{"id":23285,"date":"2024-06-22T19:06:57","date_gmt":"2024-06-22T17:06:57","guid":{"rendered":"https:\/\/nyje.al\/?p=23285"},"modified":"2024-08-19T17:37:04","modified_gmt":"2024-08-19T15:37:04","slug":"morali-dhe-realiteti-ne-psikologjine-e-heroit-femije-rasti-i-stina-e-stineve-kasem-trebeshina","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/morali-dhe-realiteti-ne-psikologjine-e-heroit-femije-rasti-i-stina-e-stineve-kasem-trebeshina\/","title":{"rendered":"Morali dhe realiteti n\u00eb psikologjin\u00eb e heroit f\u00ebmij\u00eb (Rasti i \u201cStina e stin\u00ebve\u201d- Kas\u00ebm Trebeshina)"},"content":{"rendered":"
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Antigon\u00eb Byty\u00e7i | 21.06.2024 | nyje.al<\/span><\/strong><\/span><\/p>

Konflikti i brendsh\u00ebm psikologjik instinkt-moral<\/i><\/b><\/span><\/p>

\u201cT\u00ebr\u00eb jeta jon\u00eb psikike shfaqet si nj\u00eb luft\u00eb e vazhdueshme dhe patetike midis d\u00ebshir\u00ebs s\u00eb vet\u00ebdijshme dhe asaj t\u00eb pavet\u00ebdijshme, midis veprimit t\u00eb p\u00ebrgjegjsh\u00ebm dhe instinkteve tona t\u00eb pap\u00ebrgjegjshme\u201d<\/span><\/i>\u00a0<\/span><\/i><\/span><\/p>

Kas\u00ebm Trebeshina k\u00ebtu, synon t\u00eb p\u00ebrshkruaj\u00eb dhe t\u00eb studioj\u00eb bot\u00ebn e brendshme t\u00eb nj\u00eb personazhi-f\u00ebmij\u00eb dhe l\u00ebvizjet m\u00eb delikate t\u00eb instinkteve t\u00eb pavet\u00ebdijshme t\u00eb tij. Baz\u00eb e krijimeve t\u00eb tilla \u00ebsht\u00eb nxitja e sjelljes sipas instinktit dhe veprimet e personazheve q\u00eb dashur-padashur kund\u00ebrshtojn\u00eb vlerat e p\u00ebrgjithshme morale kolektive.\u00a0\u00a0\u00a0\u00a0<\/span><\/p>

Stina e stin\u00ebve <\/span><\/i>\u00ebsht\u00eb quajtur roman moralist nga nj\u00eb num\u00ebr i madh studiuesish, me t\u00eb drejt\u00eb, pasi n\u00eb v\u00ebshtrimin ton\u00eb na ngjan si nj\u00eb rr\u00ebfim i p\u00ebrqendruar n\u00eb shp\u00ebrfaqjen e standardizimit t\u00eb sjelljeve etike e morale n\u00eb shoq\u00ebri. Kjo novel\u00eb na b\u00ebn q\u00eb pashmangshm\u00ebrisht t\u00eb p\u00ebrqendrohemi n\u00eb bot\u00ebn e larmishme t\u00eb brendshme t\u00eb heroit f\u00ebmij\u00eb. Ajo<\/span> cil\u00ebsohet si rr\u00ebfim i f\u00ebmij\u00ebris\u00eb ngaq\u00eb edhe rr\u00ebfehet pik\u00ebrisht nga nj\u00eb f\u00ebmij\u00eb, i cili e jeton ngjarjen n\u00eb mjedisin karakteristik shqiptar, ku fenomenet sociale b\u00ebhen katalizator\u00eb t\u00eb shnd\u00ebrrimit t\u00eb individit. K\u00ebshtu, Trebeshina futet n\u00eb zonat e impulseve t\u00eb brendshme infantile, duke e shquar rolin q\u00eb ato luajn\u00eb dhe trajtuar k\u00ebshtu nj\u00eb tematik\u00eb krejt unike n\u00eb let\u00ebrsin\u00eb shqipe. N\u00eb romanin e tij p\u00ebr f\u00ebmij\u00ebrin\u00eb, autori duke reflektuar m\u00eb tep\u00ebr n\u00eb zgjimin e instinkteve mashkullore, arrin t\u00eb analizoj\u00eb psikologjin\u00eb e protagonistit, t\u00eb vler\u00ebsoj\u00eb problematik\u00ebn dhe t\u00eb k\u00ebrkoj\u00eb zgjidhje p\u00ebr probleme sociale q\u00eb e karakterizojn\u00eb realitetin shqiptar dhe jo vet\u00ebm.<\/span> Kritika ndaj shoq\u00ebris\u00eb p\u00ebr munges\u00ebn e edukat\u00ebs seksuale t\u00eb f\u00ebmij\u00ebve (adoleshent\u00ebve) n\u00eb bot\u00ebn shqiptare duhet par\u00eb edhe si nxitje p\u00ebr reflektim, dhe n\u00eb gjykimin ton\u00eb \u00ebsht\u00eb pik\u00ebrisht kjo arsyeja se pse ky roman \u00ebsht\u00eb kaq aktual e i p\u00eblqyer edhe sot.<\/span><\/span><\/p>

