{"id":1593,"date":"2012-09-03T23:02:24","date_gmt":"2012-09-03T23:02:24","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=1593"},"modified":"2012-09-03T23:02:24","modified_gmt":"2012-09-03T23:02:24","slug":"romani-zhaner-i-paperfunduar","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=1593","title":{"rendered":"Romani, zhan\u00ebr i pap\u00ebrfunduar"},"content":{"rendered":"

\"\"<\/a>Albert S. Mustafa<\/p>\n

Hyrje<\/p>\n

N\u00eb k\u00ebt\u00eb vep\u00ebr mendimet e tyre rreth romanit dhe \u00e7\u00ebshtjes s\u00eb tij, romanit dhe zhanreve t\u00eb tjera, struktur\u00ebs s\u00eb romanit, koha e romanit etj. i kan\u00eb paraqitur k\u00ebta autor\u00eb: Mihail Bahtin \u201cEpi dhe romani\u201d, Henri Xhejms \u201cArti i romanit\u201d, Viktor Shkllovsko \u201cTristram Shandy\u201d i Sternit dhe teoria e romanit, Volfgang Kajzer \u201cKush e rr\u00ebfen romanin\u201d, Moris Blansho \u201cZ\u00ebri i tregimtarit\u201d, Zherar Zhenet \u201cKufijt\u00eb e rr\u00ebfimit\u201d, Edvin Mjur \u201cRomani i ngarjeve dhe romani i personazheve\u201d, Viktor Shkllovski \u201cKonvencioni i koh\u00ebs\u201d, Mihail Gllovinjski \u201cRomani dhe e v\u00ebrteta\u201d, Mishel Bytor \u201cRomani dhe poezia\u201d, Mihail Bahtin \u201cGjuha e romanit\u201d, Alen Rob-Grije \u201cRomani i ri njeriu i ri\u201d, Aleksander Flaker \u201cRreth tipologjis\u00eb s\u00eb romanit\u201d, Rene Maria Alberes \u201cSynimi i romanit: Proteu\u201d, Viktor Shkllovski \u201cA i erdhi fundi romanit\u201d, Alen Rodvej \u201cModernizimi n\u00eb roman\u201d. Parath\u00ebnien e shkroi Hysni Hoxha.<\/p>\n

1. Definicioni i romanit<\/strong><\/p>\n

N\u00eb vepr\u00ebn \u201c\u00c7\u00ebshtje t\u00eb romanit\u201d, ne si lexues nuk gjejm\u00eb defenicion q\u00eb e definon romanin, q\u00eb gjindet n\u00eb teorit\u00eb letrare, t\u00eb cilat romanin e definojn\u00eb si krijimi m\u00eb i gjat\u00eb i gjinis\u00eb epike . N\u00eb pjes\u00ebn e par\u00eb dhe n\u00eb disa pjes\u00eb tjera te vepr\u00ebs \u201c\u00c7\u00ebshtje t\u00eb romanit\u201d jep\u00ebn disa mendime rreth karakteristikave t\u00eb romanit q\u00eb do t\u2019i shenoj m\u00eb posht\u00eb:<\/p>\n

Romani duhet t\u2019i ket\u00eb keto karakteristika: \u201c1) Romani nuk duhet t\u00eb jet\u00eb poetik n\u00eb at\u00eb aspekt sipas t\u00eb cilit jan\u00eb poetikat e tjera t\u00eb let\u00ebrsis\u00eb antike, 2) Heroi i romanit nuk duhet t\u00eb jet\u00eb \u201ctrim\u201d as n\u00eb kuptimin epik, as tragjik t\u00eb k\u00ebsaj fjale; ai duhet t\u00eb ket\u00eb cil\u00ebsi pozitive e negative, t\u00eb larta e t\u00eb ul\u00ebta, komike e serioze; 3) heroi duhet t\u00eb paraqitet jo si i p\u00ebrfunduar e statik, ve\u00e7se si personazh q\u00eb shfaqet, ndryshon, edukohet nga jeta; 4) P\u00ebr bot\u00ebn bashk\u00ebkohese romani lypset t\u00eb jet\u00eb ajo q\u00eb ishte epopeja p\u00ebr bot\u00ebn e vjet\u00ebr ( k\u00ebt\u00eb mendim e shprehu n\u00eb m\u00ebnyr\u00eb mjaft decidive Blankenburgu, e pastaj e p\u00ebrseriti Hegeli)\u201d[1].<\/p>\n

Sipas Mihail Gllovinjski \u201cRomani dhe e v\u00ebrteta\u201d fjala roman duhet t\u00eb jet\u00eb e qart\u00eb \u201cQ\u00eb do t\u00eb thot\u00eb \u2013 n\u00eb nj\u00eb an\u00eb \u2013 drejtp\u00ebrdrejt\u00eb e lidhur me t\u00eb folurit e p\u00ebrditsh\u00ebm e an\u00ebn tjet\u00ebr \u2013 e p\u00ebrputhur fort me gj\u00ebsendin\u201d[2].<\/p>\n

Maria Alberes \u201cSynimi i romanit: Proteu\u201d, mendon se \u00ebsht\u00eb v\u00ebshtir\u00eb t\u00eb jepet definicioni i romanit, madje, edhe t\u00eb p\u00ebrcaktohet vendi i tij, nj\u00ebsoj sikund\u00ebr nuk do t\u00eb mund t\u00eb jepnim definicionin e muzik\u00ebs. \u201c\u00c7do roman aktual, sidomos ai q\u00eb pretendon p\u00ebr sofistik\u00eb m\u00eb t\u00eb madhe, paraqet konfliktin n\u00eb mes k\u00ebrkes\u00ebs m\u00eb t\u00eb r\u00ebndomt\u00eb t\u00eb romanit- t\u00eb jet\u00eb rr\u00ebfim- dhe intenc\u00ebs q\u00eb t\u00eb pasurohet, ose madje, edhe t\u00eb shqet\u00ebsohet, t\u00eb ndryshohet plot\u00ebsisht rr\u00ebfimi i thjesht\u00eb i romanit origjinar\u201d[3].<\/p>\n

P\u00ebrkufizimi minimal i romanit q\u00eb nga fillimi deri m\u00eb sot \u00ebsht\u00eb se ai \u00ebsht\u00eb rr\u00ebfim, ka personazhe dhe ngjarje. \u201cRomani mund t\u00eb p\u00ebrkufizohet n\u00eb at\u00eb m\u00ebnyr\u00eb, n\u00eb t\u00eb cil\u00ebn shfryt\u00ebzohet \u201crr\u00ebfimi i thjesht\u00eb\u201d (si intrig\u00eb t\u00eb \u201cTre musketar\u00ebt), q\u00eb duhej t\u00eb shprehte di\u00e7ka tjet\u00ebr nga ajo q\u00eb ishte vet\u00ebm \u201crr\u00ebfim\u201d[4]. Romani \u00ebsht\u00eb vazhdim\u00ebsi (e ka trasheguar) epopen\u00eb dhe mitin, romani pothuajse i ka t\u00eb gjitha elementet e epit, p\u00ebrpos \u201ckoh\u00ebn\u201d, sepse epopeja \u00ebsht\u00eb zhan\u00ebr i p\u00ebrfunduar, i definuar si zhan\u00ebr, kurse romani n\u00eb krijim e sip\u00ebr, zhan\u00ebr i pa p\u00ebrfunduar, e Shkllovski q\u00eb b\u00ebn pyetje se ai i erdhi fundi romanit, duke shtruar teza se romani si zhan\u00ebr, \u00ebsht\u00eb n\u00eb zhdukje e sip\u00ebr, pasiq\u00eb, krijuesit thejn\u00eb form\u00ebn e vjet\u00ebr t\u00eb kompozicionit, duke pretenduar p\u00ebr forma t\u00eb reja. Romani definohet si gjini e ul\u00ebt, q\u00eb baz\u00eb kryesore e ka rr\u00ebfimin, n\u00eb krahasim me epopen\u00eb q\u00eb \u00ebsht\u00eb zhan\u00ebr i lart\u00eb, diskursi \u00ebsht\u00eb i lart\u00eb, personazhi \u00ebsht\u00eb i lart\u00eb.<\/p>\n

