{"id":18026,"date":"2023-02-27T17:34:23","date_gmt":"2023-02-27T16:34:23","guid":{"rendered":"https:\/\/nyje.al\/?p=18026"},"modified":"2024-10-01T12:15:19","modified_gmt":"2024-10-01T10:15:19","slug":"statusi-i-se-keqes","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/statusi-i-se-keqes\/","title":{"rendered":"Statusi i s\u00eb keqes"},"content":{"rendered":"
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Antonela Pepkolaj | 27.02.2023 | nyje.al\u00a0<\/strong><\/span><\/p>

P\u00ebr statusin e t\u00eb keqes n\u00eb let\u00ebrsi, mund t\u00eb flasim n\u00eb pamje t\u00eb par\u00eb, si marr\u00ebdh\u00ebnia demaskuese q\u00eb krijon let\u00ebrsia me t\u00eb, m\u00eb specifikisht me kontekstin ku krijohet. Me k\u00ebt\u00eb aspekt t\u00eb let\u00ebrsis\u00eb, mund t\u00eb lidhen shkolla t\u00eb ndryshme t\u00eb kritik\u00ebs q\u00eb merren me marr\u00ebdh\u00ebnien e let\u00ebrsis\u00eb me kontekstin social ku krijohet si pozitivizmi para se shkenca e let\u00ebrsis\u00eb t\u00eb iniciohej si gj\u00eb dhe, historicizmi i ri n\u00eb koh\u00ebt m\u00eb moderne. P\u00ebrgjith\u00ebsisht, k\u00ebto qasje studiojn\u00eb statusin e tekstit letrar si pjes\u00eb e nj\u00eb institucioni shoq\u00ebror, por m\u00eb gjer\u00eb, edhe si nj\u00eb hap\u00ebsir\u00eb ku l\u00ebvrohen dinamikat midis pushteteve t\u00eb ndryshme, m\u00eb s\u00eb shumti t\u00eb elitave intelektuale dhe prestigjeve t\u00eb tyre, n\u00eb saj\u00eb t\u00eb kultur\u00ebs (nj\u00eb paralele q\u00eb T. Schmitz e heq me rolin e sofist\u00ebve n\u00eb antikitet).<\/span><\/p>

Gjithsesi, n\u00eb k\u00ebt\u00eb raport, r\u00ebnd\u00ebsi paraqet dialogu i tekstit me substanc\u00ebn e eksperienc\u00ebs s\u00eb jet\u00ebs n\u00eb komunitet, si\u00e7 mund t\u00eb jen\u00eb e keqja, e mira, pushteti, morali, etj. N\u00eb k\u00ebt\u00eb kuptim, let\u00ebrsia nuk ka n\u00eb themel t\u00eb saj fabul\u00ebn, apo ngjarjen historike, por premisat dhe dinamikat, ndaj edhe \u00ebsht\u00eb nj\u00eb nga ato tekste t\u00eb privilegjuara me universalitet<\/em>. Mund t\u00eb p\u00ebrmendim k\u00ebtu \u201cTok\u00eb e shkret\u00eb\u201d, q\u00eb edhe pse e dim\u00eb qart\u00eb se \u00ebsht\u00eb nj\u00eb tekst q\u00eb i komunikon nj\u00eb shoq\u00ebrie t\u00eb pasluft\u00ebs, nuk e pasqyron at\u00eb, por t\u00eb dyja, si historia si teksti letrar, kan\u00eb n\u00eb substanc\u00eb t\u00eb tyre t\u00eb nj\u00ebjtin motiv, q\u00eb \u00ebsht\u00eb katastrofa dhe e keqja si terror. Dhe, pa\u00e7ka se ngjan shum\u00eb probab\u00ebl, q\u00eb si\u00e7 argumentojn\u00eb R. Wellek dhe A. Warren, q\u00eb p\u00ebrmes let\u00ebrsis\u00eb, mund t\u00eb p\u00ebrfitojm\u00eb nj\u00eb tablo t\u00eb p\u00ebrgjithshme t\u00eb historis\u00eb s\u00eb shoq\u00ebris\u00eb, ky padiskutim nuk \u00ebsht\u00eb finaliteti i tekstit letrar. Finaliteti i tij \u00ebsht\u00eb q\u00eb t\u00eb jet\u00eb let\u00ebrsi, dhe tabloja q\u00eb p\u00ebrftojm\u00eb, \u00ebsht\u00eb ajo e eksperienc\u00ebs humane, e cila sigurisht kusht\u00ebzohet nga rrethanat shoq\u00ebrore.<\/span><\/p>

