{"id":5963,"date":"2016-03-17T15:00:36","date_gmt":"2016-03-17T15:00:36","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=5963"},"modified":"2016-03-17T22:06:31","modified_gmt":"2016-03-17T22:06:31","slug":"unaza-e-virgjereshes-roman-kunder-tabuve-ne-jeten-e-femres","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=5963","title":{"rendered":"\u201cUNAZA E VIRGJ\u00cbRESH\u00cbS\u201d, ROMAN KUND\u00cbR TABUVE N\u00cb JET\u00cbN E FEMR\u00cbS"},"content":{"rendered":"


\n\"KOLA<\/a>LORI KOLA,<\/strong><\/p>\n

Master Shkencor n\u00eb Arte, Universiteti i Shkodr\u00ebs<\/p>\n

\u201cUNAZA E VIRGJ\u00cbRESH\u00cbS\u201d, ROMAN KUND\u00cbR TABUVE N\u00cb JET\u00cbN E FEMR\u00cbS\u00a0<\/em><\/p>\n

Prof. Dr. Gjovalin Shkurtaj:<\/em><\/strong> Ndue Dedaj \u00ebsht\u00eb nj\u00eb nga autor\u00ebt m\u00eb prodhimtar\u00eb t\u00eb let\u00ebrsis\u00eb s\u00eb sotme: poet, shkrimtar, dhe studiues e analist i mir\u00ebnjohur nga Mirdita. Emri i tij \u00ebsht\u00eb nga m\u00eb t\u00eb shpesht\u00ebt n\u00eb faqet e gazetave dhe revistave kulturore. Ka botuar shum\u00eb artikuj e studime qysh n\u00eb vitet \u201970, nd\u00ebrsa n\u00eb vitin 1998 ka botuar librin e tij t\u00eb par\u00eb poetik me titull \u201cAjsbergu i Han\u00ebs\u201d. N\u00eb vijim, ka botuar librat \u201cToka e katedraleve\u201d (1999 dhe ribotim me riv\u00ebshtrime e pasurime me 2006), monografin\u00eb \u201cKanuni mes kuptimit dhe keqkuptimit\u201d(2010), disa v\u00ebllime me poezi etj. Para do koh\u00ebsh doli nga shtypi romani i tij \u201cUnaza e Virgj\u00ebresh\u00ebs\u201d, nj\u00eb lib\u00ebr prej 372 faqesh, kushtuar nj\u00eb teme sa interesante e t\u00ebrheq\u00ebse, aq edhe t\u00eb lidhur me palc\u00ebn e dokeve e traditave t\u00eb Shqip\u00ebris\u00eb veriore e sidomos t\u00eb Mirdit\u00ebs, ku ka qen\u00eb deri von\u00eb edhe zakoni i vajzave virgj\u00ebresha, t\u00eb pamartuara e t\u00eb p\u00ebrkushtuara mbajtjes gjall\u00eb t\u00eb familjeve, n\u00eb munges\u00eb t\u00eb meshkujve etj. Romani \u00ebsht\u00eb shkruar bukur, me njohje t\u00eb thell\u00eb jo vet\u00ebm t\u00eb tematik\u00ebs s\u00eb trajtuar n\u00eb t\u00eb, por edhe me prurje t\u00eb nj\u00eb pasurie t\u00eb madhe fjal\u00ebsh e frazeologjizmash aq mbres\u00ebl\u00ebn\u00ebse e funksionale nga e folmja e Mirdit\u00ebs e m\u00eb gjer\u00eb. I urojm\u00eb suksese autorit dhe i ftojm\u00eb lexuesit ta marrin k\u00ebt\u00eb roman t\u00eb ri, duke qen\u00eb t\u00eb bindur se do t\u00eb gjejn\u00eb n\u00eb t\u00eb jo vet\u00ebm rr\u00ebfim kureshtar e befasues, po edhe g\u00ebrshetim mjesht\u00ebror t\u00eb subjektit me thurjen ligj\u00ebrimore, ashtu si e ka zakon autori Ndue Dedaj.<\/em>(<\/em>http:\/\/shpirtiarbritrron.blogspot.al\/2015\/02<\/em><\/a>.)<\/em><\/p>\n

