<html xmlns:v="urn:schemas-microsoft-com:vml"
xmlns:o="urn:schemas-microsoft-com:office:office"
xmlns:w="urn:schemas-microsoft-com:office:word"
xmlns:m="http://schemas.microsoft.com/office/2004/12/omml"
xmlns="http://www.w3.org/TR/REC-html40">

<head>
<meta http-equiv=Content-Type content="text/html; charset=unicode">
<meta name=ProgId content=Word.Document>
<meta name=Generator content="Microsoft Word 15">
<meta name=Originator content="Microsoft Word 15">
<link rel=File-List href="mecitan.fld/filelist.xml">
<link rel=Edit-Time-Data href="mecitan.fld/editdata.mso">
<!--[if !mso]>
<style>
v\:* {behavior:url(#default#VML);}
o\:* {behavior:url(#default#VML);}
w\:* {behavior:url(#default#VML);}
.shape {behavior:url(#default#VML);}
</style>
<![endif]-->
<title>Me citan</title>
<!--[if gte mso 9]><xml>
 <o:DocumentProperties>
  <o:Author>José Ángel García Landa</o:Author>
  <o:LastAuthor>José Ángel García Landa</o:LastAuthor>
  <o:Revision>3</o:Revision>
  <o:TotalTime>2</o:TotalTime>
  <o:Created>2023-02-04T23:12:00Z</o:Created>
  <o:LastSaved>2023-02-06T18:51:00Z</o:LastSaved>
  <o:Pages>131</o:Pages>
  <o:Words>53250</o:Words>
  <o:Characters>292877</o:Characters>
  <o:Lines>2440</o:Lines>
  <o:Paragraphs>690</o:Paragraphs>
  <o:CharactersWithSpaces>345437</o:CharactersWithSpaces>
  <o:Version>16.00</o:Version>
 </o:DocumentProperties>
 <o:OfficeDocumentSettings>
  <o:AllowPNG/>
 </o:OfficeDocumentSettings>
</xml><![endif]-->
<link rel=themeData href="mecitan.fld/themedata.thmx">
<link rel=colorSchemeMapping href="mecitan.fld/colorschememapping.xml">
<!--[if gte mso 9]><xml>
 <w:WordDocument>
  <w:View>Print</w:View>
  <w:Zoom>150</w:Zoom>
  <w:TrackMoves>false</w:TrackMoves>
  <w:TrackFormatting/>
  <w:HyphenationZone>21</w:HyphenationZone>
  <w:ValidateAgainstSchemas/>
  <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
  <w:IgnoreMixedContent>false</w:IgnoreMixedContent>
  <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
  <w:DoNotPromoteQF/>
  <w:LidThemeOther>ES</w:LidThemeOther>
  <w:LidThemeAsian>X-NONE</w:LidThemeAsian>
  <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
  <w:Compatibility>
   <w:BreakWrappedTables/>
   <w:SplitPgBreakAndParaMark/>
  </w:Compatibility>
  <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
  <m:mathPr>
   <m:mathFont m:val="Cambria Math"/>
   <m:brkBin m:val="before"/>
   <m:brkBinSub m:val="&#45;-"/>
   <m:smallFrac m:val="off"/>
   <m:dispDef/>
   <m:lMargin m:val="0"/>
   <m:rMargin m:val="0"/>
   <m:defJc m:val="centerGroup"/>
   <m:wrapIndent m:val="1440"/>
   <m:intLim m:val="subSup"/>
   <m:naryLim m:val="undOvr"/>
  </m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
 <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="false"
  DefSemiHidden="false" DefQFormat="false" DefPriority="99"
  LatentStyleCount="376">
  <w:LsdException Locked="false" Priority="0" QFormat="true" Name="Normal"/>
  <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 1"/>
  <w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
  <w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
  <w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
  <w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
  <w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
  <w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
  <w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
  <w:LsdException Locked="false" Priority="9" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 5"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 6"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 7"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 8"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index 9"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 1"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 2"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 3"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 4"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 5"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 6"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 7"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 8"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" Name="toc 9"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Normal Indent"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="footnote text"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="annotation text"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="header"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="footer"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="index heading"/>
  <w:LsdException Locked="false" Priority="35" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="caption"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="table of figures"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="envelope address"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="envelope return"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="footnote reference"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="annotation reference"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="line number"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="page number"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="endnote reference"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="endnote text"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="table of authorities"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="macro"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="toa heading"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List 5"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Bullet 5"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Number 5"/>
  <w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Closing"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Signature"/>
  <w:LsdException Locked="false" Priority="1" SemiHidden="true"
   UnhideWhenUsed="true" Name="Default Paragraph Font"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text Indent"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="List Continue 5"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Message Header"/>
  <w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Salutation"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Date"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text First Indent"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text First Indent 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Note Heading"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text Indent 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Body Text Indent 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Block Text"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Hyperlink"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="FollowedHyperlink"/>
  <w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
  <w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Document Map"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Plain Text"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="E-mail Signature"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Top of Form"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Bottom of Form"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Normal (Web)"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Acronym"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Address"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Cite"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Code"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Definition"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Keyboard"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Preformatted"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Sample"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Typewriter"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="HTML Variable"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Normal Table"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="annotation subject"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="No List"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Outline List 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Outline List 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Outline List 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Simple 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Simple 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Simple 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Classic 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Classic 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Classic 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Classic 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Colorful 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Colorful 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Colorful 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Columns 5"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 5"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 6"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 7"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Grid 8"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 4"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 5"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 6"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 7"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table List 8"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table 3D effects 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table 3D effects 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table 3D effects 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Contemporary"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Elegant"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Professional"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Subtle 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Subtle 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Web 1"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Web 2"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Web 3"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Balloon Text"/>
  <w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Table Theme"/>
  <w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
  <w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
  <w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
  <w:LsdException Locked="false" Priority="61" Name="Light List"/>
  <w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
  <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
  <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
  <w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
  <w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
  <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
  <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
  <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
  <w:LsdException Locked="false" Priority="70" Name="Dark List"/>
  <w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
  <w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
  <w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
  <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
  <w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
  <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
  <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
  <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
  <w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
  <w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
  <w:LsdException Locked="false" Priority="34" QFormat="true"
   Name="List Paragraph"/>
  <w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
  <w:LsdException Locked="false" Priority="30" QFormat="true"
   Name="Intense Quote"/>
  <w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
  <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
  <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
  <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
  <w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
  <w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
  <w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
  <w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
  <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
  <w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
  <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
  <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
  <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
  <w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
  <w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
  <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
  <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
  <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
  <w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
  <w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
  <w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
  <w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
  <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
  <w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
  <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
  <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
  <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
  <w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
  <w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
  <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
  <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
  <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
  <w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
  <w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
  <w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
  <w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
  <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
  <w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
  <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
  <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
  <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
  <w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
  <w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
  <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
  <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
  <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
  <w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
  <w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
  <w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
  <w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
  <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
  <w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
  <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
  <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
  <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
  <w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
  <w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
  <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
  <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
  <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
  <w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
  <w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
  <w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
  <w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
  <w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
  <w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
  <w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
  <w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
  <w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
  <w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
  <w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
  <w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
  <w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
  <w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
  <w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
  <w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
  <w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
  <w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
  <w:LsdException Locked="false" Priority="19" QFormat="true"
   Name="Subtle Emphasis"/>
  <w:LsdException Locked="false" Priority="21" QFormat="true"
   Name="Intense Emphasis"/>
  <w:LsdException Locked="false" Priority="31" QFormat="true"
   Name="Subtle Reference"/>
  <w:LsdException Locked="false" Priority="32" QFormat="true"
   Name="Intense Reference"/>
  <w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
  <w:LsdException Locked="false" Priority="37" SemiHidden="true"
   UnhideWhenUsed="true" Name="Bibliography"/>
  <w:LsdException Locked="false" Priority="39" SemiHidden="true"
   UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
  <w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
  <w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
  <w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
  <w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
  <w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
  <w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
  <w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
  <w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
  <w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
  <w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
  <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
  <w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
  <w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
  <w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 1"/>
  <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
  <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
  <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
  <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
  <w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 1"/>
  <w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 1"/>
  <w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 2"/>
  <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
  <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
  <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
  <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
  <w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 2"/>
  <w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 2"/>
  <w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 3"/>
  <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
  <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
  <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
  <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
  <w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 3"/>
  <w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 3"/>
  <w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 4"/>
  <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
  <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
  <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
  <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
  <w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 4"/>
  <w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 4"/>
  <w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 5"/>
  <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
  <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
  <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
  <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
  <w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 5"/>
  <w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 5"/>
  <w:LsdException Locked="false" Priority="46"
   Name="Grid Table 1 Light Accent 6"/>
  <w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
  <w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
  <w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
  <w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
  <w:LsdException Locked="false" Priority="51"
   Name="Grid Table 6 Colorful Accent 6"/>
  <w:LsdException Locked="false" Priority="52"
   Name="Grid Table 7 Colorful Accent 6"/>
  <w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
  <w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
  <w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
  <w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
  <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
  <w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
  <w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
  <w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 1"/>
  <w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
  <w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
  <w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
  <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
  <w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 1"/>
  <w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 1"/>
  <w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 2"/>
  <w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
  <w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
  <w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
  <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
  <w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 2"/>
  <w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 2"/>
  <w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 3"/>
  <w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
  <w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
  <w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
  <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
  <w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 3"/>
  <w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 3"/>
  <w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 4"/>
  <w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
  <w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
  <w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
  <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
  <w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 4"/>
  <w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 4"/>
  <w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 5"/>
  <w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
  <w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
  <w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
  <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
  <w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 5"/>
  <w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 5"/>
  <w:LsdException Locked="false" Priority="46"
   Name="List Table 1 Light Accent 6"/>
  <w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
  <w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
  <w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
  <w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
  <w:LsdException Locked="false" Priority="51"
   Name="List Table 6 Colorful Accent 6"/>
  <w:LsdException Locked="false" Priority="52"
   Name="List Table 7 Colorful Accent 6"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Mention"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Smart Hyperlink"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Hashtag"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Unresolved Mention"/>
  <w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
   Name="Smart Link"/>
 </w:LatentStyles>
</xml><![endif]-->
<style>
<!--
 /* Font Definitions */
 @font-face
	{font-family:Helvetica;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1342208091 0 0 415 0;}
@font-face
	{font-family:Courier;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"Tms Rmn";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Helv;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"New York";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:System;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Wingdings;
	panose-1:5 0 0 0 0 0 0 0 0 0;
	mso-font-charset:2;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 268435456 0 0 -2147483647 0;}
@font-face
	{font-family:"MS Mincho";
	panose-1:2 2 6 9 4 2 5 8 3 4;
	mso-font-alt:"ＭＳ 明朝";
	mso-font-charset:128;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 1791491579 134217746 0 131231 0;}
@font-face
	{font-family:Batang;
	panose-1:2 3 6 0 0 1 1 1 1 1;
	mso-font-alt:바탕;
	mso-font-charset:129;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1342176593 1775729915 48 0 2621599 0;}
@font-face
	{font-family:SimSun;
	panose-1:2 1 6 0 3 1 1 1 1 1;
	mso-font-alt:宋体;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 680460288 22 0 262145 0;}
@font-face
	{font-family:PMingLiU;
	panose-1:2 2 5 0 0 0 0 0 0 0;
	mso-font-alt:新細明體;
	mso-font-charset:136;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 684719354 22 0 1048577 0;}
@font-face
	{font-family:"MS Gothic";
	panose-1:2 11 6 9 7 2 5 8 2 4;
	mso-font-alt:"ＭＳ ゴシック";
	mso-font-charset:128;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 1791491579 134217746 0 131231 0;}
@font-face
	{font-family:Dotum;
	panose-1:2 11 6 0 0 1 1 1 1 1;
	mso-font-alt:돋움;
	mso-font-charset:129;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1342176593 1775729915 48 0 524447 0;}
@font-face
	{font-family:SimHei;
	panose-1:2 1 6 9 6 1 1 1 1 1;
	mso-font-alt:黑体;
	mso-font-charset:134;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-2147482945 953122042 22 0 262145 0;}
@font-face
	{font-family:MingLiU;
	panose-1:2 2 5 9 0 0 0 0 0 0;
	mso-font-alt:細明體;
	mso-font-charset:136;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1610611969 684719354 22 0 1048577 0;}
@font-face
	{font-family:Mincho;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:明朝;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:fixed;
	mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
	{font-family:Gulim;
	panose-1:2 11 6 0 0 1 1 1 1 1;
	mso-font-alt:굴림;
	mso-font-charset:129;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1342176593 1775729915 48 0 2621599 0;}
@font-face
	{font-family:Century;
	panose-1:2 4 6 4 5 5 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Angsana New";
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:222;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:"Cordia New";
	panose-1:2 11 3 4 2 2 2 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:Mangal;
	panose-1:2 4 5 3 5 2 3 3 2 2;
	mso-font-charset:1;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:40963 0 0 0 1 0;}
@font-face
	{font-family:Latha;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1048579 0 0 0 1 0;}
@font-face
	{font-family:Sylfaen;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:67110535 0 0 0 159 0;}
@font-face
	{font-family:Vrinda;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:65539 0 0 0 1 0;}
@font-face
	{font-family:Raavi;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:131075 0 0 0 1 0;}
@font-face
	{font-family:Shruti;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:262147 0 0 0 1 0;}
@font-face
	{font-family:Sendnya;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:1;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:0 0 0 0 0 0;}
@font-face
	{font-family:Gautami;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:2097155 0 0 0 1 0;}
@font-face
	{font-family:Tunga;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:4194307 0 0 0 1 0;}
@font-face
	{font-family:"Estrangelo Edessa";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:1;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:0 0 0 0 0 0;}
@font-face
	{font-family:"Cambria Math";
	panose-1:2 4 5 3 5 4 6 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1107305727 0 0 415 0;}
@font-face
	{font-family:"Yu Gothic";
	panose-1:2 11 4 0 0 0 0 0 0 0;
	mso-font-alt:游ゴシック;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 717749759 22 0 131231 0;}
@font-face
	{font-family:DengXian;
	panose-1:2 1 6 0 3 1 1 1 1 1;
	mso-font-alt:等线;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612033 953122042 22 0 262159 0;}
@font-face
	{font-family:Calibri;
	panose-1:2 15 5 2 2 2 4 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536859905 -1073732485 9 0 511 0;}
@font-face
	{font-family:"Calibri Light";
	panose-1:2 15 3 2 2 2 4 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536859905 -1073732485 9 0 511 0;}
@font-face
	{font-family:"Palatino Linotype";
	panose-1:2 4 5 2 5 5 5 3 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870265 1073741843 0 0 415 0;}
@font-face
	{font-family:Verdana;
	panose-1:2 11 6 4 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1593833729 1073750107 16 0 415 0;}
@font-face
	{font-family:"Arial Unicode MS";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-134238209 -371195905 63 0 4129279 0;}
@font-face
	{font-family:Times;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1342185562 0 0 415 0;}
@font-face
	{font-family:"Times New Roman \(Cuerpo en alfa";
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536859905 -1073711039 9 0 511 0;}
@font-face
	{font-family:Cambria;
	panose-1:2 4 5 3 5 4 6 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1073743103 0 0 415 0;}
@font-face
	{font-family:"Lucida Grande";
	panose-1:2 11 6 0 4 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520090897 1342218751 0 0 447 0;}
@font-face
	{font-family:"Czech plus";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:0 0 0 0 0 0;}
@font-face
	{font-family:Arial-BoldMT;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:Arial;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:auto;
	mso-font-signature:50331648 0 0 0 1 0;}
@font-face
	{font-family:Palatino-Roman;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2013274202 341835776 0 403 0;}
@font-face
	{font-family:"ACADEMY ENGRAVED LET PLAIN\:1\.0";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483521 1073741834 0 0 1 0;}
@font-face
	{font-family:"Al Bayan Plain";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"AL BAYAN PLAIN";
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8193 0 8 0 64 0;}
@font-face
	{font-family:"Al Bayan";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8193 0 8 0 64 0;}
@font-face
	{font-family:"Al Tarikh";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8195 0 0 0 65 0;}
@font-face
	{font-family:"American Typewriter Light";
	panose-1:2 9 3 4 2 0 4 2 3 4;
	mso-font-alt:"AMERICAN TYPEWRITER LIGHT";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 25 0 0 273 0;}
@font-face
	{font-family:"American Typewriter Condensed L";
	panose-1:2 9 3 6 2 0 4 2 3 4;
	mso-font-alt:"AMERICAN TYPEWRITER CONDENSED L";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 25 0 0 273 0;}
@font-face
	{font-family:"American Typewriter";
	panose-1:2 9 6 4 2 0 4 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 25 0 0 273 0;}
@font-face
	{font-family:"American Typewriter Condensed";
	panose-1:2 9 6 6 2 0 4 2 3 4;
	mso-font-alt:"AMERICAN TYPEWRITER CONDENSED";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 25 0 0 273 0;}
@font-face
	{font-family:"AMERICAN TYPEWRITER SEMIBOLD";
	panose-1:2 9 6 4 2 0 4 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 25 0 0 273 0;}
@font-face
	{font-family:"Andale Mono";
	panose-1:2 11 5 9 0 0 0 0 0 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Apple Chancery";
	panose-1:3 2 7 2 4 5 6 6 5 4;
	mso-font-alt:"APPLE CHANCERY";
	mso-font-charset:177;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147481497 3 0 0 499 0;}
@font-face
	{font-family:"Apple Braille";
	panose-1:5 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-2147483581 0 262144 0 1 0;}
@font-face
	{font-family:"Apple Braille Outline 6 Dot";
	panose-1:5 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"APPLE BRAILLE OUTLINE 6 DOT";
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-2147483581 0 262144 0 1 0;}
@font-face
	{font-family:"Apple Braille Outline 8 Dot";
	panose-1:5 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"APPLE BRAILLE OUTLINE 8 DOT";
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-2147483581 0 262144 0 1 0;}
@font-face
	{font-family:"Apple Braille Pinpoint 6 Dot";
	panose-1:5 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"APPLE BRAILLE PINPOINT 6 DOT";
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-2147483581 0 262144 0 1 0;}
@font-face
	{font-family:"Apple Braille Pinpoint 8 Dot";
	panose-1:5 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"APPLE BRAILLE PINPOINT 8 DOT";
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-2147483581 0 262144 0 1 0;}
@font-face
	{font-family:"Apple Color Emoji";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 402653184 335544320 0 1 0;}
@font-face
	{font-family:AppleGothic;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 151388160 16 0 2621441 0;}
@font-face
	{font-family:AppleMyungjo;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 151388160 16 0 2621441 0;}
@font-face
	{font-family:"Apple SD Gothic Neo Thin";
	panose-1:2 0 3 0 0 0 0 0 0 0;
	mso-font-alt:"APPLE SD GOTHIC NEO THIN";
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 701967376 16 0 2621445 0;}
@font-face
	{font-family:"Apple SD Gothic Neo UltraLight";
	panose-1:2 0 3 0 0 0 0 0 0 0;
	mso-font-alt:"APPLE SD GOTHIC NEO ULTRALIGHT";
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 701967376 16 0 2621445 0;}
@font-face
	{font-family:"Apple SD Gothic Neo Light";
	panose-1:2 0 3 0 0 0 0 0 0 0;
	mso-font-alt:"APPLE SD GOTHIC NEO LIGHT";
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 701967376 16 0 2621445 0;}
@font-face
	{font-family:"Apple SD Gothic Neo";
	panose-1:2 0 3 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 701967376 16 0 2621445 0;}
@font-face
	{font-family:"Apple SD Gothic Neo Medium";
	panose-1:2 0 3 0 0 0 0 0 0 0;
	mso-font-alt:"APPLE SD GOTHIC NEO MEDIUM";
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 701967376 16 0 2621445 0;}
@font-face
	{font-family:"APPLE SD GOTHIC NEO SEMIBOLD";
	panose-1:2 0 3 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 701967376 16 0 2621445 0;}
@font-face
	{font-family:"APPLE SD GOTHICNEO EXTRABOLD";
	panose-1:2 0 3 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 701967376 16 0 2621445 0;}
@font-face
	{font-family:"APPLE SD GOTHIC NEO HEAVY";
	panose-1:2 0 3 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 701967376 16 0 2621445 0;}
@font-face
	{font-family:"Apple Symbols";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481437 134249451 25428020 0 507 0;}
@font-face
	{font-family:"Arial Hebrew Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"ARIAL HEBREW LIGHT";
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"Arial Hebrew";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"Arial Hebrew Scholar Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"ARIAL HEBREW SCHOLAR LIGHT";
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"Arial Hebrew Scholar";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"Arial Narrow";
	panose-1:2 11 6 6 2 2 2 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 2048 0 0 159 0;}
@font-face
	{font-family:Athelas;
	panose-1:2 0 5 3 0 0 0 2 0 3;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1342185563 0 0 155 0;}
@font-face
	{font-family:"Avenir Light";
	panose-1:2 11 4 2 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"AVENIR LIGHT OBLIQUE";
	panose-1:2 11 4 2 2 2 3 9 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Book";
	panose-1:2 0 5 3 2 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:Avenir;
	panose-1:2 0 5 3 2 0 0 2 0 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"AVENIR BOOK OBLIQUE";
	panose-1:2 0 5 3 2 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"AVENIR OBLIQUE";
	panose-1:2 11 5 3 2 2 3 9 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Medium";
	panose-1:2 0 6 3 2 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"AVENIR MEDIUM OBLIQUE";
	panose-1:2 0 6 3 2 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Black";
	panose-1:2 11 8 3 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Black Oblique";
	panose-1:2 11 8 3 2 2 3 9 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Heavy";
	panose-1:2 11 7 3 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"AVENIR HEAVY OBLIQUE";
	panose-1:2 11 7 3 2 2 3 9 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Ultra Light";
	panose-1:2 11 2 3 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next";
	panose-1:2 11 5 3 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Medium";
	panose-1:2 11 6 3 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Demi Bold";
	panose-1:2 11 7 3 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Heavy";
	panose-1:2 11 9 3 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Condensed Ultra Lig";
	panose-1:2 11 2 6 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Condensed";
	panose-1:2 11 5 6 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Condensed Medium";
	panose-1:2 11 6 6 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Condensed Demi Bold";
	panose-1:2 11 7 6 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342185546 0 0 155 0;}
@font-face
	{font-family:"Avenir Next Condensed Heavy";
	panose-1:2 11 9 6 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 155 0;}
@font-face
	{font-family:Ayuthaya;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593834753 1342185546 32 0 65943 0;}
@font-face
	{font-family:Baghdad;
	panose-1:1 0 5 0 0 0 0 2 0 4;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 -2147483648 8 0 64 0;}
@font-face
	{font-family:"Bangla MN";
	panose-1:2 0 5 0 2 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65539 0 0 0 1 0;}
@font-face
	{font-family:"Bangla Sangam MN";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2139095037 0 0 0 1 0;}
@font-face
	{font-family:Baskerville;
	panose-1:2 2 5 2 7 4 1 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483545 33554432 0 0 415 0;}
@font-face
	{font-family:"BASKERVILLE SEMIBOLD";
	panose-1:2 2 7 2 7 4 0 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483545 33554496 0 0 415 0;}
@font-face
	{font-family:Beirut;
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8195 0 0 0 65 0;}
@font-face
	{font-family:"Big Caslon Medium";
	panose-1:2 0 6 3 9 0 0 2 0 3;
	mso-font-alt:"BIG CASLON MEDIUM";
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481501 0 0 0 507 0;}
@font-face
	{font-family:"Bodoni Ornaments";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483517 134217800 335544320 0 1 0;}
@font-face
	{font-family:"Bodoni 72 Book";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-alt:"BODONI 72 BOOK";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bodoni 72";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bodoni 72 Oldstyle Book";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-alt:"BODONI 72 OLDSTYLE BOOK";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bodoni 72 Oldstyle";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bodoni 72 Smallcaps Book";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-alt:"BODONI 72 SMALLCAPS BOOK";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bradley Hand";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483393 1342185546 0 0 273 0;}
@font-face
	{font-family:"Brush Script MT";
	panose-1:3 6 8 2 4 4 6 7 3 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Chalkboard;
	panose-1:3 5 6 2 4 2 2 2 2 5;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483613 0 0 0 1 0;}
@font-face
	{font-family:"Chalkboard SE Light";
	panose-1:3 5 6 2 4 2 2 2 2 5;
	mso-font-alt:"CHALKBOARD SE LIGHT";
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483613 0 0 0 1 0;}
@font-face
	{font-family:"Chalkboard SE";
	panose-1:3 5 6 2 4 2 2 2 2 5;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483613 0 0 0 1 0;}
@font-face
	{font-family:Chalkduster;
	panose-1:3 5 6 2 4 2 2 2 2 5;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483613 0 0 0 1 0;}
@font-face
	{font-family:"Charter Roman";
	panose-1:2 4 5 3 5 5 6 2 2 3;
	mso-font-alt:"CHARTER ROMAN";
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 268443722 0 0 17 0;}
@font-face
	{font-family:Charter;
	panose-1:2 4 5 3 5 5 6 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 268443722 0 0 17 0;}
@font-face
	{font-family:"Charter Black";
	panose-1:2 4 8 3 5 5 6 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 268443722 0 0 17 0;}
@font-face
	{font-family:Cochin;
	panose-1:2 0 6 3 2 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147482881 1073741898 0 0 7 0;}
@font-face
	{font-family:"Comic Sans MS";
	panose-1:3 15 7 2 3 3 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Copperplate Light";
	panose-1:2 0 6 4 3 0 0 2 0 4;
	mso-font-alt:"COPPERPLATE LIGHT";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483545 0 0 0 273 0;}
@font-face
	{font-family:Copperplate;
	panose-1:2 0 5 4 0 0 0 2 0 4;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483545 0 0 0 273 0;}
@font-face
	{font-family:"Copperplate Gothic Light";
	panose-1:2 14 5 7 2 2 6 2 4 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Corsiva Hebrew";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"COURIER OBLIQUE";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"COURIER BOLD OBLIQUE";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"DIN Alternate";
	panose-1:2 11 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 268435528 0 0 273 0;}
@font-face
	{font-family:"DIN Condensed";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342185546 0 0 1 0;}
@font-face
	{font-family:"DecoType Naskh";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475455 -2147483648 8 0 64 0;}
@font-face
	{font-family:"Devanagari MT";
	panose-1:2 0 5 0 2 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 268484800 0 0 1 0;}
@font-face
	{font-family:"Devanagari Sangam MN";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 8256 0 0 1 0;}
@font-face
	{font-family:Didot;
	panose-1:2 0 5 3 0 0 0 2 0 3;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481497 0 0 0 507 0;}
@font-face
	{font-family:"Diwan Kufi";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8195 0 0 0 65 0;}
@font-face
	{font-family:"Mishafi Gold";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8195 -2147483648 8 0 65 0;}
@font-face
	{font-family:"Diwan Thuluth";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8195 0 0 0 65 0;}
@font-face
	{font-family:"Euphemia UCAS";
	panose-1:2 11 5 3 4 1 2 2 1 4;
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147481501 0 8192 0 499 0;}
@font-face
	{font-family:Farisi;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8193 0 0 0 65 0;}
@font-face
	{font-family:"Futura Medium";
	panose-1:2 11 6 2 2 2 4 2 3 3;
	mso-font-alt:"FUTURA MEDIUM";
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147481497 0 0 0 507 0;}
@font-face
	{font-family:"Futura Condensed Medium";
	panose-1:2 11 5 6 2 2 4 3 2 4;
	mso-font-alt:"FUTURA CONDENSED MEDIUM";
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147481497 0 0 0 507 0;}
@font-face
	{font-family:Futura;
	panose-1:2 11 6 2 2 2 4 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1342185802 0 0 159 0;}
@font-face
	{font-family:"FUTURA CONDENSED EXTRABOLD";
	panose-1:2 11 8 6 2 2 4 3 2 4;
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147481497 0 0 0 507 0;}
@font-face
	{font-family:Galvji;
	panose-1:2 11 5 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185546 4096 0 1 0;}
@font-face
	{font-family:"GALVJI OBLIQUE";
	panose-1:2 11 5 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185546 4096 0 1 0;}
@font-face
	{font-family:GALVJI-BOLDOBLIQUE;
	panose-1:2 11 5 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750090 4096 0 1 0;}
@font-face
	{font-family:"Geeza Pro";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475455 -2147483648 8 0 65 0;}
@font-face
	{font-family:Geneva;
	panose-1:2 11 5 3 3 4 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1375739999 10534912 0 415 0;}
@font-face
	{font-family:Georgia;
	panose-1:2 4 5 2 5 4 5 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Gill Sans Light";
	panose-1:2 11 3 2 2 1 4 2 2 3;
	mso-font-alt:"GILL SANS LIGHT";
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147480985 0 0 0 503 0;}
@font-face
	{font-family:"Gill Sans";
	panose-1:2 11 5 2 2 1 4 2 2 3;
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147480985 0 0 0 503 0;}
@font-face
	{font-family:"GILL SANS SEMIBOLD";
	panose-1:2 11 7 2 2 1 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483025 1342177354 0 0 5 0;}
@font-face
	{font-family:"Tamil Sangam MN";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1081347 33554436 0 0 1 0;}
@font-face
	{font-family:"Grantha Sangam MN";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1081347 33554436 0 0 1 0;}
@font-face
	{font-family:"Grantha Sangam MN Bold";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1081347 33554436 0 0 1 0;}
@font-face
	{font-family:"Gujarati MT";
	panose-1:0 0 5 0 7 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 268484801 0 0 1 0;}
@font-face
	{font-family:"Gujarati Sangam MN";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262147 0 0 0 1 0;}
@font-face
	{font-family:"Gurmukhi MN";
	panose-1:2 2 6 0 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2146435069 8192 0 0 1 0;}
@font-face
	{font-family:"Gurmukhi Sangam MN";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:131075 0 0 0 1 0;}
@font-face
	{font-family:"Helvetica Light";
	panose-1:2 11 4 3 2 2 2 2 2 4;
	mso-font-alt:"HELVETICA LIGHT";
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1073750090 0 0 1 0;}
@font-face
	{font-family:"HELVETICA LIGHT OBLIQUE";
	panose-1:2 11 4 3 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1073750090 0 0 1 0;}
@font-face
	{font-family:"HELVETICA OBLIQUE";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1342208091 0 0 415 0;}
@font-face
	{font-family:"HELVETICA BOLD OBLIQUE";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1375762523 0 0 415 0;}
@font-face
	{font-family:"Helvetica Neue UltraLight";
	panose-1:2 0 2 6 0 0 0 2 0 4;
	mso-font-alt:"HELVETICA NEUE ULTRALIGHT";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 2 0 1 0;}
@font-face
	{font-family:"Helvetica Neue Thin";
	panose-1:2 11 4 3 2 2 2 2 2 4;
	mso-font-alt:"HELVETICA NEUE THIN";
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870161 1342185563 2 0 159 0;}
@font-face
	{font-family:"Helvetica Neue Light";
	panose-1:2 0 4 3 0 0 0 2 0 4;
	mso-font-alt:"HELVETICA NEUE LIGHT";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 2 0 7 0;}
@font-face
	{font-family:"Helvetica Neue";
	panose-1:2 0 5 3 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-452984065 1342208475 16 0 1 0;}
@font-face
	{font-family:"Helvetica Neue Medium";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"HELVETICA NEUE MEDIUM";
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 2 0 155 0;}
@font-face
	{font-family:"HELVETICA NEUE CONDENSED";
	panose-1:2 0 8 6 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185562 0 0 1 0;}
@font-face
	{font-family:"HELVETICA NEUE CONDENSED BLACK";
	panose-1:2 0 10 6 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185562 0 0 1 0;}
@font-face
	{font-family:Herculanum;
	panose-1:2 0 5 5 0 0 0 2 0 4;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483545 0 0 0 403 0;}
@font-face
	{font-family:"Hiragino Sans W0";
	panose-1:2 11 2 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482929 1791491324 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W1";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W2";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W3";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W4";
	panose-1:2 11 4 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W5";
	panose-1:2 11 5 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W6";
	panose-1:2 11 6 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W7";
	panose-1:2 11 7 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482929 1791491324 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W8";
	panose-1:2 11 8 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482929 1791491324 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans W9";
	panose-1:2 11 9 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482929 1791491324 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Kaku Gothic ProN W3";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Kaku Gothic ProN W6";
	panose-1:2 11 6 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Kaku Gothic Pro W3";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Kaku Gothic Pro W6";
	panose-1:2 11 6 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Kaku Gothic Std W8";
	panose-1:2 11 8 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482929 1757936892 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Kaku Gothic StdN W8";
	panose-1:2 11 8 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482929 1791491324 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Maru Gothic Pro W4";
	panose-1:2 15 4 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Maru Gothic ProN W4";
	panose-1:2 15 4 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Mincho ProN W3";
	panose-1:2 2 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Mincho ProN W6";
	panose-1:2 2 6 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Mincho Pro W3";
	panose-1:2 2 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Mincho Pro W6";
	panose-1:2 2 6 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
@font-face
	{font-family:"Hiragino Sans GB W3";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612033 449805562 22 0 393223 0;}
@font-face
	{font-family:"Hiragino Sans GB W6";
	panose-1:2 11 6 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612033 449805562 22 0 393223 0;}
@font-face
	{font-family:"Hoefler Text";
	panose-1:2 3 6 2 5 5 6 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482881 1342185547 4 0 407 0;}
@font-face
	{font-family:"Hoefler Text Ornaments";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"HOEFLER TEXT ORNAMENTS";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"HOEFLER TEXT BLACK";
	panose-1:2 3 8 2 6 7 6 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483409 1342185547 4 0 403 0;}
@font-face
	{font-family:ITFDEVANAGARI-LIGHT;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:ITFDEVANAGARI-BOOK;
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:ITFDEVANAGARI-MEDIUM;
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:ITFDEVANAGARI-DEMI;
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:"ITF Devanagari";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:"ITFDEVANAGARI MARATHI LIGHT";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:"ITFDEVANAGARI MARATHI-BOOK";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:"ITF Devanagari Marathi Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-alt:"ITF DEVANAGARI MARATHI MEDIUM";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:"ITFDEVANAGARI MARATHI-DEMI";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:"ITF Devanagari Marathi";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:Impact;
	panose-1:2 11 8 6 3 9 2 5 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:InaiMathi;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1048579 0 0 0 1 0;}
@font-face
	{font-family:"Iowan Old Style Roman";
	panose-1:2 4 6 2 4 5 6 2 2 4;
	mso-font-alt:"IOWAN OLD STYLE ROMAN";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750219 0 0 147 0;}
@font-face
	{font-family:"Iowan Old Style Titling";
	panose-1:2 4 6 2 4 5 6 2 2 4;
	mso-font-alt:"IOWAN OLD STYLE TITLING";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750219 0 0 147 0;}
@font-face
	{font-family:"Iowan Old Style";
	panose-1:2 4 6 2 4 5 6 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750219 0 0 147 0;}
@font-face
	{font-family:"Iowan Old Style Black";
	panose-1:2 4 8 5 5 5 6 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750219 0 0 147 0;}
@font-face
	{font-family:Kailasa;
	panose-1:2 0 5 0 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 64 0 1 0;}
@font-face
	{font-family:"Kannada MN";
	panose-1:2 2 6 0 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:4194307 0 0 0 1 0;}
@font-face
	{font-family:"Kannada Sangam MN";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:4194307 0 0 0 1 0;}
@font-face
	{font-family:Kefa;
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1073750091 2048 0 1 0;}
@font-face
	{font-family:"Khmer MN";
	panose-1:2 2 6 0 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Khmer Sangam MN";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8256 65536 0 1 0;}
@font-face
	{font-family:"Kohinoor Bangla Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"KOHINOOR BANGLA LIGHT";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65543 0 0 0 147 0;}
@font-face
	{font-family:"Kohinoor Bangla";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65543 0 0 0 147 0;}
@font-face
	{font-family:"Kohinoor Bangla Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"KOHINOOR BANGLA MEDIUM";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65543 0 0 0 147 0;}
@font-face
	{font-family:"KOHINOOR BANGLA SEMIBOLD";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65543 0 0 0 147 0;}
@font-face
	{font-family:"Kohinoor Devanagari Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"KOHINOOR DEVANAGARI LIGHT";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Kohinoor Devanagari";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Kohinoor Devanagari Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"KOHINOOR DEVANAGARI MEDIUM";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"KOHINOOR DEVANAGARI SEMIBOLD";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Kohinoor Gujarati Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-alt:"KOHINOOR GUJARATI LIGHT";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262147 0 0 0 1 0;}
@font-face
	{font-family:"Kohinoor Gujarati";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262147 0 0 0 1 0;}
@font-face
	{font-family:"Kohinoor Gujarati Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-alt:"KOHINOOR GUJARATI MEDIUM";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262147 0 0 0 1 0;}
@font-face
	{font-family:"KOHINOOR GUJARATI SEMIBOLD";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262147 0 0 0 1 0;}
@font-face
	{font-family:"Kohinoor Telugu Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"KOHINOOR TELUGU LIGHT";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097159 0 0 0 147 0;}
@font-face
	{font-family:"Kohinoor Telugu";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097159 0 0 0 147 0;}
@font-face
	{font-family:"Kohinoor Telugu Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"KOHINOOR TELUGU MEDIUM";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097159 0 0 0 147 0;}
@font-face
	{font-family:"KOHINOOR TELUGU SEMIBOLD";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097159 0 0 0 147 0;}
@font-face
	{font-family:Kokonor;
	panose-1:1 0 5 0 0 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 64 0 1 0;}
@font-face
	{font-family:Krungthep;
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2130706177 1342185546 32 0 65939 0;}
@font-face
	{font-family:KufiStandardGK;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8193 0 0 0 64 0;}
@font-face
	{font-family:"Lao MN";
	panose-1:2 2 6 0 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:33554435 0 0 0 1 0;}
@font-face
	{font-family:"Lao Sangam MN";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:33554435 0 0 0 1 0;}
@font-face
	{font-family:Luminari;
	panose-1:2 0 5 5 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185546 0 0 415 0;}
@font-face
	{font-family:"Malayalam MN";
	panose-1:2 2 6 0 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8388611 0 0 0 1 0;}
@font-face
	{font-family:"Malayalam Sangam MN";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8388611 0 0 0 1 0;}
@font-face
	{font-family:Marion;
	panose-1:2 2 5 2 6 4 0 2 0 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185563 0 0 387 0;}
@font-face
	{font-family:"Marker Felt Thin";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-alt:"MARKER FELT THIN";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483549 64 0 0 273 0;}
@font-face
	{font-family:"MARKER FELT WIDE";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483549 64 0 0 273 0;}
@font-face
	{font-family:Menlo;
	panose-1:2 11 6 9 3 8 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-436198657 -771687941 33554472 0 479 0;}
@font-face
	{font-family:"Microsoft Sans Serif";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520082689 -1073741822 8 0 66047 0;}
@font-face
	{font-family:Monaco;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342192123 0 0 407 0;}
@font-face
	{font-family:"Gurmukhi MT";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147319805 268484800 0 0 1 0;}
@font-face
	{font-family:Mshtakan;
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147482613 1073758282 0 0 1 0;}
@font-face
	{font-family:"MSHTAKAN OBLIQUE";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147482613 1073758282 0 0 1 0;}
@font-face
	{font-family:"MSHTAKAN BOLDOBLIQUE";
	panose-1:2 0 7 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147482613 1073758282 0 0 1 0;}
@font-face
	{font-family:"MuktaMahee ExtraLight";
	panose-1:2 11 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610481617 1073750091 0 0 147 0;}
@font-face
	{font-family:"MuktaMahee Light";
	panose-1:2 11 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610481617 1073750091 0 0 147 0;}
@font-face
	{font-family:"MuktaMahee Regular";
	panose-1:2 11 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610481617 1073750091 0 0 147 0;}
@font-face
	{font-family:"MuktaMahee Medium";
	panose-1:2 11 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610481617 1073750091 0 0 147 0;}
@font-face
	{font-family:"MuktaMahee SemiBold";
	panose-1:2 11 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610481617 1073750091 0 0 147 0;}
@font-face
	{font-family:"MuktaMahee Bold";
	panose-1:2 11 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610481617 1073750091 0 0 147 0;}
@font-face
	{font-family:"MuktaMahee ExtraBold";
	panose-1:2 11 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610481617 1073750091 0 0 147 0;}
@font-face
	{font-family:Muna;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8195 0 0 0 65 0;}
@font-face
	{font-family:"MUNA BLACK";
	panose-1:0 0 9 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8195 0 0 0 65 0;}
@font-face
	{font-family:Nadeem;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 -2147483648 8 0 64 0;}
@font-face
	{font-family:"New Peninim MT";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"NEW PENINIM MT INCLINED";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"NEW PENINIM MT BOLD INCLINED";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"Noteworthy Light";
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-alt:"NOTEWORTHY LIGHT";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483537 134217800 341835776 0 273 0;}
@font-face
	{font-family:Noteworthy;
	panose-1:2 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483537 134217800 341835776 0 273 0;}
@font-face
	{font-family:"Noto Nastaliq Urdu";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:178;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 -2147475392 0 0 65 0;}
@font-face
	{font-family:"Noto Sans Adlam";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Armenian Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482621 1073741824 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Armenian ExtLt";
	panose-1:2 11 3 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482621 1073741824 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Armenian Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482621 1073741824 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Armenian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482621 1073741824 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Armenian Med";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482621 1073741824 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Armenian SemBd";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482621 1073741824 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Armenian ExtBd";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482621 1073741824 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Armenian Blk";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482621 1073741824 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Avestan";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Bamum";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Bassa Vah";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Batak";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Bhaiksuki";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Brahmi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Buginese";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Buhid";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 1048576 0 1 0;}
@font-face
	{font-family:"Noto Sans Carian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans CaucAlban";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:67 33562624 1 0 1 0;}
@font-face
	{font-family:"Noto Sans Chakma";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147418109 33562624 1024 0 1 0;}
@font-face
	{font-family:"Noto Sans Cham";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Coptic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483197 33562624 1 0 1 0;}
@font-face
	{font-family:"Noto Sans Cuneiform";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Cypriot";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Duployan";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans EgyptHiero";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Elbasan";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:195 33562624 0 0 9 0;}
@font-face
	{font-family:"Noto Sans Glagolitic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:579 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gothic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:67 33554432 4194304 0 1 0;}
@font-face
	{font-family:"Noto Sans Gunjala Gondi";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562688 0 0 1 0;}
@font-face
	{font-family:"Noto Sans HanifiRohg";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Hanunoo";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 1048576 0 1 0;}
@font-face
	{font-family:"Noto Sans Hatran";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans ImpAramaic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans InsPahlavi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans InsParthi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Javanese";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kaithi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kannada Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2143256573 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kannada ExtraLight";
	panose-1:2 11 3 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2143256573 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kannada Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2143256573 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kannada";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2143256573 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kannada Medium";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2143256573 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kannada SemiBold";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2143256573 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kannada ExtraBold";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2143256573 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kannada Black";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2143256573 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kayah Li";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Kharoshthi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Khojki";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147221501 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Khudawadi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Lepcha";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Limbu";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 8192 536870912 0 1 0;}
@font-face
	{font-family:"Noto Sans Linear A";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Linear B";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Lisu";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483613 65536 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Lycian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Lydian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Mahajani";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Mandaic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Manichaean";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 33562624 134217728 0 1 0;}
@font-face
	{font-family:"Noto Sans Marchen";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Masaram Gondi";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 33562688 0 0 1 0;}
@font-face
	{font-family:"Noto Sans MeeteiMayek";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Mende Kikakui";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Meroitic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Miao";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Modi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Mongolian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 131072 0 1 0;}
@font-face
	{font-family:"Noto Sans Mro";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Multani";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:131075 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar ExtLt";
	panose-1:2 11 3 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar Med";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar SemBd";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar ExtBd";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar Blk";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Zawgyi Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Zawgyi ExtLt";
	panose-1:2 11 3 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Zawgyi Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Zawgyi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Zawgyi Med";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Zawgyi SemBd";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Zawgyi ExtBd";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Zawgyi Blk";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans NKo";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 -2147475456 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Nabataean";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans NewTaiLue";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 -2147483648 0 1 0;}
@font-face
	{font-family:"Noto Sans Newa";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483581 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Ol Chiki";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans OldHung";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Old Italic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 2097152 0 1 0;}
@font-face
	{font-family:"Noto Sans OldNorArab";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Old Permic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:579 33562628 0 0 1 0;}
@font-face
	{font-family:"Noto Sans OldPersian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans OldSouArab";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Old Turkic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Oriya";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:524291 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Osage";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:67 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Osmanya";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Pahawh Hmong";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Palmyrene";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans PauCinHau";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans PhagsPa";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 73728 134348800 0 1 0;}
@font-face
	{font-family:"Noto Sans Phoenician";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans PsaPahlavi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Rejang";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Samaritan";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Saurashtra";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Sharada";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Siddham";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans SoraSomp";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Sundanese";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Syloti Nagri";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147385341 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Syriac";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475389 24640 128 0 1 0;}
@font-face
	{font-family:"Noto Sans Tagalog";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 1048576 0 1 0;}
@font-face
	{font-family:"Noto Sans Tagbanwa";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 1048576 0 1 0;}
@font-face
	{font-family:"Noto Sans Tai Le";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483581 73728 1073742848 0 1 0;}
@font-face
	{font-family:"Noto Sans Tai Tham";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Tai Viet";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612733 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Takri";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Thaana";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 -2147475456 256 0 1 0;}
@font-face
	{font-family:"Noto Sans Tifinagh";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483581 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Tirhuta";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147385341 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Ugaritic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Vai";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Wancho";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans WarangCiti";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Yi";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 327680 524304 0 1 0;}
@font-face
	{font-family:"Noto Serif Ahom";
	panose-1:2 2 5 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Serif Balinese";
	panose-1:2 2 5 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:"Noto Serif Myanmar Thin";
	panose-1:2 2 2 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Serif Myanmar ExtLt";
	panose-1:2 2 3 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Serif Myanmar Light";
	panose-1:2 2 4 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Serif Myanmar";
	panose-1:2 2 5 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Serif Myanmar Med";
	panose-1:2 2 6 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Serif Myanmar SemBd";
	panose-1:2 2 7 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Serif Myanmar ExtBd";
	panose-1:2 2 9 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Serif Myanmar Blk";
	panose-1:2 2 10 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Serif Yezidi";
	panose-1:2 2 5 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:8195 33554432 0 0 1 0;}
@font-face
	{font-family:Optima;
	panose-1:2 0 5 3 6 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483545 0 0 0 1 0;}
@font-face
	{font-family:"OPTIMA EXTRABLACK";
	panose-1:2 0 11 3 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483545 0 0 0 1 0;}
@font-face
	{font-family:"Oriya MN";
	panose-1:2 2 6 0 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:524291 0 0 0 1 0;}
@font-face
	{font-family:"Oriya Sangam MN";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:524291 0 0 0 1 0;}
@font-face
	{font-family:"PT Mono";
	panose-1:2 6 5 9 2 2 5 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1610611985 1342208235 0 0 151 0;}
@font-face
	{font-family:"PT Sans";
	panose-1:2 11 5 3 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185547 0 0 151 0;}
@font-face
	{font-family:"PT Sans Narrow";
	panose-1:2 11 5 6 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185547 0 0 151 0;}
@font-face
	{font-family:"PT Sans Caption";
	panose-1:2 11 6 3 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185547 0 0 151 0;}
@font-face
	{font-family:"PT Serif";
	panose-1:2 10 6 3 4 5 5 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185547 0 0 151 0;}
@font-face
	{font-family:"PT Serif Caption";
	panose-1:2 6 6 3 5 5 5 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185547 0 0 151 0;}
@font-face
	{font-family:Palatino;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2013274202 341835776 0 403 0;}
@font-face
	{font-family:Papyrus;
	panose-1:2 11 6 2 4 2 0 2 3 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612609 1073750107 0 0 403 0;}
@font-face
	{font-family:"Papyrus Condensed";
	panose-1:2 11 6 2 4 2 0 2 3 3;
	mso-font-alt:"PAPYRUS CONDENSED";
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612609 1073750107 0 0 403 0;}
@font-face
	{font-family:"Party LET Plain";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"PARTY LET PLAIN";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342177307 0 0 147 0;}
@font-face
	{font-family:"Phosphate Inline";
	panose-1:2 0 5 6 5 0 0 2 0 4;
	mso-font-alt:"PHOSPHATE INLINE";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185547 64 0 403 0;}
@font-face
	{font-family:"Phosphate Solid";
	panose-1:2 0 5 6 5 0 0 2 0 4;
	mso-font-alt:"PHOSPHATE SOLID";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185547 64 0 403 0;}
@font-face
	{font-family:"PingFang HK Ultralight";
	panose-1:2 11 1 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG HK ULTRALIGHT";
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang HK Thin";
	panose-1:2 11 2 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG HK THIN";
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang HK Light";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG HK LIGHT";
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang HK";
	panose-1:2 11 4 0 0 0 0 0 0 0;
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang HK Medium";
	panose-1:2 11 6 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG HK MEDIUM";
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PINGFANG HK SEMIBOLD";
	panose-1:2 11 8 0 0 0 0 0 0 0;
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang TC Ultralight";
	panose-1:2 11 1 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG TC ULTRALIGHT";
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang TC Thin";
	panose-1:2 11 2 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG TC THIN";
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang TC Light";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG TC LIGHT";
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang TC";
	panose-1:2 11 4 0 0 0 0 0 0 0;
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang TC Medium";
	panose-1:2 11 6 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG TC MEDIUM";
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PINGFANG TC SEMIBOLD";
	panose-1:2 11 8 0 0 0 0 0 0 0;
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 1048577 0;}
@font-face
	{font-family:"PingFang SC Ultralight";
	panose-1:2 11 1 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG SC ULTRALIGHT";
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 262145 0;}
@font-face
	{font-family:"PingFang SC Thin";
	panose-1:2 11 2 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG SC THIN";
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 262145 0;}
@font-face
	{font-family:"PingFang SC Light";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG SC LIGHT";
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 262145 0;}
@font-face
	{font-family:"PingFang SC";
	panose-1:2 11 4 0 0 0 0 0 0 0;
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 262145 0;}
@font-face
	{font-family:"PingFang SC Medium";
	panose-1:2 11 6 0 0 0 0 0 0 0;
	mso-font-alt:"PINGFANG SC MEDIUM";
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 262145 0;}
@font-face
	{font-family:"PINGFANG SC SEMIBOLD";
	panose-1:2 11 8 0 0 0 0 0 0 0;
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 2060451323 23 0 262145 0;}
@font-face
	{font-family:"Plantagenet Cherokee";
	panose-1:2 2 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147481597 0 4096 0 499 0;}
@font-face
	{font-family:Playbill;
	panose-1:4 5 6 3 10 6 2 2 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Raanana;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147481533 1073741826 0 0 33 0;}
@font-face
	{font-family:"Heiti TC Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"HEITI TC LIGHT";
	mso-font-charset:128;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 134676554 16 0 4063233 0;}
@font-face
	{font-family:"Heiti TC Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"HEITI TC MEDIUM";
	mso-font-charset:128;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 134676554 16 0 4063233 0;}
@font-face
	{font-family:"Heiti SC Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"HEITI SC LIGHT";
	mso-font-charset:128;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 134676554 16 0 4063233 0;}
@font-face
	{font-family:"Heiti SC Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"HEITI SC MEDIUM";
	mso-font-charset:128;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 134676554 16 0 4063233 0;}
@font-face
	{font-family:STIXGeneral;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1107557887 33554464 0 -2147483137 0;}
@font-face
	{font-family:STIXIntegralsD;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:3 64 0 0 -2147483647 0;}
@font-face
	{font-family:STIXIntegralsSm;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:3 64 0 0 -2147483647 0;}
@font-face
	{font-family:STIXIntegralsUp;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:3 64 0 0 -2147483647 0;}
@font-face
	{font-family:STIXIntegralsUpD;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:3 64 0 0 -2147483647 0;}
@font-face
	{font-family:STIXIntegralsUpSm;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:3 64 0 0 -2147483647 0;}
@font-face
	{font-family:STIXNonUnicode;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:3 268435456 0 0 -2147483647 0;}
@font-face
	{font-family:STIXSizeFiveSym;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:99 132 0 0 -2147483391 0;}
@font-face
	{font-family:STIXSizeFourSym;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:99 32964 0 0 -2147483391 0;}
@font-face
	{font-family:STIXSizeOneSym;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:99 32972 0 0 -2147483391 0;}
@font-face
	{font-family:STIXSizeThreeSym;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:99 32964 0 0 -2147483391 0;}
@font-face
	{font-family:STIXSizeTwoSym;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:99 32964 0 0 -2147483391 0;}
@font-face
	{font-family:STIXVariants;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-format:other;
	mso-font-pitch:variable;
	mso-font-signature:-2147483621 8680 0 0 -2147483647 0;}
@font-face
	{font-family:"Songti SC Light";
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-alt:"SONGTI SC LIGHT";
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 672087122 22 0 262175 0;}
@font-face
	{font-family:"Songti SC";
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:647 135200768 16 0 262303 0;}
@font-face
	{font-family:"SONGTI SC BLACK";
	panose-1:2 1 8 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 135200768 16 0 262144 0;}
@font-face
	{font-family:"Songti TC Light";
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-alt:"SONGTI TC LIGHT";
	mso-font-charset:136;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 672087122 22 0 1310751 0;}
@font-face
	{font-family:"Songti TC";
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-charset:136;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:647 135200768 16 0 1310879 0;}
@font-face
	{font-family:STSong;
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 672087122 22 0 262175 0;}
@font-face
	{font-family:Sana;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8195 0 0 0 65 0;}
@font-face
	{font-family:Sathu;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65943 0;}
@font-face
	{font-family:"SAVOYE LET PLAIN\:1\.0";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342177371 0 0 415 0;}
@font-face
	{font-family:"Seravek ExtraLight";
	panose-1:2 11 5 3 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185595 0 0 159 0;}
@font-face
	{font-family:"Seravek Light";
	panose-1:2 11 5 3 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185595 0 0 159 0;}
@font-face
	{font-family:Seravek;
	panose-1:2 11 5 3 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185595 0 0 159 0;}
@font-face
	{font-family:"Seravek Medium";
	panose-1:2 11 7 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185595 0 0 159 0;}
@font-face
	{font-family:"Shree Devanagari 714";
	panose-1:2 0 6 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 0 0 0 3 0;}
@font-face
	{font-family:SignPainter-HouseScript;
	panose-1:2 0 0 6 7 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 74 0 0 415 0;}
@font-face
	{font-family:"SIGNPAINTER-HOUSESCRIPT SEMIBOL";
	panose-1:2 0 0 6 7 0 0 2 0 4;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 74 0 0 273 0;}
@font-face
	{font-family:Silom;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342185562 32 0 65939 0;}
@font-face
	{font-family:"Sinhala MN";
	panose-1:2 0 5 3 8 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Sinhala Sangam MN";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Skia;
	panose-1:2 13 5 2 2 2 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Snell Roundhand";
	panose-1:2 0 6 3 8 0 0 9 0 4;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483609 0 0 0 273 0;}
@font-face
	{font-family:"SNELL ROUNDHAND BLACK";
	panose-1:2 0 10 4 9 0 0 9 0 4;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483609 0 0 0 273 0;}
@font-face
	{font-family:SUKHUMVITSET-THIN;
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2130706385 1342177354 0 0 65539 0;}
@font-face
	{font-family:SUKHUMVITSET-LIGHT;
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2130706385 1342177354 0 0 65539 0;}
@font-face
	{font-family:SUKHUMVITSET-TEXT;
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2130706385 1342177354 0 0 65539 0;}
@font-face
	{font-family:SUKHUMVITSET-MEDIUM;
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2130706385 1342177354 0 0 65539 0;}
@font-face
	{font-family:SUKHUMVITSET-SEMIBOLD;
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2130706385 1342177354 0 0 65539 0;}
@font-face
	{font-family:"Sukhumvit Set";
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2130706385 1342177354 0 0 65539 0;}
@font-face
	{font-family:"Superclarendon Light";
	panose-1:2 6 3 5 6 0 0 2 0 3;
	mso-font-alt:"SUPERCLARENDON LIGHT";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185562 0 0 387 0;}
@font-face
	{font-family:Superclarendon;
	panose-1:2 6 6 5 6 0 0 2 0 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185562 0 0 387 0;}
@font-face
	{font-family:"SUPERCLARENDON BLACK";
	panose-1:2 6 10 5 6 0 0 2 0 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185562 0 0 387 0;}
@font-face
	{font-family:"Tamil MN";
	panose-1:2 2 6 0 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1048579 0 0 0 1 0;}
@font-face
	{font-family:"Telugu MN";
	panose-1:2 2 6 0 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097155 0 0 0 1 0;}
@font-face
	{font-family:"Telugu Sangam MN";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097155 0 0 0 1 0;}
@font-face
	{font-family:Trattatello;
	panose-1:2 15 4 3 2 2 0 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 8192 0 0 415 0;}
@font-face
	{font-family:"Trebuchet MS";
	panose-1:2 11 6 3 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Waseem Light";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-alt:"WASEEM LIGHT";
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8193 0 0 0 64 0;}
@font-face
	{font-family:Waseem;
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8193 0 0 0 64 0;}
@font-face
	{font-family:Zapfino;
	panose-1:3 3 3 0 4 7 7 7 12 3;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483545 1073741889 0 0 147 0;}
@font-face
	{font-family:"Abadi MT Condensed Light";
	panose-1:2 11 3 6 3 1 1 1 1 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Abadi MT Condensed Extra Bold";
	panose-1:2 11 10 6 3 1 1 1 1 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Arial Black";
	panose-1:2 11 10 4 2 1 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073772795 0 0 159 0;}
@font-face
	{font-family:"Arial Rounded MT Bold";
	panose-1:2 15 7 4 3 5 4 3 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Baskerville Old Face";
	panose-1:2 2 6 2 8 5 5 2 3 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bauhaus 93";
	panose-1:4 3 9 5 2 11 2 2 12 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bell MT";
	panose-1:2 2 5 3 6 3 5 2 3 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bernard MT Condensed";
	panose-1:2 5 8 6 6 9 5 2 4 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Book Antiqua";
	panose-1:2 4 6 2 5 3 5 3 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Bookman Old Style";
	panose-1:2 5 6 4 5 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Bookshelf Symbol 7";
	panose-1:5 1 1 1 1 1 1 1 1 1;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 -2147483647 0;}
@font-face
	{font-family:Braggadocio;
	panose-1:4 3 11 7 13 11 2 2 4 3;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Britannic Bold";
	panose-1:2 11 9 3 6 7 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Cooper Black";
	panose-1:2 8 9 4 4 3 11 2 4 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Calisto MT";
	panose-1:2 4 6 3 5 5 5 3 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Candara;
	panose-1:2 14 5 2 3 3 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073783883 0 0 415 0;}
@font-face
	{font-family:"Century Gothic";
	panose-1:2 11 5 2 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Century Schoolbook";
	panose-1:2 4 6 4 5 5 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Colonna MT";
	panose-1:4 2 8 5 6 2 2 3 2 3;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Consolas;
	panose-1:2 11 6 9 2 2 4 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-520092929 1073806591 9 0 415 0;}
@font-face
	{font-family:Constantia;
	panose-1:2 3 6 2 5 3 6 3 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Copperplate Gothic Bold";
	panose-1:2 14 7 5 2 2 6 2 4 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Corbel;
	panose-1:2 11 5 3 2 2 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073783883 0 0 415 0;}
@font-face
	{font-family:"Curlz MT";
	panose-1:4 4 4 4 5 7 2 2 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"DengXian Light";
	panose-1:2 1 6 0 3 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612033 953122042 22 0 262159 0;}
@font-face
	{font-family:Desdemona;
	panose-1:4 2 5 5 2 14 3 4 5 4;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Dubai Light";
	panose-1:2 11 3 3 3 4 3 3 2 4;
	mso-font-charset:178;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475353 -2147483648 8 0 65 0;}
@font-face
	{font-family:Dubai;
	panose-1:2 11 5 3 3 4 3 3 2 4;
	mso-font-charset:178;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475353 -2147483648 8 0 65 0;}
@font-face
	{font-family:"Dubai Medium";
	panose-1:2 11 6 3 3 4 3 3 2 4;
	mso-font-charset:178;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475353 -2147483648 8 0 65 0;}
@font-face
	{font-family:"Edwardian Script ITC";
	panose-1:3 3 3 2 4 7 7 13 8 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Engravers MT";
	panose-1:2 9 7 7 8 5 5 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Eurostile;
	panose-1:2 11 5 4 2 2 2 5 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:FangSong;
	panose-1:2 1 6 9 6 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-2147482945 953122042 22 0 262145 0;}
@font-face
	{font-family:"Footlight MT Light";
	panose-1:2 4 6 2 6 3 10 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Franklin Gothic Book";
	panose-1:2 11 5 3 2 1 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Franklin Gothic Medium";
	panose-1:2 11 6 3 2 1 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Franklin Gothic Medium Cond";
	panose-1:2 11 6 6 3 4 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Franklin Gothic Demi";
	panose-1:2 11 7 3 2 1 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Franklin Gothic Demi Cond";
	panose-1:2 11 7 6 3 4 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Franklin Gothic Heavy";
	panose-1:2 11 9 3 2 1 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:Garamond;
	panose-1:2 2 4 4 3 3 1 1 8 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:647 2 0 0 159 0;}
@font-face
	{font-family:Gabriola;
	panose-1:4 4 6 5 5 16 2 2 13 2;
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-536870161 1342185547 0 0 159 0;}
@font-face
	{font-family:"Gill Sans MT";
	panose-1:2 11 5 2 2 1 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"Gill Sans MT Condensed";
	panose-1:2 11 5 6 2 1 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"Gill Sans MT Ext Condensed Bold";
	panose-1:2 11 9 2 2 1 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"Gill Sans Ultra Bold";
	panose-1:2 11 10 2 2 1 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"Gloucester MT Extra Condensed";
	panose-1:2 3 8 8 2 6 1 1 1 1;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Goudy Old Style";
	panose-1:2 2 5 2 5 3 5 2 3 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:HGGothicE;
	panose-1:2 11 9 9 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGPGothicE;
	panose-1:2 11 9 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGSGothicE;
	panose-1:2 11 9 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGMinchoE;
	panose-1:2 2 9 9 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGPMinchoE;
	panose-1:2 2 9 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGSMinchoE;
	panose-1:2 2 9 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGSoeiKakugothicUB;
	panose-1:2 11 9 9 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGPSoeiKakugothicUB;
	panose-1:2 11 9 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGSSoeiKakugothicUB;
	panose-1:2 11 9 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:HGMaruGothicMPRO;
	panose-1:2 15 6 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
	{font-family:Haettenschweiler;
	panose-1:2 11 7 6 4 9 2 6 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Harrington;
	panose-1:4 4 5 5 5 10 2 2 7 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Imprint MT Shadow";
	panose-1:4 2 6 5 6 3 3 3 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:KaiTi;
	panose-1:2 1 6 9 6 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-2147482945 953122042 22 0 262145 0;}
@font-face
	{font-family:Kartika;
	panose-1:2 2 5 3 3 4 4 6 2 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:8388611 0 0 0 1 0;}
@font-face
	{font-family:"Kino MT";
	panose-1:4 3 7 5 13 12 2 2 7 3;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lucida Console";
	panose-1:2 11 6 9 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-2147482993 6144 0 0 31 0;}
@font-face
	{font-family:"Lucida Sans";
	panose-1:2 11 6 2 3 5 4 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lucida Sans Unicode";
	panose-1:2 11 6 2 3 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147480833 14699 0 0 191 0;}
@font-face
	{font-family:"Lucida Blackletter";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lucida Bright";
	panose-1:2 4 6 2 5 5 5 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lucida Calligraphy";
	panose-1:3 1 1 1 1 1 1 1 1 1;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lucida Fax";
	panose-1:2 6 6 2 5 5 5 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lucida Handwriting";
	panose-1:3 1 1 1 1 1 1 1 1 1;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lucida Sans Typewriter";
	panose-1:2 11 5 9 3 5 4 3 2 4;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"MS Reference Sans Serif";
	panose-1:2 11 6 4 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 415 0;}
@font-face
	{font-family:"MS Reference Specialty";
	panose-1:5 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 -2147483647 0;}
@font-face
	{font-family:"Microsoft JhengHei";
	panose-1:2 11 6 4 3 5 4 4 2 4;
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:135 680476672 22 0 1048585 0;}
@font-face
	{font-family:"MT Extra";
	panose-1:5 5 1 2 1 2 5 2 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Marlett;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 -2147483647 0;}
@font-face
	{font-family:"Matura MT Script Capitals";
	panose-1:3 2 8 2 6 6 2 7 2 2;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Mistral;
	panose-1:3 9 7 2 3 4 7 2 4 3;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Modern No\. 20";
	panose-1:2 7 7 4 7 5 5 2 3 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Monotype Corsiva";
	panose-1:3 1 1 1 1 2 1 1 1 1;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Monotype Sorts";
	panose-1:1 1 6 1 1 1 1 1 1 1;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 -2147483647 0;}
@font-face
	{font-family:"News Gothic MT";
	panose-1:2 11 5 3 2 1 3 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Onyx;
	panose-1:4 5 6 2 8 7 2 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Perpetua;
	panose-1:2 2 5 2 6 4 1 2 3 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Perpetua Titling MT";
	panose-1:2 2 5 2 6 5 5 2 8 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Rockwell;
	panose-1:2 6 6 3 2 2 5 2 4 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Rockwell Condensed";
	panose-1:2 6 6 3 5 4 5 2 1 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Rockwell Extra Bold";
	panose-1:2 6 9 3 4 5 5 2 4 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:STHupo;
	panose-1:2 1 8 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 135200768 16 0 262144 0;}
@font-face
	{font-family:STLiti;
	panose-1:2 1 8 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 135200768 16 0 262144 0;}
@font-face
	{font-family:STXingkai;
	panose-1:2 1 8 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 135200768 16 0 262144 0;}
@font-face
	{font-family:STXinwei;
	panose-1:2 1 8 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 135200768 16 0 262144 0;}
@font-face
	{font-family:STZhongsong;
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:647 135200768 16 0 262303 0;}
@font-face
	{font-family:"Segoe Print";
	panose-1:2 0 8 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:655 0 0 0 159 0;}
@font-face
	{font-family:"Segoe Script";
	panose-1:3 11 8 4 2 0 0 0 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:655 0 0 0 159 0;}
@font-face
	{font-family:Stencil;
	panose-1:4 4 9 5 13 8 2 2 4 4;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Microsoft Tai Le";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 1073741824 0 1 0;}
@font-face
	{font-family:"Tw Cen MT";
	panose-1:2 11 6 2 2 1 4 2 6 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"Tw Cen MT Condensed";
	panose-1:2 11 6 6 2 1 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"Tw Cen MT Condensed Extra Bold";
	panose-1:2 11 8 3 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 3 0;}
@font-face
	{font-family:"Wide Latin";
	panose-1:2 10 10 7 5 5 5 2 4 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Wingdings 2";
	panose-1:5 2 1 2 1 5 7 7 7 7;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 -2147483647 0;}
@font-face
	{font-family:"Wingdings 3";
	panose-1:5 4 1 2 1 8 7 7 7 7;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 -2147483647 0;}
@font-face
	{font-family:"Yu Gothic Light";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 717749759 22 0 131231 0;}
@font-face
	{font-family:"Yu Gothic Medium";
	panose-1:2 11 5 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 717749759 22 0 131231 0;}
@font-face
	{font-family:BatangChe;
	panose-1:2 3 6 9 0 1 1 1 1 1;
	mso-font-charset:129;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1342176593 1775729915 48 0 524447 0;}
@font-face
	{font-family:Gungsuh;
	panose-1:2 3 6 0 0 1 1 1 1 1;
	mso-font-charset:129;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1342176593 1775729915 48 0 524447 0;}
@font-face
	{font-family:GungsuhChe;
	panose-1:2 3 6 9 0 1 1 1 1 1;
	mso-font-charset:129;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1342176593 1775729915 48 0 524447 0;}
@font-face
	{font-family:CordiaUPC;
	panose-1:2 11 3 4 2 2 2 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:David;
	panose-1:2 14 5 2 6 4 1 1 1 1;
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:GulimChe;
	panose-1:2 11 6 9 0 1 1 1 1 1;
	mso-font-charset:129;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1342176593 1775729915 48 0 524447 0;}
@font-face
	{font-family:DotumChe;
	panose-1:2 11 6 9 0 1 1 1 1 1;
	mso-font-charset:129;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1342176593 1775729915 48 0 524447 0;}
@font-face
	{font-family:"Microsoft Himalaya";
	panose-1:1 1 1 0 1 1 1 1 1 1;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 65536 64 0 1 0;}
@font-face
	{font-family:"Malgun Gothic Semilight";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1879047505 165117179 18 0 4063677 0;}
@font-face
	{font-family:"Malgun Gothic";
	panose-1:2 11 5 3 2 0 0 2 0 4;
	mso-font-charset:129;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1879048145 701988091 18 0 524289 0;}
@font-face
	{font-family:Meiryo;
	panose-1:2 11 6 4 3 5 4 4 2 4;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791492095 134217746 0 131231 0;}
@font-face
	{font-family:"Meiryo UI";
	panose-1:2 11 6 4 3 5 4 4 2 4;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791492095 134217746 0 131231 0;}
@font-face
	{font-family:MingLiU_HKSCS;
	panose-1:2 2 5 0 0 0 0 0 0 0;
	mso-font-charset:136;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 953154810 22 0 1048577 0;}
@font-face
	{font-family:MingLiU-ExtB;
	panose-1:2 2 5 0 0 0 0 0 0 0;
	mso-font-charset:136;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 168296456 16 0 1048577 0;}
@font-face
	{font-family:PMingLiU-ExtB;
	panose-1:2 2 5 0 0 0 0 0 0 0;
	mso-font-charset:136;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 168296456 16 0 1048577 0;}
@font-face
	{font-family:MingLiU_HKSCS-ExtB;
	panose-1:2 2 5 0 0 0 0 0 0 0;
	mso-font-charset:136;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 168296456 16 0 1048577 0;}
@font-face
	{font-family:"Myanmar Text";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 1024 0 1 0;}
@font-face
	{font-family:"Mongolian Baiti";
	panose-1:3 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483613 0 131072 0 1 0;}
@font-face
	{font-family:"MS UI Gothic";
	panose-1:2 11 6 0 7 2 5 8 2 4;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 134217746 0 131231 0;}
@font-face
	{font-family:"MS PGothic";
	panose-1:2 11 6 0 7 2 5 8 2 4;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 134217746 0 131231 0;}
@font-face
	{font-family:"MS PMincho";
	panose-1:2 2 6 0 4 2 5 8 3 4;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491579 134217746 0 131231 0;}
@font-face
	{font-family:"Microsoft YaHei Light";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612033 684654608 22 0 262159 0;}
@font-face
	{font-family:"Microsoft YaHei";
	panose-1:2 11 5 3 2 2 4 2 2 4;
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 684670034 22 0 262175 0;}
@font-face
	{font-family:"Microsoft Yi Baiti";
	panose-1:3 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 66562 524290 0 1 0;}
@font-face
	{font-family:"Microsoft New Tai Lue";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 -2147483648 0 1 0;}
@font-face
	{font-family:Nyala;
	panose-1:2 0 5 4 7 3 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 0 2048 0 147 0;}
@font-face
	{font-family:"Segoe UI Historic";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483153 33554434 6340736 0 1 0;}
