{"id":21434,"date":"2024-04-29T17:43:57","date_gmt":"2024-04-29T15:43:57","guid":{"rendered":"https:\/\/nyje.al\/?p=21434"},"modified":"2024-10-02T13:04:37","modified_gmt":"2024-10-02T11:04:37","slug":"nga-fjala-tek-imazhi-palce-dhe-fryme-arti-lushi","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/nga-fjala-tek-imazhi-palce-dhe-fryme-arti-lushi\/","title":{"rendered":"Nga fjala, tek imazhi: Palc\u00eb dhe frym\u00eb – Arti Lushi"},"content":{"rendered":"
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Tabhir ibn-Rabi* <\/b>| 29.04.2024 | nyje.al<\/span><\/strong><\/span><\/p>

T\u2019ia l\u00ebm\u00eb tregut<\/b><\/span><\/p>

Mora me k\u00ebnaq\u00ebsi t\u00eb lexoj v\u00ebllimin me poezi t\u00eb poetit dhe shkrimtarit Arti Lushi, t\u00eb titulluar <\/span>Palc\u00eb dhe Frym\u00eb<\/span><\/i>. K\u00ebnaq\u00ebsia qe akoma m\u00eb e madhe n\u00eb p\u00ebrfundim t\u00eb leximit t\u00eb librit, sepse p\u00ebrve\u00e7 nj\u00eb cil\u00ebsie t\u00eb lart\u00eb estetike, poezia e Lushit p\u00ebrshfaqi edhe nj\u00ebfar\u00eb vet\u00ebdije sociale dhe kohore. \u00cbsht\u00eb lajm i mir\u00eb p\u00ebr let\u00ebrsin\u00eb shqipe q\u00eb nj\u00eb poet bashk\u00ebkohor ka pasur vet\u00ebdijen e duhur p\u00ebr t\u00eb mos mbetur viktim\u00eb e rrymave letrare t\u00eb s\u00eb shkuar\u00ebs. Poezia shqipe, sidomos ajo bashk\u00ebkohore, n\u00eb pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb saj \u00ebsht\u00eb b\u00ebr\u00eb mejdani ku riprodhohet e nj\u00ebjta m\u00ebrzi e verdh\u00eb sentimentalizmi infantil dhe abstragimi ezoterik\u2014introspektiv deri n\u00eb nivel atomik apo ekstrospektiv deri n\u00eb nivel galaktik. Kjo lloj poezie dominante n\u00eb rrethet tona letrare erdhi si nevoj\u00eb e qen\u00ebsishme p\u00ebr t\u2019u shk\u00ebputur nga let\u00ebrsia e motivuar ideologjikisht e socrealizmit dhe p\u00ebrqafoi n\u00eb m\u00ebnyr\u00eb t\u00eb pafajshme nj\u00eb lloj let\u00ebrsie \u201ceuropiane\u201d, n\u00eb dijenin\u00eb e tyre, t\u00eb pamotivuar ideologjikisht, pra \u201clet\u00ebrsi t\u00eb past\u00ebr\u201d. N\u00eb dallim nga socrealizmi, let\u00ebrsia e pas 90-\u00ebs nuk mund t\u00eb merrej m\u00eb kurrsesi me p\u00ebrshfaqje letrare t\u00eb kriz\u00ebs, t\u00eb shtypjes dhe varf\u00ebris\u00eb; let\u00ebrsia duhej t\u00eb merrej me abstragime estetike sip\u00ebrore dhe akronike, p\u00ebrtej t\u00eb v\u00ebrtetave t\u00eb p\u00ebrkohshme t\u00eb s\u00eb tashmes. Por ky q\u00ebndrim \u00ebsht\u00eb n\u00eb vetvete ideologjik (Eagleton, 2008).\u00a0<\/span><\/span><\/p>

