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AbstractThe ecological visions of two African poets and their portrayal of the precarious condition of the environment in Africa are discussed in this article. Their nostalgic reflections on the idyllic image of the continent before anthropogenic activities degraded its fertile greenery also received major attention. Zakari Musa’s Elegy for the Earth (2020) and John Ngong’s The Tears of the Earth (2019) are critically analysed to expound the poets’ temporal triangulation of ecological discourse in Africa. I adopt Nigeria and Cameroon as models of African ecological space to interrogate the poetic contemplation of eco-precarity, temporality, and a vision of a new Africa built on human-nature interdependency and the green economy imaginary. Drawing on insights from ecofeminism and other relevant conceptual perspectives in environmental humanities, I examine sundry ecological topoi, including the politics of gendering and anthropomorphising the environment, the effects of the politics on nature, and the possibility of educating the African mind through the focalisation of precarity in African ecological poetry. I argue that the poets’ romanticisation of nature offers them an opportunity to intensify their education project by emphasising nature's contributions to life sustenance, while warning that human beings are self-destructing because of their insensitivity to climate change. [ABSTRACT FROM AUTHOR]

Poetry has developed in leaps and bounds right from its earliest, oral phase to the modern, written form and has been effectively utilised to serve different levels of needs in many societies and cultures for many centuries. However, what constitute the predominant leitmotifs or thematic thrusts of poetry vary from one society to another. While very many climes emphasise and project its formal/aesthetic qualities, content and value, African creative artists predominantly deploy poetry to serve multiple, community-oriented, utilitarian functions. This is the thrust of this paper which examines Niyi Osundare's Snapsongs: Homegroans and Foreignflares as a quintessence of African poetic art deployed chiefly to examine society with a view to attacking its imperfections and projecting or promoting its values. The research is a qualitative one, and adopts the interpretive design. The paper finds that Osundare's Snapsongs: Homegroans and Foreignflares chiefly derives its afflatus from the quotidian socio-economic and political realities of the African environment and reflects the complexity of the African experience. Through a lavish appropriation of copious oral artistic categories such as proverbs, aphorisms, metaphors, satires, and panegyrics, Osundare intensifies the didactic, communal, functional and other utilitarian values of the African poetic art. [ABSTRACT FROM AUTHOR]

A growing body of Afropolitan literary and theoretical writing privileges urban migratory crossings that highlight the fluidity of borders, bodies, and identities in contemporary times. Focusing on cosmopolitan ethics and cultural hybridity, these writings contemplate Africa and Africans from the points of view of the world and of their multitudinous racial embeddedness. Yet, while Afropolitanism may usefully complicate the place of Africa(ns) in the world today, it also consistently ignores the precarity of African migrants on whose bodies globalization stages its racist and ultranationalist agenda. Drawing on Gbenga Adeoba's Exodus, Safia Elhillo's The January Children, Amatoritsero Ede's Globetrotter and Hitler's Children, and Niyi Osundare's City Without People: Katrina Poems, this article turns to the poetic representations of these migrants' experiences and their location within a broader history of the abjection of black bodies. Precisely, the article presents a race-centred critique of Afropolitanism to argue that its central focus on multiculturalism, hybridity, and global flows overlaps with the fantastical, mythical discourses of postraciality, colour blindness, and neoliberal individualism. [ABSTRACT FROM AUTHOR]

This essay is concerned with the ways in which lyric poetry, as a certain kind of literary practice, reconfigures and reimagines dominant constructions of the liberal subject. In so doing, it focuses on the work of Susan N. Kiguli, a Ugandan poet whose 1998 collection, The African Saga, was published in the wake of the National Resistance Movement (NRM) government's attempts to improve the position of women in Ugandan society. Although these (neo)liberal reforms were successful in bringing more women into the orbit of national politics and the economy, they relied on a process of recognition that, when analyzed using the work of Kelly Oliver, appears to do little to change patriarchal structures. This essay argues that four poems in The African Saga – "I am Tired of Talking in Metaphors," "Where am I?", "Deconstructing You," and "The Swing" – constitute an attempt to move beyond the version of the female liberal subject implied in the government's rhetoric. Through a sustained manipulation of personal pronouns and syntax, the poet articulates a lyric subjectivity that is characterized by movement, constant change, and a redeployment of the desire for recognition that is central to liberalism. This subjectivity, which is highly adaptable yet firmly embodied, therefore cannot be "recognized" within the government's liberal politics. It is also articulated against deconstructive theories of subjectivity which, according to Kiguli, would construe it as an entity that is entirely relational in its construction. The essay concludes by considering how, in the case of Kiguli, the lyric poem does a certain kind of subjective-political work that is out of the reach of novels written in Uganda during this period. [ABSTRACT FROM AUTHOR]

