{"id":19306,"date":"2024-02-11T13:09:44","date_gmt":"2024-02-11T12:09:44","guid":{"rendered":"https:\/\/nyje.al\/?p=19306"},"modified":"2024-02-11T13:11:18","modified_gmt":"2024-02-11T12:11:18","slug":"per-mitin-personazh-dhe-personazhin-mit-nje-miniature-e-kemba-e-te-panjohures-te-krenar-zejnos","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/per-mitin-personazh-dhe-personazhin-mit-nje-miniature-e-kemba-e-te-panjohures-te-krenar-zejnos\/","title":{"rendered":"P\u00ebr mitin-personazh dhe personazhin-mit: nj\u00eb miniatur\u00eb e \u201cK\u00ebmba e t\u00eb panjohur\u00ebs\u201d t\u00eb Krenar Zejnos"},"content":{"rendered":"

Kujtim Tafhasi | 11.02.2024 | nyje.al<\/span><\/strong><\/p>\n

Kapitulli i par\u00eb \u00ebsht\u00eb tekstualisht nj\u00eb moment arkeologjik i pasur rreth domenit t\u00eb artit. Nga Frenhoferi, te Balzaku, nga kryevepra \u201ct\u00eb panjohura\u201d t\u00eb artit, deri te kryevepra arti me kadenc\u00eb biblike, <\/span>pathos<\/span><\/i> e profeci, apostuj dhe dishepuj t\u00eb s\u00eb bukur\u00ebs, misionar\u00eb dhe rishtar\u00eb. Vepra <\/span>K\u00ebmba e t\u00eb Panjohur\u00ebs<\/span><\/i> e Krenar Zejnos, \u00ebsht\u00eb nj\u00eb tekst kryesisht konciz, mjesht\u00ebrisht i formuluar rreth ingranazheve t\u00eb atyre autor\u00ebve dhe karaktereve q\u00eb p\u00ebrmend, konkretisht Frenhoferin dhe Balzakun, ku dep\u00ebrtojn\u00eb shijet dhe krizat e kryevepr\u00ebs s\u00eb panjohur t\u00eb Balzakut, por jo vet\u00ebm. N\u00eb nj\u00eb perspektiv\u00eb t\u00eb mendimit t\u00eb l\u00eb mund\u00ebsin\u00eb q\u00eb k\u00ebto shije t\u2019i rafinosh, ose sublimosh, me autor\u00eb t\u00eb tjer\u00eb t\u00eb filozofis\u00eb. Ndoshta \u00ebsht\u00eb nj\u00eb zgjedhje e q\u00ebllimt\u00eb, por nj\u00eb cil\u00ebsi e kryevepr\u00ebs s\u00eb panjohur \u00ebsht\u00eb <\/span>m\u00ebkati<\/span><\/i>, prandaj merita e autorit \u00ebsht\u00eb se t\u00eb jep mund\u00ebsin\u00eb t\u00eb gabosh. Ose m\u00eb sakt\u00eb, jo se ta jep vet\u00ebm autori, por autori i autor\u00ebve. Pra \u201cKryevepra e panjohur\u201d, nj\u00eb vep\u00ebr aq ankthioze, ku gjenden t\u00eb kryq\u00ebzuara brenda saj lloj-lloj matricash besimi, krize etj.. Nj\u00eb kryevep\u00ebr me kadenc\u00eb biblike, <\/span>pathos<\/span><\/i> e profeci, apostuj dhe dishepuj t\u00eb s\u00eb bukur\u00ebs, misionar\u00eb e rishtar\u00eb \u00ebsht\u00eb p\u00ebr t\u2019u marr\u00eb seriozisht, p\u00ebr t\u2019u shtr\u00ebnguar shum\u00eb fort, sepse si\u00e7 t\u2019u shfaq, ashtu mund edhe t\u00eb t\u00eb ik\u00eb.<\/span><\/p>\n

