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Io Evohe'nin Gerçek Anlamı
“Io Evohe” ifadesi Wicca'da batı gizem okullarından ödünç alınarak çok yaygın bir şekilde kullanılmaktadır. Uzun bir süre bunların sadece “barbarca kelimeler”* olduğunu düşündüm. Küçük bir araştırma öyle olmadığını gösterdi. Bu ifadenin bir çevirisi olup olmadığını merak ettim. (*Barbarca bir isim, büyü ritüellerinde kullanılan anlamsız (veya görünüşte anlamsız) bir kelimedir.)
Barbarca sözcükler, anlamsız sözcükler yaratmak için bir araya getirilmiş tohum seslerinden oluşur. Bazen saçma deriz çünkü sesler, seslerin yarattığı belirli titreşimlerin bir sonucu olarak konuşmacının zihni üzerinde dönüştürücü bir doğaya sahiptir. Ses zihni dönüştürebilir. Bu durum özellikle içsel benliğinizi değiştirmek için zikredilebilen bazı tanrıların isimleri için geçerli olabilir.
İfadenin ilk kelimesi çok basittir. Mısırlı bereket tanrıçası İsis'in Latince çevirisidir.
İkinci kelime biraz daha karmaşıktır. Collins İngilizce Sözlüğü bize “evohe'nin, Bacchic çılgınlık ünlemi” olan “evoe”nin bir varyantı olduğunu söyler.
Latince'den Cermen diline çeviri yaparken sıkça rastlandığı üzere, orijinal upsilon (u), ki bu genellikle şu anda “v” olarak bildiğimiz karakterle temsil edilir, olduğu gibi kalmış ancak muhtemelen yanlış anlaşılmıştır. Dolayısıyla yukarıda okuyabildiğimiz yazılışlara sıkı sıkıya bağlı kalmamız gerekmiyor.
Hellenicgods.org web sitesinde Dionysos'un pek çok ismini açıklayan bir makale bulunmaktadır. Özellikle bir giriş göze çarpıyor.
Évios - (Euius; Gr. Εὔιος, ΕΥΙΟΣ) Évios, Diónysos'un bir sıfatı olup, Tanrı ve ona tapanlar ve alemlerine katılanlar tarafından çıkarılan coşkulu sevinç ulumasına, εὐαἵ, εὐοἱ atıfta bulunur.
Sözlük girişi: Εὔιος (Εὔἱος EM391.15, krş. Lat. Euhius), ὁ, Baküs'ün adı, lirik pasajlarda εὐαἵ, εὐοἱ haykırışından; Εὔιος, = Βάκχος. II. εὔιος, ον, Adj. olarak, Bacchic. (L&S s. 717, sol sütun, sadelik için düzenlenmiştir.)- “Romalı şair Persius'un (M.Ö. 34-62) hocası Cornutus, bize şarap içenlerin Tanrı'ya ‘Bakchos’ ve ‘Euios’ gibi çeşitli isimlerle yakardıklarını söyler. [Cornutus, Theologiae graecae compendium XXIX.] M.S. 691 yılındaki İkinci Konstantinopolis Konsili Trullianum'da bu sahnelere atıfta bulunulmuştur. O tarihe kadar şarap taşıyıcılar hala 'Dionysos' diye bağırıyorlardı, ancak bu artık yasaklanmıştı. [μἡ τὸ τοῦ βδελυκτοῦ Διονύσου ὄνομα τοὑς τὴν σταϕυλὴν ἐκθλίβοντας ἐν τοῖς ληνοῖς ἐπιβοᾶν, aktaran P. Koukoules, Βυζαντινῶν βίος καὶ πολιτισμός , s. 293.]” (Dionysos: Yok Edilemez Yaşamın Arketipsel İmgesi, Carl Kerényi, 1976, Princeton Univ. Press. s. 67)
(ed. Évios, Dionysos'un bir adıdır ve “Aferin oğlum!” anlamına gelir. Zeus'a atfedilen bu sözler, Baküs'ün devlerle mücadelesinden zaferle döndüğünü gördüğünde söylenmiştir. Evoe ya da Evan, Baküslülerin orjilerinin kutlanması sırasında Tanrılarını çağırdıkları ünlemdi. (CM*p.181)
Yukarıda bahsedilen davetkâr haykırış öylece unutulup gitmedi. 1903 yılında Ginn & Company, Allen and Greenough's New Latin Grammar for Schools and Colleges adlı kitabı J. B. Greenough, G. L. Kittredge, A. A. Howard, Benj. L. D'Ooge, Ed. Yukarıdaki her iki tanrının adı da sevinç ünlemleri olarak belirtilmiştir.
