Every Wednesday Free Suppliment �.ntnipuna.com

Guide to Excellence

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12  2017  8

  .    .       .   .  .           .       .    ,   .  10              ....

            . � :       . 10           .     (  ): � , , , , , , , ,  , . : �   :   ( ,  ,  &  ),  (, , ,    ),   ,   , , ,  , ,  , ,  , , ,  ,  ,  ,    ,   , ,







, .     ,  ,  ,   ,      . , , , ,  : , , , , , , , , , , ,  (), ,   . :  ,  , , ,   ,  ,    ,     ,    , , ,  ,  ,  ,   ,  ,   (  ), , ,    ,    ,     . ,   :   ,  ,  , 

         . � :   , , , , , , , , ,   . � :  . � :  5 �  :  22 �   :  1  5  � : http://www.uohyd.ac.in



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   - 2017 ,  , ,  ,  ,  , ,  , ,  , ,   , ,  , , ,  , , ,  , , , ,  ,  ,  ,   ,     ,     ,  , ,     ,     ,  ,       . :      - 2017 .     .  :  17, 18, :   :  14,   :  5   :  17, 18   :  7 : www.cucet2017.co.in

...� . 

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       .         . :    .  .     .  ,     .        .        ,   .     , , ,     .            .  : , ,  , ,          .  .. :      ,       . :    .   . :      .   . :               .      ,      , ,    .  :       ‘’         ‘’ ( ) .      .  ,  ,      .    ‘’ .  :   ‘’   .    .      .    ‘’  .  ,     ,     .  :     .  , , ,   .       , ,     .            .    

Gurukul Special

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   �





 ,       .  :     .  ‘’ .   1/6   . ‘’         .    ,     .      ‘ ’  ‘’ ,   ‘’ . , ,    ‘’ .  , ,  ,       .         .       .      ,  ,    ,    ,     , 3 





, ,  , 4        .     ,      . :      . , , , , , , , , , ,    .   ,            . :           .      .    ,    .      ( ),   ( ),     ( )   .      ,  ,           

  �

       9492 575 006



   .     ,    ,       .         .  ‘’   .   18     .     .    .        ,    .    , ,   .          .    .    .









.      ‘ ’  .  :         .            . ,      .  .. 3        .             ,     ,   .             .         .          ,  .

 (), , , , ,  , ,  .       .    ,    .           ,   .          .             ,  .          .  :   , , ,    . , ,   .      ,  .  ,       .

03.

12  2017  8

Indina Economy

Guide to Excellence





             .     1-100   34   ,  9    1-100    .   ‘ARPI’ METHOD.

:

p/q   ?    

  �



� �

       .    N  . N = {1, 2, 3, 4, 5, . . . . . . . }    = 1     = 



   0       . �    W  . W = {0, 1, 2, 3, . . . . . } �   = 0 �   = . � 0    ( ). �



 ,  , 0   . �    Z  I  . Z = {. . . -3, -2, -1, 0, 1, 2, 3, . . . } �   = {1, 2, 3, . . . } �  = {-1, -2, -3, . . . } �   = {0, 1, 2, 3, . . . } :   ‘’ . �

  �





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P/Q       . ( q ≠ 0, p, q   )    ,     .  ,      .  Q . Q = {x/x =p/q, p, q ∈ z, q ≠ 0}   (Q1) p/q     

 . ( q ≠ 0, p, p   ) () � ,      . 1 �  Q  . : √2, √3, √5, ..... √2 = 1.4142135........ ; √3 = 1.7320508.....; √5 = 2.2360680.... : π    . [π=3.14159265358979323846264338327950 28841971693993751058209749445923078 16406286......] �  14 π  .

  (R): �

,      . R = QUQ1



2  ,     . : 2, 4, 6, 8, 10, ....... �  = n(n+1) �

 :

2      . : 1, 3, 5, 7, 9, ...... 2 �    = n �

 ()  : �

1-100     25   5, 6    .    1-100      10      (1) , 2 Round   2  Cancel   3   3  Cancel   .... 

