{"id":20033,"date":"2024-03-10T10:18:44","date_gmt":"2024-03-10T09:18:44","guid":{"rendered":"https:\/\/nyje.al\/?p=20033"},"modified":"2024-10-02T12:29:32","modified_gmt":"2024-10-02T10:29:32","slug":"mes-vetes-dhe-vedit-gjaku-ernest-koliqi","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/mes-vetes-dhe-vedit-gjaku-ernest-koliqi\/","title":{"rendered":"Mes Vetes dhe Vedit: \u201cGjaku\u201d \u2013 Ernest Koliqi"},"content":{"rendered":"\t\t
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Antonela Pepkolaj | 10.03.2024 | nyje.al<\/span><\/strong><\/span><\/p>

Q\u00eb n\u00eb hyrje t\u00eb novel\u00ebs, Doda parashtron qart\u00eb q\u00ebllimin e vet n\u00eb raport me Shqip\u00ebrin\u00eb dhe, n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, i parashtrohet edhe lexuesit tematika duale e novel\u00ebs, q\u00eb \u00ebsht\u00eb raporti i tradit\u00ebs me qytet\u00ebrimin dhe kultur\u00ebn. Ky opozicion, i par\u00eb si <\/span>natyr\u00eb vs kultur\u00eb<\/span><\/i>, gjeneron nj\u00eb lloj dialektike t\u00eb brendshme q\u00eb ndri\u00e7on shum\u00eb aspekte t\u00eb kontekstit shqiptar, pa b\u00ebr\u00eb nj\u00eb prerje t\u00eb qart\u00eb mes t\u00eb dyjave. N\u00eb tekst, i v\u00ebrejm\u00eb t\u00eb sh\u00ebnjuara si <\/span>qytetnim<\/span><\/i> dhe <\/span>padije<\/span><\/i>.<\/span><\/span><\/p>

Fillimisht, do t\u2019i konstatojm\u00eb k\u00ebto dy realitete q\u00eb jan\u00eb t\u00eb brend\u00ebsuara nga Doda, p\u00ebr t\u00eb arritur n\u00eb panoram\u00ebn e send\u00ebrtimit t\u00eb k\u00ebtij dualiteti, n\u00eb vet\u00ebdijen e protagonistit.<\/span><\/p>

Vetja<\/b><\/span><\/p>

Kur flet p\u00ebr semiosfer\u00ebn, Lotman-i e p\u00ebrkufizon si krejt hap\u00ebsira ku shtrihet semioza, q\u00eb n\u00ebnkupton krejt hap\u00ebsir\u00ebn ku funksionojn\u00eb konvencione dhe kode t\u00eb ndryshme t\u00eb strukturuara si nj\u00eb sistem semiotik. Semiosfera \u00ebsht\u00eb dinamike dhe heterogjene (Kultura dhe bumi, f. 156), n\u00eb kuptimin q\u00eb ndryshon dhe q\u00eb funksionon n\u00eb nj\u00ebsi, q\u00eb mund t\u00eb jen\u00eb kultura n\u00eb p\u00ebrgjith\u00ebsi, apo vet\u00ebm nj\u00eb tekst. Gjuha dhe sistemet semiotike, p\u00ebrfaq\u00ebsojn\u00eb ato sisteme q\u00eb na ndihmojn\u00eb t\u00eb shquajm\u00eb shtrirjen e semiosfer\u00ebs. Sistemet semiotike, jan\u00eb nj\u00eb lloj rregulli brenda kaosit, apo nj\u00eb hap\u00ebsir\u00eb semiotike q\u00eb Lotman-i, pra, e em\u00ebrton Semiosfer\u00eb. N\u00eb analiz\u00ebn e \u201cGjaku\u201d t\u00eb Koliqit, do e shohim semiosfer\u00ebn si nj\u00eb kod kolektiv dhe do merremi specifikisht me tradit\u00ebn kanunore.\u00a0<\/span><\/p>