Kritiku amerikan, Harold Bloom, shpenzoi nj\u00eb pjes\u00eb t\u00eb mir\u00eb t\u00eb jet\u00ebs s\u00eb tij duke vajtuar vdekjen e let\u00ebrsis\u00eb (sidomos asaj klasike), saq\u00eb t\u00eb mbushet mendja se rrall\u00eb e pak e kan\u00eb dashur let\u00ebrsin\u00eb aq sa ai. Kur pyetej se cili \u00ebsht\u00eb fajtori p\u00ebr k\u00ebt\u00eb vdekje, ai p\u00ebrgjigjej se ishte \u201cekrani\u201d (Bloom, 1994). Po t\u00eb kishin shkuar pun\u00ebt ndryshe me revolucionin teknologjik, mbase do t\u00eb faj\u00ebsonte \u201cval\u00ebt e radios\u201d. Tregu i lir\u00eb, papritur, i la artist\u00ebt pa mb\u00ebshtetjen financiare t\u00eb nj\u00eb patroni, ose n\u00eb rastin shqiptar, pa mb\u00ebshtetje financiare nga institucionet letrare n\u00eb komuniz\u00ebm; tashm\u00eb \u201clet\u00ebrsia e past\u00ebr\u201d nuk paraqet kurrfar\u00eb dobie p\u00ebr tregun e lir\u00eb dhe rrjedhimisht as \u201cestetika e kulluar\u201d as \u201clet\u00ebrsia sociale\u201d nuk jan\u00eb t\u00eb tregtueshme, e k\u00ebsisoj, librat e k\u00ebtij lloji e gjejn\u00eb veten t\u00eb margjinalizuar nga <\/span>best seller<\/span><\/i>-at dhe <\/span>self help<\/span><\/i>-i. Nj\u00eb kritik letrar shkon aq larg sa t\u00eb shkruaj\u00eb n\u00eb gazet\u00ebn m\u00eb t\u00eb madhe letrare n\u00eb vend: \u201cKoh\u00ebt e fundit, n\u00eb disa shkrime, jam p\u00ebrpjekur t\u00eb theksoj se \u00ebsht\u00eb momenti q\u00eb n\u00eb fush\u00ebn e letrave t\u2019u l\u00ebm\u00eb vendin e duhur Tregut dhe Kritik\u00ebs Letrare.\u201d Roli i kritikut n\u00eb k\u00ebt\u00eb rast \u00ebsht\u00eb, sigurisht, t\u2019i bjer\u00eb qemanes.\u00a0<\/span><\/span><\/p>

Por, mbase nga ky kombinim tragjik i rrethanave, mund t\u00eb ket\u00eb pak bereqet (benefit). Poet\u00ebt si Lushi, duke qen\u00eb t\u00eb vet\u00ebfinancuar, nuk kan\u00eb pse t\u00eb shkruajn\u00eb let\u00ebrsi t\u00eb motivuar ideologjikisht. Mbase, ky lloj i ri poezie (let\u00ebrsie) \u00ebsht\u00eb m\u00eb af\u00ebr asaj q\u00eb shehu intelektual i Shkoll\u00ebs s\u00eb Frankfurtit e quan \u201cstad v\u00ebrtet njer\u00ebzor i shoq\u00ebris\u00eb dhe artit\u201d (Adorno, 1944). Nuk mund t\u00eb flitet kurr\u00eb p\u00ebr liri totale ideologjike, por mbase postmodernizmi krijon kushtet p\u00ebr nj\u00eb vakum m\u00eb t\u00eb madh ideologjik t\u00eb gatsh\u00ebm p\u00ebr t\u2019u shfryt\u00ebzuar nga nj\u00eb klas\u00eb e margjinalizuar poet\u00ebsh si Arti Lushi. \u00cbsht\u00eb pik\u00ebrisht n\u00eb saj\u00eb t\u00eb k\u00ebtij mosrreshtimi ideologjik q\u00eb estetika dhe angazhimi social n\u00eb let\u00ebrsin\u00eb e Lushit rrezatojn\u00eb. N\u00ebse k\u00ebto dy praktika do kishin qen\u00eb qartazi t\u00eb motivuara ideologjikisht, e gjith\u00eb vepra do t\u00eb kishte qen\u00eb e pahijshme. Kur flasim p\u00ebr angazhim social duhet t\u00eb kemi t\u00eb qart\u00eb se ky mund t\u00eb mos jet\u00eb evident n\u00eb lexim t\u00eb par\u00eb, ky mund t\u00eb mos ket\u00eb qen\u00eb as q\u00ebllimi i autorit. Por s\u00eb pari, autori nuk \u00ebsht\u00eb m\u00eb zoti i kumtit t\u00eb vepr\u00ebs pasi ajo botohet; s\u00eb dyti, sikur edhe n\u00ebnvet\u00ebdijsh\u00ebm, kontrasti social \u00ebsht\u00eb i pranish\u00ebm. \u00cbsht\u00eb pik\u00ebrisht ky spontanitet, kjo paq\u00ebllimshm\u00ebri joimponuese q\u00eb e b\u00ebn t\u00eb jet\u00eb edhe m\u00eb e vlefshme si let\u00ebrsi e ashtuquajtur sociale. K\u00ebto teza do t\u2019i zhvillojm\u00eb m\u00eb posht\u00eb.<\/span><\/p>

