Hypnosis Training Proposal
The knowledge and experience of over 100 years of hypnosis from best professionals in the field, distilled into 7 days of intensive training.
How To Excel Under The Pressure Of Tough Boardroom QuestionsAnettGrant
One of the key skills executives have to master at board meetings is answering the question the way it was asked.
Executives have to avoid the temptation to use the board members’ questions as a springboard to a discussion of what
they think about an issue, providing background, context, and other peripheral analysis.
My name is Ross Brier and I have been in the graphic design field for 5 years. From advertising collateral and packaging design to website production and animation, my range of skills make me a great candidate for a wide range of projects. With ambition to learn new skills and a great attitude, I can be a valuable utility player for any team.
CIHC #IPChat 101 - Canadian Interprofessional Health CollaborativeSean Cranbury
This slideshow has been created to help newcomers to twitter understand some of the terminology and logic behind things like hashtags and tweetchats.
As the Canadian Interprofessional Health Collaborative continues to develop its Social Media Strategy more of these walk-throughs will appear.
It is important that, as early-adopters, we take the opportunity to help others use and understand these tools so that they can then participate and begin to lead the discussion.
#IPChat is a tweetchat that focuses on issues relating to #interprofessional #collaboration and #healthcare.
Please join us!
The document discusses different politeness strategies when making requests. The "say nothing approach" involves not directly asking and hoping the other person offers help. The "off record" strategy uses indirect hints rather than a direct request. The "bald on record" approach directly asks for something using commands. The "on record" strategy also directly asks but softens the request with politeness markers like "please" or question forms to reduce the chance of refusal. Direct commands are most likely to be refused while indirect hints are least likely, but direct requests can be appropriate in emergencies or certain social contexts.
Politeness theory asserts that individuals use politeness strategies to save face in social interactions. There are two types of politeness - negative politeness, which minimizes imposition on others, and positive politeness, which builds solidarity. A real estate agent discussed how she uses strategies like silence, acknowledgement, humor and boundary-setting to politely handle complaints, requests and other face-threatening acts from clients in order to maintain relationships. Politeness is important in many social contexts to avoid embarrassing or pressuring others.
This document discusses theories of politeness from a socio-pragmatic perspective. It outlines Brown and Levinson's influential theory of politeness from 1978, which proposes that politeness arises from people's desire to protect each other's "face" or public self-image. Brown and Levinson identify two types of face - positive face, which is the desire to be approved of, and negative face, which is the desire to not be imposed on. They suggest politeness strategies like indirect speech acts that mitigate potential threats to another's face. The document also reviews other approaches to politeness including social norm, conversational contact, and maxims approaches.
The document discusses politeness and defines it as actions taken to counteract face-threatening acts. It summarizes Brown and Levinson's politeness theory, which is based on the concept of "face" or social identity. The theory outlines two types of face - negative and positive - and describes four politeness strategies - bald on-record, positive politeness, negative politeness, and off-record language. It also discusses Accommodation Theory and how convergence and divergence relate to social differences. Finally, it notes some gender differences in how politeness is expressed.
This document discusses the concept of politeness in language. It begins by defining politeness as having good manners and respect for others. It then addresses some challenges in studying politeness across cultures, noting that apologies or requests can have different meanings. Politeness is used to prevent threats to one's public self-image. Levinson's strategies of politeness are outlined, including positive politeness to connect with others and negative politeness to respect independence. The relationship between linguistic forms and politeness is explored, with references provided for further reading.
Hypnosis Training Proposal
The knowledge and experience of over 100 years of hypnosis from best professionals in the field, distilled into 7 days of intensive training.
How To Excel Under The Pressure Of Tough Boardroom QuestionsAnettGrant
One of the key skills executives have to master at board meetings is answering the question the way it was asked.
Executives have to avoid the temptation to use the board members’ questions as a springboard to a discussion of what
they think about an issue, providing background, context, and other peripheral analysis.
My name is Ross Brier and I have been in the graphic design field for 5 years. From advertising collateral and packaging design to website production and animation, my range of skills make me a great candidate for a wide range of projects. With ambition to learn new skills and a great attitude, I can be a valuable utility player for any team.
CIHC #IPChat 101 - Canadian Interprofessional Health CollaborativeSean Cranbury
This slideshow has been created to help newcomers to twitter understand some of the terminology and logic behind things like hashtags and tweetchats.