Por, n\u00ebse e shohim tekstin letrar vet\u00ebm n\u00eb k\u00ebt\u00eb priz\u00ebm, n\u00eb marr\u00ebdh\u00ebnie me kontekstin, p\u00ebrse e keqja, vdekja, katastrofa, ngjajn\u00eb m\u00eb dominante n\u00eb raport me motivet e tjera, madje edhe n\u00eb ato raste t\u00eb artit p\u00ebr art<\/em>, kur teksti letrar ka q\u00ebllim n\u00eb vetvete vet\u00ebm teknik\u00ebn dhe estetik\u00ebn (duke pas\u00eb parasysh k\u00ebtu Bodlerin)? Q\u00ebndrimet e shkollave letrare q\u00eb merren me marr\u00ebdh\u00ebnien let\u00ebrsi-kontekst, do t\u00eb sugjeronin sepse k\u00ebshtu \u00ebsht\u00eb edhe shoq\u00ebria: me dominante t\u00eb keqen. Gjithsesi, ngjan fyese p\u00ebr nj\u00eb tekst letrar, q\u00eb t\u2019i atribuohen mekanizma kaq t\u00eb cek\u00ebt. Ndaj mund t\u00eb gjenim dy qasje alternative p\u00ebr k\u00ebt\u00eb \u00e7\u00ebshtje.<\/span><\/p>

E para, n\u00ebse do t\u00eb binim dakord q\u00eb let\u00ebrsia nuk \u00ebsht\u00eb tekst, ashtu si\u00e7 piktura nuk \u00ebsht\u00eb telajo, do t\u00eb dilnim n\u00eb nj\u00eb p\u00ebrfundim minimalist q\u00eb let\u00ebrsia \u00ebsht\u00eb eksperienc\u00eb e hedhur n\u00eb tekst, objektive (veta e tret\u00eb) apo subjektive (veta e par\u00eb) qoft\u00eb. Dhe, p\u00ebrgjith\u00ebsisht, k\u00ebto eksperienca jan\u00eb eksperienca t\u00eb diferencuara nga t\u00eb tjerat, ndoshta edhe sipas parimit strukturalist q\u00eb diferencimi kusht\u00ebzon vler\u00ebn dhe ekzistenc\u00ebn. N\u00eb kuptimin q\u00eb, Faulkner zgjedh t\u00eb b\u00ebj\u00eb objekt t\u00eb vepr\u00ebs s\u00eb vet \u201cDuke dh\u00ebn\u00eb shpirt\u201d nj\u00eb familje pik\u00ebrisht n\u00eb koh\u00ebn kur e \u00ebma e protagonist\u00ebve po vdes, apo sesi T. S. Eliot shkruan p\u00ebr luft\u00ebn, nd\u00ebrsa S. Plath p\u00ebr traum\u00ebn, etj. E th\u00ebn\u00eb m\u00eb shkoqur, e keqja \u00ebsht\u00eb thjesht m\u00eb origjinale, \u00ebsht\u00eb origjina e konfliktit.<\/span><\/p>

