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قديم 04-05-2010, 12:12 PM   #1
زين يحيي زين يحيي غير متصل
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السلام عليكم
الله لايهينكم
وين الاقي نماذج امتحانات فاينل a123b واذا امكن تطبعونها هني لآن عندي عطل مايفتح معي ولااااااااااا ملف

التعديل الأخير تم بواسطة زين يحيي ; 04-05-2010 الساعة 12:15 PM
زين يحيي غير متصل  
قديم 06-05-2010, 02:08 PM   #2
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السلام عليكم هنا في 2 sample final exam سنة 2006و 2007 God bless you all 2005—2006 Final exam A123b

Section A: Compulsory question. (20 marks) (65 minutes)

Eliza Doolittle talks about her "real education" as opposed to "learning to dance in the fashionable way" in George Bernard Shaw's play Pygmalion:

"It was just like learning to dance in the fashionable way:
there was nothing more than that in it. But do you know what
began my real education?"

Using this quotation as a springboard for your ideas, discuss what statement you think Shaw is making about social change.


Section B: Answer ONE of the following questions (15 marks) (50 minutes)

Question One

“Man is born free, and everywhere he is in chains”

This ringing slogan from Rousseau’s first chapter of The Social Contract was used to explain the change that took man from living in the state of nature and unlimited freedom to living in the civil state and its laws.

Why should such a change occur? What are its assumed benefits and what can render it legitimate?


Section B: Question Two

Look at Colour Plate 39, The Lictors Returning to Brutus the Bodies of his Sons, 1789 in your Illustration Book. Write an essay in which you discuss how this painting by Jacques-Louis David reflects the spirit of the French Revolution politically, Rousseau's ideas philosophically and the cultural and social climate artistically.








Section C: Answer ONE of the following questions (15 marks) (50 minutes)

Question One

John Stuart Mill has been accused of promoting a “new kind of paternalism.” First, explain what Mill’s own views on paternalism are, then discuss on what grounds Mill could be accused of this. Begin with a definition of paternalism.


Section C: Question Two

Read the following sonnet by Tony Harrison from your Block One: Form and Reading course book and discuss how Harrison uses imagery to highlight the meaning of his sonnet "Marked with D."


Marked with D.

When the chilled dough of his flesh went in an oven
not unlike those he fuelled all his life,
I thought of his cataracts ablaze with Heaven
and radiant with the sight of his dead wife,
light streaming from his mouth to shape her name,
'not Florence and not Flo but always Florrie’.
I thought how his cold tongue burst into flame
but only literally, which makes me sorry,
sorry for his sake there’s no Haven to reach.
I get it all from Earth my daily bread
but he hungered for release from mortal speech
that kept him down, the tongue that weighed like lead.

The baker’s man that no one will see rise
and England made to feel like some dull oaf
is smoke, enough to sting one person’s eyes
and ash (not unlike flour) for one small loaf.

(Harrison, 1981)






2006—2007 Final exam A123b


Part A: Question One: Compulsory (17 marks) (60 minutes)

Discuss the theme of equality in George Bernard Shaw’s play Pygmalion. How is this theme dealt with in terms of gender?

Part B: Answer either Question Two or Question Three

Question Two (17 marks) (60 minutes)

Why is Rousseau considered “the philosopher proper” of the French Revolution? Refer to relevant ideas in the Social Contract and show how these ideas influenced the revolutionaries.


Part B

Question Three (17 marks) (60 minutes)

Discuss John Stuart Mill’s views on voting in a democracy.


Part C: Answer either Question Four or Question Five:
Question Four: (16 marks) (50 minutes)

Read carefully the following extract, which comprises the key articles from the Law of Suspects, passed by the Convention on 17 September 1793. The extract is preceded by some basic information.

Question Five: (16 marks) (50 minutes)
The theme of death appears in Jacques-Louis David's two paintings: The Lictors Returning to Brutus the Bodies of His Sons and The Death of Marat. How is this theme dealt with in the paintings? How does the treatment of this theme, along with the setting and choice of figures, help reflect the artist's political stance?
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قديم 08-05-2010, 09:22 PM   #3
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هذه اجابات 2007 final exam

1.) Discuss the theme of equality in George Bernard Shaw’s play Pygmalion. How is this theme dealt with in terms of gender?