1. 4x4  box . 2.     .   box  . 3.        ,  box  . 4.   +2, +4  . 5.     5  (5 ) 7  (7 ) . 6.    box  .  (1-100)    . �       .   Simple  1-100     . �   (1-10) (10-20) , (2030) .... (90-100)       . �   Simple technique . �   A-1, B-2, C-3, D-4     .  DD BBC BBC BA (       ) D —>(1-10)   = 4  2, 3, 5, 7 D —>(10-20)   = 4  11, 13, 17, 19 B —>(20-30)  = 2  23, 29 B —>(30-40)   = 2  31, 37 C —>(40-50)   = 3  41, 43, 47 B —>(50-60)   = 2  53, 59 B —>(60-70)   = 2  61, 67 C —>(70-80)   = 3  71, 73, 79 B —>(80-90)  = 2  83, 89 A —>(90-100)   = 1  97 �  DD BBC BBC BA techinque   DD —->  TV channel in India () BBC —->   News channel BBC —->  BBC BA —->    1  100     = 25 101  200     = 21 201  300     = 16 301  400     = 16 401  500     = 17 501  600     = 14 601  700     = 16 701  800     = 14 801  900     = 15 901  1000     = 14 �       2,    7. �     11,    97. �     101,    997.







    1009,    9973.     10007,    99991. Great Internet Mersenne Prime Search (GIMPS)   2017      274,207,281− 1  22,338,618  .

Sexy prime pairs: �

 6    Sexy prime .  5, 11  .   6.   Sexy prime .

The sexy primes below 500 are �



(5,11), (7,13), (11,17), (13,19), (17,23), (23,29), (31,37), (37,43), (41,47), (47,53), (53,59), (61,67), (67,73), (73,79), (83,89), (97,103), (101,107), (103,109), (107,113), (131,137), (151,157), (157,163), (167,173), (173,179), (191,197), (193,199), (223,229), (227,233), (233,239), (251,257), (257,263), (263,269), (271,277), (277,283), (307,313), (311,317), (331,337), (347,353), (353,359), (367,373), (373,379), (383,389), (433,439), (443,449), (457,463), (461,467).      2009     sexy prime 11,593   .

Sexy prime triplets �







Sexy primes can be extended to larger constellations. Triplets of primes (p, p + 6, p + 12) such that p + 18 is composite are called sexy prime triplets. Those below 1000 are: (5, 11, 17), (7, 13, 19), (17, 23, 29), (31, 37, 43), (47, 53, 59), (67, 73, 79), (97, 103, 109), (101, 107, 113), (151, 157, 163), (167, 173, 179), (227, 233, 239), (257, 263, 269), (271, 277, 283), (347, 353, 359), (367, 373, 379), (557, 563, 569), (587, 593, 599), (607, 613, 619), (647, 653, 659), (727, 733, 739), (941, 947, 953), (971, 977, 983).     2013     sexy prime triplet 5132   . As of 2013 the largest known sexy prime triplet, found by Ken Davis had 5132 digits:

Examples of Sexy prime quadruplets �





(5, 11, 17, 23), (11, 17, 23, 29), (41, 47, 53, 59), (61, 67, 73, 79), (251, 257, 263, 269), (601, 607, 613, 619), (641, 647, 653, 659). In November 2005 the largest known sexy prime quadruplet, found by Jens Kruse Andersen had 1002 digits: In September 2010 Ken Davis announced a 1004-digit quadruplet with p = 23333 + 1582534968299.

..     

