Yanette Delétang-Tardif

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Yanette Delétang-Tardif
BornAnne Marie Paule Delétang[1]
(1902-06-18)18 June 1902
Roubaix, France
Died1976
Paris, France
OccupationPoet, translator, painter, illustrator
NationalityFrench
Literary movementRochefort school
Notable awardsMallarmé prize (1942)
Renée Vivien prize (1950)
Years active1929–1963
PartnerRaymond Tardif
Books-aj.svg aj ashton 01.svg Literature portal

Yanette Delétang-Tardif (Roubaix, 18 June 1902 – Paris, 1976) was a French poet,[2] translator into French of Spanish[3] and German works,[4] painter and illustrator.[5] She was a very productive and reputed author of poetry,[6] however she appeared sometimes as a restricted poetess.[7]

Biography[]

Yanette Delétang-Tardif, born Anne Marie Paule Delétang, was the daughter of Marie Troupeau and Maurice Delétang, an industrialist. She was the widow of Raymond Tardif,[note 1] by whom she had a son called Jean-Loup.[1]

After her marriage, she took her pen-name: Yanette Delétang-Tardif. Then she had been succeeding to establish herself as a fully-fledged writer with the publishing of her first collections of poems: Éclats in 1929, Générer, a poetic work about her motherhood experience,[9] in 1930 and Vol d'oiseaux in 1931.[10] Those early works testify to the sway of Paul Valéry's rhythmic pattern.[9][11] In her book Confidences des îles written in 1934, she adopted a style revealing the adding influence of Guy Lavaud.[note 2][9] Meantime, she published in several periodicals, ranked as a recognized poet.[12] In 1935, the monthly L'Année poétique brought out a special issue devoted entirely to her, in which she had her portrait done by Jean de Bosschère.[13] Inquisitive about surrealism as a cultural movement, she was little inclined to its ideological side.[14]

As a poet, she had joined the École de Rochefort,[note 3] inside which she was the only woman, since the poet Jean Bouhier created this poetic movement in 1941.[16] Even though she had so become a founding member of that talented group of poets, she remained free and defended personal conceptions of poetry, such as the benevolent welcome of Stéphane Mallarmé's poems, very dissimilar from the Rochefort group's poetic ideal. In 1942 she won the Mallarmé prize to honour her work and bring out her book Tenter de vivre.[5][17] At that time she also met Jean Cocteau with whom she became well acquainted.[2][18] At her particular request then, Jean Cocteau drew her portrait, once reproduced in his war journal and made a second time in 1943.[19] Like the accomplished artist she admired, she formed a passion for circus about which she wrote articles.[20][21]

Some surrealists distributed a leaflet at the end of 1942–1943 wintertime in which they mocked her poetical works through her interest for circus arts and aimed to condemn who they considered as collaborationist artists.[note 4] Thus, among several authors, they put a stress on the single contribution to La Nouvelle Revue Française made by Yanette Delétang-Tardif[note 5] regarding the period when the quarterly magazine was caught up in the collaboration movement.[25][26] Despite the vigorous libel actions of those surrealists,[8][23] she was not banned as an undesirable writer by the Comité National des Ecrivains[note 6] after the Liberation and,[28] therefore, never prosecuted for collaborationism.

She kept up a correspondence with Max Jacob,[29] who was a well-known figure among the most representative fellows of the Rochefort poetic movement.[30] Then, following his death in 1944, she was the first one to transcribe the most extensive story from witness statements of the martyrdom of the Jewish poet,[31][32] and proved to be an investigative writer.[33][34]

At that time, Gérard de Nerval's sonnets The Chimeras and German poets of the romantic era belonged to her beloved literatures, which had played a part in the development of her works. She was especially interested in Johann Wolfgang von Goethe, of whom she gave a renowned French translation of the poems — together with Maurice Betz —[35] in 1946. In 1949 she collaborated with Paul Arnold on the French translation of Friedrich Nietzsche's complete poetical works.[4] Although never published in her lifetime, she also created a really fine translation of Nachtwachen von Bonaventura,[en 4] reflecting her interest in romanticism through a masterpiece of German literature.[36]

Delétang-Tardif's writing was not confined to poetry nor translated works and, following her taste, she wrote novels and completed critical works.[37] She was the faithful friend of the French novelist and critic Edmond Jaloux, of whom she published a biography in 1947.