This essay analyses the impact of the COVID-19 pandemic on poetic production in South Africa to theorize connection as a dominant motif in contemporary poetry. In South Africa, poets compensate for the lack of state or market support for the arts through community organizations and collaborations. Under lockdowns, in-person events like open mics were replaced by digital programmes hosted on corporate-owned public platforms like Facebook Live, as artists sought to transmute social capital into material support. Performance poetry, in particular, exploded in popularity, offering comfort and connection amidst isolation. With the turn to the digital, spaces for community formation increasingly reflect the neoliberal logic of the network. The South African literary organization Hear My Voice raised a "Poetry Relief Fund" to pay honoraria for weekly poetry performances on Facebook Live. At the same time, poet and playwright Siphokazi Jonas reconceived her politically urgent poem-play #WeAreDyingHere as an international call to arms, reaching new audiences around the world. These events, alongside international festivals like Zukiswa Wanner's Afrolit Sans Frontières, created new possibilities for understanding connection within the creative economy. But what kind of community is instantiated through those platforms? Who, specifically, is supported, and under which terms? And how does poetry itself mediate those relationships? I analyse both individual poems and the media platforms in which they are embedded to argue that, if relationality and networks represent two different models of sociality, connection offers a paradigm that acknowledges the ascendance of network modes of production without acceding to their logics. [ABSTRACT FROM AUTHOR]

No abstract available.

In this article, we argue that KPD Maphalla’s poems were very influential in portraying protest to different forms of social oppression and exclusion in South Africa and Africa at large. Therefore, as a writer who was subjected to racial segregation during the apartheid regime, he positioned himself as a social poet concerned about the sociopolitical situation of Africans in Africa. The article illustrates how Maphalla’s use of tone and attitude towards racial discrimination has shown his ability to choose style in articulating a clear sociopolitical protest. This strategy has helped to make his readers aware of the social anomalies of his time, while condemning moral degeneration of that era. Therefore, this article provides an analysis of two poems from his book entitled Kgapha tsa ka: Mahlo a ka tutuboloha (My eyes open) and Ke ikopela tokoholo (I am asking for freedom), to understand the influence of the selected poems that are constructed in the form of protest. A historical-biographical criticism framework was employed in this case study to unravel the sociopolitical influence of his work towards the fight for freedom in South Africa. It is a qualitative explorative study, which uses purposive sampling to show how he portrays the theme of protest in his poems. Content analysis was used to analyse data guided by interpretivist paradigm. Contribution: This article fills a knowledge gap in Sesotho analysis. The article further contributes by highlighting Maphalla’s stance toward overcoming prejudice against black people. The article confirms that Maphalla, through his poetry, has played an important role in acting as a spokesperson for black people, and their freedom in South Africa.

In The Wretched of the Earth (1963), Frantz Fanon holds an optimistic view of the intellectual in the colony, as one who plays a key role in confronting the colonial administrators and addressing them on level intellectual turf. Long after African countries have gained independence, university campuses continue to sprout and grow on the continent. The intellectual finds their position changed. Now, intellectuals are under scrutiny more than ever, pressed to illustrate their relevance to the continent, to indicate how their expertise is not limited to the professing of theory in university corridors. The discourse has been ongoing in various disciplines. This essay examines the area of poetry, arguing that this domain illustrates the continent's disillusionment with the place of the African intellectual in relation to their immediate world and indigenous knowledge production within it. In poetry, we find insightful critiques of as well as recommendations for the role of the African intellectual. Through an exploration of several poems that touch on the academy and the intellectual, the essay illustrates how these poems fit into the ongoing discourse about the indigenization of knowledge vis-à-vis the pedagogy imported from the West. [ABSTRACT FROM AUTHOR]

