ব্যংগ

ব্যংগ (ইংৰাজী: Satire) হৈছে দৃশ্য, সাহিত্য আৰু পৰিৱেশন কলাৰ এটা ধাৰা। সাধাৰণতে কল্পকাহিনীৰ ৰূপত আৰু কম সঘনাই অ-কল্পকাহিনীৰ ৰূপত, য'ত কু-অভ্যাস, মূৰ্খামি, গালি-গালাজ, সামাজিক অভাৱবোৰক উপহাস কৰা হয়। প্ৰায়ে ব্যক্তি, নিগম, চৰকাৰ বা সমাজত অনুভূত ত্ৰুটিসমূহ উন্মোচন কৰি সেইবোৰৰ প্ৰতি সমাজৰ মনোযোগ আকৰ্ষণ কৰাও ব্যংগৰ উদ্দেশ্য। ^[1] যদিও ব্যংগ সাধাৰণতে হাস্যৰসধৰ্মী বুলি কোৱা হয়, ইয়াৰ বৃহত্তৰ উদ্দেশ্য প্ৰায়ে গঠনমূলক সামাজিক সমালোচনা। সমাজত বিশেষ আৰু ব্যাপক দুয়োটা বিষয়ৰ প্ৰতি দৃষ্টি আকৰ্ষণ কৰিবলৈ বুদ্ধিমত্তাৰ ব্যৱহাৰ কৰা হয়।

সাহিত্য সমালোচক নৰ্থৰপ ফ্ৰাইৰ মতে—ব্যংগৰ এটা বৈশিষ্ট্য হ'ল শক্তিশালী বিদ্ৰুপ বা কটুক্তি; তেখেতৰ মতে—"ব্যংগত, বিদ্ৰুপ হৈছে সৈন্য"। ^[2] অৱশ্যে পেৰ'ডি, বাৰ্লেস্ক, অতিৰঞ্জন,^[3] তুলনা, উপমা- এই সকলোবোৰ ব্যংগমূলক বক্তৃতা আৰু লেখাত সঘনাই ব্যংগক ব্যৱহাৰ কৰা হয়।

ইণ্টাৰনেট মিম, সাহিত্য, নাটক, ধাৰাভাষ্য, সংগীত, চলচ্চিত্ৰ আৰু টেলিভিছনৰ অনুষ্ঠান, গীতৰ কথাৰ দৰে মাধ্যম আদি বহুতো কলাত্মক প্ৰকাশভংগীত ব্যংগ পোৱা যায়।

ব্যংগ শব্দটো লেটিন শব্দ satur আৰু পৰৱৰ্তী বাক্যাংশ lanx saturaৰ পৰা আহিছে।[4]

হাস্য ব্যংগৰ এটা অপৰিহাৰ্য উপাদান নহয়;^[4] আচলতে এনে কিছুমান ব্যংগ আছে যিবোৰ "ধেমেলীয়া" বুলি একেবাৰেই নিৰ্ধাৰিত নহয়। ইয়াৰ বিপৰীতে সকলো হাস্যৰস, আনকি ৰাজনীতি, ধৰ্ম বা শিল্পৰ দৰে বিষয়ো "ব্যংগমূলক" হোৱাটো বাধ্যতামূলক নহয়। আনকি যেতিয়া ই বিদ্ৰুপ, পেৰ'ডি, আৰু বাৰ্লেস্কৰ ব্যংগমূলক আহিলা ব্যৱহাৰ কৰে।

কিছুমান ক্ষেত্ৰত ব্যংগ আৰু বিদ্ৰুপক সমাজ এখনক বুজিবলৈ আটাইতকৈ ফলপ্ৰসূ উৎস হিচাপে গণ্য কৰা হৈছে, যিটো সমাজ অধ্যয়নৰ আটাইতকৈ পুৰণি ৰূপ।^[5] ইহঁতে এটা গোটৰ সামূহিক মনোজগতৰ বিষয়ে আটাইতকৈ তীক্ষ্ণ অন্তৰ্দৃষ্টি প্ৰদান কৰে। ইয়াৰ গভীৰ মূল্যবোধ আৰু ৰুচি আৰু সমাজৰ ক্ষমতাৰ গাঁথনিৰ বিষয়ে প্ৰকাশ কৰে।^[6]^[7] কিছুমান লেখকে ব্যংগক ইতিহাস বা নৃতত্ত্বৰ দৰে অহাস্যধৰ্মী আৰু অকলাত্মক শাখাতকৈ উচ্চ বুলি গণ্য কৰিছে।^[5]^[8]^[9]^[10] প্ৰাচীন গ্ৰীচৰ এটা বিশিষ্ট উদাহৰণত দাৰ্শনিক প্লেটোৱে এথেন্সৰ সমাজখন বুজিবলৈ এজন বন্ধুৱে এখন কিতাপ বিচাৰিলে তেওঁক এৰিষ্ট’ফেনিছৰ নাটকসমূহৰ কথা উল্লেখ কৰিছিল। ^[11]^[12]

