{"id":19582,"date":"2024-02-25T12:11:34","date_gmt":"2024-02-25T11:11:34","guid":{"rendered":"https:\/\/nyje.al\/?p=19582"},"modified":"2024-10-02T12:16:23","modified_gmt":"2024-10-02T10:16:23","slug":"gjithekohesia-e-gruaja-qe-deshe","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/gjithekohesia-e-gruaja-qe-deshe\/","title":{"rendered":"Gjith\u00ebkoh\u00ebsia e \u201cGruaja q\u00eb deshe\u201d"},"content":{"rendered":"
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Antigon\u00eb Byty\u00e7i | 25.02.2024 | nyje.al<\/span><\/strong><\/span><\/p>

Romani nuk mund t\u00eb kuptohet n\u00ebse nuk je lexuesi model i Ecos, lexuesi tip t\u00eb cilin teksti e ka parashikuar bashkautor. <\/span><\/span><\/p>

E filluam me \u201cti\u201d p\u00ebr t\u00eb ndjekur k\u00ebshtu loj\u00ebn e vet\u00ebs s\u00eb autorit. Pra, ajo q\u00eb e karakterizon tekstin \u00ebsht\u00eb veta e dyt\u00eb e rr\u00ebfimit, e cila \u00ebsht\u00eb goxha sfiduese si p\u00ebr autorin, edhe p\u00ebr lexuesin. <\/span><\/span><\/p>

Autori model \u00ebsht\u00eb nj\u00eb z\u00eb q\u00eb flet me dashamir\u00ebsi (ose me ton urdh\u00ebrues, ose me djall\u00ebzi) me ne, q\u00eb na do krah t\u00eb tij dhe pik\u00ebrisht ky z\u00eb manifestohet si strategji narrative, si nj\u00eb t\u00ebr\u00ebsi udh\u00ebzimesh q\u00eb na jepen, n\u00eb \u00e7do hap, t\u00eb cilave duhet t\u2019u bindemi kur vendosim t\u00eb sillemi si lexues model.<\/span><\/span> (<\/span><\/span>Gjasht\u00eb sh\u00ebtitje n\u00eb pyjet e tregimtaris\u00eb, f. 25<\/span><\/span>)<\/span><\/span><\/span><\/p>

Shkrimtari Ridvan Dibra, romanin e tij e fillon me nj\u00eb lloj paralajm\u00ebrimi p\u00ebr lexuesin q\u00eb libri nuk \u00ebsht\u00eb autobiografi, por a mund t\u00eb mohohet plot\u00ebsisht nj\u00eb gj\u00eb e till\u00eb pas leximit t\u00eb librit? Natyrisht q\u00eb jo, pasi teksti p\u00ebrmban element\u00eb n\u00eb dukje autobiografik\u00eb, por q\u00eb s\u00ebrish nuk e \u00e7ojn\u00eb n\u00eb hulli t\u00eb autobiografis\u00eb klasike, pasi n\u00eb thelb mbetet rr\u00ebfim fiktiv. Sigurisht, nuk mund t\u00eb p\u00ebrjashtohet edhe q\u00eb paralajm\u00ebrimi mund t\u00eb jet\u00eb nj\u00eb lloj hedhjeje, e par\u00eb si provokim p\u00ebr lexuesin e st\u00ebrvitur.<\/span><\/span><\/p>

Titulli i librit,<\/span><\/span> \u201cGruaja q\u00eb deshe\u201d,<\/span><\/span> mes t\u00eb tjerash,<\/span><\/span>sugjeron nj\u00eb t\u00eb kaluar, por t\u00eb kaluar <\/span><\/span>t\u00eb qen\u00eb, ekzistuese, <\/span><\/span>at\u00eb q\u00eb nuk mbetet thjesht e kaluar n\u00eb nj\u00eb kufizim t\u00eb caktuar kohor, por shpreh nj\u00eb gjith\u00ebkoh\u00ebsi. N\u00eb k\u00ebt\u00eb rast folja \u201cq\u00eb deshe\u201d e s\u00eb kryer\u00ebs s\u00eb thjesht\u00eb i jep p\u00ebrmas\u00ebn e qen\u00ebsishme dhe arrijm\u00eb ta barazojm\u00eb me <\/span><\/span>p\u00ebrgjithmon\u00eb<\/span><\/span>.<\/span><\/span><\/span><\/p>