Pas tridhjet\u00eb vjet\u00ebsh<\/b><\/span><\/p>

Palc\u00eb dhe Frym\u00eb<\/span><\/i>, jan\u00eb rr\u00ebfime autentike t\u00eb <\/span>zeitgeist<\/span><\/i>-it ton\u00eb. Koh\u00eb kur nuk ka m\u00eb vend p\u00ebr metanarrativa si: liria, autonomia, progresi njer\u00ebzor, t\u00eb v\u00ebrtetat absolute etj. T\u00eb gjitha k\u00ebto metanarrativa, p\u00ebrb\u00ebjn\u00eb korpusin e ideve q\u00eb nuk sh\u00ebnjojn\u00eb m\u00eb realitetin ton\u00eb bot\u00ebkuptimor. N\u00eb k\u00ebt\u00eb kuptim, <\/span>Palc\u00eb dhe Frym\u00eb<\/span><\/i>, \u00ebsht\u00eb pika n\u00eb koh\u00eb q\u00eb sh\u00ebnjon fillimin e postmodernizmit n\u00eb let\u00ebrsin\u00eb shqipe bashk\u00ebkohore. Sigurisht ky nuk \u00ebsht\u00eb debutimi i postmodernizmit n\u00eb let\u00ebrsin\u00eb shqipe, porse p\u00ebr nj\u00eb shfaqje t\u00eb k\u00ebndshme t\u00eb tij duhet t\u00eb prisnim <\/span>OH<\/span><\/i> kaq gjat\u00eb.<\/span><\/span><\/p>

N\u00eb poezin\u00eb \u201cPo ju, z. Lushi, \u00e7\u2019mendoni?\u201d na jepen ca sinjale q\u00eb na b\u00ebjn\u00eb t\u00eb besojm\u00eb se ajo q\u00eb \u00ebsht\u00eb shkruar m\u00eb lart, ka gjas\u00eb t\u00eb jet\u00eb e v\u00ebrtet\u00eb:<\/span><\/p>

Etika, teologjia, filozofia, epistemologjia, ontologji<\/i>a<\/i>, por<\/i>\u00a0<\/i><\/strong><\/span><\/p>

…<\/span><\/i><\/span><\/p>

N\u00eb \u00e7\u2019teh e lexojn\u00eb t\u00eb palexueshmen?<\/i><\/b><\/span><\/p>

