{"id":5770,"date":"2015-12-24T22:48:54","date_gmt":"2015-12-24T22:48:54","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=5770"},"modified":"2015-12-26T14:49:56","modified_gmt":"2015-12-26T14:49:56","slug":"konviktivizimi-i-nje-vendi-ne-nje-romani-metaforik","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=5770","title":{"rendered":"Thyerja e tabuve ne romanin Kloroform"},"content":{"rendered":"

Sh\u00ebnime p\u00ebr romanin \u201c Kolorform\u201d t\u00eb Klara Budes<\/strong>\u00a0<\/strong><\/p>\n

Simbolikisht, romani Kloroformi \u00ebsht\u00eb nj\u00eb k\u00ebrkes\u00eb p\u00ebr liri dhe nj\u00eb metafor\u00eb e dyfisht\u00eb q\u00eb n\u00ebnkupton s\u00eb pari gjendjen e nj\u00eb shoq\u00ebrie t\u00eb qeverisur nga frika\u2026<\/em><\/p>\n

Pjet\u00ebr Jaku<\/strong><\/p>\n

Terrori i paqes si vazhdim dhe mbarimi i nj\u00eb terrori t\u00eb tipit ISIS, n\u00eb nj\u00eb vend paq\u00ebsor dhe t\u00eb civilizuar, vjen n\u00ebp\u00ebrmjet nj\u00eb metamorfoze t\u00eb paimagjinueshme n\u00eb romanin \u201cKloroform\u201d, t\u00eb autores Klara Buda. Nj\u00eb titull q\u00eb do t\u2019i shkonte nj\u00eb vepre shkencore, sidomos t\u00eb mjeksis\u00eb s\u00eb aplikuar, n\u00eb kushtet e pakusht\u00ebzuara t\u00eb nj\u00eb regjimi fatal, kthyer n\u00eb nj\u00eb morg gjigand, q\u00eb mund t\u00eb marr\u00eb nj\u00eb komb brenda tij. Nj\u00eb sip\u00ebrfaqe paq\u00ebsore q\u00eb h\u00ebsht\u00ebte p\u00ebr t\u00eb mbijetuar, q\u00eb fliste dhe hante me urdh\u00ebr nga lart, q\u00eb zgjohej e flinte syhapur nga armiqt\u00eb imagjinar\u00eb, t\u00eb nj\u00eb regjimi gjakatar dhe t\u00eb pashoq, mund t\u00eb lexohet n\u00eb n\u00ebntekstin e k\u00ebtij romani, n\u00eb dukje i leht\u00eb dhe me kap\u00ebrcime t\u00eb dometh\u00ebnshme, q\u00eb nuk shprehen n\u00eb fjal\u00eb, n\u00eb tekst. Me nj\u00eb fjal\u00eb,mos-harres\u00eb e nj\u00eb kohe t\u00eb vargonjt\u00eb.<\/p>\n

\"klara1\"<\/a><\/p>\n

Let\u00ebrsia si tekst, n\u00eb shum\u00eb raste duhet t\u00eb z\u00ebr\u00eb vend si let\u00ebrsi n\u00eb q\u00ebllim. \u00cbsht\u00eb apo jo let\u00ebrsi \u00e7do tekst i shkruar n\u00eb rreshta horizontal\u00eb, k\u00ebt\u00eb e tregon p\u00ebrmbajtja, por edhe q\u00ebllimi p\u00ebr t\u00eb cilin \u00ebsht\u00eb shkruar. Asnj\u00eb hap nuk b\u00ebh\u00ebt n\u00eb levizje kuturu. Edhe natyra e ka t\u00eb p\u00ebrcaktuar ciklin e saj t\u00eb vazhduesh\u00ebm, por njeriu e ka t\u00eb v\u00ebshtir\u00eb t\u2019i shoh ndryshimet. Nuk ka asnj\u00eb let\u00ebrsi pa pak ego, ndryshe egocentrizmi n\u00eb nj\u00eb vep\u00ebr, \u00ebsht\u00eb fytyra e paduksh\u00ebme e p\u00ebrsonazhit. Dhe kjo qart\u00ebsohet artistikisht n\u00eb Kloroformin e Budes. Nj\u00eb vulgat\u00eb e re, n\u00eb nj\u00eb vend historik, mij\u00ebravje\u00e7ar, e b\u00ebn\u00eb lukunin\u00eb e qen\u00ebve, sikur ata jan\u00eb banor\u00ebt m\u00eb t\u00eb lir\u00eb t\u00eb nj\u00eb vendi t\u00eb vetmuar, t\u00eb mbytur n\u00eb vetizolim total, duke i p\u00ebrsonazhizuar edhe ata.<\/p>\n

