Using Evidence
CHAPTER DESCRIPTION
Discusses direct quote, paraphrase, response, and summary
As you sharpen your analytical skills, you might realize that you should use evidence from the text to back up the points you make. You might use direct quotes as support, but you can also consider using summary.
A summary is a condensed version of a text, put into your own words. Summarizing is a useful part of the analytical process because it requires you to read the text, interpret and process it, and reproduce the important points using your own language. By doing so, you are (consciously or unconsciously) making choices about what matters, what words and phrases mean, and how to articulate their meaning.
Often (but not always), response refers to a description of a reader’s experience and reactions as they encounter a text. Response papers track how you feel and what you think as you move through a text. More importantly, responses also challenge you to evaluate exactly how a text acts upon you—to make you feel or think a certain way—using language or images. While a response is not an analysis, it will help you generate ideas for the analytical process.
direct quote | the verbatim use of another author’s words. Can be used as evidence to support your claim, or as language to analyze/close-read to demonstrate an interpretation or insight. |
paraphrase | author reiterates a main idea, argument, or detail of a text in their own words without drastically altering the length of the passage(s) they paraphrase. Contrast with summary. |
response | a mode of writing that values the reader’s experience of and reactions to a text. |
summary | a rhetorical mode in which an author reiterates the main ideas, arguments, and details of a text in their own words, condensing a longer text into a smaller version. Contrast with paraphrase. |
Techniques
Identifying Main Points, Concerns, and Images
If you ever watch TV shows with a serial plot, you might be familiar with the phrase “Previously, on _________.” The snippets at the beginning of an episode are designed to remind the viewer of the important parts of previous episodes—but how do makers of the show determine what a viewer needs to be refreshed on? And why am I watching full episodes if they’ll just tell me what I need to know in the first minute of the next episode?
Typically, the makers of the show choose short, punchy bits that will be relevant in the new episode’s narrative arc. For instance, a “Previously, on The Walking Dead” might have a clip from ten episodes ago showing zombies invading Hershel’s farm if the new episode focuses on Hershel and his family. Therefore, these “previously ons” hook the viewer by showcasing only exciting parts and prime the viewer for a new story by planting specific details in their mind. Summaries like this are driven by purpose, and consequently have a specific job to do in choosing main points.
You, too, should consider your rhetorical purpose when you begin writing summary. Whether you are writing a summary essay or using summary as a tool for analysis, your choices about what to summarize and how to summarize it should be determined by what you’re trying to accomplish with your writing.
As you engage with a text you plan to summarize, you should begin by identifying main points, recurring images, or concerns and preoccupations of the text. (You may find the Engaged Reading Strategies appendix of this book useful.) After reading and rereading, what ideas stick with you? What does the author seem distracted by? What keeps cropping up?
Tracking Your Reactions
As you read and reread a text, you should take regular breaks to check in with yourself to track your reactions. Are you feeling sympathetic toward the speaker, narrator, or author? To the other characters? What other events, ideas, or contexts are you reminded of as you read? Do you understand and agree with the speaker, narrator, or author? What is your emotional state? At what points do you feel confused or uncertain, and why?
Try out the double-column note-taking method. As illustrated below, divide a piece of paper into two columns; on the left, make a heading for “Notes and Quotes,” and on the right, “Questions and Reactions.” As you move through a text, jot down important ideas and words from the text on the left, and record your intellectual and emotional reactions on the right. Be sure to ask prodding questions of the text along the way, too.
Notes and Quotes | Questions and Reactions |
Summarizing requires you to make choices about what matters, what words and phrases mean, and how to articulate their meaning.
Writing Your Summary
Once you have read and re-read your text at least once, taking notes and reflecting along the way, you are ready to start writing a summary. Before starting, consider your rhetorical situation: What are you trying to accomplish (purpose) with your summary? What details and ideas (subject) are important for your reader (audience) to know? Should you assume that they have also read the text you’re summarizing? I’m thinking back here to the “Previously on…” idea: TV series don’t include everything from a prior episode; they focus instead on moments that set up the events of their next episode. You too should choose your content in accordance with your rhetorical situation.
I encourage you to start off by articulating the “key” idea or ideas from the text in one or two sentences. Focus on clarity of language: start with simple word choice, a single idea, and a straightforward perspective so that you establish a solid foundation.
