{"id":6547,"date":"2017-03-18T18:21:33","date_gmt":"2017-03-18T18:21:33","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=6547"},"modified":"2017-03-18T18:21:41","modified_gmt":"2017-03-18T18:21:41","slug":"kritika-egofallocentriste","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=6547","title":{"rendered":"KRITIKA EGOFALLOCENTRISTE"},"content":{"rendered":"

Nga Agron Tufa<\/strong><\/p>\n

\"dit-let-16-agroni\"<\/a><\/p>\n

Epoka jon\u00eb moderne e Hyperlink-ut t\u00eb lajm\u00ebron p\u00ebr gj\u00ebra t\u00eb r\u00ebnd\u00ebsishme e t\u00eb par\u00ebnd\u00ebsishme. Jetojm\u00eb n\u00eb nj\u00eb rrjet t\u00eb p\u00ebrbashk\u00ebt informacioni – m\u00eb sakt\u00eb: n\u00eb nj\u00eb pezhishk\u00eb bot\u00ebrore. K\u00ebshtu, nj\u00eb fij\u00ebz e k\u00ebsaj pezhishke informative m\u00eb b\u00ebri me dije, se nj\u00ebfar\u00eb skribi, Alfons Grishaj, m\u00eb paska p\u00ebrfshir\u00eb n\u00eb nj\u00eb aspekt aspak dashamir\u00ebs, madje akuzues, gjat\u00eb replikave t\u00eb tij me shkrimtarin e njohur Ramiz Gjini. Pa ma p\u00ebrmendur emrin, z. Alfons Grishaj thot\u00eb, se shkrimtarit Ramiz Gjini i \u00ebsht\u00eb dh\u00ebn\u00eb nj\u00eb \u00e7mim letrar dhe se k\u00ebt\u00eb \u00e7mim ia ka dh\u00ebn\u00eb kryetari i juris\u00eb (d.m.th., un\u00eb) q\u00eb \u00ebsht\u00eb kush\u00ebriri i tij. Ky \u00ebsht\u00eb thelbi q\u00eb m\u00eb prek mua drejp\u00ebrdrejt\u00eb dhe q\u00eb i referohet vitit 2010 kur juria Letrare e atij viti e shpalli romanin e mrekulluesh\u00ebm “Bibollasit” t\u00eb Ramiz Gjinit fitues t\u00eb \u00e7mimit Letrar Komb\u00ebtar “Petro Marko”.
\nPasi u njoha me krejt zinxhirin e replikave, tash s’m\u00eb mbetet tjet\u00ebr, p\u00ebrpos se t’i sqaroj z. Grishaj, t\u00eb cilit, me sa duket, vreri i xhelozis\u00eb ia ka terratisur arsyen, se alibia e tij e von\u00eb, p\u00ebrve\u00e7se \u00ebsht\u00eb e ul\u00ebt, nuk q\u00ebndron.
\n\u00cbsht\u00eb e v\u00ebrtet\u00eb z. Grishaj, se me Ramiz Gjinin ne kemi gjyshet motra (drit\u00eb pa\u00e7in t\u00eb dyja!), sikund\u00ebrse \u00ebsht\u00eb po aq e v\u00ebrtet\u00eb, se n\u00eb gjykimet letrare kush\u00ebrinj nuk mund t\u00eb ket\u00eb: ka vet\u00ebm nd\u00ebrgjegje artistike q\u00eb reflekton p\u00ebrball\u00eb vlerave letrare t\u00eb nj\u00eb vepre. Dy her\u00eb kam qen\u00eb n\u00eb nj\u00eb juri t\u00eb till\u00eb, p\u00ebrkat\u00ebsisht n\u00eb vitin 2002 dhe n\u00eb 2010. N\u00eb t\u00eb dy her\u00ebt fitues kan\u00eb qen\u00eb dy shkrimtar\u00eb t\u00eb v\u00ebrtet\u00eb shqiptar\u00eb: klasiku i let\u00ebrsis\u00eb ton\u00eb, Martin Camaj, dhe prozatori mjesht\u00ebror bashk\u00ebkohor, Ramiz Gjini. Sigurisht, z. Grishaj shqet\u00ebsohet p\u00ebr k\u00ebt\u00eb t\u00eb dytin, me t\u00eb cilin \u00ebsht\u00eb p\u00ebrfshir\u00eb n\u00eb polemik\u00eb, duke nd\u00ebrtuar me paranoj\u00ebn e vet nj\u00eb far\u00eb filli konspirativ. Por p\u00ebr t\u00eb besuar nj\u00eb teori t\u00eb lir\u00eb e dashakeqe konspiracioni, duhet q\u00eb m\u00eb par\u00eb t\u00eb kalojm\u00eb n\u00ebp\u00ebr ca shkall\u00eb karteziane, duke v\u00ebn\u00eb n\u00eb dyshim:
\na) Vet\u00eb vepr\u00ebn dhe reputacionit letrar t\u00eb fituesit, i cili, t\u00eb vetmen dublikat\u00eb mbrojt\u00ebse ka tekstet e tij. K\u00ebtu s’ke nga me ia mbajt\u00eb, se n\u00eb t\u00eb mir\u00eb t\u00eb fituesit flasin, deri at\u00ebher\u00eb, pes\u00eb v\u00ebllime me tregime (\u201cDush varrezash\u201d; \u201cK\u00ebpuc\u00ebt e t\u00eb tjer\u00ebve mbi trotuar\u201d; \u201cAtdheu i d\u00ebbor\u00ebs\u201d \u2013 i p\u00ebrkthyer dhe n\u00eb rumanisht; \u201cRr\u00ebfime n\u00eb hije\u201d dhe \u201cPosta q\u00eb sjell era\u201d. Tregimet e tij botoheshin e botohen n\u00eb revistat prestigjioze \u201cAleph\u201d, \u201cFjala\u201d, \u201c Jeta e Re\u201d etj. Tok me 5 v\u00ebllimet me tregime, Ramiz Gjini kishte botuar asokohe dhe romanin e tij t\u00eb par\u00eb \u201cRr\u00ebket\u00eb\u201d(pjesa e par\u00eb e trilogjis\u00eb romanore \u201cBibollasit\u201d), pra, nj\u00eb godin\u00eb e moderne letrare, mermerit t\u00eb s\u00eb cil\u00ebs, artistikisht, nuk i shkakton dot asnj\u00eb g\u00ebrvishtje.
\nb) Sinkronizimin e koh\u00ebs gjat\u00eb s\u00eb cil\u00ebs shkruan dhe boton fituesi vepr\u00ebn dhe nj\u00ebher\u00ebsh, si n\u00eb komplotet interkontinentale, p\u00ebrpjekjet sinkron t\u00eb “kush\u00ebririt” p\u00ebr t\u00eb hyr\u00eb doemos n\u00eb juri, me q\u00ebllimin e mbrapsht\u00eb p\u00ebr t’i dh\u00ebn\u00eb atij \u00e7mimin. Sinkronizimi i k\u00ebtij komploti \u00e7mimesh bie vetvetiu nga fakti, se, sipas tradit\u00ebs, fituesi i nj\u00eb viti m\u00eb par\u00eb, kalon automatikisht n\u00eb juri, si\u00e7 \u00ebsht\u00eb dhe sot. Dhe un\u00eb isha fitues p\u00ebr vitin 2009. Por k\u00ebtu na del nj\u00eb v\u00ebshtir\u00ebsi serioze, se \u00e7mimin nuk e jep nj\u00eb an\u00ebtar, qoft\u00eb ky dhe kryetar, porse pes\u00eb personalitete t\u00eb tjer\u00eb t\u00eb juris\u00eb, q\u00eb kan\u00eb barabar t\u00eb drejt\u00ebn e vot\u00ebs e q\u00eb jan\u00eb shumica. Do t\u00eb thot\u00eb dikush, q\u00eb shkalla e ndikimit tim mund t\u00eb ket\u00eb qen\u00eb aq imponuese, korruptuese, etj, etj., sa B. Londo, V. Mu\u00e7i, Balil Gjini (nga Gjirokastra, pra jo kush\u00ebri me Ramizin), P. Asllani dhe S. Pasho t\u00eb ken\u00eb hequr dor\u00eb nga mendimi i tyre.
\nc) Transparenca e konkurimit. P\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb historin\u00eb e jurive, pata k\u00ebrkuar at\u00eb vit t\u00eb zbatohej nj\u00eb rregull: p\u00ebrve\u00e7 informimit t\u00eb mediave pas \u00e7do mbledhje n\u00eb lidhje me ecurin\u00eb e konkurrent\u00ebve q\u00eb kualifikoheshin p\u00ebr m\u00eb tej, un\u00eb pata k\u00ebrkuar, q\u00eb n\u00eb tryez\u00ebn e diskutimit t\u00eb veprave, t\u00eb merrte pjes\u00eb detyrimisht edhe nj\u00eb punonj\u00ebs i Ministris\u00eb, q\u00eb t\u00eb mbante t\u00eb sekretuar n\u00eb protokoll t\u00eb gjitha argumentet tona n\u00eb lidhje me veprat e shqyrtuara. K\u00ebto protokolle jan\u00eb dhe sot n\u00eb Ministrin\u00eb e Kultur\u00ebs dhe z. Grishaj mund t’i porosis\u00eb t’i shoh\u00eb me lup\u00eb, meq\u00eb e paska \u00e7\u00ebshtje madhore.
