{"id":4756,"date":"2014-11-06T12:11:33","date_gmt":"2014-11-06T12:11:33","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=4756"},"modified":"2014-11-06T12:43:19","modified_gmt":"2014-11-06T12:43:19","slug":"qendra-nderuniversitare-e-studimeve-albanologjike-tirane","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=4756","title":{"rendered":"Qendra Nd\u00ebruniversitare e Studimeve Albanologjike-Tiran\u00eb"},"content":{"rendered":"

 <\/p>\n

\"loja<\/a>Dr. Rovena VATA-albanologe<\/strong><\/p>\n

\u201cNga premtimi p\u00ebr lib\u00ebr t\u00eb hapur, p\u00ebr bashk\u00ebkrijim autor-lexues-romancier\u201d (Studim shkencor dhe narratologjik i romanit \u201cLoja e Fituar\u201d)-nga shkrimtari Dario Rexhollari<\/strong><\/p>\n

Fjal\u00ebt ky\u00e7e: Loja, Deinarti, Gjenerali, Adabeli, Modeling-u, Arti, Filozofi.<\/strong><\/p>\n

\u201cJeta \u00ebsht\u00eb nj\u00eb nd\u00ebr m\u00ebsuesit m\u00eb t\u00eb k\u00ebqinj\u2026 por nj\u00ebkoh\u00ebsisht dhe m\u00eb t\u00eb m\u00ebdhenj! Jeta t\u00eb m\u00ebson si t\u00eb mos digjesh, pasi je djegur!\u201d, f. 34.<\/p>\n

Autori b\u00ebn pozicionimin e lexuesit duke e futur at\u00eb n\u00eb pro\u00e7esin e tij krijues. P\u00ebrve\u00e7 mjeteve dhe arsyeve t\u00eb k\u00ebsaj m\u00ebnyre t\u00eb t\u00eb rr\u00ebfyerit, \u00ebsht\u00eb me r\u00ebnd\u00ebsi t\u00eb dallojm\u00eb edhe funksionet q\u00eb realizohen p\u00ebrmes k\u00ebtyre mjeteve, q\u00eb jan\u00eb: nd\u00ebrfutjet e shpeshta t\u00eb autorit dhe e realizon, nj\u00ebkoh\u00ebsisht duke b\u00ebr\u00eb t\u00eb mundur at\u00eb, q\u00eb Umberto Eko e quan autor model <\/em><\/strong>dhe lexuesi model<\/strong><\/em> ku prania e k\u00ebtij t\u00eb fundit-t\u00eb brendashkruar n\u00eb tekst-i cili orienton leximin, duke e ndihmuar lexuesin real t\u00eb plot\u00ebsoj\u00eb boshll\u00ebqet e ligj\u00ebrimit e t\u00eb b\u00ebj\u00eb t\u00eb z\u00ebshme heshtjet.<\/p>\n

Ky lexues model<\/em><\/strong> \u00ebsht\u00eb nj\u00eb abstraksion semiotik, dom\u00ebth\u00ebn\u00eb nj\u00eb paradigm\u00eb edukative, udh\u00ebheq\u00ebse, e cila shp\u00ebton lexuesin a interpretuesin nga shp\u00ebrb\u00ebrja e nga boshti, i cili krijon urat lidh\u00ebse mes autorit<\/em><\/strong> dhe lexuesit<\/em><\/strong>\u201d[1].<\/p>\n

Marr\u00ebdh\u00ebnia e ngusht\u00eb mes shkrimtarit dhe lexuesit (\u201cd\u00ebgjuesit<\/em>\u201d sipas gjuh\u00ebs s\u00eb kritik\u00ebs), realizohet si t\u00eb ishte nj\u00eb bashk\u00ebbisedim mes tyre.<\/p>\n

Shkrimtari nuk mund t\u00eb tregoj\u00eb at\u00eb q\u00eb ka ndodhur, po at\u00eb q\u00eb mund t\u00eb ndodhte, d.m.th. gj\u00ebrat q\u00eb mund t\u00eb ngjasin sipas gjas\u00ebs ose nevoj\u00ebs. Historiani dhe shkrimtari ndryshojn\u00eb pasi i pari rr\u00ebfen \u00e7\u2019ngjan e tjetri si mund t\u00eb ngjaj\u00eb[2], kurse arti nuk paraqet at\u00eb \u00e7ka do t\u00eb ndodh\u00eb, por \u00e7ka mund t\u00eb ndodh\u00eb, q\u00eb \u00ebsht\u00eb nj\u00eb t\u00ebr\u00ebsi e nj\u00ebtrajtshme, n\u00eb t\u00eb cil\u00ebn veprimet dhe ngjarjet e ve\u00e7anta p\u00ebrputhen sipas ligjit t\u00eb shkakut dhe t\u00eb rrjedhimit, sikurse edhe sipas ligjit t\u00eb mund\u00ebsis\u00eb dhe t\u00eb probabilitetit[3].<\/p>\n

\u201cDuke u larguar m\u00eb larg sip\u00ebrfaqes, n\u00eb thelb t\u00eb loj\u00ebs do t\u00eb kemi thelbin e jet\u00ebs. Inkursionet marrin jet\u00eb q\u00eb n\u00eb l\u00ebvizjen e par\u00eb. M\u00eb pas, gjith\u00e7ka shnd\u00ebrrohet n\u00eb nj\u00eb p\u00ebrpjekje p\u00ebr mbijetes\u00eb. Q\u00eb nj\u00eb mbret t\u00eb triumfoj\u00eb, duhet q\u00eb \u00e7do lojtar t\u00eb jet\u00eb nj\u00eb novator idesh guximtare, ku n\u00eb thelb \u00ebsht\u00eb sakrifikimi i m\u00eb t\u00eb dob\u00ebtit. Mjesht\u00ebrit, shpesh b\u00ebjn\u00eb t\u00eb kund\u00ebrt\u00ebn…murojn\u00eb momentin e papritur p\u00ebr t\u00eb realizuar t\u00eb vetmin ideal, triumfin. Por,-b\u00ebrtiti,- n\u00eb fund t\u00eb betej\u00ebs, kur lojtar\u00ebt kan\u00eb dh\u00ebn\u00eb goditjen p\u00ebrfundimtare, t\u00eb gjitha figurat p\u00ebrfundojn\u00eb n\u00eb t\u00eb nj\u00ebjt\u00ebn kuti. N\u00eb fund, nuk ka dallime mes ushtarit dhe mbretit, kund\u00ebrshtarit dhe aleatit, sepse t\u00eb gjith\u00eb, n\u00eb nj\u00eb vend do t\u00eb flen\u00eb…tha i d\u00ebshp\u00ebruar\u201d, f. 29.<\/p>\n

Materiali i ve\u00e7ant\u00eb i shkrimtar\u00ebve jan\u00eb fjal\u00ebt dhe sintaksa, ajo sintaks\u00eb q\u00eb krijohet e ngjitet zellsh\u00ebm n\u00eb vepr\u00ebn e tyre duke kaluar n\u00eb ndijim. Natyrisht q\u00eb as kujtesa q\u00eb th\u00ebrret perceptimet e shkuara, as kujtesa e pavullnetshme q\u00eb shton reminishenc\u00ebn si faktori ruajt\u00ebs i s\u00eb tashmes, nuk mjaftojn\u00eb p\u00ebr t\u00eb dal\u00eb prej perceptimeve t\u00eb jetuara[4].<\/p>\n

Arti \u00ebsht\u00eb gjuha e ndijimeve, gjuh\u00eb q\u00eb tej\u00e7ohet p\u00ebrmes fjal\u00ebsh, ngjyrash, tingujsh ose gur\u00ebsh. Arti nuk ka opinion. Shkrimtari p\u00ebrdor fjal\u00ebt, por duke krijuar nj\u00eb sintaks\u00eb t\u00eb till\u00eb q\u00eb i kalon ato n\u00eb ndijim dhe, duke e zhytur n\u00eb gjuh\u00ebn e p\u00ebrditshme, e b\u00ebn t\u00eb dridhet ose t\u00eb klith\u00eb, ose t\u00eb k\u00ebndoj\u00eb, \u00ebsht\u00eb stili, toni, gjuha e ndijimeve, ose gjuha e huaj brenda gjuh\u00ebs, gjuh\u00eb q\u00eb th\u00ebrret nj\u00eb popull t\u00eb vij\u00eb.<\/p>\n

Romani \u201cLoja e Fituar\u201d \u00ebsht\u00eb shkruar nga shkrimtari Dario Rexhollari n\u00eb mosh\u00ebn 18 vje\u00e7are, lindur n\u00eb vitin 1995, n\u00eb Pogradec. Q\u00eb n\u00eb mosh\u00eb t\u00eb vog\u00ebl, ka qen\u00eb i apasionuar pas artit dhe let\u00ebrsis\u00eb. \u00cbsht\u00eb marr\u00eb me piktur\u00eb, modeling, poezi dhe ka shfaqur interest \u00eb theksuar n\u00eb filozofi. Botimi i romanit \u201cLoja e Fituar\u201d \u00ebsht\u00eb nj\u00eb p\u00ebrmbledhje e potencialit t\u00eb dh\u00ebn\u00eb n\u00eb t\u00eb gjitha fushat, kryesisht n\u00eb filozofi. Njihet gjer\u00ebsisht p\u00ebr oratorin\u00eb, mendimin kritik, paradoksin dhe ironin\u00eb e holl\u00eb. Dario \u00ebsht\u00eb student i Universitetit t\u00eb Tiran\u00ebs, Fakulteti i Ekonomis\u00eb.<\/p>\n

Ky roman \u00ebsht\u00eb nj\u00eb sprov\u00eb e filozofis\u00eb, psikologjis\u00eb dhe let\u00ebrsis\u00eb. Shkrimtari luan me detajin dhe ironin\u00eb duke shpalosur bot\u00ebn e ideve t\u00eb tij.<\/p>\n

Romani ndahet n\u00eb kapituj gjithsej 24 t\u00eb till\u00eb si nj\u00eb nj\u00eb epilog n\u00eb fund i cili p\u00ebrfundon me fraz\u00ebn:<\/p>\n

Tashm\u00eb, nuk dyshoj m\u00eb n\u00eb ekzist\u00ebnc\u00ebn e Zotit, pasi vet\u00eb hyjnoren e gjeta brenda meje, t\u00eb aft\u00eb dhe t\u00eb gatshme p\u00ebr xhungl\u00ebn e v\u00ebrtet\u00eb, f. 260.<\/p>\n

Q\u00ebllimi i artit, n\u00ebp\u00ebrmjet mjeteve e materialit, \u00ebsht\u00eb t\u00eb shk\u00ebpus\u00eb perceptin nga perceptimet e objekteve, t\u2019i heq\u00eb afektin afektimeve q\u00eb jan\u00eb kalime nga nj\u00eb gjendje n\u00eb nj\u00eb tjet\u00ebr.<\/p>\n

Kritika e artit nuk \u00ebsht\u00eb tjet\u00ebr ve\u00e7 se filozofia e artit. Kritika artistike \u00ebsht\u00eb di\u00e7ka tjet\u00ebr, ajo nuk \u00ebsht\u00eb as erudicion linguistik, as kultur\u00eb filologjike, as kronika faktesh artistike t\u00eb shkoqituna e t\u00eb skematizuara. K\u00ebto kalojn\u00eb n\u00eb radh\u00eb t\u00eb dyt\u00eb p\u00ebr kritikun e v\u00ebrtet\u00eb q\u00eb e shikon kritiken letrare si kritik\u00eb estetike e nj\u00ebher\u00ebshi kritik\u00eb historike.<\/p>\n

\u201cN\u00eb syt\u00eb e bot\u00ebs duket e leht\u00eb, por nuk ekziston ndonj\u00eb profesion m\u00eb i v\u00ebshtir\u00eb se bota e artit\u201d, f. 229.<\/p>\n

Emancipimi i plot\u00eb i artit \u00ebsht\u00eb nevoj\u00eb e koh\u00ebrave moderne. Arti \u00ebsht\u00eb kultur\u00eb e si i till\u00eb rolin edukativ e ka me vehte. Artisti kur krijon nuk mundet mos me pas\u00eb t\u00eb n\u00ebnkuptuar edukimin e vetvetes[5].<\/p>\n