The authors support feminist theories and practices that are critical of racism and other oppressions.
Then, before that sentence, write one or two more sentences that introduce the title of the text, its authors, and its main concerns or interventions. Revise your key idea sentence as necessary.
In “Why Our Feminism Must Be Intersectional (And 3 Ways to Practice It),” Jarune Uwuajaren and Jamie Utt critique what is known as ‘white feminism.’ They explain that sexism is wrapped up in racism, Islamophobia, heterosexism, transphobia, and other systems of oppression. The authors support feminist theories and practices that recognize intersectionality.
Your next steps will depend largely on the reasons you are summarizing. Has your teacher asked you to summarize objectively, reproducing the ideas of the text without adding your own ideas or reactions? Have they asked you to critique the article, by both showing understanding and then pushing back against the text? Follow the parameters of your assignment; they are an important element of your rhetorical situation.
In most summary assignments, though, you will be expected to draw directly from the article itself by using direct quotes or paraphrases in addition to your own summary.
Paraphrase, Summary, and Direct Quotes
Whether you’re writing a summary or broaching your analysis, using support from the text will help you clarify ideas, demonstrate your understanding, or further your argument, among other things. Three distinct methods, which Bruce Ballenger refers to as “The Notetaker’s Triad,” will allow you to process and reuse information from your focus text.[1]
A direct quote might be most familiar to you: using quotation marks (“ ”) to indicate the moments that you’re borrowing, you reproduce an author’s words verbatim in your own writing. Use a direct quote if someone else wrote or said something in a distinctive or particular way and you want to capture their words exactly.
Direct quotes are good for establishing ethos and providing evidence. In a text wrestling essay, you will be expected to use multiple direct quotes: in order to attend to specific language, you will need to reproduce segments of that language in your analysis.
Whether you are quoting, paraphrasing, or summarizing, you must always include an appropriate citation.For support on citations, visit your Writing Center, access the Purdue OWL, or ask your teacher and classmates for support.
Paraphrasing is similar to the process of summary. When we paraphrase, we process information or ideas from another person’s text and put it in our own words. The main difference between paraphrase and summary is scope: if summarizing means rewording and condensing, then paraphrasing means rewording without drastically altering length. However, paraphrasing is also generally more faithful to the spirit of the original; whereas a summary requires you to process and invites your own perspective, a paraphrase ought to mirror back the original idea using your own language.
Paraphrasing is helpful for establishing background knowledge or general consensus, simplifying a complicated idea, or reminding your reader of a certain part of another text. It is also valuable when relaying statistics or historical information, both of which are usually more fluidly woven into your writing when spoken with your own voice.
Summary, as discussed earlier in this chapter, is useful for “broadstrokes” or quick overviews, brief references, and providing plot or character background. When you summarize, you reword and condense another author’s writing. Be aware, though, that summary also requires individual thought: when you reword, it should be a result of you processing the idea yourself, and when you condense, you must think critically about which parts of the text are most important. As you can see in the example below, one summary shows understanding and puts the original into the author’s own words; the other summary is a result of a passive rewording, where the author only substituted synonyms for the original.
“On Facebook, what you click on, what you share with your ‘friends’ shapes your profile, preferences, affinities, political opinions and your vision of the world. The last thing Facebook wants is to contradict you in any way” (Filloux).[2] | Original Quote |
On Facebook, the things you click on and share forms your profile, likings, sympathies, governmental ideas and your image of society. Facebook doesn’t want to contradict you at all (Filloux). | Try again. |
When you interact with Facebook, you teach the algorithms about yourself. Those algorithms want to mirror back your beliefs (Filloux).
|
Good. |
Each of these three tactics should support your summary or analysis: you should integrate quotes, paraphrases, and summary with your own writing. Below, you can see three examples of these tools. Consider how the direct quote, the paraphrase, and the summary each could be used to achieve different purposes.
