La Araucana (The Araucaniad)
Bryce Maxey2017, The Literary Encyclopedia
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Genre: Epic, Poetry (any). Country: Spain, Spain.
Related papers
Writing on the Edge. The Poet, the Printer, and the Colonial Frontier in Ercilla's "La Araucana" (1569-1590)
'Lo más singular así como lo más recomendable que hay en La Araucana es el personaje del autor' Manuel José Quintana
"Habladme por escrito": Reception and Recent Critical Approaches to Ercilla´s La Araucana
Revista Canadiense de Estudios Hispánicos, 2020
Introductory study by Emiro Martínez Osorio and Paul Firbas on the reception and criticism of Ercilla's La Araucana (1569-2019), included in the special monographic issue of the Revista Canadiense de Estudios Hispánicos 45-1 (2020) also edited by them.
Alonso de Ercilla y Zúñiga
The Literary Encyclopedia, 2017
Poet; Soldier. Active 1569-1589 in America -South Alonso de Ercilla y Zúñiga (1533-94) is the author of La Araucana, the most widely read and imitated epic of the Spanish Golden Age. Ercilla spent nearly 30 years working on the poem's three volumes, which he published in 1569, 1578, and 1589. Composed in heroic verse, La Araucana narrates the history of colonial warfare between the Spaniards and the Araucanians, a nation of bellicose, nomadic herdsmen living in Arauco, a region in southern Chile. The poem is a hybrid masterpiece that fuses literature, history, and autobiography. Unlike his epic precursors, Ercilla participated in many of the battles that he narrated. In the construction of his poem, he blended narrative strategies and the imitation of scenes and characters from classical epic, the Italian romance, and historiography. Following in the footsteps of the Spanish Renaissance poet Garcilaso de la Vega, Ercilla combined sapientia et fortitudo, and in Part Two he claims that, during the military campaign against the Araucanians, he was "armado siempre y siempre en ordenanza, / la pluma ora en la mano, ora la lanza" [Ever armed, alert each instant, / Pen I held in hand, and spear-shaft] (2.20.24.g-h). Ercilla embodied the Renaissance ideals of the perfect soldier and courtier. The elevation of contemporary historical events to epic proportions and the poet's active participation in the warfare that he narrates render the poem daringly original.
Epics of Empire and Frontier: Alonso de Ercilla and Gaspar de Villagrá
Ethnohistory, 2017
This book studies the historical events of two epic poems written by soldier poets-Ercilla's La Araucana and Villagrá's Historia de la Nueva México-from a post-colonial perspective. The Introduction offers an interdisciplinary view of colonial history with attention to those frontier
Epics of Empire and Frontier: Alonso de Ercilla and Gaspar de Villagrá as Spanish Colonial Chroniclers
2016
This book studies the historical events of two epic poems written by soldier poets-Ercilla's La Araucana and Villagrá's Historia de la Nueva México-from a post-colonial perspective. The Introduction offers an interdisciplinary view of colonial history with attention to those frontier
The Anti-Homeric Tradition in La Araucana
Bulletin of Hispanic Studies, 2019
In this article, I argue against the claim made by various scholars that Ercilla imitates Homer's Iliad in La Araucana. I propose, to the contrary, that the Spanish poet's allusions to the story of the Trojan War derive from his familiarity with the anti-Homeric tradition stemming from Dictys's Ephemeris belli troiani and Dares's De excidio troiae historia. I suggest that these chronicles and their multiple adaptations during the Middle Ages -especially the Historia troyana polimétrica -constitute essential sources for Ercilla's prologue to Part One, the fall of the Araucanian fort in Mataquito in Cantos 13-14, and the architecture of Fitón's cave in Canto 23. Like Ercilla, Dictys and Dares construct their chronicles as historiography, claiming to have participated as eyewitnesses in the events they narrate. At times Ercilla writes from the perspective of the Spaniards, while on other occasions he describes the war from the natives' viewpoint. Through his reading of Dictys and Dares, who offer rival accounts of the Trojan war -the first pro-Trojan, the second pro-Greek -Ercilla found a model for the creation of alternating perspectives of the same historical event.
The Design of Part One of La Araucana: Doña Mencía and the Fall of Concepción
Hispania, 2018
This article underscores the importance of Canto 7 in the design of Part One as well as its significance in the overall architecture of Alonso de Ercilla's La Araucana (1569, 1578, 1589). During his depiction of Concepción's destruction, Ercilla collapses the dichotomies established in the poem's opening cantos between the masculine and the feminine, between the Spanish and the Araucanians, and between the conqueror and the invaded. The poet invites the reader to reconsider both Doña Mencía as well as Concepción's fall from overlapping, often contradictory, perspectives. Ercilla rewrites the scene on two occasions in Part One and once again in Part Two. Concepción's destruction can therefore be seen as a prototype repeated throughout La Araucana that endows the epic with greater unity and that suggests unexpected parallels through the juxtaposition of otherwise distant or unrelated episodes. The multiple reversals in Canto 7 correspond to an overarching inversion in the fortunes of warfare in Part One.
Sáez, Chiara & Vera, Antonieta (2023) Late nineteenth-century popular printed poetry in Chile and its contribution to a radical cultural theory. Journal of Iberian and Latin American Studies.
