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narrative.","correct":false,"explanation":"Following events chronologically encourages plot retelling rather than analysis. The essay should be a thematic argument explaining how Kelly develops a central idea."},{"text":"A character description.","correct":false,"explanation":"Describing characters may show knowledge but does not create an analytical argument. The essay should be a thematic argument about Kelly’s presentation of ideas."},{"text":"A quotation collection.","correct":false,"explanation":"Collecting quotations without linking them to an interpretation produces disconnected evidence. The essay should be a thematic argument supported by carefully analysed references."}]},{"id":"5fd6307a-c946-4f6b-8301-336cd9d56947","cardType":"basic","points":2,"front":"Why is planning crucial in the AQA closed-book DNA exam?","back":"You must know your argument before writing.","mcqOptions":[{"text":"You must know your argument before writing.","correct":true,"explanation":"Planning establishes the essay’s central argument and logical sequence before writing begins, which is especially important when working from memory under closed-book exam conditions."},{"text":"You must recall the whole play word-for-word.","correct":false,"explanation":"Closed-book assessment requires secure textual knowledge, but not verbatim recall of the entire play. Planning matters because you must know your argument before writing."},{"text":"You must write your introduction before planning.","correct":false,"explanation":"Writing first can produce an unfocused thesis and repetitive paragraphs. You must know your argument before writing, so planning should precede the introduction."},{"text":"You must retell the plot before analysing.","correct":false,"explanation":"A preliminary plot summary wastes limited exam time and does not earn analytical credit. You must know your argument before writing and develop it throughout."}]},{"id":"b89b1714-fa5f-43ee-8db0-c4cddb95872f","cardType":"cloze","points":null,"front":"A precise plan acts as a [ ], keeping arguments [ ].","back":"A precise plan acts as a map, keeping arguments logical.","mcqOptions":[{"text":"A precise plan acts as a map, keeping arguments logical.","correct":true,"explanation":"A plan functions as a map because it establishes the essay’s route in advance, helping each paragraph follow logically from the thesis and preceding points."},{"text":"A precise plan acts as a script, keeping arguments descriptive.","correct":false,"explanation":"A plan should not prescribe every sentence or encourage description. It acts as a map, keeping arguments logical and directed towards the thesis."},{"text":"A precise plan acts as a summary, keeping arguments chronological.","correct":false,"explanation":"Treating the plan as a summary encourages plot retelling in event order. It should act as a map, keeping arguments logical rather than merely chronological."},{"text":"A precise plan acts as a checklist, keeping arguments separate.","correct":false,"explanation":"A checklist may produce isolated points with no developing line of thought. A precise plan acts as a map, keeping arguments logical and connected."}]},{"id":"0716b16f-949e-4eda-a6a5-dcde00737ad5","cardType":"basic","points":1,"front":"How should DNA characters and settings be treated in analysis?","back":"As authorial constructs, not real people or places.","mcqOptions":[{"text":"As authorial constructs, not real people or places.","correct":true,"explanation":"Kelly deliberately constructs characters and settings to communicate ideas. Analysis should therefore examine his choices and purposes instead of treating the fictional world as reality."},{"text":"As realistic individuals, not deliberate dramatic creations.","correct":false,"explanation":"Treating characters as real individuals leads to personal judgements and overlooks dramatic method. They should be analysed as authorial constructs shaped by Kelly’s intentions."},{"text":"As historical evidence, not fictional people or places.","correct":false,"explanation":"The play may reflect social concerns, but its characters and settings are not factual historical evidence. They are authorial constructs created to express Kelly’s ideas."},{"text":"As plot devices, not sources of thematic meaning.","correct":false,"explanation":"Characters and settings do help move the plot, but reducing them to that function ignores their thematic significance. They should be treated as authorial constructs."