{"id":19977,"date":"2024-03-03T10:04:55","date_gmt":"2024-03-03T09:04:55","guid":{"rendered":"https:\/\/nyje.al\/?p=19977"},"modified":"2024-10-02T12:18:57","modified_gmt":"2024-10-02T10:18:57","slug":"ferri-ekzistencial-vendi-ku-nuk-vdiset-kurre-ornela-vorpsi","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/ferri-ekzistencial-vendi-ku-nuk-vdiset-kurre-ornela-vorpsi\/","title":{"rendered":"Ferri ekzistencial | \u201cVendi ku nuk vdiset kurr\u00eb\u201d – Ornela Vorpsi"},"content":{"rendered":"
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Dorian Berisha | 03.03.2024 | nyje.al<\/span><\/strong><\/span><\/p>

N\u00eb let\u00ebrsin\u00eb shqipe, tema e fatit tragjik t\u00eb grave n\u00eb periudh\u00ebn e komunizmit, \u00ebsht\u00eb trajtuar shpesh p\u00ebrmes proz\u00ebs. R\u00ebndom, subjekti i tyre lidhet me p\u00ebrballjen e heroin\u00ebs me sfidat e r\u00ebnda shoq\u00ebrore, politike dhe familjare n\u00eb koh\u00ebn e diktatur\u00ebs komuniste. V\u00ebnia e gruas n\u00eb qend\u00ebr t\u00eb nj\u00eb romani, \u00ebsht\u00eb nj\u00eb perspektiv\u00eb m\u00eb shum\u00eb n\u00eb t\u00eb parit e monstruozitetit t\u00eb nj\u00eb periudhe, si ajo e Shqip\u00ebris\u00eb diktatoriale.\u00a0<\/span><\/p>

Romani i Vorpsit na vjen si nj\u00eb fenomen unik ekzofonik\u00b9<\/span> n\u00eb letrat shqipe, duke hyr\u00eb n\u00eb radh\u00ebt e autor\u00ebve bashk\u00ebkohor\u00eb shqiptar\u00eb, q\u00eb shkruajn\u00eb n\u00eb gjuh\u00ebn italiane (Elvira Dones, Anilda Ibrahimi edhe Deneta Ndreca, etj.), p\u00ebr ambientin shqipfol\u00ebs dhe jo vet\u00ebm.\u00a0\u00a0<\/span><\/span><\/p>

Romani na vjen edhe n\u00eb shqip i p\u00ebrkthyer nga Parid Teferi\u00e7i, n\u00eb vitin 2019, pasi ka gjetur drit\u00ebn e botimit n\u00eb shum\u00eb gjuh\u00eb t\u00eb tjera bot\u00ebrore.<\/span><\/p>

Proza <\/span>Vendi ku nuk vdiset kurr\u00eb (Il paese dove non si muore mai)<\/span><\/i> vendoset n\u00eb koh\u00ebn e Tiran\u00ebs diktatoriale, n\u00eb <\/span>vendin ku nuk vdiset kurr\u00eb<\/span><\/i>, sigurisht ku t\u00eb gjith\u00eb jan\u00eb <\/span>t\u00eb pavdeksh\u00ebm<\/span><\/i>, ngase vet\u00ebm shqiptari \u00ebsht\u00eb i gatuar t\u2019i b\u00ebj\u00eb ball\u00eb k\u00ebtij ferri dantesk, prej t\u00eb cilit mund t\u00eb \u00e7lirohet vet\u00ebm p\u00ebrmes vdekjes. Vdekje q\u00eb, ironikisht, \u00ebsht\u00eb e barasvlefshme me lirin\u00eb e fituar. Nj\u00eb lloj d\u00ebnimi me mosvdekje q\u00eb t\u00eb kujton Tat Tanushin e Kutelit, q\u00eb p\u00ebr dallim prej nd\u00ebshkimit hyjnor me t\u00eb cilin p\u00ebrballet heroi kutelian, heroinave t\u00eb Vorpsit u duhet ta jetojn\u00eb ferrin n\u00eb baza ditore, n\u00eb nj\u00eb shoq\u00ebri t\u00eb \u00e7oroditur t\u00eb nj\u00eb regjimi despotik. Titulli i romanit na vjen si nj\u00eb nxitje p\u00ebr thellim e\u00a0 p\u00ebrsiatje. Ai t\u00eb ngjan sikur mb\u00ebshtetet n\u00eb bestytnin\u00eb kolektive t\u00eb shqiptarit, se vdekja \u00ebsht\u00eb nj\u00eb fenomen prej t\u00eb cilit \u00ebsht\u00eb imun n\u00ebse nuk e z\u00eb n\u00eb goj\u00eb, por q\u00eb vjen gjithashtu edhe si pasoj\u00eb e mekanizmave mbrojt\u00ebs subkoshient q\u00eb intensifikohen n\u00eb koh\u00eb specifike tmerri.\u00a0<\/span><\/span><\/p>