Kesişmeler
[*] 225. Bazı ünlemler sadece doğal duygu ünlemleridir; diğerleri konuşmanın çekimli kısımlarından türetilmiştir, örneğin em, lo (muhtemelen eme, take için); age, come, vb. Tanrıların isimleri herclē, pol (Pollux'tan) vb. şeklinde ortaya çıkar. Birçok Latince ünlem Yunancadan ödünç alınmıştır, euge, euhoe, vs. gibi.
[*] 226. Aşağıdaki liste yaygın kullanımdaki ünlemlerin çoğunu içermektedir:- ō, ēn, ecce , ehem, papae , vāh (şaşkınlık). iō, ēvae, ēvoe, euhoe (sevinç). heu , ē˘heu, vae, alas (üzüntü). heus, eho, ehodum, ho (çağırma); st, hist.êia , euge (övgü). prō (tasdik): prō pudor, utanç gibi.1 Bunlardan bazıları zarfların sınıflandırılmasına dahil edilmiştir. Ayrıca Korelatifler listesine bakınız. § 152.
Altın Şafak Tarikatı'nın 1903 yılında İngiltere ve Amerika'da popülerlik kazanmakta olduğunu belirtmeliyim. Başka hiçbir okült örgüt çağdaş cadılık hareketi üzerinde Altın Şafak kadar etkili olmamıştır. Bugün kullanılan ritüel kavramlarının çoğu Altın Şafak tarafından kodlanmış ve aktarılmıştır.
“Io Evohe” diye bağıran bir cadı, bir sevinç ünlemi olarak dişi ve erkek bereket tanrısının isimlerini haykırmış olur: ”İsis! Bacchus!” Şimdi siz (ve ben) binlerce cadı sorusundan birini yatağa atabiliriz.
Güncelleme: Tüm bunların orijinal telaffuzla uğraşmak isteyenlere yardımcı olmayabileceği dikkatimi çekti. İstemeyenler için, bu ifadeyi geleneksel olarak “EE-oh ee-voh-HAY” şeklinde telaffuz etmek her zaman kabul edilebilir.
Hem Latince hem de Yunanca, hangi hecenin vurgulanacağını belirlemek için bir dizi kurala sahiptir. Genellikle, içinde kısa bir sesli harf olmadığı sürece “sondan bir önceki” (sondan ikinci) hece telaffuz edilirdi. Bu durumda vurgu “sondan bir önceki” heceye (sondan ikinci hecenin yanına, yani sondan üçüncü heceye) kayardı. Vurguyu son heceye veren istisnalar her zaman olmuştur.
“Io” örneğinde, sadece sesli harfler mevcuttur. Bazı ünlüler çift hece oluştursa da, i+o için çift hece yoktur, dolayısıyla bunlar ayrı hecelerdir. Yukarıdaki kuralı ve Latince telaffuzu kullandığımızda “EE-oh” elde ederiz. Bu, Latince O'nun Yunanca omikron yerine Yunanca omega'dan geldiğini varsaymaktadır. Eğer orijinali omikron ise, isim “EE-aw” olarak söylenebilir ve “Be off” ifadesiyle kafiyeli olabilir.