Nga m\u00ebsimet paraprake ne kemi m\u00ebsuar se romani (nga lat. Lingua romana- gjuh\u00eb romane) \u00ebsht\u00eb lloj i madh i proz\u00ebs. Ai e ka zanafill\u00ebn n\u00eb shkrimet e para n\u00eb gjuh\u00ebn romane, q\u00eb dalloheshin nga veprat poetike t\u00eb shkruara n\u00eb latinisht.<\/p>\n

Romani nuk kufizohet me asnj\u00eb nga rregullat e ngurta t\u00eb poetik\u00ebs. Ashtu si epi, edhe ky trajton tablo t\u00eb gj\u00ebra jet\u00ebsore, por pa qen\u00eb i detyruar t\u00eb zgjedh\u00eb tema t\u00eb m\u00ebdha e t\u00eb r\u00ebnd\u00ebsishme. \u201cN\u00eb let\u00ebrsin\u00eb shqiptare romani \u00ebsht\u00eb zhvilluar von\u00eb. I pari romancier i let\u00ebrsis\u00eb shqiptare n\u00eb kuptimin e mir\u00ebfillt\u00eb t\u00eb fjal\u00ebs \u00ebsht\u00eb Ndoc Nikaj, i cili ka trajtuar tema t\u00eb ndryshme nga shoq\u00ebria shqiptare n\u00eb prag t\u00eb Pavar\u00ebsis\u00eb\u201d[5].<\/p>\n

Pjesa qendrore (mbarshtrimi)<\/p>\n

1.1<\/strong> <\/strong>Romani dhe zhanret tjera<\/strong><\/p>\n

Mihail Bahtin \u201cEpi dhe romani\u201d<\/p>\n

Bahtini n\u00eb k\u00ebt\u00eb pjes\u00eb b\u00ebn krahasimin e romanit me zhanret tjera e sidomos me epin. Bahtini mendon se p\u00ebr t\u00eb studiuar romani duhet kaluar n\u00ebp\u00ebr v\u00ebshtir\u00ebsi, sepse zhanret e tjera si: epopeja, tragjedia jan\u00eb zhanre t\u00eb p\u00ebrfunduara, por edhe t\u00eb vjet\u00ebruara, kurse romani sipas Bahtinit \u00ebsht\u00eb zhan\u00ebr n\u00eb krijim e sip\u00ebr.<\/p>\n

1.2 <\/strong>Autori mendon se romani mish\u00ebrohet me zhanret tjera, lufton p\u00ebr dominimin e vet n\u00eb let\u00ebrsi dhe ku ai ngadh\u00ebnjen zhanret e tjera asgj\u00ebsohen. Gjat\u00eb epokave t\u00eb dominimit t\u00eb romanit gati t\u00eb gjitha zhanret e tjera, pak a shum\u00eb romanizohen, romanizohet drama (p.sh drama e Ibzenit, Hauptmanit, drama natyraliste) poema lirike.<\/p>\n

1.3<\/strong> <\/em>Epopeja \u00ebsht\u00eb zhan\u00ebr i kryer, i p\u00ebrfunduar, objekti i epopes\u00eb \u00ebsht\u00eb e kaluara komb\u00ebtare epike, l\u00ebnda e par\u00eb e epopes\u00eb \u00ebsht\u00eb goj\u00ebdh\u00ebna. Romani i ka t\u00eb gjitha elementet e epit.<\/p>\n

Personazhi i epopes\u00eb duhet t\u00eb jet\u00eb njeri me veti t\u00eb larta, por nuk \u00ebsht\u00eb e domosdoshme t\u00eb ket\u00eb fund tragjik sukrse t\u00eb tragjedia. Epi si zhaner ka t\u00eb b\u00ebj me rr\u00ebfimin p\u00ebr trima si psh \u201cEpi i Gilgameshit\u201d. Heroi i romanit sipas Bahtinit<\/strong> nuk duhet t\u00eb jet\u00eb trim, as n\u00eb kuptimin epik, as tragjik t\u00eb k\u00ebsaj fjale.<\/p>\n

1.4<\/strong> Sipas Mihail Gllovinjski \u201cRomani dhe e v\u00ebrteta\u201d, ne, kur e lexojm\u00eb epopen\u00eb nuk jemi n\u00eb gjendje ta besojm\u00eb l\u00ebnd\u00ebn e saj, se tematika e saj \u00ebsht\u00eb e kaluara apsulute, dhe l\u00ebnda e par\u00eb \u00ebsht\u00eb goj\u00ebdh\u00ebna, \u201cDuke iu qasur leximit t\u00eb epopes\u00eb, un\u00eb jam i detyruar t\u00eb pajtohem se e v\u00ebrteta \u00ebsht\u00eb ajo q\u00eb personalisht nuk jam n\u00eb gjendje t\u00eb besoj\u201d[6].<\/p>\n

1.5 Henri Xhejms \u201cArti i romanit\u201d<\/strong><\/p>\n

Sikurse Bahtini, edhe Henri Xhejms mendon se romani n\u00eb krahasim me zhanret tjera \u00ebsht\u00eb zhan\u00ebr i pap\u00ebrfunduar, zhan\u00ebr n\u00eb krijim e sip\u00ebr.<\/p>\n

1.6 Moris Blansho n\u00eb vepr\u00ebn \u201cZ\u00ebri i tregimtarit\u201d<\/strong> flet p\u00ebr rr\u00ebfyesin e lasht\u00eb epik ku sipas tij rr\u00ebfyesi i lasht\u00eb epik flet p\u00ebr trim\u00ebrit\u00eb q\u00eb kan\u00eb ndodhur e q\u00eb ai i reprodukon (riprodhon) qoft\u00eb si pjes\u00ebmarr\u00ebs, apo jo, por rr\u00ebfyesi nuk \u00ebsht\u00eb historian.<\/p>\n

1.7<\/strong> <\/strong>Romani dhe Poezia<\/strong><\/p>\n

Mishel Bytor thot\u00eb se n\u00eb koh\u00ebn e rinis\u00eb shkruante poezi, p\u00ebrmbajtja e poezive t\u00eb tij ishte jeta e tij. \u201cMbiemri \u201cpoetik\u201d sjell me vete kryesisht nj\u00eb grumbull t\u00eb t\u00ebr\u00eb moskuptimesh, sidomos kur aplikohet n\u00eb roman\u201d[7]. Sipas Bytor poezia \u00ebsht\u00eb kritik\u00eb e realitetit jet\u00ebsor t\u00eb autorit. \u201cN\u00eb nj\u00eb roman, k\u00ebt\u00eb e din\u00eb fare mir\u00eb t\u00eb gjith\u00eb, Bretoni i pari nd\u00ebr ta, mund t\u00eb egzistojn\u00eb fragmente poetike, t\u00eb cilat, po t\u00eb preheshin me g\u00ebrsh\u00ebr\u00eb antologu, do t\u00eb dukeshin si poezi n\u00eb proz\u00eb, apo si vargje\u201d[8]. Prandaj, romani duhet t\u00eb jet\u00eb poetik, jo vet\u00ebm n\u00eb fragmente, por edhe n\u00eb t\u00ebr\u00ebsi.<\/p>\n

Poeti, p\u00ebr t\u00eb krijuar poezin\u00eb e tij t\u00eb mir\u00ebfillt, p\u00ebrdor fjal\u00eb nga jeta e p\u00ebrditshme, edhe l\u00ebnda e poezis\u00eb, p\u00ebrve\u00e7 aktit t\u00eb saj \u00ebsht\u00eb shp\u00ebtim i gjuh\u00ebs s\u00eb r\u00ebndomt\u00eb.<\/p>\n

