{"id":4989,"date":"2015-03-13T23:31:09","date_gmt":"2015-03-13T23:31:09","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=4989"},"modified":"2015-03-13T23:31:09","modified_gmt":"2015-03-13T23:31:09","slug":"hermetizmi-si-perqendrim-maksimal","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=4989","title":{"rendered":"Hermetizmi si p\u00ebrqendrim maksimal"},"content":{"rendered":"
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\"camaj\"<\/a>-Hyrje n\u00eb poezin\u00eb e Martin Camajt<\/em><\/p>\n

Nga Luan Top\u00e7iu<\/strong><\/p>\n

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Poezia e Martin Camajt mbetet nj\u00eb dukuri me p\u00ebrmasa europiane dhe komb\u00ebtare nj\u00ebherazi. Autori i\u00a0Nji fyell nd\u00ebr male<\/em>\u00a0\u2013 Prishtin\u00eb\u00a01953<\/a>;Kanga e v\u00ebrrinit<\/em>\u00a0\u2013 Prishtin\u00eb\u00a01954<\/a>;\u00a0Djella<\/em>(novel\u00eb) \u2013 Rom\u00eb\u00a01958<\/a>;\u00a0Legjenda<\/em>\u00a0\u2013 Rom\u00eb\u00a01964<\/a>;\u00a0Lirika mes dy moteve<\/em>\u00a0\u2013 Munih\u00a01967<\/a>;\u00a0oezi<\/em>\u00a0(1953-1967)- Munih 1967;\u00a0Njeriu m\u00eb vete dhe me t\u00eb tjer\u00eb<\/em>\u00a0\u2013\u00a01978<\/a>;\u00a0Poezi<\/em>1981<\/a>;\u00a0Drandja<\/em>\u00a0(proza poetike)- Munih 1981;\u00a0Rrath\u00eb<\/em>\u00a0(novel\u00eb) \u2013\u00a01981<\/a>;hkundullima<\/em>\u00a0\u2013\u00a01985<\/a>;\u00a0Karpa<\/em>\u00a0(novel\u00eb)- 1987;\u00a0Poezi<\/em>1981<\/a>, \u00ebsht\u00eb shembulli, mbase m\u00eb elokuent, i modernitetit shqiptar.<\/p>\n

Krijimtaria e tij u zhvillua sipas gjedhesh t\u00eb lira dhe moderne. Martin Camaj \u00ebsht\u00eb shkrimtari m\u00eb programatik n\u00eb let\u00ebrsin\u00eb shqipe, pran\u00eb Lasgush Poradecit, dhe i p\u00ebrqassh\u00ebm, p\u00ebrpos t\u00eb tjer\u00ebsh, me Mallarm\u00e9-n\u00eb. Kritika letrare shqiptare, p\u00ebr hir t\u00eb nj\u00eb komoditeti profesional, nuk e ka konsideruar poezin\u00eb e Camajt si hermetike. Por mohimi i hermetizmit n\u00eb poezin\u00eb e Camajt p\u00ebrb\u00ebn nj\u00eb pist\u00eb t\u00eb gabuar k\u00ebrkimi, ashtu si\u00e7 mund t\u00eb jet\u00eb i ekzagjeruar dhe orientimi t\u00ebr\u00ebsor i interpretimit t\u00eb vepr\u00ebs tek hermetizmi. V\u00ebshtir\u00ebsia reale e lirizmit nuk duhet t\u00eb pengoj\u00eb p\u00ebrpjekjet p\u00ebr hetime kritike.<\/p>\n

Lirika europiane e shekullit XX nuk na ofron nj\u00eb port\u00eb ku mund t\u00eb hyjm\u00eb leht\u00ebsisht, pasi ajo p\u00ebrb\u00ebn nj\u00eb struktur\u00eb komplekse, me plot t\u00eb panjohura. Mbi t\u00eb gjitha flitet p\u00ebr sundim t\u00eb enigm\u00ebs dhe err\u00ebsir\u00ebs. Tek veprat e lirik\u00ebve gjerman\u00eb (q\u00eb nga Rilke, Trakl e deri tek G. Benn, t\u00eb atyre francez\u00eb q\u00eb nga Apollinaire deri tek Saint-Johns Perse, t\u00eb atyre spanjoll\u00eb q\u00eb nga Federico Garcia Lorca e deri tek Guill\u00e9n, t\u00eb atyre italian\u00eb q\u00eb nga Palazzeschi e deri tek Ungaretti, apo t\u00eb atyre anglo-sakson\u00eb, q\u00eb nga Yeats e deri tek T. S. Eliot, nuk mund t\u00eb vihet n\u00eb dyshim askurr\u00eb r\u00ebnd\u00ebsia e k\u00ebsaj cil\u00ebsie t\u00eb poezis\u00eb moderne. Vepra e k\u00ebtyre poet\u00ebve d\u00ebshmon se, n\u00eb gjendjen shpirt\u00ebrore t\u00eb sotme, forca shpreh\u00ebse e lirik\u00ebs nuk \u00ebsht\u00eb m\u00eb e pak\u00ebt se sa ajo e filozofis\u00eb, romanit, teatrit, piktur\u00ebs apo muzik\u00ebs.<\/p>\n

