{"id":9291,"date":"2021-09-06T20:28:28","date_gmt":"2021-09-06T20:28:28","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=9291"},"modified":"2021-09-06T20:28:28","modified_gmt":"2021-09-06T20:28:28","slug":"ringjallja-si-shenjim-poetik-i-qendreses-ne-poezine-e-pjeter-jakut","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=9291","title":{"rendered":"Ringjallja si shenjim poetik i q\u00ebndres\u00ebs, n\u00eb poezin\u00eb e Pjet\u00ebr Jakut"},"content":{"rendered":"\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"120\" height=\"213\" src=\"https:\/\/revistakuvendi.org\/wp-content\/uploads\/2021\/09\/emrije-krosi.jpg\" alt=\"\" class=\"wp-image-9292\"\/><\/figure>\n\n\n\n<p><strong>Nga EMRIJE KROSI<\/strong><\/p>\n\n\n\n<p>T\u00eb lexosh poezi, sidomos motive\nq\u00eb vijn\u00eb vetiu, dhe t\u00eb ngjisin n\u00eb shpirt ashtu si melodia e nj\u00eb k\u00ebnge t\u00eb vjet\u00ebr\nf\u00ebminore, si loj\u00ebrat, kujtimet, emocinet p\u00ebr sht\u00ebpin\u00eb e vjet\u00ebr,&nbsp; <em>metaforat gjallmuese<\/em>, q\u00eb befasojn\u00eb si\npeizazh mahnit\u00ebs, pas nj\u00eb kthese, kan\u00eb jo vet\u00ebm <em>l\u00ebng poetik<\/em> , por\nqes\u00ebndisja e vargimit, l\u00ebviz mes<em> bashk\u00ebkohores<\/em> dhe <em>modrenes<\/em>.\nVet\u00ebvetiu qen\u00ebsia e shpirtit t\u00eb lir\u00eb, ndien nj\u00eb gjallnim t\u00eb ri. T\u00eb frymon\nndryshe shpirti. Q\u00eb n\u00eb filles\u00eb, tema: \u201c<em>T\u00eb pakt\u00ebn, pak<\/em>!\u201d (Jaku: 2019),\nduket se \u00e7do gj\u00eb \u00ebsht\u00eb pak, por pak m\u00eb shum\u00eb , \u00ebsh\u00ebt <em>revolta shpirt\u00ebrore<\/em>,\n<em>qenia jon\u00eb ekzistenciale<\/em>, <em>protesa q\u00eb (nj\u00eb)trajt\u00ebsohet<\/em> jashte\nidiomave skematike: <strong><em>mjaft m\u00eb!<\/em><\/strong> Profania dhe melosi jan\u00eb\nfiroma e nj\u00eb drit\u00ebsie t\u00eb re. Ajo <em>nuk mahnitet,<\/em> por <em>qart\u00ebsohet <\/em>n\u00ebp\u00ebr\nterrin e atdheut t\u00eb tjet\u00ebrsuar. Ajo, qasht\u00ebrisht, dritohet&nbsp; vet\u00ebm me nj\u00eb l\u00ebvizje: <em>\u00e7erpik\u00ebt e\nlisave\/Nuk u mbyllen asnj\u00ebher\u00eb\/Ata ngjiteshin lart\u00ebsive\/Me krye n\u00eb humner\u00eb!<\/em>.