{"id":3950,"date":"2014-01-27T21:52:47","date_gmt":"2014-01-27T21:52:47","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=3950"},"modified":"2014-01-27T21:52:47","modified_gmt":"2014-01-27T21:52:47","slug":"sizifiana-shqiptare-e-nje-romani-veshtrim-kritik-mbi-romanin-shembja-te-autorit-ndue-dedaj","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=3950","title":{"rendered":"SIZIFIANA SHQIPTARE E NJ\u00cb ROMANI (V\u00ebshtrim kritik mbi romanin \u201cShembja\u201d t\u00eb autorit Ndue Dedaj)"},"content":{"rendered":"

\"\"<\/a>PREND BUZHALA,<\/p>\n

studiues i Let\u00ebrsis\u00eb, Kosov\u00eb<\/p>\n

(Marr\u00eb me shkurtime nga \u201cAm\u00ebza e Rr\u00ebfimit\u201d(Shkrime kritiko-letrare\/proza e sotme shqipe), \u201cROZAFA\u201d, Prishtin\u00eb 2012.)<\/em><\/p>\n

\n

Shembjet nuk na jan\u00eb vet\u00ebm ato t\u00eb nj\u00eb kthese historike, por dhe thyerjet e brendshme q\u00eb ndodhin n\u00eb qenien e njeriut… Semantika e shembjes n\u00eb k\u00ebt\u00eb roman \u00ebsht\u00eb tejet e nd\u00ebrliqshme dhe e pasur. T\u00eb duket sikur minierat p\u00ebrb\u00ebjn\u00eb nj\u00eb yj\u00ebsi, ku si\u00e7 shprehet rr\u00ebfimtari, n\u00eb k\u00ebt\u00eb qasje edhe toka, edhe mbitoka edhe qielli duket sikur komunikojn\u00eb nd\u00ebrmjetvetsh\u00ebm. <\/em><\/p>\n

\u00a0<\/em><\/p>\n

I njohur m\u00eb par\u00eb n\u00eb shtresat e lexuesve si poet me librat poetik\u00eb: \u201cAjsbergu i han\u00ebs\u201d, \u201cK\u00ebndej kaloi koha\u201d dhe \u201cPlanetare\u201d; me studimet monografike \u201cToka e Katedraleve\u201d, \u201cKanuni dhe koha e sotme\u201d, \u201cFabian Barcata dhe ditari i tij shqiptar\u201d etj., i njohur qysh her\u00ebt dhe si publicist, l\u00ebvrues i reportazhit e opinionit, Ndue Dedaj n\u00eb proz\u00eb erdhi me v\u00ebllimet me tregime \u201cDashuri n\u00eb kull\u00ebn e ngujimit\u201d dhe \u201cHyjnesha e Pyllit\u201d (ky i fundit p\u00ebr f\u00ebmij\u00eb) dhe pastaj me romanin \u201cShembja\u201d, pas nj\u00eb p\u00ebrvoje t\u00eb mir\u00ebfillt\u00eb krijuese n\u00eb disa fusha t\u00eb krijimtaris\u00eb mendore e letrare. Ky roman nuk \u00ebsht\u00eb thjesht nj\u00eb histori miniere, por aty ng\u00ebrthehet bota njer\u00ebzore e n\u00ebndheshme dhe e mbidheshme, me dhimbjet e fshehta e vuajtjet e thekshme n\u00eb sken\u00ebn e hapur t\u00eb jet\u00ebs. Autori e zhdrivillon rr\u00ebfimin nga perspektiva e ligj\u00ebrimit t\u00eb koh\u00eb-hap\u00ebsir\u00ebs s\u00eb sotme (aktualiteti dramatik shqiptar i viteve \u201990), nga nj\u00eb situat\u00eb gjith\u00eb tensione kthesash t\u00eb m\u00ebdha dhe p\u00ebrmbysjesh trondit\u00ebse historike, shoq\u00ebrore dhe personale. Pesh\u00ebn e r\u00ebnd\u00eb t\u00eb rr\u00ebfimit romanor e merr z\u00ebri autorial, i paduksh\u00ebm, n\u00eb rolin e rr\u00ebfimtarit t\u00eb gjith\u00ebdijsh\u00ebm, q\u00eb p\u00ebrfaq\u00ebson ideografin\u00eb autoriale t\u00eb personazhit kryesor. <\/em><\/p>\n