Stasis and impasse register as conditions of interrupted development in many examples of postapartheid South African writing, works that engage the affective discontents of the transition from white minority rule to a future that has not quite materialised as promised. Much extant scholarship on this body of work attends to prose and to texts written in English. This essay takes two collections of poetry published in South Africa in Afrikaans in 2016—Ronelda Kamfer's Hammie and Bibi Slippers' Fotostaatmasjien —as case-study examples of how lyric poetry in this contested language might model a way out of postcolonial (and postapartheid) malaise. These poets' lyrics are performances in a language whose ongoing, creolizing nature is exploited and advanced by their refusal of conventions that historically linked Afrikaans to white nationalist politics. Kamfer's and Slippers' work evokes—and provokes—an excess of continuity whose multiple affective resonances are testimony to the possibilities that lie beyond stasis. [ABSTRACT FROM AUTHOR]

Research related to creative expression has examined the form and nature of satire in both oral and print poetry in West Africa but is yet to adequately consider digital poetry. This essay examines Nana Awere Damoah’s My Book of #GHCoats, arguably the fi rst example of African conceptual poetry. A collation of humorous fi ctional quotes by Ghanaian Facebook users, #GHCoats allows for analysis the context of socio-political satire. In exploring the presence and utility of satire in #GHCoats, this essay analyzes the features of conceptual poetry as used via social media to present digital poetry as a developing force of creative expression. [ABSTRACT FROM AUTHOR]

Tanure Ojaide's poetry has been discussed primarily with focus on his social activism, with occasional attention paid to his deployment of the techniques of indigenous Urhobo poetry. However, a career-long preoccupation which hitherto has hardly received any critical attention is the poet's presiding use of his poetry as metacommentary on the craft and purpose of his art. While privileging his 2010 collection The Beauty I Have Seen: A Trilogy, this article examines selections from the body of Ojaide's self-reflexive poetry in which he poetizes the role of the poet as an instance of the poet's articulation of his poetics. It appraises the focal poems' status as metacriticism by underscoring their abiding correspondence with Ojaide's vision of poetry as expressed in interviews and scholarly writings, and by examining the aesthetic implications of his firm anchorage of his work in the tradition of indigenous African poetry. [ABSTRACT FROM AUTHOR]

In Native Life in the Third Millennium, Masande Ntshanga’s third book after The Reactive (2014) and Triangulum (2019), a poet, philosopher and programmer wrestle with systemic oppression and themselves, navigating anomie, alienation and flashes of abundance in millennial Africa. This excerpt, shared with the permission of Model See Media, is the opening long-form poem that gives the book its title.

This study examines the ironic vision in Musa Idris Okpanachi's debut volume of poetry titled The Eaters of the Living. The study argues that owing to pervasive disillusionment of third world writers with the appalling sociopolitical and economic conditions of their societies, African writers, in their quest for social renaissance, tend to evolve different artistic media to historicize society. In this context, this exploration of Okpanachi's artistic vision is anchored on the poetics of irony through which the poet offers important sociopolitical commentaries on postcolonial Nigeria. Specifically, the study examines how the representations of the themes of leadership and marriage, respectively, animate Okpanachi's ironic vision in the text. The conclusion is that, through the use of this aesthetic medium, the poet is contributing to the discourse of nation-formation by critiquing the gross contradictions of postcolonial Nigerian experience. [ABSTRACT FROM AUTHOR]

Nigerian poet Amechi Akwanya's Pilgrim Foot: A Collection of Poems (2005) has not received much critical attention. This is despite the collection's important poetic meditation on human suffering, a subject that has troubled the imagination since time immemorial. Although scholars have read the central theme of the first sequence of this collection as man's dispossession by his creator, its illumination of man's confrontation with the tragic contradiction evident in human suffering has largely been ignored. Florence Orabueze (2015), for instance, has argued that Akwanya deploys the symbolism of the cross to signify man's endless suffering in the face of natural disasters, suggesting that the search for freedom from these sufferings always ends in futility. Seeking to extend this argument, and relying on theoretical strategies drawn from the study of tragedy, this article examines the first sequence of Akwanya's Pilgrim Foot: A Collection of Poems. I argue that the sequence belongs to the realm of tragic poetry, which interrogates man's confrontation with suffering and the tragic contradiction that surrounds the celebrated myth of divine love for humanity. [ABSTRACT FROM AUTHOR]