Ky roman i ri i autorit vjen dhjet\u00eb vjet pas nj\u00eb tjet\u00ebr romani t\u00eb tij, me titullin \u201cShembja\u201d, i mir\u00ebpritur nga lexuesi dhe kritika p\u00ebr kundrimin e minier\u00ebs n\u00eb nj\u00eb kontekst social-filozofik jo thjesht\u00eb si n\u00ebntok\u00eb. \u201cUnaza e Virgj\u00ebresh\u00ebs\u201d, aq m\u00eb tep\u00ebr, m\u00ebton drejt nj\u00eb prurje origjinale nga bot\u00ebp\u00ebrjetimi shqiptar i maleve, ve\u00e7mas ai i femr\u00ebs s\u00eb mbyllur n\u00eb korrniz\u00ebn e s\u00eb shkuar\u00ebs. Autori, me p\u00ebrvoj\u00ebn e gjat\u00eb si publi\u00e7ist, shkrimtar e studiues i Kanunit, guxon drejt trajtimit t\u00eb problematikave delikate, ku n\u00eb k\u00ebt\u00eb roman ai ka shk\u00ebrmoqur tabut\u00eb n\u00eb jet\u00ebn e gruas, duke nxjerr\u00eb n\u00eb pah profilin e tij si artist i lir\u00eb, po dhe duke marr\u00eb p\u00ebrsip\u00ebr nj\u00eb p\u00ebrballje t\u00eb v\u00ebshtir\u00eb estetike q\u00eb synon t\u2019i thyej\u00eb disa klishe \u201cklasi\u00e7iste\u201d n\u00eb art, risi e nj\u00ebmend\u00ebt kjo e mjaft autor\u00ebve t\u00eb let\u00ebrsis\u00eb bashk\u00ebkohore shqiptare nga vitet \u201890 e n\u00eb vazhdim<\/p>\n

Romani t\u00eb krijon mund\u00ebsin\u00eb t\u00eb nxjerr\u00ebsh n\u00eb pah vlerat n\u00eb t\u00eb gjitha rrafshet, duke e par\u00eb let\u00ebrsin\u00eb si konstrukt gjuh\u00ebsor e zb\u00ebrthyer kodet letrare t\u00eb fshehura n\u00ebn petkun e fjal\u00ebs s\u00eb shkruar. Nj\u00eb vep\u00ebr semantike polifonike, me dhe pa subjekt, jasht\u00eb skem\u00ebs klasike, si\u00e7 e l\u00ebvrojn\u00eb k\u00ebt\u00eb gjini t\u00eb proz\u00ebs autor\u00ebt e let\u00ebrsis\u00eb moderne Xhojsi, Prusti, Kafka, Kamy etj., \u00e7ka duket dhe n\u00eb m\u00ebnyr\u00ebn se si autori e stilizon, ndryshe nga e zakonshmja, personazhin e vet emblem\u00eb: \u201cDina – Gjon rronte gjithnj\u00eb me dilem\u00ebn: t\u00eb ishte burri apo gruaja? Burri ishte duku, shpallja, kurse fem\u00ebrsia ishte vet\u00eb qenia. Ajo habitej se si gjithnj\u00eb e m\u00eb shum\u00eb femra brenda saj merrte trajt\u00eb burri prej mashkullsis\u00eb q\u00eb e mb\u00ebshtillte, duke u b\u00ebr\u00eb n\u00eb sy t\u00eb gjindjes p\u00ebrher\u00eb e m\u00eb shum\u00eb burr\u00eb e p\u00ebrher\u00eb e me pak grua, sa p\u00ebrnjimend t\u00eb harronte se ishte fem\u00ebr! Ishte nj\u00eblloj flijimi p\u00ebr s\u00eb gjalli, sa i vet\u00ebdijsh\u00ebm, aq i pavet\u00ebdijsh\u00ebm. (fq. 252). <\/em>Personazh tipik p\u00ebr klinik\u00ebn frojdiane, n\u00eb dilem\u00ebn brenda vet\u00eb qenies njer\u00ebzore. Luhatja nd\u00ebrmjet koshienc\u00ebs dhe subkoshienc\u00ebs nxjerr n\u00eb pah kontradikt\u00ebn e karakterit t\u00eb saj, ku