}]},{"id":"fcd14336-8c23-4bbe-a2e1-2b82696060e3","cardType":"basic","points":2,"front":"Why write "Kelly constructs Phil..." instead of "Phil is mean"?","back":"It links Phil to Kelly's thematic purpose.","mcqOptions":[{"text":"It links Phil to Kelly's thematic purpose.","correct":true,"explanation":"The phrasing identifies Phil as Kelly’s deliberate creation, directing analysis towards how the playwright uses the character to explore and communicate wider themes."},{"text":"It links Phil to the play's chronological plot.","correct":false,"explanation":"The wording is valuable because it foregrounds authorial construction, not because it establishes event order. It links Phil to Kelly's thematic purpose."},{"text":"It links Phil to the audience's personal opinion.","correct":false,"explanation":"Audience response may be relevant, but this phrasing primarily shifts attention from judging Phil personally to analysing Kelly's thematic purpose in constructing him."},{"text":"It links Phil to his realistic human personality.","correct":false,"explanation":"Treating Phil as a real person encourages unsupported moral judgement. The phrase instead presents him as a dramatic construct linked to Kelly's thematic purpose."}]},{"id":"e03e54fb-4cc7-493f-b242-a08f942137f0","cardType":"cloze","points":null,"front":"The thesis statement is the essay's [ ] to the question.","back":"The thesis statement is the essay's overall answer to the question.","mcqOptions":[{"text":"overall answer","correct":true,"explanation":"A thesis directly expresses the essay’s overall answer to the question, establishing the interpretation that each paragraph will develop and support with evidence."},{"text":"opening quotation","correct":false,"explanation":"A quotation may support an argument, but it does not define the thesis. The thesis is the essay’s overall answer to the question."},{"text":"plot summary","correct":false,"explanation":"A plot summary recounts events instead of presenting an interpretation. The thesis must provide the essay’s overall answer, which the subsequent analysis proves."},{"text":"final paragraph","correct":false,"explanation":"The conclusion is usually the final paragraph, whereas the thesis establishes the argument from the outset. It is the essay’s overall answer to the question."}]},{"id":"d31e9a05-f292-4edf-9828-fbbb87abe9e0","cardType":"basic","points":1,"front":"What should a strong thesis outline about Kelly?","back":"Kelly's core purpose for the topic.","mcqOptions":[{"text":"Kelly's core purpose for the topic.","correct":true,"explanation":"A strong thesis identifies what Kelly fundamentally aims to reveal, criticise or explore through the topic, giving the essay a purposeful line of argument."},{"text":"Kelly's complete biography for the topic.","correct":false,"explanation":"Biographical detail is not the focus of a literary thesis and may become irrelevant context. The thesis should outline Kelly’s core purpose for the topic."},{"text":"Kelly's full plot sequence for the topic.","correct":false,"explanation":"Listing the plot sequence produces narrative summary rather than interpretation. A strong thesis should outline Kelly’s core purpose and guide the essay’s analysis."},{"text":"Kelly's personal opinion for the topic.","correct":false,"explanation":"The play may suggest attitudes, but claiming an unsupported personal opinion oversimplifies authorial intention. The thesis should outline Kelly’s core purpose for the topic."}]},{"id":"2f80b107-ad79-4fab-82ab-0ffc034b869f","cardType":"basic","points":1,"front":"Which planning structure gives a logical progression across the play?","back":"The Three-Pillar Plan.","mcqOptions":[{"text":"The Three-Pillar Plan.","correct":true,"explanation":"The Three-Pillar Plan organises the essay into three connected strands of argument, creating a clear progression while keeping every paragraph focused on the thesis."},{"text":"The Scene-by-Scene Plan.","correct":false,"explanation":"Planning scene by scene often produces chronological plot summary rather than a developing thematic argument. The Three-Pillar Plan provides the intended logical progression."},{"text":"The Quotation-First Plan.","correct":false,"explanation":"Beginning with isolated quotations can make the argument evidence-led and disconnected. The Three-Pillar Plan establishes conceptual points before selecting supporting references."},{"text":"The Character-List Plan.","correct":false,"explanation":"Listing characters may create separate descriptions without a coherent thematic progression. The Three-Pillar Plan structures connected arguments across the play."}]},{"id":"095708f1-2860-4844-8d71-1fbed855cf0a","cardType":"cloze","points":null,"front":"The Three-Pillar Plan follows the play's chronological or [ ].","back":"The Three-Pillar Plan follows the play's chronological or conceptual arc.","mcqOptions":[{"text":"conceptual arc","correct":true,"explanation":"A conceptual arc traces how an idea, character, or theme develops across the play, providing an alternative to organising the essay purely by chronological events."