Trilli artistik i nj\u00eb vepre letrare, si n\u00eb rastin ton\u00eb \u201c Kloroform\u201d, i kalon caqet individuale t\u00eb krijimtaris\u00eb si dhunti natyrore. Nj\u00eb vend i mbyllur ka vet\u00ebm err\u00ebsir\u00eb dhe, kjo err\u00ebsir\u00eb q\u00eb dukej drit\u00eb, nga shplarja e trurit me ideologji, na kujton nj\u00eb varg t\u00eb Shekspirit : \u201c Looking on darknes which the blind do see.\u201d Sakt\u00eb: \u201c Duke shikuar err\u00ebsir\u00ebn q\u00eb shohin t\u00eb verb\u00ebrit.\u201d Secili prej nesh, q\u00eb jetuam at\u00eb regjim t\u00eb pabesuesh\u00ebm p\u00ebr brezat q\u00eb po vijn\u00eb, shihte n\u00eb at\u00eb err\u00ebsir\u00eb nj\u00eb m\u00ebnyr\u00eb krejt t\u00eb ve\u00e7ant\u00eb jetese, nga bota e civilizuar. Bashk\u00ebharmonizimi i p\u00ebremrit vetor \u201c un\u00eb, ti dhe ne\u2026\u201d \u00ebsht\u00eb nj\u00eb trini model, plot subjekte, sidomos p\u00ebr proz\u00ebn e gjat\u00eb, p\u00ebr t\u00eb dh\u00ebn\u00eb nj\u00eb realitet larg imagjinat\u00ebs s\u00eb nj\u00eb vendi, q\u00eb flet p\u00ebr liri dhe mbyt lirin\u00eb, p\u00ebr nj\u00eb realitet praktik shum\u00eb t\u00eb vonuar dhe t\u00eb t\u00ebrin regresiv. Koha \u00ebsht\u00eb n\u00eb nj\u00eb hap me mosh\u00ebn e autores dhe p\u00ebrsonazheve t\u00eb saj, duke na e dh\u00ebn\u00eb trillin t\u00eb besuesh\u00ebm dhe tekstin n\u00eb art.<\/p>\n

N\u00eb rastin n\u00eb fjal\u00eb, autorja e ndjen t\u00eb nevojshme t\u2019i \u201cndihmoj\u00eb\u201d p\u00ebrsonazhet, pasi n\u00eb rastin e nj\u00eb vepre artistike, meditimi nuk \u00ebsht\u00eb i justifikuesh\u00ebm, aq m\u00eb tep\u00ebr kur krijimi mban nj\u00eb mesazh, i cili don t\u00eb zgjoj\u00eb diken, n\u00eb rastin ton\u00eb nj\u00eb komb, p\u00ebr t\u00eb mos harruar se gjumi i gjat\u00eb d\u00ebmton trurin, ashtu si dhe pagjum\u00ebsia.<\/p>\n

