{"id":19379,"date":"2024-02-17T15:06:02","date_gmt":"2024-02-17T14:06:02","guid":{"rendered":"https:\/\/nyje.al\/?p=19379"},"modified":"2024-08-19T17:37:47","modified_gmt":"2024-08-19T15:37:47","slug":"metamorfoza-e-heroit-rasti-i-pa-heronj-pa-buje-ndricim-ademaj","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/metamorfoza-e-heroit-rasti-i-pa-heronj-pa-buje-ndricim-ademaj\/","title":{"rendered":"Metamorfoza e heroit (Rasti i Pa heronj, pa buj\u00eb – Ndri\u00e7im Ademaj)"},"content":{"rendered":"

Dorian Berisha | 17.02.2024 | nyje.al<\/span><\/strong><\/p>\n

N\u00eb esen\u00eb \u201cVdekja e autorit\u201d (1967) e kritikut letrar dhe teoricienit francez, Roland Barthes-it, argumentohen idet\u00eb strukturaliste q\u00eb vijn\u00eb si reaksion i praktik\u00ebs pozitiviste t\u00eb kritik\u00ebs letrare tradicionale, e cila mb\u00ebshtetej n\u00eb biografin\u00eb e nj\u00eb autori p\u00ebr t\u00eb shpjeguar \u201ckuptimin p\u00ebrfundimtar\u201d t\u00eb nj\u00eb teksti. Ese e cila orvatet t\u00eb shmang\u00eb metodat pozitiviste t\u00eb kritik\u00ebs letrare q\u00eb i b\u00ebheshin aksh vepre, duke p\u00ebrdorur elemente p\u00ebrgjith\u00ebsisht jasht\u00ebletrare, p\u00ebr t\u00eb shquar vler\u00ebn e tekstit. Gjithmon\u00eb duke mb\u00ebshtetur idet\u00eb \u201cprotekstit\u201d, mund t\u00eb themi se jeta e autorit ka ndikim jetik n\u00eb prodhimin e artit t\u00eb fjal\u00ebs, madje, \u00ebsht\u00eb qerthulli prej nga ku buron secili frym\u00ebzim i unit poetik.\u00a0<\/span><\/p>\n

Sprova e par\u00eb prozaike e Ademajt, e ka gjenez\u00ebn pik\u00ebrisht tek empirizmi jet\u00ebsor personal, kjo na shfaqet qysh n\u00eb n\u00ebntitull, i cili sh\u00ebrben si port\u00eb hyr\u00ebse n\u00eb roman. P\u00ebrmes nj\u00eb loje fjal\u00ebsh (ngjarja e v\u00ebrtet\u00eb \u00ebsht\u00eb bazuar n\u00eb k\u00ebt\u00eb rr\u00ebfim), na jepet edhe \u00e7el\u00ebsi dekodues zhanror: kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb roman autobiografik fiksional, q\u00eb m\u00eb s\u00eb af\u00ebrmi i rri p\u00ebr nga objekti q\u00eb ka n\u00eb qend\u00ebr, autofiksionit. Rr\u00ebfimi \u00ebsht\u00eb i mbushur me fakte jet\u00ebsore t\u00eb Ademajt me referenc\u00eb bot\u00ebn reale, e cila bashk\u00ebjeton natyrsh\u00ebm me fiksionin. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, duke p\u00ebrdorur stilin narrativ t\u00eb fiksionit, teksti autobiografik resht s\u00eb qeni <\/span>non-fiksion<\/span><\/i>.<\/span><\/p>\n