Journal of Iberian and Latin American Studies, 2023
The subject of this study is Lira Popular in Chile, printed and distributed between 1866 and 1930. It was a publication halfway between literature and journalism, constituting a “differentiated and autonomous communicational practice” that can be considered a primary source through which to know the world visions and representations of the popular sectors in Chile at the turn of the century, beyond distinction worker – massive. The majority research in this area is one-dimensional studies conducted in response to questions the researchers themselves have prioritized. Instead, the question driving this study is: how to access the content of popular printed poetry in a way in which subjects, topics, and the inherent hierarchical relationships emerge from the very own sources? Through a content analysis, the main finding is an internal consistency on concerns and topics in the works of different poets, showing persons of popular origins acting and thinking politically, both within and outside the modern enlightenment, used as a guide to the concept of absent popular culture. The conclusions aim to the manner in which these findings can contribute to a theory popular culture and their subjects in the context of modern Latin America
Sáez, Ch. y Vera, A. (2023). Late nineteenth-century popular printed poetry in Chile and its contribution to a radical cultural theory. Journal of Iberian and Latin American Studies
Journal of Iberian and Latin American Studies, 2023
The subject of this study is Lira Popular in Chile, printed and distributed between 1866 and 1930. It was a publication halfway between literature and journalism, constituting a differentiated and autonomous communicational practice that can be considered a primary source through which to