{"id":29920,"date":"2026-03-20T16:42:30","date_gmt":"2026-03-20T15:42:30","guid":{"rendered":"https:\/\/nyje.al\/?p=29920"},"modified":"2026-03-20T16:42:49","modified_gmt":"2026-03-20T15:42:49","slug":"imazh-dhe-veshtrim-sllavoj-zhizhek-iii","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/imazh-dhe-veshtrim-sllavoj-zhizhek-iii\/","title":{"rendered":"Imazh dhe v\u00ebshtrim – Sllavoj Zhizhek (III)"},"content":{"rendered":"\t\t
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Imazh dhe v\u00ebshtrim <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sllavoj Zhizhek | P\u00ebrktheu Genc Shehu | nyje.al | 14.03.2026 \n<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Marr\u00ebdh\u00ebnia midis identifikimit imagjinar dhe simbolik \u2013 midis egos ideale (<\/span>Idealich<\/span><\/i>) dhe idealit t\u00eb egos (<\/span>Ich-Ideal<\/span><\/i>) \u2013 \u00ebsht\u00eb, duke p\u00ebrdorur dallimin e b\u00ebr\u00eb nga Jacques-Alain Miller (n\u00eb Seminarin e tij t\u00eb pabotuar), ajo mes identifikimit t\u00eb \u201cthemeluar\u201d dhe identifikimit \u201cthemelues\u201d: p\u00ebr ta th\u00ebn\u00eb thjesht, identifikimi imagjinar \u00ebsht\u00eb identifikimi me imazhin n\u00eb t\u00eb cilin dukemi t\u00eb p\u00eblqyesh\u00ebm p\u00ebr veten, me imazhin q\u00eb p\u00ebrfaq\u00ebson \u201cat\u00eb q\u00eb do t\u00eb donim t\u00eb ishim\u201d, nd\u00ebrsa identifikimi simbolik \u00ebsht\u00eb identifikimi me vet\u00eb vendin <\/span>nga ku<\/span><\/i> po na vrojtojn\u00eb, <\/span>nga ku<\/span><\/i> ne shikojm\u00eb veten q\u00eb t\u00eb dukemi t\u00eb p\u00eblqyesh\u00ebm p\u00ebr veten, t\u00eb denj\u00eb p\u00ebr dashuri.<\/span><\/span><\/p>

Ideja jon\u00eb mbizot\u00ebruese dhe spontane e identifikimit \u00ebsht\u00eb ajo e imitimit t\u00eb modeleve, idealeve, krijuesve t\u00eb imazhit: zakonisht vihet re (nga perspektiva \u201ce pjekur\u201d p\u00ebr\u00e7muese) se si t\u00eb rinjt\u00eb identifikohen me heronjt\u00eb popullor\u00eb, k\u00ebng\u00ebtar\u00ebt pop, yjet e filmit, sportist\u00ebt… Kjo ide spontane \u00ebsht\u00eb dy her\u00eb gabim. S\u00eb pari, ve\u00e7oria, tipari mbi baz\u00ebn e t\u00eb cilit ne identifikohemi me dik\u00eb, zakonisht \u00ebsht\u00eb i fshehur \u2013 nuk \u00ebsht\u00eb medoemos nj\u00eb tipar magjeps\u00ebs a t\u00ebrheq\u00ebs.<\/span><\/p>

Mosp\u00ebrfillja e k\u00ebtij paradoksi mund t\u00eb \u00e7oj\u00eb n\u00eb keqllogaritje serioze politike; le t\u00eb p\u00ebrmendim vet\u00ebm fushat\u00ebn presidenciale austriake t\u00eb vitit 1986, me figur\u00ebn kontroverse t\u00eb Waldheim-it n\u00eb mes. Duke u nisur nga supozimi se Waldheim po t\u00ebrhiqte votuesit p\u00ebr shkak t\u00eb imazhit t\u00eb tij si shtetar i madh, t\u00eb majt\u00ebt theksuan n\u00eb fushat\u00ebn e tyre provat ndaj publikut q\u00eb jo vet\u00ebm q\u00eb Waldheim \u00ebsht\u00eb nj\u00eb njeri me t\u00eb kaluar t\u00eb dyshimt\u00eb (me gjas\u00eb i p\u00ebrfshir\u00eb n\u00eb krime lufte), por gjithashtu nj\u00eb njeri q\u00eb nuk \u00ebsht\u00eb i gatsh\u00ebm t\u00eb p\u00ebrballet me t\u00eb kaluar\u00ebn e tij, nj\u00eb njeri q\u00eb shmang pyetjet thelb\u00ebsore n\u00eb lidhje me t\u00eb \u2013 me pak fjal\u00eb, nj\u00eb njeri tipari themelor i t\u00eb cilit \u00ebsht\u00eb refuzimi p\u00ebr t\u00eb \u201cp\u00ebrpunuar\u201d t\u00eb kaluar\u00ebn traumatike. Ajo q\u00eb ata nuk rrok\u00ebn ishte se pik\u00ebrisht ky tipar ishte ai me t\u00eb cilin shumica e votuesve centrist\u00eb identifikoheshin. Austria pas luft\u00ebs \u00ebsht\u00eb nj\u00eb vend ekzistenca e t\u00eb cilit bazohet n\u00eb refuzimin p\u00ebr t\u00eb \u201cp\u00ebrpunuar\u201d t\u00eb kaluar\u00ebn e saj traumatike naziste \u2013 demonstrimi q\u00eb Waldheim po shmangte p\u00ebrballjen me t\u00eb kaluar\u00ebn e tij theksoi pik\u00ebrisht at\u00eb tipar-t\u00eb-identifikimit p\u00ebr shumic\u00ebn e votuesve.<\/span><\/p>