Apo:<\/span><\/p>

Un\u00eb e njoh absurdin tim<\/i><\/b><\/span><\/p>

Besoj tek ai.<\/i><\/b><\/span><\/p>

Nj\u00eb pjes\u00eb e mir\u00eb e <\/span>Palc\u00eb dhe Frym\u00eb<\/span><\/i>, navigon zbraz\u00ebtin\u00eb spirituale t\u00eb njeriut modern. Tematikat e Zotit, parajs\u00ebs dhe zanafill\u00ebs, trajtohen pa kurrfar\u00eb q\u00ebllimi t\u00eb mbram\u00eb. As miratim, as mohim, q\u00ebllimi i rrahjes s\u00eb k\u00ebsaj toke \u00ebsht\u00eb thjesht eksplorimi. Me interes t\u00eb ve\u00e7ant\u00eb \u00ebsht\u00eb sentimenti mistik n\u00eb k\u00ebto poezi q\u00eb i ngjajn\u00eb m\u00eb shum\u00eb shkrimeve nj\u00eb sufisti t\u00eb ekzaltuar sesa t\u00eb nj\u00eb poeti. Asgj\u00eb p\u00ebr t\u2019u habitur ngaq\u00eb zakonisht k\u00ebto gj\u00ebra shkojn\u00eb bashk\u00eb.\u00a0<\/span><\/span><\/p>

…<\/i><\/b><\/span><\/p>

Un\u00eb jam gjendja Zen mes pranis\u00eb dhe prekjes.<\/i><\/b><\/span><\/p>

Un\u00eb jam Kabbalah brenda dhe jasht\u00eb, n\u00eb frym\u00eb e asht.<\/i><\/b><\/span><\/p>

Un\u00eb jam z\u00ebri brenda t\u00eb drejtit q\u00eb nuk reshti s\u00eb th\u00ebni:<\/i><\/b><\/span><\/p>

\u201cDuro edhe pak, duro edhe pak, qoft\u00eb edhe nj\u00eb p\u00ebrjet\u00ebsi\u201d<\/i><\/b><\/span><\/p>

Un\u00eb nuk jam per\u00ebndi por Ai m\u00eb drejtohet gjithmon\u00eb n\u00eb em\u00ebr.<\/i><\/b><\/span><\/p>

…<\/i><\/b><\/span><\/p>

Un\u00eb jam flutura q\u00eb doli nga goja e perandorit-poet<\/i><\/b><\/span><\/p>

Dhe agj\u00ebroj me kryqin e kripur prej lutjeve<\/i><\/b><\/span><\/p>

Por as prift nuk jam, p\u00ebrkundrazi:<\/i><\/b><\/span><\/p>

Un\u00eb jam Biri i Bab\u00ebs tim;<\/i><\/b><\/span><\/p>

Un\u00eb jam \u00e7asti blu;<\/i><\/b><\/span><\/p>

Un\u00eb jam Arti.<\/i><\/b><\/span><\/p>

Vaniteti dhe mitologjia e \u00ebndrrave t\u00eb m\u00ebdha trajtohen me delikates\u00eb n\u00eb poezin\u00eb \u201cT\u00eb kesh nj\u00eb \u00ebnd\u00ebrr\u201d. N\u00eb nj\u00eb lexim m\u00eb t\u00eb holl\u00eb, humbja apo \u00e7mitizimi i \u00ebndrr\u00ebs si nevoj\u00eb primordiale njer\u00ebzore p\u00ebr t\u00eb mos na rr\u00ebshqitur universi nga duart, p\u00ebr t\u2019u ankoruar diku, drejton kah bot\u00ebkuptimi postmodern i Lushit. Si t\u00eb gjitha narrativat edhe t\u00eb pasurit nj\u00eb \u00ebnd\u00ebrr t\u00eb madhe duket di\u00e7ka me t\u00eb cil\u00ebn na g\u00ebnjyen, q\u00eb tashm\u00eb ka \u00e7mitizuar vetveten. Kjo, sigurisht, nuk do t\u00eb thot\u00eb se nuk ka kurrfar\u00eb arsyeje p\u00ebr t\u00eb \u00ebnd\u00ebrruar a pasur aspirata p\u00ebr t\u00eb ardhmen, porse fryma e koh\u00ebs \u00ebsht\u00eb e till\u00eb; apatike, cinike dhe pa iluzione mbi k\u00ebt\u00eb ide.<\/span><\/p>

\u2018T\u00eb kesh nj\u00eb \u00ebnd\u00ebrr…\u2019 \u00ebsht\u00eb tem\u00eb q\u00eb trajtohet n\u00eb shkolla fillore<\/i><\/b><\/span><\/p>