know the world visions and representations of the popular sectors in Chile at the turn of the century, beyond distinction worker – massive. The majority research in this area is one-dimensional studies conducted in response to questions the researchers themselves have prioritized. Instead, the question driving this study is: how to access the content of popular printed poetry in a way in which subjects, topics, and the inherent hierarchical relationships emerge from the very own sources? Through a content analysis, the main finding is an internal consis- tency on concerns and topics in the works of different poets, showing persons of popular origins acting and thinking politically, both within and outside the modern enlightenment, used as a guide to the concept of absent popular culture. The conclusions aim to the manner in which these findings can contribute to a theory popular culture and their subjects in the context of modern Latin America
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｡､ｶｩ｣･＠｣ｯｮ｣･ｲｮｩｮｧ＠ｴｨ･＠･ｸ･ｲ｣ｩｳ･＠ｯｦ＠｣ｬ･ｭ･ｮ｣ｹ＠｡ｮ､＠ｴｨ･＠ｰｲｯｰ･ｲ＠ｧｯｶ･ｲｮｭ･ｮｴ＠ｯｦ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮ＠ｲ･ｧｩｯｮＮ
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ｯｦ＠｣ｯｭｭ｡ｮ､･ｲＮ＠ｔｨ･＠｣ｨｩ･ｦ＠ｷｨｯ＠･ｮ､ｵｲ･ｳ＠ｴｨ･＠ｷ･ｩｧｨｴ＠ｯｦ＠｡＠ｭ｡ｳｳｩｶ･＠ｴｲ･･＠ｴｲｵｮｫ＠ｯｮ＠ｨｩｳ＠ｳｨｯｵｬ､･ｲｳ＠ｦｯｲ＠ｴｨ･＠ｬｯｮｧ･ｳｴ
｡ｭｯｵｮｴ＠ｯｦ＠ｴｩｭ･＠ｷｩｮｳＮ＠ｃ｡ｵｰｯｬｩ｣￡ｮ＠ｯｵｴｬ｡ｳｴｳ＠｡ｬｬ＠ｴｨ･＠ｯｴｨ･ｲｳ＠｡ｮ､＠ｩｳ＠､･･ｭ･､＠ｬ･｡､･ｲ＠ｯｦ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳＮ＠ｔｨ･＠ｯｴｨ･ｲ
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ｦ｡ｴ･ｳ＠ｯｦ＠ｷ｡ｲｦ｡ｲ･Ｎ＠ｉｮ＠ｃ｡ｮｴｯ＠ＳＬ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠｣｡ｰｴｵｲ･＠｡ｮ､＠･ｸ･｣ｵｴ･＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠ｧｯｶ･ｲｮｯｲ＠ｐ･､ｲｯ＠､･＠ｖ｡ｬ､ｩｶｩ｡Ｌ＠ｩｮ
ｃ｡ｮｴｯｳ＠ＵＭＶ＠ｴｨ･ｹ＠ｷｩｮ＠｡＠､･｣ｩｳｩｶ･＠ｶｩ｣ｴｯｲｹ＠ｯｶ･ｲ＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳ＠ｯｮ＠ａｮ､｡ｬｩ｣￡ｮ＠ｈｩｬｬＬ＠｡ｮ､＠ｩｮ＠ｃ｡ｮｴｯ＠Ｗ＠ｴｨ･ｹ＠､･ｳｴｲｯｹ＠ｴｨ･