Kur flasim p\u00ebr Veten, flasim p\u00ebr at\u00eb identitet kulturor t\u00eb trash\u00ebguar nga babai (si\u00e7 e quan vazhdimisht dhe Doda), i cili imponon rregullat e saj te protagonisti p\u00ebrmes pritshm\u00ebrive dhe tradit\u00ebs. N\u00eb tekst, dualiteti mes tradit\u00ebs dhe qytet\u00ebrimit, sh\u00ebnjohet me dy elemente si\u00e7 jan\u00eb intelekti (m\u00eb shum\u00eb si integritet) dhe gjakmarrja. T\u00eb dyja pretendojn\u00eb nderin dhe faqen e bardh\u00eb.\u00a0 Identiteti kolektiv p\u00ebr gjakmarrjen thot\u00eb k\u00ebshtu: \u201c\u00c7mimi i jet\u00ebs s\u00eb nierit asht nji, si p\u00ebr t\u00eb mirin si edhe p\u00ebr t\u00eb keqin\u201d (Kanuni i Lek\u00eb Dukagjinit, f. 171).<\/span><\/p>

Pra, pjes\u00eb e <\/span>padijes<\/span><\/i>, ve\u00e7 t\u00eb tjerash \u00ebsht\u00eb edhe tradita e marrjes s\u00eb gjakut. Do t\u00eb v\u00ebrejm\u00eb n\u00eb tekst n\u00eb m\u00ebnyr\u00eb specifike se si cil\u00ebsohet kjo padije, p\u00ebr t\u00eb p\u00ebrftuar nj\u00eb imazh t\u00eb qart\u00eb t\u00eb kontrastit q\u00eb na sjell teksti.\u00a0<\/span><\/span><\/p>

Kemi k\u00ebto leksema: <\/span>bor\u00eb, virgj\u00ebri, terr, barbariz\u00ebm, errsin\u00eb, rreth, gjak.<\/span><\/i><\/span><\/p>

T\u00eb gjitha s\u00eb bashku sugjerojn\u00eb kryesisht dy ide: gjaku si farefisni\/kolektiv dhe, mend\u00ebsia e pagdhendur.\u00a0<\/span><\/p>

Vedi<\/b><\/span><\/p>

Me Vedin n\u00ebnkuptojm\u00eb vet\u00ebdijen e protagonisti, q\u00eb luhatet mes qytetnimit dhe padijes, andaj Vedin do e shqyrtojm\u00eb t\u00eb ndar\u00eb n\u00eb disa faza, n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb mund t\u00eb p\u00ebrftojm\u00eb n\u00eb fund t\u00eb k\u00ebtij teksti nj\u00eb imazh t\u00eb subjektit (n\u00eb termat e Lacan-it), por duke dalluar s\u00eb pari marr\u00ebdh\u00ebnien subjekt-tjet\u00ebri.\u00a0<\/span><\/p>

Tjetri p\u00ebr Lacan-in, \u00ebsht\u00eb gjith\u00e7ka q\u00eb i paraprin subjektit, duke e p\u00ebrkufizuar at\u00eb dhe rolin e tij n\u00eb bot\u00eb. Kjo p\u00ebr shkak se, nuk \u00ebsht\u00eb subjekti q\u00eb prodhon gjuh\u00ebn, por subjekti lind dhe dep\u00ebrton n\u00eb gjuh\u00eb, b\u00ebhet pjes\u00eb e vazhdim\u00ebsis\u00eb s\u00eb saj. Duke qen\u00eb vazhdim\u00ebsi, apo nj\u00eb proces pjes\u00eb e t\u00eb cilit subjekti b\u00ebhet kur lind dhe kur kalon tri fazat e formimit t\u00eb identitetit, gjuha nuk \u00ebsht\u00eb e subjektit, por e Tjetrit. N\u00ebnvet\u00ebdija \u00ebsht\u00eb diskursi i Tjetrit, n\u00eb kuptimin q\u00eb, sh\u00ebnjimi nuk arrihet pa pranin\u00eb e munges\u00ebs, apo barrier\u00ebs gjuh\u00ebsore dhe ky arbitraritet e b\u00ebn t\u00eb pamundur q\u00eb subjekti t\u00eb ket\u00eb diskursin e vet. Vet\u00eb subjekti mungon n\u00eb diskursin e vet, i cili kusht\u00ebzohet nga n\u00ebnvet\u00ebdija e tij. K\u00ebsisoj, subjekti i vet\u00ebdijsh\u00ebm \u00ebsht\u00eb produkt i ligj\u00ebsive simbolike, i Tjetrit.<\/span><\/p>