Deviation in the literary parlance occurs when a speaker or writer deviates from the normal rules and standards of a language. By breaking the rule of language, poets create art from the language that a language group is familiar with. Previous studies on written Igbo poetry (WIP) focused mainly on the content of WIP, with little attention paid to the language of the modern Igbo poets (MIP). Consequently, there is a dearth of research on how deviation occurs in African literatures. Therefore, through the lenses of Shklovsky’s defamiliarisation theory, this study examines WIP, with a view to describing the techniques used by MIP in achieving deviation, for the purpose of defamiliarising language in their works. Data consists of twenty poems randomly selected from eleven Igbo poetic texts, written between 1975, when WIP debuted to 2015, a period that marks the fourth decade of its existence. The poems studied were subjected to a qualitative analysis that focuses on the use of language to achieve deviation. Findings show that four types of deviation feature in WIP scene: syntactic, lexical, phonological and graphological. Syntactic deviation is achieved through the use of end-weight, focusing and topicalisation. Lexical deviation is the achieved through the use of coinages, lexical borrowing and dialectal deviation. Only apocope phonological deviation feature in WIP, while graphological deviation is done to ease pronunciation with a view to achieving rhythmic effect.

Deviation in the literary parlance occurs when a speaker or writer deviates from the normal rules and standards of a language. By breaking the rule of language, poets create art from the language that a language group is familiar with. Previous studies on written Igbo poetry (WIP) focused mainly on its content, with little attention paid to the language of the modern Igbo poets (MIP). Consequently, there is a dearth of research on how deviation occurs in African literatures. Therefore, through the lenses of Shklovsky's defamiliarization theory, this study examines WIP, with a view to describing the techniques used by MIP in achieving deviation, for the purpose of defamiliarizing language in their works. Data consists of seventeen poems randomly selected from eight Igbo poetic texts, written between 1975, when WIP debuted, to 2015, a period that marks the fourth decade of its existence. The poems studied were subjected to a qualitative analysis that focuses on the use of language to achieve deviation. Findings showed that four types of deviation feature in WIP scene: Syntactic, lexical, phonological, and graphological. Syntactic deviation is achieved through the use of end-weight, focusing, and topicalization. Lexical deviation is the achieved through the use of coinages, lexical borrowing and dialectal deviation. Only apocope phonological deviation feature in WIP, while graphological deviation was applied to ease pronunciation with a view to achieve rhythmic effect. [ABSTRACT FROM AUTHOR]

In this article, we argue that KPD Maphalla's poems were very influential in portraying protest to different forms of social oppression and exclusion in South Africa and Africa at large. Therefore, as a writer who was subjected to racial segregation during the apartheid regime, he positioned himself as a social poet concerned about the sociopolitical situation of Africans in Africa. The article illustrates how Maphalla's use of tone and attitude towards racial discrimination has shown his ability to choose style in articulating a clear sociopolitical protest. This strategy has helped to make his readers aware of the social anomalies of his time, while condemning moral degeneration of that era. Therefore, this article provides an analysis of two poems from his book entitled Kgapha tsa ka: Mahlo a ka tutuboloha (My eyes open) and Ke ikopela tokoholo (I am asking for freedom), to understand the influence of the selected poems that are constructed in the form of protest. A historical-biographical criticism framework was employed in this case study to unravel the sociopolitical influence of his work towards the fight for freedom in South Africa. It is a qualitative explorative study, which uses purposive sampling to show how he portrays the theme of protest in his poems. Content analysis was used to analyse data guided by interpretivist paradigm. Contribution: This article fills a knowledge gap in Sesotho analysis. The article further contributes by highlighting Maphalla's stance toward overcoming prejudice against black people. The article confirms that Maphalla, through his poetry, has played an important role in acting as a spokesperson for black people, and their freedom in South Africa. [ABSTRACT FROM AUTHOR]