Shaw makes Eliza defy men with her daunting "I am a good girl, I am" echoed repeatedly throughout the play. Here Eliza is defying societal expectations of young women in her position. Shaw's feminism is not only shown in the character of the defiant and feisty flower girl but also in the character of Higgins' mother, who does not approve of her son's behavior. Mrs. Higgins rejects the way men view women. She tells Higgins and Pickering that they are babies playing with a "live doll." Mrs. Higgins' outburst "Oh, men! men!! men!!!" at the end of Act Three (p.168) also emphasizes Shaw's dissatisfaction with the doll like image of women. Mrs. Higgins' anger is cleverly shown increasing in intensity with the gradual addition of exclamation marks. Mrs. Higgins' anger parallels Eliza's feminist rage, which is clearly shown in the scene where Eliza throws Higgins' slippers in his face. This represents quite a remarkable reversal in Eliza's poor girl servant attitude, but somehow the reader is not really surprised because Eliza possesses a defiant spirit at the outset of the play. Shaw is also true to his feminism when he refuses to end the play with the traditional marriage of the hero and heroine. Allowing for a marriage between Higgins and Eliza would mean that Shaw has succumbed to the conventions of society which he has set out to question. Higgins is a domineering character and would definitely dominate in a marriage with Eliza. In this case, Eliza would have been put back into her "proper" place so to speak. This, of course, would have meant that Shaw was denying any form of equality between men and women, in addition to maintaining that a woman's place was in the home. By allowing Eliza to marry Freddy in the "epilogue," however, Shaw is indeed reversing the situation between men and women and turning things upside down in his usual style. Freddy would be fetching Eliza's slippers, not vice versa. Surprisingly, it is Higgins who sounds the ultimate feminist call in the play when he tells Eliza in Act Five, "I think a woman fetching a man's slippers is a disgusting sight: did I ever fetch your slippers? I think a good deal more of you for throwing them in my face. No use slaving for me and then saying you want to be cared for: who cares for a slave?" (p. 100). While Higgins vocalizes these thoughts in the play, it is hard to imagine him actually putting them into practice in a marriage with Eliza, for example. She would forever be fetching his slippers.

Another interesting point to consider is that Eliza's supposed reformation comes at the hands of men. It does not come from within. Higgins claims in Act Five: "By George, Eliza, I said that I'd make a woman of you; and I have" (p. 104). Both Higgins' and Pickering’s' attitudes presuppose woman under the male gaze. Is there a counter argument provided in the play? Can anybody dispute Higgins' claim? Arguing that it is not Higgins who changes Eliza, but Pickering, who treats her like a lady and teaches her self respect, does not put an end to the debate. Pickering is as much of a man as Higgins; the creator is still male, whether the artist shaping the doll/sculpture is the gentle Pickering or the harsh Higgins. Shaw's chauvinism is clear—only man can reform woman. We are back to where we started; without man, there is no woman. So, is Shaw really calling for the equality of women in Pygmalion?


2.) Why is Rousseau considered “the philosopher proper” of the French Revolution? Refer to relevant ideas in the Social Contract and show how these ideas influenced the revolutionaries.

This question, by its very nature, requires an emphasis on:

1) Rousseau's political philosophy (esp. the legitimacy of authority)
2) Some historical detail of the French Revolution

the French revolutionaries found the emphasis on "reason and clear moral principle" important to their cause, especially as authority was based on tradition in pre-revolutionary France (i.e. the hereditary French monarchy). Rousseau's ideas emphasized reason, not tradition. The difference between one man and another should, in this case, be based on what Rousseau calls "public utility": "Civil distinctions, therefore, can be founded only on public utility." According to this argument, a person "who was a brilliant military tactician" would be in charge of the army, and not someone who was the brother of an important person. Likewise, authority should also be based on "public utility," not heredity. These ideas certainly sounded convincing to the poor of Paris before the French Revolution in 1789, especially as their deprived position in society would remain so under the rule of the French monarchy.

A very important idea which probably fueled public sentiments against the French monarch or sovereign is Rousseau's idea of the legitimacy of authority. Authority, in isolation, is to "command others to do things." However, having the right to command depends upon following the general will of the state. In a republic, then, the general will prevails over the particular will, and the sovereign here is not one person, but the people as a whole. Rousseau's concept of the general will guarantees what is best for the state as a whole. If individuals put aside their particular wills and think instead according to the general will, then what the individual wants and what the state wants will be the same. Hence, the problem of legitimacy will not arise because people's individual wills and the will of the state are the same.

In this case, the government's authority would be considered legitimate, which was not the case in pre-revolutionary France where the general will of the state had to succumb to the will of the French monarch. Rousseau's political philosophy helped to fuel revolutionary fervour and his famous slogans, such as "Man is born free, and everywhere he is in chains" were often quoted during the time of the French Revolution that overthrew the monarchy in France.


3.) Discuss John Stuart Mill’s views on voting in a democracy.