Pra, Tjetri \u00ebsht\u00eb referenti q\u00eb p\u00ebrjashtohet prej mekanizmit t\u00eb arbitraritetit, sepse racionalja nuk e sh\u00ebnjon dot. Ndaj edhe flasim p\u00ebr munges\u00eb, si munges\u00eb e n\u00ebnvet\u00ebdijes, e subjektit dhe e Tjetrit n\u00eb vet\u00ebdije. N\u00eb momentin q\u00eb subjekti pranon rendin simbolik, apo konvencionet n\u00eb termat sosyrian\u00eb, ai b\u00ebhet pjes\u00eb e nj\u00eb komuniteti dhe hyn n\u00eb bot\u00ebn reale dhe, realja p\u00ebr t\u00eb \u00ebsht\u00eb gjuha, apo kushti prej t\u00eb cilit ai gjen p\u00ebrkat\u00ebsi. Duke qen\u00eb k\u00ebshtu, n\u00eb m\u00ebnyr\u00eb automatike, ai ka pranuar \u00e7do lloj kusht\u00ebzimi q\u00eb i imponohet prej reales. Ndaj themi q\u00eb Tjetri \u00ebsht\u00eb nj\u00eb diskurs, i strukturuar nj\u00ebjt\u00eb si n\u00ebnvet\u00ebdija apo gjuha.<\/span><\/p>

N\u00eb fillim, teksti na paraqet nj\u00eb protagonist t\u00eb konsoliduar dhe t\u00eb qart\u00eb n\u00eb <\/span>konvencjonet<\/span><\/i> e veta. Prija e tij \u00ebsht\u00eb kah qytetnimi dhe shp\u00ebrndarja e tij sa m\u00eb shum\u00eb, sidomos te t\u00eb rinjt\u00eb. P\u00ebr k\u00ebt\u00eb, Doda, planifikon t\u00eb shkruaj\u00eb nj\u00eb lib\u00ebr, n\u00eb m\u00ebnyr\u00eb q\u00eb mend\u00ebsia e re t\u00eb ushqehet q\u00eb n\u00eb vegj\u00ebli. N\u00eb k\u00ebt\u00eb faz\u00eb t\u00eb par\u00eb, qytetnimi portretizohet n\u00eb raport me padijen me imazhe mjaft t\u00eb prera dhe t\u00eb ndara prej nj\u00ebra-tjetr\u00ebs.<\/span><\/span><\/p>

K\u00ebshtu, kemi k\u00ebto leksema: <\/span>far\u00eb, drit\u00eb, gjysm\u00eb-Per\u00ebndi, qart\u00ebsi, kultur\u00eb, kull\u00eb fildishi<\/span><\/i>.<\/span><\/span><\/p>

Qytetnimi \u00ebsht\u00eb burimi i drit\u00ebs dhe i kultur\u00ebs, ai sjell dinjitet dhe integritet p\u00ebrmes dijes dhe kultivimit. Gj\u00eb t\u00eb cil\u00ebn synon ta b\u00ebj\u00eb edhe Doda. V\u00ebrejm\u00eb q\u00eb, Vedi e p\u00ebrjeton pasionin e pun\u00ebs p\u00ebr dijen dhe kultur\u00ebn t\u00eb lidhur shum\u00eb ngusht\u00eb me dashurin\u00eb: si stimuluese t\u00eb nj\u00ebra-tjetr\u00ebs. Atmosfera fillestare \u00ebsht\u00eb mjaft idilike, e mbushur me ideale dhe shpresa t\u00eb shumta p\u00ebr ndryshim.<\/span><\/p>

Mandej v\u00ebrejm\u00eb shfaqjen e <\/span>di\u00e7aje<\/span><\/i>. Ndon\u00ebse tashm\u00eb Zeka, v\u00ebllau i Dod\u00ebs, \u00ebsht\u00eb vrar\u00eb dhe ky i fundit \u00ebsht\u00eb p\u00ebrballur me detyr\u00ebn e larjes s\u00eb gjakut, Vedi nuk \u00ebsht\u00eb luhatur asnj\u00ebher\u00eb por u ka q\u00ebndruar konvencjoneve t\u00eb veta. Kjo di\u00e7a na shfaqet k\u00ebshtu: \u201cDi\u00e7a zgjohej n\u00eb shpirt t\u00eb tij, di\u00e7a qi deri at dit\u00eb kishte fjet\u00eb n\u00eb fundet e errta t\u00eb pand\u00ebrgjegjes\u201d (Hija e maleve; Tregtar flamujsh, f. 39).<\/span><\/span><\/p>

