Tarken Adabi

**Tarken Adabi** ko (nazarin adabi) wani nazari ne ko kwatantawa ko kamanta adabi. Tarken adabi na zamani a mafi yawancin lokutta yana dogara ne da ra'in masana, wanda tattaunawa ce ta falsafa dangane da manufofi ko hanyoyin da aka bi aka samar da adabin. Kodayake hanyoyin biyu sun yi kama da juna, masu tarken adabi ba kodayaushe ne sukan kansance masana masu samar da ra'i ba, ba ma lallai sai sun zama masanan ba. 

Ko lallai sai tarken adabi ya kasance wata hanyar nazartar adabi daban daga gudunmuwar masana? Wannan batun ya kasance a kodayaushe wani abu da ake muhawara a kansa. Alal musali a wani littafi mai suna Danjagora a Kan Nazarin Gudunmuwar Masana da kuma Tarken Adabi na Johns Hopkins bai wani babbanta ba a tsakanin gudunmuwar adabi da tarken adabi, kusan ma yakan yi amfani da kalmomin guda biyu a wajen bayyana kowane daga cikinsu. Wadansu matarkan suna daukar tarken adabi a matsayin bayyana ra'in adabi a aikace, saboda kasancewar kowane tarke yana jingine ne da wani aikin adabi, a lokacin da shi kuwa ra'i batu ne na bai-daya.

A wadansu lokuttan ana buga tarken adabi a matsayin mukala ko kuma a matsayin littafi. Tarken adabi na ilmi wanda ake koyawa a sashen koyar da adabi, wadanda kuma ake bugawa a mujallu na ilimi, sannan kuma sanannun matarka na buga nasu tarken a mujallun dake fitowa wadanda kuma ke karade ko'ina a wadannsu ayyanannun lokutta irin su *The Times Literary Supplement* da *The New York Times Book Review* da *The New York Review of Books da*  the *London Review of Books da* the *Dublin Review of Books* da *The Nation*, *Book forum da kuma* *The New Yorker wadanda sukan yi bitar litattafai.*

## Tarihi

### Na gargajiya da na zamani
Ana tsammanin cewa an soma yin tarken adabi tun a matakin gargajiya. A karni na 4 BC Aristotle ya rubuta wani littafi mai suna *Poetics*, wanda ya kasance wani rubutaccen bayani na nau'o'in adabi daban-daban wanda ke dauke da tarken ayyukan adabi na zamani. A *Poetics* ne aka soma ganin kwaikwayo da kuma amayar da tunani, wadanda har yanzu suna taka muhimmiyar rawa a wajen nazarin ayyukan adabi. Sukar da Plato ya yi a kan waka wadda ya bayyana a matsayin kwaikwayo, wadda aka samar, kuma karya, su ma sun kasance wani nau'i na ginuwar tarke. Sannan a littafin Sanskrit mai suna *Natya Shastra* an kawo tarken adabi a cikin dadadden adabin Indiyawa da kuma wasan kwaikwayon includes literary Sanskrit. 

Daga bisani kuma sai tarken gargajiya da na zamani ya karkata a kan  littattafan addinai da kuma sharhi a kan tafsiran littattafan wanda hakan ya yi naso zuwa nazarin matanin adabi wadanda ba su shafi addini ba na duniya. Wannan ya kasance musamman ga adabi na addinan nan guda uku da suka samo asali daga kakanmu Annabi Ibrahim wato addinin Yahudawa da addinin Kiristanci da kuma addinin Musulunci.

Har ila yau, an yi amfani da tarken adabi a wasu nau'ikan adabin Larabci na da da kuma wakokin Larabci tun daga karni na 9, musamman na Al-Jahiz a cikin al-Bayan wa-'l-tabyin da al-Hayawan, da na Abdullah ibn al-Mu'tazz. a cikin Kitabul Badi.