Diğer ismin çeşitli telaffuzları olabilir. Kilise Latincesi V'yi V olarak telaffuz ederken, klasik Latince W olarak telaffuz ediyordu. Yunancada H, “eh” gibi ses çıkaran Eta sesli harfidir. İlginç bir şekilde, bu kelimenin H'yi düşürerek “evoe” haline getiren başka bir yazılışı daha vardır. Bu, orijinal kelimenin Yunanca olduğuna ve H'nin İngilizce'de bildiğimiz nefesli harf yerine Eta olduğuna dair bir ipucu olabilir. Bu da eta sesli harfinin “oe” çift sesinden hemen önce geldiği anlamına gelir. Tüm bu sesli harfler “oy” gibi bir sese karışır, Bu da modern ya da klasik Latince telaffuz tercihinize bağlı olarak telaffuzu “EY-voy” ya da “EY-woy” gibi bir şey yapar.
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Cristina Peri Rossi, tr. by Diana P. Decker, from These Are Not Sweet Girls: Poetry by Latin American Women; "Evohe"
[Text ID: "I feel something undefined"]
#cristina peri rossi#lost#uncertainty#excerpts#writings#literature#poetry#fragments#selections#words#quotes#poetry collection#typography#poetry in translation
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Dionysian Khernips Prayer
I'm popping in two prayers ahead of my Lenaia prep tonight: this one is a blessing of water to make khernips, and specifically asks Dionysos to bless the water. I don't believe khernips are necessary, but for me, it helps to get my mind into a state in which I feel prepared to worship :) The setup isn't super complicated: just a bowl, some water, optionally some salt, and a willingness to pray
[preferably done after a primary invocatory prayer to Dionysos, such as the Orphic Hymn to Dionysos]
Dionysos Hagios, pure and holy God, God who raised Semele from below to become Thyone, God who raised Ampelos to become His very blood, God who raised mortal Ariadne to become the immortal Bacchic Queen, I pray with this water I may briefly be raised as well.
Dionysos Iatros, healing God, May this water be clean like the tears You shed over those You love, May it be clean like clear springs on Your holy mountains, May it be clean like the showers that bring life to Your sacred plants, So that through it I may be cleansed and healed.
Dionysos Lysios, God who frees, Bless this water so it may wash away my aches and pains, Bless this water to imbue it with blessed divinity, Bless this water, and bless everything it touches. Evohe, my God, I praise You for what You have blessed!
#dionysos#dionysian#dionysus#hellenic polytheism#hellenic polytheist#hellenic pagan#hellenism#hellenic gods#dionysos deity#dionysus deity
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Ethylene Vinyl Alcohol (and Multilayer Plastic) Recycling
Ethylene vinyl alcohol (EVOH) is a common copolymer used in packaging and medical equipment. While it is technically recyclable on its own, it is most often used in conjunction with other plastics in multilayered plastic materials. As such, EVOH is not typically considered recyclable, as separation of plastics is challenging. Most EVOH ends up regular trash streams. However, as with polymers and plastics in general, there is a growing interest in being able to recycle these materials. One particular avenue of research is the STRAP process, first published in 2020, that uses a solvent to separate out multiple plastics. Research like this is only the first step: the original work was only demonstrated on a polyethylene terephthalate, EVOH, and polyethylene film. More work needs to be done before EVOH recycling is commonplace.
Sources/Further Reading: (Image source - University of Wisconsin) (2020 article) (CitizenSustainable) (Waste Nil)
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Great Mother without Beginning, without ending...
IO IO, EVOHE EVOHE Blessed be !
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“ Nevertheless the police keep an eye on him, and the result is a highly dramatic situation which once gave rise to a fraternal and memorable cry; that cry which was celebrated about 1830, is a strategic warning from gamin to gamin; it scans like a verse from Homer, with a notation as inexpressible as the eleusiac chant of the Panathenæa, and in it one encounters again the ancient Evohe. Here it is: “Ohé, Titi, ohééé! Here comes the bobby, here comes the p’lice, pick up your duds and be off, through the sewer with you!””
Hugo continues his elevation of the gamin to a character worthy of being centered. Although the authorities look down on them (with the police scrutinizing them here), their words are compared to Homer’s work, placing them in the “canon” of Western literature. Hugo also tries to capture their slang here (I think - it’s difficult to tell in translation, but it seems that the elisions and the sounds are a way of illustrating how they speak), putting their dialect on the same level as epic poetry.