As the Canadian Interprofessional Health Collaborative continues to develop its Social Media Strategy more of these walk-throughs will appear.
It is important that, as early-adopters, we take the opportunity to help others use and understand these tools so that they can then participate and begin to lead the discussion.
#IPChat is a tweetchat that focuses on issues relating to #interprofessional #collaboration and #healthcare.
Please join us!
The document discusses different politeness strategies when making requests. The "say nothing approach" involves not directly asking and hoping the other person offers help. The "off record" strategy uses indirect hints rather than a direct request. The "bald on record" approach directly asks for something using commands. The "on record" strategy also directly asks but softens the request with politeness markers like "please" or question forms to reduce the chance of refusal. Direct commands are most likely to be refused while indirect hints are least likely, but direct requests can be appropriate in emergencies or certain social contexts.
Politeness theory asserts that individuals use politeness strategies to save face in social interactions. There are two types of politeness - negative politeness, which minimizes imposition on others, and positive politeness, which builds solidarity. A real estate agent discussed how she uses strategies like silence, acknowledgement, humor and boundary-setting to politely handle complaints, requests and other face-threatening acts from clients in order to maintain relationships. Politeness is important in many social contexts to avoid embarrassing or pressuring others.
This document discusses theories of politeness from a socio-pragmatic perspective. It outlines Brown and Levinson's influential theory of politeness from 1978, which proposes that politeness arises from people's desire to protect each other's "face" or public self-image. Brown and Levinson identify two types of face - positive face, which is the desire to be approved of, and negative face, which is the desire to not be imposed on. They suggest politeness strategies like indirect speech acts that mitigate potential threats to another's face. The document also reviews other approaches to politeness including social norm, conversational contact, and maxims approaches.
The document discusses politeness and defines it as actions taken to counteract face-threatening acts. It summarizes Brown and Levinson's politeness theory, which is based on the concept of "face" or social identity. The theory outlines two types of face - negative and positive - and describes four politeness strategies - bald on-record, positive politeness, negative politeness, and off-record language. It also discusses Accommodation Theory and how convergence and divergence relate to social differences. Finally, it notes some gender differences in how politeness is expressed.
This document discusses the concept of politeness in language. It begins by defining politeness as having good manners and respect for others. It then addresses some challenges in studying politeness across cultures, noting that apologies or requests can have different meanings. Politeness is used to prevent threats to one's public self-image. Levinson's strategies of politeness are outlined, including positive politeness to connect with others and negative politeness to respect independence. The relationship between linguistic forms and politeness is explored, with references provided for further reading.
This document provides information about fiction, including its definition, main types, and elements. It defines fiction as writing based on an author's imagination that can include talking animals, people with impossible abilities, and events that could happen. The main types of fiction are described as short stories, novellas, and novels, defined by their typical length. Elements of fiction discussed include setting, characters, plot, conflict, climax, and resolution. Various ways of teaching fiction to students, such as using story maps, plot diagrams, and story pairs are also presented.
This document analyzes representations of academia and modes of learning in the video game Skyrim. It discusses how magic serves as a metaphor for knowledge, explores themes of institutional anxiety surrounding academia, and examines different modes of learning portrayed in the game, including lectures, books/print, and experiential learning. The document was written by Megan K. Mize of Old Dominion University.
This document discusses the concepts of "reading" and "throwing shade" within drag culture. "Reading" refers to insulting others by critiquing their physical appearance and perceived gender performance. "Throwing shade" is a more subtle form that requires nuanced interpretation. Both serve to reinforce group norms and boundaries while also building community through playful humor and competition. The document analyzes how drag terminology and the rhetoric of reading/shade can confirm gender stereotypes while simultaneously challenging heteronormative discourses from within the subculture.
Deadly Desires: The Uncanny, The Abject, and Gender in CarmillaMegan Mize
This document discusses the Gothic concepts of the uncanny and the abject in Joseph Sheridan Le Fanu's 1872 novella "Carmilla". It explores how the story uses these concepts to represent repressed desires and anxieties surrounding themes of incest, molestation, female homosexuality, and gender roles. Additionally, it examines how Laura's first-person narrative brings to light elements of the story that would otherwise remain concealed and allows for a cathartic experience by immersing the reader in the abject. Key sources discussed include Freud's theory of the uncanny and Kristeva's work on the abject.