Pra, ashtu si feja e vendos vul\u00ebn te magjepsja, kryevepra mban firm\u00ebn q\u00eb e em\u00ebrton <\/span>t\u00eb bukur\u00ebn<\/span><\/i> si e panjohura, e panjohshmja, e ndaluara. \u201c\u00cbsht\u00eb zjarri dhe kjo ambicie prometeane e artit, e bashk\u00eb me t\u00eb vet\u00ebdija mbi ekzistenc\u00ebn e krijimit n\u00eb kushtet e rrezikut t\u00eb s\u00eb panjohshmes, t\u00eb pashqueshmes, q\u00eb e shtyjn\u00eb artistin e kryevepr\u00ebs prej rolit demiurg drejt mitit\u2026 e m\u00eb pran\u00eb Zotit\u201d (Zejno, K\u00ebmba e t\u00eb Pajohur\u00ebs 10). Pra, autori thekson p\u00ebr k\u00ebt\u00eb kryevep\u00ebr se vdekja e autorit \u00ebsht\u00eb bashk\u00ebpun\u00ebtore p\u00ebrplot\u00ebsuese, apo rivale kund\u00ebrshtuese e Zotit, sepse nga nj\u00ebra an\u00eb, autori – ashtu si i Plotfuqishmi – rreh t\u00eb gjeneroj\u00eb natyralen prej mbinatyrales; nd\u00ebrsa ndryshe Zoti – si vdekja e plotfuqishme: pra, prej natyrales gjeneron mbinatyralen. N\u00eb nj\u00eb perspektiv\u00eb t\u00eb Heidegger-it, ku flet rreth origjin\u00ebs s\u00eb artit dhe n\u00eb k\u00ebt\u00eb rast po t\u00eb b\u00ebjm\u00eb nj\u00eb krahasim me \u201cKryevepr\u00ebn e panjohur\u201d, ose m\u00eb sakt\u00eb nj\u00eb p\u00ebrshtatje, ontologjikisht qenia pjek kushtet p\u00ebr <\/span>me qen\u00eb<\/span><\/i>. \u00c7far\u00eb do t\u00eb thot\u00eb kjo?<\/span><\/p>\n

Sigurisht, Heidegger-i nuk shkon te vepra e artit p\u00ebr hir t\u00eb vepr\u00ebs s\u00eb artit, por p\u00ebr hir t\u00eb qenies. Tek origjina e vepr\u00ebs s\u00eb artit, p\u00ebr vepr\u00ebn e Balzakut, mund t\u00eb themi se manifestohet qenia me t\u00eb gjitha karakteristikat e saj, her\u00eb duke u fshehur, e her\u00eb duke u manifestuar, ku p\u00ebrpara se t\u00eb banohet me gjuh\u00eb, ajo \u00ebsht\u00eb, ku p\u00ebrpara se t\u00eb em\u00ebrtoj\u00eb, ajo \u00ebsht\u00eb nj\u00eb kaos q\u00eb lips t\u00eb r\u00ebndohet. R\u00ebndohet pasi t\u2019i shp\u00ebtoj\u00eb dehjes, dhe kur t\u00eb filloj\u00eb p\u00ebrpirja e vepr\u00ebs, rast n\u00eb t\u00eb cilin duhet pasur parasysh kuptimshm\u00ebria, ose kufizimi i kuptimit, na duhet <\/span>daseini<\/span><\/i> – do thoshte Heidegger-i, n\u00ebse kujtojm\u00eb piktur\u00ebn e C\u00e9zanne-s\u00eb dhe komentin e Heidegger-it mbi t\u00eb, fshataren me k\u00ebpuc\u00eb t\u00eb p\u00ebrbaltura q\u00eb zvarritet n\u00ebp\u00ebr kodra te po ai shkrim i tij. E bukura te \u201cKryevepra e panjohur\u201d b\u00ebhet kurban n\u00eb em\u00ebr t\u00eb dashuris\u00eb dhe gjallimit t\u00eb imazhit t\u00eb reales.<\/span><\/p>\n