Narratori na rr\u00ebfen n\u00eb vet\u00ebn e par\u00eb, dhe n\u00ebse flasim me termat e narratologjis\u00eb s\u00eb Zh. Zhenetit kemi t\u00eb b\u00ebjm\u00eb me <\/span>narracion autodiegjetik.<\/span><\/i> Kryepersonazh-narratori \u00ebsht\u00eb Hiqmeti, i cili i realizon instinktet e tij e t\u00eb cilat jan\u00eb n\u00eb kund\u00ebrshtim t\u00eb plot\u00eb me rregullat dhe ligjet e moralit shoq\u00ebror. Romani ruan t\u00eb treguarit naiv t\u00eb ngjarjeve, anipse ai prek disa tema tabu t\u00eb intimitetit njer\u00ebzor n\u00eb p\u00ebrgjith\u00ebsi, dhe realitetit shqiptar t\u00eb koh\u00ebs n\u00eb ve\u00e7anti.\u00a0\u00a0<\/span><\/span><\/p>

Zigmund Frojd te q\u00ebllimet e tabus\u00eb p\u00ebrfshin edhe q\u00ebllimin <\/span>\u201cn\u00eb ruajtjen e akteve t\u00eb r\u00ebnd\u00ebsishme jet\u00ebsore, si fiset, shugurimi i burrit t\u00eb rritur, martesa, veprimtaria seksuale\u201d<\/span><\/i>,<\/span><\/i> prandaj edhe novela n\u00eb fjal\u00eb, duke i cil\u00ebsuar si tabu sjelljet e skenat seksuale, b\u00ebn represionin e tyre n\u00eb n\u00ebnvet\u00ebdije.\u00a0<\/span><\/span><\/p>

Segmentet eksplicite e lakuriqe, jepen nga k\u00ebndv\u00ebshtrimi i f\u00ebmij\u00ebs q\u00eb po zhvillohet, ai v\u00ebshtron dhe p\u00ebrfiton njohuri e k\u00ebnaq\u00ebsi t\u00eb ndaluara nga trysnia kolektive. Pamjet pastorale t\u00eb fshatit, fsheht\u00ebsia dhe pamja e zbuluar papritmas e bot\u00ebs seksuale, b\u00ebjn\u00eb presion n\u00eb pjekjen, rritjen e parakohshme dhe kryerjen e m\u00ebkatit, por k\u00ebtu reagon autori duke e amnistuar protagonistin adoleshent p\u00ebrball\u00eb bot\u00ebs.<\/span> Studiuesi dhe shkrimtari A. Tufa, shprehet: <\/span>\u201cStina e stin\u00ebve \u00ebsht\u00eb nj\u00eb piktur\u00eb, nj\u00eb p\u00eblhur\u00eb, e f\u00ebmij\u00ebris\u00eb s\u00eb fshatit shqiptar myzeqar para L2B, q\u00eb sh\u00ebnon rrit\u00ebn e nj\u00eb adoleshenti p\u00ebrmes shosh\u00ebs s\u00eb perceptimeve infantile-metafizike\u201d.<\/span><\/i>\u00a0<\/span><\/i><\/span><\/p>