John Stuart Mill’s views on voting may be considered conservative by those who believe in “universal suffrage.” Mill feared the “tyranny of the majority,” those “alike in biases, prepossessions, and general modes of thinking.” Universal suffrage, as Mill believes, would allow for the establishment of class government, which would rule in a false democracy. Mill had doubts about granting the working class political power by means of suffrage. The working class, as Mill believes, was not equipped with the adequate educational background to allow them to make reasoned judgments in a “true democracy.”

Therefore, Mill places great emphasis on education because it is the educated man or woman who can make a reasoned decision, and such decisions constitute the foundations of a true democracy. This can be achieved through the concept of “graduated suffrage,” which means that some people would be allowed more than one vote. Mill argues that the main objective of “plural voting” is to “assign education, as such, the degree of superior influence due to it.” This, however, does not mean that Mill excludes certain sectors of society from voting, but it does mean that some groups would, by virtue of their education and social and political awareness, be more “equal” than other groups. Some have accused Mill of creating a new kind of paternalism since in place of the aristocracy, Mill would allow for the birth of a “meritocracy,” so to speak.

Having said the above, it is only fair to argue that Mill’s meritocracy is not an eternal phenomenon. When women or the poor reach a certain degree of education that would allow them to make reasoned decisions, they too would qualify for plural voting. Mill’s belief in the extension of education in his “ideal” democracy would, it seems put an end to plural voting, which in time would become unnecessary.


4.) Read carefully the following extract, which comprises the key articles from the Law of Suspects, passed by the Convention on 17 September 1793. The extract is preceded by some basic information.


Basic contextual information

In the autumn of 1793 the Convention was dominated by the Jacobins who sought to accelerate the process of revolutionary change. At the same time, France was fighting a war outside its borders that was going badly. The Law of Suspects was a comprehensive and far-reaching piece of legislation to enhance the powers of the revolutionary government. The "law of the previous 21 March" refers to the creation of watch committees throughout the country to scrutinize the activities of foreigners and suspects.

Extract

Article 1. Immediately after the publication of the present decree, all the suspects in the Republic who are still at liberty will be placed under arrest.

Article 2. Suspects are deemed to be:

1. Those who whether by their conduct, liaisons, speech or writings
have shown themselves to be adherents of tyranny, federalism, or
enemies of liberty.

2. Those who cannot justify, in accordance with the law of the
previous 21 March, their means of livelihood and the fulfillment of
their civic duties.

3. Those who have been refused certificates de civisme.

4. Public functionaries suspended or dismissed from their jobs by the
National Convention or by its commissioners and not reinstated,
notably all those who have been or should have been dismissed in
virtue of the law of the previous 14 August.

5. Those former nobles, including the husbands, wives, fathers,
mothers, sons and daughters of émigrés, who have not constantly
displayed their devotion to the Revolution.

6. Those who have emigrated in the period between 1 July 1789 and
the publication of the law of 8 April 1792, even though they have
returned to France within the time-limit stipulated by this law or
previously.

Questions:

1. What kind of primary source is this?
2. What can you learn from this source with respect to "The Reign of Terror"? You should distinguish between the witting and the unwitting testimony.

This is a primary source and a document of record whose date corresponds with the events it describes. This public document came into existence for the purpose of clamping down on all the revolutionary government's opponents or would be opponents. This document was ratified by the Convention of September 1793, which was dominated by Jacobins and their vested interest was in showing their opponents as enemies of freedom who deserve the most stringent forms of punishment.

The witting testimony is that the people who fall into the category of "suspects" as detailed in this law are enemies of the state. They are dangerous wrongdoers and deserve to be arrested and severely punished for creating "havoc" and disrupting peace and liberty. Since this document is a public document of record, i.e. a law, the ******* is presented as undeniable fact; therefore, there is no opposing point of view—this is the truth; these people are suspects; these laws are just. The nature of this document is such that it does not need to persuade its audience of anything; its ******* is presented in an authoritative manner, from a position of power. The two sides in this equation, the revolutionary government and the opposition, are not equally matched. One dictates the laws and the opposing faction(s) must abide by them—it is a matter of ruler and ruled. This, of course, is the witting testimony; the unwitting testimony, however, is a different story. The witting testimony is of course very important to the historian, but of even more significance is in what is left unsaid. The long list of opponents of the ruling revolutionary regime, as detailed in the "Law of Suspects," indicates that there is indeed growing opposition, and the two sides may not be as unequally matched as it first seemed. This law unwittingly reveals signs of a seething anger amongst the populace that would, in effect, signal the end of "The Reign of Terror." The fierce repressiveness of the ruling revolutionaries would in the near future bring about their downfall. (Of course, the student may not have read that much into this law because nowhere is this hinted at except for the fact that the list of the enemies of the state is quite long).

