{"id":23954,"date":"2024-08-13T00:30:51","date_gmt":"2024-08-12T22:30:51","guid":{"rendered":"https:\/\/nyje.al\/?p=23954"},"modified":"2024-08-18T19:11:17","modified_gmt":"2024-08-18T17:11:17","slug":"semundja-per-vdekje-ne-tregimet-e-behar-jacaj","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/semundja-per-vdekje-ne-tregimet-e-behar-jacaj\/","title":{"rendered":"S\u00ebmundja p\u00ebr vdekje n\u00eb tregimet e Behar Jacaj"},"content":{"rendered":"
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Gentjan Tufa | 13.08.2024 | nyje.al<\/strong><\/span><\/p>\n

N\u00eb vitin 43 para Krishtit, Ciceroni (t\u00eb pakt\u00ebn atij i atribuohet) shprehet se: \u201cJan\u00eb koh\u00ebra t\u00eb k\u00ebqija. F\u00ebmij\u00ebt s\u2019po u binden m\u00eb prind\u00ebrve dhe \u00e7dokush po shkruan nj\u00eb lib\u00ebr\u201d. Ngjan sikur n\u00eb fundamentalitetin e vet pakogj\u00eb ka ndryshuar n\u00eb raport me typomanin\u00eb: q\u00eb konsiston n\u00eb fiksimin jo vet\u00ebm p\u00ebr t\u00eb shkruar, por edhe p\u00ebr t\u2019i publikuar k\u00ebto shkrime n\u00ebn emrin t\u00ebnd. P\u00ebrball\u00eb k\u00ebsaj nevoje gati primordiale, n\u00eb vendin ton\u00eb ku zor se gjendet njeri q\u00eb nuk \u00ebsht\u00eb shkrimtar, meq\u00eb heshtja \u00ebsht\u00eb p\u00ebr t\u2019u p\u00ebrsh\u00ebndetur, le ta p\u00ebrsh\u00ebndesim dhe t\u00eb sh\u00ebnojm\u00eb d\u00ebshtimin e heshtjes si kritik\u00eb.<\/span><\/p>\n

N\u00eb v\u00ebllimin me tregime \u201cHoteli p\u00ebrbri kish\u00ebs\u201d, vdekja dhe ftoht\u00ebsia absurde me t\u00eb cil\u00ebn personazhet p\u00ebrballen me t\u00eb, p\u00ebrb\u00ebn elementin m\u00eb dometh\u00ebn\u00ebs stilistik t\u00eb ligj\u00ebrimit. N\u00eb tregimin e shkurt\u00ebr, dinamikat e form\u00ebs gjenden n\u00eb p\u00ebrplasjen midis p\u00ebrvojave t\u00eb p\u00ebrbashk\u00ebta t\u00eb p\u00ebrditshm\u00ebris\u00eb dhe nj\u00eb realiteti t\u00eb fshehur, t\u00eb pavet\u00ebdijsh\u00ebm e t\u00eb \u00e7uditsh\u00ebm q\u00eb i ngat\u00ebrron sigurit\u00eb tona racionale dhe konvencionet e t\u00eb zakonshmes. Si\u00e7 argumenton Walter Benjamin-i (dhe Benjamin-i ka gjithnj\u00eb t\u00eb drejt\u00eb): <\/span>\u201cTregimi i shkurt\u00ebr gjallon n\u00eb misteret e p\u00ebrvoj\u00ebs njer\u00ebzore q\u00eb shkojn\u00eb p\u00ebrkund\u00ebr stadit ton\u00eb mendor logjiko-racional, duke kund\u00ebrshtuar ligjet e besueshm\u00ebris\u00eb dhe t\u00eb v\u00ebrtetdukshmes.\u201d\u00b9<\/span><\/i><\/span><\/p>\n

\u201cPost mortem\u201d \u00ebsht\u00eb tregimi ku qenia bie n\u00eb konflikt me trupin. S\u00ebmundja, plakja dhe brejtja nga p\u00ebrdorimi (a m\u00eb sakt\u00eb keqp\u00ebrdorimi) projekton fillimisht at\u00eb moment delikat e t\u00eb pashmangsh\u00ebm t\u00eb vdekjes e mandej t\u00eb p\u00ebrballjes me t\u00eb.<\/span><\/p>\n