04. Every Wednesday Free Suppliment �.ntnipuna.com

Constitutional Protection: 1. 243 T (4) - Reservation of offices of chairpersons in municipalities for the SC's and ST's and women in such manner as the legislature of a state may by law provide. 2. Legal Protection I. The crimes identified under IPC � sec 376 Rape � Sec 363 - 373 Kidnapping and abduction for different purposes � Sec 302/304 -B - Hornicide for Dowry, Dowry Deaths or their attempts � Sec 498 A - Torture both mental and physical � Sec 354 - Molestation � Sec 509 - Sexual Harassment II. Acts � The family courts Act 1954 � The special Marriage Act 1954 � The Hindu Marriage Act 1955 � The Hindu Succession Act 1956 (With Amendment in 2005) � Immoral Traffic (Prevention) Act 1956 � The Maternity Benefit Act-1961 (with Amendment in 1995) � Dowry Prohibition Act-1961 � The Medical Termination of Pregnancy Act-1971 � The Contract Labour (Regulation and Abolition) Act-1976 � The Equal Remuneration Act-1976 � The Prohibition of child Marriage Act2006 � Commission of Sati Act-1987 � The Protection of women from Domestic Violence Act-2005 Other Protections � The year 2001 was celebrated as the year of Empowerment of women. The Government has taken numerous measures and making honest endeavours to hoist the status of women and establish gender equality and same the women Government of India mainly adopted the welfare oriented approach as far as women's issues were concerned in the Fifth five year plan there was a shift in the approach from welfare to Development. � This new approach integrated welfare with Developmental service. � The 6th Plan adopted a multi disciplinary approach with thrust or health education and employment. � In 7th Plan Developmental Programmes for women were continued with the objective of raising their economic and social status by beneficiary oriented programmes

NUTHANAKANTI VENKAT Executive menber Telangana Group-1 officers union 9849186827

WOMEN RIGHTS

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which extended direct benefits ro women. � The 8th Plan marks a definite shift from Development to Empowerment of women. Caste � The term caste itself is not an Indian one which coming from the Portuguese. � Caste meaning race or pure stock. � Indians themselves have no single term for describing the caste system as a whole but a variety of words refering to different aspects of it the two main names are Varna and Jati. � The Varna consists of four categories each ranked differently in terms of social honour below these four groupings are the untouchables those in the lowest position of all. � The Jati are locally defined groups within which the caste ranks are organized. � The Caste system is closely bound up withe the Hindu belief in rebirth. � Caste is a closed social group Characteristics of Caste system 1.Caste is innate- It represents absolute rigidity and immobility. A man dies in the same caste in which he is born and it is the caste that determines his status in life. 2.Restriction on Food Habits. 3.Caste is Endogamous- Endogamy is the most important element of caste system. � Westermarck considers it is to be a chief characteristics of the caste. � The violation of the rule of endogamy marrying outside the caste would mean ostracism and loss of caste. 4.Hierarchical social structure- The relative position that a person occupies in the caste hierarchy is mostly determined by its relations to the Brahmins. 5.Occupation are fixed- Every caste regards some occupation as its own hereditasy and exclusive calling and

Characteristics of Caste system tries to debar the others from exercising it. Jajmani System � The Jajmani system is an expression of the interdependence of different casts. � It is also considered as an arrangement of different caste groups for exchanging goods and service based on religious consideration. � Caste system in the villages is based on economic needs and structure of the society. � These are certain classes or castes who are entitled the services to the Jajmani and those serve are known as Praja or Kamin. � The first detailed study of Jajmani tradition in India was made by Klillian H.Wiser in his book the Indian Jajmani system. � Under the Jajmani system there is standardised and well organised arrangement for different types of economic services. Features of Jajmani system � It is permanent in the sense that the Jajmani relations do not change very frequently. � It is hereditary. � The system is not based on the money economy. It operates according to the principle of exchange of goods and services guided by ceremonial considerations � The Kamins gets certain amount of grains yearly or half yearly. � The Jajmani system bounded together the different castes living in a village or a group of neighbouring villages.















Jajmani system was an attempt to regulate the village economy. The Jajmani system provides economic self sufficiently to the village community. The relations between food producing families and the families that provide them with goods and services are called Jajmani relations. Jajmani links are between families rather than Jatis The relationship is durable exclusive and multiple it is durable in that the link may be inherited on both sides. Economic exchange is only one fact of Jajmani relations there is also the expectation of mutual personal support in family emergencies or factional quarrels. Jajmani relations are important for ritual and social order.

Dominant Caste � The concept of Dominant caste was put forth by M.N. Srinivas while discussing the social organization in the village Rampura in mysore Districts. Features of Dominant Caste � Numerical preponderance. � Ownership of land is the most important source of wealth and hence the major portion of Agricultural land is under its ownership. � Economic wealth and hence economic power. � In the local Caste hierarchy it occupies the highest states. � A high ritual status in the local area. � Political power and authority.

05.