Nj\u00eb vep\u00ebr e zhanrit psikologjik \u00ebsht\u00eb e mbushur me monolog\u00eb t\u00eb brendsh\u00ebm, si\u00e7 e gjejm\u00eb dendur edhe n\u00eb rastin ton\u00eb. Zakonisht kemi t\u00eb nj\u00ebjt\u00ebn teknik\u00eb, q\u00eb r\u00ebndom na paraqitet n\u00eb gjith\u00eb romanin, ku Hiqmeti flet me veten, si n\u00eb rastin n\u00eb vijim:\u00a0<\/span><\/span><\/p>

M\u00ebsova se e quanin Ervehe\u2026 Po kishte ikur!… Aty kishte mbetur vet\u00ebm nj\u00eb em\u00ebr dhe ai em\u00ebr m\u00eb ndoqi gjat\u00eb gjith\u00eb mituris\u00eb sime. Sikur u mjegullua fytyra e saj, e bukur gjat\u00eb viteve t\u00eb luft\u00ebs, por p\u00ebrs\u00ebri fill pas mbarimit t\u00eb saj ajo fytyr\u00eb filloi t\u00eb shfaqej p\u00ebrgjithnj\u00eb e m\u00eb dendur n\u00eb qiellin e net\u00ebve t\u00eb mia, q\u00eb po b\u00ebheshin gjithnj\u00eb e m\u00eb t\u00eb gjata. Ku kishte shkuar Erveheja?<\/span><\/i>\u00a0<\/span><\/i><\/span><\/p>

Ose:<\/span>\u00a0<\/span><\/i><\/span><\/p>

Ia pash\u00eb edhe nj\u00eb her\u00eb gjasht\u00ebllaren dhe thash\u00eb me vete; tundesh ti se nuk ka ndonj\u00eb xhandar k\u00ebtu af\u00ebr! Po t\u00eb dukej ndonj\u00eb gushkuq, ti do ta fusje gjasht\u00ebllaren n\u00eb bark dhe m\u00eb tej…<\/span><\/i><\/span><\/p>

dhe p\u00ebrher\u00eb ky monologim nd\u00ebrpritet nga nj\u00eb veprim i tij apo i miqve t\u00eb tij.\u00a0\u00a0<\/span><\/p>

Subjekti si objekt\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/b><\/span><\/p>

\u00a0\u00a0\u00a0<\/b>\u00a0\u00a0\u00a0Fabula rrok nj\u00eb periudh\u00eb t\u00eb gjat\u00eb kohore, qysh nga f\u00ebmij\u00ebria e hershme, deri n\u00eb rritje. Rr\u00ebfimi \u00ebsht\u00eb linear, me ndalesa t\u00eb her\u00ebpashershme ku, karakteri kryesor monologon me veten, p\u00ebrve\u00e7se n\u00eb rastin e kapitullit t\u00eb fundit ku ngjarja kap\u00ebrcen nj\u00eb koh\u00eb relativisht t\u00eb gjat\u00eb p\u00ebr t\u00eb arritur te kujtimet e f\u00ebmij\u00ebris\u00eb. Pra, te koha q\u00eb personazhi ve\u00e7se \u00ebsht\u00eb i rritur dhe kujton me nostalgji f\u00ebmij\u00ebrin\u00eb si faz\u00ebn m\u00eb t\u00eb d\u00eblir\u00eb t\u00eb jet\u00ebs s\u00eb tij, <\/span>k\u00ebng\u00ebn e paharrueshme <\/span><\/i>dhe <\/span>stin\u00ebn<\/span><\/i> m\u00eb t\u00eb bukur t\u00eb jet\u00ebs, <\/span>\u201cstin\u00ebn e stin\u00ebve\u201d. <\/span><\/i>Posht\u00eb titullit, Trebeshina vendos <\/span>\u201ck\u00ebng\u00eb f\u00ebmij\u00ebrie\u201d<\/span><\/i> si n\u00ebntitull, q\u00eb sh\u00ebrben si \u00e7el\u00ebs p\u00ebr t\u00eb dekoduar ngjarjen e rr\u00ebfyer dhe komplotin psikologjik, q\u00eb n\u00eb pamje t\u00eb par\u00eb na ngjan i thjesht\u00eb. P\u00ebrve\u00e7 n\u00ebntitullit, si piket\u00eb p\u00ebr lexuesin model q\u00ebndron edhe kapitulli i fundit i cili p\u00ebrmbledh thuajse gjith\u00eb projeksionin ideor t\u00eb autorit, e ai na jepet n\u00eb tekst n\u00eb m\u00ebnyr\u00eb t\u00eb till\u00eb:\u00a0<\/span><\/span><\/p>

