Barkwanci
 barkwanci | |
|---|---|
type of work of art (en)  , genre (en) da literary genre (en) | |
 | |
| Bayanai | |
| Ƙaramin ɓangare na |
work of art (en) |
| Muhimmin darasi |
humor (en) |
| Hashtag (en) | funny |
| Gudanarwan | cali-cali |
Bangaren barkwanci wani salo ne na tatsuniyoyi da suka kunshi jawabai ko ayyuka da aka yi niyya don ban dariya ko ban sha'awa ta hanyar haifar da raha musamman a fagen wasan kwaikwayo, fim, wasan barkwanci, talabijin, rediyo, littattafai,ko duk wata hanyar nishadantarwa. Kalmar ta samo asali ne a tsohuwar Girka: a dimokuradiyyar Athens, ra'ayin jama'a na masu jefa kuri'a ya rinjayi ra'ayin jama'a ta hanyar siyasa da mawakan barkwanci suka yi a gidajen wasan kwaikwayo. Za a iya kwatanta nau'in wasan kwaikwayo na wasan barkwanci na Girka a matsayin wasan kwaikwayo mai ban mamaki wanda ya haɗu da ƙungiyoyi biyu, shekaru, jinsi, ko al'ummomi a cikin wani yanayi mai ban sha'awa ko kuma rikici. Northrop Frye ya kwatanta wadannan bangarorin biyu masu adawa da juna a matsayin "Ƙungiyar Matasa" da "Ƙungiyar tsofi". [1] Ra'ayi da aka sake dubawa yana nuna mahimmancin tashin hankali na wasan barkwanci a matsayin gwagwarmaya tsakanin matasa marasa ƙarfi da kuma taron al'umma da ke haifar da cikas ga. A wannan fafutuka, sai matasa suka takura saboda rashin ikon zamantakewa, kuma a bar shi da wani zabi face ya yi amfani da dabaru wadanda ke haifar da ban mamaki, wanda ke haifar da dariya.[2]
Satire da ƴaƴan siyasa suna amfani da wasan barkwanci don nuna mutane ko cibiyoyin zamantakewa a matsayin abin dariya ko ɓarna, don haka suna nisantar da masu sauraronsu daga abin da suke barkwanci. Paroedny subverts shahararrun nau'ikan da siffofin, zargi waɗancan nau'ikan ba lallai ba ne ayi Allah wadai da su.
Sauran nau'o'in wasan kwaikwayo sun haɗa da wasan kwaikwayo na screwball, wanda ke samun jin daɗinsa mafi yawa daga yanayi masu ban mamaki, abubuwan ban mamaki (kuma ba za a iya yiwuwa ba) ko haruffa, da kuma baki barkwanci, wanda ke da nau'i na ban dariya wanda ya haɗa da abubuwa masu duhu na halin ɗan adam ko yanayin ɗan adam. Hakazalika abin ban dariya, jin daɗin jima'i, da jin daɗin tsere suna haifar da wasan ban dariya ta hanyar keta al'adun zamantakewa ko abubuwan ban dariya a cikin hanyoyin ban dariya, waɗanda galibi ana ɗaukar su azaman abin ban tsoro ta batutuwan da aka faɗi. Wasan barkwanci na ɗabi'a yakan ɗauki matsayinsa wani ɓangare na al'umma (yawanci al'umma mafi girma) kuma yana amfani da barkwanci don yin ɓarna ko lalata ɗabi'a da ɗabi'un membobinta. Wasan barkwanci na soyayya wani mashahurin salo ne wanda ke nuna soyayya mai tada hankali cikin ban dariya kuma yana mai da hankali kan abubuwan da suka faru na soyayya.