Teksti \u00ebsht\u00eb i mbushur me pasazhe meditative, kujtime e aktualizime t\u00eb personazhit i cili nj\u00ebherazi \u00ebsht\u00eb edhe narratori i ngjarjes. Gruaja e personazhit sh\u00ebnon nj\u00eb karakter t\u00eb zakonsh\u00ebm q\u00eb nuk posedon ndonj\u00eb virtyt t\u00eb duksh\u00ebm, e as ndonj\u00eb ves. \u00a0Ajo sh\u00ebnon tipin e gruas krejt normale, jodramatike e as t\u00eb ngjarjeve t\u00eb m\u00ebdha, t\u00eb cilat e b\u00ebjn\u00eb m\u00eb me ndikim n\u00eb jet\u00ebn e tjetrit. P\u00ebrkundrazi, ajo \u00ebsht\u00eb antimodeli i nj\u00eb gruaje q\u00eb l\u00eb gjurm\u00eb. Gruaja \u00ebsht\u00eb me ndikim ve\u00e7 pse \u00ebsht\u00eb <\/span><\/span>ajo<\/span><\/span>, duke qen\u00eb krejt\u00ebsisht e natyrshme dhe nj\u00eb karakter trivial. \u00a0<\/span><\/span><\/span><\/p>

Pra, teksti romanor sjell risi p\u00ebrmbajt\u00ebsore, duke qen\u00eb k\u00ebshtu p\u00ebr receptuesin krejt i thjesht\u00eb, por shum\u00eb i thell\u00eb.<\/span><\/span><\/p>

Romani vjen i ve\u00e7ant\u00eb te lexuesi duke qen\u00eb personazh \u201cGruaja\u201d, dhe jo \u201cgruaja\u201d. Nd\u00ebrkoh\u00eb q\u00eb leksema vajz\u00eb ruhet vet\u00ebm si \u201cvajz\u00eb\u201d. N\u00eb k\u00ebt\u00eb rast kemi nj\u00eb agramatikalitet funksional, ngaq\u00eb autori p\u00ebrmes k\u00ebtij kontrasti m\u00ebton ta vler\u00ebsoj\u00eb gruan si stadin m\u00eb sip\u00ebror t\u00eb nj\u00eb femre. Kjo p\u00ebrcakton nj\u00eb kap\u00ebrcim t\u00eb r\u00ebnd\u00ebsish\u00ebm t\u00eb koh\u00ebs dhe nj\u00eb pesh\u00eb t\u00eb madhe t\u00eb statusit <\/span><\/span>grua <\/span><\/span>q\u00eb i jepet nga autori. T\u00eb jesh grua \u00ebsht\u00eb barr\u00eb e madhe, ndaj me t\u00eb drejt\u00eb quhesh Grua. <\/span><\/span><\/span><\/p>

K\u00ebshtu, Ridvan Dibra, eksploron ngjarje triviale, t\u00eb p\u00ebrditshme, por duke u shkuar secil\u00ebs n\u00eb thell\u00ebsi, duke e b\u00ebr\u00eb t\u00eb thjesht\u00ebn komplekse. Paralelisht, ai sjell nj\u00eb lloj ironie dhe kritike p\u00ebr autor\u00ebt modern\u00eb q\u00eb paraqesin patjet\u00ebr ekstremen, nihilizmin, t\u00eb cil\u00ebt mundohen q\u00eb p\u00ebrmes ekstremes t\u00eb krijojn\u00eb t\u00eb bukur\u00ebn n\u00eb let\u00ebrsi, nd\u00ebrkoh\u00eb q\u00eb Dibra duket sikur niset nga parimi i Hemingwayt, se n\u00eb t\u00eb v\u00ebrtet\u00eb edhe karaktereve e ngjarjeve krejt\u00ebsisht t\u00eb par\u00ebnd\u00ebsishme n\u00eb dukje, n\u00ebse u jepet thell\u00ebsia e duhur, jan\u00eb n\u00eb gjendje t\u00eb prodhojn\u00eb kryevepra. \u00a0Nd\u00ebrkoh\u00eb q\u00eb n\u00eb funksion t\u00eb k\u00ebsaj ai krijon intertekstualitet me Pascal-in madje edhe duke cituar shprehjen e tij t\u00eb famshme – <\/span><\/span>\u201c<\/span><\/span>virtyti q\u00ebndron te normaliteti, dhe jo tek ekstremet\u201d. (Gruaja q\u00eb deshe, f. 108)<\/span><\/span><\/span><\/p>