In the light of these interpretations, the historian would indeed feel the irony of the use of the word "liberty" in the "Law of Suspects." These "suspects" are identified in six main items, a rather lengthy list, again, unwittingly emphasizing the repressiveness of post revolution France. One can easily see how such a regime can, in fact, develop into a "Reign of Terror." We can also understand from these points that the list of "suspects" includes a great number of people, and this obviously means that the revolutionaries had indeed created many enemies against their terror filled reign.



5.) The theme of death appears in Jacques-Louis David's two paintings: The Lictors Returning to Brutus the Bodies of His Sons and The Death of Marat. How is this theme dealt with in the paintings? How does the treatment of this theme, along with the setting and choice of figures, help reflect the artist's political stance?

The theme of death appears in Jacques-Louis David's two paintings of Brutus and Marat. In both paintings, this theme is geared towards achieving a clear expression of the artist's political sentiments. However, the two paintings fulfill this in different ways through the choice of characters and setting.

Both paintings seem to exhibit pro-republican sentiments and the artist's sympathies for the French Revolution. This is done through the choice of Brutus as the main figure of the first painting. Brutus is the stoic self-sacrificing figure in Roman history who ordered the execution of his two sons because they had conspired with the monarchy against the Roman republic. The selection of this incident betrays the artist's own personal views which are probably anti-monarchy.

The point of focus in this painting is Brutus with his pensive and isolated mood. Death only appears as a minor theme in the background in order to emphasize the fact that this killing was carried out under the command of Brutus, the father of the now two dead sons. Therefore, the major theme here is that of sacrificing one's duty towards family in order to give priority to one's duty towards the state. Unlike the Marat painting, details of the dead bodies are not shown in this picture. The viewer can barely distinguish the legs of the two sons as they are carried on litters.

The choice of the setting also helps contribute to the feeling that the event is related to the general interest of the public. The scene of ancient Rome transports the onlooker to a courtroom scene where rights are defended and justice is carried out regardless of the relationships that govern people. This is enhanced by the fact that Brutus was the magistrate who issued the death orders of his two sons.

In contrast, The Death of Marat is centered around the titular figure of the painting; it has Marat as the only figure of focus. Jean Paul Marat, an activist during the French Revolution, was one of the people who advocated taking violent measures against anyone who was suspected of having royalist loyalties. David seems to be making a clear political statement by commemorating Marat's death in this painting. In fact, David was one of Marat's close friends, and he is reported to have been at the latter's house the night before he was killed.

Unlike the presentation of death in the Brutus painting, here, death appears in the foreground of the picture, making it the major theme in this painting. This presentation seems to leave the viewer with a sense that a crime has been committed since the dying figure is shown to be helpless in a bathtub. In order to intensify the impact of this scene on the observer, David presents the blood of the victim flowing as a result of what seems to have been a violent stab.

As for the setting of this painting, it shows Marat in the frugal background of his house where a person usually feels most safe. Therefore, the depiction of the death scene as it happened in the house of the victim helps in winning the sympathy of the viewer. Frugality and the lack of any signs of luxury were considered symbols of true French citizenship at the time of the revolution.

Although the two paintings present two very different temporal settings, they both convey the sense that the artist probably sympathized with the ideas and leading figures of the French Revolution. The Brutus painting depicts a scene from ancient Roman times whereas the Marat painting shows a scene from contemporary 18th century France.

In conclusion, the Brutus seems to idealize the "general will" whereas the Marat seems to idealize the figure of one of the leaders of the Revolution.

In the end, the choice of figures, the setting and the way the theme of death is portrayed in both paintings, all conspire to direct the onlookers' sympathies towards the ideals promoted by the French Revolution.
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قديم 08-05-2010, 09:37 PM   #4
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سلام يا حلوين اللي عنده نموذج امتحانات A123b 2008--2009 please حطي لنا هنا نستفيد كلنا الله يوفق الجميع
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قديم 09-05-2010, 04:41 PM   #5
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رد: متى نتكلم بالفاينل


بنسبة للمقاطع الحوار اللي في المسرحية هل ممكن يطلبوا منا شرح لانه صعب جدا
ممكن تسئلوا مس شيماء
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قديم 09-05-2010, 11:34 PM   #6
ليدي أوسكار ليدي أوسكار غير متصل
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افتراضي رد: نقاش الفاينل