Arti duhet marr\u00eb prej artistit si e vetmja jet\u00eb e njimend\u00ebt, si jeta e tij e caktuar. Artisti i v\u00ebrtet\u00eb e jeton jet\u00ebn vet\u00ebm nep\u00ebr prizmin e artit.<\/p>\n

Shkrimtari ka shkrir\u00eb psikologjin\u00eb, sociologjin\u00eb dhe historin\u00eb me nj\u00ebra-tjetr\u00ebn duke i kthyer n\u00eb shkencat e njeriut. Psikologjia vren shpirtin e njeriut dhe sh\u00ebnon pamjet nd\u00ebr t\u00eb cilat ajo shfaqet, q\u00eb nga err\u00ebsirat e instiktit deri n\u00eb drit\u00ebn e arsyetimit. Sociologjia ndalet mbi jet\u00ebn n\u00eb shoq\u00ebri, duke plot\u00ebsuar p\u00ebrfundimet e psikologjis\u00eb, pasi dihet se me njoh mir\u00eb njeriun nuk mjafton t\u00eb studiosh at\u00eb brenda vetes, por edhe n\u00eb shoq\u00ebri, n\u00eb lidhje me t\u00eb tjer\u00ebt[6].<\/p>\n

N\u00eb planin filozofik, autori \u00ebsht\u00eb homocentrist, midis zgjedhjeve konvencionale, makrokozmos-mikrokozmos, ai me realiz\u00ebm i dor\u00ebzohet kaosit si kategori subjektive q\u00eb e lejon t\u00eb zot\u00ebroj\u00eb dhe pik\u00ebtundimin, p\u00ebrfshirjen me drit\u00eb-hije t\u00eb forma midis makrokozmosit dhe mikrokozmosit. Nuk pranon margjonalizmin, humbjen e perspektives bot\u00ebkuptimeve, por ruan intimitetin e paktit t\u00eb tij m\u00eb Zotin.<\/p>\n

N\u00eb planin sociologjik, autori jep d\u00ebshmi letrare serioze p\u00ebr dilemat dhe tundimet e shkrimtar\u00ebve shqiptar\u00eb sot.<\/p>\n

N\u00eb planin etik, n\u00ebnvizon sofizmat, aksiomat dhe loj\u00ebrat me frazat moralizuese q\u00eb p\u00ebrdor gjat\u00eb gjith\u00eb romanit.<\/p>\n

Autori nuk moralizon, nuk paradizon brezat e vjet\u00ebr, si\u00e7 mund t\u00eb pritej, dhe k\u00ebtu q\u00ebndron edhe origjinaliteti e tij. Shkrimtari p\u00ebrpiqet t\u00eb perceptoj\u00eb dhe t\u00eb artikuloj\u00eb qart\u00eb ligjet e reja, t\u00eb pasigurta e n\u00eb proces t\u00eb gjenerat\u00ebs s\u00eb tij. P\u00ebrpiqet t\u00eb q\u00ebndroj\u00eb si pjes\u00eb organike e shoq\u00ebris\u00eb dhe e koh\u00ebs s\u00eb tij duke mos e rrafshuar individualitetin.<\/p>\n

T\u00eb gjith\u00eb dijetar\u00ebt e sot\u00ebm jan\u00eb t\u00eb vet\u00ebdijsh\u00ebm se qytet\u00ebrimi njer\u00ebzor varet nga shenjat dhe sistemet e shenjave, nd\u00ebrsa fryma njer\u00ebzore nuk mund t\u00eb ndahet nga funksionimi i shenjave[7].<\/p>\n

N\u00eb nj\u00eb shoq\u00ebri tradicionale, nj\u00eb koh\u00eb homogjene q\u00eb p\u00ebrt\u00ebrin veten pa nd\u00ebrprerje n\u00eb l\u00ebvizje rrethore ofron sigurin\u00eb q\u00eb e nes\u00ebrmja nuk do t\u00eb jet\u00eb n\u00eb thelb e ndryshme nga e djeshmja apo e sotmja[8].<\/p>\n

\u201cE shkuara me t\u00eb ardhmen ka qen\u00eb vazhdimisht si \u00e7el\u00ebsi me brav\u00ebn\u201d, f. 63.<\/p>\n

Personazhi i cili \u00ebsht\u00eb n\u00eb vij\u00eb t\u00eb drejt\u00eb me Deinartin \u00ebsht\u00eb gjenerali, ku figura e tij e jepet k\u00ebshtu:<\/p>\n

\u201cE kisha ngacmuar n\u00eb nj\u00eb tem\u00eb, e cila n\u00eb sekuenca t\u00eb ve\u00e7anta kohe e torturonte at\u00eb. M\u00eb duket totalisht paradoksale ideja e studimit t\u00eb nj\u00eb gjenerali me kaq shum\u00eb grada, kaq t\u00eb mbajtur, t\u00eb eg\u00ebr, serioz, t\u00eb sh\u00ebndetsh\u00ebm, mendjempreht\u00eb e guximtar, me nj\u00eb lib\u00ebr para. Problemi gjithmon\u00eb q\u00ebndronte n\u00eb fizikun e tij. Ai t\u00eb kall dat\u00ebn kur ngrys fytyr\u00ebn, t\u00eb tmerron kur b\u00ebrtet, dhe thjesht duke folur t\u00eb krijon p\u00ebrshtypje llahtar\u00ebse\u201d, f. 11.<\/p>\n

GJENERALI:<\/strong><\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I ngrysur (mosha)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I humbur (nga thell\u00ebsia e mendimit)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pran\u00eb dritar\u00ebs (v\u00ebshtrimi i bot\u00ebs)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I ftoht\u00eb (brezi tjet\u00ebr)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I rrept\u00eb (grada gjerenal)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Harmoniplot\u00eb (p\u00ebrvoja e jet\u00ebs)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Guximtar (karakteri i tij)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I ditur (ka p\u00ebrgjigje p\u00ebr \u00e7do pyetje q\u00eb i b\u00ebhet dhe nga \u00e7do fush\u00eb)<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ateist (lufta)<\/p>\n

T\u00eb dish t\u00eb jetosh nuk \u00ebsht\u00eb filozofi, t\u00eb dish se po jeton mbetet t\u00eb jet\u00eb filozofi. Dy figura q\u00eb torturojn\u00eb jet\u00ebn: arti q\u00eb nuk krahasohet me asgj\u00eb dhe filozofia q\u00eb ballafaqohet me gjith\u00e7ka. Filozofia \u00ebsht\u00eb arti i formimit, i shpikjes, i fabrikimit t\u00eb koncepteve. Konceptet, p\u00ebr t\u2019u p\u00ebrkufizuar, th\u00ebrrasin personazhet konceptuale.<\/p>\n

Kemi pajtim brezash, nip-gjysh<\/em><\/strong> ku shohim se \u00e7do personazh p\u00ebr\u00e7on shenjat e koh\u00ebs s\u00eb vet. N\u00eb t\u00eb nj\u00ebjt\u00ebn linj\u00eb autori p\u00ebrshkruan me detaje njer\u00ebn nga deg\u00ebt e \u201cLoj\u00ebs s\u00eb tij t\u00eb Fituar\u201d, dashurin\u00eb e jet\u00ebs s\u00eb tij Adabelin:<\/p>\n

\u201cImagjoni, e dashur, sikur jemi n\u00eb humner\u00eb, ti je e varuar dhe un\u00eb ndodhem sip\u00ebr duke b\u00ebr\u00eb \u00e7mos p\u00ebr t\u00eb t\u00eb mbajtur e t\u00ebrhequr..dhe sikur t\u00eb mos ket\u00eb mund\u00ebsi, t\u00eb vdes\u00eb \u00e7do shpres\u00eb dhe gjith\u00e7ka t\u00eb pritet n\u00eb \u00e7astin kur ti t\u00eb rr\u00ebshkas\u00ebsh, un\u00eb nuk do t\u00eb q\u00ebndroja aty\u2026dot\u00eb vija dhe un\u00eb me ty!\u201d, f. 256.<\/p>\n

ADABELI:<\/strong><\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kuriozitet,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 E v\u00ebrtet\u00eb,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ndjenj\u00eb,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Emocion,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Forc\u00eb,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dhimbje,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mall,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pasion,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Shpres\u00eb,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kryefjala e dashuris\u00eb,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dashuria e jet\u00ebs,<\/p>\n

Romani dallohet p\u00ebr:<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Individualitet t\u00eb gjuh\u00ebs artistike shprehese,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Stilin modern p\u00ebrmes t\u00eb cilit p\u00ebrdor fraz\u00ebn dhe ironin\u00eb e holl\u00eb,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rolit q\u00eb i jep tradit\u00ebs, por brenda vizionit t\u00eb shprehjes modern,<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Psikologjizmit t\u00eb thell\u00eb t\u00eb personazheve.<\/p>\n

Madh\u00ebshtia thon\u00eb \u00ebsht\u00eb e lindur dhe nuk mund t\u00eb m\u00ebsohet; teknika e vetme p\u00ebr t\u00eb \u00ebsht\u00eb zot\u00ebrimi i dhuntive natyrore[9]. E madh\u00ebrishmja \u00ebsht\u00eb prodhim i nj\u00eb shpirti t\u00eb madh. Pasioni, si burim i r\u00ebnd\u00ebsish\u00ebm p\u00ebr t\u00eb madh\u00ebrisht\u00ebn, \u00ebsht\u00eb boshti i interpretimit t\u00eb nj\u00eb ligj\u00ebrimi t\u00eb madh\u00ebrish\u00ebm, nj\u00ebkoh\u00ebsisht \u00ebsht\u00eb mbrojt\u00ebsi m\u00eb i mir\u00eb i teknik\u00ebs s\u00eb ligj\u00ebrimit, meq\u00eb ai arrin ta fsheh\u00eb at\u00eb dhe ta b\u00ebj\u00eb t\u00eb duket si di\u00e7ka q\u00eb vjen natyrsh\u00ebm dhe nuk \u00ebsht\u00eb prodhim i menduar m\u00eb par\u00eb[10].<\/p>\n

Vet\u00eb fakti q\u00eb disa nga dhuntit\u00eb m\u00eb t\u00eb m\u00ebdha n\u00eb let\u00ebrsi varet nga cil\u00ebsit\u00eb natyrore, ne mund ta m\u00ebsojm\u00eb vet\u00ebm nga arti.<\/p>\n

Forma estetike \u00ebsht\u00eb form\u00eb sensuale, e krijuar nga rregulli i sensualitetit. N\u00ebse p\u00ebrsosm\u00ebria e njohjes shqisore p\u00ebrcaktohet si bukuri, ky p\u00ebrcaktim vazhdon t\u00eb ruaj\u00eb lidhjen e ngusht\u00eb me k\u00ebnaqjen instiktive dhe p\u00eblqimi estetik vazhdon t\u00eb jet\u00eb p\u00eblqim.<\/p>\n

Kant-i pohon se ligjet universale t\u00eb shqisores, mund t\u00eb vendoseshin nj\u00ebsoj si ligjet universale t\u00eb t\u00eb kuptuarit, pra ekziston nj\u00eb shkenc\u00eb e shqisores, e cila \u00ebsht\u00eb estetika dhe nj\u00eb shkenc\u00eb e t\u00eb kuptuarit, q\u00eb i korrespondon logjik\u00ebs[11].<\/p>\n

Nga premtimi p\u00ebr lib\u00ebr t\u00eb hapur, p\u00ebr bukurkrijim autor-lexues-romancier autori shkruan shpenguar dhe qart\u00eb p\u00ebr hapjet ndaj jet\u00ebs dhe bot\u00ebs, duke na dh\u00ebn\u00eb detajet artistike dhe estetike t\u00eb k\u00ebtij romani. N\u00eb konceptin e s\u00eb bukur\u00ebs dhe estetik\u00ebs shkrimtari i k\u00ebtij romani \u201cnd\u00ebrton\u201d. <\/em><\/p>\n

Pag\u00ebzimi i konceptit k\u00ebrkon nj\u00eb shije posa\u00e7\u00ebrisht filozofike q\u00eb, e dhunshme ose e n\u00ebnkuptueshme, themelon, brenda gjuh\u00ebs, nj\u00eb gjuh\u00eb filozofike, jo vet\u00ebm fjalorin e saj, por edhe nj\u00eb sintaks\u00eb t\u00eb aft\u00eb t\u00eb kap\u00eb sublimen ose bukurin\u00eb m\u00eb t\u00eb lart\u00eb[12].<\/p>\n