Gruaja e paraqitur gjithnj\u00eb e s\u00ebmur\u00eb n\u00eb veprat e autor\u00ebve modern\u00eb ka filluar ta bezdis\u00eb at\u00eb. <\/span><\/span><\/p>

Thuajse t\u00eb gjitha t\u00eb s\u00ebmura. N\u00eb udh\u00ebkryq. Pa rrug\u00ebdalje. N\u00eb tunel. Pa bosht. Pa q\u00ebllim. Asnj\u00eb ideal. Besim askund. Siguri tek askush. Kukulla vitrinash. Plastike. Plasteline. N\u00eb duart e dikujt. A t\u00eb shum\u00ebkujt. Lodra seksi. Shpirti i m\u00ebrguar. Edhe fryma. Nevrastenike. Cinike. Dyshuese. Egoiste. T\u00eb pabesa. Nuk gjen nj\u00eb grua normale n\u00eb vepr\u00ebn e tyre. Ose e ndesh krejt rrall\u00eb dhe zbeht\u00eb. Saq\u00eb mezi vihet re. (Gruaja q\u00eb deshe, f. 103)<\/span><\/span><\/p>

Mes t\u00eb tjerash, k\u00ebtu shihet edhe teknika e shkrimit t\u00eb tij eksperimental postmodernist, ku ai b\u00ebn thyerje t\u00eb nj\u00eb lineariteti morfo-sintaksor. Libri \u00ebsht\u00eb i mbushur me thyerje t\u00eb tilla, t\u00eb q\u00ebllimshme t\u00eb autorit, q\u00eb ngjajn\u00eb n\u00eb modelin e fjalive t\u00eb paplot\u00ebsuara deri n\u00eb fund, ku hap\u00ebsira tekstore pritet shpejt me nj\u00eb pik\u00eb.<\/span><\/span><\/p>

Gruaja e personazhit duket nj\u00eb lloj sfide dhe demaskimi ndaj let\u00ebrsis\u00eb moderne sepse nj\u00eb Grua krejt\u00ebsisht normale, edhe ajo, ose <\/span><\/span>ve\u00e7an\u00ebrisht ajo<\/span><\/span>, meriton t\u00eb jet\u00eb referenc\u00eb letrare: kjo \u00ebsht\u00eb ideja qendrore e librit q\u00eb shkrimtari p\u00ebr\u00e7on, p\u00ebrmes s\u00eb cil\u00ebs nd\u00ebrtohet i gjith\u00eb diskursi letrar. Ajo nuk \u00ebsht\u00eb arketipi i femr\u00ebs <\/span><\/span>la femme fatale, <\/span><\/span>e cila i \u00e7on burrat n\u00eb situata t\u00eb rrezikshme ose shkat\u00ebrruese, q\u00eb karakterizohet nga bukuria a intelegjenca apo natyra e saj manipuluese.<\/span><\/span> Ajo nuk p\u00ebrdor sharmin e as joshjen e saj p\u00ebr t\u00eb luajtur nj\u00eb rol qendror n\u00eb intrig\u00eb.<\/span><\/span><\/span><\/p>

Por nga se cil\u00ebsohet Gruaja? Sado q\u00eb duket nj\u00eb karakter pa nj\u00eb rol, krejt\u00ebsisht si gjithkush, pa tentuar t\u00eb konsiderohet ose t\u00eb paraqitet si unike, qoft\u00eb edhe me vese, dy jan\u00eb karakteristikat q\u00eb lexuesi mund t\u2019i dalloj\u00eb: n\u00eb fillim <\/span><\/span>buz\u00ebqeshja<\/span><\/span>, kah fundi <\/span><\/span>heshtja.<\/span><\/span><\/span><\/p>

