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The Map is not the Territory: Problematizing
Content and Designing Learning Itineraries
Mg. Mariano Quinterno
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The Map is not the Territory: Problematizing
Content and Designing Learning Itineraries
Mg. Mariano Quinterno
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The map versus the territory
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The Map is not the Territory: Problematizing
Content and Designing Learning Itineraries
Mg. Mariano Quinterno
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The Map is not the Territory: Problematizing
Content and Designing Learning Itineraries
Mg. Mariano Quinterno
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THREE MAPS WHICH ARE FAR
FROM REPRESENTING THE TERRITORY
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Scientific Knowledge versus
Pedagogised Content
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What is the OBJECT OF STUDY in our discipline?
LANGUAGE (as a medium of communication)
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How do we go…
from expertknowledge
to learnableknowledge?
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Any teaching practice of an objectof study presupposes thetransformation of said object into ateachable object.
Verret, 1975: 140
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The transition from knowledgeregarded as a tool to be put to use, toknowledge as something to be taughtand learnt, is precisely what I havetermed the didactic transposition ofknowledge.
Chevallard, 1988:4
Didactic transposition
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Bodies of knowledge are, with afew exceptions, not designed to betaught, but to be used. To teach abody of knowledge is thus a highlyartificial enterprise.
Chevallard, 1989: 56
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How do you represent the ideas of a subject and theways they are connected with one another so thatstudents do not fall into one of the three pathologiesof learning: amnesia, fantasia, and inertia?
Amnesia is forgetting. It occurs when information hasnot been learned in memorable, usable ways.
Fantasia occurs when students end up with amisconception or a set of misconceptions about theideas taught; they have a distorted grasp of aconcept.
Inertia is the absence of transfer, where studentsunderstand the ideas, but cannot apply them outsideof the immediate context in which they learned them.
Shulman, 2001 in Darling-Hammond et al, 2003:179
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The didactic transposition impliesa textualisation of knowledge, as well asa depersonalisation, thus producing anobjectification possible to be madepublic and to form a basis for socialcontrol of the learners by developingsystems for testing.
Chevallard, 19991 in Bergnsten et al, 2010:59
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TO TEXTUALISE
TO DECONTEXTUALISE
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THREE MAPS WHICH ARE FAR
FROM REPRESENTING THE TERRITORY
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The (Sterile) Classroomversus
Diverse Classrooms
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Kumaravadivelu (1999: 479) believes that the text is less important than the processes of engaging with the text: “In the context of the ESL classroom, as in any other educational context, what makes a text critical has less to do with the way its content is constructed by the author (though it surely matters) than the way it is deconstructed by the teacher and the learner.”
Thornbury, 2012:1
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To this end, learners may need to be taught howto interrogate a text, how to engage in “criticalreading” (Wallace, 1992), and how toproblematize both the overt and the covertcultural, political and gendered messages of thetext.
Thornbury, 2012:1
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“…decisions that practitioners make inside theclassroom both shape and are shaped by thesocial order outside the classroom. Pedagogicalchoices about curriculum development,content, materials, classroom processes, andlanguage use, although appearing to beinformed by apolitical professionalconsiderations, are, in fact, inherentlyideological in nature, with significantimplications for learners’ socioeconomic roles.”
Auerbach, 1995:9
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THREE MAPS WHICH ARE FAR
FROM REPRESENTING THE TERRITORY
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Ideal Plansversus
Flexible Plans
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What my lesson is like when I plan it
What my lesson is like when I actually
teach it
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Can expectations and classroom experience ever be
reconciled?
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Planning is a dynamic process
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Curriculum as a dynamic system
(adapted from Graves, 2006)
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TOPICS &
CONTENTSMy town
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Example of a Teaching Sequence
A1+
YOUNG LEARNERS
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My bedroom
A1+
YOUNG LEARNERS
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Do all children have what they want?
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READING
RELAY READING: Read and remember as much as you can. Then, come back to your desk and match.
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8 MILLION
A LOT OF CHILDREN
FACUNDO
SOUP KITCHENS
VOLUNTEERS
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VOCABULARY
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INTRODUCTION VOCABULARY
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RECOGNITION
Andy cannot find his toys.When the teacher names a toy,help Andy find it in theclassroom.
VOCABULARY
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PRODUCTION
ANDY’S TOYS: Watch the movieclip. How many toys can you seeand remember?
VOCABULARY
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ANDY’S TOYS: Watch the movieclip. How many toys can you seeand remember?
VOCABULARY
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LISTENING
You've got a ___________ in meYou've got a ___________ in meWhen the ___________ looks rough aheadAnd you're miles and miles from your nice warm _______You just remember what your old __________ saidBoy, you've got a ___________ in meYeah, you've got a ___________ in me
You've got a ___________ in meYou've got a ___________ in meYou’ve got troubles, and I’ve got them tooThere isn't anything I wouldn't do for youWe stick ____________, we can see it through'Cause you've got a ____________ in meYeah, you've got a ______________ in me
PAL BEDFRIEND
ROAD TOGETHER
Complete the spaces with thewords in the box.