Kjo pastaj, n\u00eb argumentin e dyt\u00eb mbi dominanc\u00ebn e s\u00eb keqes n\u00eb let\u00ebrsi, mund t\u00eb lidhet edhe me natyr\u00ebn e paq\u00ebndrusheme t\u00eb shkrimtar\u00ebve, Wallen&Warren e quajn\u00eb natyr\u00eb nevrastenike, e cila kusht\u00ebzon dhe ndjeshm\u00ebrin\u00eb e autor\u00ebve, duke b\u00ebr\u00eb nj\u00eb zgjedhje preferenciale kah e keqja. Edhe dashuria \u00ebsht\u00eb nj\u00eb nd\u00ebr temat m\u00eb klasike t\u00eb let\u00ebrsis\u00eb, p\u00ebr sa koh\u00eb q\u00eb \u00ebsht\u00eb tragjike dhe, k\u00ebt\u00eb e kuptojm\u00eb qart\u00eb edhe nga tekstet e Faulkner dhe Hemingway. Por edhe n\u00eb poezi, ku narrativa p\u00ebrgjith\u00ebsisht mungon, v\u00ebrejm\u00eb nj\u00eb prirje p\u00ebr kah klaustrofobikja, ankthi dhe vdekja, si\u00e7 ndodh me poezin\u00eb e S. Plath. Kjo preferenc\u00eb e shkrimtar\u00ebve nuk \u00ebsht\u00eb shpikur me romantizmin dhe me kultin e tyre t\u00eb irracionales, as s\u2019mund t\u00eb shihet si nj\u00eb produkt i shoq\u00ebris\u00eb moderne, megjith\u00eb kontributin e saj. Ky asociacion, si\u00e7 na v\u00eb n\u00eb pah G. Agamben n\u00eb esen\u00eb e tij Genius<\/i><\/em>, \u00ebsht\u00eb v\u00ebrejtur q\u00eb n\u00eb antikitet, ku njeriu kishte dy xhinde, nj\u00eb esencialisht i mir\u00eb (albus<\/i><\/em>) dhe nj\u00eb esencialisht i keq (ater<\/i><\/em>), manifestimet e t\u00eb cilit jan\u00eb neurotike dhe t\u00eb tmerrshme, sidomos n\u00eb aktin e krijimit. K\u00ebtu kuptojm\u00eb q\u00eb e keqja dhe psikologjia e shkrimtarit jan\u00eb n\u00eb marr\u00ebdh\u00ebnie po aq sa e keqja dhe shoq\u00ebria.<\/span><\/p>

Megjithat\u00eb, e mira dhe e keqja jan\u00eb format m\u00eb klasike t\u00eb mediokritetit; teksti, p\u00ebr t\u2019i shp\u00ebtuar banalitetit b\u00ebhet fisnik dhe p\u00ebr t\u2019i shp\u00ebtuar dogm\u00ebs b\u00ebhet pervers. Si\u00e7 na thot\u00eb E. Paund, medikokriteti \u00ebsht\u00eb krim. Sidomos n\u00eb let\u00ebrsi. Teksti letrar \u00ebsht\u00eb mbi t\u00eb gjitha ambicioz, jo q\u00eb t\u00eb jet\u00eb vet\u00ebm novativ, por edhe q\u00eb t\u00eb jet\u00eb i pashoq, i vetmi i llojit t\u00eb vet. K\u00ebtu v\u00ebrejm\u00eb v\u00ebmendjen e ve\u00e7ant\u00eb ndaj teknik\u00ebs. Formalizmi rus e koncepton historin\u00eb e letraritetit si evolutiv. Nj\u00eb tekst letrar krejt natyrsh\u00ebm pason paratekstet e saj dhe afirmon teknik\u00ebn e vet. G. Bataille, k\u00ebt\u00eb natyr\u00eb novative t\u00eb let\u00ebrsis\u00eb e lidh me t\u00eb keqen sepse vet\u00ebm p\u00ebrmes saj mund t\u00eb thyhen tabut\u00eb.<\/span><\/p>

Konkretisht, S. Plath then metrin e poezis\u00eb, nj\u00eb tradit\u00eb e nisur tashm\u00eb n\u00eb Amerik\u00eb nga Beat Generation<\/em>; Faulkner shqyen narrativ\u00ebn dhe fut monologun e brendsh\u00ebm, duke ruajtur nd\u00ebrkoh\u00eb monumentalen dhe epiken e narratives; Hemingway e l\u00eb tekstin e hapur p\u00ebrmes metod\u00ebs s\u00eb Icebergut <\/em>dhe lakonizmit; T. S. Eliot transformon poem\u00ebn, duke e b\u00ebr\u00eb krejt t\u00eb abstraguar dhe alegorike, por jo metafizike si\u00e7 ndodh gjat\u00eb romantizmit.<\/span><\/p>

Kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb proces defamiljarizimi<\/em>, si\u00e7 e quanin formalist\u00ebt rus, premis\u00ebn e evoluimit t\u00eb tekstit letrar. Q\u00eb nj\u00eb tekst t\u00eb jet\u00eb letrar, duhet t\u00eb braktis\u00eb konvencionet, nj\u00eb dukuri q\u00eb shpesh i atribuohet gjenis\u00eb s\u00eb shkrimtarit. Por, n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00ebhuajsimi t\u00eb ndodh\u00eb, duhet t\u00eb ndodh\u00eb gjithashtu nj\u00eb trandje e fundamenteve t\u00eb metodave tashm\u00eb t\u00eb institucionalizuara. Dhe ky proces, nuk mund t\u00eb jet\u00eb asnj\u00ebher\u00eb paq\u00ebsor. Alienimi n\u00eb vetvete, nuk \u00ebsht\u00eb natyral, vjen si shkas i nj\u00eb lloj traume. Kjo n\u00ebnkupton q\u00eb duhet t\u00eb ndodh\u00eb nj\u00eb lloj dhune, vdekjeje dhe humbjeje, q\u00eb t\u00eb krijohet hap\u00ebsira p\u00ebr nevoja t\u00eb reja, t\u00eb cilat sigurisht, p\u00ebrmbushen p\u00ebrmes teknik\u00ebs s\u00eb re. Dalim k\u00ebtu prap\u00eb n\u00eb p\u00ebrfundimin e formalist\u00ebve rus, se let\u00ebrsia ndryshon prej nevoj\u00ebs. E nj\u00ebjta gj\u00eb mund t\u00eb themi se ndodh edhe me subjektet q\u00eb angazhohen me tekstin letrar, qoft\u00eb shkrimtari apo lexuesi.<\/span><\/p>

K\u00ebshtu dalim n\u00eb nj\u00eb lloj p\u00ebrfundimi, q\u00eb e keqja nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb motiv n\u00eb rrafshin tematik. Por, \u00ebsht\u00eb nj\u00eb e keqe anatomike, q\u00eb sh\u00ebrben si premis\u00eb p\u00ebr teknik\u00ebn e re. N\u00eb termat e T. Eagleton, e keqja \u00ebsht\u00eb si absolutizmi hyjnor i religjionit, por q\u00eb n\u00eb vend q\u00eb t\u00eb shoh\u00eb gjasat e jet\u00ebs s\u00eb amshueshme, sheh gjasat e mos-ekzistenc\u00ebs dhe lindjes si aksident, \u00e7far\u00eb na b\u00ebn t\u00eb gjith\u00ebve nj\u00eb kontigjent asgj\u00ebje. Kjo krijon nj\u00eb ankth ekzistencial q\u00eb mish\u00ebrohet n\u00eb nihiliz\u00ebm, antidoti i vet\u00ebm i t\u00eb cilit \u00ebsht\u00eb lavdia. Dhe ky mund t\u00eb themi, \u00ebsht\u00eb n\u00eb thelb, ve\u00e7 t\u00eb tjerash, edhe substanca e v\u00ebrtet\u00eb e stilit dhe teknik\u00ebs, nj\u00eb ambicie p\u00ebr t\u00eb justifikuar ekzistenc\u00ebn dhe p\u00ebr t\u00eb trashendentuar nj\u00eb bashk\u00ebsi vlerash dhe pas vdekjes.<\/span><\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

P\u00ebr statusin e t\u00eb keqes n\u00eb let\u00ebrsi, mund t\u00eb flasim n\u00eb pamje t\u00eb par\u00eb, si marr\u00ebdh\u00ebnia demaskuese q\u00eb krijon let\u00ebrsia me t\u00eb, m\u00eb specifikisht me kontekstin ku krijohet. Me k\u00ebt\u00eb aspekt t\u00eb let\u00ebrsis\u00eb, mund t\u00eb lidhen shkolla t\u00eb ndryshme t\u00eb kritik\u00ebs q\u00eb merren me marr\u00ebdh\u00ebnien e let\u00ebrsis\u00eb me kontekstin social ku krijohet …<\/p>","protected":false},"author":2,"featured_media":18027,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","ocean_post_layout":"right-sidebar","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"ocs-kendveshtrim-category-post-sidebar","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[5,4],"tags":[488,490,489,174],"class_list":["post-18026","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulture","category-kryenyje","tag-antonela-peplkolaj","tag-e-keqja","tag-kritike","tag-letersi","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/18026","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/comments?post=18026"}],"version-history":[{"count":17,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/18026\/revisions"}],"predecessor-version":[{"id":26269,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/18026\/revisions\/26269"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/18027"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=18026"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=18026"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/tags?post=18026"}],"curies":[{"name":"wp","href":"ht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