\u00cbsht\u00eb nj\u00eb buz\u00ebqeshje q\u00eb t\u00eb ngjall t\u00eb gjith\u00eb ndjenjat e lidhura n\u00eb kuptimin arketipor me fem\u00ebroren, p\u00ebr at\u00eb vajz\u00eb, p\u00ebr Gruan. \u00cbsht\u00eb buz\u00ebqeshja e saj e bukur dhe e natyrshme, e pafajshme; dhe n\u00eb an\u00ebn tjet\u00ebr, nj\u00eb heshtje, heshtja q\u00eb krijon murin ndar\u00ebs mes tij dhe saj. Fundja, mund t\u00eb cil\u00ebsohet edhe heshtja q\u00eb pagoi lirin\u00eb dhe \u00e7oroditjen e tij, por q\u00eb gjithsesi mbetet heshtje q\u00eb<\/span><\/span> t\u00eb trondit, <\/span><\/span>sepse Gruaja:<\/span><\/span><\/span><\/p>

as nuk revoltohet;<\/span><\/span><\/p>

as nuk proteston;<\/span><\/span><\/p>

as nuk shan;<\/span><\/span><\/p>

as nuk mallkon;<\/span><\/span><\/p>

as nuk k\u00ebrc\u00ebnon;<\/span><\/span><\/p>

as nuk paralajm\u00ebron . . .<\/span><\/span><\/p>

porse mbyllet n\u00eb vetvete. (Gruaja q\u00eb deshe, f. 111)<\/span><\/span><\/p>

Pjesa e cituar konkretizon q\u00eb romani strukturohet ndryshe; me nj\u00eb struktur\u00eb t\u00eb re t\u00eb tekstit, eksperimentale, \u00e7ka e b\u00ebn autorin krejt origjinal. Thyerje t\u00eb tilla sintaksore shprehin edhe guximin krijues t\u00eb shkrimtarit. Autori paraqet nj\u00eb tis t\u00eb holl\u00eb ngjyrimesh postmoderniste. Kjo na paraqitet edhe n\u00eb ca vende ku autori ka zgjedhur t\u00eb folmen dialektore. Personazhet flasin n\u00eb dialektin verior sepse jan\u00eb verior\u00eb (kjo p\u00ebrzgjedhje natyrisht lidhet edhe me origjin\u00ebn e tij shkodrane), por ky \u00ebsht\u00eb nj\u00eb aspekt q\u00eb nj\u00ebkohsh\u00ebm, mund ta cil\u00ebsojm\u00eb edhe si eksperimentim me gjuh\u00ebn, ose thjesht stil autorial. <\/span><\/span><\/p>

Struktura romanore ve\u00e7ohet nga ruajtja e dy linjave narrative. Autori krijon si t\u00eb q\u00ebndruesh\u00ebm ambientin e nj\u00eb studioje me oxhak, i cili shpreh simbolik\u00ebn e nj\u00eb \u201cdjegieje\u201d t\u00eb brendshme t\u00eb nj\u00eb njeriu, t\u00eb cilit koha kujtimet nuk ia djeg, e as nuk ia tret. Nj\u00ebkoh\u00ebsisht, krijon ambientin e l\u00ebvizsh\u00ebm t\u00eb s\u00eb shkuar\u00ebs (retrospektiv), q\u00eb e b\u00ebn vepr\u00ebn fragmentare, por edhe t\u00eb pasur me partikularitet. Por gjithsesi, ai nd\u00ebrton nj\u00eb unitet n\u00eb p\u00ebrmbajtje te t\u00eb dyja linjat narrative.<\/span><\/span><\/p>

Pra, Dibra hedh paralele mes koh\u00ebve t\u00eb rr\u00ebfimit, mes s\u00eb tashmes dhe s\u00eb shkuar\u00ebs n\u00eb t\u00eb cil\u00ebn mediton vazhdimisht, duke lundruar s\u00eb bashku me lexuesin n\u00ebp\u00ebr drit\u00ebhijet e kujtes\u00ebs s\u00eb tij. <\/span><\/span><\/p>

Kujtojm\u00eb pak Barry Levis-in, ku shpreh se: \u201cNarrativa Postmoderniste karakterizohet nga parregullsi kohore, nga cop\u00ebtimi i rr\u00ebfimeve lineare. Nga bashk\u00ebngjitja e formave dhe nga eksperimentimet me gjuh\u00ebn.\u201d (Nj\u00eb loj\u00eb me emrin postmoderniz\u00ebm, f. 9) <\/span><\/span><\/p>