\nVet\u00ebm duke ndjekur k\u00ebt\u00eb procedur\u00eb, e jo shpifjet apo thashathemet, z. Grishaj mund t\u00eb fitoj nj\u00eb ide t\u00eb plot\u00eb e t\u00eb qart\u00eb, se nuk b\u00ebhet fjal\u00eb p\u00ebr juri kush\u00ebrinjsh, por p\u00ebr vlera letrare t\u00eb padiskutueshme, t\u00eb cilat nuk i kontestoi kush. K\u00ebshtu, teoria konspirative e z. Grishaj bie vetvetiu. Logjikisht.
\nVet\u00ebm nj\u00eb gj\u00eb nuk mund t’ia shpjegoj dot z. Grishaj: si na b\u00ebri zemra ne, si ia lejuam vall\u00eb vetes – un\u00eb e Ramizi – t\u00eb jemi kush\u00ebrinj!? Dhe p\u00ebrpos k\u00ebsaj, pse dreqin do t\u00eb duhej, q\u00eb, p\u00ebrve\u00e7se kush\u00ebrinj, t\u00eb shkruanim dhe bukur? Se bota \u00ebsht\u00eb e mbushur plot e p\u00ebrplot me kush\u00ebrinj mediok\u00ebr, diletant\u00eb, smirr\u00ebzinj, etj, etj… Nuk e di si ia b\u00ebjn\u00eb t\u00eb tjer\u00ebt z. Grishaj, por un\u00eb p\u00ebr vete jam shum\u00eb krenar. T\u00eb kund\u00ebrt\u00ebn e mendojn\u00eb, me gjas\u00eb, edhe ca pak t\u00eb tjer\u00eb q\u00eb na njohin, t\u00eb gjitha ata, q\u00eb suksesin e tjetrit e shohin si fatkeq\u00ebsin\u00eb e vet. Pra jan\u00eb \u00e7\u00ebshtje q\u00eb nuk i zgjidh dot un\u00eb, e me sa duket, k\u00ebshtu do t\u00eb mbeten, t\u00eb pazgjidhura. Zaten n\u00eb historin\u00eb bot\u00ebrore t\u00eb artit \u00ebsht\u00eb ngulitur tashm\u00eb kompleksi i xhelozis\u00eb, i quajtur “salieriz\u00ebm”. Q\u00eb t\u00eb kthjelloheni se p\u00ebr \u00e7far\u00eb e kam fjal\u00ebn, z. Grishaj, ju rekomandoj filmin e Milosh Forman-it “Amadeus”. Sidoqoft\u00eb xhelozia e ka nj\u00eb derman: vet\u00ebm n\u00ebse ajo shnd\u00ebrrohet n\u00eb konkurrenc\u00eb vlerash e jo alibish t\u00eb ul\u00ebta. Dhe v\u00ebrtet nuk kam m\u00eb \u00e7’tju them n\u00eb lidhje me k\u00ebt\u00eb \u00e7\u00ebshtje, pasi \u00e7’faj kam un\u00eb q\u00eb kam nj\u00eb kush\u00ebri t\u00eb talentuar?