Colonialism has had an immeasurable influence on both cultural and historical outlook of the colonized people, and the ongoing contestation of postcolonial modernity is hugely attributed to its ripple effects. Thus, in Africa, the myriad of adversities bedeviling the continent, ranging from apartheid to genocide, pandemic to epidemic, terrorism and insurgency are but postcolonial aftershocks; targeted at slowing down the pace of social change, political independence and economic emancipation. Oftentimes, the adversarial circumstances of ethnic and civil wars, terrorist acts and insurgent movements are visibly manifested as re-incarnation of history in the postcolony, where cultures wrestle with each other and against each other for survival and supremacy. African writers and poets have coped with, survived in, and even thrilled under such quagmires. Thus, the creative writers have taken the disabling effects and inspiring legacies of adversities as investigative motif in literary mode. Consequently, this has inspired unique creative expressions to tell the stories of loses and survival, trauma and resilience, woven with the paradoxes of scenes and contexts that lay bare the wavering conditions of the continent. This essay explores the representation of terrorism and insurgency by focusing on how some African poets respond to adversity and how such calamitous circumstances incite or impede creative expressions. Using the poetry of Abubakar Othman and Nereus Tadi, the essay reveals a renewal of artistic energy in the lamentation against an existing status quo. [ABSTRACT FROM AUTHOR]

This research aims to analyse selected poems from the anthology, Collection of Poems by Kenneth Maswabi (2020), that deal with social stratification as a source of xenophobia. Postcolonial theory is selected and adopted for the purpose of analysis of the texts under study. The purpose of applying postcolonial theory is to appropriately contextualize the text while analyzing it from a postcolonial standpoint. To address the impact of xenophobia and its link to social stratification, three poems were chosen, studied, and analysed. The study took into account South Africa's historical context and linked it to contemporary developments in the country. David Mário Matsinhe's concept of citizenship is adopted from postcolonial theory. Matsinhe's concept of citizenship has been chosen because he contends that the struggle for citizenship and survival in South Africa, as well as anti-immigrant sentiments, has revitalized group interactions in postcolonial Africa, often with fatal repercussions. Hence, the historical antecedents have sparked xenophobic assaults in South Africa since they refer to the country's colonial past. This demonstrates that during colonialism's repression, people learned to build resistance to any type of foreign incursion, particularly from African immigrants. As a result of these attitudes, a schism developed between citizens and immigrants. Based on the findings of the study, xenophobia caused social stratification, as proven by the analysis of the chosen poems. [ABSTRACT FROM AUTHOR]

This article discusses the tragic deaths of African migrants on the Mediterranean Sea, especially the 2013 Lampedusa migrant shipwreck where close to 400 African migrants drowned. Apart from the Lampedusa tragedy, other migrant shipwrecks occurred in Malta in 2007 and 2014; Mediterranean in 2009, 2011, and 2015; Libya in 2009, 2014, and 2015; Catania in 2015 as well as Crotone in 2015, leaving thousands of Africans fleeing privation, violence and wars in their respective countries dead. The article uses Everett Lee's push-pull and Chris Brown's centre-periphery models to expound the hypothesis that migration from developing countries is primarily induced by their enforced integration into the capitalist world market economy and the dependency roles assigned to their population. It argues that the capitalist world system is skewed to engender inequality among countries of the world, thus creating a dominant, wealthy core and a subservient, impoverished periphery. Using selected poems of established and up-and-coming African poets, it interrogates literary representation of African migrant crisis, the politics of European border control, complicity of family remittances and the role of effete leadership in African migration crisis. [ABSTRACT FROM AUTHOR]

This article is a comparative study of the critiques of developments in Shona and Swahili poetry that began in 1970s Tanzania and 1980s Zimbabwe, after the introduction of regular patterns in Shona poetry (late 1950s) and of free verse in Swahili literature (late 1960s). These verse forms became the object of heated debate about the nature of ‘tradition’ and of ‘colonial’ innovation among scholars, intellectuals and poets. These debates went beyond notions of stylistic canons; rather, they focused on identity, as closely connected with tradition and the need for decolonization. The problem recognized in this paper is that this criticism became prescriptive, implying the risk of limiting verbal-artistic expression in terms of style and content. This article shows a continuity between these different contexts in relation to critical opposition to stylistic innovation and freedom of (expressing) thought. By comparing the poetry and philosophy of the Tanzanian poet Euphrase Kezilahabi and Zimbabwean poet Chirikure Chirukure, this paper problematizes the terms of these debates and proposes an inductive and aesthetic approach to texts that avoids prescriptivism. [ABSTRACT FROM AUTHOR]

