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From Print to Digital: Reappropriation of the Ready-Made Image in Works of Margit Sielska and Weronika Gęsicka 从印刷到数字:Margit Sielska和Weronika作品中现成图像的再占用Gęsicka
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-11-18 DOI: 10.16995/olh.6390
Karolina Koczynska
between print and digital photomontage practices through theworks of two women artists, Margit Sielska (1900-1980) and Weronika Gęsicka (1984-),addressingthe way these lesser-known, non-Anglophone artists reveal a continuity ofinterests across time. Changes in technology have allowed the cut and pastetechnique of photomontage to evolve from the use of scissors and glue to the useof software. Byreappropriating and manipulating the ready-made image of women andstereotypical family life from printed and photographic materials, both artistschallenge assumptions about a woman’s role in society while constructing newsettings and realities for their subjects to occupy. In both instances, thecombinatory process of montage serves to question and disrupt traditional andnormative representations of women and domesticity. By drawing on theparallels between artworks made with different techniques but deriving from theshared creative process of appropriating and manipulating the ready-made imageto create new, unexpected situations, the article reveals a continuity betweencertain modernist practices and contemporary digital culture. 
通过两位女性艺术家Margit Sielska(1900-1980)和Weronika Gęsicka(1984-)的作品,在印刷和数字蒙太奇实践之间进行了探讨,探讨了这些不太知名的非英语艺术家在不同时期表现出的兴趣连续性。技术的变化使得蒙太奇的剪切和粘贴技术从使用剪刀和胶水发展到使用软件。通过从印刷和摄影材料中重新利用和操纵现成的女性形象和刻板的家庭生活,两位艺术家挑战了关于女性在社会中角色的假设,同时为他们的主题构建了新的环境和现实。在这两种情况下,蒙太奇的组合过程都是为了质疑和破坏传统和规范的女性和家庭生活的表现。通过借鉴不同技术的艺术作品之间的相似之处,但源于对现成图像的挪用和操纵的共同创作过程,以创造新的,意想不到的情况,文章揭示了现代主义实践与当代数字文化之间的连续性。
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引用次数: 0
Brandon is a Network Not a Name: Fictocriticism & the Cyberfeminist Art of Shu Lea Cheang 布兰登是网络,不是名字:小说批评&张舒莉的网络女性主义艺术
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-11-18 DOI: 10.16995/olh.6391
Zachary Pearl
The cyberfeminist art practice of Shu Lea Cheang evinces a particular relation of generative complicity with the art object—what Canadian cultural theorist Jeanne Randolph referred to as “the amenable object” (1983). Randolph, who pioneered “ficto-criticism”—a method of writing that intentionally blurs theory, poetics and narrative—wrote of the amenable object as an incomplete creation whose “ambiguous elements” allow the viewer to make “subjective interventions” in the work. Likewise, Cheang’s participatory installations and non-linear online narratives operate as amenable object-texts, requiring the user to not only navigate but contribute to them through acts of critical play and improvisation. Across Cheang’s oeuvre is also a nomadic politics of border-crossing that resonates as loudly with Donna Haraway’s cyborg as it does with the experimental feminist writing that became associated with fictocriticism. In this paper, I examine correlations between fictocritical approaches and formal tactics in Cheang’s studio practice to consider them as interrelated cyberfeminist strategies of resistance and dissent; ones that arose in counterpoint to the proliferation of deterministic, technocapitalist narratives. In particular, I look at how the fragmentation, partiality and double-voicing seen in many fictocritical texts were echoed in the user-experience of Cheang’s Brandon (1998), a sprawing network that posited the queer body as a collective series of actions. I conclude by looking at how these same techniques recall methods from Dadaism and Surrealism in the early 20th century and reflect on the recurrent role of indeterminacy in art and literature more generally to stem the entropy of binary paradigms.