And now on to my favorite part of this chapter: pears!!
“ from 1815 to 1830, he imitated the cry of the turkey; from 1830 to 1848, he scrawled pears on the walls.”
I don’t know if the turkey sound has a specific political significance, but the pear drawing refers to this:
The caricaturist Charles Philipon was put on trial in 1831 for supposedly offending the dignity of the king with his satirical publications. During the trial, he argued that anything could be made to resemble the king, with the transformation of Louis Philippe into a pear here serving as an example. The pear came to be a commonly used symbol in criticisms of the king, hence its popularity with the gamin. Hugo himself wasn’t opposed to Louis Philippe, which may be why he depicts him as being good-humored enough to help a gamin finish his pear drawing and then pay him, but pears overall were meant to mock the king, often for his weight or a supposed lack of intelligence. Although Hugo’s position on Louis Philippe can be odd in this novel (given that there’s so much criticism of France under his rule but not of the king himself), I do think it’s hilarious that one of the ways of portraying him more positively is having him make propaganda against himself.
(drawing from the British Museum - Croquades faites à l'audience du 14 nov. (Cour d'Assises))
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Thank you for answering about why you chose Thasos. You said you could do a whole post on the UPG and the inscription alone. No rush but when you have time I'd love to read it!
(This took me much longer to put together than I wish it had, my apologies for the wait. Fair warning to everybody who isn't the anon, this is a follow-up question to this post. I strongly recommend you read this preliminary post first for important context).
Let me start with the inscription, since it requires a bit of commentary. Here is my translation (from French to English; as it was published without the full ancient Greek text):
For you, an open-air temple, enclosing an altar, and its cradle of (grape)vine, O prince of the Maenads, a beautiful evergreen cave. That is, Dionysus Bakkheus, what Timokleides, son of Diphilos, founded; and for the initiated, a venerable oikos where to sing evohe, and the wave of the Naiads Nymphs with pure radiance; this is what with your grace, willing to mix the sweet nectar that pauses the worries of men has consecrated your priest, O blessed one; and you, in your turn, keep a physician in Thasos his homeland, keep him safe, you who always return young from year to year.
*the Greek term here is θυηπόλος which means “who performs sacrifices”, “priest” but also “diviner/soothsayer”. The French translators chose the term “minister”, and I’m choosing “priest” for simplicity’s sake, but while Timokleides was clearly the one performing the sacrifice that is linked to this dedication and this altar, but it’s impossible to say if he was a “Priest” from the term alone (as in city, temple-bound priest).
To give some background: This inscription was found in Thasos and dates back to the 1st century AD. It gives us information on the dedicant - Timokleides - who self-describes as a local doctor. The overall context, which is supported by other, more fragmentary, inscriptions from Thasos is that the island was the home to private dionysian associations (thiasoi, but not always) whose presence on the island span between the 1st century AD to the 3rd century. What hints at an associative context here is the mention of “the initiated”. The altar Timokleides was dedicating was both for his personal use and the use of the member of the association he was a part of.
But what made this inscription stand out to me isn’t the associative context. It was those first few lines: “For you, an open-air temple, enclosing an altar, and its cradle of (grape)vine, O prince of the Maenads, a beautiful evergreen cave.” and it is precisely this description that led researchers Jaccottet and Wyler to write a dedicated article about it. Before I start summarizing their analysis on the matter, let me explain where my UPG comes in the picture.
My UPG was specifically a very vivid (lucid) dream in which the setting corresponds to the description given, with emphasis on the words I’ve put in bold. If I were to choose a picture to illustrate it, I’d choose something like this:
Except it was denser, wider, taller and seemed endless. I can recall the yellow-green colour of a harsh sun hitting the leaves, very much like on the brightest parts of the picture above. He was there, mostly silent, if not for a sentence about a ring on his finger that was of a stone sharing the same hue of bright green.