ঐতিহাসিকভাৱে ব্যংগই ৰাজনীতি, অৰ্থনীতি, ধৰ্ম আৰু অন্যান্য বিশিষ্ট ক্ষমতাৰ ক্ষেত্ৰত আগশাৰীৰ ব্যক্তিসকলক বাদ দি উপহাস কৰাৰ জনপ্ৰিয় প্ৰয়োজনীয়তা পূৰণ কৰি আহিছে। ^[13] ব্যংগই জনবক্তৃতা আৰু সামূহিক কাল্পনিকতাৰ সন্মুখীন হয়। নেতা আৰু কৰ্তৃপক্ষক প্ৰত্যাহ্বান জনাই ক্ষমতাৰ (ৰাজনৈতিক, অৰ্থনৈতিক, ধৰ্মীয়, প্ৰতীকী বা অন্য) জনমতৰ স্বৰূপ হিচাপে খেলে। উদাহৰণস্বৰূপে, ই প্ৰশাসনসমূহক নিজৰ নীতিসমূহ স্পষ্ট কৰিবলৈ, সংশোধন কৰিবলৈ বা প্ৰতিষ্ঠা কৰিবলৈ বাধ্য কৰে। ব্যংগৰ কাম হৈছে সমস্যা আৰু বৈপৰীত্য উদঙাই দিয়া। সেইবোৰ সমাধান কৰাটো বাধ্যতামূলক নহয়।^[14] কাৰ্ল ক্ৰাউছে ব্যংগৰ ইতিহাসত ৰাজহুৱা বক্তৃতাৰ সন্মুখীন হোৱা ব্যংগবাদী ভূমিকাৰ এক বিশিষ্ট উদাহৰণ দাঙি ধৰিছিল।^[15]