The year 1950 marked her author career when she was awarded the recipient of the Renée Vivien prize for her poetry collection Sept chants royaux.[38][39][40][41]

From the outset of her career, her nom de plume referred to her husband's family name, which she attached to her father's name. When he died she was plunged into despair. Then, in 1963 she cut off from the literary world of Paris.[4]

She died in relative obscurity in 1976 at Paris.[1]

Works[]

  • Éclats (Aristide Quillet, 1929)
  • Générer (Aristide Quillet, 1930)
  • Vol d'oiseaux (Aristide Quillet, 1931)
  • Confidences des îles (Corréa, 1934)
  • Briser n'est rien (Sagesse, 1934)
  • La colline (Debresse, 1935)
  • Morte en songe (Sagesse, 1938)
  • Pressentiment de la rose (Cahiers de Rochefort, 1941)
  • Poèmes du vitrier (Poètes, 1941)
  • Tenter de vivre (Denoël, 1943)
  • Edellina, ou Les Pouvoirs de la musique (Amis de Rochefort, 1943)
  • Sept chants royaux (Éditions du Rond-Point, 1945)
  • Les séquestrés (La Table Ronde, 1945)
  • Edmond Jaloux (La Table Ronde, 1947)
  • La nuit des temps (P. Seghers, 1951)
  • Chants royaux (P. Seghers, 1956)
  • Les emblèmes (Subervie, 1957)
  • Almanach (C.E.L.F. Malines, 1958)
  • Les éléments perdus (Subervie, 1963)

Notes and references[]

Notes[]

  1. ^ Among other jobs Raymond Tardif has had was Minister's chief of staff for Pierre-Étienne Flandin.[8]
  2. ^ Guy Lavaud (1883 - 1958) was a French symbolist poet whose style was characterized by conciseness and clarity.
  3. ^ The École de Rochefort[en 1] is a poetic movement that rose up against the national framework of the French literature advocated by the Vichy Government,[15] during the World War II German occupation of France, in order to defend humanism and freedom of expression.
  4. ^ The distributed leaflet was entitled VOS GUEULES ![en 2] and the poet's name was included in the following list of authors: Yves Bonnat, Paul Claudel, Jean Cocteau, Luc Estang, Patrice de La Tour du Pin, Henri de Lescoët, Lanza del Vasto, Philippe Dumaine, Robert Ganzo, Roger Lannes, Jean Lescure, Jean Paulhan and Jean Rousselot.[22][23]
  5. ^ The only contribution which dealt with Delétang-Tardif's collaboration on the involved magazine was the text Scène de l'ange.[24]
  6. ^ The Comité National des Ecrivains[en 3] is a literary organization of the French Resistance created in 1941 which gathered around fifty writers to define collaboration, after World War II.[27]

References[]