nga nj\u00ebra an\u00eb vuan d\u00ebnimin e p\u00ebrbetimit n\u00ebn veshjen burr\u00ebrore dhe nga ana tjet\u00ebr i vlon d\u00ebshira p\u00ebr t\u00eb jetuar nj\u00eb realitet jasht\u00eb rregullave t\u00eb ngurta malsore. Nj\u00eb zgjedhje e till\u00eb do t\u2019i servir\u00eb asaj absurditetin jet\u00ebsor dhe pamund\u00ebsin\u00eb p\u00ebr ta jetuar jet\u00ebn, sepse \u201cnd\u00ebrgjegja e saj ishte mb\u00ebrthyer n\u00eb nj\u00eb kod (t\u00eb mos binte n\u00eb shtrat me asnj\u00eb burr\u00eb!), kurse n\u00ebnnd\u00ebrgjegja nuk mund t\u00eb flinte kurr\u00eb. Ajo i turbullonte gjithnj\u00eb qenien aq sa dhe vet\u00eb ajo, Gruaja – Burr\u00eb, e kishte t\u00eb veshtir\u00eb ta ndalte at\u00eb shp\u00ebrthim ndjesor t\u00eb vetin\u201d. (fq. 218).<\/em><\/p>\n

Dina-Gjon fsheh brenda vetes nj\u00eb shekull me enigma, q\u00eb shkrimtari Bdek Diveli p\u00ebrpiqet me t\u00eb gjitha m\u00ebnyrat dhe mjetet t\u2019i zb\u00ebrthej\u00eb, ashtu si \u00e7do p\u00ebrgamen\u00eb t\u00eb vjet\u00ebr t\u00eb Arbnit dhe arealit verior shqiptar. Befasia shfaqet q\u00eb n\u00eb titullin e romanit, q\u00eb e t\u00ebrheq lexuesin dhe i shton kureshtjen: \u201cSi\u2026 unaz\u00eb\u2026 virgj\u00ebresha?!\u201d Ajo \u00ebsht\u00eb e till\u00eb pik\u00ebrisht se nuk mund t\u00eb ket\u00eb unaz\u00eb! Leximi i romanit do t\u00eb befasoj\u00eb lexuesin, pasi brenda rrethit t\u00eb asaj unaz\u00eb \u00ebsht\u00eb skalitur historia nj\u00ebqindvje\u00e7are e Virgj\u00ebresh\u00ebs, e cila e ka trash\u00ebguar at\u00eb unaz\u00eb nga grat\u00eb e fisit q\u00eb ndryjn\u00eb brenda vetes t\u00eb nj\u00ebjtin mister fem\u00ebror, si p\u00ebr t\u00eb treguar se n\u00eb bot\u00ebn e maleve rrethi ciklik i jet\u00ebs s\u00eb gruas ishte nj\u00eb \u201cunaz\u00eb\u201d e fatit. Romani p\u00ebrvijohet n\u00eb dy linja, Dina Gjon – Zojs Shmia dhe Bdek Diveli – Hirna Gureshi, q\u00eb p\u00ebrmbushin nj\u00ebra \u2013 tjetr\u00ebn, e para m\u00eb tep\u00ebr si sfond historik dhe e dyta si e tashme. Autori krijon nj\u00eb raport tep\u00ebr t\u00eb ngusht\u00eb me personazhet, ku ai vet\u00eb vishet me petkun e Bdek Divelit, q\u00eb s\u00eb bashku me Hirn\u00ebn sh\u00ebtisin gjith\u00eb \u201cpjes\u00ebn e Ballkanit\u201d p\u00ebr t\u00eb zbuluar gjith\u00e7ka q\u00eb nuk \u00ebsht\u00eb th\u00ebn\u00eb rreth virgj\u00ebreshave. \u201cBdek Diveli i v\u00ebrtitej asaj plak\u00eb jetose si nj\u00eb ikone q\u00eb i duhej hequr ajo cip\u00ebza e pluhurit q\u00eb kishte v\u00ebn\u00eb kore prej motesh mbi at\u00eb fytyr\u00eb t\u00eb rrudhur nga jeta e tjet\u00ebrsojt\u00eb, h\u00ebm burr\u00eb – h\u00ebm grua\u2026! Donte ta \u00e7\u2019mitizonte Din\u00ebn – Gjon, ta shnd\u00ebrronte n\u00eb karakter, por ajo e ndryme