12  2017  8

Career Guidance

Guide to Excellence

 - 2017

    �       2015,  29 . �  2016,  4  . �       . �   , ,  , , ,    .    :   () ,    100 (0.30) ,   100 (0.30)   100 (0.20)    100 (0.10)  100 (0.10)







1. ,  2. ,  3. ,  4. , , 5. ,  6. ,  7. ,  8.  ,  9.  ,  10. , 



1     ()  2. ,  3. ,  4. ,  5. ,  6. ,  7. ,  8. ,  9.    ,  10. , 

   ... 1. 2. 3. 4. 5. 6. 7.

 (14)  -  (26)   (38) ,  (58) ,  (68)   (69) ,  (82)

....

1. ,  (10) 2. ,  (48) 3. ,  (34) 4. ,  (63) 5.  (68) 6. ,  (75) 7.    (80) 8. ,  (81) 9.  (88) 10.  (90) 11.   (98)

... 1. 2. 3. 4. 5. 6. 7. 8. 9.

 (7)  (23)  (42)  (43)  (69)   (78) ,  (89)  (96)   (99)

6.  ,  7.    8.    9.  ,  10.    ,  :      23,    42,   43  .

    ?     ?     2016        .   3        ,     10    .   2017     1.2.   1.  ,       .   ,  3. ,   ,   ,     , ,      , 4.       2.3.    ,  ,      . 4.   , ,  5.  , 

  1.    .  2.    ,  3.    ,  4.    ,  5.    ,  6.   ,  7. ,  8. ,  9. ,  10.   ,  11.        ,  12.  ,  13.  ,  14.    15.    16.  , 

17. ,  18.    ,  19.   ,  20.   ,  21. ,  22.    ,  23.    ,  24. ,  25. ,  26. ,  27.   28.   ,  29.        -  30.      -  ,  31. ,  32. , ,  33.    , 

34.    ,  35.   ,  36.        -  37. , ,  38.  ,  39.    ,  40.  ,  41.    ,  42.  ,  43.   44. , ,  45.  ,  46.    , ,  47.  ,  48.  ,  49.     ,  50.        (), 

5.    ,  6.   ,  7.     ,  8.   ,  9.   ,  10.    , 

 10  

1.  ,  2.       , ,  3.     ,  4.    ,  5.      ,  6.      ,  7.     8.     9.      ,  10.    , 

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Study of Literary Forms features of an elegy. � It should be sorrowful and reveal the pensive mood. � It must deal with dark and grave themes like fall of something or lost love. � It must be a tribute to somebody or something loved or lost. � The speaker begins by imoking the muses � There should be a closing consolation.

English

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Types of Elegies There are two types of Elegies � Personal Elegies: Here the poet expresses the his personal loss of someone very near to him. � Impersonal Elegies: The poet deals with life in general and its sorrow. Some Elegies and themes � Lord Tennyson’s ‘In Memorian’ (1850) is on the death of Author Hallam. � WH Auden’s ‘In Memory of WB Yeats’ (1940) is on WB Yeats. � Mathew Arnold’s ‘Rugby Chapel’ is about the passage of life of mortal men. � John Milton’s ‘Lycid as’ (1638) is an elegy over the loss of Milton’s friend Edward King. � Thomes Gray’s ‘Elegy written in a country churchyard’ (1757), expresses the sorrowful feelings of the poet which arise in his mind on seeing the grave of the poor country people buried near the church. � Walt whitman’s ‘When Lilacs Last in the Dooryard Bloom’d’ (1866) is an elegy on Lincoln. � Since the 1980’s, there has been different themes. For example, some elegies in America express the mourning over the death wrought by AIDS among talented young intellectuals, poets and artists. � In some elegies digressions can also occur. For example, while lamenting the death of his friend, the poet may also lament over the degradation of poetry, religion, life and desting etc. � Dirge: It is also a versified expression of grief on the occasion of a particular person’s death, but differs from the elegy in that it is short, less formal and usually represented as a text to be sung. � Pastoral Elegy: In this elegy, the poet is a shepherd and he weeps over the death of his fellow shepherd. BALLAD � A ballad is a narrative poem which