\nImazhet e unit personal, <em>nuk bjerrin imazhet e lirik\u00ebs<\/em> dhe <em>idileve t\u00eb\nkujtimeve<\/em>, <em>t\u00eb rrug\u00ebve, t\u00eb malit, t\u00eb kullave, legjendave, baladave<\/em>,\nq\u00eb n\u00eb funkion metaforik gjuh\u00ebsor na kumton:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><em>kuptimin e p\u00ebrcaktuar\nnga poezia,<\/em><\/li><li><em>obkjektivi drejt\nlexueist n\u00ebp\u00ebrmjet shenjave t\u00eb fjal\u00ebve,<\/em><\/li><li><em>dometh\u00ebnia dhe\nmarr\u00ebdh\u00ebnia, <\/em><\/li><li><em>kuptimi dhe vet\u00ebdija,\n<\/em><\/li><li><em>koncepti dhe situata,<\/em><\/li><li><em>referenca dhe\nrealiteti<\/em>, por edhe vet\u00eb ekzistenca semiotike nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb <\/li><\/ul>\n\n\n\n<p><em>narrativ\u00eb potencile,<\/em> (Fointanille: 1989).&nbsp; Ecja n\u00ebp\u00ebr\nfusha, n\u00eb k\u00ebrkim t\u00eb gjurm\u00ebve t\u00eb <em>dashuris\u00eb s\u00eb humbur njer\u00ebzore,<\/em> p\u00ebrmes\nvargjeve: <em>zjarre q\u00eb fluturojn\u00eb n\u00eb hapsir\u00ebn blu\/Hip\u00ebrbola brilante t\u00eb\ngjysheve t\u00eb m\u00ebn\u00e7ura,\/<strong>Qeshje gurgulluese t\u00eb f\u00ebmij\u00ebve t\u00eb shenjt\u00eb<\/strong>,\/<strong>Lule\nq\u00eb me hapsir\u00ebn bashk\u00ebudh\u00ebtojn\u00eb<\/strong> ,\/Ngjitur pas d\u00ebshir\u00ebs ton\u00eb;\/<strong>A e din\u00eb ku shkojn\u00eb<\/strong>?!\/Fjal\u00eb\nshpuese si plumbi\/<strong>Ngarkuar me lojna kobzeza\/Me kryqe, minare e\nvarreza\/Jasht\u00eb logjik\u00ebs s\u00eb secilit prej nesh\/Tek secili prej nesh veprojn\u00eb\/<\/strong>Dhe\nun\u00eb serish pyes veten:\/ <strong>A e din\u00eb ku shkojn\u00eb?!<\/strong>\/\u2026\/ <strong>Dashuria, miliarda\nvjet e vjet\u00ebr\/Ma heq t\u00eb drejt\u00ebn t\u00eb b\u00ebj pyetje tjet\u00ebr<\/strong>\/,<\/em>ngapoezia\n\u201c\u2026<strong><em>E shkruar sot<\/em><\/strong>\u201d, \u00e7udit\u00ebrisht, mban dat\u00ebn (14 Shkurt)<em>. <\/em>P\u00ebrtej\nklasikes, (m\u00eb)p\u00ebrtej romantizmit, (m\u00eb)p\u00ebrtej reales, duke \u00e7koduar \u00e7do lloj\nraporti t\u00eb <em>dashuris\u00eb intime<\/em>, me dashurin\u00eb universale. P\u00ebrs\u00ebritja e\nvargut: <strong><em>a e din\u00eb ku shkojn\u00eb?, <\/em><\/strong>\u00ebsht\u00eb nj\u00eb referenc\u00eb ndaj bot\u00ebs\nnjer\u00ebzore: <em>v\u00ebrtet\u00eb a e din\u00eb se ku po shkon njer\u00ebzimi sot<\/em>? Dhe p\u00ebrgjia\nvjen vetiu. Endja n\u00eb pyjet e materies<\/p>\n\n\n\n<p>&nbsp;s\u00eb gjelb\u00ebr t\u00eb poetit, me <em>keymetafor\u00ebn<\/em> e\nmalit (Munell\u00ebs), nuk \u00ebsht\u00eb n\u00eb vetvete Qenia si (Qenie, nj\u00ebsi filozofike) por <em>qenia\nn\u00eb lart\u00ebsi<\/em>, nuk ia&nbsp; shvler\u00ebson vlerat\n<em>veprave t\u00eb artit postmodern<\/em>, (Jenks: 1986). N\u00eb endien e p\u00eblhur\u00ebs, <em>thirrm\u00ebn\npoetike<\/em>, nuk e shtang <em>liria e etydeve idilike<\/em>,&nbsp; kur derdhen: <strong><em>pishave dhe lisave t\u00eb\nheshtur q\u00eb po rriten n\u00eb ara\/Do u k\u00ebrkoj t\u00eb ngjiten gjer n\u00eb maj\u00eb t\u00eb Munell\u00ebs,\/Q\u00eb\ntoka t\u00eb jet\u00eb, vet\u00ebm burim drite<\/em><\/strong>!. Raportet me lirin\u00eb, sidomos&nbsp; motivet&nbsp;\ne imazhit t\u00eb atdheut, p\u00ebrcjellin&nbsp;\nmjesht\u00ebrisht marr\u00ebdh\u00ebnien <em>p\u00ebrmes ironis\u00eb<\/em>, <em>paradoksit <\/em>dhe <em>groteskut<\/em>.\nNj\u00eb raport q\u00eb e mbart edhe \u201cdhembjen\u201d e vjet\u00ebr, <em>pamund\u00ebsia e ndryshimit<\/em>\n, ku ironia \u00e7montohet shkallshm\u00ebrisht <em>drejt&nbsp;\nparadoksit<\/em>, n\u00eb vargjet: <strong><em>r\u00ebnkon i r\u00ebnduar nga mbret\u00ebri\nshushunjash\/Trupit t\u00ebnd t\u00eb plagosur i kan\u00eb dh\u00ebn\u00eb\/Dhimbje fjalimesh t\u00eb nd\u00ebrtuara\ng\u00ebnjyesh\u00ebm,.Si rrug\u00ebt e vrara t\u00eb fshatrave t\u00eb plakur,\/T\u00eb l\u00ebna p\u00ebrgjys\u00ebm<\/em><\/strong><em>!<\/em>,\nnga poezia: <em>\u201c<strong>Atdheu im<\/strong>\u201d.<\/em>&nbsp; Let\u00ebrsia postmoderniste\nshoq\u00ebrohet&nbsp; me <em>tone ironike<\/em> dhe <em>tall\u00ebse<\/em>,\nderi n\u00eb <em>sarkaz\u00ebm,<\/em> ashtu si\u00e7 funksionon ironia e fjal\u00ebs, funksionon edhe <em>ironia\ne situat\u00ebs<\/em>, (Dado: 2020). Poeti e quan pritjen : <strong><em>si nj\u00eb\npem\u00eb e pakrehur<\/em><\/strong><em>\/zgjuar p\u00ebr t\u00eb pritur diellin, <\/em>por nata \u00ebsht\u00eb\n<em>koh\u00eb ciklike natyrore<\/em> se n\u00eb <em>koh\u00ebn e nj\u00ebmend\u00ebsis\u00eb<\/em> rivaj\u00ebson<\/p>\n\n\n\n<p>&nbsp;nat\u00ebn tjet\u00ebr, at\u00eb eternike: <em>sa shum\u00eb i\nngjan\u00eb\/Shpritit t\u00eb ish mikut tim,\/Q\u00eb fluturoi n\u00eb\/<strong>Madh\u00ebshtin\u00eb hiperbolike\/T\u00eb\nmediok\u00ebrve&#8230;\/N\u00eb turravrapin e vet\/Sikur shkel mbi njer\u00ebz,<\/strong><\/em> se <em>absurdi,\nsurrealia, neveria,, ironia<\/em> vijn\u00eb n\u00ebp\u00ebrmjet <em>qasjeve dekonstruktive, <\/em>q\u00eb&nbsp; jan\u00eb t\u00eb gatshme p\u00ebr t\u00eb pranuar, nj\u00eb lloj\nnxitjeje brenda nj\u00eb&nbsp; koherence s\u00eb\nbrendshme, q\u00eb vet\u00eb tekstit ka nj\u00eb&nbsp;\n(pa)q\u00ebndrueshm\u00ebri t\u00eb kuptimit t\u00eb identifikuar nga teorit\u00eb e<em>&nbsp; post-strukturalist\u00ebve,<\/em> (Culler: 1975) ,\nna mund\u00ebson t\u00eb njohim boshll\u00ebqet, sepse nj\u00eb poezi lirike <em>rikrijon gjendje\nshpirt\u00ebrore<\/em>.