ｓｰ｡ｮｩｳｨ＠ｳｴｲｯｮｧｨｯｬ､＠｡ｴ＠ｃｯｮ｣･ｰ｣ｩｮＮ＠ｔｨ･＠ｨ･ｬｰｬ･ｳｳ＠ｓｰ｡ｮｩｳｨ＠ｳ･ｴｴｬ･ｲｳ＠ｦｬ･･＠ｦｲｯｭ＠ｴｨ･＠ｵｮｰｲｯｴ･｣ｴ･､＠ｳ･ｴｴｬ･ｭ･ｮｴ＠ｦｯｵｮ､･､
ｦｯｵｲ＠ｹ･｡ｲｳ＠･｡ｲｬｩ･ｲＬ＠｡｢｡ｮ､ｯｮｩｮｧ＠ｴｨ･ｩｲ＠ｨｯｭ･ｳ＠｡ｮ､＠ｰｯｳｳ･ｳｳｩｯｮｳ＠ｪｵｳｴ＠｢･ｦｯｲ･＠｡＠ｨｯｲ､･＠ｯｦ＠ｲｵｴｨｬ･ｳｳ＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠ｲ｡ｩ､ｳ＠ｴｨ･
ｶｩｬｬ｡ｧ･＠｡ｮ､＠｢ｵｲｮｳ＠ｩｴ＠ｴｯ＠ｴｨ･＠ｧｲｯｵｮ､Ｎ＠ｔｨ･＠､･ｳｴｲｵ｣ｴｩｯｮ＠ｯｦ＠ｃｯｮ｣･ｰ｣ｩｮＬ＠ｷｨｩ｣ｨ＠ｅｲ｣ｩｬｬ｡＠｣ｯｭｰ｡ｲ･ｳ＠｡ｬｴ･ｲｮ｡ｴ･ｬｹ＠ｴｯ＠ｴｨ･＠ｦ｡ｬｬ
ｯｦ＠ｔｲｯｹＬ＠ｴｨ･＠ｳ｡｣ｫ＠ｯｦ＠ｃ｡ｲｴｨ｡ｧ･Ｌ＠｡ｮ､＠ｴｨ･＠｢ｵｲｮｩｮｧ＠ｯｦ＠ｎ･ｲｯ ｳ＠ｒｯｭ･Ｌ＠｣｡ｮ＠｢･＠ｳ･･ｮ＠｡ｳ＠ｴｨ･＠｣･ｮｴｲ｡ｬ＠･ｰｩｳｯ､･＠ｩｮ＠ｐ｡ｲｴ
ｏｮ･ ｡ｮ＠･ｭ｢ｬ･ｭ＠ｯｦ＠ｦ｡ｩｬｵｲ･＠ｩｮ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠ｩｭｰ･ｲｩ｡ｬ＠･ｮｴ･ｲｰｲｩｳ･Ｎ＠ｉｮ＠ｴｨ･＠ｶｯｬｵｭ･ ｳ＠ｬ｡ｴ･ｲ＠｣｡ｮｴｯｳＬ＠ｨｯｷ･ｶ･ｲＬ＠ｅｲ｣ｩｬｬ｡
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ｮ｡ｲｲ｡ｴｩｶ･＠｡ｬｴ･ｲｮ｡ｴ･ｳ＠｢･ｴｷ･･ｮ＠ｴｷｯ＠ｳｩｭｵｬｴ｡ｮ･ｯｵｳ＠ｴｨｲ･｡､ｳＺ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠ｶｩ｣ｴｯｲｹ＠ｯｶ･ｲ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠｡ｮ､＠ｨｩｳ＠ｯｷｮ
ｰ･ｲｩｬｯｵｳ＠｡ｲｲｩｶ｡ｬ＠ｩｮ＠ａｲ｡ｵ｣ｯ＠｡ｳ＠ｳｴｯｲｭｳ＠ｯｦ＠･ｰｩ｣＠ｰｲｯｰｯｲｴｩｯｮｳ＠ｴｨｲ･｡ｴ･ｮ＠ｴｯ＠ｳｩｮｫ＠ｴｨ･＠ｦｬ･･ｴＮ
ｗｨｩｬ･＠ｩｮ＠ｐ｡ｲｴ＠ｏｮ･＠ｅｲ｣ｩｬｬ｡＠ｦｯ｣ｵｳ･ｳ＠｡ｬｭｯｳｴ＠･ｸ｣ｬｵｳｩｶ･ｬｹ＠ｯｮ＠･ｶ･ｮｴｳ＠ｴｨ｡ｴ＠ｴｯｯｫ＠ｰｬ｡｣･＠ｩｮ＠ａｲ｡ｵ｣ｯＬ＠ｩｮ＠ｴｨ･＠ｰｯ･ｭ ｳ＠ｳ･｣ｯｮ､
ｶｯｬｵｭ･＠ｨ･＠ｩｮ｣ｬｵ､･ｳ＠ｭ｡ｪｯｲ＠ｳｰ｡ｴｩ｡ｬ＠｡ｮ､＠ｴ･ｭｰｯｲ｡ｬ＠､･ｰ｡ｲｴｵｲ･ｳ＠ｦｲｯｭ＠ｃｨｩｬ･Ｎ＠ｈ･＠｡ｬｳｯ＠ｭ｡ｫ･ｳ＠ｵｳ･＠ｯｦ＠｡＠ｭｯｲ･＠ｩｮｴ･ｲｴｷｩｮ･､Ｌ
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ｴｨｲ･｡､ｳＮ＠ｔｨｲｯｵｧｨｯｵｴ＠ｐ｡ｲｴ＠ｔｷｯＬ＠ｴｨ･＠､･ｳｩｧｮ＠ｯｦ＠ｴｨ･＠ｰｯ･ｭ＠｡ｬｳｯ＠｢･｣ｯｭ･ｳ＠ｩｮ｣ｲ･｡ｳｩｮｧｬｹ＠･ｮ｣ｯｭｩ｡ｳｴｩ｣＠ｯｦ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ
ｅｭｰｩｲ･Ｎ＠ｔｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠ｳｵｦｦ･ｲ＠ｮｵｭ･ｲｯｵｳ＠､･ｦ･｡ｴｳＬ＠｡ｮ､＠ｅｲ｣ｩｬｬ｡＠ｦｲ｡ｭ･ｳ＠ｴｨ･＠ｶｯｬｵｭ･＠ｷｩｴｨ＠ｴｨ･＠ｴｲ｡ｧｩ｣＠ｳｴｯｲｩ･ｳ＠ｯｦ
ｔ･ｧｵ｡ｬ､｡＠｡ｮ､＠ｇｬ｡ｵｲ｡Ｌ＠ｴｷｯ＠ａｲ｡ｵ｣｡ｮｩ｡ｮ＠ｷｯｭ･ｮ＠ｷｨｯ＠･ｸｰ･ｲｩ･ｮ｣･＠ｬｯｳｳ＠､ｵｲｩｮｧ＠ｷ｡ｲｦ｡ｲ･Ｎ＠ｈ･＠･ｶｯｫ･ｳ＠ｴｨ･＠ｭ｡ｪｯｲ
ｴｲｩｵｭｰｨｳ＠ｯｦ＠ｆ･ｬｩｰ･＠ｉｉ ｳ＠ｲ･ｩｧｮ ｮｯｴ＠ｯｮｬｹ＠ｴｨ･＠ｳｵ｢ｭｩｳｳｩｯｮ＠ｯｦ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳＬ＠｢ｵｴ＠｡ｬｳｯ＠ｴｷｯ＠ｩｭｰｯｲｴ｡ｮｴ＠ｩｭｰ･ｲｩ｡ｬ