Ch. Srinivas English Faculty Hyderabad

The word Ballad comes from..? tells a story. It can be sung with the accompaniment of music and dance. � Ballads were first created in medieval France. � The word Ballad comes from the French term Balladee. Which means ‘a dancing song’ � Most of the ballads in England remain anonymous and they were transmitted from one generation to the next. � The ballad is dramatic, condensed and impersonal. � These are written in a stanza form called Ballad Stanza. (A Ballad stanza is a quatrain in alternate four lines with the rhyme scheme of ABCB) Features of a Ballad � Every ballad is a short story in verse, that deals with one particular episode of the story. � Every ballad touches upon a specific subject, which has a universal appeal. It deals with whole humanity. � The poet uses colloquial language and common words. � Ballad has an abrupt and unexpected opening. � There are no extra details about the surroundings. � In every ballad, there is a refrain. � It makes use of supernatural elements. � Ballads are simple in structure, style and diction. � There will be an incremental repetition, in which a line or stanza is repeated. � Written in Ballad stanza with ABCB rhyming pattern. Some popular ballads are.. � ST coleridge’s ‘Rime of the Ancient Mariner’. Walter Scott’s ‘Proud Maisie’ Keats, ‘La Belle Dame Sans Merci’.

LYRIC � originally, a lyric was a poem which was set to music for performance as a solo song. � A lyric is any fairly short poem uttered by a single speaker, who expresses a state of mind, a thought, a mood or an emotion. � It is often written in the first person. � The word ‘Lyric’ has its roots in Greek and it came from the Greek word ‘Lyre’. So a lyric is a song sung by the accompaniment of a lyre. Features of the Lyric � The poet expresses his single emotion

Practice Questions 1. Who wrote the maximum number of sonnets? 1) William Shakespeare 2) John Mitton 3) Sir Philip Sidney 4) William Wordsworth 2. Which of the following odes is not by Keats? 1) Ode to a Nightingale 2) Ode to Autumn 3) Ode on Intimations of immortality 4) Ode on Grecian Urn 3. ‘Elegy’ is a form of? 1) Didactic Poetry 2) Reflective Poetry 3) Narrative poetry 4) Dramatic Poetry 4. A Sonnet comprises? 1) 16 lines 2) 14 lines 3) 12 lines 4) 20 lines 5. Which Italian poet is most famous for his sonnets? 1) Dante 2) Petrarch 3) Orid 4) Blake

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or feeling in simple language. It appeals to the heart than to the brain. Subjectivity or personal in character. The feeling precedes the thought It is always composed in a musical language. Love, joy, sorrow, death and birth are the common themes of the lynic. It has a variety of forms. The subclasses of the lyric are: elegy, hymn, ode, sonnet, dramatic monologue, epithalamion.

DRAMATIC MONOLOGUE � A dramatic monologue is a type of lyric poem which is spoken by a single fictional character. � It is spoken in a specific situation to some hearer, and the situation and the hearer have to be deduced by the reader. � In the course of the poem, the speaker reveals his character to the reader. Features � A single person, who is not the poet, utters the speech that makes up the whole of the poem in a specific situation at a critical moment. � This person addresses and interacts with one or more other people. � The dramatic monologue has a long history, but it was in the victorian Age that it became a highly developed genre. � It is Robert Browning’s favourite poetic form, and he offers a wide variety of characters from many different ages and backgrounds. Popular Dramatic Monologues � Browning’s- ‘My last Duchess’, ‘Andrea del Sarto’, ‘Fra Lippo Lippi’ � Tennyson’s- ‘Ulysses’.

07.

12  2017  8

Easy English

Guide to Excellence























All mouth and trousers �

From this week onwards we are going to learn few Idioms and their meanings. � You are advised to follow them keenly, so that they will be useful to you in two ways. You can make use of them in your Spoken communication and to get good marks in your competitive examinations. � We are giving them in an alphabetical order. This week and in the coming week we are going to take up idioms that start with A. ~A~ � A bit much � If something is excessive or annoying, it is a bit much. � A day late and a dollar short � (USA) If something is a day late and a dollar short, it is too little, too late. � A fool and his money are soon parted � This idiom means that people who aren't careful with their money spend it quickly. 'A fool and his money are easily parted' is an alternative form of the idiom. � A little bird told me � If someone doesn't want to say where they got some information from, they can say that a little bird told them. � A OK � If things are A OK, they are absolutely �



