Dibra na sjell nj\u00eb model jotradicional t\u00eb t\u00eb shkruarit, n\u00eb alteregon e \u201cti-s\u00eb\u201d, shkruan q\u00eb s\u2019ka nevoj\u00eb t\u2019i shpjegoj\u00eb lexuesit \u00e7ka ai s\u2019e sheh t\u00eb arsyeshme ta b\u00ebj\u00eb, por a lipset q\u00eb ta plot\u00ebsoj\u00eb n\u00eb kllapa me \u201cnuk e ndien p\u00ebr detyr\u00eb t\u2019ia shpjegosh lexuesit\u201d? P\u00ebr stilin e tij t\u00eb t\u00eb shkruarit, mbase edhe po.<\/span><\/span><\/p>

\u201cKu me e dit\u00eb?\u201d – ky togfjal\u00ebsh q\u00eb gjen p\u00ebrdorim mjaft t\u00eb shpesht\u00eb t\u00eb \u00e7on te pyetjet ekzistencialiste t\u00eb cilat s\u2019marrin fund kurr\u00eb, n\u00eb t\u00eb kund\u00ebrt do t\u00eb merrte fund vet\u00eb jeta. Fund merr edhe libri me po t\u00eb nj\u00ebjt\u00ebn pyetje, teksa shtjellon dyshimet e gjithkujt p\u00ebr gjithk\u00ebnd, t\u00eb qenies p\u00ebr qenien. \u201cBota vuan pik\u00ebrisht munges\u00ebn e besimit\u201d (Gruaja q\u00eb deshe, f. 161). Nj\u00eb pyetje e till\u00eb e p\u00ebrs\u00ebritur disa her\u00eb n\u00eb tekst, t\u00eb jep ndjesin\u00eb e nj\u00eb disorientimi, t\u00eb nj\u00eb konfuzioni p\u00ebrball\u00eb nj\u00eb t\u00eb panjohure.<\/span><\/span><\/p>

\u200bDibra sjell di\u00e7ka jasht\u00eb modeleve t\u00eb gatshme, nd\u00ebrton trivializmin duke krijuar k\u00ebshtu nj\u00eb kontrast me temat madh\u00ebshtore q\u00eb gjenden n\u00eb let\u00ebrsi. <\/span><\/span><\/span><\/p>

Autori krijon intertekstualitet me Pessoa-n, te tentativa e tij e disat\u00eb p\u00ebr t\u00eb shkruar nj\u00eb let\u00ebr dashurie q\u00eb i ngjan m\u00eb sfiduese sesa gjith\u00eb librat q\u00eb kishte shkruar; nd\u00ebrkaq, pun\u00ebn postmoderniste e krahason me oxhakun q\u00eb ishte shkarravitur nga nj\u00eb dor\u00eb f\u00ebmije, duke e quajtur art postmodern. Nj\u00eb kufizim t\u00eb kreativitetit, n\u00eb nj\u00ebfar\u00eb m\u00ebnyre si obskurantiz\u00ebm, q\u00eb gjithsesi mund t\u00eb \u00e7oj\u00eb te vlera. \u00a0Por shkrimtari na shfaqet k\u00ebtu aplikues dhe kritikues i postmodernizmit n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, duke e quajtur at\u00eb si nj\u00eb loj\u00eb, nj\u00eb kaos dhe nj\u00ebkoh\u00ebsisht duke e p\u00ebrdorur p\u00ebr t\u00eb till\u00eb. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><\/span><\/p>

Personazhet nuk kan\u00eb emra, ndaj gjykojm\u00eb se edhe kjo \u00ebsht\u00eb nj\u00eb gjetje e q\u00ebllimshme ideore dhe teknike e autorit, pasi ata jan\u00eb vet\u00ebm statuse dhe jo emra t\u00eb p\u00ebrve\u00e7\u00ebm, p\u00ebr t\u00eb th\u00ebn\u00eb se <\/span><\/span>Gruaja<\/span><\/span> fiktive e romanit mund t\u00eb jet\u00eb secila grua, pa dallim.<\/span><\/span><\/span><\/p>