Struktura narrative n\u00eb k\u00ebt\u00eb proz\u00eb \u00ebsht\u00eb e ndar\u00eb n\u00eb disa pjes\u00eb t\u00eb cilat i lidh e nj\u00ebjta tematik\u00eb, me n\u00eb qend\u00ebr trinomin fem\u00ebror <\/span>Ornela<\/span><\/i>, <\/span>Elona<\/span><\/i> dhe <\/span>Eva,<\/span><\/i> q\u00eb na ngjajn\u00eb sikur kan\u00eb nj\u00eb lidhje spirituale mes vete. Strumbullari i narracionit thuret rreth karakterit fem\u00ebror (Ornel\u00ebs) n\u00eb mosh\u00eb infantile, t\u00eb gjendur p\u00ebrball\u00eb nj\u00eb realiteti absurd ku gruaja n\u00ebn\u00e7mohet dhe p\u00ebrdoret si mjet i shfryerjes s\u00eb epsheve seksuale. I ngjizur p\u00ebr rr\u00ebfimin f\u00ebmij\u00ebror na vjen reflektimi i nj\u00eb vajze t\u00eb rritur nga trauma, p\u00ebr njolla t\u00eb cilat i trazojn\u00eb kujtes\u00ebn. F\u00ebmij\u00ebve u duhet t\u00eb heqin dor\u00eb nga kurioziteti i mosh\u00ebs, ngase edhe ata, si t\u00eb rriturit, duhet t\u2019u n\u00ebnshtrohen rregullave morale socialiste dhe shablloneve sociale e juridike q\u00eb duhet t\u2019i ndjekin edhe pse s\u2019i arsyetojn\u00eb dot, ani pse ato rezonojn\u00eb vet\u00ebm me ithtar\u00ebt e verb\u00ebr t\u00eb sistemit. E till\u00eb \u00ebsht\u00eb m\u00ebsuese <\/span>Dhoksi<\/span><\/i>, q\u00eb na p\u00ebrshkruhet si e sh\u00ebmtuar, e dhunshme dhe urrejt\u00ebse e madhe e bukuris\u00eb s\u00eb femrave t\u00eb tjera. Asaj q\u00eb n\u00eb em\u00ebr t\u00eb Partis\u00eb, i jepet e drejta t\u2019i nxij\u00eb sa e sa trupa fillorist\u00ebsh, t\u00eb cil\u00ebt edukohen p\u00ebrmes dhun\u00ebs. K\u00ebt\u00eb e p\u00ebrjeton edhe Ornela, vet\u00ebm pasi <\/span>engj\u00ebjt<\/span><\/i> jan\u00eb kund\u00ebr n\u00ebn\u00ebs Parti, <\/span><\/i>e gjithkush q\u00eb nuk i ndjek rregullat e ngulitura socialiste (kund\u00ebr \u00e7do lirie njer\u00ebzore), d\u00ebnohet pa dallim. Nj\u00eb shoq\u00ebri q\u00eb tentohet \u201ct\u00eb p\u00ebrsoset\u201d p\u00ebrmes dhun\u00ebs dhe eleminimit, natyrisht q\u00eb do t\u00eb ket\u00eb simptoma t\u00eb traum\u00ebs dhe ajo shihet n\u00eb sjelljet e secilit pjes\u00ebtar t\u00eb saj. Madje, edhe n\u00eb rrethin e ngusht\u00eb familjar, Ornela rritet duke e par\u00eb baban\u00eb q\u00eb ushtron dhun\u00eb psiko-fizike tek e \u00ebma e saj.<\/span><\/span><\/p>