1.8 <\/strong>Mishel Bytor mendon se romani ndryshon nga zhanret tjera, si: epi, poema, lirika, nga drama e thjesht\u00eb. \u201c T\u00eb gjitha mjetet figurative dhe shpreh\u00ebse t\u00eb k\u00ebtyre zhanreve, si edhe vet\u00eb zhanret, hyjn\u00eb n\u00eb roman, duke u shnd\u00ebrruar n\u00eb objekt shprehj\u00ebs\u201d[9].<\/p>\n

2. Gjuha e romanit<\/strong><\/p>\n

Mihail Gllovinjski n\u00eb studimin e tij \u201cRomani dhe e v\u00ebrteta\u201d thot\u00eb se gjuh\u00ebn q\u00eb e p\u00ebrdorin shkrimtar\u00ebt n\u00eb vepra t\u00eb tyre \u00ebsht\u00eb gjuh\u00eb e traditave dhe e vendit ku ata jetojn\u00eb. Kurse i quan naiv ata t\u00eb cil\u00ebt mendojn\u00eb se \u00e7do gj\u00eb e shkruar n\u00eb vep\u00ebr \u00ebsht\u00eb e v\u00ebrtet\u00eb.<\/p>\n

Gllovinjski pajtohet me fjal\u00ebt e Stanisllav Lemit ku sipas tij \u201c(…) gjuha me t\u00eb cil\u00ebn shkruhen veprat letrare, nuk \u00ebsht\u00eb gjuh\u00eb q\u00eb e p\u00ebrdor shkenca (…)\u201d[10]. Vepra letrare e form\u00ebson, ndikon n\u00eb formulimin e gjuh\u00ebs s\u00eb nj\u00eb shteti.<\/p>\n

\u201c Gjuha e romanit \u00ebsht\u00eb sistem dialogjik reciprok q\u00eb ndri\u00e7on t\u00eb gjitha gjuh\u00ebt e tjera. Ai nuk mund t\u00eb p\u00ebrshkruhet dhe t\u00eb analizohet si nj\u00eb gjuh\u00eb e vetme unike\u201d[11]. Sipas Bytur romani si zhaner \u00ebsht\u00eb l\u00ebnd\u00eb shprehse, q\u00eb p\u00ebrcjell mesazh tek lexuesi. Mesazhi q\u00eb d\u00ebrgon tek lexuesit \u00ebsht\u00eb mesazh autokritik, \u201c\u00c7do roman, m\u00eb shum\u00eb a m\u00eb pak, \u00ebsht\u00eb sistem i dialogizuar figurash t\u00eb gjuh\u00ebve dhe stileve, konkrete dhe t\u00eb pandashme nga gjuh\u00ebt e njohjes. Gjuha e romanit, jo vet\u00ebm q\u00eb shpreh, por edhe vet\u00eb \u00ebsht\u00eb l\u00ebnd\u00eb e shprehjes. Gjuha romaneske \u00ebsht\u00eb gjithmon\u00eb autokritike\u201d[12].<\/p>\n

Alen Rob-Grije \u201cRomani i ri, njeriu i ri\u201d, flet p\u00ebr gjuh\u00ebn e romanit t\u00eb ri, \u201cVeprat tona shkruhen me fjal\u00eb, me fjali t\u00eb p\u00ebrditshme, me t\u00eb cilat sh\u00ebrbehet gjith\u00eb bota\u201d[13].<\/p>\n

3. Zherar Zhenet \u201cKufijt e rr\u00ebfimit\u201d<\/strong><\/p>\n

Sipas Zhenetin kufijt e rr\u00ebfimit jan\u00eb narracioni dhe diskrepcioni, narracioni lidhet me veprimet dhe ngjarjet duke i konsideruar procese t\u00eb past\u00ebra, nd\u00ebrsa diskrepcioni ndalet n\u00eb objekte dhe sende n\u00eb roman.<\/p>\n

N\u00ebse me marr\u00ebveshje pranojm\u00eb t\u2019i p\u00ebrmbahemi domenit t\u00eb shprehjes letrare, rr\u00ebfimi do t\u00eb definohej pa veshtir\u00ebsi si reprezentim i nj\u00eb ngjarjeje, ose i nj\u00eb vargu ngjarjesh, reale e fiktive, me an\u00ebn e ligj\u00ebrimit e n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb ve\u00e7ant\u00eb, ligj\u00ebrimit t\u00eb shkruar.<\/p>\n

T\u00eb definohet pozitivisht rr\u00ebfimi, do t\u00eb thot\u00eb t\u00eb b\u00ebhet e besueshme. \u201cRr\u00ebfimi, n\u00eb trajt\u00ebn e vet t\u00eb past\u00ebr, karakterizohet nga p\u00ebrdorimi ekskluziv i vet\u00ebs s\u00eb tret\u00eb, kurse nga trajtat foljore, nga p\u00ebrdorimi i aoristit dhe plauskuamperfektit\u201d[14]. Rr\u00ebfyesi sias Zhenetit nuk egziston m\u00eb. Sipas Zhenetit t\u00eb folurit mund t\u00eb rr\u00ebfej\u00eb e prap\u00eb t\u00eb jet\u00eb t\u00eb folur, nd\u00ebrsa t\u00eb rr\u00ebfyerit nuk mund t\u00eb flas e t\u00eb dal\u00eb sakaq prej vetvetes s\u00eb vet.<\/p>\n

\u201c(…) P\u00ebr Platonin, si dhe p\u00ebr Aristotelin, rr\u00ebfimi \u00ebsht\u00eb nj\u00eb m\u00ebnyr\u00eb e dob\u00ebsuar, e zbutur e reprezentimit letrar- dhe, n\u00eb shikim t\u00eb par\u00eb, nuk kuptohet mir\u00eb \u00e7ka do t\u00eb b\u00ebnte t\u00eb gjykohej ndryshe\u201d[15].<\/p>\n

4. Prania e autorit n\u00eb roman<\/strong><\/p>\n

Rr\u00ebfyesi gjendet n\u00eb t\u00eb gjitha veprat e artit narrativ, n\u00eb ep e n\u00eb tregim, n\u00eb novel\u00eb e anekdot\u00eb. \u201cSecili prind e ka t\u00eb qart\u00eb se duhet t\u00eb transformohet n\u00eb qoft\u00eb se f\u00ebmij\u00ebve t\u00eb vet do t\u2019u rr\u00ebfej\u00eb ndonj\u00eb tregim\u201d[16].<\/p>\n

4.1<\/strong> Volfgang Kajzer \u201cKush e rr\u00ebfen romanin\u201d, mendon se rr\u00ebfyesi n\u00eb roman nuk \u00ebsht\u00eb autori, por transformimi i tij n\u00eb personazhin kryesor. Po e marr nj\u00eb shembull, personazhi Dr. Gjilp\u00ebra, personazh i Faik Konic\u00ebs, Faik Konica transformohet n\u00eb personazhin e romanit duke paraqitur botkuptimin e tij p\u00ebr Shqip\u00ebrin\u00eb, p\u00ebr popullin e tij, m\u00ebnyr\u00ebn e jetes\u00ebs se popullit, sh\u00ebrimin e popullit e etj. \u201cArrijm\u00eb k\u00ebshtu te rezultati negativ: rr\u00ebfyesi n\u00eb roman nuk \u00ebsht\u00eb autori. Por, ndoshta kemi arritur edhe te rezultati pozitiv: ai q\u00eb e rr\u00ebfen \u00ebsht\u00eb vetja e trilluar, n\u00eb t\u00eb cil\u00ebn transformohet autori\u201d[17].<\/p>\n