Asalin kalma
[gyara sashe | gyara masomin]
Dean Rubin ya ce kalmar "comedy" ta samo asali ne daga Girkanci na gargajiya κωμῳδία kōmōidía, wanda shine fili na κῶμος kômos (revel) da ᾠδή ōidḗ (waƙa; ode). [3] Siffar "comic" (Girkanci κωμικός kōmikós), wanda ke nufin ainihin abin da ke da alaƙa da wasan barkwanci, a cikin amfani da zamani, gabaɗaya ya keɓe ga ma'anar "dariya". [4] Daga cikin wannan, kalmar ta zo cikin amfani da zamani ta hanyar Latin comoedia da Italiyanci commedia kuma, a kan lokaci, ta wuce ta hanyoyi daban-daban na ma'ana. [5]
Girkawa da Romawa sun taƙaita amfani da kalmar "barkwanci" zuwa kwatancin wasan kwaikwayo tare da kyakkyawan ƙarewa. Aristotle ya ayyana wasan barkwanci a matsayin kwaikwayon mazaje mafi muni fiye da matsakaici (inda tragedy ya kasance kwaikwayon maza fiye da matsakaici). Duk da haka, haruffan da aka zayyana a cikin wasan kwaikwayo ba su kasance mafi muni fiye da matsakaici ta kowace hanya ba, sai dai idan sun kasance masu Ridiculous, wanda shine nau'i na Mummuna. Ana iya bayyana abin ba'a a matsayin kuskure ko nakasar da ba ta haifar da ciwo ko cutarwa ga wasu ba; abin rufe fuska, alal misali, abin da ke motsa dariya wani abu ne mai banƙyama da kuma gurɓatacce ba tare da haifar da ciwo ba. [6] A middle ages, kalmar ta faɗaɗa don haɗawa da waƙoƙin ba da labari tare da ƙarshen farin ciki. A cikin wannan ma'anar ne Dante yayi amfani da kalmar a cikin taken waƙarsa, La Commedia.
Yayin da lokaci ya ci gaba, kalmar ta zo da yawa don haɗawa da kowane nau'i na wasan kwaikwayon da aka yi nufin haifar da dariya. [5] A lokacin tsakiyar zamanai, kalmar "comedy" ta zama daidai da satire, kuma daga baya tare da ban dariya a gaba ɗaya.
An fassara <i id="mwWQ">wakokin Aristotle</i> zuwa harshen larabci a duniyar Islama ta tsakiya, inda marubutan Larabci da malaman falsafar Musulunci irin su Abu Bishr da almajiransa Al-Farabi, Avicenna da Averroes suka yi karin haske a kansa. Sun rabu da wasan barkwanci daga wakilcin ban mamaki na Girka, maimakon haka sun danganta shi da jigogi da nau'ikan waƙoƙin Larabci, kamar hija (waƙar satirical). Sun kalli wasan barkwanci a matsayin “fasaha na zargi” kawai, kuma ba su yi nuni ga haske da abubuwan farin ciki ba, ko farkon tashin hankali da ƙarshen farin ciki da ke da alaƙa da wasan kwaikwayo na gargajiya na Girka.
Bayan fassarorin Latin na karni na 12, kalmar "barkwanci" ta sami ƙarin ma'ana gabaɗaya a cikin adabi na tsakiya. [7]
A ƙarshen karni na 20, masana da yawa sun gwammace su yi amfani da kalmar dariya don nufin gabaɗayan gamut na wasan barkwanci, don guje wa amfani da ma'anar ma'anoni masu ma'ana da matsala kamar su grotesque, irony, da satire. [8] [9]
Barkwanci maganganu ne da ake yi a tsakanin mutane da nufin ban dariya. Ana yin barkwanci ne ta hanyar ba’a. Hakanan kuma ana iya kallonsa a matsayin wasan ban dariya, saboda zamowarsa maganganun da ake yi ta cikin raha, da wasa kuma ana dariya. Komai ɗacin kalmar da aka faɗa, bata ɓata rai sai dai a yi dariya. Misali, wasan tsakanin ƙabila da ƙabila, Babarbare (Kanuri), yakan ce da Bafullace biri, ko ɓarawo, shi kuma Bafillace yakan mayar da martani. To, amma maimakon rai ya ɓaci, sai dai ka ga ana dariya. Ko kuma ka ji Bakano yana ce da Bazazzagi kwarto. Sukan ce Zariya ba ɓarawo idan ka ji ihu kwarto ne.
Fa’idojin Barkwanci
[gyara sashe | gyara masomin]Akwai fa’idoji masu tarin yawa tattare da barkwanci:
- Nishaɗantarwa: Akwai nishaɗi a cikin barkwanci, kasancewarsa wasa da ake yi ta hanyar magana kuma a saka juna dariya. Ita kuwa dariya, hanya ce mai matuƙar muhimmanci ta saka nishaɗi.
- Ƙara Danƙon Zumunci: Barkwanci yana ƙarfafa zumunci tsakanin masu yinsa. Ana kawar da gaba ta hanyar barkwanci. Misali, barkwanci tsakanin ƙabilun da suka yaƙi juna ko kuma masu sana’o’in da kusan suke kishiyantar juna, misali a ce mahauci da masunci. Sukan cirewa junansu ƙyashi ta hanyar barkwanci.