لا, لا تخافي ما حيجيبوا أشياء زي كذا, أنا أخذت المادة وما قد جابوا
أشياء عن الحوار أو شرحه, أغلب أسئلة المسرحية تكون عامة, يعني
عن الgender,أو social class, وأشياء زي كذ, وأنا نصيحتي إنك تذاكري
أسئلة الأمتحانات السابقة لان أنا كذا سويت ولما جا السؤال كتبت كل
اللي أعرفه والحمد لله جبت A ,
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قديم 10-05-2010, 09:31 AM   #7
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افتراضي رد: نقاش الفاينل


اتمنى من الاخت ليدي اوسكار انك تعطينا الاسئله الي انت راجعتيها قبل الاختبارات للمسرحيه اقصد
والله يجزاك خير على المعلومه
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قديم 10-05-2010, 10:48 AM   #8
sugarheart sugarheart غير متصل
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تنصحوني ادرس من اي ملخص؟ لان الكتاب مش هعرف اذاكر منه بتلخبط

وسؤال كمان اقدر من فين احمل اسئلة الامتحانات السابقة ؟
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قديم 10-05-2010, 02:06 PM   #9
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افتراضي رد: نقاش الفاينل


اقتباس:
المشاركة الأصلية كتبت بواسطة ليدي أوسكار مشاهدة المشاركة
لا, لا تخافي ما حيجيبوا أشياء زي كذا, أنا أخذت المادة وما قد جابوا
أشياء عن الحوار أو شرحه, أغلب أسئلة المسرحية تكون عامة, يعني
عن الgender,أو social class, وأشياء زي كذ, وأنا نصيحتي إنك تذاكري
أسئلة الأمتحانات السابقة لان أنا كذا سويت ولما جا السؤال كتبت كل
اللي أعرفه والحمد لله جبت a ,
الاخت ليدي يعني انت جبتa _ بعد الله سبحانه وتعالى_ لانك حليت اسئلة الاختبار من نماذج الاختبارات الي عندك. طيب كيف كانت درجاتك في الفصلي .
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قديم 10-05-2010, 05:13 PM   #10
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افتراضي رد: نقاش الفاينل


السلام عليكم جميعا

انا لا حظت انو أغلب امتحانات الفاينل بتيجي بنقاش معين ممكن حد يلخصنا الفاينل

يعني ؟؟؟؟

مثلا السؤال الاول رح يجي تعريفات اوك
التاني مثلا من وحده كذا ووحده كذا
التالت نفس الشي

ممكن حد يحددنلنا هالوحدات عشان نركز دراستنا عليهم ؟
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قديم 10-05-2010, 05:14 PM   #11
زين يحيي زين يحيي غير متصل
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افتراضي رد: نقاش الفاينل


انا بعد مع الاخت ليدي الامتحانات السابقه مهمه حيل تختصر لنا الوقت بالدراسه بس لازم اخذ فكره من الكتاب
الاستاذ امير يقول لو تكتبون على فهمكم مافي اي مشكله المهم يكون صح
موفقين يارب
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قديم 10-05-2010, 05:25 PM   #12
فرح سعادة فرح سعادة غير متصل
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افتراضي رد: نقاش الفاينل


طيب يا بنات عندكم ملخص الفصل 26 الخاص بيجماليون ضروري تنزلوه في المنتدى.
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قديم 10-05-2010, 05:59 PM   #13
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الله يجزاكم خير انتم تكررون دائما هالعباره لازم تراجعون من الاسئله السابقه
ولكن للاسف مافي في المنتدى غير اسئله 2006
الي عندها اسئله غير 2006 ياليت تنزلها لنا
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قديم 10-05-2010, 06:01 PM   #14
HEDEKTHESCOTCH HEDEKTHESCOTCH غير متصل
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رد: متى نتكلم بالفاينل


اقتباس:
section c: Question two

read the following sonnet by tony harrison from your block one: Form and reading course book and discuss how harrison uses imagery to highlight the meaning of his sonnet "marked with d."


marked with d.

When the chilled dough of his flesh went in an oven
not unlike those he fuelled all his life,
i thought of his cataracts ablaze with heaven
and radiant with the sight of his dead wife,
light streaming from his mouth to shape her name,
'not florence and not flo but always florrie’.
I thought how his cold tongue burst into flame
but only literally, which makes me sorry,
sorry for his sake there’s no haven to reach.
I get it all from earth my daily bread
but he hungered for release from mortal speech
that kept him down, the tongue that weighed like lead.

The baker’s man that no one will see rise
and england made to feel like some dull oaf
is smoke, enough to sting one person’s eyes
and ash (not unlike flour) for one small loaf.

(harrison, 1981)

شو المطلوب بالزبط هون ؟؟؟؟؟؟؟؟
ومن وين الاقيه بالكتاب ؟؟؟؟؟؟؟؟؟
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