(Ich \u2013 Roman), romani n\u00eb trajt\u00eb ditari apo letrash q\u00eb edhe n\u00eb let\u00ebrsin\u00eb shqipe \u00ebsht\u00eb i pranish\u00ebm q\u00eb njihet edhe si roman autobiografik \u201cPse\u201d Sterio Spase, etj, paraqet ndjenjat sentimentale. Format e tjera t\u00eb shkrimit t\u00eb romanit me prani t\u00eb autorit jan\u00eb edhe romanet (Ich \u2013 Form), n\u00eb vet\u00ebn e par\u00eb nj\u00ebj\u00ebs, dhe n\u00eb romanet n\u00eb vet\u00ebn e tret\u00eb nj\u00ebj\u00ebs (Er- Form).<\/p>\n

\u201cRr\u00ebfyesi n\u00eb t\u00eb v\u00ebrtet\u00eb edhe nuk ekziston m\u00eb\u201d[18]<\/p>\n

4.2<\/strong> Mishel Bytor \u201cRomani dhe poezia\u201d, mendon se \u201cAutori merr pjes\u00eb n\u00eb roman (ai \u00ebsht\u00eb i pranish\u00ebm kudo n\u00eb t\u00eb) gati pa gjuh\u00ebn e vet t\u00eb drejtp\u00ebrdrejt\u00eb\u201d[19] .<\/p>\n

5.<\/strong> Personazhi i romanit<\/strong><\/p>\n

5.1<\/strong> Heroi i romanit sipas Bahtinit<\/strong> nuk duhet t\u00eb jet\u00eb trim, as n\u00eb kuptimin epik, as tragjik t\u00eb k\u00ebsaj fjale.<\/p>\n

5.2<\/strong> Ai duhet t\u00eb ket\u00eb cil\u00ebsi pozitive e negative, t\u00eb larta e t\u00eb ulta, komike e serioze<\/p>\n

5.3<\/strong> Heroi duhet t\u00eb paraqitet jo si i p\u00ebrfunduar e statik, ve\u00e7se si personazh q\u00eb shfaqet, ndryshon, edukohet nga jeta.<\/p>\n

5.4<\/strong> Henri Xhejms n\u00eb pjes\u00ebn \u201cArti i romanit\u201d mendon se personazhet e romanit duhet t\u00eb jen\u00eb reale.<\/p>\n

5.5<\/strong> Sipas Volfgan Kajzerit ai <\/strong>q\u00eb e rr\u00ebfen ngjarjen n\u00eb roman nuk \u00ebsht\u00eb autori, ai, pra, autori sipas Kajzerit transformohet n\u00eb nj\u00eb personazh t\u00eb trilluar. Q\u00eb i bie t\u00eb jet\u00eb heroi i romanit personazh i trilluar.<\/p>\n

5.6<\/strong> Edvin Mjur mendon se n\u00eb romanin e personazheve heroi pasi te mebetet gjall\u00eb, lupset t\u2019i kthehet siguris\u00eb e rendit pa kurrfar vrrage q\u00eb do t\u2019i pengonte k\u00ebnaq\u00ebsin e tij.<\/p>\n

5.7<\/strong> Kurse n\u00eb romanin e ngjarjes rendom i sjell mordjen ndonje personazhi dyt\u00ebsor.<\/p>\n

5.8 <\/strong>Aleksander Flaker \u201cRreth tipologjis\u00eb s\u00eb romanit\u201d, Henryk Markiewicz, vendos nj\u00eb tipologji jashtzakonisht t\u00eb sakt\u00eb tregimtarit (narratorit), Markiewicz, mb\u00ebshtetet edhe n\u00eb disa punime t\u00eb ndryshme si F. Spielhagenit, K. Friedemannit,<\/p>\n

I. <\/strong>Tregimtari autor (narrator) \u2013 q\u00eb nuk i p\u00ebrket realitetit t\u00eb paraqitur dhe nuk i p\u00ebrket realitetit t\u00eb paraqitur dhe nuk \u00ebsht\u00eb si fytyr\u00eb fiktive:<\/p>\n

\u201c1.<\/strong> Tregimtari \u201ci gjith\u00ebdijsh\u00ebm\u201d.<\/p>\n

2.<\/strong> Tregimtari me njohje fiktivisht t\u00eb kufizuar t\u00eb realitetit t\u00eb paraqitur.<\/p>\n

3.<\/strong> Tregimtari si vrojtues q\u00eb interpreton dhe vler\u00ebson.<\/p>\n

4.<\/strong> Tregimtari si vrojtues neutral q\u00eb vet\u00ebm regjistron.<\/p>\n

5.<\/strong> Tregimtari me perspektiv\u00eb shum\u00ebform\u00ebshe (\u201cpik\u00ebpamje\u201d e tij zhvendsoset me radh\u00eb n\u00ebp\u00ebr vet\u00ebdijen e disa fytyrave).<\/p>\n

6.<\/strong> Tregimtari me perspektiv\u00eb nj\u00ebform\u00ebshe (\u201cpik\u00ebpamja\u201d \u00ebsht\u00eb e vendosur n\u00eb vet\u00ebdije e nj\u00eb fytyre).<\/p>\n

II. Tregimtari si subjekt fiktiv i autorit, dom\u00ebth\u00ebn\u00eb q\u00eb nuk i p\u00ebrket bot\u00ebs s\u00eb paraqitur (p.sh tregimtari i T\u00eb zgjedhurit t\u00eb Manit).<\/p>\n

III. Tregimtari si nj\u00eb fytyr\u00eb fiktive q\u00eb i p\u00ebrket realitetit, q\u00eb \u00ebsht\u00eb paraqitur n\u00eb vepr\u00ebn letrare;<\/p>\n

1. Tregimtari q\u00eb zhvillon narracion retrospektiv (ditari, letra, shprehje monologjike).<\/p>\n

2. Tregimtari si subjekt q\u00eb zhvillon monolog t\u00eb brendsh\u00ebm.<\/p>\n

IV. Tregimtari q\u00eb i p\u00ebrket fiktivisht bot\u00ebs s\u00eb paraqitur, po megjithat\u00eb sundon \u201cgjith\u00ebdij\u00ebn\u201d e tregimtarit autor (p\u00ebr shembull tregimtari n\u00eb romanet e Dostojevskit)\u201d[20]<\/p>\n

Romani trajton fatin e heroit t\u00eb vet me po aq madh\u00ebshti sa epi, por ky personazh \u00ebsht\u00eb njeri i zakonsh\u00ebm n\u00eb labirintin e madh t\u00eb jet\u00ebs.<\/p>\n

6. Tematika e romanit <\/strong><\/p>\n

6.1 <\/strong>Bahtinit mendon se <\/strong>romani si zhan\u00ebr n\u00eb tematik\u00ebn e tij rrok tem\u00ebn e dashuris\u00eb, \u00ebsht\u00eb historia e dashuris\u00eb.<\/p>\n

6.2<\/strong> Sipas Henri Xhejms mision i romanit \u00ebsht\u00eb ta paraqes jet\u00ebn, poq\u00ebse ndodh e kund\u00ebrta romani do t\u00eb ndodhet n\u00eb nj\u00eb gjendje t\u00eb \u00e7uditshme.<\/p>\n

6.3<\/strong> Volfgan Kajzer mendon se romani sipas p\u00ebrmbajtjes, romanet ndahen ose p\u00ebrkufizohen, \u201cromani erotik\u201d, \u201cromani familjar\u201d, \u201cromani shoq\u00ebror\u201d, \u201cromani mbi familjen\u201d, \u201cromani mbi vendlindjen\u201d, \u201cromani historik\u201d. Kajzeri mendon se romani nga studiuesit u cil\u00ebsua si rr\u00ebfim i fol\u00ebsit vetiak individual.<\/p>\n