- Ilimantarwa: Akwai ilimatarwa a cikin barkwanci, saboda ta hanyar barkwanci ake ƙirƙiro wasu gajerun labarurrukan da ake raɓa su da wata ƙabilar wanda a cikin irin waɗannan labaru za a ga akwai hikimomin da za a samu ilimin rayuwa a ciki. Misali, Barebari suna cewa wai wani Bafullace ne mota ta kaɗe shi har ya fita hayyacinsa ta inda har aka kai shi asibiti bai sani ba. To bayan ya farfaɗo daga doguwar sumar da ya yi, sai ya ga likita cikin fararen kaya yana tsaye a kansa, shi kuma bafullacen yana kwance kan gado, ga katifa mai laushi, ga kuma fanka tana firfita shi da sauran kayan alatu. To wai da likita ya tambaye shi sunansa sai ya ce, “Da dai a duniya ana she min Ja’o, amma yanzu Nawakiri (Walakiri) sai abin da ka she (ka ce)”. Idan muka lura da wannan gajeren labari, za mu ga akwai karantarwa dangane da daɗin da ke lahira a cikinsa.
Rabe-Raben Barkwanci
[gyara sashe | gyara masomin]Ana iya karkasa barkwanci bisa la’akari da masu yinsa. Za mu iya samun rabe-rabe kamar haka:
- Barkwancin Zumunta: Shi ne barkwancin da ake yi tsakanin ‘yan’uwa ko dangi, da sauran makamantansu. Akan yi wannan barkwanci tsakanin kaka da jika, ‘ya’yan wa da na ƙani; wato tsakanin mutanen da suka haɗa kakanni guda koda kuwa kaka ɗaya suka haɗa. Sannan kuma akwai barkwanci tsakanin matar wa da matar ƙani, da kuma tsakanin matar wa da ƙannen mijinta, da sauran makamantansu.
- Barkwancin Ƙabila: Ana barkwanci tsakanin wata ƙabilar da wata. Wannan barkwanci ne da ake ganin faruwar yaƙi tsakanin waɗannan ƙabilu biyu ko kuma kasancewarsu a gurin zama guda, su ke haifar da shi, dan barkwancin ya kore afkuwar gaba a tsakanin waɗannan ƙabilu. Daga cikin irin wannan barkwanci akwai shi tsakanin Barebari da Fulani, Tsakanin Nufawa da Katsinawa, tsakanin Yarbawa da Gobirawa, da sauransu duk a cikin Najeriya.
- Barkwancin Sana’a: Shi ne barkwancin da masu sana’ar da ke kishiyantar juna ke yi. Ta hanyar wannan barkwanci ake gusar da ƙyashin da ke tsakanin masu irin waɗannan sana’o’i. misali, akwai barkwanci tsakanin mahauta da masunta, tsakanin maƙera da wanzamai, da sauransu.
Manazarta:
[gyara sashe | gyara masomin]Ɗangambo A. (1984). Rabe-Raben Adabin Hausa da Muhimmancinsa ga Rayuwar Hausawa. Maɗaba’ar Kamfanin ‘Triumph’, Gidan Sa’adu Zungur, Kano – Nigeria.
Yahaya I.Y., Zariya M.S., Gusau S.M. da ‘Yar’aduwa T.M (1992). Darrusan Hausa Don Manyan Makarantun Sakandire, Littafi na Uku. University Press PLC, Ibadan-Nigeria.
Manazarta
[gyara sashe | gyara masomin]
- ↑ (Anatomy of Criticism, 1957)
- ↑ Marteinson, 2006
- ↑ comedy (n.) "The old derivation from kome "village" is not now regarded."
- ↑ Cornford (1934)[page needed]
- ↑ 5.0 5.1 Oxford English Dictionary
- ↑ McKeon, Richard. The Basic Works Of Aristotle, the University of North Carolina at Chapel Hill, 2001, p. 1459.
- ↑ McKeon, Richard. The Basic Works Of Aristotle, the University of North Carolina at Chapel Hill, 2001, p. 1459.Empty citation (help)
- ↑ Herman Braet, Guido Latré, Werner Verbeke (2003) Risus mediaevalis: laughter in medieval literature and art p.1 quotation:
The deliberate use by Menard of the term 'le rire' rather than 'l'humour' reflects accurately the current evidency to incorporate all instances of the comic in the analysis, while the classification in genres and fields such as grotesque, humour and even irony or satire always poses problems. The terms humour and laughter are therefore pragmatically used in recent historiography to cover the entire spectrum.
- ↑ Ménard, Philippe (1988) Le rire et le sourire au Moyen Age dans la littérature et les arts. Essai de problématique in Bouché, T. and Charpentier H. (eds., 1988) Le rire au Moyen Âge, Actes du colloque international de Bordeaux, pp. 7–30