{"title":"Analiza odgojnih vrijednosti u časopisu za djecu i mladež Milodarke","authors":"I. Lenard, Dragana Božić Lenard","doi":"10.29162/ANAFORA.V5I2.3","DOIUrl":"https://doi.org/10.29162/ANAFORA.V5I2.3","url":null,"abstract":"","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46759484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through the analysis of Alex Garland’s movie Ex-Machina (2015), the paper questions the cyborg’s possibility of representing a gender beyond the body and of embodying an entity beyond the human. Drawing inspiration from Donna Haraway, Judith Butler, and Roger Andre Sørra, this paper wants to position the cyborg’s body as an object of manipulation and control, as well as question the following presumptions: primarily, that the body of the cyborg is always gendered, despite the many technological possibilities of its (re)construction, and secondarily, that male and female cyborgs share a completely different storyline where the latter are positioned almost exclusively as sexual objects and/or love interests, and are coded as heterosexual. Accordingly, the aim of this paper is to illustrate how, instead of offering a progressive take on gender, Ex-Machina reinforces stereotypes by positioning gender as an instrument of male control, be it for the purpose of achieving the illusion of the human, for sexual gratification, or for the simple pleasure of asserting dominance.
通过对亚历克斯·加兰德（Alex Garland）2015年的电影《机械人》（Ex Machina）的分析，本文质疑了半机械人在身体之外表现性别和在人类之外体现实体的可能性。本文从Donna Haraway、Judith Butler和Roger Andre Sørra那里获得了灵感，希望将半机械人的身体定位为操纵和控制的对象，并对以下假设提出质疑：首先，尽管其（重建）结构存在许多技术可能性，但半机人的身体始终是性别化的；其次，男性和女性半机械人有着完全不同的故事情节，后者几乎完全被定位为性对象和/或爱情兴趣，并被编码为异性恋。因此，本文的目的是说明Ex Machina是如何通过将性别定位为男性控制的工具来强化刻板印象的，而不是对性别提出渐进的看法，无论是为了实现人类的幻想，还是为了性满足，还是为了维护统治地位的简单乐趣。
{"title":"Why is “It” Gendered – Constructing Gender in Alex Garland’s Ex-Machina (2015)","authors":"Emilia Musap","doi":"10.29162/anafora.v5i2.7","DOIUrl":"https://doi.org/10.29162/anafora.v5i2.7","url":null,"abstract":"Through the analysis of Alex Garland’s movie Ex-Machina (2015), the paper questions the cyborg’s possibility of representing a gender beyond the body and of embodying an entity beyond the human. Drawing inspiration from Donna Haraway, Judith Butler, and Roger Andre Sørra, this paper wants to position the cyborg’s body as an object of manipulation and control, as well as question the following presumptions: primarily, that the body of the cyborg is always gendered, despite the many technological possibilities of its (re)construction, and secondarily, that male and female cyborgs share a completely different storyline where the latter are positioned almost exclusively as sexual objects and/or love interests, and are coded as heterosexual. Accordingly, the aim of this paper is to illustrate how, instead of offering a progressive take on gender, Ex-Machina reinforces stereotypes by positioning gender as an instrument of male control, be it for the purpose of achieving the illusion of the human, for sexual gratification, or for the simple pleasure of asserting dominance.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49167558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present article focuses on the eighteenth-century English almanac as an iconic element of the demotic press, on the one hand, and as a literary commodity published by the Stationers’ Company, a guild of artisans involved in the printing trade. Engaged in popularising their astrological content as scientific observations, almanacs were classified by the elite as low reading in tune with the Company’s supply and demand policy. My task is to apply the “high” / “low” culture dichotomy to English almanacs and to examine the way in which they marked a radical change from an archaic, superstitious, and irrational frame of mind to a rational, scientific, and, implicitly, modern worldview backed by the Scientific Revolution. Last but not least, the paper will show that eighteenth-century English almanacs were sensitive to historical, national identity and popular patriotism issues and adhered to divergent religious and political allegiances exposed to the shafts of satire – the prevailing genre of the time – practiced by elite writers like Jonathan Swift or by famous almanac-compilers, such as George Parker and John Partridge.