6.4 <\/strong>Alen Rob-Grije n\u00eb pjes\u00ebn \u201cRomani i ri njeriu i ri\u201d, paraqet se personazhi i romanit \u00ebsht\u00eb njeri q\u00eb mendon, q\u00eb ndjen, q\u00eb sheh \u201cN\u00eb romanet tona njeriu \u00ebsht\u00eb ai q\u00eb sheh, q\u00eb ndien, q\u00eb mendon, njeri q\u00eb ekziston n\u00eb hap\u00ebsir\u00eb dhe koh\u00eb, q\u00eb kusht\u00ebzohet nga pasionet e veta, njeri si ju dhe si un\u00eb\u201d[21]. Romani i Ri mund t\u00eb na ofroj vet\u00ebm e p\u00ebrvoj\u00ebn e tij, t\u00eb kufizuar dhe t\u00eb pasigurt\u00eb. Njeriu, njeriu i sot\u00ebm, vet \u00ebsht\u00eb tragimtar i vetvetes.<\/p>\n

Grije mendon se tematika e romanit t\u00eb ri duhet t\u00eb jet\u00eb let\u00ebrsia, e jo tematika e romanit t\u00eb mbroj q\u00ebndrime politike. \u201cI vetmi angazhim i mundsh\u00ebm i shkrimtarit \u00ebsht\u00eb let\u00ebrsia\u201d[22]. Edhe padrejt\u00ebsit politike q\u00eb ndodhin n\u00eb vend, sipas Grijenuk duhet t\u00eb jet\u00eb tematik\u00eb e romanit, tematik\u00eb e vetme duhet t\u00eb jen\u00eb let\u00ebrsia, objekti i saj.\u201dS\u2019\u00ebsht\u00eb men\u00e7ur t\u00eb shkohet kah ajo q\u00eb n\u00eb romanet tona t\u00eb mbrohet ndonj\u00eb q\u00ebndrim politik, madje edhe ajo q\u00eb na duket e drejt\u00eb, edhe ajo n\u00ebse n\u00eb jet\u00ebn ton\u00eb politike luftojn\u00eb p\u00ebr fitor\u00ebn e saj. Aktiviteti politik na shtr\u00ebngon gjithnj\u00eb t\u00eb parandjejm\u00eb dometh\u00ebnie t\u00eb njohura: shoq\u00ebrore, historike, morale. Arti \u00ebsht\u00eb m\u00eb modest- por m\u00eb ambicioz- :p\u00ebr t\u00eb kurr\u00eb dhe asgj\u00eb t\u00eb njohur apriori\u201d[23].<\/p>\n

Alen Rob-Grije mendon se para vepr\u00ebs letrare nuk ka paralet\u00ebrsi, s\u2019ka tez\u00eb q\u00eb duhet t\u00eb mb\u00ebshtetet, por e as n\u00eb porosi, vepra duhet mb\u00ebshtetur n\u00eb brumin e saj estetik, q\u00eb ka p\u00ebr q\u00ebllim ushqyerjen e shpirtit t\u00eb njeriut.<\/p>\n

7. Modelet e Kompozicioni <\/strong><\/p>\n

Viktor Shkllovski<\/strong> n\u00eb studimin e tij \u201c\u201cTristram Shandy\u201d i Sternit dhe teoria e romanit\u201d paraqet kompozicionin e romanit \u201cTristram Shandy\u201d i Sternit. Sterni n\u00eb k\u00ebt\u00eb studim paraqitet si revulucionar ekstremist i form\u00ebs. Kompozicioni i \u201cTristram Shandy\u201d \u00ebsht\u00eb p\u00ebrmbysur nga autori, t\u00eb gjitha pjes\u00ebt p\u00ebrb\u00ebr\u00ebse t\u00eb tij jan\u00eb znvendosur. Parath\u00ebnja n\u00eb cdo vep\u00ebr vendoset n\u00eb fillim t\u00eb vepr\u00ebs, n\u00eb romanin \u201cTristram Shandy\u201d ajo \u00ebsht\u00eb vendosur n\u00eb kapitullin 64, prej faqes 182-192. Kulminacioni i gjith\u00eb k\u00ebtyre nd\u00ebrrimeve t\u00eb an\u00ebs formale t\u00eb \u201cTristram Shandy\u201d, jan\u00eb p\u00ebrmbysur madje edhe kapitujt: kapitulli 297 e 298 gjinden pas 304. Sterni n\u00eb romanet e tij \u00ebsht\u00eb p\u00ebrkujdesur p\u00ebr prishjen e formave t\u00eb r\u00ebndomta. Kompozicion t\u00eb ngjash\u00ebm kishte p\u00ebrdorur edhe Gogoli n\u00eb veprat e tij.<\/p>\n

7.1<\/strong> Edvin Mjur \u201cRomani i ngarjeve dhe romani i personazheve\u201d , n\u00eb k\u00ebt\u00eb pjes\u00eb autori n\u00eb b\u00ebn t\u00eb ditur se objekt i k\u00ebsaj pjese \u00ebsht\u00eb struktura e romanit.<\/p>\n

Mjur struktur\u00ebn e romanin e ndan n\u00eb dy pjes\u00eb: romani i ngjarjeve dhe romani i personazheve. Edvin Mjur mendon se n\u00eb romanin e personazheve heroi pasi te mebetet gjall\u00eb, lupset t\u2019i kthehet siguris\u00eb e rendit pa kurrfar\u00eb vrrage q\u00eb do t\u2019i pengonte k\u00ebnaq\u00ebsin\u00eb e tij. Kurse n\u00eb romanin e ngjarjes rendom i sjell mordjen ndonje personazhi dyt\u00ebsor. Verteri ne pjes\u00ebn \u201cKush e rr\u00ebfen romanin\u201d, t\u00eb Volfgang Kajzer mendon se p\u00ebr romanin nuk \u00ebsht\u00eb e r\u00ebnd\u00ebsishme vet\u00ebm tematika, por edhe kompozicioni i brendsh\u00ebm, fillimi, mesi dhe mbarimi.<\/p>\n

Sipas Edvin Mjur forma m\u00eb e thjesht\u00eb e artit n\u00eb proz\u00eb \u00ebsht\u00eb tregimi, q\u00eb sh\u00ebnon nj\u00eb vazhdim ngjarjesh kyesore jo t\u00eb zakonshme, ku ngjarja zhvillohet rreth nj\u00eb personazhi kryesor, por ka edhe personazhe dyt\u00ebsore ku i hedhin drit\u00eb ngjarjes.<\/p>\n

7.2<\/strong> Fabula<\/strong><\/p>\n

Kur \u00ebsht\u00eb fjala p\u00ebr romanin historik, kompozicioni i fabul\u00ebs \u00ebsht\u00eb realizim i asaj harmonie racionale- dhe i trajtuar k\u00ebshtu- lypset t\u00eb jet\u00eb ekuivalent (\u201crefleks\u201d si\u00e7 do t\u00eb quhej me gjuh\u00ebn e estetik\u00ebs s\u00eb shekullit t\u00eb kaluar) i sistemit t\u00eb v\u00ebrtet\u00eb bot\u00ebror.<\/p>\n

Fabula e romanit sipas <\/strong>Rene Maria Alberes \u201cSynimi i romanit: Proteu\u201d, paraqet jet\u00ebn, zbulon fsheht\u00ebsit\u00eb q\u00eb jan\u00eb prapa jet\u00ebs, paraqet p\u00ebrvoj\u00ebn, vuajtjet, sakrificat e njer\u00ebzve p\u00ebr nj\u00eb jet\u00eb m\u00eb t\u00eb mir\u00eb.<\/p>\n

\u201cFabula \u00ebsht\u00eb imitim i nj\u00eb veprimit; me fjal\u00ebn <<fabul\u00eb>> kuptoj t\u00eb lidhurit e nj\u00eb vargu ngjarjesh\u201d[24].<\/p>\n