N\u00ebntitulli, ose pragu hyr\u00ebs, sh\u00ebrben si ftes\u00eb n\u00eb ndjekjen e linj\u00ebs narrative t\u00eb protagonistit, i cili \u00ebsht\u00eb narratori i brendsh\u00ebm, rr\u00ebfen n\u00eb vet\u00ebn e par\u00eb, dhe nj\u00ebkoh\u00ebsisht \u00ebsht\u00eb strumbullari rreth t\u00eb cilit nd\u00ebrtohet gjith\u00eb narracioni.<\/span> Struktura narrative e romanit p\u00ebrb\u00ebhet nga dy koh\u00eb kryesore, dhe nj\u00eb koh\u00eb zero. Romani hapet e mbyllet me koh\u00ebn zero, n\u00eb dukje koh\u00eb metafizike e koh\u00eb meditative, e cila nuk q\u00ebndron n\u00eb hulli t\u00eb prologut e t\u00eb epilogut, por vet\u00ebm sa shquan mundin fizik dhe psikologjik t\u00eb protagonistit, q\u00eb ngjan t\u00eb ndodhet n\u00eb grahmat e fundit agonike t\u00eb jet\u00ebs, fakt i cili aprovohet nga vet\u00eb rr\u00ebfimi. Ngadhnjim Gashi, \u00ebsht\u00eb personazhi rr\u00ebfimtar i cili luan rolin kryesor n\u00eb ngjarje dhe sikur na njofton me sorollatjet e tij n\u00eb shtetin helvetik, si nj\u00eb i ri i dal\u00eb nga katrahura ish-jugosllave, varf\u00ebria e sistemi i t\u00eb cilit mb\u00ebshtetej n\u00eb terror. Periudh\u00eb ku gjith\u00e7ka menaxhohej e zgjidhej p\u00ebrmes dhun\u00ebs, qoft\u00eb edhe edukimi. Romani nd\u00ebrtohet p\u00ebrmes teknikave t\u00eb romanit modernist, fragmentariteti kohor dhe narrativ i japin lexuesit mund\u00ebsin\u00eb e plot\u00ebsimit t\u00eb hap\u00ebsirave boshe p\u00ebrmes imagjinat\u00ebs subjektive, e sidomos zgjidhja e hapur me ambiguitete t\u00eb shumta. Nj\u00eb f\u00ebmij\u00eb i quajtur \u201ctutkun\u201d e \u201cfrikacak\u201d, i rritur me dhun\u00eb dhe i traumatizuar nga gjithfar\u00eb formash, e sidomos nga krisma t\u00eb luft\u00ebs, nuk ka se si t\u00eb rritet ndryshe p\u00ebrpos se duke zhvilluar idet\u00eb e lavdis\u00eb dhe guximit, duke \u00ebnd\u00ebrruar dyluftime donkishoteske me mullinjt\u00eb e er\u00ebs, beteja p\u00ebr t\u00eb cilat do t\u00eb k\u00ebrkohet koh\u00eb q\u00eb t\u00eb p\u00ebrmbushen. Xhimi, i rritur nga dhuna fizike e psiqike e babait, gjen streh\u00eb n\u00eb preh\u00ebrin e n\u00ebn\u00ebs, duke ndjer\u00eb p\u00ebr t\u00eb parin urrejtje, dhe p\u00ebr t\u00eb dyt\u00ebn dashuri. Si n\u00eb pjes\u00ebn e par\u00eb ku personazhi \u00ebsht\u00eb i rritur dhe gjendet n\u00eb Zvic\u00ebr, ashtu edhe n\u00eb pjes\u00ebn e dyt\u00eb, e cila p\u00ebrgjith\u00ebsisht \u00ebsht\u00eb retrospektive, protagonisti interesohet n\u00eb gjinin\u00eb e kund\u00ebrt, ndoshta fal\u00eb instiktit mashkullor. N\u00eb pjes\u00ebn e par\u00eb ai madje edhe ndjen xhelozi p\u00ebr nj\u00eb vajz\u00eb e cila as nuk \u00ebsht\u00eb e dashura e tij, e as nuk b\u00ebhet kurr\u00eb e till\u00eb (Sar\u00ebn), por q\u00eb n\u00eb subkoshienc\u00eb, ai e d\u00ebshiron at\u00eb, pa e gjykuar. Kurioziteti i tij na shpalos jet\u00ebn e shthurur seksuale t\u00eb nj\u00eb vajze per\u00ebndimore, q\u00eb n\u00eb syrin e ballkanasit \u00ebsht\u00eb mjaft t\u00ebrheq\u00ebse, por q\u00eb nga asocializimi dhe muri social gjinor n\u00eb rritje, asnj\u00ebher\u00eb nuk e ka guximin ta shpreh\u00eb at\u00eb q\u00eb i k\u00ebrkon instikti (id-i). Bredhjet prej t\u00eb p\u00ebrjashtuari n\u00eb rrug\u00ebt e Gjenev\u00ebs, t\u00eb ngjajn\u00eb me ato t\u00eb nj\u00eb individi n\u00eb k\u00ebrkim t\u00eb identitetit, arsyes dhe liris\u00eb. Largimi nga atdheu i jep ndjenj\u00ebn e pashpjegueshme t\u00eb humbjes s\u00eb kuptimit, edhe pse ka qen\u00eb k\u00ebrkes\u00eb p\u00ebr t\u00eb dal\u00eb nga izolimi, ai asnj\u00ebher\u00eb nuk arrin q\u00eb t\u00eb shk\u00ebputet nga e shkuara dhe nostalgjia p\u00ebr gjith\u00e7ka q\u00eb i kujton dheun e s\u00eb \u00ebm\u00ebs. Mjaft absurd t\u00eb ngjan edhe hezitimi i tij ndaj nj\u00eb nevoje biologjike, si\u00e7 \u00ebsht\u00eb marr\u00ebdh\u00ebnia seksuale, absurd ky q\u00eb t\u00eb vjen n\u00eb trajt\u00eb shum\u00eb m\u00eb komike e me shum\u00eb sens humori, p\u00ebr dallim nga tradita e absurdit n\u00eb let\u00ebrsin\u00eb evropiane. Tragjikomedia, ose kombinimi mes trishtimit dhe momenteve qesharake, q\u00ebndron n\u00eb nj\u00eb balanc\u00eb q\u00eb ia shton hirin ngjarjes, dhe sigurisht, v\u00eb n\u00eb pah akoma m\u00eb shum\u00eb traum\u00ebn individuale\/kolektive.\u00a0<\/span><\/p>\n