Kryevepra si e panjohur, ka nj\u00eb ftes\u00eb rreth pelegrinazhit drejt bot\u00ebs s\u00eb artit, duke gjetur k\u00ebtu edhe misionin e dashuris\u00eb. Arti n\u00eb t\u00ebr\u00ebsi, dhe kjo vep\u00ebr arti n\u00eb ve\u00e7anti, tregon shansin e madh dhe sinqeritetin q\u00eb ka vepra e artit si iluzion i sinqert\u00eb n\u00eb rastin e Nietzsche-s, kur shprehet se arti \u00ebsht\u00eb iluzioni m\u00eb i ndersh\u00ebm n\u00eb raport me fen\u00eb, filozofin\u00eb dhe shkenc\u00ebn, pasi vet\u00ebm ajo e pranon veten si t\u00eb till\u00eb, prandaj edhe realiteti humbet kur lind vepra e artit.<\/span><\/p>\n

Konkretisht, te vepra e Balzakut ka nj\u00eb pluralitet n\u00eb cil\u00ebsit\u00eb dhe atributet e saj, pra kemi Jet\u00eb-Dashuri-Art. \u201cBalzaku vet\u00ebm sa na e paraqet vdekjen reale, pa koment, ndon\u00ebse jeta dhe vdekja ishin ndeshur n\u00eb \u00e7do skaj e detaj tabloje. Portat e r\u00ebnda t\u00eb k\u00ebtij trilli balzakian hapen e palosen kanat nga t\u00eb dy an\u00ebt, sipas kahjes nga shtyn dhe hyn: Jeta. Me \u00e7el\u00ebs tematik Erosin, si prani e dyfisht\u00eb e gjallmimit, krijimit t\u00eb vepr\u00ebs dhe veprimit\u201d (K\u00ebmba 15).<\/span><\/p>\n

Nd\u00ebrkoh\u00eb, pason nj\u00eb pyetje tjet\u00ebr e r\u00ebnd\u00ebsishme: Kush \u00ebsht\u00eb ky Frenhofer? Mourice Brauziere, prezantues i nj\u00ebrit prej botimeve t\u00eb shumta t\u00eb kryevepr\u00ebs, thot\u00eb: \u201cPlakush diabolik q\u00eb duket se ka dal\u00eb prej Faustit t\u00eb Goethe-s, apo nj\u00eb rr\u00ebfim fantastik i Hofmanit, ai shfaqet si nj\u00eb fantazm\u00eb e Durrerit\u201d. Dhe m\u00eb tej: \u201cGjith\u00eb balzakian\u00ebt bien dakord, Kryevepra e panjohur, sidomos n\u00eb versionin origjinal t\u00eb prezantuar tek revista Artisti (1831), \u00ebsht\u00eb para s\u00eb gjithash, nj\u00eb imitim i Hofmanit\u201d.<\/span><\/p>\n

M\u00eb e trishta ndodh n\u00eb fund t\u00eb Kryevepr\u00ebs, fund m\u00eb tragjik se vet\u00ebvrasja e artistit, e ngjashme me Van Gogh-un, ku korbat e mortjes s\u00eb tablos\u00eb s\u00eb fundit, jan\u00eb m\u00eb t\u00eb zinj se vdekja e tij. E n\u00eb k\u00ebt\u00eb rast, Frenhoferi po l\u00ebshon nj\u00eb mesazh kumtues se po ndodh nj\u00eb form\u00eb eutanazie arti, pra gj\u00ebma m\u00eb e madhe. \u201cVet\u00ebvrasja e artistit pse nuk e gjen publikun e artit t\u00eb tij, \u00ebsht\u00eb ku e ku m\u00eb pak se vet\u00ebvrasja e artit, ngaq\u00eb nuk e gjen m\u00eb artistin q\u00eb do mish\u00ebroj\u00eb\u201d (K\u00ebmba 18).<\/span><\/p>\n