@font-face
	{font-family:"Segoe UI Symbol";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483165 302055407 262144 0 1 0;}
@font-face
	{font-family:SimSun-ExtB;
	panose-1:2 1 6 9 6 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:1 168689664 16 0 262145 0;}
@font-face
	{font-family:Tahoma;
	panose-1:2 11 6 4 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520081665 -1073717157 41 0 66047 0;}
@font-face
	{font-family:"TH SarabunPSK";
	panose-1:2 11 5 0 4 2 0 2 0 3;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777219 0 0 0 65809 0;}
@font-face
	{font-family:Webdings;
	panose-1:5 3 1 2 1 5 9 6 7 3;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 -2147483647 0;}
@font-face
	{font-family:"Yu Mincho Light";
	panose-1:2 2 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482905 717749503 18 0 131231 0;}
@font-face
	{font-family:"Yu Mincho";
	panose-1:2 2 4 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482905 717749503 18 0 131231 0;}
@font-face
	{font-family:"Yu Mincho Demibold";
	panose-1:2 2 6 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482905 717749503 18 0 131231 0;}
@font-face
	{font-family:"Abadi Extra Light";
	panose-1:2 11 2 4 2 1 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:Abadi;
	panose-1:2 11 6 4 2 1 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:Abel;
	panose-1:2 0 5 6 3 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Abril Fatface";
	panose-1:2 0 5 3 0 0 0 2 0 3;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612569 1342185563 0 0 147 0;}
@font-face
	{font-family:"ADLaM Display";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 1107296330 0 0 1 0;}
@font-face
	{font-family:"Agency FB";
	panose-1:2 11 5 3 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Aharoni;
	panose-1:2 1 8 3 2 1 4 3 2 3;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:"Al Fresco";
	panose-1:2 0 5 7 7 0 0 2 0 2;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 268435530 0 0 3 0;}
@font-face
	{font-family:Aldhabi;
	panose-1:1 0 0 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475449 -2147483648 8 0 65 0;}
@font-face
	{font-family:Alef;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2055 1073741824 0 0 179 0;}
@font-face
	{font-family:"Aleo Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 0 0 0 131 0;}
@font-face
	{font-family:Aleo;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 0 0 0 131 0;}
@font-face
	{font-family:Algerian;
	panose-1:4 2 7 5 4 10 2 6 7 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Amasis MT Pro Light";
	panose-1:2 4 3 4 5 0 5 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1073750107 0 0 147 0;}
@font-face
	{font-family:"Amasis MT Pro";
	panose-1:2 4 5 4 5 0 5 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1073750107 0 0 147 0;}
@font-face
	{font-family:"Amasis MT Pro Medium";
	panose-1:2 4 6 4 5 0 5 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1073750107 0 0 147 0;}
@font-face
	{font-family:"Amasis MT Pro Black";
	panose-1:2 4 10 4 5 0 5 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1073750107 0 0 147 0;}
@font-face
	{font-family:"Amatic SC";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536873487 1073741826 0 0 439 0;}
@font-face
	{font-family:AngsanaUPC;
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:222;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:Anton;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750139 0 0 403 0;}
@font-face
	{font-family:Aparajita;
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:"Arabic Typesetting";
	panose-1:3 2 4 2 4 4 6 3 2 3;
	mso-font-charset:178;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147475449 -2147483648 8 0 211 0;}
@font-face
	{font-family:"Aref Ruqaa";
	panose-1:2 0 5 3 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475345 -2147483573 0 0 65 0;}
@font-face
	{font-family:"Arial Nova Cond Light";
	panose-1:2 11 3 6 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:655 2 0 0 415 0;}
@font-face
	{font-family:"Arial Nova Light";
	panose-1:2 11 3 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:655 2 0 0 415 0;}
@font-face
	{font-family:"Arial Nova Cond";
	panose-1:2 11 5 6 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:655 2 0 0 415 0;}
@font-face
	{font-family:"Arial Nova";
	panose-1:2 11 5 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:655 2 0 0 415 0;}
@font-face
	{font-family:"Assistant ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610433 1073750091 0 0 33 0;}
@font-face
	{font-family:"Assistant Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610433 1073750091 0 0 33 0;}
@font-face
	{font-family:Assistant;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610433 1073750091 0 0 33 0;}
@font-face
	{font-family:"Assistant SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610433 1073750091 0 0 33 0;}
@font-face
	{font-family:"Assistant ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610433 1073750091 0 0 33 0;}
@font-face
	{font-family:"Athiti ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Athiti Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Athiti;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Athiti Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Athiti SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Avenir Next LT Pro Light";
	panose-1:2 11 3 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1342185547 0 0 147 0;}
@font-face
	{font-family:"Avenir Next LT Pro";
	panose-1:2 11 5 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483409 1342185546 0 0 147 0;}
@font-face
	{font-family:"Avenir Next LT Pro Demi";
	panose-1:2 11 7 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483409 1342185546 0 0 147 0;}
@font-face
	{font-family:"Baguet Script";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:"Bahnschrift Light Condensed";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Bahnschrift Light SemiCondensed";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Bahnschrift Light";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Bahnschrift SemiLight Condensed";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Bahnschrift SemiLight";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Bahnschrift Condensed";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Bahnschrift SemiCondensed";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:Bahnschrift;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Bahnschrift SemiBold Condensed";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Bahnschrift SemiBold";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Barlow Condensed Thin";
	panose-1:0 0 3 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Semi Condensed Thin";
	panose-1:0 0 3 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Thin";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Condensed ExtraLight";
	panose-1:0 0 3 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Semi Condensed ExLight";
	panose-1:0 0 3 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Condensed Light";
	panose-1:0 0 4 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Semi Condensed Light";
	panose-1:0 0 4 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Condensed";
	panose-1:0 0 5 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Semi Condensed";
	panose-1:0 0 5 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:Barlow;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Condensed Medium";
	panose-1:0 0 6 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Semi Condensed Medium";
	panose-1:0 0 6 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Condensed SemiBold";
	panose-1:0 0 7 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Semi Condensed SemiBold";
	panose-1:0 0 7 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Condensed ExtraBold";
	panose-1:0 0 9 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Semi Condensed ExtraBold";
	panose-1:0 0 9 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow ExtraBold";
	panose-1:0 0 9 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Condensed Black";
	panose-1:0 0 10 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Semi Condensed Black";
	panose-1:0 0 10 6 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Barlow Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Bebas Neue";
	panose-1:2 11 6 6 2 2 2 5 2 1;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:7 1 0 0 147 0;}
@font-face
	{font-family:Bembo;
	panose-1:2 2 5 2 5 2 1 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Berlin Sans FB";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Berlin Sans FB Demi";
	panose-1:2 14 8 2 2 5 2 2 3 6;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Bierstadt;
	panose-1:2 11 0 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:"Bierstadt Display";
	panose-1:2 11 0 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:BierstadtAlt;
	panose-1:2 11 0 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:536871559 3 0 0 415 0;}
@font-face
	{font-family:"BierstadtAlt2 Cond";
	panose-1:2 11 0 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:536871559 3 0 0 415 0;}
@font-face
	{font-family:"BierstadtAlt3 Cond";
	panose-1:2 11 0 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:536871559 3 0 0 415 0;}
@font-face
	{font-family:"BierstadtAlt4 Cond";
	panose-1:2 11 0 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:536871559 3 0 0 415 0;}
@font-face
	{font-family:BierstadtAlt5;
	panose-1:2 11 0 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:536871559 3 0 0 415 0;}
@font-face
	{font-family:Cond;
	panose-1:2 11 0 4 2 2 2 9 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:536871559 3 0 0 415 0;}
@font-face
	{font-family:"Biome Light";
	panose-1:2 11 3 3 3 2 4 2 8 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1592449281 -2147483638 65536 0 415 0;}
@font-face
	{font-family:Biome;
	panose-1:2 11 5 3 3 2 4 2 8 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1592449281 -2147483638 65536 0 415 0;}
@font-face
	{font-family:"Blackadder ITC";
	panose-1:4 2 5 5 5 0 7 2 13 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bodoni MT Condensed";
	panose-1:2 7 6 6 8 6 6 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bodoni MT";
	panose-1:2 7 6 3 8 6 6 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bodoni MT Black";
	panose-1:2 7 10 3 8 6 6 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Bodoni MT Poster Compressed";
	panose-1:2 7 7 6 8 6 1 5 2 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 17 0;}
@font-face
	{font-family:"Boucherie Sans";
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 268443722 0 0 1 0;}
@font-face
	{font-family:"Bradley Hand ITC";
	panose-1:3 7 4 2 5 3 2 3 2 3;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Broadway;
	panose-1:4 4 9 5 8 0 2 2 5 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Browallia New";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:BrowalliaUPC;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:"Buxton Sketch";
	panose-1:3 8 5 0 0 5 0 0 0 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750235 0 0 159 0;}
@font-face
	{font-family:"Californian FB";
	panose-1:2 7 4 3 6 8 11 3 2 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Castellar;
	panose-1:2 10 4 2 6 4 6 1 3 1;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Caveat Brush";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342185563 0 0 147 0;}
@font-face
	{font-family:Cavolini;
	panose-1:3 0 5 2 4 3 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-1592449281 -2147483638 65536 0 415 0;}
@font-face
	{font-family:Centaur;
	panose-1:2 3 5 4 5 2 5 2 3 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Chamberi Super Display";
	panose-1:2 4 5 3 8 5 5 2 3 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:Charmonman;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Chiller;
	panose-1:4 2 4 4 3 16 7 2 6 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Chonburi;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Cochocib Script Latin Pro";
	panose-1:2 0 5 3 0 0 0 2 0 3;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1342177354 0 0 147 0;}
@font-face
	{font-family:"Concert One";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483609 67 0 0 273 0;}
@font-face
	{font-family:"Congenial UltraLight";
	panose-1:2 0 5 3 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 268443739 0 0 1 0;}
@font-face
	{font-family:"Congenial Light";
	panose-1:2 0 5 3 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 268443739 0 0 1 0;}
@font-face
	{font-family:Congenial;
	panose-1:2 0 5 3 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 268443739 0 0 1 0;}
@font-face
	{font-family:"Congenial SemiBold";
	panose-1:2 0 5 3 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 268443739 0 0 1 0;}
@font-face
	{font-family:"Congenial Black";
	panose-1:2 0 5 3 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 268443739 0 0 1 0;}
@font-face
	{font-family:"Convection Condensed";
	panose-1:2 11 6 4 4 5 1 4 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 145 0;}
@font-face
	{font-family:Convection;
	panose-1:2 11 6 4 4 5 1 4 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342177354 0 0 159 0;}
@font-face
	{font-family:"Convection Extra Bold";
	panose-1:2 11 9 4 4 5 1 4 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342177354 0 0 159 0;}
@font-face
	{font-family:"Convection Symbol";
	panose-1:5 1 1 1 1 1 1 1 1 1;
	mso-font-charset:2;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:0 268435456 0 0 -2147483648 0;}
@font-face
	{font-family:"Convection UI";
	panose-1:2 11 6 4 4 5 1 4 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483473 1342177354 0 0 155 0;}
@font-face
	{font-family:Dante;
	panose-1:2 2 5 2 5 2 0 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:DaunPenh;
	panose-1:1 1 1 1 1 1 1 1 1 1;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 65536 0 1 0;}
@font-face
	{font-family:"Daytona Condensed Light";
	panose-1:2 11 3 6 3 5 3 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Daytona Light";
	panose-1:2 11 3 4 3 5 3 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Daytona Condensed";
	panose-1:2 11 5 6 3 5 3 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:Daytona;
	panose-1:2 11 6 4 3 5 0 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482897 10 0 0 415 0;}
@font-face
	{font-family:"Didact Gothic";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1610613455 2 0 0 415 0;}
@font-face
	{font-family:DilleniaUPC;
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:222;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:"DM Mono Light";
	panose-1:2 11 3 9 4 2 1 4 1 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:"DM Mono";
	panose-1:2 11 5 9 4 2 1 4 1 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:"DM Mono Medium";
	panose-1:2 11 6 9 4 2 1 4 1 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:"DM Sans";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342185563 0 0 147 0;}
@font-face
	{font-family:"DM Sans Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342185563 0 0 147 0;}
@font-face
	{font-family:"DM Serif Display";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483537 75 0 0 415 0;}
@font-face
	{font-family:"DM Serif Text";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483537 75 0 0 415 0;}
@font-face
	{font-family:DokChampa;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2097151997 0 0 0 65537 0;}
@font-face
	{font-family:"Dosis ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612545 1073750139 0 0 147 0;}
@font-face
	{font-family:"Dosis Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612545 1073750139 0 0 147 0;}
@font-face
	{font-family:Dosis;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612545 1073750139 0 0 147 0;}
@font-face
	{font-family:"Dosis Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612545 1073750139 0 0 147 0;}
@font-face
	{font-family:"Dosis SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612545 1073750139 0 0 147 0;}
@font-face
	{font-family:"Dosis ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612545 1073750139 0 0 147 0;}
@font-face
	{font-family:"Dreaming Outloud Pro";
	panose-1:3 5 5 2 4 3 2 3 5 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483409 10 8 0 1 0;}
@font-face
	{font-family:"Dreaming Outloud Script Pro";
	panose-1:3 5 5 2 4 3 4 5 7 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483409 10 8 0 1 0;}
@font-face
	{font-family:"EB Garamond";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 33555475 0 0 415 0;}
@font-face
	{font-family:"EB Garamond Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 33555475 0 0 415 0;}
@font-face
	{font-family:"EB Garamond SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 33555475 0 0 415 0;}
@font-face
	{font-family:"EB Garamond ExtraBold";
	panose-1:0 0 9 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 33555475 0 0 415 0;}
@font-face
	{font-family:Ebrima;
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612641 33554497 2048 0 147 0;}
@font-face
	{font-family:Elephant;
	panose-1:2 2 9 4 9 5 5 2 3 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Elephant Pro";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871559 2 0 0 415 0;}
@font-face
	{font-family:"Eras Light ITC";
	panose-1:2 11 4 2 3 5 4 2 8 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Eras Medium ITC";
	panose-1:2 11 6 2 3 5 4 2 8 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Eras Demi ITC";
	panose-1:2 11 8 5 3 5 4 2 8 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Eras Bold ITC";
	panose-1:2 11 9 7 3 5 4 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:EucrosiaUPC;
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:222;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:Euphemia;
	panose-1:2 11 5 3 4 1 2 2 1 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483537 74 8192 0 1 0;}
@font-face
	{font-family:"Fahkwang ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Fahkwang Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Fahkwang;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Fahkwang Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Fahkwang SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Fairwater Script Light";
	panose-1:2 0 5 7 0 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612689 268435531 0 0 1 0;}
@font-face
	{font-family:"Fairwater Script";
	panose-1:2 0 5 7 0 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612689 268435531 0 0 1 0;}
@font-face
	{font-family:"Fave Script Bold Pro";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1342177354 0 0 403 0;}
@font-face
	{font-family:"Felix Titling";
	panose-1:4 6 5 5 6 2 2 2 10 4;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Fira Code Light";
	panose-1:2 11 8 9 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870161 302053627 8 0 159 0;}
@font-face
	{font-family:"Fira Code";
	panose-1:2 11 8 9 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870161 302053627 8 0 159 0;}
@font-face
	{font-family:"Fira Code Medium";
	panose-1:2 11 8 9 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870161 302053627 8 0 159 0;}
@font-face
	{font-family:"Fira Code Retina";
	panose-1:2 11 8 9 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870161 302053627 8 0 159 0;}
@font-face
	{font-family:"Fira Mono";
	panose-1:2 11 5 9 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:1073742471 33568769 0 0 159 0;}
@font-face
	{font-family:"Fira Mono Medium";
	panose-1:2 11 6 9 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:1073742471 33568769 0 0 159 0;}
@font-face
	{font-family:"Fira Sans Extra Condensed Thin";
	panose-1:2 11 3 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Condensed Thin";
	panose-1:2 11 3 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Thin";
	panose-1:2 11 3 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Condensed ExtraLight";
	panose-1:2 11 4 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans ExtraLight";
	panose-1:2 11 4 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Extra Condensed Light";
	panose-1:2 11 4 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Condensed Light";
	panose-1:2 11 4 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Light";
	panose-1:2 11 4 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Extra Condensed";
	panose-1:2 11 5 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Condensed";
	panose-1:2 11 5 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans";
	panose-1:2 11 5 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Condensed Medium";
	panose-1:2 11 6 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Medium";
	panose-1:2 11 6 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Condensed SemiBold";
	panose-1:2 11 6 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans SemiBold";
	panose-1:2 11 6 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Condensed ExtraBold";
	panose-1:2 11 9 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans ExtraBold";
	panose-1:2 11 9 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Extra Condensed Black";
	panose-1:2 11 10 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Condensed Black";
	panose-1:2 11 10 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fira Sans Black";
	panose-1:2 11 10 3 5 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613503 1 0 0 415 0;}
@font-face
	{font-family:"Fjalla One";
	panose-1:2 0 5 6 4 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483457 1073741899 0 0 1 0;}
@font-face
	{font-family:Forte;
	panose-1:3 6 9 2 4 5 2 7 2 3;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Forte Forward";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342201931 8 0 147 0;}
@font-face
	{font-family:"Frank Ruhl Libre Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2055 1073741825 0 0 163 0;}
@font-face
	{font-family:"Frank Ruhl Libre";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2055 1073741825 0 0 163 0;}
@font-face
	{font-family:"Frank Ruhl Libre Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2055 1073741825 0 0 163 0;}
@font-face
	{font-family:"Frank Ruhl Libre Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2055 1073741825 0 0 163 0;}
@font-face
	{font-family:FrankRuehl;
	panose-1:2 14 5 3 6 1 1 1 1 1;
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:"Fredoka One";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1073741898 0 0 1 0;}
@font-face
	{font-family:FreesiaUPC;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:"Freestyle Script";
	panose-1:3 8 4 2 3 2 5 11 4 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"French Script MT";
	panose-1:3 2 4 2 4 6 7 4 6 5;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Gabriela;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:515 0 0 0 5 0;}
@font-face
	{font-family:Gadugi;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33554432 12288 0 1 0;}
@font-face
	{font-family:"Gaegu Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 17825794 16 0 1 0;}
@font-face
	{font-family:Gaegu;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 17825794 16 0 1 0;}
@font-face
	{font-family:"Georgia Pro Cond Light";
	panose-1:2 4 3 6 5 4 5 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 3 0 0 159 0;}
@font-face
	{font-family:"Georgia Pro Light";
	panose-1:2 4 3 2 5 4 5 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 3 0 0 159 0;}
@font-face
	{font-family:"Georgia Pro Cond";
	panose-1:2 4 5 6 5 4 5 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 3 0 0 159 0;}
@font-face
	{font-family:"Georgia Pro";
	panose-1:2 4 5 2 5 4 5 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 3 0 0 159 0;}
@font-face
	{font-family:"Georgia Pro Cond Semibold";
	panose-1:2 4 7 6 5 4 5 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 3 0 0 159 0;}
@font-face
	{font-family:"Georgia Pro Semibold";
	panose-1:2 4 7 2 5 4 5 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 3 0 0 159 0;}
@font-face
	{font-family:"Georgia Pro Cond Black";
	panose-1:2 4 10 6 5 4 5 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 3 0 0 159 0;}
@font-face
	{font-family:"Georgia Pro Black";
	panose-1:2 4 10 2 5 4 5 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 3 0 0 159 0;}
@font-face
	{font-family:Gigi;
	panose-1:4 4 5 4 6 0 7 2 13 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Gill Sans Nova Cond Lt";
	panose-1:2 11 3 6 2 1 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Gill Sans Nova Light";
	panose-1:2 11 3 2 2 1 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Gill Sans Nova Cond";
	panose-1:2 11 6 6 2 1 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Gill Sans Nova";
	panose-1:2 11 6 2 2 1 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Gill Sans Nova Cond XBd";
	panose-1:2 11 10 6 2 1 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Gill Sans Nova Cond Ultra Bold";
	panose-1:2 11 11 4 2 1 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Gill Sans Nova Ultra Bold";
	panose-1:2 11 11 2 2 1 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:Gisha;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147481593 1073741890 0 0 33 0;}
@font-face
	{font-family:"Goudy Stout";
	panose-1:2 2 9 4 7 3 11 2 4 1;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Goudy Type";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 1 0 0 147 0;}
@font-face
	{font-family:Grandview;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Grandview Display";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612025 2 0 0 415 0;}
@font-face
	{font-family:"Grotesque Light";
	panose-1:2 11 3 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:Grotesque;
	panose-1:2 11 5 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Hadassah Friedlaender";
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:177;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:"Hammersmith One";
	panose-1:2 1 7 3 3 5 1 6 5 4;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1073750090 0 0 147 0;}
@font-face
	{font-family:"Heebo Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610457 1073741891 0 0 33 0;}
@font-face
	{font-family:"Heebo Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610457 1073741891 0 0 33 0;}
@font-face
	{font-family:Heebo;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610457 1073741891 0 0 33 0;}
@font-face
	{font-family:"Heebo Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610457 1073741891 0 0 33 0;}
@font-face
	{font-family:"Heebo ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610457 1073741891 0 0 33 0;}
@font-face
	{font-family:"Heebo Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610610457 1073741891 0 0 33 0;}
@font-face
	{font-family:"High Tower Text";
	panose-1:2 4 5 2 5 5 6 3 3 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Hind Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:Hind;
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Hind Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Hind SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Hind Colombo Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 0 512 0 147 0;}
@font-face
	{font-family:"Hind Colombo";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 0 512 0 147 0;}
@font-face
	{font-family:"Hind Colombo Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 0 512 0 147 0;}
@font-face
	{font-family:"Hind Colombo SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 0 512 0 147 0;}
@font-face
	{font-family:"Hind Guntur Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097159 0 0 0 147 0;}
@font-face
	{font-family:"Hind Guntur";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097159 0 0 0 147 0;}
@font-face
	{font-family:"Hind Guntur Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097159 0 0 0 147 0;}
@font-face
	{font-family:"Hind Guntur SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2097159 0 0 0 147 0;}
@font-face
	{font-family:"Hind Jalandhar Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:131079 0 0 0 147 0;}
@font-face
	{font-family:"Hind Jalandhar";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:131079 0 0 0 147 0;}
@font-face
	{font-family:"Hind Jalandhar Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:131079 0 0 0 147 0;}
@font-face
	{font-family:"Hind Jalandhar SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:131079 0 0 0 147 0;}
@font-face
	{font-family:"Hind Kochi Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8388615 0 0 0 147 0;}
@font-face
	{font-family:"Hind Kochi";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8388615 0 0 0 147 0;}
@font-face
	{font-family:"Hind Kochi Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8388615 0 0 0 147 0;}
@font-face
	{font-family:"Hind Kochi SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:8388615 0 0 0 147 0;}
@font-face
	{font-family:"Hind Madurai Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1048583 0 0 0 147 0;}
@font-face
	{font-family:"Hind Madurai";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1048583 0 0 0 147 0;}
@font-face
	{font-family:"Hind Madurai Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1048583 0 0 0 147 0;}
@font-face
	{font-family:"Hind Madurai SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1048583 0 0 0 147 0;}
@font-face
	{font-family:"Hind Mysuru Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:4194307 0 0 0 147 0;}
@font-face
	{font-family:"Hind Mysuru";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:4194307 0 0 0 147 0;}
@font-face
	{font-family:"Hind Mysuru Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:4194307 0 0 0 147 0;}
@font-face
	{font-family:"Hind Mysuru SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:4194307 0 0 0 147 0;}
@font-face
	{font-family:"Hind Siliguri Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65543 0 0 0 147 0;}
@font-face
	{font-family:"Hind Siliguri";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65543 0 0 0 147 0;}
@font-face
	{font-family:"Hind Siliguri Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65543 0 0 0 147 0;}
@font-face
	{font-family:"Hind Siliguri SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:65543 0 0 0 147 0;}
@font-face
	{font-family:"Hind Vadodara Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262151 0 0 0 147 0;}
@font-face
	{font-family:"Hind Vadodara";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262151 0 0 0 147 0;}
@font-face
	{font-family:"Hind Vadodara Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262151 0 0 0 147 0;}
@font-face
	{font-family:"Hind Vadodara SemiBold";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:262151 0 0 0 147 0;}
@font-face
	{font-family:"IBM Plex Mono Thin";
	panose-1:2 11 3 9 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1610612113 1342185595 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Mono ExtraLight";
	panose-1:2 11 3 9 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1610612113 1342185595 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Mono Light";
	panose-1:2 11 4 9 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1610612113 1342185595 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Mono";
	panose-1:2 11 5 9 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1610612113 1342185595 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Mono Medium";
	panose-1:2 11 6 9 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1610612113 1342185595 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Mono SemiBold";
	panose-1:2 11 7 9 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-1610612113 1342185595 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Sans Condensed Thin";
	panose-1:2 11 2 6 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 1342185595 0 0 403 0;}
@font-face
	{font-family:"IBM Plex Sans Thin";
	panose-1:2 11 2 3 5 2 3 0 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185595 0 0 415 0;}
@font-face
	{font-family:"IBM Plex Sans ExtraLight";
	panose-1:2 11 3 3 5 2 3 0 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185595 0 0 415 0;}
@font-face
	{font-family:"IBM Plex Sans Condensed Light";
	panose-1:2 11 4 6 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 1342185595 0 0 403 0;}
@font-face
	{font-family:"IBM Plex Sans Light";
	panose-1:2 11 4 3 5 2 3 0 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185595 0 0 415 0;}
@font-face
	{font-family:"IBM Plex Sans Condensed";
	panose-1:2 11 5 6 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 1342185595 0 0 403 0;}
@font-face
	{font-family:"IBM Plex Sans";
	panose-1:2 11 5 3 5 2 3 0 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185595 0 0 415 0;}
@font-face
	{font-family:"IBM Plex Sans Condensed Medium";
	panose-1:2 11 6 6 5 2 3 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612625 1342185595 0 0 403 0;}
@font-face
	{font-family:"IBM Plex Sans Medium";
	panose-1:2 11 6 3 5 2 3 0 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185595 0 0 415 0;}
@font-face
	{font-family:"IBM Plex Sans SemiBold";
	panose-1:2 11 7 3 5 2 3 0 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1342185595 0 0 415 0;}
@font-face
	{font-family:"IBM Plex Serif Thin";
	panose-1:2 6 2 3 5 4 6 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612113 1342185531 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Serif ExtraLight";
	panose-1:2 6 3 3 5 4 6 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612113 1342185531 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Serif Light";
	panose-1:2 6 4 3 5 4 6 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612113 1342185531 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Serif";
	panose-1:2 6 5 3 5 4 6 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612113 1342185531 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Serif Medium";
	panose-1:2 6 6 3 5 4 6 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612113 1342185531 0 0 407 0;}
@font-face
	{font-family:"IBM Plex Serif SemiBold";
	panose-1:2 6 7 3 5 4 6 0 2 3;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610612113 1342185531 0 0 407 0;}
@font-face
	{font-family:"Inconsolata ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Expanded ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Condensed Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiCondensed Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiExpanded Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Expanded Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata ExtraExpanded Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata UltraExpanded Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata UltraCondensed";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata ExtraCondensed";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Condensed";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiCondensed";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:Inconsolata;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiExpanded";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Expanded";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata ExtraExpanded";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata UltraExpanded";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Condensed Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiExpanded Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Expanded Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Condensed SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Expanded SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata UltraCondensed Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata ExtraCondensed Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Condensed Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiCondensed Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiExpanded Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Expanded Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata ExtraExpanded Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata UltraExpanded Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Condensed ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Expanded ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Condensed Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiCondensed Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata SemiExpanded Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata Expanded Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata ExtraExpanded Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Inconsolata UltraExpanded Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:"Ink Free";
	panose-1:3 8 4 2 0 5 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:1679 1073741834 0 0 415 0;}
@font-face
	{font-family:IrisUPC;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:"Iskoola Pota";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 512 0 1 0;}
@font-face
	{font-family:Italianno;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 147 0;}
@font-face
	{font-family:JasmineUPC;
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:222;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:"Javanese Text";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 0 0 1 0;}
@font-face
	{font-family:Jokerman;
	panose-1:4 9 6 5 6 0 6 2 7 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Josefin Sans Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Josefin Sans Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Josefin Sans";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Josefin Sans SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Josefin Sans Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Josefin Slab Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 4 0 0 17 0;}
@font-face
	{font-family:"Josefin Slab Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 4 0 0 17 0;}
@font-face
	{font-family:"Josefin Slab";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 4 0 0 17 0;}
@font-face
	{font-family:"Josefin Slab SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 4 0 0 17 0;}
@font-face
	{font-family:"Juice ITC";
	panose-1:4 4 4 3 4 0 2 2 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Jumble;
	panose-1:2 0 5 3 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 268435530 0 0 1 0;}
@font-face
	{font-family:Kalinga;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:524291 0 0 0 1 0;}
@font-face
	{font-family:"Karla ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750107 0 0 147 0;}
@font-face
	{font-family:"Karla Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750107 0 0 147 0;}
@font-face
	{font-family:Karla;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750107 0 0 147 0;}
@font-face
	{font-family:"Karla Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750107 0 0 147 0;}
@font-face
	{font-family:"Karla ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750107 0 0 147 0;}
@font-face
	{font-family:"Karla Tamil Inclined";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2146435037 134217794 335544320 0 1 0;}
@font-face
	{font-family:"Karla Tamil Upright";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2146435037 134217794 335544320 0 1 0;}
@font-face
	{font-family:"Kermit Thin Condensed";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Thin";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Thin Expanded";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Extralight Condensed";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Extralight";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Extralight Expanded";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Light Condensed";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Light";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Light Expanded";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Condensed";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:Kermit;
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Expanded";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Semibold Condensed";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Semibold";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Semibold Expanded";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Extrabold Condensed";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Extrabold";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Kermit Extrabold Expanded";
	panose-1:2 15 5 3 4 0 0 6 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482961 1342185546 0 0 415 0;}
@font-face
	{font-family:"Khmer UI";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 65536 0 1 0;}
@font-face
	{font-family:"Kigelia Light";
	panose-1:2 11 3 3 2 2 2 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1609226497 -1040187317 67584 0 415 0;}
@font-face
	{font-family:Kigelia;
	panose-1:2 11 5 3 4 5 2 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1609226497 -1040187317 67584 0 415 0;}
@font-face
	{font-family:"Kigelia Arabic Light";
	panose-1:2 11 3 3 2 2 2 2 2 3;
	mso-font-charset:178;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610603905 -2147483645 8 0 471 0;}
@font-face
	{font-family:"Kigelia Arabic";
	panose-1:2 11 5 3 4 5 2 2 2 3;
	mso-font-charset:178;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610603905 -2147483645 8 0 471 0;}
@font-face
	{font-family:"Klee One";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491327 82 0 1179653 0;}
@font-face
	{font-family:"Klee One SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1791491327 82 0 1179653 0;}
@font-face
	{font-family:KodchiangUPC;
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:222;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:Kokila;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:"Kristen ITC";
	panose-1:3 5 5 2 4 2 2 3 2 2;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Krub ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Krub Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Krub;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Krub Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Krub SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Kunstler Script";
	panose-1:3 3 4 2 2 6 7 13 13 6;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Lalezar;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536879111 0 8 0 467 0;}
@font-face
	{font-family:"Lao UI";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2113929213 0 0 0 1 0;}
@font-face
	{font-family:"Lato Thin";
	panose-1:2 15 5 2 2 2 4 3 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520092929 1342237951 33 0 415 0;}
@font-face
	{font-family:"Lato ExtraLight";
	panose-1:2 15 5 2 2 2 4 3 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520092929 1342237951 33 0 415 0;}
@font-face
	{font-family:"Lato Light";
	panose-1:2 15 5 2 2 2 4 3 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520092929 1342237951 33 0 415 0;}
@font-face
	{font-family:Lato;
	panose-1:2 15 5 2 2 2 4 3 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520092929 1342237951 33 0 415 0;}
@font-face
	{font-family:"Lato Medium";
	panose-1:2 15 5 2 2 2 4 3 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520092929 1342237951 33 0 415 0;}
@font-face
	{font-family:"Lato SemiBold";
	panose-1:2 15 5 2 2 2 4 3 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520092929 1342237951 33 0 415 0;}
@font-face
	{font-family:"Lato ExtraBold";
	panose-1:2 15 5 2 2 2 4 3 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520092929 1342237951 33 0 415 0;}
@font-face
	{font-family:"Lato Black";
	panose-1:2 15 5 2 2 2 4 3 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-520092929 1342237951 33 0 415 0;}
@font-face
	{font-family:Leelawadee;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:"Leelawadee UI Semilight";
	panose-1:2 11 4 2 4 2 4 2 2 3;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2097151997 0 65536 0 65793 0;}
@font-face
	{font-family:"Leelawadee UI";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2097151997 0 65536 0 65793 0;}
@font-face
	{font-family:"Levenim MT";
	panose-1:2 1 5 2 6 1 1 1 1 1;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:"Libre Barcode 128";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Libre Barcode 128 Text";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Libre Barcode 39";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Libre Barcode 39 Extended";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Libre Barcode 39 Text";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Libre Barcode 39 Extended Text";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 0 0 1 0;}
@font-face
	{font-family:"Libre Barcode EAN13 Text";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483609 0 0 0 1 0;}
@font-face
	{font-family:"Libre Baskerville";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612545 1342177371 0 0 147 0;}
@font-face
	{font-family:"Libre Franklin Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750107 0 0 403 0;}
@font-face
	{font-family:"Libre Franklin ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750107 0 0 403 0;}
@font-face
	{font-family:"Libre Franklin Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750107 0 0 403 0;}
@font-face
	{font-family:"Libre Franklin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750107 0 0 403 0;}
@font-face
	{font-family:"Libre Franklin Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750107 0 0 403 0;}
@font-face
	{font-family:"Libre Franklin SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750107 0 0 403 0;}
@font-face
	{font-family:"Libre Franklin ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750107 0 0 403 0;}
@font-face
	{font-family:"Libre Franklin Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750107 0 0 403 0;}
@font-face
	{font-family:Ligconsolata;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 63979 32 0 403 0;}
@font-face
	{font-family:LilyUPC;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130706429 0 0 0 65537 0;}
@font-face
	{font-family:"Livvic Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Livvic ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Livvic Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:Livvic;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Livvic Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Livvic SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:"Livvic Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1073750091 0 0 403 0;}
@font-face
	{font-family:Lobster;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 1 0 0 407 0;}
@font-face
	{font-family:"Lobster Two";
	panose-1:2 0 5 6 0 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1073741898 0 0 1 0;}
@font-face
	{font-family:Lora;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 151 0;}
@font-face
	{font-family:"Lora Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 151 0;}
@font-face
	{font-family:Magneto;
	panose-1:4 3 8 5 5 8 2 2 13 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Maiandra GD";
	panose-1:2 14 5 2 3 3 8 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Mangal Pro";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:Meddon;
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1342185546 0 0 147 0;}
@font-face
	{font-family:"Merriweather Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 2 0 0 407 0;}
@font-face
	{font-family:Merriweather;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 2 0 0 407 0;}
@font-face
	{font-family:"Merriweather Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 2 0 0 407 0;}
@font-face
	{font-family:"Merriweather Sans Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611457 1073750139 0 0 403 0;}
@font-face
	{font-family:"Merriweather Sans";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611457 1073750139 0 0 403 0;}
@font-face
	{font-family:"Merriweather Sans ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611457 1073750139 0 0 403 0;}
@font-face
	{font-family:"Microsoft GothicNeo Light";
	panose-1:2 11 3 0 0 1 1 1 1 1;
	mso-font-charset:129;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482945 701998203 16 0 2687135 0;}
@font-face
	{font-family:"Microsoft GothicNeo";
	panose-1:2 11 5 0 0 1 1 1 1 1;
	mso-font-charset:129;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482945 701998203 16 0 2687135 0;}
@font-face
	{font-family:"Microsoft JhengHei UI Light";
	panose-1:2 11 3 4 3 5 4 4 2 4;
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147482969 684672000 22 0 1048585 0;}
@font-face
	{font-family:"Microsoft JhengHei UI";
	panose-1:2 11 6 4 3 5 4 4 2 4;
	mso-font-charset:136;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:679 684672000 22 0 1048585 0;}
@font-face
	{font-family:"Microsoft PhagsPa";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 134217728 0 1 0;}
@font-face
	{font-family:"Microsoft Uighur";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 -2147483648 8 0 65 0;}
@font-face
	{font-family:"Microsoft YaHei UI Light";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 718209040 22 0 262175 0;}
@font-face
	{font-family:"Microsoft YaHei UI";
	panose-1:2 11 5 3 2 2 4 2 2 4;
	mso-font-charset:134;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 718224464 22 0 262175 0;}
@font-face
	{font-family:Miriam;
	panose-1:2 11 5 2 5 1 1 1 1 1;
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:"Miriam Fixed";
	panose-1:2 11 5 9 5 1 1 1 1 1;
	mso-font-charset:177;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:"Miriam Libre";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2055 1073741824 0 0 179 0;}
@font-face
	{font-family:"Mitr ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Mitr Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Mitr;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Mitr Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Mitr SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Modern Love";
	panose-1:4 9 8 5 8 16 5 2 6 1;
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Modern Love Caps";
	panose-1:4 7 8 5 8 16 1 2 10 1;
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Modern Love Grunge";
	panose-1:4 7 8 5 8 16 5 2 6 1;
	mso-font-charset:0;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Montserrat Thin";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 3 0 0 407 0;}
@font-face
	{font-family:"Montserrat ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 3 0 0 407 0;}
@font-face
	{font-family:"Montserrat Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 3 0 0 407 0;}
@font-face
	{font-family:Montserrat;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 3 0 0 407 0;}
@font-face
	{font-family:"Montserrat Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 3 0 0 407 0;}
@font-face
	{font-family:"Montserrat SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 3 0 0 407 0;}
@font-face
	{font-family:"Montserrat ExtraBold";
	panose-1:0 0 9 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 3 0 0 407 0;}
@font-face
	{font-family:"Montserrat Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 3 0 0 407 0;}
@font-face
	{font-family:MoolBoran;
	panose-1:2 11 1 0 1 1 1 1 1 1;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 0 65536 0 1 0;}
@font-face
	{font-family:"MS Outlook";
	panose-1:5 1 1 0 1 0 0 0 0 0;
	mso-font-charset:2;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:0 268435456 0 0 -2147483648 0;}
@font-face
	{font-family:"MV Boli";
	panose-1:2 0 5 0 3 2 0 9 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 256 0 1 0;}
@font-face
	{font-family:"Mystical Woods Rough Script";
	panose-1:2 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870927 268435456 0 0 147 0;}
@font-face
	{font-family:"Mystical Woods Smooth Script";
	panose-1:2 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870927 268435456 0 0 147 0;}
@font-face
	{font-family:"Nanum Brush Script";
	panose-1:3 6 6 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 165149947 16 0 524289 0;}
@font-face
	{font-family:"Nanum Pen";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 165149931 16 0 524289 0;}
@font-face
	{font-family:NanumGothic;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 165149931 16 0 524289 0;}
@font-face
	{font-family:NanumGothicExtraBold;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 165149931 16 0 524289 0;}
@font-face
	{font-family:NanumGothicCoding;
	panose-1:2 13 0 9 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-2147482969 702020859 16 0 524301 0;}
@font-face
	{font-family:NanumMyeongjo;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:129;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 165149931 16 0 524289 0;}
@font-face
	{font-family:NanumMyeongjoExtraBold;
	panose-1:2 2 6 3 2 1 1 2 1 1;
	mso-font-charset:129;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 165149931 16 0 524289 0;}
@font-face
	{font-family:Narkisim;
	panose-1:2 14 5 2 5 1 1 1 1 1;
	mso-font-charset:177;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:"Neue Haas Grotesk Text Pro";
	panose-1:2 11 5 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:"Niagara Engraved";
	panose-1:4 2 5 2 7 7 3 3 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Niagara Solid";
	panose-1:4 2 5 2 7 7 2 2 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Nina;
	panose-1:2 11 6 6 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:647 0 0 0 159 0;}
@font-face
	{font-family:"Nirmala Text Semilight";
	panose-1:2 11 4 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130739165 33554506 512 0 1 0;}
@font-face
	{font-family:"Nirmala Text";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130739165 33554506 512 0 1 0;}
@font-face
	{font-family:"Nirmala UI Semilight";
	panose-1:2 11 4 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130739165 33554506 512 0 1 0;}
@font-face
	{font-family:"Nirmala UI";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2130739165 33554506 512 0 1 0;}
@font-face
	{font-family:"Nordique Inline";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Noto Music";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 33579008 16777216 0 1 0;}
@font-face
	{font-family:"Noto Sans";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536837377 1073772799 33 0 415 0;}
@font-face
	{font-family:"Noto Sans AnatoHiero";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Deseret";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 8388608 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari ExtraLight";
	panose-1:2 11 3 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari Medium";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari SemiBold";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari ExtraBold";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari Black";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari UI Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari UI Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari UI";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari UI Medium";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Devanagari UI Black";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450845 8262 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Elymaic";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Grantha";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2146402301 33562628 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati ExtraLight";
	panose-1:2 11 3 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati Medium";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati SemiBold";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati ExtraBold";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati Black";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati UI Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati UI Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati UI";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati UI Medium";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati UI SemiBold";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati UI ExtraBold";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Gujarati UI Black";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147188733 8258 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Indic Siyaq Numbers";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:178;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:8195 33554432 0 0 65 0;}
@font-face
	{font-family:"Noto Sans Math";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483453 33580268 33554448 0 1 0;}
@font-face
	{font-family:"Noto Sans Mayan Numerals";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar UI Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar UI ExtraLight";
	panose-1:2 11 3 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar UI Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar UI";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar UI Medium";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar UI SemiBold";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar UI ExtraBold";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Myanmar UI Black";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 8192 134218752 0 1 0;}
@font-face
	{font-family:"Noto Sans Nushu";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Ogham";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 16384 0 1 0;}
@font-face
	{font-family:"Noto Sans OldSogdian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Oriya UI Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:524291 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Oriya UI";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:524291 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Oriya UI Blk";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:524291 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Runic";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 0 32768 0 1 0;}
@font-face
	{font-family:"Noto Sans Shavian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Sogdian";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147475453 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Soyombo";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Symbols2";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 33612772 262176 0 1 0;}
@font-face
	{font-family:"Noto Sans Tamil Supplement";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1048579 0 0 0 1 0;}
@font-face
	{font-family:"Noto Sans Thai Looped Thin";
	panose-1:2 11 2 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Thai Looped ExtLight";
	panose-1:2 11 3 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Thai Looped Light";
	panose-1:2 11 4 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Thai Looped Regular";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Thai Looped Medium";
	panose-1:2 11 6 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Thai Looped Semibold";
	panose-1:2 11 7 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Thai Looped Bold";
	panose-1:2 11 8 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Thai Looped Extrabold";
	panose-1:2 11 9 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Thai Looped Black";
	panose-1:2 11 10 2 4 5 4 2 2 4;
	mso-font-charset:222;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:16777217 0 0 0 65536 0;}
@font-face
	{font-family:"Noto Sans Zanabazar";
	panose-1:2 11 5 2 4 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Serif";
	panose-1:2 2 6 0 6 5 0 2 2 0;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1342208255 41 0 415 0;}
@font-face
	{font-family:"Noto Serif Dogra";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147450877 33562624 0 0 1 0;}
@font-face
	{font-family:"Noto Serif Grantha";
	panose-1:2 2 5 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2146402301 33562628 0 0 1 0;}
@font-face
	{font-family:"Noto Serif Tangut";
	panose-1:2 2 5 2 6 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Noto Traditional Nushu";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 167772160 0 0 1 0;}
@font-face
	{font-family:NSimSun;
	panose-1:2 1 6 9 3 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:515 680460288 22 0 262145 0;}
@font-face
	{font-family:"Nunito ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:Nunito;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito Sans ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito Sans Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito Sans";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito Sans SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito Sans ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:"Nunito Sans Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185547 0 0 407 0;}
@font-face
	{font-family:OCRB;
	panose-1:2 11 6 9 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Old English Text MT";
	panose-1:3 4 9 2 4 5 8 3 8 6;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Open Sans Light";
	panose-1:2 11 3 6 3 5 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870161 1073750107 40 0 415 0;}
@font-face
	{font-family:"Open Sans";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870161 1073750107 40 0 415 0;}
@font-face
	{font-family:"Open Sans SemiBold";
	panose-1:2 11 7 6 3 8 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870161 1073750107 40 0 415 0;}
@font-face
	{font-family:"Open Sans ExtraBold";
	panose-1:2 11 9 6 3 8 4 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870161 1073750107 40 0 415 0;}
@font-face
	{font-family:Oranienbaum;
	panose-1:2 0 5 6 8 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483089 10 0 0 151 0;}
@font-face
	{font-family:"Oswald ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 0 0 0 407 0;}
@font-face
	{font-family:"Oswald Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 0 0 0 407 0;}
@font-face
	{font-family:Oswald;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 0 0 0 407 0;}
@font-face
	{font-family:"Oswald Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 0 0 0 407 0;}
@font-face
	{font-family:"Oswald SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871439 0 0 0 407 0;}
@font-face
	{font-family:"Oxygen Light";
	panose-1:2 0 3 3 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483537 1073750089 0 0 1 0;}
@font-face
	{font-family:Oxygen;
	panose-1:2 0 5 3 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750091 0 0 147 0;}
@font-face
	{font-family:"Oxygen Mono";
	panose-1:2 0 5 9 3 0 0 9 0 4;
	mso-font-charset:77;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-2147483601 8266 0 0 147 0;}
@font-face
	{font-family:Pacifico;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 2 0 0 407 0;}
@font-face
	{font-family:"Palace Script MT";
	panose-1:3 3 3 2 2 6 7 12 11 5;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Palanquin Thin";
	panose-1:2 11 0 4 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450705 1342185546 0 0 147 0;}
@font-face
	{font-family:"Palanquin ExtraLight";
	panose-1:2 11 0 4 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450705 1342185546 0 0 147 0;}
@font-face
	{font-family:"Palanquin Light";
	panose-1:2 11 0 4 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450705 1342185546 0 0 147 0;}
@font-face
	{font-family:Palanquin;
	panose-1:2 11 0 4 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450705 1342185546 0 0 147 0;}
@font-face
	{font-family:"Palanquin Medium";
	panose-1:2 11 0 4 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450705 1342185546 0 0 147 0;}
@font-face
	{font-family:"Palanquin SemiBold";
	panose-1:2 11 0 4 2 2 3 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147450705 1342185546 0 0 147 0;}
@font-face
	{font-family:Parchment;
	panose-1:3 4 6 2 4 7 8 4 8 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Patrick Hand";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Patrick Hand SC";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536870919 0 0 0 403 0;}
@font-face
	{font-family:"Petit Formal Script";
	panose-1:3 2 6 2 4 8 7 8 11 6;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-1610612545 1342177371 0 0 147 0;}
@font-face
	{font-family:"Playfair Display";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 0 0 0 407 0;}
@font-face
	{font-family:"Playfair Display Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 0 0 0 407 0;}
@font-face
	{font-family:"Playfair Display SC";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 0 0 0 407 0;}
@font-face
	{font-family:"Playfair Display SC Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 0 0 0 407 0;}
@font-face
	{font-family:"Poiret One";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536871431 2 0 0 407 0;}
@font-face
	{font-family:"Poor Richard";
	panose-1:2 8 5 2 5 5 5 2 7 2;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Poppins Thin";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Poppins ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Poppins Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:Poppins;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Poppins Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Poppins SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Poppins ExtraBold";
	panose-1:0 0 9 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:"Poppins Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:32775 0 0 0 147 0;}
@font-face
	{font-family:Posterama;
	panose-1:2 11 5 4 2 2 0 2 0 0;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1592449281 -805298101 65536 0 415 0;}
@font-face
	{font-family:"Pridi ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Pridi Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Pridi;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Pridi Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Pridi SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Pristina;
	panose-1:3 6 4 2 4 4 6 8 2 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Prompt Thin";
	panose-1:0 0 2 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Prompt ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Prompt Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Prompt;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Prompt Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Prompt SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Prompt ExtraBold";
	panose-1:0 0 9 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Prompt Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Quattrocento;
	panose-1:2 2 5 2 3 0 0 0 4 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483457 1073741899 0 0 1 0;}
@font-face
	{font-family:"Quattrocento Sans";
	panose-1:2 11 5 2 5 0 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483457 1073741915 0 0 1 0;}
@font-face
	{font-family:Questrial;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1073750047 134217769 0 403 0;}
@font-face
	{font-family:"Quire Sans Light";
	panose-1:2 11 3 2 4 4 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Quire Sans";
	panose-1:2 11 5 2 4 4 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1592449281 -2147483638 65536 0 415 0;}
@font-face
	{font-family:"Quire Sans Pro Light";
	panose-1:2 11 3 2 4 4 0 2 0 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Rage Italic";
	panose-1:3 7 5 2 4 5 7 7 3 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Raleway Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 0 0 407 0;}
@font-face
	{font-family:"Raleway ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 0 0 407 0;}
@font-face
	{font-family:"Raleway Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 0 0 407 0;}
@font-face
	{font-family:Raleway;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 0 0 407 0;}
@font-face
	{font-family:"Raleway Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 0 0 407 0;}
@font-face
	{font-family:"Raleway SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 0 0 407 0;}
@font-face
	{font-family:"Raleway ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 0 0 407 0;}
@font-face
	{font-family:"Raleway Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 1342185563 0 0 407 0;}
@font-face
	{font-family:"Rastanty Cortez";
	panose-1:2 0 5 6 0 0 0 2 0 3;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483609 268435530 0 0 1 0;}
@font-face
	{font-family:Ravie;
	panose-1:4 4 8 5 5 8 9 2 6 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Reem Kufi";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Roboto Thin";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536868097 1342185855 33 0 415 0;}
@font-face
	{font-family:"Roboto Condensed Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536868097 1342185855 33 0 415 0;}
@font-face
	{font-family:"Roboto Light";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536868097 1342185855 33 0 415 0;}
@font-face
	{font-family:"Roboto Condensed";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536868097 1342185855 33 0 415 0;}
@font-face
	{font-family:Roboto;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536868097 1342185855 33 0 415 0;}
@font-face
	{font-family:"Roboto Condensed Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536868097 1342185855 33 0 415 0;}
@font-face
	{font-family:"Roboto Medium";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536868097 1342185855 33 0 415 0;}
@font-face
	{font-family:"Roboto Black";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-536868097 1342185855 33 0 415 0;}
@font-face
	{font-family:"Roboto Mono Thin";
	panose-1:0 0 0 9 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 268443739 32 0 415 0;}
@font-face
	{font-family:"Roboto Mono Light";
	panose-1:0 0 0 9 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 268443739 32 0 415 0;}
@font-face
	{font-family:"Roboto Mono";
	panose-1:0 0 0 9 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 268443739 32 0 415 0;}
@font-face
	{font-family:"Roboto Mono Medium";
	panose-1:0 0 0 9 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 268443739 32 0 415 0;}
@font-face
	{font-family:"Roboto Serif 20pt Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342203515 0 0 403 0;}
@font-face
	{font-family:"Roboto Serif 20pt ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342203515 0 0 403 0;}
@font-face
	{font-family:"Roboto Serif 20pt Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342203515 0 0 403 0;}
@font-face
	{font-family:"Roboto Serif 20pt";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342203515 0 0 403 0;}
@font-face
	{font-family:"Roboto Serif 20pt Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342203515 0 0 403 0;}
@font-face
	{font-family:"Roboto Serif 20pt SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342203515 0 0 403 0;}
@font-face
	{font-family:"Roboto Serif 20pt ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342203515 0 0 403 0;}
@font-face
	{font-family:"Roboto Serif 20pt Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1593835265 1342203515 0 0 403 0;}
@font-face
	{font-family:"Roboto Slab Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1279 -2147467169 34 0 415 0;}
@font-face
	{font-family:"Roboto Slab ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1279 -2147467169 34 0 415 0;}
@font-face
	{font-family:"Roboto Slab Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1279 -2147467169 34 0 415 0;}
@font-face
	{font-family:"Roboto Slab";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1279 -2147467169 34 0 415 0;}
@font-face
	{font-family:"Roboto Slab Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1279 -2147467169 34 0 415 0;}
@font-face
	{font-family:"Roboto Slab SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1279 -2147467169 34 0 415 0;}
@font-face
	{font-family:"Roboto Slab ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1279 -2147467169 34 0 415 0;}
@font-face
	{font-family:"Roboto Slab Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1279 -2147467169 34 0 415 0;}
@font-face
	{font-family:"Rockwell Nova Cond Light";
	panose-1:2 6 3 6 2 2 5 2 4 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Rockwell Nova Light";
	panose-1:2 6 3 3 2 2 5 2 4 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Rockwell Nova Cond";
	panose-1:2 6 5 6 2 2 5 2 4 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Rockwell Nova";
	panose-1:2 6 5 3 2 2 5 2 4 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:"Rockwell Nova Extra Bold";
	panose-1:2 6 9 3 2 2 5 2 4 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 2 0 0 159 0;}
@font-face
	{font-family:Rod;
	panose-1:2 3 5 9 5 1 1 1 1 1;
	mso-font-charset:177;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:2051 0 0 0 33 0;}
@font-face
	{font-family:"Sabon Next LT";
	panose-1:2 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1592449281 -805306357 65536 0 415 0;}
@font-face
	{font-family:Sacramento;
	panose-1:2 0 5 7 0 0 0 2 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073741898 0 0 147 0;}
@font-face
	{font-family:"Sagona ExtraLight";
	panose-1:2 2 3 3 5 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:Sagona;
	panose-1:2 1 0 4 4 1 1 1 1 3;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Sagona Book";
	panose-1:2 2 5 3 5 5 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Sakkal Majalla";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-charset:178;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147475449 -2147483648 8 0 211 0;}
@font-face
	{font-family:"Sanskrit Text";
	panose-1:2 2 5 3 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-1610579897 0 0 0 1 0;}
@font-face
	{font-family:"Script MT Bold";
	panose-1:3 4 6 2 4 6 7 8 9 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Seaford;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:"Seaford Display";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:"Secular One";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2055 1073741824 0 0 179 0;}
@font-face
	{font-family:"Segoe Marker";
	panose-1:3 8 6 2 4 3 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 1073750091 0 0 1 0;}
@font-face
	{font-family:"Segoe Pro Light";
	panose-1:2 11 3 2 4 5 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro Cond";
	panose-1:2 11 5 6 4 5 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro";
	panose-1:2 11 5 2 4 5 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro Semibold";
	panose-1:2 11 7 2 4 5 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro Black";
	panose-1:2 11 10 2 4 5 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro Display Light";
	panose-1:2 11 3 2 4 5 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro Display";
	panose-1:2 11 5 2 4 5 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro Display Semibold";
	panose-1:2 11 7 2 4 5 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro Display SemiLight";
	panose-1:2 11 4 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe Pro SemiLight";
	panose-1:2 11 4 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-1610612049 1073750107 0 0 159 0;}
@font-face
	{font-family:"Segoe UI Light";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-469750017 -1073683329 9 0 511 0;}
@font-face
	{font-family:"Segoe UI Semilight";
	panose-1:2 11 4 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-469750017 -1073683329 9 0 511 0;}
@font-face
	{font-family:"Segoe UI";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-469750017 -1073683329 9 0 511 0;}
@font-face
	{font-family:"Segoe UI Semibold";
	panose-1:2 11 7 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-469750017 -1073683329 9 0 511 0;}
@font-face
	{font-family:"Segoe UI Black";
	panose-1:2 11 10 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1073800319 33 0 415 0;}
@font-face
	{font-family:"Segoe UI Emoji";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Segoe UI Emoji L";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 33554432 0 0 1 0;}
@font-face
	{font-family:"Segoe UI Variable Display Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 11 0 0 415 0;}
@font-face
	{font-family:"Segoe UI Variable Display";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 11 0 0 415 0;}
@font-face
	{font-family:"Segoe UI Variable Small Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 11 0 0 415 0;}
@font-face
	{font-family:"Segoe UI Variable Small";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 11 0 0 415 0;}
@font-face
	{font-family:"Segoe UI Variable Text Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 11 0 0 415 0;}
@font-face
	{font-family:"Segoe UI Variable Text";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611969 11 0 0 415 0;}
@font-face
	{font-family:"Segoe Xbox Symbol";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:3 301989888 0 0 1 0;}
@font-face
	{font-family:"Selawik Light";
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:Selawik;
	panose-1:2 11 5 2 4 2 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:"Selawik Semibold";
	panose-1:2 11 7 2 4 2 4 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:7 0 0 0 147 0;}
@font-face
	{font-family:"Shadows Into Light Two";
	panose-1:2 0 5 6 0 0 0 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612561 1342177354 0 0 147 0;}
@font-face
	{font-family:"Shonar Bangla";
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:65539 0 0 0 1 0;}
@font-face
	{font-family:"Showcard Gothic";
	panose-1:4 2 9 4 2 1 2 2 6 4;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Simplified Arabic";
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:178;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:8195 -2147483648 8 0 65 0;}
@font-face
	{font-family:"Simplified Arabic Fixed";
	panose-1:2 7 3 9 2 2 5 2 4 4;
	mso-font-charset:178;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:8195 0 8 0 65 0;}
@font-face
	{font-family:"Sitka Banner";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Banner Semibold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Display";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Display Semibold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Heading";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Heading Semibold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Small";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Small Semibold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Subheading";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Subheading Semibold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Text";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:"Sitka Text Semibold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610611985 1073750091 0 0 415 0;}
@font-face
	{font-family:Skeena;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:"Skeena Display";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:"Snap ITC";
	panose-1:4 4 10 7 6 10 2 2 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Source Code Pro ExtraLight";
	panose-1:2 11 3 9 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:536871671 33568771 0 0 415 0;}
@font-face
	{font-family:"Source Code Pro Light";
	panose-1:2 11 4 9 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:536871671 33568771 0 0 415 0;}
@font-face
	{font-family:"Source Code Pro";
	panose-1:2 11 5 9 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:536871671 33568771 0 0 415 0;}
@font-face
	{font-family:"Source Code Pro Medium";
	panose-1:2 11 5 9 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:536871671 33568771 0 0 415 0;}
@font-face
	{font-family:"Source Code Pro Semibold";
	panose-1:2 11 6 9 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:536871671 33568771 0 0 415 0;}
@font-face
	{font-family:"Source Code Pro Black";
	panose-1:2 11 8 9 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:536871671 33568771 0 0 415 0;}
@font-face
	{font-family:"Source Sans Pro ExtraLight";
	panose-1:2 11 3 3 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613495 33554433 0 0 415 0;}
@font-face
	{font-family:"Source Sans Pro Light";
	panose-1:2 11 4 3 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613495 33554433 0 0 415 0;}
@font-face
	{font-family:"Source Sans Pro";
	panose-1:2 11 5 3 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613495 33554433 0 0 415 0;}
@font-face
	{font-family:"Source Sans Pro SemiBold";
	panose-1:2 11 6 3 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613495 33554433 0 0 415 0;}
@font-face
	{font-family:"Source Sans Pro Black";
	panose-1:2 11 8 3 3 4 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:1610613495 33554433 0 0 415 0;}
@font-face
	{font-family:"Source Serif Pro ExtraLight";
	panose-1:2 4 2 3 5 4 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:536871559 33554435 0 0 415 0;}
@font-face
	{font-family:"Source Serif Pro Light";
	panose-1:2 4 3 3 5 4 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:536871559 33554435 0 0 415 0;}
@font-face
	{font-family:"Source Serif Pro";
	panose-1:2 4 6 3 5 4 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:536871559 33554435 0 0 415 0;}
@font-face
	{font-family:"Source Serif Pro SemiBold";
	panose-1:2 4 7 3 5 4 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:536871559 33554435 0 0 415 0;}
@font-face
	{font-family:"Source Serif Pro Black";
	panose-1:2 4 9 3 5 4 5 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:536871559 33554435 0 0 415 0;}
@font-face
	{font-family:"Speak Pro Light";
	panose-1:2 11 3 4 2 1 1 2 1 2;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Speak Pro";
	panose-1:2 11 5 4 2 1 1 2 1 2;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:Staatliches;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073750091 0 0 147 0;}
@font-face
	{font-family:STCaiyun;
	panose-1:2 1 8 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 953090296 22 0 262145 0;}
@font-face
	{font-family:STFangsong;
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:647 135200768 16 0 262303 0;}
@font-face
	{font-family:STKaiti;
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:647 135200768 16 0 262303 0;}
@font-face
	{font-family:STXihei;
	panose-1:2 1 6 0 4 1 1 1 1 1;
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:647 135200768 16 0 262303 0;}
@font-face
	{font-family:"Suez One";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:2055 1073741824 0 0 179 0;}
@font-face
	{font-family:"Tempus Sans ITC";
	panose-1:4 2 4 4 3 0 7 2 2 2;
	mso-font-charset:77;
	mso-generic-font-family:decorative;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Tenorite;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:"Tenorite Display";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147483645 1 0 0 1 0;}
@font-face
	{font-family:"The Hand Light";
	panose-1:3 7 3 2 3 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"The Hand";
	panose-1:3 7 5 2 3 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"The Hand Black";
	panose-1:3 7 9 2 3 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"The Hand Extrablack";
	panose-1:3 7 10 2 3 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"The Serif Hand Light";
	panose-1:3 7 3 2 3 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"The Serif Hand";
	panose-1:3 7 5 2 3 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"The Serif Hand Black";
	panose-1:3 7 9 2 3 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"The Serif Hand Extrablack";
	panose-1:3 7 11 2 3 5 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Tisa Offc Serif Pro Thin";
	panose-1:2 1 4 4 3 1 1 1 1 2;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147482905 2 0 0 415 0;}
@font-face
	{font-family:"Tisa Offc Serif Pro";
	panose-1:2 1 5 4 3 1 1 2 1 2;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-2147482905 2 0 0 415 0;}
@font-face
	{font-family:"Titillium Web ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 1 0 0 147 0;}
@font-face
	{font-family:"Titillium Web Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 1 0 0 147 0;}
@font-face
	{font-family:"Titillium Web";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 1 0 0 147 0;}
@font-face
	{font-family:"Titillium Web SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 1 0 0 147 0;}
@font-face
	{font-family:"Titillium Web Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:7 1 0 0 147 0;}
@font-face
	{font-family:"Trade Gothic Inline";
	panose-1:2 11 5 4 3 2 3 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Trade Gothic Next Light";
	panose-1:2 11 4 3 4 3 3 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Trade Gothic Next Cond";
	panose-1:2 11 5 6 4 3 3 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Trade Gothic Next";
	panose-1:2 11 5 3 4 3 3 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Trade Gothic Next HvyCd";
	panose-1:2 11 9 6 4 3 3 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Trade Gothic Next Heavy";
	panose-1:2 11 9 3 4 3 3 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Trade Gothic Next Rounded";
	panose-1:2 15 5 3 4 3 3 2 0 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Traditional Arabic";
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-charset:178;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:8195 -2147483648 8 0 65 0;}
@font-face
	{font-family:"Trirong Thin";
	panose-1:0 0 2 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Trirong ExtraLight";
	panose-1:0 0 3 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Trirong Light";
	panose-1:0 0 4 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:Trirong;
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Trirong Medium";
	panose-1:0 0 6 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Trirong SemiBold";
	panose-1:0 0 7 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Trirong ExtraBold";
	panose-1:0 0 9 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Trirong Black";
	panose-1:0 0 10 0 0 0 0 0 0 0;
	mso-font-charset:222;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:553648135 1 0 0 65939 0;}
@font-face
	{font-family:"Ubuntu Light";
	panose-1:2 11 3 4 3 6 2 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1342185563 0 0 159 0;}
@font-face
	{font-family:"Ubuntu Condensed";
	panose-1:2 11 5 6 3 6 2 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1342185563 0 0 159 0;}
@font-face
	{font-family:Ubuntu;
	panose-1:2 11 5 4 3 6 2 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1342185563 0 0 159 0;}
@font-face
	{font-family:"Ubuntu Medium";
	panose-1:2 11 6 4 3 6 2 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 1342185563 0 0 159 0;}
@font-face
	{font-family:"Ubuntu Mono";
	panose-1:2 11 5 9 3 6 2 3 2 4;
	mso-font-charset:0;
	mso-generic-font-family:modern;
	mso-font-pitch:fixed;
	mso-font-signature:-536870145 1342185563 0 0 159 0;}
@font-face
	{font-family:"UD Digi Kyokasho N-B";
	panose-1:2 2 7 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482973 717745402 16 0 131072 0;}
@font-face
	{font-family:"UD Digi Kyokasho N-R";
	panose-1:2 2 4 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482973 717745402 16 0 131072 0;}
@font-face
	{font-family:"UD Digi Kyokasho NK-B";
	panose-1:2 2 7 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482973 717745402 16 0 131072 0;}
@font-face
	{font-family:"UD Digi Kyokasho NK-R";
	panose-1:2 2 4 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482973 717745402 16 0 131072 0;}
@font-face
	{font-family:"UD Digi Kyokasho NP-B";
	panose-1:2 2 7 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482973 717745402 16 0 131072 0;}
@font-face
	{font-family:"UD Digi Kyokasho NP-R";
	panose-1:2 2 4 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147482973 717745402 16 0 131072 0;}
@font-face
	{font-family:"Univers Condensed Light";
	panose-1:2 11 3 6 2 2 2 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 0 0 0 15 0;}
@font-face
	{font-family:"Univers Light";
	panose-1:2 11 4 3 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 0 0 0 15 0;}
@font-face
	{font-family:"Univers Condensed";
	panose-1:2 11 5 6 2 2 2 5 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 0 0 0 15 0;}
@font-face
	{font-family:Univers;
	panose-1:2 11 5 3 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 0 0 0 15 0;}
@font-face
	{font-family:"Urdu Typesetting";
	panose-1:3 2 4 2 4 4 6 3 2 3;
	mso-font-charset:178;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:8195 -2147483648 8 0 65 0;}
@font-face
	{font-family:Utsaah;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:32771 0 0 0 1 0;}
@font-face
	{font-family:Vani;
	panose-1:2 4 5 2 5 4 5 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:2097155 0 0 0 1 0;}
@font-face
	{font-family:"Varela Round";
	panose-1:0 0 5 0 0 0 0 0 0 0;
	mso-font-charset:177;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:536872967 3 0 0 435 0;}
@font-face
	{font-family:"Verdana Pro Cond Light";
	panose-1:2 11 3 6 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 67 0 0 159 0;}
@font-face
	{font-family:"Verdana Pro Light";
	panose-1:2 11 3 4 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 67 0 0 159 0;}
@font-face
	{font-family:"Verdana Pro Cond";
	panose-1:2 11 6 6 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 67 0 0 159 0;}
@font-face
	{font-family:"Verdana Pro";
	panose-1:2 11 6 4 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 67 0 0 159 0;}
@font-face
	{font-family:"Verdana Pro Cond SemiBold";
	panose-1:2 11 7 6 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 67 0 0 159 0;}
@font-face
	{font-family:"Verdana Pro SemiBold";
	panose-1:2 11 7 4 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 67 0 0 159 0;}
@font-face
	{font-family:"Verdana Pro Cond Black";
	panose-1:2 11 10 6 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 67 0 0 159 0;}
@font-face
	{font-family:"Verdana Pro Black";
	panose-1:2 11 10 4 3 5 4 4 2 4;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-2147483001 67 0 0 159 0;}
@font-face
	{font-family:Vijaya;
	panose-1:2 2 6 4 2 2 2 2 2 4;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:1048579 0 0 0 1 0;}
@font-face
	{font-family:"Viner Hand ITC";
	panose-1:3 7 5 2 3 5 2 2 2 3;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Vivaldi;
	panose-1:3 2 6 2 5 5 6 9 8 4;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Vladimir Script";
	panose-1:3 5 4 2 4 4 7 7 3 5;
	mso-font-charset:77;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Walbaum Display Light";
	panose-1:2 7 3 3 9 7 3 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Walbaum Display";
	panose-1:2 7 5 3 9 7 3 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Walbaum Display SemiBold";
	panose-1:2 7 7 3 9 7 3 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Walbaum Display Heavy";
	panose-1:2 7 10 3 9 7 3 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Walbaum Heading";
	panose-1:2 7 3 3 9 7 3 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Walbaum Text";
	panose-1:2 7 5 3 8 7 3 2 3 3;
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-2147483601 10 0 0 1 0;}
@font-face
	{font-family:"Work Sans Thin";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342234747 0 0 403 0;}
@font-face
	{font-family:"Work Sans ExtraLight";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342234747 0 0 403 0;}
@font-face
	{font-family:"Work Sans Light";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342234747 0 0 403 0;}
@font-face
	{font-family:"Work Sans";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342234747 0 0 403 0;}
@font-face
	{font-family:"Work Sans Medium";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342234747 0 0 403 0;}
@font-face
	{font-family:"Work Sans SemiBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342234747 0 0 403 0;}
@font-face
	{font-family:"Work Sans ExtraBold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342234747 0 0 403 0;}
@font-face
	{font-family:"Work Sans Black";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:-1610612481 1342234747 0 0 403 0;}
@font-face
	{font-family:Yesteryear;
	panose-1:3 2 8 2 4 6 7 7 8 2;
	mso-font-charset:0;
	mso-generic-font-family:script;
	mso-font-pitch:variable;
	mso-font-signature:-1610612497 1073741898 0 0 147 0;}
@font-face
	{font-family:"Yu Gothic UI Light";
	panose-1:2 11 3 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 717749759 22 0 131231 0;}
@font-face
	{font-family:"Yu Gothic UI Semilight";
	panose-1:2 11 4 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 717749759 22 0 131231 0;}
@font-face
	{font-family:"Yu Gothic UI";
	panose-1:2 11 5 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 717749759 22 0 131231 0;}
@font-face
	{font-family:"Yu Gothic UI Semibold";
	panose-1:2 11 7 0 0 0 0 0 0 0;
	mso-font-charset:128;
	mso-generic-font-family:swiss;
	mso-font-pitch:variable;
	mso-font-signature:-536870145 717749759 22 0 131231 0;}
@font-face
	{font-family:"Adobe Garamond Pro";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Chicago;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:Arial;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:0 0 0 0 0 0;}
@font-face
	{font-family:Bookman;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Bookman Old Style";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:auto;
	mso-font-signature:4225 4338416 4225 -1870700032 -1073771984 0;}
@font-face
	{font-family:"ITC New Baskerville Std";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:font572;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:TimesNewRoman;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:MinionPro-Regular;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:Cambria;
	mso-font-charset:77;
	mso-generic-font-family:roman;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Times-Roman;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:Times;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 7 0;}
@font-face
	{font-family:AlbanyAMT;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:TheSansLight-Plain;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Times New Roman\,Bold";
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"Times New Roman";
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 7 0;}
@font-face
	{font-family:font587;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:ArialMT;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:Arial;
	mso-font-charset:0;
	mso-generic-font-family:swiss;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:ConduitITC-Medium;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Sabon-Roman;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Arial Unicode MS";
	mso-font-charset:128;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:1 134676480 16 0 131072 0;}
@font-face
	{font-family:TimesNewRomanPS-BoldMT;
	panose-1:2 2 8 3 7 5 5 2 3 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536859905 -1073711039 9 0 511 0;}
@font-face
	{font-family:"CG Times 10pt";
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:Times;
	mso-font-charset:0;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:Palatino-Bold;
	panose-1:0 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"Palatino Bold";
	mso-font-charset:77;
	mso-generic-font-family:swiss;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:TimesNewRomanPSMT;
	panose-1:2 2 6 3 5 4 5 2 3 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:0;
	mso-generic-font-family:roman;
	mso-font-pitch:variable;
	mso-font-signature:-536859905 -1073711039 9 0 511 0;}
@font-face
	{font-family:AdvTimes;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lantinghei SC Extralight";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"Microsoft YaHei";
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:1 135135232 16 0 262144 0;}
@font-face
	{font-family:font573;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:font585;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"Lantinghei SC Heavy";
	panose-1:2 0 0 0 0 0 0 0 0 0;
	mso-font-alt:"Microsoft YaHei";
	mso-font-charset:134;
	mso-generic-font-family:auto;
	mso-font-pitch:variable;
	mso-font-signature:10887 135135232 16 0 262655 0;}
@font-face
	{font-family:font39;
	panose-1:2 11 6 4 2 2 2 2 2 4;
	mso-font-alt:"Times New Roman";
	mso-font-charset:77;
	mso-generic-font-family:auto;
	mso-font-pitch:auto;
	mso-font-signature:3 0 0 0 1 0;}
@font-face
	{font-family:"ヒラギノ明朝 Pro W6";
	panose-1:2 2 6 0 0 0 0 0 0 0;
	mso-font-alt:"Yu Gothic";
	mso-font-charset:128;
	mso-generic-font-family:roman;
	mso-font-pitch:auto;
	mso-font-signature:-536870145 2059927551 18 0 131085 0;}
 /* Style Definitions */
 p.MsoNormal, li.MsoNormal, div.MsoNormal
	{mso-style-unhide:no;
	mso-style-qformat:yes;
	mso-style-parent:"";
	margin:0cm;
	mso-pagination:widow-orphan;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:"Times New Roman";
	mso-fareast-theme-font:minor-fareast;}
p.MsoHeader, li.MsoHeader, div.MsoHeader
	{mso-style-priority:99;
	mso-style-link:"Encabezado Car";
	margin:0cm;
	mso-pagination:widow-orphan;
	tab-stops:center 220.95pt right 441.9pt;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:"Times New Roman";
	mso-fareast-theme-font:minor-fareast;}
p.MsoFooter, li.MsoFooter, div.MsoFooter
	{mso-style-priority:99;
	mso-style-link:"Pie de página Car";
	margin:0cm;
	mso-pagination:widow-orphan;
	tab-stops:center 220.95pt right 441.9pt;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:"Times New Roman";
	mso-fareast-theme-font:minor-fareast;}
a:link, span.MsoHyperlink
	{mso-style-priority:99;
	color:#0000EE;
	text-decoration:underline;
	text-underline:single;}
a:visited, span.MsoHyperlinkFollowed
	{mso-style-noshow:yes;
	mso-style-priority:99;
	color:#551A8B;
	text-decoration:underline;
	text-underline:single;}
p
	{mso-style-noshow:yes;
	mso-style-priority:99;
	mso-margin-top-alt:auto;
	margin-right:0cm;
	mso-margin-bottom-alt:auto;
	margin-left:0cm;
	mso-pagination:widow-orphan;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:"Times New Roman";
	mso-fareast-theme-font:minor-fareast;}
p.msonormal0, li.msonormal0, div.msonormal0
	{mso-style-name:msonormal;
	mso-style-noshow:yes;
	mso-style-priority:99;
	mso-style-unhide:no;
	mso-margin-top-alt:auto;
	margin-right:0cm;
	mso-margin-bottom-alt:auto;
	margin-left:0cm;
	mso-pagination:widow-orphan;
	font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-fareast-font-family:"Times New Roman";
	mso-fareast-theme-font:minor-fareast;}
span.EncabezadoCar
	{mso-style-name:"Encabezado Car";
	mso-style-priority:99;
	mso-style-unhide:no;
	mso-style-locked:yes;
	mso-style-link:Encabezado;
	mso-ansi-font-size:12.0pt;
	mso-bidi-font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-ascii-font-family:"Times New Roman";
	mso-fareast-font-family:"Times New Roman";
	mso-fareast-theme-font:minor-fareast;
	mso-hansi-font-family:"Times New Roman";
	mso-bidi-font-family:"Times New Roman";}
span.PiedepginaCar
	{mso-style-name:"Pie de página Car";
	mso-style-priority:99;
	mso-style-unhide:no;
	mso-style-locked:yes;
	mso-style-link:"Pie de página";
	mso-ansi-font-size:12.0pt;
	mso-bidi-font-size:12.0pt;
	font-family:"Times New Roman",serif;
	mso-ascii-font-family:"Times New Roman";
	mso-fareast-font-family:"Times New Roman";
	mso-fareast-theme-font:minor-fareast;
	mso-hansi-font-family:"Times New Roman";
	mso-bidi-font-family:"Times New Roman";}
span.msoIns
	{mso-style-type:export-only;
	mso-style-name:"";
	text-decoration:underline;
	text-underline:single;
	color:teal;}
span.msoDel
	{mso-style-type:export-only;
	mso-style-name:"";
	text-decoration:line-through;
	color:red;}
.MsoChpDefault
	{mso-style-type:export-only;
	mso-default-props:yes;
	font-size:10.0pt;
	mso-ansi-font-size:10.0pt;
	mso-bidi-font-size:10.0pt;}
 /* Page Definitions */
 @page
	{mso-footnote-separator:url("mecitan.fld/header.html") fs;
	mso-footnote-continuation-separator:url("mecitan.fld/header.html") fcs;
	mso-endnote-separator:url("mecitan.fld/header.html") es;
	mso-endnote-continuation-separator:url("mecitan.fld/header.html") ecs;}
@page WordSection1
	{size:612.0pt 792.0pt;
	margin:70.85pt 3.0cm 70.85pt 3.0cm;
	mso-header-margin:35.4pt;
	mso-footer-margin:35.4pt;
	mso-even-header:url("mecitan.fld/header.html") eh1;
	mso-header:url("mecitan.fld/header.html") h1;
	mso-even-footer:url("mecitan.fld/header.html") ef1;
	mso-footer:url("mecitan.fld/header.html") f1;
	mso-first-header:url("mecitan.fld/header.html") fh1;
	mso-first-footer:url("mecitan.fld/header.html") ff1;
	mso-paper-source:0;}
div.WordSection1
	{page:WordSection1;}
-->
</style>
<!--[if gte mso 10]>
<style>
 /* Style Definitions */
 table.MsoNormalTable
	{mso-style-name:"Tabla normal";
	mso-tstyle-rowband-size:0;
	mso-tstyle-colband-size:0;
	mso-style-noshow:yes;
	mso-style-priority:99;
	mso-style-parent:"";
	mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
	mso-para-margin:0cm;
	mso-pagination:widow-orphan;
	font-size:10.0pt;
	font-family:"Times New Roman",serif;}
</style>
<![endif]--><!--[if gte mso 9]><xml>
 <o:shapedefaults v:ext="edit" spidmax="2052"/>
</xml><![endif]--><!--[if gte mso 9]><xml>
 <o:shapelayout v:ext="edit">
  <o:idmap v:ext="edit" data="2"/>
 </o:shapelayout></xml><![endif]-->
</head>