Pjesa e dyt\u00eb, e cila i p\u00ebrket f\u00ebmij\u00ebris\u00eb, e ruan narrativ\u00ebn infantile e naivitetin q\u00eb p\u00ebrkon p\u00ebrgjith\u00ebsisht me mosh\u00ebn e heroit f\u00ebmij\u00eb. Spektri naiv i t\u00eb parit t\u00eb bot\u00ebs e k\u00ebrkimi i shpjegimit t\u00eb konceptit t\u00eb liris\u00eb p\u00ebrmes goj\u00ebs s\u00eb nj\u00eb f\u00ebmije, simbolizon nj\u00eb rritje t\u00eb parakohshme, nj\u00eb metamorfoz\u00eb t\u00eb brendshme q\u00eb ndodh si pasoj\u00eb e vrojtimit t\u00eb skenave q\u00eb syri i nj\u00eb f\u00ebmije nuk do t\u00eb duhej t\u2019i p\u00ebrjetoj\u00eb. Ngjarja n\u00eb pjes\u00ebn retrospektive, korrespodon me luft\u00ebn e fundit gjenocidale n\u00eb Kosov\u00eb, q\u00eb duket se ka l\u00ebn\u00eb pasoja t\u00eb pashlyeshme traumatike tek individi, e q\u00eb manifestohen n\u00eb psikologjin\u00eb internale t\u00eb Xhimit n\u00eb t\u00eb ardhmen (pjes\u00ebn e par\u00eb). Element mjaft i r\u00ebnd\u00ebsish\u00ebm i cili gjendet theksh\u00ebm n\u00eb roman, \u00ebsht\u00eb vdekja. <\/span>Ishte hera e dyt\u00eb q\u00eb shihja kaq shum\u00eb varre t\u00eb renditur nj\u00ebri pas tjetrit. Hera e par\u00eb ka qen\u00eb kur vdiq gjyshja<\/span><\/i> (Pa heronj, pa buj\u00eb, f. 124). N\u00eb luft\u00eb, Xhimi, humbet mikun e tij m\u00eb t\u00eb af\u00ebrt, Talin, dhe daj\u00ebn e tij, i cili ndjek kauz\u00ebn e luft\u00ebs p\u00ebr liri, duke u b\u00ebr\u00eb martir i saj.\u00a0\u00a0<\/span><\/p>\n