The document discusses how humor promotes community building and the exchange of ideas online, allowing for fluid constructions of identity and creativity. It examines how different forms of humor online signal perceived spaces and how shared humor suggests shared group values. The document also questions how digital experiences are changing humor, how online humor aids in constructing multiple identities, and how anonymity can paradoxically increase a sense of belonging to a group.
This presentation briefly explores the intersection of 19th century etiquette texts, fashion, and social performance as explored in Eliot's Mill on the Floss.
This document outlines a proposed course on the fantasy genre for lower level literature students. It begins by discussing issues with traditional lecture-based models and the use of strict literary periods. The proposed course would use genre as an organizing principle and examine both classic and contemporary fantasy texts through genre theories. Students would analyze patterns in the genre while also producing creative works. The document provides learning goals and discusses several pedagogical influences and genre theorists that would guide the course. It outlines the curriculum, including topics, texts, and assessments that would encourage active engagement with the evolution of the fantasy genre.
1. Sv g ae
ain Fc:
P l nsS a g s Pe R v w
o ees t t ie in er eie s
it re
P l nsS a g s Pe R v w
o ees t t ie in er eie s
it re
Mgn . M e
ea K iz
ODU
2. N gttgh
eoia t
in e
G aut
r a
d e
Eprne
xe c
ie
G aut
r a
d e
Eprne
xe c
ie Editing.
Pe r ie f c n a a
ere wu t s s
v n io
f e het in atit
a t a n gc y
c r e iv
(T )
FA:
scln po s nl
oiaad rf s a
e io
3. W ais ae
ht “Fc”?
• “Fc ish pb sl ae ht vrmme wn t cimo h sl ( rw ad
ae t ul e- g t ee e br at o l f ime” Bo n n
e ic f im a y s a r f
Lv sn 1
eino 6)
• “T e eoia d ul img, mt l g n d ah t r y a ic atin cm uicte
h ngtt pb
e ic ae u a r t ec oh b pr ipn a o mn a
ul a e
y e t s iv
eet( cln 5.
vn Soo 4)
” l
• “Smt ght e oioa inet , ad hta b l t a t e, o ehne, ad
o e in t is m tnl vs d n t cn eo , min ind r nacd n
h a ly e a s a
msb cnt t aedd o in r tn ( rw ad eino 6)
ut e os ny t ne t in t a io” Bo n n Lv sn 6.
al t ec
4. P l nsSs m
o ees y e s
it t
“Ie e oaP l nsad o e R n n Szne cln
n r r nlo ees n P wr o ad uan Soo
tp s it ”: l
• “Ie e oaP l nsad o e R n n Szne cln
n r r nlo ees n P wr o ad uan Soo
tp s it ”: l
• I n y osutn it a
d t cnt c wh
e it r io in
pr u rit tn e r ind
a icl su io dt m e
t a a e
b p wr is nead
y o e d t c, n
, a
wigt f p sio.
e h o imoitn
• T r cm o p l ns
he o m n o ees
e it
s t s e r c, sla y
y e : df e e o r ,
sm en id it
ad ie r a
n h rc l
a h.
5. P l nsin er eie
o ees Pe R v w
it
“C ml etad o ees Pe r ie T x ”: D na
o p n n P l nsin ere w et on
im s it - v s
J no
o sn
h
“C ml etad o ees Pe r ie T x ”: D na
o p n n P l nsin ere w et on
im s it - v s
J no
o sn
h
• “T e t pr nl liosip e en h
h in re oara nh bt e t
e s et w e
r ie e ad h r ie e sog inune hw
e wrn t e wd t nl fecs o
v e v r y l
aeie is rt ” ( 1.
r w w e 5)
v it n
• D t c is cn af tr h c srh r ie e
is ne a et l c : t l e t e wr
a r ao e o e v
t t w e t m r l lt teie e isory
o h r r h oeik yh r wr t e
e it , e e a v l
o cml etad o e et e in riqe
n o p n n p l gs r c u.
im s it u s it
• “Ie e oaga in rin bcm jts
n r r nlol w g eo eu a
tp s s it s
imot ts se o sbt te ot t( 1.
p r n a is s fus n cn n 5)
a u a iv e”
• T u, t cml et eo e ao l aeal
hs h o p n bcms tot t nb s
e im h e
clausoc iqe n aohr wrwil
oege t r u oe nt ’s ok he
l it e
min in g p siv r p r
a t in a oite a ot
a p .