ｶｩ｣ｴｯｲｩ･ｳ＠ｩｮ＠ｅｵｲｯｰ･Ｎ＠ｉｮ＠ｃ｡ｮｴｯｳ＠ＱＷＭＱＸＬ＠ｂ･ｬｬｯｮ｡Ｌ＠ｴｨ･＠ｒｯｭ｡ｮ＠ｧｯ､､･ｳｳ＠ｯｦ＠ｷ｡ｲｦ｡ｲ･Ｌ＠ｶｩｳｩｴｳ＠ｅｲ｣ｩｬｬ｡＠ｩｮ＠｡＠､ｲ･｡ｭ＠｡ｮ､＠｡ｬｬｯｷｳ
ｨｩｭ＠ｴｯ＠ｷｩｴｮ･ｳｳ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠ｶｩ｣ｴｯｲｹ＠ｯｶ･ｲ＠ｴｨ･＠ｆｲ･ｮ｣ｨ＠｡ｴ＠ｓ｡ｩｮｴ＠ｑｵ･ｮｴｩｮ＠ＨＱＵＵＷＩＬ＠ｷｨｩ｣ｨ＠ｴｯｯｫ＠ｰｬ｡｣･＠ｷｨｩｬ･＠ｅｲ｣ｩｬｬ｡＠ｷ｡ｳ
ｩｮ＠ａｲ｡ｵ｣ｯＮ＠ｓｨ･＠｡ｬｳｯ＠ｰｲｯｶｩ､･ｳ＠ｨｩｭ＠ｷｩｴｨ＠ｩｮｳｴｲｵ｣ｴｩｯｮｳ＠ｲ･ｧ｡ｲ､ｩｮｧ＠ｨｯｷ＠ｴｯ＠ｶｩ･ｷ＠ｷｨ｡ｴ＠ｳｨ･＠｣｡ｬｬｳ＠ｴｨ･＠ｧｲ･｡ｴ･ｳｴ＠ｮ｡ｶ｡ｬ＠｢｡ｴｴｬ･
ｯｦ＠ｴｨ･＠｣･ｮｴｵｲｹ ｴｨ･＠ｂ｡ｴｴｬ･＠ｯｦ＠ｌ･ｰ｡ｮｴｯ＠ＨＱＵＷＱＩＮ＠ｉｮ＠ｃ｡ｮｴｯｳ＠ＲＳＭＲＴＬ＠ｨ･＠ｲ･｡｣ｨ･ｳ＠ｴｨ･＠｣｡ｶ･＠ｯｦ＠｡ｮ＠ａｲ｡ｵ｣｡ｮｩ｡ｮ＠ｳｯｲ｣･ｲ･ｲＬ
ｆｩｴｮＬ＠ｷｨｯ＠ｬ･｡､ｳ＠ｨｩｭ＠ｴｯ＠｡＠ｬ｡ｲｧ･Ｌ＠ｴｲ｡ｮｳｰ｡ｲ･ｮｴ＠ｳｰｨ･ｲ･＠ｩｮ＠ｷｨｩ｣ｨ＠ｨ･＠｣ｯｮｴ･ｭｰｬ｡ｴ･ｳ＠ｴｨ･＠ｳｰ･｣ｴ｡｣ｵｬ｡ｲ＠ｭ｡ｲｩｴｩｭ･
｣ｯｮｦｲｯｮｴ｡ｴｩｯｮＮ＠ｉｮ＠ｃ｡ｮｴｯ＠ＲＷＬ＠ｨ･＠ｲ･ｴｵｲｮｳ＠ｴｯ＠ｴｨ･＠ｳｯｲ｣･ｲ･ｲ ｳ＠｣｡ｶ･Ｎ＠ｔｨｩｳ＠ｴｩｭ･＠ｨ･＠､ｯ･ｳ＠ｮｯｴ＠ｷｩｴｮ･ｳｳ＠ｷ｡ｲｦ｡ｲ･＠｢ｵｴ＠ｲ｡ｴｨ･ｲ
ｧ｡ｺ･ｳ＠ｵｰｯｮ＠ｴｨ･＠ｧ･ｯｧｲ｡ｰｨｩ｣｡ｬ＠ｶ｡ｳｴｮ･ｳｳ＠ｯｦ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠ｅｭｰｩｲ･Ｎ＠ｔｨ･＠･ｰｩｳｯ､･＠･ｮ｣ｯｵｲ｡ｧ･ｳ＠ｴｨ･＠ｲ･｡､･ｲ＠｡ｮ､＠ｨｩｳ
｡､､ｲ･ｳｳ･･Ｌ＠ｴｨ･＠ｫｩｮｧＬ＠ｴｯ＠｣ｯｮｳｩ､･ｲ＠ｮｯｴ＠ｯｮｬｹ＠ｓｰ｡ｩｮＧｳ＠ｲ･｣･ｮｴｬｹ＠｡｣ｱｵｩｲ･､＠ｩｭｰ･ｲｩ｡ｬ＠ｰｯｳｳ･ｳｳｩｯｮｳＬ＠｢ｵｴ＠｡ｬｳｯ＠ｩｴｳ＠ｦｵｴｵｲ･
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ｃ｡ｳｴｲｯ＠ｯ｢ｴ｡ｩｮ･､＠ｰ･ｲｭｩｳｳｩｯｮ＠ｦｲｯｭ＠ｅｲ｣ｩｬｬ｡ ｳ＠ｷｩ､ｯｷ＠ｴｯ＠｡､､＠ｴｷｯ＠ｰｲ･ｶｩｯｵｳｬｹ＠ｵｮｰｵ｢ｬｩｳｨ･､＠｣｡ｮｴｯｳＮ＠ｍｯｳｴ＠ｭｯ､･ｲｮ
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ｩｮｴｯ＠ｴｨ･＠｢｡ｲｫ＠ｯｦ＠｡＠ｴｲ･･Ｎ＠ｉｮ＠ｴｨ･＠ｶｯｬｵｭ･ ｳ＠ｯｰ･ｮｩｮｧＬ＠ｅｲ｣ｩｬｬ｡＠ｰｯｲｴｲ｡ｹｳ＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳ ＠ｰｬｯｹ＠ｴｯ＠ｬｵｲ･＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠ｩｮｴｯ
ｴｨ･ｩｲ＠ｦｯｲｴ＠｡ｴ＠ｏｮｧｯｬｭｯＮ＠ａｮ､ｲ･ｳｩｬｬｯＬ＠｡ｮ＠｡ｬｬｩ･､＠ｮ｡ｴｩｶ･＠｡ｮ､＠ｳｰｹ＠ｬｯｹ｡ｬ＠ｴｯ＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳＬ＠｣ｯｮｶｩｮ｣･ｳ＠ｴｨ･＠ｮ｡ｴｩｶ･ｳ＠ｴｯ＠｡ｴｴ｡｣ｫＬ
｡ｮ､＠ｴｨ･ｹ＠ｦ｡ｬｬ＠ｩｮｴｯ＠ｴｨ･＠ｴｲ｡ｰＮ＠ｔｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳ＠ｭ｡ｳｳ｡｣ｲ･＠ｴｨ･ｭ＠ｩｮ＠ｬ｡ｲｧ･＠ｮｵｭ｢･ｲｳ＠｡ｮ､＠ｳｵ｣｣･･､＠ｩｮ＠｣｡ｰｴｵｲｩｮｧ＠ｃ｡ｵｰｯｬｩ｣￡ｮＬ
ｷｨｯｭ＠ｴｨ･ｹ＠･ｸ･｣ｵｴ･＠ｩｮ＠ｃ｡ｮｴｯ＠ＳＴＮ＠ｉｮ＠｡ｮ＠ｩｮｴ･ｲｬｵ､･＠｡ｭｩ､ｳｴ＠ｳｯ＠ｭｵ｣ｨ＠､･｡ｴｨ＠｡ｮ､＠､･ｳｴｲｵ｣ｴｩｯｮＬ＠ｅｲ｣ｩｬｬ｡＠ｯｦｦ･ｲｳ＠｡＠ｰｯｩｮｴ･､ｬｹ
｡ｮｴｩＭｖ･ｲｧｩｬｩ｡ｮ＠ｲ･ｴ･ｬｬｩｮｧ＠ｯｦ＠ｴｨ･＠ｄｩ､ｯ＠ｳｴｯｲｹＬ＠ｷｨｩ｣ｨ＠｣｡ｮ＠｢･＠ｳ･･ｮ＠｡ｳ＠｡＠ｭｯ､･ｬ＠ｦｯｲ＠ｰ･｡｣･ｦｵｬ＠｣ｯｬｯｮｩｺ｡ｴｩｯｮＮ＠ｔｨ･＠ｰｯ･ｭ
