Fear, death, and love: a cultural semiotic view of animal symbols in Dürrenmatt’s The Dog

2.1 Dog as “being”

As the core of Heidegger’s philosophy, “Being” is not an entirely independent or singular “existence in the world,” but rather signifies that the “Being” encounters others in the world it is already embedded in through tools and interacts with them in a caring (fürsorgliche) manner, thus silently “revealing” itself through practical activities (Deng 2023: 44–50). In other words, “Being” means Being-in-the-world, inseparable from the world around it, appearing and existing at the same time as the world. It exhibits a kind of “interactivity,” that is, coexistence with others, an interconnected existence, and a social existence. At the same time, “Being” deals with different beings in its daily life, which means that it is in an integral relationship with the world in which it exists, similar to the state of unity between heaven and man. As an emotional entity, the “Being” inevitably presents itself in a state of presence, constantly engaging with its environment and forming a world through “concern”; and through “concern” and dealing with others, it forms a world of coexistence with others and through this coexistence, we reveal ourselves and others at the same time. In this way, “Being” shows a relationship of mutual inclusion and penetration between people and the world, i.e., discovering “oneself” in the world around us and encountering busy others in daily life (T. J. Zou et al. 2001: 96–105).

The dog in the novel exemplifies the characteristics of “Being.” It appears authentically in the vision and descriptions of “me” and others, rather than being fictional or imagined. Thrown into the world without a name, its origins, destinations, thoughts, and intentions remain unknown. However, the dog is far from an “isolated self.” Rather, it strives to be a faithful companion and spiritual support for humanity. While it conceals its thoughts or feelings, it unreflectively immerses itself in the world it occupies, constructing a world of coexistence through its interactions with “me” and the preacher’s family. Although it exists objectively as a heterogeneous entity, the emotional shifts of the dog inject the story with an urgency of fear, death, and love, compelling individuals to affirm and choose themselves through their own existence.

2.2 Dog as “faithful companion” in life

Among the multiple images carried by the dog, “faithful companion” is the most familiar. The intimate relationship between man and dog is often used as a classic prop symbol in novels and movies, which is also the most vivid embodiment of “companionship.” The Australian bush realist writer Henry Lawson hailed dogs as the best practitioners of “bush mateship,” arguing man and dog formed “a deep friendship and mutual dependence through the itinerant lifestyle and the harsh isolation of the Australian outback. This kind of companionship is based on mutual trust, respect, and loyalty, and is a manifestation of the bond between dogs and humans as they face challenges and share life together in the bush environment” (Scheidt 2018: 153). A reading of Dürrenmatt’s novel reveals that the author often uses “he” (er) or “partner” to refer to “dog” (Hund), which shows that in Dürrenmatt’s mind the dog is an equal being with human beings and is the best partner. Although it is not located in the isolation of the Australian bush, Dürrenmatt has given Christianity to the dog, making it a loyal dog that carries unconditional friendship.

In the novel, Dürrenmatt makes the main character taste the evils of human nature and the pains of life. It seems that he has lost everything, whether it is love, friendship, dreams, youth, or career. But in a society filled with so much malice, Dürrenmatt also gives him a touch of warmth, only this warmth does not come from human beings, but from a dog. The dog has no precise name, and we do not know its origin. It seems to be a stray dog abandoned by people, living by collecting leftover bones and vegetables near the square, but it climbs on the same spot in the square every day to listen to the preacher’s chanting. Because they have both been hurt by society, the preacher and the dog are initially suspicious and wary of each other’s proximity, but their sympathy makes them start to show kindness to each other, and the dog regains its trust in human beings. From that time, the preacher and the dog become close companions who comfort each other in a lonely world.

Later, when the isolated preacher has to cope with a series of dangers and challenges, the dog’s “yellow eyes showed a fierce light.” At this point, the dog always plays the role of a faithful companion, helping the protagonist to meet all kinds of tests and overcome all kinds of crises. When he learns that his dog has been tricked by a homeless man and has had his hair cut off, the preacher is furious and keeps asking, “Why don’t you go and trick someone else’s dog?” In fact, he already regards the dog as his companion, and he could tolerate others teasing his pet, but not his companion.

