Search

In a number of later poems, the Israeli poet Dan Pagis (1930–1986) persistently reproduced one and the same plot: the fullness of expression achieved by the artist suddenly turns into emptiness, and the seemingly unrestricted possibility of free poetic speech turns into silence. It seems, this paradox is due to the denial of the principle of mimesis (when art is interpreted as the practice of a continuously renewed, but obviously unattainable representation) and the poet’s attraction to such a statement, which ideally could become a form of silence. For example, in the prose miniature “Towards a literary survey” it is said that poems are written with “sympathetic ink”, and the poem “Small Poetics” depicts the process of creating a poetic text as passive listening to the “voice of a blank sheet”. The purpose of this article is to reconstruct the understanding of the essence of poetry, underlying these and some other (rather numerous) texts of Pagis, which can be conditionally called “poems about art”. The analysis carried out takes into account, among other things, the circumstances of the biographical plan – mainly, memories of the events experienced by the poet during the period of the Jewish Holocaust. The internally incomplete experience of being in his own past, perceived as a continuous but invariably unsuccessful return from the world of the dead to the world of the living, prompts the lyrical protagonist of Pagis (the poet) to perceive the writing of poetry as a painful attempt to overcome the horror of the emptiness surrounding him. At the same time, the poetic text turns out to be nothing more than a system of “scaffolding” (definition by the Israeli literary critic Vered Karti Shem Tov), which is not intended to erect a new building (“house” as an image of the world order), but only so that in this emptiness it might find at least some – albeit very fragile – support.

The article analyzes the poem by Viktor Sosnora (1936–2019) “Karacharovo” (1959). The poet entered the world of literature with a book of poems on Old Russia (“Horsemen”). He knew well not only written monuments, but also folklore, was well-read in folklore studies. At the same time, Sosnora felt himself the heir to Russian futurism. The main characters of the poem – the epic hero Ilya Muromets and the poet Vladimir Mayakovsky–are hidden through the figure of silence. Their images are revealed by the analysis of the reminiscent plan of the poem. Forming it, Sosnora “re-fantasizes” the events described in the works of different epochs, “updating” them for the modern reader. Besides, turning to cultural (Karacharovo is the native village of Ilya Muromets) and the reminiscent (a reference to the well-known lines of Mayakovsky) memory, Sosnora builds the past and the future in a historical perspective. The parallel between the bogatyr and the poet, Karacharovo and Baghdadi, most likely goes back to Viktor Shklovsky’s book “On Mayakovsky” (1940), and through it to the forgotten, but known to Shklovsky review of Roman Gul on Mayakovsky’s poems (1923) published in the Berlin newspaper “Nakanune”. If for Mayakovsky the epic time is in the past, for Sosnora it has not yet come; Ilya Muromets has yet to be born in Karacharovo. The tavern motif introduces the memory of the poetry and the fate of Sergei Yesenin into the associative field of the poem. Turning to the Оld Russian writings and folklore, the young Sosnora solved the problem of deep, not superficial, inheritance of the traditions of the Russian futurism (Vladimir Mayakovsky, Velimir Khlebnikov, Nikolai Aseev). The article also considers the rhythmics and composition of the poem in detail. It reveals the specificity of the tactician “Karacharovo” based in the main part of the poem on paean III (4 stanzas), and in the last stanza sounding anapestic. A rich system of alliterations and other methods of organizing the poem, such as original graphics, hyphenation, open and closed syllables in rhyme positions, is described. “Implicit” semantic parallels with other poems of “Horsemen” (“Rogneda”, “Kaliki”) are noted. “Reticence”, “figure of silence”, “reservation”, and “hints” become a means of involving into the creative process of the reader, who, the same as the author, has the right to “re-fantasize” the poetic text.

