CFP: Internet, Humor, and Nation in Latin/x America

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Dear colleagues: please take a look at this CFP for a volume titled:

*Internet, Humor, and Nation in Latin/x America*, coedited by H=C3=A9ctor
Fern=C3=A1ndez L=E2=80=99Hoeste and Juan Poblete

             The internet is both a medium, the latest in a long line of
previous mass media, and a space of trans-individuation and collective
co-creation. As a media channel and a format, it tends to privilege certain
forms, lengths, affects. As a commons, it is nurtured by all participants
and shapes their affects and subjectivities in ways that have deep
cultural, economic, political consequences inside and outside the nation.
As a relatively de-territorialized space, it interacts in myriad ways with
the forms of cultural and political territorialization of the nation.
Finally, as a communicational infrastructure, the internet is tied in more
classical ways to the geopolitics of information production and
circulation.

Humor, on the other hand,  is often based on mechanisms of superiority,
relief, or incongruity. As theorized by Simon Critchley, for example,  ethn=
ic
humor in a national context is an instance of superiority-based humor. It
functions like =E2=80=9Ca secret code=E2=80=9D that is shared by all those =
who belong to
the *ethnos* and it produces a context and community-based *ethos* of
superiority. This superiority is expressed in two ways: first, foreigners
do not share *our* sense of humor or simply lack a sense of humor.
Secondly, foreigners are themselves funny and worth laughing at. Thus,
humor plays a key role in the signaling of boundaries of identity=E2=80=94w=
ho
stands inside or outside significant creative spaces. With the nature of
the internet and humor in mind, we are seeking contributions for a volume
provisionally titled *Internet, Humor, and Nation in Latin/x America**.*

            We ask: if what we described above is the case in a
nation-based context, how does the internet alter, confirm, heighten, or
deflate the dynamics of humor? If internet-based humor is a relief, what is
it a relief of or from? What are the syntactics and semantics specific to
internet humor? What is the specific logic of internet-based humor? In the
internet context, what is incongruous? When it comes to humor, what
relationships does the audiovisual aspect of the internet enter into with
its written side? What kinds of humor go viral and which don=E2=80=99t, and=
 why?
What role does humor itself play in the affective and economic structure of
the internet?

            We are seeking original articles for an edited collection on
the role of internet humor in the definition of cultural, economic,
political, and social national and transnational processes and critiques.
Within this context, recent precedents on the topic of humor in modern
media are Jody Baumgartner and Jonathan Morris=E2=80=99s *Laughing Matters:=
 Humor
and American Politics in the Media Age *(Routledge, 2008), which examines
the role of humor in US politics=E2=80=94along with David Thorne=E2=80=99s =
*The Internet is
a Playground* (Penguin, 2011), exemplifying a performative disposition=E2=
=80=94and
articles like Luis Loya Garc=C3=ADa=E2=80=99s =E2=80=9CLatino Humor in Comp=
arative Perspective.=E2=80=9D
In the spirit of  Cualca (AR), Pa=C3=ADs de Boludos (AR), Greg News (BR), P=
orta
dos Fundos (BR), Actualidad Panamericana (CO), La Pulla (CO), Upsocl (CL),
ElDeforma (MX), El Pulso de la Rep=C3=BAblica (MX), Gente Como Uno (PE), or
Remezcla (US), we hope to contribute to the study of the interaction among
humor, nation, and the internet.  While much work to date in this field has
focused on satire=E2=80=94see Paul Alonso=E2=80=99s *Satiric TV in the Amer=
icas* (Oxford,
2018), which discusses the impact of streaming=E2=80=94we are interested in=
 all
types of internet-based humor practices (cutting across formats and media).

            The volume aims at exploring, from a multi and
interdisciplinary open perspective, the diverse ways in which cyber-humor
is created, produced, consumed, used, circulated, reproduced, reacted to.
On the whole, we are interested in the significance of cyber-discourses and
cyber-narratives in the context of local, national, regional,
transnational, and global cultural production, commercial ventures,
material culture, audiences, education, government policy, and community
practices.