Di\u00e7a<\/span><\/i> \u00ebsht\u00eb nj\u00eb sh\u00ebnjues ambig, nuk na thot\u00eb \u00e7far\u00eb \u00ebsht\u00eb, por na thot\u00eb se vjen nga n\u00ebnvet\u00ebdija. N\u00eb termat lakanian\u00eb, \u00ebsht\u00eb sh\u00ebnjues i p\u00ebrsosur, sepse edhe n\u00eb arbitrariten e saj, e pranon q\u00eb referentin nuk e konstaton dot. N\u00eb tekst v\u00ebrejm\u00eb q\u00eb <\/span>di\u00e7a<\/span><\/i> t\u00eb hyj\u00eb n\u00eb marr\u00ebdh\u00ebnie metaforike me sh\u00ebnjues t\u00eb tjer\u00eb si <\/span>babain, st\u00ebrgjysh\u00ebrit, terrin, gjakun, gjarp\u00ebn i m\u00ebndersh\u00ebm<\/span><\/i> etj.. N\u00eb formul\u00ebn e Lacan-it, <\/span>S\/s<\/b>, <\/span>S<\/b> p\u00ebrfaq\u00ebson sh\u00ebnjuesin e n\u00ebnvet\u00ebdijes, <\/span>di\u00e7a <\/span><\/i>dhe, <\/span>s<\/i><\/b> n\u00ebnvet\u00ebdijen. N\u00ebnvet\u00ebdija bie dhe formula kalon n\u00eb marr\u00ebdh\u00ebne metaforike. K\u00ebt\u00eb koncept, Lacan-i, e huazon nga Jakobson-i, p\u00ebr t\u2019ia mveshur procesit t\u00eb <\/span>kondensimit,<\/span><\/i> konceptuar nga Freud-i. Metafora p\u00ebrfaq\u00ebson nj\u00eb gjegj\u00ebse t\u00eb ngjashme, apo nj\u00eb proces gjat\u00eb t\u00eb cilit sh\u00ebnjuesit mbivendosen. [P\u00ebr k\u00ebt\u00eb proces, Lacan-i flet n\u00eb esen\u00eb e vet \u00a0\u201cThe Instance of the Letter in the Unconscious, or Reason Since Freud\u201d, n\u00eb t\u00eb cil\u00ebn kur flet p\u00ebr <\/span>metafor\u00ebn<\/span><\/i>, flet p\u00ebr kalimin e nj\u00eb sh\u00ebnjuesi si num\u00ebrues n\u00eb formul\u00ebn <\/span>S\\s,<\/b> duke krijuar hap\u00ebsir\u00eb p\u00ebr shfaqjen e subjektit vet\u00ebm p\u00ebr pak, nd\u00ebrsa vendi bosh zihet nga nj\u00eb tjet\u00ebr sh\u00ebnjues, tashm\u00eb si alternativ\u00eb p\u00ebr sh\u00ebnjuesin pararend\u00ebs.<\/span>]<\/span><\/span><\/p>

Kemi tashm\u00eb dy sh\u00ebnjues dhe k\u00ebshtu do t\u00eb operohet n\u00eb vazhdim t\u00eb tekstit, raporti do jet\u00eb sh\u00ebnjues\\sh\u00ebnjues.<\/span><\/p>

T\u00eb gjitha k\u00ebto asociacione na flasin qart\u00eb p\u00ebr n\u00ebnvet\u00ebdijen, e cila paraqitet si di\u00e7ka e err\u00ebt q\u00eb ruan pjes\u00eb t\u00eb identitetit, t\u00eb Vetes, t\u00eb cilat Vedi sapo fillon t\u2019i njoh\u00eb, por jo t\u2019i sh\u00ebnjoj\u00eb dot plot\u00ebsisht. Kjo sjell q\u00eb Vedi t\u00eb kaloj\u00eb disa faza t\u00eb tjera t\u00eb cilat jan\u00eb kryesisht episode dilematike p\u00ebr identitetin, konvencjonet dhe t\u00eb drejt\u00ebn.<\/span><\/p>