তথ্যসূত্ৰ

↑ Elliott 2004.
↑ Frye, Northrup (1957). Anatomy of Criticism. প্ৰকাশক Princeton, NJ: Princeton UP. পৃষ্ঠা. 222. ISBN 0-691-06004-5. https://archive.org/details/anatomyofcritici0000frye.
↑ Claridge, Claudia (2010) Hyperbole in English: A Corpus-based Study of Exaggeration p.257
↑ Corum 2002, পৃষ্ঠা. 175.
↑ ^5.0 ^5.1 Rosenberg, Harold (1960), "Community, Values, Comedy", Commentary (The American Jewish Committee) খণ্ড 30: 155, "the oldest form of social study is comedy... If the comedian, from Aristophanes to Joyce, does not solve sociology's problem of "the participant observer", he does demonstrate his objectivity by capturing behavior in its most intimate aspects yet in its widest typicality. Comic irony sets whole cultures side by side in a multiple exposure (e.g., Don Quixote, Ulysses), causing valuation to spring out of the recital of facts alone, in contrast to the hidden editorializing of tongue-in-cheek ideologists."
↑ Deloria, Vine (1969), "Indian humor", Custer Died For Your Sins: An Indian Manifesto, p. 146, ISBN 9780806121291, https://books.google.com/books?id=eeIazzLJChMC&pg=PA146, "Irony and satire provide much keener insights into a group's collective psyche and values than do years of [conventional] research" as quoted in Ryan, Allan J (1999), The trickster shift: humour and irony in contemporary native art, p. 9, ISBN 9780774807043, https://books.google.com/books?id=EwEDxskm3ycC&pg=PA9
↑ Nash, Roderick Frazier (1970), "21. The New Humor", The Call of the Wild: 1900–1916, p. 203, "Humor is one of the best indicators of popular thought. To ask what strikes a period as funny is to probe its deepest values and tastes."
↑ Babcock, Barbara A. (1984), "Arrange Me Into Disorder: Fragments and Reflections on Ritual Clowning", in MacAloon, Rite, Drama, Festival, Spectacle . Also collected as Babcock, Barbara A Grimes (1996), Ronald, L, ed., Readings in ritual studies, p. 5, ISBN 9780023472534, https://books.google.com/books?id=FKZMAAAAYAAJ, "Harold Rosenberg has asserted that sociology needs to bring comedy into the foreground, including "an awareness of the comedy of sociology with its disguises", and, like Burke and Duncan, he has argued that comedy provides "the radical effect of self- knowledge which the anthropological bias excludes."
↑ Coppola, Jo (1958), "An Angry Young Magazine ..." (en ভাষাত), The Realist (1), http://www.ep.tc/realist/01/02.html, "Good comedy is social criticism—although you might find that hard to believe if all you ever saw were some of the so-called clowns of videoland.... Comedy is dying today because criticism is on its deathbed... because telecasters, frightened by the threats and pressure of sponsors, blacklists and viewers, helped introduce conformity to this age... In such a climate, comedy cannot flourish. For comedy is, after all, a look at ourselves, not as we pretend to be when we look in the mirror of our imagination, but as we really are. Look at the comedy of any age and you will know volumes about that period and its people which neither historian nor anthropologist can tell you."
↑ Coppola, Jo (December 12, 1958). Comedy on Television. Commonweal. পৃষ্ঠা. 288.
↑ Willi, Andreas (2003), The Languages of Aristophanes: Aspects of Linguistic Variation in Classical Attic Greek, Oxford University Press, pp. 1–2, ISBN 9780199262649, https://books.google.com/books?id=vzMqorCIh4cC&pg=PA1
↑ Ehrenberg, Victor (1962), The people of Aristophanes: a sociology of old Attic comedy, p. 39, https://books.google.com/books?id=oikOAAAAQAAJ&pg=PA39
↑ Bevere, Antonio and Cerri, Augusto (2006) Il Diritto di informazione e i diritti della persona pp.265–6 quotation:
nella storia della nostra cultura, la satira ha realizzato il bisogno popolare di irridere e dissacrare il gotha politico ed economico, le cui reazioni punitive non sono certo state condizionate da critiche estetiche, ma dalla tolleranza o intolleranza caratterizzanti in quel momento storico la società e i suoi governanti. (...) la reale esistenza della satira in una società deriva, (...) dal margine di tolleranza espresso dai poteri punitivi dello Stato.
↑ Amy Wiese Forbes (2010) The Satiric Decade: Satire and the Rise of Republicanism in France, 1830–1840 p.xv, quotation:
a critical public discourse (...) Satire rose the daunting question of what role public opinion would play in government. (...) satirists criticized government activities, exposed ambiguities, and forced administrators to clarify or establish policies. Not surprisingly, heated public controversy surrounded satiric commentary, resulting in an outright ban on political satire in 1835 (...) Government officials cracked down on their humorous public criticism that challenged state authority through both its form and content. Satire had been a political resource in France for a long time, but the anxious political context of the July Monarchy had unlocked its political power.
Satire also taught lessons in democracy. It fit into the July Monarchy's tense political context as a voice in favor of public political debate. Satiric expression took place in the public sphere and spoke from a position of public opinion-that is, from a position of the nation’s expressing a political voice and making claims on its government representatives and leadership. Beyond mere entertainment, satire's humor appealed to and exercised public opinion, drawing audiences into new practices of representative government.
↑ Knight, Charles A. (2004) Literature of Satire p.254

[FOOTNOTEElliott2004-1] Elliott 2004.

[2] Frye, Northrup (1957). Anatomy of Criticism. প্ৰকাশক Princeton, NJ: Princeton UP. পৃষ্ঠা. 222. ISBN 0-691-06004-5. https://archive.org/details/anatomyofcritici0000frye.

[Claridge2010p257-3] Claridge, Claudia (2010) Hyperbole in English: A Corpus-based Study of Exaggeration p.257

[FOOTNOTECorum2002[https://books.google.com/books?id=ikGt9gkXv74C&pg=PA175_175]-4] Corum 2002, পৃষ্ঠা. 175.

[Rosenberg1960p155-5] 5.0 ^5.1 Rosenberg, Harold (1960), "Community, Values, Comedy", Commentary (The American Jewish Committee) খণ্ড 30: 155, "the oldest form of social study is comedy... If the comedian, from Aristophanes to Joyce, does not solve sociology's problem of "the participant observer", he does demonstrate his objectivity by capturing behavior in its most intimate aspects yet in its widest typicality. Comic irony sets whole cultures side by side in a multiple exposure (e.g., Don Quixote, Ulysses), causing valuation to spring out of the recital of facts alone, in contrast to the hidden editorializing of tongue-in-cheek ideologists."