Poezia ka nj\u00eb kuptim univok, t\u00eb sakt\u00eb, t\u00eb veshur me metafor\u00eb, me synimin p\u00ebr t\u00eb prekur t\u00eb v\u00ebrtetat e fundit. Poeti rreket t\u00eb pushtoj\u00eb nj\u00eb imazh par\u00ebsor t\u00eb universit, t\u00eb cilit k\u00ebrkon t\u2019i fal\u00eb ndjeshm\u00ebri p\u00ebrmes vizioneve vetanake. Aspekti m\u00eb i v\u00ebshtir\u00eb i poezis\u00eb mbetet\u00a0err\u00ebsimi<\/em>\u00a0q\u00eb shkaktohet nga nj\u00eb p\u00ebrqendrim maksimal. Err\u00ebsimi si nj\u00eb cil\u00ebsi poetike \u00ebsht\u00eb nj\u00eb shqet\u00ebsim i posa\u00e7\u00ebm p\u00ebr\u00a0puriz\u00ebm<\/em>dhe\u00a0esencializ\u00ebm<\/em>, jo n\u00eb kuptimin e purizmit bosh t\u00eb lirik\u00ebs moderne, por si karakterizues i nj\u00eb koncepti humanist. Err\u00ebsimi i poezis\u00eb \u00ebsht\u00eb shenj\u00eb e modernitetit. Madje Baudelaire-i shkruante: \u201c\u00cbsht\u00eb nj\u00eb lavdi e ve\u00e7ant\u00eb q\u00eb t\u00eb mos jesh i kuptuar\u201d apo Montale do t\u00eb shprehej n\u00eb nj\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb prer\u00eb \u201cAskush nuk do t\u00eb shkruante vargje, n\u00ebse problemi i poezis\u00eb do t\u00eb ishte ai q\u00eb t\u00eb b\u00ebhesh i kuptuesh\u00ebm p\u00ebr t\u00eb tjer\u00ebt\u201d. Ai q\u00eb do t\u00eb receptoj\u00eb k\u00ebt\u00eb poezi duhet t\u00eb m\u00ebsohet me err\u00ebsir\u00ebn q\u00eb mb\u00ebshtjell lirik\u00ebn moderne. Poezia moderne paraqet nj\u00eb rrjet tensioni t\u00eb forcave absolute q\u00eb veprojn\u00eb n\u00eb m\u00ebnyr\u00eb sugjestive mbi shtret\u00ebrit pararacional\u00eb, duke b\u00ebr\u00eb t\u00eb vibrojn\u00eb n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb dhe zonat e misterit t\u00eb nocioneve. Martin Camaj, i gjendur plot\u00ebsisht \u201cn\u00eb matric\u00ebn moderne\u201d e manifeston tensionin e disonanc\u00ebs s\u00eb poem\u00ebs moderne dhe n\u00eb drejtime t\u00eb tjera. K\u00ebshtu, trajta me origjin\u00eb arkaike, mistike, okulte kontrastojn\u00eb me nj\u00eb intelektualitet t\u00eb mpreht\u00eb, me m\u00ebnyr\u00ebn e thjesht\u00eb t\u00eb shprehjes me nj\u00eb kompleksitet t\u00eb t\u00eb shprehurit, rrumbullak\u00ebsin\u00eb e gjuh\u00ebs me p\u00ebrmbajtjen e pazgjidhur, sakt\u00ebsin\u00eb me absurditetin. Konceptimi poetik i Camajt \u00ebsht\u00eb purifikim nga \u00e7do lloj aksesori deri n\u00eb ftillim. Ashtu si dhe te Novalis, gjuha poetike lind disa ligje t\u00eb reja autonome si n\u00eb formulat matematike: ato krijojn\u00eb nj\u00eb bot\u00eb p\u00ebr veten, luajn\u00eb vet\u00ebm p\u00ebr veten e tyre. Nj\u00eb magji e ve\u00e7ant\u00eb e fjal\u00ebs, njohur tek poet\u00eb si Novalis, Poe, Rimbaud, Mallarme, instauron lirizmin e poetit si nj\u00eb shenj\u00eb e posa\u00e7me e nj\u00eb ndjeshm\u00ebrie krijuese unike. P\u00ebrmes gjuh\u00ebs mund t\u00eb shp\u00ebrb\u00ebhen realitete t\u00eb dh\u00ebna dhe t\u00eb rib\u00ebhen n\u00eb baz\u00eb t\u00eb fantazis\u00eb (mund\u00ebsive krijuese t\u00eb imagjinat\u00ebs). Poeti b\u00ebn k\u00ebshtusoj nj\u00eb \u201coperacion magjik\u201d p\u00ebrmes fjal\u00ebve. Nj\u00eb tekst i Eliot-it, Saint-John Perse-it, Ungaretti-it apo M. Camajt nuk lejon nj\u00eb interpretim t\u00eb k\u00ebnaqsh\u00ebm duke u nisur nga p\u00ebrmbajtja, megjith\u00ebse k\u00ebto tekste kan\u00eb sigurisht dhe ato \u201cp\u00ebrmbajtjen\u201d e tyre, madje mund t\u2019u p\u00ebrkasin nj\u00eb sfere tematike shum\u00eb dometh\u00ebn\u00ebse p\u00ebr autorin gjegj\u00ebs. Por larg\u00ebsia midis subjektit dhe teknik\u00ebs s\u00eb gjuh\u00ebs k\u00ebtu \u00ebsht\u00eb shum\u00eb m\u00eb e dukshme sesa n\u00eb poezin\u00eb e m\u00ebparshme. Vepra e tyre b\u00ebhet e frytshme dhe kumtohet p\u00ebrmes k\u00ebsaj teknike. Energjit\u00eb drejtohen t\u00ebr\u00ebsisht drejt stilit. N\u00eb lirik\u00ebn moderne, n\u00eb raportin e p\u00ebrmbajtjes me m\u00ebnyr\u00ebn e shprehjes fiton kjo e dyta. Tek Camaj poezia konceptohet si nj\u00eb akt nistor, me prirjen p\u00ebr t\u00eb m\u00ebsuar mbi misteret e m\u00ebdha ekzistenciale, p\u00ebrmes disa simboleve arketipale.<\/p>\n

Vendlindja p\u00ebrb\u00ebn nj\u00eb territor q\u00eb i p\u00ebrket vet\u00ebm atij, ai ushqen p\u00ebr t\u00eb nj\u00eb obsesion poetik me nj\u00eb tension maksimal. Ajo p\u00ebrb\u00ebn nj\u00eb territor q\u00eb duket se e zot\u00ebron vet\u00ebm ai dhe p\u00ebrb\u00ebn nj\u00ebherazi mitin fondamental t\u00eb poetit. Sharmi i vendlindjes tek Camaj \u00ebsht\u00eb nj\u00eb propozim p\u00ebr nj\u00eb vizion t\u00eb ri stilistik unitar, universal n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb dhe me sistem referimi absolut. N\u00ebse do t\u00eb huajm\u00eb nga poeti dhe filozofi rumun Lucian Blaga konceptin se stili i ka rr\u00ebnj\u00ebt n\u00eb subkoshientin etnik, stili i Camajt buron prej k\u00ebtij subkoshienti etnik.<\/p>\n