Koncepti dhe pritshm\u00ebria p\u00ebr let\u00ebrsin\u00eb e s\u00eb ardhmes sipas autorit gjendet n\u00eb fjal\u00ebn dhe t\u00eb shprehurit bukur dhe sakt\u00eb t\u00eb saj. T\u00eb shkurarit si proces \u00ebsht\u00eb nj\u00eb nga sfidat p\u00ebr \u00e7do krijues, studiues dhe intelektual t\u00eb letrave shqipe dhe jo vet\u00ebm. Arti i fjal\u00ebs s\u00eb shkuar trash\u00ebgohet nd\u00ebr breza si ADN-ja shprehet autori, ky art sa vjen e p\u00ebrsoset nga shprehet dhe pasuria e gjer\u00eb gjuh\u00ebsore.<\/p>\n

\u201c\u00c7do lloj gj\u00ebj\u00eb dhe t\u2019i ul\u00ebrij bot\u00ebs me krenari se \u00ebsht\u00eb nj\u00eb hi\u00e7 n\u00eb syt\u00eb e mi, vet\u00ebm dhe vet\u00ebm se kam gjetur universin tek ti\u201d, f. 233.<\/p>\n

Romani dallohet qartazi p\u00ebr aforizma filozofike t\u00eb mish\u00ebruara me l\u00ebnd\u00eb letrare dhe artistike si n\u00eb rastet:<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cNdryshimi nd\u00ebrmjet nj\u00eb druri dhe nj\u00eb budallai, \u00ebsht\u00eb se ky i fundit nuk mund t\u00eb gdhendet.\u201d, f. 248.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cProblemi me njer\u00ebzit \u00ebsht\u00eb se ata \u00ebnd\u00ebrrojn\u00eb vet\u00ebm p\u00ebr gj\u00ebrat q\u00eb nuk i kan\u00eb. S\u2019mund t\u00eb \u00ebnd\u00ebrrosh p\u00ebr at\u00eb q\u00eb e ke! E di pse? Sepse ti e ke at\u00eb! Gjith\u00eb k\u00ebto koh\u00eb, ti, \u00e7do gj\u00eb q\u00eb t\u00eb rrethon e ke shnd\u00ebrruar si di\u00e7ka normale\u201d., f. 55.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cGjith\u00e7ka \u00ebsht\u00eb energji. T\u00eb ndjesh, t\u00eb mendosh, t\u00eb veprosh, t\u00eb shoh\u00ebsh, t\u00eb nuhat\u00ebsh, t\u00eb prek\u00ebsh, t\u00eb shijosh, t\u00eb lexosh, t\u00eb ec\u00ebsh, t\u00eb notosh, t\u00eb punosh.. pra t\u00eb jetosh, \u00ebsht\u00eb energji\u201d., f. 56.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cMendimi, \u00ebsht\u00eb froni mbret\u00ebror ku sundon shpirti\u201d, f. 57.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cN\u00ebse ke vullnetin, i ke t\u00eb gjitha\u201d., f. 58.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cPislliku as nuk rregullohet, as nuk zbukurohet, pislliku pastrohet\u201d., f. 59.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ”T\u00eb dish \u00e7far\u00eb din\u00eb t\u00eb gjith\u00eb, do t\u00eb thot\u00eb se di asgj\u00eb!” f. 101\u201cHistoria shkruhet nga fitimtar\u00ebt\u201d, f. 63.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cDuke v\u00ebzhguar shiun q\u00eb pikon, err\u00ebsir\u00ebn q\u00eb ndricohet nga rrufet\u00eb, kupton se edhe drita t\u00eb verbon! Kjo ndoshta \u00ebsht\u00eb nj\u00eb nd\u00ebr arsyet se pse universi yn\u00eb \u00ebsht\u00eb i err\u00ebt..njeriun nuk e p\u00ebrballon dor drit\u00ebn\u201d\u2026, f. 68.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ”N\u00ebse nj\u00eb lider n\u00eb nj\u00eb vend d\u00ebshiront\u00eb vendos\u00eb paqen, do t\u00eb ishte shum\u00eb e v\u00ebshtir\u00eb p\u00ebr t\u00eb, t\u00ebq\u00ebndronte m\u00eb shum\u00eb koh\u00eb si drejtues n\u00eb at\u00eb vend.” f. 230.<\/p>\n

Perceptimi i s\u00eb bukur\u00ebs s\u00eb shkrimtarit p\u00ebrgjat\u00eb vepr\u00ebs \u201cLoja e Fituar\u201d<\/em> del n\u00eb 3 forma:<\/p>\n

1. Estetike <\/strong><\/p>\n

Rasti i par\u00eb: \u201cTi ke vrar\u00eb talentin! M\u00eb sakt\u00eb, dembelizmi yt \u00ebsht\u00eb p\u00ebrpjekur t\u00eb vras\u00eb talentin. N\u00ebse nuk do ta kishte b\u00ebr\u00eb, t\u00eb siguroj se do ta kishe gjetur veten, ashtu porsi un\u00eb\u201d, f. 218.<\/p>\n

Rasti i dyt\u00eb: \u201cTi ke frik\u00ebn e bukuris\u00eb, gj\u00eb e cila vazhdimisht n\u00eb ndryshim. Nuk e di n\u00eb t\u00eb kam th\u00ebn\u00eb se ajo q\u00eb e b\u00ebn dik\u00eb t\u00eb bukur \u00ebsht\u00eb mendja…prandaj dhe ti je kryevep\u00ebr p\u00ebr mua!, f. 221\u201d.<\/p>\n

2. Filozofike <\/strong><\/p>\n

Rasti i par\u00eb: \u201cE kush e njeh m\u00eb mir\u00eb t\u00eb v\u00ebrtet\u00ebn, sesa mashtruesi m\u00eb i madh?-ia ktheva me krenari\u201d, f. 160<\/p>\n

Rasti i dyt\u00eb: \u201cHakmarrja m\u00eb e mir\u00eb, ishte padyshim t\u00eb sh\u00ebtisje duke buz\u00ebqeshur n\u00eb syt\u00eb q\u00eb k\u00ebrkonin t\u00eb t\u00eb shqyenin\u201d, f. 161.<\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

3. Morale <\/strong><\/p>\n

Rasti i par\u00eb: \u201cNe t\u00eb gjith\u00eb e njohim simbolin e qenit\u2026besnik\u00ebrin\u00eb, dhe e p\u00ebrdorim n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb jet\u00eb e nj\u00ebtrajtshme me dredhin\u00eb. Qeni si qen p\u00ebr njeriun, \u00ebsht\u00eb besnik, kurse njeriun si qen p\u00ebr njeriun, \u00ebsht\u00eb dredharak! \u00c7far\u00eb morali! Morali mund t\u00eb mos jet\u00eb i keq, por pik\u00ebpamja mbi t\u00eb po, dhe si rrjedhoj\u00eb, shihet edhe morali si i keq\u201d, f. 120\u201d.<\/p>\n

Rasti i dyt\u00eb: \u201cMoralet, n\u00eb t\u00eb v\u00ebrtet\u00eb nuk ekzistojn\u00eb, por jo se nuk duhet t\u00eb ekzistojn\u00eb. Disa, jan\u00eb aq kaq strikt\u00eb me k\u00ebto moralet, sa nuk e meritojn\u00eb as t\u00eb vdesin! Diskutuam edhe p\u00ebr raste q\u00eb kishin prodhuar moralet e shoq\u00ebris\u00eb. M\u00eb p\u00ebshtirosej pa mas\u00eb kur m\u00ebsoja histori nga vet\u00eb jeta e tij, produkt i moraleve dhe injoranc\u00ebs njer\u00ebzore\u201d, f. 138.<\/p>\n

Shkrimtari gjithnj\u00eb e m\u00eb shpesh mediton p\u00ebr kuptimin e jet\u00ebs dhe p\u00ebr misionin e saj, ku shfaq pik\u00ebpamjet e tij, estetike dhe filozofike, mbi jet\u00ebn, njeriun, shoq\u00ebrin\u00eb. Tiparet m\u00eb t\u00eb r\u00ebnd\u00ebsishme q\u00eb na nd\u00ebrton shkrimtari me portretet e personazheve, tregojn\u00eb natyr\u00ebn e shkrimit t\u00eb tij \u201ct\u00eb shkruarit me koncepte filozofike\u201d.<\/p>\n

Personazhet e tij jan\u00eb pasqyr\u00eb e nj\u00eb kuptimi t\u00eb ri t\u00eb jet\u00ebs, t\u00eb cil\u00ebt p\u00ebr t\u00eb arritur k\u00ebt\u00eb kuptim t\u00eb ri nisen nga k\u00ebto rrug\u00eb:<\/p>\n

FUTURIZMI[13]<\/strong><\/strong><\/p>\n

\u201cNj\u00eb zhurm\u00eb vrastare<\/em><\/strong> m\u00eb shpoi thell\u00eb n\u00eb zem\u00ebr! Ashtu, pa vet\u00ebdije godita<\/em><\/strong> duke hipotizuartingullin e tmerrsh\u00ebm<\/em><\/strong> q\u00eb po m\u00eb t\u00ebrhiqte nga paqja\u201d, f. 9.<\/p>\n

ARTI<\/strong><\/p>\n

\u201cTi e di shum\u00eb mir\u00eb q\u00eb mua arti<\/em><\/strong> m\u00eb fal paqen dhe m\u00eb shk\u00ebput nga kjo bot\u00eb e shurdh\u00ebt dhe e zhurmshme\u201d, f. 15.<\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

JETA<\/strong><\/p>\n

\u201cJet\u00ebs<\/em><\/strong> nuk i intereson n\u00ebse je njeri i mir\u00eb apo i keq, me ngjyr\u00eb ose jo, i ditur apo injorant, pasanik a varfanjak, me shkoll\u00eb apo pa shkoll\u00eb, me fat ose pa fat, sepse pasi ke jetuar<\/em><\/strong>, pasi vet\u00eb jeta<\/em><\/strong> t\u00eb ka testuar, \u00e7do njeri do t\u00eb jet\u00eb i aft\u00eb t\u00eb predikoj\u00eb filozofin\u00eb e tij\u201d, f. 35.<\/p>\n

SISTEMI TOTALITAR<\/strong><\/p>\n

\u201cRegjimi<\/em><\/strong> manipulonte \u00e7do t\u00eb v\u00ebrtet\u00eb, e transformonte<\/em><\/strong> dhe p\u00ebrpiqej sa m\u00eb shum\u00eb ta p\u00ebrs\u00ebriste materialin q\u00eb k\u00ebrkonin, pasi ishte m\u00ebnyra m\u00eb e mir\u00eb q\u00eb masa<\/em><\/strong> ta besonte. Shpesh i thoja se kjo larja e trurit<\/em><\/strong>, ndoshta ekziston edhe n\u00eb dit\u00ebt e sotme. Ndoshta \u00ebsht\u00eb m\u00eb esofistikuar<\/em><\/strong>, dhe njer\u00ebzit nuk e kuptojn\u00eb\u201d, f. 50.<\/p>\n

\u201cLIGJI\u201d<\/strong><\/p>\n

\u201cLigji i Xhungl\u00ebs\u201d<\/em><\/strong> na shoq\u00ebron q\u00eb nga momenti i par\u00eb dhe deri tek i fundit. Duhet t\u00eb p\u00ebrgatitesh p\u00ebr beteja! Duhet t\u00eb p\u00ebrgatitesh sepse luani nuk \u00ebsht\u00eb m\u00eb mbret i kafsh\u00ebve..tashm\u00eb, njeriu \u00ebsht\u00eb mbreti i kafsh\u00ebve! \u00cbsht\u00eb fatalitet misioni i njer\u00ebzve p\u00ebr t\u00eb qen\u00eb njer\u00ebz\u201d, f. 66.<\/p>\n

LIRIA<\/strong><\/p>\n

\u201cKur t\u00eb ndihesh keq, t\u00eb shoh\u00ebsh se s\u2019\u00ebsht\u00eb dhe aq kollaj t\u2019ia hedh\u00ebsh, at\u00ebher\u00eb do kuptosh v\u00ebrtet\u00eb p\u00ebrgjegj\u00ebsit\u00eb q\u00eb ke marr\u00eb.\u201d, f. 110.<\/p>\n

