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Salon Labartawa

Daga Wikipedia, Insakulofidiya ta kyauta.
(an turo daga Labari)
Vladimir Propp a cikin 1928. Masanin tarihin wallafe-wallafen, farfesa a jami'a, masanin harshe, marubuci, da masanin ilimin Soviet. Mai gabatarwa na narratology.
Labari
Wikimedia disambiguation page (en) Fassara

Labartawa nazari ne tsarin labari da sassan labarin da kuma hanyoyin da waɗannan ke shafar fahimtar ɗan adam. Kalmar labartawa, wadda da Turancin Ingilishi ake kira da narratology ta samo asali ne daga Faransanci, wanda Tzvetan Todorov ya ƙirƙira ( Grammaire du Décaméron, 1969). Fannin ya somo asali ne daga Aristotle ( Poetics ) amma tsarin labartawar da ake da ita a yanzu ta fito ne daga masana daga kasar Rasha, musamman ma daga Vladimir Propp ( Mofology of the Folktale, 1928), da kuma ra'in Mikhail Bakhtin na yadda al'umma ke fahimtar zance, salon murya, da kuma muhallin da aka fara gabatarwa a cikin wani aiki mai suna The Dialogic Imagination (1975).

Fahimtar labari wani sabon salo ne da a yanzu ake amfani da shi wajen sa masu karatu su fahimci inda aka dosa. A maimakon yin la'akari da zubin kalmomin da ke cikin labarin, wannan sabon tsarin nazarin labari ya fi mayar da hankali a kan yadda mutane suka fahimci sakon da ke cikin labarin da kuma yadda za su aikata sakon.

Ma'anar labarai

[gyara sashe | gyara masomin]

Masana labarai masu bin diddikin kalmomin dake cikin labari kamar Rimmon-Kenan sun bayyana fiction a matsayin "yadda ake jera wadansu kirkirarrun abubuwa a cikin labari".

Masu ba da labari na hankali suna mai da hankali kan yadda mutane ke fuskantar wani abu a matsayin labari maimakon tsarin rubutun kanta. Labarin kalmomi shida "Don sayarwa: takalma na jariri, ba a taɓa sawa ba", ana ba da shi sau da yawa a matsayin misali wanda ba zai cancanci zama labari a cikin tsarin tsari ba, amma hakan yana haifar da ma'anar labari.

Marie-Laure Ryan ta bambanta tsakanin "Labari" a matsayin wani abu da za'a iya bayyana shi a sarari da ingancin labarin, wanda ke nufin "kasancewa don yin wahayi zuwa ga amsa mai ba da labari". Wannan yana ba ta damar fahimtar Wasannin bidiyo kamar yadda suke da labari ba tare da zama labaran al'ada ba. Astrid Ensslin ta gina a kan wannan, ta bayyana cewa "wasannin suna da damar haifar da rubuce-rubuce masu yawa, ta hanyar gina duniya, ƙirar abubuwan da suka faru, ci gaban halayyar da sauran abubuwan da 'yan wasa ke hulɗa da niyyar warware matsaloli da samun ci gaba".

Asalin ilimin ba da labari yana ba da kyakkyawar alaƙa tare da neman tsarin tsari don tsarin tsari na bayanin da ya dace da kowane abun ciki na labarin, ta hanyar kwatanci tare da ilimin lissafi da aka yi amfani da shi azaman tushen ƙaddamar da kalmomi a wasu nau'ikan ilimin harshe. Wannan hanya duk da haka ba ta nuna duk aikin da aka bayyana a matsayin ba da labari a yau; aikin Percy Lubbock a ra'ayi (The Craft of Fiction, 1921) yana ba da shari'a a cikin batu.[1]