&nbsp; Kur p\u00ebrmbajtja dhe\nforma jan\u00eb t\u00eb pandashme, at\u00ebhere poezia merr <em>vlera tematike<\/em> (Crawford\n1992) , se thelbi i poezis\u00eb absurde nuk ka nj\u00eb m\u00ebnyr\u00eb t\u00eb prer\u00eb&nbsp; t\u00eb \u201cbot\u00ebs empirike\u201d mes lexuesit dhe poetit.\nA thua dashuria n\u00ebp\u00ebrmjet <em>intuit\u00ebs poetike,<\/em> do na shp\u00ebtoje nga m\u00ebkati,\nmetamorfoza sh\u00ebnd\u00ebrruese, &nbsp;n\u00eb form\u00eb edhe n\u00eb distance kritike me\nrealitetin, apo poezia \u00ebsht\u00eb thjesht gjuh\u00eb e ngarkuar me <em>kuptimin e\nsaj t\u00eb subjektives<\/em>, deri n\u00eb&nbsp; shkall\u00ebn\ndhe <em>natyr\u00ebn shenjore,<\/em> (Wilde: 1981). Poet\u00ebt,&nbsp; nuk kan\u00eb parasysh nj\u00eb mjedis t\u00eb caktuar\nn\u00eb&nbsp; <em>kontekstin historik <\/em>apo<em>\nshoq\u00ebror<\/em>, por nj\u00eb korrelacion lidhjesh <em>brenda strukturave diskursive <\/em>me\nindividualizmin e topik\u00ebve n\u00eb form\u00eb:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><em>t\u00eb transformimit t\u00eb\nform\u00ebs, <\/em><\/li><li><em>t\u00eb simboleve dhe\nmesazheve treguese dhe rr\u00ebfyese,<\/em><\/li><li><em>t\u00eb vet\u00eb th\u00ebnies dhe\nmateries l\u00ebndore,<\/em><\/li><\/ul>\n\n\n\n<ul class=\"wp-block-list\"><li><em>t\u00eb q\u00ebndrueshm\u00ebris\u00eb s\u00eb\nkuptimit dhe tjet\u00ebrsimit,<\/em><\/li><li><em>t\u00eb istanc\u00ebs\nfenomenologjike<\/em>, ku imazhi <em>individualist,<\/em>\nshenjohet n\u00ebp\u00ebrmjet vargjeve: <em>nuk <\/em><\/li><\/ul>\n\n\n\n<p><em>\u00ebsht\u00eb ve\u00e7 p\u00ebrkufizim\/<strong>N\u00eb\nfjalorin e ndjenjave,\/Kuptimin e fjal\u00ebve\/Shpjeguar me fjal\u00eb.\/\u00cbsht\u00eb tep\u00ebr m\u00eb\ntep\u00ebr\/Se nj\u00eb nd\u00ebrlikim planetar<\/strong><\/em>! Metaforat\nkrahasuese deri n\u00eb <em>metonimi<\/em> n\u00ebp\u00ebrmjet vargjeve: <strong><em>dun me nxerr\nhelmin prej vedit\/E me kalu n\u2019mu.\/Veriu ua kthen n\u2019ftyr\u00eb<\/em><\/strong><em>!\/Un\u00eb,\np\u00ebrher\u00eb ia kam vu gjoksin er\u00ebs,\/<strong>Se m\u2019ka lind fryma e maleve t\u00eb mia!\/\u2026\/Helmi\ni tyne u ban mire\/ Kur u kthehet n\u2019ftyr\u00eb<\/strong>!<\/em>, n\u00eb poezin\u00eb: \u201c<strong><em>Koh\u00eb\ngjarpnish\u201d.<\/em><\/strong>N\u00eb funksionin social dhe kontekstin origjinal,&nbsp; n\u00eb lidhje&nbsp;\nme bot\u00ebn dhe \u00e7far\u00eb asaj i komunuikojm\u00eb pa <em>marr\u00eb parasysh form\u00ebn<\/em>\n(Adams: 1977), na e kujton e shkuara jon\u00eb.