{"title":"Astrology and the Demotic Press: Almanacs in Eighteenth-Century England","authors":"I. Dragoș","doi":"10.29162/anafora.v5i2.8","DOIUrl":"https://doi.org/10.29162/anafora.v5i2.8","url":null,"abstract":"The present article focuses on the eighteenth-century English almanac as an iconic element of the demotic press, on the one hand, and as a literary commodity published by the Stationers’ Company, a guild of artisans involved in the printing trade. Engaged in popularising their astrological content as scientific observations, almanacs were classified by the elite as low reading in tune with the Company’s supply and demand policy. My task is to apply the “high” / “low” culture dichotomy to English almanacs and to examine the way in which they marked a radical change from an archaic, superstitious, and irrational frame of mind to a rational, scientific, and, implicitly, modern worldview backed by the Scientific Revolution. Last but not least, the paper will show that eighteenth-century English almanacs were sensitive to historical, national identity and popular patriotism issues and adhered to divergent religious and political allegiances exposed to the shafts of satire – the prevailing genre of the time – practiced by elite writers like Jonathan Swift or by famous almanac-compilers, such as George Parker and John Partridge.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43151690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.29162/anafora.v5i2.12
Žaklina Kurmaić
{"title":"Tekst, tekstura i kontekst šokačke i bunjevačke tradicijske kulture – zemlja, ljudi i baština","authors":"Žaklina Kurmaić","doi":"10.29162/anafora.v5i2.12","DOIUrl":"https://doi.org/10.29162/anafora.v5i2.12","url":null,"abstract":"","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48637279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sylvia Plath’s works are mainly considered self-reflective mirrors that reverberate her predicaments, especially her troubled relationships with her father and her husband. Plath’s responses to gender-biased language, which is the main medium of male-dominated discourses, are full of conflicting desires. On the one hand, as one of the subjects of language, Plath wants to preserve her submissive position; on the other hand, as a poet, she desires to create her own order free of the restrictive and meddling presence of male-centered language. This paper thus aims to investigate the role of the Father in Sylvia Plath’s two significant works, “Daddy” (1965) and “Lady Lazarus” (1965), by the employment of Jacques Lacan’s views on the order of identity formation and creation of the subject, especially Lacan’s Symbolic Order. This paper is an attempt to investigate how the presence and absence of the father figure influences Plath and how she rebuilds a new Order with the free play of signification and devoid of the domineering voice of the Father.
{"title":"Symbolic Order in Sylvia Plath’s “Daddy” and “Lady Lazarus”: A Lacanian Reading","authors":"Somaye Mostafaei, Ensieh Shabanirad","doi":"10.29162/anafora.v5i2.9","DOIUrl":"https://doi.org/10.29162/anafora.v5i2.9","url":null,"abstract":"Sylvia Plath’s works are mainly considered self-reflective mirrors that reverberate her predicaments, especially her troubled relationships with her father and her husband. Plath’s responses to gender-biased language, which is the main medium of male-dominated discourses, are full of conflicting desires. On the one hand, as one of the subjects of language, Plath wants to preserve her submissive position; on the other hand, as a poet, she desires to create her own order free of the restrictive and meddling presence of male-centered language. This paper thus aims to investigate the role of the Father in Sylvia Plath’s two significant works, “Daddy” (1965) and “Lady Lazarus” (1965), by the employment of Jacques Lacan’s views on the order of identity formation and creation of the subject, especially Lacan’s Symbolic Order. This paper is an attempt to investigate how the presence and absence of the father figure influences Plath and how she rebuilds a new Order with the free play of signification and devoid of the domineering voice of the Father.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49362149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.29162/anafora.v5i2.10
Sanja Matković
Detective fiction has been immensely popular among readers for decades. This paper answers the questions of who the readers of this genre are and what makes detective stories so attractive for them. The first part of the paper discusses why the so-called contemplatives are especially fond of detective fiction, which is often read as escapist literature, as well as why detective fiction is especially popular in Anglo-Saxon countries. In the second part of the paper, Agatha Christie’s novel Hercule Poirot’s Christmas is used as an example of organized structure and established conventions of detective fiction that make the genre appealing, which includes the setting, characterization, crime, detective, and restored order, i.e. a happy ending.