N\u00eb qend\u00ebr jane dy p\u00ebrsonazhe, q\u00eb m\u00eb shum\u00eb mendojn\u00eb se veprojn\u00eb. E si mund t\u00eb veprosh n\u00eb nj\u00eb vend ku imagjinata kalon \u00e7do cak t\u00eb realitetit? Realiteti \u00ebsht\u00eb liri e burgosur, nd\u00ebrsa nj\u00eb komb i t\u00ebr\u00eb injekton brenda vetes lirin\u00eb si shprehje n\u00eb hartime e fjalime, lirin\u00eb si term, lirin\u00eb si dogm\u00eb politike, q\u00eb nuk t\u00eb lejon t\u00eb jesh i lir\u00eb, t\u00eb kufizon deri n\u00eb mardheniet intime, q\u00eb rip\u00ebrt\u00ebrijn\u00eb nj\u00eb komb, nj\u00eb rac\u00eb, nj\u00eb vend! Nj\u00eb kryeqytet bash ne mes t\u00eb Evrop\u00ebs, q\u00eb jeton si n\u00eb shtetrrethim dhe defrehet me folklorizmin amator t\u00eb barinj\u00ebve, t\u00eb hypur kalikoc n\u00eb kok\u00ebn e inteligjenc\u00ebs, n\u00eb nj\u00eb kryeqytet t\u00eb bunkerizuar q\u00eb jeton si n\u00eb luft\u00eb, pa u par\u00eb armik gj\u00ebkundi, ku bisturia e krimit vret qenie t\u00eb pafajshme dhe qep nj\u00eb regjim me perin e dallg\u00ebve shpirt\u00ebrore t\u00eb mosq\u00ebnies s\u00eb kthyer n\u00eb viktim\u00eb t\u00eb satrap\u00ebve mendjeshkurt\u00ebr, q\u00eb vazhdimisht e n\u00eb vite realizojn\u00eb nj\u00eb gjenocid t\u00eb pashoq n\u00eb vendin e tyre, t\u00eb kthyer n\u00eb nj\u00eb azil psikiatrik, ku edhe kafsha g\u00ebzon m\u00eb shum\u00eb liri!<\/p>\n

Simbolikisht, romani Kloroformi \u00ebsht\u00eb nj\u00eb k\u00ebrkes\u00eb p\u00ebr liri dhe nj\u00eb metafor\u00eb e dyfisht\u00eb q\u00eb n\u00ebnkupton s\u00eb pari gjendjen e nj\u00eb shoq\u00ebrie t\u00eb qeverisur nga frika, ku njerzit e autocensurojn\u00eb fjal\u00ebn e tyre, duke i l\u00ebn\u00eb frazat pa mbaruar, e ngjajn\u00eb si t\u00eb trullosur (si nen veprimin e anestezikut kloroform) dhe, s\u00eb dyti, demagogjin\u00eb q\u00eb idealizon kushtet e nj\u00eb vendi, q\u00eb vuan, p\u00ebr mjetet elementare t\u00eb jet\u00ebses, ku me shum\u00eb vend autorja p\u00ebrdor vargjet e nj\u00eb k\u00ebnge q\u00eb e portretizon k\u00ebte: \u201cCfar\u00eb donte Shqip\u00ebria n\u00eb shekuj Pak buk\u00eb, pak drit\u00eb dhe pak hekur\u2026\u201d Dhe, kur i donte k\u00ebto Shqip\u00ebria?! Kur bota po r\u00ebnd\u00ebte drejt planeteve t\u00eb panjohura, kur teknika e fluturimeve kishte zbritur n\u00eb hen\u00eb, shqiptar\u00ebt jetonin n\u00eb koh\u00ebn e kova\u00e7han\u00ebve dhe sopatave. Nj\u00eb vend q\u00eb e kishte mb\u00ebrhtyer histeria kolektive, si\u00e7 shprehet nj\u00eb p\u00ebrsonazh i k\u00ebsaj vepre, jetonte si qent\u00eb e kryeqytetit, p\u00ebr nj\u00eb kothere buk\u00eb, p\u00ebr nj\u00eb llamp\u00eb elektrike dhe p\u00ebr nj\u00eb sopat\u00eb druvari. Kthimi n\u00eb stadin primitiv do t\u2019i kushtonte shum\u00eb nj\u00eb kombi vital, q\u00eb jetonte dhe imitonte deri dhe emrat sipas preferenc\u00ebs mediokre t\u00eb drejtuesve politik, si bie fjala, Marenglen me nj\u00eb mbiemer zvarrit\u00ebs kafshe, q\u00eb edhe t\u00eb lehurit e ka t\u00eb ndaluar, Marenglen Qani Qeni, p\u00ebrgjegj\u00ebsi i morgut dhe i qepjes s\u00eb virgj\u00ebris\u00eb. E gjith\u00eb kjo nj\u00eb tem\u00eb tabu e koh\u00ebs, ku autorja tregon guxim.<\/p>\n