The American psychologist Rogers proposed a theory of personality that divides the “self” into an “ideal self” and a “real self.” The real self is the external expression of the individual’s physiology and psychology in a specific period of time, while the ideal self is “the irrational and false self-image that the individual fantasizes in order to escape from inner conflicts” (Xiao 2023: 3). The ideal self often arises out of an individual’s dissatisfaction with the current reality, and is an assumption and vision constructed by the individual in order to solve the existential dilemma. When the gap between the ideal self and the real self is narrowed, the individual’s sense of happiness and fulfillment is enhanced, and vice versa, it creates a huge psychological gap. In the story, Dürrenmatt tries his best to emphasize and portray the loyalty and warmth of animals, which, to a certain extent, amplifies people’s aspiration for and pursuit of the ideal self through the image of animals. This amplification precisely illustrates that the people of the society at that time lacked and longed for such spiritual qualities. When political changes and social upheavals make people fickle, indifferent, and cruel, animals, by contrast, possess the human characteristics of truth, goodness, and beauty that human beings lack. In other words, in the slightly dark social reality of life, the companionship of a dog allows the deeply frustrated preacher to enjoy some relief, so that his depressed and heavy mood due to mental torture can be temporarily relieved and released.

2.3 Dog as “spiritual pillar” in times of trouble

The term “spiritual pillars” usually refers to the firm beliefs, values, or sources of motivation that a person or a group of people rely on in order to cope with the challenges and difficulties of life in a given situation. These constitute the firm strength of mind that can give people faith, courage, and strength to help them face all kinds of difficulties and challenges in life (Liu 2018: 24–29). In Europe, the industrial revolution of the 1840s introduced technological advancements that brought convenience to people but also psychological pressure. This manifested in the loneliness felt by individuals due to urbanization and specialization. The “loneliness and lack of civilization” (Ward 1964: 232) of city life made people feel isolated and desperate, and under the gloom of war, people “seemed to carry the heaviest and most distressing burden in the world,” so much so that “death became the most pleasant thing in people’s minds” (Huang 2014: 69). Faced with the mental trauma brought by life, people were constantly looking for ways to dispel their inner loneliness. Dogs do not seem to be bound by the hardship of life and spiritual shackles, but still maintain their passion for life. As a result, dogs became the partners of human beings and the objects through which they release their emotions and relieve their fatigue.

As Heidegger pointed out, ordinary people are familiar with the things around them in their daily lives; the meaning of the world around them and the role of the self (the ordinary person himself) as a living space are self-evident, and it is comfortable to live in this world. However, in terms of their mode of existence:

[Humans do not] exist as their true selves, but rather in a state of homelessness, in which objects, the world around them, and existence itself lose their self-evident meanings; the world is presented to them as nothingness, and their true selves exist only in the face of nothingness as an existential possibility, which is eerie and full of fear. The true self has no other choice but to accept its situation and choose its own way of existence with determination and conscience. (Chen 2023: 101–108)

In the face of the mental trauma brought by life, people are constantly searching for ways to dispel their inner loneliness.

From the description in the novel, humans can be deeply impressed by the main character’s loneliness. He keeps to himself because no one understands, talks to himself because no one talks to him, and can even recite the Bible aloud in an empty square. It is a dog that blocks the preacher’s further descent into madness, for it becomes his faithful listener. The dog seems to be endowed with the ideal morality of human beings and becomes a special emotional carrier, reflecting the misery of the preacher’s life world and the misery of his spiritual world while at the same time showing his desire and longing for a better life. He spends time with the dog, they keep each other company, and it even brings him home despite the danger. For the preacher, the dog is his spiritual confidant. It does not seem to be bound by the hardships of life or the chains of spirituality, and still maintains a passion for life. He always accompanies the lonely and eccentric preacher, listening to his continuous chatter; no matter how strange the preacher’s behavior, the dog is extremely patient. This kind of simple loyalty and docility is even more precious in an alienated society and the reality and indifference of human nature. For the preacher, the dog is his companion and the object through which he releases his emotions and relieves his fatigue, and the dog’s companionship and unrelenting support are the spiritual pillars that prevent him from falling into total depravity and doom.