Rr\u00ebfyer n\u00eb vet\u00ebn e dyt\u00eb, rr\u00ebfimtari na b\u00ebn bashk\u00ebspektator t\u00eb narrativ\u00ebs duke na dh\u00ebn\u00eb fillimisht mbi gjendjen e r\u00ebnduar sh\u00ebndet\u00ebsore t\u00eb personazhit dhe p\u00ebrjetimit traumatik e nj\u00ebher\u00ebsh fatalist t\u00eb k\u00ebsaj gjendjeje.<\/span><\/p>\n

\u201cU b\u00eb koh\u00eb q\u00eb \u00e7atia e gjumit nuk t\u00eb mbulon, nuk t\u00eb mbron m\u00eb nga bresh\u00ebri i mendimeve… ndaj n\u00eb m\u00ebngjes, zgjohesh m\u00eb i d\u00ebrrmuar, m\u00eb i sfilitur se \u00e7\u2019ke r\u00ebn\u00eb n\u00eb dark\u00eb.\u201d<\/span><\/p>\n

\u201c\u00c7\u2019kurth t\u00eb ka gozhduar n\u00eb k\u00ebt\u00eb trup g\u00ebrdall\u00eb, dhe mbi t\u00eb gjitha, si t\u00eb ndahesh, si t\u00eb shp\u00ebtosh prej tij?\u201d<\/span><\/p>\n

Me kaq detaje, konflikti mes mishit e shpirtit b\u00ebhet jo vet\u00ebm konkret por edhe legjitim: insomnia si rezultat i sh\u00ebndetit t\u00eb r\u00ebnduar dhe trupi tashm\u00eb i paduruesh\u00ebm si burg prej nga ku nevojitet t\u00eb arratisesh. Notat e pesimizmit n\u00eb k\u00ebt\u00eb kompozim kaq t\u00eb thjesht\u00eb, na tregojn\u00eb nj\u00ebher\u00ebsh nj\u00eb jet\u00eb t\u00eb jetuar keq, t\u00eb palumtur dhe rrjedhimisht (p\u00ebrve\u00e7 t\u00eb jetuarit si ves e jo si veprim a si vullnet) pamund\u00ebsi p\u00ebr t\u00eb p\u00ebrligjur p\u00ebrpjekjen e t\u00eb q\u00ebndruarit gjall\u00eb.<\/span><\/p>\n

\u201cTi vendos t\u00eb shkosh n\u00eb spital. Fundja nuk jan\u00eb budallenj t\u00eb gjith\u00eb ata q\u00eb shkojn\u00eb…\u201d<\/span><\/p>\n

T\u00eb shkuarit n\u00eb spital \u2013 detyra ndaj trupit p\u00ebr ta mbajtur n\u00eb pun\u00eb si p\u00ebr inerci, ngjan me nj\u00ebfar\u00eb keqardhjeje si ajo ndaj nj\u00eb makine q\u00eb t\u00eb ka sh\u00ebrbyer prej shum\u00eb vitesh dhe tashm\u00eb ndjen detyrim ta meremetosh sadopak. E ngjashme me pyetjen q\u00eb ngre Osip Mandelshtami n\u00eb vargjet: <\/span>\u201cM\u2019\u00ebsht\u00eb dh\u00ebn\u00eb ky kurm \u2013 e \u00e7\u2019ta b\u00ebj vall\u00eb\/ t\u00eb till\u00eb t\u00eb vet\u00ebm, t\u00eb till\u00eb t\u00eb gjall\u00eb?\u201d.<\/span><\/i><\/span><\/p>\n

Mir\u00ebpo indiferenca ndaj mund\u00ebsis\u00eb s\u00eb vdekjes, pas p\u00ebrballjes me diagnoz\u00ebn trondit\u00ebse e nj\u00ebher\u00ebsh t\u00eb pakuptueshme p\u00ebr nga absurditeti, i l\u00eb vendin nj\u00eb p\u00ebrpjekjeje p\u00ebr t\u2019i kuptuar gj\u00ebrat e mbase p\u00ebr t\u2019i zgjidhur ato. Fenomen ky q\u00eb Kierkegardi e shpreh:<\/span><\/p>\n