\u00a0Te daja i tij ai e gjen prototipin e heroit, nd\u00ebrsa tek i ati i tij, frikacakun: nj\u00ebri zgjedh t\u00eb sakrifikohet p\u00ebr lirin\u00eb, nd\u00ebrsa tjetri t\u00eb shkruaj\u00eb poezi, e \u201ct\u00eb luftoj\u00eb\u201d p\u00ebmes pen\u00ebs. Pjes\u00ebn d\u00ebrrmuese t\u00eb koh\u00ebs nuk e kap\u00ebrcen dot gjenetik\u00ebn e t\u00eb atit, vet\u00ebm n\u00eb fund duket sikur ndodh nj\u00eb shnd\u00ebrrim i gjithansh\u00ebm i heroit. D\u00ebmet e pariparueshme traumatike q\u00eb sjell\u00eb lufta n\u00eb psiqik\u00ebn individuale e kolektive t\u00eb viktimave, shfaqen te Xhimi f\u00ebmij\u00eb:\u00a0<\/span><\/p>\n

-Nim, Nim, Nim, \u00e7u zem\u00ebr . . . \u00c7ela syt\u00eb. Mbi kok\u00ebn time rrinte n\u00ebna. M\u00eb puthi. \u2013 Mos u tut shpirt, and\u00ebrr e keqe. Ktheva kok\u00ebn nga dritarja. Nj\u00eb terr batanijesh dhe gazetash t\u00eb b\u00ebra bashk\u00eb. Ishte nj\u00eb \u00ebnd\u00ebrr e keqe. <\/span><\/i>E frikshme. M\u00eb duket se kam lagur pizhamet. Diku larg d\u00ebgjoheshin disa krisma t\u00eb mbytura pushk\u00ebsh . . . <\/i><\/b>(Pa heronj, pa buj\u00eb, f. 112)\u00a0<\/span><\/i><\/p>\n

apo edhe n\u00eb rastin e provokimit q\u00eb i b\u00ebhet Xhimit nga nj\u00eb shtetas serb (armik), i cili pasohet nga reagimi i tij i dhunsh\u00ebm, krejt\u00ebsisht simptom\u00eb e traum\u00ebs. Ndoshta ai tenton ta tejkaloj\u00eb nj\u00ebher\u00eb e p\u00ebrgjithmon\u00eb frik\u00ebn duke u p\u00ebrballur me t\u00eb, e duke arritur stadin e heroit t\u00eb synuar e t\u00eb \u00ebnd\u00ebrruar n\u00eb f\u00ebmij\u00ebrin\u00eb e larg\u00ebt. Koha zero pas aktit heroik, na ngjan si arritja e shpirtit n\u00eb nirvan\u00eb, nj\u00eb katarsis spiritual, nj\u00eb \u00e7lirim i brendsh\u00ebm e nj\u00eb shnd\u00ebrrim. Prandaj simbolika e emrit \u00ebsht\u00eb mjaft e r\u00ebnd\u00ebsishme, protagonisti i quajtur Ngadhnjim, ngadh\u00ebnjen p\u00ebrfundimisht, p\u00ebrpara \u00e7do pengese. Par\u00eb edhe n\u00eb nj\u00eb v\u00ebshtrim gjuh\u00ebsor e leksikor, p\u00ebrshtatja dialektore q\u00eb i b\u00ebhet standardit me t\u00eb folmen e Prizrenit n\u00eb disa raste si: <\/span>Qysh more \u00e7ka po m\u00eb duhet? Asht shpia jeme.<\/span><\/i>(Pa heronj, pa buj\u00eb, f. 138), sigurisht p\u00ebr arsye stilistike, i jep romanit origjinalitet krijues e ve\u00e7anti q\u00eb e p\u00ebrfaq\u00ebson potik\u00ebn e autorit respektiv. Bashk\u00ebjetesa mes fiksionit e reales n\u00eb k\u00ebt\u00eb roman, sikur t\u00eb nd\u00ebrmend Kongolin me <\/span>Iluzione n\u00eb sirtar<\/span><\/i>, ku edhe pse referencat biografike jan\u00eb t\u00eb dukshme, rr\u00ebfimi asnj\u00ebher\u00eb nuk t\u00eb mban n\u00eb monotoni, por faqet kalojn\u00eb me nj\u00eb <\/span>suspens<\/span><\/i>-\u00eb t\u00eb jasht\u00ebzakonshme. Megjithat\u00eb, romani i Ademajt karakterizohet nga fokusi m\u00eb i madh q\u00eb i jepet ngjarjes dhe shkakut (luft\u00ebs) q\u00eb ka sjell\u00eb X pasoja (simptomat traumatike…).\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

