{"id":884,"date":"2012-05-24T13:33:42","date_gmt":"2012-05-24T13:33:42","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=884"},"modified":"2012-05-24T13:33:42","modified_gmt":"2012-05-24T13:33:42","slug":"simbolika-e-poetit-me-poezine","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=884","title":{"rendered":"Simbolika e poetit me poezine"},"content":{"rendered":"

\"\"<\/a>\u00a0Ne foto Ndue Dedaj<\/strong><\/p>\n

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

SIMBIOTIKA E POETIT ME POEZIN\u00cb<\/p>\n

\u00a0Shkruar nga ZEF ZEFI *<\/p>\n

 <\/p>\n

Esht\u00eb fort e v\u00ebshtir\u00eb t\u00eb p\u00ebrcaktosh se kur poezia e Ndue Dedajt ka mb\u00ebrritur tek ne lexuesit, ashtu si\u00e7 \u00ebsht\u00eb po aq e zorshme t\u00eb p\u00ebrcaktohet n\u00eb m\u00ebnyr\u00eb klasike se si ka mb\u00ebrritur. Kjo p\u00ebr faktin se midis llojit t\u00eb gazetaris\u00eb q\u00eb Dedaj ka shkruar prej viteve tet\u00ebdhjet\u00eb dhe poezis\u00eb nuk ka kufij apo ndarje t\u00eb p\u00ebrcaktuara.<\/p>\n

Kritika klasike \u00ebsht\u00eb marr\u00eb shpesh me k\u00ebt\u00eb dhe p\u00ebr arsyet e veta studimore e kategorizuese a teknike e ka cil\u00ebsuar gazetari letrare; natyrisht e pap\u00ebrligjshme, sepse shpesh n\u00ebse do t\u2019u b\u00ebhej nd\u00ebrrim vendi fjal\u00ebve t\u00eb k\u00ebtij togfjal\u00ebshi, kuptimi do t\u00eb ishte pegiorativ<\/em>, keqsues, madje rr\u00ebnues p\u00ebr nj\u00eb poet. P\u00ebr t\u00eb shmangur \u00e7do mund\u00ebsi keq apo mos-kuptimi, dhe p\u00ebr arsye se vet\u00eb poeti p\u00ebrb\u00ebn dukuri n\u00eb k\u00ebt\u00eb moment letrar, do t\u2019i kujtojm\u00eb bashk\u00eblexuesit se gazetaria si profesion ose jo, n\u00eb koh\u00ebn kur poeti donte t\u00eb shfaqej si poet dhe jo si gazetar, ishte e vetmja mund\u00ebsi dhe ajo krejt e kufizuar dhe e kontrolluar me lup\u00ebn ideologjike. B\u00ebhet fjal\u00eb p\u00ebr aso vitesh diktatoriale, q\u00eb as fjala, as mendimi, as ideja, nuk mund t\u00eb kishin shprehje, as nuk mund t\u00eb shfaqeshin me dimensionet e veta.<\/p>\n