6. CsS d
a ty
e u
* A t lt etN t ic r
c aS dn o P t e
u u s ud
Ia a s d ino in f rr ut s dn , oe a
n cs t y vl go g da t et n my
eu v u a eu s
wnst wy t pr nlya ic inune t ir
it sh a in re oadnm s fecsh
e e e s l e
r p ne. T e eie seelae s wic s dn
e oss h r w r apt r in h h t et
s v v tn u s
epese- ob ad er a n s mas fo ein
xr sl utn dpe t a a en o sfn g
s f d c io t
t m r c iclseto t irep ne
h oe r aa c fh r os.
e it p s e s
7. Pio t t R v wIrdcoy
r ro h eie : n outr
e t
C m et
o mns
• S dn A “T ak o omc f t in t t e o
t et : hn yu
u s uho a gh im t
rk e
t t s ghog m nt ”
r o l t uh y oe
y o r s
• S dn B“W lo bt r ro wr t is ht
t et :
u e f e e o f os h waI
lr t r e is
hv… Pro t uf il t oy th bg n g
ae a n h n mia h rat einin,
d e a re e
bt o e l Ixl itl r eog, ad nt
u hpfl ep in c ay nuh n ifo I
uy a el
ne t ko t to .”
ed o nwh to
a
• S dn C “Al h l ie, I ad g y rt it
t et : ligta s'm din m da wh
u r , d f
t g a srut c, bt s p cn bat wr
h r t te c ne u Iiml a't ero ok
e ee l a y
o itnm r tdy Io e hth s ghog m
n ay oe o a… hp t t l t uh y
a eo r
ppr n topin l
ae is'to a f.”
u
• S dn D “I il r wr yu lt is V R ruh
t et : wl e a o a h a E Y og
u p- n l is
,
da ad aof la a itee iv”
rtn Il e Im b r t e
f s e p it
8. a T I T GcIQU
N IP I R I E
CA N T
• B ako l g ghir ae a fwdt
y cnw din t ppr r l e, h
e e s ea e
s dn p s a hml ko l gb , ad
t et oe s u b , nw dal n
u s e e e
vl r l
ue b.
n ae
• A inprpia r p ne oay n o
n apo rt e os t n oe f
e s
t s p s wu b t s t ueu oa
h e ot ol e o te nqivcl
e s d a ly
t th r ie e ws or t hr rinl
h t e we a cr cin e oig a
a e v e
cim hth ppr a fwd
l t t ae wsl e.
a a e a
• “Ld s a eotodc a t d t c
aie”: n frt er s h is ne
f ee e a
bten h pr ipn b iml gh
e e t a ic at y p in t
w e t s y e
s dn a pro a idn ialg u.
t et r a fn et b r p
u se t if e o
• Sc cm etdm nt t ino e et
uh o mn e osa vl mn
s re v ,
c a g prl p sio f t r ie e
r t a a lloitno h e wr
e in ae re v ,
mk g e apals oetl r t in
ain hrper sp t iat e e g
e n h an
t t w e fe
oh r r a .
e it ’s c
9. “Op nlAsn et
t a s mn
io ” ig
• S dn epes r it eo t ohr
t et xr g t d f h t s
u s s au r e e’
pr iptnp s rg shuh h
a ic a , ot in a t g t
t io u o e
a igmn ws n p nlc it
s n et a a o t aat y
s io iv .
• A ko l gs e h o imoitn
cnw de wigt f p sio.
e
• S dn r w e h a igmn in e s f
t et e r t s n et t m o
u s - it e s r
clglxhnet r y c a gh
oeiaecag, h e inr s t
l eb e in e
l lo d f oe o hta d n dt e
ik iho o m r spis t ad e il
e ic e ad
r p ne.
e oss
s
• T e ereie isc t a a u a
h pe r w s ip d s mt l
v re uly
ar d p n nevr e en a e ad
g e uo edao bt e vl d n
e w u
r pc drns
e et f d.
s e ie
10. “T is G et u
h is r , bt
a ...”
• Pt r: FA a sfnd it cml et
ae T s r o ee wh o p n
tn e t im s
r a in t wra a hl a wl se-
e r gh ok s wo , s e a sl
gd e e l f
dpea n n b m.
er t ad l e
c io a
• “G o nw bd e s ain”
o d e s a nw pirg
/
• S dn C r p ne oA “Ie e br a
t et ’se os t : r me d
u s m e
b le hto hd c pe yu oig a
it t t yu a s apd or rinl
a a r
apoc, s f ge y o mn
prah o o iv m cm et
r s
r e nin t po oasek I
e r c gh rp s pa…
fe e l
pr u r l t e pa o t
a icll ik h mhs n h
t ay e e is e
iniv ul d xe ne S dn Csn
d ida e epr c...” t et igs
iz ie u
t p s“aa o yu wr
h ot f for ok
e n .”