E v\u00ebrteta n\u00eb fush\u00ebn e poezis\u00eb ndodhet n\u00eb uj\u00ebrat e \u00ebndrr\u00ebs. \u00cbndrra e Martin Camajt \u00ebsht\u00eb produkt i nj\u00eb \u201cgjumi t\u00eb kontrolluar\u201d. Nuk \u00ebsht\u00eb aspak nj\u00eb identitet me nuanca surrealiste dhe me n\u00ebnshtrat frojdian. \u201c\u00cbndrra e kontrolluar\u201d projekton n\u00eb distanc\u00eb t\u00eb af\u00ebrt, ose m\u00eb sakt\u00eb n\u00eb nj\u00eb pik\u00ebnisje nga ku do t\u00eb kryen dep\u00ebrtime t\u00eb thella n\u00eb kufijt\u00eb e dukurive t\u00eb sakta, p\u00ebr t\u2019i inkuadruar m\u00eb pas sipas ligjeve poetike. P\u00ebrmes gjendjes onirike mund t\u00eb ndreqet realiteti, ve\u00e7an\u00ebrisht mund t\u00eb ndreqet \u00e7ka \u00ebsht\u00eb rast\u00ebsore dhe skematike. \u00cbsht\u00eb fusha e \u00ebndrr\u00ebs ajo q\u00eb na transferon n\u00eb nj\u00eb romantiz\u00ebm t\u00eb plot\u00eb.<\/p>\n

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Hermetizmi dhe koncepti \u201cerr\u00ebsir\u00eb poetike\u201d<\/strong><\/p>\n

Sa \u00ebsht\u00eb i \u201cerr\u00ebt\u201d Martin Camaj, dhe sa q\u00ebndron ai n\u00ebn shenj\u00ebn e Hermesit \u2013 mbetet nj\u00eb \u00e7\u00ebshtje p\u00ebr t\u2019u sqaruar. Hermetizmi dhe err\u00ebsira jan\u00eb realitete t\u00eb poezis\u00eb, aspak pejorative, ngat\u00ebrrimi i tyre do t\u00eb na \u00e7onte n\u00eb nj\u00eb gabim. Ato duhet t\u00eb vihen n\u00eb lidhje me nocionin e\u00a0hapjes s\u00eb vepr\u00ebs<\/em>letrare, nocion i futur n\u00eb m\u00ebnyr\u00eb eksplicite nga teoricieni i estetik\u00ebs Umberto Eco. \u00cbsht\u00eb dometh\u00ebn\u00ebs fakti q\u00eb termi hermetiz\u00ebm ka qen\u00eb i lidhur me poezin\u00eb moderne (me p\u00ebrjashtim t\u00eb italian\u00ebve\u00a0l\u2019 ermetismo)<\/em>\u00a0duke p\u00ebrdorur termin francez\u00a0obscurit\u00e9.<\/em>\u00a0Nj\u00eb sfer\u00eb ontologjike strikte implikon poetika hermetike (me nj\u00eb vler\u00eb af\u00ebrsisht univoke) nd\u00ebrkoh\u00eb q\u00eb\u00a0err\u00ebsimi<\/em>\u00a0i lirizmit modern p\u00ebrmes hapjes s\u00eb pafundme refuzon fiksimin ontologjik, duke l\u00ebn\u00eb t\u00eb lir\u00eb ambiguitetin. Por p\u00ebr t\u00eb folur mbi hermetizmin t\u00eb shohim se \u00e7\u2019ka qen\u00eb Hermesi. N\u00ebn emrin\u00a0Hermes Trismegist<\/em>, neoplatonik\u00ebt sh\u00ebnonin n\u00eb fakt zotin iniciator t\u00eb egjiptian\u00ebve t\u00eb quajtur Thot (Dhoutal) q\u00eb mbante sekretet e\u00a0Krijimit<\/em>, t\u00eb fjal\u00ebs, t\u00eb shkencave dhe\u00a0Artit<\/em>. P\u00ebrmes hermetizmit \u00ebsht\u00eb kuptuar at\u00ebher\u00eb m\u00ebsimi i fsheht\u00eb mbi bot\u00ebn dhe ekzistenc\u00ebn, nd\u00ebrsa q\u00eb t\u00eb thuash n\u00ebse ky tekst \u00ebsht\u00eb hermetik do t\u00eb thot\u00eb q\u00eb ky tekst ka dometh\u00ebnien e nj\u00eb tjet\u00ebr rendi t\u00eb bot\u00ebs, p\u00ebrmes figurash simbolike q\u00eb eventualisht p\u00ebr t\u2019u zb\u00ebrthyer kan\u00eb nevoj\u00eb p\u00ebr nj\u00eb \u00e7el\u00ebs dekodifikues. \u201cN\u00eb t\u00eb gjitha poezit\u00eb e mia ka principe metrike (t\u00eb fshehta) q\u00eb nuk e prishin ritmin e radhitjen e natyrshme t\u00eb gjuh\u00ebs<\/em>\u201d \u2013 do t\u00eb shpjegohej Martin Camaj p\u00ebr poezin\u00eb e tij. Por, do t\u00eb shtonim se poeti ruan ritmin dhe radhitjen e natyrshme t\u00eb gjuh\u00ebs, por jo t\u00eb bot\u00ebs. Hermetizmi mban mesazhin univok dhe lexuesi duhet t\u00eb jet\u00eb i vet\u00ebdijsh\u00ebm dhe duhet ta pranoj\u00eb k\u00ebt\u00eb konvencion, k\u00ebt\u00eb lloj komunikimi. N\u00eb k\u00ebt\u00eb proces, vepra poetike\u00a0e hapur<\/em>\u00a0dhe \u201ce err\u00ebt\u201d provokon nj\u00eb transmetim polivalent, p\u00ebrmes karakterit plurivok t\u00eb mesazheve q\u00eb rrjedhin nga polisemia e gjuh\u00ebs, n\u00eb gjykimin e lir\u00eb t\u00eb receptorit. Err\u00ebsira e poezis\u00eb moderne ka gjasa interpretimi\u00a0ad infinitum<\/em>. N\u00eb thelb, gjithsesi, hermetizmi \u00ebsht\u00eb i mbyllur n\u00eb planin e njohjes, kurse err\u00ebsira \u00ebsht\u00eb e hapur p\u00ebrmes pranimit t\u00eb pap\u00ebrcaktueshm\u00ebris\u00eb. M\u00eb sakt\u00eb, n\u00eb hermetizmin poetik mesazhi i krijuesit \u00ebsht\u00eb bazal (dhe ky mbetet p\u00ebr t\u2019u zbuluar), nd\u00ebrsa n\u00eb lirik\u00ebn moderne t\u00eb hapur, polivalenca e mesazheve i takon sajimit t\u00eb interpretuesve q\u00eb kuptojn\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb diferencuar gjuh\u00ebn poetike (\u00e7far\u00eb zbulon imagjinata e interpretuesit \u00ebsht\u00eb shpeshher\u00eb m\u00eb e r\u00ebnd\u00ebsishme se sa ajo q\u00eb ka dashur t\u00eb thot\u00eb krijuesi). Ndryshe th\u00ebn\u00eb, konvencioni i vepr\u00ebs s\u00eb hapur ka n\u00eb baz\u00eb pik\u00ebrisht k\u00ebt\u00eb bashk\u00ebpunim t\u00eb pakufizuar midis krijuesit dhe konsumatorit apo midis autorit dhe receptorit. Hermetizmi presupozon nj\u00eb vizion t\u00eb ve\u00e7ant\u00eb mbi bot\u00ebn dhe rregullin e universit. Duke sugjeruar nj\u00eb shum\u00ebsi kuptimesh, vepra e hapur b\u00ebhet ambigue dhe pranon ndihmes\u00ebn krijuese t\u00eb interpretuesit. Nga pik\u00ebpamja e \u201cp\u00ebrmbajtjes\u201d hermetizmi synon m\u00eb shum\u00eb drejt simboleve origjinale. Nd\u00ebrkoh\u00eb q\u00eb poetika e hapur p\u00ebrdor n\u00eb form\u00eb t\u00eb lir\u00eb shenja nga mund t\u00eb nxirren mesazhe jounivoke. Hermetizmi pranon nj\u00eb zgjidhje t\u00eb vetme apo disa, nd\u00ebrsa err\u00ebsira konfiguron nj\u00eb diversitet t\u00eb interpretimeve. Hermetizmi do t\u00eb ishte k\u00ebsisoj i hapur ndaj univocitetit, nd\u00ebrsa err\u00ebsira e mbyllur p\u00ebrmes shum\u00ebsis\u00eb polifonike. Marr\u00ebveshja e vepr\u00ebs s\u00eb hapur ka n\u00eb baz\u00eb pik\u00ebrisht k\u00ebt\u00eb bashk\u00ebpunim t\u00eb pafundm\u00eb midis autorit dhe receptorit. Err\u00ebsira e poezis\u00eb moderne vjen nga relativiteti vullnetar i p\u00ebrfshir\u00eb n\u00eb polisemin\u00eb e gjuh\u00ebs. Hermetizmi \u00ebsht\u00eb mjaft i ngusht\u00eb, nd\u00ebrsa err\u00ebsira \u00ebsht\u00eb karakteristik\u00eb thelb\u00ebsore e lirizmit modern. Konfuzioni ndodh kur me hermetiz\u00ebm n\u00ebnkuptohet err\u00ebsira q\u00eb e lidhin me karakterin e hapur t\u00eb lirik\u00ebs moderne. Err\u00ebsira derivon n\u00eb t\u00eb shumtat e rasteve nga shprehja poetike, duke qen\u00eb n\u00eb thelb nj\u00eb \u00e7\u00ebshtje gjuhe; gjuha poetike n\u00eb p\u00ebrgjith\u00ebsi e err\u00ebt ilustron besimin e poetit modern se \u00ebsht\u00eb ai i vet\u00ebm dhe vet\u00ebdija e tij n\u00eb k\u00ebt\u00eb bot\u00eb. Riinterpretimi i veprave t\u00eb vjetra nga modern\u00ebt do t\u00eb thot\u00eb hapja e tyre, d.m.th. pranimi i nj\u00eb\u00a0err\u00ebsire konvencionale<\/em>.<\/p>\n