\u00a0Referencat<\/em>:<\/span><\/p>\n

    \n
  1. Ademaj, Ndri\u00e7im, Pa heronj, pa buj\u00eb, Tiran\u00eb, Pegi, 2017.<\/span><\/i><\/li>\n
  2. Barthes, R, The death of the author, London, Fontana, 1977.<\/span><\/i><\/li>\n
  3. Barthes, R, Aventura semiologjike, Prishtin\u00eb, Rilindja,\u00a0<\/span><\/i><\/li>\n
  4. Jefferson, Ann dhe Roby, David, Teoria letrare moderne, Tiran\u00eb, Albas, 2016.<\/span><\/i><\/li>\n
  5. Genette, G\u00e9rard. Narrative Discourse: An Essay in Method, Cornell University Press, 1980.<\/span><\/i><\/li>\n
  6. Pozzato, Maria Pia. Semiotika e tekstit, p\u00ebrkth. Dhurata Shehri, UET Press, 2009.<\/span><\/i><\/li>\n<\/ol>\n

    Fotografia e ballin\u00ebs<\/em><\/span>: Kushtrim Krasniqi\u00a0<\/span><\/p>\n

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

    Dorian Berisha \u00ebsht\u00eb kritik i ri nga Prizreni, i interesuar p\u00ebr let\u00ebrsin\u00eb n\u00eb p\u00ebrgjith\u00ebsi dhe at\u00eb shqipe n\u00eb ve\u00e7anti. Ka p\u00ebrfunduar studimet e nivelit ba\u00e7elor n\u00eb deg\u00ebn e Gjuh\u00ebs dhe Let\u00ebrsis\u00eb Shqipe n\u00eb Prizren, nd\u00ebrsa ato t\u00eb nivelit master n\u00eb Tiran\u00eb n\u00eb deg\u00ebn e Teoris\u00eb dhe Kritik\u00ebs letrare.<\/strong><\/em><\/p>\n

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

    N\u00eb esen\u00eb \u201cVdekja e autorit\u201d (1967) e kritikut letrar dhe teoricienit francez, Roland Barthes-it, argumentohen idet\u00eb strukturaliste q\u00eb vijn\u00eb si reaksion i praktik\u00ebs pozitiviste t\u00eb kritik\u00ebs letrare tradicionale, e cila mb\u00ebshtetej n\u00eb biografin\u00eb e nj\u00eb autori p\u00ebr t\u00eb shpjeguar \u201ckuptimin p\u00ebrfundimtar\u201d t\u00eb nj\u00eb teksti. Ese e cila orvatet t\u00eb shmang\u00eb metodat pozitiviste t\u00eb kritik\u00ebs letrare q\u00eb 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