<body bgcolor="#FFFF99" lang=ES link="#0000EE" vlink="#551A8B"
style='tab-interval:35.4pt;word-wrap:break-word' alink="#ee0000">

<div class=WordSection1>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;text-align:center;background:#FFFF99'><span style='color:black'><br>
</span><b><span style='font-size:18.0pt;color:#006600'>Algunas publicaciones
académicas que me citan</span></b><span style='color:black'><u1:p></u1:p><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'><u1:p>&nbsp;</u1:p><o:p></o:p></span></p>

<p class=MsoNormal align=right style='mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;text-align:right;background:#FFFF99'><span style='color:black'><a
href="../../../Google%20Drive/garciala/publicaciones/..:index.html">José Angel
García Landa</a><u1:p></u1:p><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='font-size:24.0pt;color:black'><br>
</span></i><span style='color:black'><br>
</span><i><span style='font-size:18.0pt;color:black'>Recopilatorio de las
publicaciones o bibliografías académicas que citan alguno de los libros o
artículos escritos por José Angel García Landa, i.e. myself. Esta lista incluye
algunas reseñas sobre mis publicaciones, e iré añadiendo también las citas
ocasionales que encuentre. No incluyo, por inmodestia, las autocitas, que son
el 90% del total. </span></i><!--[if gte vml 1]><v:shapetype id="_x0000_t75"
 coordsize="21600,21600" o:spt="75" o:preferrelative="t" path="m@4@5l@4@11@9@11@9@5xe"
 filled="f" stroked="f">
 <v:stroke joinstyle="miter"/>
 <v:formulas>
  <v:f eqn="if lineDrawn pixelLineWidth 0"/>
  <v:f eqn="sum @0 1 0"/>
  <v:f eqn="sum 0 0 @1"/>
  <v:f eqn="prod @2 1 2"/>
  <v:f eqn="prod @3 21600 pixelWidth"/>
  <v:f eqn="prod @3 21600 pixelHeight"/>
  <v:f eqn="sum @0 0 1"/>
  <v:f eqn="prod @6 1 2"/>
  <v:f eqn="prod @7 21600 pixelWidth"/>
  <v:f eqn="sum @8 21600 0"/>
  <v:f eqn="prod @7 21600 pixelHeight"/>
  <v:f eqn="sum @10 21600 0"/>
 </v:formulas>
 <v:path o:extrusionok="f" gradientshapeok="t" o:connecttype="rect"/>
 <o:lock v:ext="edit" aspectratio="t"/>
</v:shapetype><v:shape id="Imagen_x0020_2" o:spid="_x0000_s2051" type="#_x0000_t75"
 alt="lluvia de citas" style='position:absolute;margin-left:251.8pt;
 margin-top:0;width:303pt;height:444pt;z-index:251658240;visibility:visible;
 mso-wrap-style:square;mso-width-percent:0;mso-height-percent:0;
 mso-wrap-distance-left:20pt;mso-wrap-distance-top:20pt;
 mso-wrap-distance-right:20pt;mso-wrap-distance-bottom:20pt;
 mso-position-horizontal:right;mso-position-horizontal-relative:text;
 mso-position-vertical:absolute;mso-position-vertical-relative:line;
 mso-width-percent:0;mso-height-percent:0;mso-width-relative:page;
 mso-height-relative:page' o:allowoverlap="f">
 <v:imagedata src="../images/lluviadecitas.jpg"/>
 <w:wrap type="square" anchory="line"/>
</v:shape><![endif]--><![if !vml]><img width=303 height=444
src="../images/lluviadecitas.jpg" align=right hspace=27 vspace=27
alt="lluvia de citas" v:shapes="Imagen_x0020_2"><![endif]><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'><br>
</span></i><i><span style='font-size:13.5pt;color:black'>Tampoco se incluyen en
este listado los enlaces a mi <a
href="../../../Google%20Drive/garciala/publicaciones/..:bibliography.html">Bibliografía
de Teoría Literaria, Crítica y Filología</a>, que pueden encontrarse <a
href="http://www.unizar.es/departamentos/filologia_inglesa/garciala/bibliography.html">en
esta página</a> (tanto los actuales como los que ha habido en páginas ya
desaparecidas). Algunos otras citas y enlaces con los que me han honrado o
castigado (enlaces a mis páginas web, blogs, etc.) pueden localizarse a través
de las etiquetas &quot;Me citan&quot; y &quot;Me enlazan&quot; de mi blog, <a
href="http://vanityfea.blogspot.com">http://vanityfea.blogspot.com</a> </span></i><span
style='color:black'><u1:p></u1:p><o:p></o:p></span></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;text-align:center;background:#FFFF99'><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>—oOo—<o:p></o:p></span></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;text-align:center;background:#FFFF99'><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt:
auto;text-align:center;background:#FFFF99'><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><br style='mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'>
<![endif]><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><u1:p></u1:p>Abbott,
H. Porter. <i>The Cambridge Introduction to Narrative.</i> 2nd ed. Cambridge:
Cambridge UP, 2008.<br>
<br>
<i>ABES: Annotated Bibliography for English Studies.&nbsp; </i>Gen. ed. Robert
Clark. Online edition URL:<i><br>
&nbsp;&nbsp;&nbsp; http://www.swets.nl/abes/htm <br>
</i>DISCONTINUED, moved to Routledge, later incorporated into the <i>Literary
Encyclopedia.</i> (Annotations of Reading the Monster, &quot;Samuel Johnson's <i>Rasselas,</i>&quot;
&quot;'The Enthusiastick Fit',&quot; Samuel Beckett y la narración reflexiva,
&quot;Speech Act Theory and the Concept of Intention in Literary
Criticism,&quot; &quot;'It's Stories Still',&quot; &quot;Deconstructive
Intentions,&quot; &quot;Enunciación, ficción y niveles semióticos en el texto
narrativo,&quot; The Intertextual Dimension of Discourse, &quot;Sobre la
competencia del narrador en la ficción,&quot; Narratology).<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Acevedo,
Juan. &quot;The Idea of Stoicheion in Grammar and Cosmology – Thesis Conclusion
and Bibliography.&quot; </span><span style='color:black'>Academia (2018).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/39829789/">https://www.academia.edu/39829789/</a><br>
&nbsp;&nbsp;&nbsp; 2019<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Adrián, Bene. A relativitás
irodalma. </span><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>(Kritikai
Zsebkönyvtár 16). Budapest: Kijárat, 2013.* (&quot;The Literature of
Relativity&quot;).<br>
</span><span style='color:black'><a href="https://www.academia.edu/3651902/">https://www.academia.edu/3651902/</a>
<br>
2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Aguilar, Jaume. &quot;Estatut
epistemològic i estratègia comunicativa del mite a Plató.&quot; Ph.D. diss. U
de Barcelona, 2017. Online at Tesis Doctorals en Xarxa.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.tdx.cat/bitstream/handle/10803/458365/JAF_TESI.pdf">https://www.tdx.cat/bitstream/handle/10803/458365/JAF_TESI.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Aguirre de Cárcer, Luisa
Fernanda. &quot;Los simios cantores.&quot; <i>Lengua y más </i>4 March 2011.*<i><br>
&nbsp;&nbsp;&nbsp; <a
href="https://lenguaymas.wordpress.com/2011/03/04/los-simios-cantores/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://lenguaymas.wordpress.com/2011/03/04/los-simios-cantores/</span></a></i></span><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Akala,
Adesola.<i> The Son-Father Relationship and Christological Symbolism in the
Gospel of John. </i>Ph.D. diss. Asbury Theological Seminary, 2012. Online.*<i>&nbsp;
</i></span><span style='color:black'><a
href="http://place.asburyseminary.edu/cgi/viewcontent.cgi?article=1557&amp;context=ecommonsatsdissertations"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://place.asburyseminary.edu/cgi/viewcontent.cgi?article=1557&amp;context=ecommonsatsdissertations</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Aksoy-Sheridan, R. Aslıhan. (TED University). &quot;Anlatıcının Rekabet
Taktikleri: Nev‘î-zâde Atâyî’nin Heft-Hân Mesnevisine Anlatıbilimsel Bir
Bakış.&quot; Prof. Dr. Mine Mengi Adına Türkoloji Sempozyumu (20–22 Ekim 2011)
Bildirileri. Ed. Muna Yüceol Özen and Huriye Sözer. Sarıçam-Adana: Çukurova
Üniversitesi Basımevi, 2012. 3–13. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/31033366/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/31033366/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Aladylah,
Majed (Mutah University, Jordan). &quot;Time and Identity in <i>In One Person,</i>
by John Irving.&quot; <i>International Journal of Literary Humanities</i> 14.2
(June 2016): 39-43. Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.researchgate.net/publication/304883147"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/304883147</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Albrecht,
Thomas and Céline Surprenant.<i> &quot;5. Narrative.&quot;</i> In<i> The Year's
Work in Critical and Cultural Theory,</i> Advance Access online, April 25,
2007.&nbsp; (Rev. of <i>The Dynamics of Narrative Form, </i>ed. John Pier).<i><br>
</i>&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://ywcct.oxfordjournals.org/cgi/content/citation/mbm005v1">http://ywcct.oxfordjournals.org/cgi/content/citation/mbm005v1</a><br>
&nbsp;&nbsp;&nbsp; 2007<i><br>
<br>
Aldea, Eva. </i></span><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Magical Realism and Deleuze: The Indiscernibility of Difference in
Postcolonial Literature. A&amp;C Black, 2011.* Preview at Google Book:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://books.google.es/books?hl=en&amp;lr=&amp;id=mkvZaieGa1UC"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://books.google.es/books?hl=en&amp;lr=&amp;id=mkvZaieGa1UC</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
Alemany Oliver, Mathieu. (m.alemany-oliver@tbs-education.fr; Social &amp;
Innovation Marketing Lab, TBS Business School, 1 Place Alphonse Jourdain, CS
66810, 31068 Toulouse Cedex 7, France). &quot;Navigating Between the Plots: A
Narratological and Ethical Analysis of Business-Related Conspiracy Theories
(BrCTs).&quot; Journal of Business Ethics 28 Aug. 2020.* (Springer)<br>
</span><span style='color:black'><a
href="http://doi.org/10.1007/s10551-020-04612-3"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://doi.org/10.1007/s10551-020-04612-3</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022<br>
Online at Internet Archive.*<br>
</span><span style='color:black'><a
href="https://web.archive.org/web/20201108171814/https:/link.springer.com/content/pdf/10.1007/s10551-020-04612-3.pdf">https://web.archive.org/web/20201108171814/https://link.springer.com/content/pdf/10.1007/s10551-020-04612-3.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Allbest. &quot;Vnutrishnʹ o
komunikatyvna struktura lirychnykh tekstiv: kolo problem i perspektyvy
doslidzhennya.&quot; Allbest 15 Oct. 2018.*<br>
<a href="https://revolution.allbest.ru/literature/01032046_0.html">https://revolution.allbest.ru/literature/01032046_0.html</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Alonso Perdiguero, Milagros.
Rev. of Estudios sobre el texto: Nuevos enfoques y propuestas. Ed. Mª Azucena
Penas Ibáñez and Rosario González. Anuario de Lingüística Hispánica 26 (2010). <br>
_____. Rev. of La Traducción: Nuevos planteamientos teórico-metodológicos, ed.
Azucena Penas Ibáñez.&nbsp; Anuario de Estudios Filológicos 39 (2016): 275-80.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://dialnet.unirioja.es/servlet/articulo?codigo=5854832">https://dialnet.unirioja.es/servlet/articulo?codigo=5854832</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
</span></i><span style='color:black'>Alshorbaji, Nidal F. A.
&quot;Karsilastirmali Edebiyat: Arap Uluslararasi Ekoller Arasindaki
Yeri.&quot; </span><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Pamukkale Üniversitesi İlahiyat Fakültesi Dergisi (PAUİFD)</span></i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> 6.11 (2019): 169-94.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://static.dergipark.org.tr/article-download/47c3/5b0c/678f/5d162a0a4e06e.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://static.dergipark.org.tr/article-download/47c3/5b0c/678f/5d162a0a4e06e.pdf</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.researchgate.net/publication/341432725">https://www.researchgate.net/publication/341432725</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Alvarez, Gabriela Fernanda.
&quot;Los relatos de tradición oral y la problemática de su
descontextualización y re-significación.&quot; MA diss. Universidad Nacional de
La Plata. Facultad de Humanidades y Ciencias de la Educación, 2012. Online at
Memoria Académica (Universidad Nacional de La Plata).*<br>
<a href="http://www.memoria.fahce.unlp.edu.ar/tesis/te.746/te.746.pdf">http://www.memoria.fahce.unlp.edu.ar/tesis/te.746/te.746.pdf</a><br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/19058129/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/19058129/</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Alvarez
Amorós, José Antonio. Rev. of <i>Theorizing Narrativity. </i>Ed. John Pier and
José Angel García Landa. </span><i><span style='color:black'>Estudios Ingleses
de la Universidad Complutense </span></i><span style='color:black'>17 (2009):
137-40.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistas.ucm.es/portal/abrir.php?url=http://revistas.ucm.es/fll/11330392/articulos/EIUC0909110129A.PDF">http://revistas.ucm.es/portal/abrir.php?url=http://revistas.ucm.es/fll/11330392/articulos/EIUC0909110129A.PDF</a><br>
&nbsp;&nbsp;&nbsp; 2010<i><br>
<br>
</i>Álvarez Falcón, Luis. &quot;Las modulaciones de lo idéntico. Acerca de <i>Paradojas
de la interculturalidad. Filosofía, lenguaje y discurso.&quot; Endoxa </i>25
(2010).<br>
&nbsp;&nbsp;&nbsp; <a
href="https://serviweb.uned.es/publicaciones/mostrar.asp?codigo=0170070RE21A15">https://serviweb.uned.es/publicaciones/mostrar.asp?codigo=0170070RE21A15</a><b><br>
</b>&nbsp;&nbsp;&nbsp; Online at <i>Academia.*</i><br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/6013456/">https://www.academia.edu/6013456/&nbsp;</a>&nbsp;
<br>
&nbsp;&nbsp;&nbsp; 2020<br>
<i>____. Rev. of Paradojas de la interculturalidad. Ed. M. Carmen López Sáenz
and Beatriz Penas Ibáñez. Investigaciones Fenomenológicas 8 (2011): 259-64. <br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistas.uned.es/index.php/rif/article/download/626/566"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://revistas.uned.es/index.php/rif/article/download/626/566</span></a></i></span><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; Online at Scribd.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://es.scribd.com/doc/151644893/InvFen08">https://es.scribd.com/doc/151644893/InvFen08</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/6013493/">https://www.academia.edu/6013493/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Álvarez Gómez, Raúl. (U Rey Juan Carlos; raul.alvarez@urjc.es ). &quot;Claves
de la pintura barroca en el cine en blanco y negro de Akira Kurosawa.&quot;
Fotocinema: Revista científica de cine y literatura 16 (2018). Universidad de
Málaga-UMA Editorial, 2018.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.revistas.uma.es/index.php/fotocinema/article/view/4093/3808"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.revistas.uma.es/index.php/fotocinema/article/view/4093/3808</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Amerian, Majid, and Leili Jorfi. &quot;Key Concepts and Basic Notes on
Narratology and Narrative.&quot; Scientific Journal of Review (2015). Online
ref. at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.semanticscholar.org/paper/Key-concepts-and-basic-notes-on-narratology-and-Amerian-Jorfi/4033be140262b9dc002e510be22bbcd82414e2ca#citing-papers"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.semanticscholar.org/paper/Key-concepts-and-basic-notes-on-narratology-and-Amerian-Jorfi/4033be140262b9dc002e510be22bbcd82414e2ca#citing-papers</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Andrade Sigüencia, Rosa
Victoria. Una mirada crítica a la cuentística infantil y juvenil de Mario
Conde. MA diss. Universidad Técnica Particular de Loja, 2013.* Online:<br>
&nbsp;&nbsp;&nbsp; <a
href="http://dspace.utpl.edu.ec/bitstream/123456789/7900/1/Andrade%20Siguencia%20Rosa%20Victoria.pdf">http://dspace.utpl.edu.ec/bitstream/123456789/7900/1/Andrade%20Siguencia%20Rosa%20Victoria.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
Andrews, Molly, Corinne Squire, and Maria Tamboukou. </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Doing Narrative
Research. London: Sage, 2008. 2nd ed. 2013.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://books.google.es/books?id=RbMDAAAAQBAJ"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://books.google.es/books?id=RbMDAAAAQBAJ</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Archibald, Samuel, and Bertrand Gervais. </span><span style='color:black'>&quot;Le
récit en jeu: Narrativité et interactivité.&quot; </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Protée 34.2-3
(&quot;Actualités du récit: Pratiques, théories, modèles&quot; - Autumn-Winter
2006): 27-39.*<br>
</span><span style='color:black'><a
href="https://id.erudit.org/iderudit/014263ar"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://id.erudit.org/iderudit/014263ar</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
</span><span style='color:black'><a href="https://doi.org/10.7202/014263ar"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://doi.org/10.7202/014263ar</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://pdfs.semanticscholar.org/7601/b4497cc5aa68070e525d766d28cbf818f8f7.pdf">https://pdfs.semanticscholar.org/7601/b4497cc5aa68070e525d766d28cbf818f8f7.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Arcos Pastor, Angustias de.
&quot;Transparencia y opacidad textual: Análisis contrastivo de haikus
japoneses traducidos al español por traductores profesionales y por japoneses
aprendientes de español. Estudio del significado conceptual y
procedimental.&quot; Ph.D. diss. U Autónoma de Madrid, 2015. Online at
Biblios-eArchivo (U Autónoma de Madrid).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://repositorio.uam.es/bitstream/handle/10486/670898/arcos_pastor_angustias_de.pdf?sequence=1">https://repositorio.uam.es/bitstream/handle/10486/670898/arcos_pastor_angustias_de.pdf?sequence=1</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Arias-García, Elisa.
(Universidad Pontificia de Salamanca; eariasga@upsa.es). &quot;La figura del
narrador en la ficción radiofónica seriada: El caso de Taxi Key.&quot;&nbsp;
Index Comunicación 9.2 (2019): 101-34.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/39735875/">https://www.academia.edu/39735875/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/68069712/">https://www.academia.edu/68069712/</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
Arnaudo, Marco. </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Storytelling in the Modern Board Game: Narrative Trends from the Late
1960s to Today. (Studies in Gaming). Jefferson (NC): McFarland, 2018.* <br>
&nbsp;&nbsp;&nbsp; Online preview at Google Books:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://books.google.es/books?id=IERsDwAAQBAJ"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://books.google.es/books?id=IERsDwAAQBAJ</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Arnold, Annika. (Göttingen). &quot;Narratives of Climate Change: Outline
of a Systematic Approach to Narrative Analysis in Cultural Sociology.&quot;
Ph.D. diss. U of Stuttgart, 2015. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/26753872/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/26753872/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2021<br>
_____. &quot;How to Understand the Role of Narratives in Environmental
Communication: Cultural Narrative Analysis.&quot; In Arnold, Climate Change and
Storytelling: Narratives and Cultural Meaning in Environmental Communication.
(Palgrave Studies in Environmental Sociology and Policy). Houndmills: Palgrave
Macmillan, 2018. </span><span style='color:black'>56-81.<br>
&nbsp;&nbsp;&nbsp; <a
href="https://link.springer.com/chapter/10.1007/978-3-319-69383-5_3">https://link.springer.com/chapter/10.1007/978-3-319-69383-5_3</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://link.springer.com/book/10.1007/978-3-319-69383-5#toc">https://link.springer.com/book/10.1007/978-3-319-69383-5#toc</a>
<br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Arriaga Benítez, Juan Manuel. (UNAM). &quot;Patrones narrativos: Fórmulas
estructurales y sus respuestas emocionales en cine y televisión.&quot; Revista
Eviterna 11 (2022): 7-23.*<br>
<a href="https://doi.org/10.24310/Eviternare.vi11.13856">https://doi.org/10.24310/Eviternare.vi11.13856</a><br>
Online at Academia.*<br>
<a href="https://www.academia.edu/74045969/">https://www.academia.edu/74045969/</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Arroyo Redondo, Susana. La
autoficción: Entre la autobiografía y el ensayo biográfico. Límites del género.
Ph.D. diss. U de Alcalá de Henares, 2011.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://es.scribd.com/doc/266601851/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://es.scribd.com/doc/266601851/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
Arsenault, Dominic, and Bernard Perron. &quot;6. In the Frame of the Magic
Cycle: The Circles of Gameplay.&quot; The Video Game Theory Reader 2. Ed.
Bernard Perron and Mark J. P. Wolf. New York and London: Taylor and
Francis-Routledge, 2009. 109-31.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.taylorfrancis.com/books/e/9780203887660/chapters/10.4324/9780203887660-12"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.taylorfrancis.com/books/e/9780203887660/chapters/10.4324/9780203887660-12</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
Online at Academia.* <br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/35136708/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/35136708/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Asamoah, Emmanuel Foster. (Dpt. of Religious Studies, Kwame Nkrumah
University of Science and Technology, Kumasi). &quot;Resurrecting the Gospel in
a Native Environment: An Evaluation of Some Translation Models.&quot; The
International Journal of Humanities &amp; Social Studies 8.11 (Nov. 2020):
8-15. Online at ResearchGate.*<br>
DOI: 10.24940/theijhss/2020/v8/i11/HS2011-031<br>
</span><span style='color:black'><a
href="https://www.researchgate.net/publication/346504160"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/346504160</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Atencia-Oliden, Elizabeth
Miriam. Pedidos y quejas en la literatura peruana decimonónica: El caso de
Mercedes Cabello de Carbonera. </span></i><i><span lang=EN-US style='color:
black;mso-ansi-language:EN-US'>Ph.D. diss. Arizona State U, 2015.* Online PDF:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://repository.asu.edu/attachments/158123/content/AtenciaOliden_asu_0010E_15329.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://repository.asu.edu/attachments/158123/content/AtenciaOliden_asu_0010E_15329.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Athanasiou-Krikelis, Lissi. &quot;Twisting the Story: Margarita Karapanou's
Rien ne va plus and Amanda Michalopoulou's </span><span style='color:black'>Θα</span></i><i><span
style='color:black;mso-ansi-language:EN-US'> </span><span style='color:black'>ήθελα</span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> as Metaautobiographical
Novels.&quot; Journal of Modern Greek Studies 34.1 (2016):&nbsp; Online at
Project Muse / Internet Archive.*<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span style='color:
black'><a href="https://muse.jhu.edu/lockss?vid=11145">https://muse.jhu.edu/lockss?vid=11145</a><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a
href="https://doi.org/10.1353/mgs.2016.0018">https://doi.org/10.1353/mgs.2016.0018</a><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a
href="https://web.archive.org/web/20171025235302/https:/muse.jhu.edu/article/614437/pdf">https://web.archive.org/web/20171025235302/https://muse.jhu.edu/article/614437/pdf</a><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2022</span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>AVL Digital
(Fachinformationdienst – Allgemeine un Vergleichende Literaturwissenschaft).<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.avldigital.de/en/networking/details/website/a-bibliography-of-literary-theory-criticism-and-philology/">https://www.avldigital.de/en/networking/details/website/a-bibliography-of-literary-theory-criticism-and-philology/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Babecki, Milosz, and Szymon Zylinski, eds. Od naturalizacji do
funkcjonalizacji: Taktyki użytkowania serwisu Instagram (From Naturalization to
Functionalization: The Instagram Tactics of Use). </span><span
style='color:black'>Olsztyn: Wydawnictwo UWM, n.d. [c. 2018]. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/38004559/">https://www.academia.edu/38004559/</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Baena, Enrique. Rev. of Estudios sobre el texto: Nuevos enfoques y propuestas.
Ed. Mº Azucena Penas Ibáñez and Rosario González.&nbsp; Rilce 27.2
(2011).&nbsp;</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Báez Miranda, Belén.
&quot;Génération de récits à partir de données ambiantes.&quot; </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>2018. Online references
at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.researchgate.net/publication/330845471"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/330845471</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Bagdonas, Azuolas. (Fatih University, Istanbul;
azuolas.bagdonas@gmail.com). &quot;The Practice of State Apologies: The Role
and Demands for Historical Apologies and Refusals to Apologize in the
Construction of State Identity.&quot; Diss. Central European U, Budapest,
2010.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/1300933/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/1300933/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. &quot;Relations between Lituania and Russia: The Ontological Security
Perspective.&quot; </span><span style='color:black'>2011. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; https://www.academia.edu/5285871/<br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bala, Monika M. Autobiografski
narativi bukovinskih Madara u Banatu. </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>Ph.D. diss. U of Belgrade, 2017.
(Autobiographical Narratives of Hungarians of Bukovina in Banat).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://uvidok.rcub.bg.ac.rs/bitstream/handle/123456789/1874/Doktorat.pdf">http://uvidok.rcub.bg.ac.rs/bitstream/handle/123456789/1874/Doktorat.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Balkin, Sarah. Squatters, Vampires, and Personalities: Staging Narration
in the Late Nineteenth Century. Ph.D. Rutgers U, 2012. Online at RUcore:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://rucore.libraries.rutgers.edu/rutgers-lib/38708/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://rucore.libraries.rutgers.edu/rutgers-lib/38708/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Baniceru, Ana Cristina.
(Universitatii de Vest Timisoara). </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>&quot;A Battle for Territory or
Erasure of All Boundaries [Jeanette Winterson, The Passiona].&quot; Romanian
Journal of English Studies (U of Timisoara, ed. Luminita Frentiu) 6 (2009).
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/2027061"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/2027061</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>/<br>
&nbsp;&nbsp;&nbsp; 2019<br>
&nbsp;<br>
Banks, Jaime (West Virginia U). &quot;Object-Relation Mapping: A Method for
Analyzing Phenomenal Assemblages of Play.&quot; Paper presented at the Annual
Convention of the International Communication Association, 2014. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/5958396/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/5958396/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Barbara, N. V., and R. Yolud'. &quot;Interetekstual'nist'&nbsp; u
Tvorchosi D. Bartel'ma&nbsp; (Na priklady opovydannia 'iak ia pishu svoi pichy'
Mova, istoriia, kul'tura i lingvokomynikativnomy prostori: ebirka naykovikh
prats' Bipusk I.&quot;&nbsp; Ed. V. B. Zvageliskyi. Sumi: Sumskii deryavnii
universitet,&nbsp; 2014. - 6-11. Online at Core.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://core.ac.uk/download/141466886.pdf"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://core.ac.uk/download/141466886.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Baren, Annabel Margaret van. Multiplying Narratives, Disclosing Bodies:
Story-Telling and Embodiment in Jeanette Winterson's SEXING THE CHERRY and THE
POWERBOOK. Ph.D. diss. U of Utrecht, 2007.<br>
&nbsp;</span><span style='color:black'><a
href="http://igitur-archive.library.uu.nl/student-theses/2007-0518-200128/ThesisAvanBaren.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://igitur-archive.library.uu.nl/student-theses/2007-0518-200128/ThesisAvanBaren.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2009<br>
_____. Multiplying Narratives, Disclosing Bodies: Storytelling and Embodiment
in Jeanette Winterson SEXING THE CHERRY and THE.POWERBOOK. Diss. </span><span
style='color:black'>U of Utrecht, April 2007.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/677344/">https://www.academia.edu/677344/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Barnés Vázquez, Antonio.
&quot;'Yo he leído en Virgilio': Análisis sincrónico de la tradición clásica en
El Quijote.&quot; </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Ph.D. diss. U of Granada, 2008.<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/38033884/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/38033884/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Baron, Richard. Confidence in Claims. 2015. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/17275883/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/17275883/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Barreras Gómez, Asunción.
&quot;El estudio de la ironía en el texto literario.&quot; Cuadernos de
Investigación Filológica 27-28 (2001-2): 243-66. Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/f93d/a4ddf53fd1e12c9393ea27fb3ac73abf2839.pdf">https://pdfs.semanticscholar.org/f93d/a4ddf53fd1e12c9393ea27fb3ac73abf2839.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Barreras Gómez, Asunción. El
juego intelectual: Ironía y textualidad en las narraciones breves de Vladimir
Nabokov. (Biblioteca de Investigación, 35). Logroño: Universidad de La Rioja, Servicio
de Publicaciones, 2003.*<br>
_____. El juego intelectual: Ironía y textualidad en las narraciones breves de
Vladimir Nabokov. </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Online at Dialnet:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://dialnet.unirioja.es/servlet/libro?codigo=207184"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://dialnet.unirioja.es/servlet/libro?codigo=207184</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Barreras Gómez, María
Asunción. El estudio literario de la narración breve y su utilización en el
contexto docente. (Material Didáctico; Filología, 4). Logroño: Universidad de
La Rioja, 2003. Online PDF at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.researchgate.net/profile/Maria_Barreras/publication/269109078">https://www.researchgate.net/profile/Maria_Barreras/publication/269109078</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bastante Recuerda, Miguel
Ángel. Rev. of Corporalidad, Temporalidad, Afectividad: Perspectivas
filosófico-antropológicas. Ed. Luisa Paz Rodríguez Suárez and José Angel García
Landa. </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Philosophybooks.info 22 Dec. 2017.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://philosophybooks.info/2017/12/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://philosophybooks.info/2017/12/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Bearn, Gordon C. F. &quot;13. Pointlessness and the University of
Beauty.&quot; From Lyotard: Just Education. London: Routledge, 2000. 230-68.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/3827340/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/3827340/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Belton, Robert J. &quot;The Hermeneutic Spiral.&quot; In Belton, Alfred
Hitchcock's Vertigo and the Hermeneutic Spiral. Palgrave Macmillan, Cham, 2017.
7-21.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://link.springer.com/chapter/10.1007/978-3-319-55188-3_2"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://link.springer.com/chapter/10.1007/978-3-319-55188-3_2</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
Bembeneck, Emily Joy. &quot;The Princess Is in Another Castle: Multi-Linear
Stories in Oral Epic and Video Games.&quot; Ph.D. diss. U of Michigan, 2013.
Online at U of Michigan Library (Deep Blue Repositories).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://deepblue.lib.umich.edu/bitstream/handle/2027.42/100055/emilyjoy_1.pdf?isAllowed=y&amp;sequence=1">https://deepblue.lib.umich.edu/bitstream/handle/2027.42/100055/emilyjoy_1.pdf?isAllowed=y&amp;sequence=1</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Bene, Adrián (U of Pécs, Hungary; beneadrian@gmail.com) &quot;Rhizomatic
Narrative and Intermediality in Treme.&quot; Acta Univ. Sapientia, Film and
Media Studies 10 (2015): 61-71.*<br>
&nbsp;&nbsp;&nbsp; Doi: 10.1515/ausfm-2015-0004<br>
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/42855650/">https://www.academia.edu/42855650/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/17550071/">https://www.academia.edu/17550071/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Benítez Ariza, José Manuel. Un
sueño dentro de un sueño: La poesía en arabesco de Edgar Allan Poe. (Biblioteca
Javier Coy d'estudis nord-americans). Valencia: U of Valencia, 2015.* </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Google Books preview:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://books.google.es/books?id=UWmXBgAAQBAJ"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://books.google.es/books?id=UWmXBgAAQBAJ </span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bennett, Karen. (Universidade Católica,
Pólo de Viseu). </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>&quot;Speaking in Tongues: A Study of Mary Kingsley's Discourse in
Travels in West Africa.&quot; Máthesis 10 (2001): 103-26.*<br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'><a
href="https://www.academia.edu/1575368/"><span lang=EN-US style='mso-ansi-language:
EN-US'> https://www.academia.edu/1575368/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Benyoucef, Riyad. &quot; </span><span style='color:black'>تاريخية</span></i><i><span
style='color:black;mso-ansi-language:EN-US'> </span><span style='color:black'>السرد</span></i><i><span
style='color:black;mso-ansi-language:EN-US'> </span><span style='color:black'>القصصي</span></i><i><span
style='color:black;mso-ansi-language:EN-US'> </span><span style='color:black'>العربي</span></i><i><span
style='color:black;mso-ansi-language:EN-US'> </span><span style='color:black'>قبل</span></i><i><span
style='color:black;mso-ansi-language:EN-US'> </span><span style='color:black'>الإسلام</span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>.&quot;&nbsp; 2013.
Online at Academia.* (Arabic historical narrative before Islam).<br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'><a
href="https://www.academia.edu/43237665/"><span lang=EN-US style='mso-ansi-language:
EN-US'> https://www.academia.edu/43237665/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Berliner, Todd. (U of North Carolina Wilmington). &quot;Expect the
Expected: Aesthetics of Planting and Playoff.&quot; Narrative 28.2 (May 2020):
174-99.*<br>
</span><span style='color:black'><a href="https://doi.org/10.1353/nar.2020.0009"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://doi.org/10.1353/nar.2020.0009</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
Online at Project Muse. Online at Academia.*<br>
</span><span style='color:black'><a href="https://www.academia.edu/84492031/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/84492031/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Besley, A. C. (Tina). &quot;Foucault and the Turn to Narrative
Theory.&quot; British Journal of Guidance and Counselling 30.2 (2002): 125-43.
Online at Taylor and Francis Online 17 June 2010.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://doi.org/10.1080/03069880220128010">https://doi.org/10.1080/03069880220128010</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.tandfonline.com/doi/citedby/10.1080/03069880220128010">https://www.tandfonline.com/doi/citedby/10.1080/03069880220128010</a>
<br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
&quot;Bibliografija&quot; Gaz.wiki.*<br>
<a href="https://gaz.wiki/wiki/ru/Bibliographic">https://gaz.wiki/wiki/ru/Bibliographic</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bibliografía de Análisis del
Discurso Oral en Español<br>
&nbsp;&nbsp;&nbsp; &quot;Atención a la atención.&quot; </span></i><span
style='color:black'>Indexado en <i>Bibliografía de Análisis del Discurso Oral
del Español<br>
&nbsp;&nbsp;&nbsp; <a
href="http://nevada.ual.es/otri/ilse/oralia/referencia.asp?id=12628">http://nevada.ual.es/otri/ilse/oralia/referencia.asp?id=12628</a><br>
&nbsp;&nbsp;&nbsp; 2015</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bierl, Anton. (U of Basel). </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>&quot;Narratology.&quot;
In The Encyclopedia of Greek Comedy. Ed. A. Sommerstein. New York, 2019.
598-99. Online at Academia (Anton Bierl).*<br>
</span><span style='color:black'><a href="https://www.academia.edu/40330675/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/40330675/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2019<br>
<br>
Battis, Jes (1979), and Susan Johnston (1964), eds. Mastering the Game of
Thrones: Essays on George R. R. Martin's SONG OF ICE AND FIRE.&nbsp; Jefferson
(NC): McFarland, 2015.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://books.google.es/books?id=fQ4yBgAAQBAJ"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://books.google.es/books?id=fQ4yBgAAQBAJ</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
Bene, Adrian. </span><span style='color:black'>&quot;Intertextualité et
reflexivité chez Mauriac. Le récit et la vie dans Un adolescent
d'autrefois.&quot; In Panorama des études françaises en Europe centrale. Ed.
Adrian Bene. (Acta Romanica Quinqueecclesiensis). Pecs: Universitas
Quinqueeclesiensis,&nbsp; 2017. 45-56. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/45586096/">https://www.academia.edu/45586096/</a>&nbsp;&nbsp;&nbsp;
<br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bezugla, L. P. &quot;Ivni
komunikatsii u liriko-poetichnomu diskursi.&quot; In Diskursologiia: Semantika
i&nbsp; Gramatika - Visnik JNU im. V.N. Karazina - Inozemna filologiia 87
(2018): 27-34. </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>(&quot;Communication levels in lyrical and poetic discourse.&quot;)<br>
</span><span style='color:black'><a
href="https://periodicals.karazin.ua/foreignphilology/article/download/11129/10655"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://periodicals.karazin.ua/foreignphilology/article/download/11129/10655</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Bhattacharyya, Debjani. Review of Memory, Imagination, and Desire in
Contemporary Anglo-American Literature and Film. Ed. </span><span
style='color:black'>Constanza del Río and Luis Miguel García Mainar. Giessener
Graduiertenzentrum Kulturwissenschaften (n.d.).<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.uni-giessen.de/graduiertenzentrum/magazin/rezension-2121.php"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.uni-giessen.de/graduiertenzentrum/magazin/rezension-2121.php</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2006-12-14 </span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Biwu, Shang. &quot;Narrative as Rhetoric: Judgment, Progression, and
Narrativity in Samuel Taylor Coleridge's 'The Rime of the Ancient
Mariner'.&quot; </span><span style='color:black'>Primerjalna Knizevnost 39.2
(2006): 157-172, 228.<br>
<a
href="http://search.proquest.com/openview/867d19dd2f43fc8f958a0558820354d2/1?pq-origsite=gscholar&amp;cbl=1356345">http://search.proquest.com/openview/867d19dd2f43fc8f958a0558820354d2/1?pq-origsite=gscholar&amp;cbl=1356345</a><br>
2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bjelakovits, Isidora, et al. </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Zvornik Matitse Srpske
za Knizhevnost i jezik. Serbia: Matica Serbica Department of Literature and
Language, 2013. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/39028200"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/39028200</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>/<br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Blake, Kathleen. &quot;Between Economies in the Mill on the Floss: Loans
Versus Gifts, or, Auditing Mr. Tulliver's Accounts.&quot; Victorian Literature
and Culture 33.1 (2005): 219-237.<b><br>
</b></span></i><span style='color:black'><a
href="http://journals.cambridge.org/action/displayAbstract?fromPage=online&amp;aid=291735&amp;fileId=S1060150305000811"><i><span
lang=EN-US style='mso-ansi-language:EN-US'>http://journals.cambridge.org/action/displayAbstract?fromPage=online&amp;aid=291735&amp;fileId=S1060150305000811</span></i></a></span><b><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
</span></i></b><i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>_____.
Pleasures of Benthamism: Victorian Literature, Utility, Political Economy.
Oxford: Oxford UP, 2009.* Preview at Google Books: <br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://books.google.es/books?id=mTeT0_vD6SwC"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://books.google.es/books?id=mTeT0_vD6SwC</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Blancas Curiel, Roxana
Ariadne. &quot;Cuerpos (In)Visibles: Relaciones transnacionales, Tecnologías
culturales y Narratividad en México y la Península Ibérica.&quot; </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Ph.D. diss. U of California
Riverside, 2016. Online at&nbsp; e-Scholarship.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://escholarship.org/content/qt6m75c4t6/qt6m75c4t6.pdf">https://escholarship.org/content/qt6m75c4t6/qt6m75c4t6.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
&nbsp;<br>
&quot;Blogs de filósofos.&quot; </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>From Efímero. Scribd 24 Nov. 2015.*<br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'><a
href="https://es.scribd.com/doc/290972968/Efimeroescombrera-Wordpress-Com"><span
lang=EN-US style='mso-ansi-language:EN-US'>
https://es.scribd.com/doc/290972968/Efimeroescombrera-Wordpress-Com</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Blufarb, Ruth. Geschichten im Recht: Übertragbarkeit von 'Law as
Narrative' auf die deutsche Rechtsordnung. (Recht und Literatur, 3).
Baden-Baden: Nomos Verlag, 2017. Online preview at Google Books.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://books.google.es/books?hl=en&amp;lr=&amp;id=ol54DwAAQBAJ">https://books.google.es/books?hl=en&amp;lr=&amp;id=ol54DwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
BNE (Biblioteca Nacional - Catálogo)<br>
&nbsp;&nbsp;&nbsp; Samuel Beckett y la narración reflexiva. </span></i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Indexed.<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&amp;authority_id=XX1022000"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&amp;authority_id=XX1022000</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
<i>Bode, Christoph. Der Roman. 2nd ed. Tübingen: Francke, 2011.*<br>
&nbsp;&nbsp;&nbsp; Online at Google Boois:<br>
&nbsp;&nbsp;&nbsp; </i></span><i><span style='color:black'><a
href="http://books.google.es/books?hl=en&amp;lr=&amp;id=szZzV5Q_AFoC"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://books.google.es/books?hl=en&amp;lr=&amp;id=szZzV5Q_AFoC</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
Bode, Ingvild (PhD). &quot;Storytelling in den Vereinten Nationen: Mahbub ul
Haq und menschlische Entwicklung.&quot; In Politische Narrative: Konzepte –
Analysen – Forschungpraxis. Ed. Frank Gadinger, Seabastian Jarzebski, and
Taylan Yildiz. Springer, 2014.<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://link.springer.com/book/10.1007/978-3-658-02581-6"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://link.springer.com/book/10.1007/978-3-658-02581-6</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Booth, Alison. &quot;Screenshots in the Longue Durée: Feminist
Narratology, Digital Humanities, and Collective Biographies of Women.&quot; In
Narrative Theory Unbound: Feminist and Queer Interventions. Ed Robyn Warhol and
Susan S. Lanser. Columbus: Ohio State UP, 2015. 169-93.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://kb.osu.edu/bitstream/handle/1811/68569/Warhol_Lanser_Book4CD_W.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://kb.osu.edu/bitstream/handle/1811/68569/Warhol_Lanser_Book4CD_W.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Botha, Eugene. (U of South Africa). &quot;The Potential of Speech Act Theory
for New Testament Exegesis: Some Basic Concepts.&quot; HTS Teologiese Studies /
Theological Studies 47.2 (1991): 277-93.*<br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar.*<br>
DOI:10.4102/hts.v47i2.2382<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://pdfs.semanticscholar.org/e9db/2f86de7f69e8ac5d5e56a65ea88ea112d910.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://pdfs.semanticscholar.org/e9db/2f86de7f69e8ac5d5e56a65ea88ea112d910.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>BOUFIND<br>
&nbsp;&nbsp;&nbsp; </span></i><span style='color:black'>&quot;Atención a la
atención.&quot; <i>Indexado en BOUFIND (Universidad de Oviedo):<br>
&nbsp;&nbsp;&nbsp; <a
href="http://vufind.uniovi.es/Record/ir-ART0000517471/Details">http://vufind.uniovi.es/Record/ir-ART0000517471/Details</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
Branscombe, Margaret (U of South Florida; mbranscombe@mail.usf.edu). </i></span><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>&quot;'I Want to Be
Sun': Tableau as an Embodied Representation of Main Ideas in Science
Information Texts.&quot; Ph.D. diss. U of South Florida, 2015. Online at
University of South Florida Scholar Commons.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://scholarcommons.usf.edu/cgi/viewcontent.cgi?article=6649&amp;context=etd&amp;httpsredir=1&amp;referer=">https://scholarcommons.usf.edu/cgi/viewcontent.cgi?article=6649&amp;context=etd&amp;httpsredir=1&amp;referer=</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Broomer, Ramona. &quot;Meeting Myself as a Scholarly Practitioner: A
Self-Study Exploring the Process of Integrating Instructional Technology into
Introductory Theater Courses.&quot; Ph.D. diss. Duquesne University, 2021.
Online.*<br>
</span><span style='color:black'><a href="https://dsc.duq.edu/etd/1964"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://dsc.duq.edu/etd/1964</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Browse, Sam (Sheffield Hallam U), Alison Gibbons (Sheffield Hallam U),
and Matti Hatavara (Tampere U). &quot;Real Fictions: Fictionality, Factuality
and Narrative Strategies in Contemporary Storytelling.&quot; Narrative Inquiry
29.2 (2019): 245-67. <br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://doi.org/10.1075/ni.19025.bro"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://doi.org/10.1075/ni.19025.bro</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
</span><span style='color:black'><a
href="https://www.jbe-platform.com/content/journals/10.1075/ni.19025.bro"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.jbe-platform.com/content/journals/10.1075/ni.19025.bro</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
&nbsp;&nbsp;&nbsp; Online at Trepo (Tampere U).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://trepo.tuni.fi/bitstream/handle/10024/117879/real_fictions_fictionality_factuality_2019.pdf">https://trepo.tuni.fi/bitstream/handle/10024/117879/real_fictions_fictionality_factuality_2019.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Brufau Alvira, Nuria &quot;Translating and (Re)creating (Cultural)
Identities. A Review Article of New Work by López Sáenz and Penas Ibáñez, and
Vidal Claramonte.&quot; CLCWeb: Comparative Literature and Culture (Purdue
University)<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://docs.lib.purdue.edu/clcweb/vol10/iss3/"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://docs.lib.purdue.edu/clcweb/vol10/iss3/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
&nbsp;&nbsp;&nbsp; 2008</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Brütsch, Matthias. &quot;How to Measure Narrativity? Notes on Some
Problems with Comparing Degrees of Narrativity Across Different Media.&quot; In
Emerging Vectors of Narratology. Ed. Per Krogh Hansen, John Pier, Philippe
Roussin and Wolf Schmid. Berlin and Boston: de Gruyter, 2017. 315-34.*<br>
Online at ZORA (Zürich Open Repository and Archive -&nbsp; Zentralbibliothek
Zürich).*<br>
</span><span style='color:black'><a
href="https://www.zora.uzh.ch/id/eprint/144872/1/%5B9783110555158_-_Emerging_Vectors_of_Narratology%5D_How_to_Measure_Narrativity_Notes_on_Some_Problems_with_Comparing_Degrees_of_Narrativity_Across_Different_Media.pdf">https://www.zora.uzh.ch/id/eprint/144872/1/%5B9783110555158_-_Emerging_Vectors_of_Narratology%5D_How_to_Measure_Narrativity_Notes_on_Some_Problems_with_Comparing_Degrees_of_Narrativity_Across_Different_Media.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bueno Junquera, Adrián. Rev.
of Corporalidad, Temporalidad, Afectividad. Ed. Luisa Paz Rodríguez Suárez and
José Angel García Landa. Investigaciones Fenomenológicas.</span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Buljancevic, Rastko. (Academia
de las Artes de Novi Sad, rasktko.buljancevik@gmail.com). &quot;Construcción y
aproximación musical a las identidades frágiles en la película dramática Todo
sobre mi madre.&quot; </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>Cuadernos de investigación musical&nbsp; 14 (Jan.-June
2022): 267-95.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.18239/invesmusic.2022.14.08<br>
&nbsp;&nbsp;&nbsp; Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.researchgate.net/publication/357746571"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/357746571</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/67809295/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/67809295/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Burden, Paul R. (1953). A Subject Guide to Quality Websites. Plymouth:
Rowman and Littlefielf-Scarecrow Press, 2010.* Google Books: <br>
</span><span style='color:black'><a
href="http://books.google.es/books?id=mN3CBpRwowsC&amp;pg=PA43"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://books.google.es/books?id=mN3CBpRwowsC&amp;pg=PA43</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2014<br>
<br>
Bureu Ramos, Nela. &quot;Looking Forward to the End. /ou topos/: An Approach to
the Art of Samuel Beckett.&quot; </span><span style='color:black'>Miscelánea 34
(2006): 31-40.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://es.scribd.com/doc/141976157/Bureu-Ramos-Utopia-Samuel-Beckett">http://es.scribd.com/doc/141976157/Bureu-Ramos-Utopia-Samuel-Beckett</a></span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Bushell, Simon (Imperial College, London), Geraldine Satre Buisson
(Imperial College), Mark H. Workman (Imperial College) and Thomas Colley.
&quot;Strategic Narratives in Climate Change: Towards a Unifying Narrative to
Address the Action Gap on Climate Change.&quot; Energy Research and Social
Science 28 (June 2017): 39-49.*<br>
DOI: 10.1016/j.erss.2017.04.001<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.researchgate.net/publication/316319825"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/316319825</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
Online at King's Research Portal.*<br>
</span><span style='color:black'><a
href="https://kclpure.kcl.ac.uk/ws/files/69174276/Strategic_Narratives_in_Climate_BUSHELL_Publishedonline19April2017_GREEN_AAM.pdf">https://kclpure.kcl.ac.uk/ws/files/69174276/Strategic_Narratives_in_Climate_BUSHELL_Publishedonline19April2017_GREEN_AAM.pdf</a><br>
2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Byrne, Daragh, and Gareth J. F. Jones (Center for Digital Video
Processing, Dublin; daragh.byrne@computing.dcu.ie ;
gareth.jones@computing.dcu.ie). &quot;Towards Computational Autobiographical
Narratives through Human Digital Memories.&quot; SRMC '08: Proceedings of the
2nd ACM international workshop on Story representation, mechanism and context -
October 2008. Online at ACM Digital Library.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://doi.org/10.1145/1462014.1462017"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://doi.org/10.1145/1462014.1462017</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://dl.acm.org/doi/10.1145/1462014.1462017"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://dl.acm.org/doi/10.1145/1462014.1462017</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
_____. &quot;Towards Computational Autobiographical Narratives through Human
Digital Memories.&quot; Paper presented at SRMC '08, Vancouver, British Columbia,
Canada. Online at Dublin City University-Doras.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://doras.dcu.ie/2088/1/srmc05-byrne.pdf"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://doras.dcu.ie/2088/1/srmc05-byrne.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Cabo Aseguinolaza, Fernando,
and María do Cebreiro Rábade Villar. Manual de Teoría de la Literatura.
(Castalia Universidad). Madrid: Castalia, 2006. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/43137909/">https://www.academia.edu/43137909/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Cabrera Escobar, Leslia Paola.
Audiencia y fandom televisivo en la red social. Ph.D. diss. U de Barcelona,
Periodismo y Comunicación, 2017.* (Game of Thrones, The Walking Dead).<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.tdx.cat/handle/10803/456028">http://www.tdx.cat/handle/10803/456028</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
Cabrera Peralt, Patricia. &quot;Paquita Salas y la cultura televisiva de la
década de 1990: Análisis de la serie Paquita Salas.&quot; </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>BA diss. U Jaume I,
2020. Online at Repositori Unversistat Jaume I.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://repositori.uji.es/xmlui/bitstream/handle/10234/189572/TFG_2020__Cabrera_Peralt_Patricia.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://repositori.uji.es/xmlui/bitstream/handle/10234/189572/TFG_2020__Cabrera_Peralt_Patricia.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Cabrera Rodríguez, José
Antonio. Rev. of Corporalidad, temporalidad, espacialidad. Ed. Luisa Paz
Rodríguez-Suárez and José Angel García Landa. </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>Thémata 59 (2019): 130-34. Online
PDF at SCIO.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.proyectoscio.ucv.es/wp-content/uploads/2019/09/09-resena-cabrera.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.proyectoscio.ucv.es/wp-content/uploads/2019/09/09-resena-cabrera.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Cáceres Ramírez, Orlando.
&quot;Características del texto narrativo.&quot; About.com<br>
&nbsp;&nbsp;&nbsp; <a
href="http://reglasespanol.about.com/od/tiposderedaccion/fl/Caracteriacutesticas-del-texto-narrativo.htm">http://reglasespanol.about.com/od/tiposderedaccion/fl/Caracteriacutesticas-del-texto-narrativo.htm</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Calvo, Clara. </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Rev. of Books in Motion: Adaptation, Intertextuality, Authorship. Ed.
Mireia Aragay. </span><span style='color:black'>Atlantis 29.2 (Dec. 2007):
101-106.*<br>
<br>
Calvo Pascual, Mónica. Reseña de New Exoticisms. Ed. Isabel Santaolalla. </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Miscelánea 24 (2001-
issued 2003): 175-78.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.miscelaneajournal.net/images/stories/articulos/vol24/Santaolalla24.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.miscelaneajournal.net/images/stories/articulos/vol24/Santaolalla24.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2009 </span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Campion, Baptiste. &quot;Étude
de l'utilisation du récit dans les hypermédias de vulgarisation: Approches
narratologique et sémio-cognitive.&quot; </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>Ph.D. diss. U Catholique de
Louvain, 2012. Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/2305865/">https://www.academia.edu/2305865/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Cánovas Vidal, Ana Belén.
Poesía e historia en el último tercio del siglo XX español: El caso de Javier
Egea (1952-1999).&quot; </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>Ph.D. diss. U Michel de Montaigne - Bordeaux III,
2017. Online at Hal: Archives Ouvertes.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://tel.archives-ouvertes.fr/tel-01628219">https://tel.archives-ouvertes.fr/tel-01628219</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.archives-ouvertes.fr/tel-01628219/document">https://www.archives-ouvertes.fr/tel-01628219/document</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Cao, Kim-Lan. (Vietnam Academy of Social Sciences). &quot;TỰ SỰ HỌC: THỰC
TIỄN TIẾP NHẬN VÀ NGHIÊN CỨU Ở VIỆT NAM. &quot;&nbsp; (&quot;Self-learning:
Accepting Practice and Research in Vietnam&quot;). Tạp chí Lí luận và phê bình
văn học nghệ thuật Trung Ương (Theory and Criticism on Literature and Arts
review). </span><span style='color:black'>Online at Academia.* <br>
<a href="https://www.academia.edu/39401277/">https://www.academia.edu/39401277/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Cardoza-Nizama, Luis.
Tendencias narrativas en los autores de Estirpe púrpura. Hacia una poética
generacional en la nueva narrativa piurana (Tesis de licenciatura en Educación
con especialidad en Lengua y Literatura, nivel Secundaria). Universidad de
Piura. Facultad de Ciencias de la Educación. Piura, Perú, 2017. Online at
Pirhua: Repositorio Institucional de la Universidad de Piura.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pirhua.udep.edu.pe/bitstream/handle/11042/3242/EDUC_064.pdf">https://pirhua.udep.edu.pe/bitstream/handle/11042/3242/EDUC_064.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<b><br>
</b>Carmona Jiménez, Javiera. (U de Playa Ancha, Valparaíso,
javiera.carmona@upla.cl formerly U de Santiago de Chile). &quot;Tensiones de la
etnografía virtual: teoría, metodología y ética en el estudio de la
comunicación mediada por ordenador.&quot; Revist F@ro 13 (2011): 14-27.*<br>
<a href="http://www.revistafaro.cl/index.php/Faro/article/download/14/4">http://www.revistafaro.cl/index.php/Faro/article/download/14/4</a><br>
2013<b><br>
_____. </b></span></i><span style='color:black'>&quot;Etnografía de
cibernativos o cuando el terreno está en pantalla.&quot;&nbsp; <i>La Brecha
Digital.org</i><u><br>
</u><a
href="http://labrechadigital.org/labrecha/virtual_alvarocuadra.pdf#page=70">http://labrechadigital.org/labrecha/virtual_alvarocuadra.pdf#page=70</a><br>
2013<br>
_____. &quot;Etnografía de cibernativos o cuando el terreno está en pantalla.&quot;
In Virtualidad &amp; Conocimiento. Ed. Álvaro Cuadra. Santiago de Chile: CC
eBook, 2010. 70-89. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/10596546/">https://www.academia.edu/10596546/</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Caro Oca, Ana María.
&quot;Elementos narrativos en el videoclip: Desde el nacimiento de la MTV a la
era YouTube (1981-2011).&quot; Ph.D. diss. U of Seville, 2014. Online at idUS:
Depósito de Investigación Universidad de Sevilla.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://idus.us.es/xmlui/handle/11441/63957"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://idus.us.es/xmlui/handle/11441/63957</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Carter, Jonathan. &quot;Telling Times: History, Emplotment, and Truth.&quot;
History and Theory 42 (Feb. 2003): 1-27. Online at Academia.* (David Carr; John
Batman; Aboriginals).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/4435880/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/4435880/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
______.&quot;Telling Times: History, Emplotment, and Truth.&quot; History &amp;
Theory 42.1 (Feb. 2003): 1-27. Wiley Online Library.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://doi.org/10.1111/1468-2303.00226"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://doi.org/10.1111/1468-2303.00226</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Casey,
Britiany. (Women) Artists and the Gender Gap (Museum): An Analysis of
Inequality, Invisibility and Underrepresentation, a Case Study at the Joslyn
Art Museum in Omaha, Nebraska. MA diss. U of Nebraska at Omaha, 2016.* Online
at ProQuest:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://search.proquest.com/docview/1845307176"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://search.proquest.com/docview/1845307176</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
_____. (Women) Artists and the Gender Gap (Museum). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/36388765/">https://www.academia.edu/36388765/</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Cassany, Roger, et al. <i>El
periodisme audiovisual a Internet: funcions diferents, vídeos diferents. </i>Online
at Dipòsit digital de documents de la UAB. 2012.* <br>
&nbsp;&nbsp;&nbsp; <a href="http://ddd.uab.cat/record/108842">http://ddd.uab.cat/record/108842
</a><br>
&nbsp;&nbsp;&nbsp; <a
href="http://ddd.uab.cat/pub/estudis/2012/108842/peraudint_a2013.pdf">http://ddd.uab.cat/pub/estudis/2012/108842/peraudint_a2013.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2015<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Castillo
Franco, Ignacio. Rev. of <i>Interculturalism: Between Identity and Diversity.</i>
</span><span style='color:black'>Ed. Beatriz Penas Ibáñez and Mª C. López
Sáenz. Investigaciones Fenomenológicas 5 (2006). </span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>Online at e-Spacio (UNED).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://e-spacio.uned.es/fez/eserv/bibliuned:InvFen-2007-5-5140/Documento.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://e-spacio.uned.es/fez/eserv/bibliuned:InvFen-2007-5-5140/Documento.pdf</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/3426847/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/3426847/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Cauthery, Bridget E. &quot;'Bodies of Uncharted Ice': Daniel Léveillé's La
pudeur des icebergs.&quot; <i>Performance Research </i>18.6 (2013): 122-28.*
Online at Taylor and Francis 2 May 2014.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.tandfonline.com/doi/abs/10.1080/13528165.2013.908067"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.tandfonline.com/doi/abs/10.1080/13528165.2013.908067
</span></a></span><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://dx.doi.org/10.1080/13528165.2013.908067"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://dx.doi.org/10.1080/13528165.2013.908067</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/20931622/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/20931622/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Centre
for Narrative Research, University of East London<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.uel.ac.uk/Schools/Social-Sciences/What-we-do/Research/Centre-for-Narrative-Research/Forthcoming-papers-and-works"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.uel.ac.uk/Schools/Social-Sciences/What-we-do/Research/Centre-for-Narrative-Research/Forthcoming-papers-and-works</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2016<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Cepincic,
Neda. &quot;'Drama Queens': Woody Allen's Portrayal of Women in the Films
Interiors (1978) and September (1987).&quot; </span><span style='color:black'>Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/32222097/">https://www.academia.edu/32222097/</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
Ceserani, Remo. <i>Introducción a los estudios literarios. </i>Barcelona:
Crítica, 2004.</span><span style='font-size:10.0pt;color:black'> </span><span
style='font-size:18.0pt;color:black'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://books.google.es/books?id=O5bYcCxqizAC&amp;pg=PA237#v=onepage&amp;q&amp;f=false">http://books.google.es/books?id=O5bYcCxqizAC&amp;pg=PA237#v=onepage&amp;q&amp;f=false</a><br>
&nbsp;&nbsp;&nbsp; 2013</span><span style='font-size:7.5pt;color:black'><a
href="http://books.google.es/books?id=O5bYcCxqizAC&amp;pg=PA237#v=onepage&amp;q&amp;f=false">
</a></span><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ceylan, Ezgi.
&quot;Postkolonyal Edebiyatta Çevirinin İkilemi: Ulysses Vakası.&quot;
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/10261078/">https://www.academia.edu/10261078/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Chávez Pozo, Juliana Gisela,
Jhuliana Yahaira Gutiérrez Díaz, and Marvelly Susana Pilco Gonzales. &quot;La
temporalidad diegética en la novela Cien años de soledad de Gabriel García
Márquez.&quot; Diss. U Nacional de Trujillo, Perú, 2018. Online at Repositorio
Institucional UNITRU.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.dspace.unitru.edu.pe/bitstream/handle/UNITRU/10324/CHAVEZ%20POZO-GUTIERREZ%20DIAZ-PILCO%20GONZALES.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.dspace.unitru.edu.pe/bitstream/handle/UNITRU/10324/CHAVEZ%20POZO-GUTIERREZ%20DIAZ-PILCO%20GONZALES.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Chen,
Tingting. <i>Marrying from 'Asia' to Singapore: Gendered and Ethnicized
Citizenship.</i> MA diss. Faculty of Social Sciences, Lund U, 2010.<o:p></o:p></span></p>