&nbsp;\nPor, kujtesa jon\u00eb kolektive, p\u00ebr t\u00eb shkur\u00ebn ton\u00eb t\u00eb sh\u00ebmtuar, ka filluar\nt\u00eb&nbsp; hollohet, coptohet,&nbsp; griset dhe ndyshket, sepse nj\u00eb th\u00ebnie e\nlasht\u00eb m\u00eb kujton: <em>nj\u00eb popull q\u00eb harron historin\u00eb, b\u00ebn t\u00eb nj\u00ebjtat gabime n\u00eb\nt\u00eb ardhmen!<\/em> Poezia \u201c<strong><em>Vrasja e ushtarit<\/em><\/strong>\u201d&nbsp; (vrasjet e 89-t\u00ebs n\u00eb kufi), \u00ebsht\u00eb jo vet\u00ebm <em>rebelimi\ni poetit<\/em>,&nbsp; por (mos)harresa\nkolektive&nbsp; e nj\u00eb popullit t\u00eb n\u00ebnshtruar\nnga diktatura: <strong><em>nj\u00eb rrufe shurdhuese\/shkarkoi n\u00eb shk\u00ebmb\/malet u\nthinj\u00ebn\/krojet u ndalen\/e mbeten pa mend! Lisat udh\u00ebtuan ve\u00e7 e ve\u00e7\/Me vet\u00ebm nj\u00eb\nshpres\u00eb\/T\u2019i jepnin frym\u00eb\/ushtarit t\u00eb r\u00ebn\u00eb!\/T\u00eb mallkuarit V\u00ebllezrit tan\u00eb\/Pse\ndesh t\u00eb kalonte\/Vet\u00ebm nj\u00eb vij\u00eb\/\u2026\/ Q\u00eb nga ajo dit\u00eb\/Do t\u00eb thoja\/Se krimi nuk\nka\/Em\u00ebr tjet\u00ebr,\/Ve\u00e7 komunist!<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>\/Gjith\u00ebmon\u00eb\/Do t\u00eb\nlutem p\u00ebr ta:\/Pak drit\u00eb,\/Pak drit\u00eb&#8230;\/Pak drit\u00eb&#8230;<\/em><\/strong><em> <\/em>nj\u00eb klithmaj\u00eb migjeniane : pak drit\u00eb!, e p\u00ebrs\u00ebritur tre\nher\u00eb n\u00eb form\u00ebn e Trinis\u00eb s\u00eb Shenjt\u00eb, (drita \u00ebsht\u00eb besimi n\u00eb shpirtin e\nKrishtit), <em>shenjon<\/em> dhe <em>shenj\u00ebzon <\/em>aft\u00ebsin\u00eb e historis\u00eb p\u00ebr t\u00eb\nzbuluar t\u00eb v\u00ebrtet\u00ebn dhe aft\u00ebsin\u00eb e gjuh\u00ebs <em>p\u00ebr t\u00eb p\u00ebrcjell\u00eb realitetin, <\/em>(Amian:\n2008). Autori nuk e \u201cfsheh\u201d <em>kopetenc\u00ebn&nbsp;\nnd\u00ebrtekstuale,<\/em>&nbsp; n\u00ebp\u00ebrmjet:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><em>ndjeshm\u00ebris\u00eb krahasimtare,<\/em><\/li><li><em>arsyes autoriale,<\/em><\/li><li><em>varianteve tekstore\ndhe form\u00ebs<\/em>, n\u00eb m\u00ebnyr\u00eb sesi <em>\u00ebsht\u00eb shkruar<\/em>, (Lamarque: 2008),\nse <\/li><\/ul>\n\n\n\n<p>&nbsp;teknikat stilistike t\u00eb postmodernizmit\np\u00ebrfshijn\u00eb p\u00ebrdorimin e shpesht\u00eb t\u00eb interseksualitetit, <em>metafiction<\/em>,\nderi n\u00eb <em>metamoderniz\u00ebm<\/em>, (Bunnell: 2015). Fundja diskursi i konceptit t\u00eb\nkoh\u00ebs ku gjendja njer\u00ebzore nd\u00ebrmjet\u00ebsohet n\u00ebp\u00ebrmjet dikotomis\u00eb s\u00eb fjal\u00ebve si:\nfrika\/zbrast\u00ebsia, drita\/err\u00ebsira, Zoti\/njeri, koha \/p\u00ebrjet\u00ebsia n\u00ebp\u00ebrmjet\nvargjeve: <strong><em>o zot<\/em><\/strong><em>, n\u00eb shkofsha v\u00ebrtet <strong>n\u00eb qiell<\/strong>,\/Pabesis\u00eb\ns\u00eb rrufeve si t\u2019u shp\u00ebtoj\u00eb<strong>?