･ｮ､ｳ＠ｷｩｴｨ＠ｲ･ｦ･ｲ･ｮ｣･ｳ＠ｴｯ＠ｴｨ･＠ｷ｡ｲ＠ｯｦ＠ｐｯｲｴｵｧｵ･ｳ･＠ｳｵ｣｣･ｳｳｩｯｮＬ＠ｭ･､ｩｴ｡ｴｩｯｮｳ＠ｯｮ＠ｪｵｳｴ＠ｷ｡ｲＬ＠｡ｮ､＠ｴｨ･＠ｰｯ･ｴ ｳ＠｣ｯｮｴ･ｭｰｬ｡ｴｩｶ･
ｴｵｲｮ＠ｴｯ＠ｇｯ､＠｡ｦｴ･ｲ＠･ｮ､ｵｲｩｮｧ＠ｳｵ｣ｨ＠ｶｩｯｬ･ｮ｣･＠｡ｮ､＠｢ｬｯｯ､ｳｨ･､Ｎ
ｅｲ｣ｩｬｬ｡Ｇｳ＠｡ｬｴ･ｲｮ｡ｴｩｮｧＬ＠｣ｯｮｴｲ｡､ｩ｣ｴｯｲｹ＠ｲ･ｰｲ･ｳ･ｮｴ｡ｴｩｯｮｳ＠ｯｦ＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳ＠｡ｮ､＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠ｨ｡ｶ･＠｣ｲ･｡ｴ･､＠｡＠､ｩｶｩ､･＠ｩｮ
ｳ｣ｨｯｬ｡ｲｳｨｩｰ＠ｯｮ＠ｴｨ･＠ｰｯ･ｭＬ＠･ｳｰ･｣ｩ｡ｬｬｹ＠｣ｯｮ｣･ｲｮｩｮｧ＠ｨｩｳ＠ｶｩｳｩｯｮ＠ｯｦ＠ｴｨ･＠ｮ｡ｴｩｶ･ｳＬ＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳＬ＠｡ｮ､＠ｴｨ･＠ｩｭｰ･ｲｩ｡ｬ
･ｮｴ･ｲｰｲｩｳ･Ｎ＠ａｳ＠ｊｯｳ￩＠ｄｵｲ｡ｮ､＠｡ｮ､＠ｂ･｡ｴｲｩｺ＠ｐ｡ｳｴｯｲ＠ｨ｡ｶ･＠ｳｵｧｧ･ｳｴ･､Ｌ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠｣｡ｭｰ＠ｷ｡ｳ＠､ｩｶｩ､･､＠｢･ｴｷ･･ｮ＠ｭ･ｮ＠ｷｨｯＬ
ｬｩｫ･＠ｅｲ｣ｩｬｬ｡Ｌ＠ｲ･ｭ｡ｩｮ･､＠ｬｯｹ｡ｬ＠ｴｯ＠ｴｨ･＠ｫｩｮｧ＠｡ｮ､＠ｴｨ･＠ｯｦｴ･ｮ＠ｲ･｢･ｬｬｩｯｵｳ＠･ｸＭ｣ｯｮｱｵｩｳｴ｡､ｯｲ･ｳ＠｡ｮ､＠･ｮ｣ｯｭ･ｮ､･ｲｯｳ＠ｷｨｯ＠ｳｴｲｯｶ･
ｴｯ＠ｲ･ｴ｡ｩｮ＠ｴｨ･ｩｲ＠ｰｯｳｴＭ｣ｯｮｱｵ･ｳｴ＠ｳｰｯｩｬｳ＠｡ｳ＠ｴｨ･ｹ＠ｦｯｵｮ､＠ｴｨ･ｭｳ･ｬｶ･ｳ＠ｴｨｲ･｡ｴ･ｮ･､＠｢ｹ＠ｴｨ･＠｣ｲｯｷｮＧｳ＠｢ｵｲｧ･ｯｮｩｮｧ＠ｰｯｷ･ｲ＠｡ｮ､
｣･ｮｴｲ｡ｬｩｺ｡ｴｩｯｮＮ＠ｅｲ｣ｩｬｬ｡＠ｴ｡ｫ･ｳ＠ｴｨ･＠ｳｩ､･＠ｯｦ＠ｴｨ･＠ｲｯｹ｡ｬｩｳｴｳ＠｡ｧ｡ｩｮｳｴ＠ｴｨ･＠｣ｲｵ･ｬ＠｡ｮ､＠｣ｯｲｲｵｰｴ＠ｰｲ｡｣ｴｩ｣･ｳ＠ｯｦ＠ｴｨ･＠･ｮ｣ｯｭ･ｮ､･ｲｯｳＮ
ｒｯｬ･ｮ｡＠ａ､ｯｲｮｯ＠｡ｮ､＠ｌ｡ｲ｡＠ｖｩｬ￠＠ｭ｡ｩｮｴ｡ｩｮ＠ｴｨ｡ｴ＠ｅｲ｣ｩｬｬ｡Ｇｳ＠ｧｬｯｲｩｦｩ｣｡ｴｩｯｮ＠ｯｦ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠ｳ･ｲｶ･ｳ＠ｴｯ＠｡｣｣･ｮｴｵ｡ｴ･＠ｴｨ･
ｳｴｲ･ｮｧｴｨ＠｡ｮ､＠｣ｯｵｲ｡ｧ･＠ｯｦ＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳＮ＠ａｳ＠･ｶｩ､･ｮ｣･Ｌ＠ｖｩｬ￠＠｣ｩｴ･ｳ＠ｴｨ･＠ｳ･｣ｯｮ､＠ｳｴ｡ｮｺ｡＠ｩｮ＠ｷｨｩ｣ｨ＠ｅｲ｣ｩｬｬ｡＠ｷｲｩｴ･ｳ＠Ｂｰｵ･ｳ＠ｮｯ
･ｳ＠･ｬ＠ｶ･ｮ｣･､ｯｲ＠ｭ￡ｳ＠･ｳｴｩｭ｡､ｯ＠Ｏ＠､･＠｡ｱｵ･ｬｬｯ＠･ｮ＠ｱｵ･＠･ｬ＠ｶ･ｮ｣ｩ､ｯ＠･ｳ＠ｲ･ｰｵｴ｡､ｯＢ＠｛ｆｯｲ＠ｴｨ･＠ｶｩ｣ｴｯｲ＠ｭｯｳｴ＠ｩｳ＠ｨｯｮｯｲ･､＠Ｏ＠ｂｹ
ｲ･ｰｵｴ･＠ｯｦ＠ｶ｡ｮｱｵｩｳｨ･､＠ｨ･ｲｯ｝＠ＨＱＮＱＮＲＮｧＭｨＩＮ＠ａ､ｯｲｮｯ＠｡ｲｧｵ･ｳ＠ｴｨ｡ｴ＠ｴｨ･＠ｰｯ･ｭＧｳ＠･ｮ､ｩｮｧ ｴｨ･＠｣ｯｮｶ･ｲｳｩｯｮ＠ｯｦ＠ｃ｡ｵｰｯｬｩ｣￡ｮ＠ｴｯ
ｃｨｲｩｳｴｩ｡ｮｩｴｹ＠｡ｮ､＠ｨｩｳ＠ｳｵ｢ｳ･ｱｵ･ｮｴ＠･ｸ･｣ｵｴｩｯｮ＠｢ｹ＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳ ｩｳ＠ｴｹｰｩ｣｡ｬ＠ｦｯｲ＠･ｰｩ｣ｳ＠ｯｦ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠ｇｯｬ､･ｮ＠ａｧ･＠｡ｮ､
ｴｨ｡ｴ＠ｩｴ＠ｳｵｰｰｯｲｴｳ＠ｓｰ｡ｩｮ ｳ＠､ｯｭｩｮ｡ｴｩｯｮ＠ｯｦ＠ａｲ｡ｵ｣ｯＮ＠ｄ｡ｶｩ､＠ｑｵｩｮｴＬ＠ｯｮ＠ｴｨ･＠ｯｴｨ･ｲ＠ｨ｡ｮ､Ｌ＠｡ｦｦｩｲｭｳ＠ｴｨ｡ｴ＠ｴｨ･＠ｰｯ･ｭ＠ｩｳ＠ｯｦｴ･ｮ