The article is based on the hypothesis that contemporary poetry performs the function of a mediator within a fragmented society. The poetic text, in addition to its existence in a book format, is realized in a variety of media contexts, interacting with different types of art, as well as penetrating both public and personal communication. At the same time, the poetic form can change itself, losing the customary formal features, but retaining the generic (lyrical) essence. The processes of “other existence” of a poetic text are heterogeneous and large-scale; in this article the thesis about the medial function of contemporary poetry is illustrated on the material of one specially chosen text – the poem “In Nice” by E. Simonova. Simonova’s free verses from the book “Her Two Only Dresses” (2020) fit not only into women’s poetry, but also into the so-called “docupoetry”. At the same time, Simonova’s poetry is distinguished by the desire to overcome antagonisms and unite the seemingly incompatible. The example of the poem “In Nice” proves the significance for Simonova of the classical poetic tradition, which, however, is subject to inversion. On the composition level, Pushkin’s elegy “When I wander outside the city thoughtfully ...” is used as a pretext. The name of Georgy Adamovich framing the text actualizes the acmeist tradition and the memory of the poetry of the “Parisian note”, with the key themes of death, exile, and Russia. At the same time, the tradition is refracted paradoxically in Simonova’s text: self-irony is dissonant with the elegiac modus, the sacred (Easter) becomes mundane, the dead are perceived as alive, and the poetic word becomes a guarantee of eternal life. But with all the paradoxes and inversions, Simonova’s poem expresses a harmonious image of the world and the poet. Simonova’s creative work demonstrates a special socio-cultural function of contemporary poetry: to act as a mediator between culture and everyday life, classics and “post-poetry”, spoken word and book tradition, verse and prose, and poet and reader. Performing a communicative function, the poet, however, does not completely merge with any of the socio-cultural “loci”, revealing the features of tricksterism and, at the same time, internal disharmony. The harmony of paradoxes does not lead to the static

The article examines the possibility of using poetic texts of the Russian underground of the 70s at the lessons of Russian literature for students of Russian as a foreign language at the B2 level and above. The purpose of the study is to assess the literary merit of the material selected, and to analyze the possible strategies for its inclusion into the course of Russian as a foreign language. The experimental study involves methodological and literary commentary, taking into account both the nature of the poetic text and the context of the lesson, as well as the existing canon of representative texts of Russian literature, the expansion of which is facilitated by the choice of new material for study. The integrated teaching approach is combined with the close reading method, which provides the lesson a peculiar structure and a specific pattern of the teacher’s interaction with foreign students. Special accent is placed on the following: the priority of working with visual metaphor, as well as with metabola (metametaphor); gradation of the lesson from the first cognitive level of comprehension to the highest level of seeing into symbolic and structural connections and contexts; heightened attention to students’ motivation to study an “unusual” text in connection with such motives as learning about the world, love, pain and the methods of interpretation of such states. The structure of the lesson, set out as a result of this research, is based on the needs of foreign students, the necessity for the teachers to actively interact with them, and the need for appropriate intercultural training. The study makes a contribution to the selection of little-known texts for teaching language and literature to foreign students studying Russian in the Slovak environment, as well as to the issues of investigation of the creativity of the Russian underground of the 70s, meta-realists (or metametaphorists), including the creative work of Elena Schwartz, which determines the scientific novelty of the research. The literary commentary worked out by the authors can be useful for subsequent studies of literary texts proper, which represent the creativity of the underground of the 70s, the school of the meta-realists, or the authors who use neo-baroque techniques.

The article presents an interpretation of the image of home in V. F. Khodasevich’s collection of poems “By the Way of Grain”. The author traces the archetypal nature and evolution of this symbol in relation to the image of the dying and resurrecting grain, which is the compositional center of artistic unity. It is proved that the semantic structure of the image of home in “By the Way of Grain” is largely saturated with connotations inherited from the myths of the Eastern Slavs, as well as some biblical allusions. The study shows that the semantic content of the motif of the lost destroyed house, which is the key image in the poems “Tears of Rachel”, “November 2”, “The Home”, is associated with the development of the symbolist tradition. Moreover, in the poems “November 2” and “The Home” Khodasevich conducts a creative dialogue with the poems of Alexander Pushkin “The Bronze Horseman” and “The House in Kolomna”. Eventually, he comes up with the idea of building a human habitat, harmonized and spiritualized by a woman, the keeper of the hearth (poems “Without Words”, “The Loaves of Bread”). In the poem “Without Words”, it is the silent heroine, the creator of a cozy homely atmosphere that prompts the lyrical subject with the idea of the power of God’s providence, returning him to saving faith in the Creator. In the poem “The Loaves of Bread” Khodasevich uses the ekphrasis technique in an original way, filling it with light humor. The poet somehow brings the “homely” and purely earthly event of baking bread into the plot of the European religious painting, referring the image of the beautiful “housewife”, depicted in the picture, to the world of God. It is no coincidence that the heroine bakes bread, surrounded by angels, who carefully help her, and the entire space of the house is permeated with bright mystical light. The hymn to the woman-hostess who keeps the hearth, created in the poem “The Loaves of Bread”, to a certain extent goes back to the poetic “wisdom” of Pushkin, expressed in “An Excerpt from Onegin’s Journey”. At the same time, in this work, Khodasevich offers his own version of the artistic embodiment of “Eternal Femininity”, which is controversial to the ideas of his contemporaries, first of all, Russian Symbolists.