I gjith\u00eb libri ka nj\u00eb subjekt q\u00eb zhvillohet n\u00eb nj\u00eb nga universitetet n\u00eb periferi t\u00eb kryeqytetit, por q\u00eb studentet e tij vinin nga i gjith\u00eb vendi. Subjekti nuk ka nj\u00eb vijim\u00ebsi rr\u00ebfimi, si\u00e7 ndodh rendom\u00eb n\u00eb let\u00ebrsin\u00eb klasike, por nj\u00eb shk\u00ebputje fragmentare p\u00ebr t\u2019u rilidhur n\u00ebp\u00ebrmjet p\u00ebrsonazheve, q\u00eb n\u00eb rastin ton\u00eb nuk jan\u00eb shum\u00eb, por secili prej tij p\u00ebrfaq\u00ebson dik\u00eb, p\u00ebrfaq\u00ebson di\u00e7ka, e ka nj\u00eb rol emicional, q\u00eb e kalon kolektivitetin e propagand\u00ebs politike t\u00eb nj\u00eb regjimi hermetik. Alma Fishta dhe Adriani, p\u00ebrfaq\u00ebsues t\u00eb nj\u00eb rendi t\u00eb ri q\u00eb po troket, por q\u00eb i duhen n\u00ebnshtruar kujdesit nga spiunat q\u00eb mbinin si k\u00ebrpurdhat e nuk dihej prej nga dilnin. Ata mbikqyrnin edhe duartrokitjet, si nj\u00eb fabrikim p\u00ebrfekt dhe analizonin sipas preferencave politike, gjith\u00ebk\u00ebnd q\u00eb kishte nj\u00eb hije dyshimi, sado t\u00eb vog\u00ebl.<\/p>\n

P\u00ebrfytyrimi makab\u00ebr i koleksionimit t\u00eb pjes\u00ebve t\u00eb njeriut, edhe n\u00eb vdekje, \u00ebsht\u00eb nj\u00eb dometh\u00ebnie tjet\u00ebr, q\u00eb PARAFINIZON \u00e7do qenie t\u00eb gjall\u00eb, n\u00eb nj\u00eb vend q\u00eb ka p\u00ebr model, nj\u00eb sistem q\u00eb pak kush e provon nga drejtuesit e tij. \u00cbsht\u00eb v\u00ebrtet nj\u00eb regjim ekpserimental. Let\u00ebrsia si pasqyrim i nd\u00ebrgjegjes duhet t\u00eb krijoj\u00eb gjendje t\u00eb reja, ashtu si let\u00ebrsin\u00eb e krijojn\u00eb shtysat vullnetare t\u00eb nj\u00eb rr\u00ebmbimi, ose ngacmimi fillestar, p\u00ebr t\u2019u \u201crrokullisur\u201d deri n\u00eb mbarim t\u00eb tekstit.<\/p>\n

Si n\u00eb \u00e7do shkenc\u00eb, dhe n\u00eb let\u00ebrsi eksperimentohet, ndaj mendoj se autorja Buda, gjith\u00ebsesi ka arritur, fal\u00eb p\u00ebrdorimit t\u00eb metaforave dhe simboleve, n\u00ebnt\u00ebkstit dhe trillit emocional, t\u2019ia heq an\u00ebn publicistike tekstit, megjith\u00ebse \u00ebsht\u00ebe shum\u00eb e v\u00ebshtir\u00eb, si n\u00eb rastin e ditarit t\u00eb Adrianit, q\u00eb do t\u00eb p\u00ebrdorej nga rregjimi p\u00ebr d\u00ebnimin e tij. Kjo ndodh r\u00ebndom\u00eb me prozator\u00ebt q\u00eb vijn\u00eb nga profesioni i gazetarit, nj\u00eb gj\u00eb t\u00eb till\u00eb nuk e shmangu as Markezi, edhe pse ia kishte v\u00ebn\u00eb disa her\u00eb n\u00eb dukje vetes. Klara, fal\u00eb k\u00ebmb\u00ebngules dhe rishikimit, si\u00e7 shihet t\u00eb krijimit t\u00eb saj, ia del ta shmang\u00eb. Temat e m\u00ebdha bien pre e rr\u00ebfimit, ose e \u201cndihm\u00ebs\u201d q\u00eb i duhet dh\u00ebn\u00eb p\u00ebrsonazhit. P\u00ebr t\u00eb th\u00ebn\u00eb at\u00eb q\u00eb don t\u00eb thot\u00eb autori, disa her\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb shpejtuar, ndoshta dhe nga frika se po t\u00eb iken ideja, kalohet deri n\u00eb detaje p\u00ebrshkruese t\u00eb portreteve dhe karaktereve, aq sa ekologjia e fytyr\u00ebs thot\u00eb m\u00eb shum\u00eb se dialogu. P\u00ebrsonazhet si Adriani, ose veriori Fran, i cili ishte simbol i besimit dhe besnik\u00ebris\u00eb, i brisht\u00ebsis\u00eb dhe ndrojtjes, duhej t\u00eb ishin ashtu, sepse simbolizonin paraprij\u00ebsin e nj\u00eb koh\u00eb tjet\u00ebr q\u00eb po troket, pa e ditur se sa do t\u2019i n\u00ebnshtrohen k\u00ebsaj q\u00eb po vonon t\u00eb ik\u00eb. N\u00eb nj\u00eb pasazh, Qanua i donte t\u00eb vdekurit q\u00eb u sh\u00ebrbente, sepse u largohej p\u00ebrbuzja q\u00eb kishin shfaqur ndonj\u00ebher\u00eb n\u00eb t\u00eb gjall\u00eb, duke u kthyer atyre mir\u00ebsjelljen e humbur, \u00e7ka n\u00ebnkupton shum\u00eb, n\u00eb vet\u00ebm pak tekst.<\/p>\n