张淑蕾的网络女性主义艺术实践证明了她与艺术对象的一种特殊关系——加拿大文化理论家珍妮·伦道夫(Jeanne Randolph)称之为“可顺从的对象”(1983)。伦道夫开创了“小说批评”——一种故意模糊理论、诗学和叙事的写作方法——他把可接受的对象写为一个不完整的创作,其“模棱两可的元素”允许观众在作品中进行“主观干预”。同样,Cheang的参与式装置和非线性在线叙事作为可顺从的对象文本运作,要求用户不仅要导航,还要通过批判性游戏和即兴创作的行为为它们做出贡献。在她的全部作品中,也贯穿着一种跨越边界的游牧政治,与唐娜·哈拉威(Donna Haraway)的半机械人产生了强烈的共鸣,也与与小说批评联系在一起的实验性女权主义写作产生了共鸣。在本文中,我研究了小说批评方法和正式策略之间的相关性,将它们视为相互关联的抵抗和异议的网络女权主义策略;它们的出现与决定论和技术资本主义叙事的扩散相对应。我特别关注了在许多小说批评文本中看到的碎片化、偏袒和双重声音是如何在张布兰登(1998)的用户体验中得到回应的,这是一个将酷儿身体视为一系列集体行动的庞大网络。最后,我想看看这些相同的技巧是如何让人回想起20世纪初达达主义和超现实主义的方法,并反思不确定性在艺术和文学中反复出现的作用,更普遍地阻止二元范式的熵。
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引用次数: 0
RINGL + PIT: (UN)FIGURING THE NEW WOMAN 塑造新女人
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-11-18 DOI: 10.16995/olh.6392
Stephanie Bender
The photography of Ellen Auerbach and Grete Stern of the studio ringl + pit consistently shirks established formulae of advertising. The emphases on traditional gender roles and an exaggerated femininity in conventional Weimar advertisements reaffirm heterosexual male desire, and attempt to combat the development of the modern female ‘type’ into the independent and androgynous männliche Frau, or masculine woman. The disparity between media-constructed Weimar-era femininity and the actual ways in which Germans at this time understood their own selves as women and individuals is evidenced by Auerbach and Stern’s advertisements, which challenge such objectifying and sexualizing imagery by suggestive figures in the absence of real bodies, formed from the very goods being sold.This article examines how ringl + pit’s advertisements for artificial silk and other new commercially-available goods use substitution techniques to suggest a desire to create one’s own self, while acknowledging the power of the commodity in identity formation. Stern and Auerbach’s photographs work as a reflection of their own understanding of the power of the commodity whose uncanny beauty is revealed through intense focus and surprising reconfigurations. Their intense focus on materiality and their revisioning of such materials suggest connotations beyond the material being photographed. Ringl + pit’s advertisements become semi-blank receptacles that allow numerous modern women, and even non-binary and queer individuals, to see themselves represented as possible consumers for such products, and thus be in control their own identities and images.
