{"id":17971,"date":"2023-02-07T16:24:22","date_gmt":"2023-02-07T15:24:22","guid":{"rendered":"https:\/\/nyje.al\/?p=17971"},"modified":"2024-10-01T12:10:08","modified_gmt":"2024-10-01T10:10:08","slug":"kraja-postmodern","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/kraja-postmodern\/","title":{"rendered":"Kraja Postmodern"},"content":{"rendered":"
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Antonela Pepkolaj | 07.02.2023 | nyje.al\u00a0<\/strong><\/span><\/p>

P\u00ebrmasa e parodis\u00eb <\/i><\/em>n\u00eb romanin postmodern, kalon p\u00ebrtej asaj t\u00eb nj\u00eb figure retorike, por funksionalizohet p\u00ebr t\u00eb arrir\u00eb p\u00ebrftime t\u00eb reja, m\u00eb komplekse dhe dometh\u00ebn\u00ebse p\u00ebr nj\u00eb tekst. K\u00ebshtu, e gjejm\u00eb jo m\u00eb si nj\u00eb marr\u00ebdh\u00ebnie e drejtp\u00ebrdrejt\u00eb dhe tall\u00ebse me nj\u00eb element p\u00ebrgjith\u00ebsisht jasht\u00eb tekstual, por si nj\u00eb mekaniz\u00ebm t\u00eb gjer\u00eb q\u00eb gjeneron nj\u00eb tekst n\u00eb thelb dialogues me nj\u00eb kontekst t\u00eb gjer\u00eb.<\/span><\/p>

\u201cParodia postmoderniste \u00ebsht\u00eb m\u00ebnyr\u00eb e vet\u00ebrefleksivitetit q\u00eb e lejon shkrimtarin t\u00eb vendos\u00eb nj\u00eb marr\u00ebdh\u00ebnie dialogjike, sa identifikimi aq edhe distance, n\u00eb synimin p\u00ebr t\u00eb kontekstualizuar situat\u00ebn e parashtruar n\u00eb vep\u00ebr.\u201d1<\/sup> Pra, parodia \u00ebsht\u00eb nj\u00eb marr\u00ebdh\u00ebnie dialogjike<\/i><\/em>\u00a0me synimin p\u00ebr t\u00eb kontekstualizuar.<\/i><\/em>\u00a0E par\u00eb n\u00eb k\u00ebt\u00eb priz\u00ebm, do t\u00eb shohim me k\u00eb krijon teksti i M. Kraj\u00ebs marr\u00ebdh\u00ebnie dialogjike, \u00e7far\u00eb kontekstualizon dhe, p\u00ebrse kjo marr\u00ebdh\u00ebnie \u00ebsht\u00eb parodike. P\u00ebr k\u00ebt\u00eb do ta shohim parodin\u00eb n\u00eb tri nivele: n\u00eb nivel titulli, n\u00eb nivel karakteresh dhe n\u00eb nivel zhanri.<\/span><\/p>

<\/b>Parodia n\u00eb nivel titulli<\/b><\/strong><\/span><\/p>

E dim\u00eb q\u00eb romani krijon nj\u00eb paraleliz\u00ebm me vepr\u00ebn e mir\u00ebnjohur \u201cE kuqja dhe e zeza\u201d e Stendalit. Ky paraleliz\u00ebm shtrihet vet\u00ebm n\u00eb nivel titulli, p\u00ebr t\u00eb sjell\u00eb nj\u00eb dometh\u00ebnie t\u00eb caktuar q\u00eb projektohet n\u00eb vep\u00ebr. P\u00ebr k\u00ebt\u00eb, do t\u00eb shohim dometh\u00ebnien q\u00eb projekton titulli n\u00eb vepr\u00ebn origjinale dhe mandej n\u00eb vepr\u00ebn e M. Kraj\u00ebs dhe arsyen se p\u00ebrse, rifunksionalizimi q\u00eb i b\u00ebn titullit ky i fundit, \u00ebsht\u00eb parodik.<\/span><\/p>

\u201cE kuqja dhe e zeza\u201d n\u00eb vepr\u00ebn e Stendalit, krijon nj\u00eb raport metaforik me ngjarje reale t\u00eb cilat Stendali i lexoi n\u00eb nj\u00eb kronik\u00eb. M\u00eb specifikisht, ishin rr\u00ebfimet e gjyqeve t\u00eb vrasjeve, q\u00eb Stendali lexonte n\u00eb Gazette des Tribunaux<\/i><\/em>, rasti i Lafargue dhe rasti i Berthet\u00a02<\/sup>. S. Haig, n\u00eb monografin\u00eb e tij mbi vepr\u00ebn \u201cE kuqja dhe e zeza\u201d na ofron disa q\u00ebndrime t\u00eb kritik\u00ebs mbi titullin e romanit t\u00eb Stendalit.3<\/sup><\/span><\/p>