ashtu n\u00eb heshtjen e saj nj\u00ebqindvje\u00e7are, nuk i bindej m\u00eb as pen\u00ebs se tij, as dalt\u00ebs s\u00eb mprehte t\u00eb skulpur\u00ebs…\u201d (fq. 27). <\/em>Autori i \u00ebsht\u00eb drejtuar bestytnis\u00eb p\u00ebr t\u00eb dh\u00ebn\u00eb mjeshtrisht shnd\u00ebrrimin e vajz\u00ebs n\u00eb djal\u00eb, duke kaluar ajo ylberin, nj\u00eb detaj artistik i goditur, q\u00eb do t\u00eb thot\u00eb se p\u00ebr protagonisten e romanit nuk ka kthim pas. Nd\u00ebrthurja e asaj \u00e7far\u00eb \u00ebsht\u00eb reale, natyrore me at\u00eb q\u00eb \u00ebsht\u00eb hyjnore, e mbinatyrshme t\u00eb kujton konceptin dannuncian \u201cardhja e mbinjeriut\u201d. Gruaja-Burr\u00eb e ka marr\u00eb tashm\u00eb vendimin e saj unik: \u201cT\u00eb tjer\u00ebt duhet vet\u00ebm ta pranonin, n\u00ebna, babai, v\u00ebllai, motra, shoqnia, prifti, hoxha, kryeplaku\u2026Gjonin\u201d (fq. 77). <\/em>Pa\u00e7ka se k\u00ebshtu ajo kishte fituar vetmin\u00eb e saj t\u00eb p\u00ebrjetshme. Autori merret pik\u00ebrisht me k\u00ebt\u00eb karakter t\u00eb pazakont\u00eb, si p\u00ebr ta nxjerr\u00eb nga vetmia dhe pengu i dashuris\u00eb, pasi lexuesi duhet ta dij\u00eb se ajo e kishte marr\u00eb at\u00eb vendim pik\u00ebrisht se nj\u00eb djal\u00eb (Pal Pogu) kishte refuzuar martes\u00ebn me t\u00eb. Me aktin e saj t\u00eb pashembullt Gruaja-Burr\u00eb (Dina-Gjon) fshikullonte gjith\u00eb burrat e dheut, q\u00eb ndiheshin superior\u00eb karshi femrave. Ajo sikur piskat n\u00eb kup\u00eb t\u00eb qiellit, n\u00eb ato male t\u00eb larta: n\u00ebse askush nuk m\u00eb del p\u00ebrzot, ka nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb qen\u00eb dalzot\u00ebse e vetes, p\u00ebrbetimi p\u00ebr t\u00eb qendruar virgj\u00ebresh\u00eb. Let\u00ebrsia nuk e ka l\u00ebn\u00eb menjan\u00eb k\u00ebt\u00eb tradit\u00eb zakonore. Kan\u00eb qen\u00eb kryesisht autore femra ato q\u00eb jan\u00eb marr\u00eb me burrneshat, si\u00e7 njihen ndryshe. A nuk do t\u00eb shkruante nj\u00eb tregim me nj\u00eb fabul t\u00eb till\u00eb dhe shkrimtarja kanadeze Ali\u00e7e Munro, fituese e Nobelit n\u00eb let\u00ebrsi n\u00eb vitin 2013? Apo shkrimtarja shqiptare Elvira Dones, romanin \u201cHana\u201d, q\u00eb n\u00eb italisht do t\u00eb botohej me titullin \u201cVirgj\u00ebresha e p\u00ebrbetuar\u201d, duke u b\u00ebr\u00eb dhe film artistik.<\/p>\n

