Agon
 Agon | |
|---|---|
social phenomenon (en)  | |
| Bayanai | |
| Ƙaramin ɓangare na |
competition (en) |
Agon (Hellenanci na dā) kalma ce ta Girka da ke nufin rikici, gwagwarmaya ko hamayya, wadda kuma ke bayyana ra’ayi na suna iri ɗaya. Wannan yana iya nufin gasa a wasannin motsa jiki kamar guje-guje da tsalle-tsalle, tseren karusa ko dawakai, ko kuma a gasa ta kade-kade da adabi a bukukuwan jama’a na tsohuwar Girka. Haka kuma, agon wani salo ne a cikin labaran bala’i, inda ake bayyana rikicin da ya shafi halayen jarumi da abokan gabansa.
Wasan motsa jiki
[gyara sashe | gyara masomin]A wata ma'ana, agon yana nufin gasa a wasannin motsa jiki, misali, wasannin Olympics (Ὀλυμπιακοὶ Ἀγῶνες). Agon kuma ya kasance tatsuniya na gasa da aka jera a sama. An wakilta wannan allahn a cikin wani mutum-mutumi a Olympia tare da halteres ( dumbbells ) ( ἁλτῆρες ) a hannunsa. Wannan mutum-mutumin aikin sculptor Dionysius (sculptor) ne, kuma Micythus na Rhegium ya keɓe .
Addini
[gyara sashe | gyara masomin]A cewar Pausanias, an san Agon a cikin duniyar Girka a matsayin allahntaka, wanda mutum-mutuminsa ya bayyana a Olympia, mai yiwuwa dangane da wasannin Olympics, wanda ke aiki a matsayin bikin addini don girmama Zeus da gasar wasanni. Agon shine, watakila, ya fi ruhu fiye da allah a cikin tarihin Girkanci, amma an fahimci cewa yana da alaƙa da Zelos (kishiya) da Nike (nasara). [1] Gabaɗaya, Agon yayi magana akan duk wani taron gasa da aka gudanar dangane da bukukuwan addini, gami da wasannin motsa jiki, kiɗa, ko wasan kwaikwayo.
Agon also appears as a concept in the New Testament and is defined in that context by Strong's Concordance as, agón: a gathering, contest, struggle; as an (athletic) contest; hence, a struggle (in the soul).
Gidan wasan kwaikwayo
[gyara sashe | gyara masomin]A cikin wasan kwaikwayo na tsohuwar Girka, musamman Old Comedy (ƙarni na biyar BC), [2] agon yana nufin hamayya ko muhawara tsakanin haruffa guda biyu - agonist mai fafutuka da ant agonist - a cikin babban tsari na bala'o'i na gargajiya da wasan kwaikwayo . agon kuma zai iya tasowa tsakanin ɗan wasan kwaikwayo da ƙungiyar mawaƙa ko tsakanin 'yan wasan kwaikwayo biyu tare da rabin ƙungiyar mawaƙa suna tallafawa kowane. Ta hanyar hujjar ka'idoji masu gaba da juna, agon a cikin waɗannan wasan kwaikwayon sun yi kama da maganganun yare na Plato . Ma'anar kalmar ta kubuta daga abubuwan da suka faru na asali na asali don nuna, gabaɗaya, rikice-rikicen da aikin adabi ya juya.
Daga wannan amfani ya zo da sharuddan protagonist, ɗan wasan kwaikwayo na farko da ke kan gaba a cikin gwagwarmayar labarin, kuma mai adawa, lokacin da gwagwarmayar ta kasance da wannan hali. Deuteragonist da tritagonist suna aiki na biyu mafi mahimmanci kuma na uku mafi mahimmancin matsayi, kuma suna iya haɗuwa da antagonist.
Rawa
[gyara sashe | gyara masomin]A cikin 1948, Lincoln Kirstein ya gabatar da ra'ayin ballet wanda daga baya za a san shi da Agon . Bayan shekaru goma na aiki kafin wasan Agon, ya zama ballet na ƙarshe a cikin jerin haɗin gwiwar tsakanin mawaƙa George Balanchine da mawaki Igor Stravinsky . [3] Balanchine ya kira wannan ballet a matsayin "mafi kyawun aiki" don fitowa daga haɗin gwiwar tsakanin Stravinsky da kansa. [4]
Adabi
[gyara sashe | gyara masomin]Harold Bloom a cikin The Western Canon yana amfani da kalmar agon don komawa ga ƙoƙarin da marubuci ya yi na warware rikici na hankali tsakanin ra'ayoyinsa da ra'ayoyin magabata mai tasiri wanda "mafi girma ya haɗiye ƙarami", kamar a cikin babi na 18, Joyce 's agon with Shakespeare .
A cikin Mutum, Wasa, da Wasanni (1961), [1] Roger Caillois yana amfani da kalmar agon don kwatanta wasanni masu gasa wanda 'yan wasan ke da damar daidaitawa amma mai nasara ya yi nasara saboda "mai inganci guda ɗaya (gudu, jimiri, ƙarfi, ƙwaƙwalwar ajiya, fasaha, basira, da dai sauransu), motsa jiki, cikin ƙayyadaddun iyaka kuma ba tare da taimakon waje ba."
Ka'idar Sociopolitical
[gyara sashe | gyara masomin]A cikin ka'idar zamantakewar zamantakewa, agon na iya komawa ga ra'ayin cewa arangama na sojojin da ke adawa da juna na haifar da ci gaba da ci gaba. Ma'anar, wanda aka sani da agonism, an gabatar da shi a fili ta hanyar yawancin malamai, ciki har da William E. Connolly, Bonnie Honig, da Claudio Colaguori, amma kuma a bayyane yake a cikin aikin masana irin su Theodor Adorno, da Michel Foucault (duba kuma dimokiradiyya agonistic ).
Abubuwan da aka samo asali
[gyara sashe | gyara masomin]Kalmomin da aka samo daga azaba sun haɗa da ƙuna, tashin hankali, gaba, da kuma jarumi .
Duba kuma
[gyara sashe | gyara masomin]- Mutum, Wasa da Wasanni ( Roger Caillois )
Manazarta
[gyara sashe | gyara masomin]- ↑ "AGON - Greek God or Spirit of Contest". www.theoi.com. Retrieved 2020-11-19.
- ↑ Humphreys, Milton W. (1887). "The Agon of the Old Comedy". The American Journal of Philology. 8 (2): 179–206. doi:10.2307/287385. JSTOR 287385.
- ↑ Alm, Irene (April 1989). "Stravinsky, Balanchine, and Agon: An Analysis Based on the Collaborative Process". The Journal of Musicology. 7 (2): 254–269. doi:10.2307/763771. JSTOR 763771.
- ↑ Jordan, Stephanie (Autumn 1993). "Agon: A Musical/Choreographic Analysis". Dance Research Journal. 25 (2): 1–12. doi:10.2307/1478549. JSTOR 1478549. S2CID 191572990.