Original Passage
It has been suggested (again rather anecdotally) that giraffes do communicate using infrasonic vocalizations (the signals are verbally described to be similar—in structure and function—to the low-frequency, infrasonic “rumbles” of elephants). It was further speculated that the extensive frontal sinus of giraffes acts as a resonance chamber for infrasound production. Moreover, particular neck movements (e.g. the neck stretch) are suggested to be associated with the production of infrasonic vocalizations.[3]
Quote | Paraphrase | Summary |
Some zoological experts have pointed out that the evidence for giraffe hums has been “rather anecdotally” reported (Baotic et al. 3). However, some scientists have “speculated that the extensive frontal sinus of giraffes acts as a resonance chamber for infrasound production” (Ibid. 3). | Giraffes emit a low-pitch noise; some scientists believe that this hum can be used for communication with other members of the social group, but others are skeptical because of the dearth of research on giraffe noises. According to Baotic et al., the anatomy of the animal suggests that they may be making deliberate and specific noises (3). | Baotic et al. conducted a study on giraffe hums in response to speculation that these noises are used deliberately for communication. |
The examples above also demonstrate additional citation conventions worth noting:
- A parenthetical in-text citation is used for all three forms. (In MLA format, this citation includes the author’s last name and page number.) The purpose of an in-text citation is to identify key information that guides your reader to your Works Cited page (or Bibliography or References, depending on your format).
- If you use the author’s name in the sentence, you do not need to include their name in the parenthetical citation.
- If your material doesn’t come from a specific page or page range, but rather from the entire text, you do not need to include a page number in the parenthetical citation.
- If there are many authors (generally more than three), you can use “et al.” to mean “and others.”
- If you cite the same source consecutively in the same paragraph (without citing any other sources in between), you can use “Ibid.” to mean “same as the last one.”
In Chapter Six, we will discuss integrating quotes, summaries, and paraphrases into your text wrestling analysis. Especially if you are writing a summary that requires you to use direct quotes, I encourage you to jump ahead to “Synthesis: Using Evidence to Explore Your Thesis” in that chapter.
Activities
Summary and Response: TV Show or Movie
Practice summary and response using a movie or an episode of a television show. (Although it can be more difficult with a show or movie you already know and like, you can apply these skills to both familiar and unfamiliar texts.)
- Watch it once all the way through, taking notes using the double-column structure above.
- Watch it once more, pausing and rewinding as necessary, adding additional notes.
- Write one or two paragraphs summarizing the episode or movie as objectively as possible. Try to include the major plot points, characters, and conflicts.
- Write a paragraph that transitions from summary to response: what were your reactions to the episode or movie? What do you think produced those reactions? What seems troubling or problematic? What elements of form and language were striking? How does the episode or movie relate to your lived experiences?
Everyone’s a Critic: Food Review
Food critics often employ summary and response with the purpose of reviewing restaurants for potential customers. You can give it a shot by visiting a restaurant, your dining hall, a fast-food joint, or a food cart. Before you get started, consider reading some food and restaurant reviews from your local newspaper. (Yelp often isn’t quite thorough enough.)
Bring a notepad to your chosen location and take detailed notes on your experience as a patron. Use descriptive writing techniques (see Chapter One), to try to capture the experience.
- What happens as you walk in? Are you greeted? What does it smell like? What are your immediate reactions?
- Describe the atmosphere. Is there music? What’s the lighting like? Is it slow, or busy?
- Track the service. How long before you receive the attention you need? Is that attention appropriate to the kind of food-service place you’re in?
- Record as many details about the food you order as possible.
After your dining experience, write a brief review of the restaurant, dining hall, fast-food restaurant, or food cart. What was it like, specifically? Did it meet your expectations? Why or why not? What would you suggest for improvement? Would you recommend it to other diners like you?
Digital Media Summary and Mini-Analysis
For this exercise, you will study a social media feed of your choice. You can use your own or someone else’s Facebook feed, Twitter feed, or Instagram feed. Because these feeds are tailored to their respective user’s interests, they are all unique and represent something about the user.
After closely reviewing at least ten posts, respond to the following questions in a brief essay:
- What is the primary medium used on this platform (e.g, images, text, video, etc.)?
- What recurring ideas, themes, topics, or preoccupations do you see in this collection? Provide examples.
- Do you see posts that deviate from these common themes?
- What do the recurring topics in the feed indicate about its user? Why?
- Bonus: What ads do you see popping up? How do you think these have been geared toward the user?