Duket se njeriu jeton me t\u00eb v\u00ebrtet\u00eb vet\u00ebm nj\u00ebzet vjet\u00ebt e par\u00eb, dhe n\u00eb ata nj\u00ebzet vjet\u00eb ka nj\u00eb stin\u00eb vere plot\u00ebsisht t\u00eb tij\u00ebn\u2026 dhe un\u00eb e pata ver\u00ebn time at\u00ebher\u00eb me manastirin, me varrezat, dhe vajzat q\u00eb u soll\u00ebn rrotull meje dhe fluturuan. Ajo q\u00eb ik\u00ebn nuk kthehet m\u00eb dhe ne nuk mund t\u00eb kemi nj\u00eb stin\u00eb tjet\u00ebr vere.<\/span><\/i>\u00a0<\/span><\/span><\/p>

Jo krejt rast\u00ebsisht autori zgjedh krahasimin e stin\u00ebs s\u00eb stin\u00ebve ose t\u00eb stin\u00ebs s\u00eb ver\u00ebs me nj\u00eb periudh\u00eb jet\u00ebsore si f\u00ebmij\u00ebria – koh\u00eb kjo e past\u00ebr moralisht, e pas s\u00eb cil\u00ebs vjen rritja dhe nis mosha e m\u00ebkatnimit. Hiqmeti n\u00eb roman kalon mosh\u00ebn e pubertetit si koh\u00eb tranzicioni mes f\u00ebmij\u00ebris\u00eb dhe pjekuris\u00eb, koh\u00eb kjo mjaft problematike ngaq\u00eb ngjall te f\u00ebmija kureshtje t\u00eb shumta lidhur me trupin e tij, q\u00eb i n\u00ebnshtrohet nj\u00eb faze t\u00eb furishme ndryshimi. Ideja e vendosjes s\u00eb subjektit adoleshent n\u00eb qend\u00ebr t\u00eb objektit t\u00eb ngjarjes q\u00eb trajton ky roman, n\u00eb nj\u00eb koh\u00eb kaq t\u00eb v\u00ebshtir\u00eb si puberteti \u00ebsht\u00eb nj\u00eb sfid\u00eb p\u00ebr secilin autor. Trebeshina e realizon mir\u00eb si n\u00eb p\u00ebrshkrimin psikologjik t\u00eb subjektit, ashtu edhe ngjarjen q\u00eb zhvillohet rreth tij. <\/span>Njeriu si qenie e nd\u00ebrgjegjshme, n\u00eb kund\u00ebrv\u00ebnie me bot\u00ebn e jashtme dhe n\u00eb ve\u00e7anti me shoq\u00ebrin\u00eb<\/span> \u00ebsht\u00eb nj\u00eb tem\u00eb universale n\u00eb let\u00ebrsi, por kur objekt i saj b\u00ebhet nj\u00eb f\u00ebmij\u00eb at\u00ebher\u00eb ngjarja b\u00ebhet shum\u00eb m\u00eb specifike, aq m\u00eb shum\u00eb kur na vjen p\u00ebrmes nj\u00eb p\u00ebrballjeje