The article presents and substantiates a new interdisciplinary approach to the study of one of the most important and famous literary documents of the 20th century – the anthology of expressionist poetry in German “Twilight of Humanity: A Symphony of the Newest Poetry”, published by K. Pinthus in 1919. The novelty of this approach lies in the fact that for the first time in Russian and foreign expressionist studies this literary document is not considered as a collection of “classical anthology of expressionist poetry”, but as an author’s book of K. Pinthus himself, as a coherent text including many multi-level interconnected elements. Pinthus’s definition of the four-part composition of the collection as “symphonic” is taken as the basis of speculations about the architectonics of the book and is considered not metaphorically, as is customary in expressionism, but in exact accordance with the composition and character of the classical symphony, in accordance with the sonata form (an exposition, a development, a recapitulation and a coda) in interaction with other themes, motives and poetic images in the four-part-composition of the book. The interdisciplinary approach chosen to analyze the composition of the book is based on the fact that the context of a classical symphony is used as an element of research toolkit while studying modernist poetry. The point of view, popular in expressionist studies, that the main themes of the anthology are determined by its four subtitles (“Sturz und Schrei”, “Erweckung des Herzens”, “Aufruf und Empörung”, “Liebe den Menschen”), is opposed to the hypothesis, that these names are used by K. Pinthus, like in music, to indicate the tempo, the mood and the nature of the movement of each of the parts in this poetic symphony, as well as elements of the sygnificance of a large-scale work to solve the problem of thematic unification of the cycle. A frontal analysis of the motives and the composition of the collection confirms such a hypothesis. This new scientific approach to the study of a “classical anthology” presented in the article is taken as a basis in the collective monograph entitled “The Poetry of Twilight or The Symphony of Humanity”, prepared for publication by Russian Germanists from Ekaterinburg, Moscow, St. Petersburg, Rostov-on-Don, Togliatti, and N. Novgorod. Along with the traditional literary analysis of the anthology, including historical-literary and linguistic methods, the team of authors widely uses the methods of related sciences, and specifically musicology.

A. Pushkin called Lucrece “a rather weak poem”. A. Anikst wrote about its weakness, moreover, he considered Lucrece’s speculations hardly appropriate for her. The article dascussess a different view on the poem that allows seeing behind the ‘confusion’ of the main character a dramatization of psychological dilemmas of the Catholics in Elizabethan England. Narrating an episode from the history of Rome, Shakespeare speaks about the events contemporary to him. ‘To live or die’ was a vital question for Elizabethan Roman Catholics at the beginning of the 1590s. They had to conform to the laws of church attendance and accept other ecclesiastical requirements of the established church of England. In Lucrece’s plight the reader might vividly feel the suffering of a persecuted community. While the authorities violated the belief of Catholics, the Jesuits strove to make them martyrs in their attempt to resist the authorities. The Jesuits didn’t approve of the compromise with the state and considered the attendance of the protestant service as temporizing. They insisted that those who brought their bodies to the church of heretics could not (by some mystical division) have their souls in the Catholic Church. The dichotomy of body and soul was vital for the epoch, as well as the question ‘to be or not to be a martyr’. To cipher it in such a way was a great art of Shakespeare.