Aq m\u00eb pak n\u00eb Mirdit\u00eb, e cila n\u00eb \u201cdizenj\u00ebn\u201d e diktatur\u00ebs ishte cil\u00ebsuar si rreth politik, q\u00eb n\u00ebnkuptonte reaksionar, p\u00ebr t\u2019u mbajtur i shp\u00ebrb\u00ebr\u00eb, n\u00ebn vigjilenc\u00eb, injoranc\u00eb dhe dhun\u00eb. Mirdita pothuajse e shokuar p\u00ebr shum\u00eb vite me radh\u00eb, me nj\u00eb frym\u00eb e kultur\u00eb e tradit\u00eb homogjenikisht kristiane – katolike dhe nj\u00eb histori ekzemplare t\u00eb mbyllur n\u00eb bodrumet e mykura t\u00eb diktatur\u00ebs, nuk po mund t\u00eb mjedisohej me atmosfer\u00ebn e manipuluar regresive t\u00eb k\u00ebsaj. Ajo shfaqet n\u00eb horizontin e Shqip\u00ebris\u00eb n\u00eb prag t\u00eb viteve tet\u00ebdhjet\u00eb, dhe \u00e7udit\u00ebrisht\u00a0 n\u00ebp\u00ebrmjet artit. Ajo q\u00eb \u00ebsht\u00eb interesante dhe duhet n\u00ebnvizuar \u00ebsht\u00eb se e vetmja m\u00ebnyr\u00eb p\u00ebr t\u00eb dal\u00eb nga anonimati p\u00ebr t\u2019u iluminuar, <\/em>nj\u00eblloj si n\u00eb periudhat e obskurantizmit, Mirdit\u00ebs i kishte mbetur arti, dhe nga t\u00eb gjitha artet e lejueshme q\u00eb mund t\u00eb toleronte diktatura p\u00ebr t\u00eb, ishte vet\u00ebm folklori. N\u00eb k\u00ebt\u00eb kontekst duhet n\u00ebnvizuar nj\u00eb fakt – risi e mir\u00ebfillt\u00eb artistike; artist\u00ebt dhe poet\u00ebt e Mirdit\u00ebs p\u00ebrgatit\u00ebn nj\u00eb grup folklorik befasues, sa Shqip\u00ebria p\u00ebr disa net\u00eb t\u00eb nj\u00eb festivali, mbajti frym\u00ebn dhe t\u00eb gjith\u00eb shqiptar\u00ebt e asaj kohe, nuk mund t\u00eb mos e duartrokisnin. Ky folklor, nuk qe nj\u00eb mark\u00eb fosile<\/em> e nxjerr\u00eb nga rr\u00ebnojat e kujtes\u00ebs, po u shfaq n\u00eb nj\u00eb format e model t\u00eb ri, t\u00eb pa afirmuar deri at\u00ebher\u00eb, at\u00eb t\u00eb k\u00ebng\u00ebs burimore. Me tekste mir\u00ebfilli poetik\u00eb t\u00eb Gjok Becit e Viktor Gjikol\u00ebs, nj\u00eb muzik\u00eb alegro-ritmike<\/em> t\u00eb Mark Gjok\u00ebs, dhe epiko-heroike t\u00eb Dorian Ninit, z\u00ebra k\u00ebng\u00ebtar\u00ebsh shp\u00ebrthyes e karakteristik\u00eb.<\/p>\n

Megjith\u00eb k\u00ebt\u00eb shkundje cil\u00ebsore q\u00eb Mirdita i b\u00ebri politik\u00ebs zyrtare t\u00eb koh\u00ebs, prap\u00ebseprap\u00eb, poezia, gazetaria apo proza artistike, mbeteshin t\u00eb ndaluara, jo aq me urdh\u00ebr, sa dhe p\u00ebr \u201ck\u00ebputjen\u201d q\u00eb shteti i kishte b\u00ebr\u00eb Mirdit\u00ebs, me tradit\u00ebn e vet t\u00eb para\u00e7lirimit, paraluft\u00ebs dhe historin\u00eb e vet, pak a shume si\u00e7 b\u00ebri me gjith\u00eb Shqip\u00ebrin\u00eb. Gjith\u00e7ka ndalej n\u00eb ndonj\u00eb artikull t\u00eb that\u00eb, tip flet\u00eb-rrufeje, a flet\u00eb-nderi, raporte \u201calla Demk\u00eb\u201d, rendimente n\u00eb bujq\u00ebsi, sigurim buke, vagona minerali q\u00eb \u00e7anin bllokaden\u2026 Poezia apo proza artistike shkruhej n\u00eb fletore xhepash dhe lexohej n\u00eb rrethe shum\u00eb t\u00eb ngushta shok\u00ebsh apo bashk\u00ebkrijuesish, pa kurr\u00eb nj\u00eb shpres\u00eb p\u00ebr t\u00eb par\u00eb drit\u00ebn e botimit.<\/p>\n