ILUZIONI<\/strong><\/p>\n

\u201cI krijohet nj\u00eb iluzion<\/em><\/strong> ku sheh se nofka u jepet vet\u00ebm njer\u00ebzve t\u00eb m\u00ebdhenj, ose atyre, q\u00eb me an\u00eb te hileve dhe dredhive, arrijn\u00eb t\u00eb \u00e7ajn\u00eb n\u00eb jet\u00eb\u201d, f. 118.<\/p>\n

E V\u00cbRTETA<\/strong><\/p>\n

\u201cT\u00eb k\u00ebrkoj t\u00eb falur q\u00eb t\u2019u hoqa si lexues i madh, por m\u2019u desh t\u00eb p\u00ebrdorja g\u00ebnjeshtr\u00ebn p\u00ebr t\u00eb arritur tek e v\u00ebrteta<\/em><\/strong>. N\u00eb \u00e7do gj\u00eb q\u00eb flas me ty, m\u00eb intereson vet\u00ebm e v\u00ebrteta<\/em><\/strong>, m\u00eb beso\u201d, f. 209.<\/p>\n

BOTA<\/strong><\/p>\n

\u201cBota<\/em><\/strong>, bir, ka form\u00ebn e nj\u00eb l\u00ebmshi t\u00eb mbushur plot me mistere, ose \u00e7far\u00ebdolloj gj\u00ebje q\u00eb ne t\u00eb ashtuquajturit do t\u2019i em\u00ebrtonim. Aq sa e urrejm\u00eb, ne, po aq e duam at\u00eb. Bota<\/em><\/strong>, bir, do t\u00eb shkat\u00ebrrohet kur gjith\u00e7ka t\u00eb vihet n\u00eb nj\u00eb vij\u00eb t\u00eb drejt\u00eb\u201d, f. 236.<\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

DASHURIA <\/strong><\/p>\n

\u201cDashuria<\/em><\/strong> ka b\u00ebr\u00eb q\u00eb t\u00eb krijoheshin jet\u00ebt, dhe po ajo i mban ato n\u00eb nj\u00eb vij\u00eb lineare q\u00eb ka form\u00ebn e infinitit. Por, n\u00ebse futemi n\u00eb thell\u00ebsi t\u00eb saj, njer\u00ebzimi dhe feja e tij do t\u00eb m\u00ebsoj\u00eb misteret m\u00eb t\u00eb m\u00ebdha, q\u00eb nga koha e krijimit\u201d, f. 238.<\/p>\n

FILOZOFIA<\/strong><\/p>\n

\u201cBrenda njeriut, ka nj\u00eb num\u00ebr t\u00eb ngjash\u00ebm sekretesh q\u00eb p\u00ebrngjet me infinitin. N\u00ebse arrin t\u00eb notoj\u00eb n\u00eb k\u00ebt\u00eb thell\u00ebsi, do t\u00eb njoh\u00eb ndjenjat q\u00eb b\u00ebjn\u00eb t\u00eb jetosh parajs\u00ebn n\u00eb ferr, gurin filozofik<\/em><\/strong> dhe gjith\u00eb studimin e err\u00ebsir\u00ebs\u2019, f. 238.<\/p>\n

SHTETI<\/strong><\/p>\n

\u201cMorali, bir, krijohet nga pik\u00ebpamja. Pik\u00ebpamja krijohet nga rrethi<\/em><\/strong>, nd\u00ebrsa rrethi<\/em><\/strong> formohet nga qeveria<\/em><\/strong>. Pra, \u00e7do gj\u00eb krijohet nga qeveria<\/em><\/strong>:, f. 249.<\/p>\n

HIPOKRIZIA<\/strong><\/p>\n

\u201cFituesi<\/em><\/strong> \u00ebsht\u00eb p\u00ebrzgjedhur me koh\u00eb, para se t\u00eb zhvillohej zgjedhja<\/em><\/strong>. Dhe n\u00eb shtet<\/em><\/strong>, ashtu porsi n\u00eb modeling<\/em><\/strong>, fituesi<\/em><\/strong> \u00ebsht\u00eb lolojai dor\u00ebs s\u00eb padukshme<\/em><\/strong>, i cili mund\u00ebson \u00e7do k\u00ebnaq\u00ebsi dhe bindet totalisht me vullnetin e drejtuesit<\/em><\/strong>, n\u00eb rastin ton\u00eb, t\u00eb stilistit. Drejtuesi<\/em><\/strong> p\u00ebrgatiste dhe planifikonte \u00e7do gj\u00eb n\u00eb prapasken\u00eb<\/em><\/strong>, duke na krijuar iluzionin<\/em><\/strong> se po jetonim v\u00ebrtet realitetin. Shumica aty, besonin<\/em><\/strong> se jetonin \u00ebndrr\u00ebn<\/em><\/strong>, pasi jam i sigurt se ende nuk e kan\u00eb kuptuar se jan\u00eb pjes\u00eb e nj\u00eb makthi<\/em><\/strong>\u201d, f. 251.<\/p>\n

B) Analiza narratologjike e romanit \u201cLoj\u00eb e fituar\u201d<\/em><\/strong><\/p>\n

P\u00ebrkufizimi p\u00ebr narratologjin\u00eb:<\/em><\/strong> Narratologjia \u00ebsht\u00eb deg\u00eb e studimit t\u00eb let\u00ebrsis\u00eb, q\u00eb merret me analiz\u00ebn e tregimtaris\u00eb, t\u00eb teknikave tregimtare n\u00eb rrafshin diakronik dhe sinkronik, me fomrat e t\u00eb treguarit, llojet e tregimtarit dhe teknika t\u00eb tjera t\u00eb p\u00ebrdorura gjat\u00eb t\u00eb treguarit.<\/p>\n

Koncepti \u201ctregimtari\u201d<\/em><\/strong> vjen nga latinishtja narras<\/em><\/strong>-me tregu<\/em><\/strong>. Narratologia \u00ebsht\u00eb dija mbi tregimtarin\u00eb. Ajo lidhet me procesin e t\u00eb rr\u00ebfyerit q\u00eb nga p\u00ebrrallat e deri te proza letrare. Me tregimtari kemi parashtrimin e ngjarjeve t\u00eb v\u00ebrteta ose t\u00eb trilluara, t\u00eb cilat tregohen duke realizuar kalimin nga nj\u00eb tregimtar te nj\u00eb i tregimtuar.<\/p>\n

Narrativa p\u00ebrb\u00ebhet nga nj\u00eb seri ngjarjesh, t\u00eb cilat tregohen gjat\u00eb procesit t\u00eb t\u00eb treguarit (ligj\u00ebrimit). K\u00ebto ngjarje jan\u00eb p\u00ebrzgjedhur nga nj\u00eb rregullator, sipas nj\u00eb rendi t\u00eb ve\u00e7ant\u00eb. Tregimtaria p\u00ebrfshin tregime ngjarjesh me gjat\u00ebsi t\u00eb ndryshme nga nj\u00eb fjali deri n\u00eb nj\u00eb periudh\u00eb apo tekst.<\/p>\n

Tregimtari:<\/em><\/strong> \u00ebsht\u00eb ai q\u00eb merr p\u00ebrsip\u00ebr t\u00eb tregoj\u00eb nj\u00eb fabul t\u00eb cakuar n\u00ebp\u00ebrmjet nj\u00eb subjekti t\u00eb zgjedhur nga ai vet\u00eb. Duke patur liri n\u00eb ngjarjen q\u00eb tregon dhe n\u00eb shkall\u00ebn e pjes\u00ebmarrjes s\u00eb tij, varet edhe m\u00ebnyra e tregimit dhe llojet e tregimtarit.<\/p>\n

Vepra letrare, \u00ebsht\u00eb \u201cpara s\u00eb gjithash vep\u00ebr e ligj\u00ebrimit<\/em>\u201d.[14] Struktura narrative organizohet mbi kombinimin formal t\u00eb sistemit t\u00eb gjuh\u00ebs, rezultat i t\u00eb cilave jan\u00eb tekstet letrare. Raportet q\u00eb k\u00ebto tekste vendosin me receptuesin (lexuesin) apo me autorin, me koh\u00ebn apo shoq\u00ebrin\u00eb ku k\u00ebto tekstet ekzistojn\u00eb, leht\u00ebsojn\u00eb kuptimin e \u201cliteraritetit<\/em>\u201d, dometh\u00ebnies s\u00eb tyre, \u201cat\u00eb q\u00eb nj\u00eb vep\u00ebr e b\u00ebn letrare<\/em>\u201d.[15] Studiuesi Zherar Zhenet pohon se: \u201cRr\u00ebfimi \u00ebsht\u00eb riprezantimi i nj\u00eb ngjarjeje, ose i nj\u00eb vargu ngjarjesh, reale a fiktive, me an\u00ebn e ligj\u00ebrimit, e n\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb, me ligj\u00ebrimin e shkruar\u201d.[16]<\/p>\n

Tregimtari i romanit \u00ebsht\u00eb omnisient (i gjith\u00ebdijsh\u00ebm), <\/em><\/strong>i cili dep\u00ebrton thell\u00eb n\u00eb mendime dhe karakterizimet e personazhit. \u00cbsht\u00eb nj\u00eb rr\u00ebfimtar q\u00eb pretendon se di gjith\u00e7ka. Ai e di se \u00e7\u2019mendojn\u00eb personazhet, madje di edhe \u00e7\u2019do t\u00eb ndodh\u00eb n\u00eb nj\u00eb t\u00eb ardhme.<\/p>\n

\u201cS\u2019duhet t\u00eb jesh i thell\u00eb, pasi rastis q\u00eb mbyten, dhe shihesh si fajtor mbas andej! Ajo q\u00eb doja t\u00eb thoja, thelbi i gjith\u00eb bised\u00ebs, \u00ebsht\u00eb se: n\u00ebse njeriu i n\u00ebnshtrohet vullnetit, mund t\u00eb shnd\u00ebrrohet, le t\u00eb themi n\u00eb Zot, por n\u00ebse nuk e mposht, ai mund t\u00eb degradohet deri n\u00eb stadin e kafsh\u00ebs m\u00eb t\u00eb keqe\u201d, f. 64.<\/p>\n

Kultura e s\u00eb kaluar\u00ebs nuk \u00ebsht\u00eb vet\u00ebm kujtes\u00eb e njer\u00ebzimit, por jet\u00eb e jona e varrosur dhe studimi i saj \u00e7on drejt nj\u00eb skene t\u00eb njohjes, nj\u00eb zbulimi n\u00eb t\u00eb cilin shohim jo jet\u00ebt tona t\u00eb kaluara, por form\u00ebn e plot\u00eb kulturore t\u00eb jet\u00ebs son\u00eb t\u00eb sotme[17].<\/p>\n

Rruga q\u00eb ka p\u00ebrshkruar njeriu n\u00eb p\u00ebrpjekjet p\u00ebr t\u00eb gjetur m\u00ebnyrat m\u00eb efikase t\u00eb mbrojtjes s\u00eb vetes dhe tjetrit, p\u00ebrb\u00ebn nj\u00eb nga momentet m\u00eb interesante dhe impresionuese t\u00eb k\u00ebtij shtjellimi letrar.<\/p>\n

Qysh n\u00eb koh\u00ebt m\u00eb t\u00eb lashta faraonike, pavar\u00ebsisht si jan\u00eb quajtur\u00a0 m\u00ebnyrat e veprimit t\u00eb tyre, jan\u00eb dashur gjithmon\u00eb grupe njer\u00ebzish, q\u00eb t\u00eb merren me kontrollin e zbatimit t\u00eb normave dhe ligjeve t\u00eb shoq\u00ebris\u00eb.<\/p>\n

Romani \u00ebsht\u00eb fund e maj\u00eb nj\u00eb p\u00ebrftes\u00eb imagjinative e besueshme, por edhe e lexueshme, sigurisht e mbeshtetur mbase edhe n\u00eb ngjarje reale, e cila mund t\u00eb ndodhte n\u00eb cilindo qytet dhe n\u00eb cilindo vend t\u00eb bot\u00ebs, ndaj nuk e ka par\u00eb me vend ta p\u00ebrmend qytetin ku merr udh\u00eb subjekti.<\/p>\n