P\u00ebr t\u2019u kthyer tek M. Kraja, v\u00ebrejm\u00eb q\u00eb ai p\u00ebrmbys titullin original, duke vendosur t\u00eb zez\u00ebn<\/i><\/em>\u00a0para t\u00eb kuqes<\/i><\/em>, duke i m\u00ebshuar k\u00ebshtu, n\u00eb kodin e Stendalit, t\u00eb keqes dhe hipokrizis\u00eb si parimin fillestar p\u00ebr kontekstin q\u00eb flet M. Kraja, q\u00eb \u00ebsht\u00eb Shqip\u00ebria. Ky titull hyn edhe n\u00eb dialog me ngjyrat e flamurit shqiptar, e kuqja si simbol i heroikes dhe e zeza si simbol i vuajtjes dhe mundimeve kolektive historike. S\u00ebrish, vendosja e t\u00eb zez\u00ebs n\u00eb fillim, n\u00ebnkupton nj\u00eb realitet t\u00eb degraduar historik p\u00ebr Shqip\u00ebrin\u00eb dhe munges\u00ebn e heroizmit apo lavdis\u00eb. Pra \u201chumbjet e shqiptar\u00ebve jan\u00eb objekt i romanit, nd\u00ebrsa e kuqja, apo e mira, heroikja, virtyti, e arritura \u00ebsht\u00eb dyt\u00ebsore.4<\/sup><\/span><\/p>

Kemi parodi q\u00eb krijon marr\u00ebdh\u00ebnie me nj\u00eb para tekst (q\u00eb \u00ebsht\u00eb vepra e Stendalit) dhe me historin\u00eb e Shqip\u00ebris\u00eb si\u00e7 e shohim t\u00eb sh\u00ebnjuar n\u00eb flamurin kuq e zi, <\/i><\/em>si simbol i q\u00ebndrueshm\u00ebris\u00eb dhe heroizmit shqiptar. Parodia q\u00ebndron n\u00eb rifunksionalizimin e k\u00ebtyre dy element\u00ebve p\u00ebr t\u2019i dh\u00ebn\u00eb p\u00ebrpar\u00ebsi asaj m\u00eb t\u00eb keqes duke indikuar k\u00ebshtu realitetin e sh\u00ebmtuar t\u00eb Shqip\u00ebris\u00eb dhe shqiptar\u00ebve.<\/span><\/p>

<\/b>Parodia n\u00eb nivel karakteresh<\/b><\/strong><\/span><\/p>

Kemi nj\u00eb tradit\u00eb t\u00eb konsoliduar tashm\u00eb, t\u00eb epizmit dhe let\u00ebrsis\u00eb gojore, folklorike, q\u00eb mitizon heroizmin shqiptar p\u00ebrball\u00eb pushtuesit dhe t\u00eb huajit. Duke filluar k\u00ebtu nga Eposi i kreshnik\u00ebve<\/i><\/em>\u00a0e deri krijime popullore, q\u00eb i k\u00ebndojn\u00eb trimave dhe trim\u00ebris\u00eb shqiptare. Kjo tradit\u00eb, zgjerohet m\u00eb tej me romantizmin shqiptar, autor\u00ebt e s\u00eb cil\u00ebs, n\u00ebn t\u00eb nj\u00ebjt\u00ebn frym\u00eb epizmi, mitizuan Shqip\u00ebrin\u00eb dhe periudh\u00ebn e motit t\u00eb madh <\/i><\/em>t\u00eb Sk\u00ebnderbeut, p\u00ebr t\u00eb theksuar dhe stimuluar m\u00eb tej trim\u00ebrin\u00eb shqiptare, si ruajt\u00ebse t\u00eb identitetit dhe ekzistenc\u00ebs n\u00eb p\u00ebrgjith\u00ebsi. Tradit\u00eb e cila vazhdon ende edhe sot, paralel me realizmin q\u00eb u shfaq n\u00eb let\u00ebrsin\u00eb shqipe, n\u00eb gjysm\u00ebn e par\u00eb t\u00eb shek. XX.<\/span><\/p>

Vepra e M. Kraj\u00ebs, godet pik\u00ebrisht k\u00ebt\u00eb nacionaliz\u00ebm t\u00eb theksuar t\u00eb shqiptar\u00ebve, duke i p\u00ebrballur me realitetin e hidhur se Shqip\u00ebria nuk e ka dominuar fatin e vet, por p\u00ebrkundrazi \u00ebsht\u00eb konformuar dhe ka b\u00ebr\u00eb kompromise pik\u00ebrisht me identitetin me t\u00eb cilin mburremi se e kemi ruajtur.<\/span><\/p>