},{"text":"emotional tone","correct":false,"explanation":"Emotional tone describes the mood created by the writing, not the structure of the essay plan. The plan follows a chronological or conceptual arc of development."},{"text":"historical context","correct":false,"explanation":"Historical context supports AO3 analysis but does not determine the plan’s progression. The three pillars should follow either the play’s chronological or conceptual arc."},{"text":"dramatic genre","correct":false,"explanation":"Dramatic genre classifies the play rather than organising an argument through it. The alternative to a chronological structure is a conceptual arc tracing developing ideas."}]},{"id":"183c0a12-68d5-45e1-8a5c-f68832c95e0a","cardType":"basic","points":1,"front":"What should Pillar 1 focus on?","back":"How the character or theme is first introduced.","mcqOptions":[{"text":"How the character or theme is first introduced.","correct":true,"explanation":"Pillar 1 establishes the essay’s starting point by examining the character or theme’s initial presentation, creating a clear basis for tracing later development."},{"text":"How the character or theme is finally resolved.","correct":false,"explanation":"Final resolution belongs in Pillar 3, where the essay considers the ending and Kelly’s warning. Pillar 1 should analyse how the character or theme is first introduced."},{"text":"How the character or theme is tested by conflict.","correct":false,"explanation":"Pressure and conflict are central to Pillar 2, after the starting point has been established. Pillar 1 focuses on the character or theme’s first introduction."},{"text":"How the character or theme is linked to context.","correct":false,"explanation":"Context should be integrated throughout the analysis rather than replacing a pillar’s focus. Pillar 1 examines how the character or theme is first introduced."}]},{"id":"7023914a-03dc-44d6-9a1e-ece629f67316","cardType":"basic","points":1,"front":"What should Pillar 2 focus on?","back":"How the character or theme intensifies under pressure.","mcqOptions":[{"text":"How the character or theme intensifies under pressure.","correct":true,"explanation":"Pillar 2 develops the argument by showing how pressure heightens or changes the character or theme, moving beyond the initial presentation established in Pillar 1."},{"text":"How the character or theme is initially established.","correct":false,"explanation":"Initial establishment is the focus of Pillar 1, not Pillar 2. The second pillar should explore how the character or theme intensifies under pressure."},{"text":"How the character or theme remains entirely unchanged.","correct":false,"explanation":"The second pillar traces escalation and development rather than assuming complete stability. It should show how the character or theme intensifies under pressure."},{"text":"How the character or theme is resolved at the end.","correct":false,"explanation":"The ending and final state belong in Pillar 3. Pillar 2 instead examines the character or theme’s intensification when events create pressure."}]},{"id":"79b4ddbe-8f12-44f6-8a8f-aa22528e71a9","cardType":"cloze","points":null,"front":"Pillar 2 often centres on Adam's [ ] or sudden [ ].","back":"Pillar 2 often centres on Adam's "death" or sudden return.","mcqOptions":[{"text":"Pillar 2 often centres on Adam's "death" or sudden return.","correct":true,"explanation":"Adam’s apparent death and unexpected return are key pressure points in the play, making them effective moments for analysing escalation within the second pillar."},{"text":"Pillar 2 often centres on Adam's "betrayal" or sudden return.","correct":false,"explanation":"Adam’s betrayal is not the central event driving this stage of the plan. Pillar 2 commonly centres on his apparent “death” or his sudden return."},{"text":"Pillar 2 often centres on Adam's "death" or sudden confession.","correct":false,"explanation":"Adam does not make a sudden confession at this turning point. The important alternative focus is his return, which increases pressure and exposes the group’s cruelty."},{"text":"Pillar 2 often centres on Adam's "escape" or sudden capture.","correct":false,"explanation":"Escape and capture misrepresent Adam’s role in the plot. The pillar should centre on his apparent “death” or sudden return, both of which intensify the crisis."}]},{"id":"795acce2-8642-4471-ac87-464d202ad748","cardType":"basic","points":1,"front":"What should Pillar 3 focus on?","back":"The final state and Kelly's warning.","mcqOptions":[{"text":"The final state and Kelly's warning.","correct":true,"explanation":"Pillar 3 considers where the characters and society end up, then connects that final state to the warning Kelly communicates to the audience."