｣ｲｩｴｩ｣｡ｬ＠ｯｦ＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳＬ＠｡ｮ､＠ｴｨ｡ｴ＠ｅｲ｣ｩｬｬ｡Ｇｳ＠ｲ･ｰｲ･ｳ･ｮｴ｡ｴｩｯｮ＠ｯｦ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠ｩｳ＠ｦｲ･ｱｵ･ｮｴｬｹ＠ｳｯ＠ｯｶ･ｲｷｨ･ｬｭｩｮｧｬｹ
ｰｯｳｩｴｩｶ･＠ｴｨ｡ｴ＠ｴｨ･＠ｰｯ･ｭ＠ｳｨｯｵｬ､＠｢･＠ｰｬ｡｣･､＠ｩｮ＠｡＠､ｩｦｦ･ｲ･ｮｴ＠｣｡ｴ･ｧｯｲｹ＠ｯｦ＠･ｰｩ｣ｳ＠｡ｬｴｯｧ･ｴｨ･ｲＮ＠ｑｵｩｮｴ＠｡ｲｧｵ･ｳ＠ｴｨ｡ｴ＠ｅｲ｣ｩｬｬ｡
･ｸ｡ｬｴｳ＠ｴｨ･＠ｬｯｳｩｮｧ＠ｳｩ､･＠｡ｮ､＠ｴｨ｡ｴ＠ｴｨ･＠ｰｯ･ｭ＠ｴｨ･ｲ･ｦｯｲ･＠｡､ｨ･ｲ･ｳ＠ｴｯ＠ｴｨ･＠ｴｲ｡､ｩｴｩｯｮ＠｢･ｧｵｮ＠｢ｹ＠ｌｵ｣｡ｮＧｳ＠ｄ･＠｢･ｬｬｯ＠｣ｩｶｩｬｩＮ
ｉｮ＠ｦ｡｣ｴＬ＠ｌ｡＠ａｲ｡ｵ｣｡ｮ｡＠､ｯ･ｳ＠｢ｯｴｨＮ＠ｅｲ｣ｩｬｬ｡Ｇｳ＠ｲ･ｰｲ･ｳ･ｮｴ｡ｴｩｯｮ＠ｯｦ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠｡ｮ､＠ｴｨ･＠ｓｰ｡ｮｩ｡ｲ､ｳ＠ｩｳ＠｣ｯｭｰｬ･ｸＬ
･ｶｯｬｶｩｮｧＬ＠｡ｮ､＠ｯｳ｣ｩｬｬ｡ｴｯｲｹＮ＠ａｴ＠ｴｩｭ･ｳＬ＠ｨ･＠ｰｲ｡ｩｳ･ｳ＠ｴｨ･＠ｮ｡ｴｩｶ･ｳ＠｡ｮ､＠ｰｲ･ｳ･ｮｴｳ＠ｴｨ･ｭ＠｡ｳ＠ｨ･ｲｯｩ｣＠ｷ｡ｲｲｩｯｲｳ ｦｯｲ＠･ｸ｡ｭｰｬ･Ｌ＠ｩｮ
ｴｨ･＠ｴｲ･･＠ｴｲｵｮｫ＠｣ｯｮｴ･ｳｴ＠ｩｮ＠ｃ｡ｮｴｯ＠Ｒ ｷｨｩｬ･＠ｩｮ＠ｯｴｨ･ｲ＠ｰ｡ｳｳ｡ｧ･ｳ＠ｨ･＠､･ｨｵｭ｡ｮｩｺ･ｳ＠ｴｨ･ｭ＠｡ｮ､＠｣ｯｮ､･ｭｮｳ＠ｴｨ･ｩｲ＠ｧｲ･･､＠｡ｮ､
｣ｲｵ･ｬｴｹＬ＠｡ｳ＠ｩｮ＠ｴｨ･＠ｦ｡ｬｬ＠ｯｦ＠ｃｯｮ｣･ｰ｣ｩｮ＠ｩｮ＠ｃ｡ｮｴｯ＠ＷＮ＠ｓｩｭｩｬ｡ｲｬｹＬ＠ｨ･＠｡ｴｴ｡｣ｫｳ＠ｴｨ･＠ｮ･ｧｬｩｧ･ｮ｣･＠｡ｮ､＠｣ｯｲｲｵｰｴｩｯｮ＠ｯｦ＠｣･ｲｴ｡ｩｮ
ｓｰ｡ｮｩ｡ｲ､ｳＬ＠･ｳｰ･｣ｩ｡ｬｬｹ＠ｐ･､ｲｯ＠､･＠ｖ｡ｬ､ｩｶｩ｡Ｌ＠ｷｨｩｬ･＠ｰｯｲｴｲ｡ｹｩｮｧ＠ｨｩｭｳ･ｬｦ＠｡ｮ､＠ｋｩｮｧ＠ｆ･ｬｩｰ･＠ｉｉ＠｡ｴ＠｡ｬｬ＠ｴｩｭ･ｳ＠ｩｮ＠ｴｨ･＠｢･ｳｴ＠ｬｩｧｨｴ
ｰｯｳｳｩ｢ｬ･Ｎ＠ｅｲ｣ｩｬｬ｡＠｣ｲｩｴｩ｣ｩｺ･ｳ＠｣･ｲｴ｡ｩｮ＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳ＠｡ｮ､＠ｓｰ｡ｮｩ｡ｲ､ｳ＠｡ｴ＠､ｩｦｦ･ｲ･ｮｴ＠ｰｯｩｮｴｳ＠ｴｨｲｯｵｧｨｯｵｴ＠ｴｨ･＠ｰｯ･ｭＬ＠｡ｮ､＠ｨ･
ｦｲ･ｱｵ･ｮｴｬｹ＠ｳｹｭｰ｡ｴｨｩｺ･ｳ＠ｷｩｴｨ＠ｴｨ･＠ａｲ｡ｵ｣｡ｮｩ｡ｮｳＬ＠ｯｲ＠｡ｴ＠ｬ･｡ｳｴ＠ｳｨｯｷｳ＠｡＠ｧｲ･｡ｴ＠､･｡ｬ＠ｯｦ＠｣ｯｭｰ｡ｳｳｩｯｮ＠ｦｯｲ＠ｴｨ･ｭＮ＠ｈ･
｣ｯｮ､･ｭｮｳ＠ｯｲ＠ｩｳ＠ｲ･ｬｵ｣ｴ｡ｮｴ＠ｴｯ＠｣･ｬ･｢ｲ｡ｴ･＠ｴｨ･＠､･･､ｳ＠ｯｦ＠ｴｨ･＠ｩｮ､ｩｶｩ､ｵ｡ｬ＠ｧｯｶ･ｲｮｯｲｳ＠｡ｰｰｯｩｮｴ･､＠｢ｹ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠ｃｲｯｷｮＬ
ｴｨｯｵｧｨ＠ｨ･＠ｮ･ｶ･ｲ＠｣ｲｩｴｩ｣ｩｺ･ｳ＠ｆ･ｬｩｰ･＠ｉｉ＠ｯｲ＠ｴｨ･＠ｯｶ･ｲ｡ｬｬ＠ｩｭｰ･ｲｩ｡ｬ＠ｰｲｯｪ･｣ｴＮ
ｌｩｫ･＠ｭｯｳｴ＠ｧｲ･｡ｴ＠ｷｯｲｫｳ＠ｯｦ＠ｬｩｴ･ｲ｡ｴｵｲ･Ｌ＠ｌ｡＠ａｲ｡ｵ｣｡ｮ｡＠､･ｦｩ･ｳ＠ｲ･､ｵ｣ｴｩｯｮＮ＠ｔｨ･＠ｩｮｦｬｵ･ｮ｣･＠ｯｦ＠ｴｨ･＠ｰｯ･ｭ＠｣｡ｮ＠｢･＠ｭ･｡ｳｵｲ･､
｢ｹ＠ｴｨ･＠ｶ｡ｳｴ＠ｮｵｭ｢･ｲ＠ｯｦ＠ｳ･ｱｵ･ｬｳ＠ｩｴ＠ｩｮｳｰｩｲ･､＠ｩｮ＠｡ｬｬ＠ｴｨ･＠ｭ｡ｪｯｲ＠ｧ･ｮｲ･ｳ＠ｯｦ＠ｴｨ･＠ｰ･ｲｩｯ､Ｚ＠･ｰｩ｣Ｌ＠ｴｨ･｡ｴ･ｲＬ＠ｮｯｶ･ｬＬ＠｡ｮ､＠ｲｯｭ｡ｮ｣･
｛｢｡ｬｬ｡､｝Ｎ＠ｍｩｧｵ･ｬ＠､･＠ｃ･ｲｶ｡ｮｴ･ｳ＠ｰｲ｡ｩｳ･､＠ｅｲ｣ｩｬｬ｡＠ｩｮ＠ｌ｡＠ｇ｡ｬ｡ｴ･｡＠｡ｮ､＠ｰ｡ｩ､＠ｨｯｭ｡ｧ･＠ｴｯ＠ｌ｡＠ａｲ｡ｵ｣｡ｮ｡＠ｩｮ＠｢ｯｴｨ＠ｰ｡ｲｴｳ＠ｯｦ＠ｴｨ･