K\u00ebshtu, romani hapet me historin\u00eb e gjyshit t\u00eb protagonistit, Halil Bogdani, i cili ka nd\u00ebrruar fen\u00eb dhe emrin, nj\u00eb motiv i trajtuar tashm\u00eb edhe nga autor\u00eb t\u00eb tjer\u00eb si I. Kadare apo B. Blushi. Ai \u00ebsht\u00eb b\u00ebr\u00eb muhamedan dhe emrin e ka nd\u00ebrruar nga Hil\u00eb, n\u00eb Halil. Kjo zhvendosje nga sh\u00ebnjues tipik\u00eb shqiptar\u00eb, si feja katolike dhe emri Hil\u00eb, n\u00eb sh\u00ebnjues t\u00eb tjer\u00eb tipik\u00eb t\u00eb perandoris\u00eb osmane, p\u00ebrb\u00ebn nj\u00eb kund\u00ebrshti me nacionalizmin e p\u00ebrhapur shqiptar, q\u00eb shkon n\u00eb ironi dhe tallje. Kjo linj\u00eb e braktisjes s\u00eb identitetit ruhet p\u00ebrgjat\u00eb gjith\u00eb linj\u00ebs s\u00eb romanit, duke qen\u00eb se n\u00eb vazhdim na rr\u00ebfehen historit\u00eb e t\u00eb birit dhe nipit t\u00eb Halil Bogdanit.<\/span><\/p>

P\u00ebr m\u00eb tep\u00ebr, pran\u00ebvendosja e Halil<\/i><\/em>\u00a0me Bogdan <\/i><\/em>p\u00ebrb\u00ebn nj\u00eb antitez\u00eb, duke qen\u00eb se Bogdani (Pjet\u00ebr) n\u00eb historin\u00eb e kombit ton\u00eb\u00a0\u00ebsht\u00eb l\u00ebvrues i shqipes dhe afirmues i identitetit, nd\u00ebrkoh\u00eb q\u00eb Halili b\u00ebn pik\u00ebrisht t\u00eb kund\u00ebrt\u00ebn e k\u00ebsaj.<\/span><\/p>

Parodia arrin kulmin e saj n\u00eb arsyen se p\u00ebrse Hil\u00eb Bogdani nd\u00ebrron emrin dhe fen\u00eb e tij.<\/span><\/p>

\u201c\u2026 ia kishte v\u00ebn\u00eb vetes emrin e ri dhe ishte par\u00eb\u00a0tek ecte serbes n\u00ebp\u00ebr Shkod\u00ebr dhe gjithandej asaj ane, tani i thoshte vetes se, po t\u00eb vinte puna, n\u00eb k\u00ebng\u00eb trim\u00ebrie do t\u00eb hynte me emrin e ri, sepse emri i vjet\u00ebr i dukej disi i mefsht\u00eb, si i b\u00ebr\u00eb nga nj\u00eb p\u00ebshurrim\u00eb n\u00eb t\u00eb linjta grash, me emrin e vjet\u00ebr mund t\u00eb rrinte n\u00ebn hijen e fikut, n\u00eb katundin e tij\u2026 por nuk mund t\u00eb b\u00ebnte luft\u00eb me nj\u00eb em\u00ebr t\u00eb till\u00eb.\u201d5<\/sup><\/span><\/p>

Pra personazhi preferon m\u00eb mir\u00eb t\u00eb identifikohet n\u00eb kujtes\u00ebn kolektive, si\u00e7 \u00ebsht\u00eb kultura, me sh\u00ebnjuesit e huaj, duke b\u00ebr\u00eb k\u00ebshtu nj\u00eb braktisje totale t\u00eb identitetit edhe n\u00eb ato hap\u00ebsira ku identiteti ruhet dhe lart\u00ebsohet.<\/span><\/p>

N\u00eb vazhdim, parodia n\u00eb nivel karakteresh, lidhet kryesisht me frik\u00ebn q\u00eb shfaqin shqiptar\u00ebt p\u00ebrball\u00eb luft\u00ebs dhe pushtuesit. Mungesa e kuraj\u00ebs dhe e trim\u00ebris\u00eb, nuk \u00ebsht\u00eb tipike si\u00e7 na portretizohet n\u00eb kujtes\u00ebn kolektive. Ndaj dhe kjo kund\u00ebrshti, n\u00eb favor t\u00eb s\u00eb v\u00ebrtet\u00ebs, na jep parodin\u00eb dhe ironin\u00eb, e cila shprehet duke \u201cironizuar, parodizuar idhujt, tallur q\u00ebndrimet e shoq\u00ebris\u00eb ndaj dukurive t\u00eb ndryshme, prish figura apo ide q\u00eb kan\u00eb qen\u00eb ideale p\u00ebr moralin e shoq\u00ebris\u00eb. K\u00ebshtu heroi i legjend\u00ebs \u00e7mitizohet n\u00eb m\u00ebnyr\u00ebn m\u00eb ekstreme dhe t\u00eb pam\u00ebshirshme. P\u00ebrmbyset kuptimi i personazheve t\u00eb epik\u00ebs legjendare.\u201d6<\/sup><\/span><\/p>