  1. ^ Jump up to: a b c Lafitte, Jacques; Taylor, Stephen (1977). Qui est qui en France 1977–1978 [Who's who in France 1977–1978] (in French). Levallois-Perret, F: Editions Jacques Lafitte. p. 539. ISBN 2857840136. Retrieved 14 October 2015. DELÉTANG TARDIF Yanette (Anne, Marie, Paule dite). Femme de lettres. Née le 18 juin 1902 à Roubaix (Nord). Fille de Maurice Delétang, Industriel, et de Mme, née Marie Troupeau. Veuve de Raymond Tardif (1 enf. : Jean-Loup).
  2. ^ Jump up to: a b de Ayala, Roselyne; Guéno, Jean-Pierre (1 November 1999). Illustrated letters: artists and writers correspond. Translated by Goodman, John. New York (New York), USA: Harry N. Abrams, Inc. (HNA). ISBN 978-0-8109-0653-2. Retrieved 14 October 2015. The figure of Orphens accompanied Cocteau throughout the course of his life and work. thus it was only natural that he should charge this mythological hero. his double. with conveying news to his friend. the poet Yanette Deletang-Tardif.
  3. ^ Christ, Yvan (February 1962). "Enrique LAFUENTE FERRARI : Goya — l'Art roman en France" [Enrique LAFUENTE FERRARI: Goya — Romanesque Art in France]. La Table Ronde (in French). Paris, F: Société d'éditions et de publications artistiques et littéraires - S.E.P.A.L. (169): 135. ISSN 0980-4501. OCLC 320230615. Retrieved 10 February 2016. Le texte espagnol de la longue et érudite introduction a été traduit par Mme Yanette Delétang-Tardif.
  4. ^ Jump up to: a b c Sabatier, Robert (10 February 1982). La Poésie du Vingtième Siècle [French Poetry of the Twentieth Century]. Histoire de la poésie française (in French). 1. Tradition et Évolution. Paris, F: Albin Michel. p. 165. ISBN 9782226013958. Retrieved 10 February 2016.
  5. ^ Jump up to: a b Thyssens, Henri Thyssens, ed. (2005). "Deletang-Tardif, Yanette. Tenter de vivre. Poèmes". Robert Denoël, éditeur. Fiches bibliographiques. Retrieved 14 October 2015.
  6. ^ Douglas, Kenneth, ed. (1957). Contemporary art. Yale French studies. New Haven (Connecticut), USA: Yale University Press. p. 127. OCLC 5189961. Retrieved 17 October 2015. …and Yanette Deletang-Tardif, one of the better known and more prolific women-poets.
  7. ^ Covarrubias, Miguel (1997). Papelería en Trámite [Papers in Process] (in Spanish). México, MX: Ediciones Castillo, S.A. de C.V. ISBN 978-968-7415-56-7. Retrieved 17 October 2015. Yanette Delétang-Tardif me intrigó desde su casi total ocultamiento, aunque figura como la única excepción femenina en el recuento de la Poesía francesa contemporánea de Manuel Álvarez Ortega.
  8. ^ Jump up to: a b Blanchard, Maurice (17 October 1994). Peuchmaurd, Pierre (ed.). Danser sur la corde [Dance on a rope] (in French). Journal 1942 – 1946. Toulouse, F: L'Éther Vague. pp. 83–84. ISBN 2-904-620-52-4. Retrieved 21 October 2015.
  9. ^ Jump up to: a b c Burnham Cooper, Clarissa (1943). Women poets of the twentieth century in France: a critical bibliography. New York (New York), USA: King's Crown Press. p. 52. OCLC 3308699. Retrieved 17 October 2015. Her Confidences des îles (1934), besides revealing the influence of Valéry, shows that of Guy Lavaud […] She even attempts to interpret her experience of maternity in the detached, cerebral style invented by Valery […] in the book Generer…
  10. ^ Benkov, Edith Joyce (28 February 1991). "Yanette Deletang-Tardif". In Wilson, Katharina M. (ed.). An Encyclopedia of Continental Women Writers. Garland reference library of the humanities. Volume one A–K. London, UK: Taylor & Francis. p. 300. ISBN 978-0-8240-8547-6. Retrieved 15 October 2015. |volume= has extra text (help)
  11. ^ Stanton, Domna C. (1986). French Feminist Poems from the Middle Ages to the Present: A Bilingual Anthology. The Defiant Muse. New York (New York), USA: Feminist Press at CUNY. p. 200. ISBN 978-0935312522. Retrieved 14 October 2015. The first published works of Yanette Delétang-Tardif, Éclats (1929) and Générer (1930), from which the selection in this volume is taken, reveal the influence of Valéry's prosody, as does her Chants royaux…