- Ballenger, Bruce. The Curious Researcher, 9th edition, Pearson, 2018, pp. 88-91. ↵
- Filloux, Frederic. “Facebook’s Walled Wonderland Is Inherently Incompatible with News.” Monday Note, Medium, 4 December 2016, https://mondaynote.com/facebooks-walled-wonderland-is-inherently-incompatible-with-news-media-b145e2d0078c. ↵
- Baotic, Anton, Florian Sicks and Angela S. Stoeger. “Nocturnal ‘Humming’ Vocalizations: Adding a Piece of the Puzzle of Giraffe Vocal Communication.” BioMed Central Research Notes vol. 8, no. 425, 2015. US National Library of Medicine, doi 10.1186/s13104-015-1394-3. ↵
By closely reading and breaking down the assignment, you are setting yourself up for an easier time of planning and composing the assignment.
Understanding What You Need to Do
First, carefully read the assignment sheet and search for the required page length (or word count), due dates for drafts and the final version, and how to turn in the assignment.
Second, determine the genre of the assignment.
Third, identify core assignment questions you will need to answer.
Fourth, locate the evaluation and grading criteria.
Writing Genre
What, in the broadest sense, are you being asked to do? What writing genre is expected?
- Analysis—Analysis questions often contain words or phrases like "how," "in what ways," "what are some of the..." Analysis asks you to examine small pieces of the larger whole and indicate what their meaning or significance is
- Synthesis—If you are asked to draw from and connect several different sources, then you will be synthesizing
- Explanation—Any text in which you merely report (as opposed to attempting to persuade) is going to be an explanation paper. None of your own opinions are being sought. Summaries, annotations, and reports are often explanatory
- Argument—Any text in which you are attempting to get a reader to accept your claim. Argument is persuasive writing, and it can include things like argument-based research papers or critiques/evaluations of others’ work.
How to Answer the Assignment Questions
Sometimes, a list of prompts or questions may appear with an assignment. It is likely that your instructor will not expect you to answer all of the questions listed. They are simply offering you some ideas so that you can think of your own questions to ask.
- Circle all assignment questions that you see on the assignment sheet
- Put a star next to the question that is either the most important OR that you will pursue in creating the assignment
Recognizing Implied Questions
A prompt may not include a clear "how" or "why" question, though one is always implied by the language of the prompt. For example:
“Discuss the effects of the No Child Left Behind Act on special education programs” is asking you to write how the act has affected special education programs.
“Consider the recent rise of autism diagnoses” is asking you to write why the diagnoses of autism are on the rise.
Identifying Writing Requirements
Some instructors offer indications of what certain parts of the essay/composition should contain. Does the assignment offer suggestions or requirements for the Intro paragraph? For the thesis statement? For the structure or content of the body paragraphs or conclusion paragraphs?
Identifying Evaluation Criteria
Many assignments contain a grading rubric or some other indication of evaluation criteria. You can use these criteria to both begin the writing process and to guide your revision and editing process. If you do not see any rubric or evaluation criteria on the assignment sheet—ask!
Recognizing Disciplinary Expectations
Depending on the discipline in which you are writing, different features and formats of your writing may be expected. Always look closely at key terms and vocabulary in the writing assignment, and be sure to note what type of evidence and citation style your instructor expects.
- Does the essay need to be in MLA, APA, CMS, or another style?
- Does the professor require any specific submission elements or formats?
Attribution: Robin Jeffrey and Emilie Zickel are the original authors of this section. This page is licensed under a CC-BY NC 4.0 license. It has been further edited and original content added by Dr. Adam Falik and Dr. Doreen Piano for the LOUIS OER Dual Enrollment course development program to create "English Composition II" and has been licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
What Is Audience?
Knowing and addressing an audience is one of the components of the rhetorical situation (the author, the setting, the purpose, the text, and the audience).
Think about the last time you wrote a paper; who were you writing to? It is likely that you assumed you were writing to the teacher, so you may have focused on writing “correctly” rather than exploring who you were really trying to address and how that should affect your style, language, tone, evidence, etc.
Now, think about the last time you posted on Facebook or crafted a Tweet. It is likely that you were hyper-aware of your audience and how what you posted or shared might affect your audience. Knowing that you already have experience(s) with audience expectations when posting or creating social media texts should help you understand how important knowing your audience is when writing in the college composition classroom.