DEINARTI<\/strong>:<\/p>\n

\u00cbsht\u00eb nj\u00eb em\u00ebr arti i cili na rr\u00ebfen p\u00ebr ngjarjet n\u00eb roman, Dein+Art<\/strong>, si personazh p\u00ebrfaq\u00ebson nj\u00eb mosh\u00eb adoleshente edhe pse n\u00eb roman nuk hasim, emra vendesh, as koh\u00eb t\u00eb p\u00ebrcaktuar, p\u00ebr mosh\u00ebn e k\u00ebtij personazhi referohemi vet\u00ebm leksikut q\u00eb p\u00ebrdor gjat\u00eb rr\u00ebfimit t\u00eb romanit si n\u00eb rastet: koha e shkoll\u00ebs, hyrja e shkoll\u00ebs, dit\u00ebn e dezhurnit, zilja e shkoll\u00ebs, m\u00ebsuesja kujdestare, biologjia, let\u00ebrsia, historia, kursi i piktur\u00ebs etj.<\/p>\n

Emri i personazhit kryesor, Deinart, vjen nga bashkimi i fjal\u00ebve dein\/deiz\u00ebm<\/em>-pranon ekzistenc\u00ebn e nj\u00eb qenieje supreme apo t\u00eb nj\u00eb krijuesi, i cili nuk nd\u00ebrhyn n\u00eb univers; dhe prapashtesa art<\/em>-q\u00eb n\u00ebnkupton natyr\u00ebn paradoksale dhe jo t\u00eb kufizuar t\u00eb tij.<\/p>\n

Nd\u00ebrsa \u00e7\u00ebshtja e titullit \u201cLOJA E FITUAR\u201d:<\/p>\n

    \n
  1. Titulli \u201cLoja e Fituar\u201d\u00ebsht\u00eb komplet e kund\u00ebrta me at\u00eb \u00e7ka thuhet n\u00eb roman. Dometh\u00ebn\u00eb, Deinarti vazhdimisht humbet \u00e7do betej\u00eb, por n\u00eb fund, ai fiton luft\u00ebn m\u00eb t\u00eb r\u00ebnd\u00ebsishme, at\u00eb t\u00eb jet\u00ebs s\u00eb tij. Si t\u00eb thuash, \u00e7do d\u00ebshtim e \u00e7oi tek drita, tek fitorja (D\u00ebshtime t\u00eb tjera jan\u00eb: modeling-u, sherret, shkolla, shoq\u00ebria e gabuar, lidhjet kalimtare me dy vajza q\u00eb p\u00ebrmenden shum\u00eb shkurt n\u00eb roman etj.).<\/li>\n
  2. Deinart humb \u00e7do loj\u00eb n\u00eb shah me gjeneralin, dhe e mposht at\u00eb n\u00eb pjes\u00ebn me delikate, kur ky i fundit i pohon se Zoti ekziston (duke i prekur zemr\u00ebn), moment i cili qe dhe i fundit p\u00ebr ekzistenc\u00ebn e tij. Fitohet pasi kjo pohohet nga nj\u00eb ateist i thekur.<\/li>\n
  3. Loja e Fituar\u201d, \u00ebsht\u00eb pema e gjith\u00eb gjenealogjis\u00eb s\u00eb Deinartit. Dashuria e Adabelit \u00ebsht\u00eb nj\u00ebra nd\u00ebr deg\u00ebt m\u00eb t\u00eb r\u00ebnd\u00ebsishme, pra deg\u00eb e k\u00ebsaj pem\u00eb, por jo e gjith\u00eb PEMA.<\/li>\n<\/ol>\n

    Tregimtari \u00ebsht\u00eb Deinarti i cili luan nj\u00eb rol kryesor gjat\u00eb vepr\u00ebs p\u00ebr dh\u00ebnien e mesazheve ai p\u00ebrdor koncepte t\u00eb ndryshme si n\u00eb rastet:<\/p>\n

    Koncepti p\u00ebr loj\u00ebn e shahut<\/em><\/strong><\/p>\n

    \u201c\u00cbsht\u00eb m\u00eb e mrekullueshmja, m\u00eb magjikja dhe m\u00eb solstikja inteligjenc\u00eb njer\u00ebzore e shfaqur n\u00eb fushat e d\u00ebfrimit. \u00cbsht\u00eb nj\u00eb stad i lart\u00eb loje q\u00eb garanton\u2026, kjo loj\u00eb, jo vet\u00ebm q\u00eb ka himnizuar matematik\u00ebn, por edhe ka arritur t\u00eb zgjeroj\u00eb kufirin e kultit t\u00eb saj\u201d, f. 28.<\/p>\n

    Koncepti p\u00ebr filozofin\u00eb<\/em><\/strong><\/p>\n

    \u201cNe njer\u00ebzve, na \u00ebsht\u00eb dhuruar aft\u00ebsia p\u00ebr t\u00eb qen\u00eb Zot nga hi\u00e7i\u201d, f. 40.<\/p>\n

    Koncepti p\u00ebr familjen (sht\u00ebpin\u00eb)<\/em><\/strong><\/p>\n

    \u201cSht\u00ebpia ku banoja m\u00eb ngjante me sht\u00ebpin\u00eb m\u00eb t\u00eb p\u00ebrsosur q\u00eb kisha hasur nga t\u00eb kat\u00ebrta an\u00ebt e qytetit. Gjall\u00ebria e tempullit ton\u00ebish harmoniplot\u00eb. Ndon\u00ebse jetonim vet\u00ebm dy veta, nen\u00eb t\u00eb kishim n\u00eb dispozicion kat\u00ebr dhoma, ku nj\u00ebra nga ato ishte shnd\u00ebrruar n\u00eb dhom\u00eb muze, nga gjenerali\u201d, f. 30.<\/p>\n

    Koncepti p\u00ebr moralin<\/em><\/strong><\/p>\n

    \u201cMiliona njer\u00ebz vdesin p\u00ebr shkak se morali, ose ndryshe, iluzioni i krijuar, \u00ebsht\u00eb i gabuar\u201d, f.46<\/p>\n

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

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

    Koncepti p\u00ebr hap\u00ebsirat brenda qytetit<\/em><\/strong><\/p>\n

    \u201cLokalet dhe dyqanet, fillova t\u2019i shihja me detaje. Ishin t\u00eb varg\u00ebzuara porsi gur\u00ebt e dominove. Nuk e kisha v\u00ebn\u00eb re kurr\u00eb se u kishte dal\u00eb boja. T\u00eb r\u00ebna muresh gjeje n\u00ebp\u00ebr cepa; njer\u00ebz t\u00eb d\u00ebshp\u00ebruar hynin dhe dilnin nga nj\u00ebri vend tek tjetri, pun\u00ebtor\u00eb t\u00eb lodhur nga puna, dukeshin sikur ishin zhytur n\u00eb fund t\u00eb ndonj\u00eb miniere, porositnin me fisnik\u00ebri ndonj\u00eb pjat\u00eb pilaf apo gjell\u00eb; lajm\u00ebrime vdekjesh… m\u00eb kujtonte pikturat e Dalis\u00eb, piktorit q\u00eb gjyshi m\u00eb kishte folur shpesh, duke m\u00eb treguar ndonj\u00eb vep\u00ebr t\u00eb tij\u201d, f. 54.<\/p>\n

    Koncepti p\u00ebr jet\u00ebn<\/em><\/strong><\/p>\n

    \u201cPra, jeta n\u00eb thelb \u00ebsht\u00eb e gjitha energji, e cila, si vet\u00eb energjia, k\u00ebrkon t\u00eb shfryt\u00ebzohet n\u00eb vendin e duhur, duke nisur fillimisht me njohjen e saj\u2026Por, kjo njohje, fillon dhe formohet nga mendimi, i cili, p\u00ebr mendimin tim \u00ebsht\u00eb energjia m\u00eb e madhe n\u00eb qenien njer\u00ebzore\u201d, f. 56.<\/p>\n

    Koncepti p\u00ebr fen\u00eb<\/em><\/strong><\/p>\n

    \u201cFeja ka mbjell\u00eb fara t\u00eb k\u00ebqija n\u00eb p\u00ebrpjekjen e saj p\u00ebr t\u00eb p\u00ebrhapur dhe korrur mir\u00ebsi. Shum\u00eb luftra, vdekje, d\u00ebnime dhe heqje lirie, kan\u00eb ndodhur p\u00ebrmes biografis\u00eb s\u00eb saj, ku shumica e faqeve jan\u00eb shkulur e djegur, kurse t\u00eb tjerat, jan\u00eb keqshkruar\u201d, f. 63.<\/p>\n

    Koncepti p\u00ebr njeriun<\/em><\/strong><\/p>\n

    \u201cN\u00ebse njeriu i n\u00ebnshtrohet vullnetit, mund t\u00eb shnd\u00ebrrohet, le t\u00eb themi n\u00eb Zot; por n\u00ebse nuk e mposht, ai mund t\u00eb degradohet deri n\u00eb stadin e kafsh\u00ebs m\u00eb t\u00eb keqe\u201d, f. 64.<\/p>\n

    Koncepti p\u00ebr vlerat <\/em><\/strong><\/p>\n

    \u201cAsgj\u00eb ekzistuese nuk \u00ebsht\u00eb e padobishme. \u00c7do gj\u00eb q\u00eb na rrethon n\u00eb k\u00ebt\u00eb univers; \u00ebsht\u00eb e vlefshme. Edhe sendi ose njeriu m\u00eb pak i dobish\u00ebm n\u00eb shoq\u00ebri, futet n\u00eb pun\u00eb nj\u00eblloj si ai q\u00eb konsiderohet i vlefsh\u00ebm\u201d, f. 78.<\/p>\n

    Koncepti p\u00ebr turm\u00ebn<\/em><\/strong>[18]<\/strong><\/strong><\/p>\n

    \u201cSi turm\u00eb, po zaptonin komplet vendin ku po q\u00ebndronin.\u201d, f. 178.<\/p>\n

    \u2018\u2019Pasi u sistemuam si birrat n\u00eb ark\u00eb\u2026\u2019\u2019, f.175.<\/p>\n

     <\/p>\n

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

    Koncpeti p\u00ebr lirin\u00eb<\/em><\/strong><\/p>\n

    \u201cNjer\u00ebzit lindin t\u00eb lir\u00eb, por jan\u00eb vet\u00eb ata q\u00eb e skllav\u00ebrojn\u00eb vetveten e tyre!\u201d, f. 91.<\/p>\n

    Koncepti p\u00ebr frik\u00ebn<\/em><\/strong><\/p>\n

    \u201cFrika lind duke m\u00ebsuar ato q\u00eb ne t\u00eb ashtuquajturit njer\u00ebz, quajm\u00eb norma. Ne p\u00ebrcaktojm\u00eb se kush \u00ebsht\u00eb e mir\u00eb dhe e keqe, dhe duke ditur se \u00e7far\u00eb duhet dhe \u00e7far\u00eb nuk duhet, krijojm\u00eb ato idet\u00eb tona se duhet t\u00eb arrijm\u00eb k\u00ebt\u00eb, q\u00eb t\u00eb shkojm\u00eb tek ajo. Sade fare, frika \u00ebsht\u00eb pjell\u00eb e mendjes!\u201d, f. 91.<\/p>\n

    Koncepti p\u00ebr qytet\u00ebrimin e lasht\u00eb<\/em><\/strong><\/p>\n

    \u201cPopujt e lasht\u00eb, shpik\u00ebn ose zbuluan Atin, sepse nuk shprehnin e shpjegonin n\u00ebn\u00ebn natyr\u00eb\u201d, f. 94.<\/p>\n

    Koncepti p\u00ebr emocionin<\/em><\/strong><\/p>\n

    \u201cGj\u00ebrat q\u00eb b\u00ebhen pa emocion, jan\u00eb pjella t\u00eb vdekura\u201d, f. 101.<\/p>\n