Pas shfaqjes s\u00eb di\u00e7a, kemi mandej procesin e <\/span>ngjitjes<\/span><\/i>: di\u00e7ka zbulohet n\u00eb sip\u00ebrfaqe e cila ruhej n\u00eb n\u00ebnvet\u00ebdije. Konstatohet n\u00eb tekst fill pas takimit me priftin.\u00a0<\/span><\/span><\/p>

M\u00eb pas, n\u00eb tekst marr\u00ebdh\u00ebnia me n\u00ebnvet\u00ebdijen p\u00ebrjetohet si <\/span>zgjim, <\/span><\/i>Vedi na flet p\u00ebr di\u00e7ka q\u00eb po zgjohet. Konstatohet n\u00eb tekst gjat\u00eb p\u00ebrsiatjeve t\u00eb Dod\u00ebs tek kundron foton e Zek\u00ebs.<\/span><\/span><\/p>

P\u00ebr t\u2019i paraprir\u00eb faz\u00ebs tjet\u00ebr, Lacan-i mbron se subjekti \u00ebsht\u00eb skllav i gjuh\u00ebs, q\u00eb gjuha imponon strukturat e saj te subjekti. Gjuha nuk e jep mendimin, ajo e p\u00ebrb\u00ebn at\u00eb. Ai shqyrton sh\u00ebnjuesin i cili p\u00ebrjashton subjektin, nj\u00ebjt\u00eb si\u00e7 sh\u00ebnjuesi referentin e vet n\u00eb modelin e Saussure-it. Lacan-i, e quan k\u00ebt\u00eb <\/span>barrier\u00eb gjuh\u00ebsore <\/span><\/i>dhe, me t\u00eb n\u00ebnkuptohet arbitrariteti i shenj\u00ebs.<\/span><\/span><\/p>

Pra, sh\u00ebnjuesi p\u00ebrfaq\u00ebson diskursin e vet\u00ebdijsh\u00ebm simbolik dhe racional, i cili mundohet t\u00eb p\u00ebrkap\u00eb n\u00ebnvet\u00ebdijen, por kurr\u00eb nuk ia arrin. Ky diskurs racional, organizohet sipas kombinimeve sintagmatike t\u00eb gjuh\u00ebs, i cili synon n\u00eb krijimin e nj\u00eb formule racionale q\u00eb sh\u00ebnjon irracionalen. E th\u00ebn\u00eb ndryshe, mundohet t\u00eb vendos\u00eb rregull brenda kaosit. Arsyeja se p\u00ebrse mendimi racional nuk e p\u00ebrkthen sakt\u00eb irracionalen me mekanizmat e vet, \u00ebsht\u00eb sepse n\u00ebnvet\u00ebdija \u00ebsht\u00eb <\/span>Tjetri<\/span><\/i> \u2013 n\u00eb bot\u00ebkuptimin lakanian.<\/span><\/span><\/p>

Faza m\u00eb e r\u00ebnd\u00ebsishme \u00ebsht\u00eb faza e \u00ebndrr\u00ebs, n\u00eb t\u00eb cil\u00ebn Vedi m\u00eb n\u00eb fund ka krejt shenj\u00ebn n\u00eb vet\u00ebdijen e vet: si t\u00eb sh\u00ebnjuarin (imazhet), si referentin (n\u00ebnvet\u00ebdijen) dhe <\/span>barrier\u00ebn gjuh\u00ebsore<\/span><\/i> q\u00eb \u00ebsht\u00eb marr\u00ebdh\u00ebnia e \u00ebndrr\u00ebs (n\u00eb kuptimin e <\/span>padijes<\/span><\/i>) me subjektin, e cila n\u00eb k\u00ebt\u00eb pik\u00eb t\u00eb tekstit \u00ebsht\u00eb b\u00ebr\u00eb ende m\u00eb ambivalente. N\u00eb raport me n\u00ebnvet\u00ebdijen, \u00ebndrra \u00ebsht\u00eb shenj\u00eb, n\u00eb raport me subjektin, ajo \u00ebsht\u00eb sh\u00ebnjues, subjekti mungon.\u00a0<\/span><\/span><\/p>