Simbolikisht, dalja e Alm\u00ebs n\u00eb rrug\u00eb, pas pritjes s\u00eb gjat\u00eb t\u00eb Qanos s\u00eb morgut, duke mbartur n\u00eb vete dhe me vete nj\u00eb q\u00ebnie q\u00eb duhej t\u00eb jetonte, edhe pse opinioni, e, ve\u00e7an\u00ebrisht politika do e d\u00ebnonte, si nj\u00eb paralajm\u00ebruese e trokitjes s\u00eb liris\u00eb. Simbolika e mospranimit t\u00eb morgut- shtet, me mos\u2019heqjen e f\u00ebmij\u00ebs dhe revolt\u00ebs p\u00ebrsonale, n\u00ebnkupton mosdurimin e nj\u00eb populli, q\u00eb p\u00ebrjet\u00ebsisht \u00ebsht\u00eb vrar\u00eb nga hallakatja kolektive, \u00e7mos askush n\u00eb bot\u00eb. Shkurt, Alma n\u00eb rrug\u00eb \u00ebsht\u00eb nj\u00eb popull i t\u00ebr\u00eb n\u00eb rrug\u00eb. Zgjimi i komanduar deri t\u00eb gjimnastika e detyruar ishin ve\u00e7ori qesharake, q\u00eb sot mund t\u00eb sh\u00ebrbejn\u00eb p\u00ebr humor, por lexuesi pyet: \u201c Kur do t\u00eb vij zgjimi i nd\u00ebrgjegj\u00ebs, q\u00eb dukej n\u00eb syt\u00eb Alba Muses dhe Brikena Jorgos, p\u00ebrsonazhe dyt\u00ebsore, si\u00e7 i p\u00ebrshkruan autorja, nj\u00eb min\u00eb me ide p\u00ebr t\u2019u arg\u00ebtuar.<\/p>\n

Fabrikimi i duartrokitjeve, ose steriliteti mendor me vetem nj\u00eb kahje, ishte nj\u00eb detyrim ideor i pashmangsh\u00ebm, n\u00ebse doje t\u00eb ishe dikushi, n\u00eb cil\u00ebndo prej shkencave t\u00eb pranueshme t\u00eb koh\u00ebs. Mitra, nofk\u00eb e nj\u00eb p\u00ebrsonazhi ,ose skena kur Frani k\u00ebrkon lahuten, apo Vaska me Ronin e Rdivanin, n\u00eb veprimin e tyre p\u00ebrbj\u00ebn\u00eb nj\u00eb dialog t\u00eb qepur artificialisht, t\u00eb cilin pak ta t\u00ebrheq\u00ebsh e gris, si\u00e7 jan\u00eb rastet e shpjegimeve mjeksore n\u00eb lidhje me sportin, lasht\u00ebsin\u00eb dhe Sparten, rolin e boronic\u00ebs p\u00ebr syte etj. detaje q\u00eb, as nuk e d\u00ebmtojn\u00eb vepren, por as nuk i sjellin ndonj\u00eb ngarkes\u00eb emocionale mbres\u00ebl\u00ebn\u00ebse.<\/p>\n