N\u00eb k\u00ebt\u00eb shkreti kulturore t\u00eb oprimuar nga dhuna e shtetit, nj\u00eblloj si bleta n\u00eb ngutje apo sht\u00ebrnges\u00eb atmosferike, q\u00eb nuk ka mundur t\u00eb gjej\u00eb streh\u00eb p\u00ebr t\u00eb nd\u00ebrtuar folen\u00eb e saj, shum\u00eb poet\u00eb a prozator\u00eb \u201cme fletore\u201dhumb\u00ebn rrug\u00ebs. Disa krrijues e skajuan n\u00eb nj\u00eb far\u00eb m\u00ebnyre muz\u00ebn e tyre poetike n\u00ebn \u00e7atin\u00eb e k\u00ebng\u00ebs, nd\u00ebrsa Ndue Dedaj p\u00ebr t\u00eb depozituar nektarin e poezis\u00eb s\u00eb tij, zgjodhi hojet e gazetaris\u00eb letrare.<\/p>\n

Ndon\u00ebse gazetaria profesionale n\u00eb Mirdit\u00eb, nga partia – shtet zyrtarisht nuk mund t\u2019i besohej nj\u00eb intelektuali t\u00eb till\u00eb t\u00eb papreferuesh\u00ebm, Ndue Dedaj poet i lindur dhe reporter p\u00ebr<\/em> \u201cnecessit\u00e0\u201d,<\/em> t\u00eb cilit \u00e7do dukuri q\u00eb i haste syri e kthente n\u00eb kategori letrare, p\u00ebrcillte shkrime t\u00eb nj\u00ebpasnj\u00ebshme n\u00eb shtypin q\u00ebndror.<\/p>\n

Fal\u00eb ve\u00e7an\u00ebsis\u00eb shumica e tyre shfaqeshin n\u00eb faqet e shtypit.<\/p>\n

Ishte e pamundur t\u00eb mos ve\u00e7ohej natyra poetiko, filozofike e k\u00ebtij lloji reportazhi.<\/p>\n

Poeti donte t\u00eb shprehej me libra dhe v\u00ebllime poetike, po librat nj\u00ebsoj si t\u00eb gjitha ndalesat<\/em> ishin barriera.<\/p>\n

Lloji i reportazhit t\u00eb Ndue Dedajt ishte ndryshe; sepse ai kuvendonte e meditonte poetikisht me malet, bjeshk\u00ebt n\u00ebntokat e mbitokat, b\u00ebnte personifikimin e tyre, duke ndjellur e shp\u00ebrfaqur nga n\u00ebntok\u00ebsia e thell\u00eb apo p\u00ebrtejkoha e larg\u00ebt legjendat, baladat, goj\u00ebdhanat, t\u00eb\u00a0 pandyera me ideologji e socializ\u00ebm, pastaj kthente bashk\u00eb me to dhe hynte n\u00eb p\u00ebrditshm\u00ebri, thjesht si nj\u00eb frym\u00eb flladit\u00ebse, shpesh trazuese dhe jo rrall\u00eb e rr\u00ebzikshme p\u00ebr poetin.<\/p>\n

N\u00eb qend\u00ebr t\u00eb reportazhit, viheshin emra t\u00eb p\u00ebrve\u00e7\u00ebm edhe t\u00eb ndaluar nga regjimi q\u00eb \u201cpeshkonte\u201d nga historia dhe i maskonte n\u00eb konceptin e at\u2019kohsh\u00ebm t\u00eb mas\u00ebs s\u00eb pun\u00ebtor\u00ebve me fytyra t\u00eb nxira nga n\u00ebntoka, t\u00eb cil\u00ebt ai i b\u00ebnte m\u00eb t\u00eb bukur se \u201cseks simbol-\u00ebt\u201d e Hollivudit apo tokrendjet romantike t\u00eb malsive. Ato male q\u00eb p\u00ebr politik\u00ebn zyrtare kishin q\u00ebn\u00eb streh\u00eb dhe \u00e7erdhe bandit\u00ebsh e reaksionar\u00ebsh antikomunist\u00eb, n\u00ebp\u00ebrmjet pen\u00ebs s\u00eb Ndue Dedajt, mb\u00ebrrinin n\u00eb Tiran\u00eb dhe i ripropozoheshin Shqip\u00ebris\u00eb me madh\u00ebshtin\u00eb dhe lirin\u00eb e tyre hyjnore.<\/p>\n