<\/b>Parodia n\u00eb nivel zhanri<\/b><\/strong><\/span><\/p>

N\u00eb nivel zhanri, parodia do t\u00eb shihet si marr\u00ebdh\u00ebnia atipike q\u00eb krijon vepra me modelin pararend\u00ebs. K\u00ebshtu, n\u00eb vep\u00ebr na shfaqen forma t\u00eb realizmit q\u00eb shkojn\u00eb deri n\u00eb ekspresioniz\u00ebm dhe natyraliz\u00ebm. Na shfaqen forma t\u00eb romanit distopik, t\u00eb nd\u00ebrthurura me romanin psikologjik dhe filozofik. Si dhe, na shfaqen forma t\u00eb realizmit magjik t\u00eb nd\u00ebrthurura me romanin historik. T\u00eb gjitha k\u00ebto forma nd\u00ebrthuren p\u00ebr t\u00eb sjell\u00eb atmosfer\u00ebn shqiptare, sa idilike me liqenin e Shkodr\u00ebs, feudale, patriarkale, supersticioze, n\u00eb luft\u00eb dhe n\u00eb thelb absurdin q\u00eb merr fill nga sfera individuale p\u00ebr t\u00eb marr\u00eb p\u00ebrmasa historike dhe kolektive.<\/span><\/p>

Parodia n\u00eb nivel t\u00eb diskursit dhe poetik\u00ebs s\u00eb nj\u00eb teksti, na shfaqet si \u201cnj\u00eb m\u00ebnyr\u00eb e re, radikale. Form\u00eb e cila mund t\u00eb jap\u00eb nj\u00eb karikatur\u00eb\/shtremb\u00ebrim ose antitez\u00eb\u2026\u201d7<\/sup> N\u00eb romanin e Kraj\u00ebs, mund t\u00eb shquajm\u00eb si dominante dy tipat e romaneve, realist dhe romanin sag\u00eb, t\u00eb cilat do t\u2019i shohim si q\u00ebndrojn\u00eb n\u00eb raport me modelin.<\/span><\/p>

Fillimisht, shohim p\u00ebrkufizimin e dy llojeve.<\/span><\/p>

\u201cN\u00eb let\u00ebrsit\u00eb moderne sag\u00eb<\/strong>\u00a0(roman sag\u00eb), \u00ebsht\u00eb quajtur nj\u00eb vep\u00ebr tregimtare e gjer\u00eb mbi jet\u00ebn, peripecit\u00eb e ndryshme e t\u00eb nd\u00ebrlikuara t\u00eb nj\u00eb familjeje brez pas brezi.\u201d8<\/sup><\/span><\/p>

\u201cReali\/z\u00ebm-mi<\/strong>: Nj\u00eb drejtim letrar estetik, sipas t\u00eb cilit arti duhet t\u00eb riprodhoj\u00eb (t\u00eb p\u00ebrfaq\u00ebsoj\u00eb, t\u00eb pasqyroj\u00eb, t\u00eb interpretoj\u00eb etj.) realitetin sa m\u00eb besnik\u00ebrisht t\u00eb jet\u00eb e mundur\u2026 Karakteristik\u00eb e artit realist \u00ebsht\u00eb q\u00eb t\u00eb gjitha an\u00ebt e jet\u00ebs njer\u00ebzore, sado t\u00eb vogla q\u00eb mund t\u00eb duken, meritojn\u00eb t\u00eb b\u00ebhen objekt paraqitjeje; format e zbukuruara ose t\u00eb idealizuara trajtohen si t\u00eb pav\u00ebrteta e deri qesharake.\u201d9<\/sup><\/span><\/p>

Saga p\u00ebrgjith\u00ebsisht nd\u00ebrtohet me vet\u00ebn e tret\u00eb, nd\u00ebrsa n\u00eb romanin e Kraj\u00ebs, nd\u00ebrtohet mbi vet\u00ebn e par\u00eb, nga k\u00ebndv\u00ebshtrimi i nipit, i cili pa\u00e7ka se na shfaqet n\u00eb pjes\u00ebn e tret\u00eb t\u00eb romanit, ai flet si t\u00eb ishte i pranish\u00ebm n\u00eb t\u00eb gjitha brezat q\u00eb po rr\u00ebfen. Kjo mund t\u00eb shihet si nj\u00eb novacion n\u00eb modelin e romanit sag\u00eb.<\/span><\/p>