So when I read that description, a good few months after having this UPG, it rang a massive bell, but as I said in my last post, I had no clue what to do of the information and let it simmer. And it also didn’t come to me to check the location the inscription was linked to at the time.
Then I found the article, titled ‘‘Le bel antre toujours vert’’ : une architecture éphémère, entre texte et imaginaire by Anne-Francoise Jaccottet & Stéphanie Wyler. It was impossible to miss, because “un bel antre toujours vert” is the French translation to “a beautiful evergreen cave”. In this article, the authors focus on the ephemeral quality of certain altars, and especially the ones for Dionysus. They contextualise the important role of the idea of a cave in Dionysus’ myth (think the cave in which Semele gave birth, and then where the nymphs raised him.) They argue that the Ancients, in order to replicate the mythical idea of the verdant cave of Nysa and to link themselves with the Dionysian retinue (maenads and satyrs), have found architectural alternatives to create a vegetal “cave”, which has taken various forms throughout the centuries.
Now, concerning the Thasian inscription in particular, the authors come to a very similar conclusion to the one I ended up with through my UPG:
“Si ce temple en question n'a pas de toit en dur, le feuillage vert de la vigne se charge de lui en fournir un dont la nature sied particulièrement au dieu que l'on y compte honorer, Dionysos, dieu de la vigne et du lierre. Que cette structure, couverte de l'entrelacs des pampres, comme une tonnelle, soit reprise dans la dédicace par les termes d'"antre toujours vert" ne saurait dès lors paraître incongru. La verdure de la couverture végétale du temple fait écho au qualitatif aeithales, alors que la forme extérieure de l'ensemble, structure bâtie pour sa base et couverture de pampres, se conçoit assez naturellement comme une métaphore de l'antre.”
“If the temple in question does not have a hard roof, the green foliage of the vine provides it with one, the nature of which is particularly suited to the god it is intended to honour, Dionysus, god of the vine and ivy. The fact that this structure, covered with the interlacing of vine branches, like an arbour, is referred to in the dedication as an "evergreen cave" cannot therefore seem incongruous. The greenness of the temple's plant cover echoes the qualitative of aeithales*, while the external shape of the whole, a structure built for its base and covered with vine branches, is quite naturally conceived as a metaphor for the cave.” *ἀειθαλής = evergreen
The article itself is a call for historians to revisit the existing archaeological evidence with the knowledge of the existence of this type of structure, which might have been hard to notice.
So there it is. The full explanation of how I lost my mind trying to make sense out of this mess. In hindsight, I am glad it all spanned over several months to get from the UPG to Jaccottet's thesis to the last article I summarized, because otherwise the overload would have been real. It's only after all this that I decided to dig deeper into Thasos as an island, which links back to what I described in the first ask you sent. I am typically wary when it comes to sharing UPG because it is intrinsicly subjective, but this is a case where I feel I have enough material outside of it to justify why this isolated inscription was the turning point in my (very) personal practice.
#thasian recon#upg#very sorry if there are typos#I've finished writing this after a day of work and it's late and I'm tired lol
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takrak
SSA RU PU LLAC LIL EVOHS DNA KEEW SITH ROF MAERTS KCUTSEMOH EHT EKOVER .GNIKCUF OT NGIOG MI
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HDPE Bottle Market Size Expected to Expand with Growing Demand for Sustainable Packaging
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Exporter of Multilayer Blown Film Extrusion Machine in Suriname
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Palaios
Dionysos Palaios, You danced in the clouds at the dawn of creation, The stars were placed to play roles in Your tales, The galaxies twirled around You like glorious chitons.
Di-wo-nu-so, You have been venerated for thousands of years, The Minoans praised You with wine and offerings, Your glorious wife came from their holy stock.
Διόνυσος, You were roaring through Greece in times of old, A young God You were, with old eyes, All who saw You knew to praise You.
Dionysos Palaios, You stretch across time to modernity, Your followers see themselves reflected in You, And You provide them reminders of long-forgotten holiness.