n\u00eb mes t\u00eb s\u00eb th\u00ebn\u00ebs me t\u00eb b\u00ebr\u00ebn, moralit shoq\u00ebror dhe realitetit. Zgjidhja q\u00eb autori i jep ngjarjes, \u00ebsht\u00eb ajo q\u00eb njeriu \u00ebsht\u00eb i paraprir\u00eb t\u00eb zgjedh\u00eb. Nga njeriu i par\u00eb e gjer m\u00eb sot, subjekti njeri i joshur nga instinkti dhe kureshtja, pa marr\u00eb parasysh pasojat dhe koh\u00ebn e refuzimit t\u00eb \u201cm\u00ebkatit\u201d ka p\u00ebrfunduar si m\u00ebkatar. Ndaj Hiqmeti edhe pas shijimit t\u00eb \u201cmoll\u00ebs s\u00eb ndaluar\u201d, anipse ndihet fajtor dhe e bren nd\u00ebrgjegjja p\u00ebr nj\u00eb koh\u00eb t\u00eb gjat\u00eb, do ta p\u00ebrs\u00ebris\u00eb \u201cm\u00ebkatin\u201d me vet\u00ebdije t\u00eb plot\u00eb, k\u00ebsaj radhe jo me Kristin\u00ebn, por me Sof\u00ebn. N\u00eb rastin e par\u00eb t\u00eb m\u00ebkatnimit t\u00eb protagonistit na jepet edhe nj\u00eb pasazh i Kristin\u00ebs teksa qan nga r\u00ebndimi emocional kur sheh fytyr\u00ebn e Hiqmetit <\/span>q\u00eb po e b\u00ebnte<\/span><\/i>, ngase e priste nga t\u00eb gjith\u00eb, por jo nga ai. Nj\u00ebjt\u00eb ngjan edhe me protagonistin, i cili i lodhur psikologjikisht nga zhg\u00ebnjimi i Kristin\u00ebs p\u00ebr nj\u00eb koh\u00eb t\u00eb gjat\u00eb nuk takohet me shokun e tij t\u00eb ngusht\u00eb Mehdiun, dhe \u00ebsht\u00eb pik\u00ebrisht largimi i Kristin\u00ebs (e cila martohet) nga fshati q\u00eb b\u00ebhet \u00e7lirim nga r\u00ebndimi emocional. Edhe ana psikologjike e Kristin\u00ebs, pavar\u00ebsisht se na jepet shum\u00eb pak n\u00eb krahasim me at\u00eb q\u00eb e kemi quajtur <\/span>subjekt i objektit t\u00eb rr\u00ebfimit, <\/span><\/i>\u00ebsht\u00eb mjaft e r\u00ebnd\u00ebsishme. Kjo e b\u00ebn t\u00eb mundur q\u00eb romani t\u00eb shihet edhe nga k\u00ebndv\u00ebshtrime t\u00eb tjera, anipse rr\u00ebfimi na shfaqet nga syri dhe z\u00ebri i subjektit f\u00ebmij\u00eb, Hiqmetit.<\/span><\/span><\/p>