Ellen Auerbach和Grete Stern的摄影作品一直在逃避既定的广告模式。传统魏玛广告中对传统性别角色的强调和夸张的女性气质重申了异性恋男性的欲望,并试图阻止现代女性“类型”向独立和雌雄同体的男性女性发展。奥尔巴赫和斯特恩的广告证明了媒体构建的魏玛时代的女性气质与当时德国人理解自己作为女性和个人的实际方式之间的差异,这些广告挑战了在没有真实身体的情况下,由出售的商品形成的暗示性形象的物化和性化形象。这篇文章探讨了rill+pit的人造丝绸和其他新的商业商品广告如何使用替代技术来暗示创造自我的愿望,同时承认商品在身份形成中的力量。Stern和Auerbach的照片反映了他们自己对商品力量的理解,通过强烈的关注和令人惊讶的重新配置,商品的神奇之美得以展现。他们对物质性的高度关注和对这些材料的修改暗示了超越被拍摄材料的内涵。Ringl+pit的广告变成了半空白的容器,让许多现代女性,甚至是非二元和酷儿个人,看到自己被视为此类产品的可能消费者,从而控制自己的身份和形象。
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引用次数: 0
Enfolding the Hand, Entrancing the Eye: Erica Baum’s Dog Ear Enfolding the Hand,Entrancing the Eye:Erica Baum的狗耳朵
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-11-18 DOI: 10.16995/olh.6385
Riley Hanick
This essay will situate Erica Baum’s Dog Ear within broader discussions of appropriation, remediation, and queer phenomenology.  In her ongoing series, begun over a decade ago, Baum makes the quotidian act of folding the corner of a book’s page into a sculptural intervention, allowing her to “reauthor” the newly concealed and revealed juxtaposition of text.  These digital photographs, initially displayed in art galleries, were selectively sequenced by Baum to become Dog Ear (Ugly Duckling Presse 2011, reprinted 2016).  Both the accompanying critical writings and subsequent reviews of the book emphasized continuities between Baum’s project and traditions of found and concrete poetry, alongside modernist precursors like Malevich and Albers who informed her visual lexicon.  While acknowledging these legacies, my essay focuses on the evident limitations of attempts to render Baum’s works using standard and modified modes of lineation (offered by Kenneth Goldsmith and Amaranth Borsuk, respectively) which consistently evacuate what is most compelling about them.  Instead, I propose and demonstrate a method of gestalt poetics, one which lets their circuitous, open-ended dimensions register more fully by emphasizing evocative recombination, adjacency, and the interrelation of these remediated pages as they return back to and contort the codex.  Textual figures get produced, as Sara Ahmed has argued “by acts of relegation” and their queerness, in Baum’s work, depends on perpetually destabilizing the bifurcation between reading and looking in order to shift our sense of foreground and background into an extended matrix of partial legibilities. 
这篇文章将把艾丽卡·鲍姆的《狗耳朵》置于更广泛的关于挪用、补救和酷儿现象学的讨论中。在她十多年前开始的正在进行的系列作品中,鲍姆将一本书的书页一角折叠成一个雕塑般的干预,让她“重新创作”新隐藏和揭示的文本并置。这些数码照片最初在艺术画廊展出,鲍姆有选择地将其排序,成为《狗耳朵》(丑小鸭出版社2011年,2016年重印)。随书而来的评论文章和随后的书评都强调了鲍姆的项目与发现的和具体的诗歌传统之间的连续性,以及像马列维奇和阿尔伯斯这样的现代主义先驱,他们为她的视觉词典提供了信息。在承认这些遗产的同时,我的文章将重点放在使用标准和修改的线条模式(分别由肯尼斯·戈德史密斯和Amaranth Borsuk提供)来呈现鲍姆作品的明显局限性上,这些模式一直在回避最引人注目的内容。相反,我提出并展示了一种格式塔诗学的方法,这种方法通过强调唤起性的重组、邻接和这些被修复的页面在返回并扭曲文本时的相互关系,让它们的迂回、开放的维度更充分地记录出来。正如萨拉·艾哈迈德(Sara Ahmed)所说的那样,文本人物是“通过退让行为”产生的,在鲍姆的作品中,它们的酷儿性依赖于永久地破坏阅读和观看之间的分歧,从而将我们对前景和背景的感觉转变为部分易读性的扩展矩阵。
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引用次数: 0
Uniting the Nation through Transcending Menstrual Blood: The Period Products Act in Historical Perspective 超越经血统一民族:历史视野中的生理期用品法案
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-11-16 DOI: 10.16995/olh.6339
Bettina Bildhauer
This article sets the Period Products (Free Provision) (Scotland) (2021) Act in the context of historical imaginations both of menstruation and of the nation. It identifies the following underlying assumptions about menstruation in the parliamentary debates of the Act: (1) that menstruating is a stigma, (2) that menstruators are always the others, and (3) that menstruation particularly affects those in already marginalised groups. Speaking about menstruation (4) creates a privileged, pioneering position for the speakers, and (5) forges bonds between them. The article traces the historical precursors of these assumptions in premodern and early modern humoral medicine, especially Pseudo-Albertus Magnus’ Secreta mulierum, and in modern fiction discussed in the Scottish parliament: the film I, Daniel Blake and Alasdair Gray’s novel Poor Things. The parliamentary debates also imagine the nation as a collective body which is united by a shared blood and which at the same time transcends blood, in this case menstrual blood. This is part of a historical pattern of similar imaginations of the Scottish nation in relation to blood. The article demonstrates how this conception of menstruation and the nation functions not only in the parliamentary debate, but also in a sample of Scottish writing and thought from the Middle Ages to today.