    Koncepti p\u00ebr iluzionin<\/em><\/strong><\/p>\n

    \u201cN\u00eb nj\u00ebfar\u00eb m\u00ebnyr\u00eb, ndon\u00ebse jemi n\u00eb epok\u00ebn moderne, p\u00ebrvoja m\u00eb b\u00ebri t\u00eb kuptoj edhe t\u00eb kaluar\u00ebn e err\u00ebt, e cila vazhdon t\u00eb ekzistoj\u00eb dit\u00ebt e sotme, por n\u00eb forma t\u00eb tjera, ose n\u00eb rastin kur shpehet se: Na \u00ebsht\u00eb dh\u00ebn\u00eb mendimi se jemi regjizor\u00eb t\u00eb jet\u00ebve tona, por nuk jemi asgj\u00eb ve\u00e7se disa aktor\u00eb t\u00eb r\u00ebndomt\u00eb. Disa aktor\u00eb q\u00eb luajn\u00eb dordolecin n\u00eb skena t\u00eb vendosura nga t\u00eb tjer\u00ebt. \u00cbsht\u00eb e v\u00ebrtet\u00eb\u2026disa e krijojn\u00eb lirin\u00eb, disa e zbatojn\u00eb!\u201d, f. 250.<\/p>\n

    Koncepti p\u00ebr modelingun:<\/em><\/strong><\/p>\n

    \u201cFama n\u00ebp\u00ebrmjet bukuris\u00eb, \u00ebsht\u00eb nj\u00eb nd\u00ebr llojet e famave m\u00eb drit\u00ebshkurtra dhe sikur t\u00eb ishin t\u00eb gjith\u00eb t\u00eb bukur\u2026. bukuria e fama s\u2019do kishin m\u00eb kuptim\u201d, f. 202.<\/p>\n

    Koncepti p\u00ebr paradoksin:<\/em><\/strong><\/p>\n

    \u201cDhe Zoti kur hodhi nj\u00eb shikim m\u00eb t\u00eb detajuar, kur pa m\u00eb me kujdes se \u00e7\u2019kishin b\u00ebr\u00eb njer\u00ebzit n\u00eb em\u00ebr t\u00eb tij, vendosi t\u00eb b\u00ebhej vet\u00eb ateist\u2019\u2019 f. 107.<\/p>\n

    Pse nuk u lajm\u00eb trurin atyre q\u00eb k\u00ebrkojn\u00eb t\u00eb na lajn\u00eb trurin?!\u201d, f. 50.<\/p>\n

    Koncepti p\u00ebr jet\u00ebn<\/em><\/strong><\/p>\n

    \u201cJeta n\u00eb thelb \u00ebsht\u00eb e gjitha energji, e cila, si vet\u00eb energjia, k\u00ebrkon t\u00eb shfryt\u00ebzohet n\u00eb vendin e duhur, duke nisur fillimisht me njohjen e saj.. Por, kjo njohje, fillon dhe formohet nga mendimi, i cili, p\u00ebr mendimin tim \u00ebsht\u00eb energjia m\u00eb e madhe n\u00eb qenien njer\u00ebzore, p\u00ebrmes saj ne krijojm\u00eb perceptimin p\u00ebr bot\u00ebn q\u00eb na rrethon\u201d, f. 56.<\/p>\n

    Koncepti p\u00ebr p\u00ebrvoj\u00ebn njer\u00ebzore<\/em><\/strong><\/p>\n

    \u201cEh, sa e leht\u00eb \u00ebsht\u00eb jeta kur dikush i sprovuar t\u00eb tregon se kush \u00ebsht\u00eb rruga e mir\u00eb dhe e keqe, dhe ty t\u00eb mjafton vet\u00ebm t\u00eb ec\u00ebsh\u201d, f. 102.<\/p>\n

    Koncepti p\u00ebr koh\u00ebn<\/em><\/strong><\/p>\n

    \u201cKur nuk ke koh\u00eb p\u00ebr asgj\u00eb, b\u00ebn m\u00eb shum\u00eb gj\u00ebra se kur ke koh\u00eb p\u00ebr \u00e7do gj\u00eb!\u201d, f. 118.<\/p>\n

    Koncepti p\u00ebr ironin\u00eb<\/em><\/strong><\/p>\n

    ”Njeriu, \u00ebsht\u00eb kaq i vog\u00ebl dhe ka nj\u00eb er\u00eb kaq t\u00eb madhe.” f. 34.<\/p>\n

    Koncepti p\u00ebr mashtrimin<\/em><\/strong><\/p>\n

    \u201cDiferenca midis nj\u00eb mashtruesi profesionist dhe nj\u00eb mashtruesi \u00e7far\u00ebdo \u00ebsht\u00eb se ky i fundit, jep shum\u00eb premtime dhe nuk mban asnj\u00ebr\u00ebn prej tyre. Profesionisti, u shmanget pafund dh\u00ebnies s\u00eb premtimeve, rrall\u00eb her\u00eb mund t\u00eb jap\u00eb, por n\u00ebse e jep, ai e mban\u201d, f. 185.<\/p>\n

    Koncepti p\u00ebr refuzimin e dashuris\u00eb t\u00eb shprehur nga Uendi<\/em><\/strong><\/p>\n

    \u201cAjo vajz\u00eb nuk \u00ebsht\u00eb p\u00ebr mua, – u p\u00ebrgjigja. -Duket si e kompletuar, por jo. M\u00eb tmerroi, – e vazhdova, – fliste si nj\u00eb grua e \u00e7mendur nga dashuria. Un\u00eb k\u00ebrkoj aventura t\u00eb thjeshta, jo t\u00eb mbingarkuara me njer\u00ebz q\u00eb duan t\u00eb t\u00eb ken\u00eb t\u00eb gjithin p\u00ebr vete\u201d, f. 17.<\/p>\n

    Koncepti p\u00ebr femr\u00ebn q\u00eb dashuron<\/em><\/strong><\/p>\n

    \u201cAjo posedonte zgjuarsin\u00eb m\u00eb t\u00eb madhe q\u00eb kisha hasur ndonj\u00ebher\u00eb n\u00eb gjinin\u00eb e kund\u00ebrt. E qart\u00eb dhe e vendosur me d\u00ebshirat dhe objektivat. Ashtu si un\u00eb, ishte kok\u00ebfort\u00eb dhe k\u00ebmb\u00ebngul\u00ebse n\u00eb t\u00eb saj\u00ebn. Nuk arrija ta manipuloja me ndonj\u00eb loj\u00eb fjal\u00ebsh apo ta futja n\u00eb grack\u00eb, gj\u00eb e pamundur p\u00ebr t\u00eb mos ndodhur me vajzat e tjera. P\u00ebrpiqej vazhdimisht t\u00eb rr\u00ebmbente kontrollin nga situatat e krijuara\u201d.<\/p>\n

    Koncepti p\u00ebr sakrific\u00ebn<\/em><\/strong><\/p>\n

    \u201cImagjino, e dashur, sikur jemi n\u00eb humner\u00eb, ti je e varur dhe un\u00eb ndodhem sip\u00ebr duke b\u00ebr\u00eb \u00e7mos p\u00ebr t\u00eb t\u00eb mbajtur e t\u00ebrhequr…dhe sikur t\u00eb mos ket\u00eb m\u00eb mund\u00ebsi, t\u00eb vdes\u00eb \u00e7do shpres\u00eb dhe gjith\u00e7ka t\u00eb pritet n\u00eb \u00e7astin kur ti t\u00eb rr\u00ebshkas\u00ebsh, un\u00eb nuk do t\u00eb q\u00ebndroja aty…do t\u00eb vija dhe un\u00eb me ty!\u201d, f. 256.<\/p>\n

    Koncepti p\u00ebr t\u00eb qen\u00eb vetvetja<\/em><\/strong><\/p>\n

    \u201cN\u00ebse triumfon mbi krenarin\u00eb, lakmin\u00eb, zilin\u00eb, epshin, inatin, p\u00ebrtes\u00ebn dhe d\u00ebshir\u00ebn p\u00ebr t\u00eb pasur pafund, ti, thell\u00eb-thell\u00eb ke p\u00ebr ta ndjer\u00eb veten zot!\u201d, f. 78.<\/p>\n

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

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

    Koncepti p\u00ebr dashurin\u00eb<\/em><\/strong><\/p>\n

    \u201cDashuria ka b\u00ebr\u00eb q\u00eb t\u00eb krijoheshin jet\u00ebt, dhe po ajo i mban ato n\u00eb nj\u00eb vij\u00eb lineare q\u00eb ka form\u00ebn e infinitit. Por, n\u00ebse futemi m\u00eb n\u00eb thell\u00ebsi t\u00eb saj, njer\u00ebzimi dhe feja e tij do t\u00eb m\u00ebsoj\u00eb misteret m\u00eb t\u00eb m\u00ebdha, q\u00eb nga koha e krijimit\u201d, f. 238.<\/p>\n

    Referuar Gerar Genett i cili propozonte tri aspekte kryesore si:<\/p>\n

    Kategoria e koh\u00ebs<\/p>\n

    Kategoria e m\u00ebnyr\u00ebs (modalitetet)<\/p>\n

    Kategoria e z\u00ebrit<\/p>\n

    Nj\u00eb nga kritik\u00ebt e strukturalizmit t\u00eb viteve \u201960, Kristian Metz, shprehej se: \u201cNj\u00eb nga funksionet e tregimit \u00ebsht\u00eb t\u00eb shnd\u00ebrroj\u00eb nj\u00eb koh\u00eb n\u00eb nj\u00eb tjet\u00ebr\u201d.<\/p>\n

    Ky \u00ebsht\u00eb nj\u00eb dualist kohor, q\u00eb teoricien\u00ebt shohin n\u00eb raport mes koh\u00ebs s\u00eb historis\u00eb dhe koh\u00ebs s\u00eb tregimit. Sipas teoris\u00eb s\u00eb shenjave, kemi koh\u00ebn e shenjuesit dhe t\u00eb shenjuarit. Marr\u00ebdh\u00ebniet q\u00eb krijohen mes koh\u00ebs s\u00eb historis\u00eb dhe koh\u00ebs s\u00eb tregimit do t\u2019i shohim n\u00eb tri k\u00ebndv\u00ebshtrime:<\/p>\n

    Raporti mes rendit kohor t\u00eb vijueshm\u00ebris\u00eb s\u00eb ngjarjeve n\u00eb diegjez\u00eb dhe rendit pseudokohor t\u00eb vendosjes s\u00eb tyre n\u00eb tregim. Diegjeza \u00ebsht\u00eb rendi logjik i ngjarjeve.<\/p>\n

    Raporti mes koh\u00ebzgjatjes s\u00eb k\u00ebtyre ngjarjeve, apo dhe pseudokoh\u00ebzgjatjes \u00ebsht\u00eb nj\u00eb raport i shpesht\u00ebsis\u00eb.<\/p>\n

    Raporti i frekuenc\u00ebs, d.m.th. marr\u00ebdh\u00ebnia mes aft\u00ebsis\u00eb p\u00ebrs\u00ebrit\u00ebse, mes historis\u00eb dhe tregimit.<\/p>\n

    K\u00ebto jan\u00eb \u00e7\u00ebshtje q\u00eb i p\u00ebrkasin ritmit t\u00eb rr\u00ebfimit, p.sh. n\u00eb pauz\u00ebn p\u00ebrshkruese, ritmi i rr\u00ebfimit \u00ebsht\u00eb i ngadalt\u00eb, te skena kemi nj\u00eb rit\u00ebm t\u00eb mes\u00ebm, t\u00eb p\u00ebrmbledhja ritmi p\u00ebrshpejtohet, nd\u00ebrsa te elipsi ritmi \u00ebsht\u00eb shum\u00eb i shpejt\u00eb, sepse mund t\u00eb kalohen edhe disa shekuj brenda nj\u00eb fjalie.<\/p>\n

    Pauza p\u00ebrshkruese: kemi nd\u00ebrprerjen e t\u00eb rr\u00ebfyerit t\u00eb historis\u00eb p\u00ebr t\u2019u marr\u00eb disi ngesh\u00ebm me p\u00ebrshkrimin e nj\u00eb gjendjeje, t\u00eb nj\u00eb situate, apo tabloje.<\/p>\n

    Skena: bart dialogun dhe refleksionet q\u00eb personazhet shk\u00ebmbejn\u00eb me nj\u00ebri-tjetrin. Skena \u00ebsht\u00eb nj\u00eb lloj barazie e koh\u00ebzgjatjes s\u00eb tregimit dhe e koh\u00ebzgjatjes s\u00eb historis\u00eb. Historia ndodh p\u00ebr aq koh\u00eb sa ka mund\u00ebsi t\u00eb rr\u00ebfehet.<\/p>\n