Te n\u00ebntema tjet\u00ebr e Zejnos, \u201cMes njer\u00ebzores dhe mbinjeriut\u201d, ku Frenhoferi sillet n\u00eb nj\u00eb kontekst ni\u00e7ean n\u00eb miniatur\u00eb, paraqet prap\u00eb nj\u00eb mund\u00ebsi tjet\u00ebr q\u00eb t\u00eb ofron p\u00ebr t\u2019u b\u00ebr\u00eb pjes\u00eb e k\u00ebsaj kryevepre. N\u00eb \u00e7far\u00eb forme? Sigurisht duke par\u00eb mund\u00ebsin\u00eb dhe hap\u00ebsir\u00ebn q\u00eb t\u00eb ofron gjeniu. Te gjeniu ka vend p\u00ebr gjith\u00e7ka: nga mohimi, te pohimi, nga Kanti, te Nietzsche, nga Hegeli, te Nietzsche. Por si \u00ebsht\u00eb e mundur q\u00eb gjenit\u00eb e konceptit nuk e kan\u00eb k\u00ebt\u00eb lloj privilegji, dhe kjo kryevep\u00ebr e ka? K\u00ebtu pra q\u00ebndron madh\u00ebshtia, e bukura, kriza, paradoksi, Zorba dhe e pakapshmja. Ky \u00ebsht\u00eb Frenhoferi q\u00eb t\u00eb shtang, t\u00eb p\u00ebrfshin si asnj\u00eb tjet\u00ebr, por prap\u00ebseprap\u00eb filozofia aty \u00ebsht\u00eb n\u00eb mes, pavar\u00ebsisht form\u00ebs, si mohuese hegeliane, si asaj sublimeje kantiane t\u00eb nj\u00eb pohimi ni\u00e7ean. Frenhoferi si vullnet p\u00ebr fuqi. \u00c7far\u00eb madh\u00ebshtie, \u00e7far\u00eb goditjeje dhe \u00e7far\u00eb pezmi i imagjinares. Teksa kalon nga Kanti te Deleuze, a nuk na paraqitet Frenhoferi si vektor forcash? P\u00ebr autorin e shkrimit, vizioni i Balzakut \u00ebsht\u00eb se th\u00ebrret jet\u00ebn p\u00ebr t\u00eb shpallur t\u00eb v\u00ebrtet\u00ebn. Pra, krejt\u00ebsisht nj\u00eb projekt prometean i pap\u00ebrmbushur.<\/span><\/p>\n

Nj\u00eb perceptim ndjesor ni\u00e7ean, \u00ebsht\u00eb \u00e7asti i k\u00ebputjes, \u00e7asti i krisjes, \u00e7arjes, q\u00eb poetika e mendimit t\u00eb tij e njeh si \u201czanafilla e mb\u00ebrjes q\u00eb do pjell\u00eb t\u00eb jasht\u00ebzakonshmen\u201d (K\u00ebmba 74).\u00a0<\/span><\/p>\n

\u201cJu keni dh\u00ebn\u00eb mbicip\u00ebn e dukshme t\u00eb jet\u00ebs, por nuk shprehni tejngopjen q\u00eb grafullon, at\u00eb \u00e7ka ndoshta \u00ebsht\u00eb bash shpirti vegim q\u00eb derdhet tallaz mbi p\u00ebshtjell\u00ebn\u201d (K\u00ebmba 105).<\/span><\/p>\n