  12. ^ Winckler, Lutz, ed. (1995). Unter der "Coupole": Die Paris-Feuilletons Hermann Wendels 1933–1936 [Under the "Coupole": Wendel, Hermann Paris-Feuilleton 1933–1936]. Studien und Texte zur Sozialgeschichte der Literatur (in German). 47. Berlin, D: Verlag Walter de Gruyter. p. 236. ISBN 978-3484350472. Retrieved 17 October 2015. Ihre vier Gedichtbände, "Eclats", "Generer", "Vol des Oiseaux" und "Confidences des Iles", von denen die drei ersten bei Aristide Quillet, Paris, erschienen sind, sichern Yanette Deletang-Tardif einen hervorragenden Platz in den Reihen der modersten Frauendichtung, nein, der modersten Dichtung überhaupt.
  13. ^ Bataillard, Aloys, ed. (July 1935). "Yanette Deletang-Tardif". L'Année poétique (in French). Paris, F: Librairie des Trois Magots (12): 1–16.
  14. ^ de La Rochefoucauld, Edmée (1969). "LES POÈTES : de Renée Vivien à Marie Noël". Femmes d'hier et d'aujourd'hui [Women of yesterday and today] (in French). Paris, F: Éditions Bernard Grasset. p. 3. ISBN 9782246800545. OCLC 5878552. Retrieved 25 February 2016. Si Anna de Noailles relevait du naturisme, si Cécile Périn, moins connue, était unanimiste, si Yanette Delétang Tardif ou Céline Arnault sont surréalistes, aucune n'a fait de théorie, écrit de manifestes, proclamé de principes.
  15. ^ Rosenbaum, Olga (2006). "Max Jacob: The Integrity of the Writer". In Thatcher, Nicole; Tolansky, Ethel (eds.). Six Authors in Captivity: Literary Responses to the Occupation of France During World War II. Modern French Identities. 54. Bern, CH: Peter Lang. p. 96. ISBN 978-3-03910-520-5. Retrieved 21 February 2016. This was a group of poets in the Occupied Zone who were opposed to the Vichy ideology.
  16. ^ Chabod, France (18 March 2010). "Quand les poètes de Rochefort étaient des femmes" [When poets of Rochefort were women]. BUA (in French). Service Commun de la Documentation de l'Université d'Angers. Retrieved 15 October 2015. Fondé en 1941 par Jean Bouhier et le peintre Pierre Penon, ce groupe rallia […] Yanette Delétang-Tardif […] et une soixantaine d'autres par la suite.
  17. ^ Bufkin, E. C., ed. (1980). Foreign Literary Prizes, Romance and Germanic Languages. New York (New York), USA: R. R. Bowker Company. p. 80. OCLC 5751182. Retrieved 14 October 2015.
  18. ^ Cocteau, Jean (26 September 1989). Chanel, Pierre (ed.). Le Passé défini : Journal [Past Tense: The Cocteau Diaries] (in French). Tome III. Paris, F: Gallimard. p. 89. ISBN 978-2-0707-1575-6. Retrieved 14 October 2015. Et revenant l'autre jour rue de Montpensier, avec madame Delétang-Tardif, je retrouvais là l'histoire de mes souffrances…
  19. ^ Brissonneau, Hôtel Drouot (13 December 2011). Ancienne collection Guillaume Apollinaire, Jean Cocteau, collection d'un amateur, autographes, dessins, peintres, beaux livres du XXe siècle [Former collection of Guillaume Apollinaire, Jean Cocteau, amateur's collection, autographs, drawings, painters, rare books of the 20th century.] (PDF) (in French). Paris, F: Brissonneau. pp. 20–22. OCLC 707633015. Retrieved 14 October 2012. Ce beau portrait, daté de 1943, est très proche de celui de 1942, reproduit dans le Journal de guerre de Cocteau (p. 42).CS1 maint: uses authors parameter (link)
  20. ^ Jando, Dominique (2008). "Rose Gold". Circopedia. Brooklyn (New York), USA: Big Apple Circus. Retrieved 13 February 2016. In September 1945, in Minerve, Yanette Delétang-Tardif had commented thus Rose’s debut with her solo trapeze act at Cirque Medrano: “What is so moving about the debut of this trapezist is that, right away, she has reached perfection.”