<p class=MsoNormal><span lang=EN-US style='mso-fareast-font-family:"Times New Roman";
color:black;mso-ansi-language:EN-US'>Chowdhury, Takad Ahmed. (University of
Asia Pacific, Bangladesh; takad@uap-bd.edu).&nbsp; &quot;Treatment of Fate in
Shakespearean and Classical Greek Tragedies: A Comparison.&quot; Academic
Journal <i>PERSPECTIVE: Language, Education and Literature</i> 8.1 (May 2020):
29-38. Online at ResearchGate.*<br>
DOI: 10.33603/perspective.v8i1.3378<br>
&nbsp;&nbsp;&nbsp; </span><span style='mso-fareast-font-family:"Times New Roman";
color:black'><a href="https://www.researchgate.net/publication/341669745"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/341669745</span></a></span><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; </span><span style='mso-fareast-font-family:"Times New Roman";
color:black'><a href="https://www.academia.edu/52857817/"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.academia.edu/52857817/</span></a></span><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Chronis, Athinodoros, Eric J. Arnoud and Ronald D. Hampton. &quot;Gettysburg
Re-imagined: The Role of Narrative Imagination in Consumption Experience.&quot;
<i>Consumption, Markets and Culture</i> (2012): 1-26. <br>
&nbsp;&nbsp;&nbsp; </span><span style='mso-fareast-font-family:"Times New Roman";
color:black'><a href="http://dx.doi.org/10.1080/10253866.2011.652823"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://dx.doi.org/10.1080/10253866.2011.652823</span></a></span><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; Online at Academia:<br>
&nbsp;&nbsp;&nbsp; </span><span style='mso-fareast-font-family:"Times New Roman";
color:black'><a href="https://www.academia.edu/5888469/"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.academia.edu/5888469/</span></a></span><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal><span lang=EN-US style='mso-fareast-font-family:"Times New Roman";
color:black;mso-ansi-language:EN-US'>Çirakli, Mustafa Zeki. <i>Anlatibilim:
Kuramsal Okumalar. </i>Ankara: Hece, 2015.* (&quot;Narratology: Theoretical
Readings&quot;). </span><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/36384170/">https://www.academia.edu/36384170/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Ciuro Caldani, Miguel Ángel. &quot;El verbo en el antecedente de la norma
jurídica (un aporte a la 'jurilingüística' con especial referencia a la lengua
española).&quot; Revista del Centro de Investigaciones de Filosofía Jurídica y
Filosofía Social. </span><span lang=EN-US style='mso-fareast-font-family:"Times New Roman";
color:black;mso-ansi-language:EN-US'>Online at Cartapacio.*<br>
</span><span style='mso-fareast-font-family:"Times New Roman";color:black'><a
href="http://www.cartapacio.edu.ar/ojs/index.php/centro/article/download/1322/1464"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.cartapacio.edu.ar/ojs/index.php/centro/article/download/1322/1464</span></a></span><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
2022<br>
<br>
Climent Espino, Rafael. </span><span style='mso-fareast-font-family:"Times New Roman";
color:black'>(Baylor U). Del manuscrito al libro: Materialidad del texto y
crítica genética en la novela iberoamericana: 1969-1992. (Nuevo Siglo).
Pittsburgh: U of Pittsburgh P - Instituto Internacional de Literatura
Iberoamericana, 2016.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/32883324/">https://www.academia.edu/32883324/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Coello Gutiérrez, Emiliano. (UNED; &nbsp;&nbsp;&nbsp; ecoello@flog.uned.es).
&quot;Autor implícito y narrador no fiable en Fábula Asiática (2016) de Rodrigo
Rey Rosa: Una dialéctica negativa.&quot; </span><span lang=EN-US
style='mso-fareast-font-family:"Times New Roman";color:black;mso-ansi-language:
EN-US'>Epos 37 (2021): 49-63. Online at ResearchGate.* <br>
&nbsp;&nbsp;&nbsp; </span><span style='mso-fareast-font-family:"Times New Roman";
color:black'><a href="https://www.researchgate.net/publication/357235941"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/357235941</span></a></span><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
&quot;Cognitive Narrative Thought.&quot; <i>Journal of Changchun Teachers
College </i>(2012)<i>&nbsp;&nbsp; &nbsp;</i> &nbsp;&nbsp; </span><span
style='mso-fareast-font-family:"Times New Roman";color:black'><a
href="https://scholar.google.com/scholar?oi=bibs&amp;hl=en&amp;cites=1405017015225667538&amp;as_sdt=5&amp;as_ylo=2012&amp;as_yhi=2012"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://scholar.google.com/scholar?oi=bibs&amp;hl=en&amp;cites=1405017015225667538&amp;as_sdt=5&amp;as_ylo=2012&amp;as_yhi=2012</span></a></span><i><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
2015</span></i><span lang=EN-US style='mso-fareast-font-family:"Times New Roman";
color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Coleman, Rachel L. &quot;The Lucan Lens on Wealth and Possessions: A Perspective
Shaped by the Themes of Reversal and Right Response.&quot; Ph.D. diss. Regent
University School of Divinity, 2017. Online at ProQuest.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://search.proquest.com/openview/f220ef39d42dbbd1e26d448905363ae0/1"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://search.proquest.com/openview/f220ef39d42dbbd1e26d448905363ae0/1</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Colette, Shelly Carmen.&nbsp; The Garden, the Serpent, and Eve: An Ecofeminist
Narrative Analysis of Garden of Eden Imagery in Fashion Magazine Advertising.
Ph.D. diss. U of Ottawa, 2012.<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.ruor.uottawa.ca/fr/bitstream/handle/10393/22908/Colette_Shelly_Carmen_2012_Thesis.pdf?sequence=1"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.ruor.uottawa.ca/fr/bitstream/handle/10393/22908/Colette_Shelly_Carmen_2012_Thesis.pdf?sequence=1</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2013</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Collioud, Luz. (Writer and film dir., st. </span><span style='color:
black'>U of Palermo, Argentina). &quot;La utilización del sketch como
herramienta para la comprensión del lenguaje cinematográfico.&quot; Reflexión
Académica en Diseño y Comunicación (VI Edición Congreso de Tendencias Escénicas
/ I Edición Congreso de Tendencias Audiovisuales [Presente y Futuro del
Espectáculo]. Vol. 42 (2020) (Año XXI). Buenos Aires: Universidad de Palermo,
2020.&nbsp; 169-79. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/42138466/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/42138466/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Comuzzi, Ludmila. &quot;Book Report: Semiosphere of Narratology.&quot; NarrNet
- ENN Newsletter 11 (Dec. 2014): 29-37.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.narratology.net/sites/www.narratology.net/files/webfm/stories/NL11_ENN_December_2014_0.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.narratology.net/sites/www.narratology.net/files/webfm/stories/NL11_ENN_December_2014_0.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
Cortés Vieco, Francisco José. </span><span style='color:black'>(U Autónoma de
Madrid; francisco.cortes@uam.es). &quot;'Retrato de una artista como joven
terrorista' en Atonement, de Ian McEwan: Tradición narrativa, bestseller y
postmodernidad hacia el canon narrativo del siglo XXI.&quot; AnMal Electrónica
35 (2013): 107-28.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/43607804/">https://www.academia.edu/43607804/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Coste, Didier. &quot;Le récit
comme forme-mouvement.&quot; </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>Rev. of The Dynamics of Narrative Form. Ed. John Pier.
Fabula 7.5 (24 Oct. 2006).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.fabula.org/revue/document1641.php"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://www.fabula.org/revue/document1641.php</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2006-10-30</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Coste, Didier. &quot;Narrative Theory and Aesthetics in
Literature.&quot; In Literature (Oxford Research Encyclopedias).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://literature.oxfordre.com/view/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-116"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://literature.oxfordre.com/view/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-116</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; DOI:<br>
10.1093/acrefore/9780190201098.013.116<br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Coste, Didier, and John Pier. &quot;Revision of embedding and narrative
levels.&quot; The Living Handbook of Narratology.</span></i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'> 2013.<br>
</span><span style='color:black'><a
href="http://www.lhn.uni-hamburg.de/node/32/revisions/112/view"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.lhn.uni-hamburg.de/node/32/revisions/112/view</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
<br>
<i>Coykendall, Abby. &quot;Towards a Queer Feminism: Or, Feminist Theories
And/As Queer Narrative Studies.&quot; In Narrative Theory Unbound: Feminist and
Queer Interventions. Ed Robyn Warhol and Susan S. Lanser. Columbus: Ohio State
UP, 2015.<br>
&nbsp;&nbsp;&nbsp; 325-33.*<br>
</i></span><i><span style='color:black'><a
href="https://kb.osu.edu/bitstream/handle/1811/68569/Warhol_Lanser_Book4CD_W.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://kb.osu.edu/bitstream/handle/1811/68569/Warhol_Lanser_Book4CD_W.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Crespo López, Mario.
&quot;'República de hombres encantados': El gobierno urbano de Castilla durante
el reinado de Felipe III.&quot; Ph.D. diss. U de Zaragoza, 2013. Online at
Zaguán.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://zaguan.unizar.es/record/11727/files/TESIS-2013-066.pdf">https://zaguan.unizar.es/record/11727/files/TESIS-2013-066.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Crews, Brian. Rev. of Beyond Borders: Re-Defining Generic and
Ontological Boundaries. </span><span style='color:black'>Ed. Ramón Plo-Alastrué
and María Jesús Martínez-Alfaro. Atlantis 25.1 (June 2003): 133-39.*</span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Crítica Literaria e
Investigación Contemporánea en Lengua Inglesa (Universidad Complutense).<br>
<a href="https://www.ucm.es/estudios/grado-estudiosingleses-plan-805200">https://www.ucm.es/estudios/grado-estudiosingleses-plan-805200
<br>
</a></span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Curiel Gálvez, África. (gs U
of Seville). &quot;El videojuego como medio narrativo.&quot; </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>MA diss. U of Seville,
2015. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/28812924/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/28812924/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Curtis, Morgan. &quot;Film as a Tool for Conflict Transformation.&quot;
TFM U Jaume I, 2016. Online at Repositori Universitat Jaume I.*<br>
&nbsp;&nbsp;&nbsp;
http://repositori.uji.es/xmlui/bitstream/handle/10234/165865/TFM_2016_
Curtis_Morgan.pdf<br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>da Costa Maya Neto, Olegario. </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Actualizing Che's
History: Che Guevara's Enduring Relevance through Film. Ph.D. diss. </span><span
style='color:black'>Florianópolis: Universidad Federal de Santa Catarina, 2017.
Online at Repositorio institucional da UFSC.* <br>
&nbsp;&nbsp;&nbsp; <a
href="http://150.162.242.35/handle/123456789/177352?show=full">http://150.162.242.35/handle/123456789/177352?show=full
</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://repositorio.ufsc.br/bitstream/handle/123456789/177352/346778.pdf?sequence=1">https://repositorio.ufsc.br/bitstream/handle/123456789/177352/346778.pdf?sequence=1</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>da Silva Queiroz, José Francisco, and Gunter Karl Pressler. &quot;A Sphinx
and Its Mysteries: Inferno Verde and Rangel's Invention of the Amazonian
Fictional Space.&quot; Arts, Linguistics, Literature, and Language Research
Journal (2022).*<br>
</span><span style='color:black'><a
href="https://www.atenaeditora.com.br/post-artigo/66218"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.atenaeditora.com.br/post-artigo/66218</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
Semantic Scholar:<br>
</span><span style='color:black'><a
href="https://www.semanticscholar.org/paper/A-sphinx-and-its-mysteries%3A-%E2%80%9CInferno-Verde%E2%80%9D-and-of-Queiroz-Pressler/aff6179de484fecf1ad1297bc15c9fca23e4e570?email_index=0-0-0"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.semanticscholar.org/paper/A-sphinx-and-its-mysteries%3A-%E2%80%9CInferno-Verde%E2%80%9D-and-of-Queiroz-Pressler/aff6179de484fecf1ad1297bc15c9fca23e4e570?email_index=0-0-0</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Dahlgren, Marta. Rev. of Theorizing Narrativity. Ed. John Pier and José
Ángel García Landa. Atlantis 31.2 (Dec. 2009): 169-75.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.atlantisjournal.org/ARCHIVE/31.2/2009Dahlgren.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.atlantisjournal.org/ARCHIVE/31.2/2009Dahlgren.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2009<b><br>
<br>
</b>Dailey, Stephanie L. (U of Texas as Austin) and Larry Browning (U of Texas
at Austin, U of Nordland). &quot;Retelling Stories in Organizations:
Understanding the Functions of Narrative Repetition.&quot; Academy of
Management Review 39.1 (2014): 22-43.*<br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'><a
href="http://dx.doi.org/10.5465/amr.2011.0329"><span lang=EN-US
style='mso-ansi-language:EN-US'> http://dx.doi.org/10.5465/amr.2011.0329</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://pdfs.semanticscholar.org/6fc5/e4a1223c525f1edf61438df63e9d4c75a60d.pdf">https://pdfs.semanticscholar.org/6fc5/e4a1223c525f1edf61438df63e9d4c75a60d.pdf
</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Dávalos Terán, Ana Corina.
&quot;La mediación del lenguaje en la comprensión de sí mismo según Paul
Ricœur.&quot; Ph.D. diss. U de Navarra, Pamplona, 2011. Online at Dadun.*<br>
<a href="https://dadun.unav.edu/bitstream/10171/58495/1/Tesis_Davalos19.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://dadun.unav.edu/bitstream/10171/58495/1/Tesis_Davalos19.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Davidoff, Jonathan. &quot;Principles of Psychoanalytic Analysis of
Psychotic Literary Features: An Illustration on the Work of Pablo
Palacio.&quot; Ph.D. diss. U College, London. Online at UCL Discovery.*<br>
</span><span style='color:black'><a
href="https://discovery.ucl.ac.uk/id/eprint/1556458/1/Davidoff_ID_Complete_Dissertation_After_Editing.pdf">https://discovery.ucl.ac.uk/id/eprint/1556458/1/Davidoff_ID_Complete_Dissertation_After_Editing.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>De Fina, Ana, and Angela Georgakopoulou, eds. The Handbook of Narrative
Analysis. Malden (MA), Oxford, and Chichester: Wiley Blackwell, 2015.<br>
</span><span style='color:black'><a
href="https://kclpure.kcl.ac.uk/portal/files/84786115/"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://kclpure.kcl.ac.uk/portal/files/84786115/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
</span><span style='color:black'><a
href="http://vanityfea.blogspot.com.es/2015/06/the-handbook-of-narrative-analysis.html"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://vanityfea.blogspot.com.es/2015/06/the-handbook-of-narrative-analysis.html</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2015<b><br>
<br>
</b>Deliu, Ana-Maria. (Faculty of Letters, Babes-Boyai University, Cluj,
Romania; anamdeliu@gmail.com) &quot;Metafiction, Transfictionality and Possible
Worlds in Jorge Luis Borges' The Immortal.&quot; Metacritic 1.1 (2015).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://metacriticjournal.com/current/issue:1/volume%201,%20issue%201:%20October%202015"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://metacriticjournal.com/current/issue:1/volume%201,%20issue%201:%20October%202015
</span></a></span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'><br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'><a
href="http://metacriticjournal.com/articles/getfileembed/6/AnaMariaDeliu_1_1.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'> http://metacriticjournal.com/articles/getfileembed/6/AnaMariaDeliu_1_1.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<b><br>
</b>Demirel, Enes. &quot;Sosyolojik bir arast1rma nesnesi olarak dijital
oyunlar.&quot; </span><span style='color:black'>Sosyoloji Arast1rmalar1 Dergisi
25.2 (2022): 278-298.*<br>
<a href="https://dergipark.org.tr/tr/pub/sosars/issue/69705/1111375">https://dergipark.org.tr/tr/pub/sosars/issue/69705/1111375</a><br>
2022<br>
Semantic Scholar:<br>
<a
href="https://www.semanticscholar.org/paper/SOSYOLOJ%C4%B0K-B%C4%B0R-ARA%C5%9ETIRMA-NESNES%C4%B0-OLARAK-D%C4%B0J%C4%B0TAL-Demi%CC%87rel/d79e44e7c815372b495c49e4b64611b29b042517">https://www.semanticscholar.org/paper/SOSYOLOJ%C4%B0K-B%C4%B0R-ARA%C5%9ETIRMA-NESNES%C4%B0-OLARAK-D%C4%B0J%C4%B0TAL-Demi%CC%87rel/d79e44e7c815372b495c49e4b64611b29b042517</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Dena, Christy. Transmedia Practices: Theorising the Practice of
Expressing a Fictional World across Distinct Media and Environments. Ph.D.
diss., U of Sydney, 2009. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/2075651/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/2075651/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Denham, Robert D. &quot;Pity the Northrop Frye Scholar? Frye's Anatomy
of Criticism Fifty Years Later.&quot; RILCE 25.1 (2009): 8-28.*<br>
&nbsp; </span></i><span style='font-size:7.5pt;color:black'><a
href="http://dspace.unav.es/dspace/bitstream/10171/7273/1/0.1.%20Denham.pdf"><span
lang=EN-US style='font-size:12.0pt;mso-ansi-language:EN-US'>http://dspace.unav.es/dspace/bitstream/10171/7273/1/0.1.%20Denham.pdf</span></a></span><span
lang=EN-US style='font-size:7.5pt;color:black;mso-ansi-language:EN-US'><br>
&nbsp;</span><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>&nbsp;&nbsp;
</span><span style='font-size:7.5pt;color:black'><a
href="http://es.scribd.com/doc/272288675/"><span lang=EN-US style='font-size:
12.0pt;mso-ansi-language:EN-US'>http://es.scribd.com/doc/272288675</span></a></span><span
lang=EN-US style='font-size:7.5pt;color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; </span><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>2015</span><span lang=EN-US style='font-size:7.5pt;color:black;
mso-ansi-language:EN-US'> </span><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Dentith, Simon. George Eliot. &quot;The Mill in the Floss and the Social
Space of Hindsight.&quot; In Dentith, Nineteenth-Century British Literature
Then and Now: Reading with Hindsight. (The Nineteenth Century). Farnham (UK)
and Burlington (VT): Ashgate, 2014.* Preview at Google Books:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://books.google.es/books?id=dfqMBAAAQBAJ"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://books.google.es/books?id=dfqMBAAAQBAJ</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><br>
<br>
<i>Derviscemaloglu, Bahar. (Ege U, Izmir). &quot;The Problem of Translating
Narratological Terminology into Turkish.&quot; Amsterdam International
Electronic Journal for Cultural Narratology 7-8 (2012-2014).*<br>
&nbsp;&nbsp;&nbsp; </i></span><i><span style='color:black'><a
href="http://cf.hum.uva.nl/narratology/issue/7/a12_Bahar_Derviscemaloglu.html"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://cf.hum.uva.nl/narratology/issue/7/a12_Bahar_Derviscemaloglu.html</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Dey, Teresa. &quot;Las
estructuras abismadas.&quot; In Dey, Cuento II: Estrategias, narradores y
estructuras - Blog de clase de Teresa Dey.*<br>
&nbsp;&nbsp; <a
href="https://uacmcuentodos.com/estructuras-narrativas-en-el-cuento/las-estructuras-abismadas/">https://uacmcuentodos.com/estructuras-narrativas-en-el-cuento/las-estructuras-abismadas/</a>
<br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Dhillon, Pradeep A., and Paul Standish, eds. Lyotard: Just Education.<br>
&nbsp;&nbsp;&nbsp; London and New York: Routledge, 2000. Online at Google
Books.<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://books.google.es/books?id=ahEAMFo4sngC"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://books.google.es/books?id=ahEAMFo4sngC</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Díaz, Lily. (Aalto U, Finland,
lily.diaz@aalto.fi ). </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>&quot;Visualizing Ourselves through Artifacts and
Experience.&quot; Cumulus Hong Kong 2016: Open Design for E-very-Thing 21-24
Nov. 2016.* </span><span style='color:black'>Online:<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/33916669/">https://www.academia.edu/33916669/</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Díaz Pomar, Pierre Edinsson.
&quot;La imagen de Bolívar en la literatura andina.&quot; M.A. diss.
Universidad Andina Simón Bolívar, sede Ecuador. Quito, 2007. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/57860767/T735">https://www.academia.edu/57860767/T735</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Di Paola, Modesta. &quot;El
arte que traduce. 1995-2015: La traducción como mediación cultural en los
procesos de transmisión y recepción de las obras de arte.&quot; Ph.D. diss. U
de Barcelona, 2015. Online PDF at Diposit.ub.edu.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://diposit.ub.edu/dspace/bitstream/2445/66764/1/DI_PAOLA_TESIS.pdf">http://diposit.ub.edu/dspace/bitstream/2445/66764/1/DI_PAOLA_TESIS.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><br>
<br>
<i>DIALNET<br>
&nbsp;&nbsp;&nbsp; &quot;Atención a la Atención.&quot; Indexado en DIALNET:<br>
&nbsp;&nbsp;&nbsp; <a
href="http://dialnet.unirioja.es/servlet/articulo?codigo=4082026">http://dialnet.unirioja.es/servlet/articulo?codigo=4082026</a><br>
&nbsp;&nbsp;&nbsp; 2013</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Díaz Bild, Aída. Review of Narratology: An Introduction. </span><span
style='color:black'>Ed. Susana Onega and José Angel García Landa. </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Atlantis 19.2 (December
1997, pub. December 1998): 283-84.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.atlantisjournal.org/Papers/v19%20n2/v19%20n2-27.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.atlantisjournal.org/Papers/v19%20n2/v19%20n2-27.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> &nbsp;&nbsp;&nbsp; <br>
&nbsp;&nbsp;&nbsp; 2011</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Díaz López, Lucas. (U Complutense de Madrid) Diaporía: Blog de
anotaciones de filosofía. <br>
&nbsp;&nbsp;&nbsp; <a href="http://diaporia.wordpress.com/">http://diaporia.wordpress.com/</a><br>
&nbsp;&nbsp;&nbsp; 2011<br>
_____.&quot;Las edades de Sócrates: Interpretación del Parménides de Platón a
la luz de su estructura narrativa.&quot; Eikasia (Nov. 2012): 57-71.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2279494/">https://www.academia.edu/2279494/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. Piedad y distancia: Un estudio sobre la Grecia clásica. Ph.D. diss.
2016. <br>
&nbsp;&nbsp;&nbsp; Online PDF at E-Prints Complutense<br>
&nbsp;&nbsp;&nbsp; <a href="http://eprints.ucm.es/38308/">http://eprints.ucm.es/38308/</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="http://eprints.ucm.es/38308/1/T37465.pdf">http://eprints.ucm.es/38308/1/T37465.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; Online PDF at Diaporía:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://diaporia.wordpress.com/2016/07/05/tesis-doctoral-pdf-piedad-y-distancia-un-estudio-sobre-la-grecia-clasica/">https://diaporia.wordpress.com/2016/07/05/tesis-doctoral-pdf-piedad-y-distancia-un-estudio-sobre-la-grecia-clasica/</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
_____.&quot;La 'desaparición' del autor.&quot; Diaporía 12 April 2018.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://diaporia.wordpress.com/2018/04/12/la-desaparicion-del-autor/">https://diaporia.wordpress.com/2018/04/12/la-desaparicion-del-autor/</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
_____. &quot;El diálogo platónico entre la literatura y la filosofía.&quot;
Intus-Legere: Revista de Filosofía 7.2 (2013): 91-104.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://intuslegerefilosofia.uai.cl/index.php/intusfilosofia/article/viewFile/210/200"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://intuslegerefilosofia.uai.cl/index.php/intusfilosofia/article/viewFile/210/200</span></a></span></i><i><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; (Journal retitled Síntesis, 2018):<br>
&nbsp;&nbsp;&nbsp; </span></i><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'><a
href="http://intuslegerefilosofia.uai.cl/index.php/intusfilosofia/issue/view/7"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://intuslegerefilosofia.uai.cl/index.php/intusfilosofia/issue/view/7</span></a></span></i><i><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
_____. </span></i><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>&quot;El diálogo platónico entre literatura y filosofía.&quot;
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/5990681/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/5990681/</span></a></span></i><i><span
lang=EN-US style='mso-fareast-font-family:"Times New Roman";color:black;
mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
Díaz Noci, Javier. &quot;Narratology of (Online) News.&quot; In Diversity of
Journalism(s) (cicom+ecrea): Proceedings of the ECREA Journalism Studies
Section and 26th International Conference of Communication at University of
Navara, Pamplona, 4-5 July 2011. </span></i><i><span style='mso-fareast-font-family:
"Times New Roman";color:black'>Ed. Ramón Salaverría. Pamplona: Servicio de
Publicaciones de la Universida&nbsp; de Navarra, 2011. 109-27.* Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/1329606/">https://www.academia.edu/1329606/</a>
<br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____.&quot;Narratología de las cibernoticias.&quot; <br>
<a
href="http://www.upf.edu/depeca/GRP/cibermedios/diaz-noci-narratologia-de-las-cibernoticias.pdf">http://www.upf.edu/depeca/GRP/cibermedios/diaz-noci-narratologia-de-las-cibernoticias.pdf</a><br>
2013</span></i><span style='mso-fareast-font-family:"Times New Roman";
color:black'> <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>_____.&nbsp; &quot;Narratology of Online News.&quot; In Shaping the News
Online: A Comparative Research on International Quality Media. </span><span
style='color:black'>Ed. Ainara Larrondo et al. Covilhâ: UBI / LabCom, 2014.
171-92.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/9704647/">
https://www.academia.edu/9704647/</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>&quot;Dictys Cretensis.&quot; </span></i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>(University of Jakarta).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://ramayana.unija.ac.id/id1/2757-2649/Diktis-Kretensis_240979_ramayana-unija.html">http://ramayana.unija.ac.id/id1/2757-2649/Diktis-Kretensis_240979_ramayana-unija.html</a><br>
&nbsp;&nbsp;&nbsp; 2016<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>&quot;Dictys Cretensis.&quot; Hellenica World</span></i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
</span><span style='color:black'><a
href="http://www.hellenicaworld.com/Greece/Mythology/en/DictysCretensis.html"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.hellenicaworld.com/Greece/Mythology/en/DictysCretensis.html</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2013<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>&quot;Diégesis.&quot; <i>Educalingo.*
</i><br>
&nbsp;&nbsp;&nbsp; <a href="https://educalingo.com/es/dic-es/diegesis">https://educalingo.com/es/dic-es/diegesis</a><br>
&nbsp;&nbsp;&nbsp; 2018<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>Digital Directory.*<br>
<a
href="http://www.addindirectory.com/sites/34350/Reference/Bibliography/Literature/A_Bibliography_of_Literary_Theory__Criticism__and_Philology">http://www.addindirectory.com/sites/34350/Reference/Bibliography/Literature/A_Bibliography_of_Literary_Theory__Criticism__and_Philology</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Digital
Preservation Europe (A Bibliography of Literary Theory, Criticism and
Philology)<br>
</span><span style='color:black'><a
href="https://digitalpreservationeurope.eu/registries/repositories/view/?id=1439"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://digitalpreservationeurope.eu/registries/repositories/view/?id=1439</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Dilber,
Kadir Can, and Nilay Caglayan. &quot;Ahmet Mithat Efendinin 'Kari Koca
Masali''nda Anlati Araclarinin Tespiti ve incelemesi.&quot;
(&quot;Determination and Study of Narration Tools in 'Husband and Wife Tale' of
Ahmet Mithat Efendi&quot;). <i>Turkish Studies</i> 5.1 (Winter 2010).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.turkishstudies.net/Makaleler/1911038451_42dilberkadir_can.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.turkishstudies.net/Makaleler/1911038451_42dilberkadir_can.pdf</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://turkishstudies.net/DergiTamDetay.aspx?ID=1236"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://turkishstudies.net/DergiTamDetay.aspx?ID=1236</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>&nbsp; &nbsp; <br>
2015<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Dilber,
Kadir Can, and Nilay Çaglayan. &quot;Ahmet Mithat Efendi&quot;nin &quot;Kari
Kocamasali&quot;nda anlati araçlarinin tespitive incelemesi.&quot; Turkish
Studies 5.1 (Winter 2010): 930-53. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/963832/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/963832/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Dimache,
Alexandru, Amare Wondirad and Elizabeth Agyeiwaah (School of Hotel and Tourism
Management, Polytechnic U, Hong Kong). &quot;One Museum, Two Stories: Place
Identity at the Hong Kong Museum of History.&quot; Tourism Management 63
(2017): 287-301.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://dx.doi.org/10.1016/j.tourman.2017.06.020"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://dx.doi.org/10.1016/j.tourman.2017.06.020</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
_____. &quot;One Museum, Two Stories: Place Identity at the Hong Kong Museum of
History.&quot; Online at Academia.* <br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/38034665/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/38034665/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
<i>Dittmar, Linda. Review of Gender, I-deology: Essays on Theory, Fiction and
Film. Ed. Chantal Cornut-Gentille D'Arcy and Jos_ Angel Garc_a Landa. </i></span><i><span
style='color:black'>Miscel_nea 18 (1997): 362-66.* <a
href="http://www.miscelaneajournal.net/images/stories/articulos/vol18/Reviews18.pdf">http://www.miscelaneajournal.net/images/stories/articulos/vol18/Reviews18.pdf</a><br>
2009<br>
<br>
Dobinguer-Álvarez Quioto, Josefina. &quot;Fuera y dentro de la piel: Memorias
de un álbum de familia en Honduras y el culto a los ancestros del pueblo
Garínagu.&quot; In Mundos de creación de los pueblos indígenas de América
Latina. Ed. Ana Cielo Quiñones Aguilar. (Acer-vos, 10). Bogotá: U Pablo de
Olavide / Pontificia U Javieriana, 2020. <br>
&nbsp;&nbsp;&nbsp; <a href="http://doi.org/19.11144/Javeriana.9789587815511"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://doi.org/19.11144/Javeriana.9789587815511</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/45131164/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/45131164/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>DocPlayer.
&quot;&quot;History of Foreign Literature of the discipline named according to
the curriculum for postgraduate training.&quot; (Degree in Journalism - in Russian).
Russian-Armenian University, 2011. Online a DocPlayer.*<br>
&nbsp;</span><span style='color:black'><a
href="https://docplayer.com/124165240-Istoriya-zarubezhnoy-literatury-naimenovanie-discipliny-po-uchebnomu-planu-podgotovki-aspiranta.html">https://docplayer.com/124165240-Istoriya-zarubezhnoy-literatury-naimenovanie-discipliny-po-uchebnomu-planu-podgotovki-aspiranta.html</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Dogan, Evinc (Tourism Faculty, Akdeniz U, Turkey) and M. Hamdi Kan
(Architecture &amp; Urban Planning Dpt., Serik Gülsün-Süleyman Süral Vocational
School, Akdeniz U, Turkey). &quot;Bringing Heritage Sites to Life for Visitors:
Towards a Conceptual Framework for Immersive Experience.&quot; Advances in
Hospitality and Tourism Research (AHTR) 8.1 (2020): 76-99.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.30519/ahtr.630783 <br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/43316812/">https://www.academia.edu/43316812/ </a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Doncel Vázquez, Margarita.
Hacia una interpretación del cuento &quot;criollista&quot; en Cuba y Puerto
Rico. Ph.D. diss. U de Valladolid, 2007. Online at Scribd (Enrique Baker) 7
Nov. 2014.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://es.scribd.com/doc/245824734/">https://es.scribd.com/doc/245824734/</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Draus Klobucka, Ágata. &quot;Cómo
la red influye en la narración: Motivos meta-narrativos en las novelas amorosas
contemporáneas.&quot; Siglo XXI: Literatura y Cultura Españolas 16 (Sept.
2018): 69-86.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.24197/sxxi.0.2018.69-86<br>
&nbsp;&nbsp;&nbsp; Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/338794460"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/338794460</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Drescher, Frederik R. (Aalborg U; Frederikredx@gmail.com).
&quot;Narrative Games: A Ludo-Narratological Examination of Video Games.&quot;
Academia (2018).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/37134460"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/37134460</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Dreyer, Jaco S. &quot;The Narrative Turn in Practical Theology: A Discussion of
Julian M_ller's Narrative Approach.&quot; Verbum et Ecclesia 35.2 (2014). Doi:
10.4102/ve.v35i2.889<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://ve.org.za/index.php/VE/article/view/889"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://ve.org.za/index.php/VE/article/view/889</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Dreyer, M. Storytelling in der Werbung: Das Erzählen von Geschichten als
Marketinginstrument. Grin, 2018.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.grin.com/document/413424"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.grin.com/document/413424</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Duff, David, ed. Modern Genre Theory. (Longman Critical Readers). Harlow:
Pearson Education-Longman, 2000.*<br>
_____, ed. Modern Genre Theory. </span><span style='color:black'>(Longman
Critical Readers). London: Routledge, 2014.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=zXV_BAAAQBAJ">https://books.google.es/books?id=zXV_BAAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
Dukász, Ilona C. &quot;Cenizas, palabras susurrantes frente a las sombrías
orillas de la belleza de lo bello.&quot; </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>Enlace Judío 29 March 2014.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.enlacejudio.com/2014/03/29/cenizas-palabras-susurrantes-frente-las-sombrias-orillas-de-la-belleza-de-lo-bello/"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.enlacejudio.com/2014/03/29/cenizas-palabras-susurrantes-frente-las-sombrias-orillas-de-la-belleza-de-lo-bello/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
Eckhart, TammyJo.&nbsp; An Author-Centered Approach to the Understanding of
Amazons in the Ancient World. PhD diss. Indiana U, 2007. Online at Scribd<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://es.scribd.com/doc/135633121/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://es.scribd.com/doc/135633121/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
Edelheim, John. Tourist Attractions: From Object to Narrative. (Tourism and
Cultural Change, 46). Bristol, Buffalo, Toronto: Channel View Publications,
2015.* Online preview at Google Books:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://books.google.es/books?hl=en&amp;lr=&amp;id=OXyHCgAAQBAJ"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://books.google.es/books?hl=en&amp;lr=&amp;id=OXyHCgAAQBAJ
</span></a></span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
&quot;Editorialidad 1.&quot; Masa Sicotronica, 2011. Online at Scribd.*<br>
</span><span style='color:black'><a
href="http://es.scribd.com/doc/54476165/Editorialidad-1"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://es.scribd.com/doc/54476165/Editorialidad-1</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2013<br>
<br>
&quot;Efímero.&quot; </span><span style='color:black'>(Lucas Díaz López).
&quot;Libro (html): J. A. García Landa, Acción, relato, discurso. Estructura de
la ficción narrativa.&quot; Efímero 15 Feb. 2011.*<br>
<a
href="http://efimeroescombrera.wordpress.com/2011/02/15/libro-html-j-a-garcia-landa-accion-relato-discurso-estructura-de-la-ficcion-narrativa/">http://efimeroescombrera.wordpress.com/2011/02/15/libro-html-j-a-garcia-landa-accion-relato-discurso-estructura-de-la-ficcion-narrativa/</a><br>
2011</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Eighteenth-Century Poetry Archive.*<br>
</span><span style='color:black'><a
href="https://www.eighteenthcenturypoetry.org/resources/"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.eighteenthcenturypoetry.org/resources/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2021</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>El Ammari Alonso, Sel Lam.
&quot;La potencia(lidad) narrativa del gag en los relatos bíblicos.&quot;
Miscelánea de Estudios Árabes y Hebraicos. Sección Hebreo 70 (2021): 9-29.*<br>
<a href="https://doi.org/10.30827/meahhebreo.v70.22572">https://doi.org/10.30827/meahhebreo.v70.22572</a>
<br>
Online at ResearchGate:<br>
<a
href="https://www.researchgate.net/publication/357445020_La_potenciallidad_narrativa_del_gag_en_los_relatos_biblicos">https://www.researchgate.net/publication/357445020_La_potenciallidad_narrativa_del_gag_en_los_relatos_biblicos</a><br>
2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Elias, Herlander, and Flávio Almeida (herlanderelias248@gmail.com –
email.flavioalmeida@gmail.com ; both LabCom IFP). </span><span
style='color:black'>&quot;Narrative-Verse: On Transmedia, Narrative, and
Digital-Media Audiences.&quot; Estudos em Comunicaçâo 27.2 (Dec. 2018): 3-16. </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>(Alien films and
fictional worlds). Online at IFP Labcom.*<br>
DOI: 10.20287/ec.n27.v2.a01 <br>
</span><span style='color:black'><a
href="http://ojs.labcom-ifp.ubi.pt/index.php/ec/article/download/231/pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://ojs.labcom-ifp.ubi.pt/index.php/ec/article/download/231/pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2020</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Elleström, Lars. &quot;Adaptation and Intermediality.&quot; From The
Oxford Handbook of Adaptation Studies. Oxford: Oxford UP. Online at Academia.
2017.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/31802295/Adaptation_and_Intermediality"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/31802295/Adaptation_and_Intermediality</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Engdal, Tuva Maria. Alice i Norge: En analyse av tre norske adaptasjoner
av Alice's Adventures in Wonderland. MA diss. Universiteit i Oslo, 2016. Online
at UiO Duo Viternarkiv.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.duo.uio.no/handle/10852/52703"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.duo.uio.no/handle/10852/52703</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>&quot;English Literature.&quot; From Wikipedia. Scribd (Rocio Licea) 28
June 2017.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://es.scribd.com/document/352449663/EnglishLiterature-pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://es.scribd.com/document/352449663/EnglishLiterature-pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017<br>
_____.&quot;English Literature – Selected English Writers.&quot; From
Wikipedia. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/8062727/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/8062727/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Epochi-Olise, Ruth Etuwe (Ph.D.; Dpt. of Theatre Arts, College of Education,
Agbor, Delta State, Nigeria; epochiruth@yahoo.com ). &quot;Cultural Terrorism
in Binebai's Karena's Cross: A Postcolonial Overview.&quot; Nigerian Theatre
Journal: A Journal of the Society of Nigeria Theatre Artists (SONTA) 19.1
(2019); ed. Barclays Foubiri Ayakoroma. 91-111. Online at Academia.*<br>
</span><span style='color:black'><a href="https://www.academia.edu/81543189/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/81543189/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Eriksen, Sebastian Alberdi, Tilde Højgård Jensen, Thomas Anthony
Pedersen and Vladislav Zenkevich. &quot;Hindsight/Foresight Feedback-Loop: An
Exploration of Hindsight and Foresight, Using Psycho-Physiological Measurements
in an Interactive Narrative.&quot; MA diss. Aalborg U, Copenhagen, 2020. Online
at Det Digitale Projektbibliotek, Aalborg U.* (Reading narrative, Gaze).<br>
</span><span style='color:black'><a
href="https://projekter.aau.dk/projekter/files/352376766/MED10MasterthesisGroup101.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://projekter.aau.dk/projekter/files/352376766/MED10MasterthesisGroup101.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Erol Isik, Nuran. &quot;Evaluating Narrativization Practices in Turkish
TV Serials as a Venue of Popular Historiography.&quot; Türkiye İletişim
Araştırmaları Dergisi 34 (2019): 183-95. (Resurrection, You Are My Homeland,
Yunus Emre).<br>
&nbsp;&nbsp;&nbsp; DOI 10.17829/turcom.518871<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/42688954/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/42688954/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<br>
Online at DergiPark.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://dergipark.org.tr/en/download/article-file/909205">https://dergipark.org.tr/en/download/article-file/909205</a><br>
&nbsp;&nbsp;&nbsp; 2021 </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Escudero Escorza, Tomás.
(tescuder@posta.unizar.es) &quot;Desde los tests hasta la investigación
evaluativa actual. Un siglo, el XX, de intenso desarrollo de la evaluación en
educación.&quot; Revista electrónica de Investigación y Evaluación Educativa (RELIEVE)
9.1 (2003).<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.uv.es/RELIEVE/v9n1/RELIEVEv9n1_1">http://www.uv.es/RELIEVE/v9n1/RELIEVEv9n1_1</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Evink, Eddo. Horizon - Spel -
Verhaal: Contouren van een hedendaagse metafysica. Amsterdam: Open
Universiteit, 2018.<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/38961473/">https://www.academia.edu/38961473/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
&quot;El Innombrable.&quot; Wikipedia: La enciclopedia libre.*<b><br>
</b><a href="http://es.wikipedia.org/wiki/El_Innombrable">http://es.wikipedia.org/wiki/El_Innombrable</a><b><br>
</b>2013<br>
<br>
Faini, Paola. Website at U Roma Tre</span></i><span style='color:black'><br>
&nbsp;&nbsp;&nbsp; <a href="http://host.uniroma3.it/docenti/faini/testi.htm">http://host.uniroma3.it/docenti/faini/testi.htm</a><br>
&nbsp;&nbsp;&nbsp; 2014<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>Faisal, Abdul Rehman. (عبدالرحمن فیصل).
&quot; پلاٹ: ارسطوئی تصور اور روسی ہئیت پسندوں کا تصور&quot;.&nbsp; </span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>(&quot;Plot: The
Aristotelian concept and the Concept of Russian Formalists&quot;). Me'yar </span><span
style='color:black'>معیار</span><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>&nbsp; 14.2 (2022). Online at International Islamic University,
Islamabad.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://irigs.iiu.edu.pk:64447/ojs/index.php/meyar/article/view/2591"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://irigs.iiu.edu.pk:64447/ojs/index.php/meyar/article/view/2591</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Farhadipour,
Alin. &quot;A Review of Reception Theories: Since Aristotle until the Twentieth
Century's Reception Theorists.&quot; Ms. Carleton U, 2016. Onlin at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/29427059/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/29427059/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Fay,
Richard. (U of Manchester). &quot;Stories of Emergent Cultures of Distance
Learning and Collaboration…&quot; U of Manchester, 2004. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/1309972/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/1309972/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Faye, Adam. </span><span style='color:black'>Posmodernidad discreta: Un
acercamiento a la narrativa de Darío Jaramillo Agudelo (LA MUERTE DE ALEC,
CARTAS CRUZADAS y&nbsp; LA VOZ INTERIOR). PhD. Diss. U de Salamanca, Departamento
de Literatura Española e Hispanoamericana, 2013.* <br>
</span><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Online at <i>Gredos
(Universidad de Salamanca).*</i><br>
</span><span style='color:black'><a
href="https://gredos.usal.es/bitstream/handle/10366/122958/DLEH_Adam_Faye_Posmodernidad_discreta.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://gredos.usal.es/bitstream/handle/10366/122958/DLEH_Adam_Faye_Posmodernidad_discreta.pdf</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
Online at S<i>cribd.*</i><br>
</span><span style='color:black'><a href="https://es.scribd.com/doc/244778258/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://es.scribd.com/doc/244778258/</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2021<br>
<br>
<i>Ferguson, Adam. (U of Leeds). &quot;Engaging with musical texts:
narratology, semiotics and post–structuralism as compositional resources.&quot;
Paper presented at the RMA Student Conference, Department of Music, University
of York, Jan. 2010. Online as &quot;Engaging with musical texts:
Narrato-semiosis in composers and listeners.&quot; </i></span><i><span
style='color:black'>Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/224282/">https://www.academia.edu/224282/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Fernandes Ventura, Maria
Teresa. Doença crónica: Intervençâo do médico de família para limitar as suas
repercussôes na pessoa e na família. Ph.D. diss. Universidade Nova de Lisboa,
2016. Online at Semantic Scholar.*<br>
&nbsp;<a
href="https://www.semanticscholar.org/paper/Doen%C3%A7a-cr%C3%B3nica%3A-interven%C3%A7%C3%A3o-do-m%C3%A9dico-de-fam%C3%ADlia-as-Ventura/83043a13c1c14e8adcde649ddce4834c8062cfe9">https://www.semanticscholar.org/paper/Doen%C3%A7a-cr%C3%B3nica%3A-interven%C3%A7%C3%A3o-do-m%C3%A9dico-de-fam%C3%ADlia-as-Ventura/83043a13c1c14e8adcde649ddce4834c8062cfe9<br>
&nbsp;&nbsp;&nbsp; 2020</a></span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Fernández, José Francisco. &quot;Irish Studies in Spain – 2007.&quot; </span><span
style='color:black'>Estudios Irlandeses 3 (2008): 166-85.*<br>
&nbsp;&nbsp;&nbsp;<a
href="https://www.estudiosirlandeses.org/wp-content/uploads/2013/06/IStudiesinSpain3.pdf">
https://www.estudiosirlandeses.org/wp-content/uploads/2013/06/IStudiesinSpain3.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Fernández, Rafael. Rev. of
Estudios sobre el texto: Nuevos enfoques y propuestas. Ed. Mª Azucena Penas
Ibáñez and Rosario González.&nbsp; Crítica Bibliográphica. Electronic journal.
Academia Editorial del Hispanismo (Dec. 2010).<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.academiaeditorial.com/web/wp-content/uploads/2011/05/CB-Penas-Fernandez.pdf">http://www.academiaeditorial.com/web/wp-content/uploads/2011/05/CB-Penas-Fernandez.pdf</a>
</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Fernández Cárdenas, Juan
Manuel, José Antonio Yáñez Figueroa (both Instituto Tecnológico y de Estudios
Superiors de Monterrey), Edgar Kyamill Muñoz Villareal (Primaria Dora Garza
Garza). &quot;Prácticas morales y normas de netiqueta en las interacciones
virtuales de los estudiantes de educación secundaria.&quot; Innovación
Educativa 3rd ser. 15.69 (Sept.-Dec. 2015): 57-72.* (Special issue on Diálogo y
significado: La filosofía en la educación del siglo XXI).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/31668400/">https://www.academia.edu/31668400/</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Fernández Martín, Patricia. Rev.
of La Traducción: Nuevos planteamientos teórico-metodológicos, ed. Azucena
Penas Ibáñez. Revista de Filoloxía Asturiana 16 (2016): 203-07.<br>
&nbsp;&nbsp;&nbsp; DOI: <a href="https://doi.org/10.17811/rfa.16.2016">https://doi.org/10.17811/rfa.16.2016</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
&nbsp;&nbsp;&nbsp; Online at Academia (Cristina Bleortu) (2016).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/6771248/">https://www.academia.edu/6771248/</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Fernández Navarro, Luis. Rev.
of Corporalidad, temporalidad, afectividad: Perspectivas
filosófico-antropológicas. Ed. Luisa Paz Rodríguez Suárez and José Angel García
Landa. Naturaleza y Libertad: Revista de Filosofía 11 (2019): 133-42.*<br>
&nbsp;&nbsp;&nbsp; DOI: <a
href="http://dx.doi.org/10.24310/NATyLIB.2019.v1i11.5583">http://dx.doi.org/10.24310/NATyLIB.2019.v1i11.5583</a><br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.revistas.uma.es/index.php/naturaleza-y-libertad/article/view/5583">http://www.revistas.uma.es/index.php/naturaleza-y-libertad/article/view/5583</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; Online at Dialnet.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://dialnet.unirioja.es/servlet/articulo?codigo=6839214">https://dialnet.unirioja.es/servlet/articulo?codigo=6839214</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Fernández Pampillón, Ana Mª,
María Goicoechea de Jorge, Luis Hernández Yáñez, and Dámaso López García.
Filología y tecnología: Introducción a la escritura, la informática, la
información. Madrid: Editorial Complutense, 2010.<br>
&nbsp; <a href="http://books.google.es/books?id=DANcr_LCx9wC&amp;pg=PA186">http://books.google.es/books?id=DANcr_LCx9wC&amp;pg=PA186</a></span></i><span
style='color:black'><br>
<i>2013<br>
<b><br>
</b>Ferrieri, Luca. </i></span><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>&quot;Introduction to the Ethics and Ecology of
Reading.&quot; Trans. Ilaria Cairoli and Maria de Pasquale. Information for
Social Change 30 (Summer 2010): 17-40. – Special issue on Information Ethics,
ed. Mikael Böök.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://d1wqtxts1xzle7.cloudfront.net/91895473/issue30-libre.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://d1wqtxts1xzle7.cloudfront.net/91895473/issue30-libre.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022<br>
_____. &quot;Introduction to the Ethics and Ecology of Reading.&quot;
Information for Social Change 30 (Summer 2010): 17-40. (Special issue on
Information Ethics, ed. Mikael Böök). Online at ResearchGate (Paul Catherall).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.researchgate.net/publication/340446990"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/340446990</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Feu Guijarro, María José. &quot;A Functional Lexematic Analysis of a
Horror Short Story.&quot; </span><span style='color:black'>Cuadernos de
Investigación Filológica 23-24 (1997-98): 99-114.* (Lovecraft,
&quot;Polaris&quot;).<br>
&nbsp;&nbsp;&nbsp; <a
href="http://dialnet.unirioja.es/servlet/articulo?codigo=263899">http://dialnet.unirioja.es/servlet/articulo?codigo=263899</a><br>
&nbsp;&nbsp;&nbsp; 2015<b><br>
<br>
</b>Flores Hilerio, Dalina. Del discurso oral al literario: Análisis
interdisciplinario de de narraciones en un continuum producido en Nuevo León.
Ph.D. diss. U Autónoma de Nuevo León, 2011. <br>
</span></i><i><span style='font-size:7.5pt;color:black'><a
href="http://eprints.uanl.mx/2520/1/Del_discurso_oral_al_literario_analisis_interdisciplinario_de_narraciones__Dalina_Flores_Hilerio.pdf"><span
style='font-size:10.0pt'>http://eprints.uanl.mx/2520/1/Del_discurso_oral_al_literario_analisis_interdisciplinario_de_narraciones__Dalina_Flores_Hilerio.pdf</span></a></span></i><span
style='color:black'><br>
<i>2013<br>
<b><br>
</b>Flórez Naranjo, Yanoad. &quot;La odisea del lector que viaja entre
conjeturas: Lectura interpretativa de la novela El síndrome de Ulises de
Santiago Gamboa.&quot; Diss. U Tecnológica de Pereira, 2019. Online at
ResearchGate.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.researchgate.net/publication/344462111">
https://www.researchgate.net/publication/344462111</a><br>
&nbsp;&nbsp;&nbsp; 2020</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Fludernik, Monika. &quot;A Narratology of the Law? Narratives in Legal
Discourse.&quot; Critical Analysis of Law 1.1 (2014): 87-109.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/10767146/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/10767146/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Forum of Semiotics (China)<br>
</span><span style='color:black'><a
href="http://www.semiotics.net.cn/xsxts_show.asp?id=737"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://www.semiotics.net.cn/xsxts_show.asp?id=737</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2015<br>
<br>
Fobe, Jean-Luc. </span><span style='color:black'>(jeanfobe@yahoo.com). &quot;A
incorporaçâo da metodologia hermenêutica na exegese bíblica
contemporânea.&quot; </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>Diálogos 21 (March-Abril 2019): 121-47. Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.researchgate.net/publication/333649055"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/333649055</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Foster, Asamoah Emmanuel. (Kwame Nkrumah U of Science and Technology,
Kumasi, Ghana). &quot;Resurrecting the Gospels in a Natural Environment: An
Evaluation of Some Translation Models.&quot; International Journal of
Humanities and Social Studies 8.11 (Nov. 2020): 8-15.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.24940/theijhss/2020/v8/i11/HS2011-031 <br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/44608856/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/44608856/ </span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Fox, Brandi. &quot;Intercultural Subjectivities of the Everyday: A Study
of Australian School Kids.&quot; Ph.D. diss. Deakin U, 2017. Online at
Academia.*<br>
</span><span style='color:black'><a href="https://www.academia.edu/80666126"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/80666126</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Fox, Kamal. &quot;Mixed Feelings: Notes on the Romance of the Mixed
Tape.&quot; Rhizomes 5 (Fall 2002).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.rhizomes.net/issue5/fox.html"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://www.rhizomes.net/issue5/fox.html</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Foxen, Matthew Brent. &quot;Faulkner's Feeble Few: The Mentally Impaired
Citizens of Yoknapatawpha.&quot; M.A. diss U of Texas at El Paso, 2014. Online
at Digital Commons (UTEP): Open Access Theses &amp; Dissertations. 1620.*<br>
</span><span style='color:black'><a
href="https://digitalcommons.utep.edu/open_etd/1620"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://digitalcommons.utep.edu/open_etd/1620</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
2021</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Francis, Heather. &quot;Aristotle's Poetics and Aesthetic Design.&quot;
TechTrends 65 (2021): 686-88.*<br>
</span><span style='color:black'><a
href="https://link.springer.com/article/10.1007/s11528-021-00643-3"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://link.springer.com/article/10.1007/s11528-021-00643-3</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Fraga, Eugenia. &quot;Cuerpos
naturales, cuerpos sociales: La socialización corporal según Erving
Goffman.&quot; Cartografías del Sur 2.4 (Oct. 2016): 60-74. (Hacia una teoría
social del cuerpo, ed. </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>Eduardo Galak).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://cartografiasdelsur.undav.edu.ar/index.php/CdS/article/download/51/48"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://cartografiasdelsur.undav.edu.ar/index.php/CdS/article/download/51/48</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/29798855/">https://www.academia.edu/29798855/</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/37261162/">https://www.academia.edu/37261162/</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/43740634/">https://www.academia.edu/43740634/</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44122305/">https://www.academia.edu/44122305/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Frank, Marcie. &quot;Frances Burney's Theatricality.&quot; ELH 82.2
(Summer 2015): 615-35.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.1353/elh.2015.0012<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://muse.jhu.edu/article/583638/summary"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://muse.jhu.edu/article/583638/summary</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Freeman, Margaret H. (Myrifield Institute for Cognition and the Arts).
&quot;Authorial Presence in Poetry: Some Cognitive Reappraisals.&quot; Poetics
Today 36.3 (Sept. 2015): 201-31.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'>DOI
10.1215/03335372-3160733<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/24445605/">
https://www.academia.edu/24445605/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Fregoso Sánchez, Sergio.
&quot;Ficción y ontología: Factores de metaforización en La Rueca del Aire de
José Martínez Sotomayor.&quot; MA diss. U de Guadalajara, 2015. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/41972701/">https://www.academia.edu/41972701/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>French Literature, Thought and History before 1300<br>
</span><span style='color:black'><a
href="http://people.ds.cam.ac.uk/amw56/links.html"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://people.ds.cam.ac.uk/amw56/links.html</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2014<br>
<b><br>
</b>Fuentes Stipicevik, Verushka. </span><span style='color:black'>(U Central
de Chile). &quot;Reflexión sobre el componente ideológico discursivo en la estructura
de los actos y hechos sociales.&quot; Investigación y desarrollo 23.1 (2015):
199-227.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://rcientificas.uninorte.edu.co/index.php/investigacion/article/viewArticle/6556">http://rcientificas.uninorte.edu.co/index.php/investigacion/article/viewArticle/6556</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Gale Directory of Databases. Gale Research, 2002.<br>
</span><span style='color:black'><a
href="https://books.google.es/books?id=Z8baAAAAMAAJ&amp;q=%22A+Bibliography+of+Literary+Theory">https://books.google.es/books?id=Z8baAAAAMAAJ&amp;q=%22A+Bibliography+of+Literary+Theory</a>
<br>
2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Galle, Helmut P. E., Juliana
P. Pérez and Valérja S. Pereira, eds. Ficcionalidade: Uma prática cultural e
seus contextos. Sâo Paulo: Faculdade de Filosofia, Letras e Ciências Humanas da
Universidade de Sâo Paulo, 2018. </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/38128699/_2018"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.academia.edu/38128699/_2018</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Gallego Hernández, Daniel. </span><span style='color:black'>Rev. of La
Traducción: Nuevos planteamientos teórico-metodológicos,&quot; ed. Azucena
Penas Ibáñez. Traduçao em Revista 20 (Rio de Janeiro, 2016). Online:*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.maxwell.vrac.puc-rio.br/26781/26781.PDFXXvmi">https://www.maxwell.vrac.puc-rio.br/26781/26781.PDFXXvmi</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Galván, Luis. (U de Navarra).
&quot;Literatura, conocimiento y vida.&quot; Paper presented to the seminar
&quot;Al sueño de la vida hablan despiertos: Cuestiones avanzadas de
literatura&quot; (U de Castilla-La Mancha, Toledo, 2012). Online at Academia
(2017).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.academia.edu/4982869/Literatura_conocimiento_y_vida">https://www.academia.edu/4982869/Literatura_conocimiento_y_vida</a><br>
&nbsp;&nbsp;&nbsp; 2017<b><br>
&nbsp;<br>
</b>Galván Reula, Fernando. Review of Samuel Beckett y la narración reflexiva.
By José Angel García Landa. Revista Canaria de Estudios Ingleses 27-27
(April-Nov. 1993 [issued 1996]): 239-40.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://publica.webs.ull.es/upload/REV%20RECEI/26-27%20-%201993/24%20%28Fernando%20Galv%C3%A1n%29.pdf">http://publica.webs.ull.es/upload/REV%20RECEI/26-27%20-%201993/24%20%28Fernando%20Galv%C3%A1n%29.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
_____. &quot;Respuesta a José Angel García Landa.&quot; Aedean mailing list
(Feb. 2006).<br>
&nbsp;&nbsp;&nbsp; <a
href="https://listas.uvigo.es/pipermail/aedean/2006-February/001309.html">https://listas.uvigo.es/pipermail/aedean/2006-February/001309.html</a><br>
&nbsp;&nbsp;&nbsp; 2008<br>
<br>
García Carrasco, Joaquín. &quot;La praxis reflexiva en los espacios virtuales
de formación.&quot; Encounters in Theory and History of Education 6 (2005).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://queens.scholarsportal.info/ojs/index.php/encounters/article/view/623">http://queens.scholarsportal.info/ojs/index.php/encounters/article/view/623</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
García Gómez, Francisco. Metodología crítica de análisis textual en la
realización fílmica. Ph.D. diss. U Complutense de Madrid, Facultad de Ciencias
de la Informaci_n, 2015. </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>Online at e-Prints Complutense.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://eprints.ucm.es/29486/1/T35957.pdf"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://eprints.ucm.es/29486/1/T35957.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
&quot;García Landa, José Ángel.&quot; In Who's Who in the World 2005.
22nd&nbsp; ed. New Providence (NJ): Marquis Who'sWho, 2005.*</span></i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>García Llamas, Mª Belén. </span><span style='color:black'>Detrás de la
realidad aparente: Personaje y entorno en la novela de Clara Sánchez. Ph.D.
diss. UNED, 2015. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/40513047/">https://www.academia.edu/40513047/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
García Lorenzo, María M. &quot;Estado de la cuestión sobre ciencia y
literatura.&quot; In Ciencia y Literatura. Ed. María M. García Lorenzo. Signa
23 (2014): 15-42.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistas.uned.es/index.php/signa/article/viewFile/11725/11172">http://revistas.uned.es/index.php/signa/article/viewFile/11725/11172</a>
<br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>García Megía, Antonio.
&quot;Cajón de sastre.&quot; Página web.<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.angarmegia.com/articulos_diversos.htm">http://www.angarmegia.com/articulos_diversos.htm</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>García Teske, Eduardo.
&quot;La cortesía en el habla de Internet.&quot; Paper presented to the&nbsp;
IV Congreso de la Cibersociedad. Online rev. at Protocolo y Comunicaci_n 20
Nov. 2009.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://protocoloycomunicacion.blogspot.com.es/2009/11/comunicacion-la-cortesia-en-el-habla-de.html">http://protocoloycomunicacion.blogspot.com.es/2009/11/comunicacion-la-cortesia-en-el-habla-de.html</a><br>
&nbsp;&nbsp;&nbsp; 2013<br>
<br>
García Ureña, Lourdes. </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>&quot;The Book of Revelation: A Written Text towards
the Oral Performance.&quot; In Between Orality and Literacy: Communication and
Adaptation in Antiquity. Ed. Ruth Scodel. (Orality and Literacy in the Ancient
World, 10). Leiden: Brill, 2014. 309-30.* Online at Google Books<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://books.google.es/books?id=n0z3AwAAQBAJ"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://books.google.es/books?id=n0z3AwAAQBAJ</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2014<br>
Online at Academia: &nbsp;&nbsp; <br>
</span><span style='color:black'><a href="https://www.academia.edu/20085659/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/20085659/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
García-Jalón de la Lama, Santiago. </span><span style='color:black'>(Facultad
de Filología Bíblica Trilingüe, Universidad Pontificia, Salamanca, Chair of
Hebrew Philology). </span></i><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>&quot;Literatura e historia.&quot; Salmanticensis 52
(2005): 421-47.&nbsp; Online at the Internet Archive.* (Mimesis).<br>
</span><span style='color:black'><a
href="https://web.archive.org/web/20200322084305/https:/summa.upsa.es/high.raw?id=0000029748&amp;name=00000001.original.pdf">https://web.archive.org/web/20200322084305/https://summa.upsa.es/high.raw?id=0000029748&amp;name=00000001.original.pdf</a><br>
2022<br>
_____. &quot;La Sagrada Escritura, libro de la Iglesia.&quot; Scripta
Theologica 40 (2008/2): 471-89. Online at Core.*<br>
<a href="https://core.ac.uk/download/132451773.pdf">https://core.ac.uk/download/132451773.pdf</a><br>
2022<br>
_____. &quot;Reiteraciones: Ritmo y diseminación en Génesis 1, 1-2, 4ª.&quot; </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Scripta Theologica 32
(2000-2003): 719-55.*<br>
&nbsp;&nbsp;&nbsp; Online at Dadun.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://dadun.unav.edu/bitstream/10171/45144/1/14902-43723-1-PB.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://dadun.unav.edu/bitstream/10171/45144/1/14902-43723-1-PB.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2022<br>
_____. </span><span style='color:black'>&quot;La transmisión de los textos como
criterio para su interpretación.&quot; </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>Scripta Theologica 48 (2016):
9-40.*<br>
DOI: http://dx.doi.org/10.15581/006.48.1.9-40<br>
</span><span style='color:black'><a
href="https://revistas.unav.edu/index.php/scripta-theologica/article/view/3924"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://revistas.unav.edu/index.php/scripta-theologica/article/view/3924</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>&nbsp;&nbsp;&nbsp; </span><span
style='color:black'><a
href="http://www.unav.edu/publicaciones/revistas/index.php/scripta-theologica/article/view/3924"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.unav.edu/publicaciones/revistas/index.php/scripta-theologica/article/view/3924
</span></a></span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'><br>
</span><span style='color:black'><a
href="http://www.unav.edu/publicaciones/revistas/index.php/scripta-theologica/article/viewFile/3924/4234"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.unav.edu/publicaciones/revistas/index.php/scripta-theologica/article/viewFile/3924/4234</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2016</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>García-Periago, Rosa. &quot;Shakespeare, Austen and Propaganda in World
War II.&quot; From Jane Austen and William Shakespeare. Online at
ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.1007/978-3-030-25689-0_1<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.researchgate.net/publication/337064664_Shakespeare_Austen_and_Propaganda_in_World_War_II/references"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/337064664_Shakespeare_Austen_and_Propaganda_in_World_War_II/references</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Gautreau de Windt, Eduardo. </span><span style='color:black'>&quot;Una
aproximación conceptual a las formas narrativas.&quot; Scribd (Eduardo Gautreau
de Windt) 22 Aug. 2013.</span></i><span style='color:black'><br>
<i><a
href="http://es.scribd.com/doc/162332417/Una-aproximacion-conceptual-a-las-formas-narrativas-EGW"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://es.scribd.com/doc/162332417/Una-aproximacion-conceptual-a-las-formas-narrativas-EGW</span></a></i></span><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2013<br>
<br>
Gavins, Joanna. &quot;The Year's Work in Stylistics 2004: Old Dogs, New
Tricks.&quot; Language and Literature 14.4 (Nov. 2005): 397-408.* (J. Pier, ed.
The Dynamics of Form: Studies in Anglo-American Narratology).<br>
<br>
Ge, Lianghyan. &quot;Feminization, Gender Dislocation, and Social Demotion in
Pinhua Baojian.&quot; Late Imperial China 29.1 (June 2008): 41-72. Online at
Project Muse.* (Chen Sen).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://muse.jhu.edu/login?auth=0&amp;type=summary&amp;url=/journals/late_imperial_china/v029/29.1.ge.html"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://muse.jhu.edu/login?auth=0&amp;type=summary&amp;url=/journals/late_imperial_china/v029/29.1.ge.html</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Gentes, Eva (Heinrich Heine U Düsseldorf, Dpt. of Romance Languages),
ed. &quot;Bibliography: Autotraduzione / Autotraducción /
Self-translation.&quot; Academia (2017).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/33742075"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/33742075</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Georg-August
Universität Göttingen: Arbeitsstelle für Theorie der Literatur.*<br>
</span><span style='color:black'><a
href="https://www.uni-goettingen.de/de/link-liste/584141.html"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.uni-goettingen.de/de/link-liste/584141.html</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>&quot;George H. Mead.&quot; </span><span style='color:black'>Wikipedia:
La enciclopedia libre</span></i><span style='color:black'><br>
<a href="http://es.wikipedia.org/wiki/George_H._Mead">http://es.wikipedia.org/wiki/George_H._Mead</a><br>
2014 <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Gentz,
Joachim. <i>Keywords Re-Oriented.</i> (InterKultur: European-Chinese
Intercultural Studies, 4). With Ella Chmiellewska, Hannah Sommerseth and Jack
Burton. Göttingen: Universitätsdrucke Göttingen, 2009.* (Culture, Orientalism,
Occidentalism, Postmodernism, Historiography, Literary Field, Discourse,
Intertextuality, Canon, Body, Gender, Text, Art, Representation, Reality).
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/41792098/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/41792098/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/9121000/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/9121000/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>&nbsp;&nbsp; <br>
&nbsp;&nbsp;&nbsp; 2020 <br>
Online at <i>Semantic Scholar:</i><br>
</span><span style='color:black'><a
href="https://pdfs.semanticscholar.org/8e68/71bce6836c81fca6a660ba5ee2c5c29a3e3d.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://pdfs.semanticscholar.org/8e68/71bce6836c81fca6a660ba5ee2c5c29a3e3d.pdf</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>Ghoraba, Mai. &quot;El lenguaje
poético de Museo de Cera por José María Álvarez: Un estudio estilístico basado
en corpus.&quot; Ph.D. diss. U Politécnica de Valencia, 2019. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/47578749/">https://www.academia.edu/47578749/</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>Gilis, Odysseas. (ΟΔΥΣΣΕΑΣ
ΓΚΙΛΗΣ)&nbsp; <i>ΕΤΣΙ ΧΑΘΗΚΑΝ(;)-ΚΑΤΑΣΤΡΑΦΗΚΑΝ(;), ΟΙ ΕΛΛΗΝΕΣ ΚΛΑΣΙΚΟΙ. </i></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Thessaloniki, 2005.
Online at Academia.*<br>
</span><span style='color:black'><a href="https://www.academia.edu/15668174"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/15668174</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
(Lost or destroyed classical works).<br>
_____. Linguistic / Glossologia / Glossology…. Thessaloniki, 2016. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/36780930/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/36780930/</span></a></span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
_____.&nbsp; </span><span style='color:black'>Χαμένα</span><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>, </span><span style='color:black'>κλασικά</span><span
style='color:black;mso-ansi-language:EN-US'> </span><span style='color:black'>έργα</span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>. Thessaloniki, 2012.
Online at Academia.*&nbsp;&nbsp;&nbsp; (Lost classical works).<br>
</span><span style='color:black'><a href="https://www.academia.edu/7359608/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/7359608/</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2020<br>
<br>
Gilmour, Nicola. &quot;Contemporary Spanish Fictional Representations of
Ethno-religious convivencia in Medieval Iberia: César Vidal’s Medievalizing
Novels.&quot; <i>Postmedieval </i>7 (2016): 257.*<br>
&nbsp;&nbsp;&nbsp; doi:10.1057/pmed.2016.11<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://link.springer.com/article/10.1057/pmed.2016.11"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://link.springer.com/article/10.1057/pmed.2016.11</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2017<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Godoy
Hilario, Paul. </span><span style='color:black'>Rev. of <i>La Traducción:
Nuevos planteamientos teórico-metodológicos,</i> ed. Azucena Penas Ibáñez. <i>Paremia</i>
25 (2016).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://cvc.cervantes.es/lengua/paremia/indice/numero25.htm">http://cvc.cervantes.es/lengua/paremia/indice/numero25.htm</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="http://cvc.cervantes.es/lengua/paremia/pdf/025/022_resenas.pdf">http://cvc.cervantes.es/lengua/paremia/pdf/025/022_resenas.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="http://cvc.cervantes.es/lengua/paremia/sobre_paremia/resenas.htm">http://cvc.cervantes.es/lengua/paremia/sobre_paremia/resenas.htm</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
Goicoetxea Pérez, Ander. &quot;El proceso de madurez del personaje fílmico. El
caso de Lucía en Silencio roto, de Montxo Armendáriz.&quot; FotoCinema 23
(2021): Cine español entre milenios (1990-2010): 121-36.*<br>
<a href="https://revistas.uma.es/index.php/fotocinema/article/view/10066">https://revistas.uma.es/index.php/fotocinema/article/view/10066</a><br>
DOI: 10.24310/Fotocinema.2021.v23i.10066<br>
2022<br>
ResearchGate.*<br>
<a href="https://www.researchgate.net/publication/353410812"><span lang=EN-US
style='mso-ansi-language:EN-US'>https://www.researchgate.net/publication/353410812</span></a></span><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>Golban,
Petru. &quot;Criticism as Manifesto&nbsp; versus Criticism as Science: A New
'Battle of the Books' in British Modernist Literature.&quot; </span><span
style='color:black'>Ankara _niversitesi Dil ve Tarih-Cografya Fak_ltesi Dergisi
53.2 (2013): 85-104.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://dergiler.ankara.edu.tr/dergiler/26/1839/19358.pdf">http://dergiler.ankara.edu.tr/dergiler/26/1839/19358.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
<i>Gold, Barbara K., ed. </i></span><i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'>A Companion to Roman Love Elegy. John Wiley &amp;
Sons, 2012.<br>
&nbsp;</span><span style='color:black'><a
href="http://books.google.es/books?id=vMvBMPB5Pd8C&amp;lpg=PA410&amp;ots=8R6xPovqd8&amp;lr&amp;pg=PP1#v=onepage&amp;q=Landa&amp;f=false"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://books.google.es/books?id=vMvBMPB5Pd8C&amp;lpg=PA410&amp;ots=8R6xPovqd8&amp;lr&amp;pg=PP1#v=onepage&amp;q=Landa&amp;f=false</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2013<br>
<br>
Gomel, Elana. (Tel Aviv U). &quot;Narrative Disease: Speculative Fiction,
Evolutionary Theory, and the Origin of Storytelling.&quot; Online at Academia.*
(Stephen Baxter’s Evolution [2003], China Mieville’s Embassytown [2012] and Ted
Chiang’s Story of Your Life [1998]).<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/42036831/">https://www.academia.edu/42036831/</a>
<br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Gómez Acosta, Marta, and Juan
Ignacio Oliva. </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Rev. of Beyond Borders: Re-defining Generic and Ontological Boundaries. </span><span
style='color:black'>Ed. Ramón Plo-Alastrué and María Jesús Martínez-Alfaro.
Revista de Filología de la Universidad de La Laguna 22 (2004): 342-44.*</span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Gómez Amich, María. &quot;Estudio
descriptivo de autopercepción de intérpretes en zonas de conflicto: Estudio de
caso en Afganistán.&quot; Ph.D. diss. U of Granada, 2017. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/37798882/">https://www.academia.edu/37798882/</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Gómez Díaz, Raquel, Araceli García Rodríguez and José A. Cordón García (U de
Salamanca), eds. Fuentes especializadas en Ciencias Sociales y Humanidades.
Ediciones Pirámide. (Sect. 8.4, databases).*<br>
&nbsp;&nbsp;&nbsp;&nbsp; <a
href="https://doku.pub/documents/gomez-diaz-raquel-fuentes-especializadas-en-ciencias-sociales-y-humanidadespdf-7l5r5g7wpkqk">https://doku.pub/documents/gomez-diaz-raquel-fuentes-especializadas-en-ciencias-sociales-y-humanidadespdf-7l5r5g7wpkqk</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Gómez Mesas, María. (U de
Almería; then Germany). &quot;Aproximación a las funciones metaficcionales de
autor y lector implícitos, narrador y narratario dentro de lo neofant_stico en
el cuento de Cortázar 'Ahí, pero dónde, cómo'.&quot; </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>Grin (2014):<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://www.grin.com/es/e-book/282646/aproximacion-a-las-funciones-metaficcionales-de-autor-y-lector-implicitos"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.grin.com/es/e-book/282646/aproximacion-a-las-funciones-metaficcionales-de-autor-y-lector-implicitos</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Gómez Trueba, Teresa. (U de
Valladolid). &quot;'Esa bestia omnívora que es el yo': el uso de la autoficción
en la obra narrativa de Javier Cercas.&quot; </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>Bulletin of Spanish Studies 86.1
(2009).* Online at Taylor and Francis 3 Feb. 2009.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://doi.org/10.1080/14753820802696782">https://doi.org/10.1080/14753820802696782</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.tandfonline.com/doi/abs/10.1080/14753820802696782?journalCode=cbhs20">https://www.tandfonline.com/doi/abs/10.1080/14753820802696782?journalCode=cbhs20</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
&nbsp;&nbsp;&nbsp; Online at Academia (Teresa Gómez Trueba).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/38133093/">https://www.academia.edu/38133093/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>Goncalves, Demetrius. &quot;Racism, Monstrosity, and Labeling: Crane's
'The Monster' and Shelley's Frankenstein.&quot; </span><span style='color:black'>Grin
(2017).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.grin.com/en/e-book/310160/racism-monstrosity-and-labeling-crane-s-the-monster-and-shelley-s-frankenstein">http://www.grin.com/en/e-book/310160/racism-monstrosity-and-labeling-crane-s-the-monster-and-shelley-s-frankenstein</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<b><br>
</b>González Fernández, Sara. (U de Cádiz). &quot;La representación de la
violencia en las series de televisión. Análisis de la ficción estadounidense y
española.&quot; Ph.D. diss. U de Sevilla, 2017. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/71377800/">https://www.academia.edu/71377800/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>González García, Javier. (U of
Guanajuato, Mexico, jr2000x@yahoo.es). </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>&quot;New Technologies of Time
Manipulation.&quot; Rupkatha Journal on Interdisciplinary Studies in Humanities
10.2 (2018).*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://dx.doi.org/10.21659/rupkatha.v10n2.01">https://dx.doi.org/10.21659/rupkatha.v10n2.01</a>
<br>
&nbsp;&nbsp;&nbsp;<a href="http://rupkatha.com/V10/n2/v10n201.pdf">
http://rupkatha.com/V10/n2/v10n201.pdf</a> <br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>González Jiménez, Amalia
Paloma. &quot;Periodismo de sucesos y documental reflexivo: Cobertura mediática
y puesta en pantalla del 'Caso Raval'.&quot; TFG U Carlos III de Madrid, 2013.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/5743871/">https://www.academia.edu/5743871/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>González Vázquez, Carmen. Rev.
of Estudios sobre el texto: Nuevos enfoques y propuestas. Ed. Mª Azucena Penas
Ibáñez and Rosario González. LinRed 7 (2010). <br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.linred.es/resenas_pdf/LR_resena38_29012010.pdf">http://www.linred.es/resenas_pdf/LR_resena38_29012010.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2011<br>
_____. Rev. of Estudios sobre el texto: Nuevos enfoques y propuestas. Ed. Mª
Azucena Penas Ibáñez and Rosario González. LinRed 7 (2010). Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/23937185/">https://www.academia.edu/23937185/</a><br>
&nbsp;&nbsp;&nbsp; 2018<b><br>
<br>
</b>González Fernández de Sevilla, José Manuel. </span></i><i><span lang=EN-US
style='color:black;mso-ansi-language:EN-US'>&quot;Nothing like the Sun:
Shakespeare in Spain Today.&quot; Multicultural Shakespeare: Translation,
Appropriation and Performance 9.24 (2012). <br>
DOI: 10.2478/v10224-011-0014-5 <br>
</span><span style='color:black'><a
href="http://193.145.233.67/dspace/handle/10045/33144"><span lang=EN-US
style='mso-ansi-language:EN-US'>http://193.145.233.67/dspace/handle/10045/33144</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'> <br>
2014<b><br>
<br>
</b>González, J. &nbsp;&quot;The Appended Subject: Race and Identity as Digital
Assemblage.&quot; In Race in Cyberspace. Ed. B. E. Kolko et al. </span><span
style='color:black'>New York and London: Routledge, 2000. 27–50.&nbsp;<b><br>
<br>
</b>González, Paloma. Rev. of Estudios sobre el texto: Nuevos enfoques y
propuestas. Ed. M_ Azucena Penas Ibáñez and Rosario González.&nbsp; Anuario de
Estudios Filol_gicos 33 (2010): 401-27.*<b><br>
<br>
</b></span></i><i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'>González,
José Manuel. &quot;Nothing Like the Sun: Shakespeare in Spain Today.&quot; In
Multicultural Shakespeare: Translation, Appropriation and Performance 9.24
(Dec. 2012): 34-52.*&nbsp;<b><br>
<br>
</b>González Reyes, Alba Hortencia. </span><span style='color:black'>(Instituto
de Investigaciones Histórico-Sociales, Universidad Veracruzana). &quot;La
creación de representaciones femeninas en el campo de la literatura mexicana de
finales del siglo XIX: La violencia simbólica en el discurso estético.&quot; </span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>2002. Online at
Academia.*<br>
</span><span style='color:black'><a href="https://www.academia.edu/62034376/"><span
lang=EN-US style='mso-ansi-language:EN-US'>https://www.academia.edu/62034376/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2022</span></i><span lang=EN-US style='color:black;mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>González, Sara. &quot;Scalar Narratives in Bilbao: A Cultural politics
of Scales Approach to the Study of Urban Policy.&quot; International Journal of
Urban and Regional Research 30.4 (2006): 836-857.<br>
</span><span style='color:black'><a
href="http://www.scholars-on-bilbao.info/fichas/Scalar%20Narratives%20in%20Bilbao_SaraGlez.pdf"><span
lang=EN-US style='mso-ansi-language:EN-US'>http://www.scholars-on-bilbao.info/fichas/Scalar%20Narratives%20in%20Bilbao_SaraGlez.pdf</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
2013<br>
_____. &quot;Scalar Narratives in Bilbao: A Cultural Politics of Scales Approach
to the Study of Urban Policy.&quot; International Journal of Urban and Regional
Research 30.4 (Wiley-Blackwell, 2006): 836-57.*<br>
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; DOI:10.1111/j.1468-2427.2006.00693.x <br>
&nbsp;&nbsp;&nbsp; Online at Academia:<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/37625101/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/37625101/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'><br>
&nbsp;&nbsp;&nbsp; 2018<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://www.academia.edu/25271061/"><span lang=EN-US style='mso-ansi-language:
EN-US'>https://www.academia.edu/25271061/</span></a></span></i><i><span
lang=EN-US style='color:black;mso-ansi-language:EN-US'>&nbsp; <br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span lang=EN-US style='color:black;
mso-ansi-language:EN-US'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>González García, Javier.
Imaginación y aprendizaje narrativo: El proceso de creación como laboratorio de
metáforas. (Argumentos, 376). México: Fontamara, n.d. (c. 2016).*<br>
<a
href="https://www.researchgate.net/publication/365186676_ImaginacionAprendizaje_Narrativo_laboratorio_metaforas">https://www.researchgate.net/publication/365186676_ImaginacionAprendizaje_Narrativo_laboratorio_metaforas</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
_____. </span></i><i><span lang=EN-US style='color:black;mso-ansi-language:
EN-US'>&quot;New Technologies of Time Manipulation.&quot; Rupkhata Journal on
Interdisciplinary Studies in Humanities 10.2 (2018): 1-16.*<br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://dx.doi.org/10.21659/rupkatha.v10n2.01">https://dx.doi.org/10.21659/rupkatha.v10n2.01</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="http://rupkatha.com/V10/n2/v10n201.pdf">http://rupkatha.com/V10/n2/v10n201.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>González Montes, Antonio Raúl.
&quot;El mundo de la literatura en Solo para fumadores (1987), de Julio Ramón
Ribeyro.&quot; Ph.D. diss. Lima (Perú): U Nacional Mayor de San Marcos, 2010.
Online at <br>
&nbsp;&nbsp;&nbsp; Core.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://core.ac.uk/download/323344806.pdf">https://core.ac.uk/download/323344806.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Grabe, Nina, Sabine Lang and
Klaus Meyer-Minnemann, eds. La narración paradójica: &quot;Normas
narrativas&quot; y el principio de la &quot;transgresión.&quot; Madrid:
Iberoamericana; Frankfurt a/M: Vervuert Verlag, 2006.* Online at de Gruyter.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.degruyter.com/document/doi/10.31819/9783964561626/html">https://www.degruyter.com/document/doi/10.31819/9783964561626/html</a><br>
&nbsp;&nbsp;&nbsp; 2022<b><br>
<br>
<br>
</b>Goodreads - Rev. of </span></i><span style='color:black'>Narratology<br>
<a href="http://www.goodreads.com/book/show/1658007.Narratology">http://www.goodreads.com/book/show/1658007.Narratology</a><br>
2014<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>Graff, Daniel (Loughborough U),
and Mark A. Clark (American U, Washington, D.C.). &quot;Communication Modes in
Collaboration: An Empirical Assessment of Metaphors, Visualization, and
Narratives&nbsp; in Multidisciplinary&nbsp; Design Student Research
Teams.&quot; International Journal of Technology and Design Education 19 (Jan.
2018): 197-215. Online at Springer.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.1007/s10798-017-9437-9">https://doi.org/10.1007/s10798-017-9437-9</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://link.springer.com/article/10.1007/s10798-017-9437-9">https://link.springer.com/article/10.1007/s10798-017-9437-9</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/322778693">https://www.researchgate.net/publication/322778693</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
<i>Granados Garnica, V_ctor Manuel. (Facultad de Estudios Superiores Acatl_n).
&quot;La frontera del narrador.&quot; Fronteras de Tinta&nbsp; 1 (May-Sept.
2012).<br>
&nbsp;&nbsp;&nbsp; <a
href="http://fronterasdetinta.acatlan.unam.mx/wp-content/uploads/2012/08/La_frontera_del_narrador.pdf">http://fronterasdetinta.acatlan.unam.mx/wp-content/uploads/2012/08/La_frontera_del_narrador.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2013<b><br>
</b>_____.&quot;La frontera del narrador.&quot; Fronteras de tinta 1 (May-Sept.
2012). Online at Scribd 16 May 2015.*<br>
&nbsp;&nbsp;&nbsp; https://es.scribd.com/doc/265508112/<br>
&nbsp;&nbsp;&nbsp; 2015</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Greenland, Bérengère. Mapping
the Formation and Projection of French and EU Strategic Narratives about Global
Energy Governance. Ph.D. diss. U of Canterbury, 2019. Online at Semantic
Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.semanticscholar.org/paper/Mapping-the-formation-and-projection-of-French-and-Greenland/8547766a8088d5712ebb6839e24151e8f74ebbcc">https://www.semanticscholar.org/paper/Mapping-the-formation-and-projection-of-French-and-Greenland/8547766a8088d5712ebb6839e24151e8f74ebbcc</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/8547/766a8088d5712ebb6839e24151e8f74ebbcc.pdf">https://pdfs.semanticscholar.org/8547/766a8088d5712ebb6839e24151e8f74ebbcc.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020<b><br>
&nbsp;<br>
</b>Guðmundsdóttir, Aðalheiður. (U of Iceland). &quot;The Narrative Role of
Magic in the Fornaldasögur.&quot; ARV: Nordic Yearbook of Folklore 70 (2015):
39-56. Online at Academia (Aðalheiður Guðmundsdóttir).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/11136043/">https://www.academia.edu/11136043/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Gutiérrez Valencia, Cristina.
&quot;Procesos de configuración autorial en el Siglo de Oro: El caso de Lope de
Vega.&quot; Ph.D. U de Oviedo, 2019. Online at RUO.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://hdl.handle.net/10651/52723">http://hdl.handle.net/10651/52723</a><br>
&nbsp;&nbsp;&nbsp; <a href="https://digibuo.uniovi.es/dspace/handle/10651/52723">https://digibuo.uniovi.es/dspace/handle/10651/52723</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://dialnet.unirioja.es/servlet/tesis?codigo=261286">https://dialnet.unirioja.es/servlet/tesis?codigo=261286</a>
<br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Guy-Bray, Stephen. &quot;The
Differences of Things.&quot; Rev. of &quot;New&quot; Exoticisms, ed. Isabel
Santaolalla, and Men in Wonderland, by Catherine Robson. Canadian Literature: A
Quarterly of Criticism and Review 174 (Autumn 2002): 177-79.*<b><br>
</b><a href="http://www.canlit.ca/reviews/174/5624_GuyBray.html"><span
class=apple-style-span><span style='font-family:Times'>http://www.canlit.ca/reviews/174/5624_GuyBray.html</span></span></a>
&nbsp;&nbsp;&nbsp; 2006-12-15 </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Grishakova, Marina.
&quot;State of the Discipline towards Comparative Narrative Studies.&quot;
Inquire 2.2 (June 2012).<u2:p></u2:p> <br>
<a href="http://inquire.streetmag.org/articles/79">http://inquire.streetmag.org/articles/79</a></span></i><i><span
style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'>2013</span></i><span style='color:black'> <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Guelton, Bernard. (Université
Paris 1 – Panthéon Sorbonne). &quot;Récits interactifs en mobilité et horizons
spatio-temporels.&quot; 2018. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/38803460/">https://www.academia.edu/38803460/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Gündüzöz, Soner. (Dr., Ondokuz
Mayıs Üniversitesi İlahiyat Fakültesi, Arap Dili ve Belagatı Anabilim Dalı
Öğretim Üyesi;&nbsp; gunduzoz@hotmail.com). &quot;Modern Bir Retorik Okuması
Olarak Hadis Rivayetlerinde Anlatım Tekniklerinin Varlığı Sorunu -Hudeybiye
Antlaşması Örneği-.&quot; Marife Turkish Journal of Religious Studies (2011 -
1). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/32617757/">https://www.academia.edu/32617757/
</a><br>
&nbsp;&nbsp;&nbsp;<a href="https://independent.academia.edu/MarifeDergisi">
https://independent.academia.edu/MarifeDergisi</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Gunst, William de. Locke en
Hume als voordenkers van postmoderne persoonlijke identiteit. MA diss. Radboud
U,&nbsp; 2018. Online at Radboud University Educational Repository.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://theses.ubn.ru.nl/handle/123456789/6000">https://theses.ubn.ru.nl/handle/123456789/6000</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://theses.ubn.ru.nl/bitstream/handle/123456789/6000/Gunst%2C_W._de_1.pdf">https://theses.ubn.ru.nl/bitstream/handle/123456789/6000/Gunst%2C_W._de_1.pdf</a>
&nbsp;&nbsp;&nbsp; <br>
&nbsp;&nbsp;&nbsp; 2018<b><br>
<br>
</b>Gutiérrez San Miguel, Begoña. &quot;La creación audiovisual en la
investigación en televisión, cine, y fotografía.&quot; 2006-7.<br>
<a
href="http://es.scribd.com/doc/90883118/La-creacion-audiovisual-en-la-investigacion-en-television">http://es.scribd.com/doc/90883118/La-creacion-audiovisual-en-la-investigacion-en-television</a><br>
2013<b><br>
<br>
</b>Hacizade, G. Wuthering Heights by Brontë and A Hero of Our Time by
Lermontov. MA diss. Middle East Technical University, 2008. Online at Scribd<br>
&nbsp;&nbsp;&nbsp; <a href="http://es.scribd.com/doc/194778629/Thesis">http://es.scribd.com/doc/194778629/Thesis</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hall, Joanne M. (College of
Nursing, U of Tennessee), and Jill Powell (BeardenPsych, Knoxville).
&quot;Understanding the Person through Narrative.&quot; Nursing Research and
Practice (2011): article 293847.<br>
&nbsp;&nbsp;&nbsp; <a href="http://dx.doi.org/10.1155/2011/293837">http://dx.doi.org/10.1155/2011/293837</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.hindawi.com/journals/nrp/2011/293837/">https://www.hindawi.com/journals/nrp/2011/293837/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hanaghan, Michael. &quot;Note
de lecture: The Temporality of Seneca's Epistles.&quot; Latomus 76.1 (2017):
203-6. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/23234494/">https://www.academia.edu/23234494/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hancock, Mark (U of Waterloo,
200 University Avenue W., Waterloo, ON N2L 3G1, Canada;
mark.hancock@uwaterloo.ca), Rebecca Langer, Amberly H. West, and Neil
Randall.&nbsp;&nbsp; &quot;Applications as Stories.&quot; Challenges for
implementing gamification for behavior change: lessons learned from designing
Blues Buddies CHI workshop 2013. 2 May 2013.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://etheses.dur.ac.uk/7201/2/7201_4383-vol2.PDF">http://etheses.dur.ac.uk/7201/2/7201_4383-vol2.PDF</a><br>
&nbsp;&nbsp;&nbsp; 2013<br>
_____.&nbsp; &quot;Applications as Stories.&quot; In Challenges for
implementing gamification for behavior change: lessons learned from designing
Blues Buddies CHI workshop 2013. 44-49. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/5184373/">https://www.academia.edu/5184373/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Harris, Rebecca.
&quot;Textuality, Forms of 'Reading', and the Encounter of Art.&quot; MA diss.
Goldsmiths College, London, 2017. Online at Academia.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/92218315/">https://www.academia.edu/92218315/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hatavara, Mari, Matti
Hyvärinen, Maria Mäkelä, and Frans Mäyrä. Narrative Theory, Literature, and New
Media. London: Routledge, 2015.* Online preview at Google Books,<br>
</span></i><span style='color:black'><a
href="https://books.google.es/books?id=357wCQAAQBAJ"><i>https://books.google.es/books?id=357wCQAAQBAJ</i></a><i><br>
&nbsp;&nbsp;&nbsp; 2016</i><br>
<br>
<i>Hawthorn, Jeremy. (Norwegian U of Science and Technology;
jeremy.hawthorn@hf.ntnu.no)&nbsp; &quot;Telling the Holocaust: Questions and
Connections.&quot; Interdisciplinary Communications (2007). Online PDF<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.cas.uio.no/Publications/Seminar/Consilience_Hawthorn.pdf">http://www.cas.uio.no/Publications/Seminar/Consilience_Hawthorn.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2015</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hazizade, Günel. (Selçuk
Universitesi) &quot;The Contribution of the Russian Formalist Critics to the Science
of Narratology.&quot; 2007 Unesco Mevlana Yilinda: Uluslalarasi VII. Dil,
Yazin, Deyişbilim sempozyumu (02-05 mayis 2007) – Bildiri Kitabi II Cilt. Ed.
Durmuş Bulgur and Hatice Büyükkalayci. Selçuk Universitesi – Fen Edebiyat
Fakültesi, 2007.&nbsp; 549-56. Online at Academia.*<br>
<a href="https://www.academia.edu/17638783/">https://www.academia.edu/17638783/</a><br>
&nbsp;&nbsp;&nbsp; 2020<b><br>
<br>
</b>Henning, Tim. Person Sein und Geschichten erz_hlen. Berlin: Walter de
Gruyter, 2009.* Online preview at Google Books.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://books.google.es/books?hl=en&amp;lr=&amp;id=DO4hnVNxnuUC">http://books.google.es/books?hl=en&amp;lr=&amp;id=DO4hnVNxnuUC</a><br>
&nbsp;&nbsp;&nbsp; 2015<b><br>
</b><br>
Hera Conde-Pumpido, Teresa de la. &quot;Análisis narrativo del advergame: El
caso de 'Get the Glass!&quot; Paper Presented at Comunicaci_n y Desarrollo en
la Era Digital (Actas y memoria final del II Congreso Internacional AEIC -
Asociación Española de Investigación de la Comunicación, Málaga, 3-5- Feb.
2010).*<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.aeic2010malaga.org/upload/ok/444.pdf">http://www.aeic2010malaga.org/upload/ok/444.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016<b><br>
</b>_____. &quot;La narratividad en los advergames. Análisis del caso 'Get the
Glass!'&quot; In XI Congreso de Periodismo Digital. Ed. Fernando Sabés Turmo
and José Juan Verón Lassa. Zaragoza: Asociación de la Prensa de Aragón, 2010:
472-87. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3198433/">https://www.academia.edu/3198433/</a><br>
&nbsp;&nbsp;&nbsp; 2019<b><br>
<br>
</b>Herman, Luc, and Bart Verbaeck. &quot;The Implied Author: A Secular
Excommunication.&quot; Style 45.1 (Spring 2011).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.thefreelibrary.com/The+implied+author%3A+a+secular+excommunication.-a0258993715">http://www.thefreelibrary.com/The+implied+author%3A+a+secular+excommunication.-a0258993715</a><br>
&nbsp;&nbsp;&nbsp; 2014<b><br>
<br>
</b>Herman, Luc, and Bart Verbaeck. Vertelduivels: Handboek verhaalanalyse.
Vantilt &amp; Vubpress, 2001.<br>
_____. Handbook of Narrative Analysis. 2001. Lincoln: U of Nebraska P,&nbsp;
2005.<br>
_____.&nbsp; Handbook of Narrative Analysis. Trans. Luc Herman and Bart
Verbaeck. (Frontiers of Narrative). Lincoln: U of Nebraska P, 2005.* (Trans. of
Vertelduivels).<br>
&nbsp;&nbsp;&nbsp; Online at Scribd 31 May 2013.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://es.scribd.com/doc/144869405/Luc-Herman-Bart-Vervaeck-Handbook-of-Narrative-Bookos-orgsf">http://es.scribd.com/doc/144869405/Luc-Herman-Bart-Vervaeck-Handbook-of-Narrative-Bookos-orgsf</a><br>
&nbsp;&nbsp;&nbsp; 2013<br>
&nbsp;&nbsp;&nbsp; <a href="https://es.scribd.com/doc/265924371/">https://es.scribd.com/doc/265924371/</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Herrera Damas, Susana. (U
Carlos III, Madrid). &quot;La frecuencia como dimensión temporal en los
reportajes en radio.&quot; Actas del XXXVII Simposio Internacional de la
Sociedad Española de Lingüística (SEL). Ed. Inés Olza Moreno, Manuel Casado
Velarde and Ramón González Ruiz (Departamento de Lingüística hispánica y
Lenguas modernas). Pamplona, Servicio de Publicaciones de la Universidad de
Navarra, 2008. 327-40. Online at Universidad de Navarra (Departamento de
Lingüística).*<br>
<a href="http://www.unav.es/linguis/simposiosel/actas/">http://www.unav.es/linguis/simposiosel/actas/</a><br>
DISCONTINUED 2021<br>
Online at Dadun (Universidad de Navarra)<br>
<a
href="https://dadun.unav.edu/bitstream/10171/21028/1/La%20frecuencia%20como%20dimension%20temporal%20en%20los%20reportajes.pdf">https://dadun.unav.edu/bitstream/10171/21028/1/La%20frecuencia%20como%20dimension%20temporal%20en%20los%20reportajes.pdf</a><br>
2021<br>
Online at Academia (Manuel Casado Velarde).*<br>
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; <a
href="https://www.academia.edu/3742307/">https://www.academia.edu/3742307/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
&nbsp;&nbsp;&nbsp; Online at DocPlayer.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://docplayer.es/12372312-La-frecuencia-como-dimension-temporal-en-los-reportajes-en-radio.html">https://docplayer.es/12372312-La-frecuencia-como-dimension-temporal-en-los-reportajes-en-radio.html</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Herrero Ruiz, Javier (U de La Rioja;
javier.herrero@unirioja.es). &quot;&quot;The Crossroads between Literature,
Culture, Linguistics, and Cognition: Death Metaphors in Fairy Tales.&quot;
RESLA 20 (2007): 59-83. Online PDF at Dialnet.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://dialnet.unirioja.es/descarga/articulo/2514281.pdf">https://dialnet.unirioja.es/descarga/articulo/2514281.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2019<b><br>
</b>_____. &quot;At the Crossroads between Literature, Culture, Linguistics,
and Cognition: Local Character-Based Metaphors in Fairy Tales.&quot; Journal of
English Studies 13 (2015): 47-70.*<br>
<a
href="https://publicaciones.unirioja.es/ojs/index.php/jes/article/download/3060/2731">https://publicaciones.unirioja.es/ojs/index.php/jes/article/download/3060/2731</a><br>
2021<b><br>
<br>
</b>Herz, Kathrin. &quot;The Pressure to Conform to the 'Correct' Genderin in
'Boys Don't Cry' and 'Brokeback Mountain'.&quot; U of Heidelberg Anglistisches
Seminar. Books on Demand, 2013.<br>
&nbsp;&nbsp;&nbsp; <a
href="http://books.google.es/books?id=UFRf6iXybFwC&amp;dq=Jos%C3%A9+Angel+Garc%C3%ADa+Landa&amp;hl=es&amp;source=gbs_navlinks_s">http://books.google.es/books?id=UFRf6iXybFwC</a><br>
&nbsp;&nbsp;&nbsp; 2014<b><br>
<br>
</b>Herman, David. Basic Elements of Narrative. Malden (MA) and Oxford:
Wiley-Blackwell, 2009.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://books.google.es/books?id=HrAqO8phLCkC">http://books.google.es/books?id=HrAqO8phLCkC</a><b><br>
</b>&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hernández Avilez, Eva
Guadalupe. &quot;Influencia del darwinismo en La Raza Cósmica de José
Vasconcelos.&quot; BA diss. Universidad Nacional Autónoma de México, Fac. de
Ciencias, 2014. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/10513162/">https://www.academia.edu/10513162/</a><br>
&nbsp;&nbsp;&nbsp; 2017<b><br>
<br>
</b>Hernández García, José Antonio. &quot;Chesterton en español.&quot;
Bibliography. Scribd<br>
&nbsp;&nbsp;&nbsp; <a
href="http://es.scribd.com/doc/158050705/Chesterton-en-Espanol-JAHG">http://es.scribd.com/doc/158050705/Chesterton-en-Espanol-JAHG</a><br>
&nbsp;&nbsp;&nbsp; 2013</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Herrera Damas, Susana (U of
Piura, Peru). &quot;El reportaje en radio: Aspectos que configuran su
estilo.&quot; ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.researchgate.net/profile/Susana_Herrera_Damas/publication/228780782">https://www.researchgate.net/profile/Susana_Herrera_Damas/publication/228780782</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
_____. &quot;El reportaje en radio: Aspectos que configuran su estilo.&quot;
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3274519/">https://www.academia.edu/3274519/</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<b><br>
</b>Hietasaari, Marita. &quot;Metalepsis kerrontastrategiana Lars Sundin
historiallisissa romaaneissa.&quot; Avain&nbsp; (2007) 2: 45-62.<br>
&nbsp;&nbsp;&nbsp; <a
href="https://journal.fi/avain/article/download/74690/36249">https://journal.fi/avain/article/download/74690/36249</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>&quot;History-writing.&quot;
Bibliographical wiki at International Society for the Study of Narrative 8 July
2010.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://narrative.georgetown.edu/wiki/index.php/History-writing">http://narrative.georgetown.edu/wiki/index.php/History-writing</a><br>
&nbsp;&nbsp;&nbsp; 2010<b><br>
<br>
</b>Hoenselaars, Ton, and Paul Franssen. &quot;Update on the Shakespeare
Industry.&quot; Staple of News 11 (July 2006).<br>
<a href="http://shakespeare.let.uu.nl/staple11.htm">http://shakespeare.let.uu.nl/staple11.htm</a>
<br>
2006</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Holcombe, Colin J. Writing
Verse: A Practical Guide. Santiago de Chile: Ocaso Press, 2008. Rev. ed. 2016.
2019. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/40940245/">https://www.academia.edu/40940245/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Holgado Cristeto, Mª
Belén.&nbsp; El otro árabe y el otro israelí en la novela israelí y palestina:
Los estereotipos. Ph.D. diss. U of Granada, 2007. Pub. U of Granada, 2007.
Online at Academia.*<br>
<a href="https://www.academia.edu/241889/">https://www.academia.edu/241889/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Holland, Maggie. (U of British
Columbia, Vancouver). &quot;Detecting Künstlerrroman in Conrad's The Secret
Agent: A Self-Reflexive Type.&quot; Yearbook of Conrad Studies (Wydawnictwo
Uniwersytetu Jagiellońskiego, Poland) 11 (2016): 96-108. Online at Central and
Eastern European Online Library.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.ceeol.com/search/article-detail?id=574277">https://www.ceeol.com/search/article-detail?id=574277</a><br>
&nbsp;&nbsp;&nbsp; <a href="http://www.ejournals.eu/pliki/art/9117/">http://www.ejournals.eu/pliki/art/9117/</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
&nbsp;&nbsp;&nbsp; •&nbsp; DOI:10.4467/20843941YC.16.007.6853<br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/87c1/7339c17b9450fb188f2e84792401b693f850.pdf">https://pdfs.semanticscholar.org/87c1/7339c17b9450fb188f2e84792401b693f850.pdf</a>
<br>
2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hove, K. van. &quot;'Proeve
van een idioot voor een pornoschrift (populair)': C. C. Krijgelmans'
pornografische experiment.&quot; Online at Lirias (KU Leuven Association
Research).* <br>
&nbsp;&nbsp;&nbsp; <a href="https://lirias.kuleuven.be/retrieve/538238">https://lirias.kuleuven.be/retrieve/538238</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Howell, Timothy D., and Daniel T. Lioy. &quot;Employing Speech Act Theory as an
Exegetical Tool on the Matthean Beatitudes.&quot; Conspectus 11 (March 2011):
67-113.*</span></i><span style='color:black'><br>
</span><i><span style='font-size:7.5pt;color:black'><a
href="http://www.satsonline.org/userfiles/Conspectus%20-%20Volume%2011.pdf"><span
style='font-size:12.0pt'>http://www.satsonline.org/userfiles/Conspectus%20-%20Volume%2011.pdf</span></a><br>
</span><span style='color:black'>2013</span></i><span style='color:black'> <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Huaxin Wei. Analyzing the Game
Narrative: Structure and Technique. Ph.D. diss. Burnaby (BC, Canada): Simon
Fraser U, 2011. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/35539670/">https://www.academia.edu/35539670/</a>
<br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hughes, Adam D. &quot;'It's
Man Devouring Man, My Dear': Studying the Musical Sweeney Todd: The Demon
Barber of Fleet Street as Multimedia Adaptation.&quot; 2020. Online ref. at
Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.semanticscholar.org/paper/%E2%80%98It%27s-Man-Devouring-Man%2C-My-Dear%E2%80%99%3A-Studying-The-The-Hughes/00e0bf4ba52102d39c71683e8ca46906edbe8d94">https://www.semanticscholar.org/paper/%E2%80%98It's-Man-Devouring-Man%2C-My-Dear%E2%80%99%3A-Studying-The-The-Hughes/00e0bf4ba52102d39c71683e8ca46906edbe8d94
</a><br>
<br>
Hühn, Peter, Wolf Schmid, John Pier, and Jörg Schönert, eds. Handbook of
Narratology. </span></i><span style='color:black'>(Narratologia: Contributions
to Narrative Theory, 19). Berlin: Walter de Gruyter, 2009.* <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Human, Julie L. &quot;Medieval
French Romance and the Dynamics of Seeing.&quot; Ph.D. diss. 2010. Online ref.
at Semantic Scholar.*<br>
&nbsp;<a
href="https://www.semanticscholar.org/paper/Looking-Back%3A-Medieval-French-Romance-and-the-of-Human/433d6022db84bafe7451be3640e903a258055ab1">https://www.semanticscholar.org/paper/Looking-Back%3A-Medieval-French-Romance-and-the-of-Human/433d6022db84bafe7451be3640e903a258055ab1</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Hven, Steffen. (Bauhaus U,
Weimar, then U of Chicago).&nbsp; &quot;Sulla possibilità di una narratologia
incarnata e antropomediale.&quot; Fata Morgana 31 (2017): 197-209. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/35085141/">https://www.academia.edu/35085141/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
_____.&quot;On the Possibility of an Embodied and Media Anthropological
Narratology.&quot; Trans. of &quot;Sulla possibilità di una narratologia
incarnata e antropomediale&quot;. Fata Morgana 31. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/35085202/">https://www.academia.edu/35085202/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Iacucci, Carolina. La
fragilità dei padri: Shakespeare romanzesco tra Antica Grecia e Mondo Novo.
Ph.D. diss. U of Florence, 2019.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/40956681/">https://www.academia.edu/40956681/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Ibáñez, Susana.
&quot;Variaciones en el policial negro: El deseo de los héroes y la infelicidad
en la cultura.&quot; Ph.D. diss. U Nacional de Córdoba, Argentina, 2013. Online
at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/29281567/">https://www.academia.edu/29281567/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Iborra i Mallol, Salvador. (U
Pompeu Fabra). &quot;Introducció. Lectures mutilades: Suplementarietat i
divergències a l'entorn d'un poema de Gabriel Ferrater.&quot; Forma 5 (Spring
2012): 35-46. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/31680516/">https://www.academia.edu/31680516/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
&quot;Intertextuality.&quot; (Project Narrative Bibliography, Georgetown
University).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://narrative.georgetown.edu/wiki/index.php/Intertextuality">http://narrative.georgetown.edu/wiki/index.php/Intertextuality</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Ionescu, Arleen. (Shanghai Jiaotong U; aionescu@sjtu.edu.cn).
&quot;Postclassical Narratology: Twenty Years Later.&quot; Word and Text: A
Journal of Literary Studies and Linguistics 9 (2019): 5-34. Online at ResearchGate.*
(David Herman).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/338357670">https://www.researchgate.net/publication/338357670</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Ireland, Ken. Thomas Hardy,
Time and Narrative. Houndmills: Palgrave Macmillan, 2014. Online preview at
Google Books:<br>
&nbsp;&nbsp;&nbsp; <a href="http://t.co/xTwkZpibKz">http://t.co/xTwkZpibKz </a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
ISNI</span></i><span style='color:black'> catalogue (José Angel García Landa)<br>
&nbsp;&nbsp;&nbsp; <a href="http://isni.org/isni/0000000110294848">http://isni.org/isni/0000000110294848</a><br>
&nbsp;&nbsp;&nbsp; 2015 <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>&quot;Iterativo.&quot; Educalingo.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://educalingo.com/es/dic-es/iterativo">https://educalingo.com/es/dic-es/iterativo</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Jacobs, Ilen_. Performing the Self: Autobiography, Narrative, Image and Text in
Self-Representations. MA diss. U of Stellenbosch, 2007.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://scholar.sun.ac.za/bitstream/handle/10019.1/1552/jacobs_performing_2007.pdf?sequence=3">http://scholar.sun.ac.za/bitstream/handle/10019.1/1552/jacobs_performing_2007.pdf?sequence=3</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Jacoby, Marcin. (SWPS U of
Social Sciences and Humanities). &quot;History as Parable: Indirect Persuasion
in the Lüshi Chunqiu.&quot; Asian Studies X (XXVI) 2 (2022): 313-29:
313-29.*&nbsp; (Slovenia).<br>
<a href="https://doi.org/10.4312/as.2022.10.2.313-329">https://doi.org/10.4312/as.2022.10.2.313-329</a><br>
<a href="https://www.academia.edu/78860069/">https://www.academia.edu/78860069/</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Jaén, Isabel, and Julien
Jacques Simon. &quot;1. An Overview of Recent Developments in Cognitive
Literary Studies.&quot; From Cognitive Literary Studies: Current Themes and New
Directions. Ed. Isabel Jaén and Julien Jacques Simon. Austin: U of Texas P,
2012. 13-32. Online at Academia (Isabel Jaén Portillo).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/32941326/">https://www.academia.edu/32941326/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Iborra i Mallol, Salvador. (U
Pompeu Fabra). &quot;Introducció. Lectures mutilades: Suplementarietat i
divergències a l'entorn d'un poema de Gabriel Ferrater.&quot; Forma 5 (Spring
2012): 35-46. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/31680516/">https://www.academia.edu/31680516/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Ivanovici, Victor. Itinerari
Romanesti (I). Bucarest: Editora Muzeul Literaturii Romane, 2018. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/40151949/">https://www.academia.edu/40151949/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Jaén, Isabel, and Julien J.
Simon. &quot;1. An Overview of Recent Developments in Cognitive Literary
Studies.&quot; From Cognitive Literary Studies: Current Themes and New
Directions. Ed. Isabel Jaén and Julien Jacques Simon. Austin: U of Texas P,
2012. 13-32. Online at Academia (Isabel Jaén Portillo).*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/32941326/">
https://www.academia.edu/32941326/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Jara, Ana Belén. &quot;Travesura realizada&quot;: Análisis de la adaptación de
la saga de novelas fantásticas Harry Potter al guión cinematográfico. TFG.
Córdoba (Argentina): Universidad Nacional de Córdoba, Facultad de Derecho y
Ciencias Sociales, 2015.* Online PDF:<br>
<a
href="http://s3.amazonaws.com/academia.edu.documents/40825625/Tesis_Jara_Ana_Belen_-_Con_graficas_y_portada.pdf?AWSAccessKeyId=AKIAJ56TQJRTWSMTNPEA&amp;Expires=1465459544&amp;Signature=MPHtf7EkvwIrHovWEYWnmXU26aQ%3D&amp;response-content-disposition=inline%3B%20filename%3DTravesura_realizada_Analisis_de_la_adap.pdf">&nbsp;http://s3.amazonaws.com/academia.edu.documents/40825625/Tesis_Jara_Ana_Belen_-_Con_graficas_y_portada.pdf?AWSAccessKeyId=AKIAJ56TQJRTWSMTNPEA&amp;Expires=1465459544&amp;Signature=MPHtf7EkvwIrHovWEYWnmXU26aQ%3D&amp;response-content-disposition=inline%3B%20filename%3DTravesura_realizada_Analisis_de_la_adap.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Jewad, Hamid G., Z. Ghapanchi,
and M. Ghazanfari. (Ferdowsi U of Mahshad, Iran).&nbsp; &quot;Investigating
Leech's Politeness Principle in Conversational Verses in Three Surahs from the
Holy Quran.&quot; Asian Social Science 16.3 (Feb. 2020): 29.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.ccsenet.org/journal/index.php/ass/article/view/0/42147">http://www.ccsenet.org/journal/index.php/ass/article/view/0/42147</a>
<br>
&nbsp;&nbsp;&nbsp; DOI: 10.5539/ass.v16n3p29<br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/339558282">https://www.researchgate.net/publication/339558282</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
&nbsp;&nbsp;&nbsp; Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44269113/">https://www.academia.edu/44269113/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Jokinen, Aniina.
&quot;Renaissance Essays - Edmund Spenser.&quot; Luminarium.*<br>
<a href="http://www.luminarium.org/renlit/spenseressay.htm">http://www.luminarium.org/renlit/spenseressay.htm</a><br>
2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Karpf, Anne. (London
Metropolitan U). &quot;The Pleasure of Immersion: Some Thoughts on How The
Singing Detective Sustains Narrative.&quot; Journal of Screenwriting (2013).
Online at Academia.*<br>
<a href="https://www.academia.edu/50183293/">https://www.academia.edu/50183293/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Kaur, Surinder.
(sandhu.surinder85@gmail.com; SGAD Government College, Tarn Taran). &quot;A
Study of Body and Inscribed Gender Roles in Angela Carter's Nights at the
Circus.&quot; Ramanda Centenary College Journal of Humanities and Social
Sciences 1.1 (April 2018): 1-10. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/36589020/">https://www.academia.edu/36589020/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Keating, John. Aja Teehan,
Damien Gallagher and Thomas O'Connor. &quot;A Digital Edition of a Spanish 18th
Century Account Book: User Driven Digitisation.&quot; Jahrbuch f_r
Computerphilologie, 10 (2010). pp. 169-18.<br>
<a href="http://eprints.nuim.ie/2650/">http://eprints.nuim.ie/2650/</a><br>
<br>
Kedra-Kardela, Anna. (Uniwersytet Marii Curie-Sklodowskiej;
annakardela@poczta.umcs.lublin.pl) &quot;A Cognitive Poetic Approach to
Paratext: Horace Walpole's Prefaces to The Castle of Otranto: A Gothic
Story.&quot; Zagadnienia Rodzajów Literackich 61.4 (2018): 55-70.*<br>
&nbsp;&nbsp;&nbsp; DOI: https://doi.org/10.26485/ZRL/2018/61.4/4<br>
Online at<br>
<a
href="http://czasopisma.ltn.lodz.pl/index.php/Zagadnienia-Rodzajow-Literackich/article/view/380">http://czasopisma.ltn.lodz.pl/index.php/Zagadnienia-Rodzajow-Literackich/article/view/380</a>
<br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Kendal, Evie. &quot;The Use of Free Indirect Discourse in J. R. Ward's Black
Dagger Brotherhood Series.&quot; Colloquy: Text, Theory, Critique 38 (2019):
20-43.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://au-east.erc.monash.edu.au/fpfiles/20157683/Kendal2019.pdf">https://au-east.erc.monash.edu.au/fpfiles/20157683/Kendal2019.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.26180/5df1974e1cb20">https://doi.org/10.26180/5df1974e1cb20</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Keskin, Ahmet. &quot;Oguz
Kagan destan metninde kahramanin takdimi&quot; (Presentation of a Hero in the
Text of the Oghuz Kahn Epic).&quot; Milli Folklor 94 (2012): essay 96.
http://www.millifolklor.com <br>
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2378973/">https://www.academia.edu/2378973/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Kindt, Tom, and Hans-Harald
M_ller, eds. What Is Narratology? Questions and Answers Regarding the Status of
a Theory. (Narratologia: Beitr_ge zur Erz_hltheorie / Contributions to
Narrative Theory, 1). Berlin/New York: de Gruyter, 2003.*<br>
<a href="http://es.scribd.com/doc/95325301/3110178745Narratology">http://es.scribd.com/doc/95325301/3110178745Narratology</a><br>
<br>
Kirkfeldt, Trine Skovgaard. Marine Spatial Planning: Facilitating
Sustainability in an Ocean of Ambiguity. Ph.D. diss. Aalborg U, 2021. Online at
Core.*<br>
<a href="https://core.ac.uk/download/475388819.pdf">https://core.ac.uk/download/475388819.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Klosinski, Michal, and Krzysztof
M. Maj. Dyskursy gier wideo. (Perspektywy Ponowoczesnosci, 7). Wroclaw: Osrodek
Badawczy Facta Ficta, 2019. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44790090/">https://www.academia.edu/44790090/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Knowledgr</span></i><span
style='color:black'> (&quot;Filologia&quot;)<br>
<a href="https://it.knowledgr.com/00015274/Filologia">https://it.knowledgr.com/00015274/Filologia</a><br>
2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Koca, Suat. (Faculty of
Divinity, Ankara U; kocas@ankara.edu.tr ) &quot;İnsanın Boş Özü: Hadis
Literatüründe ve Klasik Arap Edebinde Etik ve Estetik (Man's &quot;Hollow
Core&quot;: Ethics and Aesthetics in Hadith Literature and Classical Arabic
Adab).&quot; Hitit Üniversitesi Ilahiyat Fakültesi Dergisi&nbsp; / Journal of
Divinity Faculty of Hitit University 19.1 (June 2020): 509-46. Online at Academia.*<br>
<a href="https://www.academia.edu/44786749/">https://www.academia.edu/44786749/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Koeck, Richard. Cine-Scapes:
Cinematic Scapes in Architecture and Cities. Abingdon (Oxon) and New York:
Taylor and Francis-Routledge, 2013.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=ziXeQ94MZBYC">https://books.google.es/books?id=ziXeQ94MZBYC</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Kôiva, Mare, and Andres Kuperjanov. &quot;Giants in Transmedia.&quot; Folklore
64 (2016): 193-212.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.folklore.ee/folklore/vol64/">http://www.folklore.ee/folklore/vol64/</a><br>
&nbsp;&nbsp;&nbsp; <a href="http://www.folklore.ee/folklore/vol64/giants.pdf">http://www.folklore.ee/folklore/vol64/giants.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="http://dx.doi.org/10.7592/FEJF2016.64.giants">http://dx.doi.org/10.7592/FEJF2016.64.giants</a>
<br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Koopman, N. Ancient Greek
Ekphrasis: Between Description and Narration. Ph.D. diss. U of Amsterdam, 2014.
Online at UvA-DARE (Digital Academic Repository).*<br>
&nbsp;&nbsp;&nbsp; <a href="http://dare.uva.nl/record/1/432476">http://dare.uva.nl/record/1/432476</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Koroman, Boris. Suvremena
Hrvatska Proza I Trazicija. (Zavod za znanost o knjizevnosti filozofskoga
fakulteta u zagrebu).&nbsp; Zagreb: Pula, 2018.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/43224987/">https://www.academia.edu/43224987/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Kostova, Bilyana Vanyova. (U
de Zaragoza). &quot;Tim O'Brien's Problematic Truth: Traumatic Experience
through Storytelling in 'How to Tell a True War Story'.&quot; Revista de
Estudios Norteamericanos 14 (2009-10): 107-16. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/899233/">https://www.academia.edu/899233/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Kot'átková. Maria. (Institut
Interuniversitari López Piñero, U Jaume I; kotatkov@uji.es). &quot;Història i
trama: Els casos clínics com a relats acadèmics.&quot; Caplletra 70 (Spring
2021): 81-101.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.7203/Caplletra.70.19995<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/47767031/">https://www.academia.edu/47767031/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Kuijper, Hans. (grad. in
Sinology, Leyden U; and in economics U of Rotterdam). &quot;Uplifting the Study
of China.&quot; Academia 8 Nov. 2013.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/5033329/">https://www.academia.edu/5033329/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Kütt, Andra. &quot;MAIN-testi kasutamine
eesti laste jutustamisoskuse hindamiseks (Using the Multilingual Assessment
Instrument for Narratives test for the assessment of Estonian children’s
narrative skills).&quot; Eesti Rakenduslingvistika Ühingu Aastaraamat /
Estonian Papers in Applied Linguistics (2018).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://arhiiv.rakenduslingvistika.ee/ajakirjad/index.php/aastaraamat/article/view/ERYa14.06">http://arhiiv.rakenduslingvistika.ee/ajakirjad/index.php/aastaraamat/article/view/ERYa14.06</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Kütükçü, Tamer. &quot;Post-modern
Romanlarda İçeriksizlik Sorunu ve Bunun Karşı Örneği Olarak Yeni Yalan
Zamanlar'da Anlamın Post-modern İnşası.&quot; Dünya Dilleri, Edebiyatları ve
Çeviri Çalışmaları Dergisi (DEÇ) / Journal of Academic Studies in World
Languages, Literatures and Translation (WOLLT) 2.2 (2021): 153-88. Online at
Academia.* (Anlam Sorunsalı)<br>
<a href="https://www.academia.edu/66833112/">https://www.academia.edu/66833112/</a><br>
2021<br>
<br>
Kuzmanovich, Zoran. &quot;'Reading with the Spine' or Reading Nabokov with Huck
Finn.&quot; Cycnos Volume 24 n_1- Vladimir Nabokov, Annotating vs Interpreting
Nabokov Actes du colloque , Nice 21-22-23 juin 2006 <br>
&nbsp;&nbsp;&nbsp; <a href="http://revel.unice.fr/cycnos/document.html?id=1071">http://revel.unice.fr/cycnos/document.html?id=1071</a><br>
&nbsp;&nbsp;&nbsp; 2008<br>
&nbsp;&nbsp;&nbsp; <a href="https://epi-revel.univ-cotedazur.fr/cycnos/592.pdf">https://epi-revel.univ-cotedazur.fr/cycnos/592.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lacalle, Charo. (U Autónoma de
Barcelona; Rosario.Lacalle@uab.es). &quot;VoD: La nuova era del lettore modelo
(Arde Madrid, Movistar+, 2008).&quot; Mediascapes Journal 16 (2020): 50-60.
Online at Academia.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44578694/">https://www.academia.edu/44578694/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lalaoui-Chiali, Fatima Zohra.
&quot;Stéréotypes, écrits coloniaux et postcoloniaux: Le cas d'Algérie.&quot;
Itinéraires 2010-1 (2010).*<br>
&nbsp;&nbsp;&nbsp; DOI : 10.4000/itineraires.2125<br>
&nbsp;&nbsp;&nbsp; <a href="https://journals.openedition.org/itineraires/2125">https://journals.openedition.org/itineraires/2125</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="http://journals.openedition.org/itineraires/pdf/2125">http://journals.openedition.org/itineraires/pdf/2125</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lam, Ka Yan. &quot;Thematizing
Storytelling: The Metanarrative Elements in Enchi Fumiko's 'A Tale of False
Fortunes'.&quot; Japanese Language and Literature 41.1 (April 2017): 115-143.
Online at JSTOR.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.jstor.org/stable/44508508">https://www.jstor.org/stable/44508508</a>
<br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Langer, Rebecca, Mark Hancock, Amberly H. West, and Neil Randall.
&quot;Applications as Stories.&quot; CHI '13 2 May 2013.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://etheses.dur.ac.uk/7201/2/7201_4383-vol2.PDF">http://etheses.dur.ac.uk/7201/2/7201_4383-vol2.PDF</a><br>
&nbsp;&nbsp;&nbsp; 2013<br>
<br>
Larsson, Donald F. &quot;Narrative.&quot; Oxford Bibliographies 29 May 2014.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0119.xml">http://www.oxfordbibliographies.com/view/document/obo-9780199791286/obo-9780199791286-0119.xml</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lashari, Mubarak Ali, and Ayaz
Afsar. &quot;Theory into Practice: Narrative Analysis of the Short Story
'Municipality and Stray Dogs'.&quot; Online at&nbsp; Academia.* (Khairu-un-nisa
Jaffery).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/29314586">https://www.academia.edu/29314586</a>
<br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lazaridis, Nikolaos.
(California State U, Sacramento). &quot;Notes on the Form and Use of Didactic
Language in Ancient Eyptian and Greek Narrative Works.&quot; JSSEA 35 (2008):
67-87.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/10690060/">https://www.academia.edu/10690060/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
László, János (Institute of Psychology of the Hungarian Academy of Sciences and
U o Pécs), Bea Ehmann (Institute of Psychology o the Hungarian Academy of
Sciences), Tibor Pólya (Institute of Psychology o the Hungarian Academy of
Sciences), Bernadette Péley (U of Pécs). &quot;Narrative Psychology as
Science.&quot; ETC – Empirical Text and Culture and Culture Research 3 (2007):
1-13. Online at ResearchGate.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/279607281">https://www.researchgate.net/publication/279607281</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Laukkanen, Markus.
&quot;'Sometimes the Knights Are the Monsters': George R. R. Martinin A Song of
Ice and Fire ja genren lukeminen.&quot; M.A. diss. U of Tampere, 2015. Online
at TREPO: Institutional Repository of Tampere University and at Core.*<br>
<a href="https://core.ac.uk/display/250140170">https://core.ac.uk/display/250140170</a><br>
2022 </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal>Lehmann Martins, Anna Clara. (Florianópolis, Brazil).
&quot;Cinema: Ferramenta ou Estratégia para a educaçâo jurídica?&quot; Direito
e Liberdade 25 (2014): 37-57. Online at Academia.* (Chaplin, Monsieur Verdoux).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/71408359/"><i>https://www.academia.edu/71408359/</i></a><br>
&nbsp;&nbsp;&nbsp; 2022</p>