This article focuses on the textual aesthetics of the Congolese-born (later Tanzanian naturalized) Swahili singer-songwriter Remmy Ongala. In the first part, I argue that a textual approach is also important for songs. The theoretical discussion is mainly based on the studies by Karin Barber, which offer a fundamental perspective on these issues. On this basis, I propose a more literary perspective, related to the ideas of the father of aesthetics Baumgarten (1714-1762), the American writer Susan Sontag (1933-2004) and the Swahili writer Euphrase Kezilahabi (1944-2020). Since Ongala belongs to different textual traditions, Congolese and Tanzanian, I use texts from these traditions for a comparative analysis of style and thought. On the Congolese side the comparison is based on elements of oral literature, like folk tale and song, both in relation to the proverb Kipendacho roho hula nyama bichi (A soul in love eats raw meat), while on the Tanzanian side the comparison is based on Swahili literature of that time. [ABSTRACT FROM AUTHOR]

This article engages with the works of Sudanese American poet Safia Elhillo, a rising star in Arab, African, and diasporic literary circles. It explores the chronotopic use of metre, repetition, keywords, and mise-en-abyme in Elhillo's works to think through the ontological stakes of postcolonial verse. It consequently proposes fractals as a non-binary way of conceptualizing hybridity, linking these to a polychronic logic, where the poems' form and content foreground temporality as a recursive, self-repetitive contemporaneity. Further, through a sustained focus on how Elhillo creates a network of intertextual links between her poems, the article shows how recursive structures that highlight time-space dialectics cast scale as the main link between the various building blocks of the poems. By linking these chronotopic fractals to patterns of orature that draw on both Arabic and African traditions, the article gives an aesthetic reading of the betweenness of Elhillo's American Sudanese positionality. [ABSTRACT FROM AUTHOR]

Okot pBitek’s Song of Lawino and Ocol manifests a conflict caused by Cos-mos and Ontological differences between African and western culture. The main character, Lawino in the Song of Lawino, laments of the cultural death of her western educated husband Ocol. Examining the book through the lens of African Philosophy, it is shown that Lawino has no sufficient knowledge about western cosmos and its ontology. Thus her argument is centered upon the protest and defense of Okoli’s tradition and customs. Two perspectives seem to conflict within Song of Lawino and Ocol. First is the way Ocol views African tradition and customs and second is the way Lawino regards her reli-gion and the foreign religion into which her husband has been converted. Ocol in Song of Ocol, seems to attack the center of African ontology. He sees that Lawino’s beliefs in African tradition and customs is superstation. In the side of argument, Ocol appears to be stronger because he knows the weakness of his society. Being the advocate and prophesying western civilization, he under-stands what he advocates through the knowledge he acquires from reading. (Song of Ocol), Ocol shifts from attacking Ocol’s culture and his attack is ex-tended to African culture in its totality. He attacks the Gikuyu,, the Ankole women of Rwanda and Burundi, the Swahili women with their buibui attires, the Luo, the Karamajong the Kalenjin and the Maasai warriors. The fact that Ocol shifts his attack to cover the large area of African tradition and customs shows that the two characters are used symbolically to represent traditional Africans (Lawino) and educated Africans who who are represented by the character Ocol. However, despite the fact that Ocol is educated, he retains his roots just as Ocol tribe retains his name.

The article presents a roundtable discussion on the book "The Rise of the African Novel: Politics of Language, Identity and Ownership" by Mukoma Wa Ngugi. Topics discussed include the role of the book as an intervention into the debate on the current form of African literature, influence of the 1962 Makerere Conference of African Writers of English Expression in the literary tradition, and the failure of the book to examine African poetry and contradictions in early Black radicalism.

This paper discusses challenges of the relative neglect of African poetry in literary and popular culture studies by attending to not only the primary texts, but the reading cultures they foster. Taking a diachronic and comparative approach, three serial publication formats across the past seventy years are examined: the Francophone African magazine Bingo from the 1950s to the 70s, the multiple printings of Chinua Achebe's poetry from the 1970s to the early 2000s, and emerging digital platforms in the 21st century. In each case, the rhetorical strategy of parataxis, or the juxtaposition of various forms and genres, contributes to the literary value placed on the poetry and its circulation among diverse audiences. The paper reconsiders the popular as a category of analysis that challenges a truism of African expressive culture—ascribing orality to tradition and written texts to elite structures—by attending to lay reading publics and their energetic engagement with the academy. [ABSTRACT FROM AUTHOR]