-Gan, Israel
DOI 10.15826/qr.2020.2.478 УДК 791(47:57) THE “EROTIC” TRACTOR IN THE SOVIET CINEMA* Rina Lapidus Bar-Ilan University, Ramat-Gan, Israel Between the 1930s and the 1960s, much emphasis was put in the Soviet Union on the technological development of the country. One of the latest wonders of technology was the tractor, which harvested crops efficiently and rapidly. This article is concerned with the Soviet cinematic representation of work with tractors as the most erotic characteristic of a man. A man attractive to women in Soviet cinema is not handsome but rather is someone proficient in operating a tractor. On the other hand, a man who does not know how to operate a tractor is represented as impotent and is ridiculed by female characters. Several romantic films were produced in which the relationship between the protagonists developed against a background of the use of a tractor. These films became iconic and classic: everyone saw them many times and knew their scripts by heart. Most of the films depict a young Soviet man and his path to the heart of his girlfriend, and some show the maturation of the young character and his transformation into a real man. These goals are achieved through his work as a tractor driver. Examples of this are films like The Rich Bride (romantic comedy, 1937), Tractor Drivers (romantic drama, 1939), Cossacks of the Kuban (romantic comedy, 1949), It Happened in Penkovo (romantic drama, 1957), and Knight’s Move (comedy, 1962). In all these films, work with tractors is represented as an integral part of the “machismo” of the Soviet man.
[Show full text]
Jewish Childhood Transformed: Through the Looking Glass of Art and Visual Representation in Pre- and Post-Revolutionary Russia
EUGENY KOTLYAR JEWISH CHILDHOOD TRANSFORMED: THROUGH THE LOOKING GLASS OF ART AND VISUAL REPRESENTATION IN PRE- AND POST-REVOLUTIONARY RUSSIA Abstract The Ethos of Education amid Great Changes in The present article studies the thematic ways in which Jewish the Jewish World childhood was represented in Russian Jewish art and visual media from the 1850s to the 1930s. During this period, Russian In 1916, with World War I at its peak, Moriah, a Jewish Jewry was undergoing important transformations. It saw the publishing house in Odessa, issued a Hebrew primer establishment of a traditional model of religious life, a subse- for Jewish elementary schools authored by Faina quent process of modernization and acculturation, and finally Shargorodskaya.1 This was one of the first illustrated the education of the “New Jew” as part of post-Revolutionary Hebrew textbooks in Russia, and it was published at secular culture, as well as the seeding of extreme forms of a time when the printing of books using Hebrew fonts radicalization that would develop in the Soviet era. Jewish was illegal.2 Despite wartime hardship and privation, art and visual media were always a documentary means the Jewish publishers included pictures in color, thus of representing collective ideals, key among which was the underscoring the visual primacy of learning despite value associated with Jewish children’s future. The images the prohibitively high expenses of doing so. This, along preserved in art, photography, and print show how diligent study for boys and young men was extolled in traditional with the primer’s distribution patterns, makes it clear communities; this resulted in the formation of an intellec- that the textbook targeted the general Jewish populace, tual elite that served as a bulwark of religious and spiritual particularly the children of Maskilim and Zionists, who self-consciousness against outside cultural influences.
[Show full text]
Фильм Открытия Фестиваля Opening Film
ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2010 ДУХ ОГНЯ SPIRIT OF FIRE МЕЖДУНАРОДНЫЙ INTERNATIONAL ФЕСТИВАЛЬ DEBUT КИНЕМАТОГРАФИЧЕСКИХ FILM FESTIVAL ДЕБЮТОВ ХантыМансийск, Россия KhantyMansiysk, Russia Tel.: +7 499 7834420 (Moscow) Tel.: +7 34673 93706 (KhantyMansiysk) Fax: +7 34673 33402 (KhantyMansiysk) Email: [email protected] www.spiritoffire.ru Россия Сибирь Russia Siberia ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2010 CONTENTS JURY................................................9 OPENINGFILM ......................................14 CLOSINGFILM ......................................16 INTERNATIONAL COMPETITION . .18 COMPETITION RUSSIANDEBUTS2009 ...............................38 YOUR CINEMA Children and youth cinema club . .58 SPECIALSCREENING .................................80 FILMSFORALL ......................................87 EUPHORIA.THEBEST.................................92 FILMSOFTHELASTWAR ............................100 TO THE 65TH ANNIVERSARY OF THE VICTORY IN THE GREAT PATRIOTIC WAR . .109 XXI CENTURY FILMS ABOUT THE GREAT PATRIOTIC WAR . .117 TO THE 70TH ANNIVERSARY OF DIRECTOR OF PHOTOGRAPHY PAVEL LEBESHEV . .128 TO THE 150TH ANNIVERSARY OF ANTON CHEKHOV . .133 INDEXOFFILMS....................................138 INDEXOFDIRECTORS ...............................140 SPECIALTHANKS ...................................142 MANAGEMENT OF THE FESTIVAL . .144 2 ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2010 СОДЕРЖАНИЕ ЖЮРИ ..............................................9 ФИЛЬМ ОТКРЫТИЯ ФЕСТИВАЛЯ . .14 ФИЛЬМ ЗАКРЫТИЯ ФЕСТИВАЛЯ .
[Show full text]