<p class=MsoNormal><span style='mso-spacerun:yes'>    </span><a
href="https://www.academia.edu/78109130/">https://www.academia.edu/78109130/</a></p>

<p class=MsoNormal><span style='mso-spacerun:yes'>    </span>2023</p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Leichsenring, Ivan M. F.
&quot;A universidade corrupta: O jeitinho brasileiro de se fazer ciência.&quot;
Revista Espaço Acadêmico 13.152 (Jan. 2014). 1-16. Online at Universidade
Estadual de Maringá.*<br>
<a
href="http://www.periodicos.uem.br/ojs/index.php/EspacoAcademico/article/viewFile/22664/12242">http://www.periodicos.uem.br/ojs/index.php/EspacoAcademico/article/viewFile/22664/12242</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lenz, Friedrich. Rev. of The
Intertextual Dimension of Discourse. Ed. Beatriz Penas Ibáñez. Anglistik 9.2
(1998): 179-81.*</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>León Salazar, Carlos. El
comercio callejero y el imaginario de libertad e independencia. Editorial
Académica Española, n.d. <a href="https://www.academia.edu/1389833/">https://www.academia.edu/1389833/</a><br>
<a
href="https://s3.amazonaws.com/academia.edu.documents/8792109/COMERCIO%20CALLEJERO%20E%20IMAGINARIO%20SOCIAL.pdf?AWSAccessKeyId=AKIAIWOWYYGZ2Y53UL3A&amp;Expires=1553465339&amp;Signature=6h3ngGhMBDLuZEaXk2VT1SLOGvA%3D&amp;response-content-disposition=inline%3B%20filename%3DEl_comercio_callejero_y_el_imaginario_de.pdf">https://s3.amazonaws.com/academia.edu.documents/8792109/COMERCIO%20CALLEJERO%20E%20IMAGINARIO%20SOCIAL.pdf?AWSAccessKeyId=AKIAIWOWYYGZ2Y53UL3A&amp;Expires=1553465339&amp;Signature=6h3ngGhMBDLuZEaXk2VT1SLOGvA%3D&amp;response-content-disposition=inline%3B%20filename%3DEl_comercio_callejero_y_el_imaginario_de.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Leontovich, Olga A. &quot;Word and Image in Search of Each Other: Intersemiotic
Translation of Narratives from an Intercultural Perspective.&quot; Procedia:
Social and Behavioral Sciences 200 (22 Aug. 2015): 289-95. (Special issue: The
XXVI Annual International Academic Conference, Language and Culture, 27-30 Oct.
2015. Ed. Svetlana K. Gural et al).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.sciencedirect.com/science/article/pii/S1877042815047151">http://www.sciencedirect.com/science/article/pii/S1877042815047151</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Les´, Mariusz M. (Bialystok U). Fantastyka socjologiczna: Poetyka
i Mys´lenie utopijne. Bialystok: Wydawnictwo Uniwersytetu w Bialymstoku, 2008.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/4979967/">https://www.academia.edu/4979967/</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
Lesic, Zdenko. Teorija Knzijevnosti. Online at Academia (Milica Peric).*<br>
&nbsp;&nbsp; &nbsp;<a href="https://www.academia.edu/9623769/">https://www.academia.edu/9623769/</a><br>
&nbsp;&nbsp; &nbsp;2020<br>
<br>
Lesic-Thomas, Andrea. (U of Sarajevo). &quot;Memory, Narratology, and the
Problem of Authenticity: A Story of Pain.&quot; In Interpretations: European
Research Project for Politics and Hermeneutics. Vol. 2: Memory and Art. Ed.
Kata Kulavkova. Skopje: Macedonian Academy of Sciences and Arts, 2008. 101-18.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/11350641/">https://www.academia.edu/11350641/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
</span></i><span style='mso-fareast-font-family:"Times New Roman";color:black'>Lewis,
Maxine. (U of Auckland). &quot;Narrativising Catullus: A Never-ending
Story.&quot; Melbourne Historical Journal 41.2 (2013).*&nbsp; <a
href="https://www.academia.edu/8384396/">https://www.academia.edu/8384396/</a><i><br>
2020</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Li, Manning, Yancheng Wang,
Yueming Wu and Hanchen Liu. &quot;Gamification Narrative Design as a Predictor
for Mobile Fitness App User Persistent Usage Intentions: A Goal Priming
Perspective.&quot; Enterprise Information Systems (June 2021). Online at
ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.1080/17517575.2021.1941272<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/352663858">https://www.researchgate.net/publication/352663858</a><br>
&nbsp;&nbsp;&nbsp; 2021&nbsp;&nbsp;&nbsp; </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Liang, Ying. (Beijing Foreign
Studies University, China). &quot;Female Body in the Postmodern Science
Fiction.&quot; Theory and Practice in Language Studies 5.10 (Oct. 2015):
2037-2045.<br>
&nbsp;&nbsp;&nbsp; <a href="http://dx.doi.org/10.17507/tpls.0510.09">http://dx.doi.org/10.17507/tpls.0510.09</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.academypublication.com/ojs/index.php/tpls/article/viewFile/tpls051020372045/420">http://www.academypublication.com/ojs/index.php/tpls/article/viewFile/tpls051020372045/420</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. &quot;Female Body in the Postmodern Science Fiction.&quot; Theory and
Practice in Language Studies, vol. 5, no. 10, 2015, pp. 2037-2045, ProQuest
Central, <a
href="https://search.proquest.com/docview/1728664375?accountid=14795">https://search.proquest.com/docview/1728664375?accountid=14795&nbsp;</a><br>
2015<br>
Online at Academia: <a href="https://www.academia.edu/18395108/">https://www.academia.edu/18395108/</a><br>
2020</span></i><span style='color:black'><br>
<br>
<i>&quot;Libro (html): J. A. García Landa, 'Acción, relato, discurso:
Estructura de la ficción narrativa'. Efímero: Escombrera filosófica 15 Feb.
2011.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://efimeroescombrera.wordpress.com/2011/02/15/libro-html-j-a-garcia-landa-accion-relato-discurso-estructura-de-la-ficcion-narrativa/">http://efimeroescombrera.wordpress.com/2011/02/15/libro-html-j-a-garcia-landa-accion-relato-discurso-estructura-de-la-ficcion-narrativa/</a><br>
&nbsp;&nbsp;&nbsp; 2011</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lin Ching. (&quot;Images
Shaped and Representation Analysis of Female Athletes in Sports Film.&quot;)
Ph.D. diss. National Taichung University of Education, Taiwan, 27 Nov. 2018.*
(In Chinese).<br>
&nbsp;&nbsp;&nbsp; <a href="http://ntcuir.ntcu.edu.tw/handle/987654321/13754">http://ntcuir.ntcu.edu.tw/handle/987654321/13754</a>
<br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Lindve, Katarina. &quot;Crime with Loss of Context: How the Translation Changed
the Implied Reader of Asa Larsson's The Savage Altar: Innocence Will Be
Sacrificed.&quot; Essay, M_lardalen U, 2007. Online at Scribd.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://es.scribd.com/doc/241770329/">https://es.scribd.com/doc/241770329/</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>The Linguist List:
Bibliographies.<br>
<a href="https://old.linguistlist.org/sp/GetWRListings.cfm?WRAbbrev=Bibs">https://old.linguistlist.org/sp/GetWRListings.cfm?WRAbbrev=Bibs</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lioy, Dan. &quot;An
Evolutionary Creationist Process for the Origin of Humanity.&quot; Conspectus
11 (2011): 115-66. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/1075165/">https://www.academia.edu/1075165/</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>&quot;Literaturphilosophie.&quot;
Academic.*</span></i><span style='color:black'><br>
<i>&nbsp;&nbsp;&nbsp; <a href="https://de-academic.com/dic.nsf/dewiki/871282">https://de-academic.com/dic.nsf/dewiki/871282</a><br>
&nbsp;&nbsp;&nbsp; 2022</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>&quot;Literaturwissenschaft.&quot;
AnthroWiki.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://anthrowiki.at/Literaturwissenschaft">https://anthrowiki.at/Literaturwissenschaft</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Litwak, Kenneth D. Echoes of
Scripture in Luke-Acts: Telling the History of God's People Intertextually.
Vol. 282. Continuum International Publishing Group, 2005.<b><br>
<br>
</b>Liu, April. &quot;Living Auspiciousness: The Resurgence of Mianzhu's New
Year Picture (Nianhua) Industry.&quot; Ph.D. diss. Vancouver: U of British
Columbia, 2012. Online at Open Library (U of British Columbia).*<br>
<a
href="https://web.archive.org/web/20200217055841/https:/open.library.ubc.ca/media/download/pdf/24/1.0072750/1">https://web.archive.org/web/20200217055841/https://open.library.ubc.ca/media/download/pdf/24/1.0072750/1</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Liu, Nan. An Investigation
into the Narratology of James Joyce's 'Araby'. Grin (2014)<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.grin.com/en/e-book/282211/an-investigation-into-the-narratology-of-james-joyce-s-araby">http://www.grin.com/en/e-book/282211/an-investigation-into-the-narratology-of-james-joyce-s-araby</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Liu, Yujun. (School of Foreign
Languages, Qingdao U of Science and Technology, Shandong, 266061 China).
&quot;Similarities and Differences of the Narrative Structure of Western and
Chinese Short Narratives.&quot; Journal of Arts and Humanities 6.4 (2017):
27-41.*<br>
&nbsp;&nbsp; <a href="http://dx.doi.org/10.18533/journal.v6i4.1141">http://dx.doi.org/10.18533/journal.v6i4.1141</a>
<br>
&nbsp;&nbsp; <a
href="https://theartsjournal.org/index.php/site/article/view/1141/556">https://theartsjournal.org/index.php/site/article/view/1141/556</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; LAR Center Press, Canada.</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Liveley, Genevieve, and Patricia
Salzman-Mitchell, eds. Latin Elegy and Narratology: Fragments of Story.
Columbus: Ohio State UP, 2008. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/8981138/">
https://www.academia.edu/8981138/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><i><span style='font-size:7.5pt;color:black'><br>
<br>
</span><span style='color:black'>Lively, Adam. Mediation and Dynamics in the
Experience of Narrative Fiction (Part 2). Ph.D. Royal Holloway College, U of
London, n.d. Online at Academia:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.academia.edu/8485662/Mediation_and_Dynamics_in_the_Experience_of_Narrative_Fiction_Part_1_">https://www.academia.edu/8485662/Mediation_and_Dynamics_in_the_Experience_of_Narrative_Fiction_Part_1_
</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.academia.edu/8485683/Mediation_and_Dynamics_in_the_Experience_of_Narrative_Fiction_Part_2_">https://www.academia.edu/8485683/Mediation_and_Dynamics_in_the_Experience_of_Narrative_Fiction_Part_2_</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lively, Adam. &quot;Joint
Attention, Semiotic Mediation and Literary Narrative.&quot; Poetics Today 37.4
(2016): 517-38.*<br>
&nbsp;&nbsp;&nbsp; doi: 10.1215/03335372-3638042 <br>
&nbsp;&nbsp;&nbsp; <a
href="http://poeticstoday.dukejournals.org/content/37/4/517.short">http://poeticstoday.dukejournals.org/content/37/4/517.short</a><br>
&nbsp;&nbsp;&nbsp; Preprint:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a
href="http://eprints.mdx.ac.uk/20036/2/Joint%20Attention,%20Semiotic%20Mediation%20and%20Literary%20Narrative%20Revised%20Version.pdf">http://eprints.mdx.ac.uk/20036/2/Joint%20Attention,%20Semiotic%20Mediation%20and%20Literary%20Narrative%20Revised%20Version.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2017 </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Liz Alvez, Barbara.
&quot;Insensitive Reading: The Treatment of Literary Texts in EFL
Text-Books.&quot; MA (Licenciado) diss. Eldorado, Misiones, Universidad
Nacional del Litoral, 2015.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/13810570/">https://www.academia.edu/13810570/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lledó Cardona, Miguel Ángel.
&quot;Los Ethicorum Libri III del ilustrado valenciano Mariano Madramany y
Calatayud: Edición crítica, traducción y notas.&quot; Ph.D. diss. U de
Valencia, 2013.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://core.ac.uk/download/71015432.pdf">https://core.ac.uk/download/71015432.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Llopis, Sara. &quot;L'obra que
va consagrar Blasco Ibáñez.&quot; El Periódico Mediterráneo 16 April 2018.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.elperiodicomediterraneo.com/noticias/cuadernos/l-obra-va-consagrar-blasco-ibanez_1141065.html">http://www.elperiodicomediterraneo.com/noticias/cuadernos/l-obra-va-consagrar-blasco-ibanez_1141065.html</a><br>
&nbsp;&nbsp;&nbsp; 2018<b><br>
<br>
</b>Llorente, M_ del Rosario. Rev. of Estudios sobre el texto: Nuevos enfoques
y propuestas. Ed. Mº Azucena Penas Ibáñez and Rosario González. Analecta
Malacitana 33.1 (2010).<br>
<br>
Löfgren, Hans. &quot;Squaring the Circle: A Semiotics of Narrative
Grammar.&quot; Online at Göteborg University library:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://gupea.ub.gu.se/bitstream/2077/27957/1/gupea_2077_27957_1.pdf">https://gupea.ub.gu.se/bitstream/2077/27957/1/gupea_2077_27957_1.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lopez, Kimberly June. &quot;'We
Are Not a Machine': Personal Support Workers' (ante)Narratives of Labours,
Leisure and Hope amidst Politics of Genderacialised Care in Long-Term Care
Homes.&quot; Ph.D. diss. U of Waterloo, Ontario, 2018.*<br>
<a
href="https://www.uwspace.uwaterloo.ca/bitstream/handle/10012/12850/Lopez_Kimberly.pdf">https://www.uwspace.uwaterloo.ca/bitstream/handle/10012/12850/Lopez_Kimberly.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lotz, Colette.
(colette.lotz@nwu.ac.za ; North-West University, Potchefstroom). &quot;Possible
Worlds: A Reading of Three Artworks from the Creative Creatures
Exhibition.&quot; Literator 30.1 (April 2009): 77-97. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3205273/">https://www.academia.edu/3205273/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lugea, Jane. (U of Huddersfield,
UK). World Building in Spanish and English Spoken Narratives. London:
Bloomsbury, 2016.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=3MHdCwAAQBAJ">https://books.google.es/books?id=3MHdCwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Lukas, Scott, and John
Marmysz. (Lake Tahoe Community College). &quot;1. Horror, Science Fiction and
Fantasy Films Remade.&quot; In Fear, Cultural Anxiety, and Transformation:
Horror, Science Fiction and Fantasy Films Remade. Ed. Scott A. Lukas and John
Marmysz. Lexington Books, 2009. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/37623291/">https://www.academia.edu/37623291/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
_____. &quot;Fear, Cultural Anxiety, and Transformation: Horror, Science
Fiction, and Fantasy Films Remade.&quot; Online bibliography at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2250092/">https://www.academia.edu/2250092/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Mackay, Maria Anne.
&quot;Medeia: Maiden, Mother, Monster.&quot; MA diss. U of Otago, Dunedin, New
Zealand, 2011. OUR Archive.*<br>
<a href="https://ourarchive.otago.ac.nz/handle/10523/2004">https://ourarchive.otago.ac.nz/handle/10523/2004</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Madden, Stephanie
(Pennsylvania State U), Geah Pressgrove, and Melissa Janoske. &quot;Changing
the Story: Implications of Narrative on Teacher Identity.&quot; Journal of
Public Interest Communications 3.1 (2019).*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.32473/jpic.v3.i1.p3<br>
&nbsp;&nbsp;&nbsp; <a
href="http://journals.fcla.edu/jpic/article/viewFile/105541/109623">http://journals.fcla.edu/jpic/article/viewFile/105541/109623</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Magdaleno Santamaría, Miguel.
(U of Nebraska-Lincoln). &quot;La poética de Bernardo de Balbuena: Breve
estudio de la poética épico-fantástica tras El Bernardo o Victoria de
Roncesvalles (1624).&quot; Online at Theses, Dissertations, Student Research:
Modern Languages and Literatures (U of Lincoln) paper 33 (2016).<br>
&nbsp;&nbsp;&nbsp; <a href="http://digitalcommons.unl.edu/modlangdiss/33">http://digitalcommons.unl.edu/modlangdiss/33</a>
<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/31036303/">https://www.academia.edu/31036303/</a>&nbsp;&nbsp;&nbsp;
<br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
&quot;Mairtin O Cadhain's Cre na Cille: A Narratological Approach.&quot; Irish
University Review 11 Feb. 2015. Online at The Free Library.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.thefreelibrary.com/Mairtin+O+Cadhain%27s+Cre+na+Cille%3a+a+narratological+approach.-a0156808754">http://www.thefreelibrary.com/Mairtin+O+Cadhain%27s+Cre+na+Cille%3a+a+narratological+approach.-a0156808754</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Maj, Krzysztof M., and Michał
Kłosiński. &quot;Przyczajony dyskurs, ukryta narracja. W stronę uświadomionego
interdyscyplinarnie groznawstwa.&quot; In Dyskursy gier wideo (=Video game
discourses). Ed. Michał Kłosiński and Krzysztof M. Maj. Kraków: Ośrodek
Badawczy Facta Ficta (Research Centre Facta Ficta), 2019.*<br>
<a href="https://www.academia.edu/40358052/">https://www.academia.edu/40358052/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____, eds. Dyskursy gier wideo (=Video game discourses). (Perspektywy
Ponowoczesnoszi, 8) Kraków: Ośrodek Badawczy Facta Ficta (Research Centre Facta
Ficta), 2019. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/40357615/">https://www.academia.edu/40357615/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Mamulea, Mona. &quot;La început a fost povestea: Despre functia cognitiva a
naratiunii în mitologie si stiinta.&quot; In Simpozionul National 'Constantin
Noica': Editia a IV-a: &quot;La început era cuvântul.&quot; [&quot;In the
Beginning Was the Word&quot;]. Bucharest: Editura Academiai Romane,
2013.&nbsp;&nbsp; 35-41.* </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>_____. Teme filosofice în
cultura populara Româneasca (Philosophical Topics in the Romanian Folk
Culture). Bucarest: Editura Academiei Române, 2015. Online at Academia.*<br>
<a href="https://www.academia.edu/45167723/">https://www.academia.edu/45167723/</a>
<br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Marais, Susan. (North West
University, South Africa). &quot;Remapping the Castaway Novel: Spatial
Adaptation and Identity Formation in Umberto Eco's The Island of the Day
Before.&quot; Critique 60.5 (2019): 563-75.<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.1080/00111619.2019.1625858">https://doi.org/10.1080/00111619.2019.1625858</a><br>
<a href="https://www.tandfonline.com/doi/abs/10.1080/00111619.2019.1625858">https://www.tandfonline.com/doi/abs/10.1080/00111619.2019.1625858</a>
<br>
2020<br>
&nbsp;<br>
Marincak, Lucas. A Narratological Analysis of the LIFE OF AARON. MA diss. U of
Ottawa, Canada, 2016.<br>
&nbsp;&nbsp;&nbsp; <a href="http://hdl.handle.net/10393/34583">http://hdl.handle.net/10393/34583</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Marimón Llorca, Carmen. &quot;El texto narrativo.&quot; Liceus / e-Excellence
(2006).*<br>
&nbsp;&nbsp;&nbsp;<a
href="http://books.google.es/books?hl=en&amp;lr=&amp;id=juCOP-9xwL8C">
http://books.google.es/books?hl=en&amp;lr=&amp;id=juCOP-9xwL8C</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Marín Fernández, Brais. Estereotipos
de género: Los personajes en el cine de David O. Russell. TFG U de Valladolid,
2016. Online at UVaDOC.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://uvadoc.uva.es/handle/10324/22398">https://uvadoc.uva.es/handle/10324/22398</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>Mármol Ávila, Pedro. &quot;El protagonista
del Libro de Buen Amor como cuerpo sin forma: Razones desde las tres
dimensiones del relato secuencial de Juan Ruiz.&quot; M.A. diss. U Autónoma de
Madrid, 2016. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/35766558/">https://www.academia.edu/35766558/</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>Marques Jesus de Sousa,
Elisabete. &quot;A técnica dem Leitmotiv em <i>Der Ring des Nibelungen</i> de
Richard Wagner e em <i>Buddenbrooks</i> de Thomas Mann.&quot; MA diss. U of
Lisbon, 1999. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/35140881/">https://www.academia.edu/35140881/</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><span style='color:black'>Marsella, Stacy C.
&quot;Experiences Authoring Interactive Pedagogical Drama.&quot; <i>International
Journal of Continuing Education and Life-Long Learning</i> 18.2 (2008). Online
at Inderscience.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.inderscience.com/offer.php?id=17374">https://www.inderscience.com/offer.php?id=17374</a><br>
&nbsp;&nbsp;&nbsp; Online ref. at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://pdfs.semanticscholar.org/8dd1/9957298985f6bbd33065560f3cd836c73985.pdf">http://pdfs.semanticscholar.org/8dd1/9957298985f6bbd33065560f3cd836c73985.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
<i>Martín Alegre, Sara. Rev. of Beyond Borders: Re-defining Generic and
Ontological Boundaries. Ed. Ramón Plo-Alastrué and María Jesús Martínez-Alfaro.
Anglistik 15.1 ( March 2004): 184-187.*<br>
_____.Enseñar literatura inglesa. Bellaterra: Universitat Autònoma de
Barcelona, Departament de Filología Inglesa i de Germanística, 2002.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://ddd.uab.cat/pub/worpap/2014/122988/enslitang_a2014.pdf">https://ddd.uab.cat/pub/worpap/2014/122988/enslitang_a2014.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
Martín Criado, Arturo. &quot;Ficción y no ficción en la narrativa oral.&quot;
Revista de Folklore 305 (2006): 170-180.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://funjdiaz.cervantesvirtual.com/rf305.pdf">http://funjdiaz.cervantesvirtual.com/rf305.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2015 DISCONTINUED 2020<br>
&nbsp;&nbsp;&nbsp; <a href="https://funjdiaz.net/folklore/07ficha.php?id=3054">https://funjdiaz.net/folklore/07ficha.php?id=3054</a><br>
&nbsp;&nbsp;&nbsp; 2020</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Martín González, Sara.
&quot;Relaciones entre periodismo, literatura y cine: El caso de Arturo
Pérez-Reverte, Truman Capote y Tom Wolfe.&quot; Dir. Mercedes Miguel Borrás.
TFG Grado de Periodismo, Facultad de Filosofía y Letras, U de Valladolid,
2015.* Online at UVAdoc.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://uvadoc.uva.es/bitstream/10324/19263/1/TFG_F_2015_148.pdf">http://uvadoc.uva.es/bitstream/10324/19263/1/TFG_F_2015_148.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='mso-fareast-font-family:
"Times New Roman";color:black'>Martín Ibáñez, Eva Rosario. &quot;La dimensión
narrativa de los videojuegos First Person Shooter (FPS).&quot; PhD. Diss. U
Complutense de Madrid, 2017. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/41957074/">https://www.academia.edu/41957074/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Martín Rogero, Nieves. &quot;El viaje histórico medieval en la narrativa
española juvenil contemporánea.&quot; Ph.D. diss. U Complutense de Madrid,
2003.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://webs.ucm.es/BUCM/tesis/fll/ucm-t26682.pdf">http://webs.ucm.es/BUCM/tesis//fll/ucm-t26682.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Martínez, María Angeles U Complutense, Madrid; ma.martinez@filol.ucm.es) .
&quot;The Reader-Focalizer Blend: Discourse and Cognition in Narrative
Understanding.&quot; Online PDF at PALA<i><br>
<a href="http://www.pala.ac.uk/resources/proceedings/2012/martinez2012.pdf">http://www.pala.ac.uk/resources/proceedings/2012/martinez2012.pdf</a></i><br>
2013<br>
<br>
Martínez, María Ángeles. (&quot;-ing Supplementive Clauses and Discourse
Prominence in Literary Journalism.&quot;&nbsp; <i>Journal of English Studies</i>
13 (2015): 83-107.*<o:p></o:p></span></p>

<p class=MsoNormal><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Martínez, Matías. &quot;Dos Passos Instead of Goethe! Some
Observations on How the History of Narratology Is and Ought to Be
Conceptualized.&quot; Diegesis 1.1 (2012).*<b> </b></span></i><span
class=apple-style-span><i><span style='font-family:Times;mso-fareast-font-family:
"Times New Roman";color:black'><a
href="https://www.diegesis.uni-wuppertal.de/index.php/diegesis/article/view/93/100"><u1:p></u1:p>https://www.diegesis.uni-wuppertal.de/index.php/diegesis/article/view/93/100</a></span></i></span><span
style='mso-fareast-font-family:"Times New Roman";color:black'><u1:p></u1:p><o:p></o:p></span></p>

<p class=MsoNormal><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>2013</span></i><span style='mso-fareast-font-family:"Times New Roman";
color:black'><br>
_____. &quot;Dos Passos instead of Goethe! Some observations on how the history
of narratology is and ought to be conceptualized.&quot; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/40531324/">https://www.academia.edu/40531324/&nbsp;</a>&nbsp;&nbsp;
<br>
&nbsp;&nbsp;&nbsp; 2019<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Martínez Alfaro, María Jesús.
Reseña de Narratology. Ed. Susana Onega y José Angel García Landa. Miscelánea
17 (1996): 241-44. <br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.miscelaneajournal.net/images/stories/articulos/vol17/review17.pdf">http://www.miscelaneajournal.net/images/stories/articulos/vol17/review17.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2009<br>
<br>
Martínez Martínez, M. Angeles. &quot;Storyworld Possible Selves and the
Phenomenon of Narrative Immersion: Testing a New Theoretical Construct.&quot;
Narrative 22.1 (2014): 110-31.*</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Martínez, María Ángeles.
Storyworld Possible Selves. Berlin and Boston: Walter de Gruyter, 2018. Online
preview at Google Books.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=UwNPDwAAQBAJ">https://books.google.es/books?id=UwNPDwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Martínez de Carnero Calzada,
Fernando. Rev. of Estudios sobre el texto: Nuevos enfoques y propuestas. Ed. Mª
Azucena Penas Ibáñez and Rosario González.&nbsp; Artifara 9 (2009).<br>
<br>
Martínez Falquina, Silvia. Rev. of Memory, Imagination and Desire in
Contemporary Anglo-American Literature and Film. Ed. Constanza del Río-Álvaro
and Luis Miguel García-Mainar. Miscelánea 32 (2005, issued 2006): 135-41.*<br>
<a
href="http://www.miscelaneajournal.net/images/stories/articulos/vol32/review3falquina32.pdf">http://www.miscelaneajournal.net/images/stories/articulos/vol32/review3falquina32.pdf</a><br>
<br>
Martos García, Alberto E., and Estibaliz Barriga Galdeano. &quot;La fantasía y
la ficción fantástica. Nuevas perspectivas: Desmontando estereotipos a partir
de las nuevas prácticas letradas.&quot; In Un viaje a traves de las culturas
letradas subversivas y de resistencia. Ed. Concepción López-Andrada. (Lecturas
de la Multiplicidad). Santiago de Chile: CELEI, 2020. 107-20. Online at
ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/341371776">https://www.researchgate.net/publication/341371776</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/73585402/">https://www.academia.edu/73585402/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Marzo Pérez, Jorge Luis.
&quot;Veroficción. Arte y falsedad en el sistema comunicacional
contemporáneo.&quot; Ph.D. diss. U de Vic, 2017. Online at Repositori Uvic.*<br>
<a
href="http://repositori.uvic.cat/xmlui/bitstream/handle/10854/5049/tesdoc_a2017_marzo_jose_luis_veroficcion_arte_falseda.pdf">http://repositori.uvic.cat/xmlui/bitstream/handle/10854/5049/tesdoc_a2017_marzo_jose_luis_veroficcion_arte_falseda.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Maskens, Maïté, and Ruy
Blanes. &quot;Introduction: Ethnography and the Mutualizing Utopia.&quot;
Journal of the Anthropological Society of Oxford Online ns 8.2 (2016).*<br>
&nbsp;&nbsp;&nbsp; <a href="http://hdl.handle.net/10451/26530">http://hdl.handle.net/10451/26530</a><br>
&nbsp;&nbsp;&nbsp; <a href="http://repositorio.ul.pt/handle/10451/26530">http://repositorio.ul.pt/handle/10451/26530</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Massanari, Adrienne. (U of Chicago).
&quot;Work Hard. Have Fun. Make History [Make Money]: Narratives of
Amazon.com.&quot; M.A. diss., U of Washington, 2003. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/598047/">https://www.academia.edu/598047/</a><br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2663445/">https://www.academia.edu/2663445/</a><br>
&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Massó Guijarro, Ester, and
Belén Massó Guijarro (U de Granada). &quot;Capítulo 2: Acoso laboral en la
universidad del siglo XXI: Reflexiones desde la ética organizacional y el
liderazgo moral.&quot; In Perspectivas y análisis de la salud: Un acercamiento
multidisciplinar. Ed. José Jesús Gázquez Linares et al. Madrid: Dykinson, 2020.
25-34. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44723831/">https://www.academia.edu/44723831/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Masson, Eef. Watch and Learn:
Rhetorical Devices in Classroom Films after 1940. (Framing Film). Amsterdam:
Amsterdam UP / Eye Film Institute Netherlands, 2012. Online preview at Google
Books.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://books.google.es/books?id=8xEhAwAAQBAJ">http://books.google.es/books?id=8xEhAwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
Mayoral, Javier (Periodismo, U Complutense, Madrid, fjmayoral@ccinf.ucm.es),
and Concha Edo. &quot;Towards a New Audiovisual Narrative: An Analysis of
Videos Published by Five Online Spanish Newspapers.&quot; Communication &amp;
Society 28.1 (2015): 144-64. Online at Dadun: Depósito Académico Digital
Universidad de Navarra.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://dadun.unav.edu/handle/10171/38077">http://dadun.unav.edu/handle/10171/38077</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
&nbsp;&nbsp;&nbsp; Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.researchgate.net/publication/277009524">
https://www.researchgate.net/publication/277009524</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>McAllister, Robbie. Steampunk
Fiction: A Critical Introduction. London: Bloomsbury Academic, 2019.* Online
preview at Amazon:<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.amazon.com/reader/1501331213">https://www.amazon.com/reader/1501331213</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>McCollough, David J. (Durham
U). &quot;Ritual Water, Ritual Spirit: An Analysis of the Timing, Mechanism,
and Manifestation of Spirit Reception in Luke-Acts.&quot; Ph.D. diss. Middlesex
U, supervised London School of Theology, 2014. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/15285775/">https://www.academia.edu/15285775/</a></span></i><span
style='color:black'><br>
<a href="https://www.academia.edu/9523167/"><i><span style='color:black'>https://www.academia.edu/9523167/</span></i></a><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&nbsp;&nbsp;&nbsp; 2019<br>
<br>
McDaniel, Rudy (U of Central Florida), Stephen M. Fiore (U of Central Florida)
and Denise Nicholson (U of Central Florida). &quot;Chapter 2: Serious
Storytelling: Narrative Considerations for Serious Game Researchers and
Developers.&quot; From Serious Game Design and Development: Technologies for
Training and Learning. Ed. Jan Cannon-Bowers and Clint Bowers (both U of
Central Florida). Hershey (PA) and New York: IGI Global – Information Science
Reference, 2010. 13-30.* (Fallout 3).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3973183/">https://www.academia.edu/3973183/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
McDaniel, Rudy, and Natalie Underberg (both U of Central Florida). &quot;V4N2:
Exembellishment: Using the eXtensible Markup Language as a Tool for Storytelling.&quot;
iDMAa: International Digital Media and Arts Association 18 July 2013.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://idmaa.org/?post_type=journalarticle&amp;p=2126">http://idmaa.org/?post_type=journalarticle&amp;p=2126</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
_____. &quot;Exembellishment: Using the Extensive Markup Language as a Tool for
Storytelling.&quot; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/28313433/">https://www.academia.edu/28313433/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>McDonald, Donna Marie.
&quot;(1) Critical Essay: Hearsay: how stories of deafness and deaf people are
told (2) Creative work: The Art of Being Deaf.&quot; PhD Thesis, School of
English, Media Studies and Art History, The University of Queensland, 2010.
Online at UQ eSpace.*<br>
<a href="https://doi.org/10.14264/uql.2015.956">https://doi.org/10.14264/uql.2015.956</a><br>
<a href="https://espace.library.uq.edu.au/view/UQ:241063">https://espace.library.uq.edu.au/view/UQ:241063</a>
<br>
<a
href="https://www.semanticscholar.org/paper/%281%29-Critical-Essay%3A-Hearsay%3A-how-stories-of-and-are-McDonald/7b59a1a6f6b3f55fe0a33235014171182a9af0bb?p2df">https://www.semanticscholar.org/paper/%281%29-Critical-Essay%3A-Hearsay%3A-how-stories-of-and-are-McDonald/7b59a1a6f6b3f55fe0a33235014171182a9af0bb?p2df</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>McGill School of Computer
Science - LINGUISTICS: <br>
&nbsp;&nbsp; <a
href="http://www.cs.mcgill.ca/%7Erwest/link-suggestion/wpcd_2008-09_augmented/wp/l/Linguistics.htm">http://www.cs.mcgill.ca/~rwest/link-suggestion/wpcd_2008-09_augmented/wp/l/Linguistics.htm</a></span></i><span
style='color:black'><br>
<i><br>
Medina, Francisca. Rev. of Estudios sobre el texto: Nuevos enfoques y
propuestas. Ed. Mª Azucena Penas Ibáñez and Rosario González. Oralia 14 (2011).
</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Medina Audelo, Ricardo (U
Pompeu Fabra) and Lucas M. Bietti (Institute for Advanced Study in the
Humanities, Essen). &quot;Autobiographical Remembering and Storytelling in Context
and History.&quot; Storytelling, Self, Society: An Interdisciplinary Journal of
Storytelling Studies 9.1 (June 2013). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3093462/">https://www.academia.edu/3093462/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Meister, Jan-Christoph. &quot;Narratology.&quot; 2013. Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/30096163/">https://www.academia.edu/30096163/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Méndez Carazo, Carolina. La
imagen del periodista en el cine de la primera década del siglo XX. Trabajo fin
de Grado, U de Valladolid, 2014.* Online at UVa.doc:<br>
&nbsp;&nbsp;&nbsp; <a href="https://uvadoc.uva.es/handle/10324/8471">https://uvadoc.uva.es/handle/10324/8471</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mendíbil Blanco, Alejandro.
&quot;Jess Franco: De los márgenes al cine de autor. Análisis del relato
cinematográfico.&quot; Ph.D. diss. U Complutense de Madrid, 2019.* Online at
ePrints:<br>
<a href="https://eprints.ucm.es/51685/1/T40965.pdf">https://eprints.ucm.es/51685/1/T40965.pdf
</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mendy, John P. (Fac. of
Business and Law; U of Lincoln, jmendy@lincoln.ac.uk) and Martha Vahl (Fac. of
Business and Law, U of Lincoln; mvahl@lincoln.ac.uk). &quot;An Exploration of
the Use of Stories in Research and Organising a Conference.&quot; Systemica
(2007): 85-91.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/41938436/">https://www.academia.edu/41938436/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Meng, Taojia. &quot;History of
English Literature.&quot; From A Bibliography of Literary Theory, Criticism and
Philology. Online at Academia (Taojia Meng).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/35205824/">https://www.academia.edu/35205824/</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Meretoja, Hanna. &quot;For
Interpretation.&quot; Storyworlds 8.1 (Summer 2016): 97-117.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/33190995/">https://www.academia.edu/33190995/</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
______.The Ethics of Storytelling: Narrative Hermeneutics, History, and the
Possible. (Explorations in Narrative Psychology). Oxford: Oxford UP, 2018.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://books.google.es/books?hl=en&amp;lr=&amp;id=ghBADwAAQBAJ">https://books.google.es/books?hl=en&amp;lr=&amp;id=ghBADwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Merlo, Roberto. &quot;Dentro e
fuori la Rete: Rimediazioni, tematizzazioni e realtà virtuale in L'omino rosso
di Doina Rusti.&quot; En Ritorno a Babele: Esercizi di globalizzazione. Ed.
Cristina Trinchero. Rivoli (Turin): Neos Edizioni, 2013. 113-56. <br>
&quot;Metafiction.&quot; Project Narrative Wiki (Georgetown University).*</span></i><span
style='color:black'><br>
<i>&nbsp;&nbsp;&nbsp;</i><a
href="http://narrative.georgetown.edu/wiki/index.php/Metafiction"><i>
http://narrative.georgetown.edu/wiki/index.php/Metafiction</i></a><i><br>
&nbsp;&nbsp;&nbsp; 2016</i><br>
<br>
<i>Meyer, Jürgen. Textvarianz und Schriftkritik: dialogische Schreib-und
Lesekultur bei Thomas More, George Gascoigne und John Lyly. Vol. 42.
Universitätsverlag Winter, 2010.</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Michalowski, Piotr, and Nick
Veldhuis, eds. Approaches to Sumerian Literature. Studies in Honour of Stip (H.
L. J. Vanstiphout). (Cuneiform Monographs, 35). Leiden and Boston: Brill, 2006.
Online at Internet Archive.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://archive.org/details/ApproachesToSumerianLiterature/page/n1">https://archive.org/details/ApproachesToSumerianLiterature/page/n1</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Micoli, Laura Loredana,
Giandomenico Caruso and Gabriele Giudi. &quot;Design of Digital Interaction for
Complex Museum Collections.&quot; Multimodal Technologies and Interaction 4.2
(2020): 31.<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.mdpi.com/2414-4088/4/2/31">https://www.mdpi.com/2414-4088/4/2/31</a>
<br>
<a href="https://doi.org/10.3390/mti4020031">https://doi.org/10.3390/mti4020031</a><br>
Online at Academia.*<br>
<a href="https://www.academia.edu/60775622/">https://www.academia.edu/60775622/</a><br>
2020<br>
<a href="https://www.academia.edu/72831350/">https://www.academia.edu/72831350/</a><br>
2022<br>
<a href="https://www.academia.edu/72831367">https://www.academia.edu/72831367</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Miguel Zamora, Marta de.
(martamz@gmail.com) &quot;La narración como eje creativo del proyecto
urbano.&quot; Actas Icono14 - II Congreso Internacional Ciudades Creativas –
Revista de Comunicación y Nuevas Tecnologías (2011): 1016-1023. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/6237650/">
https://www.academia.edu/6237650/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mika, Kasia. Disasters,
Vulnerability, and Narratives: Writing Haiti's Futures. London: Routledge,
2018.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.taylorfrancis.com/books/9781351403047">https://www.taylorfrancis.com/books/9781351403047</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.4324/9780203733158">https://doi.org/10.4324/9780203733158</a>&nbsp;&nbsp;&nbsp;
<br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mildorf, Jarmila, and Till
Kinzel, eds. Audionarratology: Interfaces of Sound and Narrative.
(Narratologia, 52). Berlin and Boston: Walter de Gruyter, 2016.* (Music and
Storytelling; Sound Art; Sound, Narrative and Immersion)</span></i><i><span
style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'>&nbsp;&nbsp;&nbsp; </span></i><i><span
style='font-size:7.5pt;color:black'><a
href="http://www.degruyter.com/view/product/468357"><span style='font-size:
12.0pt'>http://www.degruyter.com/view/product/468357</span></a><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'>2016<b><br>
</b></span></i><b><i><span style='font-size:18.0pt;color:black'><br>
</span></i></b><i><span style='color:black'>Miralles, Beatriz. &quot;Palabras,
pese a todo: Samuel Beckett o la escritura del desasistimiento.&quot; Détour 8
Jan. 2016.*</span></i><i><span style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; <a
href="http://diarios.detour.es/especies-de-espacios/palabras-pese-a-todo-samuel-beckett-o-la-escritura-del-desasistimiento-por-beatriz-miralles"><span
style='font-size:12.0pt'>http://diarios.detour.es/especies-de-espacios/palabras-pese-a-todo-samuel-beckett-o-la-escritura-del-desasistimiento-por-beatriz-miralles</span></a><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'>2016<b><br>
</b>_____. &quot;Palabras, pese a todo: Samuel Beckett y la escritura del
desasistimiento.&quot; Cuaderno portátil 9 Jan. 2016.*</span></i><i><span
style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'>&nbsp;&nbsp;&nbsp; </span></i><i><span
style='font-size:7.5pt;color:black'><a
href="https://cuadernoportatil.wordpress.com/"><span style='font-size:12.0pt'>https://cuadernoportatil.wordpress.com</span></a><br>
</span><span style='color:black'>&nbsp;&nbsp;&nbsp; 2016<b> </b></span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>MLA Handbook for Writers of
Research Papers. 7th ed. New York: MLA, 2009. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/17259611/MLA">https://www.academia.edu/17259611/MLA</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
_____.&nbsp; &quot;Citing Web Publications.&quot; From MLA Handbook for Writers
of Research Papers, 7th ed., 2009. 181-91. Online at European Nazarene College.
(A Bibliography, p. 185-86).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.eunc.edu/wp-content/uploads/MLA_-_Web_Publications.pdf">https://www.eunc.edu/wp-content/uploads/MLA_-_Web_Publications.pdf<br>
&nbsp;&nbsp;&nbsp; 2022</a></span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>MLA International
Bibliography. </span></i><span style='color:black'>2010.<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Moana, Anni Hine. 'Looking at
Our Own History Book': Exploring through the Stories of Aboriginal Women the
Relationship between Shame and Problems with Alcohol. BA diss. La Trobe U,
Bundoora, Victoria. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/39309711/">https://www.academia.edu/39309711/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Molina Martínez, Julián. &quot;La creación imposible: Poética de las ficciones
sobre el fracaso artístico desde la Modernidad.&quot; MA dissertation, Dept. of
Communication, U Pompeu Fabra, 2011.*<br>
&nbsp;&nbsp;&nbsp; Online at e-Repositori</span></i><i><span style='font-size:
7.5pt;color:black'>,<br>
&nbsp;&nbsp;&nbsp; <a href="http://repositori.upf.edu/handle/10230/12806"><span
style='font-size:12.0pt'>http://repositori.upf.edu/handle/10230/12806</span> </a><br>
&nbsp;&nbsp;&nbsp; <a
href="http://repositori.upf.edu/bitstream/handle/10230/12806/TFD_JulianMolina.pdf?sequence.pdf">h<span
style='font-size:12.0pt'>ttp://repositori.upf.edu/bitstream/handle/10230/12806/TFD_JulianMolina.pdf?sequence.pdf</span></a><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'>2016</span></i><b><i><span
style='font-size:7.5pt;color:black'> </span></i></b><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Montgomery, Martin, Alan
Durant, Nigel Fabb, Tom Furniss and Sara Mills. Ways of Reading. 3rd ed.
London: Routledge, 2007.<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=isd_AgAAQBAJ">https://books.google.es/books?id=isd_AgAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Moody, Paul (Brunel U).
&quot;An ‘Amuse-Bouche at Best': 360° VR Storytelling in Full
Perspective.&quot; International Journal of e-Politics ( IJEP) 8.3 (2017):
42-50.*<br>
&nbsp;&nbsp;&nbsp; &nbsp;doi:10.4018/IJEP.2017070104<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.igi-global.com/gateway/article/full-text-html/186963">https://www.igi-global.com/gateway/article/full-text-html/186963</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Moorsel, Christy van.
&quot;Metataal in Samuel Becketts </span></i><span style='color:black'>Company.&quot;<i>
Course paper, Vrije Universiteit Brussel, 2014-15. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.academia.edu/download/38036603/Metataal_in_Samuel_Becketts_Company.docx">http://www.academia.edu/download/38036603/Metataal_in_Samuel_Becketts_Company.docx</a><br>
&nbsp;&nbsp;&nbsp; 2018<b><br>
<br>
</b>Morán Hernández, Ángel. La narrativa autobiográfica y las guerras
hispanocubanas (1868-1898). Dos diarios: LA GUERRA! CUBA de Ricardo Burguete y
MI DIARIO DE LA GUERRA de Bernabé Boza. MA diss. Facultad de Filolog_a, UNED,
2013.</i></span><i><span style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.uned.es/centro-investigacion-SELITEN@T/pdf/Angel_Moran.pdf"><span
style='font-size:12.0pt'>http://www.uned.es/centro-investigacion-SELITEN@T/pdf/Angel_Moran.pdf</span></a><br>
&nbsp;</span><span style='color:black'>&nbsp;&nbsp; 2015</span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Moreno Torres, Mónica, and
Edwin Moreno Carvajal Córdoba. &quot;Aportes y límites de la teoría literaria
en la formación del licenciado en Lengua y Literatura.&quot; Uni-Pluri/versidad
9.1 (2009): 1-13.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.semanticscholar.org/paper/Aportes-y-l%C3%ADmites-de-la-teor%C3%ADa-literaria-en-la-del-Torres-C%C3%B3rdoba/a547f708d1d9a85a18fd5b08d1fc6e288f9d2f69">https://www.semanticscholar.org/paper/Aportes-y-l%C3%ADmites-de-la-teor%C3%ADa-literaria-en-la-del-Torres-C%C3%B3rdoba/a547f708d1d9a85a18fd5b08d1fc6e288f9d2f69<br>
&nbsp;&nbsp;&nbsp; 2020</a></span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Morrell, Kevin. (U of
Birmingham). &quot;The Narrative of 'Evidence-Based' Management: A
Polemic.&quot; Journal of Management Studies 45.3 (May 2008): 613-35.*<br>
&nbsp;&nbsp;&nbsp; DOI 10.1111/j.1467-6486.2007.00755.x<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/19429172/">https://www.academia.edu/19429172/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Moszczynska, Katarzyna.
&quot;Cultura, ideología e industria editorial: La narrativa de mujeres en la
España de los noventa.&quot; Ph.D. diss. U of Warsaw / U of Granada, 2007.
Online at Digibug: Repositorio Institucional de la Universidad de Granada.*<br>
<a href="https://digibug.ugr.es/bitstream/handle/10481/1638/16847313.pdf">https://digibug.ugr.es/bitstream/handle/10481/1638/16847313.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mota Zurdo, David. (U Isabel I,
España; david.mota@ui1.es). &quot;ETA, presunto culpable. El tratamiento del
terrorismo vasco y sus víctimas en una serie de ficción.&quot; Historia actual
online 52.2 (2020): 157-70.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.historia-actual.org/Publicaciones/index.php/hao/article/download/1903/1579">https://www.historia-actual.org/Publicaciones/index.php/hao/article/download/1903/1579</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mullins, Martin. (U of
Limerick). In the Shadow of the Generals: Foreign Policy Making in Argentina,
Brazil and Chile. London: Routledge, 2017. Online preview at Google Books.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=1fdADwAAQBAJ">https://books.google.es/books?id=1fdADwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2018<b><br>
<br>
</b>Munganga, Bonaventure Muzigirwa. &quot;Inference and Narrative Processing
in Fiction and Film: (Where) (Does) Narrative Reading Part(s) Ways with its
Viewing and Vice-Versa(?).&quot; Cogent: Arts &amp; Humanities 3 (2016):
1252138.*<br>
<a href="http://dx.doi.org/10.1080/23311983.2016.1252138">http://dx.doi.org/10.1080/23311983.2016.1252138</a><br>
Online at Academia.<br>
<a href="https://www.academia.edu/29846747/">https://www.academia.edu/29846747/</a><br>
<a href="https://www.academia.edu/30128691/">https://www.academia.edu/30128691/
</a><br>
2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Muñoz González, Esther. (U de
Zaragoza; emunoz@unizar.es). &quot;Lost Children: Hearing the Past in the
Silence of an Empty House.&quot;&nbsp; ES 38 (2017): 47-63. Online at
Academia.* (Maggie Gee, 1994).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/38764321/">https://www.academia.edu/38764321/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Muñoz Terrón, José María. Rev.
of Paradojas de la interculturalidad: Filosof_a, lenguaje y discurso. Ed. Mª
Carmen López Sáenz and Beatriz Penas Ibáñez. Daímon: Revista Internacional de
Filosofía 46 (2009): 222-24*<u1:p></u1:p></span></i><span style='color:black'><o:p></o:p></span></p>