The purpose of the article is to study the basics of K. Simonov’s mythopoetics on the material of the poem You told me: “I love you”… The material of the study was the final version of the poem, however, in order to clarify the components of the revealed structure, the early version of the work is also involved. The work is based on the structural method of studying the lexical level of a poem; it is supplemented by an ethnolinguistic approach. In the first part of the text, the complex love relationships of lyrical heroes are recreated. The article shows that they are represented with the help of a clear system of binary oppositions: “night – morning”, “soul – body”, “speaking – silence”. The poet does not just demonstrate the principle of thinking, which is close to mythological. It is shown that the nature of the pairs, and the interpretation of their components by Simonov, is based on Slavic folk ideas. Only the recognition of the heroine in her feelings can resolve the dissonance of day and night relationships. The harmonizing role that Simonov assigns to enunciation the word “love” confirms Yu. Stepanov’s hypothesis of about the closeness of the concepts of “word” and “miracle” in Indo-European languages. In the second part of the poem, a war breaks into the relationship of the heroes: their farewell at the station is depicted. The third row, generated by the situation of war, is now added to the opposition of the day and night world. The status of this series is contradictory: in some respects, it is opposed to the daytime world, but most does to the nighttime one. It is proved that in most cases the third row performs the function of a mediator (in the understanding of S. Levy-Strauss) between the worlds. The day and night worlds find reconciliation in the evening, tactile (bodily) and verbal (spiritual) codes are mediated in the form of a visible word. In the second part, the heroine pronounces the expected word “love”, and this pronunciation is akin to a ritual: it either inverts or reconciles the contradictions. However, not all components of the new series find a match in the previously installed system. In the work the impossibility of determining the place of war in the old structure of the world is interpreted as meaning-forming. It fixes the impossibility of inscribing war into the image of the world that dominated before.

Creative activity of the poets from the literary Association “Pereval” has still been insufficiently studied, although it was a special phenomenon in the Russian literature of the 1920s-1930s. The contemporaries, including one of the founders of “Pereval” A. Voronsky, underestimated the lyrics of these poets, giving preference to prose. But their poetry epitomizes one of the important program theses of “Pereval” – sincerity. This makes their poetry an artistic document of the epoch. The article studies the books of poems by P. Druzhinin, N. Zarudin and D. Semenovsky by such parameters as title, composition, motives, and meta-plot. The analysis has revealed the characteristic features of cyclization, the common aesthetics and poetics of the literary group and the individual authored specificity. In each case, the authors of the article emphasize the poet’s special relationship with the time, with the literary tradition and with the poetry of the predecessors and contemporaries: F. Tyutchev, A. Fet, A. Tolstoy, A. Blok, S. Yesenin, M. Svetlov, E. Bagritsky, etc. The lyrics of “Pereval” recreate the dialectics of the formation of a new picture of the world in which lyrical emotions drown out the “noise of time”. P. Druzhinin and N. Zarudin, participants of the Civil War, reflect those events in different ways. For the new peasant poet P. Druzhinin war is a dark and cruel time that disrupts the natural course of life. N. Zarudin, a poet inclined towards a pessimistic worldview, on the contrary, presents the events of the Civil War in bright, romantic tones. The optimistic poetry of D. Semenovsky is timeless, abstract, and based on general literary imagery. The books of poems by the “Pereval” poets are lyrical, i.e. they basically do not reflect the large-scale changes in socialist construction in the state as the official literary criticism of the 1920s required from the poets. For these poets, lyricism remains to be the main means of expressing reality. It was lyrics that embodied the dramatic experiences of the time aestheticizing the main themes of the then modernity: the natural cycles of peasant labor (the book by P. Druzhinin The Straw Noise), the memories of the battles and victims of the civil war and its romanticization (the book by N. Zarudin Across the Field of Youth), the joy of life and new religiosity (the book by D. Semyonovsky Under the Blue Cover).

This article is a comparative study of the aesthetics of Cyprian Kamil Norwid and Charles Baudelaire. The analysis focuses on their use of realistic techniques and metaphors of representation in the context of critical statements about realism (especially the paintings of Gustave Courbet), in which both poets repudiate the notion of pure art as a direct imitation of reality. While they declare that this doctrine is reductive and unworkable, they do, as the article points out, make use of some of its techniques and practical suggestions (i.e. to foreground ordinary, trivial, and arguably ugly objects). Seen from this perspective, the poetry of both Norwid and Baudelaire, the harbingers of modernity, can be situated at an interface of faits divers (shocking tabloid stories) and the moral fable. [ABSTRACT FROM AUTHOR]