[Deloria69p146-6] Deloria, Vine (1969), "Indian humor", Custer Died For Your Sins: An Indian Manifesto, p. 146, ISBN 9780806121291, https://books.google.com/books?id=eeIazzLJChMC&pg=PA146, "Irony and satire provide much keener insights into a group's collective psyche and values than do years of [conventional] research" as quoted in Ryan, Allan J (1999), The trickster shift: humour and irony in contemporary native art, p. 9, ISBN 9780774807043, https://books.google.com/books?id=EwEDxskm3ycC&pg=PA9

[Nash1970p203-7] Nash, Roderick Frazier (1970), "21. The New Humor", The Call of the Wild: 1900–1916, p. 203, "Humor is one of the best indicators of popular thought. To ask what strikes a period as funny is to probe its deepest values and tastes."

[Babcock1984-8] Babcock, Barbara A. (1984), "Arrange Me Into Disorder: Fragments and Reflections on Ritual Clowning", in MacAloon, Rite, Drama, Festival, Spectacle . Also collected as Babcock, Barbara A Grimes (1996), Ronald, L, ed., Readings in ritual studies, p. 5, ISBN 9780023472534, https://books.google.com/books?id=FKZMAAAAYAAJ, "Harold Rosenberg has asserted that sociology needs to bring comedy into the foreground, including "an awareness of the comedy of sociology with its disguises", and, like Burke and Duncan, he has argued that comedy provides "the radical effect of self- knowledge which the anthropological bias excludes."

[Coppola-9] Coppola, Jo (1958), "An Angry Young Magazine ..." (en ভাষাত), The Realist (1), http://www.ep.tc/realist/01/02.html, "Good comedy is social criticism—although you might find that hard to believe if all you ever saw were some of the so-called clowns of videoland.... Comedy is dying today because criticism is on its deathbed... because telecasters, frightened by the threats and pressure of sponsors, blacklists and viewers, helped introduce conformity to this age... In such a climate, comedy cannot flourish. For comedy is, after all, a look at ourselves, not as we pretend to be when we look in the mirror of our imagination, but as we really are. Look at the comedy of any age and you will know volumes about that period and its people which neither historian nor anthropologist can tell you."

[10] Coppola, Jo (December 12, 1958). Comedy on Television. Commonweal. পৃষ্ঠা. 288.

[Willi2003p1-11] Willi, Andreas (2003), The Languages of Aristophanes: Aspects of Linguistic Variation in Classical Attic Greek, Oxford University Press, pp. 1–2, ISBN 9780199262649, https://books.google.com/books?id=vzMqorCIh4cC&pg=PA1

[Ehrenberg1962p39-12] Ehrenberg, Victor (1962), The people of Aristophanes: a sociology of old Attic comedy, p. 39, https://books.google.com/books?id=oikOAAAAQAAJ&pg=PA39

[Bevere2006p265-13] Bevere, Antonio and Cerri, Augusto (2006) Il Diritto di informazione e i diritti della persona pp.265–6 quotation:
nella storia della nostra cultura, la satira ha realizzato il bisogno popolare di irridere e dissacrare il gotha politico ed economico, le cui reazioni punitive non sono certo state condizionate da critiche estetiche, ma dalla tolleranza o intolleranza caratterizzanti in quel momento storico la società e i suoi governanti. (...) la reale esistenza della satira in una società deriva, (...) dal margine di tolleranza espresso dai poteri punitivi dello Stato.

[WieseForbes2010p.xv-14] Amy Wiese Forbes (2010) The Satiric Decade: Satire and the Rise of Republicanism in France, 1830–1840 p.xv, quotation:
a critical public discourse (...) Satire rose the daunting question of what role public opinion would play in government. (...) satirists criticized government activities, exposed ambiguities, and forced administrators to clarify or establish policies. Not surprisingly, heated public controversy surrounded satiric commentary, resulting in an outright ban on political satire in 1835 (...) Government officials cracked down on their humorous public criticism that challenged state authority through both its form and content. Satire had been a political resource in France for a long time, but the anxious political context of the July Monarchy had unlocked its political power.
Satire also taught lessons in democracy. It fit into the July Monarchy's tense political context as a voice in favor of public political debate. Satiric expression took place in the public sphere and spoke from a position of public opinion-that is, from a position of the nation’s expressing a political voice and making claims on its government representatives and leadership. Beyond mere entertainment, satire's humor appealed to and exercised public opinion, drawing audiences into new practices of representative government.

[Knight2004p254-15] Knight, Charles A. (2004) Literature of Satire p.254

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