{"title":"The Conventions of Detective Fiction, or Why We Like Detective Novels: Hercule Poirot’s Christmas","authors":"Sanja Matković","doi":"10.29162/anafora.v5i2.10","DOIUrl":"https://doi.org/10.29162/anafora.v5i2.10","url":null,"abstract":"Detective fiction has been immensely popular among readers for decades. This paper answers the questions of who the readers of this genre are and what makes detective stories so attractive for them. The first part of the paper discusses why the so-called contemplatives are especially fond of detective fiction, which is often read as escapist literature, as well as why detective fiction is especially popular in Anglo-Saxon countries. In the second part of the paper, Agatha Christie’s novel Hercule Poirot’s Christmas is used as an example of organized structure and established conventions of detective fiction that make the genre appealing, which includes the setting, characterization, crime, detective, and restored order, i.e. a happy ending.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46635404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ivana Brlic-Mažuranic (1874. ‒ 1938.), hrvatska spisateljica za djecu i mlade, odavno je usla u hrvatski književni kanon. No o recepciji djela autorice može se govoriti, uglavnom, na razini romana Cudnovate zgode segrta Hlapica te zbirci bajki Price iz davnine. Kada je rijec o romanu Jasa Dalmatin, potkralj Gudžerata, književna i kriticka recepcija gotovo potpuno izostaju. Autoricin objavljeni roman sastoji se od dvaju dovrsenih dijelova te jednog nedovrsenog (Zakljucak), koji obuhvaca razdoblje od 1478. do 1509. godine, a vise nalikuje na nacrt i buducu smjernicu za dovrsetak romana. Za razumijevanje romana važan je i autoricin dodatak Kratki tumac nekojim stavkama Jase Dalmatina koji se također može citati kao svojevr- stan podtekst. Hrvat Jasa Dalmatin, osmanski sužanj, lik je graditelja i vizionara koji na obalama Indijskoga oceana gradi neosvojivi grad prema slici grada iz vlastita djetinjstva, Dubrovnika. Književni lik Jase Dalmatina, te roman u cjelini, postaju poželjan identifikacijski model i odgojna orijentacija. U radu se analiziraju, tipologiziraju te hijerarhiziraju temeljne ljudske, odgojne, vrijednosti prema razinama divergencije između modernosti i pouke u djecjoj književnosti.
{"title":"Odgojne vrijednosti u romanu Jaša Dalmatin, potkralj Gudžerata Ivane Brlić-Mažuranić","authors":"Antonija Huljev","doi":"10.29162/ANAFORA.V5I2.5","DOIUrl":"https://doi.org/10.29162/ANAFORA.V5I2.5","url":null,"abstract":"Ivana Brlic-Mažuranic (1874. ‒ 1938.), hrvatska spisateljica za djecu i mlade, odavno je usla u hrvatski književni kanon. No o recepciji djela autorice može se govoriti, uglavnom, na razini romana Cudnovate zgode segrta Hlapica te zbirci bajki Price iz davnine. Kada je rijec o romanu Jasa Dalmatin, potkralj Gudžerata, književna i kriticka recepcija gotovo potpuno izostaju. Autoricin objavljeni roman sastoji se od dvaju dovrsenih dijelova te jednog nedovrsenog (Zakljucak), koji obuhvaca razdoblje od 1478. do 1509. godine, a vise nalikuje na nacrt i buducu smjernicu za dovrsetak romana. Za razumijevanje romana važan je i autoricin dodatak Kratki tumac nekojim stavkama Jase Dalmatina koji se također može citati kao svojevr- stan podtekst. Hrvat Jasa Dalmatin, osmanski sužanj, lik je graditelja i vizionara koji na obalama Indijskoga oceana gradi neosvojivi grad prema slici grada iz vlastita djetinjstva, Dubrovnika. Književni lik Jase Dalmatina, te roman u cjelini, postaju poželjan identifikacijski model i odgojna orijentacija. U radu se analiziraju, tipologiziraju te hijerarhiziraju temeljne ljudske, odgojne, vrijednosti prema razinama divergencije između modernosti i pouke u djecjoj književnosti.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47271607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Prilog poznavanju života i opusa skladatelja Jana Urbana","authors":"Domagoj Marić, G. Gruber","doi":"10.29162/anafora.v5i1.3","DOIUrl":"https://doi.org/10.29162/anafora.v5i1.3","url":null,"abstract":"","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49405683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper proposes a reading of Paul Auster’s novel In the Country of Last Things (1987) through the conceptual lens of Heidegger’s theory of Dasein. It focuses on Heidegger’s definition of human nature as Dasein by discussing the range of existential possibilities that the German philosopher outlined for human beings in order to make authentic sense of their being and life before death. The progression from birth to death constitutes Dasein’s state of being or its existence. However, not many individuals are conscious of this process, being lost in the limiting situation of their everydayness. Accordingly, inauthentic lives without understanding one’s Mohammad-Javad HAJ’JARI, Nasser MALEKI, Noorbakhsh HOOTI: DASEIN’S “POTENTIALITY-FOR-BEING” 158 true possibilities take place. A fictional visualization of Dasein’s attempts at an authentic existence within its limiting situation or, we could say, within its typical society, can concretize Heidegger’s points in a better way. Concerning Paul Auster’s existential outlook on life, In the Country of Last Things is a portrayal of such a struggle for an authentic existence in a dystopian predicament where humankind is thrown into the lowest possible situation. Allegorically, the novel is a laboratory for experimenting with human potentiality for being in the face of severely lacking conditions for the fulfilment of biological needs, with death always in the background. In such a thrown state of life, the protagonist, Anna Blume, is called to authenticity against others’ inauthenticity and life-threatening situations, highlighting the possibility of living in a dystopia through authentic selfhood. The paper thus argues that Auster’s existentialism in this novel is not alien to Heidegger’s worldview on human existence.