Potential contributors should send a 500 to 1,000 word abstract, a short
bio & bibliography, and complete contact information to H=C3=A9ctor Fern=C3=
=A1ndez
L=E2=80=99Hoeste ([email protected]) and Juan Poblete ([email protected]).

*Deadline for abstracts: May 1, 2020*

*Notification of accepted abstracts by May 15, 2020*

*Deadline for complete selected essays: November 1, 2020*

*Language of submission: English*

*Style: MLA*

*Contributors of selected essays must secure permission to reproduce any
images.*



*H=C3=A9ctor Fern=C3=A1ndez L'Hoeste *(Ph.D., Stony Brook University, 1996)=
 is
professor at Georgia State University in Atlanta, Georgia, where he teaches
cultural studies. He is the author of *Narrativas de representaci=C3=B3n ur=
bana*
(Peter Lang, 1998) and *Lalo Alcaraz: Political Cartooning in the Latino
Community* (University of Mississippi Press, 2017), and editor of *Rockin=
=E2=80=99
Las Americas* (with Deborah Pacini Hern=C3=A1ndez and Eric Zolov, Universit=
y of
Pittsburgh Press, 2004), *Redrawing the Nation* (with Juan Poblete,
Palgrave Macmillan, 2009), *Cumbia!* (with Pablo Vila, Duke University
Press, 2013), *Sports and Nationalism in Latin/o America* (with Robert
McKee Irwin and Juan Poblete, Palgrave Macmillan, 2015) and *Sound, Image,
and National Imaginary in the Construction of Latin/o American Identities*
(with Pablo Vila, Lexington Books, 2018). His articles on media and
cultural theory have appeared in *Hispania*, *Chasqui*, *National
Identities*,* Objeto Visual*, *Revista de Estudios Colombianos, **Revista
Iberoamericana*, *Revista Latinoamericana de Estudios sobre la Historieta*
(Cuba), *Cenizas* (Mexico), and *Film Quarterly*, among others. In
addition, he has published work in *Imagination Beyond Nation* (Pittsburgh,
1998), *Imagining Our Americas* (Duke, 2007), and *Cultures of the City*
(Pittsburgh, 2010), among others. He is editor of two academic series: with
Pablo Vila, he edits the Music, Culture, and Identity in Latin America
series for Lexington Books; and with Juan Carlos Rodr=C3=ADguez, he publish=
es
Reframing Media, Technology, and Culture in Latin/o America for the
University of Florida Press. In 2018, together with Robert McKee Irwin and
Juan Poblete, he published the Spanish translation of *Sports and
Nationalism in Latin/o America*, titled* Deportes y nacionalismo en Am=C3=
=A9rica
Latina *(Cuarto Propio). He=E2=80=99s currently completing the translation =
of the
forthcoming *Travels to the Land of Oblivion: Modernity and Colombian
Identity in the Work of Carlos Vives and La Provincia *(Lexington Books)
and, together with Juan Carlos Rodr=C3=ADguez, an edited volume titled* Dig=
ital
Humanities in Latin America* (University of Florida Press). He=E2=80=99s al=
so
working on a coming monograph titled *Vicious *Mu=C3=B1equitos*: Memory, Na=
tion,
and Violence in Latin/x American Comics*.