ｑｵｩｪｯｴ･Ｎ＠ｉｲｶｩｮｧ＠ｌ･ｯｮ｡ｲ､＠ｨ｡ｳ＠｡ｦｦｩｲｭ･､＠ｴｨ｡ｴ＠ｴｨ･＠ｰｯ･ｭ＠ｷ｡ｳ＠ｦｩｲｳｴ＠ｯｮ＠｣ｯｬｯｮｩ｡ｬ＠ｲ･｡､･ｲｳＧ＠ｳｨｯｰｰｩｮｧ＠ｬｩｳｴｳＮ＠ｃｯｮｱｵｩｳｴ｡､ｯｲ･ｳ
｡ｮ､＠ｳ･ｴｴｬ･ｲｳ＠｡ｬｩｫ･＠ｷ･ｲ･＠･｡ｧ･ｲ＠ｴｯ＠ｧ･ｴ＠ｴｨ･ｩｲ＠ｨ｡ｮ､ｳ＠ｯｮ＠ｩｴＬ＠｡ｮ､＠ｓｰ｡ｮｩ｡ｲ､ｳ＠ｯｮ＠｢ｯｴｨ＠ｳｩ､･ｳ＠ｯｦ＠ｴｨ･＠ａｴｬ｡ｮｴｩ｣＠ｲ･｡､＠｡ｮ､
｡､ｭｩｲ･､＠ｌ｡＠ａｲ｡ｵ｣｡ｮ｡Ｎ
ｒ･ｦ･ｲ･ｮ｣･ｳ
ａ､ｯｲｮｯＬ＠ｒｯｬ･ｮ｡Ｎ＠ ｌｩｴ･ｲ｡ｲｹ＠ｐｲｯ､ｵ｣ｴｩｯｮ＠｡ｮ､＠ｓｵｰｰｲ･ｳｳｩｯｮＺ＠ｒ･｡､ｩｮｧ＠｡ｮ､＠ｗｲｩｴｩｮｧ＠｡｢ｯｵｴ＠ａｭ･ｲｩｮ､ｩ｡ｮｳ＠ｩｮ＠ｃｯｬｯｮｩ｡ｬ
ｓｰ｡ｮｩｳｨ＠ａｭ･ｲｩ｣｡Ｎ ＠ｄｩｳｰｯｳｩｴｩｯ＠ＱＱＮＲＸＭＲＹ＠ＨＱＹＸＶＩＺ＠ＱＭＲＵＮ
ｄｵｲ｡ｮ､Ｌ＠ｊｯｳ￩Ｎ＠ ｅｬ＠｣ｨ｡ｰ･ｴｮ＠ｅｲ｣ｩｬｬ｡＠ｹ＠ｬ｡＠ｨｯｮｲ｡＠｡ｲ｡ｵ｣｡ｮ｡Ｎ ＠ｆｩｬｯｬｯｧ￭｡＠ＱＰ＠ＨＱＹＶＴＩＺ＠ＱＱＳＭＳＴＮ
ｌ･ｯｮ｡ｲ､Ｌ＠ｉｲｶｩｮｧ＠ａｬ｢･ｲｴＮ＠ｂｯｯｫｳ＠ｯｦ＠ｴｨ･＠ｂｲ｡ｶ･Ｚ＠ｂ･ｩｮｧ＠｡ｮ＠ａ｣｣ｯｵｮｴ＠ｯｦ＠ｂｯｯｫｳ＠｡ｮ､＠ｯｦ＠ｍ･ｮ＠ｩｮ＠ｴｨ･＠ｓｰ｡ｮｩｳｨ＠ｃｯｮｱｵ･ｳｴ＠｡ｮ､
ｓ･ｴｴｬ･ｭ･ｮｴ＠ｯｦ＠ｴｨ･＠ｓｩｸｴ･･ｮｴｨＭ｣･ｮｴｵｲｹ＠ｎ･ｷ＠ｗｯｲｬ､Ｎ＠ｉｮｴｲｯ､ｵ｣ｴｩｯｮ＠｢ｹ＠ｒｯｬ･ｮ｡＠ａ､ｯｲｮｯＮ＠ｂ･ｲｫ･ｬ･ｹＺ＠ｕｮｩｶ･ｲｳｩｴｹ＠ｯｦ
ｃ｡ｬｩｦｯｲｮｩ｡＠ｐｲ･ｳｳＬ＠ＱＹＹＲＮ
ｎｩ｣ｯｬｯｰｵｬｯｳＬ＠ｊ｡ｭ･ｳ＠ｒｯ｢･ｲｴＮ＠ｔｨ･＠ｐｯ･ｴｩ｣ｳ＠ｯｦ＠ｅｭｰｩｲ･＠ｩｮ＠ｴｨ･＠ｉｮ､ｩ･ｳＺ＠ｐｲｯｰｨ･｣ｹ＠｡ｮ､＠ｉｭｩｴ｡ｴｩｯｮ＠ｩｮ＠ｌ｡＠ａｲ｡ｵ｣｡ｮ｡＠｡ｮ､＠ｏｳ
ｌｵｳ￭｡､｡ｳＮ＠ｕｮｩｶ･ｲｳｩｴｹ＠ｐ｡ｲｫＺ＠ｔｨ･＠ｐ･ｮｮｳｹｬｶ｡ｮｩ｡＠ｓｴ｡ｴ･＠ｕｮｩｶ･ｲｳｩｴｹ＠ｐｲ･ｳｳＬ＠ＲＰＰＰＮ
ｐ｡ｳｴｯｲ＠ｂｯ､ｭ･ｲＬ＠ｂ･｡ｴｲｩｺＮ＠ｔｨ･＠ａｲｭ｡ｴｵｲ･＠ｯｦ＠ｃｯｮｱｵ･ｳｴＺ＠ｓｰ｡ｮｩｳｨ＠ａ｣｣ｯｵｮｴｳ＠ｯｦ＠ｴｨ･＠ｄｩｳ｣ｯｶ･ｲｹ＠ｯｦ＠ａｭ･ｲｩ｣｡Ｌ＠ＱＴＹＲＭＱＵＸＹＮ
ｓｴ｡ｮｦｯｲ､Ｚ＠ｓｴ｡ｮｦｯｲ､＠ｕｮｩｶ･ｲｳｩｴｹ＠ｐｲ･ｳｳＬ＠ＱＹＹＴＮ
ｑｵｩｮｴＬ＠ｄ｡ｶｩ､Ｎ＠ｅｰｩ｣＠｡ｮ､＠ｅｭｰｩｲ･Ｚ＠ｐｯｬｩｴｩ｣ｳ＠｡ｮ､＠ｇ･ｮ･ｲｩ｣＠ｆｯｲｭ＠ｦｲｯｭ＠ｖｩｲｧｩｬ＠ｴｯ＠ｍｩｬｴｯｮＮ＠ｐｲｩｮ｣･ｴｯｮＺ＠ｐｲｩｮ｣･ｴｯｮ＠ｕｮｩｶ･ｲｳｩｴｹ
ｐｲ･ｳｳＬ＠ＱＹＹＳＮ
ｖｩｬ￠Ｌ＠ｌ｡ｲ｡Ｎ＠ｰｩ｣｡＠･＠ｩｭｰ･ｲｩｯＮ＠ｉｭｩｴ｡｣ｩｮ＠ｶｩｲｧｩｬｩ｡ｮ｡＠ｹ＠ｰｲｯｰ｡ｧ｡ｮ､｡＠ｰｯｬ￭ｴｩ｣｡＠･ｮ＠ｬ｡＠￩ｰｩ｣｡＠･ｳｰ｡ｯｬ｡＠､･ｬ＠ｳｩｧｬｯ＠ｘｖｉＮ＠ｔ･ｳｩｳ
､ｯ｣ｴｯｲ｡ｬ＠､ｩｲｩｧｩ､｡＠ｰｯｲ＠ｍ｡ｲ￭｡＠ｊｯｳ￩＠ｖ･ｧ｡＠ｒ｡ｭｯｳＮ＠ｂ｡ｲ｣･ｬｯｮ｡Ｚ＠ｕｮｩｶ･ｲｳｩｴ｡ｴ＠ａｵｴｮｯｭ｡＠､･＠ｂ｡ｲ｣･ｬｯｮ｡Ｌ＠ＲＰＰＳＮ
ｂｲｹ｣･＠ｍ｡ｸ･ｹ＠Ｈｙ｡ｬ･＠ｕｮｩｶ･ｲｳｩｴｹＩ
ｆｩｲｳｴ＠ｰｵ｢ｬｩｳｨ･､＠ＲＹ＠ｊｵｮ･＠ＲＰＱＷ＠
ｃｩｴ｡ｴｩｯｮＺ＠ｍ｡ｸ･ｹＬ＠ｂｲｹ｣･Ｎ＠Ｂｌ｡＠ａｲ｡ｵ｣｡ｮ｡ＢＮ＠ｔｨ･＠ｌｩｴ･ｲ｡ｲｹ＠ｅｮ｣ｹ｣ｬｯｰ･､ｩ｡Ｎ＠ＲＹ＠ｊｵｮ･＠ＲＰＱＷＮ
｛ｨｴｴｰＺＯＯｷｷｷＮｬｩｴ･ｮ｣ｹ｣Ｎ｣ｯｭＯｰｨｰＯｳｷｯｲｫｳＮｰｨｰ＿ｲ･｣］ｴｲｵ･Ｆｕｉｄ］ＳＵＸＳＱＬ＠｡｣｣･ｳｳ･､＠Ｑ＠ｓ･ｰｴ･ｭ｢･ｲ＠ＲＰＱＷＮ｝
ｔｨｩｳ＠｡ｲｴｩ｣ｬ･＠ｩｳ＠｣ｯｰｹｲｩｧｨｴ＠ｴｯ＠ﾩ＠ｔｨ･＠ｌｩｴ･ｲ｡ｲｹ＠ｅｮ｣ｹ｣ｬｯｰ･､ｩ｡Ｎ
ａｬｬ＠･ｮｴｲｩ･ｳＬ＠､｡ｴ｡＠｡ｮ､＠ｳｯｦｴｷ｡ｲ･＠｣ｯｰｹｲｩｧｨｴ＠ﾩ＠ｔｨ･＠ｌｩｴ･ｲ｡ｲｹ＠ｄｩ｣ｴｩｯｮ｡ｲｹ＠ｃｯｭｰ｡ｮｹ＠ｌｩｭｩｴ･､
ｉｓｓｎ＠ＱＷＴＷＭＶＷＸｘ
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