Mandej fill pas \u00ebndrr\u00ebs, Vedi kalon nj\u00eb faz\u00eb <\/span>qet\u00ebsie<\/span><\/i> dhe <\/span>d\u00eblir\u00ebsie<\/span><\/i>, nuk ka m\u00eb asnj\u00eb dilem\u00eb, \u201cshpirtin e kishte t\u00eb qet\u00eb si vala q\u00eb flen n\u00ebn diell\u201d (Hija e maleve; Tregtar flamujsh, f. 60). Ky moment, mund t\u00eb interpretohet si shfaqja e vetme e subjektit: kur ndodh shnd\u00ebrrimi i referentit n\u00eb nj\u00eb sh\u00ebnjues n\u00eb formul\u00ebn e Lacan-it, ndodh nj\u00eb shfaqje fluturake e subjektit, p\u00ebr t\u2019u z\u00ebvend\u00ebsuar m\u00eb tej nga sh\u00ebnjues t\u00eb tjer\u00eb. Me \u00ebndrr\u00ebn pam\u00eb se si arrihet piku i abstragimit nga n\u00ebnvet\u00ebdija: \u00ebndrra \u00ebsht\u00eb nj\u00eb shenj\u00eb, e p\u00ebr pasoj\u00eb, \u00ebsht\u00eb m\u00eb arbitrarja n\u00eb marr\u00ebdh\u00ebnie me subjektin. Ndodh marrja e gjakut dhe m\u00eb tej, subjekti humb s\u00ebrish p\u00ebr t\u00eb plot\u00ebsuar formul\u00ebn me nj\u00eb tjet\u00ebr sh\u00ebnjues, q\u00eb jan\u00eb konvencjonet e Vedit. Marr\u00ebdh\u00ebnia metaforike, q\u00eb Lacan-i e identifikon me simptomat neurotike, b\u00ebhet e plot\u00eb. Dhe tekstit i rri mir\u00eb, duke qen\u00eb se nuk mund t\u00eb ket\u00eb simptom\u00eb m\u00eb neurotike se vrasja.\u00a0<\/span><\/span><\/p>

Subjekti nuk \u00ebsht\u00eb i barabart\u00eb me identitetin sepse subjekti <\/span>\u00ebsht\u00eb<\/span><\/i>, nd\u00ebrsa identiteti <\/span>b\u00ebhet<\/span><\/i>. Shfaqja e subjektit nuk n\u00ebnkupton se identiteti i Dod\u00ebs qenka <\/span>padija<\/span><\/i>. Identitetin do e shohim si shfaqet mes Vetes dhe Vedit.<\/span><\/span><\/p>

Identiteti<\/b><\/span><\/p>

Dim\u00eb q\u00eb n\u00ebnvet\u00ebdija \u00ebsht\u00eb diskursi i <\/span>Tjetri <\/span><\/i>dhe dim\u00eb q\u00eb, p\u00ebr Vedin, tjetri \u00ebsht\u00eb padija, apo mentaliteti mal\u00ebsor, pra Vetja, si\u00e7 e parashtruam n\u00eb pjes\u00ebn e par\u00eb. N\u00eb k\u00ebt\u00eb kuptim, mendimi i pavet\u00ebdijsh\u00ebm n\u00eb konstruktin e Dod\u00ebs, \u00ebsht\u00eb kodi shoq\u00ebror, q\u00eb i dikton atij se \u00e7far\u00eb t\u00eb b\u00ebj\u00eb. Megjithat\u00eb, nuk duhet marr\u00eb p\u00ebr t\u00eb<\/span> mir<\/span>\u00ebqen\u00eb q\u00eb n\u00ebnvet\u00ebdija e Dod\u00ebs \u00ebsht\u00eb e parametruar nga tradita, dhe se prej k\u00ebsaj, ai do t\u00eb ket\u00eb gjithmon\u00eb nj\u00eb m\u00ebnyr\u00eb specifike sjelljeje, a mendimi. Kjo sepse, vet\u00ebdija dhe n\u00ebnvet\u00ebdija, q\u00eb \u00ebsht\u00eb Vetja dhe Vedi, hyjn\u00eb n\u00eb komunikim bashk\u00eb, n\u00eb nj\u00eb marr\u00ebdh\u00ebnie dialektike, q\u00eb parakupton se ndodhin shnd\u00ebrrime dhe kalime. Procesi dialektik funksionon si mekanizmi i gjuh\u00ebs si\u00e7 \u00ebsht\u00eb konceptuar nga Saussure-i, i cili merr nga aksi i p\u00ebrzgjedhjes (langue), apo n\u00ebnvet\u00ebdija dhe, p\u00ebrshtat tek aksi i kombinimit (parole), apo vet\u00ebdija.<\/span><\/span><\/p>