\/Thon\u00eb se ato s\u2019t\u00eb binden as Ty!\/T\u00eb lutem, t\u00eb\np\u00ebrgj\u00ebrohem<\/strong>,\/Deri n\u00eb p\u00ebruljen m\u00eb t\u00eb ult\u00eb\/B\u00ebje analizen e rrufeve\/Si ju ven\u00eb\npunt\u00eb?<\/em>, na jep infomacion t\u00eb gjer\u00eb poetiko-stilistikor t\u00eb\npost-shkrimit modern. <em>&nbsp;<\/em>N\u00eb fundlibrin\ne tij, poeti me nj\u00eb metafor\u00eb fataliteti, brenda dhe jasht\u00eb <em>vet\u00ebdijes s\u00eb\narratis\u00eb<\/em>, mundohet t\u2019i ik\u00eb realitetit, n\u00ebp\u00ebrmjet fantazis\u00eb, e <em>keqja dhe\nlig\u00ebsia,<\/em> si nj\u00eb amulet n\u00eb at\u00eb zbrasje jo <em>vet\u00ebm t\u00eb shpirtit,<\/em> por t\u00eb <em>gji\u00e7kaje<\/em>\ndhe <em>\u00e7dogj\u00ebje<\/em>, si nj\u00eb r\u00ebnkim shpir\u00ebror nga <em>e jotja\/huaja<\/em>, ashtu si\nedhe <em>pafuqishm\u00ebria <\/em>e <em>arsyes s\u00eb kulluar<\/em>\u2026tek \u201c<strong><em>Eh, at\u00ebhere\u2026\u201d<\/em><\/strong>\nsi n\u00ebntem\u00eb: (vendlindjes time, Moll\u00eb-Kuqe): <strong><em>thyhen dit\u00ebt mbi shk\u00ebmbinjt\u00eb,\/Vetmia\nkullat po i plas!\/Krojet rrjedhin lot\u00eb t\u00eb hirt\u00eb\/Malet ne po\nna vijn\u00eb pas.\/N\u00ebp\u00ebr kod\u00ebr udha m\u00eb nuk zbret<\/em><\/strong>\/<strong><em>Dhe kryqi m\u00eb\nnuk marrka frym\u00eb<\/em><\/strong> \/<strong><em>P\u00ebrroi i bardh\u00eb me shum\u00eb siklet<\/em><\/strong>\/Vrapon\ni mbytur <strong><em>n\u00eb zem\u00ebrim<\/em><\/strong>. Pezia vet\u00eb shfaq nj\u00eb <em>enumeracion<\/em>\nt\u00eb nj\u00eb pejzazhi vetmitar, t\u00eb zbrazur nga ikja, arratisja, emigracioni, mjerimi,\nizolimi, harresa, tipik t\u00eb nj\u00eb fshatit t\u00eb vendlindjes, me an\u00eb t\u00eb fjal\u00ebve: {<em>shk\u00ebmbinjt\u00eb\/kullat\/krojet\/mallet\/kod\u00ebr\/p\u00ebrroi\/kryqi<\/em>}\nq\u00eb vet\u00eb Zoti e ka harruar k\u00ebt\u00eb dh\u00e8, q\u00eb me shekuj ka qen\u00eb sht\u00ebpia e Krishti dhe\ne Zotit. Kjo <em>dhimbje baladeske,<\/em> t\u00eb ther deri n\u00eb palc\u00eb , por ul\u00ebrima,\nthirrma, klithma, \u00e7merima, b\u00ebrtima, m\u00ebrzia, z\u00ebm\u00ebrimi, <em>dekodon shenjat e\nmetafor\u00ebs s\u00eb marris\u00eb<\/em> <em>kolektive<\/em>, p\u00ebr t\u00eb ikur, m\u00eb(p\u00ebrtej) vetes, nga\nshtypja dhe burgu i diktatur\u00ebs gati-pes\u00ebdhjet\u00ebvje\u00e7are, tek poema:\u201c<strong><em>Diktatorit\u201d<\/em><\/strong>,\nn\u00ebp\u00ebrmjet vargjeve: <strong><em>monark me fytyr\u00eb t\u00eb patinuar,\/Me pabesi\nshpellash,\/Monst\u00ebr ogurzez\u00eb p\u00ebr vendin e tij.