    P\u00ebrmbledhja: gjat\u00eb saj, koha e tregimit \u00ebsht\u00eb e vog\u00ebl se koha e historis\u00eb. Ajo \u00ebsht\u00eb nj\u00eb lloj p\u00ebrmbledhje e ngjarjeve, ose e historis\u00eb.<\/p>\n

    Elipsi: munges\u00eb relativisht e plot\u00eb e tregimit p\u00ebrmbledh\u00ebs dhe e pauz\u00ebs p\u00ebrshkrimore. N\u00eb let\u00ebrsi kemi t\u00eb b\u00ebjm\u00eb me elipsin kohor. Kemi dy k\u00ebndv\u00ebshtrime: kohor dhe formal. K\u00ebndv\u00ebshtrimi kohor: k\u00ebtu merret n\u00eb konsiderat\u00eb koha e historis\u00eb s\u00eb fshir\u00eb ose t\u00eb eklipsuar. Kjo fshirje mund t\u00eb jet\u00eb e p\u00ebrcaktuar n\u00eb koh\u00eb ose jo. K\u00ebndv\u00ebshtrimi formal: kemi elips eksplicit dhe implicit.<\/p>\n

    Elipsi eksplicit: \u00ebsht\u00eb i shprehur, i paraqitur. N\u00eb elipsin eksplicit narratori ka mund\u00ebsi t\u00eb jap\u00eb cil\u00ebsimin e koh\u00ebs. K\u00ebto elipsa jan\u00eb konsideruar si burim i narracionit romanesk.<\/p>\n

    Elipsi implicit: \u00ebsht\u00eb i n\u00ebnkuptuar, i fshehur, i path\u00ebn\u00eb. Prania e elipsit nuk shprehet dhe nuk sh\u00ebnohet n\u00eb tekst. Lexuesit i duhet t\u00eb kuptoj\u00eb vet\u00eb boshll\u00ebkun kohor.<\/p>\n

    Nj\u00eb nga p\u00ebrkufizimet q\u00eb i b\u00ebhen k\u00ebtyre zgjedhjeve formale \u00ebsht\u00eb: \u201cNj\u00eb hap\u00ebsir\u00eb e mbyllur rreth nesh \u00ebsht\u00eb absolutisht e nevojshme p\u00ebr t\u00eb rritur efektin e nj\u00eb ngjarjeje t\u00eb ve\u00e7uar\u201d.<\/p>\n

    Ky projeksion i rrjedh\u00ebs s\u00eb koh\u00ebs, ka t\u00eb ngjar\u00eb q\u00eb \u00ebsht\u00eb nj\u00eb intertekst-koment autorial, i nd\u00ebrkallur n\u00eb goj\u00ebn e personazhit i cili flet dhe vepron si aktant i nj\u00eb strukture t\u00eb t\u00ebr\u00eb narrative, kompozicionale e semantike orale. Mbi nd\u00ebrtime t\u00eb tilla miniaturale, qoft\u00eb n\u00eb k\u00ebt\u00eb bosht tematik, qoft\u00eb n\u00eb boshte t\u00eb tjera, mund t\u00eb hasim edhe n\u00eb ndonj\u00eb pjes\u00eb tjet\u00ebr t\u00eb tregimit. Me nj\u00eb fjal\u00eb, shkrimtari n\u00eb mes rreshtave shp\u00ebrthen si ide, nd\u00ebrsa n\u00eb rrafshin e sintagm\u00ebs si gjuh\u00eb; form\u00eb k\u00ebto t\u00eb ndryshme t\u00eb ndajv\u00ebna mbi gjedh\u00ebn narrative e tematike orale.<\/p>\n

    Tregimtari \u00ebsht\u00eb njeriu q\u00eb mund ta l\u00ebr\u00eb fitilin e jet\u00ebs s\u00eb tij t\u00eb digjet plot\u00ebsisht n\u00eb flak\u00ebn e but\u00eb t\u00eb tregimit t\u00eb tij. Tregimtari \u00ebsht\u00eb personazhi ku njeriu i drejt\u00eb gjen vetveten.[19]<\/p>\n

    \u201cGjinia rr\u00ebfimtare hipertekstuale mund t\u00eb na edukoj\u00eb me ndjenj\u00ebn e liris\u00eb dhe t\u00eb krijimtaris\u00eb, por nuk \u00ebsht\u00eb gjith\u00e7ka, tregimet \u201ctashm\u00eb t\u00eb shkuara\u201d na m\u00ebsojm\u00eb edhe t\u00eb vdesim\u201d.[20]<\/p>\n

    Shpirti si shfaqje e frym\u00ebs humane zbulohet p\u00ebrmes ndryshimit dhe \u00e7lirimit t\u00eb trupit n\u00eb trajt\u00eb energjie si sh\u00ebmb\u00ebllim i figurave t\u00eb dashura dhe t\u00eb domosdoshme, por q\u00eb nuk jan\u00eb af\u00ebr. Roli vendimtar n\u00eb k\u00ebt\u00eb rast luan psikika dhe imagjinata e cila realizohet si:<\/p>\n

    a- d\u00ebshir\u00eb dhe nevoj\u00eb e k\u00ebnaq\u00ebsis\u00eb trupore dhe mendore.<\/p>\n

    b- si frym\u00eb e nj\u00eb ndri\u00e7imi me burim hyjnor.<\/p>\n

     <\/p>\n

    Koha b\u00ebhet mjeti i l\u00ebvizjes mendore, psikologjike dhe t\u00eb vet\u00eb syzheut gjat\u00eb romanit si n\u00eb rastet:\u201cE kisha ngacmuar n\u00eb nj\u00eb tem\u00eb, e cila n\u00eb sekuenca t\u00eb ve\u00e7anta kohe e torturante at\u00eb, f. 10, koha rridhte si e marr\u00eb, f. 26, koha nj\u00eb nd\u00ebr paradokset m\u00eb gjeniale t\u00eb njer\u00ebzimit, f. 26, cil\u00ebn ndarje t\u00eb koh\u00ebs, t\u00eb b\u00ebr\u00eb nga vet\u00eb njer\u00ebzimi, fremo njeriu? T\u00eb shkuar\u00ebn, koh\u00ebn e tashme apo t\u00eb ardhmen, f. 27, gjat\u00eb koh\u00ebs q\u00eb pret p\u00ebr t\u00eb ardhmen, ajo b\u00ebhet e tashme, dhe po at\u00eb moment ajo b\u00ebhet e shkuar. T\u00eb tashmen, nuk e ka kapur kurr\u00eb sepse ajo vazhdimisht shnd\u00ebrrohet n\u00eb t\u00eb shkuar\u201d, f. 27, etj.<\/p>\n

    Eliade p\u00ebrqendrohet te dy koncepte themelore: te ai i Koh\u00ebs dhe i Hap\u00ebsir\u00ebs, duke v\u00ebn\u00eb n\u00eb spikam\u00eb se: \u201c<\/em>P\u00ebr njeriun religjioz as koha as hap\u00ebsira nuk jan\u00eb homogjene dhe t\u00eb p\u00ebrhershme\u201d<\/em>[21].<\/p>\n

    Nj\u00eb element q\u00eb bie n\u00eb sy gjat\u00eb leximit t\u00eb k\u00ebtij romani \u00ebsht\u00eb edhe oraliteti n\u00eb gjuh\u00eb \u00e7ka do t\u00eb thot\u00eb q\u00eb kjo vep\u00ebr do t\u00eb ting\u00ebllonte m\u00eb bukur e v\u00ebn\u00eb n\u00eb sken\u00eb.<\/p>\n

    Nd\u00ebrtimi i tekstit me mjete artistike t\u00eb imazhinizmit, si mimika dhe gjestikulacioni, mjete t\u00eb fuqishme dhe bashk\u00ebvepruese me nj\u00ebra-tjetr\u00ebn gjat\u00eb procesit krijues.<\/p>\n

    Narracioni \u00ebsht\u00eb nj\u00eb element i r\u00ebnd\u00ebsish\u00ebm i estetik\u00ebs, i mjeteve formale n\u00eb nd\u00ebrtimin e teksteve letrare n\u00eb p\u00ebrgjith\u00ebsi, por gjat\u00eb k\u00ebtij romani merr nj\u00eb r\u00ebnd\u00ebsi t\u00eb ve\u00e7ant\u00eb, sepse m\u00ebnyra e rr\u00ebfimit b\u00ebhet funksion p\u00ebr tekstin n\u00eb fjal\u00eb, ku vet\u00eb m\u00ebnyra e t\u00eb rr\u00ebfyerit p\u00ebrb\u00ebn nj\u00eb rr\u00ebfim m\u00eb vete.<\/p>\n

    Koha, si nocion i vendosur n\u00eb sfer\u00ebn letrare fiton t\u00eb tjera ngjyresa artistike dhe semantike. N\u00eb \u201cFjalorin estetik\u201d, gjejm\u00eb k\u00ebt\u00eb p\u00ebrkufizim p\u00ebr koh\u00ebn:P\u00ebrderisa personazhet n\u00eb \u00e7do vep\u00ebr letrare jan\u00eb t\u00eb vendosur n\u00eb nj\u00eb koh\u00eb t\u00eb caktuar, madje vet\u00eb vepra e lidh ekzistenc\u00ebn e saj me nj\u00eb koh\u00eb t\u00eb caktuar, koha paraqet nj\u00eb r\u00ebnd\u00ebsi t\u00eb ve\u00e7ant\u00eb p\u00ebr estetik\u00ebn dhe artin, aq m\u00eb tep\u00ebr q\u00eb, p\u00ebr k\u00ebt\u00eb t\u00eb fundit, ajo nd\u00ebrhyn edhe si mjet artistik me mund\u00ebsi t\u00eb m\u00ebdha p\u00ebr gjithfar\u00eb manovrimesh. Faktori koh\u00eb luan rol edhe n\u00eb ruajtjen edhe transformimin e vepr\u00ebs[22].<\/p>\n

    Koha n\u00eb let\u00ebrsi mund t\u00eb paraqitet edhe n\u00eb forma t\u00eb tjera, aq sa jo m\u00eb kot Kujtim Rrahmani me nj\u00eb formulim t\u00eb gjetur mjaft mir\u00eb prej tij \u00ebsht\u00eb shprehur se:\u201cKoha di t\u00eb b\u00ebj\u00eb lojra t\u00eb bukura<\/em>\u201d[23].<\/p>\n

    \u201cMeqen\u00ebse lindja dhe vdekja justifikojn\u00eb veten, pro\u00e7esi kryesor i njeriut \u00ebsht\u00eb zhvillimi, njeriu krijon bazat e tij, pra plot\u00ebson vetveten. Shpesh hasim njer\u00ebz, t\u00eb cil\u00ebt e kan\u00eb arritur at\u00eb stad n\u00ebp\u00ebrmjet krijimeve t\u00eb tyre, ideve dhe b\u00ebmave nga m\u00eb t\u00eb ndryshmet. Hasim shkrimtar\u00eb, q\u00eb mund t\u00ed cil\u00ebsojm\u00eb unik n\u00eb stil; shkenc\u00ebtar\u00eb, t\u00eb cil\u00ebt arrijn\u00eb t\u00eb krijojn\u00eb di\u00e7ka n\u00eb dobi t\u00eb njer\u00ebzimit, nga ku m\u00eb pas i shpallin si gjeni…\u201d, f. 104-105.<\/p>\n

    Shkrimtari e zhyt personazhin n\u00eb nj\u00eb hap\u00ebsir\u00eb pa skaj dhe e vendos n\u00eb nj\u00eb koh\u00eb ku ai \u00ebsht\u00eb n\u00eb gjendje t\u00eb dalloj\u00eb kufijt\u00eb mes asaj q\u00eb \u00ebsht\u00eb reale dhe asaj q\u00eb s\u2019\u00ebsht\u00eb reale, sepse \u00ebsht\u00eb i p\u00ebrfshir\u00eb n\u00eb nj\u00eb koh\u00eb t\u00eb matshme.<\/p>\n