P\u00ebr k\u00ebt\u00eb, do t\u00eb b\u00ebjm\u00eb nj\u00eb panoram\u00eb t\u00eb k\u00ebsaj marr\u00ebdh\u00ebnieje dialektike, duke e klasifikuar n\u00eb dy akse, a n\u00eb dy boshte. Sintagmatikun si <\/span>Vedi<\/span><\/i> dhe, paradigmatikun si <\/span>Vetja<\/span><\/i>. Dim\u00eb tashm\u00eb prej Saussure-it, se aksi sintagmatik \u00ebsht\u00eb aksi i kombinimit (parole) dhe aksi paradigmatik \u00ebsht\u00eb aksi i p\u00ebrzgjedhjes (langue), t\u00eb cilat m\u00eb tej u zhvilluan nga Jakobson-i si marr\u00ebdh\u00ebnie metaforike (aksi paradigmatik; marr\u00ebdh\u00ebnie ngjashm\u00ebrie) dhe, marr\u00ebdh\u00ebnie metonimike (aksi sintagmatik; marr\u00ebdh\u00ebnie\u00a0 vazhdueshm\u00ebrie)<\/span><\/span><\/p>

Skema \u00ebsht\u00eb k\u00ebshtu:\"\"<\/span><\/p>

\u00c7far\u00eb ndodh, n\u00eb procesin e rrekjes p\u00ebr t\u00eb krijuar identitetin, \u00ebsht\u00eb vendosja n\u00eb pun\u00eb e procesit dialektik mes Vetes dhe Vedit. Ndaj shohim Dod\u00ebn t\u00eb kaloj\u00eb episode luhatjeje mes konvencjoneve t\u00eb veta dhe pritshm\u00ebrive q\u00eb ka rrethi p\u00ebr t\u00eb. Vedi p\u00ebrjeton nj\u00eb zinxhir (metonimik) dialektik, q\u00eb ngjan duale, por q\u00eb n\u00eb fakt \u00ebsht\u00eb thjesht <\/span>d\u00ebshir\u00eb <\/span><\/i>[t\u00eb cil\u00ebn Lacan-i e identifikon me metonimin\u00eb] p\u00ebr t\u00eb krijuar identitetin. Ndaj kemi sh\u00ebnjues t\u00eb nj\u00ebpasnj\u00ebsh\u00ebm: Doda n\u00eb fillim \u00ebsht\u00eb i qart\u00eb p\u00ebr bindjet e veta, mandej ndodh vrasja, mandej ai refuzon t\u00eb marr\u00eb gjakun, mandej shfaqet di\u00e7a, mandej ai refuzon s\u00ebrish t\u00eb besoj\u00eb se ajo di\u00e7a ka ndonj\u00eb dometh\u00ebnie, mandej v\u00ebrejm\u00eb episodet me priftin, me Zek\u00ebn, me Dranden, deri tek \u00ebndrra dhe vrasja dhe dor\u00ebzimi. T\u00eb gjitha k\u00ebto jan\u00eb sh\u00ebnjues q\u00eb n\u00eb marr\u00ebdh\u00ebnien e tyre sintagmatike, mund t\u00eb zgjaten pambarimisht.\u00a0<\/span><\/span><\/p>

Por, dim\u00eb prej Lacani-t q\u00eb identiteti nuk formohet kurr\u00eb, kuptimi \u00ebsht\u00eb munges\u00eb, ndaj edhe marr\u00ebdh\u00ebniet metonimike jan\u00eb rrekje t\u00eb pafund, d\u00ebshir\u00eb p\u00ebr t\u00eb p\u00ebrkapur identitetin duke insistuar n\u00eb t\u00eb; kjo munges\u00eb ve\u00e7 sa stimulon m\u00eb shum\u00eb sh\u00ebnjues, zinxhir m\u00eb t\u00eb gjat\u00eb. N\u00eb k\u00ebt\u00eb kuptim, identiteti \u00ebsht\u00eb vet\u00eb cikli dhe marr\u00ebdh\u00ebnia, sepse nuk kemi me \u00e7far\u00eb tjet\u00ebr t\u00eb operojm\u00eb.\u00a0<\/span><\/p>