Kjo e b\u00ebri at\u00eb popullor, e b\u00ebri t\u00eb lexuesh\u00ebm.<\/p>\n

Radio Tirana, fol\u00ebsit e saj, kur lexonin reportazhe t\u00eb pen\u00ebs s\u00eb tij, vinin mbi to nj\u00eb emfazi, edhe personale, t\u00eb ve\u00e7ant\u00eb, gati aktruese, sepse p\u00ebrfytyrimi i tyre haste n\u00eb bukuri natyrore mahnit\u00ebse, ashtu si dhe fraza apo poetika q\u00eb i p\u00ebrshkruante.<\/p>\n

Duke iu referuar pohimi t\u00eb fillimit, kjo shpjegon n\u00eb nj\u00eb far\u00eb mase mb\u00ebrritjen dhe kontaktin ton\u00eb si lexues me poezin\u00eb e Ndue Dedajt.<\/p>\n

 <\/p>\n

Triptiku poetik<\/strong><\/p>\n

 <\/p>\n

1 – \u201cAjsbergu i Han\u00ebs\u201d, \u201cK\u00ebndej kaloi Koha\u201d dhe \u201cPlanetare\u201d, jan\u00eb tri poezi, tri v\u00ebllime poetike, n\u2019dash thuaj nj\u00eb poezi e kompozuar nga vargje \u201c\u2026plot njom\u00ebshti\u2026\u201d, si\u00e7 \u00ebsht\u00eb shprehur p\u00ebr to poeti dhe studuesi Dhori Qiriazi, t\u00eb poetit Ndue Dedaj.<\/p>\n

Metaforikisht \u201cajsbergu i han\u00ebs\u201d, njofton v\u00ebllimin e par\u00eb poetik t\u00eb autorit; nj\u00eb akullnaj\u00eb kozmike e and\u00ebrrt sa vet\u00eb gjeneza e rruzullit, ndoshta kurr\u00eb e mb\u00ebrritshme. Simbolika ng\u00ebrthen iden\u00eb e faktit t\u00eb path\u00ebn\u00eb, t\u00eb padukur, nga ana tjet\u00ebr, akullnajat kan\u00eb dhe nj\u00eb veti fizike, t\u00eb cil\u00ebn autori e shfryt\u00ebzon me t\u00eb nj\u00ebjtin intensitet poetik: konservimin; duke evituar \u00e7do \u201cagjent\u201d patologjik dekompozues. Ashtu poezia e tij, ndoshta p\u00ebrjet\u00ebsisht e till\u00eb do mbetej atje e ngrir\u00eb midis apo brenda kristaleve t\u00eb akullta t\u00eb kujtes\u00ebs, n\u00ebse ngrehina e\u00a0 diktatur\u00ebs nuk do t\u00eb zhb\u00ebhej.<\/p>\n

\u201cAjsbergu i Han\u00ebs\u201d \u00ebsht\u00eb libri i pambaruar i poezis\u00eb djaloshare, q\u00eb p\u00ebr munges\u00eb letre (nenkupto) lirie esht\u00eb dashur t\u00eb shkruhej n\u00eb faqen e zbeht\u00eb t\u00eb han\u00ebs, mandej p\u00ebr t\u2019u rishfaqur si nj\u00eb rast\u00ebsi fatlume kozmike, qoft\u00eb dhe e pa p\u00ebrkryer.<\/p>\n