},{"text":"The opening scene and Kelly's introduction.","correct":false,"explanation":"The opening presentation belongs in Pillar 1 rather than the final pillar. Pillar 3 should analyse the final state and the warning Kelly leaves with the audience."},{"text":"The central conflict and Kelly's climax.","correct":false,"explanation":"The central conflict and escalation fit Pillar 2 more closely. Pillar 3 focuses on the final state and interprets Kelly’s warning arising from the ending."},{"text":"The historical setting and Kelly's biography.","correct":false,"explanation":"Historical setting and biography are contextual material, not the final stage of the argument. Pillar 3 examines the final state and Kelly’s warning."}]},{"id":"f4f50e90-a7f1-48b0-89cc-b8c019914f80","cardType":"cloze","points":null,"front":"AO3 context should be [ ] to the analytical point, not bolted on.","back":"AO3 context should be organically linked to the analytical point, not bolted on.","mcqOptions":[{"text":"organically linked","correct":true,"explanation":"Context is most effective when it directly develops the interpretation of the text, so AO3 should be woven naturally into the analytical point rather than added separately."},{"text":"superficially linked","correct":false,"explanation":"A superficial link makes context decorative rather than analytical. AO3 should be organically linked to the point so that it deepens the interpretation of the text."},{"text":"loosely related","correct":false,"explanation":"A loose relationship encourages vague contextual comments that do not support the argument. AO3 should be organically linked to the specific analytical point being made."},{"text":"mechanically attached","correct":false,"explanation":"Mechanically attaching context creates the bolted-on approach the plan warns against. AO3 should be organically linked so that context and textual analysis form one argument."}]},{"id":"62f7761a-048e-4a67-a93a-965e20a4537a","cardType":"basic","points":1,"front":"What did the mid-2000s "Feral Youth" moral panic portray teenagers as?","back":"Lawless, anti-social "hoodies".","mcqOptions":[{"text":"Lawless, anti-social "hoodies".","correct":true,"explanation":"The “Feral Youth” panic stereotyped teenagers as threatening, lawless hooded figures, reflecting media fears about anti-social behaviour and uncontrolled youth violence."},{"text":"Naive, vulnerable "victims".","correct":false,"explanation":"The moral panic portrayed teenagers as threats rather than vulnerable victims. It stereotyped them as lawless, anti-social “hoodies” who endangered wider society."},{"text":"Law-abiding, responsible "citizens".","correct":false,"explanation":"This reverses the hostile stereotype promoted by the moral panic. Teenagers were presented as lawless, anti-social “hoodies”, not responsible members of society."},{"text":"Fashionable, affluent "consumers".","correct":false,"explanation":"Consumer identity was not the focus of the “Feral Youth” panic. Its media stereotype depicted teenagers as lawless, anti-social “hoodies” associated with disorder."}]},{"id":"70e4d5a4-c051-4fc1-9aba-11b693186138","cardType":"basic","points":2,"front":"What question does Kelly explore through the "Feral Youth" context?","back":"Whether cruelty is instinctive or environmental.","mcqOptions":[{"text":"Whether cruelty is instinctive or environmental.","correct":true,"explanation":"Kelly uses the play’s violent young characters to question whether cruelty is an innate human impulse or behaviour created by social conditions and surroundings."},{"text":"Whether cruelty is legal or criminal.","correct":false,"explanation":"The play is not primarily classifying cruelty according to the law. Kelly explores whether cruelty is instinctive within people or produced by their environment."},{"text":"Whether cruelty is physical or verbal.","correct":false,"explanation":"Physical and verbal cruelty are different forms of harm, but this context raises a question about origins: whether cruelty is instinctive or environmentally shaped."},{"text":"Whether cruelty is visible or hidden.","correct":false,"explanation":"Visibility concerns how cruelty appears, not what causes it. Kelly’s central contextual question is whether cruelty comes from instinct or from environmental influences."}]},{"id":"127d205d-77cf-43d7-949d-e7f3dd4d16c5","cardType":"basic","points":1,"front":"In de-individuation, what happens to a person's moral compass?","back":"It is lost within the group.","mcqOptions":[{"text":"It is lost within the group.","correct":true,"explanation":"De-individuation weakens personal responsibility and self-awareness, so an individual’s moral judgement becomes submerged in the group’s shared identity and behaviour."