Tek Martin Camaj \u00ebsht\u00eb e nevojshme gjetja e nj\u00eb rruge qasjeje q\u00eb t\u00eb sqaroj\u00eb kuptimin e k\u00ebtij lirizmi. P\u00ebrdorimi i m\u00eb shum\u00eb rrug\u00ebve, pa nj\u00eb drejtim t\u00eb qart\u00eb, mund ta fsheh\u00eb p\u00ebrfundimisht at\u00eb. Hera-her\u00ebs mund t\u00eb hyj\u00eb n\u00eb pun\u00eb intuita, por p\u00ebr zb\u00ebrthimin e vepr\u00ebs s\u00eb tij mund t\u00eb jet\u00eb e pamjaftueshme.<\/p>\n

Lirika moderne i jep gjuh\u00ebs nj\u00eb funksion paradoksal p\u00ebr t\u00eb shprehur dhe p\u00ebr t\u00eb fshehur kuptimin n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb. Err\u00ebsira b\u00ebhet k\u00ebshtusoj nj\u00eb element estetik. Ajo duket se m\u00eb tep\u00ebr e b\u00ebn l\u00eb\u00e7it\u00ebsin t\u00eb largohet se sa t\u00eb afrohet, apo ndryshe th\u00ebn\u00eb, e l\u00eb at\u00eb pezull. Lirika e err\u00ebt flet p\u00ebr evenimente, qenie apo sende, shkakun e t\u00eb cilave, koh\u00ebn, vendin p\u00ebr t\u00eb cilat l\u00eb\u00e7it\u00ebsi nuk \u00ebsht\u00eb dhe nuk do t\u00eb b\u00ebhet me dije:<\/p>\n

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N\u00eb driza jan\u00eb gjarpijt e zez<\/em><\/p>\n