 <\/p>\n

2 – \u201cK\u00ebndej kaloi Koha\u201d ka nj\u00eb rimarrje fryme meditavo – poetike, evidentuese, n\u00eb nj\u00eb k\u00ebndveshtrim social-alegorik. Pesha, theksi logjik bie tek folja n\u00eb t\u00eb kryer\u00ebn e thjesht\u00eb (kaloi), e cila ngjesh ne vetevte nj\u00eb rimpianto<\/em>. Esht\u00eb n\u00eb nj\u00eb far\u00eb m\u00ebnyre nj\u00eb bashk\u00ebbised\u00eb hall-qarje me qytetarin bashk\u00ebkoh\u00ebs, lidhur me nocionin e koh\u00ebs. Koh\u00ebhumbja, koh\u00ebbjerrja, koh\u00ebshp\u00ebrdorimi, jan\u00eb nj\u00eb anomali e dhimbshme p\u00ebr individin, shoq\u00ebrit\u00eb, p\u00ebr kombet, t\u00eb cil\u00ebt p\u00ebr nj\u00eb arsye a nj\u00eb tjet\u00ebr, reale a subjektive, politike apo historike, nuk kan\u00eb mundur ta hedhin hapin me t\u00eb nj\u00ebjtin rit\u00ebm me koh\u00ebn, e cila ka drejtimin, ritmin, shpejt\u00ebsin\u00eb e saj konstante dhe \u201cvesin\u201d e pandreqsh\u00ebm t\u00eb moskthimit. \u201cKaloi koha k\u00ebtej\u2026kalimtar\/koha jon\u00eb\/e popujve,\/koha universale\u2026\/pikon, dridhet, humbon n\u00eb shi, n\u00eb p\u00ebrc\u00ebllim\u00eb\/e popujve – koha\u2026 Pastaj me nj\u00eb sintetizim t\u00eb befasuesh\u00ebm: Koha Ti,\/koha Z\/koha E (poeti e l\u00eb t\u00eb rend\u00eb, t\u00eb v\u00ebrshoj\u00eb mendimin n\u00ebp\u00ebrmjet reti\u00e7ens\u00ebs s\u00eb pa shenjuar)\u2026\/pa at\u00eb t\u00eb gjithmonshmen\/Koh\u00ebn Ne.<\/p>\n

Ndihet sforcimi i poetit n\u00eb koh\u00ebbjerrjen e bashk\u00ebkoh\u00ebsis\u00eb, q\u00eb p\u00ebrkon me nj\u00eb tranzicion t\u00eb gjat\u00eb e t\u00eb dhimbsh\u00ebm, pik\u00ebrisht n\u00eb koh\u00ebn n\u00eb t\u00eb cil\u00ebn s\u2019ka mbetur m\u00eb koh\u00eb… Koha eksplorohet me pun\u00eb dhe pangesh\u00ebm. Nj\u00eb nxitim – thirrje si p\u00ebr t\u2019i shp\u00ebtuar tranzicionit, koh\u00ebhumbjes. Hera her\u00ebs pesimizmi ankorohet dhe e zymton ballin e poetit\u2026 mbasi Koha Ne, bashk\u00ebkoh\u00ebsia, jemi koh\u00ebshp\u00ebrdoruesit unikal\u00eb t\u00eb k\u00ebtij floriri. Jo vet\u00ebm q\u00eb s\u2019tundemi n\u00eb prapambetjen ton\u00eb, po dhe marrim mbrapsht, shpesh l\u00ebvizim n\u00eb vektorin e saj t\u00eb kund\u00ebrt, duke e thelluar tragjikisht koh\u00ebhumbjen. N\u00eb vizionin poetik t\u00eb poetit, nga poezia n\u00eb poezi, qoft\u00eb dhe n\u00eb lirikat intime, shpesh viz\u00ebllon ndonj\u00eb predh\u00eb – plumb – rr\u00ebnqethje kundra vet\u00eb jet\u00ebs.<\/p>\n