2.4 Dog as a “alienator”

The term “alienation” first appeared in Hegel philosophy. He maintains the point of view that nature, mankind, and social ideology are all objectifications, i.e., external manifestations, of ideas. The process of the external manifestation of ideas develops from insufficient manifestation to full manifestation. After the formation of human society, ideology is manifested through the outcomes of human spiritual activities, i.e., by ethics, moral norms, laws, etc. When it extends into the realm of philosophy, the concept completes self-awareness and undergoes a process of returning to and unifying the concept itself. Heidegger provided an in-depth interpretation of the theory of “alienation” based on the authentic and inauthentic states of being. In his view, in daily life, because of being swayed by the chaos, one forgets the identity of “here” and goes to the situation of “sinking” and “thrownness” (being thrown into the world), which inevitably falls into the non-genuine existence of the common people and gradually alienates. In the state of the common man, “this Being” is gradually assimilated by smoothing out its distinctive edges and gradually transforming its true existence into a mediocre “average state.” Even if the true self freely chooses the ordinary way of existence with determination, the everyday world will not become the home (Heim or Heimat) in which humans reside; it is always alienated (Deng 2023: 44–50). It can be seen that, in Heidegger’s view, the various situations of reality gradually alienate human beings into beings that are not their true nature. Marx further developed the theory of alienation and gave it a cultural-critical meaning. In his view, as far as the world in which humans live is concerned, both private ownership and religion are the results of alienated labor (Yi 1997: 10–16).

Throughout the short story The Dog, the abovementioned “alienation” is particularly obvious in the depiction of the unbalanced development of modern society. The dog changes its usual docility and loyalty and starts to launch a brutal attack on the preacher, who used to regard him as a companion. In this way, Dürrenmatt points the finger of criticism at the greed and insatiability of human nature. By writing about the viciousness of the dog, he expresses its unfortunate experience of being manipulated and controlled by human beings and refers to the cold interpersonal relationships in the city, as well as the bewildered and desperate state of existence of the ordinary people living at the bottom of the society, like city pets abandoned by human beings in the midst of such a relationship. Dogs seem to be gradually sinking in the urban development; they become the victims of modern civilization in the city, the alienated, existing, and living in indifference, wandering and destroying in numbness and deformity. Through the animals, the author wants the readers to clearly see human beings themselves, as well as human nature itself. When human beings treat animals with cruelty and callousness and treat all human beings and nonhuman beings as other than themselves, such cruelty and callousness may eventually turn into sharp swords and backfire against human beings themselves (Wu 2024: 145).

2.5 Dog as “ferocious beast” that instills “fear”

The dog comes into people’s sight at the beginning of the novel. Dürrenmatt endows it with the terrifying image of a ferocious beast through its appearance. The dog has “yellow eyes” and “deep black fur drenched in sweat.” When it opens its mouth, one can see its “similarly yellow teeth.” The dog’s “horrifying appearance” and “gigantic size” immediately evoke unease in the reader. The “yellow eyes” seem to exude a sense of coldness and danger, as if embodying the untamed wildness of nature; the “deep black fur drenched in sweat” and “similarly yellow teeth” further intensify the impression, vividly portraying the dog’s extremely dangerous and unpredictable nature. When the “I” narrator first sees the dog, the fear he experiences does not stem from the dog’s actual behavior but from the threat and oppression conveyed by its appearance. The fear is so intense that “I” feels “a chill run down my spine,” and states that “I have never seen a creature as terrifying as it.” In fact, the fear induced by the dog’s appearance is not unique to the narrator. The attitudes of other characters in the novel toward the dog permeate and influence each other, amplifying the fear in their hearts to some extent. The preacher, afraid of the dog’s danger outside the mission, lies on his mattress all day long; the girl, sensing her father’s fear, seeks help from “me”; and her terror when facing the dog also makes “me” feel a bit more anxious and nervous both consciously and psychologically.

Simultaneously, the novel’s depiction of the dog’s behavior further underscores its presence and terror. The nameless dog suddenly appears beside the preacher one evening, without warning or explanation, much as how fear often descends unexpectedly. Its very presence is a mystery and an ominous sign surrounding the preacher. From then on, the dog never leaves the preacher’s side. While the preacher is preaching the truths of the Bible, the dog “lies motionless at his feet, with its yellow eyes fixed on the audience.” Whenever someone tries to approach the preacher, the dog immediately assumes a defensive posture, and stands in front of the preacher, growling threateningly. The stark contrast between its serene companionship with the preacher and its menacing glare at others paints the dog as both a silent guardian and a shadow looming over the preacher. In the alternation between stillness and movement, the dog is endowed with a powerful and unignorable menace.