Un\u00eb – Jo un\u00eb<\/i><\/b><\/span><\/p>

Let\u00ebrsia na mund\u00ebson jo vet\u00ebm q\u00eb t\u00eb v\u00ebzhgojm\u00eb njer\u00ebz t\u00eb ndrysh\u00ebm nga \u00e7\u2019jemi ne, por edhe t\u00eb hyjm\u00eb n\u00eb universin e tyre mendor, t\u00eb zbulojm\u00eb se si \u00ebsht\u00eb t\u00eb jesh k\u00ebta njer\u00ebz dhe t\u00eb p\u00ebrballemi me situatat e tyre jet\u00ebsore. Romani realist mund t\u00eb jet\u00eb potencialisht jo vet\u00ebm p\u00ebrfaq\u00ebsim real i ngjarjeve dhe i personazheve, por edhe i frik\u00ebs, kufizimeve, paragjykimeve dhe dob\u00ebsive reale. Lexuesi mund t\u00eb lidhet emocionalisht me personazhin duke u \u00e7liruar nga shtremb\u00ebrimet e realitetit. Romani mundohet ta p\u00ebrfaq\u00ebsoj\u00eb jet\u00ebn dhe pothuajse \u00e7do roman i ofron autorit mund\u00ebsin\u00eb p\u00ebr ta eksploruar tipin njer\u00ebzor dhe personalitetin e tij, por edhe t\u00eb tjetrit. K\u00ebshtu, p\u00ebrmes individit nj\u00eb autor i realizmit heton qenien shoq\u00ebrore t\u00eb njeriut. N\u00ebp\u00ebrmjet tipit njer\u00ebzor, shkrimtari na jep nj\u00eb ide mbi mentalitetin e njer\u00ebzve, q\u00ebndrimet e tyre morale, idealet dhe aspiratat, por edhe iluzionet e tyre. Romani psikologjik, \u201cStina e stin\u00ebve\u201d, \u00ebsht\u00eb nj\u00eb trillim n\u00eb t\u00eb cilin mendimet, motivimet dhe ndjenjat e personazheve jan\u00eb me interes m\u00eb t\u00eb madh sesa veprimi i jasht\u00ebm, ngaq\u00eb jan\u00eb po ato q\u00eb e shtyjn\u00eb individin n\u00eb nj\u00ebfar\u00eb m\u00ebnyre drejt atij veprimi q\u00eb ai kryen. N\u00eb k\u00ebt\u00eb roman shkohet m\u00eb thell\u00eb n\u00eb mendjet e karaktereve, sesa n\u00eb romanet e zhanreve t\u00eb tjera, ku i jepet r\u00ebnd\u00ebsi primare di\u00e7kaje tjet\u00ebr. Kjo do t\u00eb thot\u00eb se ajo q\u00eb romani ka n\u00eb fokus jan\u00eb peizazhet e brendshme t\u00eb nj\u00eb karakteri ose mendjen e individit prej nga buron gjith\u00e7ka.<\/span><\/p>

Un\u00eb (individi) dhe Jo-un\u00eb (shoq\u00ebria) \u00ebsht\u00eb pjes\u00eb e pandashme e librit, por nuk mund t\u00eb themi se zhvillohet plot\u00ebsisht, pasi heroi f\u00ebmij\u00eb \u00ebsht\u00eb vet\u00ebm nj\u00eb <\/span>un\u00eb, <\/b>por n\u00eb nj\u00eb moment ndien q\u00eb duhet t\u00eb jet\u00eb <\/span>jo-un\u00eb, <\/b>ngaq\u00eb e k\u00ebrkon morali shoq\u00ebror nj\u00eb gj\u00eb t\u00eb till\u00eb<\/span>. <\/b>Jo-uni realizohet edhe p\u00ebr shkak se jemi n\u00eb faz\u00ebn kur <\/span>mosha nuk i arrin d\u00ebshirat tona<\/span><\/i> – <\/b>si\u00e7 na thot\u00eb teksti. P\u00ebrderisa dominante p\u00ebr format e tjera t\u00eb rr\u00ebfimit \u00ebsht\u00eb q\u00eb t\u00eb marrin nj\u00eb ngjarje <\/span>nga jasht\u00eb<\/span><\/i>, duke p\u00ebrshkruar situat\u00ebn e jet\u00ebs, veprimet, fjal\u00ebt, pamjen etj., – bota e brendshme \u00ebsht\u00eb ajo n\u00eb t\u00eb cil\u00ebn dep\u00ebrton romani n\u00eb fjal\u00eb, edhe pse mund t\u00eb kemi veprim e komplot, ai p\u00ebrher\u00eb \u00ebsht\u00eb i nxitur nga e brendshmja psikologjike. Hiqmeti \u00ebsht\u00eb adoleshenti rreth t\u00eb cilit sillet e gjith\u00eb ngjarja dhe bota e brendshme e tij me shum\u00eb m\u00ebdyshje. K\u00ebtu shfaqet bota e nj\u00eb f\u00ebmije, q\u00eb her\u00ebt e m\u00ebson t\u00eb v\u00ebrtet\u00ebn seksuale, rast\u00ebsisht duke p\u00ebrgjuar t\u00eb rriturit, nga t\u00eb cil\u00ebt nuk ka marr\u00eb ndonj\u00eb informacion p\u00ebr aktin. N\u00eb pasazhet e brendshme t\u00eb tij ndodhin disa \u201cmetamorfoza\u201d q\u00eb do t\u00eb ilustroheshin p\u00ebrmes formul\u00ebs:<\/span><\/span><\/p>