…<\/i><\/b><\/span><\/p>

T\u00eb kesh nj\u00eb \u00ebnd\u00ebrr \u00ebsht\u00eb t\u00eb mbjell\u00ebsh hijeshpres\u00ebn n\u00ebn hijen<\/i><\/b><\/span><\/p>

e fjal\u00ebve t\u00eb Luther King-ut;<\/i><\/b><\/span><\/p>

T\u00eb kesh nj\u00eb \u00ebnd\u00ebrr \u00ebsht\u00eb seksi (shprehej shoq\u00ebria civile<\/i><\/b><\/span><\/p>

n\u00eb nj\u00eb slogan);<\/i><\/b><\/span><\/p>

…<\/i><\/b><\/span><\/p>

Modern problems require modern solutions\u00a0<\/b><\/span><\/p>

Imazheria n\u00eb poezin\u00eb e Lushit \u00ebsht\u00eb marramend\u00ebse, syri omnishent i demiurgut kalon n\u00eb \u00e7do lagje, n\u00eb \u00e7do rrug\u00eb, n\u00eb \u00e7do nahije, n\u00eb \u00e7do situat\u00eb. Pran\u00eb dyqanit t\u00eb mishit; pran\u00eb t\u00eb pastrehut buz\u00eb Lan\u00ebs; pran\u00eb Motr\u00ebs q\u00eb shkruan aspiratat mbi Kuran; pran\u00eb kthimit t\u00eb dyt\u00eb t\u00eb Mesia-s; pran\u00eb Bardhit t\u00eb n\u00ebn\u00ebs t\u00eb deportuar tashm\u00eb nga Greqia; dhe sigurisht, edhe pran\u00eb Mal\u00ebsis\u00eb s\u00eb Shkodr\u00ebs s\u00eb shek. XIX ku jetoi dhe veproi homoseksuali japonez n\u00eb ekzil, Tekashi Idromeno. K\u00ebto imazhe ngren\u00eb dhe p\u00ebrmbysin vrullsh\u00ebm veten nj\u00eblloj si projektimi i negativit t\u00eb filmit n\u00eb retin\u00eb.\u00a0<\/span><\/p>

T\u00eb gjith\u00eb l\u00ebmin e poetik\u00ebs s\u00eb tij – t\u00eb imazheve, topikave, ndjesive, sugjestioneve – e paraqet me nj\u00eb neutralitet t\u00eb mahnitsh\u00ebm. \u00cbsht\u00eb pik\u00ebrisht neutraliteti i k\u00ebtyre situatave q\u00eb na jep lirin\u00eb e leximit individual. Pa ia lejuar vetes r\u00ebnien n\u00eb klishe t\u00eb tipit \u201ckritik\u00eb ther\u00ebse sociale\u201d; \u201cparaqitje e predikamentit njer\u00ebzor\u201d etj.; q\u00ebllimet e v\u00ebrteta t\u00eb autorit nuk kemi si t\u2019i dim\u00eb. Nuk mund ta dim\u00eb n\u00ebse autori vet\u00eb \u00ebsht\u00eb pronar i padiskutuesh\u00ebm i t\u00eb gjitha nuancave kuptimore t\u00eb vepr\u00ebs s\u00eb tij. Sidoqoft\u00eb, ai \u00ebsht\u00eb bashk\u00ebndar\u00ebs i t\u00eb nj\u00ebjtit realitet me ne (lexuesit). Shiun; asfaltin; pusetat e hapura; aromat; dashurin\u00eb; absurdin; trafikun; varf\u00ebrin\u00eb i mban mbi kurrizin n\u00eb mos nj\u00eblloj, p\u00ebraf\u00ebrsisht si ne (apo shumica prej nesh). K\u00ebsisoj, nuk \u00ebsht\u00eb e pamendueshme q\u00eb poezia e Lushit minimalisht e reflekton realitetin e p\u00ebrditsh\u00ebm t\u00eb autorit.\u00a0<\/span><\/p>