The dog possesses a terrifying appearance and unpredictable behavior, and through these aspects, Dürrenmatt creates an animal image that instills fear. In other words, the dog, as a ferocious beast, is the embodiment of “fear.” The sense of fear is “an emotion generated in situations where human existence is threatened, targeting sources of actual or imagined danger” (Petrovsky and Yaroshevsky 2000: 527). Hence, as a paradox of rationality and irrationality, the dog, through its existence, highlights the balance of tension between the two; as the “Being” that constitutes the “world of coexistence,” the dog, with its detailed appearance and highly individualistic actions, becomes a dangerous target in people’s imagination, adding a layer of mystery and terror to the novel.

2.6 Dog as the “murderer” that ends life

Freud describes “fear” not only as a response to external threats, but also as “a natural perceptual response to expected harm, and a manifestation of self-preservation” (Freud 1986: 41). If we consider death as the ultimate destination of life, then the fear of death must be the most instinctive and profound fear in humans. Therefore, the dog in the novel not only represents fear but also indeed brings death.

The initial relationship between the dog and the preacher is harmonious and amicable. The dog remains quietly by the preacher’s side after its appearance, showing no signs of wanting to harm him. The preacher, in turn, seems to accept the dog’s presence or is completely unaware of it. However, as the novel develops, both their behaviors change. One winter afternoon, the dog exhibits unusual behavior; it no longer lies at the preacher’s feet but instead blocks the basement door, preventing anyone from entering. The preacher’s behavior becomes even more abnormal; previously indifferent to the dog’s presence, he now lies on his mattress all day in fear, not even daring to pray. At the request of the preacher’s daughter, “I” attempts to kill the dog, but it is already too late. The preacher is found “lying there, torn to pieces by the dog, completely unrecognizable.” The dog’s sudden attack on the preacher comes without obvious warning. The abrupt change in the dog’s behavior and the brutal process of it tearing the preacher to death underscores the unpredictable elements in life, reflecting the ruthlessness, randomness, and unpredictability of death. At the request of the preacher’s daughter, “I” attempts to end the dog’s life with a gun to prevent any further harm it might cause.

As “I” personally witnesses the dog’s various behaviors and the reactions of the preacher and his daughter to the dog, the fear in the narrator’s heart is palpable. However, “I” is willing to kill the dog, which is not solely driven by his lover’s request but also stems from the human instinct for survival and the deep desire to fend off death. Nonetheless, when “I” arrives at the scene, it is too late, and “I” can only confront the suffocating sight with a heavy heart. The outcome of “defeat without battle” illustrates the inevitability of life’s march toward death and highlights humanity’s despair and helplessness in the face of life’s end.

2.7 Dog as a “metaphor”

Rather than just being a linguistic phenomenon, metaphor is more importantly a human cognitive phenomenon (Shuang 1998: 11–20).

Aristotle thinks that “Metaphor is the application of a strange term either transferred from the genus and applied to the species, or from the species and applied to the genus, or from one species to another or else by analogy” (Aristotle 1965: 81). The mapping of symbols between two semantic fields with different categories can be realized through metaphor. As the most important image and symbol in the novel, the “dog,” which is “huge and with sulfur-yellow eyes,” is “metaphorized” throughout.

In fact, Dürrenmatt himself, like the preacher in his novel, can be characterized as a “marginalized person.” He is a special individual who is detached from the mainstream of society and has a worldview and values that are very different from those of others. He believed that it is impossible for people to fully identify with a society that has existed, exists, and will exist in the future, and that they are always bound to adopt an attitude of opposition in one way or another. Opposition is a matter of literary art, and opposition requires people, because it is only in dialogue with others that things and ideas continue to develop. Because Dürrenmatt had his own unique ideological beliefs and behavioral logic, he was in some ways out of step with society at large. The lack of social identity and the difficulty in realizing the value of life make his spirit return to nature to a certain extent and create emotional perception and resonance with the grotesqueness of nonhuman existence and life. As a result, he turns to another space of existence and speaks out his inner thoughts and ideas through the mouths of animals. From the development of the plot, we can see that Dürrenmatt uses the image of the dog to express his own irony and thoughts about religion.