A combined investigation of Herod. Mim. 8 (Ἐνύπνιον) with Callim. Ia. 1, 13, and Ep. 8, reveals that they all relate to a certain poetic contest that took place in Alexandria under the auspices of Ptolemy I, in one of the last years of his reign. The contest, must have been co-ordinated by the Mouseion and its director at the time, Zenodotus. The two poets took part in the contest, together with a host of other poets. Callim. Ia. 1 gives a figurative account of the contest's course of action. Herodas, awaiting the results, writes Mim. 8, where he expresses his hopes for a prize, though he suspects foul play on behalf of the poets employed at the Mouseion by the king who was supposed to decide the prize. Callim. Ep. 8 is a sarcastic reply to Herodas' fears, while Ia. 13 narrates the harsh criticism Callimachus received from Zenodotus and his proud reaction in response, obviously after his contribution was rejected. [ABSTRACT FROM AUTHOR]

The article looks into the poetic obituary genre features in the poetry of Silver Age and the first wave of emigration. The author determines the place of poetic obituary in the case of mortar lyrics, its links with artistic traditions, its difference from the adjacent genres of epitaph and memorial lyrics. The author analyzes the mythological core of the genre, its motive complex and inter-text features, its connection with folklore, hymn and philosophical lyrics as well as the modernist concept of the death using the poetry of V. Brusov, A. Blok, O. Mandelshtam, M. Tsvetaeva, I. Severyanin, N. Kluev, etc. as an example. This genre transforms into the genres of the poem and the poetic cycle. [ABSTRACT FROM AUTHOR]

Review: K. Wądolny-Tatar, Kołysanka w liryce XX i XXI wieku: Emergencja gatunku literackiego [The Lullaby in Lyrical Poetry of the Twentieth and Twenty-First Centuries: The Emergence of a Literary Genre], Wydaw. Naukowe Uniw. Pegdagogicznego, Cracow 2014. [ABSTRACT FROM AUTHOR]

This essay looks closely at two ballads by the nineteenth-century American poet Emma Embury in order to explore some of the ways in which the ballad's use of the structural refrain enables a critique of its often-gendered content. By situating Embury's poems within the context of the proliferation of the "bad woman ballads" that appeared in print in the first several decades of the nineteenth century, this essay explores her particular manipulations of the genre. In Embury's ballads, the cautionary tale is housed in a refrain that is sung by a woman. This form works to make these women's downfalls come true at the same time that it suggests a way out of this endlessly repeatable story that the genre performs so faithfully. This essay suggests that in our consideration of the genre, we pay particularly close attention to how women poets approached the ballad's formal devices. [ABSTRACT FROM AUTHOR]

In the medieval treatise in prose calledArte de trovar,tensonis explained as a kind ofcantiga(song) between two troubadours who debate using strophic turns. In the explanation it is also said that the lyric debate could bed'amor,d'amigoandd'escarnho. This classification should be observed in relation to the three main Galician lyric genres (cantigas de amor,cantigas de amigoandcantigas de escarnio e maldizer), and their organization inside the manuscripts. The aim of this paper is to reflect on the notion of thetensonin the Galician-Portuguese poetic movement through the definition given by theArte de trovar, through some rubrics and some references in thecantigas. It also examines the distribution of the thirty-three Galician-Portuguese lyric debates inside theCancioneiro da Biblioteca Nacional(cod. 10991) and theCancioneiro da Vaticana(Vat. Lat. 4803). [ABSTRACT FROM PUBLISHER]

I propose in this article to investigate the editorial marks present in the first section of the epigrams ascribed to Theocritus (1-6), that haven't been observed by Gutzwiller (1998) nor by Rossi (2001); In this poems I study also generic mixtures as a fundamental characteristic of συλλoγή. [ABSTRACT FROM AUTHOR]

Poetry has long been overlooked as a source for writing about and interpreting Vietnamese history. However, it proves to be a very valuable guide for investigating the troubled world of late 18th century Vietnam, and particularly the Tay Son upheavals, which are reflected in an extensive and diverse body of surviving poetry. This article demonstrates, through various types of poems from this period, the potential that verse holds as an important historical source, and offers numerous excerpts from a range of poems that served as records of events, laments for fallen soldiers, political commentaries, and as a type of weapon in personal and political confrontations. By examining poetry, historians can begin to explore the thoughtworlds of this era, and move away from studies of military and diplomatic events.