Nd\u00ebrkaq, modeli i romanit realist, merr forma graduale t\u00eb natyralizmit, p\u00ebrmes marr\u00ebdh\u00ebnies mes brezave dhe t\u00eb keqes q\u00eb trash\u00ebgohet, e deri te forma t\u00eb ekspresionizmit ekstrem, duke p\u00ebrshkruar skena vrasjeje, vet\u00ebvrasjeje etj. Fill n\u00eb skaj t\u00eb skenave ekspresioniste, na shfaqet realizmi magjik, p\u00ebrmes skenave t\u00eb kalimit t\u00eb personazheve q\u00eb vdesin n\u00eb bot\u00ebn e t\u00eb vdekurve, n\u00eb t\u00eb cilat autori zgjerohet dhe nd\u00ebrton nj\u00eb linj\u00eb rr\u00ebfimi m\u00eb vete metafizike, me n\u00eb fokus t\u00eb gjith\u00eb hijet dhe t\u00eb vdekurit.<\/span><\/p>

P\u00ebrve\u00e7 gradualitetit n\u00eb shfaqjet e realizmit, kemi dhe p\u00ebrzierjen e t\u00eb gjitha k\u00ebtyre formave me romanin historik, p\u00ebr t\u00eb sjell\u00eb kontekstin q\u00eb kusht\u00ebzon personazhet. Kjo p\u00ebrzierje formash dhe regjistrash gjuh\u00ebsor\u00eb n\u00eb poetik\u00ebn e romanit postmodern, njihet si teknika e pastishit<\/i><\/em>, p\u00ebrmes s\u00eb cil\u00ebs zhanret rifunksionalizohen dhe marrin p\u00ebrmasa t\u00eb reja kuptimore, kryesisht p\u00ebrmes dekonstruksionit t\u00eb historis\u00eb dhe dialogut q\u00eb krijon teksti me t\u00eb.<\/span><\/p>

***<\/span><\/p>

1. Floresha Dado: Postmodernizmi – Poetik\u00eb e \u2018antirregullit\u2019<\/i><\/em>, Akademia e Shkencave e Shqip\u00ebris\u00eb, Tiran\u00eb, 2020, f. 146<\/span><\/p>

2. Stirling Haig: Stendhal – The Red and the Black<\/i><\/em>, Cambridge University Press, New York, 1989, f.15<\/span><\/p>

3. Sipas monografis\u00eb s\u00eb S. Haig, e kuqja mund t\u00eb simbolizoj\u00eb gjakun, sepse protagonisti vret Madam Renal, duke n\u00ebnkuptuar k\u00ebshtu t\u00eb keqen dhe bjerrjen morale. S\u00eb dyti, e kuqja mund t\u00eb simbolizoj\u00eb ambicien e Julienit p\u00ebr karrier\u00eb ushtarake n\u00eb formacionet e Napoleonit. E kuqja dhe e zeza mund t\u00eb jen\u00eb edhe simbole politike p\u00ebr revolucion dhe reaksion. Nj\u00eb tjet\u00ebr interpretim ka t\u00eb b\u00ebj\u00eb me e kuqja dhe e zeza si ngjyrat e rulet\u00ebs n\u00eb kumar. Por, interpretimi m\u00eb i q\u00ebndruesh\u00ebm me t\u00eb cilin p\u00ebrgjith\u00ebsisht bie dakord kritika, \u00ebsht\u00eb ai i t\u00eb kuqes dhe t\u00eb zez\u00ebs si simbole t\u00eb gjenerat\u00ebs post-Napoleoniane, si gjenerat\u00eb e korruptuar dhe e bjerr\u00eb moralisht, e cila arrin suksesin dhe ambiciet e veta p\u00ebrmes s\u00eb keqes, hipokrizis\u00eb dhe intrigave (e zeza), n\u00eb kund\u00ebrshti me gjenerat\u00ebn monarkike, q\u00eb suksesin e arrinte p\u00ebrmes derdhjes s\u00eb gjakut, betejave dhe pushtimeve (e kuqja). K\u00ebshtu, titulli vendos n\u00eb kund\u00ebrshti dy mend\u00ebsi para dhe pas revolucionare.<\/span><\/p>

4. Bashkim Ku\u00e7uku: Historiografi, Risi, Shformime; let\u00ebrsi shqipe bashk\u00ebkohore II<\/i><\/em>, Toena, Tiran\u00eb, 2019, f. 395<\/span><\/p>