2.8 Dog as evil reflected by goodness and truth

As Yang (2010) points out, the “goodness” of human nature is often regarded as the “foundation of a gentleman.” According to Confucius, although human nature is inherently good, it is not purely good and beautiful, and it is only through consciously learning the “rites” and strengthening self-cultivation that human nature can be realized as good. Additionally, “goodness” is only “the factor of goodness.” If it is not hindered by the environment, coupled with their own learning and cultivation, the goodness of people will naturally develop from within to achieve the goal: “‌The goodness of human nature is like water flowing downwards; no one is not good, just as water does not flow upwards” (Yang 2010: 146). Unlike Confucius and Mencius, Xunzi believes that the natural instincts of human beings lead to the pursuit of selfishness, and the pursuit of selfish desires is the root cause of social strife and turmoil, i.e., “human nature is evil; its goodness is also pseudo” (Zhang 2012: 23). In Western culture, the goodness and evil of human nature mostly stems from the development of multiple rationalities. Aristotle believed that humans possess the nature to live a rational life according to the principle of rationality, i.e., on the one hand, they can live passively and rationally under the legal norms; on the other hand, they can consciously and actively pursue a rational and virtuous life. However, Aristotle also pointed out the limitations of reason. He emphasized the existence of inherent bestiality in human nature, which is affected and constrained by irrational factors such as emotions. During the Christian era, human nature was endowed with the possibility of goodness, but it had to rely on the external constraints of otherness in order to realize that possibility. It is because of the above view of human nature that Christianity is centered on the suppression and rejection of man’s natural desires and needs for profit, and on the vilification and denial of the principle of human nature’s profit. “Evil” in traditional Chinese philosophy is often accompanied by top-down moral evaluations, while “evil” in Western philosophical thought refers to the limitations, vulnerability, and animality of human nature. In contrast to the tradition of Western rationalism, Dürrenmatt’s “dog” becomes a special symbol for criticizing the “evil” of religion.

When first describing the dog’s appearance, Dürrenmatt chooses an image that doesn’t resemble any creature in the world. The grotesque appearance is a nod to the three-headed hellhound Cerberus from Greek mythology. As the guardian of the underworld, Cerberus appears as a “demon” image in people’s minds. It possesses an indescribable, monstrous strength and lethal ability, with legends claiming that a single bite from it would result in instant death. Evidently, the essence of “evil” is faithfully preserved in Dürrenmatt’s writing. Simultaneously, the novel emphasizes the dog’s eyes as sulfur-yellow (schwefelgelb). According to Goethe’s color theory, yellow represents negativity and evil. In the Bible, sulfur is often associated with “God’s punishment” and “hell.” For the dog’s fur, Dürrenmatt uses the term “deep black” (tiefschwarz), a color regarded in religious culture as “taboo,” symbolizing death and ominousness, representing evil, crime, and demons. Therefore, the dog in the novel symbolizes evil and punishment.

The symbolic meaning of the dog becomes even more apparent from its sudden appearance. The dog appears one day after the preacher has begun his sermons, serving as an unexpected yet inescapable presence. The preacher came to spread the truth, but his fate seems inextricably linked to the dog from the moment the dog arrives. Although originating from “goodness” and “virtue,” the dog reflects “evil” and “badness.” The relationship between the dog and the preacher mirrors that between good and evil: contradictory and opposing, but inseparable. As Peter Spycher (1992: 53) points out, it is not the preacher who attracts the dog, but the truths contained in the Bible that manifests the world’s evils and fears. When “I” first sees the preacher, “I” is struck by the preacher rather than the giant dog, which indicates that the dog’s “evil” needs the contrast of goodness and truth to become evident. The preacher’s sermon on the Bible is described as “calm and rational,” but the dog’s presence renders his preaching unconvincing. This suggests that even the most potent forces of truth and goodness are undermined by the existence of evil, shaking people’s faith. The mystery surrounding the dog’s origins symbolizes the powerful nature of evil and chaos, highlighting humanity’s inability to fully comprehend or control it. Therefore, the dog in Dürrenmatt’s novel is not merely a symbol of evil but a representation of all terrifying things that stand in opposition, reflected by goodness and truth.