A cikin 1966 wani fitowar musamman na mujallar Sadarwa ta tabbatar da tasiri sosai, ta zama an dauke ta shirin don bincike a cikin fagen har ma da manifesto.[2][3] Ya haɗa da labaran Roland Barthes, Claude Brémond, Gérard Genette, Algirdas Julien Greimas, Tzvetan Todorov da sauransu, wanda hakan ke nufin ayyukan Vladimir Propp (1895-1970).[3]

Jonathan Culler (2001) ya bayyana labarin kamar yadda ya ƙunshi abubuwa da yawa

a bayyane yake a cikin fahimtar cewa ka'idar labari tana buƙatar bambanci tsakanin "labari," jerin ayyuka ko abubuwan da aka ɗauka kamar yadda suke da 'yanci daga bayyanarsu a cikin magana, da kuma "magana," gabatarwar magana ko labarin abubuwan da suka faru. '

Masu tsara tsarin Rasha sun fara ba da shawarar irin wannan bambanci, ta amfani da fabula da syuzhet. Sakamakon da ya biyo baya na bambance-bambance ya adana muhimmiyar motsi na binomial, misali Tarihi / jawabi, Tarihi / 'labarin', labari / mãkirci. Tunanin Structuralist cewa mutum na iya bincika fabula da syuzhet daban ya haifar da al'adu biyu daban-daban: jigogi (Propp, Bremond, Greimas, Dundes, et al.) da modal (Genette, Prince, et al.). Tsohon yafi iyakance ga tsari na semiotic na jerin ayyukan da aka fada, yayin da ƙarshen ke nazarin hanyar faɗarsu, jaddada murya, ra'ayi, canjin tsari na lokaci, rhythm, da mitar. Marubutan da yawa (Sternberg, 1993, Ricoeur, 1984, da Baroni, 2007) sun nace cewa kada a kalli rubutun batutuwa da na modal daban, musamman lokacin da suke hulɗa da aiki da sha'awar jerin labaran da makirci.

Aikace-aikacen

[gyara sashe | gyara masomin]

Bayyana aiki a matsayin mai ba da labari ya dogara da horo na ilimi wanda yake faruwa fiye da kowane matsayi na ka'ida. Hanyar ta dace da kowane labari, kuma a cikin karatun gargajiya, tare da Propp, ana amfani da labaran da ba na wallafe-wallafen ba. Duk da haka, ana amfani da kalmar "narratology" ga ka'idar wallafe-wallafen da kuma sukar wallafe-walfinai, da Ka'idar fim da (har zuwa ƙarami) sukar fim. Aikace-aikacen da ba a saba gani ba na hanyoyin ba da labari za su haɗa da nazarin zamantakewa da harshe na ba da labari na baki (William Labov) da kuma nazarin tattaunawa ko nazarin magana wanda ke hulɗa da labarun da ke tasowa a yayin hulɗar magana. Har ila yau, ya haɗa da nazarin wasannin bidiyo, Littattafan hoto, zane mara iyaka, da siffofin labaran da ke da alaƙa da ilimin lissafi da ka'idar hoto. Koyaya, nazarin ƙididdigar wani nau'in inda ake ɗaukar narremes a matsayin mahimman sassan tsarin labari na iya fadawa cikin fannonin ilimin harshe, semiotics, ko ka'idar wallafe-wallafen.

A cikin sabbin kafofin watsa labarai

[gyara sashe | gyara masomin]