5. Mehmet Kraja: E Zeza dhe e Kuqja<\/i><\/em>, Onufri, Tiran\u00eb, 2015, f. 7<\/span><\/p>

6. Floresha Dado: Postmodernizmi – Poetik\u00eb e \u2018antirregullit\u2019<\/i><\/em>, Akademia e Shkencave e Shqip\u00ebris\u00eb, Tiran\u00eb, 2020, f. 251<\/span><\/p>

7. Po aty, f. 192.<\/span><\/p>

8. Ferdinand Leka: Fjalor i termave t\u00eb let\u00ebrsis\u00eb<\/i><\/em>, INFBOTUES, Tiran\u00eb, 2013, f. 354<\/span><\/p>

9. Po aty, f. 320.<\/span><\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Antonela Pepkolaj | 07.02.2023 | nyje.al\u00a0 P\u00ebrmasa e parodis\u00eb n\u00eb romanin postmodern, kalon p\u00ebrtej asaj t\u00eb nj\u00eb figure retorike, por funksionalizohet p\u00ebr t\u00eb arrir\u00eb p\u00ebrftime t\u00eb reja, m\u00eb komplekse dhe dometh\u00ebn\u00ebse p\u00ebr nj\u00eb tekst. K\u00ebshtu, e gjejm\u00eb jo m\u00eb si nj\u00eb marr\u00ebdh\u00ebnie e drejtp\u00ebrdrejt\u00eb dhe tall\u00ebse me nj\u00eb element p\u00ebrgjith\u00ebsisht jasht\u00eb tekstual, por si nj\u00eb mekaniz\u00ebm t\u00eb gjer\u00eb q\u00eb gjeneron nj\u00eb tekst n\u00eb thelb dialogues me nj\u00eb kontekst t\u00eb gjer\u00eb. \u201cParodia postmoderniste \u00ebsht\u00eb m\u00ebnyr\u00eb e vet\u00ebrefleksivitetit q\u00eb e lejon shkrimtarin t\u00eb vendos\u00eb nj\u00eb marr\u00ebdh\u00ebnie dialogjike, sa identifikimi aq edhe distance, n\u00eb synimin p\u00ebr t\u00eb kontekstualizuar situat\u00ebn e parashtruar n\u00eb vep\u00ebr.\u201d1 Pra, parodia \u00ebsht\u00eb nj\u00eb marr\u00ebdh\u00ebnie dialogjike\u00a0me synimin p\u00ebr t\u00eb kontekstualizuar.\u00a0E par\u00eb n\u00eb k\u00ebt\u00eb priz\u00ebm, do t\u00eb shohim me k\u00eb krijon teksti i M. Kraj\u00ebs marr\u00ebdh\u00ebnie dialogjike, \u00e7far\u00eb kontekstualizon dhe, p\u00ebrse kjo marr\u00ebdh\u00ebnie \u00ebsht\u00eb parodike. P\u00ebr k\u00ebt\u00eb do ta shohim parodin\u00eb n\u00eb tri nivele: n\u00eb nivel titulli, n\u00eb nivel karakteresh dhe n\u00eb nivel zhanri. Parodia n\u00eb nivel titulli E dim\u00eb q\u00eb romani krijon nj\u00eb paraleliz\u00ebm me vepr\u00ebn e mir\u00ebnjohur \u201cE kuqja dhe e zeza\u201d e Stendalit. Ky paraleliz\u00ebm shtrihet vet\u00ebm n\u00eb nivel titulli, p\u00ebr t\u00eb sjell\u00eb nj\u00eb dometh\u00ebnie t\u00eb caktuar q\u00eb projektohet n\u00eb vep\u00ebr. P\u00ebr k\u00ebt\u00eb, do t\u00eb shohim dometh\u00ebnien q\u00eb projekton titulli n\u00eb vepr\u00ebn origjinale dhe mandej n\u00eb vepr\u00ebn e M. Kraj\u00ebs dhe arsyen se p\u00ebrse, rifunksionalizimi q\u00eb i b\u00ebn titullit ky i fundit, \u00ebsht\u00eb parodik. \u201cE kuqja dhe e zeza\u201d n\u00eb vepr\u00ebn e Stendalit, krijon nj\u00eb raport metaforik me ngjarje reale t\u00eb cilat Stendali i lexoi n\u00eb nj\u00eb kronik\u00eb. M\u00eb specifikisht, ishin rr\u00ebfimet e gjyqeve t\u00eb vrasjeve, q\u00eb Stendali lexonte n\u00eb Gazette des Tribunaux, rasti i Lafargue dhe rasti i Berthet\u00a02. S. Haig, n\u00eb monografin\u00eb e tij mbi vepr\u00ebn \u201cE kuqja dhe e zeza\u201d