Isha e bindur, dhe e vuaja: kjo njoll\u00ebz e kuqe duhej t\u00eb ishte gjaku i saj i derdhur kur e rrihte babai. Ai i kishte p\u00ebrplasur kryet n\u00eb tok\u00eb, k\u00ebt\u00eb e kisha par\u00eb . . .\u00a0 dhe k\u00ebshtu njolla kish par\u00eb drit\u00ebn e diellit. (Ornela Vorpsi, Vendi ku nuk vdiset kurr\u00eb, f. 26)\u00a0<\/span><\/em><\/span><\/p>

Kjo e b\u00ebn q\u00eb t\u00eb rritet me shum\u00eb njolla, m\u00eb shum\u00eb psiqike sesa fizike.\u00a0\u00a0<\/span><\/p>

Njollat nuk ik\u00ebn . . .\u00a0 Ato njolla m\u00eb kan\u00eb njollosur . . .\u00a0 Kokrriza e kuqe banon brenda meje . . .\u00a0 (Ornela Vorpsi, Vendi ku nuk vdiset kurr\u00eb, f. 29)<\/span><\/em><\/span><\/p>

Regjimi i hante shum\u00eb jet\u00eb njer\u00ebzish, jo rrall\u00eb pa arsye, si n\u00eb rastin e burgosjes s\u00eb t\u00eb atit. Kush nuk ekzekutohej, internohej, e b\u00ebnte pun\u00eb skllavi p\u00ebr pjes\u00ebn e mbetur t\u00eb jet\u00ebs. Kjo shoq\u00ebri e s\u00ebmur\u00eb e me shum\u00eb vese do t\u00eb prodhoj\u00eb edhe pedofil\u00eb e monstra si rasti i Babakos, i cili i ka synime seksuale me vajzat e mitura.\u00a0<\/span><\/p>

Romani rr\u00ebfehet n\u00eb vet\u00ebn e par\u00eb nga Ornela f\u00ebmij\u00eb, pjes\u00eb autobiografike t\u00eb cilat me raste thyhen nga reflektimet e autores, pas nj\u00eb distance kohore. Faktet n\u00eb roman kan\u00eb lidhshm\u00ebri t\u00eb dukshme me jet\u00ebn reale t\u00eb autores, por q\u00eb g\u00ebrshetohen mjaft mir\u00eb me fiktiven, duke mos na dh\u00ebn\u00eb hap\u00ebsir\u00eb ta v\u00ebrejm\u00eb kufirin ndar\u00ebs mes tyre, e duke ruajtur v\u00ebmendjen e receptuesit deri n\u00eb fund.<\/span><\/p>

Romani na jep nj\u00eb larmi tipash fem\u00ebror\u00eb, aty na del historia e t\u00eb \u00ebm\u00ebs s\u00eb Kristin\u00ebs, q\u00eb si pasoj\u00eb e burgosjes s\u00eb burrit, vendos q\u00eb t\u00eb mos kursehet ndaj nevojave fiziologjike, e q\u00eb m\u00eb pas duke tentuar ta \u201claj\u00eb\u201d turpin q\u00eb e njollos, p\u00ebrfundon tragjikisht jet\u00ebn. I habitsh\u00ebm \u00ebsht\u00eb ndikimi ideologjik te t\u00eb rinjt\u00eb, t\u00eb cil\u00ebt t\u00eb ideologjizuar nga partia jan\u00eb n\u00eb gjendje q\u00eb fajin t\u2019ia hedhin viktim\u00ebs, e ta himnizojn\u00eb veprimin e agresorit. Nuk ka r\u00ebnd\u00ebsi n\u00ebse viktima \u00ebsht\u00eb e \u00ebma, v\u00ebllau i Kristin\u00ebs, e urren at\u00eb me gjith\u00eb zem\u00ebr, duke i dh\u00ebn\u00eb t\u00eb drejt\u00eb Partis\u00eb, p\u00ebr dallim nga e motra q\u00eb ndien dhimbje p\u00ebr t\u00eb \u00ebm\u00ebn, q\u00eb t\u00eb ngjan mjaft humane.\u00a0<\/span><\/p>