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span>Un\u00eb \u00bb jo un\u00eb \u00bb un\u00eb<\/b><\/span><\/p>

Fytyra \u201caktuese\u201d (si\u00e7 do t\u2019i quaj\u00eb Greimas-i personazhet) e nj\u00eb romani t\u00eb k\u00ebtij lloji r\u00ebndom \u00ebsht\u00eb joaktive sipas specifikave t\u00eb p\u00ebrgjithshme, por n\u00eb rastin ton\u00eb kemi aktant pasiv-aktiv. Themi k\u00ebshtu ngaq\u00eb karakteri kryesor gjendet p\u00ebrball\u00eb dyzimeve t\u00eb brendshme, ku ka dy rrug\u00eb t\u00eb cilat mund t\u2019i ndjek\u00eb, nj\u00ebra e shkelur (e moralit shoq\u00ebror) dhe tjetra e pashkelur (bota e instinktit dhe e kureshtjes seksuale). Hiqmeti na jepet si nj\u00eb adoleshent i bindur ndaj moralit dhe etik\u00ebs kolektive p\u00ebr dallim nga shoku i tij i ngusht\u00eb, Mehdiu, dhe adoleshent\u00eb t\u00eb tjer\u00eb. I gjendur n\u00eb mes t\u00eb nj\u00eb lufte mes <\/span>id<\/span><\/i>-it dhe superegos n\u00eb t\u00eb pavet\u00ebdijshmen e tij, Hiqmeti i joshur nga instinkti njer\u00ebzor e provon \u201cmoll\u00ebn e ndaluar\u201d. Duke u izoluar artificialisht n\u00eb \u201cjo un\u00eb\u201d Hiqmeti automatikisht kthehet n\u00eb \u201cun\u00eb\u201d dhe k\u00ebshtu i dor\u00ebzohet plot\u00ebsisht instinkteve dhe k\u00ebnaq\u00ebsive erotike, t\u00eb cilat ia ofron jeta n\u00eb momentin kur kureshtja \u00ebsht\u00eb m\u00eb e madhe se frika e brendshme q\u00eb ka. Prandaj <\/span>artisti<\/span><\/i> –<\/span> thot\u00eb Frojdi<\/span>,<\/span><\/i> –<\/span> \u00ebsht\u00eb n\u00eb themel nj\u00eb njeri q\u00eb nuk e pranon realitetin, sepse nuk mund t\u00eb pajtohet me k\u00ebrkes\u00ebn p\u00ebr t\u00eb hequr dor\u00eb nga k\u00ebnaqja (plot\u00ebsimi) e k\u00ebnaq\u00ebsive instiktive, prandaj ai lidhet me bot\u00ebn e fantazis\u00eb dhe u l\u00eb dor\u00eb t\u00eb lir\u00eb t\u00eb gjitha d\u00ebshirave erotike e ambicioze t\u00eb tij.<\/span><\/i> Sigurisht q\u00eb bota e jashtme \u00ebsht\u00eb e thurur disi n\u00eb tablon\u00eb e romanit p\u00ebr \u201cJo-un\u00eb\u201d, por vet\u00ebm si sfond, pasi n\u00eb brendi secili jemi dhe duam t\u00eb jemi nj\u00eb \u201cun\u00eb\u201d, ngase njeriu \u00ebsht\u00eb i krijuar p\u00ebr t\u00eb qen\u00eb i till\u00eb. P\u00ebrmbajtja e nd\u00ebrgjegjes s\u00eb heroit jepet si \u201cvet\u00ebdije\u201d, pra ndahet m\u00eb dysh: nj\u00eb \u201cun\u00eb\u201d p\u00ebrmban dy \u201cdije\u201d t\u00eb kund\u00ebrta: dy ide jodikotomike, por logjikisht t\u00eb papajtueshme me nj\u00ebra-tjetr\u00ebn. Veprat psikologjike kan\u00eb t\u00eb b\u00ebjn\u00eb me ndarjen e individit ndaj kolektivit, \u201cun\u00eb\u201d ndaj \u201cne\u201d.\u00a0<\/span><\/span><\/p>