  21. ^ Thétard, Henry (15 December 1952). Chaumeix, André (ed.). "Le Cirque : Son public - Ses spectacles - Ses acteurs" [Circus: Public - Shows - Actors]. Revue des deux Mondes (in French). Paris, F: Société de la Revue des deux Mondes (24): 687. ISSN 0035-1962. OCLC 476419311. Retrieved 13 February 2016. Dans un « plaidoyer pour le cirque » qu'elle publia voici cinq ou six ans, Mme Yanette Delétang-Tardif écrivait : « Il y a, dans la vie d'un homme, un trésor que nul pouvoir, nulle force au monde ne peuvent lui arracher : ses souvenirs d'enfance. […]
  22. ^ Pierre, José; Schuster, Jean (1982). Losfeld, Eric (ed.). Tracts surréalistes et déclarations collectives [Leaflets and collective statements of the surrealist movement] (in French). Tome II (1940-1968). Paris, F: Le Terrain Vague. OCLC 496048346.
  23. ^ Jump up to: a b Béhar, Sophie (12 December 2009). Béhar, Henri (ed.). "TRACTS SURREALISTES Tome II (de février 1940 à avril 1960)" [SURREALIST LEAFLETS Tome II (February 1940 to April 1960)]. Mélusine (in French). Paris, F: Association pour la Recherche et l'Étude du surréalisme (APRES). Retrieved 21 February 2016. Yanette Delétang Tardif dont le Pégase est un cheval de cirque, discute poésie mais aussi ravitaillement.
  24. ^ Delétang-Tardif, Yanette (1 December 1942). Drieu La Rochelle, Pierre (ed.). "Scène de l'ange" [The angel scene]. La Nouvelle Revue Française (in French). Paris, F: Éditions Gallimard (346): 685. ISSN 0029-4802.
  25. ^ Mansour Desvaux, Marie-Francine (5 April 2014). Le surréalisme à travers Joyce Mansour : peinture et poésie, le miroir du désir [Surrealism as seen through Joyce Mansour's work: painting, poetry and the mirror of desire] (PDF) (in French). NNT: 2014PA010520 - Id: tel-01124337. Paris, F: Université Panthéon-Sorbonne - Paris I. p. 139. Retrieved 21 February 2016. […] le groupe lance un tract intitulé « Vos Gueules » adressé aux poètes collaborationnistes […]
  26. ^ Hoctan, Caroline (5 October 2006). Panorama des revues à la libération : août 1944–octobre 1946 [Panorama of magazines after liberation: August 1944–October 1946] (in French). Saint-Germain la Blanche-Herbe, F: IMEC : Institut Mémoires de l'édition contemporaine. p. 1036. ISBN 978-2908295818. Retrieved 21 February 2016. Nous pouvons ainsi trouver entre décembre 1940 et juin 1943 les contributions de Paul Eluard, Alain, Henri Thomas, Claude Roy, Eugène Guillevic, Joë Bousquet, Louis Guilloux, Charles Autrand, Yanette Delétang-Tardif, André Gide, etc.
  27. ^ Sapiro, Gisèle (2015). "The literary field between the State and the market". In Hilgers, Mathieu; Mangez, Eric (eds.). Bourdieu's Theory of Social Fields: Concepts and Applications. Routledge Advances in Sociology. Abingdon-on-Thames, UK: Routledge. p. 146. ISBN 978-1-138-77765-1. Retrieved 28 February 2016.
  28. ^ Assouline, Pierre (1996). L'Épuration des intellectuels [The Culling of intellectuals]. Historiques (in French). 105. Annexe 5. Brussel, B: Editions Complexe. pp. 161–162. ISBN 978-2-87027-667-9. Retrieved 24 February 2016.
  29. ^ Racine, Bruno, ed. (2010). "Fonds Max Jacob-Collection Gompel-Netter Correspondance. Lettres de Max Jacob à Yanette Delétang-Tardif". BnF - Archives et manuscrits (in French). NAF 28312. Paris, F: Bibliothèque nationale de France. Retrieved 8 March 2016.
  30. ^ Van Rogger Andréucci, Christine (2007). Sustrac, Patricia (ed.). "Max Jacob et l'école de Rochefort : poétique et pédagogie" [Max Jacob and the school of Rochefort: poetic and pedagogy]. AMJ – Association des Amis de Max Jacob. Saint-Benoît-sur-Loire, F: Association des Amis de Max Jacob. Retrieved 2 March 2016. Max Jacob, revenu de Paris pour s'installer définitivement à Saint-Benoît-sur-Loire en juin 1936, devient une figure centrale dans les liens qui uniront les fondateurs de l'école de Rochefort.
  31. ^ Sustrac, Patricia (2009). "La mort de Max Jacob : réalité et représentations" [The death of Max Jacob: reality and portrayals]. Les Cahiers Max Jacob (in French). Saint-Benoît-sur-Loire, F: Association des Amis de Max Jacob. 9 (9): 103–127. doi:10.3406/maxja.2009.962. ISSN 0526-8400. Retrieved 2 March 2016. Yanette Delétang-Tardif, la première, a publié le récit le plus étoffé de la mort de Max Jacob à Drancy.