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SPEAKING
MY BEDROOM, MY TOYS
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VIEWING
PRE-VIEWING: Why is Chillie sad?
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VIEWING: Answer these questions.
What is the problem with Chillie?
When does Chillie feel…
sad?
scared?
happy?
thankful?
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MY PARENTS’ GAMES
SPEAKING
CLASS DISCUSSION: Is old bad?
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What do we do with what we do not use any more?
SPEAKING
CLASS DISCUSSION: Is old bad?
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VOCABULARY
INTRODUCTION
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RECOGNITION
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PRODUCTION
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WRITING
A RECYCLING LEAFLET: Design a leaflet sothat other members of the school and yourfamily know where to recycle differentelements.
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WHERE CAN YOU RECYCLE?
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Watch the following clip and match:
VIEWING
Andy is… ... evil.
Bullseye is... ... the coolest toy.
Rex is… ... in love.
Mr and Mrs Potato Head are... ... from Pizza Planet.
Slinky is... ... going away.
Hamm is... ... Jessie’s best pal.
The three aliens are... ... loyal.
Buzz Lightyear is... ... terrifying.
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SPEAKING
SHARING TOYS: Choose a toy / toys youwould like to donate to other children.Prepare a presentation about that toy andwhy you want to donate it.
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Example of a Teaching Sequence
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PLANNING
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Problematize
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Problem-posing education bases itself oncreativity and stimulates true reflection andaction upon reality, thereby responding to thevocation of persons as beings who areauthentic only when engaged in inquiry andcreative transformation.”
(Freire, 1970:83-84)
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TOPICS &
CONTENTSMy
bedroom
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TROUBLE
EDUCATION AS DISRUPTIVE
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Trouble can be regarded as the elementthat sparks our students’ curiosity, theirmotivation to carry out action. […] Whenwe learn about something, we are driven bythe need, the curiosity or the interest tounderstand something about the topic.
(Casamassima, 2017: 70-71)
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In a plan, Trouble will be included throughquestions about the topic. These questionswill aim to guide the students in theirunderstanding of the topic, will signpost anin-depth processing of the unit, and willtrigger off tasks to explore the topic.
(Casamassima, 2017: 70-71)
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HERE
NOW
Temporal axis
Spatialaxis
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ProblematizeSelect &
Sequence
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Grammar is a weak linker
Is it thematically connected?
THE BIG FIVE
Is it linguistically exploitable?
Is it age / level appropriate?
Is it (inter)culturally enriching?
Is it educationally fruitful?
SELECTING TASKS / MATERIAL
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GRADING
SEQUENCING TASKS
“Grading tasks cannot follow a precise algorithmic procedure but rather must proceed more intuitively in accordance with a general assessment of task complexity”
Ellis, 2003: 227
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DIALOGICAL CRITERIA
COGNITIVE CRITERIA
LINGUISTIC CRITERIA
GRADING CRITERIA
SEQUENCING TASKS
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LINGUISTIC CRITERIA
Grammatical complexity, length of atext, the amount of low-frequencyvocabulary, the speed of spoken texts,the explicitness of the information, thediscourse structure, the clarity withwhich this is signaled, and the genreof text.
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COGNITIVE CRITERIA
These psycholinguistic variables areconcerned with cognitive processesinvolved in the accomplishment oflanguage learning tasks: informationprovided, reasoning needed, precisionneeded, and degree of abstractness.
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DIALOGICAL CRITERIA
This indicates that tasks involving themediating role of the teacher and othermediators should precede tasksconducted without the teacher’sassistance or other mediations. (…)Tasks involving dialogues should precedethose involving monologues.
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ProblematizeSelect &
Sequence
Contextualize
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MICROCONTEXTUALIZATION
MACROCONTEXTUALIZATION
WHAT IS CONTEXTUALIZATION?
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The concept of contextualization ascurrently expressed by languageeducators (…) is better termedmicrocontextualization, since it is withinthe confines of the language and theobjectives of the classroom that thecontextualization is taking place.
Osborn 2000:115
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Macrocontextualization is the process of planning and implementing language instruction by incorporating the localpolitical, economic, and cultural factors relating to linguistic diversity with the intent of developing students’ skills in understanding the role that language plays in society.
Osborn, 2000:114
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ProblematizeSelect &
Sequence
Contextualize
Politicize
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POLITICS IS OFTEN EQUATED TO
POLITICIANS
POLITICAL PARTIES
WHY POLITICS HAS BAD PRESS
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POLITICS AS A PROCESSPolitics is the most importantform of human activitybecause it involves interactionamongst free and equalcitizens
The power of people to acttogether within a publicspace
ACTING IN CONCERT
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TOPICS &
CONTENTS
My bedroom
Do all children
have what they want
Recycling / Sharing
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Example of a Teaching Sequence
B2
LATE TEENS
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Sports
B1+LATE TEENS
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Do we need to be equal?