K\u00ebshtu, sipas k\u00ebsaj logjike, mund t\u00eb themi se Doda \u00ebsht\u00eb <\/span>Vetja<\/span><\/i>, sepse ai e mori gjakun. Por ai \u00ebsht\u00eb <\/span>Vedi<\/span><\/i>, sepse u dor\u00ebzua. Por ai nuk \u00ebsht\u00eb <\/span>Vedi<\/span><\/i>, sepse e mori gjakun. Por ai nuk \u00ebsht\u00eb <\/span>Vetja<\/span><\/i>, sepse u dor\u00ebzua. E k\u00ebshtu mund t\u00eb dialektojm\u00eb vazhdimisht me t\u00eb gjith\u00eb sh\u00ebnjuesit q\u00eb na jepen n\u00eb tekst, t\u00eb cil\u00ebt i klasifikuam m\u00eb lart. Mes Vetes dhe Vedit, mund t\u00eb themi se Doda \u00ebsht\u00eb ky proces dialektik, dialektik\u00eb q\u00eb zhvillohet n\u00eb nj\u00eb m\u00ebnyr\u00eb specifike, momenti i shnd\u00ebrrimit, i prekjes mes n\u00ebnvet\u00ebdijes dhe vet\u00ebdijes \u00ebsht\u00eb <\/span>epifania<\/span><\/i>, dhe epifania n\u00eb vetvete sh\u00ebnjon procesin dialektik. Ajo p\u00ebrfaq\u00ebson pik\u00ebn tangent n\u00eb k\u00ebt\u00eb raport dhe si e till\u00eb, ka r\u00ebnd\u00ebsin\u00eb e vet si pika kulminante e krijimit t\u00eb identitetit.<\/span><\/span><\/p>

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

  1. Koliqi, Ernest. (2020). <\/span>Hija e maleve; Tregtar flamujsh<\/span><\/i>. Tiran\u00eb: Berk.<\/span><\/span><\/li>
  2. Lotman, Jurij. (2004). <\/span>Kultura dhe bumi<\/span><\/i>. Tiran\u00eb: Aleph.<\/span><\/span><\/li>
  3. (1989). <\/span>Kanuni i Lek\u00eb Dukagjinit<\/span><\/i>. New York: Gjonlekaj Publishing Co.<\/span><\/span><\/li>
  4. Lacan, Jacques. (1957). <\/span>The Instance of the Letter in the Unconscious, or Reason Since Freud<\/span><\/i>.<\/span><\/a><\/span><\/li><\/ol>

    Imazhi i ballin\u00ebs<\/em>:<\/span> Cy <\/span>Twombly\u00a0<\/span><\/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\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

    Q\u00eb n\u00eb hyrje t\u00eb novel\u00ebs, Doda parashtron qart\u00eb q\u00ebllimin e vet n\u00eb raport me Shqip\u00ebrin\u00eb dhe, n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, i parashtrohet edhe lexuesit tematika duale e novel\u00ebs, q\u00eb \u00ebsht\u00eb raporti i tradit\u00ebs me qytet\u00ebrimin dhe kultur\u00ebn. Ky opozicion, i par\u00eb si natyr\u00eb vs kultur\u00eb, gjeneron nj\u00eb lloj dialektike t\u00eb brendshme q\u00eb ndri\u00e7on shum\u00eb aspekte t\u00eb kontekstit shqiptar, pa b\u00ebr\u00eb nj\u00eb prerje t\u00eb qart\u00eb mes t\u00eb dyjave. N\u00eb tekst, i v\u00ebrejm\u00eb t\u00eb sh\u00ebnjuara si qytetnim dhe padije…<\/p>","protected":false},"author":2,"featured_media":20034,"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":"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":[830,5,4],"tags":[24,666,473,669,668,667],"class_list":["post-20033","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike-letrare","category-kulture","category-kryenyje","tag-antonela-pepkolaj","tag-ernest-koliqi","tag-kritike-letrare","tag-mes-vetes-dhe-vedit","tag-vedi","tag-vetja","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/20033","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=20033"}],"version-history":[{"count":8,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/20033\/revisions"}],"predecessor-version":[{"id":26449,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/20033\/revisions\/26449"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/20034"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=20033"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=20033"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/w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