\u00a0\u00a0 e ti je e xhveshun n\u00ebn diell.<\/em><\/p>\n

\u00a0\u00a0 N\u00eb driza jan\u00eb gjarpijt e zez<\/em><\/p>\n

\u00a0\u00a0 e rrijn\u00eb buz\u00eb n\u00eb buz\u00eb<\/em><\/p>\n

\u00a0\u00a0 e rrijn\u00eb buz\u00eb n\u00eb buz\u00eb,<\/em><\/p>\n

\u00a0\u00a0 e jeta e tyne asht e bardh\u00eb,<\/em><\/p>\n

\u00a0\u00a0 e bardh\u00eb e bardh\u00eb n\u00ebn diell,<\/em><\/p>\n

\u00a0\u00a0 e jeta e bardh\u00eb e bardh\u00eb,<\/em><\/p>\n

\u00a0\u00a0 n\u00ebn diell e bardh\u00eb, e bardh\u00eb.<\/em><\/p>\n

\u00a0\u00a0 Mjalt\u00ebzat lagin me mjalt\u00eb<\/em><\/p>\n

\u00a0\u00a0 Gurzit e prrojeve t\u00eb thata<\/em><\/p>\n

(Gjarpijt e zez)<\/p>\n

T\u00eb gjitha poemat e Martin Camajt kan\u00eb si karakteristik\u00eb fragmentaren. N\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb qart\u00eb kjo gj\u00eb manifestohet n\u00eb poemat e shkurtra. Poezit\u00eb e shkurtra nuk duhet t\u00eb lexohen (si\u00e7 \u00ebsht\u00eb dhe rasti i \u201cGjarpijt e zez\u201d) p\u00ebr p\u00ebrmbajtjen e tyre; ato pasqyrojn\u00eb subjekte pa asnj\u00eb r\u00ebnd\u00ebsi, apo komplet t\u00eb pasondueshme. Fjal\u00ebt duhet t\u00eb receptohen si formula ting\u00ebllore lirike. Poezia \u201cGjarpijt e zez\u201d nd\u00ebrtohet me disa efekte t\u00eb qarta grafike bardh\u00eb e zi. Por q\u00eb mund t\u00eb sugjerojn\u00eb dhe m\u00eb shum\u00eb ngjyra. Poeti nd\u00ebrton mjaft thjesht figura ting\u00ebllore, l\u00ebvizje abstrakte t\u00eb ngopura nga misteri i pamjes s\u00eb painterpretueshme t\u00eb cil\u00ebn poeti projekton. N\u00eb projektin poetik t\u00eb Camajt hidhet drit\u00eb verbuese:\u00a0e jeta e tyne asht e bardh\u00eb, \/e bardh\u00eb e bardh\u00eb n\u00ebn diell, \/ e jeta e bardh\u00eb e bardh\u00eb, \/n\u00ebn diell e bardh\u00eb, e bardh\u00eb.\u00a0<\/em>Vet\u00ebm n\u00eb pes\u00eb vargje mbiemri\u00a0i bardh\u00eb\u00a0<\/em>p\u00ebrdoret shtat\u00eb her\u00eb, emridiell\u00a0<\/em>dy her\u00eb \u2013 insistimi i poetit \u00ebsht\u00eb sugjestiv, gjuha nuk \u00ebsht\u00eb m\u00eb komunikim por nj\u00eb gjenerator gjendjeje, posa\u00e7\u00ebrisht drite, e ngjashme me piktur\u00ebn moderne\u2026<\/p>\n

V\u00ebrtet, poezia e Martin Camajt ngjason me piktur\u00ebn moderne, zbulimi bazal i s\u00eb cil\u00ebs apo pik\u00ebnisja (dhe kjo merit\u00eb i takon n\u00eb pjes\u00ebn m\u00eb t\u00eb madhe C\u00e9zanne-it) ka qen\u00eb: konsiderimi i objektit si nj\u00eb\u00a0objekt n\u00eb hap\u00ebsir\u00eb\u00a0<\/em>q\u00eb zot\u00ebron t\u00eb gjitha elementet e drejtpeshimit dhe t\u00eb volumit: p\u00ebrmas\u00eb, qendr\u00ebn e gravitetit, pesh\u00ebn. Q\u00eb k\u00ebtu krijohet i gjith\u00eb sistemi konstruktivist. Largimi nga \u00e7do lloj subjektivizmi, integrimi i portretit, peizazhit, natyr\u00ebs s\u00eb qet\u00eb, jo si\u00a0shprehje shpirt\u00ebrore,<\/em>\u00a0por si ekzistenc\u00eb l\u00ebndore, organike, p\u00ebrb\u00ebn b\u00ebrtham\u00ebn e realizimeve moderne. Poezia e Martin Camajt \u201cTrajta\u201d \u00ebsht\u00eb nj\u00eb d\u00ebshmi elokuente n\u00eb k\u00ebt\u00eb kuptim.<\/p>\n