Tirana na shfaqet edhe p\u00ebrmes nj\u00eb perspektive tjet\u00ebr, jo shum\u00eb t\u00eb ndryshme nga t\u00eb tjerat, historia e Bukuries dhe Ganimetes s\u00eb vog\u00ebl, n\u00ebn\u00ebs dhe bij\u00ebs. T\u00eb l\u00ebna n\u00eb m\u00ebshir\u00ebn e askujt, p\u00ebr <\/span>nj\u00eb kordhe buk\u00eb<\/span><\/i> shnd\u00ebrrohen n\u00eb <\/span>lavire<\/span><\/i>, e si pasoj\u00eb n\u00eb vend se t\u2019u jepet nj\u00eb dor\u00eb ndihme, ato internohen p\u00ebr t\u2019u dh\u00ebn\u00eb nj\u00eb arsye m\u00eb shum\u00eb t\u2019i thon\u00eb jo jet\u00ebs. K\u00ebshtu q\u00eb, \u201cnata mbetet nat\u00eb, p\u00ebr sa koh\u00eb komunizmi dhe kapitalizmi nuk gjejn\u00eb m\u00ebnyr\u00eb ta asgj\u00ebsojn\u00eb\u201d (Ornela Vorpsi, Vendi ku nuk vdiset kurr\u00eb, f. 70).<\/span> Karaktere q\u00eb t\u2019i nd\u00ebrmendin heroinat e <\/span>Novelave t\u00eb Qytetit t\u00eb Veriut <\/span><\/i>t\u00eb Migjenit, t\u00eb cilat edhe pse n\u00eb nj\u00eb tjet\u00ebr koh\u00eb, kan\u00eb t\u00eb nj\u00ebjt\u00ebn k\u00ebrkes\u00eb: mbijetes\u00ebn. Vargoni i femrave t\u00eb cilat dashuria i \u00e7on drejt vdekjes, duket sikur nuk ka fund. N\u00eb nj\u00eb vend ku aborti \u00ebsht\u00eb ilegal, duhet t\u00eb gjenden alternativa t\u00eb ndryshme shp\u00ebtimi. Nd\u00ebr to, edhe heqja e foshnj\u00ebs n\u00eb m\u00ebnyrat m\u00eb \u00e7njer\u00ebzore, t\u00eb cilat t\u00eb d\u00ebrgojn\u00eb ngadal\u00eb drejt vdekjes. E nj\u00ebjta nuk ndodh me meshkujt, t\u00eb cil\u00ebt \u201cnuk vuajn\u00eb nga dhimbje dashurie dhe nuk ngelin shtatz\u00ebn\u00eb\u201d, e si pasoj\u00eb \u201cnuk kan\u00eb nevoj\u00eb p\u00ebr gjeste t\u00eb tilla t\u00eb d\u00ebshp\u00ebruara\u201d (Ornela Vorpsi, Vendi ku nuk vdiset kurr\u00eb, f. 81).\u00a0<\/span><\/span><\/p>

Raste t\u00eb dashuris\u00eb q\u00eb p\u00ebrfundon n\u00eb tragjiz\u00ebm n\u00eb let\u00ebrsin\u00eb shqipe kemi edhe te Koliqi, n\u00eb novelat e tij t\u00eb njohura. Karaktereve t\u00eb Koliqit u cenohet e drejta p\u00ebr dashuri nga zakonet primitive q\u00eb i ndalojn\u00eb individit lirin\u00eb e zgjedhjes. N\u00eb an\u00ebn tjet\u00ebr, te Vorpsi, regjimi diktatorial internon e ekzekuton vajza q\u00eb guxojn\u00eb t\u00eb dashurojn\u00eb, me motivin se prishin moralin shoq\u00ebror socialist. \u00a0 <\/span>\u00a0<\/span><\/i>\u00a0\u00a0<\/span><\/span><\/p>