{"title":"Dasein’s “Potentiality-for-Being“ in a Wasteland: The Case of Auster’s In the Country of Last Things","authors":"Mohammad-Javad Haj’jari, N. Maleki, N. Hooti","doi":"10.29162/anafora.v5i1.6","DOIUrl":"https://doi.org/10.29162/anafora.v5i1.6","url":null,"abstract":"This paper proposes a reading of Paul Auster’s novel In the Country of Last Things (1987) through the conceptual lens of Heidegger’s theory of Dasein. It focuses on Heidegger’s definition of human nature as Dasein by discussing the range of existential possibilities that the German philosopher outlined for human beings in order to make authentic sense of their being and life before death. The progression from birth to death constitutes Dasein’s state of being or its existence. However, not many individuals are conscious of this process, being lost in the limiting situation of their everydayness. Accordingly, inauthentic lives without understanding one’s Mohammad-Javad HAJ’JARI, Nasser MALEKI, Noorbakhsh HOOTI: DASEIN’S “POTENTIALITY-FOR-BEING” 158 true possibilities take place. A fictional visualization of Dasein’s attempts at an authentic existence within its limiting situation or, we could say, within its typical society, can concretize Heidegger’s points in a better way. Concerning Paul Auster’s existential outlook on life, In the Country of Last Things is a portrayal of such a struggle for an authentic existence in a dystopian predicament where humankind is thrown into the lowest possible situation. Allegorically, the novel is a laboratory for experimenting with human potentiality for being in the face of severely lacking conditions for the fulfilment of biological needs, with death always in the background. In such a thrown state of life, the protagonist, Anna Blume, is called to authenticity against others’ inauthenticity and life-threatening situations, highlighting the possibility of living in a dystopia through authentic selfhood. The paper thus argues that Auster’s existentialism in this novel is not alien to Heidegger’s worldview on human existence.","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41478097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tennessee Williams’s inclination towards experimentation became evident early on when he first introduced the concept of “plastic theater,” heavily reliant on expressionism and symbolism. As a part of understanding the origins of Williams’s (new) theatrical techniques, apart from presenting the idea of “plastic theatre” and selective realism, and the all-pervading lyricism, this paper provides a short overview of Russian Formalism and Brecht’s epic theatre, as well as points out the similarities and differences between the epic and the plastic. In addition, the paper demonstrates how the poetics of “plastic theatre” and its subtler version – selective realism – are actualized in the playwright’s work. The characteristics of selective realism as well as techniques and elements used to achieve its aims are presented systematically, including stage directions, the use of props, the “absent presence” (concerning the expressionistic quality determining the action), the language, the use of music and lighting, the use of narrator, and the screen device. The idea that Nudžejma DURMIŠEVIĆ: PLASTIC THEATRE AND SELECTIVE REALISM OF T. WILLIAMS 96 these elements contribute to a better portrayal of certain thematic concerns is reviewed through the reading of Williams’s The Glass Menagerie (1944).
{"title":"Plastic Theatre and Selective Realism of Tennessee Williams","authors":"Nudžejma Durmišević","doi":"10.29162/ANAFORA.V5I1.4","DOIUrl":"https://doi.org/10.29162/ANAFORA.V5I1.4","url":null,"abstract":"Tennessee Williams’s inclination towards experimentation became evident early on when he first introduced the concept of “plastic theater,” heavily reliant on expressionism and symbolism. As a part of understanding the origins of Williams’s (new) theatrical techniques, apart from presenting the idea of “plastic theatre” and selective realism, and the all-pervading lyricism, this paper provides a short overview of Russian Formalism and Brecht’s epic theatre, as well as points out the similarities and differences between the epic and the plastic. In addition, the paper demonstrates how the poetics of “plastic theatre” and its subtler version – selective realism – are actualized in the playwright’s work. The characteristics of selective realism as well as techniques and elements used to achieve its aims are presented systematically, including stage directions, the use of props, the “absent presence” (concerning the expressionistic quality determining the action), the language, the use of music and lighting, the use of narrator, and the screen device. The idea that Nudžejma DURMIŠEVIĆ: PLASTIC THEATRE AND SELECTIVE REALISM OF T. WILLIAMS 96 these elements contribute to a better portrayal of certain thematic concerns is reviewed through the reading of Williams’s The Glass Menagerie (1944).","PeriodicalId":40415,"journal":{"name":"Anafora","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48932360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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