Types of Audience
Writing to an Imagined Audience
When writing, especially in college classes, you might be asked to write for an “imagined” audience, which can be difficult for any writer, but specifically for emerging writers. As stated by Melanie Gagich below:
Invoking an audience requires students to imagine and construct their audience, and can be difficult for emerging or even practiced writers. Even when writing instructors do provide students with a specific audience within a writing assignment, it is probable that this “audience” will likely be conceptualized by the student as his or her teacher. This “writing to the teacher” frame of mind often results in students guessing how to address their audience, which hinders their ability to write academically.
Thinking of audience as someone or a group beyond the teacher will help you see various ways you can use language, evidence, style, etc. to support your message and to help you build credibility as the writer/creator. Consider, for example, that your claim seeks to change a law. Are you writing to voters, perhaps a group of peers who might support your position, or are you writing to lawmakers, who will be speaking the legalese (the formal and technical language of legal documents) of those who amend the law? For each of the separate audiences (your group of voting peers versus lawmakers), you might adopt a different tone and approach in your writing.
Writing to a Real Audience
You may also be called upon to address a real and interactive audience. For instance, if your instructor asks you to write an entry for Wikipedia, create a multimodal text, or present your work to your peers; then, the audience is not imagined but concrete and able to “talk back.” Writing for real audience members can be difficult, especially online audiences, because “we can’t always know in advance who they are” (NCTE), yet writing to these audience members can also be a helpful experience because they can respond to your work and offer feedback that goes beyond a teacher’s evaluative responses. Composing in 21st-century spaces makes interacting with, talking back to, and learning from audience members much easier.
Addressing an interactive audience also gives you the opportunity to embrace diversity through the act of sharing your work digitally and to explore what it means to be rhetorically aware. Being rhetorically aware means that you understand how the integration of various language(s), cultural references/experiences, linguistic text, images, sounds, documentation style, etc. can help you form a cohesive and logical message that is carefully shared with an interactive audience in an appropriate online space.
What Are Discourse Communities?
Knowing the type of audience you’re being asked to address is the first step to becoming aware of your audience. The second step is to determine whether the audience you’re addressing are members of a discourse community. According to NCTE, a discourse community is “a group of people, members of a community, who share a common interest and who use the same language, or discourse, as they talk and write about that interest.” Though you may not address a discourse community every time you write, when you are asked to address an academic audience, you are addressing a discourse community.
Generally, everyone is a member of a discourse community. For example, members of movie trivia sites, video gamers, sports fans, etc. are all examples of discourse community membership. Members can often distinguish each other based on their use (or misuse) of language, jargon, slang, symbols, media, clothing, and more. In academia, discourse communities are connected to academic disciplines. For instance, a literature professor’s interests may be very different from a social science professor’s. Differences will also be evident in their use of documentation styles, manuscript formatting, the language they use, and the journals they submit their work to.
You may wonder why it matters. Why not just write in MLA all the time and use the same word choices and tone every time you write? Well, it comes back to illustrating your credibility and awareness of the conventions and communication genres of a discourse community. NCTE explains, “When we write it is useful to think in terms of the discourse community we are participating in and whose members we are addressing: what do they assume, what kinds of questions do they ask, and what counts as evidence?” You earn credibility when discussing a basketball team’s performance when you know all the names of the team members. In a different context, you also demonstrate credibility when you know to use APA rather than MLA in various academic contexts.
Furthermore, consider the previous example of a claim seeking to alter a law. The language one uses to inspire one’s peers to civic action might be significantly more casual than the language used to change the opinion of those who are in charge of altering laws. The age, cultural background, education, and profession of your audience might affect your writing.
Attributions: Melanie Gagich is the original author of this section and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
It has been further edited and original content by Dr. Adam Falik and Dr. Doreen Piano for the LOUIS OER Dual Enrollment course development program to create "English Composition II" and has been licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
What Is Audience?
Knowing and addressing an audience is one of the components of the rhetorical situation (the author, the setting, the purpose, the text, and the audience).
Think about the last time you wrote a paper; who were you writing to? It is likely that you assumed you were writing to the teacher, so you may have focused on writing “correctly” rather than exploring who you were really trying to address and how that should affect your style, language, tone, evidence, etc.