*Juan Poblete*, Professor of Latin/o American Literature and Cultural
Studies, University of California, Santa Cruz. Author of *La Escritura de
Pedro Lemebel como proyecto cultural y pol=C3=ADtico*, (Santiago: Cuarto Pr=
opio,
2019); *Hacia una historia de la lectura y la pedagog=C3=ADa literaria en
Am=C3=A9rica Latina*, (Santiago: Cuarto Propio, 2019); and *Literatura chil=
ena
del siglo XIX: entre p=C3=BAblicos lectores y figuras autoriales*  (Santiag=
o:
Cuarto Propio, 2003 and 2018); editor of *Critical Latin American and
Latino Studies* (University of Minnesota Press, 2003) and *New Approaches
to Latin American Studies: Culture and Power* (Routledge, 2017); and
co-editor of *Piracy and Intellectual Property in Latin America: Rethinking
Creativity and the Common Good* (Routledge, 2020), *Precarity and
Belonging:** Labor, Migration, and Noncitizenship* (Rutgers University
Press, 2020), *Andr=C3=A9s Bello* (with Beatriz Gonzalez-Stephan, IILI,
2009),* Redrawing
The Nation: National Identities in Latin/o American Comics *(with H=C3=A9ct=
or
Fern=C3=A1ndez L'Hoeste, Palgrave, 2009), *Desd=C3=A9n al infortunio: Sujet=
o,
comunicaci=C3=B3n y p=C3=BAblico en la narrativa de Pedro Lemebel* (with Fe=
rnando
Blanco, Santiago: Cuarto Propio, 2010), *Sports and Nationalism in Latin
America *(with H=C3=A9ctor Fern=C3=A1ndez L=E2=80=99Hoeste and Robert McKee=
-Irwin, Palgrave,
2015), and *Humor in Latin American Cinema*  (with Juana Su=C3=A1rez, Palgr=
ave,
2015).

=3D=3D=3D=3D=3D
General list info and FAQ: http://comm.umn.edu/~grodman/cultstud.html

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<div dir=3D"ltr"><font size=3D"2"><span style=3D"font-family:arial,sans-ser=
if">Dear colleagues: please take a look at this CFP for a volume titled:</s=
pan></font><div class=3D"gmail_quote"><div dir=3D"ltr"><div class=3D"gmail_=
quote"><div dir=3D"ltr"><div><font size=3D"2"><span style=3D"font-family:ar=
ial,sans-serif">


















</span></font><p><font size=3D"2"><span style=3D"font-family:arial,sans-ser=
if"><b><span style=3D"color:black">Internet, Humor, and Nation in Latin/x A=
merica<span></span></span></b><span style=3D"color:black"><span>, coedited =
by </span></span><span style=3D"color:black">H=C3=A9ctor Fern=C3=A1ndez L=
=E2=80=99Hoeste and Juan Poblete</span></span></font></p><p><font size=3D"2=
"><span style=3D"font-family:arial,sans-serif"><span style=3D"color:black">


















</span></span></font></p><p style=3D"margin-right:0in;margin-left:0in"><fon=
t size=3D"2"><span style=3D"font-family:arial,sans-serif"><span style=3D"co=
lor:black"><span>=C2=A0</span></span></span></font><font size=3D"2"><span s=
tyle=3D"font-family:arial,sans-serif"><span style=3D"color:black"><span>=C2=
=A0</span></span></span></font><font size=3D"2"><span style=3D"font-family:=
arial,sans-serif"><span style=3D"color:black"><span></span></span></span></=
font><font size=3D"2"><span style=3D"font-family:arial,sans-serif"><span st=
yle=3D"color:black"><span>=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=
=C2=A0=C2=A0 </span>The internet is both a
medium, the latest in a long line of previous mass media, and a space of tr=
ans-individuation
and collective co-creation. As a media channel and a format, it tends to
privilege certain forms, lengths, affects. As a commons, it is nurtured by =
all
participants and shapes their affects and subjectivities in ways that have =
deep
cultural, economic, political consequences inside and outside the nation. A=
s a
relatively de-territorialized space, it interacts in myriad ways with the f=
orms
of cultural and political territorialization of the nation. Finally, as a
communicational infrastructure, the internet is tied in more classical ways=
 to
the geopolitics of information production and circulation. <span></span></s=
pan></span></font>