Romanet e reja karakterizohen nga nj\u00eb m\u00ebnyr\u00eb e re e shkrimit, si \u201cRrath\u00eb\u201d i Camajt, \u201cOdin Mondvalsen\u201d i Trebeshin\u00ebs, \u201cUlku dhe Uilli\u201d i Vath Koreshit, \u201cLas varrezas\u201d i Zija \u00c7el\u00ebs, \u201cI humburi\u201d e \u201cKufoma\u201d t\u00eb Fatos Kongolit, \u201cPiramida\u201d e \u201cHija\u201d t\u00eb Kadares\u00eb, \u201cStina e ujkut\u201d e \u201cTriumfi i Gjergj Elez Alis\u00eb\u201d t\u00eb Ridvan Dibr\u00ebs, apo \u201cDueli\u201d i A. Tuf\u00ebs etj, ku k\u00ebta autor\u00eb nd\u00ebrtuan shijen e re t\u00eb lexuesit, nxit\u00ebn studimet letrare p\u00ebr fenomene e dukuri estetike e artistike dhe soll\u00ebn vlera t\u00eb reja t\u00eb romanit ton\u00eb. Nd\u00ebr k\u00ebto vepra, romani \u201cShembja\u201d hyn n\u00eb port\u00ebn e madhe t\u00eb artit letrar, me bot\u00ebn e vet t\u00eb pasur artistike, me sigurin\u00eb e poetik\u00ebs vetanake, me tematik\u00ebn, p\u00ebrmbajtjen e struktur\u00ebn kompozicionale t\u00eb gjetur, me larushin\u00eb e personazheve t\u00eb nd\u00ebrliqsh\u00ebm, me nd\u00ebrthurjet komplekse t\u00eb rr\u00ebfimit. Kjo vep\u00ebr tashm\u00eb \u00ebsht\u00eb jet\u00ebsuar dhe e b\u00ebn jet\u00ebn e vet p\u00ebrmes lexuesit dhe interpretimeve e leximeve t\u00eb shumta t\u00eb kritik\u00ebs letrare q\u00eb i jan\u00eb b\u00ebr\u00eb asaj.<\/p>\n

Nuk \u00ebsht\u00eb e habitshme pse dhe personazhet e k\u00ebtij romani i zgjerojn\u00eb cil\u00ebsit\u00eb e ve\u00e7orit\u00eb e tyre t\u00eb karakterit, natyr\u00ebn e tyre psikologjike e enigmatike n\u00eb p\u00ebrmasa t\u00eb pakufishme, mu ashtu sikund\u00ebr begatohet p\u00ebrvoja njer\u00ebzore n\u00eb qenien e tyre shoq\u00ebrore, historike e shpirt\u00ebrore. Autori mban m\u00eb shum\u00eb an\u00eb kah tematologjia estetike realiste e vet\u00ebsore, si\u00e7 jan\u00eb mali, miniera, shpella, uj\u00ebt, fshati, qyteti, gjaku, koha, kulla, vdekjet, bari, vatra e ngroht\u00eb familjare, mjedisi malor i ngjarjeve epike e mjedisi urban me p\u00ebrvojat bashk\u00ebkohore; me nj\u00eb ndjenj\u00eb t\u00eb p\u00ebrhershme t\u00eb melankolis\u00eb, me vuajtjet, dhembjet, varf\u00ebrin\u00eb e vetmin\u00eb; me p\u00ebsim-m\u00ebsimet e historis\u00eb e t\u00eb jet\u00ebs, me zhg\u00ebnjimet q\u00eb sjellin thyerjet shoq\u00ebrore t\u00eb tranzicionit ku bashk\u00ebjetojn\u00eb ende jehonat e gj\u00ebmimet e shpirtit dhe shenjat e rezistenc\u00ebs anteike.<\/p>\n

Marku i Bardh\u00eb, protagonisti i romanit, d\u00ebshiron t\u00eb shquaj\u00eb edhe nj\u00eb d\u00ebshmi tjet\u00ebr, at\u00eb t\u00eb mbijetes\u00ebs s\u00eb dinjitetit njer\u00ebzor e t\u00eb vlerave pavar\u00ebsisht nga koh\u00ebt e regjimet, d\u00ebshmin\u00eb e shtyllave t\u00eb etnis\u00eb dhe at\u00eb t\u00eb vlerave t\u00eb qytetaris\u00eb. Prandaj ka kaq shum\u00eb trandje e l\u00ebkundje jete e shpirti, nd\u00ebrgjegjeje e etike, si p\u00ebr ta thirrur edhe nj\u00ebher\u00eb s\u00eb brendshmi at\u00eb z\u00ebrin e thell\u00eb t\u00eb nd\u00ebrdijes, nj\u00eblloj si tek p\u00ebrmbytja mitike e mbret\u00ebris\u00eb s\u00eb p\u00ebrjetshme. Teksa duket se miniera sh\u00ebrben si personifikim i vet\u00eb Shqip\u00ebris\u00eb dhe historis\u00eb s\u00eb saj.<\/p>\n