Now, think about the last time you posted on Facebook or crafted a Tweet. It is likely that you were hyper-aware of your audience and how what you posted or shared might affect your audience. Knowing that you already have experience(s) with audience expectations when posting or creating social media texts should help you understand how important knowing your audience is when writing in the college composition classroom.
Types of Audience
Writing to an Imagined Audience
When writing, especially in college classes, you might be asked to write for an “imagined” audience, which can be difficult for any writer, but specifically for emerging writers. As stated by Melanie Gagich below:
Invoking an audience requires students to imagine and construct their audience, and can be difficult for emerging or even practiced writers. Even when writing instructors do provide students with a specific audience within a writing assignment, it is probable that this “audience” will likely be conceptualized by the student as his or her teacher. This “writing to the teacher” frame of mind often results in students guessing how to address their audience, which hinders their ability to write academically.
Thinking of audience as someone or a group beyond the teacher will help you see various ways you can use language, evidence, style, etc. to support your message and to help you build credibility as the writer/creator. Consider, for example, that your claim seeks to change a law. Are you writing to voters, perhaps a group of peers who might support your position, or are you writing to lawmakers, who will be speaking the legalese (the formal and technical language of legal documents) of those who amend the law? For each of the separate audiences (your group of voting peers versus lawmakers), you might adopt a different tone and approach in your writing.
Writing to a Real Audience
You may also be called upon to address a real and interactive audience. For instance, if your instructor asks you to write an entry for Wikipedia, create a multimodal text, or present your work to your peers; then, the audience is not imagined but concrete and able to “talk back.” Writing for real audience members can be difficult, especially online audiences, because “we can’t always know in advance who they are” (NCTE), yet writing to these audience members can also be a helpful experience because they can respond to your work and offer feedback that goes beyond a teacher’s evaluative responses. Composing in 21st-century spaces makes interacting with, talking back to, and learning from audience members much easier.
Addressing an interactive audience also gives you the opportunity to embrace diversity through the act of sharing your work digitally and to explore what it means to be rhetorically aware. Being rhetorically aware means that you understand how the integration of various language(s), cultural references/experiences, linguistic text, images, sounds, documentation style, etc. can help you form a cohesive and logical message that is carefully shared with an interactive audience in an appropriate online space.
What Are Discourse Communities?
Knowing the type of audience you’re being asked to address is the first step to becoming aware of your audience. The second step is to determine whether the audience you’re addressing are members of a discourse community. According to NCTE, a discourse community is “a group of people, members of a community, who share a common interest and who use the same language, or discourse, as they talk and write about that interest.” Though you may not address a discourse community every time you write, when you are asked to address an academic audience, you are addressing a discourse community.
Generally, everyone is a member of a discourse community. For example, members of movie trivia sites, video gamers, sports fans, etc. are all examples of discourse community membership. Members can often distinguish each other based on their use (or misuse) of language, jargon, slang, symbols, media, clothing, and more. In academia, discourse communities are connected to academic disciplines. For instance, a literature professor’s interests may be very different from a social science professor’s. Differences will also be evident in their use of documentation styles, manuscript formatting, the language they use, and the journals they submit their work to.
You may wonder why it matters. Why not just write in MLA all the time and use the same word choices and tone every time you write? Well, it comes back to illustrating your credibility and awareness of the conventions and communication genres of a discourse community. NCTE explains, “When we write it is useful to think in terms of the discourse community we are participating in and whose members we are addressing: what do they assume, what kinds of questions do they ask, and what counts as evidence?” You earn credibility when discussing a basketball team’s performance when you know all the names of the team members. In a different context, you also demonstrate credibility when you know to use APA rather than MLA in various academic contexts.
Furthermore, consider the previous example of a claim seeking to alter a law. The language one uses to inspire one’s peers to civic action might be significantly more casual than the language used to change the opinion of those who are in charge of altering laws. The age, cultural background, education, and profession of your audience might affect your writing.
Attributions: Melanie Gagich is the original author of this section and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
It has been further edited and original content by Dr. Adam Falik and Dr. Doreen Piano for the LOUIS OER Dual Enrollment course development program to create "English Composition II" and has been licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.