</p><p class=3D"MsoNormal" style=3D"text-indent:0.5in;margin:0in 0in 0.0001=
pt"><font size=3D"2"><span style=3D"font-family:arial,sans-serif"><span sty=
le=3D"color:black">Humor, on the other hand,<span>=C2=A0 </span>is often ba=
sed on mechanisms of </span>superiority, relief, or incongruity. As theoriz=
ed by Simon
Critchley, for example,<span>=C2=A0 </span>ethnic humor in
a national context is an instance of superiority-based humor. It functions =
like
=E2=80=9Ca secret code=E2=80=9D that is shared by all those who belong to t=
he <i>ethnos</i> and it produces a context and
community-based <i>ethos</i> of superiority.
This superiority is expressed in two ways: first, foreigners do not share <=
i>our</i> sense of humor or simply lack a
sense of humor. Secondly, foreigners are themselves funny and worth laughin=
g
at. Thus, humor plays a key role in the signaling of boundaries of identity=
=E2=80=94who
stands inside or outside significant creative spaces. With the nature of th=
e internet
and humor in mind, we <span style=3D"color:black">are seeking contributions
for a volume provisionally titled <i><span>Internet, Humor, and Nation in L=
atin/x
America</span></i><b>.</b></span><span></span></span></font></p>

<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif">=C2=A0<span>=C2=A0</span><span>=C2=A0</sp=
an><span>=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 </span>We ask: if=
 what we described above is the
case in a nation-based context, how does the internet alter, confirm, heigh=
ten,
or deflate the dynamics of humor? If internet-based humor is a relief, what=
 is
it a relief of or from? What are the syntactics and semantics specific to i=
nternet
humor? What is the specific logic of internet-based humor? In the internet
context, what is incongruous? When it comes to humor, what relationships do=
es
the audiovisual aspect of the internet enter into with its written side? Wh=
at
kinds of humor go viral and which don=E2=80=99t, and why? What role does hu=
mor itself
play in the affective and economic structure of the internet?<span style=3D=
"color:black"><span></span></span></span></font></p>

<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><span style=3D"color:black"><span>=C2=A0=
=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 </span>We are =
seeking original
articles for an edited collection on the role of internet humor in the
definition of cultural, economic, political, and social national and
transnational processes and critiques. Within this context, recent preceden=
ts
on the topic of humor in modern media are Jody Baumgartner and Jonathan Mor=
ris=E2=80=99s
<i>Laughing Matters: Humor and American Politics in the Media Age </i>(Rout=
ledge,
2008), which examines the role of humor in US politics=E2=80=94along with D=
avid
Thorne=E2=80=99s <i>The Internet is a Playground</i> (Penguin, 2011), exemp=
lifying a
performative disposition=E2=80=94and articles like Luis Loya Garc=C3=ADa=E2=
=80=99s =E2=80=9CLatino Humor in
Comparative Perspective.=E2=80=9D In the spirit of<span>=C2=A0
</span>Cualca (AR), Pa=C3=ADs de Boludos (AR), Greg News (BR), Porta dos Fu=
ndos
(BR), Actualidad Panamericana (CO), La Pulla (CO), Upsocl (CL), ElDeforma (=
MX),
El Pulso de la Rep=C3=BAblica (MX), Gente Como Uno (PE), or Remezcla (US), =
we hope
to contribute to the study of the interaction among humor, nation, and the =
internet.
<span>=C2=A0</span>While much work to date in this field
has focused on satire=E2=80=94see Paul Alonso=E2=80=99s <i>Satiric TV in th=
e Americas</i>
(Oxford, 2018), which discusses the impact of streaming=E2=80=94we are inte=
rested in
all types of internet-based humor practices (cutting across formats and med=
ia).
<span></span></span></span></font></p>

<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><span style=3D"color:black"><span>=C2=A0=
=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 </span>The vol=
ume aims at
exploring, from a multi and interdisciplinary open perspective, the diverse=
 ways
in which cyber-humor is created, produced, consumed, used, circulated,
reproduced, reacted to. On the whole, we are interested in the significance=
 of cyber-discourses
and cyber-narratives in the context of local, national, regional, transnati=
onal,
and global cultural production, commercial ventures, material culture, audi=
ences,
education, government policy, and community practices.<span></span></span><=
/span></font></p>