Nuk mund t\u00eb pretendohet, kurrsesi, q\u00eb ky lexim \u00ebsht\u00eb lloji m\u00eb i sakt\u00eb i leximit, por \u00ebsht\u00eb ku e ku m\u00eb af\u00ebr t\u00eb v\u00ebrtet\u00ebs sesa vendosja n\u00eb perspektiv\u00eb kozmike e topikave t\u00eb sip\u00ebrp\u00ebrmendura; sesa reduktimi i brutalitetit t\u00eb realitetit ton\u00eb n\u00eb \u201ckumte estetike\u201d, \u201cvokacione t\u00eb brendshme\u201d e lloj-lloj produktesh t\u00eb tjera mediokriteti ideologjik, a thua se duhet nj\u00eb lloj dijeje ezoterike p\u00ebr t\u00eb kuptuar \u201cthelbin estetik\u201d t\u00eb let\u00ebrsis\u00eb. Sigurisht, krijimet e Lushit nuk \u00e7alojn\u00eb nga pik\u00ebpamja e estetizmit, p\u00ebrndryshe do t\u00eb ishin thjesht kronika, por duhen n\u00ebnvizuar, gjithashtu, edhe treguesit e nj\u00ebfar\u00eb angazhimi social n\u00eb let\u00ebrsi si t\u00eb barasvlersh\u00ebm me letraritetin e saj. Le t\u00eb shqyrtojm\u00eb, p\u00ebr shembull, poezin\u00eb \u201cI huaji\u201d.<\/span><\/p>

\u201cTekashi Idromeno, nj\u00eb homoseksual japonez n\u00eb ekzil,<\/i><\/b><\/span><\/p>

jetoi n\u00eb Mal\u00ebsin\u00eb e Shkodr\u00ebs, nga viti 1831 n\u00eb 1836.<\/i><\/b><\/span><\/p>

Ushtroi zejen e nallbanit dhe katalogoi bim\u00ebt mjek\u00ebsore t\u00eb zon\u00ebs.<\/i><\/b><\/span><\/p>

\u00a0<\/p>

Dy net para se s\u00ebmundja e tok\u00ebs, sodita e njohur si epilepsi,<\/i><\/b><\/span><\/p>

jet\u00ebn t\u2019ia merrte, u ul dhe shkroi t\u00eb vetmin haiku:<\/i><\/b><\/span><\/p>

\u00a0<\/p>

Duhm\u00eb e dasm\u00ebs shkrehur paq<\/i><\/b><\/span><\/p>

N\u00eb m\u00ebngjes Drania mbules\u00ebn teri:<\/i><\/b><\/span><\/p>

Gjak dhe sherbel\u00eb.\u201d<\/i><\/b><\/span><\/p>

P\u00ebrtej befasimit fillestar nga vendosja e ngjarjes n\u00eb nj\u00eb koh\u00eb dhe hap\u00ebsir\u00eb t\u00eb njohur, na vjen befasia tjet\u00ebr q\u00eb n\u00eb let\u00ebrsin\u00eb shqipe, aq m\u00eb pak at\u00eb bashk\u00ebkohore, ky parashtim kaq i \u00e7uditsh\u00ebm apo i tjet\u00ebrllojsh\u00ebm, pothuajse nuk ekziston. \u00cbsht\u00eb kjo lloj tjet\u00ebrsie q\u00eb ka vetin\u00eb e t\u00eb qenit t\u00ebrheq\u00ebse dhe n\u00eb saj\u00eb t\u00eb saj, mund t\u00eb flitet p\u00ebr \u201cestetiz\u00ebm\u201d. Mbase, dikush mund t\u00eb thellohet n\u00eb identitetin e Idromeno-san, do t\u00eb ishte \u00e7\u00ebshtje jo pa interes, por p\u00ebrtej k\u00ebsaj r\u00ebnd\u00ebsi t\u00eb ve\u00e7ant\u00eb, p\u00ebr ne p\u00ebrb\u00ebn haikuja e tij. K\u00ebtu mund t\u00eb flitet p\u00ebr nj\u00eb karakter autentik social t\u00eb poezis\u00eb s\u00eb Lushit. A nuk aludon poetika e thuk\u00ebt e Idromeno-san p\u00ebr nj\u00eb fenomen social shtyp\u00ebs me karakter gjinor, produkt i patriarkalizmit t\u00eb shoq\u00ebris\u00eb shqiptare? Mbase ky fenomen ka nj\u00ebfar\u00eb rezonance edhe sot.\u00a0<\/span><\/p>