Rr\u00ebfimtari-autor n\u00eb gjith\u00eb romanin e p\u00ebrdor vet\u00ebm nj\u00eb her\u00eb pasthirrm\u00ebn \u201cEureka!\u201d<\/span><\/span>, e th\u00ebn\u00eb s\u00eb brendshmi teksa \u00ebsht\u00eb n\u00eb p\u00ebrpjekjet e tij p\u00ebr ta luftuar distanc\u00ebn mes asaj dhe atij, kur ata po rrezikonin t\u00eb b\u00ebheshin t\u00eb tep\u00ebrt p\u00ebr nj\u00ebri-tjetrin. Natyrisht q\u00eb edhe ai e p\u00ebrdor p\u00ebr t\u00eb shprehur ngaz\u00ebllimin e nj\u00eb triumfi pasi zbulon se cili \u00ebsht\u00eb shkaku i distanc\u00ebs q\u00eb \u00ebsht\u00eb krijuar mes tyre-mungesa e v\u00ebmendjes ndaj saj. <\/span><\/span><\/span><\/p>

Ndikimin e Gruas te personazhi shkrimtar, tek e gjith\u00eb poetika e tij, narratori e quan \u201ce tretur porsi kripa n\u00eb gjell\u00eb\u201d<\/span><\/span>, <\/span><\/span>me \u00e7ka mund t\u00eb lidhim dhe nj\u00eb lloj lirizmi q\u00eb p\u00ebrshkon poetik\u00ebn e tij.<\/span><\/span><\/span><\/p>

Shkrimtaria perceptohet si ndjenj\u00eb madje si <\/span><\/span>katarsis<\/span><\/span>, \u201cat\u00ebher\u00eb, si gjithmon\u00eb, i k\u00ebrkon ndihm\u00eb let\u00ebrsis\u00eb: veprimit e \u00e7lirimit p\u00ebrmes saj\u201d (Gruaja q\u00eb deshe, f.112).<\/span><\/span><\/span><\/p>

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

  1. Dibra, Ridvan, Gruaja q\u00eb deshe, Tiran\u00eb, Onufri, 2021.<\/span><\/span><\/div><\/li>
  2. Eco, Umberto, Gjasht\u00eb sh\u00ebtitje n\u00eb pyjet e tregimtaris\u00eb, Dituria, 2007.<\/span><\/span><\/div><\/li>
  3. Dibra, Ridvan, Nj\u00eb loj\u00eb me emrin postmoderniz\u00ebm, Albas, Tiran\u00eb, 2007.<\/span><\/span><\/div><\/li><\/ol>

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

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

    Antigon\u00eb\u00a0Byty\u00e7i \u00ebsht\u00eb kritike e re nga Theranda, e pasionuar pas let\u00ebrsis\u00eb s\u00eb huaj dhe asaj shqipe n\u00eb ve\u00e7anti. Ka p\u00ebrfunduar studimet e nivelit ba\u00e7elor n\u00eb Prizren n\u00eb deg\u00ebn e Gjuh\u00ebs dhe Let\u00ebrsis\u00eb Shqipe nd\u00ebrsa ato master n\u00eb Tiran\u00eb n\u00eb deg\u00ebn e Teoris\u00eb dhe Kritik\u00ebs letrare.<\/strong><\/em><\/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":"

    Romani nuk mund t\u00eb kuptohet n\u00ebse nuk je lexuesi model i Ecos, lexuesi tip t\u00eb cilin teksti e ka parashikuar bashkautor. E filluam me \u201cti\u201d p\u00ebr t\u00eb ndjekur k\u00ebshtu loj\u00ebn e vet\u00ebs s\u00eb autorit. Pra, ajo q\u00eb e karakterizon tekstin \u00ebsht\u00eb veta e dyt\u00eb e rr\u00ebfimit, e cila \u00ebsht\u00eb goxha sfiduese si p\u00ebr autorin, edhe p\u00ebr lexuesin. Autori model \u00ebsht\u00eb nj\u00eb z\u00eb q\u00eb flet me dashamir\u00ebsi (ose me ton urdh\u00ebrues, ose me djall\u00ebzi) me ne, q\u00eb na do krah t\u00eb tij dhe …<\/p>","protected":false},"author":2,"featured_media":19586,"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":"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":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":[830,5,4],"tags":[652,653,654,473,651],"class_list":["post-19582","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike-letrare","category-kulture","category-kryenyje","tag-antigone-bytyci","tag-gjithekohesia-e-gruaja-qe-deshe","tag-gruaja-qe-deshe","tag-kritike-letrare","tag-ridvan-dibra","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19582","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=19582"}],"version-history":[{"count":8,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19582\/revisions"}],"predecessor-version":[{"id":26435,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19582\/revisions\/26435"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/19586"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=19582"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=19582"},{"taxonomy":"post_tag","embeddable":true,"href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