Edhe pse me nj\u00eb lajtmotiv mjaft tragjik dhe tejet trondit\u00ebs p\u00ebr receptuesin, rr\u00ebfimi ruan sensin e humorit, por q\u00eb sikur t\u00eb ngel n\u00eb fyt, duke pasur atmosfer\u00eb groteske. I gjith\u00eb narracioni p\u00ebrshkohet nga ironia dhe sarkazmi n\u00eb nivel t\u00eb makrostruktur\u00ebs s\u00eb vepr\u00ebs.\u00a0<\/span><\/p>

Edhe n\u00eb syrin e nj\u00eb f\u00ebmije, arti e let\u00ebrsia propagandistike me motive krejt\u00ebsisht ideologjike duket e sh\u00ebmtuar dhe e shpifur, ndaj gjithmon\u00eb jan\u00eb n\u00eb k\u00ebrkim t\u00eb s\u00eb bukur\u00ebs s\u00eb v\u00ebrtet\u00eb, e jo t\u00eb t\u00eb imponuar\u00ebs. Ata jan\u00eb n\u00eb gjendje q\u00eb t\u2019i japin t\u00eb gjitha stolit\u00eb e s\u00eb \u00ebm\u00ebs vet\u00ebm p\u00ebr t\u00eb lexuar nj\u00eb p\u00ebrrall\u00eb t\u00eb v\u00ebllez\u00ebrve Grimm. Si p\u00ebr ta aprovuar th\u00ebnien se \u201cgjithmon\u00eb molla e ndaluar \u00ebsht\u00eb m\u00eb e \u00ebmbla\u201d, karakteret orvaten t\u00eb lexojn\u00eb let\u00ebrsi \u201cdekadente\u201d per\u00ebndimore, si <\/span>E kuqja dhe e zeza<\/span><\/i>, <\/span>Bel-Ami<\/span><\/i>, <\/span>Une vie<\/span><\/i>, <\/span>Lufta dhe Paqja<\/span><\/i>, <\/span>Sonata e Krojcerit<\/span><\/i> etj.. Por, edhe bashk\u00ebndienin me vuajtjet e personazheve t\u00eb Kurpinit, Turgenievit, Lermontovit, Eseninit dhe \u00c7ehovit, duke zbuluar vuajtjen q\u00eb sjell fjala <\/span>dashuri<\/span><\/i>.\u00a0\u00a0<\/span><\/span><\/p>

Gjedhe e njohur e k\u00ebsaj lloj tematike, ku nj\u00eb grua p\u00ebrballet me situata t\u00eb v\u00ebshtira dhe dilema morale n\u00eb nj\u00eb kontekst autoritar, duke nxjerr\u00eb n\u00eb pah vuajtjet dhe sakrificat e n\u00ebn regjimin komunist \u00ebsht\u00eb romani <\/span>Nata me h\u00ebn\u00eb<\/span><\/i> i Ismail Kadares\u00eb. Mariana, \u00ebsht\u00eb heroina kadareane q\u00eb akuzohet nga sistemi p\u00ebr munges\u00ebn e moralit, t\u00eb cil\u00ebs i k\u00ebrkohet d\u00ebshmia e virgj\u00ebris\u00eb, duke na shpalosur absurditetin e koh\u00ebs.\u00a0\u00a0<\/span><\/span><\/p>

Romani mbyllet me pasazhet e arratisjes s\u00eb Ev\u00ebs me t\u00eb \u00ebm\u00ebn nga diktatura, p\u00ebr t\u00eb arritur n\u00eb nj\u00eb vend kapitalist, n\u00eb \u201cTok\u00ebn e premtuar\u201d, q\u00eb duket se nuk ndryshon nga ferri q\u00eb l\u00ebn\u00eb pas. Edhe kjo linj\u00eb rr\u00ebfimi \u00ebsht\u00eb e pasur me referenca biografike t\u00eb autores, q\u00eb s\u00eb bashku me burgosjen politike t\u00eb t\u00eb atit, jan\u00eb fakte q\u00eb e klasifikojn\u00eb romanin drejt zhanrit t\u00eb autofiksionit. Ikja e Ev\u00ebs p\u00ebr n\u00eb \u201cTok\u00ebn e premtuar\u201d i jep kapitullit mbyll\u00ebs edhe karakter biblik, duke e b\u00ebr\u00eb romanin t\u00eb hapur p\u00ebr analiz\u00eb t\u00eb niveleve t\u00eb ndryshme.\u00a0<\/span><\/p>