\nSi\u00e7 thash\u00eb dhe m\u00eb lart, z. Grishaj, e lexova gjith\u00eb zinxhirin e replikave (polemikave) tuaja me Ramizin. Ndoshta Ramizi e ka tep\u00ebruar pak\u00ebz fare me zhanrin e tij t\u00eb kritik\u00ebs s\u00eb kritik\u00ebs dhe mbase e teproj dhe un\u00eb, q\u00eb po t\u00eb b\u00ebj kritik\u00ebn e kritik\u00ebs s\u00eb kritik\u00ebs. Megjithat\u00eb Ramizi kishte b\u00ebr\u00eb di\u00e7ka gogliane me satir\u00ebn e tij q\u00eb kalonte n\u00eb sarkazm\u00eb. S’ke \u00e7’i thua: \u00ebsht\u00eb zhanri i tij. Jam shkulur gazit, pat\u00ebkeq, si me nj\u00eb poroz\u00eb gurgulluese, q\u00eb t\u00eb kujton Konic\u00ebn ton\u00eb n\u00eb pamfletet e tij ther\u00ebse e ironike. Nuk ju kuptoj se pse i hidheni n\u00eb gryk\u00eb e i thoni, se kjo nuk \u00ebsht\u00eb kritik\u00eb letrare, n\u00eb vend q\u00eb ta kalonit me t\u00eb qeshur, p\u00ebr faktin e thjesht\u00eb, se n\u00eb shkrimin tuaj, i cili gjithashtu nuk mund t\u00eb quhet kurr\u00ebsesi kritik\u00eb, ju i st\u00ebrfryni gj\u00ebrat tej mase p\u00ebr nj\u00eb shkrimtar t\u00eb nderuar, modest, thuajse t\u00eb paimplikuar n\u00eb dosjet e Sigurimit t\u00eb shtetit, si\u00e7 dhe \u00ebsht\u00eb shkrimtari Naum Prifti. S\u2019ke \u00e7\u2019t\u00eb thuash, shkrimtar i njohur p\u00ebr ne, madje q\u00eb n\u00eb shkoll\u00eb, n\u00ebse mbani mend librat e tij, q\u00eb na i jepnin me detyrim. A ju kujtohen z. Grishaj “Cikoja dhe Beni”? Po “Zani partizani”? Po “Era e ngroht\u00eb e thell\u00ebsive”? Po “Fejesa e Blert\u00ebs”? Po “Tre vet\u00eb kap\u00ebrxejn\u00eb malin”? Po “Tregime t\u00eb zgjedhura”? etj, etj,. A nuk jan\u00eb, n\u00eb thelb, t\u00eb gjith\u00eb nj\u00eb romantizim i jet\u00ebs socialiste dhe heroit pozitiv, sipas dogm\u00ebs zyrtare? Jam i nj\u00eb mendje me ju, me nj\u00eb s\u00ebr\u00eb veprash t\u00eb tjera ku Prifti m\u00ebton t\u00eb kap\u00ebrcej\u00eb konvencat ideologjike, n\u00eb t\u00eb mir\u00eb t\u00eb nj\u00eb realizmi m\u00eb konkret se ai socialist. E megjithat\u00eb kaq gj\u00eb nuk e b\u00ebn at\u00eb t\u00eb “shkrimtar mbi vullkan” apo me atributet e Davidit t\u00eb vog\u00ebl kund\u00ebr Goliathit vigan. K\u00ebto, sigurisht, jan\u00eb teprime dashamir\u00ebse, mbi t\u00eb cilat \u00ebsht\u00eb kapur shkrimtari Ramiz Gjini n\u00eb shkrimin e tij satirik, i cili gjithashtu, nuk \u00ebsht\u00eb nj\u00eb kritik\u00eb dhe, me sa duket, as q\u00eb ka qen\u00eb n\u00eb iden\u00eb e tij t\u00eb jet\u00eb kritik\u00eb e kulluar. Prandaj, gjykoj se nuk ishte e nevojshme ta merrnit aq dramatikisht ironin\u00eb e tij, aq m\u00eb pak, ta akuzonit se nuk njeh kritik\u00ebn. Pse e them k\u00ebt\u00eb? Sepse as shkrimi juaj, megjith\u00eb dy terma t\u00eb kritik\u00ebs s\u00eb per\u00ebnduar me koh\u00eb (\u201cverisimilitude\u201d, \u201cDeus ex machina\u201d) – nuk \u00ebsht\u00eb kritik\u00eb, por thjesht nj\u00eb shkrim hymnizues. Vet\u00ebm shkrimi hymnizues merr p\u00ebrsip\u00ebr t\u00eb thot\u00eb n\u00eb m\u00ebnyr\u00eb maksimaliste gjith\u00e7ka p\u00ebr heroin q\u00eb glorifikoni, me t\u00eb gjitha atributet heroike q\u00eb i vishni, aq sa, me th\u00ebn\u00eb t\u00eb drejt\u00ebn, e b\u00ebni t\u00eb pabesuesh\u00ebm dhe absurd.