\u201cMe \u00e7do shtim t\u00eb shkall\u00ebs s\u00eb vet\u00ebdijes, dhe n\u00eb \u00e7do porcion t\u00eb atij shtimi rritet edhe vrulli i d\u00ebshp\u00ebrimit: sa m\u00eb e madhe vet\u00ebdija aq m\u00eb i vrullsh\u00ebm d\u00ebshp\u00ebrimi\u201d\u00b2.<\/span><\/i><\/span><\/p>\n

I v\u00ebn\u00eb p\u00ebrball\u00eb faktit se si pacient \u201cka kraharorin e zbraz\u00ebt… dhe … ju mungon \u00e7do organ jet\u00ebsor\u201d krahas habis\u00eb trondit\u00ebse, mosbesimit ndaj di\u00e7kaje kaq absurde e ardhur sidomos prej skanerit: k\u00ebtij produkti t\u00ebr\u00ebsisht shkencor, personazhi pyet me z\u00eb t\u00eb dridhur:<\/span><\/p>\n

\u201cDometh\u00ebn\u00eb, do t\u00eb vdes?\u201d<\/span><\/i><\/span><\/p>\n

Vdekja, q\u00eb nuk e ka shqet\u00ebsuar deri m\u00eb tani, b\u00ebhet papritur faktor, shnd\u00ebrrohet n\u00eb s\u00ebmundje, pik\u00ebrisht n\u00eb at\u00eb lloj s\u00ebmundjeje q\u00eb \u00e7on drejt vdekjes. Ky paradoks, d\u00ebnimi me vet\u00ebdijen e t\u00eb pasurit nj\u00eb kraharor literalisht t\u00eb zbraz\u00ebt, pra p\u00ebrballja e nj\u00eb fakti t\u00eb pazakont\u00eb (t\u00eb pamundur) me sjelljen krejt t\u00eb zakonshme prej pacienti q\u00eb pret sh\u00ebrim prej doktor\u00ebve gjakftoht\u00eb, indiferent\u00eb e procedurial\u00eb e b\u00ebn situat\u00ebn tep\u00ebr kafkeske. Me n\u00ebntekstin: njeriu pavar\u00ebsisht gjith\u00e7kaje, \u00ebsht\u00eb skllav i procedurave!<\/span><\/p>\n

Dialogu me t\u00eb cilin mbyllet tregimi:<\/span><\/p>\n

   <\/span><\/i>\u201c\u2014 Kur do m\u00eb \u00e7oni n\u00eb morg?<\/span><\/i><\/span><\/p>\n

\u2014 N\u00eb morg je. Ka dit\u00eb!\u201d<\/span><\/i><\/span><\/p>\n

\u00ebsht\u00eb ekzagjerim i t\u00eb jasht\u00ebzakonshmes q\u00eb nj\u00ebherazi e komplikon leximin e tregimit dhe e shnd\u00ebrron n\u00eb nj\u00ebfar\u00eb pike bot\u00ebn e trilluar n\u00eb nj\u00eb kaos ku befasia, absurdi, e mbinatyrshmja etj., jan\u00eb pa hesap. Personazhet brenda k\u00ebsaj anarkie narrative gremisen totalisht n\u00eb marioneta t\u00eb kontrolluara prej autorit. Por n\u00eb nj\u00eb tjet\u00ebr k\u00ebndv\u00ebshtrim, Kortazari na n\u00ebnvizon se: \u201cNj\u00eb tregim \u00ebsht\u00eb kuptimplot\u00eb kur i k\u00ebput limitet e veta me at\u00eb shp\u00ebrthim t\u00eb energjis\u00eb spirituale, q\u00eb krejt papritur ndri\u00e7on di\u00e7ka shum\u00eb m\u00eb p\u00ebrtej asaj anekdote t\u00eb vog\u00ebl e ndonj\u00ebher\u00eb t\u00eb neveritshme q\u00eb po tregohej\u201d.\u00b3<\/span><\/p>\n