Autopolantet, togat, stervitja ushtarake, operativi, rreziku ajror, bunkerizimi, bodrumet dhe vendstrehimet, Radio Tirana dhe disa element\u00eb t\u00eb tjer\u00eb t\u00eb nj\u00eb regjimi t\u00eb friksh\u00ebm, b\u00ebjn\u00eb m\u00eb s\u00eb miri skanimin e nj\u00eb shoq\u00ebrie, q\u00eb po rr\u00ebzohet n\u00eb hijen e saj. Skena m\u00eb e bukur kur Fatos Fishta, Kreu i Kultures n\u00eb Ministri hap zarfin e Miranda Topallit, n\u00ebn\u00ebs s\u00eb Adrianit, dhe gjen brenda tij nj\u00eb pal\u00eb brek\u00eb, simbol i degjenerimit dikatatorial, ku merrej edhe me privat\u00ebsin\u00eb e \u00e7do qytetari. E \u00e7far\u00eb? Brek\u00ebt ishin t\u00eb vajz\u00ebs s\u00ebn\u00ebnpun\u00ebsit t\u00eb lart\u00eb, e cila i kishte harruar n\u00eb sht\u00ebpin\u00eb e Mirand\u00ebs, p\u00ebrkat\u00ebsisht t\u00eb Adrianit. Nd\u00ebrsa debati n\u00ebn\u00eb e bij\u00eb (Eliana Fisht\u00ebs me t\u00eb bij\u00ebn ) ishte m\u00eb se normal, kur Fatosi punonte n\u00eb ato rangje, nd\u00ebrsa Adriani i p\u00ebrkiste nj\u00eb tjet\u00ebr klase, si\u00e7 trumbetohej n\u00eb ato koh\u00eb. Qeveria, tashm\u00eb, do t\u00eb analizoj\u00eb brek\u00ebt e Alm\u00ebs. A nuk ishte Fatosi nj\u00eb pjes\u00eb e qeveris\u00eb, edhe pse kryetar kulture?<\/p>\n

Nj\u00eb shprehje tjet\u00ebr interesante, q\u00eb nuk i shp\u00ebton autores, \u00ebsht\u00eb togfjal\u00ebshi \u201c t\u00eb ham\u00eb buk\u00eb\u201d q\u00eb zuri tre emra, t\u00eb tria vakteve q\u00eb njeriu ushqehet. T\u00eb ham\u00eb m\u00ebngjes, drek\u00eb dhe dark\u00eb. M\u00eb e r\u00ebnd\u00ebsishmja ishte t\u00eb ham\u00eb buk\u00eb, ne po luftonim p\u00ebr buk\u00ebn, n\u00eb nj\u00eb izolim t\u00eb plot\u00eb, me termin absurd t\u00eb mb\u00ebshtetjes n\u00eb forcat tona. N\u00ebse ne nuk do ta shkruajm realisht let\u00ebrsin\u00eb e viteve t\u00eb errta, do t\u00eb biem\u00eb n\u00eb vargjet e G\u00ebtes : \u201c Alles Nahe werde fern\u201d. \u201c Gjith\u00eb\u00e7ka q\u00eb \u00ebsht\u00eb e af\u00ebrt, largohet.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Sh\u00ebnime p\u00ebr romanin \u201c Kolorform\u201d t\u00eb Klara Budes\u00a0 Simbolikisht, romani Kloroformi \u00ebsht\u00eb nj\u00eb k\u00ebrkes\u00eb p\u00ebr liri dhe nj\u00eb metafor\u00eb e dyfisht\u00eb q\u00eb n\u00ebnkupton s\u00eb pari gjendjen e nj\u00eb shoq\u00ebrie t\u00eb qeverisur nga frika\u2026 Pjet\u00ebr Jaku Terrori i paqes si vazhdim dhe mbarimi i nj\u00eb terrori t\u00eb tipit ISIS, n\u00eb nj\u00eb vend paq\u00ebsor dhe t\u00eb civilizuar,…<\/p>\n","protected":false},"author":1,"featured_media":5771,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-5770","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-letersi"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/5770","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=5770"}],"version-history":[{"count":2,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/5770\/revisions"}],"predecessor-version":[{"id":5776,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/5770\/revisions\/5776"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/5771"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5770"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5770"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5770"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}