1.Ekzofonia \u00ebsht\u00eb praktika e t\u00eb shkruarit n\u00eb nj\u00eb gjuh\u00eb q\u00eb nuk \u00ebsht\u00eb e gjuha native e autorit. Megjith\u00ebse fenomeni nuk \u00ebsht\u00eb i ri, termi u krijua n\u00eb vitin 2007. Ai rrjedh nga greqishtja: exo (jasht\u00eb) dhe phonic (tingull, z\u00eb). Autor\u00eb t\u00eb njohur ekzofonik\u00eb p\u00ebrfshijn\u00eb filozofin francez Volter (1694-1778), i cili shkroi letra n\u00eb anglisht dhe, gjat\u00eb q\u00ebndrimit t\u00eb tij n\u00eb Angli, madje ndryshoi emrin e tij nga Fran\u00e7ois n\u00eb Francis. Milan Kundera zgjodhi fr\u00ebngjishten mbi gjuh\u00ebn e tij native, \u00e7eke; Vladimir Nabokov shkroi n\u00eb rusisht dhe anglisht, por fitoi fam\u00eb me librat e tij t\u00eb shkruar n\u00eb anglisht; Gjuha amtare e Jack Kerouac ishte fr\u00ebngjishtja dhe ai nuk fliste rrjedhsh\u00ebm anglisht deri n\u00eb adoleshenc\u00ebn e tij t\u00eb von\u00eb, por veprat e tij m\u00eb t\u00eb famshme jan\u00eb n\u00eb anglisht.<\/span><\/p>

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

  1. Vorpsi, Ornela, Vendi ku nuk vdiset kurr\u00eb, Dudaj, Tiran\u00eb, 2019.<\/span><\/li>
  2. Eco, Umberto, Gjasht\u00eb sh\u00ebtitje n\u00eb pyjet e tregimtaris\u00eb, Dituria, 2007.<\/span><\/li>
  3. Molly, Martin, Exophony: The Link Between Language And Identity, Italics Magazine, 2020.<\/span><\/li>
  4. Barthes, Roland, Aventura semiologjike, Prishtin\u00eb, Rilindja, 1987.<\/span><\/li>
  5. Genette, G\u00e9rard, Narrative Discourse: An Essay in Method, Cornell University Press, 1980.<\/span><\/li><\/ol>

    Fotografia e ballin\u00ebs<\/em><\/span>: “Otherwise magnificent”, Ornela Vorpsi, 2023<\/span><\/p>

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

    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><\/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":"

    N\u00eb let\u00ebrsin\u00eb shqipe, tema e fatit tragjik t\u00eb grave n\u00eb periudh\u00ebn e komunizmit, \u00ebsht\u00eb trajtuar shpesh p\u00ebmes proz\u00ebs. R\u00ebndom, subjekti i tyre lidhet me p\u00ebrballjen e heroin\u00ebs me sfidat e r\u00ebnda shoq\u00ebrore, politike dhe familjare n\u00eb koh\u00ebn e diktatur\u00ebs komuniste. V\u00ebnia e gruas n\u00eb qend\u00ebr t\u00eb nj\u00eb romani, \u00ebsht\u00eb nj\u00eb perspektiv\u00eb m\u00eb shum\u00eb n\u00eb t\u00eb parit e monstruozitetit t\u00eb nj\u00eb periudhe,si ajo e Shqip\u00ebris\u00eb diktatoriale…<\/p>","protected":false},"author":2,"featured_media":19982,"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":[641,473,638,640,639],"class_list":["post-19977","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike-letrare","category-kulture","category-kryenyje","tag-dorian-berisha","tag-kritike-letrare","tag-metamorfoza-e-heroit","tag-ndricim-ademaj","tag-pa-heronj-pa-buje","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19977","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=19977"}],"version-history":[{"count":9,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19977\/revisions"}],"predecessor-version":[{"id":26438,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/19977\/revisions\/26438"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/19982"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=19977"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=19977"},{"taxonomy":"post_tag","embeddable":true,"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