7.3 Motivi <\/strong><\/p>\n

Motivimi \u2013 sikund\u00ebr d\u00ebshmon p\u00ebr mrekulli Zheneti p\u00ebrmes shembullit t\u00eb Balzakut \u2013 \u00ebsht\u00eb arsyetim i faktit t\u00eb ve\u00e7ant\u00eb me an\u00eb t\u00eb ligjeve t\u00eb p\u00ebrgjithshme, \u00ebsht\u00eb trajtim i sa ngjarjeve si shprehjeve e veprimit t\u00eb k\u00ebtyre ligjeve.<\/p>\n

\u201c-motivi \u00ebsht\u00eb \u00e7\u00ebshtje e vet\u00ebdij\u00ebs shoq\u00ebrore, s\u00eb cil\u00ebs i referohet dhe q\u00eb \u00ebsht\u00eb kontekst i saj i natyrsh\u00ebm\u201d[25].<\/p>\n

7.4 <\/strong>Mishel Bytor mendon se \u201c \u00casht\u00eb e nevojshme, andaj, q\u00eb struktura e brendshme e romanit t\u00eb jet\u00eb n\u00eb raport me struktur\u00ebn e realitetit ku shfaqet ajo, embrion i atij filizi. <\/strong><\/p>\n

7.5 <\/strong>Alen Rob \u2013 Grije n\u00eb pjes\u00ebn \u201cRomani i ri, njeriu i ri\u201d jep nj\u00eb hart\u00eb se si duket romani i ri n\u00eb krahasim me romanin e vjet\u00ebr: \u201c 1) Romani i Ri sanksionon ligje t\u00eb \u00e7\u00eblikta p\u00ebr t\u00eb gjith\u00eb romansier\u00ebt e ardhsh\u00ebm; 2) Romani i Ri shlyen t\u00eb kaluaren; 3) Romani i Ri d\u00ebbon njeriun nga bota; 4) Romani i Ri synon objektivitetin e p\u00ebrsosur; 5) Romani i Ri, meq\u00eb lexohet v\u00ebshtir\u00eb, u dedikohet vet\u00ebm ekspert\u00ebve\u201d[26]. Romanin e Ri, ne se lexues nuk duhet t\u00eb aceptojm\u00eb vet\u00ebm si teori, por hulumtim, prandaj, nuk sanksionon kurr\u00ebfar\u00eb ligjesh. Romani i Ri krijohet si synim q\u00eb t\u2019u kund\u00ebrvihet formave ekzistuese t\u00eb krijimit.<\/p>\n

7.6 <\/strong>Aleksander Flaker \u201cRreth tipologjis\u00eb s\u00eb romanit\u201d, Tomashevskit, teorik letrar q\u00eb i cili n\u00eb doracakun e vet Teorija e literatury<\/em> t\u00eb vitit 1925 vendosi sistematizimin koherent t\u00eb romanit, i cili \u00ebsht\u00eb i mb\u00ebshtetur mbi parimet e hetimit t\u00eb nd\u00ebrtimit fabular, nd\u00ebrsa k\u00ebto gjet\u00ebn shprehje n\u00eb punimet e kolegut t\u00eb tij rus- Viktor Shkollovskit. \u201cK\u00ebshtu fituam ndarjen e njohur n\u00eb konstruksion t\u00eb shkall\u00ebzuar (stupen\u010datoe postroenie), konstruksioni unazor (kol\u2019cevoe postroenie) dhe n\u00eb konstruksionin paralel ( parallel\u2019noe postroenie). Tomashevskit n\u00eb doracakun e tij Stilistika stihoslo\u017eenije<\/em> (1959) ai b\u00ebn ndarjen e dy tipave t\u00eb kompozicionit kompozicioni i ngjarjeve (kompozizija desjstija)- t\u00eb shkall\u00ebzuar dhe paralele. Julian Krzyzanowski b\u00ebn ndarjen sipas tem\u00ebs dhe koh\u00ebs ( e kaluara, e tashmja, e ardhmja).<\/p>\n

7.7 <\/strong>Wolfgang Kayseri b\u00ebri nj\u00eb ndarje tipologjike t\u00eb roamnit \u201cRomani i ngjarjeve\u201d, romani i fytyr\u00ebs\u201d, dhe \u201cromani i hap\u00ebsir\u00ebs\u201d, i karakterizon autori n\u00eb vepr\u00ebn e vet t\u00eb njohur Das sprachliche Kunstwerk <\/em>si kategori historike, p\u00ebr arsye se ato shfaqen si kategori historike.<\/p>\n

Romani i karakterit b\u00ebhet n\u00eb shekullin XIX tip themelor i romanit. P\u00ebr romanin e shekullit XIX \u00ebsht\u00eb karakteristike aspirata p\u00ebr kujtimin e nj\u00eb p\u00ebrmbajtje t\u00eb gjithanshme, sidomos kundrejt shoq\u00ebris\u00eb, aspirata p\u00ebr \u201ctotalitetin\u201d e Hegelit, aq e dukshme te Balzaku e Standeli.<\/p>\n

Romani i llojit kronik\u00eb q\u00eb e njohim nga Klim Samgini<\/em> i Maksim Gorkit, i cili nuk e ka n\u00eb q\u00ebnd\u00ebr t\u00eb vemendjes nj\u00eb karakter (personazh), po nj\u00eb totalitet t\u00eb ngjarjeve.<\/p>\n

Kayseri na ka njohur tashm\u00eb me romanin e hapsir\u00ebs, k\u00ebt\u00eb lloj romani e njofim n\u00eb shek XVIII me romanet angleze. N\u00eb radh\u00ebn e romaneve t\u00eb hap\u00ebsir\u00ebs p\u00ebrpos romaneve pikareske, Kayseri e fut edhe romanin e Tolstoit \u201cLuft\u00eb e paqe\u201d.<\/p>\n

Romani i shprehjeve, ky tip i romanit n\u00eb let\u00ebrsin\u00eb evropiane u shfaq pas Dostojevskit.<\/p>\n

7.8 <\/strong>\u201cM\u00eb n\u00eb fund, tipologjia jon\u00eb e romanit duhet plot\u00ebsuar edhe me futjen e nj\u00eb tipi t\u00eb ve\u00e7ant\u00eb t\u00eb romanit \u2013 t\u00eb romanit monologjik- asociativ\u201d[27]. Ky lloj romani ndahet n\u00eb dy n\u00ebn lloje , grupet e para do t\u2019i takojn\u00eb k\u00ebtu romanet me tregimtar, i cili paraqitet n\u00eb vet\u00eb t\u00eb par\u00eb dhe monologizon bot\u00ebn vetiake t\u00eb brendshme (romani i \u201crrjedh\u00ebs s\u00eb vet\u00ebdij\u00ebs\u201d), nd\u00ebrsa n\u00eb grupin e dyt\u00eb do t\u00eb hyjn\u00eb romanet me tregimtar, q\u00eb i relacionon monologjet e huaja t\u00eb brendshme dhe vargjet asociative. Shkllovski mendon se romani si zhan\u00ebr dhe struktura e tij, m\u00eb af\u00ebr se cilido zhan\u00ebr p\u00ebr t\u2019u modifikuar. Shkllovski mendon se miti p\u00ebr zhdukjen e romanit jan\u00eb ende t\u00eb pranishme, k\u00ebshtu q\u00eb secili krijues e ka para vet\u00ebs, q\u00eb duke krijuar form\u00eb t\u00eb re t\u00eb romanit t\u00eb shkat\u00ebrroj at\u00eb t\u00eb vjetr\u00ebn.<\/p>\n

7.9 <\/strong>Alen Rodvej \u201cModernizimi n\u00eb roman\u201d, romanin si zhan\u00ebr e ndan n\u00eb romani -romanc\u00eb<\/em> dhe romani- reportazh<\/em>.<\/p>\n