Ka plot poezi n\u00eb v\u00ebllimin <\/span>Palc\u00eb dhe frym\u00eb<\/span><\/i>, t\u00eb mbushura me origjinalitet dhe tjet\u00ebrllojshm\u00ebri befasuese, t\u00eb k\u00ebndshme dhe ndjell\u00ebse; plot situata ku mund t\u00eb ndalesh p\u00ebr t\u00eb hamend\u00ebsuar TI kuptimin dhe aludimet e poezis\u00eb. Leximi im \u00ebsht\u00eb vet\u00ebm nj\u00eb form\u00eb leximi, prandaj do t\u2019u drejtoja ju, lexues t\u00eb nderuar, ftes\u00ebn p\u00ebr ta lexuar dhe analizuar v\u00ebllimin sipas optik\u00ebs suaj. Sa m\u00eb pluralist leximi, aq m\u00eb mir\u00eb. P\u00ebr m\u00eb tep\u00ebr, autori \u00ebsht\u00eb kujdesur q\u00eb libri i tij t\u00eb jet\u00eb i aksesuesh\u00ebm p\u00ebr shum\u00eb prej jush me \u00e7mimin modest 5\u20ac.<\/span><\/span><\/p>

* Pseudonim i paraqitur nga autori<\/strong><\/span><\/p>

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

  1. Lushi, Arti. (2020). <\/span>Palc\u00eb dhe Frym\u00eb<\/span><\/i>. Prishtin\u00eb: Dukagjini.<\/span><\/span><\/li>
  2. Eagelton, Terry. (2008). Literary Theory: An Introduction<\/i>. Minneapolis: University of Minnesota Press.<\/span><\/li><\/ol>

    Imazhi i ballin\u00ebs<\/em>: Pinterest<\/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>","protected":false},"excerpt":{"rendered":"

    Mora me k\u00ebnaq\u00ebsi t\u00eb lexoj v\u00ebllimin me poezi t\u00eb poetit dhe shkrimtarit Arti Lushi, t\u00eb titulluar Palc\u00eb dhe Frym\u00eb. K\u00ebnaq\u00ebsia qe akoma m\u00eb e madhe n\u00eb p\u00ebrfundim t\u00eb leximit t\u00eb librit, sepse p\u00ebrve\u00e7 nj\u00eb cil\u00ebsie t\u00eb lart\u00eb estetike, poezia e Lushit p\u00ebrshfaqi edhe nj\u00ebfar\u00eb vet\u00ebdije sociale dhe kohore. \u00cbsht\u00eb lajm i mir\u00eb p\u00ebr let\u00ebrsin\u00eb shqipe q\u00eb nj\u00eb poet bashk\u00ebkohor ka pasur vet\u00ebdijen e duhur p\u00ebr t\u00eb mos mbetur viktim\u00eb e rrymave letrare t\u00eb s\u00eb shkuar\u00ebs…<\/p>","protected":false},"author":2,"featured_media":21438,"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":[830,5,4],"tags":[728,473,474,730,729,727],"class_list":["post-21434","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike-letrare","category-kulture","category-kryenyje","tag-arti-lushi","tag-kritike-letrare","tag-letersi-shqipe","tag-letersia","tag-palce-dhe-fryme","tag-tabhir-ibn-rabi","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/21434","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=21434"}],"version-history":[{"count":8,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/21434\/revisions"}],"predecessor-version":[{"id":26495,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/21434\/revisions\/26495"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/21438"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=21434"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=21434"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyje.al\/sq\/w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