<div style='margin-left:35.45pt'>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
text-indent:-35.45pt;background:#FFFF99'><i><span style='color:black'>Muro
Munilla, Miguel Ángel. &quot;Carmen: La construcción del texto y del mito español
a partir del tópico de un viajero romántico francés.&quot; Cuadernos de
Investigación Filológica 33-34 (2007-2008): 177-92.*</span></i><span
style='color:black'><br>
&nbsp;Online at Dialnet.*<br>
&nbsp;&nbsp;&nbsp;<a
href="https://dialnet.unirioja.es/descarga/articulo/3393504.pdf">
https://dialnet.unirioja.es/descarga/articulo/3393504.pdf </a><br>
&nbsp;&nbsp;&nbsp; 2021<br style='mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'>
<![endif]><o:p></o:p></span></p>

</div>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'><u1:p></u1:p>Mvondo, Wilfried.
(Cameroon). &quot;Crisis de paradigmas e identidad religiosa del sujeto global:
Una lectura de El desmayo de Judas de Àvila Laurel.&quot; Syllabus Review:
Human and Social Science Series 6.2 (2015): 227-45.* (Juan Tomás Ávila Laurel,
Guinea Ecuatorial, 1966).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/28220871/">https://www.academia.edu/28220871/</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
_____. Africanía y Africanidad en EL ÚLTIMO RÍO y EL METRO: Un estudio
sociocrítico comparado. Ph.D. diss. U of Yaoundé, 2015. Online at Academia.*
(Nelson Estupiñán Bass, Ecuador; Donato Ndongo-Bidyogo Makina, Guinea).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/28221027/">https://www.academia.edu/28221027/</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mwapangizda, Solomon.
(Midlands State U) &quot;In Search of Desired Selves: Constructions of
Self-Identity in Barack Obama's Dreams from My Father and Nelson Mandela's Long
Walk to Freedom.&quot; Latin American Report 30.2 (2014)<br>
&nbsp;&nbsp;&nbsp; DOI: <a href="https://doi.org/10.25159/0256-6060/1241">https://doi.org/10.25159/0256-6060/1241</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="https://upjournals.co.za/index.php/LAR/article/view/1241">https://upjournals.co.za/index.php/LAR/article/view/1241</a><br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar:<br>
&nbsp;<a
href="https://www.semanticscholar.org/paper/In-search-of-desired-selves-%3A-constructions-of-in-Mwapangidza/70c8eadf561dbf7e962d1868b5061e510bf9231d?p2df">https://www.semanticscholar.org/paper/In-search-of-desired-selves-%3A-constructions-of-in-Mwapangidza/70c8eadf561dbf7e962d1868b5061e510bf9231d?p2df</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
_____. &quot;In Search of Desired Selves: Constructions of Self-Identities in
Barack Obama's Dreams from My Father and Nelson Mandela's Long Way to
Freedom.&quot; Latin American Report 30.2 (2014); online abstract at
ResearchGate (July 2016). <br>
DOI: 10.25159/0256-6060/1241<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/322535099">https://www.researchgate.net/publication/322535099</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mychko-Megrin, Irina.
&quot;Aproximación pragmática a la traducción de la ironía: Problemas
traductológicos en la traslación al castellano de los relatos de M. Zóschenko y
M. Bulgákov.&quot; Ph.D. diss. U of Barcelona, 2011.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://diposit.ub.edu/dspace/bitstream/2445/41675/2/IMM_TESIS.pdf">http://diposit.ub.edu/dspace/bitstream/2445/41675/2/IMM_TESIS.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Nagajothi, N. (M.A., M. Phil.;
V. V. Vanniaperummal College for Women, Virudhunagar, Tamilnadu, India).
&quot;Transposal from Fiction to Motion Picture: Crafting Jhumpa Lahiri's The
Namesake On Celluloid.&quot; Language in India 13.3 (March 2013): 540-52.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3409118/T">https://www.academia.edu/3409118/T</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Narinabad, Hajar Abbasi
(hastiabbasi63@yahoo.com). &quot;A Study of Postmodern Narrative in Michael
Cunningham's The Hours.&quot; IJALEL (International Journal of Applied
Linguistics and English Literature) 1.4 (Sept. 2012): 257-67.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.journals.aiac.org.au/index.php/IJALEL/article/view/776">http://www.journals.aiac.org.au/index.php/IJALEL/article/view/776
</a><br>
&nbsp;&nbsp;&nbsp; Online at Academia<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.academia.edu/8819119/IJALEL_Vol.1_No.4_2012_">https://www.academia.edu/8819119/IJALEL_Vol.1_No.4_2012_</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
&nbsp;&nbsp;&nbsp; Online at ResearchGate <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/271027099">https://www.researchgate.net/publication/271027099</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Narrativa <br>
&nbsp; <a href="http://blocs.xtec.cat/litcatbatx/narrativa/">http://blocs.xtec.cat/litcatbatx/narrativa/</a>&nbsp;&nbsp;
<br>
&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Narrative lyrical poems in
Keats - a Chinese dissertation<br>
<a href="http://www.ea.sinica.edu.tw/eu_file/143443551613.pdf">http://www.ea.sinica.edu.tw/eu_file/143443551613.pdf</a><br>
2016</span></i><i><span style='font-size:10.0pt;color:black'> </span></i><i><span
style='font-size:7.5pt;color:black'><br>
<br>
</span><span style='color:black'>&quot;Narratologie&quot; (Benaderigen
Letterkunde - Literatuurweteschap). University of Amsterdam.&nbsp; </span></i><i><span
style='font-size:7.5pt;color:black'><a
href="http://cf.hum.uva.nl/benaderingenlk/lw/narra/lw-narra-midden-1.htm"><span
style='font-size:12.0pt'>http://cf.hum.uva.nl/benaderingenlk/lw/narra/lw-narra-midden-1.htm</span></a></span><b><span
style='color:black'><br>
</span></b><span style='color:black'><br>
&quot;Narratology: An Introduction.&quot; Unsigned review of the volume edited
by Susana Onega and Jose Angel Garc_a Landa. iPaper at Academia.edu 4 Oct.
2011.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://unizar.academia.edu/Jos%C3%A9AngelGarc%C3%ADaLanda/Papers/1017037/Narratology_an_introduction">http://unizar.academia.edu/Jos%C3%A9AngelGarc%C3%ADaLanda/Papers/1017037/Narratology_an_introduction</a><br>
&nbsp;&nbsp;&nbsp; 2011</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ndishua, Julius. (Nigerian Baptist
Theological Seminary, Ogbomoso, Nigeria). &quot;Hermeneutica Sacra and Its
Implications for Old Testament Theology.&quot; EHASS: eJournal of Humanities,
Arts and Social Sciences 3.3 (March 2022): 77-84.<br>
&nbsp;&nbsp;&nbsp; <a href="https://noyam.org/journals/ehass/">https://noyam.org/journals/ehass/</a>
<br>
DOI: https://doi.org/10.38159/ehass.2022335<br>
&nbsp;&nbsp;&nbsp; <a
href="https://d1wqtxts1xzle7.cloudfront.net/94865104/_-libre.pdf">https://d1wqtxts1xzle7.cloudfront.net/94865104/_-libre.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022&nbsp;&nbsp;&nbsp; </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Newton, Adam Zachary. &quot;A
Tale of Two Jewish Studies: From Ron Meshbesher to the Rashbam.&quot; Studies
in American Jewish Literature 36.2 (2017): 117-157. Online at JSTOR.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.jstor.org/stable/10.5325/studamerjewilite.36.2.0117">http://www.jstor.org/stable/10.5325/studamerjewilite.36.2.0117</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
_____. &quot;A Tale of Two Jewish Studies: From Ron Meshbesher to the
Rahsbam.&quot; Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/9954661/">https://www.academia.edu/9954661/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
_____. Jewish Studies as Counterlife: A Report to the Academy. New York:
Fordham UP, 2019.*<br>
&nbsp;&nbsp;&nbsp; Online preview at Amazon:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.amazon.es/Jewish-Studies-Counterlife-Report-Academy/dp/082328395X#reader_B07G5F14XB">https://www.amazon.es/Jewish-Studies-Counterlife-Report-Academy/dp/082328395X#reader_B07G5F14XB</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Nilan, Pam. Muslim Youth in
the Diaspora: Challenging Extremism through Popular Culture. (Youth, Young
Adulthood and Society Series). Abingdon and New York: Routledge, 2017.*</span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Nipponkaigi.net (Philology)<br>
<a href="https://he.nipponkaigi.net/wiki/Philology">https://he.nipponkaigi.net/wiki/Philology</a><br>
2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Nitsche, Michael. (Georgia
Institute of Technology; michael.nitsche@lcc.gatech.edu) &quot;Mapping Time in
Video Games.&quot; Situated Play: Proceedings of DiGRA 2007 Conference.
145-51.* (Digital Games Research Association).<br>
&nbsp;&nbsp;&nbsp; <a
href="http://s3.amazonaws.com/academia.edu.documents/30941363/Nitsche_DiGRA_07.pdf">http://s3.amazonaws.com/academia.edu.documents/30941363/Nitsche_DiGRA_07.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Núñez Canal, Margarita (ESIC Business and Marketing School;
margarita.nunez@esic.edu), and Luis Núñez Ladevéze (U San Pablo CAU,
ladeveze@telefonica.net). &quot;Understanding the Revolt Man the Technician in
Global Rhetoric.&quot; Communication and Society 34.4 (2021): 33-47. (Ortega,
McLuhan).<br>
&nbsp;&nbsp;&nbsp; DOI: 10.15581/003.34.4.33-47<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.communication-society.com">http://www.communication-society.com</a>
<br>
Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/355074827">https://www.researchgate.net/publication/355074827</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Nünning, Ansgar.
&quot;Narratology and Ethical Criticism: Strange Bed-Fellows or Natural
Allies?&quot; Forum for World Literature Studies 7.1 (March 2015).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.fwls.org/wp-content/uploads/2015/04/FWLS-7.1-%EF%BC%882015%EF%BC%89.pdf#page=25">http://www.fwls.org/wp-content/uploads/2015/04/FWLS-7.1-%EF%BC%882015%EF%BC%89.pdf#page=25</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Nünning, Ansgar. &quot;Kde se
potkávají historiografická metafikce a naratologie: k aplikovane kulturálni
naratologii.&quot; In Kultura - Média – Komunikace, Speciál II (2009):
Vyprávení – Identita – Diference. Ed. Daniel Topinka, Pavel Zahrádka, Martin
Foret Martin Fafejta, Jiří Hrabal. Olomouc: Filozoﬁcké fakulty Univerzity
Palackého v Olomouci, 2009. 13-36. Online at Academia (Martin Fafejta).*<br>
<a href="https://www.academia.edu/7359842/">https://www.academia.edu/7359842/</a><br>
2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Nyangeri, Nahanson Akungah.
Vitendo usemi na ulingafinu wa maana katika tafsiri: Mifano kutoka tafsiri za
kaki mbili teule za Barbara Kimenye. Diss. U of Nairobi, 2014.<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/32534100/">https://www.academia.edu/32534100/</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
O'Connor, Mark. &quot;To Keep the Spirit but Update the Language: Translation
of Shakespeare's Twelfth Night, Henry IV Part I and Troilus and Cressida, into
twenty-first century English verse.&quot; Ph.D. diss. U of Western Australia,
2015. Online at Internet Archive.*<br>
<a
href="https://web.archive.org/web/20200702130114/https:/api.research-repository.uwa.edu.au/files/9754979/THESIS_DOCTOR_OF_PHILOSOPHY_O_CONNOR_Mark_Kevin_2015.PDF">https://web.archive.org/web/20200702130114/https://api.research-repository.uwa.edu.au/files/9754979/THESIS_DOCTOR_OF_PHILOSOPHY_O_CONNOR_Mark_Kevin_2015.PDF</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>O'Malley, J. F. Rev. of Narratology.
Ed. Susana Onega and Jos_ Angel Garc_a Landa. Choice (March 1997): 1156.*<br>
<a
href="http://syndetics.com/index.aspx?isbn=0582255430/CHREVIEW.HTML&amp;client=uzaragoza&amp;type=rn12">http://syndetics.com/index.aspx?isbn=0582255430/CHREVIEW.HTML&amp;client=uzaragoza&amp;type=rn12</a><br>
&nbsp;&nbsp;&nbsp; 2008 </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ogoanah, Felix Nwabeze. (U of
Benin, Nigeria; felix.ogoanah@uniben.edu). &quot;The Emergent Properties of 'Song'
as a Metaphor in August Wilson's Joe Turner's Come and Gone.&quot; Alicante
Journal of English Studies&nbsp; 27 (2014): 143-62.* (Play, 1984) Online at
Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/1d83/688d00bac6b4cc4f81b88f29dfefa0953f">https://pdfs.semanticscholar.org/1d83/688d00bac6b4cc4f81b88f29dfefa0953f</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Olarte, Javier. &quot;La
infancia, una construcción desde la visualidad.&quot; Trama y Fondo 42 (2017):
181-90.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.researchgate.net/profile/Vanessa_Rodriguez23/publication/319829091">https://www.researchgate.net/profile/Vanessa_Rodriguez23/publication/319829091</a><br>
&nbsp;&nbsp;&nbsp; 2017<b><br>
<br>
</b>Oliva, Juan Ignacio. &quot;Tendencias postestructuralistas e ideológicas en
la crítica literaria postmoderna.&quot; Revista de Filología de la Universidad
de La Laguna 18 (2000): 281-95. Online at Scribd (davidgarciagarcia) 7 Nov.
2014.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://es.scribd.com/doc/245863045/15-Juan-Ignacio-Oliva-pdf">https://es.scribd.com/doc/245863045/15-Juan-Ignacio-Oliva-pdf</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><u1:p></u1:p><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Olivares Mauricio, Lady
Noelia. (U de Piura). &quot;La segunda persona en la configuración del narrador
en dos de los cuentos de Rivera Martínez: 'Leda en el desierto' y 'Ese joven
que te habita'.&quot; In Lingüística y Poética. Ed. Eliana Gonzales Cruz and
Renato Guizado Yampi. Miraflores y Lima: Universidad de Piura / Academia
Peruana de la Lengua, 2018. 195-207.* (Eduardo Rivera Martínez, Jauja (Junín),
Perú, 1933). Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/341774570">https://www.researchgate.net/publication/341774570</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Olivares Mauricio, Lady
Noelia. &quot;El uso de la segunda persona en la configuración del narrador en
los cuentos de Edgardo Rivera Martínez.&quot; In Lingüística y Poética. Ed.
Eliana Gonzales Cruz and Renato Guizado Yampi. Lima: Universidad de Piura /
Academia Peruana de la Lengua, 2018. 195-207. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/43459763/">https://www.academia.edu/43459763/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Olivares Merino, Julio Ángel.
&quot;Una inmersión en la narración monstruosa: Punto de vista y concepto de
abismo en Tiburón (1975), de Steven Spielberg.&quot; Biblioteca Virtual
Universal<br>
<a href="http://www.biblioteca.org.ar/libros/152495.pdf">http://www.biblioteca.org.ar/libros/152495.pdf</a><br>
2013</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Oller Alonso, Martín, and Mª
Cruz Tornay Márquez, eds. Comunicación, periodismo y género: Una mirada desde
Iberoamérica. Prologue by Mª del Mar Ramírez Alvarado. Ediciones Egregius,
2016. Online at IdUS: Depósito de Investigación Universidad de Sevilla.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://idus.us.es/xmlui/handle/11441/48548">https://idus.us.es/xmlui/handle/11441/48548</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="http://hdl.handle.net/11441/48548">http://hdl.handle.net/11441/48548</a><br>
&nbsp;&nbsp;&nbsp;<a
href="https://idus.us.es/xmlui/bitstream/handle/11441/48548/periodismoygenero.pdf">
https://idus.us.es/xmlui/bitstream/handle/11441/48548/periodismoygenero.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Oller Bosch, Georgina. &quot;El cielo gira: El contramonumento de Mercedes
Álvarez a la idea de progreso.&quot; Foto Cinema 20 (2021): 267-88.* (El cielo
gira, dir. Mercedes Álvarez, 2004; Aldealseñor).<br>
&nbsp;&nbsp;&nbsp; <a
href="https://revistas.uma.es/index.php/fotocinema/article/download/10008/9943">https://revistas.uma.es/index.php/fotocinema/article/download/10008/9943</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
</span></i><span style='color:black'>Online at <i>Academia: </i><a
href="https://www.academia.edu/72458995/">https://www.academia.edu/72458995/</a><i><br>
</i>2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Olmos Castro, Patricia.
&quot;La construcción de un 'nos-otros' en los relatos de Evo Morales ante la
Organización de las Naciones Unidas.&quot; Perspectivas de la Comunicación 7.2
(2014).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://publicacionescienciassociales.ufro.cl/index.php/perspectivas/article/view/362">http://publicacionescienciassociales.ufro.cl/index.php/perspectivas/article/view/362</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Omar, Ameen Abdulqader, and Drakhsan
Ali Baker (both Dpt. of Kurdish Language, School of Languages, U of Duhok,
Kurdistan region, Iraq). &quot; “ بەرجەستەبوونا تەکنیک و ئاماژەیێن میتا ڤەگێرانێ
د رۆمانێن مرۆڤێ بەلەچەک و رەشکۆ دا”&nbsp; (“ Embodiment of Meta-Translation
Techniques and Meta-Translation Signs in Human Novel Balechek and Rashko”) The
Journal of Duhok University 25.1 (2022): Section Humanities and Social
Science.*<br>
<a href="https://doi.org/10.26682/hjuod.2022.25.1.14">https://doi.org/10.26682/hjuod.2022.25.1.14</a><br>
<a href="https://journal.uod.ac/index.php/uodjournal/article/view/1575">https://journal.uod.ac/index.php/uodjournal/article/view/1575</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&quot;Omnisciente.&quot;
Educalingo.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://educalingo.com/es/dic-es/omnisciente">https://educalingo.com/es/dic-es/omnisciente</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Onega, Susana. &quot;The Passion: Jeanette Winterson's Uncanny Mirror of
Ink.&quot; Miscelánea 14 (1993): 113-30.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.miscelaneajournal.net/images/stories/articulos/vol14/onega14.pdf">http://www.miscelaneajournal.net/images/stories/articulos/vol14/onega14.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/39717123/">https://www.academia.edu/39717123/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Online Encyclopedia
(&quot;Literary Theory&quot;).*<br>
&nbsp;&nbsp;&nbsp;<a
href="http://www.fact-archive.com/encyclopedia/Literary_theory">
http://www.fact-archive.com/encyclopedia/Literary_theory</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Orfall, Blair (U of Oregon). &quot;From Ethnographic Impulses to Apocalyptic
Endings: Bharadwaj's Maqbool and Kurosawa's Throne of Blood in Comparative
Context.&quot; Borrowers and Lenders 4.2 (Spring-Summer 2009):<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.borrowers.uga.edu/782306/show">http://www.borrowers.uga.edu/782306/show</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Oria Gómez, Beatriz. Rev. of
Books in Motion: Adaptation, Intertextuality, Authorship, Ed. Mireia Aragay.
.&quot; Miscelánea 34 (2006): 111-15.*</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Orth, Dominik. Narrative
Wirklichkeiten: Eine Typologie pluraler Realitäten in Literatur und Film.
(Textualität des Film, 6). Marburg: Schüren, 2013. Online at Nomos eLibrary.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.nomos-elibrary.de/10.5771/9783741000287/narrative-wirklichkeiten">https://www.nomos-elibrary.de/10.5771/9783741000287/narrative-wirklichkeiten</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Otegen, Nuraly, and Ziyadam
Abduljanova Indira Rgizbaeva. (Almaty State Pedagogical U). &quot;Communicative
Structure of the Word.&quot; Paper presented at the 4th World Conference on
Psychology, Counseling and Guidance WCPCG-2013. Procedia (Social and Behavioral
Sciences) 114 (2014): 551-58. Online at Elsevier (Science Direct).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.sciencedirect.com/science/article/pii/S1877042813053858">http://www.sciencedirect.com/science/article/pii/S1877042813053858</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
&nbsp;&nbsp;&nbsp; <a
href="https://reader.elsevier.com/reader/sd/pii/S1877042813053858">https://reader.elsevier.com/reader/sd/pii/S1877042813053858</a>
<br>
&nbsp;&nbsp;&nbsp; 2021&nbsp; </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Page, Ruth. Narratives Online:
Shared Stories in Social Media. Cambridge: Cambridge UP, 2018. Online preview
at Google Books: <br>
&nbsp;&nbsp;&nbsp; </span></i><span style='color:black'><a
href="https://books.google.es/books?id=I_5DDwAAQBAJ"><i>https://books.google.es/books?id=I_5DDwAAQBAJ</i></a><i><br>
&nbsp;&nbsp;&nbsp; 2018</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Palmer, Alan. &quot;Universal
minds&quot;, Semiotica 165 (2007): 205-225.*<br>
doi: <a href="https://doi.org/10.1515/SEM.2007.040">https://doi.org/10.1515/SEM.2007.040</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.degruyter.com/view/journals/semi/2007/165/article-p205.xml">https://www.degruyter.com/view/journals/semi/2007/165/article-p205.xml</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
_____. &quot;Universal Minds.&quot; Online ref. at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.semanticscholar.org/paper/Universal-minds-Palmer/be5b0d59106030afaf2d641ddeae10336e3b2253#references">https://www.semanticscholar.org/paper/Universal-minds-Palmer/be5b0d59106030afaf2d641ddeae10336e3b2253#references<br>
&nbsp;&nbsp;&nbsp; 2020</a></span></i><span style='color:black'><o:p></o:p></span></p>

<p style='margin-bottom:12.0pt;background:#FFFF99'><i><span style='color:black'>Pandza,
Kristian. (Germany, 1992). &quot;The Effect of the Handheld Camera on Narration
and Ocularization in the Dogme 95 Film.&quot; AM Journal of Art and Media
Studies 15 (2018): 83-92. (Lars von Trier, Thomas Vinterberg).<br>
&nbsp;&nbsp;&nbsp; doi: 10.25038/am.v0i15.232<br>
&nbsp;&nbsp;&nbsp; <a
href="http://fmkjournals.fmk.edu.rs/index.php/AM/article/view/232">http://fmkjournals.fmk.edu.rs/index.php/AM/article/view/232</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p style='margin-bottom:12.0pt;background:#FFFF99'><i><span style='color:black'>Parker,
Michael. &quot;A Class Apart: Sam Thompson's Over the Bridge, Its Contexts and
Reception.&quot; Hungarian Journal of English and American Studies (HJEAS) 8.1
(Irish Issue) (Spring, 2002): 227-43<b><br>
</b></span></i><i><span style='font-size:7.5pt;color:black'><a
href="http://www.jstor.org/discover/10.2307/41274169"><span style='font-size:
13.5pt'>http://www.jstor.org/discover/10.2307/41274169</span></a></span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Parker, Joshua. Écrire son
lecteur: L'évolution du narrateur américain et l'emploi de la deuxième
personne, 1750-2000. Ph.D. U of Paris VII – Denis Diderot, 2005. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/9560760/">https://www.academia.edu/9560760/</a><br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/9560509/">https://www.academia.edu/9560509/</a>&nbsp;&nbsp;
<br>
2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Parker, Luke Harry. Listening
to Logos: A Prose Poetics in Heraclitus. Ph.D. diss. U of Chicago, 2019.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://knowledge.uchicago.edu/record/1710/files/Parker_uchicago_0330D_14673.pdf">https://knowledge.uchicago.edu/record/1710/files/Parker_uchicago_0330D_14673.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Parks, Sarah Beth. Rhetorical
Dilemmas in Funded Science Annual Reporting. Ph.D. diss. Ames: Iowa State U,
2017. Online at Iowa State University Digital Repository.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://lib.dr.iastate.edu/etd/15598/">http://lib.dr.iastate.edu/etd/15598/</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="http://lib.dr.iastate.edu/cgi/viewcontent.cgi?article=6605&amp;context=etd">http://lib.dr.iastate.edu/cgi/viewcontent.cgi?article=6605&amp;context=etd</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Parra Fernández, Laura de la
(lauraparrafernandez@ucm.es). Rev. (in English) of Corporalidad, temporalidad,
afectividad: Perspectivas filosófico-antropológicas. Ed. Luisa Paz Rodríguez
Suárez and José Angel García Landa. Babel-Afial 27 (2018): 213-19.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistas.webs.uvigo.es/index.php/AFIAL/issue/view/41">http://revistas.webs.uvigo.es/index.php/AFIAL/issue/view/41</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="http://babelafial.webs.uvigo.es/pdf/27/res02.pdf">http://babelafial.webs.uvigo.es/pdf/27/res02.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; Online at Dialnet.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://dialnet.unirioja.es/servlet/articulo?codigo=6784088">https://dialnet.unirioja.es/servlet/articulo?codigo=6784088</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pascual Garrido, María Luisa.
Rev. of Viaje a las islas occidentales de Escocia. By Samuel Johnson. Ed.
Agustín Coletes Blanco. Atlantis 31.2 (Dec. 2009): 177-82.*<br>
<a
href="http://www.atlantisjournal.org/old/ARCHIVE/31.2/Atlantis_31.2.pdf#page=177">http://www.atlantisjournal.org/old/ARCHIVE/31.2/Atlantis_31.2.pdf#page=177</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pascual Garrido, María Luisa.
&quot;La recepción española de la obra de Samuel Johnson.&quot; Odisea 11 (2010):
329-43. <br>
&nbsp;&nbsp;&nbsp; </span></i><span style='color:black'><a
href="http://www.ual.es/odisea/Odisea11_Pascual.pdf"><i>http://www.ual.es/odisea/Odisea11_Pascual.pdf</i></a><i><br>
&nbsp;&nbsp;&nbsp; 2017<br>
&nbsp;&nbsp;&nbsp; Online preview at Google Books:<br>
&nbsp;&nbsp;&nbsp; </i><a
href="https://books.google.es/books?id=yJLdCgAAQBAJ&amp;lr=&amp;source=gbs_navlinks_s"><i>https://books.google.es/books?id=yJLdCgAAQBAJ&amp;lr=&amp;source=gbs_navlinks_s</i></a><i><br>
&nbsp;&nbsp;&nbsp; 2017</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pascual Garrido, María Luisa
(U de Córdoba). Rev. of Viaje a las Islas Occidentales de Escocia, by Samuel
Johnson. Ed. and trans. Agustín Coletes Blanco (Oviedo: KRK, 2006). Atlantis
31.2 (Dec. 2009): 177-82.*<br>
<a
href="http://www.atlantisjournal.org/old/ARCHIVE/31.2/Atlantis_31.2.pdf#page=177">http://www.atlantisjournal.org/old/ARCHIVE/31.2/Atlantis_31.2.pdf#page=177</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
&nbsp;&nbsp;&nbsp; https://www.atlantisjournal.org/old/ARCHIVE/31.2/2009PascualGarrido.pdf
<br>
&nbsp;&nbsp;&nbsp; 2022<br>
Patrick, Brian D. (U of Connecticut). &quot;Metalepsis and Paradoxical
Narration in Don Quixote: A Reconsideration.&quot; Letras Hispanas 5.2 (2008):
116-32.*<br>
<a
href="http://www.modlang.txstate.edu/letrashispanas/previousvolumes/vol5-2/contentParagraph/0/content_files/file7/patrick.pdf">http://www.modlang.txstate.edu/letrashispanas/previousvolumes/vol5-2/contentParagraph/0/content_files/file7/patrick.pdf</a><br>
2013</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Patterson, Wendy.
&quot;Narratives of Events: Labovian Narrative Analysis and Its
Limitations.&quot; In Doing Narrative Research. Ed. Molly Andrews, Corinne
Squire and Maria Tamboukou. London: Sage, 2013. 27-46. (1st ed. 2008). Preview
at Google Books:<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=RbMDAAAAQBAJ">https://books.google.es/books?id=RbMDAAAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Paulet Dubois, Françoise.
(U&nbsp; de Almería; pauletfranc@yahoo.fr). &quot;'Ceci n'est pas une pipe':
Réalite et représentation chez Yourcenar et Pamuk.&quot; Thélème: Revista
complutense de estudios franceses 25 (2010): 211-20. Online at Semantic
Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/0a27/15ae0aa08acafd9d77a4925878c4c43a985d.pdf">https://pdfs.semanticscholar.org/0a27/15ae0aa08acafd9d77a4925878c4c43a985d.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
_____.&quot;'Ceci n'est pas une pipe': Réalité et représentation chez Yourcenar
et Pamuk.&quot; Thélème: Revista Complutense de Estudios Franceses 25 (2010):
211-20.* Online PDF at Dialnet<br>
&nbsp;&nbsp;&nbsp; <a
href="http://dialnet.unirioja.es/servlet/articulo?codigo=3355777&amp;orden=0&amp;info=link">http://dialnet.unirioja.es/servlet/articulo?codigo=3355777&amp;orden=0&amp;info=link</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pedrosa Puertas, Elena, et al.
Teoría de la Fotografía (Escuela de Arte de Almería).*<br>
&nbsp;&nbsp;&nbsp; <a href="http://teoriadelafotografia.blogspot.com.es/">http://teoriadelafotografia.blogspot.com.es/</a>
<br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Peery, Char Lane. New Deal
Navajo Linguistics and Language Documentation. Ph.D. diss. Alburquerque: U of
New Mexico, 2015.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://repository.unm.edu/bitstream/handle/1928/27890">http://repository.unm.edu/bitstream/handle/1928/27890</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pena Mardaras, Mª Cristina (U
de Deusto, cristina.pena@deusto.es). &quot;La producción literaria de Mercedes
Salisachs: Una oportunidad para la reflexión moral.&quot; Revista de Literatura
79.157 (Jan.-June 2017): 283-309.<br>
doi: 10.3989/revliteratura.2017.01.011<br>
Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/c73d/d699f46a7310cfa29dbfe2ab0ea5431aef50.pdf">https://pdfs.semanticscholar.org/c73d/d699f46a7310cfa29dbfe2ab0ea5431aef50.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Penas Ibáñez, Beatriz. &quot;A
Pragmastylistic Contribution to Narrativity: Standard versus Non-Standard
Narrativities.&quot; In Theorizing Narrativity. Ed. John Pier and José Angel
García Landa. Berlin: de Gruyter, 2008. Online at Academia.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/172573/">https://www.academia.edu/172573/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Penas Ibáñez, Beatriz.
&quot;Canonical Readings: Baudelaire's Subtext in Hemingway's African
Narratives.&quot; In Hemingway and Africa. Ed. Miriam B. Mandel. Rochester
(NY): Camden House, 2011. 151-75.* Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/1281556/">https://www.academia.edu/1281556/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Penas Ibáñez, Mª Azucena.
&quot;Coseriu y los distintos planos de la actividad del hablar y del saber
lingüístico en relación con el contenido y las categorías lógicas del
juicio.&quot; Cauce: Revista de filología y su didáctica 28 (2005): 279-306.<br>
</span></i><span style='font-size:7.5pt;color:black'><a
href="http://cvc.cervantes.es/literatura/cauce/pdf/cauce28/cauce28_15.pdf"><span
style='font-size:12.0pt'>http://cvc.cervantes.es/literatura/cauce/pdf/cauce28/cauce28_15.pdf</span></a></span><span
style='color:black'><br>
<i>2013</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pendery, David. &quot;They Go!
The Urgency of Aesthetic/Moral Incitement in American Drama: The Work of Sam
Shepard and Neil Simon.&quot; Spectrum: Studies in Language, Literature,
Translation and Interpretation 13.1: 119-34.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/25102716/">https://www.academia.edu/25102716/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&quot;The Penetrating
Influence of Modern Logic upon Literature.&quot; (En chino). Journal of Sichuan
University (Social Science Edition)</span></i><span style='color:black'><br>
&nbsp;<i><a
href="http://scdz.chinajournal.net.cn/WKE/WebPublication/paperDigest.aspx?paperID=D3E9B6C0-0461-4F2A-BC69-70346A89EF8B">http://scdz.chinajournal.net.cn/WKE/WebPublication/paperDigest.aspx?paperID=D3E9B6C0-0461-4F2A-BC69-70346A89EF8B</a><br>
&nbsp;&nbsp;&nbsp; 2015</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Peone, Dustin. &quot;Works on
Giambattista Vico in English from 2009 to 2018.&quot; Institute for Vico
Studies, Emory U. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/37129523/">https://www.academia.edu/37129523/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pérez, Enrique. &quot;Cómo se
imaginan los grandes científicos del momento cómo van a ser los viajes
interestelares del futuro.&quot; Xataka 17 April 2022.*<br>
<a
href="https://www.xataka.com/espacio/como-se-imaginan-grandes-cientificos-momento-como-van-a-ser-viajes-interestelares-futuro">https://www.xataka.com/espacio/como-se-imaginan-grandes-cientificos-momento-como-van-a-ser-viajes-interestelares-futuro</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pérez Alós, Anselmo. (U
Federal do Rio Grande do Sul). &quot;Não contar a ninguém ou contar a todo
mundo? Colapsos da masculinidade em No se lo digas a nadie.&quot; Revista
Estudos Feministas 21.1 (Jan.-April 2013).* (Jaime Bayly).<br>
&nbsp;&nbsp;&nbsp; <a href="http://dx.doi.org/10.1590/S0104-026X2013000100018">http://dx.doi.org/10.1590/S0104-026X2013000100018</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.scielo.br/scielo.php?pid=S0104-026X2013000100018&amp;script=sci_arttext&amp;tlng=pt">http://www.scielo.br/scielo.php?pid=S0104-026X2013000100018&amp;script=sci_arttext&amp;tlng=pt</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Pérez Esáin, Crisanto. (U de Piura). Los trazos en el espejo: Identidad y
escritura en la narrativa de Julio Ramón Ribeyro. Pamplona: EUNSA, 2006.<br>
_____. &quot;El pacto literario como lugar de encuentro.&quot; Mercurio Peruano
(2012). Online at Dialnet.*<br>
&nbsp;&nbsp;&nbsp; https://dialnet.unirioja.es/descarga/articulo/5254474.pdf<br>
&nbsp;&nbsp;&nbsp; 2019<br>
Pérez Esaín, Crisanto, and Susana Herrera Damas. &quot;El orden como dimensión
temporal en los reportajes radiofónicos.&quot; Anagramas 6.11 (2007): 117-38.*<br>
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/65809032">https://www.academia.edu/65809032</a>/<br>
&nbsp;&nbsp;&nbsp; 2021<br>
_____. &quot;La duración como dimensión temporal en los reportajes
radiofónicos.&quot; Área Abierta 18 (2007): 1-18.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://revistas.ucm.es/index.php/ARAB/article/view/ARAB0707330001C">https://revistas.ucm.es/index.php/ARAB/article/view/ARAB0707330001C</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pérgolis, Juan Carlos. (U
Piloto de Colombia; Facultad de Literatura y Artes). &quot;Una observación
sobre los conceptos de espacio y lugar a partir de tres autores.&quot; In
Ciudad Vivida, Realidad Percibida: Apropiación social, uso y calidad del territorio.
Special issue of&nbsp; Papeles de Coyuntura 44 (2018): 108-51.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://repository.unipiloto.edu.co/handle/20.500.12277/8222">http://repository.unipiloto.edu.co/handle/20.500.12277/8222</a>
<br>
&nbsp;&nbsp;&nbsp; 2021<br>
&nbsp;&nbsp;&nbsp; Papeles de Coyuntura.<br>
&nbsp;(Universidad Piloto de Colombia, Maestría en Gestión Urbana). <br>
<a href="http://www.papelesdecoyuntura.com">http://www.papelesdecoyuntura.com</a>
<br>
&nbsp;&nbsp;&nbsp; 2021<br>
Online at Academia.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/47752604/">https://www.academia.edu/47752604/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
Pérgolis, Juan Carlos, and Clara Inés Rodríguez Ibarra. &quot;El método en la
investigación: Imaginarios y representaciones de la forma urbana en la vida
cotidiana.&quot; Procesos Urbanos 1.1 (Dec. 2014): 17-24.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistas.cecar.edu.co/procesos-urbanos/article/view/14">http://revistas.cecar.edu.co/procesos-urbanos/article/view/14</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/2e34/538a69e9faeddda26939320d833425acbe8f.pdf">https://pdfs.semanticscholar.org/2e34/538a69e9faeddda26939320d833425acbe8f.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.researchgate.net/publication/313903542">
https://www.researchgate.net/publication/313903542</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Perk, Godeline Gertrude.
Julian, God, and the Art of Storytelling: A Narrative Analysis of the Works of
Julian of Norwich. (Umeå Studies in Language and Literature, 32). Umeå
(Sweden): Umeå Universitet, 2016.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.diva-portal.org/smash/record.jsf?pid=diva2%3A1021263&amp;dswid=-5977">http://www.diva-portal.org/smash/record.jsf?pid=diva2%3A1021263&amp;dswid=-5977
</a><br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.diva-portal.org/smash/get/diva2:1021263/FULLTEXT01.pdf">http://www.diva-portal.org/smash/get/diva2:1021263/FULLTEXT01.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
_____. &quot;Julian, God, and the Art of Storytelling: A Narrative Analysis of
the Works of Julian of Norwich.&quot; Academia (Godelinde Perk).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/29045536/">https://www.academia.edu/29045536/</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Perron, Bernard, and Mark J.
P. Wolf, eds. The Video Game Theory Reader 2. London: Routledge, 2008. Online
at Google Books:<br>
&nbsp;&nbsp;&nbsp; <a href="http://books.google.es/books?id=ckKTAgAAQBAJ">http://books.google.es/books?id=ckKTAgAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Peters, Michael A., and Petar
Jandric. &quot;Discourse, Genre and Curriculum.&quot; Open Review of
Educational Research 5.1 (2018): 164-78. Online at Taylor &amp; Francis
Online.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.tandfonline.com/doi/full/10.1080/23265507.2018.1555487">https://www.tandfonline.com/doi/full/10.1080/23265507.2018.1555487</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Petric, Gabriel. &quot;Mioriţa
şi actele de vorbire.&quot; Proceedings of the International Conference
“Communication, Context, Interdisciplinarity”. Section: Language and Discourse.
Vol. 1. Târgu-Mureş: Petru Maior UP, 2010. 389-97. Online at Petru Maior
U&nbsp; and Diacronia.*<br>
&nbsp;&nbsp; &nbsp;<a href="http://www.upm.ro/cci12/vol_I.html">http://www.upm.ro/cci12/vol_I.html</a><br>
&nbsp;&nbsp; &nbsp;<a href="http://www.diacronia.ro/en/indexing/details/A22663">http://www.diacronia.ro/en/indexing/details/A22663</a><br>
&nbsp;&nbsp; &nbsp;<a
href="http://upm.ro/cci12/volCCI_I/Pages%20from%20Volum_CCI_I-48.pdf">http://upm.ro/cci12/volCCI_I/Pages%20from%20Volum_CCI_I-48.pdf</a><br>
&nbsp;&nbsp; &nbsp;2018<br>
_____. &quot;Mioriţa şi actele de vorbire.&quot; Online at Academia.*<br>
&nbsp;&nbsp; &nbsp;<a href="https://www.academia.edu/8328982/">https://www.academia.edu/8328982/</a><br>
&nbsp;&nbsp; &nbsp;2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&quot;Philologie.&quot; From
Wikipedia. Qwerty.*</span></i><span style='color:black'><br>
<a href="https://fr.qwerty.wiki/wiki/Philology"><i><span style='color:black'>https://fr.qwerty.wiki/wiki/Philology</span></i></a><br>
<i>&nbsp;2019</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Philology (Blogger).*<br>
&nbsp;&nbsp;&nbsp; <a href="http://philology11.blogspot.com/">http://philology11.blogspot.com/</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&quot;Philology.&quot; Nordan
Symposia.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://nordan.daynal.org/wiki/index.php?title=Philology">http://nordan.daynal.org/wiki/index.php?title=Philology</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pianzola, Federico (U of
Milan-Bicocca; federico.pieanzola@unimib.it), Giuseppe Riva (U Cattolica Del
Sacro Cuore), Fabrizia Mantovani (U of Milan-Bicocca) and Kari Kukkonen (U of
Oslo) &quot;Presence, Flow, and Narrative Absorption: An Interdisciplinary
Theoretical Exploration with a New Spatiotemporal Integrated Model Based on
Predictive Processing.&quot; Online at&nbsp; Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44029433/">https://www.academia.edu/44029433/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pier, John. &quot;From the
Representation of Narrative Actions to Emplotment: Another Look at
Narrativity.&quot; Poetics Today 32.3 (Fall 2011): 593-605.* (Rev. of Fran_oise
Revaz, Introduction _ la narratologie).<br>
&nbsp;&nbsp;&nbsp; <a
href="http://poeticstoday.dukejournals.org/content/32/3/593">http://poeticstoday.dukejournals.org/content/32/3/593</a><br>
&nbsp;&nbsp;&nbsp; doi 10.1215/03335372-1375198&nbsp;&nbsp;&nbsp; <br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
Pier, John. &quot;Revision of Narrative Levels.&quot; Living Handbook of
Narratology (April 2014).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.lhn.uni-hamburg.de/node/32/revisions/350/view">http://www.lhn.uni-hamburg.de/node/32/revisions/350/view</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pinchbeck, Daniel M.
(dan.pinchbeck@port.ac.uk), and Brett Stevens (brett.stevens@port.ac.uk).
&quot;Presence, Narrative, and Schemata.&quot; (Presence 2005). Online at
Semantic Scholar.*<br>
&nbsp;<a
href="https://www.semanticscholar.org/paper/Presence%2C-Narrative-and-Schemata-Pinchbeck-Stevens/4ffafe4f673813f1cd21019f4a74f4eaaee136cb">https://www.semanticscholar.org/paper/Presence%2C-Narrative-and-Schemata-Pinchbeck-Stevens/4ffafe4f673813f1cd21019f4a74f4eaaee136cb
</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/4ffa/fe4f673813f1cd21019f4a74f4eaaee136cb.pdf">https://pdfs.semanticscholar.org/4ffa/fe4f673813f1cd21019f4a74f4eaaee136cb.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Ping, Zhou. Memoria y novela: La narrativa de Antonio Soler. Ph.D. diss. U de
Salamanca, 2016.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://gredos.usal.es/bitstream/10366/132817/1/DLE_ZouP_MemoriayNovelaSoler.pdf">https://gredos.usal.es/bitstream/10366/132817/1/DLE_ZouP_MemoriayNovelaSoler.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
_____. Memoria y novela: La narrativa de Antonio Soler. (Colección Vítor, 423).
Salamanca: Ediciones U de Salamanca, 2017.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=yeVIDwAAQBAJ">https://books.google.es/books?id=yeVIDwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pino Campos, Luis Miguel. Rev.
of La Traducción: Nuevos planteamientos teórico-metodológicos, ed. Azucena
Penas Ibáñez.&nbsp;&nbsp; Revista de Filología 34 (2016): 337-39.<br>
&nbsp;&nbsp;&nbsp; <a href="https://rfull.webs.ull.es/">https://rfull.webs.ull.es/</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pitcher, Luke. (U of Oxford,
Classics Dpt.). &quot;Polybius and Oscar Wilde: Pragmatike Historia in
Nineteenth-century Oxford.&quot; Academia (2018).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/36385152/">https://www.academia.edu/36385152/</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Plaza, Eduardo F. (gs U Simón
Bolívar). &quot;La 'différance' et l''intertextualité' dans le troisième
mouvement de la Sinfonia de Luciano Berio.&quot; From Música en clave. Online
at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/202075/">https://www.academia.edu/202075/</a>
<br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. &quot;Différance and Intertextuality in the Third Movement of Luciano
Berio's Sinfonia.&quot; Online at Academia.*<br>
<a href="https://www.academia.edu/1468061/">https://www.academia.edu/1468061/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Ponce Gea, Ana Isabel. &quot;Teorías epistemológicas y conocimiento histórico
del alumnado: Diseño y verificación de una prueba.&quot; Ph.D. diss. U do Porto
/ U de Murcia, 2019. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/63837635/">https://www.academia.edu/63837635/</a>
<br>
&nbsp;&nbsp;&nbsp; 2021 </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Potkay, Adam. The Passion for
Happiness: Samuel Johnson and David Hume. Ithaca: Cornell UP, 2000.* </span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Popov, V. A. (Ural State Law University;
popov@avscompany.ru). &quot;Conceptual Apparatus in the Doctrine of Criminal
Community and Criminal Organization: Searching for a Compromise.&quot;
Proceedings of the XVII International Research-to-Practice Conference dedicated
to the memory of M.I. Kovalyov (ICK 2020). (Advances in Social Science,
Education and Humanities Research series, 420). Atlantis Press, online 20 March
2020. 51-56.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.2991/assehr.k.200321.083">https://doi.org/10.2991/assehr.k.200321.083</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.atlantis-press.com/proceedings/ick-20/125937296">https://www.atlantis-press.com/proceedings/ick-20/125937296</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Pressgrove, Geah (West
Virginia U), Melissa Janoske, and Stephanie Madden. &quot;Changing the Story:
Implications of Narrative on Teacher Identity.&quot; Journal of Public Interest
Communication 3.1 (2019).* <br>
&nbsp;&nbsp;&nbsp; DOI: 10.32473/jpic.v3.i1.p3<br>
&nbsp;&nbsp;&nbsp; Online at ResearchGate (April 2019).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/332893028">https://www.researchgate.net/publication/332893028</a><br>
&nbsp;&nbsp;&nbsp; 2020<b><br>
</b><br>
Prósper Ribes, Josep (U Politécnica de Valencia, jprosper@har.upv.es).&nbsp;
&quot;La presencia del narratario en el relato audiovisual.&quot; Signa:
Revista de la Asociación Española de Semiótica 24 (2015): 463-478.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://e-spacio.uned.es/fez/view/bibliuned:signa-2015-24-5145">http://e-spacio.uned.es/fez/view/bibliuned:signa-2015-24-5145</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistas.uned.es/index.php/signa/article/download/14698/13113">http://revistas.uned.es/index.php/signa/article/download/14698/13113</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
&nbsp;<br>
Putri, Rynda Kaulika Ayu. &quot;The Implementation of Picture Series to Improve
Students' Ability in Writing Narrative Texts.&quot; Diss. Universitas
Pendidikan Indonesia, 2012.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://a-research.upi.edu/skripsiview.php?start=2446">http://a-research.upi.edu/skripsiview.php?start=2446</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="http://a-research.upi.edu/operator/upload/s_ing_0706148_bibliography.pdf">http://a-research.upi.edu/operator/upload/s_ing_0706148_bibliography.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Quirós García, Mariano, and
Rosabel SanSegundo Cachero. (Instituto de Lengua, Lingüística y Antropología,
CCHS-CSIC). &quot;Bibliografía.&quot; Revista de Filología Hispánica 93.2
(July-Dec. 2013): 361-467.*<br>
&nbsp;&nbsp;&nbsp; Doi: 10.3989/rfe.2013.13<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/37521050/">
https://www.academia.edu/37521050/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Quiroz, Santiago. &quot;Almas al viento: Los autores implícitos de Cloud Atlas,
de David Mitchell.&quot; TFG Pontificia Universidad Javieriana, 2016. Online at
Academia.*<br>
<a href="https://www.academia.edu/73900138/">https://www.academia.edu/73900138/</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ramírez Ortega, Andrea.
Relying on the Unreliable. Narrative Strategies in Crime Literature. Agatha
Christie's THE MURDER OF ROGER ACKROYD. Trabajo Fin de Grado, U de La Rioja,
2015.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://biblioteca.unirioja.es/tfe_e/TFE000782.pdf">http://biblioteca.unirioja.es/tfe_e/TFE000782.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ramo Ruiz, Anselmo. &quot;Un
nuevo discurso mediático para un periodismo renovado contra la violencia de
género.&quot; In Comunicación, periodismo y género: Una mirada desde
Iberoamérica. Ed. Martín Oller Alonso and Mª Cruz Tornay Márquez. Prologue by
María del Mar Martínez Alvarado. Spain: Egregius, 129-47.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/43911106/">
https://www.academia.edu/43911106/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ramos Gutiérrez, Ricardo.
Temas para conversar. Barcelona: Gedisa, 2008.*</span></i><span
style='color:black'><br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=YJqcCwAAQBAJ">https://books.google.es/books?id=YJqcCwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2016<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Ramos Ibarra, Martha S. &quot;Proposal
for the Analysis of a Video Game, a Film, and Their Relationship (Silent Hill
as a Subject of the Horror Genre).&quot; M.A. diss. U Autónoma de Barcelona,
2012.<i><br>
<a
href="http://www.recercat.net/bitstream/handle/2072/203999/MSRITesina2012Imprimir33.pdf?sequence=1">http://www.recercat.net/bitstream/handle/2072/203999/MSRITesina2012Imprimir33.pdf?sequence=1</a></i><br>
2013<br>
Online at Dipòsit Digital de Documents de la UAB.*<br>
<a
href="https://ddd.uab.cat/pub/trerecpro/2012/hdl_2072_203999/MSRITesina2012Imprimir33.pdf">https://ddd.uab.cat/pub/trerecpro/2012/hdl_2072_203999/MSRITesina2012Imprimir33.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Randall, William L. (St Thomas
U). &quot;Narrative and Chaos: Acknowledging the Novelty of
Lives-in-Time.&quot; Interchange 38.4 (Dec. 2007): 367-89. Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/227263310">https://www.researchgate.net/publication/227263310</a><br>
&nbsp;&nbsp;&nbsp; 2018<br style='mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'>
<![endif]><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'><u1:p></u1:p>Ratau, Nelson S.
(Dpt. of English, U of Zululand, KwaDlangezwa 3886, South Africa;
rataun@unizulu.ac.za ). &quot;Art and Spirituality in the Covid-19 Epoch: An
Exploratory Reading of Ben Okri's Poetry.&quot; Pharos Journal of Theology 102,
special ed. 2 (2021). <br>
&nbsp;&nbsp;&nbsp;<a href="https://doi.org/10.46222/pharosjot.102.214">
https://doi.org/10.46222/pharosjot.102.214</a> <br>
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/68672902/">https://www.academia.edu/68672902/</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/88997764/">https://www.academia.edu/88997764/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Raw, Laurence. Review of
Theorizing Narrativity. Ed. John Pier and José Angel García Landa. Journal of
Adaptation in Film and Performance 5.1 (2012): 97-98.<br>
&nbsp;&nbsp;&nbsp; <a
href="http://waww.getcited.org/?PUB=103503632&amp;showStat=Ratings">http://waww.getcited.org/?PUB=103503632&amp;showStat=Ratings</a>
</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Reisman, Mayor. &quot;Cine:
Los Cuatro Jinetes del Apocalipsis, de Rex Ingram.&quot; Hallali: Revista
digital de estudios culturales sobre la Gran Guerra y el mundo hispánico 1.2
(Sept. 2008).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistahallali.com/wp-content/uploads/2008/12/hallali2reisman.pdf">http://revistahallali.com/wp-content/uploads/2008/12/hallali2reisman.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Reissner, Stefanie. (Newcastle
U). &quot;Learning by Story-Telling? Narratives in the Study of Work-based
Learning.&quot; Journal of Adult and Continuing Education 10.2 (2004): 99-113.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/1760863/">https://www.academia.edu/1760863/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rev. of Theorizing
Narrativity, ed. John Pier and José Angel García Landa. Reference &amp;
Research Book News (Nov. 2008).<br>
&nbsp;&nbsp;&nbsp; <a href="http://trove.nla.gov.au/work/75313671">http://trove.nla.gov.au/work/75313671</a><br>
&nbsp;&nbsp;&nbsp; 2011</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Reyes Mendoza, Laura Eugenia
Cruz. &quot;El Gran Océano de Rafael Bernal: Estudio de un relato
historiográfico.&quot; MA diss. U de Baja California del Sur, 2018. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/42402270/">https://www.academia.edu/42402270/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Reynoso, Carlos. (U de Buenos Aires). &quot;Que se vayan todos. Giros críticos
en las ciencias sociales y pos-sociales.&quot; Online preprint at Academia.
2022.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/64655442/">https://www.academia.edu/64655442/</a><br>
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ribó, Ignasi. Prose Fiction: An
Introduction to the Semiotics of Narrative. Cambridge (UK): Open Book
Publishers, 2019.<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.11647/OBP.0187">https://doi.org/10.11647/OBP.0187</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.openbookpublishers.com/product/1087">https://www.openbookpublishers.com/product/1087</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.openbookpublishers.com/10.11647/OBP.0187.pdf">https://www.openbookpublishers.com/10.11647/OBP.0187.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
&nbsp;&nbsp;&nbsp; Academia:<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/46848994/">https://www.academia.edu/46848994/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ricci, James Anthony. (U of
South Florida, james.a.ricci@gmail.com ). &quot;Now, We Hear through a Voice,
Darkly: New Media and Narratology in Cinematic Art.&quot; Ph.D. diss. U of
South Florida, 2015. Online at Scholar Commons (U of South Florida).*<br>
<a href="http://scholarcommons.usf.edu/etd/6021">http://scholarcommons.usf.edu/etd/6021</a><br>
<a
href="https://digitalcommons.usf.edu/cgi/viewcontent.cgi?article=7217&amp;context=etd">https://digitalcommons.usf.edu/cgi/viewcontent.cgi?article=7217&amp;context=etd</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Richardson, Brian. Rev. of
Theorizing Narrativity, ed. John Pier and José Angel García Landa. Style 45.1
(Spring 2011): 165-68.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.style.niu.edu/">http://www.style.niu.edu</a>/
<br>
&nbsp;&nbsp;&nbsp; 2011<br>
<br>
_____. Rev. of Theorizing Narrativity, ed. John Pier and José Angel García
Landa. Bnet.com (Spring 2011).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://findarticles.com/p/articles/mi_m2342/is_1_45/ai_n57700265/">http://findarticles.com/p/articles/mi_m2342/is_1_45/ai_n57700265/</a><br>
&nbsp;&nbsp;&nbsp; 2011<br>
<br>
_____. Rev. of Theorizing Narrativity, ed. John Pier and José Angel García
Landa. The Free Library (2011).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.thefreelibrary.com/John+Pier+and+Jose+Angel+Garcia+Landa,+editors.+Theorizing...-a0258993726">http://www.thefreelibrary.com/John+Pier+and+Jose+Angel+Garcia+Landa,+editors.+Theorizing...-a0258993726</a><br>
&nbsp;&nbsp;&nbsp; 2011<br>
<b><br>
</b>_____. &quot;Nabokov's Experiments and the Nature of Fictionality.&quot;
Storyworlds: A Journal of Narrative Studies 3.1 (2011): 73-92.*<br>
&nbsp;&nbsp; &nbsp;<a
href="http://muse.jhu.edu/login?auth=0&amp;type=summary&amp;url=/journals/storyworlds/v003/3.richardson.html">http://muse.jhu.edu/login?auth=0&amp;type=summary&amp;url=/journals/storyworlds/v003/3.richardson.html</a><br>
&nbsp;&nbsp; &nbsp;<a
href="http://www.jstor.org/stable/10.5250/storyworlds.3.2011.0073">http://www.jstor.org/stable/10.5250/storyworlds.3.2011.0073</a><br>
&nbsp;&nbsp; &nbsp;2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>_____. A Poetics of Plot for
the Twenty-First Century: Theorizing Unruly Narratives. 2019.<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/336426192">https://www.researchgate.net/publication/336426192</a><br>
&nbsp;&nbsp;&nbsp; 2020<b><br>
</b>_____. A Poetics of Plot for the Twenty-First Century: Theorizing Unruly
Narratives. (Theory and Interpretation of Narrative). Columbus: Ohio State UP,
2019. Online at Knowledge Bank (Ohio State U).<br>
<a href="https://kb.osu.edu/bitstream/handle/1811/88537/RICHARDSON_KU_218pp.pdf">https://kb.osu.edu/bitstream/handle/1811/88537/RICHARDSON_KU_218pp.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<b><br>
<br>
</b>Rimmon-Kenan, Shlomith. Narrative Fiction. 2nd ed. (New Accents). London:
Routledge, 2002.<br>
<a
href="http://cd2.wudisk.com/filestores/011%E5%A4%96%E8%AF%AD%E8%8B%B1%E8%AF%AD/pdf9/Rimmon-Kenan%EF%BC%9ANarrative+Fiction-Contemporary+Poetics%5B2005%5D%28%E5%A4%96%E8%AF%AD%E5%AD%A6%E4%B9%A0%29.pdf">http://cd2.wudisk.com/filestores/011%E5%A4%96%E8%AF%AD%E8%8B%B1%E8%AF%AD/pdf9/Rimmon-Kenan%EF%BC%9ANarrative+Fiction-Contemporary+Poetics%5B2005%5D%28%E5%A4%96%E8%AF%AD%E5%AD%A6%E4%B9%A0%29.pdf</a><br>
2013<br>
<br style='mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'>
<![endif]></span></i><span style='color:black'><u1:p></u1:p><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Risden, E. L. <i>Narrative
Subversion in Medieval Literature. </i>Jefferson: McFarland, 2016.* <a
href="https://books.google.es/books?hl=en&amp;lr=&amp;id=qdfIDAAAQBAJ">https://books.google.es/books?hl=en&amp;lr=&amp;id=qdfIDAAAQBAJ</a>&nbsp;&nbsp;
<u1:p></u1:p><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Roberson, Julie (King College,
Bristol, Tennessee, jarobers@king.edu),&nbsp; Debora Richey and Mona Kratzert (both
Fullerton Library, California State U; drichey@fullerton.edu and
mkratzert@fullerton.edu). &quot;Literary Theory: A Guide to Critical Theory
Resources on the Internet.&quot; College &amp; Research Library News (March
2002): 176-84.*<br>
<a href="https://crln.acrl.org/index.php/crlnews/article/download/21436/26722">https://crln.acrl.org/index.php/crlnews/article/download/21436/26722</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Robinson, Douglas. Becoming a
Translator: An Introduction to the Theory and Practice of Translation. 4th ed.
London: Routledge, 2019.<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.taylorfrancis.com/books/9780429276606">https://www.taylorfrancis.com/books/9780429276606
</a><br>
&nbsp;&nbsp;&nbsp; DOI: 10.4324/9780429276606<br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rodríguez, Jesús.
&quot;Afganistán, el bondadoso Hassán y Estados Unidos, el atormentado Amir.&quot;
Rev. of Cometas en el cielo, by Khaled Hosseini. Levadura 20 June 2016.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistalevadura.mx/2016/06/20/afganistan-el-bondadoso-hassan-y-estados-unidos-el-atormentado-amir/#_ftn9">http://revistalevadura.mx/2016/06/20/afganistan-el-bondadoso-hassan-y-estados-unidos-el-atormentado-amir/#_ftn9</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Rodríguez, María. Rev. of Estudios sobre el texto: Nuevos enfoques y
propuestas. Ed. Mª Azucena Penas Ibáñez and Rosario González. Cauce 32 (2009). <br>
<br>
Rodríguez García, José María. &quot;La bibliofarmacia de Kate Chopin o la
lectura como intoxicación.&quot; Cuadernos de investigación filológica 29-30
(2003-04): 7-28. Online at Dialnet.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://dialnet.unirioja.es/descarga/articulo/2283848.pdf">https://dialnet.unirioja.es/descarga/articulo/2283848.pdf
</a><br>
&nbsp;&nbsp;&nbsp; 2012</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rodríguez Martín, Gustavo
Adolfo. &quot;Modificación estilística de las unidades fraseológicas en la obra
dramática de George Bernard Shaw.&quot; Ph.D. diss. Cáceres: U de Extremadura,
2011. Online at Academia.<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3858799/">https://www.academia.edu/3858799/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rodríguez Serrano, Aarón.
&quot;La narrativa audiovisual en la liberación de los campos de exterminio: el
caso de Night Will Fall (André Singer, 2014).&quot; Análisi: Quaderns de Comunicació
i Cultura, 53 (2015): 65-78. <br>
&nbsp;&nbsp;&nbsp; DOI: <a href="http://dx.doi.org/10.7238/a.v0i53.2539">http://dx.doi.org/10.7238/a.v0i53.2539</a><br>
&nbsp;&nbsp;&nbsp; <a
href="http://in3wps.uoc.edu/index.php/analisi/article/view/n53-rodriguez/2887">http://in3wps.uoc.edu/index.php/analisi/article/view/n53-rodriguez/2887</a><br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/36849350/">https://www.academia.edu/36849350/</a>&nbsp;&nbsp;
<br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rogers, Natasha. The
Representation of Trauma in Narrative: A Study of Six Late Twentieth Century
Novels. Ph.D. diss. U of Warwick, 2004. Online at Academia.* (Silko, Morrison,
Laurence, Munro, Roberts, Murdoch).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/24314180/">https://www.academia.edu/24314180/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rojas C., Sergio. (U de Chile;
sergiorojas_s21@yahoo.com.ar ). &quot;La escritura del detritus en Samuel
Beckett: Al final no se habrá dicho nada, aún.&quot; Revista Chilena de
Literatura 95 (April 2017): 177-202.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://scielo.conicyt.cl/pdf/rchilite/n95/0718-2295-rchilite-95-00177.pdf">https://scielo.conicyt.cl/pdf/rchilite/n95/0718-2295-rchilite-95-00177.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Roscan, Alina. Rewriting
History in the Novels of Julian Barnes. Bucharest: Editura Centrul Tehnic –
Editorial Al Armatei, 2016. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/31144041/">https://www.academia.edu/31144041/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Rosell, Sergio (sergio.rosell@centroseut.org ) Seminario Evangélico Unido de
Teología, El Escorial, Spain, and U of Pretoria). &quot;John's Apocalypse:
Dynamic Word-Images for a New World.&quot; HTS Teologiese Studies / Theological
Studies 67.1 (2011): art. 832.<br>
&nbsp;&nbsp;&nbsp; <a href="https://hts.org.za/index.php/HTS/article/view/832">https://hts.org.za/index.php/HTS/article/view/832</a>
<br>
&nbsp;&nbsp;&nbsp; DOI: 10.4102/hts.v67i1.832 <br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/0760/0ffa771ea4619badd84cc5be8505f8c9c234.pdf">https://pdfs.semanticscholar.org/0760/0ffa771ea4619badd84cc5be8505f8c9c234.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ross, Shawna, et al. &quot;XIV
Modern Literature.&quot; The Year's Work in English Studies (2022). Online at
Oxford Academic.*<br>
&nbsp;&nbsp; <a href="https://doi.org/10.1093/ywes/maac014">https://doi.org/10.1093/ywes/maac014</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Roundy, Philip T. (Dpt. of
Marketing and Entrepreneurship, U of Tennessee at Chattanooga;
philip-roundy@utc.edu). &quot;The Story of Mergers and Acquisitions: Using
Narrative Theory to Understand the Uncertainty of Organizational Change.&quot;
International Scholarly and Scientific Research &amp; Innovation 3.7 (2009):
826-32.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.waset.org/publications/6506">http://www.waset.org/publications/6506</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
_____. &quot;Tugging at Heartstrings: Narrative-Induced Emotion and
Organizational Communication.&quot; Journal of Applied Management and
Entrepreneurship 20.1 (2015): 69-86.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.whitneypress.com/JAME/JAME_Vol_20_No_1_2015.pdf#page=73">http://www.whitneypress.com/JAME/JAME_Vol_20_No_1_2015.pdf#page=73</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
_____. &quot;Tugging at Heartstrings: Narrative-Induced Emotion and
Organizational Communication.&quot; Journal of Applied Management and
Entrepreneurship 20.1 (2015). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/14377947/">https://www.academia.edu/14377947/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/67529879/">
https://www.academia.edu/67529879/</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
_____. &quot;Doing Good by Telling Stories: Emotion in Social Entrepreneurship
Communication.&quot; Journal of Small Business Strategy 24.2 (Nov. 2014):
41-68. Online at ResearchGate:<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/279940613">https://www.researchgate.net/publication/279940613</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
_____. &quot;Doing Good by Telling Stories: Emotion in Social Entrepreneurship
Communication.&quot; Journal of Small Business Strategy 24.2 (2014): 41-68.
Online preprint at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/14377787/">https://www.academia.edu/14377787/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. &quot;Start-up Community Narratives: The Discursive Construction of
Entrepreneurial Ecosystems.&quot; Journal of Entrepreneurship (2016). Online
preprint at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/22473779/">https://www.academia.edu/22473779/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. &quot;Entrepreneurial Ecosystem Narratives and the Micro-Foundations of
Regional Entrepreneurship.&quot; International Journal of Entrepreneurship and
Innovation (2019). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/40603913/">https://www.academia.edu/40603913/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Ruiz Gago, Carmen. Rev. of Estudios sobre el texto: Nuevos enfoques y
propuestas. Ed. M_ Azucena Penas Ibáñez and Rosario González. Lenguaje y Textos
33 (2011).<br>
<br>
Ryan, Marie-Laure. &quot;Transmedial Storytelling and Transfictionality.&quot;
Poetics Today 34.3 (2013):&nbsp; 361-88.<br>
<a href="http://poeticstoday.dukejournals.org/content/34/3/361.short">http://poeticstoday.dukejournals.org/content/34/3/361.short</a><br>
2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ryan, Marie-Laure, Lori
Emerson and Benjamin J. Robertson, eds. The Johns Hopkins Guide to Digital
Media. Baltimore: Johns Hopkins UP, 2014&nbsp; Online preview at Google Books.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=qC0_AwAAQBAJ">https://books.google.es/books?id=qC0_AwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sabao, Collen. (U of Namibia).
&quot;Memory &amp; the National Question in Zimbabwe: A Re-reading of Obert
Mpofu Moments of re-writing? Obert Mpofu's On the Shoulders of Struggle:
Memoirs of a Political Insider and the politics of auto/biographical Truths
(Harare: LAN Readers, 2020).&quot; In Memory &amp; the National Question in
Zimbabwe: A Re-reading of Obert Mpofu. (Harare: LAN Readers, 2020). Online ref.
at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/348480913">https://www.researchgate.net/publication/348480913</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Saldívar, Samuel.
&quot;Latinidad in Enstranged Lands: Narrative Interjections in Chicanx and
Latinx Literature, Film and Television.&quot; Ph.D. diss. Michigan State U,
2016. Online at Semantic Scholar.*<br>
<a
href="https://www.semanticscholar.org/paper/Latinidad-in-Enstranged-Lands%3A-Narrative-in-Chicanx-Sald%C3%ADvar/e4d342a5db4a10376f23fa84c7180181cbaf159c">&nbsp;https://www.semanticscholar.org/paper/Latinidad-in-Enstranged-Lands%3A-Narrative-in-Chicanx-Sald%C3%ADvar/e4d342a5db4a10376f23fa84c7180181cbaf159c</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/e4d3/42a5db4a10376f23fa84c7180181cbaf159c.pdf">https://pdfs.semanticscholar.org/e4d3/42a5db4a10376f23fa84c7180181cbaf159c.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Salmerón, Julia.
(visions8-wpaper).<br>
<a
href="http://www.inter-disciplinary.net/critical-issues/wp-content/uploads/2013/05/Julia-Salmeron-visions8-wpaper.pdf">http://www.inter-disciplinary.net/critical-issues/wp-content/uploads/2013/05/Julia-Salmeron-visions8-wpaper.pdf</a><br>
2013</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sánchez Corral, Luis.
Violencia, discurso y público infantil. (Colección Arcadia, 11). Cuenca: U de
Castilla-La Mancha, 2005. Online preview at Google Books:<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=7tCGzH0hpL8C">https://books.google.es/books?id=7tCGzH0hpL8C</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
Sánchez Domínguez, Karla. &quot;Trabajo final Beckett.&quot; Scribd (Karla
Sánchez Domínguez) </span></i><span style='color:black'>15 Jun. 2011.*<br>
<a href="http://es.scribd.com/doc/57894074/Trabajo-Final-Beckett">http://es.scribd.com/doc/57894074/Trabajo-Final-Beckett&nbsp;</a><br>
<i>2013</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sánchez Esparza, Marta.
&quot;La construcción periodística del relato de la corrupción: Análisis del
tratamiento informativo del Caso Malaya.&quot; Ph.D. diss. U de Málaga, 2014.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/23825445/">https://www.academia.edu/23825445/</a><br>
&nbsp;&nbsp;&nbsp; 2020<b><br>
</b>&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/72059144/">https://www.academia.edu/72059144/</a><br>
&nbsp;&nbsp;&nbsp; 2022<b><br>
&nbsp;<br>
</b>Sandler, Sergeiy. &quot;The Kierkegaardian Sources of Bakhtin's
Philosophical Motivation.&quot; Fourteenth International Bakhtin Conference
2011 (U of Bologna,&nbsp; 4-8 July 2011).</span></i><i><span style='font-size:
7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.bakhtinconference2011.it/Def_Prog.pdf#page=72"><span
style='font-size:12.0pt'>http://www.bakhtinconference2011.it/Def_Prog.pdf#page=72</span></a><br>
&nbsp;&nbsp;</span><span style='color:black'>&nbsp; 2014<b><br>
<br>
</b>Sangers, Nina L., Jacqueline Evers-Vermeul (Utrecht U), Ted J. M. Sanders
(Utrecht U) and Hans Hoeken (Utrecht U). &quot;Vivid Elements in Dutch
Educational Texts.&quot; Narrative Inquiry 30.1 (March 2020). Online ref. at
ResearchGate.*<br>
DOI: 10.1075/ni.18090.san<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/339829037">https://www.researchgate.net/publication/339829037</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sangers, Nina L., Jacqueline
Evers-Vermeul, Ted Sanders and Hans Hoeken. &quot;Narrative Elements in
Expository Texts: A Corpus Study of Educational Textbooks.&quot; Dialogue &amp;
Discourse 12.2 (2021): 115-44. Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; •&nbsp; DOI:10.5210/dad.2021.204<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/c810/39aaf952db16c2aaa229441dbcf92fdf31b0.pdf">https://pdfs.semanticscholar.org/c810/39aaf952db16c2aaa229441dbcf92fdf31b0.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
</span></i><span style='color:black'>&nbsp;&nbsp;&nbsp; <i>ResearchGate.*<br>
</i>&nbsp;&nbsp;&nbsp; <a
href="https://www.researchgate.net/publication/355274039">https://www.researchgate.net/publication/355274039</a><i><a
href="https://www.researchgate.net/publication/355274039">&nbsp;</a>&nbsp;&nbsp;
<br>
</i>&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Santana Nicácio, Priscila
Tenório. &quot;'A tercera porta' da narrativa: O fantástico.&quot; In
(Re)visôes do Fantástico: Do centro às marges; caminhos cruzados. (II Congreso
Internacional Vertentes do Insólito Ficcional – V Encontro Nacional O Insólito
como Questâo na Narrativa Ficcional&nbsp; - XIII Painel Reflexoês sobre o
Insólito na Narrativa Ficcional). Anais de 2014. Ed. Flavio García, Maria
Cristina Batalha, Regina Silvia Michelli. Rio de Janeiro: Dialogarts, 2016.
885-97. Online at Academia.*<br>
<a href="https://www.academia.edu/33339614/">https://www.academia.edu/33339614/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sanz Pascual, Eneko. Un análisis
narrativo de los planes estratégicos para la consolidación de la paz. Ph.D. U
Aut_noma de Barcelona, Facultad de Derecho, 2014.* Onlin:</span></i><i><span
style='font-size:7.5pt;color:black'><br>
&nbsp;</span><span style='color:black'>&nbsp;&nbsp; </span></i><i><span
style='font-size:7.5pt;color:black'><a href="http://hdl.handle.net/10803/285140"><span
style='font-size:12.0pt'>http://hdl.handle.net/10803/285140</span></a><br>
</span><span style='color:black'>&nbsp;&nbsp;&nbsp; 2015</span></i><i><span
style='font-size:7.5pt;color:black'> </span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Saornil Comaposada, Amparo.
(Ps.; independent researcher, Madrid;
amparo.saornil.comaposada@protonmail.com). &quot;Autoritarismo, Resistencia y
acoso laboral en la universidad del siglo XXI: rostros ¿nuevos? de una vieja
exclusión&quot; Resistances: Journal of the Philosophy of History (Quito,
Ecuador) 1.2 (2020): 149-63. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44830685/">https://www.academia.edu/44830685/</a><br>
2020<br>
<a href="https://www.academia.edu/45240078/">https://www.academia.edu/45240078/</a><br>
2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sapere, Analía. Vidas griegas
de Plutarco: La inclusión de versiones como técnica narrativa y descriptiva.
Ph.D. diss. U de Buenos Aires, 2015. Online at FILO: Digital.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://repositorio.filo.uba.ar/bitstream/handle/filodigital/3011/uba_ffyl_t_2015_904557.pdf">http://repositorio.filo.uba.ar/bitstream/handle/filodigital/3011/uba_ffyl_t_2015_904557.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; 2017<b><br>
<br>
</b>Sapiña, Héctor. &quot;Vínculos entre la poética literaria y la crítica
cinematográfica de Alfonso Reyes.&quot; M.A. diss. UNAM, 2016. Online at
Academia (Héctor Sapiña).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/326030881">https://www.researchgate.net/publication/326030881</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Saumaa, Hiie. Metafictionality
as a Technique in the Self-Conscious Realism of A. S. Byatt's Frederica Potter
Quartet. MA diss. U of Tartu, Dpt. of Germanic and Romance Languages and
Literatures, 2005.* Online:</span></i><i><span style='font-size:7.5pt;
color:black'><br>
&nbsp;&nbsp;&nbsp; <a
href="https://dspace.utlib.ee/dspace/bitstream/handle/10062/671/saumaa.pdf"><span
style='font-size:12.0pt'>https://dspace.utlib.ee/dspace/bitstream/handle/10062/671/saumaa.pdf</span></a><br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'> 2015<b><br>
<br>
</b>Saunders, Loraine. (Liverpool Hope U, UK). The Unsung Artistry of George
Orwell: The Novels from BURMESE DAYS to NINETEEN EIGHTY-FOUR. Abingdon (UK) and
New York: Ashgate, 2016.* Online preview at Google Books:</span></i><i><span
style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=ghGgCwAAQBAJ"><span
style='font-size:12.0pt'>https://books.google.es/books?id=ghGgCwAAQBAJ</span></a>
<br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'> 2016<b><br>
</b><br>
Scarinci, Alessia. &quot;Digital Storytelling: Un'applicazione didattica per
ripensare ai media attraverso i media.&quot; Postgraduate program paper, U
Pompeu Fabra, 2010. Online at&nbsp; e-Repositori UPF.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://repositori.upf.edu/bitstream/handle/10230/11308/TFM-Alessia%20Scarinci.pdf">https://repositori.upf.edu/bitstream/handle/10230/11308/TFM-Alessia%20Scarinci.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Scheffel, Michael.
&quot;Narrative Constitution.&quot; In Handbook of Narratology. Ed. Peter H_hn
et al. Berlin and New York: Walter de Gruyter, 2009. 282-94.* (Levels of
analysis).<br>
_____. &quot;Narrative Constitution.&quot; The Living Handbook of Narratology.
Hamburg UP, 2010.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://wikis.sub.uni-hamburg.de/lhn/index.php/Narrative_Constitution">http://wikis.sub.uni-hamburg.de/lhn/index.php/Narrative_Constitution</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
Schmid, Wolf. Narratologija. (Studia Philologica). Moscow: Jazyki Slavianski
Kultury, 2003. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/31101099/">https://www.academia.edu/31101099/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/81567115/">https://www.academia.edu/81567115/</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
_____. Elemente der Narratologie. (Narratologia, 8). Berlin and New York:
Walter de Gruyter, 2005.*<br>
_____. Elemente der Narratologie. 2nd ed. 2008.<br>
_____. Elemente der Narratologie. 3rd. ed. Berlin: Walter de Gruyter, 2014.*<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a
href="http://books.google.es/books?id=doTnBQAAQBAJ">http://books.google.es/books?id=doTnBQAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2015<br>
_____. &quot;Elemente der Narratologie.&quot; In García Landa, Vanity Fea 18
Feb. 2015.*<br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a
href="http://vanityfea.blogspot.com.es/2015/02/elemente-der-narratologie.html">http://vanityfea.blogspot.com.es/2015/02/elemente-der-narratologie.html</a><br>
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2015<br>
_____. Narratology: An Introduction. Trans. Alexander Starritt. (De Gruyter
Graduate). Berlin and New York: Walter de Gruyter, 2010.*</span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Scholtz, Andrew. &quot;Dialogue
and Its Discontents: The Ethics of Listening in Aristophanes' Lysistrata.&quot;
Bakhtin Conference 2011<br>
<a href="http://www.bakhtinconference2011.it/Def_Prog.pdf#page=72">http://www.bakhtinconference2011.it/Def_Prog.pdf#page=72</a><br>
&nbsp;&nbsp;&nbsp; 2013<br>
_____. &quot;Dialogue and Its Discontents: The Ethics of Listening in
Aristophanes' Lysistrata.&quot; Paper presented at the XIV Bakthin Conference,
U of Bologna, July 2011. Online abstracts at Academia.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/856469/_"> https://www.academia.edu/856469/_</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
</span></i><span style='color:black'><br>
<i>Schuff, Christ_foros. &quot;Let all Creation Rejoice...&quot;: Orthodoxy and
Creation: Between Linguistical Expression and Contemporary Reality.</i> MA
diss., U of Agder, 2011.<br>
<a
href="http://es.scribd.com/doc/56517884/Let-All-Creation-Rejoice-Orthodoxy-and-Creation-Between-Liturgical-Expression-and-Contemporary-Reality">http://es.scribd.com/doc/56517884/Let-All-Creation-Rejoice-Orthodoxy-and-Creation-Between-Liturgical-Expression-and-Contemporary-Reality</a><br>
2013<br>
<br>
Schulz, James. (Dpt. of Kinesiology, U of Maryland at College Park). &quot;'A
Wager Concerning a Diplomatic Pig': A Crooked Reading of the Floyd of Rosedale
Narrative.&quot; Journal of Sport History 32.1 (Spring 2005).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://library.la84.org/SportsLibrary/JSH/JSH2005/JSH3201/jsh3201d.pdf">http://library.la84.org/SportsLibrary/JSH/JSH2005/JSH3201/jsh3201d.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
<i>Scott, Mike. &quot;The Internet and Its Text.&quot; Lecture at Open
University, 2006.<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.lexically.net/downloads/corpus_linguistics/index.html">http://www.lexically.net/downloads/corpus_linguistics/index.html</a><br>
&nbsp;&nbsp;&nbsp; 2013<br>
<br>
Seeger, Giseli. (Pontificia U Católica de Rio Grande do Sul). &quot;Finisterra
e os modos de povoar uma paisagem: Estrategias de configuraçao da perspectiva
narrativa.&quot; MA diss. U&nbsp; Federal de Santa María. Online at Academia.*<br>
<a href="https://www.academia.edu/42244133/">https://www.academia.edu/42244133/</a><br>
&nbsp;&nbsp;&nbsp; 2020</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Segal, Eyal. Rev. of The
Dynamics of Narrative Form: Studies in Anglo-American Narratology. Ed. John
Pier. Poetics Today 27.4 (Winter 2006): 726-730.<br>
&nbsp;&nbsp;&nbsp; <a
href="http://poeticstoday.dukejournals.org/cgi/reprint/27/4/730.pdf">http://poeticstoday.dukejournals.org/cgi/reprint/27/4/730.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2007<br>
<br>
Semio-China (Forum of Semioitics). (&quot;Narratology.&quot;)<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.semiotics.net.cn/Articles_Show.asp?UserID=222&amp;Arti_id=737">http://www.semiotics.net.cn/Articles_Show.asp?UserID=222&amp;Arti_id=737</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Serenio, Frances Mae (U of San
Carlos, Philipine, sakura_041888@yahoo.com) and Cindy Velasquez (U of San
Carlos, Philipine, cavelasquez@usc.edu.ph). &quot;Speech Acts in the Selected
and Award Winning Filipino Children Short Stories.&quot; Indonesian Journal of
EFL and Linguistics 4.1 (2019): 15-25.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.indonesian-efl-journal.org/index.php/ijefll/article/download/89/pdf">http://www.indonesian-efl-journal.org/index.php/ijefll/article/download/89/pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Seri, Guillermina Sofía.
&quot;Policing and Democracy: The Influence of Narratives on Police
Discretion.&quot; Diss. U of Florida, 2005.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/1244609/">https://www.academia.edu/1244609/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Shaham, Inbar. (Open U of Israel, Dpt. of Literature, Language, and the Arts).
&quot;The Structure of Repetition in the Cinema: Three Hollywood
Genres.&quot;&nbsp; Poetics Today 34.4 (2013): 437-518.* (Plans, heist,
adventures).<br>
&nbsp;&nbsp;&nbsp; DOI: 10.1215/03335372-2389578 <br>
<a href="http://poeticstoday.dukejournals.org/content/34/4/437.refs">http://poeticstoday.dukejournals.org/content/34/4/437.refs</a>&nbsp;&nbsp;&nbsp;
<a
href="https://read.dukeupress.edu/poetics-today/article-pdf/34/4/437/459263/PT344_01Shaham_Fpp.pdf">https://read.dukeupress.edu/poetics-today/article-pdf/34/4/437/459263/PT344_01Shaham_Fpp.pdf</a><br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/9c51/5f977ef6468a6f5d047bdfe1e64284c781d5.pdf">https://pdfs.semanticscholar.org/9c51/5f977ef6468a6f5d047bdfe1e64284c781d5.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/47430234">https://www.academia.edu/47430234</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Shain, Cory Adam. The Distribution of Differential Object Marking in Paraguayan
Guaran_. MA diss. Ohio State U, 2009. Online at Ohio Link.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://etd.ohiolink.edu/%21etd.send_file?accession=osu1243450139">https://etd.ohiolink.edu/!etd.send_file?accession=osu1243450139</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Shapira-Lavi, Anat. &quot;To
Make a Short Story Long: A Study of Medieval Hebrew Narrative.&quot; (In
Hebrew). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/34304553/">https://www.academia.edu/34304553/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Shapiro Library (Southern New
Hampshire University) - Literature Research Guide<br>
<a href="https://libguides.snhu.edu/c.php?g=92252&amp;p=4461763">https://libguides.snhu.edu/c.php?g=92252&amp;p=4461763</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sharifian, Farzad. (Edith
Cowan U, Australia). &quot;Chaos in English Aboriginal Discourse.&quot; In
Englishes in Asia: Communication, Identity, Power and Education. Ed. Andy
Kirkpatrick. Melbourne: Language Australia, 2002. 125-42.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/26244861/">https://www.academia.edu/26244861/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Shen, Dan. &quot;Why
Contextual and Formal Narratologies Need Each Other.&quot; Journal of Narrative
Theory 35.2 (Summer 2005): 141-71. Online PDF from Project Muse.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://michaelzyskind363.qwriting.qc.cuny.edu/files/2011/06/Narrative1.pdf">https://michaelzyskind363.qwriting.qc.cuny.edu/files/2011/06/Narrative1.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>(Shtokhman, Lilia
Mykolayivna). &quot;Suchasna feministychna naratolohiya: Praktyka Realizatsiyi
na Zakhodi ta v Ukrayini&nbsp; - Modern Feminist Narratology: Its Practical
Implementation in the West and in Ukraine).&quot; Ph.D. diss. Ternopil
(Ukraine): &quot;Volodymyr Hnatiuk&quot; Ternopil National Pedagogical University,
Western Ukraine, 2011. Online at DSpace at West Ukrainian National University.*<br>
<a
href="http://dspace.wunu.edu.ua/bitstream/316497/3210/1/diisser-shtokhman.pdf">http://dspace.wunu.edu.ua/bitstream/316497/3210/1/diisser-shtokhman.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Shtutin, Leo. Spatiality and
Subjecthood in Mallarmé, Apollinaire, Maeterlinck and Jarry: Between Page and
Stage. (Oxford Modern Languages and Literature Monographs). Oxford: Oxford UP,
2019. Online preview at Google Books:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://books.google.es/books?hl=en&amp;lr=&amp;id=RBGIDwAAQBAJ">https://books.google.es/books?hl=en&amp;lr=&amp;id=RBGIDwAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Shuman, Amy. Other People's
Stories: Entitlement Claims and the Critique of Empathy. Urbana and Chicago: U
of Illinois P, 2005. Online preview at Google Books.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://books.google.es/books?hl=en&amp;lr=&amp;id=0yYwjDH61X8C">https://books.google.es/books?hl=en&amp;lr=&amp;id=0yYwjDH61X8C</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Si, Mei, and Stacy C.
Marsella. &quot;Modeling Rich Characters in Interactive Narrative Games.&quot;
GAMEON-Asia (Shaghai, 2010). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2695694/">https://www.academia.edu/2695694/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Si, Mei, Stacy C. Marsella,
and David P. Pynadath ([meisi, marsella, pynadath]@ict.usc.edu). (Institute for
Creative Technologies, U of Southern California). &quot;Evaluating Directorial
Control in a Character-Centric Interactive Narrative Framework.&quot;
Proceedings of the 9th International Conference on Autonomous Agents and
Multilayered Systems (AAMAS 2010). Ed. Kaminka van der Hoek, et al. (Toronto,
2010). International Foundation for Autonomous Agents and Multiagent Systems,
2010. 1289-96.* (Thespian).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/672507/">https://www.academia.edu/672507/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. &quot;Directorial Control in a Decision-Theoretic framework for
Interactive Narrative.&quot; Interactive Storytelling (2009). Online at
Academia.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2695690/">https://www.academia.edu/2695690/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____.&nbsp; &quot;Directorial Control in a Decision-Theoretic Framework for
Interactive Narrative.&quot; From Lecture Notes in Computer Science. Heidelberg
and Berlin: Springer, 2009. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/60247383/">https://www.academia.edu/60247383/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Sigüenza Rojas, Juan Diego. &quot;Análisis narratológico de la novela de Galo
Enrique Silva Barreno (Henry Bäx) El pergamino perdido.&quot; MA. diss.
Universidad Técnica Particular de Loja / Universidad Católica de Loja, 2013.
Online at Academia.*<br>
<a href="https://www.academia.edu/75919197/">https://www.academia.edu/75919197/</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Silió, Teresa. Rev. of
Estudios sobre el texto: Nuevos enfoques y propuestas. Ed. Mª Azucena Penas
Ibáñez and Rosario González. Mi+d (un lugar para la ciencia y la tecnología)
Portal científico de la web. 2010.</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sinebriukhov, Iu. B. (Jarkov).
&quot;Quis custodiet ipsos custodes? Nabrosok real'nosti.&quot;&nbsp; In
Science and Education: A New Dimension—Humanities and Social Sciences 8.37
(Issue 223, Feb. 2020): 41-44.* <br>
<a href="http://www.seanewdim.com">http://www.seanewdim.com</a> <br>
<a href="http://seanewdim.com/uploads/3/4/5/1/34511564/hum_viii_223_37.pdf">http://seanewdim.com/uploads/3/4/5/1/34511564/hum_viii_223_37.pdf
</a><br>
<a
href="https://seanewdim.com/uploads/3/4/5/1/34511564/httpsdoi.org10.31174send-hs2020-223viii37-10.pdf">https://seanewdim.com/uploads/3/4/5/1/34511564/httpsdoi.org10.31174send-hs2020-223viii37-10.pdf</a>
<br>
<a href="https://doi.org/10.31174/SEND-HS2020-223VIII37-10">https://doi.org/10.31174/SEND-HS2020-223VIII37-10</a>
<br>
Online at Academia.*<br>
<a href="https://www.academia.edu/42243977/">https://www.academia.edu/42243977/</a><br>
2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Smit-Marais, Susanna.
Castaways and Colonists from Crusoe to Coetzee. Ph.D. diss. North-West U,&nbsp;
2012.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://dspace.nwu.ac.za/handle/10394/8724">http://dspace.nwu.ac.za/handle/10394/8724</a><br>
&nbsp;&nbsp;&nbsp; 2013</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Smith, Wally (U of Melbourne),
Frank Dignum (Universiteit Utrecht) and Liz Sonenberg (U of Melbourne).
&quot;The Construction of Impossibility: A Logic-Based Analysis of Conjuring
Tricks.&quot; Frontiers in Psychology 14 June 2016.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.3389/fpsyg.2016.00748">https://doi.org/10.3389/fpsyg.2016.00748</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.frontiersin.org/articles/10.3389/fpsyg.2016.00748/full">https://www.frontiersin.org/articles/10.3389/fpsyg.2016.00748/full</a><br>
&nbsp;&nbsp;&nbsp; Online at ResearchGate:<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.researchgate.net/publication/304909934">
https://www.researchgate.net/publication/304909934</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; Online at Europe PMC:<br>
&nbsp;&nbsp;&nbsp; <a href="http://europepmc.org/articles/pmc4906630?pdf=render">http://europepmc.org/articles/pmc4906630?pdf=render</a><br>
</span></i><span style='color:black'>&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Snelders, Bas. New Narratives
for Europe? A Search for Narratives in EFC Grant Applications. Amsterdam:
European Cultural Foundation, 2012. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/35599410/">https://www.academia.edu/35599410/</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Snow, Marcus. Into the Abyss:
A Study of the Mise en Abyme. Ph.D. London Metropolitan U, 2016.*<br>
&nbsp;&nbsp;&nbsp;<a
href="http://repository.londonmet.ac.uk/1106/1/SnowMarcus_IntoTheAbyss.pdf">
http://repository.londonmet.ac.uk/1106/1/SnowMarcus_IntoTheAbyss.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Sobchuk, Oleg. (Max Planck Institute for the Science of Human History).
&quot;Pereosmislenia narativnosti, personazha i fokalisatsii v suchasnii
kognitivnii naratologii.&quot; Magisterium 48 (2012): 108-13. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3312363/">https://www.academia.edu/3312363/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sobhani, Arezou (U of Otago, Dunedin,
NZ) and Ali Saghebi (Shiraz Medical U, Iran). &quot;The Violation of
Cooperative Principles and Four Maxims in Iranian Psychological
Consultation.&quot; Open Journal of Modern Linguistics 4.1 (2014): <br>
&nbsp;&nbsp;&nbsp; DOI: 10.4236/ojml.2014.41009<br>
&nbsp;&nbsp;&nbsp; Online at Scientific Research Open Access.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.scirp.org/html/9-1640179_42896.htm">https://www.scirp.org/html/9-1640179_42896.htm</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sommer, Roy. &quot;Beehive
Narratology? Why Narrative Research Should Not Ignore Complexity Theory&quot;
Diegesis 9.2 (2020).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.diegesis.uni-wuppertal.de/index.php/diegesis/article/view/395">https://www.diegesis.uni-wuppertal.de/index.php/diegesis/article/view/395</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Søndergaard, Karin.
&quot;Participation as Media: A Compositional System for Staging Participation
with Reflective Scenography.&quot; 2010. Online reference at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.semanticscholar.org/paper/Participation-as-media-%3A-a-compositional-system-for-S%C3%B8ndergaard/e210837605d93d0969e36cb4e2b32950f35b9306">https://www.semanticscholar.org/paper/Participation-as-media-%3A-a-compositional-system-for-S%C3%B8ndergaard/e210837605d93d0969e36cb4e2b32950f35b9306</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sora Domenj_, Carles.
Temporalitats digitals: Aproximaci_ a una teoria del temps cinem_tic en les
obres audiovisual interactives. Ph.D. diss. U Pompeu Fabra, 2015. Online at
Tesis Doctorales en Red.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.tdx.cesca.cat/handle/10803/323896">http://www.tdx.cesca.cat/handle/10803/323896</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Spang, Kurt. Review of Acción, Relato, Discurso: Estructura de la ficción
narrativa. By José Angel García Landa. Notas 6.3 (1999): 30-31.*&nbsp; Online
at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/3372249">https://www.academia.edu/3372249</a>/<br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Stadlbauer, Susanne. (U of
Colorado at Boulder). &quot;Between Secrecy and Transparency: Conversions to
Protestantism among Iranian Refugees in Germany.&quot; Entangled Religions 8
(2019).<br>
&nbsp;&nbsp;&nbsp; http://er.ceres.rub.de <br>
&nbsp;&nbsp;&nbsp; DOI: 10.13154/er.8.2019.8322<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
<a href="https://www.academia.edu/40970068/">https://www.academia.edu/40970068/
</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ståhlberg, Andreas. &quot;The
Functions of the Narratee in Kazuo Ishiguro's The Remains of the Day.&quot;
Dissertation, U of Karlstadt, 2008. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/1173047/">https://www.academia.edu/1173047/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Staskievicz, Jurata.
&quot;Aesthetic and Ideological Functions of Time and Space Shifts in the
Postmodernist Narrative.&quot; MA Diss. U of Vilnius, 2008. Online at Semantic
Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.semanticscholar.org/paper/Aesthetic-and-ideological-functions-of-time-and-in-Staskievicz/d320b775a325f55e104d11d6f598fbf4042d4386">https://www.semanticscholar.org/paper/Aesthetic-and-ideological-functions-of-time-and-in-Staskievicz/d320b775a325f55e104d11d6f598fbf4042d4386</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Stephens, Jonathan. &quot;Beckett's Raw War: Language and Aporia in Company and
Worstward Ho.&quot; Jonathan Stephens</span></i><span style='color:black'><br>
<a href="http://www.jonathanstephens.com/essays/samuelbeckett.html">http://www.jonathanstephens.com/essays/samuelbeckett.html</a><br>
2014<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Sternberg, Meir.
&quot;Narrativity: From Objectivist to Functional Paradigm.&quot;<i> Poetics
Today</i> 31.3 (2010): 507-659.*<br>
_____. &quot;Narrativity: From Objectivist to Functional Paradigm.&quot; <i>Poetics
Today</i> 31.3 (Sept. 2010): 507-659. Online at <i>ResearchGate.*</i><br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/261739916">https://www.researchgate.net/publication/261739916</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
Sternberg, Meir, and Tamar Yacobi. &quot;(Un)Reliability in Narrative
Discourse: A Comprehensive Overview.&quot; <i>Poetics Today</i> 36.4 (2015):
327-498.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://poeticstoday.dukejournals.org/content/36/4/327.short">http://poeticstoday.dukejournals.org/content/36/4/327.short</a><br>
&nbsp;&nbsp;&nbsp; 2016 <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Stockwell, Peter. &quot;The
Texture of Authorial Intention.&quot; In World Building: Discourse in the Mind.
Ed. Joanna Gavins and Ernestine Lahey. (Advances in Stylistics). London,
Oxford, New York, New Delhi, Sydney: Bloomsbury, 2016. 147-64.* Online at
Google Books:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://books.google.es/books?hl=en&amp;lr=&amp;id=Wmw6DAAAQBAJ">https://books.google.es/books?hl=en&amp;lr=&amp;id=Wmw6DAAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><br>
<i>_____. &quot;The Texture of Authorial Intention.&quot; Online at Academia.*<br>
<a href="https://www.academia.edu/8764604/">https://www.academia.edu/8764604/</a></i><br>
2019<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sultan, Ameer, Rashida Imran
and Saira Maqbool. &quot;Teaching of Harry Potter and the Philosophers' Stone
In the Light of Barthes' Narrative Codes at BS English Level.&quot;
ResearchGate (Dec. 2016).*<br>
DOI: 10.31703/grr.2016(I-I).18<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/339533236">https://www.researchgate.net/publication/339533236</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Swettenham, Neal. The Role and
Status of Narrative in Contemporary Theatre. Ph.D. diss., De Montfort U, 2003.
Online at<br>
<a href="https://www.dora.dmu.ac.uk/bitstream/handle/2086/4317/271923.pdf">https://www.dora.dmu.ac.uk/bitstream/handle/2086/4317/271923.pdf</a><br>
2013</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Szawerna, Michal. (U of Wroclaw, Poland). &quot;Visual
Metaphorization of Events as Objects in Comics.&quot; Language, Mind, Culture
and Society 2 (2018) – Special issue: Multimodality in Communication, Language,
and Culture. In Memoriam Prof. Alina Kwiatkowska.&nbsp; 150-79. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/39033521/">https://www.academia.edu/39033521/</a>
<br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Tabares Ochoa, Catalina María. &quot;Erving Goffman y sus contribuciones a la
consolidación de la Sociología.&quot; Academia (Catalina María Tabares
Ochoa).&quot;<br>
&nbsp;&nbsp; &nbsp;<a
href="https://www.academia.edu/37343622/Erving_Goffman_y_sus_contribuciones_a_la_consolidacion_de_la_Sociologia.pdf">https://www.academia.edu/37343622/Erving_Goffman_y_sus_contribuciones_a_la_consolidacion_de_la_Sociologia.pdf</a><br>
&nbsp;&nbsp; &nbsp;2018<b><br>
<br>
</b>Tabernero Sala, Rosa. Nuevas y viejas formas de contar: El discurso
narrativo infantil en los umbrales del siglo XXI. (Humanidades, 53). Zaragoza:
Prensas Universitarias de Zaragoza, 2005. Online at Zaguán.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://zaguan.unizar.es/record/88351/files/BOOK-2020-017.pdf">https://zaguan.unizar.es/record/88351/files/BOOK-2020-017.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Takeuchi, Akiko. &quot;The Fusion of Narration and Character Voices in Noh
Drama: A Narratological Approach to Zeami's God Plays and Warrior Plays.&quot;
In Narratological Perspectives on Premodern Japanese Literature. Ed. Sebastian
Balmes. (BmE Special Issue, 7). Oldenburg, 2020. 113-49. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/73147336/">https://www.academia.edu/73147336/</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
Tanr</span></i><i><span style='font-size:10.0pt;mso-fareast-font-family:"Times New Roman";
color:black'>1</span></i><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>verdi, Haluk, Ziyad Guliyev and Dilbar Guliyeva. &quot;Dijital
anlat1lar1n turistik imaj olusturmada gençlerin rolü: Nahcivan özerk
cumhuriyeti turistik anlat1lar açisindan analizi.&quot; (&quot;The role of
youth in creating touristic images of digital narratives: Analysis of the
Nakhchivan Autonomous Republic in Terms of Touristic Narratives&quot;). III
International Congress of Youth researches Congress Book (Nakhchivan, June
27-July1, 2018). Ed. Zekeriya Bingöl, Levent Karadag and Hasan Bozgeyikli.
Eylul: Muğla Sıtkı Koçman Üniversitesi, 2018. 89-96. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/38228267/">https://www.academia.edu/38228267/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='mso-fareast-font-family:"Times New Roman";
color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Tarakanova, E. N. Sovremeniie
sistemy tipizatsii i ikh rol' v konstruirovanii sotsiokulturnoi realnosti.
Diss. U of Saint Petersburg, 2017. Online at St. Petersburt U - dissertations:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://disser.spbu.ru/files/disser2/disser/GmQdYP9zT3.pdf">https://disser.spbu.ru/files/disser2/disser/GmQdYP9zT3.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2017<b><br>
<br>
</b>Taranilla García, Raquel. La configuración narrativa en el proceso penal:
Un análisis discursivo basado en corpus. Ph.D. diss. U de Barcelona, 2011. <br>
&nbsp;&nbsp;&nbsp; <a href="http://www.tesisenred.net/handle/10803/48717">http://www.tesisenred.net/handle/10803/48717</a><br>
&nbsp;&nbsp;&nbsp; 2012<br>
<br>
Taranilla, Raquel. (ragarcia@qf.org.qa) &quot;El escrito de acusación penal:
Convenciones genéricas en la configuración del relato de los hechos.&quot; I
Vardande: Revista Electrónica de Semiótica y Fenomenología Jurídicas
Burcaramanga 2.2 (March 2013-Feb. 2014): 64-94. Online at Scribd
(alilozadaprado) 5 Nov. 2014.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://es.scribd.com/doc/245618837/">https://es.scribd.com/doc/245618837/</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Taranilla, Raquel. (U de
Barcelona). &quot;La enseñanza de habilidades comunicativas para la práctica
del derecho: La técnica narrativa en contextos judiciales.&quot; Revista de
Educación y Derecho 6 (April-Sept. 2012).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2053386/">https://www.academia.edu/2053386/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. &quot;El escrito de acusación penal: Convenciones genéricas en la
configuración del relato de los hechos.&quot; I Vardande: Revista Electrónica
de Semiótica y Fenomenología Jurídicas Burcaramanga 2.2 (March 2013-Feb. 2014):
64-94. Online at Scribd (alilozadaprado) 5 Nov. 2014.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://es.scribd.com/doc/245618837/">https://es.scribd.com/doc/245618837/</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
_____. &quot;El escrito de acusación penal: Convenciones genéricas en la
configuración del relato de los hechos.&quot; Ivardande: Revista Electrónica de
Semiótica y Fenomenología Jurídica 2.2 (March 2013 – Feb. 2014): 64-94. Online
at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/6254528/">https://www.academia.edu/6254528/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Taranilla, Raquel, and Irene
Yúfera. &quot;La tipología textual en la enseñanza de la lengua del derecho:
Consideraciones a partir de una experiencia docente.&quot; Revista de Llengua i
Dret 58 (2012): 35-52.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2313896/">https://www.academia.edu/2313896/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
&quot;Técnicas para la creación de relatos: Selección bibliográfica.&quot;
Universidad de Valencia.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.uv.es/mariajo/relato.pdf">http://www.uv.es/mariajo/relato.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
Tello Díaz, Lucía. (U de La Rioja; lucia.tello@unir.net). &quot;Transtextuality
and Metafiction in Fake Documentaries: Self-Referential Discourse in The
Unmaking of.&quot; Communication &amp; Society 27.4 (2014): 113-29.* (Juan
Manuel Chumilla Carbajosa, 2010)<br>
DOI:10.15581/003.27.4.113-129<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.communication-society.com">http://www.communication-society.com</a>
<br>
&nbsp;&nbsp;&nbsp; Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/ad10/a25ba2636da038049ddb9f2a6142565d37fa.pdf">https://pdfs.semanticscholar.org/ad10/a25ba2636da038049ddb9f2a6142565d37fa.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
_____. &quot;Transtextualidad y metaficción en el falso documental: El discurso
autorreferencial en The Unmaking of.&quot; Communication &amp; Society 27.4
(2014): 113-29. (Juan Manuel Chumilla Carbajosa, dir.). En Dadun (Universidad
de Navarra)<br>
&nbsp;&nbsp;&nbsp;<a href="http://dadun.unav.edu/handle/10171/37926">
http://dadun.unav.edu/handle/10171/37926</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Teresa Pabón, Carmen. Rev. of
La Traducción: Nuevos planteamientos teórico-metodológicos, ed. Azucena Penas
Ibáñez. Revista Española de Lingüística 46.1 (2016): 175-202.<br>
&nbsp;&nbsp;&nbsp; <a
href="http://sel.edu.es/rsel/index.php/revista/article/view/149">http://sel.edu.es/rsel/index.php/revista/article/view/149</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Tezi, Yüksek Lisans.
&quot;Ahmet Mithat Efendi ve Orhan Pamuk'un Romanlarında Anlatıcılar
Tipolojisi: Felâtun Bey İle Râkım Efendi, Müşâhedât; Yeni Hayat ve Kar&quot;
Diss. U of Çanakkale (Turkey), 2016.* (Narrative typology in novels by Ahmet
Mithat Efendi and Orhan Pamuk). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/32354777/">https://www.academia.edu/32354777/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Thabet, Tamer. Video Game Narrative and Criticism: Playing the Story. (Palgrave
Pivot). Houndmills and New York: Palgrave Macmillan, 2015.* Online preview at
Google Books:<br>
&nbsp;&nbsp;&nbsp; <a href="http://books.google.es/books?id=8RznBgAAQBAJ">http://books.google.es/books?id=8RznBgAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
<br>
Thate, Michael James. &quot;Remembrance of Things Past? Albert Schweitzer, the
Anxiety of Influence, and the Untidy Jesus of Markan Memory.&quot; Ph.D. Durham
U, 2012. Online at Durham eTheses <br>
&nbsp;&nbsp;&nbsp; <a href="http://etheses.dur.ac.uk/3907/1/SINGLE_DOC.pdf">http://etheses.dur.ac.uk/3907/1/SINGLE_DOC.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2014<b><br>
<br>
</b>Thon, Jan-Noël. Transmedial Narratology and Contemporary Media Culture.
(Frontiers of Narrative). Lincoln: U of Nebraska P, 2016.* Online preview at
Google Books:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://books.google.es/books?hl=en&amp;lr=&amp;id=kwlpDAAAQBAJ">https://books.google.es/books?hl=en&amp;lr=&amp;id=kwlpDAAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Toivo, Raisa Maria. (School of
Social Sciences and Humanities, U of Tampere). &quot;Discerning Voices and Values
in the Finnish Witch Trials Records.&quot; Studia Neophilologica 84.1 (2012):
143-55.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://dx.doi.org/10.1080/00393274.2012.668081">http://dx.doi.org/10.1080/00393274.2012.668081</a><br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/11111443/">https://www.academia.edu/11111443/</a><br>
&nbsp;&nbsp;&nbsp; 2020<b><br>
</b>Toivo, Raisa Maria, and Liv Helene Willumsen. &quot;A Narratological
Approach to Witchcraft Trial Records: Creating Experience.&quot; Scandinavian
Journal of History 47.1 (2022) (Issue 1: Narrative and Experience:
Interdisciplinary Methodologies between History and Narratology).<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.1080/03468755.2021.2014953">https://doi.org/10.1080/03468755.2021.2014953</a>
<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.tandfonline.com/doi/full/10.1080/03468755.2021.2014953">https://www.tandfonline.com/doi/full/10.1080/03468755.2021.2014953</a><br>
&nbsp;&nbsp;&nbsp; 2022<b><br>
<br>
</b>Toker, Leona. &quot;Success Is a Private Matter: Nabokov's Christmas
Stories.&quot; Neophilologus (Jan. 2022): 1-14.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.1007/s11061-021-09712-7<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/357679429">https://www.researchgate.net/publication/357679429</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
ResearchGate.*<br>
<a href="https://www.researchgate.net/publication/357679429">https://www.researchgate.net/publication/357679429</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Toolan, Michael. Narrative: A
Critical Linguistic Introduction. London: Routledge, 2005. 2012.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=8M6_ia9OCtAC">https://books.google.es/books?id=8M6_ia9OCtAC</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
_____. &quot;Coherence.&quot; In Handbook of Narratology. Ed. Peter Hühn et al.
Berlin and New York: Walter de Gruyter, 2009. 44-62.*<br>
_____. &quot;Coherence.&quot; From Handbook of Narratology. Scribd (lego11) 13
Nov.. 2013.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://es.scribd.com/doc/72571586/">https://es.scribd.com/doc/72571586/</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Toribio Álvarez, Andrea (U
Autónoma de Madrid). &quot;El pacto epistolar en relación a la auto-ficción en
Correspondencia privada, de Esther Tusquets.&quot; Philobiblion: Revista de
Literaturas Hispánicas 4 (2016): 143-58. Online at Academia.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/30683378/">https://www.academia.edu/30683378/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/45632940/">https://www.academia.edu/45632940/</a><br>
&nbsp;&nbsp;&nbsp; 2021<b><br>
&nbsp;<br>
</b>Torrado Mariñas, Laura. (U de Vigo; ltorrado@uvigo.es) &quot;'Once More
Onto the Breach, Dear Friends…': Olivier and Branagh's Henry V or Two
Context-Dependent Renderings of the Shakespearean Original.&quot; Odisea 11
(2010): 155-68. <br>
&nbsp;&nbsp;&nbsp; <a href="http://www.ual.es/odisea/Odisea11_Torrado.pdf">http://www.ual.es/odisea/Odisea11_Torrado.pdf
</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
&nbsp;&nbsp;&nbsp; Online preview at Google Books:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://books.google.es/books?id=yJLdCgAAQBAJ&amp;lr=&amp;source=gbs_navlinks_s">https://books.google.es/books?id=yJLdCgAAQBAJ&amp;lr=&amp;source=gbs_navlinks_s</a><br>
&nbsp;&nbsp;&nbsp; 2017<b> <o:p></o:p></b></span></i></p>