8. Koha n\u00eb roman <\/strong><\/p>\n

Viktor Shkllovski<\/strong> mendon se koha n\u00eb jet\u00ebn e p\u00ebrditshme duket duke nd\u00ebrruar kualitetin gjesendeve. Koha te k\u00ebng\u00ebt epike dhe n\u00eb ep \u00ebsht\u00eb e ngadalshme, pa nxitim, p;sh kall\u00ebzohet si heroi e shalon kalin.<\/p>\n

Kurse n\u00eb romanet angleze sipas Shkllovskit koha vihet n\u00eb mardh\u00ebnje me udh\u00ebtimin. Udh\u00ebtimet r\u00ebndom jan\u00eb kusht\u00ebzuar nga k\u00ebrkimi apo shp\u00ebtimi i heroin\u00ebs, t\u00eb cilat shpeshher\u00eb d\u00ebshirojn\u00eb ta martojn\u00eb pa p\u00eblqimin e saj.<\/p>\n

Sipas Shkllovskit koha n\u00eb roman apostrofohet me nd\u00ebrrimin e kapitullit dhe strofave me nd\u00ebrrimin e stin\u00ebve t\u00eb vitit. N\u00eb jet\u00ebn e p\u00ebrditshme ne e p\u00ebrcjellim njeriun prej lindjes deri n\u00eb vdekje, n\u00ebp\u00ebr \u00e7aste t\u00eb llojllojshme t\u00eb jet\u00ebs s\u00eb tij.<\/p>\n

9<\/strong>. Romani dhe e v\u00ebrteta <\/strong><\/p>\n

Mihail Gllovinjski \u201cRomani dhe e v\u00ebrteta\u201d se e v\u00ebrteta \u00ebsht\u00eb element i struktur\u00ebs s\u00eb vepr\u00ebs letrare dhe nj\u00ebherit faktor kryesor n\u00eb relacion me lexuesin, vet\u00ebdijen, bindjet, besimin etj. N\u00eb vepr\u00ebn letrare kriter definitiv \u00ebsht\u00eb operacioni letrar e jo vet\u00ebm l\u00ebnda e cila e paraqet t\u00eb v\u00ebret\u00ebn apo jo.<\/p>\n

E v\u00ebrteta e romanit, l\u00ebnda e tij nuk mund t\u00eb verifikohet, siguria n\u00eb t\u00eb mb\u00ebshtetet n\u00eb besimin dhe n\u00eb t\u00eb z\u00ebn\u00ebt bes\u00eb. \u201cRomani klasik- ta p\u00ebrs\u00ebrisim- ishte i fascinuar me t\u00eb v\u00ebrtet\u00ebn\u201d[28]. E v\u00ebrteta mirret nga vepra letrare duke patur besim para se fillon leximi p\u00ebr nj\u00eb \u00e7\u00ebshtje. Vepra letrare transmeton tek lexuesi edhe t\u00eb kuptuarit ndryshe i s\u00eb v\u00ebrtet\u00ebs s\u00eb nj\u00eb vepre letrare.<\/p>\n

\u201cN\u00ebse pajtohemi se e v\u00ebrteta n\u00eb let\u00ebrsi \u00ebsht\u00eb nj\u00eb prej elementeve t\u00eb konvencioneve letrare (me konvencion n\u00ebnkuptohen m\u00ebnyrat e konsoliduara e t\u00eb afirmuara t\u00eb rr\u00ebfimit n\u00eb shoq\u00ebri), t\u00eb kuptuara gjer\u00ebsisht, n\u00eb t\u00eb p\u00ebrkufizohen njohurit\u00eb e kompetenc\u00ebs s\u00eb literatur\u00ebs, sepse edhe ato varen mu nga k\u00ebto konvencione\u201d[29].<\/p>\n

E v\u00ebrteta n\u00eb let\u00ebrsi nuk ka t\u00eb b\u00ebj me t\u00eb v\u00ebrtet\u00ebn apsolute nese mund ta quajm\u00eb me k\u00ebt\u00eb term, ajo \u00ebsht\u00eb element rr\u00ebfenje, q\u00eb s\u2019ka t\u00eb b\u00ebj\u00eb me realitetin n\u00eb m\u00ebnyr\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb, ve\u00e7se me rr\u00ebfenjat e tjera, ku autori paraqet aventurat e p\u00ebrjetimet e tij.<\/p>\n

\u201cRomani i ri flet p\u00ebr p\u00ebrvoj\u00ebn dhe jo p\u00ebr skemat ngush\u00eblluese, t\u00eb cilat p\u00ebrpiqen t\u2019i fshehin tragjedit\u00eb dhe t\u2019ia imponojn\u00eb rendin konvencional jet\u00ebs son\u00eb, pasioneve tona\u201d[30]. K\u00ebshtu mendon Alen Rob-Grije n\u00eb pjes\u00ebn \u201cRomani i ri njeriu i ri\u201d. Rob-Grije mendon se e v\u00ebrteta politike, apo t\u00eb v\u00ebrtetat e tjera jet\u00ebsore nuk duhet t\u00eb jen\u00eb objekte t\u00eb traitimit t\u00eb romanit, p\u00ebrpos objektit t\u00eb vet\u00ebm q\u00eb \u00ebsht\u00eb let\u00ebrsia, brumi i saj estetik.<\/p>\n

E v\u00ebrteta! Ajo q\u00eb e quajm\u00eb e v\u00ebrtet\u00eb \u00ebsht\u00eb vet\u00ebm homogjenja.<\/p>\n

10. Vlera e romanit <\/strong><\/p>\n

\u201cVlera e nj\u00eb romani q\u00ebndron padyshim n\u00eb fuqin\u00eb dhe n\u00eb bindshm\u00ebrin\u00eb e atij vizioni q\u00eb jep, atij z\u00ebri q\u00eb flet; apo edhe t\u00eb asaj arkitekture q\u00eb imponohet vetiu, q\u00eb zbulon veti t\u00eb cil\u00ebsuara hap\u00ebsire imagjinare\u201d[31]. Q\u00ebllimi i tij \u00ebsht\u00eb q\u00eb mesazhin q\u00eb d\u00ebrgon tek lexuesit t\u00eb aceptohet sa m\u00eb bindsh\u00ebm q\u00eb \u00ebsht\u00eb e mundshme nga ana e tyre. Kleber Eden shton se \u201cpersonazhi i gjall\u00eb\u201d \u00ebsht\u00eb shpikja m\u00eb e bukur profesionale. Kjo tez\u00eb konsiderohet si paradoks p\u00ebr romanin.<\/p>\n

Alen Rodvej \u201cModernizimi n\u00eb roman\u201d mendon se funksioni i romanit \u00ebsht\u00eb q\u00eb tek lexuesit t\u00eb sjell di\u00e7ka te re, q\u00eb zhanret tjera nuk jan\u00eb n\u00eb gjendje t\u00eb na ofrojn\u00eb.<\/p>\n

11. A i erdhi fundi romanit<\/strong><\/p>\n

Ekzistojn\u00eb pik\u00ebpamje se romani i vjet\u00ebr balzakian ose dikensian \u00ebsht\u00eb form\u00eb, s\u00eb cil\u00ebs ende nuk i ka kaluar koha dhe si e till\u00eb \u00ebsht\u00eb e p\u00ebrshtatshme p\u00ebr ta shprehur realitetin e nd\u00ebrlikuar. Romani klasik i periudh\u00ebs balzako-dikensiane \u00ebsht\u00eb krijuar para romanit rus, respektivisht para atij transformimi t\u00eb zhanrit, i cili vet\u00eb e ka braktisur iden\u00eb se \u00ebsht\u00eb i p\u00ebrhersh\u00ebm.<\/p>\n