\/Pa miq, pa shok\u00eb, pa\nndjenj\u00eb.\/Metamrofoz\u00eb e keqe<\/em><\/strong>. Por e k\u00ebqja nuk shkulet. Ajo ka mbir\u00eb si\ngrami, dhe nuk gjethnoin n\u00eb trungun e shkret\u00eb cung. Poeti, duke qen\u00eb i\npam\u00ebshirsh\u00ebm <em>me koh\u00ebn<\/em> por edhe <em>me form\u00ebn<\/em>, se parimi i t\u00eb parit <em>p\u00ebrtej\nvetes<\/em>, (liria \u00ebsht\u00eb <em>hapsir\u00eb<\/em> por edhe <em>ngusht\u00ebsi<\/em>, \u00ebsht\u00eb <em>form\u00eb\n<\/em>por edhe <em>depresion<\/em> \u00ebsht\u00eb <em>krahasim<\/em> dhe <em>kontrast<\/em>), se\n\u00ebsht\u00eb aft\u00ebsia negative\/pozitive q\u00eb&nbsp;\nlexohet n\u00ebp\u00ebrmjet mistereve, dyshimeve, boshll\u00ebqeve, se vet\u00eb lexuesi \u00ebsht\u00eb\nnj\u00eb person ku <em>akti imagjinar<\/em>, krijohet n\u00eb nj\u00eb lidhje t\u00eb drejp\u00ebrdrejt\u00eb me\npoezin\u00eb, q\u00eb \u201cnuk \u00ebsht\u00eb&nbsp; p\u00ebrgjegj\u00ebsi e\narsyes\u201d, por si vler\u00eb tematike, nuk e spastron realitetin nga <em>mbeturinat\npostmoderne,<\/em> (Brooker: 1972), sado q\u00eb presioni i <em>ekzistenc\u00ebs njer\u00ebzore<\/em>,\nnuk i ka thyer <em>vargonj\u00eb e liris\u00eb<\/em>. Vet\u00eb p\u00ebrmasa dhe funksioni i mesazhit,\n\u00ebsht\u00eb <em>mir\u00ebfilli estetik<\/em>, \u00ebsht\u00eb <em>reflektimi semiotik<\/em> dhe <em>funksioni\nreferencial<\/em> si p\u00ebrfaq\u00ebsues i ligj\u00ebrimit fundor poetik. <\/p>\n\n\n\n<p><strong><em>S\u00ebfundmi<\/em><\/strong>: vet\u00eb poezia \u201c<strong><em>Rroft\u00eb!<\/em><\/strong>\u201d \u00ebsht\u00eb thirrja p\u00ebr nj\u00eb njohje t\u00eb pen\u00ebs\nn\u00eb dy koh\u00eb t\u00eb poetit, <em>Pjet\u00ebr Jaku<\/em>: <\/p>\n\n\n\n<p><strong><em>Rroft\u00eb err\u00ebsira<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>P\u00ebr t\u00eb verb\u00ebrit me sy<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>Q\u00eb din\u00eb e s\u2019dun<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>Me di!<\/em><\/strong><\/p>\n\n\n\n<p>Bibliografia:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Jaku, Pjet\u00ebr: (2019),\n<em>T\u00eb pakt\u00ebn, pak<\/em>, \u201cKuvendi\u201d, Lezh\u00eb.