N\u00eb tregimin \u201cSa pa zbardhur\u201d, Vladi, jeta e t\u00eb cilit \u00ebsht\u00eb rr\u00ebnuar nga kumari, pasi fiton miliona, vendos q\u00eb jet\u00ebs s\u00eb tij mizerab\u00ebl \u201ct\u2019i v\u00ebr\u00eb kapak floriri\u201d. Vet\u00ebvrasja p\u00ebr t\u00eb \u00ebsht\u00eb nj\u00eb akt heroik p\u00ebr t\u2019u larguar nga kjo bot\u00eb n\u00eb momentin kur mund t\u00eb shlyej\u00eb borxhet dhe t\u00eb rifitoj\u00eb dinjitetin e humbur. Dhe n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, garancia se (duke e njohur veten) nuk do bjer\u00eb m\u00eb kurr\u00eb n\u00eb at\u00eb gjendje p\u00ebr shkak t\u00eb vesit q\u00eb nj\u00eb her\u00eb i mund\u00ebsoi shp\u00ebtimin.<\/span><\/p>\n

Si p\u00ebr t\u2019iu bindur maksim\u00ebs s\u00eb \u00c7ehovit, se \u201cn\u00eb tregimet e shkurtra \u00ebsht\u00eb m\u00eb mir\u00eb t\u00eb mos thuash mjaftuesh\u00ebm, sesa t\u00eb thuash m\u00eb tep\u00ebr\u201d.<\/span><\/p>\n

Nd\u00ebrsa n\u00eb tregimin \u201cAgimet q\u00eb nuk gjeti\u201d, Mark Shqerri, vendos papritur t\u00eb udh\u00ebtoj\u00eb drejt fshatit t\u00eb tij t\u00eb lindjes. Edhe pse \u00ebsht\u00eb nat\u00eb, nuk ka asnj\u00eb arsye dhe e shoqja e kund\u00ebrshton, ai \u00ebsht\u00eb i vendosur q\u00eb t\u00eb shkoj\u00eb. N\u00eb mesnat\u00eb, pasi ka marr\u00eb me qira nj\u00eb Volvo me portobagazh udh\u00ebton gjith\u00eb nat\u00ebn drejt vendlindjes. Kur mb\u00ebrrin sheh \u00e7udit\u00ebrisht shum\u00eb njer\u00ebz, dy djemt\u00eb q\u00eb jetonin matan\u00eb oqeanit dhe sheh se Volvoja me portobagazh, ishte, n\u00eb fakt, nj\u00eb makin\u00eb funerali.<\/span><\/p>\n

N\u00ebse tregimi i shkurt\u00ebr i shekullit t\u00eb n\u00ebnt\u00ebmb\u00ebdhjet\u00eb ishte kryesisht dramatik dhe i mb\u00ebshtetur tek intriga, tregimi i shkurt\u00ebr modernist erdhi me braktisjen e strukturave t\u00eb rr\u00ebfimit. M\u00eb tep\u00ebr sesa trajtimi i elementit fantastik, t\u00eb tilla forma moderniste tentojn\u00eb t\u00eb frustrojn\u00eb pritshm\u00ebrit\u00eb realiste t\u00eb logjik\u00ebs shkak-pasoj\u00eb. Kombinimi i teknikave \u00e7ehoviane t\u00eb  detajeve realiste dhe lirik\u00ebs romantike, tregimi modernist i brend\u00ebsoi dhe subjektivizoi nocione si kompozimi dhe intriga.<\/span><\/p>\n