\u201cL. N. Tolstoi n\u00eb koh\u00ebn e krijimit t\u00eb Luft\u00ebs dhe paqjes,<\/em> n\u00eb parath\u00ebnie \u2013 q\u00eb mbeti nj\u00eb koh\u00eb t\u00eb gjat\u00eb n\u00eb dor\u00ebshkrim- mohonte q\u00ebndrushm\u00ebrin\u00eb e form\u00ebs s\u00eb romanit\u201d[32]. Tolstoi e mohonte an\u00ebn formale t\u00eb romanit t\u00eb vjet\u00ebr evropian, ku mendonte q\u00eb ajo form\u00eb nuk \u00ebsht\u00eb universale: \u201cNe, rus\u00ebt kurrsesi nuk dim\u00eb t\u00eb shkruajm\u00eb romane n\u00eb at\u00eb kuptim, me t\u00eb cilin e n\u00ebnkuptojm\u00eb n\u00eb Evrop\u00eb (Angli) at\u00eb lloj vepre (…)\u201d[33]. \u201cMendimi artistik rus mund t\u00eb vihet n\u00eb at\u00eb korniz\u00eb; ai k\u00ebrkon korniz\u00eb t\u00eb re, p\u00ebr veten (…)\u201d[34]. Tolstoi mendonte se secili krijues i madh duhet t\u2019i ket\u00eb (t\u00eb krijoj\u00eb) format e veta. N\u00eb art p\u00ebrleshen epokat. \u00c7do vep\u00ebr letrare mundohet t\u00eb krijoj di\u00e7ka t\u00eb re, duke e mohuar vet\u00ebveten, \u00ebsht\u00eb antipod i di\u00e7ka tjet\u00ebr. Don Kishoti \u00ebsht\u00eb nj\u00eb kund\u00ebrv\u00ebnie e romanit kalosiak.<\/p>\n

Secila periudh\u00eb e zhvillimit t\u00eb romanit \u00ebsht\u00eb krijuar duke mohuar at\u00eb periudh\u00eb paraprake, mbeti karakteristik\u00eb e p\u00ebrhershme e romanit. Romani realist i shekullit XIX lindi si kund\u00ebrv\u00ebnie ndaj romanit sentimental t\u00eb perudh\u00ebs s\u00eb romantizmit, kurse romani i shekullit XX, si kund\u00ebrv\u00ebnie e romanit realist t\u00eb shekullit XIX.<\/p>\n

P\u00ebrfundimi<\/p>\n

N\u00eb k\u00ebt\u00eb vep\u00ebr gjasht\u00ebmb\u00ebdhjet\u00eb autor\u00eb paraqesin mendimin e tyre p\u00ebr romanin. Ana formale e seminarit mb\u00ebshtet\u00ebt n\u00eb metod\u00ebn e bashkimit t\u00eb \u00e7\u00ebshtjeve t\u00eb p\u00ebrbashk\u00ebta t\u00eb t\u00eb gjith\u00eb autor\u00ebt, duke filluar me:<\/p>\n

1) Definicionin i romanit<\/p>\n

2) Romani dhe zhanret tjera<\/p>\n

3) Gjuha e romanit<\/p>\n

4) Zherar Zhenet \u201cKufijt e rr\u00ebfimit\u201d<\/p>\n

5) Prania e autorit n\u00eb roman<\/p>\n

6) Personazhi i romanit<\/p>\n

7) Tematika e romanit<\/p>\n

8) Modelet e Kompozicioni<\/p>\n

9) Koha n\u00eb roman<\/p>\n

10) Vlera e romanit<\/p>\n

11) A i erdhi fundi romanit<\/p>\n

T\u00eb pjes\u00ebn e par\u00eb, e cila ka t\u00eb b\u00ebj me Definicionin e romanit <\/em>, jan\u00eb marr\u00eb mendimet e k\u00ebtyre autor\u00ebve Maria Alberes \u201cSynimi i romanit: Proteu\u201d, mendon se \u00ebsht\u00eb v\u00ebshtrir\u00eb t\u00eb jepet definicioni i romanit, madje, edhe t\u00eb p\u00ebrcaktohet vendi i tij, nj\u00ebsoj sikund\u00ebr nuk do t\u00eb mund t\u00eb jepnim definicionin e muzik\u00ebs. Edhe Mihail Gllovinjski jep nj\u00eb p\u00ebrkufizim p\u00ebr romanin, Shkllovski b\u00ebn nj\u00eb krahasim t\u00eb romanit me zhanret tjera, n\u00eb k\u00ebt\u00eb pjes\u00eb jan\u00eb bashkuar mendimet e p\u00ebrbashk\u00ebta dhe dallimet e tyre rreth romanit duke i krahasuar me zhanret tjera, e sidomos me epin e tragjedin\u00eb.<\/p>\n

N\u00eb pjes\u00ebn e tret\u00eb jan\u00eb shtruar gjitha mendimet rreth gjuh\u00ebs s\u00eb romanit q\u00eb k\u00ebta gjasht\u00ebmb\u00ebdhjet\u00eb autor i kan\u00eb paraqitur n\u00ebp\u00ebr punimet e tyre. Mihail Gllovinjski n\u00eb studimin e tij \u201cRomani dhe e v\u00ebrteta\u201d thot\u00eb se gjuh\u00ebn q\u00eb e p\u00ebrdorin shkrimtar\u00ebt n\u00eb vepra t\u00eb tyre \u00ebsht\u00eb gjuh\u00eb e traditave dhe e vendit ku ata jetojn\u00eb.<\/p>\n

Shkllovski n\u00eb punimin e tij \u201cTristram Shandy\u201d paraqet an\u00ebn formale t\u00eb romanit t\u00eb Sternit, i cili \u00ebsht\u00eb nj\u00eb roman i cili i anashkalon format tradicionale dhe krijon form\u00eb t\u00eb re, Shandy\u201d \u00ebsht\u00eb p\u00ebrmbysur nga autori, t\u00eb gjitha pjes\u00ebt p\u00ebrb\u00ebr\u00ebse t\u00eb tij jan\u00eb znvendosur. Sterni n\u00eb k\u00ebt\u00eb studim paraqitet si revulucionar ekstremist i form\u00ebs. Un\u00eb si ndjek\u00ebs i l\u00ebnd\u00ebs \u201cTeori e proz\u00ebs\u201d dhe p\u00ebrpilues i ketij seminari kam fituar p\u00ebrvoj\u00eb t\u00eb re n\u00eb shkrimin e seminarit.<\/p>\n

Literatura<\/p>\n

\u2022 \u201c\u00c7\u00ebshtje t\u00eb romanit\u201d, Rilindja, Rrishtin\u00eb, 1980<\/p>\n

\u2022 Zherar Zhenet \u201cFigura\u201d, Rilindja, Prishtin\u00eb, 1985<\/p>\n

\u2022 Aristoteli \u201cPoetika\u201d, Buzuku, Prishtin\u00eb, 2003<\/p>\n

\u2022 Zejnullah Rrahmani, \u201cTeoria e let\u00ebrsis\u00eb\u201d, Libri shkollor, Prishtin\u00eb, 1999<\/p>\n

\u2022\u201cFjalori drejtshkrimor i Gjuh\u00ebs shqipe\u201d, Rilindja, Prishtin\u00eb, 1983<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Albert S. Mustafa Hyrje N\u00eb k\u00ebt\u00eb vep\u00ebr mendimet e tyre rreth romanit dhe \u00e7\u00ebshtjes s\u00eb tij, romanit dhe zhanreve t\u00eb tjera, struktur\u00ebs s\u00eb romanit, koha e romanit etj. i kan\u00eb paraqitur k\u00ebta autor\u00eb: Mihail Bahtin \u201cEpi dhe romani\u201d,<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-1593","post","type-post","status-publish","format-standard","hentry","category-kritike"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/1593","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1593"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/1593\/revisions"}],"predecessor-version":[{"id":1595,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/1593\/revisions\/1595"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1593"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1593"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1593"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}