本文将《经期产品(免费提供)(苏格兰)(2021)法案》置于月经和国家历史想象的背景下。它确定了在该法案的议会辩论中关于月经的以下基本假设:(1)月经是一种耻辱;(2)月经者总是其他人;(3)月经特别影响那些已经被边缘化的群体。谈论月经(4)为演讲者创造了一个特权的先锋地位,(5)建立了他们之间的联系。这篇文章追溯了这些假设在前现代和早期现代体液医学中的历史先驱,尤其是伪阿尔伯图斯·马格努斯的《秘剂》,以及苏格兰议会讨论的现代小说:电影《我》、丹尼尔·布莱克和阿拉斯代尔·格雷的小说《可怜的东西》。议会辩论还把国家想象成一个集体,由共同的血液团结在一起,同时也超越了血液,在这里是经血。这是苏格兰民族与血缘关系的历史模式的一部分。这篇文章展示了月经和国家的概念不仅在议会辩论中发挥了作用,而且在从中世纪到今天的苏格兰写作和思想样本中也发挥了作用。
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引用次数: 4
Illness, Aesthetics, and Body Politics: Forging the Third Republic in Émile Zola's 'La Faute de l'abbé Mouret' 疾病、美学与身体政治:在Émile左拉《修道院的命运》中塑造第三共和国
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-11-16 DOI: 10.16995/olh.4724
K. Y. Wong
This article examines the political role of illness in Émile Zola’s La Faute de l’abbé Mouret (The Sin of Father Mouret) (1875) in articulating the difference between a religious and a secular body. Published in the early French Third Republic (1870–1940), this novel shows the Zolian body as the nexus upon which religious and republican discourses compete. Using Paul Ricœur’s theory on Christianity’s original sin, this article compares Mouret’s sickness with physical evil and illustrates how Zola redeploys the traditional religious symbols of the heart, the blood, and the Word to the secular realm. It will show that original sin is a Christian myth inscribed on the body, and that Zola’s reformulation of a core religious doctrine and its supporting framework can and must be dismantled for the fledgling secular Third Republic. The article shows an attempt by Zola to forge a republican self, and thereby offers a new perspective on the nature of the Zolian body which merits further study under the field of Medical Humanities. Through the construction of the religious body, the article also contributes to wider critical discussion on mythology in Zola’s work.