K\u00ebtu mund t\u00eb analizojm\u00eb k\u00ebndv\u00ebshtrimin e Zejnos p\u00ebr binomin Dionis-Apolon, par\u00eb si <\/span>hap\u00ebsir\u00eb<\/span><\/i> e <\/span>koh\u00ebsi<\/span><\/i>. Kur e bukura \u00ebsht\u00eb e shqueshme, ajo ndodhet gjithmon\u00eb n\u00eb vendin dhe n\u00eb koh\u00ebn e duhur, por kur \u00ebsht\u00eb mrekullisht e bukur, pra p\u00ebr at\u00eb q\u00eb flet Frenhoferi, n\u00eb k\u00ebt\u00eb pik\u00eb e pakohshmja banon koh\u00ebsin\u00eb. Kemi t\u00eb b\u00ebjm\u00eb me domen ni\u00e7ean, po aq sa dhe me nj\u00eb rrekje ni\u00e7eane: e V\u00ebrteta si ideal dhe krijimi si ardhje e nj\u00eb identiteti q\u00eb nuk ishte, e bashk\u00eb me t\u00eb, e V\u00ebrteta vet\u00eb, jo p\u00ebr vetveten, por si detyrim ndaj njer\u00ebzimit, at\u00eb t\u00eb mug\u00ebt\u00ebn. Deleuze p\u00ebr shembull thot\u00eb: \u201cKoncepti ni\u00e7ean i artit si tragjik, e sheh artin si fuqia m\u00eb sip\u00ebrane e g\u00ebnjeshtr\u00ebs, q\u00eb e mrekullon bot\u00ebn, teksa nd\u00ebrkaq e gabon\u201d (K\u00ebmba 110).<\/span><\/p>\n

Harmonia apoloniane e klasicizmit q\u00eb k\u00ebrkon Balzaku te kjo <\/span>chef-d\u2019oeuvre<\/span><\/i>, dhe vag\u00ebllimi p\u00ebrmes nemitjes, apo dehjes s\u00eb vegimit dionisiak t\u00eb Frenhoferit, e b\u00ebjn\u00eb Kryevepr\u00ebn nj\u00eb fjal\u00ebkryq t\u00eb kuptim\u00ebsis\u00eb s\u00eb linj\u00ebs n\u00eb rrug\u00ebn e artit. Autori i shkrimit e p\u00ebrmbyll k\u00ebt\u00eb n\u00ebntem\u00eb me nj\u00eb varg subversiv t\u00eb Ni\u00e7es: Lipsur qofsha nga \u00e7do e v\u00ebrtet\u00eb, jam i marr\u00eb, jam poet!<\/span><\/p>\n

Aur\u00ebn e k\u00ebtij shkrimi t\u00eb shkurt\u00ebr dhe reflektimi minimal ndaj k\u00ebtij teksti dinjitoz dhe realisht me shum\u00eb shije, do ta p\u00ebrmbyllim me n\u00ebntem\u00ebn IV, rreth imazhit-tekst dhe tekstit-imazh.<\/span><\/p>\n

K\u00ebtu kemi t\u00eb b\u00ebjm\u00eb me fuqin\u00eb, aft\u00ebsin\u00eb dhe aur\u00ebn e imazhit t\u00eb s\u00eb bukur\u00ebs s\u00eb Frenhoferit, ku ndjek gjithashtu metamorfoz\u00ebn e tekstit t\u00eb Balzakut. Kemi v\u00ebn\u00eb re nj\u00eb mosp\u00ebrputhje mes asaj q\u00eb perceptojm\u00eb dhe asaj q\u00eb realisht lexojm\u00eb, e gjitha kjo fal\u00eb koh\u00ebs s\u00eb perceptimit, tek imazhi piktorik nuk mund t\u00eb ndodh\u00eb sepse p\u00ebrfshirja estetike apo e th\u00ebnies \u00ebsht\u00eb gati akute, ontikja e vepr\u00ebs \u00ebsht\u00eb vet\u00eb ky lloj t\u00eb perceptuari. N\u00eb nj\u00eb kontekst heidegerian, kjo akut\u00ebri perceptive \u00ebsht\u00eb nj\u00eb mund\u00ebsi e madhe e manifestimit t\u00eb qenies p\u00ebrmes daseinit. Nj\u00eb mund\u00ebsi e banimit t\u00eb qenies – por edhe nj\u00eb pamund\u00ebsi n\u00eb rast se kemi parasysh kritik\u00ebn e b\u00ebr\u00eb te <\/span>Let\u00ebr mbi humanizmin<\/span><\/i> – pasi n\u00eb k\u00ebt\u00eb p\u00ebshtjellim imediat, gjuha ka gjasa edhe t\u00eb p\u00ebrhumbet ontologjikisht. Pra, gjuha nuk \u00ebsht\u00eb kollaj t\u00eb banohet, sidomos me -izma. Pra, imagjinoni pak sikur Kryevepra t\u00eb kthehet n\u00eb nj\u00eb stimulim prapashtesash t\u00eb modernitetit, e bukura mbulohet nga nj\u00eb iluzion i sh\u00ebmtuar q\u00eb nuk ka asnj\u00eb lloj vet\u00ebdije se po gabon, e p\u00ebr m\u00eb tep\u00ebr boshe. \u201cPo ku gjallon vall\u00eb, \u2013 pyeti pas nj\u00eb pauze, \u2013 ajo Vener\u00eb e pakapshme antikiteti, aq e k\u00ebrkuar, nga e cila ne mbartim vet\u00ebm ca cop\u00ebza bukurie?\u201d (K\u00ebmba 68).<\/span><\/p>\n