Petk i endun prej nj\u00eb dore<\/em><\/p>\n

fund e krye, trajta,<\/em><\/p>\n

e kandshme p\u00ebr sy e vesh\u00eb.<\/em><\/p>\n

Trajt\u00eb e thjesht\u00eb e lindun<\/em><\/p>\n

nd\u00ebr mundime prej guri,<\/em><\/p>\n

e p\u00ebrshkueshme shtigjesh t\u00eb paharrahuna<\/em><\/p>\n

me kamb\u00eb ose patkonj.<\/em><\/p>\n

Pend\u00ebl e leht\u00eb n\u00eb dukje<\/em><\/p>\n

po e rand\u00eb hekur n\u00eb pesh\u00eb,<\/em><\/p>\n

tingull ose ngjyr\u00eb\/ e kthjell\u00ebt deri n\u00eb drit\u00eb<\/em>.<\/p>\n

P\u00ebrshtatja e k\u00ebtij q\u00ebndrimi n\u00eb poezin\u00eb e re e pasuron strukturalisht. N\u00eb poezin\u00eb \u201cTrajta\u201d, poeti ve theksin pik\u00ebrisht n\u00eb ekzistenc\u00ebn materiale t\u00eb objektit poetik, n\u00eb zot\u00ebrimin e ekuilibrit dhe volumit:Pend\u00ebl e leht\u00eb n\u00eb dukje\/po e rand\u00eb hekur n\u00eb pesh\u00eb,\/tingull ose ngjyr\u00eb\/e kthjell\u00ebt deri n\u00eb drit\u00eb<\/em>. Si piktura dhe poezia moderne, duke fituar tipare t\u00eb reja, i n\u00ebnshtrohen prov\u00ebs s\u00eb v\u00ebshtir\u00eb s\u00eb interpretimit. Yeats-i d\u00ebshironte q\u00eb poezia t\u00eb vishte po aq dometh\u00ebnie sa mund t\u00eb gjej\u00eb lexuesi. P\u00ebr T. S. Eliot-in, poema \u00ebsht\u00eb nj\u00eb objekt i pavarur, i gjendur midis autorit dhe lexuesit, marr\u00ebdh\u00ebniet midis poem\u00ebs dhe autorit jan\u00eb t\u00eb ndryshme nga ato midis poem\u00ebs dhe lexuesit; me nd\u00ebrmjet\u00ebsin\u00eb e lexuesit, poema hyn n\u00eb nj\u00eb loj\u00eb dometh\u00ebn\u00ebse q\u00eb ka justifikimin e vet, madje dhe n\u00ebse largohet nga synimi gjithsesi i pafiksuar \u2013 i autorit. \u201cErr\u00ebsira p\u00ebr t\u00eb cil\u00ebn i t\u00ebrhiqet v\u00ebmendja poetit vjen nga vet\u00eb nata q\u00eb ai vet\u00eb eksploron: nga err\u00ebsira e shpirtit dhe e misterit ku zhytet qenia njer\u00ebzore\u201d (Saint-John Perse).<\/p>\n

Nga nj\u00ebra an\u00eb Martin Camaj \u00ebsht\u00eb poet hermetik n\u00eb kuptimin fundamental, nd\u00ebrsa nga ana tjet\u00ebr, poezia e tij pranon, nga pik\u00ebpamja formale, m\u00eb shum\u00eb mund\u00ebsi trajtimi. P\u00ebrpos hermetizmit, poezia e Camajt ka si veshje t\u00eb brendshme dhe err\u00ebsir\u00ebn. Err\u00ebsira vjen n\u00eb radh\u00eb t\u00eb par\u00eb nga thell\u00ebsia dhe m\u00eb pas nga gjuha \u2013 p\u00ebrmes p\u00ebrdorimit t\u00eb shprehjeve sintetike. Poeti udh\u00ebhiqet nga ai ideal klasik sipas t\u00eb cilit nj\u00eb maksimum mendimesh duhet t\u00eb shprehen me nj\u00eb minimum formulash t\u00eb verbra, p\u00ebr t\u00eb dh\u00ebn\u00eb nj\u00eb maksimum idesh vizionare. N\u00eb konceptin e poetit, lirizmi k\u00ebrkon nj\u00eb gjendje njohjeje, duke vendosur nj\u00eb t\u00eb v\u00ebrtet\u00eb mbi nj\u00eb tjet\u00ebr, nj\u00eb z\u00eb mbi nj\u00eb tjet\u00ebr, n\u00eb pranin\u00eb e nj\u00eb z\u00ebri t\u00eb huaj q\u00eb depersonalizon, t\u00eb nj\u00eb z\u00ebri anonim. Vet\u00ebm \u00ebndrra e v\u00ebrtet\u00eb, e ve\u00e7uar nga imazhi i k\u00ebndsh\u00ebm i surrealist\u00ebve, mund t\u00eb ushqej\u00eb dhe t\u00eb ruaj\u00eb nj\u00eb gjendje t\u00eb till\u00eb. Camaj tejkalon n\u00eb k\u00ebt\u00eb kuptim gjith\u00eb p\u00ebrpjekjet e lirizmit modern p\u00ebr t\u00eb tejkaluar t\u00eb pamundur\u00ebn dhe hi\u00e7in. Pas Novalisi-it, Poe-s\u00eb, Rimbaud-s\u00eb, Baudelaire-it, Mallarme-s\u00eb dhe ndoshta n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb me Ungareti-n, Martin Camaj b\u00ebn pjes\u00eb n\u00eb nj\u00eb grupim t\u00eb lirizmit purist, ku gjurm\u00ebt e reales largohen dhe q\u00ebllimi i k\u00ebsaj poezie b\u00ebhet prekja e aktit poetik dhe pasojat e tij.<\/p>\n

\n

Atdheu n\u00eb nj\u00eb filt\u00ebr vetanak<\/strong><\/p>\n

Atdheu tek Martin Camaj, ndoshta prej munges\u00ebs fizike t\u00eb tij, do t\u00eb shfaqet n\u00eb format m\u00eb natyrale t\u00eb mundshme. Shartimi i imazheve t\u00eb f\u00ebmij\u00ebris\u00eb, mitet dhe legjendat me ngjarjet e p\u00ebrditshme do t\u00eb b\u00ebjn\u00eb q\u00eb pamjet e atdheut t\u00eb paraqiten p\u00ebrmes nj\u00eb filtri vetanak. P\u00ebr t\u2019u theksuar q\u00eb n\u00eb fillim \u00ebsht\u00eb fakti se nuk hasim n\u00eb tekstin poetik simbole, shenja t\u00eb nj\u00eb konvencioni t\u00eb gjer\u00eb komb\u00ebtar.<\/p>\n