},{"text":"It is strengthened by the group.","correct":false,"explanation":"Heightened personal morality is the opposite of de-individuation. The person’s moral compass is lost within the group because anonymity reduces individual responsibility."},{"text":"It is separated from the group.","correct":false,"explanation":"De-individuation does not make morality more independent. Instead, the person’s moral compass is lost within the group as collective pressures replace individual judgement."},{"text":"It is shared equally by the group.","correct":false,"explanation":"The group does not necessarily replace morality with an agreed ethical code. De-individuation means the person’s moral compass is lost within the group."}]},{"id":"83a264cc-610d-48a2-af24-e9909ad585d8","cardType":"basic","points":1,"front":"Which worldview does Phil act as in the planning example?","back":"A nihilist.","mcqOptions":[{"text":"A nihilist.","correct":true,"explanation":"Phil acts as a nihilist because he rejects conventional moral principles and treats human life as lacking inherent meaning or value."},{"text":"An idealist.","correct":false,"explanation":"An idealist is guided by principles and hopes for improvement, unlike Phil. Phil acts as a nihilist by rejecting inherent meaning and conventional morality."},{"text":"A humanist.","correct":false,"explanation":"A humanist emphasises human dignity and value, which conflicts with Phil’s treatment of others. Phil instead acts as a nihilist."},{"text":"An existentialist.","correct":false,"explanation":"An existentialist may create personal meaning despite an apparently meaningless world. Phil is presented more specifically as a nihilist who rejects moral meaning and value."}]},{"id":"b6751911-a4c4-4a0e-862a-987c57054c3a","cardType":"basic","points":1,"front":"What does Phil eating silently while Leah speaks frantically establish?","back":"His emotional detachment.","mcqOptions":[{"text":"His emotional detachment.","correct":true,"explanation":"The contrast between Phil’s silent eating and Leah’s frantic speech shows that he remains emotionally uninvolved, establishing his emotional detachment from her distress."},{"text":"His intellectual confusion.","correct":false,"explanation":"Silence could suggest uncertainty elsewhere, but Phil’s calm eating alongside Leah’s frantic speech establishes emotional detachment rather than confusion."},{"text":"His growing anxiety.","correct":false,"explanation":"Phil’s controlled silence does not indicate that he shares Leah’s panic. It establishes his emotional detachment by contrasting with her frantic speech."},{"text":"His compassionate concern.","correct":false,"explanation":"Eating silently does not show warm concern for Leah. The contrast with her frantic speaking instead establishes Phil’s emotional detachment."}]},{"id":"82033e73-62a1-4182-90d6-3fecd3d3cf09","cardType":"cloze","points":null,"front":"Phil's silence acts as a foil to Leah's [ ].","back":"Phil's silence acts as a foil to Leah's nervous loquacity.","mcqOptions":[{"text":"nervous loquacity","correct":true,"explanation":"Loquacity means talkativeness, while nervous identifies the anxious quality of Leah’s speech. Her frantic talking therefore contrasts sharply with Phil’s silence."},{"text":"stoic restraint","correct":false,"explanation":"Stoic restraint describes controlled silence, making Leah too similar to Phil rather than his foil. The intended contrast is with her nervous loquacity."},{"text":"calm eloquence","correct":false,"explanation":"Calm eloquence suggests composed, effective speaking, whereas Leah speaks anxiously and frantically. Her nervous loquacity is the quality that contrasts with Phil’s silence."},{"text":"emotional reserve","correct":false,"explanation":"Emotional reserve implies withholding feelings and speaking little, so it cannot contrast with Phil’s silence. Leah instead displays nervous loquacity."}]},{"id":"1614eeb2-d082-4ed8-a531-cba947fb7ec7","cardType":"basic","points":1,"front":"Which dramatic method is created by Phil's orders to Brian, such as "shut up"?","back":"Imperative verbs.","mcqOptions":[{"text":"Imperative verbs.","correct":true,"explanation":"Commands such as "shut up" use imperative verbs, demonstrating Phil’s authority and his controlling relationship with Brian."},{"text":"Declarative verbs.","correct":false,"explanation":"Declarative verbs would communicate statements rather than direct commands. Phil’s orders use imperative verbs, presenting him as forceful and authoritative."