N\u00eb k\u00ebt\u00eb \u201cantologji\u201d letrare kushtuar virgj\u00ebreshave, romani i Ndue Ded\u00ebs \u201cUnaza e Virgj\u00ebresh\u00ebs\u201d padyshim q\u00eb \u00ebsht\u00eb nj\u00eb prurje ndryshe, pasi nuk ftillohet nga ekzotika. N\u00eb vep\u00ebr vihet re nd\u00ebrthurja e reales m\u00eb fantastiken, ndaj mund t\u00eb q\u00ebmtojm\u00eb disa elemente q\u00eb n\u00eb shtresat e tekstit jan\u00eb t\u00eb natyr\u00ebs mitologjike, magjike, kulturore, morale, sociale, historike etj., t\u00eb mbartura n\u00eb rrjedh\u00ebn e koh\u00ebs, nga stadi m\u00eb primitiv i zhvillimit deri n\u00eb dit\u00ebt tona. Elementet mitologjike jan\u00eb t\u00eb shkrira me elementet e tjera t\u00eb krijimit duke marr\u00eb funksion artistik, ku do t\u00eb ve\u00e7onim disa figura imagjinare si: \u201cdragoi\u201d (fq. 9); \u201ckulshedra\u201d (fq. 9); \u201czana\u201d (fq. 11); \u201cshtojzovallet\u201d (fq. 13); \u201cmagjistaret\u201d (fq. 149); \u201cqoft\u00eblargu\u201d (fq. 25) etj.<\/em>, q\u00eb mish\u00ebrohen me forc\u00ebn njer\u00ebzore t\u00eb personazheve. Autori rreh t\u00eb na sjell\u00eb n\u00eb k\u00ebt\u00eb vep\u00ebr frym\u00ebn e koh\u00ebs s\u00eb kaluar, n\u00ebp\u00ebrmjet ligj\u00ebrimeve t\u00eb personazheve, duke filluar q\u00eb nga emri buzukian Bdek. Nisur nga kjo shihet prirja e shkrimtarit p\u00ebr ngjyrimin e koh\u00ebs q\u00eb evokohet n\u00eb vep\u00ebr, duke u marr\u00eb jo thjesht me at\u00eb q\u00eb \u00ebsht\u00eb e vjet\u00ebr dhe realisht e p\u00ebrputhshme me gjendjen gjuh\u00ebsore t\u00eb asaj koh\u00eb, por dhe e bukur, e kuptueshme dhe e vler\u00ebsueshme si mbres\u00eblen\u00ebse p\u00ebr koh\u00ebn ton\u00eb dhe lexuesin e sot\u00ebm. K\u00ebto trajta t\u00eb vjetra gjuh\u00ebsore, q\u00eb zgjidhen p\u00ebr individualizimin e ngjyrimin e vepr\u00ebs artistike jan\u00eb t\u00eb tretshme n\u00eb ter\u00ebsin\u00eb letrare normative t\u00eb romanit. G\u00ebrshetimi i elementeve artistik\u00eb \u00ebsht\u00eb n\u00eb p\u00ebrshtatje me ve\u00e7antit\u00eb individuale t\u00eb stilit t\u00eb autorit Dedaj, duke b\u00ebr\u00eb q\u00eb gjuha e k\u00ebtij romani t\u00eb shquhet p\u00ebr nj\u00eb stilistik\u00eb tep\u00ebr t\u00eb pasur. P\u00ebrmes figurave letrare t\u00eb vetvetishme autori p\u00ebrcjell kodet e veshura t\u00eb komunikimit p\u00ebr lexuesin e t\u00eb gjitha zonave dhe niveleve. Gjith\u00e7ka t\u00eb duket si n\u00eb metafor\u00ebn e labirintit, p\u00ebrmes s\u00eb cil\u00ebs autori evokon idet\u00eb dhe p\u00ebrmbajtjen. Ka disa elemente letrare moderne dhe post – moderne si: intertekstualiteti, kur autori nd\u00ebrkall vepra dhe shkrimtar\u00eb q\u00eb nga antikiteti grek, si Homeri, apo universi shekspirian, qasje me personazhet e Eskilit (fq. 159), Xhon Gollsuorthit, Khaled Hosseinit, n\u00eb funksion t\u00eb ides\u00eb se kulturat maskiliste apo liberale komunikojn\u00eb, qofshin t\u00eb vjetra apo t\u00eb reja, shqiptare ose t\u00eb tjera. Nj\u00eblloj fragmentariteti q\u00eb bie n\u00eb sy n\u00eb roman duhet par\u00eb si procede letrar, q\u00eb me struktur\u00ebn e ve\u00e7ant\u00eb t\u00eb vepr\u00ebs: prologu, kryekreu, ditari i Bdek Divelit (me an\u00eb t\u00eb t\u00eb cilit ai \u201czhvesh\u201d intimitetet e protagonistes Dina \u2013 Gjon), si dhe paskryekreu e epilogu si ryzime e gjith\u00eb kalvarit t\u00eb virgjer\u00ebsh\u00ebs autentike. V\u00ebrehet dhe \u201cpalimpsesti\u201d, ngritja e nj\u00eb vepre arti mbi konstruktin e nj\u00eb vepre tjet\u00ebr, q\u00eb t\u00eb kujton dram\u00ebn \u201cNita\u201d t\u00eb Josip Rrel\u00ebs, por me nj\u00eb devijim zhanror, nga dram\u00eb n\u00eb roman, p\u00ebr t\u00eb dh\u00ebn\u00eb shpirtin njer\u00ebzor t\u00eb protagonistes. Nj\u00eb lloj kaleidoskopie shum\u00ebngjyr\u00ebshe q\u00eb rrezaton drit\u00eb p\u00ebrmes gjetjeve letrare, t\u00eb cilat i japin vepr\u00ebs nj\u00eb bukuri t\u00eb ve\u00e7ant\u00eb. Bie n\u00eb sy dhe paralelizmi figurativ i gjendjes shpirterore t\u00eb personazheve me elementet natyrore, me stin\u00ebt si simbole etj: \u201cN\u00eb syt\u00eb e Din\u00ebs natyra kishte nd\u00ebrruar faqe plot tridhjet\u00eb e tre her\u00eb, aq sa ajo kishte pir\u00eb n\u00eb kup\u00ebn e jet\u00ebs. Mali nuk kishte qen\u00eb asnj\u00ebher\u00eb nj\u00eblloj. Ai her\u00eb merrte ngjyr\u00eb t\u00eb blert\u00eb me sythet e pem\u00ebve, her\u00eb t\u00eb verdh\u00eb t\u00eb p\u00ebrndezur kur uj\u00ebrat ngroheshin, her\u00eb t\u00eb kaft\u00eb prej gjetheve n\u00eb r\u00ebnie dhe her\u00eb boj\u00eb hiri buz\u00eb dimrit p\u00ebr t\u2019u mb\u00ebshtjell\u00eb me t\u00eb bardh\u00ebn dim\u00ebrake, por p\u00ebr t\u00eb malet ishin thuajse gjithnj\u00eb t\u00eb murrm\u00eb, eshtake, ku e vetmja gj\u00eb q\u00eb e magjepste pafund\u00ebsisht ishte ajo lulja e fjoll\u00ebs n\u00eb t\u00eb \u00e7arat e shkrepave\u201d. (fq. 114). <\/em>Paralelizmi nuk mungon as tek personazhi i Hirn\u00ebs: \u201cAi dim\u00ebr i Arbnit kishte qen\u00eb dhe dimri i saj. Tashm\u00eb ajo ndihej e vetme n\u00ebn qiellin e bort\u00eb t\u00eb qytetit\u201d.<\/em> \u00cbsht\u00eb e r\u00ebnd\u00ebsishme t\u00eb vihet n\u00eb dukje momenti final i vepr\u00ebs, ku autori i b\u00ebn nj\u00eb mbyllje t\u00eb mrekullueshme, Bdek Diveli gjen unaz\u00ebn e tretur t\u00eb virgj\u00ebresh\u00ebs Dina – Gjon pas nj\u00eb k\u00ebrkimi simbolik shum\u00ebvje\u00e7ar. Jo rast\u00ebsisht kjo ndodh pas vdekjes s\u00eb Burrit-Grua, q\u00eb vajtimoret vihen n\u00eb pozit\u00eb se si duhej ta qanin – si burr\u00eb apo si grua?<\/p>\n