K\u00ebtu autori e cop\u00ebzon pyetjen duke v\u00ebn\u00eb n\u00eb pah k\u00ebt\u00eb bukuri t\u00eb pakapshme prej modernitetit, dhe nd\u00ebrkaq, e bukur si prej antikitetit. Kjo riparaqet ve\u00e7orit\u00eb e s\u00eb bukur\u00ebs s\u00eb Balzakut p\u00ebrmes krahasimit, ku tregon modernitetin si mbules\u00eb dhe pamund\u00ebsi p\u00ebr ta kapur, dhe ngjashm\u00ebris\u00eb ndaj ides\u00eb s\u00eb t\u00eb bukur\u00ebs para antikitetit. Nj\u00eb form\u00eb tjet\u00ebr p\u00ebr ta cop\u00ebzuar pyetjen \u00ebsht\u00eb: Mos ndoshta bukuria \u00ebsht\u00eb te sjellja jon\u00eb p\u00ebrball\u00eb asaj q\u00eb e kemi kategorizuar si t\u00eb bukur, befasia e form\u00ebs, pusia estetike q\u00eb na ngre p\u00ebr t\u00eb na dalluar si human\u00eb\u2026 dhe q\u00eb i ngrem\u00eb p\u00ebr t\u00eb qen\u00eb p\u00ebrve\u00e7se human\u00eb, edhe krijues?\u00a0<\/span><\/p>\n

N\u00ebse do e merrnim rastin e t\u00eb bukur\u00ebs si nj\u00eb loj\u00eb gjuh\u00ebsore, apo si nj\u00eb gj\u00ebegj\u00ebz\u00eb, apo edhe duke u sjell\u00eb si supervizor dhe sundues t\u00eb saj, e bukura do t\u00eb zhvishej nga vet\u00eb prestigji, mrekullia dhe sublimiteti i saj, duke rrezikuar t\u00eb mos lexohet aty ku ky sublimitet synohet dhe shfaqet me t\u00eb v\u00ebrtet\u00eb. P\u00ebr ta l\u00ebn\u00eb t\u00eb pashteruar bukurin\u00eb si t\u00eb till\u00eb, m\u00eb posht\u00eb do t\u00eb paraqesim nj\u00eb pasazh n\u00eb t\u00eb cilin adresohet e bukura si e till\u00eb. Sepse nuk \u00ebsht\u00eb nj\u00eb figuracion i llojit \u201clojcak\u201d apo i q\u00ebndisur bukur – si\u00e7 shprehet autori, por nj\u00eb shprehje e drejtp\u00ebrdrejt\u00eb q\u00eb thot\u00eb nj\u00eb shprehim\u00ebsi t\u00eb organicitetit t\u00eb s\u00eb bukur\u00ebs, dhe shpirtit ngjiz\u00ebs brenda saj:<\/span><\/p>\n