    Nd\u00ebrtimi linear i kultur\u00ebs e b\u00ebn problemin e vdekjes nj\u00ebrin prej dominanteve n\u00eb sistenim e kultur\u00ebs. Vet\u00ebdija religjioze \u00ebsht\u00eb rruga e kap\u00ebrcimit t\u00eb vdekjes \u201cvdekja vdekjen korrigjon<\/strong>\u201d.[24]<\/p>\n

    \u201cNuk kaloi shum\u00eb, kur u d\u00ebgjua nj\u00eb zhurm\u00eb e fort\u00eb q\u00eb osh\u00ebtiu nga drejtimi i kuzhin\u00ebs. Mu duk sikur tavolina u nda n\u00eb mes, s\u00eb bashku me kutin\u00eb e shahut. Renda menj\u00ebher\u00eb pas tij. Gur\u00ebt ishin shp\u00ebrndar\u00eb n\u00eb gjith\u00eb dhom\u00ebn. Ishte rr\u00ebzuar kutia s\u00eb bashku me karrigen ku gjendej gjenerali. At\u00eb e gjeta t\u00eb r\u00ebn\u00eb me kurriz, duke shtr\u00ebnguar dh\u00ebmb\u00ebt me inat. Gjysh!-klitha me sa kisha n\u00eb kok\u00eb. Iu afrova dhe b\u00ebra ta \u00e7oja, por e pata t\u00eb pamundur. I ngrita kok\u00ebn nga \u00e7imentoja dhe me lot\u00ebt q\u00eb m\u00eb rridhnin, e pash\u00eb drejt e n\u00eb sy.<\/p>\n

    Gjeneral!-i thirra s\u00ebrish.<\/p>\n

    M\u00eb v\u00ebshtroi me syt\u00eb q\u00eb po i err\u00ebsoheshin, dhe m\u00eb p\u00ebshp\u00ebriti me nj\u00eb z\u00eb t\u00eb mekur: Vet\u00ebm besimin n\u00eb Zot, mos humb, bir! Ai.. – r\u00ebnkoi me mundim, – ai gjendet k\u00ebtu, – dhe ndjeva nj\u00eb dor\u00eb t\u00eb pajet\u00eb, t\u00eb topitur, t\u00eb m\u00eb prekte zemr\u00ebn q\u00eb po m\u00eb rrihte si e marr\u00eb\u201d…, f. 258.<\/p>\n

    Si p\u00ebrfundim mund t\u00eb themi se ky roman n\u00eb nj\u00eb nivel m\u00eb t\u00eb sofistikuar \u00ebsht\u00eb sqarimi i shtjelluar me holl\u00ebsi i misterit letrar i cili zbulon disa kode: nj\u00ebri prej tyre \u00ebsht\u00eb kodi filozofik<\/em> (gjinia e rr\u00ebfimeve me detektiv\u00eb ka qen\u00eb gjithmon\u00eb nj\u00eb gjini letrare potencialisht metafizike, sepse e p\u00ebrball lexuesin me \u00abpyetjen themelore filozofike: cili \u00ebsht\u00eb FITUESI?\u00bb; kodi tjet\u00ebr mund t\u00eb p\u00ebrkufizohet si kulturor<\/em>, kodi i tret\u00eb, q\u00eb far\u00eb mir\u00eb mund ta quajm\u00eb edhe kodi semiotik<\/em>, p\u00ebrdor misterin si kuad\u00ebr p\u00ebr nj\u00eb meditim t\u00eb q\u00ebndruesh\u00ebm rreth shenjave dhe paradokseve t\u00eb p\u00ebrfshira n\u00eb krijimin dhe n\u00eb interpretimin nga ana jon\u00eb t\u00eb shenjave.<\/p>\n

     <\/p>\n

    [1]Eko Umberto,\u201cStruktura e papranishme\u201d<\/em>, Dukagjini, Pej\u00eb, 1996.<\/p>\n

    [2]Aristoteli, \u201cPoeteka\u201d<\/em>, Buzuku, Prishtin\u00eb, 1998, f.72.<\/p>\n

    [3] Aristoteli, \u201cPoeteka\u201d<\/em>, Buzuku, Prishtin\u00eb, 1998, f.28<\/p>\n

    [4]Gilles Deleuze & F\u00e9lix Guattari, \u201c\u00c7\u2019\u00ebsht\u00eb filozofia?\u201d<\/em>, Zenit, Tiran\u00eb, 2008, f. 208-209.<\/p>\n

     <\/p>\n

    [5]Arshi Pipa, \u201cKritika esse 1940-1944\u201d<\/em>, Princi, Tiran\u00eb, 2006, f. 17.<\/p>\n

    [6]Po aty, f. 56-57.<\/p>\n

    [7]Rexhep Ismajli, \u201cShum\u00ebsia e tekstit\u201d<\/em>, Rilindja, Prishtin\u00eb, 1980, f. 16-17.<\/p>\n

    [8]Matei Calinescu, \u201cPes\u00eb fytyrat e modernitetit (Modernizmi, Pararoja, Dekadenca, Kitschi-i, Postmodernizmi)\u201d<\/em>, Dituria, Tiran\u00eb, 2012, f. 261.<\/p>\n

    [9]Pseudo-Longini, \u201cE madh\u00ebrishmja\u201d<\/em>, Etni Botues \u201cGjergj Fishta\u201d, 2009, f. 28.<\/p>\n

    [10]Pseudo-Longini, \u201cE madh\u00ebrishmja\u201d<\/em>, Etni Botues \u201cGjergj Fishta\u201d, 2009, f. 6.<\/p>\n

    [11]Herbert Marcuse, \u201cErosi dhe qytet\u00ebrimi\u201d, <\/em>Uegen, Tiran\u00eb 2008, f. 178.<\/p>\n

    [12]Gilles Deleuze & F\u00e9lix Guattari, \u201c\u00c7\u2019\u00ebsht\u00eb filozofia?\u201d<\/em>, Zenit, Tiran\u00eb, 2008, f. 18.<\/p>\n

    [13]N\u00eb periudh\u00ebn nd\u00ebrmjet viteve 1909-1914, koh\u00eb kjo kur lind dhe p\u00ebrhapet futurizmi si drejtim letrar, dalin n\u00eb drit\u00eb rreth 60 manifeste t\u00eb ndryshme t\u00eb nj\u00eb grupi krijuesish t\u00eb rinj n\u00eb krye poetin italian Filipo Tomazo Marineti<\/em><\/strong> (1876-1944), q\u00eb konsiderohet themelues i futurizmit dhe teoricien i tij. Po natyrsh\u00ebm lind pyetja \u00ebsht\u00eb futurizmi? Fjala futuriz\u00ebm vjen nga fjala latine futurum<\/em> q\u00eb do t\u00eb thot\u00eb ardhm\u00ebri<\/em>. Futurizmi,<\/em><\/strong> pra si drejtim letrar \u00ebsht\u00eb i kthyer me fytyr\u00eb nga e ardhmja, e himnizon at\u00eb dhe ka besim n\u00eb t\u00eb.<\/p>\n

    Futurizmi kishte si synin edhe luft\u00ebn kund\u00ebr moralizmit nj\u00eblloj si simbolist\u00ebt. Nj\u00eb karakteristik\u00eb q\u00eb t\u00eb bie n\u00eb sy t\u00eb futurizmi ishte,se ata ndryshe nga let\u00ebrsia e m\u00ebparshme e cila lavd\u00ebronte pasivitetin, dremitj\u00ebn, dehjen, <\/em>ashtu thonin ata ne duam t\u00eb ngrem\u00eb lart: l\u00ebvizjen e furishme, pagjum\u00ebsin\u00eb e ethshme, marshimin, k\u00ebrcimin e rreziksh\u00ebm, shuplak\u00ebn dhe goditjen me grusht, ngarendjen me shpejt\u00ebsi, k\u00ebrcenimin vdekjeprur\u00ebs.<\/em><\/p>\n

      \n
    1. \u201cNe futurist\u00ebtduhet ta shkat\u00ebrrojm\u00eb sintaks\u00ebn, duke p\u00ebrdorur emrat pa e vrar\u00eb fort mendjen, ashtu si\u00e7 ata krijohen<\/em>, 2. Duhet t\u00eb p\u00ebrdorimin foljen n\u00eb paskajore, sepse k\u00ebshtu \u00ebsht\u00eb m\u00eb e leht\u00eb q\u00eb folja t\u00eb p\u00ebrshtatet me emrin\u201d.<\/em><\/li>\n<\/ol>\n

      M\u00eb 20 shkurt 1909 <\/em>n\u00eb gazet\u00ebn parisiene \u201cFigaro\u201d<\/em> u botua manifesti i par\u00eb futurist me titull: \u201cManifesti i futurizmi\u201d. <\/em><\/p>\n

      Vendos presje edhe para apo pas dhe-se …gj\u00eb q\u00eb kund\u00ebrvihet me gramatik\u00ebn shqipe, si n\u00eb rastet: ”\u2026t\u00eb shijosh \u00e7do sekond\u00eb nga \u00e7menduria\u2026 mos vall\u00eb do t\u00eb thot\u00eb se je i \u00e7mendur?”, ”Sapo m\u2019u kujtua nj\u00eb moment i bukur nga e ardhmja!”<\/p>\n

      [14]Po aty, f. 121.<\/p>\n

      [15]Zherar Zhenet: \u201cFigura\u201d<\/em>, Rilindja, Prishtin\u00eb, 1985, f. 56-57.<\/p>\n

       <\/p>\n

      [17]Fraj Northrop, \u201dAnatomia e kritik\u00ebs\u201d<\/em>, Rilindja, Prishtin\u00eb, 1990, f 467.<\/p>\n

       <\/p>\n

       <\/p>\n

      [18]Turmat nuk e kan\u00eb njohur kurr\u00eb etjen p\u00ebr t\u00eb v\u00ebrtet\u00ebn. Ato k\u00ebrkojn\u00eb iluzione, pa t\u00eb cilat nuk mund t\u00eb jetojn\u00eb. P\u00ebr to irealja ka gjithnj\u00eb p\u00ebrpar\u00ebsi ndaj reales, jorealja vepron mbi to gati nj\u00ebsoj si realja. Turmat kan\u00eb nj\u00eb prirje t\u00eb dukshme p\u00ebr t\u00eb mos par\u00eb asnj\u00eb dallim midis tyre, Zigmund Frojd, \u201cPsikologjia e turmave\u201d,<\/em> Fan Noli, Tiran\u00eb, f. 15.<\/p>\n

       <\/p>\n

      [19]Benjamin, Walter: \u201cIluminacione\u201d<\/em>, Korbi, 1998, f. 408.<\/p>\n

      [20]Po aty, f. 20.<\/p>\n

      [21]Gashi Osman: \u201cMiti dhe kufijt\u00eb e let\u00ebrsis\u00eb (Miti dhe koha)\u201d<\/em>, Seminari Nd\u00ebrkomb\u00ebtar p\u00ebr Gjuh\u00ebn, Let\u00ebrsin\u00eb dhe Kultur\u00ebn\u00a0 Shqiptare, Prishtin\u00eb, 2006, f. 127.<\/p>\n

      [22]\u00c7aushi Tefik: \u201cFjalori i Estetik\u00ebs\u201d, Ombra, Tiran\u00eb, 2005, f. 139.<\/p>\n

      [23]Po aty, f. 165-168.<\/p>\n

      [24]Llotman Jurij: \u201cKultura dhe bumi\u201d<\/em>, p\u00ebrktheu nga origjinali Agron Tufa, Sht\u00ebpia e Librit & Komunikimit, Tiran\u00eb, 2004, f. 215.<\/p>\n","protected":false},"excerpt":{"rendered":"

        Dr. Rovena VATA-albanologe \u201cNga premtimi p\u00ebr lib\u00ebr t\u00eb hapur, p\u00ebr bashk\u00ebkrijim autor-lexues-romancier\u201d (Studim shkencor dhe narratologjik i romanit \u201cLoja e Fituar\u201d)-nga shkrimtari Dario Rexhollari Fjal\u00ebt ky\u00e7e: Loja, Deinarti, Gjenerali, Adabeli, Modeling-u, Arti, Filozofi.<\/p>\n","protected":false},"author":1,"featured_media":4758,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-4756","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-publicistike"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4756","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=4756"}],"version-history":[{"count":2,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4756\/revisions"}],"predecessor-version":[{"id":4760,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4756\/revisions\/4760"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/4758"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4756"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4756"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4756"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}