Shembjet jan\u00eb ciklike, historikisht dhe qen\u00ebsisht, mu si ajo puna e Sizifit, q\u00eb e \u00e7on vazhdimisht gurin p\u00ebrpjet\u00ebz\u00ebs s\u00eb malit dhe, pa arritur n\u00eb maje, vazhdimisht guri bie teposht\u00eb\u2026 Sizifiana shqiptare e k\u00ebtij romani e ka kuptimin e vet. Dhe protagonist\u00ebt e k\u00ebtij romani, sado q\u00eb e kan\u00eb vatr\u00ebn e tyre t\u00eb ngroht\u00eb t\u00eb gjallimit e t\u00eb ekzistimit, megjithat\u00eb, ata sikur jetojn\u00eb vazhdimisht n\u00ebn nj\u00eb tension ngjarjesh, shembjesh tok\u00ebsore e n\u00ebntok\u00ebsore, shoq\u00ebrore e historike, komb\u00ebtare e personale\u2026 \u201cNuk \u00ebsht\u00eb pak q\u00eb ata t\u00eb shkojn\u00eb drejt shembjes, me vet\u00ebdijen p\u00ebr ta tejkaluar at\u00eb, p\u00ebr ta mundur.\u201d<\/em> (fq, 149).<\/p>\n

Kategoria e tragjikes plekset me at\u00eb t\u00eb s\u00eb bukur\u00ebs, t\u00eb madh\u00ebrishmes, heroikes s\u00eb jet\u00ebs dhe ku personazhet e till\u00eb shfaqen shpesh si heronj tragjik\u00eb t\u00eb humbjeve, shpartallimeve, sakrificave, dramave t\u00eb trandshme jet\u00ebsore. Ata n\u00eb k\u00ebt\u00eb roman jan\u00eb nj\u00eb galeri e t\u00ebr\u00eb: Lirika, Tef\u00eb Shiroka, Lul Kryeziu, Gjergj Matia, Gjergjagjoni etj., ku personifikimi i tragjikes shfaqet dhe te vdekja e papritur e Sar\u00ebs, q\u00eb ashtu si miniera, as ajo nuk kishte mundur t\u00eb lindte. \u201cSara kishte qen\u00eb e dashura e minier\u00ebs dhe kishte mbetur shtatz\u00ebn\u00eb me t\u00eb.\u201d<\/em> (fq. 180). Prandaj nuk \u00ebsht\u00eb e habitshme pse romansieri jepet n\u00eb k\u00ebrkim t\u00eb njeriut heroik, aq sa edhe n\u00eb hulumtim t\u00eb personazhit lirik. I pari, gjithsesi me p\u00ebrmas\u00ebn e tragjikes, i dyti me p\u00ebrmas\u00ebn e s\u00eb bukur\u00ebs dhe dashuris\u00eb. Skenat e pamjet tragjike shpesh k\u00ebmbehen me skenat lirike. Nd\u00ebrthurja e till\u00eb ngjet n\u00eb nj\u00eb kompozim simfonik, n\u00eb modelin e atij muzikor, ku notat e trishtueshme shkall\u00ebzohen me ato t\u00eb hareshme, entuziaste, poetike, me palete muzikore t\u00eb pad\u00ebgjuara q\u00eb i shfaq teatri i nj\u00eb peizazhi tragjikisht lirik mirditor. Lirizmi narrativ sh\u00ebrben si paraleliz\u00ebm semantik e kompozicional p\u00ebr t\u00eb theksuar gjendjen jet\u00ebsore e ekzistenciale t\u00eb personazheve t\u00eb ve\u00e7ant\u00eb, ashtu sikund\u00ebr dhe p\u00ebr t\u00eb shquar unitetin kuptimor dhe imagjinativ t\u00eb p\u00ebrshkrimit a rr\u00ebfimit.<\/p>\n