\u201cJu nuk zbrisni n\u00eb intimitetin e form\u00ebs, nuk e ndiqni me zell e dashuri n\u00eb p\u00ebshtjellimet dhe arratin\u00eb e saj. Bukuria \u00ebsht\u00eb nj\u00eb gj\u00eb e sert\u00eb dhe e v\u00ebshtir\u00eb, q\u00eb s\u2019e b\u00ebn dot kollaj p\u00ebr vete. Duhet pritur \u00e7asti q\u00eb t\u2019i gjesh an\u00ebn, ta p\u00ebrgjosh, ta shtiesh n\u00eb dor\u00eb, ta shtr\u00ebngosh fort p\u00ebr ta b\u00ebr\u00eb t\u00eb t\u00eb jepet\u201d (K\u00ebmba 113).<\/span><\/p>\n

Pak a shum\u00eb t\u00eb hasur n\u00ebp\u00ebr goj\u00ebdh\u00ebna, te Kanti, te feja e me radh\u00eb, se <\/span>e bukura<\/span><\/i> ka tendenc\u00ebn t\u00eb godas\u00eb, e jo t\u00eb jet\u00eb nj\u00eb loj\u00eb, p\u00ebrndryshe fshihet, ashtu si\u00e7 fshihet n\u00eb modernen. P\u00ebr t\u2019u \u00e7elur do marramendjen, madh\u00ebshtoren, poezin\u00eb, pellgun etj..<\/span><\/p>\n

Referenca:<\/span><\/p>\n

Heidegger, Martin. <\/span>Being and Time<\/span>. New York: HarperCollins, 2008.<\/span><\/p>\n

Heidegger, Martin. <\/span>Let\u00ebr mbi humanizmin<\/span>. Tiran\u00eb: Plejad, 2010.<\/span><\/p>\n

Zejno, Krenar. <\/span>K\u00ebmba e t\u00eb Panjohur\u00ebs<\/span>. Tiran\u00eb: Botimet Zenit Editions, 2011<\/span><\/p>\n

\n
\n

P\u00ebr Autorin\u00a0<\/span><\/strong><\/span><\/em><\/p>\n<\/blockquote>\n

Kujtim Tafhasi, 23 – vje\u00e7ar nga Kuk\u00ebsi, \u00ebsht\u00eb autor i ri me interes n\u00eb filozofi, metafizik\u00eb, estetik\u00eb dhe antropologji kulturore. Ka p\u00ebrfunduar studimet e nivelit Bachelor p\u00ebr Filozofi dhe ato t\u00eb nivelit master n\u00eb Filozofi Sociale.\u00a0<\/em><\/strong><\/p>\n

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

Kapitulli i par\u00eb \u00ebsht\u00eb tekstualisht nj\u00eb moment arkeologjik i pasur rreth domenit t\u00eb artit. Nga Frenhoferi, te Balzaku, nga kryevepra \u201ct\u00eb panjohura\u201d t\u00eb artit, deri te kryevepra arti me kadenc\u00eb biblike, pathos e profeci, apostuj dhe dishepuj t\u00eb s\u00eb bukur\u00ebs, misionar\u00eb dhe rishtar\u00eb…<\/p>","protected":false},"author":2,"featured_media":19314,"comment_status":"open","ping_status":"closed","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":"full-width","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","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":19314,"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":"on","ocean_gallery_id":[],"footnotes":""},"categories":[5,4],"tags":[629,630,632,174,631],"class_list":["post-19306","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulture","category-kryenyje","tag-kemba-e-te-panjohures","tag-krenar-zejno","tag-kujtim-tafhasi","tag-letersi","tag-recence","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19306","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=19306"}],"version-history":[{"count":11,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19306\/revisions"}],"predecessor-version":[{"id":19319,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19306\/revisions\/19319"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/19314"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=19306"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=19306"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/tags?post=19306"}],"curies":[{"name":"wp"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