Poeti p\u00ebrq\u00ebmton objekte, shenja, fjal\u00eb q\u00eb lidhen me nj\u00eb p\u00ebrvoj\u00eb t\u00eb pangat\u00ebrrueshme. Vendlindja me relievin e saj t\u00eb \u00e7uditsh\u00ebm, jeta e izoluar gjeografikisht, ruan m\u00eb shum\u00eb se kudo trajta t\u00eb nj\u00eb jete antike, arketipale, plot magji, ku jeta dhe organizimi i saj kryhet sipas disa rregullave q\u00eb konservohen vet\u00ebm atje. K\u00ebto rrethana do t\u00eb mbeten p\u00ebrjet\u00ebsisht n\u00eb nd\u00ebrgjegjen e poetit. K\u00ebshtu poeti do t\u00eb shpjegohej \u201cPoezia ime rrjedh nga k\u00ebto rrethana jete q\u00eb un\u00eb due ti kujtoj! Qe p\u00ebr shembull nj\u00eb: \u201cKam linde n\u00eb nj\u00eb vis t\u00eb eg\u00ebr ku s\u2019ka shkel\u00eb kurr\u00eb k\u00ebmba e kalit\u201d, kaq i thyesh\u00ebm asht\u00eb ky vend. Prej p\u00ebrjetimeve atje, mbas t\u00eb shtatit vjet\u00eb deri n\u00eb t\u00eb dhjetin m\u00eb kujtohet m\u00eb kujtohet prekja e gjarpnit t\u00eb fshehur n\u00eb fier, saktas ndija e t\u00eb ftoftit t\u00eb nj\u00eb l\u00ebkure t\u00eb l\u00ebmuet t\u00eb l\u00ebmuet\u2026<\/em>\u201d N\u00eb tekstin poetik, poeti b\u00ebn p\u00ebrpjekje p\u00ebr t\u00eb zbuluar dhe interpretuar identitetin e tij dhe, n\u00eb nj\u00eb kontekst m\u00eb t\u00eb gjer\u00eb, identitetin e kombit t\u00eb vet. Realiteti \u00ebsht\u00eb i shk\u00ebputur nga rregulli hap\u00ebsinor, kohor, objektiv dhe shpirt\u00ebror, duke injoruar ndryshimet e nevojshme t\u00eb nj\u00eb orientimi normal n\u00eb bot\u00eb, t\u00eb cil\u00ebn ai e refuzon, duke konsideruar q\u00eb do t\u00eb sjell\u00eb paragjykime \u2013 ndryshimet midis t\u00eb bukur\u00ebs dhe t\u00eb sh\u00ebmtuar\u00ebs, af\u00ebrsis\u00eb dhe larg\u00ebsis\u00eb, drit\u00ebs dhe hijes, dhimbjes dhe g\u00ebzimit, tok\u00ebs dhe qiellit. Camaj rimerr shenja nga krijimtaria gojore, nga kultura komb\u00ebtare, figura mitologjike, simbole q\u00eb mbartin konotacione t\u00eb posa\u00e7me, gjurm\u00eb t\u00eb bot\u00ebs shqiptare t\u00eb ruajtura me dashuri \u2013 dhe nd\u00ebrton nj\u00eb poezi me rr\u00ebnj\u00eb t\u00eb pleksura n\u00eb etnogjenez\u00ebn e tij. Shum\u00eb prej figurave ruajn\u00eb magjin\u00eb sugjestive p\u00ebrmes formave plastike, elegante, misterioze, befasuese si:\u00a0hoja, dragoi, zamarja, bleta, limonore<\/em>\u00a0dhe padyshim\u00a0buelli<\/em><\/strong>. Ky i fundit p\u00ebrmes formave t\u00eb papritura q\u00eb merr shnd\u00ebrrohet n\u00eb nj\u00eb fjal\u00eb-ky\u00e7e p\u00ebr poezin\u00eb e Camajt.\u00a0Bualli<\/em>\u00a0her\u00eb shfaqet si element peizazhi, her\u00eb si element mitologjik, her\u00eb merr dometh\u00ebnie filozofike, her\u00eb shnd\u00ebrrohet n\u00eb shenj\u00eb me dometh\u00ebnie gjeografike, her\u00eb merr forma plastike, kur si pesh\u00eb, kur si volum, her\u00eb del si fantazm\u00eb, her\u00eb t\u00eb tjera si rezistenc\u00eb. Cikli \u201cbualli\u201d, p\u00ebrmes denduris\u00eb s\u00eb p\u00ebrdorimit t\u00eb k\u00ebsaj fjale-tem\u00eb, b\u00ebhet nj\u00eb poezi unitare, e lidhur, e rrjedhshme. Shpjegimi q\u00eb do t\u00eb b\u00ebnte Martin Camaj mbi k\u00ebt\u00eb pik\u00eb interesante t\u00eb poezis\u00eb s\u00eb tij, padyshim, na ndihmon p\u00ebr dekodifikimin e poezis\u00eb dhe hedh drit\u00eb mbi semantik\u00ebn e p\u00ebrgjithshme t\u00eb tekstit. \u201cBUELLI:\u00a0Buelli (Bos bubalus) i cili n\u00eb koh\u00eb t\u00eb mo\u00e7me por dhe ma von\u00eb asht\u00eb identifikue shpesh me kaun, ka lidhje totemike me njeriun (shih edhe emnat e personave Bua, Mekshi) dhe hyn n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb n\u00eb gjedhin e trash\u00eb si kafsh\u00eb sht\u00ebpiake. N\u00eb fusha, sidomos n\u00eb zonat k\u00ebnetore dhe p\u00ebrgjat\u00eb rrjedhave t\u00eb lumejve ma t\u00eb m\u00ebdhenj (si Drinit t\u00eb Bardh\u00eb e t\u00eb Zi n\u00eb Shqipnin\u00eb e Veriut dhe Vjos\u00ebs n\u00eb jug t\u00eb vendit), gjithashtu edhe jasht\u00eb kufijve t\u00eb Shqipnis\u00eb, ku kan\u00eb jetue shqiptar\u00eb, n\u00eb vitin 1938 ka pas\u00eb rreth 12000 buej; n\u00eb kat\u00ebrdhjet\u00eb vitet e fundit ata jan\u00eb shfaros\u00eb thuajse krejt\u201d.\u00a0<\/em>Nd\u00ebrsa m\u00eb af\u00ebr tekstit poetik dhe m\u00eb af\u00ebr kuptimit konkret n\u00eb poezi do t\u00eb ishte i vlefsh\u00ebm pasazhi i m\u00ebposht\u00ebm: \u201cN\u00eb k\u00ebto 21 poezi t\u00eb shkurtra q\u00eb krijojn\u00eb nj\u00eb tan\u00ebsi ravgohen impulset shkat\u00ebrrimtare t\u00eb njeriut-e jo vet\u00ebm n\u00eb lidhje me buellin. Impulsit t\u00eb shkat\u00ebrrimit i kund\u00ebrvihet fuqia natyrale fizike e kafsh\u00ebs, e cila doli prej element\u00ebve t\u00eb mir\u00ebfillta t\u00eb tok\u00ebs e t\u00eb ujit. Ekzistenca e saj p\u00ebrligjet dhe historikisht, si nga e kaluemja mitologjike, ashtu edhe emnat e njerzve t\u00eb ve\u00e7ant\u00eb si Bua, Buell ose Mekshi. Edhe malet q\u00eb l\u00ebshojn\u00eb hije t\u00eb ngjashme hije t\u00eb ngjashme me form\u00ebn e buellit mbajn\u00eb emrin e tij. N\u00eb k\u00ebt\u00eb simbol lidhen gjithaq tiparet shpirtnore t\u00eb nj\u00eb populli.<\/em><\/p>\n