},{"text":"Interrogative verbs.","correct":false,"explanation":"Interrogative verbs would be associated with questions, not commands such as "shut up". Phil’s orders are constructed through imperative verbs."},{"text":"Modal verbs.","correct":false,"explanation":"Modal verbs express degrees of possibility, obligation or certainty. The direct command "shut up" instead relies on imperative verbs."}]},{"id":"42247093-cb01-4abb-9cc7-866bf7272de8","cardType":"basic","points":1,"front":"Which leadership context fits Phil's belief that the end justifies the means?","back":"Machiavellian leadership.","mcqOptions":[{"text":"Machiavellian leadership.","correct":true,"explanation":"Machiavellian leadership prioritises achieving desired outcomes over conventional morality, matching Phil’s belief that harmful means can be justified by the end."},{"text":"Democratic leadership.","correct":false,"explanation":"Democratic leadership depends on consultation and shared decision-making, unlike Phil’s controlling methods. His end-justifies-the-means outlook fits Machiavellian leadership."},{"text":"Servant leadership.","correct":false,"explanation":"Servant leadership prioritises followers’ welfare and ethical development, whereas Phil manipulates others to secure outcomes. His approach is Machiavellian leadership."},{"text":"Laissez-faire leadership.","correct":false,"explanation":"Laissez-faire leadership involves minimal direction, but Phil actively controls the group and issues orders. His morally calculating approach fits Machiavellian leadership."}]},{"id":"f6e28858-657f-4cfd-961d-b4a058a29746","cardType":"basic","points":1,"front":"Which quotation shows Phil's final isolation?","back":""He doesn't answer. He doesn't look at you. He just stares into space."","mcqOptions":[{"text":""He doesn't answer. He doesn't look at you. He just stares into space."","correct":true,"explanation":"Phil’s refusal to answer or look at Leah, combined with staring into space, presents him as psychologically and socially isolated at the play’s conclusion."},{"text":""Phil puts another sweet in his mouth. He continues eating."","correct":false,"explanation":"Phil’s act of eating conveys his habitual emotional detachment, but it does not show his final isolation. The closing image has him unresponsive and staring into space."},{"text":""If you change one thing, you change the world."","correct":false,"explanation":"This confident claim expresses Phil’s belief in consequential power rather than his final isolation. His isolation appears when he neither answers nor looks at Leah."},{"text":""Everything is going to be all right. Everything is sorted."","correct":false,"explanation":"This statement presents Phil’s controlling certainty rather than the empty isolation of the ending. His final isolation is shown through silence, avoidance and staring into space."}]},{"id":"e02efea6-b1fa-4d52-984f-3763e625a21f","cardType":"cloze","points":null,"front":"Kelly's final warning is that a purely [ ], emotionless lifestyle leads to [ ].","back":"Kelly's final warning is that a purely utilitarian, emotionless lifestyle leads to existential emptiness.","mcqOptions":[{"text":"Kelly's final warning is that a purely utilitarian, emotionless lifestyle leads to existential emptiness.","correct":true,"explanation":"Kelly warns that judging actions only by their practical outcomes while suppressing emotion strips life of meaning, ultimately producing existential emptiness."},{"text":"Kelly's final warning is that a purely utilitarian, emotionless lifestyle leads to moral fulfilment.","correct":false,"explanation":"A utilitarian, emotionless lifestyle is not presented as producing moral fulfilment. Kelly’s ending instead suggests that such calculation leaves Phil with existential emptiness."},{"text":"Kelly's final warning is that a purely altruistic, emotionless lifestyle leads to existential emptiness.","correct":false,"explanation":"Kelly’s warning concerns utilitarian calculation, not an altruistic commitment to others. Its emotional suppression leads to existential emptiness rather than a meaningful life."},{"text":"Kelly's final warning is that a purely hedonistic, emotionless lifestyle leads to communal harmony.","correct":false,"explanation":"Hedonism centres on pleasure rather than the cold calculation associated with Phil, and emotional suppression does not create communal harmony. Kelly warns of utilitarianism producing existential emptiness."}]}]}],"examCountdown":{"examDate":"2027-05-12","paperLabel":"Paper 1"},"heading":"Essay Plans","title":"Essay Plans Flashcards","topbar":{"backHref":"/gcse/english-literature/aqa/flashcards"},"topicSidebar":"$L36"}]}],"topicId":"4fb3160b-e74a-5b33-9c34-3ffbaea84a54","walled":"$L37"}],"$L38","$L39"]