\nPor kur ju merrni mundimin t\u00eb shpjegoni instrumentarin e kritik\u00ebs letrare dhe metodat e saj, k\u00ebtu b\u00ebheni qesharak n\u00eb m\u00ebnyr\u00eb serioze; me sa duket, n\u00eb nxitim e sip\u00ebr, dikush jua ka cituar keq metodat, ose atij dikushi i \u00ebsht\u00eb ndalur ora, q\u00eb nga doracak\u00ebt e Sterjo Spasses dhe A. Xhuvanit. Po ka gjas\u00eb q\u00eb t\u2019i keni d\u00ebgjuar disi, n\u00eb m\u00ebnyr\u00eb aberrative. Gjith\u00ebsesi jan\u00eb metoda kritike t\u00eb shekullit XIX dhe p\u00ebr nivelin modern e postmodern t\u00eb teorive t\u00eb pafundme kritike jan\u00eb t\u00eb vonuara, oh sa t\u00eb vonuara! Prandaj, n\u00eb qoft\u00ebse ju p\u00ebrpiqeni t\u00eb keni arm\u00eb t\u00eb fort\u00eb pik\u00ebrisht kritik\u00ebn, ju duhet t\u00eb lexoni, se shekulli XX dhe XXI ku jetojm\u00eb, ka nj\u00eb pasuri metodash e shkollash e jo ato dy metoda t\u00eb per\u00ebnduara. Disa prej tyre, ku mund t\u00eb ky\u00e7eni dhe ju n\u00eb lexime intensive, jan\u00eb: Metoda biografike; metoda kulturoro-historike; metoda e kritik\u00ebs formale (formalizmi); komparativistika (ose Let\u00ebrsia krahasuese); metoda strukturale e poststrukturale; metoda Mitopoetike (q\u00eb p\u00ebrb\u00ebn n\u00eb fakt nj\u00eb seri metodash); metoda psikologjike (A. Tebnja); metoda psikoanalitike (e Frojdit, Jungut, Fromit etj); metoda e shkoll\u00ebs semiotike (Pirs, Lotman, Eco); metoda hermeneutike (nj\u00eb metod\u00eb filozofiko-estetike e teoris\u00eb s\u00eb interpretimit t\u00eb tekstit dhe shkenc\u00ebs s\u00eb kuptimit t\u00eb vepr\u00ebs); shkolla postmoderniste me metod\u00ebn e deknstruktivizmit t\u00eb Jack Derrida; metoda e analiz\u00ebs ekzistenciale, etj, etj, pa num\u00ebrim.
\nTeksti arg\u00ebtues i Ramizit, jam dakord, kritik\u00eb nuk mund t\u00eb quhet, por thjesht proz\u00eb, proz\u00eb e holl\u00eb zbavit\u00ebse, sarkaz\u00ebm, ashtu si\u00e7 i shkon p\u00ebrshtat nj\u00eb shkrimtari t\u00eb prirjeve koniciane.
\nPrandaj, q\u00eb t\u00eb mos nd\u00ebrtoni keqkuptime me llojet e kritik\u00ebs letrare sipas informacionesh t\u00eb rast\u00ebsishme e t\u00eb vonuara, ju mund t\u00eb m\u00eb d\u00ebrgoni nj\u00eb adres\u00eb postare ku mund t’u d\u00ebrgoj dy volumet e librit tim universitar “Let\u00ebrsia dhe procesi letrar n\u00eb shekullin XX” I dhe II, rreth 800 faqe (botim i SHBLU, 2008-2009), me t\u00eb cilin lib\u00ebr m\u00ebsojn\u00eb student\u00ebt e mi t\u00eb Fakultetit Filologjik t\u00eb UT. Nd\u00ebrsa ajo q\u00eb ju e paraqisni si kritik\u00eb me koncepte t\u00eb ngulitura, pra, kritika hymnizuese p\u00ebr t\u00eb respektuarin Naum Prifti, n\u00eb teorit\u00eb postmoderniste quhet ve\u00e7se me nj\u00eb term: Egofallocentriz\u00ebm.<\/p>\n

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

Nga Agron Tufa Epoka jon\u00eb moderne e Hyperlink-ut t\u00eb lajm\u00ebron p\u00ebr gj\u00ebra t\u00eb r\u00ebnd\u00ebsishme e t\u00eb par\u00ebnd\u00ebsishme. Jetojm\u00eb n\u00eb nj\u00eb rrjet t\u00eb p\u00ebrbashk\u00ebt informacioni – m\u00eb sakt\u00eb: n\u00eb nj\u00eb pezhishk\u00eb bot\u00ebrore. K\u00ebshtu, nj\u00eb fij\u00ebz e k\u00ebsaj pezhishke informative m\u00eb b\u00ebri me dije, se nj\u00ebfar\u00eb skribi, Alfons Grishaj,<\/p>\n","protected":false},"author":1,"featured_media":6517,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-6547","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\/6547","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=6547"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/6547\/revisions"}],"predecessor-version":[{"id":6548,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/6547\/revisions\/6548"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/6517"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6547"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6547"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6547"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}