本文探讨了埃米尔·左拉的《穆雷特神父之罪》(1875年)中疾病在阐明宗教和世俗身体之间的区别方面的政治作用。这部小说出版于法兰西第三共和国早期(1870-1940),将左联的身体展示为宗教和共和话语竞争的纽带。本文运用保罗·里库尔关于基督教原罪的理论,将穆雷特的疾病与身体上的邪恶进行了比较,并阐述了左拉如何将传统的宗教象征——心、血和话语——重新部署到世俗领域。它将表明,原罪是一个刻在身体上的基督教神话,左拉对核心宗教教义及其支持框架的重新制定可以而且必须为初出茅庐的世俗第三共和国而废除。这篇文章展示了左拉塑造共和自我的尝试,从而为左拉身体的本质提供了一个新的视角,值得在医学人文领域进一步研究。通过对宗教主体的建构,文章也为左拉作品中的神话学展开了更为广泛的批判性讨论。
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引用次数: 0
The Period Products (Free Provision) (Scotland) Act 2021 in the context of menstrual politics and history: An introduction 月经政治和历史背景下的《2021年经期产品(免费供应)(苏格兰)法》:引言
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-11-04 DOI: 10.16995/olh.8159
Bettina Bildhauer, C. Røstvik, Sharra L. Vostral
In January 2021, Scotland became the first country in the world to make universal access to free period products a legal right, an initiative which attracted extraordinary international attention as a “world first”. This introduction outlines from the perspective of the history of menstruation what is indeed new and ground-breaking about this law, and what merely continues traditional and widespread conceptions, policies and practices surrounding menstruation. On the basis of on analysis the parliamentary debates of the Act, we show that it gained broad political support by satisfying a combination of ten different political agendas: promoting gender equality for women while acknowledging broader gender diversity, practically alleviating one high-profile aspect of poverty at a relatively low overall cost to the state, tackling menstrual stigma, improving access to education, working with grassroots campaigners, improving public health, and accommodating sustainability concerns, as well as the desire to pass world-leading legislation in itself. We in each case show to what extent the particular political aim is typical of, or else departs from, recent wider trajectories in the history and politics of menstruation, and, where pertinent, trajectories in Scottish political history. The ten agendas in their international context provide a kaleidoscopic insight into the current state of menstrual politics and history in Scotland and beyond. This introduction also situates this Special Collection as a whole in relation to the field of Critical Menstruation Studies and provides background information about the legislative process and key terminology in Scottish politics and in the history of menstruation.
2021年1月,苏格兰成为世界上第一个将普及免费期产品作为合法权利的国家,这一举措作为“世界首创”引起了国际社会的极大关注。这篇引言从月经史的角度概述了这项法律的新之处和突破性之处,以及它只是延续了围绕月经的传统和广泛的观念、政策和实践。根据对该法案议会辩论的分析,我们表明,该法案通过满足十个不同政治议程的组合而获得了广泛的政治支持:促进妇女性别平等,同时承认更广泛的性别多样性,以相对较低的总体成本切实减轻贫困的一个突出方面,改善受教育的机会,与基层活动家合作,改善公共卫生,照顾可持续性问题,以及通过世界领先立法的愿望。在每一个案例中,我们都展示了特定的政治目标在多大程度上是月经史和政治史上最近更广泛的轨迹的典型,或者与之不同,在适当的情况下,还展示了苏格兰政治史上的轨迹。这十项议程在其国际背景下,对苏格兰及其他地区的月经政治和历史现状提供了千变万化的见解。本引言还将本特辑作为一个整体与关键月经研究领域联系起来,并提供了有关苏格兰政治和月经史中立法过程和关键术语的背景信息。
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引用次数: 3
Contagious Otherness: Translating Communicable Diseases in the Modern Italian and Francophone Novel 传染性异性:翻译现代意大利语和法语小说中的传染病
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-10-28 DOI: 10.16995/olh.4714
Marta Arnaldi
The words contagion ('to touch together') and translation ('to carry across') share a common course of action and meaning, i.e. that of breaking what 'should be joined or joining [what] should be separate' (Douglas, 1996: 113). In a continuous yet imperceptible way, ideas of risk, corruption and error have been attached as much to the transfer of texts, beliefs and theories as to the spread of diseases. Our immune system fight against outsiders, just like national cultures can shield themselves from the foreign. Yet, if we have come to accept that contagion can be understood as a 'foundational concept in the study of [literature], of religion and of society' (Wald, 2007: 2), translation's epidemiological dimensions have remained relatively unexplored. What do the art of translation and epidemiological science have in common, and how can they inform one another? Why is contagion culturally valuable, but physiologically destructive? How can translation theory contribute to the shaping of a novel, biocultural epistemology of contagion? This essay aims to address these questions by shedding light onto the implicit and understudied translation-contagion link. It offers the first comparative analysis of its kind covering three centuries (nineteenth century-present), two languages (French and Italian), and four contagious diseases (plague, smallpox, Ebola and Aids). It provides an interdisciplinary model to approach the study of literature and epidemiology in a synergic, non-exclusive way, one that is based on the double mobilisation, or 'entanglement' (Whitehead et al., 2016), of literary and medical knowledge. 