2.9 Dog as love concealed within the real world

As the central symbol in the system of Christian belief, “love” has been emphasized beyond measure and has become the supreme rule for every human being in his or her relations with others, as the keystone of all laws. In the New Testament of the Bible, love is described as follows:

4 Love is patient, love is kind. It does not envy, it does not boast, it is not proud.

5 It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs.

6 Love does not delight in evil but rejoices with the truth.

7 It always protects, always trusts, always hopes, always perseveres.

8 Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away.

9 For we know in part and we prophesy in part,

10 but when completeness comes, what is in part disappears. (1 Corinthians 13: 4–10, Holy Bible NIV version)

While the first verses focus on illustrating love in terms of God’s love, the last verses illustrate love from the perspective of the individual in the midst of earthly history in the form of affirmation and negation, respectively. In other words, whether one loves oneself or others, as long as one fulfills any one of these two descriptions, one is “loving.” At the same time, the definition of love opens the way to the realization of the freedom to understand and see one’s own and others’ existence outside of hierarchical associations, rather than confining oneself and others to hierarchical systems determined or constituted by the earthly objects one possesses.

For our existence, liberation from hierarchical associations means that we return to where we are, i.e. we have escaped from the shackles of constraint and returned to a natural state. From an existential point of view, this liberation means that we find our way back to free existence. Whether it is self-love or love of the Other, as long as it is love, it must be abiding in freedom and allowing someone or something to be at home – free. Love is therefore a universal love that includes love of the Other. Insofar as love is the primary principle that each person should hold toward the Other, love means that each of us must first and foremost respect and uphold the free existence of the Other, that is, respect and uphold the autonomy and self-reliance of the Other. All treatment given to others – care, concern, support, help – must be guided by respect for and preservation of the autonomy and self-reliance of others. In other words, love must aim at the autonomy and self-reliance of others; otherwise, it is contrary to the principle of love and cannot be taken as love in the true sense. From this love in the Christian sense comes love that transcends kinship, race, and even species. It summons people to spiritually liberate themselves from the inordinate affection of kinship to cast off the excessive interdependence between relatives, and at the same time, it will also then continuously promote and push people to liberate themselves from all kinds of personal dependence at the level of law and custom, to place love in a wide range of human beings, nature, and society. In the novel, the love that should have been highlighted in the world is hidden in the evil of reality and the sadness of death.

As previously mentioned, the dog serves as the embodiment of “fear,” symbolizing evil and death. However, underpinned by “love,” the dog’s attitude toward the real world has undergone a transformation. When the preacher’s daughter first meets the narrator, she describes the dog as a “child in the dark,” and believes it can “stand guard for poor love.” The girl’s words are prophetic, as if she has already foreseen the future developments, and that the narrator would play a crucial role in this unfolding drama. As they entwine under the moonlit night, the dog, as the preacher’s daughter predicted, watches them with its large, sulfur-yellow eyes like two moons, silently observing the lovers from a corner. The gaze has no love or jealousy, only profound observation and judgement. Therefore, the dog not only acts as a sentinel and witness to love but also symbolizes a reflection and judgment of the fear-filled and chaotic real world.

After World War II, Dürrenmatt confronted a world manifesting as disorderly and cruel. Immersed in the truths of faith, he suddenly realized that all goodness had vanished, and attempting to “rebuild faith on old ruins bore a hypocritical nature” (Chen 2023: 101–108). Faced with the chaos, Dürrenmatt did not succumb to self-pity; instead, in his short story, he describes a vision three days after the preacher’s death, pointing toward the Easter story in the Bible. Thereby, the element of “love” becomes intertwined with the dog’s existence. Before it can contend with the forces of evil, the dog follows along, attempting to drive away those who seek to heed the teachings of “goodness.” At that time, the dog is shrouded in evil, lacking understanding of forgiveness and sacrifice, and unable to comprehend “love.” However, the daughter’s unwavering faith in her preacher father leads to its transformation. When the dog allows “me” to enter the basement, it is not to meet the father, but to encounter the daughter, and the potential for creating “love.” In Dürrenmatt’s view, while we can highlight the destructive power of evil, using it to dismantle churches, burn scriptures, and kill the vulnerable “preacher,” there remains a broader and more profound path to overcome evil and realize truth – love.