Analiza e personazheve n\u00eb roman u drejtohet motiveve t\u00eb sjelljes, e kjo sipas nj\u00eb qasjeje psikanalitike vjen nga e pavet\u00ebdijshmja e f\u00ebmij\u00ebs dhe p\u00ebrballja e libidos me t\u00eb pranueshmen nga kolektivi. Instinktet prodhohen nga e brendshmja dhe motivet e sjelljes jan\u00eb t\u00eb fshehura, por i zbulohen secilit p\u00ebrmes nj\u00eb zinxhiri veprimesh t\u00eb jashtme. Aventurat b\u00ebhen krejt t\u00eb qarta, ngase impulset dhe instinktet jan\u00eb t\u00eb natyrshme p\u00ebr individin, edhe kontradiktat e nd\u00ebrgjegjes, t\u00eb cilat na shpien tek ajo q\u00eb thot\u00eb Prust-i – se<\/span> vet\u00ebm n\u00eb let\u00ebrsi mund t\u00eb identifikohemi plot\u00ebsisht me tjetrin<\/span>.<\/span><\/i> <\/span><\/p>

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

  1. Warren, Austin dhe Wellek, Rene, <\/span>Teoria e Let\u00ebrsis\u00eb<\/span><\/i>, Onufri, Tiran\u00eb, 2015<\/span><\/span><\/li>
  2. Frojd, Sigmund, <\/span>Totemi dhe tabuja,<\/span><\/i> Fan Noli, Tiran\u00eb, 2006<\/span><\/span><\/li>
  3. Frojd, Sigmund, <\/span>Hyrje n\u00eb psikoanaliz\u00eb<\/span><\/i>, Fan Noli, Tiran\u00eb, 2004<\/span><\/span><\/li>
  4. Trebeshina, Kas\u00ebm,<\/span> Legjenda e asaj q\u00eb iku-Stina e stin\u00ebve,<\/span><\/i> Sht\u00ebpia Botuese e Lidhjes s\u00eb Shkrimtar\u00ebve, Tiran\u00eb, 1992.\u00a0<\/span><\/span><\/li>
  5. https:\/\/www.radiandradi.com\/tre-vepra-te-kasem-trebeshines-nga-agron-tufa-dhe-nje-debat-rreth-tyre<\/span><\/li><\/ol>

    Fotografia e ballin\u00ebs<\/em><\/span>: Kopertina e <\/span>“Stina e stin\u00ebve<\/span><\/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":"

    \u201cT\u00ebr\u00eb jeta jon\u00eb psikike shfaqet si nj\u00eb luft\u00eb e vazhdueshme dhe patetike midis d\u00ebshir\u00ebs s\u00eb vet\u00ebdijshme dhe asaj t\u00eb pavet\u00ebdijshme, midis veprimit t\u00eb p\u00ebrgjegjsh\u00ebm dhe instinkteve tona t\u00eb pap\u00ebrgjegjshme\u201d. Kas\u00ebm Trebeshina k\u00ebtu, synon t\u00eb p\u00ebrshkruaj\u00eb dhe t\u00eb studioj\u00eb bot\u00ebn e brendshme t\u00eb nj\u00eb personazhi-f\u00ebmij\u00eb dhe l\u00ebvizjet m\u00eb delikate t\u00eb instinkteve t\u00eb pavet\u00ebdijshme t\u00eb tij. Baz\u00eb e krijimeve t\u00eb tilla \u00ebsht\u00eb nxitja e sjelljes sipas instinktit dhe veprimet e personazheve q\u00eb dashur-padashur kund\u00ebrshtojn\u00eb vlerat e p\u00ebrgjithshme morale kolektive…<\/p>","protected":false},"author":2,"featured_media":23287,"comment_status":"open","ping_status":"closed","sticky":false,"template":"elementor_header_footer","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":"enable","ocean_disable_heading":"enable","ocean_post_title":"Morali dhe realiteti n\u00eb psikologjin\u00eb e heroit 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