传染(“一起接触”)和翻译(“跨越”)这两个词有着共同的行为过程和意义,即打破“应该结合的东西”或将“应该分开的东西”结合起来(Douglas, 1996: 113)。风险、腐败和错误的概念一直以一种持续但难以察觉的方式与文本、信仰和理论的传播联系在一起,就像疾病的传播一样。我们的免疫系统会对抗外来者,就像民族文化可以保护自己不受外来文化的侵害一样。然而,如果我们已经接受传染可以被理解为“[文学]、宗教和社会研究中的基本概念”(Wald, 2007: 2),那么翻译的流行病学维度仍然相对未被探索。翻译艺术和流行病学有什么共同之处,它们如何相互交流?为什么传染病在文化上是有价值的,但在生理上却是破坏性的?翻译理论如何有助于形成一种新颖的、生物文化的传染认识论?本文旨在通过揭示翻译-传染的隐含和未充分研究的联系来解决这些问题。它首次提供了涵盖三个世纪(19世纪至今)、两种语言(法语和意大利语)和四种传染病(瘟疫、天花、埃博拉和艾滋病)的比较分析。它提供了一个跨学科的模式,以一种协同的、非排他性的方式来研究文学和流行病学,这种模式基于文学和医学知识的双重动员或“纠缠”(Whitehead et al., 2016)。
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引用次数: 0
Meaning after Humanism? On Reading in Ruins 人道主义之后的意义?废墟中的阅读
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-10-21 DOI: 10.16995/olh.7936
J. Hoydis, R. Bartosch
Introduction to OLH Special Collection Reading in Ruins Exploring Posthumanist Narrative Studies
OLH废墟特藏阅读导论——探索后人文主义叙事研究
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引用次数: 0
In the Beginning There Were Dragon(cillo)s: Using Shadow Puppetry to Engage Young Audiences 一开始有龙:用皮影戏吸引年轻观众
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-09-27 DOI: 10.16995/olh.4791
Esther Fernández, Jason Yancey, J. Wade, Jared S. White
Dragoncillo Puppet Troupe was established in 2018 by Esther Fernández, Jonathan Wade, Jared White, and Jason Yancey. The troupe grew out of a staging of The Fabulous Johnny Frog at the 2018 Association for Hispanic and Classical Theater’s (AHCT) yearly symposium. This work, adapted by Yancey, focuses on the controversial Juan Rana protagonist and was designed as an outreach initiative to bring early modern Spanish theater to schools using shadow puppetry. In 2019, Yancey created a new performance based on two entremeses written by Francisco de Quevedo, Siglo de Oro Drama Festival and their community partners This essay illustrates how the Dragoncillo Puppet Troupe was conceived and developed over the span of two years with the goal of introducing early modern Hispanic literature and culture to diverse audiences across the United States while at the same time reaffirming that played a significant role in the cultural, social, and religious life of sixteenth- and seventeenth-century Spain.
Dragoncillo木偶剧团成立于2018年,由Esther Fernández、Jonathan Wade、Jared White和Jason Yancey组成。该剧团是在2018年西班牙裔和古典戏剧协会(AHCT)年度研讨会上演出《神话般的约翰尼青蛙》的基础上发展起来的。这部作品由Yancey改编,主要关注有争议的主角Juan Rana,并被设计为一项推广倡议,将早期现代西班牙戏剧引入学校,使用皮影戏。2019年,扬西根据弗朗西斯科·德·克维多、西格洛·德·奥罗戏剧节及其社区合作伙伴撰写的两篇极端作品创作了一场新演出。这篇文章阐述了龙西罗木偶剧团是如何在两年的时间里构思和发展起来的,目的是向美国各地的不同观众介绍早期现代西班牙文学和文化,同时重申它在文化、社会、以及16和17世纪西班牙的宗教生活。
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引用次数: 0
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