Masanin kimiyyar kafofin watsa labarai na dijital kuma farfesa Janet Murray ya yi la'akari da canji a cikin labarun da tsarin labari a cikin karni na ashirin sakamakon ci gaban kimiyya a cikin littafinta na 1998 Hamlet on the Holodeck: The Future of Narrative in Cyberspace . Murray ya yi jayayya cewa tsarin labarun kamar na Labari da yawa sun fi nuna "Wurin. lissafi na Einstein" da kuma sabon ra'ayi na lokaci, tsari, da canji, fiye da labarin layi na gargajiya. Abubuwan da suka dace na kwamfutoci sun fi dacewa da bayyana waɗannan labarun "marasa iyaka, masu haɗuwa" ko "cyberdramas". Wadannan cyberdramas sun bambanta da al'adun gargajiya na ba da labari saboda suna gayyatar mai karatu cikin kwarewar labari ta hanyar hulɗa watau fiction hypertext da sabulu na Yanar gizo The Spot . Murray ya kuma bayyana cewa Wasannin bidiyo - musamman wasannin da ke taka rawa da masu kwaikwayon rayuwa kamar The Sims, suna dauke da tsarin labari ko gayyatar masu amfani su ƙirƙira su. Ta goyi bayan wannan ra'ayin a cikin labarinta "Game Story to Cyberdrama" inda ta yi jayayya cewa labaru da wasanni suna da mahimman tsari guda biyu: gwagwarmaya da rikice-rikice.[4]

Littattafan lantarki da rubutun yanar gizo

[gyara sashe | gyara masomin]

Ci gaba da amfani na musamman na na'urorin dijital da hulɗa sune mahimman halaye na wallafe-wallafen lantarki. Wannan ya haifar da bambancin tsarin labaran waɗannan kafofin watsa labarai masu ma'amala. Labaran da ba na layi ba suna aiki ne a matsayin tushen fictions masu yawa. Wani lokaci ana amfani da shi tare da fiction hypertext, mai karatu ko mai kunnawa yana taka muhimmiyar rawa wajen kirkirar labari na musamman wanda aka haɓaka ta hanyar zaɓin da suke yi a cikin labarin-duniya. Stuart Moulthrop's Victory Garden yana daya daga cikin misalai na farko da aka fi nazarin su na fiction hypertext, wanda ke nuna 1,000 lexia da 2,800 hyperlinks.[5]

A cikin littafinsa Cybertext: Perspectives on Ergodic Literature, Espen Aarseth ya ɗauki ra'ayin cybertext, wani rukuni na wallafe-wallafen ergodic, don bayyana yadda matsakaici da tsarin inji na rubutun ke shafar kwarewar mai karatu:

... lokacin da ka karanta daga rubutun yanar gizo, ana tunatar da kai tsaye game da dabarun da ba a iya isa ba da hanyoyin da ba a ɗauka ba, muryoyin da ba a ji ba. Kowane yanke shawara zai sa wasu sassan rubutun su fi yawa, wasu kuma ba su da sauƙi, kuma ba za ku taɓa sanin ainihin sakamakon zaɓin ku ba; wato, ainihin abin da kuka rasa.

Tsarin labarin ko duniyar wasan na waɗannan rubutun yanar gizo ana kwatanta su da labyrinth wanda ke gayyatar mai kunnawa, kalmar Aarseth ta ga ta fi dacewa da mai karatu, don wasa, bincika da gano hanyoyin a cikin waɗannan matani. Nau'o'i biyu na labyrinths waɗanda Aarseth ke ambaton su sune labyrinth na unicursal wanda ke riƙe da hanya ɗaya, mai juyawa wanda ke kaiwa ga cibiyar da aka ɓoye, da labyrinth mai yawa, daidai da maze, wanda ke da rassa da rikitarwa tare da hanyar da shugabanci da mai kunnawa ya zaɓa. Wadannan ra'ayoyin suna taimakawa wajen rarrabe tsakanin ergodic (unicursal) da kuma wallafe-wallafen da ba na ergodic ba (multicursal). Wasu ayyukan kamar Vladimir Nabokov's Pale Fire sun tabbatar da cewa suna iya zama duka dangane da hanyar da mai karatu ke ɗauka.[6]

Masu ra'ayi

[gyara sashe | gyara masomin]