<p style=3D"text-indent:0.5in;margin-right:0in;margin-left:0in"><font size=
=3D"2"><span style=3D"font-family:arial,sans-serif"><span style=3D"color:bl=
ack">Potential contributors should send a 500 to 1,000
word abstract, a short bio &amp; bibliography, and complete contact informa=
tion
to H=C3=A9ctor Fern=C3=A1ndez L=E2=80=99Hoeste (<span style=3D"color:blue;t=
ext-decoration:underline"><span style=3D"color:black;text-decoration:none">=
<a href=3D"mailto:[email protected]" style=3D"color:blue;text-decoration:un=
derline" target=3D"_blank"><span style=3D"color:black;text-decoration:none"=
>[email protected]</span></a></span></span>)
and Juan Poblete (<span style=3D"color:blue;text-decoration:underline"><spa=
n style=3D"color:black;text-decoration:none"><a href=3D"mailto:jpoblete@ucs=
c.edu" style=3D"color:blue;text-decoration:underline" target=3D"_blank"><sp=
an style=3D"color:black;text-decoration:none">[email protected]</span></a><=
/span></span>).<span></span></span></span></font></p>



<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><b><span style=3D"color:black">Deadline f=
or abstracts: May 1, 2020<span></span></span></b></span></font></p>



<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><b><span style=3D"color:black">Notificati=
on of accepted abstracts by May 15, 2020<span></span></span></b></span></fo=
nt></p>



<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><b><span style=3D"color:black">Deadline f=
or complete selected essays: November 1, 2020<span></span></span></b></span=
></font></p>



<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><b><span style=3D"color:black">Language o=
f submission: English<span></span></span></b></span></font></p>



<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><b><span style=3D"color:black">Style: MLA=
<span></span></span></b></span></font></p>



<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><i><span style=3D"color:black">Contributo=
rs of selected essays must secure permission to reproduce any
images.<span></span></span></i></span></font></p>

<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><span style=3D"color:black"><span>=C2=A0<=
/span></span></span></font></p>

<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><b>H=C3=A9ctor
Fern=C3=A1ndez L&#39;Hoeste </b>(Ph.D., Stony Brook University, 1996) is pr=
ofessor at
Georgia State University in Atlanta, Georgia, where he teaches cultural
studies. He is the author of <i>Narrativas
de representaci=C3=B3n urbana</i> (Peter
Lang, 1998) and <i>Lalo Alcaraz: Political
Cartooning in the Latino Community</i> (University of Mississippi Press, 20=
17),
and editor of <i>Rockin=E2=80=99 Las Americas</i> (with Deborah Pacini Hern=
=C3=A1ndez and Eric Zolov, University of
Pittsburgh Press, 2004), <i>Redrawing the
Nation</i> (with Juan Poblete, Palgrave Macmillan, 2009), <i>Cumbia!</i> (w=
ith Pablo Vila, Duke University Press, 2013), <i>Sports and Nationalism in =
Latin/o America</i>
(with Robert McKee Irwin and Juan Poblete, Palgrave Macmillan, 2015) and <i=
>Sound, Image, and National Imaginary in the
Construction of Latin/o American Identities</i> (with Pablo Vila, Lexington
Books, 2018). His articles on media and cultural theory have appeared in <i=
>Hispania</i>, <i>Chasqui</i>, <i><span style=3D"color:black">National
Identities</span></i><span style=3D"color:black">,<i> Objeto Visual</i>, <i=
>Revista de
Estudios Colombianos, </i></span><i>Revista
Iberoamericana</i>, <i>Revista
Latinoamericana de Estudios sobre la Historieta</i> (Cuba), <i>Cenizas</i>
(Mexico), and <i>Film Quarterly</i>, among others. In addition, he has publ=
ished work in
<i>Imagination Beyond Nation</i> (Pittsburgh, 1998), <i>Imagining Our
Americas</i> (Duke, 2007), and <i>Cultures of the City</i> (Pittsburgh, 201=
0), among others. He is editor of two academic series: with Pablo
Vila, he edits the Music, Culture, and Identity in Latin America series for
Lexington Books; and with Juan Carlos Rodr=C3=ADguez, he publishes Reframin=
g Media,
Technology, and Culture in Latin/o America for the University of Florida Pr=
ess.
In 2018, together with Robert McKee Irwin and Juan Poblete, he published th=
e
Spanish translation of <i>Sports and
Nationalism in Latin/o America</i>, titled<i>
Deportes y nacionalismo en Am=C3=A9rica Latina </i>(Cuarto Propio). He=E2=
=80=99s currently
completing the translation of the forthcoming <i>Travels to the Land of Obl=
ivion: Modernity
and Colombian Identity in the Work of Carlos Vives and La Provincia </i>(Le=
xington
Books) and, together with Juan Carlos Rodr=C3=ADguez, an edited volume titl=
ed<i>
Digital Humanities in Latin America</i> (University of Florida Press). He=
=E2=80=99s
also working on a coming monograph titled <i>Vicious </i>Mu=C3=B1equitos<i>=
: Memory,
Nation, and Violence in Latin/x American Comics</i>.<span></span></span></f=
ont></p>