na ofron disa q\u00ebndrime t\u00eb kritik\u00ebs mbi titullin e romanit t\u00eb Stendalit.3 P\u00ebr t\u2019u kthyer tek M. Kraja, v\u00ebrejm\u00eb q\u00eb ai p\u00ebrmbys titullin original, duke vendosur t\u00eb zez\u00ebn\u00a0para t\u00eb kuqes, duke i m\u00ebshuar k\u00ebshtu, n\u00eb kodin e Stendalit, t\u00eb keqes dhe hipokrizis\u00eb si parimin fillestar p\u00ebr kontekstin q\u00eb flet M. Kraja, q\u00eb \u00ebsht\u00eb Shqip\u00ebria. Ky titull hyn edhe n\u00eb dialog me ngjyrat e flamurit shqiptar, e kuqja si simbol i heroikes dhe e zeza si simbol i vuajtjes dhe mundimeve kolektive historike. S\u00ebrish, vendosja e t\u00eb zez\u00ebs n\u00eb fillim, n\u00ebnkupton nj\u00eb realitet t\u00eb degraduar historik p\u00ebr Shqip\u00ebrin\u00eb dhe munges\u00ebn e heroizmit apo lavdis\u00eb. Pra \u201chumbjet e shqiptar\u00ebve jan\u00eb objekt i romanit, nd\u00ebrsa e kuqja, apo e mira, heroikja, virtyti, e arritura \u00ebsht\u00eb dyt\u00ebsore.4 Kemi parodi q\u00eb krijon marr\u00ebdh\u00ebnie me nj\u00eb para tekst (q\u00eb \u00ebsht\u00eb vepra e Stendalit) dhe me historin\u00eb e Shqip\u00ebris\u00eb si\u00e7 e shohim t\u00eb sh\u00ebnjuar n\u00eb flamurin kuq e zi, si simbol i q\u00ebndrueshm\u00ebris\u00eb dhe heroizmit shqiptar. Parodia q\u00ebndron n\u00eb rifunksionalizimin e k\u00ebtyre dy element\u00ebve p\u00ebr t\u2019i dh\u00ebn\u00eb p\u00ebrpar\u00ebsi asaj m\u00eb t\u00eb keqes duke indikuar k\u00ebshtu realitetin e sh\u00ebmtuar t\u00eb Shqip\u00ebris\u00eb dhe shqiptar\u00ebve. Parodia n\u00eb nivel karakteresh Kemi nj\u00eb tradit\u00eb t\u00eb konsoliduar tashm\u00eb, t\u00eb epizmit dhe let\u00ebrsis\u00eb gojore, folklorike, q\u00eb mitizon heroizmin shqiptar p\u00ebrball\u00eb pushtuesit dhe t\u00eb huajit. Duke filluar k\u00ebtu nga Eposi i kreshnik\u00ebve\u00a0e deri krijime popullore, q\u00eb i k\u00ebndojn\u00eb trimave dhe trim\u00ebris\u00eb shqiptare. Kjo tradit\u00eb, zgjerohet m\u00eb tej me romantizmin shqiptar, autor\u00ebt e s\u00eb cil\u00ebs, n\u00ebn t\u00eb nj\u00ebjt\u00ebn frym\u00eb epizmi, mitizuan Shqip\u00ebrin\u00eb dhe periudh\u00ebn e motit t\u00eb madh t\u00eb Sk\u00ebnderbeut, p\u00ebr t\u00eb theksuar dhe stimuluar m\u00eb tej trim\u00ebrin\u00eb shqiptare, si ruajt\u00ebse t\u00eb identitetit dhe ekzistenc\u00ebs n\u00eb p\u00ebrgjith\u00ebsi. Tradit\u00eb e cila vazhdon ende edhe sot, paralel me realizmin q\u00eb u shfaq n\u00eb let\u00ebrsin\u00eb shqipe, n\u00eb gjysm\u00ebn e par\u00eb t\u00eb shek. XX. Vepra e M. Kraj\u00ebs, godet pik\u00ebrisht k\u00ebt\u00eb nacionaliz\u00ebm t\u00eb theksuar t\u00eb shqiptar\u00ebve, duke i p\u00ebrballur me realitetin e hidhur se Shqip\u00ebria nuk e ka dominuar fatin e vet, por p\u00ebrkundrazi \u00ebsht\u00eb konformuar dhe ka b\u00ebr\u00eb kompromise pik\u00ebrisht me identitetin me t\u00eb cilin mburremi se e kemi ruajtur. K\u00ebshtu, romani hapet me historin\u00eb e gjyshit t\u00eb protagonistit, Halil Bogdani, i cili ka nd\u00ebrruar fen\u00eb dhe emrin, nj\u00eb