<p class=MsoNormal>Online at Academia.*</p>

<p class=MsoNormal><a href="https://www.academia.edu/96247458/">https://www.academia.edu/96247458/</a></p>

<p class=MsoNormal>2023</p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Torres-Bravo, Leyla Danae. (U
de Talca, Chile). &quot;Teoría de los modelos de mundo: lectura literaria y
posibilidades didácticas.&quot; Enunciación 25.2 (2020):&nbsp; 292-305. <br>
<a href="https://doi.org/10.14483/22486798.16634">https://doi.org/10.14483/22486798.16634</a>
<br>
Online at ResearchGate.*<br>
<a
href="https://www.researchgate.net/publication/347712387_Teoria_de_los_modelos_de_mundo_lectura_literaria_y_posibilidades_didacticas">https://www.researchgate.net/publication/347712387_Teoria_de_los_modelos_de_mundo_lectura_literaria_y_posibilidades_didacticas</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Toumba Haman, Patrick.
&quot;La representación narrativa y la identidad en la novela española
contemporánea: Juan José Millás y Antonio Orejudo.&quot; Ph.D. diss. U
Complutense de Madrid, 2014.*<br>
<a href="https://eprints.ucm.es/id/eprint/28202/1/T35681.pdf">https://eprints.ucm.es/id/eprint/28202/1/T35681.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Trejo, Malena Pilar. &quot;Sintaxis
narrativa folklórica en Historia Apolonii Regis Tyri: Historia, personajes,
tiempo y espacio.&quot; Ph. Diss. U Nacional de la Plata, 2020. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/88747832/">https://www.academia.edu/88747832/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Trentin Oliveira, Raquel. (U
Federal de Santa Maria, raqtrentin@yahoo.com.br). &quot;A absolvição do autor
nos estudos narrativos contemporâneos.&quot; Gragoatá 25, n. Comemorativo (July
2020): 415-29<br>
&nbsp;&nbsp;&nbsp; https://doi.org/10.22409/gragoata.v25iEsp.34213 <br>
&nbsp;&nbsp;&nbsp; Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/343382608">https://www.researchgate.net/publication/343382608</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Trinchero, Cristina, ed.&nbsp;
Ritorno a Babele: Esercizi di globalizzazione. (Collana Miscellanea). Rivoli (Turin):
Neos Edizioni, 2013.<br>
<a
href="https://iris.unito.it/retrieve/handle/2318/140486/22831/RITORNO%20A%20BABELE_volume%20completo.pdf">https://iris.unito.it/retrieve/handle/2318/140486/22831/RITORNO%20A%20BABELE_volume%20completo.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Tsiviltidou, Zoi. (School of
Museum Studies, U of Leicester). &quot;The Distomusinq Framework: Digital
Storytelling for Students' Digital-Based Museum Learning.&quot; Ph.D. diss. U
of Leicester, 2019. Online at University of Leicester.*<br>
DOI:10.25392/leicester.data.11335565.v1<br>
&nbsp;<a
href="https://leicester.figshare.com/articles/The_DiStoMusInq_framework_Digital_storytelling_for_students_inquiry-based_museum_learning/11335565/1">https://leicester.figshare.com/articles/The_DiStoMusInq_framework_Digital_storytelling_for_students_inquiry-based_museum_learning/11335565/1<br>
&nbsp;&nbsp;&nbsp; 2020</a><br>
Online ref. at Semantic Scholar.*<br>
&nbsp;<a
href="https://www.semanticscholar.org/paper/The-DiStoMusInq-framework%3A-Digital-storytelling-for-Tsiviltidou/dd5987f4b665b7b15a9ccba2b84f11a1c5201aa6">https://www.semanticscholar.org/paper/The-DiStoMusInq-framework%3A-Digital-storytelling-for-Tsiviltidou/dd5987f4b665b7b15a9ccba2b84f11a1c5201aa6
</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Tucan, Dumitru. Teoria
Literaturii: Perspective istorice si analitice asupra textului literar.
(Colectia Amfiteatru; seria Filologie). Timisoara: Editura Univesitatii de
Vest, 2018. Online at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/323585050">https://www.researchgate.net/publication/323585050</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<b>&nbsp;&nbsp;&nbsp; </b>Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/36111768/">https://www.academia.edu/36111768/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Tüfekçi, M. Elif.
&quot;Yapısalcı Yöntem ve Uygulama Alanları (Structuralism and Its
Application).&quot; Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/fcc4/81dc9c1fa1afcb33a3dae8d2ce56c5e81058.pdf">https://pdfs.semanticscholar.org/fcc4/81dc9c1fa1afcb33a3dae8d2ce56c5e81058.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
_____.&quot;Yapısalcı Yöntem ve Uygulama Alanları (Structuralism and Its
Application).&quot; Scribd (semuel 35) 23 Sept. 2013.*<br>
<a
href="http://es.scribd.com/doc/170374212/yap%C4%B1salc%C4%B1-yontem-ve-uygulama-alanlar%C4%B1">http://es.scribd.com/doc/170374212/yap%C4%B1salc%C4%B1-yontem-ve-uygulama-alanlar%C4%B1</a><br>
&nbsp;&nbsp;&nbsp; 2013<b><br>
<br>
</b>Turk, Tisha. &quot;Intertextuality and the Collaborative Construction of
Narrative: JM Coetzee's Foe.&quot; Narrative 19.3 (2011): 295-310.<br>
<a href="https://es.scribd.com/doc/267399072/41289306">https://es.scribd.com/doc/267399072/41289306</a><br>
<a href="https://www.academia.edu/625599/">https://www.academia.edu/625599/</a><br>
2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ulloa Casaña, Tania.
&quot;Funcionamiento discursivo de la deixis cotextual en relatos
conversacionales de los hablantes de la ciudad de Santiago de Cuba.&quot;
Káñina: Revista de Artes y Letras (Universidad de Costa Rica) 42.3 (2018):
199-212.*<br>
<a
href="https://revistas.ucr.ac.cr/index.php/kanina/article/download/36048/36749">https://revistas.ucr.ac.cr/index.php/kanina/article/download/36048/36749</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ulusman, Bilge.
&quot;Functions of Genre in Bay Muannit Sahtegi'nin Notlar1: The Diary Genre as
a Means of Masculine Domination and Masculinist Discourse.&quot; M.A. diss.
Bogazici U, Turkey, 2016. (Novel by Vüs'at O. Bener, 1991). Online at Academia
(bilge ulusman).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/41576262">https://www.academia.edu/41576262</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
</span></i><i><span style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'>Universia<br>
&nbsp;- &quot;Atención a la atención.&quot; Indexado en Universia</span></i><span
style='color:black'><br>
<i><a
href="http://biblioteca.universia.net/html_bura/ficha/params/title/atencion-atencion-sociobiologia-estetica-pragmatica-atencion/id/56069950.html">http://biblioteca.universia.net/html_bura/ficha/params/title/atencion-atencion-sociobiologia-estetica-pragmatica-atencion/id/56069950.html</a><a
href="http://biblioteca.universia.net/html_bura/ficha/params/title/atencion-atencion-sociobiologia-estetica-pragmatica-atencion/id/56069950.html"><br>
</a></i><o:p></o:p></span></p>

<p class=MsoNormal><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>- &quot;Múltiples lectores implícitos.&quot; Indexado en
Universia:</span></i><span style='mso-fareast-font-family:"Times New Roman";
color:black'><br>
<a
href="http://biblioteca.universia.net/html_bura/ficha/params/title/multiples-lectores-implicitos/id/55384053.html"><i>http://biblioteca.universia.net/html_bura/ficha/params/title/multiples-lectores-implicitos/id/55384053.html</i></a><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Universidad Autónoma de Madrid
(Servicio de Publicaciones). Indización para la mejora de la difusión. Universidad
Autónoma de Madrid, 2016-17. (Databases).<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.uam.es/uam/media/doc/1606855676261/indizacion-para-la-mejora-de-la-difusion-16-de-noviembre-web.pdf">https://www.uam.es/uam/media/doc/1606855676261/indizacion-para-la-mejora-de-la-difusion-16-de-noviembre-web.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Universidad de Puerto Rico -
Biblioteca - Guía MLA (7ª ed.)<br>
</span></i><span style='font-size:13.5pt;color:black'><a
href="https://www.upr.edu/biblioteca-uprp/wp-content/uploads/sites/76/2020/09/MLA-2009.pdf"><span
style='font-size:12.0pt;color:#3333FF'>https://www.upr.edu/biblioteca-uprp/wp-content/uploads/sites/76/2020/09/MLA-2009.pdf</span></a></span><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Università ta' Malta
(Narrative Theory)</span></i><span style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'>&nbsp;&nbsp;&nbsp; <a
href="https://www.um.edu.mt/arts/studyunit/ENG2177">https://www.um.edu.mt/arts/studyunit/ENG2177</a><br>
&nbsp;&nbsp;&nbsp; 2018<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Universität Bamberg (Stylesheet
for English studies)<br>
<a
href="https://www.uni-bamberg.de/fileadmin/uni/fakultaeten/split_lehrstuehle/englische_literatur/Information/Style_Sheet_for_Term_Papers_and_Theses.pdf">https://www.uni-bamberg.de/fileadmin/uni/fakultaeten/split_lehrstuehle/englische_literatur/Information/Style_Sheet_for_Term_Papers_and_Theses.pdf</a><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Universität Koblenz-Landau
(Romanistik - Bibliotheken und Bibliographieren)<br>
<a
href="https://www.uni-koblenz-landau.de/de/landau/fb6/philologien/romanistik/bibliotheken-bibliographieren">https://www.uni-koblenz-landau.de/de/landau/fb6/philologien/romanistik/bibliotheken-bibliographieren</a><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>University College Cork
(Resource guide for Spanish philology).<br>
<a href="https://libguides.ucc.ie/languages/Hispanic">https://libguides.ucc.ie/languages/Hispanic</a></span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Ünsal, Firat, Süleiman Kasap,
Bülent Cercis Tanrıtanır and&nbsp; Serdar Takva. Literature in ELT Classrooms.
Ankara: Anı Yayıncılık, 2022. Online info at ResearchGate.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/364353217">https://www.researchgate.net/publication/364353217</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Upwikilt. &quot;Semiosfera –
Semiosphere.&quot; Upwikilt.*<br>
<a href="http://upwikilt.top/wiki/Semiosphere">http://upwikilt.top/wiki/Semiosphere</a><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Uribe García, Julián Alberto.
&quot;El testimonio existencial como categoría pedagógica. Una fundamentación
teórica.&quot; Bellaterra: Ph.D. Diss. U Autónoma de Barcelona, 2018. Online at
Tesis Doctorals en Xarxa.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.tdx.cat/bitstream/handle/10803/665100/jaug1de1.pdf">https://www.tdx.cat/bitstream/handle/10803/665100/jaug1de1.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span><i><span style='font-size:7.5pt;color:black'><br>
<br>
</span><span style='color:black'>Valles Calatrava, José R. (Universidad de
Almería;&nbsp; jrvalles@ual.es). &quot;Sobre algunas cuestiones transductivas y
transdiscursivas en la ficción criminal: La novela y el cine policial en
relación con la modernidad y la posmodernidad (A propósito de Los crímenes de
la calle Morgue, El Halcón Maltés y El nombre de la rosa).&quot; In La
arquitectura del sentido: La producción y reproducción en las prácticas
semiótico-discursivas. Ed. Julieta Haidar. (Cuerpo Académico 'Análisis del
Discurso y Semiótica de la Cultura'). Mexico: Conacula-INAH, Escuela Nacional
de Antropología e Historia, 2005.&nbsp; 55-76. Online preview at Academia.*<br>
<a href="https://www.academia.edu/75263121/">https://www.academia.edu/75263121/</a><br>
&nbsp;2022<br>
_____.&quot;La casa verde: medio siglo de un quipu literario. Lector, trama y
técnicas narrativas en La casa verde de Mario Vargas Llosa.&quot; Signa:
Revista de la Asociación Española de Semiótica 24 (2015): 497-513.&nbsp;<br>
<a href="http://revistas.uned.es/index.php/signa/article/download/14737/13152">http://revistas.uned.es/index.php/signa/article/download/14737/13152</a><br>
Online at e-spacio (UNED):<br>
&nbsp;&nbsp;&nbsp; <a
href="http://e-spacio.uned.es/fez/view/bibliuned:signa-2015-24-5155">http://e-spacio.uned.es/fez/view/bibliuned:signa-2015-24-5155</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
______. &quot;Hacia una nueva propuesta teórica de sistematización de los
estratos del texto narrativo: Fábula, trama y&nbsp; relato como planos funcional,
actuacional y discursivo.&quot; Revista de Literatura (Instituto de Lengua,
Literatura y Antropología, CSIC) 78.156 (Jul.-Dec. 2016): 345-67.<br>
&nbsp;&nbsp;&nbsp; doi: 10.3989/revliteratura.2016.02.014&nbsp; (Online at
Ebsco).*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://revistadeliteratura.revistas.csic.es/index.php/revistadeliteratura/article/download/392/407">http://revistadeliteratura.revistas.csic.es/index.php/revistadeliteratura/article/download/392/407</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Vambe, Maurice. (U of South
Africa, vambemt@unisa.ac.za). &quot;Moving Beyond Protest Sensibility:
Chenjerai Hove's Love and Other Ghosts (2009).&quot; The International Journal
of Multi-Disciplinary Research 30 March 2018.*<br>
<a href="http://www.multiresearch.net/cms/publications/CFP4762017.pdf">http://www.multiresearch.net/cms/publications/CFP4762017.pdf</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&quot;Vanity Fea: Lenguaje,
Sexismo y Resignificación.&quot; TodaUnHombre 9 Dec. 2011.</span></i><i><span
style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; <a
href="http://todaunhombre.wordpress.com/2011/12/09/vanity-fea-judith-butler-lenguaje-sexismo-y-resignificacion/"><span
style='font-size:12.0pt'>http://todaunhombre.wordpress.com/2011/12/09/vanity-fea-judith-butler-lenguaje-sexismo-y-resignificacion/</span></a><br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'> 2014</span></i><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Vanzanten, Susan. &quot;The
Headstrong Historian: Reading with Things Fall Apart.&quot; Research in African
Literatures 46.2 (Summer 2015): 85-103.* (Chimamanda Ngozi Adichie).<br>
&nbsp;&nbsp;&nbsp; <a
href="http://muse.jhu.edu/login?auth=0&amp;type=summary&amp;url=/journals/research_in_african_literatures/v046/46.2.vanzanten.html">http://muse.jhu.edu/login?auth=0&amp;type=summary&amp;url=/journals/research_in_african_literatures/v046/46.2.vanzanten.html</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><i><span style='font-size:7.5pt;color:black'><br>
<br>
</span><span style='color:black'>Vargas, Isabel. &quot;La narración: Un hogar
para transformarnos en el tiempo.&quot; Vinculando 12 Sept. 2014.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://vinculando.org/articulos/narracion-transformarnos-tiempo.html">http://vinculando.org/articulos/narracion-transformarnos-tiempo.html</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Vargas Vargas, José Angel.
&quot;Castigo Divino: Interdiscursiviad y efecto paródico.&quot; Cervantes
Virtual.* (Sergio Ramírez). <br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.cervantesvirtual.com/obra-visor/castigo-divino-interdiscursividad-y-efecto-parodico/html/b819d154-4dd3-4007-bd3a-a7d7a4196104_12.html">http://www.cervantesvirtual.com/obra-visor/castigo-divino-interdiscursividad-y-efecto-parodico/html/b819d154-4dd3-4007-bd3a-a7d7a4196104_12.html</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><i><span style='font-size:7.5pt;color:black'><br>
<br>
</span><span style='color:black'>VIAF (José Angel García Landa)</span></i><span
style='color:black'><br>
&nbsp;&nbsp;&nbsp; <a href="http://viaf.org/viaf/73928194/">http://viaf.org/viaf/73928194/</a><br>
&nbsp;&nbsp;&nbsp; 2015</span><span style='font-size:10.0pt;color:black'><br>
<br>
</span><i><span style='color:black'>Villar Flor, Carlos. &quot;Unreliable
Selves in an Unreliable World: The Multiple Projections of the Hero in Kazuo
Ishiguro's The Unconsoled.&quot; Journal of English Studies 2 (2000): 159-70.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://dialnet.unirioja.es/servlet/articulo?codigo=203095">http://dialnet.unirioja.es/servlet/articulo?codigo=203095</a><br>
&nbsp;&nbsp;&nbsp; 2015<br>
Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/177a/d9a309d61e86cd4e249d18c0018442144fb4.pdf">https://pdfs.semanticscholar.org/177a/d9a309d61e86cd4e249d18c0018442144fb4.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Virgulti, Ernesto, Corrado Federici, and&nbsp; Leslie Anne Boldt-Irons, eds.
Images and Imagery: Frames, Borders, Limits: Interdisciplinary Perspectives.
(Studies on Themes and Motifs in Literature). Bern: Peter Lang, 2005.* Preview
at Google Books<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=MuhW-mU-1j4C">https://books.google.es/books?id=MuhW-mU-1j4C</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Vladiv-Glover, S. &quot;The Analytic
of Finitude in the Poetics of Bojic´'s Drama Autumn of the King.&quot; Serbian
Studies: Journal of the North American Society for Serbian Studies 31 (2021):
104-73.*<br>
&nbsp;&nbsp;&nbsp; Online ref. at Semantic Scholar.*&nbsp;&nbsp;&nbsp; <a
href="https://www.semanticscholar.org/paper/The-Analytic-of-Finitude-in-the-Poetics-of-Boji%C4%87%E2%80%99s-Vladiv-Glover/40e2f7868f95b9878917acb2f131cb9e01c3c0d6">https://www.semanticscholar.org/paper/The-Analytic-of-Finitude-in-the-Poetics-of-Boji%C4%87%E2%80%99s-Vladiv-Glover/40e2f7868f95b9878917acb2f131cb9e01c3c0d6
</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
<br>
Vorderer, Peter, and Silvia Knobloch. &quot;Conflict and Suspense in
Drama.&quot; In Media Entertainment: The Psychology of Its Appeal. Ed. Dolf
Zillmann and Peter Vorderer.&nbsp; Mahwah (NJ): Erlbaum, 2000. Digital ed. New
York and Abingdon: Routledge, 2009. Online preview at Google Books:<br>
&nbsp;&nbsp;&nbsp;<a href="http://books.google.es/books?id=ZRyQAgAAQBAJ">
http://books.google.es/books?id=ZRyQAgAAQBAJ</a><br>
&nbsp;&nbsp;&nbsp; 2015</span></i><span style='font-size:7.5pt;color:black'> </span><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Vukicevic, Dragana B. (Dr., University of Belgrade).&nbsp;
&quot;On Narratologists, their Network, and the Possibilities of Its Spread in
Serbia&quot; (In Serbian). (MATICA SRPSKA DEPARTMENT OF LITERATURE AND
LANGUAGE). ('Proceedings of the Matica Srpska for Literature and Language')
61.3 (2013): 893-98.&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44260354/">https://www.academia.edu/44260354/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='mso-fareast-font-family:"Times New Roman";
color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wagner-Durand, Elisabeth.
&quot;Visual Narration in Assyria vs. 'Static Art' in Babylonia: Making a
Difference in the First Millennium B.C..&quot; Paper presented at the 9th
ICAANE, Basel, 9-13 June 2014 (&quot;Travelling Images: Transfer and
Transformation of Visual Ideas&quot;). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/7356731/">
https://www.academia.edu/7356731/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
_____. &quot;Narration, Description, Reality: The Royal Lion Hunt in
Assyria.&quot; In Image – Narration – Context: Visual Narration in Cultures and
Societies of the Old World. Ed. Elisabeth Wagner-Durand, Barbara Fath and
Alexander Heinemann. (Freiburger Studien zur Archäologie und visuellen Kultur,
1). Heidelberg: Propylaeum, 2019. 235-72.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/40090666/">https://www.academia.edu/40090666/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
Wagner-Durand, Elisabeth, et al. Bild - Erzählung - Kontext. </span></i><span
style='color:black'>Conference programme at Albert-Ludwigs Universität
Freiburg.<u><br>
</u><a href="https://www.bild-erzaehlung-kontext.uni-freiburg.de/konzeption">https://www.bild-erzaehlung-kontext.uni-freiburg.de/konzeption</a><br>
2019<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Waham, Jihad Jaafar, and Wan
Mazlini Othoman. &quot;Narration as a means of Communication in Selected Novels
by J. M. Coetzee: Witing for the Barbarians and Foe.&quot; Language Literacy
3.2 (2019).<br>
&nbsp;&nbsp;&nbsp; DOI: 10.30743/ll.v3i2.1237<br>
&nbsp;&nbsp;&nbsp; <a
href="https://jurnal.uisu.ac.id/index.php/languageliteracy/article/view/1237">https://jurnal.uisu.ac.id/index.php/languageliteracy/article/view/1237</a><br>
&nbsp;&nbsp;&nbsp; 2019&nbsp;&nbsp;&nbsp; <a
href="https://www.researchgate.net/publication/338050610_NARRATION_AS_A_MEANS_OF_COMMUNICATION_IN_SELECTED_NOVELS_BY_JMCOETZEE_WAITING_FOR_BARBARIANS_AND_FOE/references">https://www.researchgate.net/publication/338050610_NARRATION_AS_A_MEANS_OF_COMMUNICATION_IN_SELECTED_NOVELS_BY_JMCOETZEE_WAITING_FOR_BARBARIANS_AND_FOE/references</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
Wakana, Maya Higashi. &quot;Unconditional Love in George Eliot's The Mill on
the Floss. &quot; In Wakana, Performing Intimacies with Hawthorne, Austen,
Wharton and George Eliot: A Microsocial Approach. Springer, 2018. Online.&nbsp;
Springer 28 Aug. 2018.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://link.springer.com/chapter/10.1007/978-3-319-93991-9_6">https://link.springer.com/chapter/10.1007/978-3-319-93991-9_6</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Walker, Amelia. &quot;Écriture
Matière Matters: A Queer Review of Quinn Eades's all the beginnings.&quot;
JASAL: Journal of the Association for the Study of Australasian Literature 16.1
(2016).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.questia.com/library/journal/1P3-4138479441/all-the-beginnings-a-queer-autobiography-of-the-body">https://www.questia.com/library/journal/1P3-4138479441/all-the-beginnings-a-queer-autobiography-of-the-body</a><br>
&nbsp;&nbsp;&nbsp; Online PDF:<br>
&nbsp;&nbsp;&nbsp; <a
href="http://openjournals.library.usyd.edu.au/index.php/JASAL/article/download/10921/10586">http://openjournals.library.usyd.edu.au/index.php/JASAL/article/download/10921/10586</a>
<br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Waluch-de la Torre, Edyta.
Rev. of La Traducción: Nuevos planteamientos teórico-metodológicos, ed. Azucena
Penas Ibáñez. Itinerarios (Universidad de Varsovia) 23 (2016): 217-20.<br>
&nbsp;&nbsp;&nbsp; <a
href="http://itinerarios.uw.edu.pl/wp-content/uploads/2016/10/LA-TRADUCCI%C3%93N.-NUEVOS-PLANTEAMIENTOS-TEORICO_METODOLOGICOS.pdf">http://itinerarios.uw.edu.pl/wp-content/uploads/2016/10/LA-TRADUCCI%C3%93N.-NUEVOS-PLANTEAMIENTOS-TEORICO_METODOLOGICOS.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wan, Xiaomeng. Rev. of
Narrative Complexity, ed. Marina Grishakova and Maria Poulaki. Frontiers of
Narrative Studies 6.1 (2020).<br>
https://doi.org/10.1515/fns-2020-0009 <br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.degruyter.com/view/journals/fns/6/1/article-p127.xml?language=en">https://www.degruyter.com/view/journals/fns/6/1/article-p127.xml?language=en</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wang, Xuding, and Naiqiao
Yang. &quot;Metaphysical Violent Hermeneutic Misreading of Confucian Literary
Theory.&quot; Fudan: Journal of the Humanities and Social Sciences 10.2 (June
2017): 193-208.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://link.springer.com/article/10.1007/s40647-016-0158-3">https://link.springer.com/article/10.1007/s40647-016-0158-3</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wanweibaike (Western Literary
Theory)<br>
<a
href="https://www.wanweibaike.net/wiki-%E8%A5%BF%E6%96%B9%E6%96%87%E5%AD%B8%E7%90%86%E8%AB%96">https://www.wanweibaike.net/wiki-%E8%A5%BF%E6%96%B9%E6%96%87%E5%AD%B8%E7%90%86%E8%AB%96</a><br>
2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Warhol, Robyn, and Susan S.
Lanser, eds. Narrative Theory Unbound: Feminist and Queer Interventions.
Columbus: Ohio State UP, 2015. Online at Knowledge Bank (Ohio State U).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://kb.osu.edu/bitstream/handle/1811/68569/Warhol_Lanser_Book4CD_W.pdf">https://kb.osu.edu/bitstream/handle/1811/68569/Warhol_Lanser_Book4CD_W.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
&quot;Was galauben eigentlich Heiden?&quot; Der Honigmann Sagt… 1 March 2015.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://derhonigmannsagt.wordpress.com/2015/03/01/was-glauben-eigentlich-heiden/">https://derhonigmannsagt.wordpress.com/2015/03/01/was-glauben-eigentlich-heiden/</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
<br>
Wen, Pi-ch'un. (Department of Applied Foreign Languages, Nanya Institute of
Technology). &quot;Challenges, Struggle, Compromise: A Sociological Reading of
George Eliot's The Mill on the Floss.&quot; South Asian Journal 25 (2005).
Taoyuan Tech Institutional Repository (2011).<br>
&nbsp;&nbsp;&nbsp; <a href="http://ir.lib.tiit.edu.tw/handle/987654321/125">http://ir.lib.tiit.edu.tw/handle/987654321/125</a>
<br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
Westinen, Elina. The Discursive Construction of Authenticity: Resources, Scales
and Polycentricity in Finnish Hip Hop Culture. Ph.D. diss. U of Jyvaskyla,
2014. (Jyvaskyla Studies in Humanities, 1459-4331; 227).<br>
&nbsp;&nbsp;&nbsp; <a href="https://jyx.jyu.fi/dspace/handle/123456789/43614">https://jyx.jyu.fi/dspace/handle/123456789/43614</a><br>
&nbsp;&nbsp;&nbsp; 2014</span></i><i><span style='font-size:10.0pt;color:black'>&nbsp;</span></i><i><span
style='font-size:7.5pt;color:black'><br>
&nbsp;</span><span style='color:black'>&nbsp;&nbsp; Online at Academia:</span></i><span
style='color:black'> <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/7452192/">https://www.academia.edu/7452192/</a><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wiebe, Janyce (U of
Pittsburgh, wiebe@cs.pitt.edu), , Theresa Wilson, and Claire Cardie.
&quot;Annotating expressions of opinions and emotions in language.&quot;
Language resources and evaluation 39.2-3 (2005): 165-210.<a
href="http://people.cs.pitt.edu/%7Ewiebe/pubs/papers/oldlre05withappendix.pdf">
http://people.cs.pitt.edu/~wiebe/pubs/papers/oldlre05withappendix.pdf</a>
(Aparezco como &quot;J.A.G. Landes&quot;).<br>
_____.&quot;Annotating Expressions of Opinions and Emotions in Language.&quot;
Language Resources and Evaluation 39 (2005): 165-210.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.1007/s10579-005-7880-9<br>
&nbsp;&nbsp;&nbsp; <a
href="https://link.springer.com/content/pdf/10.1007/s10579-005-7880-9.pdf">https://link.springer.com/content/pdf/10.1007/s10579-005-7880-9.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2018</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikicareer (In Bhojpuri).
&quot;English Literature.&quot; <br>
&nbsp;&nbsp;&nbsp; <a href="https://wikicareer.in/wiki/English_literature">https://wikicareer.in/wiki/English_literature</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Wikipedia: The Free Encyclopedia </span></i><span style='color:black'>(&quot;English
Literature&quot;)<br>
<a href="https://en.wikipedia.org/wiki/English_Literature">https://en.wikipedia.org/wiki/English_Literature</a><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: The Free
Encyclopedia (&quot;Bibliography&quot;).*<br>
&nbsp;&nbsp;&nbsp; <a href="http://en.wikipedia.org/wiki/Bibliography">http://en.wikipedia.org/wiki/Bibliography</a><br>
&nbsp;&nbsp;&nbsp; 2013<br>
_____.&quot;Bibliography.&quot; From Wikipedia. Online at Hmong.press.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.hmong.press/wiki/Wikipedia:WikiTown/Freopedia/Bibliography">https://www.hmong.press/wiki/Wikipedia:WikiTown/Freopedia/Bibliography</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: The Free
Encyclopedia</span></i><span style='color:black'> (&quot;Dictys
Cretensis&quot;)<br>
<a href="http://en.wikipedia.org/wiki/Dictys_Cretensis">http://en.wikipedia.org/wiki/Dictys_Cretensis</a><br>
2014<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wikipedia: The Free Encyclopedia
(&quot;Linguistics&quot;)<br>
<a href="https://en.wikipedia.org/wiki/Linguistics">https://en.wikipedia.org/wiki/Linguistics</a><br>
2022<br>
_____. &quot;Wikipedia: Linguistics.&quot; AVADH Girls' PG College.*<br>
<a href="http://www.agdc.ac.in/englishdep/pdf/Linguistics_031117.pdf">http://www.agdc.ac.in/englishdep/pdf/Linguistics_031117.pdf</a><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: The Free
Encyclopedia</span></i><span style='color:black'> (&quot;List of
Bibliographies&quot;)<br>
<a
href="https://en.wikipedia.org/wiki/Wikipedia:List_of_bibliographies#Literature_2">https://en.wikipedia.org/wiki/Wikipedia:List_of_bibliographies#Literature_2</a><br>
2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: The Free
Encyclopedia</span></i><span style='color:black'> (&quot;Fabula and
Syuzhet&quot;) <br>
<a href="http://en.wikipedia.org/wiki/Fabula_and_syuzhet">http://en.wikipedia.org/wiki/Fabula_and_syuzhet</a><br>
2014<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: The Free
Encyclopedia </span></i><span style='color:black'>(&quot;Outline of
Linguistics).*<br>
<a href="https://en.wikipedia.org/wiki/Outline_of_linguistics">https://en.wikipedia.org/wiki/Outline_of_linguistics</a><br>
2019<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wikipedia: The Free Encyclopedia
(&quot;The Quincunx&quot;).*<br>
<a href="https://en.wikipedia.org/wiki/The_Quincunx">https://en.wikipedia.org/wiki/The_Quincunx</a><br>
2019<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: The Free
Encyclopedia</span></i><span style='color:black'> (&quot;Semiosphere&quot;).<br>
<a href="https://en.wikipedia.org/wiki/Semiosphere">https://en.wikipedia.org/wiki/Semiosphere</a><br>
2019<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: The Free
Encyclopedia</span></i><span style='color:black'> (&quot;Stanley Fish&quot;)<br>
<a
href="http://en.wikipedia.org/wiki/Stanley_Fish#Secondary_criticism_about_Stanley_Fish">http://en.wikipedia.org/wiki/Stanley_Fish#Secondary_criticism_about_Stanley_Fish</a><br>
201<br>
<br>
<i>Wikipedia: The Free Encyclopedia</i> (&quot;Twenty Thousand English
Literature&quot;)<br>
<a href="https://en.wikipedia.org/wiki/Twentieth-Century_English_literature">https://en.wikipedia.org/wiki/Twentieth-Century_English_literature</a><br>
2016<br>
<br>
<i>Wikipédia: L'encyclopédie libre</i> (&quot;Critique littéraire&quot;)<br>
<a href="https://fr.tr2tr.wiki/wiki/Literary_criticism">https://fr.tr2tr.wiki/wiki/Literary_criticism</a><br>
2022<br>
<br>
<i>Wikipédia: L'encyclopédie libre</i> (&quot;Récit&quot;)<br>
<a href="https://fr.wikipedia.org/wiki/R%C3%A9cit">https://fr.wikipedia.org/wiki/R%C3%A9cit</a><br>
2015<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: Die freie
Enzyklopädie</span></i><span style='color:black'> (&quot;Lyriktheorie&quot;)<br>
<a href="https://de.wikipedia.org/wiki/Lyriktheorie"><span style='color:black'>https://de.wikipedia.org/wiki/Lyriktheorie</span></a><br>
2018 <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: La enciclopedia
libre </span></i><span style='color:black'>(&quot;Falacia del
historiador&quot;).<br>
<a href="https://es.wikipedia.org/wiki/Falacia_del_historiador">https://es.wikipedia.org/wiki/Falacia_del_historiador</a><br>
2018<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: La enciclopedia
libre </span></i><span style='color:black'>(&quot;Literatura en lengua
inglesa&quot;)<br>
<a href="https://es.wikipedia.org/wiki/Literatura_en_lengua_inglesa">https://es.wikipedia.org/wiki/Literatura_en_lengua_inglesa</a><br>
2016 <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: La enciclopedia
libre</span></i><span style='color:black'> (&quot;Prejuicio de
retrospectiva&quot;).<br>
<a href="https://es.wikipedia.org/wiki/Prejuicio_de_retrospectiva">https://es.wikipedia.org/wiki/Prejuicio_de_retrospectiva</a><br>
2018<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia (Chinese) </span></i><span
style='color:black'>(&quot;Western Literary Theory&quot;)<br>
<a
href="https://zh.wikipedia.org/zh-hant/%E8%A5%BF%E6%96%B9%E6%96%87%E5%AD%B8%E7%90%86%E8%AB%96">https://zh.wikipedia.org/zh-hant/%E8%A5%BF%E6%96%B9%E6%96%87%E5%AD%B8%E7%90%86%E8%AB%96</a><br>
2021<br>
<br>
<i>Wikipedia (Hebrew)</i> (&quot;Hindsight Bias&quot;)<br>
<a href="https://he.wikipedia.org/wiki/">https://he.wikipedia.org/wiki/</a><br>
2015<br>
<br>
<i>Wikipedia (Japanese).*</i> (&quot;Hindsight Bias&quot;)<br>
<a href="https://ja.wikipedia.org/wiki/%3F%3F%3F%3F%3F%3F%3F">https://ja.wikipedia.org/wiki/<span
lang=ES-TRAD style='font-family:"Lantinghei SC Heavy";mso-bidi-font-family:
"Times New Roman";mso-ansi-language:ES-TRAD'>後知恵バイアス</span></a><br>
2015<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Vicipædia: Libera
Encyclopædia. </span></i><span style='color:black'>(Latin Wikipedia)&nbsp;
(Critica litterarum)<br>
<a href="https://la.wikipedia.org/wiki/Critica_litterarum">https://la.wikipedia.org/wiki/Critica_litterarum</a><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Vicipædia: Libera
Encyclopædia. </span></i><span style='color:black'>(Latin Wikipedia)
(Linguistica)<br>
<a href="http://la.wikipedia.org/wiki/Linguistica">http://la.wikipedia.org/wiki/Linguistica</a><br>
2013 <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><i><span
style='color:black'>Vicipædia: Libera Encyclopædia. </span></i><span
style='color:black'>(&quot;Ratio litteraria&quot;)<br>
<a href="https://la.wikipedia.org/wiki/Ratio_litteraria">https://la.wikipedia.org/wiki/Ratio_litteraria</a><br>
2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia (Macedonian) </span></i><span
style='color:black'>(&quot;Linguistics&quot;)<br>
<a
href="https://mk.wikipedia.org/wiki/%D0%9B%D0%B8%D0%BD%D0%B3%D0%B2%D0%B8%D1%81%D1%82%D0%B8%D0%BA%D0%B0">https://mk.wikipedia.org/wiki/%D0%9B%D0%B8%D0%BD%D0%B3%D0%B2%D0%B8%D1%81%D1%82%D0%B8%D0%BA%D0%B0</a><br>
2011<o:p></o:p></span></p>