• S dn B “Iel t k o’r a d in
t et : r l h yue r o g
u a in
y e
smt g e in r tg H p [ h
o e in vr t e in! o e t
h y es e
f dakhl ”
e bc] e s
e p
11. D min wh
a n g it
G et r e
r Pa
a is
D n Bl e sget “T e oe a n gh
iae e hrugs, h m r dmin t
c s e
in ne c icmt m r et vgn t
t dd r is , h oe x aaath
e it e r e
pe trpae il e ( 4)
r a y r wl ” 17.
fo is b
S dn A
t et :
u
“I in yue f o n wsm s r
t k o'r o t a a eo e t t
h f a
hr
e !...Ovrl t k o'r o t rh t c,
e e lI in yue n h igtr k
a h
, e a
jt ab wro yu t nitn bten
u mye ok n orr sios e e
s a w
sn ne ad r a g ps A f a yu
et cs n/ pr r h… sa s or
e o aa r
tp -I in yu e o a o m e f a rl
o ic t k o'v gt gl in o mt ia
h d e
t wrwhbt l wh y ae a wl
o ok it u - ik it m pprs e
, e l
-yu ed ojthoe or al
o ne t sco s yu bt s
u te
cr uy n mk sr yu ic t bso t -
a flad ae ue o p kh et fh
el e - - e
bso p in t e c a o!”
et fo t o l idt n
s u e
12. G o N w Bd e s
od e s a N w
/
• S dn B“W w t is mitu ad
t et :
u o … h a bios n
is
imr seI e o yu r t in t ad o
pe iv. l hw o a r go d t
s ik ey
t t oe ahr M olt uh is
h h r icle . y n h gt
e e t e y o
mye e ed b m r o a in oa t
ab w ne a it oe f n t so
r
wyh is nee o hlut g e r
h t a edd r e f h bf e
is p l in o
yuu p .”
o j in
m
• S dn C “Lv t imgr bto oe
t et : oe h ae , u yu fr
u e y f
toaa g s th ed fah fh lt
w nl ie at n o ec o t a
o e es
tosn ne.”
w et cs
e
• Ec r ie e cnl e t ireie wh
ah e wroc dsh r w it
v u e v
s il sn et p in go a syo
ima et n , o t twr t s
r im s in d p
ad r mr r rwh ofec, t n
n g m ae os it cn ne h
a r id e
r r sghtriqe it t cim ht
e e in t c u wh h l t
ds a it ea a
t da so s rm e
h rthw po is.
e f
13. “I Sr I J t e
’m uet u M...”
’s s
D inhd is ne
im ise D t c
a
S dn B oS dn C
t et t t et :
u u
“Iantl in n wyht y r isuc n g
cno cim ay a t m ba f t in
a a in n io
aitnr acpcyIm t ehut !!!! S t e ht
t s omlaait a slxas d o a wa
. il e k
Ia wh y im ise cpcy m d n f le t
s it m d inhd aaitin in ade f e o
y er
a f ay lifa n.”
s o n cr t s
k r a ic io
S dn C t S dn B ppr
t et ’so t et ’s ae
u u :
“Y u ppr d in sm vrspis a d nlis
or ae is o g o e e o ht t aas,
y ic e y
ad a hlm p ne m o n prahA wh h
n my e e odr y w apoc. s it t
p e
ohr Ie de sm eitg ugs n, bthye
t s'v add o e din sget s u t 'r
e, io e
t sro t g o'd ae agt n or w in h
h ot fh yu hv cuh o yu o n t
e in e
ed
n.”