When authors cannot speak their mind freely, they are likely to use double-speak, which allows them to express their wishes and grievances without breaking the rules of etiquette. Abbassid poets too are frequently caught between the necessity of asserting their position and respecting their benefactor. This is why double entendre plays such a prominent role in their speech. But this kind of rhetorics relies on codes and allusions that can only be understood by connoisseurs. Generally, poets take for granted that their audience, and especially their patron, has the skills to understand the implicit meaning. But they can also play on the fact that not all the attendants can decode their speech, and try to put this capacity to the test so as to create complicity between those who understand and those who do not, and question (rather harmlessly) social and intellectual hierarchies. [ABSTRACT FROM AUTHOR]

The aim of this study is to establish the place of Jan Kochanowski's Lyricorum libellus (1580) in the history of Polish renaissance neo-Latin ode presented against a wider European background. The development of this genre in this historico-literary period in Poland has received only fragmentary reporting, e.g., in relation to Horationism in literature or as a background for the vernacular ode. Yet, as Carol Maddison argues in her Apollo and the Nine, the neo-Latin ode is, in a sense, a new genre revived and newly "devised" by renaissance humanists. In her fundamental work, Maddison also presents the development of the ode and its variations in Italy and France. According to ancient patterns used by poets, Horatian odes (including Kochanowski's odes) can be divided into the "pindaric" and the "anacreontic-sapphic." To some extent this division coincides with the classification of odes as "political" or "private." Similar categorisation criteria adopted by various researchers (Zofia Glombiowska, Jacqueline Glomski, Józef Budzynski) may result in individual odes being assigned to several different categories. The first part of the paper, therefore, emphasises the identity of the neo-Latin ode and its status as a new genre strongly related to renaissance humanism. In the second part, the author attempts to assign particular poems from Lyricorum libellus to patterns indicated by Maddison, and deals with previous attempts at classification based on differentiating between political and private odes. She also underlines that Kochanowski frequently imitated both pindaric and anacreontic patterns through Horace. In the third part, the author analyses the strophic organisation of individual odes and their metre as well as their logical-rhetorical structure. The odes are here classified with regard to these criteria and interpreted in accordance with their historical context. The author pays close attention to the genre's borderline between ode and hymn, stylistic "nobilitation" of lyrical poems and the outright Horationism of the collection. Lastly, she presents conclusions concerning the role of Lyricorum libellus in the development of the ode. Before Kochanowski, a significant role in the evolution of the genre was played by the so-called "university ode," which was popular in Silesian and German poetic circles, as well as in odes by Pawel z Krosna. Kochanowski's odes, however, bear little resemblance to this stage of the development of the genre in Poland. Imitating Horace in the spirit of such poets as Michal Marullus or Giovanni Pontano, Kochanowski demonstrates a mature awareness of the neo-Latin ode, formed at the meeting-point of ode and hymn and constituting an element of a cycle organised in accordance with a certain idea. [ABSTRACT FROM AUTHOR]

In this work we focus on a corpus consisting of a series of texts of varied genre –letters, critical reviews, introductory studies for compilations of Argentinian popular poetry–. We examine within this corpus, based on categories addressed by Discourse Studies –in particular, from the perspectives of Marc Angenot and Dominique Maingueneau–, a constituent dispute in the formation of the field of studies related to popular literature in Argentina: the dispute over the documentary value of the materials collected in Encuesta Folklórica de 1921 (the Folk Survey of 1921). To do this, we focus on two moments that we find particularly significant: an initial stage, which revolves around the publication in 1926 of the first of the great popular songbooks compiled by Juan Alfonso Carrizo, and then a consolidation moment for institutional positions, which revolves around the publication in 1941 of the Romancero of Ismael Moya by the Institute of Argentine Literature, of the University of Buenos Aires. In these two moments of the controversy some issues, related to two interwoven plots, come into play: a plot that we can think of as a theoretical one, involving the status through which studies on popular culture in the Argentina are thought, conceived these studies as a discursive field (Maingueneau, 1984: 34) crossed by conflicts and disputes, but unified by hegemonic elements; and a political plot, which refers to the positions of the agents involved in the dispute, enrolled within the space of two large discursive formations (Arnoux, 2006: 36). On one side we are in the framework of an institutional and democratic nationalism and, on the other, in a Hispanic and Catholic traditionalism, which sometimes can identify itself, not without tensions, also as a nationalism. [ABSTRACT FROM AUTHOR]