<p class=MsoNormal><i><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Wikipedia (Macedonian)</span></i><span style='mso-fareast-font-family:
"Times New Roman";color:black'> (&quot;English
literature&quot;)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a
href="https://mk.wikipedia.org/wiki/%D0%90%D0%BD%D0%B3%D0%BB%D0%B8%D1%81%D0%BA%D0%B0_%D0%BA%D0%BD%D0%B8%D0%B6%D0%B5%D0%B2%D0%BD%D0%BE%D1%81%D1%82"><i>https://mk.wikipedia.org/wiki/%D0%90%D0%BD%D0%B3%D0%BB%D0%B8%D1%81%D0%BA%D0%B0_%D0%BA%D0%BD%D0%B8%D0%B6%D0%B5%D0%B2%D0%BD%D0%BE%D1%81%D1%82</i></a>
<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia: Ang Malayan
Ensiklopedya </span></i><span style='color:black'>(&quot;Pilolohiya&quot;)<br>
<i>&nbsp;&nbsp;&nbsp; <a href="https://tl.wikipedia.org/wiki/Pilolohiya">https://tl.wikipedia.org/wiki/Pilolohiya</a><br>
&nbsp;&nbsp;&nbsp; 2010</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia (PortugueseA). </span></i><span
style='color:black'>&quot;Semiosfera.&quot; Wikipédia: A enciclopédia livre.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://pt.wikipedia.org/wiki/Semiosfera">https://pt.wikipedia.org/wiki/Semiosfera</a><br>
&nbsp;&nbsp;&nbsp; 2018<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia (Serbian Wikipedia).
&quot;Teorija kniyevnost.&quot; Wikipedija: Slobodna entsiklopedija.
&nbsp;&nbsp; <a
href="https://sr.wikipedia.org/wiki/%D0%A2%D0%B5%D0%BE%D1%80%D0%B8%D1%98%D0%B0_%D0%BA%D1%9A%D0%B8%D0%B6%D0%B5%D0%B2%D0%BD%D0%BE%D1%81%D1%82%D0%B8">https://sr.wikipedia.org/wiki/%D0%A2%D0%B5%D0%BE%D1%80%D0%B8%D1%98%D0%B0_%D0%BA%D1%9A%D0%B8%D0%B6%D0%B5%D0%B2%D0%BD%D0%BE%D1%81%D1%82%D0%B8</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia (Turkish) -
&quot;Semiyosfer / Semiothisops.&quot; Isecosmetic (Wikipedia).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://tr.isecosmetic.com/wiki/Semiosphere">https://tr.isecosmetic.com/wiki/Semiosphere</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wikipedia (Winaray).* </span></i><span
style='color:black'>(&quot;Lingguwistica&quot;)<br>
&nbsp;&nbsp;&nbsp; <a
href="https://ast.wikipedia.org/wiki/Lling%C3%BC%C3%ADstica">https://ast.wikipedia.org/wiki/Lling%C3%BC%C3%ADstica</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
&nbsp;<br>
Wikipedians. <i>Critical Theory.</i> PediaPress, n.d. <br>
&nbsp;&nbsp;&nbsp; <a href="http://books.google.es/books?id=doeiDhD-sp0C">http://books.google.es/books?id=doeiDhD-sp0C</a>
<br>
&nbsp;&nbsp;&nbsp; 2014</span><span style='font-size:7.5pt;color:black'><br>
<br>
</span><span style='color:black'>Wikipedians. <i>Hypermodernity.</i> Online at <i>Scribd</i><br>
&nbsp;&nbsp;&nbsp; <a href="https://www.scribd.com/doc/269826999/Hypermodernity">https://www.scribd.com/doc/269826999/Hypermodernity</a><br>
&nbsp;&nbsp;&nbsp; 2015</span><span style='font-size:7.5pt;color:black'><br>
<br>
</span><span style='color:black'>Wikipedians. <i>Language.</i> PediaPress.
Online at Google Books:<br>
&nbsp;&nbsp;&nbsp; <a href="http://books.google.es/books?id=OgHXBP3SoBsC">http://books.google.es/books?id=OgHXBP3SoBsC
</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
<br>
Wikipedians. <i>Linguistics.</i> PediaPress. Online at Google Books</span><span
style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://books.google.es/books?id=5ayoigDLI4IC">http://books.google.es/books?id=5ayoigDLI4IC</a></span><span
style='font-size:7.5pt;color:black'> <br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'>2014<br>
</span><span style='font-size:18.0pt;color:black'><br>
</span><span style='color:black'>Wikipedians. &quot;Postmodernism.&quot; From
Wikipedia: The Free Encyclopedia. Online at Scribd (Man) 27 June 2015</span><span
style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="https://es.scribd.com/doc/269827009/Postmodernism">https://es.scribd.com/doc/269827009/Postmodernism</a></span><span
style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'>2015<br>
<br>
Wikipedians. <i>Social Sciences.</i> PediaPress. Online at Google Books:</span><span
style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'><a
href="http://books.google.es/books?id=5EUNr295pgcC&amp;pg=PA186&amp;lpg=PA186">http://books.google.es/books?id=5EUNr295pgcC&amp;pg=PA186&amp;lpg=PA186</a></span><span
style='font-size:7.5pt;color:black'> <br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'>2014<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wikipedians. The Arts.
PediaPress, n.d.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://books.google.es/books?id=sFWouOAB4LgC">https://books.google.es/books?id=sFWouOAB4LgC</a><br>
&nbsp;&nbsp;&nbsp; 2016<br>
</span><span style='font-size:18.0pt;color:black'><br>
</span><span style='color:black'>Wikiwand (China). (&quot;Literary
Criticism.&quot;) </span><span style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'>&nbsp;&nbsp;&nbsp; </span><span
style='font-size:7.5pt;color:black'><a
href="http://www.wikiwand.com/zh-mo/%E6%96%87%E5%AD%A6%E6%89%B9%E8%AF%84"><span
style='font-size:12.0pt'>http://www.wikiwand.com/zh-mo/%E6%96%87%E5%AD%A6%E6%89%B9%E8%AF%84</span></a><br>
</span><span style='color:black'>&nbsp;&nbsp;&nbsp; 2016<br>
<br>
<i>Williams, Melanie. Review of Gender, I-deology: Essays on Theory, Fiction
and Film. Ed. Chantal Cornut-Gentille d'Arcy and Jos_ Angel Garc_a Landa.
Journal of Gender Studies 7.2 (1998): 237-38.* (Carfax Publishing Co.).
Electronic ed. in E-Library: <a href="http://ask.elibrary.com/">http://ask.elibrary.com/</a><br>
<br>
Wirth, Werner, and Holger Schramm. &quot;Media and emotions.&quot;
Communication research trends 24.3 (2005).</i><br>
</span><i><span style='font-size:7.5pt;color:black'><a
href="http://cscc.scu.edu/trends/v24/v24_3.pdf"><span style='font-size:12.0pt'>http://cscc.scu.edu/trends/v24/v24_3.pdf</span></a></span></i><span
style='color:black'><br>
<i>2013<br>
<br>
Wood, Tahir. (U of the Western Cape, South Africa). &quot;The Act of Fictional
Communication in a Hermeneutic Pragmatics.&quot; Research in Language 10.4
(Jan. 2013): 353-64.* Online PDF:<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.degruyter.com/view/j/rela.2012.10.issue-4/v10015-011-0039-4/v10015-011-0039-4.xml">http://www.degruyter.com/view/j/rela.2012.10.issue-4/v10015-011-0039-4/v10015-011-0039-4.xml</a><br>
&nbsp;&nbsp;&nbsp; 2014<br>
_____.&nbsp; &quot;The Act of Fictional Communication in a Hermeneutic
Pragmatics.&quot; Research in Language 10.4 (2012): 353-65. Online at Sciendo
(2013).*<br>
https://doi.org/10.2478/v10015-011-0039-4<br>
&nbsp;&nbsp;&nbsp; <a
href="https://content.sciendo.com/view/journals/rela/10/4/article-p353.xml">https://content.sciendo.com/view/journals/rela/10/4/article-p353.xml</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Woodside Woods, Jarret Julian. &quot;Sobre la retórica intermedial. Apuntes introductorios.&quot;
In Desafíos y debates para el estudio de la literatura contemporánea. Ed.
Christian Sperling, Daniel Samperio Jiménez, Gabriel Ramos Morales and Alberto
Rodríguez González. (Biblioteca de Ciencias Sociales y Humanidades; Serie
Estudios). Azcapotzalco (Mexico): Universidad Nacional Metropolitana, 2021.
451-96. Online at Academia.*<br>
<a href="https://www.academia.edu/79096977/">https://www.academia.edu/79096977/</a><br>
2022</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>WorldCat (OCLC)</span></i><i><span
style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; </span><span style='color:black'>Reading 'The Monster'</span></i><span
style='color:black'> (Indexed).</span><span style='font-size:7.5pt;color:black'>&nbsp;&nbsp;&nbsp;
</span><span style='color:black'><a
href="http://www.worldcat.org/title/reading-the-monster-the-interpretation-of-authorial-intention-in-the-criticism-of-narrative-fiction/oclc/23233129">http://www.worldcat.org/title/reading-the-monster-the-interpretation-of-authorial-intention-in-the-criticism-of-narrative-fiction/oclc/23233129</a></span><span
style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp;</span><span style='color:black'> 2015<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wu, Helena. &quot;The Travelling
of Ten Years: Imagined Spectatorships and Readerships of Hong Kong's
Local.&quot; International Journal of Postcolonial Studies 20.8 (2018):
1121-1136. (20.8 – Hong Kong Connections across the Sinosphere).<br>
&nbsp;&nbsp;&nbsp; •&nbsp; DOI:10.1080/1369801X.2018.1460220<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.tandfonline.com/doi/abs/10.1080/1369801X.2018.1460220?journalCode=riij20">https://www.tandfonline.com/doi/abs/10.1080/1369801X.2018.1460220?journalCode=riij20</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; Online ref. at Semantic Scholar.*<br>
&nbsp;<a
href="https://www.semanticscholar.org/paper/The-Travelling-of-Ten-Years%3A-Imagined-and-of-Hong-Wu/3993faa61f966ca133b8ddefb2e3715e36350bd7">https://www.semanticscholar.org/paper/The-Travelling-of-Ten-Years%3A-Imagined-and-of-Hong-Wu/3993faa61f966ca133b8ddefb2e3715e36350bd7</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wübbelt, Carolin.
&quot;Straightening the Queer: Gender and Sexuality in Truman Capote's Novella
'Breakfast at Tiffany's' and Blake Edwards' 1961 Film Adaptation.&quot; Paper
from the English Seminar, Ruhr U Bochum, 2015.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/33272870/">&nbsp;https://www.academia.edu/33272870/</a><br>
&nbsp;&nbsp;&nbsp; 2017<br>
<br>
Xifen, Xiao. &quot;(Historia de la comercialización del condado de Nantou: El
uso de la industria del turismo).&quot; Diss. U of Jinan. (1 Jan. 2015): 1-119.
Online at <i>Arity Library.</i>*<br>
&nbsp; <a
href="https://translate.google.es/#zh-CN/es/%E5%8D%97%E6%8A%95%E7%B8%A3%E8%A7%80%E5%85%89%E7%94%A2%E6%A5%AD%E9%81%8B%E7%94%A8%E6%95%85%E4%BA%8B%E8%A1%8C%E9%8A%B7%E4%B9%8B%E7%A0%94%E7%A9%B6">http://www.airitilibrary.com/Publication/alDetailedMesh?docid=U0020-2108201511581300</a><br>
&nbsp; 2016<br style='mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'>
<![endif]><o:p></o:p></span></p>

<div><u1:p></u1:p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
text-indent:-.6pt;background:#FFFF99'><i><span style='color:black'>Xiaojie,
Cai. La infancia en la obra de Ana María Matute. Ph.D. diss. Facultad de
Filología, U de Salamanca, 2012.*<br>
<a
href="http://gredos.usal.es/jspui/bitstream/10366/115589/1/DLEH_Xiaojie_C._La_infancia.pdf"><u1:p></u1:p>http://gredos.usal.es/jspui/bitstream/10366/115589/1/DLEH_Xiaojie_C._La_infancia.pdf</a><br>
<u1:p></u1:p>2013</span></i><span style='color:black'><u1:p></u1:p><o:p></o:p></span></p>

</div>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Yazıcı, Nermin. (Dr.; Baskent
U, Turkey). &quot;Çocuk Edebiyatı ve Edebiyat Eleştirisi: Çocuk Kalbi Romanında
Anlatının Biçimlenişi ve Söylemsel Niyetler.&quot; Bilig 66 (2013): 315-33.*
(&quot;Children’s Literature and Literary Criticism: Narrative Style and
Discursive Intentions in Edmondo De Amicis’s Heart &quot;). Online at
Academia.* <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/34166013/">https://www.academia.edu/34166013/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Yazıcı,&nbsp; Nermin.
&quot;Deli Dumrul'da Anlat1n1n Duzenleni,si ver Retorik ,Seman1n
Görümünü.&quot; Millî Folklor 25.98 (2013): 87-99.* (&quot;Organisation of the
Narration and the Rhetoric Schema Aspect in Deli Dumrul&quot; - &quot;Deli
Dumrul&quot;, in Book of Dede Korkut).<br>
&nbsp;&nbsp;&nbsp; <a href="http://www.millifolklor.com">http://www.millifolklor.com</a><br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/4166902/">https://www.academia.edu/4166902/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Yanhong, Xiao. Rev. of La
Traducción: Nuevos planteamientos teórico-metodológicos, ed. Azucena Penas
Ibáñez.&nbsp; Hikma 14 (2015): 167-72.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.uco.es/ucopress/ojs/index.php/hikma/article/view/5205/4891">https://www.uco.es/ucopress/ojs/index.php/hikma/article/view/5205/4891</a><br>
&nbsp;&nbsp;&nbsp; 2017</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Yolles, Maurice. (Emeritus,
School of Business Information, Liverpool John Moores U). Organizations as
Complex Systems: An Introduction to Knowledge Cybernetics. (Managing the
Complex, 2). Greenwich (CT): Information Age Publishing, 2006. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/170622/">https://www.academia.edu/170622/</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Yoshimura, Eri. (Kobe
College). </span></i><i><span lang=ES-TRAD style='font-family:"MS Mincho";
mso-bidi-font-family:"MS Mincho";color:black;mso-ansi-language:ES-TRAD'>ヴィクトリア朝理想の女性像へのジョージ・エリオットの挑戦</span><span
style='color:black'>--</span></i><i><span lang=ES-TRAD style='font-family:"MS Mincho";
mso-bidi-font-family:"MS Mincho";color:black;mso-ansi-language:ES-TRAD'>『フロス河の水車場』のマギーの場合</span><span
style='color:black'> (</span></i><i><span lang=ES-TRAD style='font-family:"MS Mincho";
mso-bidi-font-family:"MS Mincho";color:black;mso-ansi-language:ES-TRAD'>特集</span></i><i><span
lang=ES-TRAD style='color:black;mso-ansi-language:ES-TRAD'> </span></i><i><span
lang=ES-TRAD style='font-family:"MS Mincho";mso-bidi-font-family:"MS Mincho";
color:black;mso-ansi-language:ES-TRAD'>ジェンダー平等への課題</span><span
style='color:black'>)&nbsp; [George Eliot's resistance to the Victorians' ideal
woman: Maggie Tulliver in The Mill on the Floss — in Japanese]. </span></i><i><span
lang=ES-TRAD style='font-family:"MS Mincho";mso-bidi-font-family:"MS Mincho";
color:black;mso-ansi-language:ES-TRAD'>含</span></i><i><span lang=ES-TRAD
style='color:black;mso-ansi-language:ES-TRAD'> </span></i><i><span
lang=ES-TRAD style='font-family:"MS Mincho";mso-bidi-font-family:"MS Mincho";
color:black;mso-ansi-language:ES-TRAD'>英語文要旨</span><span style='color:black'>
[Women's Studies Forum, Kobe College] 25 (March 2011): 147-62.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://doi.org/10.18878/00002418">http://doi.org/10.18878/00002418</a>
<br>
&nbsp;&nbsp;&nbsp; 2016</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Youssef, Riyad bin. رياض بن يوسف
(Riyad bin Youssef). تاريخية السرد القصصي العربي قبل الإسلام- النسخة المصورة&nbsp;
(History of Arab Narrative Before Islam). 2011. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/35509041">https://www.academia.edu/35509041</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Yujnovsky, Inés. &quot;Tiempo
a la vista: Representaciones temporales y sus imágenes.&quot; Conceptos
Históricos 4.5 (2018): 180-206.* Online at Academia:<br>
<a href="https://www.academia.edu/38310958/">https://www.academia.edu/38310958/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>Yus Ramos, Francisco.
&quot;Relevance Theory and Media Discourse: A Verbal-visual Model of
Communication.&quot; Poetics 25.5 (1998): 293-309.* Online at ResearchGate<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.researchgate.net/publication/222205400">https://www.researchgate.net/publication/222205400</a>
<br>
&nbsp;&nbsp;&nbsp; 2014<br>
&nbsp; </span></i><span style='color:black'><br>
<i>Zacharias, Robert. (York U). &quot;'What Else Have We to Remember?'
Mennonite Canadian Literature and the Strains of Remembrance.&quot; From
Embracing Otherness: Canadian Minority Discourses in Transcultural
Perspectives. Ed. Eugenia Sojka and Tomasz Sikora.&nbsp; Torún: Adam Marszalek,
2010. 286-209. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/665834/">https://www.academia.edu/665834/</a><br>
&nbsp;&nbsp;&nbsp; 2019</i><br>
<br style='mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'>
<![endif]><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span lang=ES-TRAD style='font-family:"ヒラギノ明朝 Pro W6",serif;
color:black;mso-ansi-language:EN-US'><u1:p></u1:p>申丹</span><span
style='color:black'>. </span></i><i><span lang=ES-TRAD style='font-family:"ヒラギノ明朝 Pro W6",serif;
color:black;mso-ansi-language:EN-US'>叙述学与小</span></i><i><span lang=ES-TRAD
style='font-family:"Heiti TC Light";color:black;mso-ansi-language:EN-US'>说</span></i><i><span
lang=ES-TRAD style='font-family:"ヒラギノ明朝 Pro W6",serif;color:black;mso-ansi-language:
EN-US'>文体学研究</span><span style='color:black'>. Vol. 211. </span></i><i><span
lang=ES-TRAD style='font-family:"ヒラギノ明朝 Pro W6",serif;color:black;mso-ansi-language:
EN-US'>北京大学出版社</span><span style='color:black'>, 1998.</span></i><span
style='color:black'><u1:p></u1:p><o:p></o:p></span></p>

<div>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
text-indent:-.55pt;background:#FFFF99'><i><span style='color:black'><a
href="http://218.87.30.233:90/resource/data%5Cjuuo%5C00%5C00%5C89%5Cjuuo0000890e.pdf">http://218.87.30.233:90/resource/data%5Cjuuo%5C00%5C00%5C89%5Cjuuo0000890e.pdf</a></span></i><span
style='color:black'><u1:p></u1:p><o:p></o:p></span></p>

</div>

<div>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
2013</span></i><span style='color:black'><u1:p></u1:p><o:p></o:p></span></p>

</div>

<div>

<p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;
background:#FFFF99'><i><span style='color:black'><u1:p>&nbsp;</u1:p></span></i><span
style='color:black'><o:p></o:p></span></p>

</div>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'><br>
</span></i><i><span lang=ES-TRAD style='font-family:"Lantinghei SC Heavy";
color:black;mso-ansi-language:ES-TRAD'>英美小说叙事理论研究</span><span style='color:
black'>. Peking UP, 2005.<br>
</span></i><span style='color:black'><a
href="http://202.196.13.197:82/date/books/009/001/172881.pdf">http://202.196.13.197:82/date/books/009/001/172881.pdf</a><br>
2014<i><br>
<br>
</i></span><i><span style='font-size:13.5pt;color:black'>Zemgulis, Vytautas.
&quot;M. Juco istorines monografijos Zalgirio musis naratologine analize.&quot;
Istorija 71 (2008).*<br>
<a
href="http://archyvas.istorijoszurnalas.lt/index.php?option=com_content&amp;view=article&amp;id=131&amp;Itemid=58">http://archyvas.istorijoszurnalas.lt/index.php?option=com_content&amp;view=article&amp;id=131&amp;Itemid=58</a>
&nbsp; <br>
2014</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='font-size:13.5pt;color:black'>Zhilicheva,
Galina Aleksandrovna. Narrativnye strategii v zhanrovoi structure romana (na
materialie russkoi prozy 1920-1950kh gg.). Ph.D. diss. Moscow, 2015.<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/27909531/">https://www.academia.edu/27909531/</a><br>
&nbsp;&nbsp;&nbsp; 2019<b><br>
&nbsp;</b></span></i><b><i><span style='font-size:24.0pt;color:black'><br>
</span></i></b><!--[if gte vml 1]><v:shape id="Imagen_x0020_3" o:spid="_x0000_s2050"
 type="#_x0000_t75" alt="shalott2" style='position:absolute;margin-left:398.8pt;
 margin-top:0;width:450pt;height:300pt;z-index:251659264;visibility:visible;
 mso-wrap-style:square;mso-width-percent:0;mso-height-percent:0;
 mso-wrap-distance-left:20pt;mso-wrap-distance-top:20pt;
 mso-wrap-distance-right:20pt;mso-wrap-distance-bottom:20pt;
 mso-position-horizontal:right;mso-position-horizontal-relative:text;
 mso-position-vertical:absolute;mso-position-vertical-relative:line;
 mso-width-percent:0;mso-height-percent:0;mso-width-relative:page;
 mso-height-relative:page' o:allowoverlap="f">
 <v:imagedata src="../images/shalott2.jpg"/>
 <w:wrap type="square" anchory="line"/>
</v:shape><![endif]--><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='font-size:24.0pt;color:black'>_____<br>
<br>
Otras citas encontradas:</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal><span style='mso-fareast-font-family:"Times New Roman";
color:black'><br>
ABCDEF. &quot;Critica Literara.&quot; (From Wikipedia). Ro.ABCDEF.wiki. 2021.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://ro.abcdef.wiki/wiki/Literary_criticism">https://ro.abcdef.wiki/wiki/Literary_criticism</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Ağaoğlu, Bülent. GOOGLE’DA
‘BIBLIOGRAPHY’ KELİMESİ İLE YAPILAN ARAMADA İLK 50 SAYFADA GELEN KAYNAKÇALAR.
Istambul, 2013. Online at TürkBibliography.*<br>
<a href="https://turkbibliography.com/wp-content/uploads/2021/08/id316.pdf">https://turkbibliography.com/wp-content/uploads/2021/08/id316.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Allan, Kathryn. &quot;'Not the
Whole Story': A Geopolitical Reading of History in Jeanette Winterson's Oranges
Are Not the Only Fruit, The Passion, Sexing the Cherry, and The
Powerbook.&quot; Ph.D. diss. McMaster U, Hamilton, Ontario, 2004. Online at
MacSphere.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://macsphere.mcmaster.ca/">https://macsphere.mcmaster.ca/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Annunciato Rodrigues, Talita,
and Cleide Antonia Rapucci. &quot;The Magic Toyshop: A narrativa imagética como
processo de recriaçâo.&quot; Acta Scientiarum (Language and Culture) 35.3
(July-Sept. 2013): 275-83.* (The Magic Toyshop, dir. David Wheatley).<br>
Doi: 10.4025/actascilangcult.v35i3.16331 <br>
Online at Semantic Scholar.*<br>
<a
href="https://pdfs.semanticscholar.org/ffcf/c7b32747b1071d9f074bbf75f0c5903b87a3.pdf">https://pdfs.semanticscholar.org/ffcf/c7b32747b1071d9f074bbf75f0c5903b87a3.pdf
</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>AnthroWiki. &quot;Literary
Theory.&quot; (From Wikipedia).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://anthrowiki.at/Literaturtheorie">https://anthrowiki.at/Literaturtheorie</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Arnauld, Andreas von.
&quot;Norms and Narrative.&quot; German Law Journal 18.2 (2017): 309-29.
(Special issue: Law's Pluralities). Online at Cambridge Core.*<br>
<a
href="https://www.cambridge.org/core/services/aop-cambridge-core/content/view/768900E60610B442E6A1D06C6C93F0A3/S2071832200021970a.pdf/div-class-title-norms-and-narrative-div.pdf">https://www.cambridge.org/core/services/aop-cambridge-core/content/view/768900E60610B442E6A1D06C6C93F0A3/S2071832200021970a.pdf/div-class-title-norms-and-narrative-div.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Avaro, Dante. Dos días
imperfectos. Tijuana, 2016. Online PDF:<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.fyi.7tres.com/NUBE/Ecrits%20tijuanenses%20II.pdf">http://www.fyi.7tres.com/NUBE/Ecrits%20tijuanenses%20II.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2019</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bagher-Ghahremani, Muhammad
(Ph.D.) Behrouz Mahmoodi-Bakhtiari and Parasto Mohebi. &quot;(The Progressive
Development of the Theoretical Studies on the Narratology of Drama) [in
Persian].&quot; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/9547049/">https://www.academia.edu/9547049/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bamberg University, style
sheet:</span></i><span style='color:black'><br>
<a
href="https://www.uni-bamberg.de/fileadmin/uni/fakultaeten/split_professuren/amerikanische_literatur/Leitfaeden/Style_Sheet_for_Term_Papers_and_Theses_-_Students_2011.pdf">https://www.uni-bamberg.de/fileadmin/uni/fakultaeten/split_professuren/amerikanische_literatur/Leitfaeden/Style_Sheet_for_Term_Papers_and_Theses_-_Students_2011.pdf</a><br>
<i>Ballota, David. &quot;Los libros se sienten y se ven en la blogosfera.&quot;
(&quot;Cosas de blogueros&quot;). Heraldo de Arag_n-Heraldo Domingo 5 Aug.
2007: 9.*<br>
<br>
Borghart, Pieter. In het spoor van Emile Zola: De narratologiche code(s) van
het Europese naturalisme. Ghent: Academia Press, 2006. Online at Oapen.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://library.oapen.org/bitstream/id/d6d0045b-3343-493c-ad34-854ac8d4731c/365437.pdf">https://library.oapen.org/bitstream/id/d6d0045b-3343-493c-ad34-854ac8d4731c/365437.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Bideran, Jessica de, and
Mélanie Bourdaa. &quot;Quand les experts du patrimoine s'emparent du transmédia
storytelling: L'exemple de Montaigne Superstar, une stratégie inachevée.&quot;
Communication &amp; Organisation 51 (2017). Online at HAL.*<br>
<a href="https://hal.archives-ouvertes.fr/hal-01855828">https://hal.archives-ouvertes.fr/hal-01855828</a>
<br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Browse, Sam (Sheffield Hallam
U), Alison Gibbons (Sheffield Hallam U), and Mari Hatavara (Tampere U).
&quot;Real Fictions: Fictionality, Factuality and Narrative Strategies in
Contemporary Storytelling.&quot; Narrative&nbsp; Inquiry 29.2 (2019): 245-67.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/44355035/">https://www.academia.edu/44355035/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Campion, Baptiste.
&quot;Évaluer le récit comme acte cognitif: Quel cadre pour les approches
expérimentales?&quot; Cahiers de Narratologie 28 (2015 – &quot;Le récit comme
acte cognitif&quot;): 1-12.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/17595219/">https://www.academia.edu/17595219/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Comuzzi (Tataru), Lumila.
&quot;Lyric Poetry as a Narrative Speech Genre: On the Dialogue between Genre
Theory and Cognitive Science.&quot; Amsterdam International Electronic Journal
for Cultural Narratology&nbsp; 7-8 (2012-2014). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/30072975/">https://www.academia.edu/30072975/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Clepsydra: Revista
Internacional de Estudios de Género y Teoría Feminista (Lista de comprobación
para la preparación de envíos). U de La Laguna.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.ull.es/revistas/index.php/clepsydra/about/submissions">https://www.ull.es/revistas/index.php/clepsydra/about/submissions</a><br>
&nbsp;&nbsp;&nbsp; 2021 ME CITAN</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Concha, Ángeles de la.
&quot;Reseña de Jeanette Winterson, by Susana Onega.&quot; EPOS 23 (2007):
366-73.*<br>
&nbsp;&nbsp;&nbsp;<a
href="http://revistas.uned.es/index.php/EPOS/article/download/10562/10100">
http://revistas.uned.es/index.php/EPOS/article/download/10562/10100</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&quot;Dictys Cretensis.&quot;
Hellenica<br>
&nbsp; &nbsp; &nbsp;<a
href="http://www.mlahanas.de/Greeks/Mythology/DictysCretensis.html">http://www.mlahanas.de/Greeks/Mythology/DictysCretensis.html</a><br>
&nbsp; &nbsp; &nbsp;2013<br>
</span></i><i><span style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'>Domsch, Sebastian. &quot;Hearing Storyworlds:
How Videogames Use Sound to Convey Narrative.&quot; From Interfaces of Sound
and Narrative. 2000. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/37187221/">https://www.academia.edu/37187221/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Du Verger, Jacques.
&quot;Writing, Rewriting and Revisiting the Cold War in Tom Stoppard's Squaring
the Circle. Poland 1980-81 (1984). Sillages Critiques 31 (2021). Online at Open
Edition Journals.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.4000/sillagescritiques.12304">https://doi.org/10.4000/sillagescritiques.12304</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://journals.openedition.org/sillagescritiques/12304">https://journals.openedition.org/sillagescritiques/12304</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&quot;English
Literatures.&quot; Sweethaven.com</span></i><span style='color:black'><a
href="http://www.sweethaven02.com/Courses/EnglishLiterature.pdf"><br>
http://www.sweethaven02.com/Courses/EnglishLiterature.pdf</a><br>
2015<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Everything Explained.
&quot;Bibliography Explained.&quot; Everything Explained.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://everything.explained.today/Bibliography/">https://everything.explained.today/Bibliography/</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Ewikikk. &quot;Til Bilimi –
Linguistics.&quot; Ewikikk.* (Kazakh).<br>
&nbsp;&nbsp;&nbsp; <a href="https://ewikikk.top/wiki/Linguistics">https://ewikikk.top/wiki/Linguistics</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Futre Pinheiro, Marília. (U of
Lisbon). &quot;Thoughts on diegema (narratio) in Ancient Rhetoric and in Modern
Critical Theory.&quot; In Literary Currents and Romantic Forms: Essays in
Memory of Bryan Reardon. Ed. Kathryn Chew, J. R. Morgan and Stephen R.
Trzaskoma. (Ancient Narrative, Supplement 26). Groningen: Barkhuis /&nbsp;
Groningen U Library, 2018. 19-32.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/42321012/">https://www.academia.edu/42321012/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
<i>&quot;García Landa, José Angel.&quot; Patatabrava</i></span><span
style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'><a
href="http://www.patatabrava.com/profesores/garcia_landa_jose__ngel-p34530.htm">PatataBrava:
http://www.patatabrava.com/profesores/garcia_landa_jose__ngel-p34530.htm</a></span><span
style='font-size:7.5pt;color:black'><br>
</span><span style='color:black'>2014<br>
<br>
<i>Hamacher, Annika. Erzählen als Kern von Unterhaltung: Zur Operationalisierbarkeit
von Narration in der Kommunikationswissenschaft. M.A. diss. Westfalische
Wilhelm-Universität, Münster, 2010. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/30236328/">
https://www.academia.edu/30236328/</a><br>
&nbsp;&nbsp;&nbsp; 2021</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Harris, Rebecca.
&quot;Textuality, Forms of 'Reading' and the Encounter of Art.&quot; MPhil
diss. Goldsmiths U of London, 2017.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://research.gold.ac.uk/id/eprint/20628/1/ART_MPhilThesis_HarrisRM_2017.pdf">https://research.gold.ac.uk/id/eprint/20628/1/ART_MPhilThesis_HarrisRM_2017.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Hennaut, Benoît. (U Libre de
Bruxelles). &quot;Narratologie et écritures théâtrales: Quel dialogue
possible?&quot; Cahiers deNarratologie 24 (2013): 1-19.* <br>
&nbsp;&nbsp;&nbsp; <a href="http://narratologie.revues.org/6669">http://narratologie.revues.org/6669</a><br>
&nbsp;&nbsp;&nbsp; 2014<b><br>
</b>&nbsp;&nbsp;&nbsp; <a
href="http://journals.openedition.org/narratologie/6669">http://journals.openedition.org/narratologie/6669
</a><br>
DOI : 10.4000/narratologie.6669<br>
&nbsp;&nbsp;&nbsp; 2021<br>
Online at Semantic Scholar.* <br>
&nbsp;&nbsp;&nbsp; <a
href="http://pdfs.semanticscholar.org/a246/afe47f4afee795ead9e3eb78ae1f98434fe0.pdf">http://pdfs.semanticscholar.org/a246/afe47f4afee795ead9e3eb78ae1f98434fe0.pdf
</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Hrabal, Jiri. &quot;Ke konzeptu fokalizace
v literární a filmové naratologii.&quot; In Intermedialita: Slovo – Obraz –
Zvuk: Sborník prispevku ze sympozia. Ed. Jan Schneider and Lenka Krausová.
Univerzita Palackeho v Olomouci, 2008. 45-52.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/19673291/">https://www.academia.edu/19673291/</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Huyer, Guilherme Jorge, Bruno
Leites and Alexandre Rocha da Silva. &quot;O flashback e a narrativa nâo-linear
subjetiva em Following (de Christopher Nolan).&quot; Imagofagia 16 (2017):
190-215.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/37444123/">https://www.academia.edu/37444123/</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>IDMOZ. &quot;Literature
Websites.&quot; IDMOZ.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://idmoz.org/Reference/Bibliography/Literature">https://idmoz.org/Reference/Bibliography/Literature</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Ilg, Bobby. &quot;Stories I Must
Tell: An Architectural Esploration.&quot; MA thesis, Carlton U, Ontario, 2005.
Online at CURVE.*<br>
<a
href="https://curve.carleton.ca/system/files/etd/55f022cf-7d31-4920-bb1c-445b8db173fb/etd_pdf/32ba6c796a2729bf1cabf3fea8de28cd/ilg-storiesimusttellanarchitecturalexploration_col.pdf">https://curve.carleton.ca/system/files/etd/55f022cf-7d31-4920-bb1c-445b8db173fb/etd_pdf/32ba6c796a2729bf1cabf3fea8de28cd/ilg-storiesimusttellanarchitecturalexploration_col.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Intercom Science Fiction Station.
&quot;William Gibson: Una bibliografía 5 (2003-2012).&quot; Intercom Science
Fiction Station.*<br>
<a
href="http://www.intercom-sf.com/modules.php?name=Encyclopedia&amp;op=content&amp;tid=27603">http://www.intercom-sf.com/modules.php?name=Encyclopedia&amp;op=content&amp;tid=27603</a><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Jahn, Manfred. &quot;Narrative
Voice and Agency in Drama: Aspects of a Narratology of Drama.&quot; New
Literary History 32.3 (Summer 2001): 659-679. Online at Scribd:<br>
&nbsp;&nbsp;&nbsp; <a href="http://es.scribd.com/doc/142349049/">http://es.scribd.com/doc/142349049/</a><br>
&nbsp;&nbsp;&nbsp; 2013<br>
Online at Project Muse.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.1353/nlh.2001.0037">https://doi.org/10.1353/nlh.2001.0037
</a><br>
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/32026815/">https://www.academia.edu/32026815/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
Online at U of Köln.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.uni-koeln.de/%7Eame02/jahn_2001a.pdf">https://www.uni-koeln.de/~ame02/jahn_2001a.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Jewiki.
&quot;Literaturtheorie.&quot; Jewiki.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.jewiki.net/wiki/Literaturtheorie">https://www.jewiki.net/wiki/Literaturtheorie</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Kakaboulia, Maria. In
Δημοσιογραφία και Γλώσσα. (Journalism and Language). Athens, 2001. Online at <i>Academia.*</i><br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/38483642">https://www.academia.edu/38483642</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Kalra, Siddhant. (Indian Institue
for Human Settlements). &quot;Indian Law, Hinduism, and Orientalism: Mapping
Discourse in Oriental Scholarship.&quot; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/30476636/">https://www.academia.edu/30476636/</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Kaur, Surinder.
(sandhu.surinder85@gmail.com; SGAD Government College, Tarn Taran). &quot;A
Study of Body and Inscribed Gender Roles in Angela Carter's Nights at the
Circus.&quot; Ramanda Centenary College Journal of Humanities and Social
Sciences 1.1 (April 2018): 1-10. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/36589020/">https://www.academia.edu/36589020/</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Khalil, Hend. (British University
in Egypt; Hend.Khalil@bue.edu.eg). &quot;The Revival of Radio Drama: A
Narratological Analysis of John Dryden's Pandemic (2012) and Martin Millien's
Covid39 (2021).&quot; Journal of Scientific Research in Arts – Langauge and
Literature 1 (2021): 26-53.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://jssa.journals.ekb.eg/article_153888_f3f425f0a14b26a9d0b2f1c9580e5db6.pdf">https://jssa.journals.ekb.eg/article_153888_f3f425f0a14b26a9d0b2f1c9580e5db6.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Klein, Irene, and Betina
González. &quot;Escribir ficción en la Universidad: Creatividad y
narratividad.&quot; Revista Colombiana de Pensamiento Estético e Historia del
Arte 15 (2022): 138-64.*<br>
<a href="https://revistas.unal.edu.co/index.php/estetica/article/view/104572">https://revistas.unal.edu.co/index.php/estetica/article/view/104572</a><br>
2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Knowpia. &quot;Literary
Theory.&quot; Knowpia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.knowpia.com/knowpedia/Literary_theory">https://www.knowpia.com/knowpedia/Literary_theory</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Kôiva, Mare. &quot;Giants in
Transmedia.&quot; <i>Folklore: Electronic Journal of Folklore</i> 64 (Tartu,
2016): 193-212. <br>
&nbsp;&nbsp;&nbsp; <a href="http://www.folklore.ee/folklore/vol64/giants.pdf">http://www.folklore.ee/folklore/vol64/giants.pdf</a>
<br>
&nbsp;&nbsp;&nbsp; <a href="http://dx.doi.org/10.7592/FEJF2016.64giants">http://dx.doi.org/10.7592/FEJF2016.64giants</a>
<br>
Online at Academia (Mare Kôiva).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/32443431/">https://www.academia.edu/32443431/</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Konstantakos, Ioannis M., and
Vasileios Liotsakis, eds. Suspense in Ancient Greek Literature. (Trends in
Classics – Supplementary Volumes, 113). Berlin and Boston: De Gruyter, 2021.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/45278046/">https://www.academia.edu/45278046/
</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Korkut, Buket. &quot;The
Narrative Nature of Ethical Discourse.&quot; Ph.D. diss. U of Notre Dame,
2011.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/2421608/">https://www.academia.edu/2421608/</a><br>
&nbsp;&nbsp;&nbsp; 2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Lane, Richard J., Rod Mengham and
Philip Tew, eds. Contemporary British Fiction. Cambridge: Polity Press, 2003.
Online preview at Amazon:</span><span style='font-size:7.5pt;color:black'><br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.amazon.com/Contemporary-British-Fiction-Richard-Lane/dp/0745628672/ref=sr_1_22">http://www.amazon.com/Contemporary-British-Fiction-Richard-Lane/dp/0745628672/ref=sr_1_22</a><br>
&nbsp;&nbsp;&nbsp; 2015</span><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Larsen, Annelise Brox (UiT Norges
Arktiske Universitet). &quot;14. Ph.D. Revisited Content in Nordic Pupil Narratives
in Instructed EFL: A Norwegian Perspective.&quot; In Larsen, English Didactics
in Norway. Ed. Annelise Brox Larsen. 295-313. Online at Idunn<br>
&nbsp;&nbsp;&nbsp; DOI: 10.18261/978-82-15-03074-6-2019-15<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.idunn.no/file/pdf/67130615/14_phd_revisited_content_in_nordic_pupil_narratives_in_in.pdf">https://www.idunn.no/file/pdf/67130615/14_phd_revisited_content_in_nordic_pupil_narratives_in_in.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Lesic-Thomas, Andrea.
&quot;Trauma, intimna sjecanja, problem autenticnosti i fotografije Milomira
Kovacevica, Sarajevo dans le coeur de Paris.&quot; Sarajevo Sveske 29/30
(2017).*<br>
&nbsp;&nbsp;&nbsp;<a href="http://sveske.ba/en/content/o-prirodi-nostalgije">
http://sveske.ba/en/content/o-prirodi-nostalgije</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/11140122/">https://www.academia.edu/11140122/</a><br>
&nbsp;&nbsp;&nbsp; 2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>LHS Writing Center.
&quot;Research Databases for the Extended Essay: Literature.&quot; LHS Writing
Center 4 April 2013.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://lincolnwriting.wordpress.com/2013/04/04/research-databases-for-the-extended-essay-literature/">https://lincolnwriting.wordpress.com/2013/04/04/research-databases-for-the-extended-essay-literature/</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Liotsakis, Vasileios. &quot;Texts
of Religious Content in Thucydides and the Ancient Implied Reader.&quot;
Rivista di Filologia e di Instruzione Classica 143.2 (2015): 278-317. (Milan:
Loescher).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/19724308/">https://www.academia.edu/19724308/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
<i>Lojek, David. &quot;Words Beyond Information.&quot; Grin (2001).* (On
Jeanette Winterson's Oranges Are Not the Only Fruit).<br>
<a href="https://www.grin.com/document/108028">https://www.grin.com/document/108028</a><br>
2022</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>López García, Tania.
&quot;Narrativa del cine checoslovaco de la Nueva Ola (Nová Vlna).&quot; Ph.D.
diss. U de Burgos, 2020. Online at the Internet Archive.*<br>
<a
href="https://riubu.ubu.es/bitstream/handle/10259/5936/Lopez_Garcia.pdf%3Bjsessionid%3D88F89856928D8F2A0237FD8992621D4F?sequence=1">https://riubu.ubu.es/bitstream/handle/10259/5936/Lopez_Garcia.pdf%3Bjsessionid%3D88F89856928D8F2A0237FD8992621D4F?sequence=1</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Louhema, Karoliina. &quot;From
Unisemiotic to Polysemiotic Narratives: Translating across Semiotic
Systems.&quot; MA Diss., U of Lund, 2018. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/37378830/">https://www.academia.edu/37378830/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>&quot;Lucius Septimius.&quot;
Wikip_dia: Slobodna Encyklop_dia&nbsp;(Wikipedia eslovena).<br>
<a href="http://sk.wikipedia.org/wiki/Lucius_Septimius">http://sk.wikipedia.org/wiki/Lucius_Septimius</a><br>
2013<br>
<br>
Maj, Krzysztof M. &quot;From Two-Worldliness to Allotopia: Towards
Philosophical-Literary Approach to World-Building Narratives.&quot; In
Dialectics of Space and Place Across Virtual and Corporeal Topographies. Ed.
June Jordaan, Carl Haddrell and Christine Alegria. Oxford: Inter-Disciplinary
Press, 2016. 151-64. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://www.academia.edu/4171965/">
https://www.academia.edu/4171965/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Manavi, Mahsa. روایت علی اصغر حکمت
از نمایشنامه های ویلیام شکسپیر: حرکت از نمایش بریتانیایی به نقالی ایرانی (Paper
in arabic: on Shakespeare in smartphones).</span></i><span style='color:black'>
<br>
<a href="https://www.academia.edu/42919591/">https://www.academia.edu/42919591/</a><br>
2020<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Mansor, Nor Shahila.
&quot;Análisis de textos publicitarios españoles y malayos: Un enfoque de
pragmática intercultural.&quot; Ph.D. diss. U of Valladolid, 2012. Online at
UVaDoc.*<br>
<a href="http://uvadoc.uva.es/bitstream/10324/2580/1/TESIS263-130409.pdf">http://uvadoc.uva.es/bitstream/10324/2580/1/TESIS263-130409.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Martínez, María-Ángeles. (U
Complutense, Madrid; ma.martinez@filol.ucm.es) &quot;-ing Supplementive Clauses
and Discourse Prominence in Literary Journalism.&quot;&nbsp; Journal of English
Studies 13 (2015): 83-107.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://publicaciones.unirioja.es/ojs/index.php/jes/article/download/2809/2733">https://publicaciones.unirioja.es/ojs/index.php/jes/article/download/2809/2733</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Merlo, Roberto. &quot;Dentro e
fuori la Rete: Rimediazioni, tematizzazioni e realtà virtuali in L'omino rosso
di Doina Rusti.&quot; In Trinchero, Cristina, ed. Ritorno a Babele: Esercizi di
Globalizzacione. Ed. Cristina Trinchero. (Collana Miscellanea). Rivoli
(Torino): Neos Edizioni, 2013. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/17525258/">https://www.academia.edu/17525258/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Miklós, Saghy. A fény
retorikája: A technikai képek szerepe Mándy Iván és Mészöli Miklós munkaiban.
Szeged: Tiszatáj, 2009. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/43894785/">https://www.academia.edu/43894785/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Milenkova-Kyheng, Rossitza.
&quot;Remarks on the Terms Narrative, Narratology and Narrative
Semiotics.&quot; Bulgarian language and literature 1 (2001).<br>
<br>
MLA Handbook for Writers of Research Papers,</span></i><i><span
style='font-size:7.5pt;color:black'> </span></i><span style='font-size:10.0pt;
color:black'>7th ed. New York: Modern Language Association, 2009</span><span
style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Moussavi, Seyed Medi. (Semnan U, Iran). &quot;Gender and
Eventfulness in Zoya Pirzad's <i>I Turn off the Lights: </i>Towards a Comparative
Narrative Theory.&quot; Critical Literary Studies 2.1 (2020): 185-98. <br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/42921194/">https://www.academia.edu/42921194/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Movrin, David, et al. Evropski humanizem in njegovi izzivi / European Humanism
and Its Challenges. Special issue of Primerjalna knizevnost 41.2 (Ljubljana,
2018).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/42834192/">https://www.academia.edu/42834192/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Mrugalski, Michal. &quot;The Mechanisms of Disruption (= &quot;The Spectacle of
Interruption&quot;): Toward an Interruption Theory of Narrative According to
Hölderlin's Theory of Tragic Drama.&quot; Amsterdam Electronic Journal of
Cultural Narratology (2016). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/38359505/">https://www.academia.edu/38359505/</a>
<br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Multilingual Encyclopedia. &quot;Linguistics.&quot; The Multilingual
Encyclopedia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://tme.miraheze.org/wiki/Linguistics">https://tme.miraheze.org/wiki/Linguistics</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
Nae, Andrei (U of Bucharest; andrei.nae@lls.unibuc.ro). &quot;Immersion at the
Intersection of Technology, Subjectivity, and Culture: An Analysis of Silent
Hill 2.&quot; Acta Univ. Sapientiae: Film and Media Studies 13 (2016): 7-19.*<br>
&nbsp;&nbsp;&nbsp; DOI: 10.1515/ausfm-2016-0011<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.acta.sapientia.ro/acta-film/C13/film13-01.pdf">http://www.acta.sapientia.ro/acta-film/C13/film13-01.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
&nbsp;&nbsp;&nbsp; Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/45176736/">https://www.academia.edu/45176736/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Nakıboğlu, G. (Istambul Technical U). &quot;Üstkurmacanın Öz Eleştirel
Karakteri Ve Üstkurmacada Öz Eleştirinin İşlevleri.&quot; SMART: International
Social Mentality and Researcher Thinkers Journal 7.47 (2021): 1621-1634. Online
at ResearchGate.* (&quot;Self-critical Character of Metafiction and Functions
of Self-Criticism on Metafiction&quot;).<br>
<a href="https://www.researchgate.net/publication/352651265">https://www.researchgate.net/publication/352651265</a><br>
2022<br>
<br>
Neira, Claudia. &quot;De Mente: Cuentos desequilibrados.&quot; Stories and
essay on narrative. MA diss. in Creative Writing, U of Seville, 2019. Online at
Core.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://core.ac.uk/download/231996006.pdf">https://core.ac.uk/download/231996006.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
No Subject. &quot;Deconstruction.&quot; No Subject: Encyclopedia of Psychoanalysis.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://nosubject.com/Deconstruction">https://nosubject.com/Deconstruction</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
Nordan Symposia. &quot;Philology.&quot; Nordan Symposia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://nordan.daynal.org/wiki/Philology">https://nordan.daynal.org/wiki/Philology</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
Olivari, Anna Maria. <i>Doktor Faustus (ver-)stimmen: Kompositionen zu Thomas
Manns Roman.</i> (Open Access). Berlin: J.B. Metzler, 2021.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/45378428/">https://www.academia.edu/45378428/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
&quot;Omnisciente.&quot; <i>Educalingo.*</i><br>
<a href="https://educalingo.com/es/dic-es/omnisciente">https://educalingo.com/es/dic-es/omnisciente</a><br>
2018<br>
<br>
Peinado, Federico. Federico Peinado (Referencias).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://federicopeinado.com/referencias/">https://federicopeinado.com/referencias/</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Penas Ibáñez, Beatriz. &quot;Memorias de una generación no perdida: John Dos
Passos, Scott Fitzgerald, Ernest Hemingway, Mª Teresa León.&quot; Cuadernos de
Investigación Filológica 33-34 (2007-08): 193-212.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://publicaciones.unirioja.es/ojs/index.php/cif/article/download/1493/1396">https://publicaciones.unirioja.es/ojs/index.php/cif/article/download/1493/1396</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Pendery, David. &quot;They Go! The Urgency of Aesthetic/Moral Incitement in
American Drama: The Work of Sam Shepard and Neil Simon.&quot; Spectrum: Studies
in Language, Literature, Translation and Interpretation 13.1: 119-34.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/25102716/">https://www.academia.edu/25102716/</a><br>
&nbsp;&nbsp;&nbsp; 2019<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/25072364/">https://www.academia.edu/25072364/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Pérez, Héctor J. (Madrid, 1971; European Ph.D. U of Murcia 1999; t. Audiovisual
narrative at Escola Politècnica Superior, Gandía, U Politécnica de
Valencia).&nbsp; &quot;Los tres cuerpos de la narración: Una poética
cognitivista de la interpretación actoral.&quot; L'Atalante 19 (Jan-June 2015):
17-26.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/13065805/">https://www.academia.edu/13065805/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
_____. &quot;Los tres cuerpos de la narración: Una poética cognitivista de la
interpretación actoral.&quot; L'Atalante 19 (2015): 17-26. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/11723400/">https://www.academia.edu/11723400/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
&quot;Plato's Poetics.&quot; <i>Freelance Filmmaker </i><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.freelance-filmmaker.com/blog/plato-s-poetics">https://www.freelance-filmmaker.com/blog/plato-s-poetics</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<br>
<i>Plaza, Eduardo F. &quot;La 'Différance' et l'intertextualité dans le
troisième mouvement de la Sinfonia</i> de Luciano Berio.&quot; <i><br>
<a
href="http://www.123people.com/ext/frm?ti=person%20finder&amp;search_term=jose%20angel%20garc%C3%ADa%20landa&amp;search_country=US&amp;st=person%20finder&amp;target_url=aHR0cDovL3d3dy5tdXNpY2FlbmNsYXZlLmNvbS9hcnRpY2xlc3BkZi9sYWRpZmZlcmFuY2VldGxhc2luZm9uaWEucGRm&amp;section=document"><u1:p></u1:p>http://www.123people.com/ext/frm?ti=person%20finder&amp;search_term=jose%20angel%20garc%C3%ADa%20landa&amp;search_country=US&amp;st=person%20finder&amp;target_url=aHR0cDovL3d3dy5tdXNpY2FlbmNsYXZlLmNvbS9hcnRpY2xlc3BkZi9sYWRpZmZlcmFuY2VldGxhc2luZm9uaWEucGRm&amp;section=document&amp;wrt_id=257</a><br>
2012</i><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Psychology Wiki: Philology.*<br>
&nbsp;&nbsp;&nbsp;<a href="https://psychology.fandom.com/wiki/Philology">
https://psychology.fandom.com/wiki/Philology</a><br>
&nbsp;&nbsp;&nbsp; 2021<br>
<br>
Redling, Ellen. Rev. of Tom Maguire, Performing Story on the Contemporary
Stage. JCDE 4.2 (2018): 476-80.*<br>
&nbsp;&nbsp;&nbsp; DOI 10.1515/jcde-2016-0037<br>
&nbsp;&nbsp;&nbsp; <a
href="http://archiv.ub.uni-heidelberg.de/volltextserver/25047/1/jcde-2016-0037.pdf">http://archiv.ub.uni-heidelberg.de/volltextserver/25047/1/jcde-2016-0037.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Retrowikipedia.
&quot;Philology.&quot; Wikipedia (Retrowikipedia).*<br>
<a href="http://retrowikipedia.org/wiki/Philology">http://retrowikipedia.org/wiki/Philology</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rinawmi, V. L. &quot;Situating
Jeanette Winterson within the Realms of Queer Theory.&quot; Ch. 1 of Situating
the Self: A Study of Select Novels of Jeanette Winterson. Ph.D. diss. Mizoram
U, 2010. Online at Shodhganga: A Reservoir of Indian Theses.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://shodhganga.inflibnet.ac.in/handle/10603/237230">https://shodhganga.inflibnet.ac.in/handle/10603/237230
</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://shodhganga.inflibnet.ac.in/bitstream/10603/120356/6/06_chapter%201.pdf">https://shodhganga.inflibnet.ac.in/bitstream/10603/120356/6/06_chapter%201.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rodríguez García, José María.
&quot;La bibliofarmacia de Kate Chopin o la lectura como intoxicación.&quot;
Cuadernos de investigación filológica 29-30 (2003-04): 7-28.*<br>
<br>
Rodríguez Suárez, Luisa Paz. &quot;La naturaleza hermenéutica de la naturaleza
corporal y del fenómeno del dolor según Heidegger..&quot; Claridades 11 (2019):
187-211.*<br>
&nbsp;&nbsp;&nbsp; <a
href="http://www.revistas.uma.es/index.php/claridades/article/download/5454/6237">http://www.revistas.uma.es/index.php/claridades/article/download/5454/6237</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Rovira Vázquez, Gabriel
Antonio. Lo que Ricardo Piglia oculta: Una poética de la ficción narrativa. La
Paz (Baja California Sur): U Autónoma de Baja California Sur, 2015.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/23002216/">https://www.academia.edu/23002216/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Royuela, Santiago. &quot;Mac
Dowell, Zapatero, Robles: El aristócrata Castillejo Oriol. Sicarios contra
Presencia desde EE.UU.&quot; Video. YouTube (Santiago Royuela Samit) 24 Aug.
2022.* (Corruption, Felipe VI, ACODAP; Alerta Nacional, El Heraldo de Oregón,
Tortura y Corrupción, Nuestra España, El Español Digital, Vanity Fea, El
Diestro, Inmatrix, Abogados contra la Corrupción, Almería Hoy, El Azote de
Roma, Inquietud y conciencia)<br>
<a href="https://youtu.be/4pDEtuM5XOY">https://youtu.be/4pDEtuM5XOY</a><br>
2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sabaté Gauxachs, Alba (U Ramón
Llull, albasg@blanquerna.url.edu),&nbsp; Josep Lluís Micó Sanz (U Ramón Llull,
joseplluisms@blanquerna.url.edu) and Miriam Díez Bosch
(miriamdb@blanquerna.url.edu). &quot;Is the New New Digital Journalism a Type
of Activism? An Analysis of Jot Down, Gatopardo and The New Yorker.&quot;
Communication and Society 32.4 (2019): 173-91. Online at Dadun.*<br>
&nbsp;&nbsp;&nbsp;<a
href="https://dadun.unav.edu/bitstream/10171/58411/1/36768-109671-1-PB.pdf">
https://dadun.unav.edu/bitstream/10171/58411/1/36768-109671-1-PB.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Schröter, Felix. (Ph.D in
Media – Game Studies; Bytro Labs, Hamburg). &quot;Sworn Swords and Noble
Ladies: Female Characters in Game of Thrones Video Games.&quot; From Women of
Ice and Fire: Gender, GAME OF THRONES, and Multiple Media Engagements. 2016.
Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/46914090/">https://www.academia.edu/46914090/</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Seoane, Catuxa. &quot;De blogs
carentes de calidad y el IBSN como respuesta.&quot; Deakiall_ Documental 9 Feb.
2006.<br>
&nbsp;&nbsp;&nbsp; <a
href="http://deakialli.bitacoras.com/archivos/2006/02/09/de-blogs-carentes-de-calidad-y-el-ibsn-como-respuesta">http://deakialli.bitacoras.com/archivos/2006/02/09/de-blogs-carentes-de-calidad-y-el-ibsn-como-respuesta</a><br>
&nbsp;&nbsp;&nbsp; 2009<br>
<a
href="https://docs.google.com/viewer?url=http://dialnet.unirioja.es/descarga/articulo/2283848.pdf&amp;chrome=true">https://docs.google.com/viewer?url=http://dialnet.unirioja.es/descarga/articulo/2283848.pdf&amp;chrome=true</a><b><br>
<br>
</b>Şimşek, Şehnaz Şişmanoğlu. (Kadir Has U, Turkey). &quot;The Yeniçeriler of
Ioannis Gavriilidis A Palimpsest in Karamanlidika.&quot; In Between Religion
and Language: Turkish-Speaking Christians, Jews and Greek-Speaking Muslims and
Catholics in the Ottoman Empire. Ed. Evangelia Balta and Memet Ölmez. Istambul:
Eren Yay1nc1l1k Kitab Dag1t1m, 2011. 245-75. Online at Academia.*<br>
<a href="https://www.academia.edu/3983396/">https://www.academia.edu/3983396/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Skredsvig, Kari Meyers.
&quot;Siting Encounters and Encountering Sites: Contemporary Narrative
Geographies.&quot; Filología y Lingüística 28.2 (2002): 41-50.* Online at
Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp;<a
href="https://pdfs.semanticscholar.org/042d/b9e4827c4a3e3520f8b6136c978bd64dee9f.pdf">
https://pdfs.semanticscholar.org/042d/b9e4827c4a3e3520f8b6136c978bd64dee9f.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Solhaug, Sigrid Ingeborg. (U
of Tromsø). &quot;The Fantastic Identity: De/constructing the Feminine Hero in
Philip Pullman's The Golden Compass.&quot; Nordlit 23 (2008 – Arktiske
Diskurser II).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://septentrio.uit.no/index.php/nordlit/article/view/1348">https://septentrio.uit.no/index.php/nordlit/article/view/1348
</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Soltero, Gonzalo.
(gsoltero@enes.unam.mx; t. Escuela Nacional de Estudios Superiores, UNAM-León)
&quot;Construcción de la violencia en México. Un análisis desde la teoría
literaria.&quot; Política y Cultura 46 (Autumn 2016): 121-42.* (Felipe Calderón
Hinojosa, 2006-2012). Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/30918724/">https://www.academia.edu/30918724/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sonnet, Jean-Pierre.
&quot;Elementi per una teoria narrative dell'inspirazione nella Bibbia
ebraica.&quot; Ch. 9 of Ogni scrittura è ispirata: Nuove prospettive
sull'ispirazione biblica, Lectio 5. Ed. P. Dubovsky and J.-P. Sonnet. Rome:
Cinisello Balsamo – Gregorian &amp; Biblical Press, 2013. 155-84.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/12178707/">https://www.academia.edu/12178707/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Soto Riveros, Paulina.
&quot;Apokalipsen Frauen: Neuhispanische Betschwester und populäre Religion im
17. Jahrhundert [Sic. Errata for: 18. Jahrundert] / Mujeres del Apocalipsis:
Beatas novoshispanas y religiosidad popular en el siglo XVIII.&quot;&nbsp;
Ph.D. diss. U of Potsdam, 2013. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/45359381/">https://www.academia.edu/45359381/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Smith, Emma. &quot;Reading Shakespeare's
Stage Directions.&quot; From Stage Directions and Shakespearean Theatre. Ed.
Sarah Dustagheer and Gillian Woods. London: Blomsury, 2017. Online at
Humanities Commons.*<br>
<a href="http://dx.doi.org/10.17613/M6225B">http://dx.doi.org/10.17613/M6225B</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Soltero, Gonzalo.
&quot;Construcción de la violencia en México: Una aproximación desde la teoría
literaria.&quot; Política y Cultura 45 (Spring 1916): 121-42.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/29893857/">https://www.academia.edu/29893857/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Sperl, Stefan &quot;Insanin
'Bos Özü': Hadis Literatüründe ve Klasik Arap Edebinde Etik ve Estetik (Man's
'Hollow Core': Ethics and Aesthetics in Hadith Literature and Classical Arabisc
adab.&quot; (Trans. Suat Koca. kocas@ankara.edu ; Faculty of Divinity, Dpt. of
Hadith, Ankara U). Hitit Üniversiteti Ilahijyat Fakültesi Dergisi / Journal of
Divinity Faculty of Hitit University 20.1 (June 2020): 509-46. Online at
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/43575525/">https://www.academia.edu/43575525/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Szilas, Nicolas, Sergio
Estupiñán Vesga and Urs Michael Richle. &quot;Qualifying and Quantifying
Interestingness in Dramatic Situations.&quot; In InteractiveStorytelling. 9th
International Conference on Interactive Digital Storytelling, ICIDS2016. Ed. F.
Nack and A. S. Gordon. Cham: Springer, 2016.* (Aesop's Fables, narrativity).<br>
DOI : 10.1007/978-3-319-48279-8_30<br>
Online at Archive Ouverte UNIGE (Université de Genève).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://archive-ouverte.unige.ch/unige:91113/ATTACHMENT01">https://archive-ouverte.unige.ch/unige:91113/ATTACHMENT01</a>
<br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Szuks, Orsolya Noemi.
&quot;The Dynamics of Contemporary Irish Fiction in the Novels of Jennifer
Johnston.&quot; M.A. diss. Babes-Bolyai U, 2014. Online at Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/23221453/">https://www.academia.edu/23221453/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Tamul, Daniel J., and Jessica
C. Hotter. &quot;Exploring Mechanisms of Narrative Persuasion in a News
Context: The Role of Narrative Structure, Perceived Similarity, Stigma, and
Affect in Changing Attitudes.&quot; Collabra: Psychology 5.1 (2019): 51.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.1525/collabra.172">https://doi.org/10.1525/collabra.172</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://online.ucpress.edu/collabra/article/5/1/51/112960/">https://online.ucpress.edu/collabra/article/5/1/51/112960/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Toivo, Raisa Maria, and Liv
Helene Willumsen. &quot;A Narratological Approach to witchcraft Trial Records:
Creating Experience.&quot; Scandinavian Journal of History 47.1 (2022) (Issue
1: Narrative and Experience: Interdisciplinary Methodologies between History
and Narratology).<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.1080/03468755.2021.2014953">https://doi.org/10.1080/03468755.2021.2014953
</a><br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.tandfonline.com/doi/full/10.1080/03468755.2021.2014953">https://www.tandfonline.com/doi/full/10.1080/03468755.2021.2014953</a><br>
&nbsp;&nbsp;&nbsp; 2022</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Tricas, Fernando. &quot;1000,
IBSNs, 1000.&quot; Reflexiones e irreflexiones 16 Feb. 2006.<br>
&nbsp;&nbsp;&nbsp; <a href="http://fernand0.blogalia.com/historias/37508">http://fernand0.blogalia.com/historias/37508</a><br>
&nbsp;&nbsp;&nbsp; 2009</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Tunca, Betül Sümeyye.
&quot;ÖDEŞMELER ve ŞAHMERAN HİKÂYESİ'NDE ANLATICILAR TİPOLOJİSİ.&quot; Ph.D.
diss. Izmir: Dokuz Eylul U, 2019. Online at Academia.*<br>
&nbsp;&nbsp; &nbsp;<a href="https://www.academia.edu/45608381/">https://www.academia.edu/45608381/</a><br>
&nbsp;&nbsp; &nbsp;2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Universidad de Alicante,
Biblioteca Universitaria. &quot;Estilo MLA: Material formativo.&quot;
Academia.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/37864871/">https://www.academia.edu/37864871/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Universitat d'Alacant, Estilo MLA
(actualizado según el manual de la 8ª edición). Universidad de Alicante (RUA).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://rua.ua.es/dspace/bitstream/10045/57777/1/MLA_8th_ed_julio2016.pdf">https://rua.ua.es/dspace/bitstream/10045/57777/1/MLA_8th_ed_julio2016.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>University of Michigan library<br>
<a href="https://search.lib.umich.edu/catalog/record/990052860910106381">https://search.lib.umich.edu/catalog/record/990052860910106381</a>
<br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>University of Queensland,
University Library. &quot;MLA 2008-2009 'How-to' Guide.&quot; University of
Queensland.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://faculty.ksu.edu.sa/sites/default/files/mla_2008.pdf">https://faculty.ksu.edu.sa/sites/default/files/mla_2008.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Warden, Joop van. (Nijmegen;
jvanwaarden@let.ru.nl). Rev. of Michael P. Hanaghan's Reading Sidonius'
EPISTLES. Plekos 21 (2019): 307-12.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/42611446/">https://www.academia.edu/42611446/</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>WCU Writing and Reading Commons
(MLA Research Documentation).*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.wcu.edu/WebFiles/PDFs/MLA-Citation-Resource-7thED.pdf">https://www.wcu.edu/WebFiles/PDFs/MLA-Citation-Resource-7thED.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Wei, Huaxin. (B.Sc. Xi'an
Shiyou U, 1996; M.Sc. U of Alberta, 2001, Ph.D. Simon Fraser U).&nbsp;
&quot;Analyzing the Game Narrative: Structure and Technique.&quot; Ph.D. diss.
Simon Fraser U, 2011.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/64165005/">https://www.academia.edu/64165005/</a><br>
&nbsp;&nbsp;&nbsp; 2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wikibedia. &quot;Literary
Science.&quot; Wikibedia.*<br>
&nbsp;&nbsp;&nbsp; <a href="http://en.wikibedia.ru/wiki/Literary_science">http://en.wikibedia.ru/wiki/Literary_science</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wikidea. &quot;Dekonstruktsiia –
Deconstruction.&quot; (From Wikipedia). Wikidea.ru 2021.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://wikidea.ru/wiki/Deconstruction">https://wikidea.ru/wiki/Deconstruction</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wikijaa. &quot;Dekonstruktsiia–
Deconstruction.&quot; (From Wikipedia). Wikijaa.ru. 2021.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://wikijaa.ru/wiki/Deconstruction">https://wikijaa.ru/wiki/Deconstruction</a><br>
&nbsp;&nbsp;&nbsp; 2022 <o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'>Wikizero. &quot;Literary
Criticism.&quot; (From Wikipedia).*<br>
&nbsp;&nbsp;&nbsp; <a href="https://wikizero.com/m/Literary_criticism">https://wikizero.com/m/Literary_criticism</a><br>
&nbsp;&nbsp;&nbsp; 2022<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Yang, Chao-Ming, and Tzu-Fan
Hsu. &quot;New Perspective in Visual Communication Design Education: An
Empirical Study of Applying Narrative Theory to Graphic Design Courses.&quot;
International Journal of Higher Education 6.2 (2017): 188-98.*<br>
&nbsp;&nbsp;&nbsp; <a href="https://doi.org/10.5430/ijhe.v6n2p188">https://doi.org/10.5430/ijhe.v6n2p188
</a><br>
&nbsp;&nbsp;&nbsp; <a
href="http://sciedu.ca/journal/index.php/ijhe/article/viewFile/11264/6987">http://sciedu.ca/journal/index.php/ijhe/article/viewFile/11264/6987</a><br>
&nbsp;&nbsp;&nbsp; 2018<br>
<a
href="https://www.semanticscholar.org/paper/New-Perspective-on-Visual-Communication-Design-An-Yang-Hsu/cc9275a5e1f7d33554d93ec4a4dc1c3b44c15216">https://www.semanticscholar.org/paper/New-Perspective-on-Visual-Communication-Design-An-Yang-Hsu/cc9275a5e1f7d33554d93ec4a4dc1c3b44c15216</a><br>
2021</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><i><span style='color:black'>Zajc, Ivana
(zajcivana@gmail.com). &quot;Posebnosti didaskalij v Grumovi drami&nbsp;
Dogodek v mestu Gogi.&quot; Slovanski Jeziki v Solstvu, Znanosti, Literaturi in
Kulturi. Ed. Lidija Rezonicnik and Nina Zavasnik. Ljubljana, 2019. 153-65.*
(Slavka Gruma, Dogodek v mestu Gogi, 1930).<br>
&nbsp;&nbsp;&nbsp; <a href="https://www.academia.edu/42252937/">https://www.academia.edu/42252937/</a><br>
&nbsp;&nbsp;&nbsp; 2020<br>
<br>
Zare'e, Maedeh (Islamic Azad U, Tehran Central Branch, Iran;
zaree_maedeh@yahoo.com) and Razieh Eslamieh (Islamic Azad U, Parand Branch).
&quot;Pastiche in Paul Auster's The New York Trilogy.&quot; Advances in Language
and Literary Studies 7.5 (Oct. 2016): 197-207.*<br>
&nbsp;&nbsp;&nbsp;<a href="http://dx.doi.org/10.7575/aiac.alls.v.7n.5p197">
http://dx.doi.org/10.7575/aiac.alls.v.7n.5p197</a><br>
&nbsp;&nbsp;&nbsp; Online at Academia:<br>
&nbsp;&nbsp;&nbsp; <a
href="https://www.academia.edu/28894037/ALLS_Vol_7_No_5_2016_">https://www.academia.edu/28894037/ALLS_Vol_7_No_5_2016_</a>
<br>
&nbsp;&nbsp;&nbsp; 2020<br>
Online at Semantic Scholar.*<br>
&nbsp;&nbsp;&nbsp; <a
href="https://pdfs.semanticscholar.org/f002/3392a0e68a4c2dea4b1e2e74ca1f51879cd0.pdf">https://pdfs.semanticscholar.org/f002/3392a0e68a4c2dea4b1e2e74ca1f51879cd0.pdf</a><br>
&nbsp;&nbsp;&nbsp; 2020</span></i><span style='color:black'><o:p></o:p></span></p>

<p class=MsoNormal><span style='mso-fareast-font-family:"Times New Roman";
color:black'>Zaugg, Gary Louis. &quot;The Trial of Alice Clifton: Judicial
Catharsis in Institutional Bias.&quot; Ph.D. Diss. North Dakota State U of
Agriculture and Applied Science. Fargo, 2017.* (1787 infanticide trial of a
slave and rape victim).<br>
&nbsp;&nbsp;&nbsp; <a
href="https://library.ndsu.edu/ir/bitstream/handle/10365/27457/">https://library.ndsu.edu/ir/bitstream/handle/10365/27457/</a><br>
&nbsp;&nbsp;&nbsp; 2022<br>
<br>
Zevari, Zeravan Aoub Ahmed, and Behbood Mohammadzadeh (both Cyprus
International U, zeravan.zevari12@gmail.com). &quot;Speech and Thought
Presentation in Chance by Alice Munro: A Stylistic Analysis.&quot; Advances in
Language and Literary Studies 12.1 (Feb. 2021): 77-83.*<br>
&nbsp;&nbsp; &nbsp;DOI:10.7575/AIAC.ALLS.V.12N.1.P.77&nbsp; <a
href="https://www.semanticscholar.org/paper/Speech-and-Thought-Presentation-in-Chance-by-Alice-Zebari-Mohammadzadeh/593d40b99325107e5df6cf937becfeeca953a310">https://www.semanticscholar.org/paper/Speech-and-Thought-Presentation-in-Chance-by-Alice-Zebari-Mohammadzadeh/593d40b99325107e5df6cf937becfeeca953a310</a><br>
&nbsp;&nbsp; &nbsp;2021<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal align=center style='text-align:center'><span
style='mso-fareast-font-family:"Times New Roman";color:black'>—oOo—<o:p></o:p></span></p>

<p class=MsoNormal style='mso-margin-top-alt:auto;margin-bottom:12.0pt;
background:#FFFF99'><span style='color:black'><br style='mso-special-character:
line-break'>
<![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'>
<![endif]><o:p></o:p></span></p>

<div style='margin-left:30.0pt'><u1:p></u1:p>

<div style='margin-left:150.0pt'>

<p class=MsoNormal><i><span style='font-size:7.5pt;mso-fareast-font-family:
"Times New Roman";color:black'><a
href="https://vanityfea.blogspot.com/search/label/Me%20citan"><span
style='font-size:18.0pt'>Algunas publicaciones académicas que me citan—en
Vanity Fea (con algunos datos adicionales)</span></a></span></i><span
style='mso-fareast-font-family:"Times New Roman";color:black'><o:p></o:p></span></p>

</div>

</div>

<p class=MsoNormal><span style='mso-fareast-font-family:"Times New Roman";
color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal align=center style='text-align:center'><span
style='mso-fareast-font-family:"Times New Roman";color:black'>—oOo—<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='mso-fareast-font-family:
"Times New Roman";color:black'><o:p>&nbsp;</o:p></span></p>

</div>

</body>

</html>