N\u00eb k\u00ebt\u00eb cik\u00ebl abstragimi i artit verbal vjen tue u ngjesh\u00eb prej poezie n\u00eb poezi\u201d\u00a0<\/em>Poeti M. Camaj, p\u00ebrmes z\u00ebrit t\u00eb tij t\u00eb pashoq, m\u00eb shum\u00eb d\u00ebshmon se \u00ebsht\u00eb nj\u00eb trash\u00ebgimtar i z\u00ebrit t\u00eb rapsodit popullor, nj\u00eb trash\u00ebgimtar q\u00eb di t\u2019i fal\u00eb z\u00ebrit t\u00eb rac\u00ebs s\u00eb tij nj\u00eb timb\u00ebr t\u00eb papar\u00eb, nuanca t\u00eb pad\u00ebgjuara, subtilitete t\u00eb pahasuara para tij \u2013 dhe poezis\u00eb moderne bot\u00ebrore nj\u00eb z\u00eb origjinal t\u00eb pangat\u00ebrruesh\u00ebm. \u201cP\u00ebr bot\u00ebn nga vij un\u00eb zani ishte gjith\u00e7ka, sinonim me p\u00ebrjet\u00ebsin\u00eb, kujtes\u00ebn me k\u00ebng\u00ebn<\/em>\u2026\u201d.<\/p>\n

Vepra poetike e Martin Camajt \u00ebsht\u00eb nj\u00eb vep\u00ebr e sinkronizuar t\u00ebr\u00ebsisht me proceset e modernizmit t\u00eb let\u00ebrsis\u00eb bot\u00ebrore, nj\u00eb shembull i shk\u00eblqyer i thell\u00ebsis\u00eb artistike dhe magjistar i kombinimeve dhe formulave n\u00eb gjuh\u00ebn shqipe, nj\u00eb model i mrekulluesh\u00ebm i p\u00ebr\u00e7apjeve t\u00eb artit shqiptar n\u00eb rrafshet m\u00eb t\u00eb ep\u00ebrme t\u00eb kultur\u00ebs europiane. Kjo vep\u00ebr k\u00ebrkon interpretime t\u00eb vazhdueshme p\u00ebr t\u00eb siguruar nj\u00eb komunikim t\u00eb p\u00ebrhersh\u00ebm mes saj dhe l\u00eb\u00e7it\u00ebsit t\u00eb saj; densiteti i ideve t\u00eb saj, plasticiteti i papritur i imazheve, hermetizmi si cil\u00ebsi e thell\u00ebsis\u00eb \u2013 do t\u00eb th\u00ebrrasin p\u00ebr ndihm\u00eb fjal\u00ebn e kritik\u00ebs dhe t\u00eb lexuesit n\u00eb gjuh\u00ebn shqipe.<\/p>\n

N\u00eb k\u00ebt\u00eb kapitull mbi poezin\u00eb e Martin Camajt, p\u00ebrdor\u00ebm fjal\u00ebn \u201chyrje<\/em>\u201d sepse \u00ebsht\u00eb fjala p\u00ebr nj\u00eb korpus artistik t\u00eb pashfryt\u00ebzuar. Poeti shkroi vepr\u00ebn e tij, i la testamentin e tij kultur\u00ebs shqiptare, \u00ebsht\u00eb radha e kultur\u00ebs shqiptare q\u00eb ta njoh\u00eb vepr\u00ebn e Camajt dhe t\u2019i jap\u00eb vendin e merituar\u2026<\/p>\n

publikuar ne MAPO, 07 mars 2015<\/p>\n<\/div>\n

<\/p>\n

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

-Hyrje n\u00eb poezin\u00eb e Martin Camajt Nga Luan Top\u00e7iu Poezia e Martin Camajt mbetet nj\u00eb dukuri me p\u00ebrmasa europiane dhe komb\u00ebtare nj\u00ebherazi. Autori i\u00a0Nji fyell nd\u00ebr male\u00a0\u2013 Prishtin\u00eb\u00a01953;Kanga e v\u00ebrrinit\u00a0\u2013 Prishtin\u00eb\u00a01954;\u00a0Djella(novel\u00eb) \u2013 Rom\u00eb\u00a01958;\u00a0Legjenda\u00a0\u2013 Rom\u00eb\u00a01964;\u00a0Lirika mes dy moteve\u00a0\u2013 Munih\u00a01967;\u00a0oezi\u00a0(1953-1967)- Munih 1967;\u00a0Njeriu m\u00eb vete dhe me t\u00eb tjer\u00eb\u00a0\u2013\u00a01978;\u00a0Poezi1981;\u00a0Drandja\u00a0(proza poetike)- Munih 1981;\u00a0Rrath\u00eb\u00a0(novel\u00eb) \u2013\u00a01981;hkundullima\u00a0\u2013\u00a01985;\u00a0Karpa\u00a0(novel\u00eb)- 1987;\u00a0Poezi1981, \u00ebsht\u00eb shembulli, mbase m\u00eb…<\/p>\n","protected":false},"author":1,"featured_media":4990,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-4989","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4989","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=4989"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4989\/revisions"}],"predecessor-version":[{"id":4991,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/4989\/revisions\/4991"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/4990"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4989"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4989"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4989"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}