Evohe, evohe, evohe, Praise to ancient Dionysos, Praise to Dionysos Palaios! Your glory lives on, And we will never let it die!
#dionysos#dionysian#dionysus#hellenic polytheism#hellenic polytheist#dionysos deity#dionysus deity#hellenic pagan#hellenism#hellenic gods#helpol#paganblr
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Sustainable, high-performance paper coating material could reduce microplastic pollution
Plastic pollution presents a global challenge that must be solved. In particular, packaging accounts for 30–50% of the total plastic consumption. While paper packaging is eco-friendly, it lacks crucial functionalities like moisture resistance and strength. Traditional coating materials exacerbate plastic pollution, prompting the need for sustainable alternatives. Polyethylene (PE) and ethylene vinyl alcohol (EVOH) are typically used as coating materials to improve the low barrier properties of paper packaging, but these substances do not decompose and worsen microplastic pollution when disposed of in the natural environment. In response to this problem, packaging materials made from bio-based substances and biodegradable plastics have been developed, but in most cases, as the packaging performance improves, the biodegradability diminishes rapidly.
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#Materials Science#Science#Plastics#Polymers#Pollutants#Coatings#Packaging#Biodegradable#Polyvinyl alcohol#KAIST
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Meat Packaging Market Surges as Demand for Sustainable and Innovative Packaging Solutions Grows
Comprehensive Market Insights and Research Methodology
This report offers an in-depth regional analysis of the Meat Packaging Market industry, covering global, regional, and country-specific levels. Such an analysis is critical for understanding market penetration, regional leadership, and the growth strategies employed by key industry players. A SWOT analysis is utilized to assess the strengths, weaknesses, opportunities, and threats in the market landscape. The primary goal of this research is to provide thorough insights into the market dynamics and emerging trends shaping the Meat Packaging Market industry. Key market participants are continuously competing for a competitive edge, leveraging strategic initiatives and innovation in product offerings.
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This report aims to clarify the structure and dynamics of the Meat Packaging Market market by analyzing its various segments and estimating market size. It also explores the key drivers of market growth, challenges, and opportunities such as cost reductions, government incentives, sustainability concerns, and technological advancements.
Regional Analysis of the Meat Packaging Market
Regional assessments are conducted to analyze the status of the Meat Packaging Market market in North America, Europe, Asia Pacific, Latin America, the Middle East, and Africa. The report provides a detailed examination of factors such as market size, growth rates, and import-export dynamics in different regions. The market is segmented by geographical regions to give a clear understanding of the prevailing trends and market behavior in each area.
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Meat Packaging Market Segmentation
By Type
Poultry
Beef
Pork
Seafood
By Material Type
Polyethylene (PE)
Polyamide (PA)
Polyvinyl Chloride (PVC)
Ethylene Vinyl Alcohol (EVOH)
Biaxially Oriented Polypropylene Films (BOPP)
By Technology
Modified Atmosphere Packaging (MAP)
Vacuum Skin Packaging (VSP)
Vacuum Thermoformed Packaging (VTP)
Meat Packaging Market Key Players
Bemis Company, Inc
Winpak Ltd
Sealed Air Corporation
Berry Plastic Group
Coveris Holdings S.A
Amcor Limited
XtraPlast Packaging Materials
Silgan Holdings Inc.
DuPont De Nemours, Inc
Crown Holdings, Inc
Pactiv Optimum Plastics
Key Questions Addressed in the Report:
What is the Meat Packaging Market market?
What was the market size of Meat Packaging Market in 2023?
What is the growth rate of the Meat Packaging Market market?
What factors are expected to drive the growth of the Meat Packaging Market market?
What are the key market segments of the Meat Packaging Market industry?
Customization and Tailored Insights:
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#Meat Packaging Market#Meat Packaging Market Share#Meat Packaging Industry#Meat Packaging Market Size#Meat Packaging Market Research#What is Meat Packaging?#Meat Packaging Market Drivers#North America Meat Packaging Market#Europe Meat Packaging Market#Asia Pacific Meat Packaging Market#LAMEA Meat Packaging Market
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