Autori n\u00eb k\u00ebt\u00eb vep\u00ebr na paraqet mend\u00ebsin\u00eb e lasht\u00eb t\u00eb shoq\u00ebris\u00eb shqiptare q\u00eb nga koh\u00ebt primitive deri n\u00eb koh\u00ebn me t\u00eb re, ndoshta ngaq\u00eb \u201c…n\u00eb sfer\u00ebn sentimentale gjerat nj\u00eblloj jan\u00eb si at\u00ebher\u00eb, si sot. Ajo q\u00eb ka ndryshuar \u00ebsht\u00eb reflektimi i njeriut p\u00ebr at\u00eb vetveten e fsheht\u00eb. Tani njer\u00ebzit gjykojn\u00eb ndryshe p\u00ebr tabut\u00eb, apo jo?\u201d <\/em>Romani p\u00ebrmes rr\u00ebfimit, p\u00ebrshkrimeve, subjektit e tejkalon bot\u00ebn personale, intime t\u00eb shkrimtarit dhe fiton nj\u00eb timb\u00ebr p\u00ebrgjith\u00ebsues, ku qendrimi emocional i tij nuk \u00ebsht\u00eb par\u00ebsor, por dyt\u00ebsor. \u201cBdek Diveli ishte lodhur me at\u00eb rrug\u00ebtim t\u00eb gjat\u00eb, t\u00eb pafund\u00ebm n\u00eb k\u00ebrkim t\u00eb njeriut\u201d (fq. 371.) <\/em>Vet\u00eb Ndue Dedaj si shkrimtar ka \u201cikur\u201d n\u00ebp\u00ebr rajone t\u00eb ep\u00ebrme, p\u00ebrmes imagjinat\u00ebs dhe fantazis\u00eb, sepse: \u201cShkrimtar\u00ebt kishin lindur p\u00ebr t\u00eb q\u00ebn\u00eb ik\u00ebs. A nuk kishte ikur ai, Bdek Diveli, n\u00eb gjurm\u00eb t\u00eb Dina – Gjon? Shkrimtar\u00ebt vazhdonin t\u00eb arratiseshin nga bota ku rronin, qysh nga Eskili.\u201d<\/em><\/p>\n

S\u00eb fundi, do t\u00eb k\u00ebrkoja v\u00ebmendjen e lexuesit ndaj k\u00ebsaj vepre integrale, jo se tema e virgj\u00ebreshave t\u00eb p\u00ebrbetuara nuk \u00ebsht\u00eb rrahur, por k\u00ebsaj here ajo vjen nga nj\u00eb krijues i zon\u00ebs <\/em>s\u00eb burrneshave, q\u00eb i ka njohur ato jo si goj\u00ebdh\u00ebna e virtualisht, por si arketipe jet\u00ebsore n\u00ebp\u00ebr shkrepat e Veriut shqiptar, q\u00eb kan\u00eb mb\u00ebrritur deri n\u00eb vitet \u201970, e hijet e tyre mund t\u2019i hasesh dhe sot.<\/p>\n","protected":false},"excerpt":{"rendered":"

LORI KOLA, Master Shkencor n\u00eb Arte, Universiteti i Shkodr\u00ebs \u201cUNAZA E VIRGJ\u00cbRESH\u00cbS\u201d, ROMAN KUND\u00cbR TABUVE N\u00cb JET\u00cbN E FEMR\u00cbS\u00a0 Prof. Dr. Gjovalin Shkurtaj: Ndue Dedaj \u00ebsht\u00eb nj\u00eb nga autor\u00ebt m\u00eb prodhimtar\u00eb t\u00eb let\u00ebrsis\u00eb s\u00eb sotme: poet, shkrimtar, dhe studiues e analist i mir\u00ebnjohur nga Mirdita. Emri i tij \u00ebsht\u00eb nga m\u00eb t\u00eb shpesht\u00ebt n\u00eb faqet…<\/p>\n","protected":false},"author":1,"featured_media":5964,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-5963","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\/5963","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=5963"}],"version-history":[{"count":3,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/5963\/revisions"}],"predecessor-version":[{"id":5973,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/5963\/revisions\/5973"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/5964"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5963"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5963"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}