14. “T is a jt e es t e h wh hg g in fa”
h myu b m, o a t it a ue r o st
s k is a l
“…t myut e df et rin s lt t a ntcutmd omsls Iolb vr
h a j b a ifr w g te h Im o acs e t y f o cu e e
is s e n it y a o e, d y
o bs”
fa
f e
“MnI qetn g y le ad igt e ”
a, ’m us in msf f n rh hr
io e lt e
“I ao cn atn s in f mlae sr t cm t ce is o in ot “Sr I
’d vid ot c ue ao appr or h o p e hr cm g u or ’m
r io r - y e a ,” y
a in s mn qetn,” ad h m h jt e e
s g o ay us s n “…t igt sb m…”
k io is u
“Y u e o a in r tg t t oe d o e din sgetn, wic my e oe eete
o'v gtn t e in s r Ifr sm eitg ugs s h h a b m r r l iv
es a. fe io fc
o m s l wic I tlis l tn o - co loyu a t e o l v it
f y te h h'm o e isad ls os o cn a it r ae ”
y, d it d h k e
15. W e P l ns
hn o ees
it
Eee
mr s
g
R grin sein o ca n
ea g pl g ritios
d l t
e os ocp t tr
r r cnet h a
r , s a e
idn ie a “cr c o
et d s or t r
if e”
“inor t s dn d nt
cr c t et id o
e ,” u s
qayhirriqe.
ul t c us
if e it
T e eie e t d t qay
h r wre so ul
v n if
cm eto a uj te
o mn n sb c
s e iv
cnet uh ste r
ocp sc a s lo
, y
ido g, po c g o e
el y rj t sm
o e in
dfiec ot hr lwr g
e ny n e e, ok
ic o sf in
t peet a ae ot
o r n dmg t h
v e
pr ipn ’ r p r
a ic at a ot
t s p .
16. “I M, nto” P s rg
t e o yu ot in:
’s u
V l r lw e , C u u R v wr
u e b r r at s eie e
n a e it s io s
• A pr t c o sl ofec is o pr ivd s u et b t s dn .
pa n lk fe cn ne nt e e e a at n yh t et
e a f id c h ic eu s
• S dn p s r a usr yt ae h cm et y , inictghthy oblv it a
t et ot e s nue e l v t o mn rin d a t t d e e hs
u s u , e e a in a e ie
vl ; t w e l ld e nt is ist r ie e cm et y s e gh cu u r b g
a e h r r e os o d m sh e wr o mn ra bin t at sa l s
u e it ik y e v ’s a e io m in
o a ineue d ida
fn scr iniv ul.
• P s r is n x nio o t oig ap s a u e in h pe trcm et in h h h
ot e a et s n fh rinloe s md t r a y o mn , wic t
u e e s e fo s e
s dn a vl r lw e .
t et r u e b r r
u s e n a e it s
• A cu u r ie e , t s dn ao apa g vr cn et eg ghirricm sc
s at se wr h t et vid per oey of n hdin t c is in uh
io v s eu s in l id , e it
a a t t t ohrt et is r d ro k fnet in re oacnetn olnt
wyh if e t s dn d a e o to oes, h t pr nlonc wu o
a h e u ge f e e s io d
b dmgd
e a ae.
• Solw e sold ar wh h r ie e sgetn, t r ie e ao sh
hu r rhu is e it t e wr ugs s h e wrvid t
d it d ge e v ’s io e v e
e br s et fperg vry s r e b u t d pt sgetn
ma a mn o apa oe la e iv aoth isu d ugs .
rs in t st e e io
17. Fr e
ut r
h
Qus n
et s
io
H w a t sa d t t y mr d
o hsh hr sa g e e e?
is e r e g
W e d s dn l r it
hr o t et e n ?
e u sa
Iit os lt te- er a n a
s p s e h sl pe t is
ib a f d c io
gne d o eest t y
edr p l nssa g?
e it re
It sa g sa d c sclr ?
sh t t y hr ar s uue
is r e e o t s
W u it a ae h ra nh
ol dmg t e t sip
d e lio
bten a ic atf m ifr t
e e pr ipn r df e
w t so en
clr , epcl if n pr ipn
uue seia oe a ic at
t s l
y t
to t cu u p s r af e
o kh at s ot e t c
e io u a
vl ?
ae
u
18. S nicne
igifac
A int c r b ako l g g uh es n ad h wy
s sut s y cnw din sc t ios n t as
r o, e n e
s dn nva t mw myt e olsn h p t tl
t et aigt h , e a siv t e e t oe ia
u s e e r s e n
t et r tg n cdm evomn t t nb s oe
h a c a a aae ic nirn eth eal m r
r , e in a e
eete ereie s ml lcn x adee.
fc pe r w in uip ot t n l l
f iv v te e s vs
19. Pe R v w
er eie :
S dn ’ Pe y ae
t et r tFcs
u s t
S dn ’ Pe y ae
t et r tFcs
u s t