  32. ^ Delétang-Tardif, Yanette (July–October 1944). Seghers, Pierre (ed.). "La mort d'un poète" [The death of a poet]. Poésie (in French). Paris, F (20): 14–16.
  33. ^ Oxenhandler, Neal (1964). "Unpublished Letters from Max Jacob to Jean Fraysse – Contributions of Max Jacob to Les Feux de Paris". University of California Publications in Modern Philology. Berkeley (California), USA: University of California Press. 35 (4): 221–307. OCLC 1358396. Retrieved 1 March 2016. The poetess, Mme Yanette Delétang Tardif, quotes the doctor who attended Max at Drancy, according to whom Max's death was one of calm piety.
  34. ^ Oxenhandler, Neal (1 May 1997). Looking for heroes in postwar France: Albert Camus, Max Jacob, Simone Weil. Lebanon (New Hampshire), USA: University Press of New England. p. 102. ISBN 9780874518283. Retrieved 1 March 2016. In the same affectless style a journal entry for November 28, 1944, records the poet's death as reported by Mme Yanette Deletang-Tardif, who interviewed the attending physician at Drancy.
  35. ^ Schneider, Marcel (July 1950). "Les Lettres Allemandes : Thomas Mann et Hermann Hesse" [German letters: Thomas Mann and Hermann Hesse]. La Table Ronde (in French). Paris, F: Société d'éditions et de publications artistiques et littéraires - S.E.P.A.L. (31): 153. ISSN 0980-4501. OCLC 320230615. Retrieved 10 February 2016. Rien n'est plus dévotement pur que les brefs dictons en vers, si heureusement traduits par Maurice Betz et Yanette Delétang-Tardif
  36. ^ Brion, Marcel (2000). Suite fantastique [Fantastic suite]. Cahiers Marcel Brion (in French). 2–3. Paris, F: Klincksieck. p. 222. ISBN 978-2-252-03272-5. Retrieved 11 February 2016. […] l'énigmatique Bonaventura dont les Veillées - ce chef-d'oeuvre du Romantisme ! - n'ont pas encore trouvé d'éditeur en France pour l'excellente traduction qu'en a faite Yanette Delétang-Tardif […]
  37. ^ Achard, Marcel (1960). "Le métier d'auteur" [The job of author]. Les Annales, Conferencia (in French). Paris, F: Revue Mensuelle des Lettres Françaises (111): 32. ISSN 1766-3601. OCLC 472051127. Retrieved 25 February 2016. Elle aime son métier littéraire qui n'est pas seulement celui du poète mais du critique.
  38. ^ Billy, André (1951). Horay, Pierre (ed.). "Prix décernés en 1950" [Prizes awarded in 1950]. Almanach des lettres. 1951 (in French). La Gazette des Lettres. Paris, F: Editions de Flore. p. 225. ISSN 1156-0010. Retrieved 10 April 2016. Prix Renée Vivien : Yanette Delétang-Tardif, pour Sept chants royaux
  39. ^ Grindea, Miron, ed. (1962). "Combat with the Amazon of letters". ADAM International Review. London, UK. 29 (299): 5–24. Retrieved 17 October 2015. As to the moving tributes by Yanette Deletang-Tardif, Anne-Marie Kegels and Lucienne Desnoues they represent the admiration of three of the more interesting laureates of the Prix Renee Vivien which, since 1949, the Amazon has awarded to women poets writing in French.
  40. ^ Álvarez Ortega, Manuel (1967). Poesía francesa contemporánea, 1915-1965: antología bilingüe [Contemporary French poetry (1915-1965). Bilingual anthology]. Sillar. Estudios Literarios. Segunda serie (in Spanish). 4. Madrid, ES: Taurus. p. 568. OCLC 332806. Retrieved 5 March 2016. También ha recibido el Premio Mallarmé en 1942, el Premio Renée Vivien en 1950 […]
  41. ^ Causse, Michèle; Cleyrergue, Berthe (1980). Berthe, ou, un démi-siècle auprés de l'Amazone [Berthe or half a century with the Amazon] (in French). Paris, F: Éditions Tierce. p. 117. OCLC 8588563. Retrieved 26 February 2016. La poètesse Yanette Delétang-Tardif, enchanteresse, qui reçut le prix Renée Vivien, aimait venir chez miss Barney quand il n'y avait personne.

Lexicon[]

  1. ^ Rochefort school
  2. ^ SHUT UP!
  3. ^ National Committee of Writers
  4. ^ Nightwatches of Bonaventura
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