Ajo q\u00eb vihet re n\u00eb tregime t\u00eb tjera t\u00eb \u201cHoteli p\u00ebrbri kish\u00ebs\u201d \u00ebsht\u00eb nj\u00ebfar\u00eb karakteri eksperimental q\u00eb ndryshon t\u00ebr\u00ebsisht nga nj\u00ebri tregim n\u00eb tjetrin. V\u00ebshtir\u00ebsia p\u00ebr t\u00eb gjetur nj\u00eb stil ose hendeku q\u00eb krijohet nga p\u00ebrballja mes bihejviorizmit t\u00eb that\u00eb tek \u201cAxha Shtjef\u00ebn\u201d dhe p\u00ebshtjellimit psiko-enigmatik te \u201cBurgu i rrasht\u00ebs\u201d ngre nj\u00eb pik\u00ebpyetje. Dhe detyra e kritikut p\u00ebr t\u00eb marr\u00eb t\u00eb mir\u00ebqen\u00eb se \u00e7do simbol ka kuptime dhe se kategoria estetike i kap\u00ebrcen kornizat dhe p\u00ebrkufizimet teorike, duhet medoemos t\u00eb vij\u00eb edhe me bindjen se teksti e zot\u00ebron k\u00ebt\u00eb fuqi. Dhe n\u00ebse n\u00eb k\u00ebt\u00eb vep\u00ebr trinomi <\/span>Inventio-dispositio-elocutio,<\/span><\/i> pra gjetja e di\u00e7kaje p\u00ebr t\u00eb th\u00ebn\u00eb; renditja e asaj q\u00eb \u00ebsht\u00eb gjetur dhe zbukurimi i fjal\u00ebve nuk e kap\u00ebrcejn\u00eb dot pragun e, th\u00ebn\u00eb shkoqur: teknikave q\u00eb m\u00ebsohen n\u00eb kurset gjasht\u00ebmujore t\u00eb let\u00ebrsis\u00eb, at\u00ebher\u00eb vlerat estetike t\u00eb saj duhen gjykuar me shum\u00eb rezerva. Paradoksalisht, ajo p\u00ebr t\u00eb cil\u00ebn kritika e re akuzohej: \u201cindiferenc\u00eb ndaj asaj q\u00eb \u00ebsht\u00eb letrare n\u00eb let\u00ebrsi\u201d dhe \u201cshkat\u00ebrruese e let\u00ebrsis\u00eb si realitet origjinal\u201d t\u00eb b\u00ebn t\u00eb dyshosh se ndoshta gurin kilometrik t\u00eb estetik\u00ebs letrare e kemi jo me ndonj\u00eb rrym\u00eb apo drejtim relevant, porse me drejtime dhe stile t\u00eb tejkaluara tashm\u00eb n\u00eb let\u00ebrsin\u00eb bot\u00ebrore apo edhe europiane, jehona e t\u00eb cilave po derdh rrezatimin e saj t\u00eb mbram\u00eb mbi kultur\u00ebn ton\u00eb.<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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1.Walter Benjamin \u2013 \u201cIluminimet\u201d<\/span><\/p>

2.S\u00f8ren Kierkegaard \u2013 \u201cS\u00ebmundja p\u00ebr vdekje\u201d<\/span><\/p>

3.Julio Cort\u00e1zar \u2013 \u201cSome aspects of the short story\u201d<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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P\u00ebr autorin:<\/b><\/span><\/em> <\/span><\/p>

Gentjan Tufa, lindi n\u00eb Sohodoll, Dib\u00ebr. Kreu studimet bachelor dhe master n\u00eb Universitetin e Tiran\u00ebs, n\u00eb profilin Teori dhe kritik\u00eb letrare.<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Imazhi i ballin\u00ebs: <\/span><\/em><\/strong>Kopertina e \u201cHoteli p\u00ebrbri kish\u00ebs\u201d<\/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":"

N\u00eb vitin 43 para Krishtit, Ciceroni (t\u00eb pakt\u00ebn atij i atribuohet) shprehet se: \u201cJan\u00eb koh\u00ebra t\u00eb k\u00ebqija. F\u00ebmij\u00ebt s\u2019po u binden m\u00eb prind\u00ebrve dhe \u00e7dokush po shkruan nj\u00eb lib\u00ebr\u201d. Ngjan sikur n\u00eb fundamentalitetin e vet pakogj\u00eb ka ndryshuar n\u00eb raport me typomanin\u00eb: q\u00eb konsiston n\u00eb fiksimin jo vet\u00ebm p\u00ebr t\u00eb shkruar, por edhe p\u00ebr t\u2019i publikuar k\u00ebto shkrime n\u00ebn emrin t\u00ebnd. P\u00ebrball\u00eb k\u00ebsaj nevoje gati primordiale, n\u00eb vendin ton\u00eb ku zor se gjendet njeri q\u00eb nuk \u00ebsht\u00eb shkrimtar, meq\u00eb heshtja \u00ebsht\u00eb p\u00ebr t\u2019u p\u00ebrsh\u00ebndetur, le ta p\u00ebrsh\u00ebndesim dhe t\u00eb sh\u00ebnojm\u00eb d\u00ebshtimin e heshtjes si 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