### Tarken Zamani
Tarken adabi na zamani ya inganta hanyar tarken nan ta gargajiya ta samun daidaito a tsakanin tsari da kuma kayan cikin adabi domin farfadowa da kuma samar da wata sabuwar hanyar tarken adabi, wadda ta bayyana adabi a matsayin kashin bayan al'ada, wadda ta damka wa mawaki da marubuci alhakin kiyaye doguwar al'adar adabi. Samar da tarken adabi ya samo asali ne a shekarar 1498, a lokacin da aka rika zakulo rubuce-rubuce na gargajiya, a lokacin da Giorgio Valla ya fassara littafin Aristotle mai suna *Poetics* daga harshen Latin. Aikin Aristotle, musamman ma dai *Poetics*, shi ne kashin bayan habakar tarken adabi har zuwa wajen karshen shekarun karni na 18. Lodovico Castelvetro na daya daga cikin fitattattun matarkan zamani, wanda ya rubuta sharhi a kan littafin *Poetics* na Aristotle a shekarar 1570.

### Ballagazan Tarke
A Ƙarni na goma sha bakwai an shaida rikicin farko mai cike da ruɗani dangane da zamanin da ya shigo na hargitsin kaloli ko tunani wadanda ake samu a cikin aikin adabi wanda ke bayyana wadansu ma'anoni wanda ya kunno kai a lokacin da Girkawa da Romawa suka yi tashen bayyana al'adunsu wadanda suka hada da yawan abu, jituwa, haɗin kai, ado, wadanda suka dade suna tabatarwa da daidaita tunanin Yammacin Turai game da zane-zane da sauran ayyukan adabi. Kodayake wannan adabi na Girkawa da Romawa bai wala yadda yake so ba, domin kuwa ya gamu da adawa daga ballagazan tarke 'Baroque criticism', wanda ya fifita rashin da'a da wuce gona da iri, ba tare da yin la'akari da yawan abu, haɗin kai, jituwa, ko ado ba wanda ya bambanta nau'ukan tarken guda biyu. kuma mafi girman abin koyi, wato fasahar zamani. Mahimman ra'ayoyi na ƙaya na Baroque, kamar "conceit" (concetto), "wit" (acutezza, ingegno), da "mamaki" (meraviglia), ba su cika haɓaka ba a cikin ka'idar wallafe-wallafen har sai an buga littafin Emanuele Tesauro's Il Cannocchiale aristotelico. (The Aristotelian Telescope) a cikin 1654. Wannan rubutun seminal - wahayi daga Giambattista Marino's epic Adone da aikin masanin falsafar Jesuit na Spain Baltasar Gracián - ya haɓaka ka'idar kwatanci a matsayin harshen duniya na hotuna kuma a matsayin babban aikin hankali, lokaci ɗaya. fasahar kere-kere da tsarin gata ta ilimin zamani na samun gaskiya
 

An bayyana wannan tunani a cikin samfuri ko wani shingen da aka samar, kuma a halin yanzu ana iya yin samfoti a yanayin tushe.The seventeenth-century witnessed the first full-fledged crisis in modernity of the core critical-aesthetic principles inherited from classical antiquity, such as proportion, harmony, unity, decorum, that had long governed, guaranteed, and stabilized Western thinking about artworks. Although Classicism was very far from spent as a cultural force, it was to be gradually challenged by a rival movement, namely Baroque, that favoured the transgressive and the extreme, without laying claim to the unity, harmony, or decorum that supposedly distinguished both nature and its greatest imitator, namely ancient art. The key concepts of the Baroque aesthetic, such as "conceit' (*concetto*), "wit" (*acutezza*, *ingegno*), and "wonder" (*meraviglia*), were not fully developed in literary theory until the publication of Emanuele Tesauro's *Il Cannocchiale aristotelico* (The Aristotelian Telescope) in 1654. This seminal treatise – inspired by Giambattista Marino's epic *Adone* and the work of the Spanish Jesuit philosopher Baltasar Gracián – developed a theory of metaphor as a universal language of images and as a supreme intellectual act, at once an artifice and an epistemologically privileged mode of access to truth.

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