motiv i trajtuar tashm\u00eb edhe nga autor\u00eb t\u00eb tjer\u00eb si I. Kadare apo B. Blushi. Ai \u00ebsht\u00eb b\u00ebr\u00eb muhamedan dhe emrin e ka nd\u00ebrruar nga Hil\u00eb, n\u00eb Halil. Kjo zhvendosje nga sh\u00ebnjues tipik\u00eb shqiptar\u00eb, si feja katolike dhe emri Hil\u00eb, n\u00eb sh\u00ebnjues t\u00eb tjer\u00eb tipik\u00eb t\u00eb perandoris\u00eb osmane, p\u00ebrb\u00ebn nj\u00eb kund\u00ebrshti me nacionalizmin e p\u00ebrhapur shqiptar, q\u00eb shkon n\u00eb ironi dhe tallje. Kjo linj\u00eb e braktisjes s\u00eb identitetit ruhet p\u00ebrgjat\u00eb gjith\u00eb linj\u00ebs s\u00eb romanit, duke qen\u00eb se n\u00eb vazhdim na rr\u00ebfehen historit\u00eb e t\u00eb birit dhe nipit t\u00eb Halil Bogdanit. P\u00ebr m\u00eb tep\u00ebr, pran\u00ebvendosja e Halil\u00a0me Bogdan p\u00ebrb\u00ebn nj\u00eb antitez\u00eb, duke qen\u00eb se Bogdani (Pjet\u00ebr) n\u00eb historin\u00eb e kombit ton\u00eb\u00a0\u00ebsht\u00eb l\u00ebvrues i shqipes dhe afirmues i identitetit, nd\u00ebrkoh\u00eb q\u00eb Halili b\u00ebn pik\u00ebrisht t\u00eb kund\u00ebrt\u00ebn e k\u00ebsaj. Parodia arrin kulmin e saj n\u00eb arsyen se p\u00ebrse Hil\u00eb Bogdani nd\u00ebrron emrin dhe fen\u00eb e tij. \u201c\u2026 ia kishte v\u00ebn\u00eb vetes emrin e ri dhe ishte par\u00eb\u00a0tek ecte serbes n\u00ebp\u00ebr Shkod\u00ebr dhe gjithandej asaj ane, tani i thoshte vetes se, po t\u00eb vinte puna, n\u00eb k\u00ebng\u00eb trim\u00ebrie do t\u00eb hynte me emrin e ri, sepse emri i vjet\u00ebr i dukej disi i mefsht\u00eb, si i b\u00ebr\u00eb nga nj\u00eb p\u00ebshurrim\u00eb n\u00eb t\u00eb linjta grash, me emrin e vjet\u00ebr mund t\u00eb rrinte n\u00ebn hijen e fikut, n\u00eb katundin e tij\u2026 por nuk mund t\u00eb b\u00ebnte luft\u00eb me nj\u00eb em\u00ebr t\u00eb till\u00eb.\u201d5 Pra personazhi preferon m\u00eb mir\u00eb t\u00eb identifikohet n\u00eb kujtes\u00ebn kolektive, si\u00e7 \u00ebsht\u00eb kultura, me sh\u00ebnjuesit e huaj, duke b\u00ebr\u00eb k\u00ebshtu nj\u00eb braktisje totale t\u00eb identitetit edhe n\u00eb ato hap\u00ebsira ku identiteti ruhet dhe lart\u00ebsohet. N\u00eb vazhdim, parodia n\u00eb nivel karakteresh, lidhet kryesisht me frik\u00ebn q\u00eb shfaqin shqiptar\u00ebt p\u00ebrball\u00eb luft\u00ebs dhe pushtuesit. Mungesa e kuraj\u00ebs dhe e trim\u00ebris\u00eb, nuk \u00ebsht\u00eb tipike si\u00e7 na portretizohet n\u00eb kujtes\u00ebn kolektive. Ndaj dhe kjo kund\u00ebrshti, n\u00eb favor t\u00eb s\u00eb v\u00ebrtet\u00ebs, na jep parodin\u00eb dhe ironin\u00eb, e cila shprehet duke \u201cironizuar, parodizuar idhujt, tallur q\u00ebndrimet e shoq\u00ebris\u00eb ndaj dukurive t\u00eb ndryshme, prish figura apo ide q\u00eb kan\u00eb qen\u00eb ideale p\u00ebr moralin e shoq\u00ebris\u00eb. K\u00ebshtu heroi i legjend\u00ebs \u00e7mitizohet n\u00eb m\u00ebnyr\u00ebn m\u00eb ekstreme dhe t\u00eb pam\u00ebshirshme. P\u00ebrmbyset kuptimi i personazheve t\u00eb epik\u00ebs legjendare.\u201d6 Parodia 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