<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif">=C2=A0</span></font></p>

<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><span><b>Juan Poblete</b>, Professor of L=
atin/o American
Literature and Cultural Studies, University of California, Santa Cruz. Auth=
or
of <i>La Escritura de Pedro Lemebel como proyecto cultural y pol=C3=ADtico<=
/i>, (Santiago:
Cuarto Propio, 2019); <i>Hacia una historia de la lectura y la pedagog=C3=
=ADa
literaria en Am=C3=A9rica Latina</i>, (Santiago: Cuarto Propio, <span>2019)=
</span>; and <i>Literatura chilena del
siglo XIX: entre p=C3=BAblicos lectores y figuras autoriales</i>=C2=A0 (San=
tiago:
Cuarto Propio, 2003 and 2018); editor of <i>Critical Latin American and Lat=
ino
Studies</i> (University of Minnesota Press, 2003) and <i>New Approaches to =
Latin
American Studies: Culture and Power</i> (Routledge, 2017); and co-editor
of=C2=A0<i>Piracy and Intellectual Property
in Latin America: Rethinking Creativity and the Common Good</i> (Routledge,
2020), <i>Precarity and Belonging:</i></span><i><span lang=3D"ES-TRAD"> Lab=
or, Migration, and Noncitizenship</span></i><span lang=3D"ES-TRAD"> (</span=
><span>Rutgers University Press, 2020), <i>Andr=C3=A9s Bello</i>=C2=A0(with
Beatriz Gonzalez-Stephan, IILI, 2009),<i>=C2=A0Redrawing The Nation: Nation=
al
Identities in Latin/o American Comics=C2=A0</i>(with H=C3=A9ctor Fern=C3=A1=
ndez L&#39;Hoeste,
Palgrave, 2009), <i>Desd=C3=A9n al infortunio: Sujeto, comunicaci=C3=B3n y =
p=C3=BAblico en la
narrativa de Pedro Lemebel</i>=C2=A0(with Fernando Blanco, Santiago: Cuarto
Propio, 2010), <i>Sports and Nationalism in Latin America </i>(with H=C3=A9=
ctor
Fern=C3=A1ndez L=E2=80=99Hoeste and Robert McKee-Irwin, Palgrave, 2015), an=
d <i>Humor in Latin American Cinema</i><span>=C2=A0 </span>(with Juana Su=
=C3=A1rez, Palgrave, 2015).<span></span></span></span></font></p>

<p style=3D"margin-right:0in;margin-left:0in"><font size=3D"2"><span style=
=3D"font-family:arial,sans-serif"><span style=3D"color:black"><span>=C2=A0<=
/span></span></span></font></p>





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