P\u00ebrve\u00e7 an\u00ebv\u00ebshtrimit filozofiko-social dhe vet\u00eb struktura ritmike gjegj\u00ebse e vargnimit, shpesh p\u00ebrvijon nj\u00eb ndjesi shkundulluese p\u00ebr t\u2019i zgjuar k\u00ebta qejflinj-mjeran\u00eb t\u00eb gjum\u00eb-agonis\u00eb. Nga ana tjet\u00ebr, n\u00eb skaj t\u00eb ndjesive t\u00eb nj\u00eb lexuesi t\u00eb v\u00ebmendsh\u00ebm t\u00eb poezis\u00eb, nuk ka se si t\u00eb mos skajohet, p\u00ebrftohet edhe gjykimi biblik, jo si intens\u00eb po si korniz\u00eb funksionale e poezis\u00eb; me sakt\u00eb, \u201ctoka, uji, ajri, drita dhe koha – gjerat m\u00eb t\u00eb \u00e7muara q\u00eb po t\u00eb duhet t\u2019i blesh, vet\u00eb jeta nuk do t\u00eb mjaftonte. Mir\u00ebpo gj\u00ebra kaq t\u00eb \u00e7muara p\u00ebr t\u00eb gjith\u00eb njer\u00ebzit dhe popujt zoti i ka dh\u00ebn\u00eb falas: dhe n\u00ebse koha \u201chumbon\u2026\u201d toka tjet\u00ebrsohet, ajri shp\u00ebrdorohet, drita sh\u00ebrben vet\u00ebm p\u00ebr t\u2019u shullar\u00eb n\u00eb hije a p\u00ebr t\u2019u par\u00eb n\u00eb pasqyr\u00eb\u2026 \u00ebsht\u00eb gabim\u2026 \u00ebsht\u00eb faj\u2026 \u00ebsht\u00eb krim\u2026 prandaj gabimi, faji dhe ky lloj \u201ckrimi\u201d nd\u00ebshkohet, jo m\u00eb nga kodet kanunore a penale, po nga shkelmat sizmik\u00eb t\u00eb ligjeve universale.<\/p>\n

 <\/p>\n

3 – \u201cPlanetare\u201d. Ndoshta do t\u00eb ishte e tepri \u00e7do fjal\u00eb e th\u00ebn\u00eb p\u00ebrtej ese-s\u00eb sintetike q\u00eb autori ka vendosur n\u00eb mbyllje t\u00eb librit, sidoqoft\u00eb mendoj se \u00ebsht\u00eb p\u00ebr t\u2019u n\u00ebnvizuar fakti se e ve\u00e7anta e librit (me gjith\u00eb ndonj\u00eb rimarrje cil\u00ebsore, jo monotonike, t\u00eb ndonj\u00eb motivi apo episodi, nga dy librat e par\u00eb) q\u00ebndron tek atmosfera poetike e kondensuar, brenda s\u00eb cil\u00ebs zhd\u00ebrvjellon nj\u00eb rrym\u00eb e jonizuar dukurish t\u00eb mendimit, t\u00eb historis\u00eb, apo t\u00eb lirizmit intim. Thelbi i q\u00ebndrimit estetik q\u00ebndron n\u00eb tonalitete t\u00eb reja faktologjike t\u00eb v\u00ebna n\u00eb sh\u00ebrbim t\u00eb mendimit ontologjik<\/em> konstant.<\/p>\n

 <\/p>\n

* Zef Zefi \u00ebsht\u00eb poet, prozator dhe p\u00ebrkthyes, Firence, Itali.<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0Ne foto Ndue Dedaj \u00a0 SIMBIOTIKA E POETIT ME POEZIN\u00cb \u00a0Shkruar nga ZEF ZEFI *   Esht\u00eb fort e v\u00ebshtir\u00eb t\u00eb p\u00ebrcaktosh se kur poezia e Ndue Dedajt ka mb\u00ebrritur tek ne lexuesit,<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-884","post","type-post","status-publish","format-standard","hentry","category-kritike"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/884","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=884"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/884\/revisions"}],"predecessor-version":[{"id":886,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/884\/revisions\/886"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=884"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=884"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=884"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}