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Jigsaw puzzlereflection
SPEAKING
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BLIND READING:Students get intogroups of 4. Eachgroup gets 4 slips.Each student picksone, reads it and tellsthe others what it isabout. Withoutshowing the slips,they need to put thetext in order.
READING
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VOCABULARY
GO
DO
PLAY
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WRITING
SAME BUT DIFFERENT: Write about adifferently-abled sportsperson.
If you can, include this information:
Who is (s)he? How does (s)he feel about thesport (s)he practises? What is differentabout practising this sport with a certaindisability?
http://www.olimpiadaespecial.org.ar
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Publishing as part of the writing process
THE IMPORTANCE OF GOING PUBLIC
Using different media
Feedback which goes beyond language
Involving parents
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LISTENING
SIGN THE SONG: You’ll watch a girlsigning a song. Guess what song it is.
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LISTENING
You’ll listen to the song and check. Payspecial attention to the meaning of eachsign.
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I found a love for meDarling just dive right inAnd follow my leadWell I found a girl beautiful and sweet I never knew you were the someone waiting for me'Cause we were just kids when we fell in loveNot knowing what it wasI will not give you up this timeBut darling, just kiss me slow, your heart is all I ownAnd in your eyes you're holding mineBaby, I'm dancing in the dark with you between my armsBarefoot on the grass, listening to our favorite songWhen you said you looked a mess, I whispered underneath my breathBut you heard it, darling, you look perfect tonight
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SIGN TIC-TAC-TOE
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LITERATURE
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READING
Read the following poems and answer thequestions.
1. What is the relationship between the speaker and other people like in each poem?
1. What feelings are present in each poem?
1. What do these poems have in common?
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THOUGHTS OF A DEAF CHILD
My family knew that I was deafWhen I was only three. Since then, fifteen years ago,They’ve never signed to me.I know when I’m around the house,I try and use my voice.It makes them feel more comfortable.For me, I have no choice.I try, communicate their way –Uncomfortable for me.My parents wouldn’t learn to sign.Ashamed or apathy?I never cared about the sound of radios and bands;What hurts me is, I never heard My parents’ signing hands.
Stephen Bellitz
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VIEWING
Watch the video and take down notes tocomplete the following sentences.
1. Audio description is…
2. The benefits of audio description are...
3. Some of the best series with audio description are…
4. The tone of voice is important because…
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GRAMMAR
THEA/AN ZERO
SHARED INFORMATION
NEWINFORMATION
THE man wants to talk to youThere’s A man at the door
• Unique reference• +Adj. (whole
group)• Specification• Sets of
countriesmountainsislands
• Bodies of water (except for lakes)
• Abstract ideas• Generalizations• Single countries
mountainsislands
• Lakes
• Profession• Religion• Ideology• Type
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SPEAKING
AUDIO DESCRIPTION: You’ll record theaudio description of this video. Then, watchthe original and compare. Re-record theaudio description with some ideas from theoriginal.
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Record a bilingual story for the blind.Donate it to an NGO.
PRONUNCIATION
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“In terms of participation, the currentapproach to introducing citizenshiphas shifted its focus onto a series ofparticipatory actions rather than on astatic set of concepts to be dealt within the classroom without activeinvolvement. A citizen is no longerseen as a person who abides by all thelaws of a country and assumes therights and duties s/he has in society;the ideal citizen nowadays is someonewho is well informed on local andglobal issues and able to take socialresponsibility and action whenrequired.” (Rojas Serrano, 2008: 65)
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End of Teaching Sequence
à
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Given that teaching is a political act, teachers are called to learn to work from a political perspective such as this one and become the change agents our education system needs. In this sense, we need teachers who are committed to their students’ education and who do not give up the possibility to change the oppressive structures and practices we are experiencing in these neoliberal times (McInerney, 2007).
Sierra Piedrahita, 2016:214
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As this presentationis about to end, I’dlike you to think of why you decided tobecome a teacher
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Most probably, youhad a strong desireto help other people
grow and to makethe world a better
place
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As teachers, weneed to askourselves
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How can ourteaching have an
impact on thecommunity in which
we work?
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Problematizingcontent can helpour learners (and
ourselves) explore the social contextwith critical eyes
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If we allow ourstudents to become
responsible fortheir own learning
itineraries,
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We help thembecome
autonomouslearners
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We give them back their voices
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We turn ourclassroom into a
democraticarena in which
constructivedialogue is possible
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We thereforeeducate active
citizens with strongsocial
commitment
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If you think, like me, that education can (and must) change
the world…
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Let’s work hard tomake societya fairer place
to live in
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I hope you dareface the challenge
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THE END
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THANK YOU VERY MUCH!
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THANK YOU VERY MUCH!
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THANK YOU VERY MUCH!
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THANK YOU VERY MUCH!