Mai sukar fasaha kuma masanin falsafa, Arthur Danto, yana nufin labarin kamar yadda yake kwatanta abubuwan da suka faru guda biyu. Labari kuma yana da alaƙa da harshe. Hanyar da mutum zai iya sarrafa labarin, ko kuma a cikin nuni na matsakaici yana ba da gudummawa ga yadda duniya ke ganin labarin.[7] Narratology, kamar yadda Shlomith Rimmon-Kenan ya bayyana, reshe ne na ka'idar labari. An haɓaka manufar narratology galibi a Faransa a cikin shekarun sittin da saba'in.[7] Masu ra'ayi sun yi jayayya na dogon lokaci game da nau'in da mahallin labarin. Masanin ilimin halayyar dan adam na Amurka Robert Sternberg ya yi jayayya cewa narratology shine "tsarin tsari a bambance-bambance da ra'ayin tsari". Wannan tushe ya tafi tare da imanin Faransanci-Amurka cewa narratology wani karkatarwa ne mai ma'ana, ma'ana cewa ya bi hanyar da a lokacin bai yi kama da ma'ana ba.[8] Wani masanin ilimin kimiyya Peter Brooks yana ganin labarin kamar yadda aka tsara shi kuma yana da niyya wanda shine abin da ke tsara tsarin labarin. Masanin ilimin labari Roland Barthes yayi jayayya cewa duk labaran suna da irin wannan tsari kuma a cikin kowane jumla, akwai ma'anoni da yawa.[9] Barthes yana ganin wallafe-wallafen a matsayin "rubutun rubutu" wanda ba ya buƙatar wani makirci na yau da kullun wanda ke da farawa, tsakiya, da ƙarshe. Maimakon haka, aikin da aka rubuta "yana da ƙofofi da yawa. " Theorist Greimas ya yarda da wasu masu ilimin kimiyya ta hanyar yarda cewa akwai tsari a cikin labarin kuma ya fara neman zurfin tsarin labarin.[9] Koyaya, a cikin bincikensa, Greimas ya ce ana iya amfani da labarin don bayyana abubuwan da suka faru a waje da kalmar da aka rubuta da kuma ilimin harshe gaba ɗaya. Ya kafa alaƙa tsakanin siffar jiki na wani abu da yaren da aka yi amfani da shi don bayyana wannan wani abu wanda ya karya tsarin tsarin da wasu masu ilimin kimiyya da yawa suka kafa binciken su.[9]

  • Labaran dijital
  • Dramatica Theory of Story Structure (software)
  • Mai da hankali
  • Labari
  • Tattaunawar Labari
  • Tsarin labari
  • Labari a matsayin ainihin sashi na tsarin narratology
  • Tsarin bayan tsari
  • Labari
  • Tsoro

Bayani

[gyara sashe | gyara masomin]
  1. ↑ General Introduction to Narratology, College of Liberal Arts, Purdue University
  2. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Herman2005p574
  3. 1 2 Bamberg, Michael G. W. (1998) Oral Versions of Personal Experience: Three Decades of Narrative Analysis. A Special Issue of the Journal of Narrative and Life History, p.40[dead link]
  4. ↑ Gerald Prince, "Narratology," Johns Hopkins Guide to Literary Theory and Criticism, ed. Michael Groden and Martin Kreiswirth (Baltimore: Johns Hopkins UP, 1994) 524.
  5. ↑ General Introduction to Narratology, College of Liberal Arts, Purdue University
  6. ↑ Aarseth 1997.
  7. 1 2 Rimmon-Kenan, Shlomith (1989). "How the Model Neglects the Medium: Linguistics, Language, and the Crisis of Narratology". The Journal of Narrative Technique. 19 (1): 157–166. JSTOR 30225242.
  8. ↑ Gerald Prince, "Narratology," Johns Hopkins Guide to Literary Theory and Criticism, ed. Michael Groden and Martin Kreiswirth (Baltimore: Johns Hopkins UP, 1994) 524.
  9. 1 2 3 Cite error: Invalid <ref> tag; no text was provided for refs named auto
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