fine. A penny for your thoughts This idiom is used as a way of asking someone what they are thinking about. A poor man's something Something or someone that can be compared to something or someone else, but is not as good is a poor man's version; a writer who uses lots of puns but isn't very funny would be a poor man's Oscar Wilde. A1 If something is A1, it is the very best or finest. Abide by a decision If you abide by a decision, you accept it and comply with it, even though you might disagree with it. About face If someone changes their mind completely, this is an about face. It can be used when companies, governments, etc, change their position on an issue. Above board If things are done above board, they are carried out in a legal and proper manner. Absence makes the heart grow fonder




























ce/idioms/absence+makes+the+heart+ grow+fonder.html> This idiom means that when people are apart, their love grows stronger. Achilles' heel A person's weak spot is their Achilles' heel. Acid test An acid test is something that proves whether something is good, effective, etc, or not. Across the board If something applies to everybody, it applies across the board. Against the grain If doing something goes against the grain, you're unwilling to do it because it contradicts what you believe in, but you have no real choice. Agony aunt An agony aunt is a newspaper columnist who gives advice to people having problems, especially personal ones. Ahead of the pack If you are ahead of the pack, you have made more progress than your rivals. Albatross around your neck An albatross around, or round, your neck is a problem resulting from something you did that stops you from being successful. All along If you have known or suspected something all along, then you have felt this from the beginning. All and sundry This idiom is a way of emphasising 'all', like saying 'each and every one'. All ears If someone says they're all ears, they are very interested in hearing about something. All fingers and thumbs If you're all fingers and thumbs, you are too excited or clumsy to do something properly that requires manual dexterity. 'All thumbs' is an alternative form of the idiom. All hat, no cattle (USA) When someone talks big, but cannot back it up, they are all hat, no cattle. All heart







































Someone who is all heart is very kind and generous. All hell broke loose When all hell breaks loose, there is chaos, confusion and trouble. All mod cons If somehing has all mod cons, it has all the best and most desirable features. It is an abbreviation of 'modern convenience' that was used in house adverts. All mouth and trousers (UK) Someone who's all mouth and trousers talks or boasts a lot but doesn't deliver. 'All mouth and no trousers' is also used, though this is a corruption of the original. All over the place If something is completely disorganised or confused, it is all over the place. All over the shop If something is completely disorganised or confused, it is all over the shop. All roads lead to Rome This means that there can be many different ways of doing something. All skin and bone If a person is very underweight, they are all skin and bone, or bones. All talk and no trousers (UK) Someone who is all talk and no trousers, talks about doing big, important things, but doesn't take any action. All the rage If something's all the rage, it is very popular or fashionable at the moment.

Vivekanand Rayapeddi 9505990521 vivek.softskill.trainer@ gmail.com

08.

12  2017  8

Every Wednesday Free Suppliment �.ntnipuna.com [email protected] �.facebook.com/ntnipuna

Guide to Excellence   (),      () .      ‘ ’ .

  150   2   150    .        .     ,    ,      .

   64             .   24                    .

                      .    . 50    .

            . ,            .

 ‘ ’       .

                   ,    ,  ,     .  12      .

              ‘    ’  8 .

      ()           6   .    23                   .

 7 64    .      . , ,       .     ‘ ’ . ‘’             .       ‘ ’         .     () .    ‘ ’,    ‘ ’,     ‘’,    ‘’,    ,     ‘ ’ .      (),      () .     (, ,  , ) .   

,      . 1982        .      .

‘’            .   1765-1795          .

         .   ,   ,      .      .     . 2.50  .

         2017-18    ,    .       .           .  .

         .  10           .

   3    .          .

 

 

,    

,     ,   ,       . 12,862      .      

   121     .      9  .        105.71  .     19 ,      30  .

 .     ..      21-19, 21-16         .

2016       2016           .

 -10  -10   5   .         .  , , ,  .   ,     .  

       .     .       .

           2        

                .      9      -14      .      7.5   .

            (84) . 1932            .      1987 , 2002   .

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