<\/li><li>Fontanille, Jasques:\n(1989), <em>Les spaces subjectifs: introduction \u00e0 la s\u00e9miotique de l\u2019observateur<\/em>,\nHachette, Paris.<\/li><li>Jencks, Charles:\n(1968), <em>What is Post-Modernism?<\/em> London: Art and Design.<\/li><li>Dado, Floresha:\n(2020), <em>Postmodrenizmi, poetik\u00eb e \u201cantirregullit<\/em>\u201d, \u201cKristalina -KH\u201d,\nTiran\u00eb<\/li><li>Culler, Jonathan:\n(1975),&nbsp; <em>Structuralist Poetics:\nStructuralism, Linguistics, and the Study of Literature<\/em>, London: Routledge.\n<\/li><li>Crawford, Roberts:\n(1992), <em>Devolving English Literature<\/em>, Oxford: Clarendon Press. &nbsp;<\/li><li>Wilde, Alan,\n(1981),&nbsp; <em>Horizons of Assent:\nModernism, Postmodernism, and the Ironic Imagination,<\/em> Baltimore: John\nHopkins University Press.<\/li><li>Amian, Katrin,\n(2008),&nbsp; <em>Rethinking Postmodernism<\/em>,&nbsp; Amsterdam, New York: Rodopi.<\/li><li>Adams, Stephen:\n(1977), <em>Poetic Designs: An Introduction to Meters, Verse Forms and Figures\nof Speech<\/em>, Peterborough, ON: Broadview Press. <\/li><li>Lamarque, Peter,\n(2008), <em>Philosophy of Literature<\/em>&nbsp;, Wiley-Black\u00ebell:<\/li><li>Bunnell, Noah,\n(2015):&nbsp; \u201c<em>Oscillating from a Distance:\nA Study of Metamodernism in Theory and Practice<\/em>\u201d, Undergraduate Journal of\nHumanistic Studies, vol. I, 1-8. Crane,<\/li><li>Brooker\nPeter.:(1972), <em>Modernism\/Postmodernism,<\/em> London and New York: Longman.<\/li><\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Nga EMRIJE KROSI T\u00eb lexosh poezi, sidomos motive q\u00eb vijn\u00eb vetiu, dhe t\u00eb ngjisin n\u00eb shpirt ashtu si melodia e nj\u00eb k\u00ebnge t\u00eb vjet\u00ebr f\u00ebminore, si loj\u00ebrat, kujtimet, emocinet p\u00ebr sht\u00ebpin\u00eb e vjet\u00ebr,&nbsp; metaforat gjallmuese, q\u00eb befasojn\u00eb si peizazh mahnit\u00ebs, pas nj\u00eb kthese, kan\u00eb jo vet\u00ebm l\u00ebng poetik , por qes\u00ebndisja e vargimit, l\u00ebviz mes&hellip;<\/p>\n","protected":false},"author":1,"featured_media":9292,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-9291","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\/9291","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=9291"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/9291\/revisions"}],"predecessor-version":[{"id":9293,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/9291\/revisions\/9293"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/9292"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}