Romansieri Dedaj arrin me sakt\u00ebsi t\u00eb b\u00ebj\u00eb portretin e p\u00ebrbashk\u00ebt t\u00eb shoq\u00ebris\u00eb shqiptare e t\u00eb realitetit shqiptar, n\u00eb kap\u00ebrcyell sistemesh e rendesh shoq\u00ebrore. Aty nd\u00ebrthuret komunikimi i ri letrar n\u00eb p\u00ebrqasje me kund\u00ebrshtit\u00eb e rrjedhave shoq\u00ebrore, me dritat dhe hijet e k\u00ebtij realiteti. Loja dialogjike-tekstore e personazheve, si ajo e Lukut me Lokun, apo e Rexh\u00eb Zallit, q\u00eb sh\u00ebnjojn\u00eb tekste paralele komentuese, her\u00eb nga k\u00ebndv\u00ebshtrimi grotesk e her\u00eb nga ai i nj\u00eb naivizmi artistik jasht\u00ebzakonisht t\u00eb gjetur; por ato tekste dialoguese a varg\u00ebzuese, p\u00ebrb\u00ebjn\u00eb shtresa m\u00eb vete jo vet\u00ebm tematike, por edhe stilistike. Autori arrin t\u00eb krijoj\u00eb neologjizma artistike p\u00ebr t\u00eb shenjuar dukuri e situata, pamje e gjendje, si: gropnaj\u00eb, zian-i, shkretan-i, prapasken\u00ebs-it, ndajvoni, fjali blind\u00ebshpuese, ark\u00ebvarri…<\/p>\n

Romani p\u00ebrb\u00ebhet nga nj\u00eb rrjet\u00eb e t\u00ebr\u00eb imazhesh metaforike, metaforash t\u00eb jasht\u00ebzakonshme, me nj\u00eb vet\u00ebdije ekzistencialiste-spirituale. \u00cbsht\u00eb nj\u00eb diskurs lirik-metaforik, optika e t\u00eb cilit e ngjyros edhe dialogun, edhe rr\u00ebfimin, edhe dramatizmin e monologut t\u00eb brendsh\u00ebm n\u00eb dialog. Nga ana tjet\u00ebr, vepra d\u00ebshmon se Ndue Dedaj ka prirje t\u00eb nj\u00eb prozatori t\u00eb mir\u00ebfillt\u00eb modern, duke i \u00e7liruar, n\u00ebp\u00ebrmes struktur\u00ebs romanore, mund\u00ebsi t\u00eb shumta shpreh\u00ebse. Prirjet e tij t\u00eb p\u00ebrparshme q\u00eb i ka shfaqur n\u00eb lirik\u00eb, n\u00eb tregime, n\u00eb publicistik\u00eb, apo n\u00eb ese e studime, tashm\u00eb thellohen e zgjerohen n\u00eb struktur\u00ebn e proz\u00ebs s\u00eb gjat\u00eb, pik\u00ebrisht pse romani i till\u00eb zgjon interesim p\u00ebr idet\u00eb e shfaqura guximsh\u00ebm e me intelekt krijues; p\u00ebr vizionet shqiptuara n\u00ebp\u00ebrmes nj\u00eb vet\u00ebdijeje kritike q\u00eb hap shtegun kah vizionet dhe rrug\u00ebzgjidhjet shoq\u00ebrore, historike, komb\u00ebtare e njer\u00ebzore.<\/p>\n

________<\/em><\/p>\n

Gazeta SHQIPTARJA.COM, Tiran\u00eb, 27 janar 2014. <\/em><\/p>\n

\u00a0<\/em><\/p>\n

(Marr\u00eb me shkurtime nga \u201cAm\u00ebza e Rr\u00ebfimit\u201d(Shkrime kritiko-letrare\/proza e sotme shqipe), \u201cROZAFA\u201d, Prishtin\u00eb 2012.)<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

PREND BUZHALA, studiues i Let\u00ebrsis\u00eb, Kosov\u00eb (Marr\u00eb me shkurtime nga \u201cAm\u00ebza e Rr\u00ebfimit\u201d(Shkrime kritiko-letrare\/proza e sotme shqipe), \u201cROZAFA\u201d, Prishtin\u00eb 2012.)<\/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-3950","post","type-post","status-publish","format-standard","hentry","category-kritike"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/3950","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=3950"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/3950\/revisions"}],"predecessor-version":[{"id":3952,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/3950\/revisions\/3952"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3950"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3950"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3950"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}