M\u00ebsimi teorik q\u00eb duhet t\u00eb nxirret nga kjo \u00ebsht\u00eb se tipari-i-identifikimit mund t\u00eb jet\u00eb edhe nj\u00eb d\u00ebshtim i caktuar, nj\u00eb dob\u00ebsi apo faj i tjetrit, k\u00ebshtu q\u00eb duke v\u00ebn\u00eb n\u00eb pah d\u00ebshtimin, ne mund t\u00eb forcojm\u00eb pa dashje identifikimin. Ideologjia djathtiste n\u00eb ve\u00e7anti \u00ebsht\u00eb shum\u00eb e aft\u00eb n\u00eb ofrimin e dob\u00ebsis\u00eb ose fajit si nj\u00eb tipar identifikues: gjurm\u00eb t\u00eb k\u00ebsaj i gjejm\u00eb edhe te Hitleri. N\u00eb paraqitjet e tij publike, njer\u00ebzit identifikoheshin sidomos me shp\u00ebrthimet histerike t\u00eb t\u00ebrbimit impotent \u2013 pra, ata \u201cgjenin\u201d veten n\u00eb k\u00ebt\u00eb <\/span>performanc\u00eb<\/span><\/i> histerike.<\/span><\/span><\/p>

Por gabimi i dyt\u00eb, edhe m\u00eb serioz, \u00ebsht\u00eb shp\u00ebrfillja e faktit se identifikimi imagjinar \u00ebsht\u00eb gjithmon\u00eb identifikim <\/span>p\u00ebr hir t\u00eb nj\u00eb v\u00ebshtrimi t\u00eb caktuar te Tjetri<\/span><\/i>. Pra, n\u00eb lidhje me \u00e7do imitim t\u00eb nj\u00eb imazh-modeli, apo \u00e7do \u201cluajtje t\u00eb nj\u00eb roli\u201d, pyetja q\u00eb duhet b\u00ebr\u00eb \u00ebsht\u00eb: <\/span>p\u00ebr k\u00eb<\/span><\/i> po e luan subjekti k\u00ebt\u00eb rol? Cili <\/span>v\u00ebshtrim<\/span><\/i> merret parasysh kur subjekti identifikohet me nj\u00eb imazh t\u00eb caktuar? Ky hendek mes m\u00ebnyr\u00ebs se si e shoh veten dhe pik\u00ebs nga ku po m\u00eb shohin q\u00eb t\u00eb dukem i p\u00eblqyesh\u00ebm p\u00ebr veten \u00ebsht\u00eb ky\u00e7 p\u00ebr t\u00eb rrokur histerin\u00eb (dhe neuroz\u00ebn obsesive si nj\u00eb n\u00ebngrup t\u00eb saj) \u2013 p\u00ebr t\u00eb ashtuquajturin teat\u00ebr histerik: kur shohim nj\u00eb grua histerike n\u00eb aktin e nj\u00eb shp\u00ebrthimi t\u00eb till\u00eb teatral, \u00ebsht\u00eb patjet\u00ebr e qart\u00eb q\u00eb ajo po e b\u00ebn k\u00ebt\u00eb p\u00ebr t\u2019i ofruar veten Tjetrit si objekt i d\u00ebshir\u00ebs s\u00eb tij, por analiza konkrete duhet t\u00eb zbuloj\u00eb se kush \u2013 cili subjekt \u2013 mish\u00ebron p\u00ebr t\u00eb Tjetrin. Pas nj\u00eb figure imagjinare tejet \u201cfem\u00ebrore\u201d, ne p\u00ebrgjith\u00ebsisht mundemi k\u00ebsisoj t\u00eb zbulojm\u00eb nj\u00eb lloj identifikimi mashkullor, paternal: ajo po luan nj\u00eb feminitet t\u00eb brisht\u00eb, por n\u00eb nivelin simbolik ajo n\u00eb fakt \u00ebsht\u00eb identifikuar me v\u00ebshtrimin paternal, p\u00ebr t\u00eb cilin ajo do q\u00eb t\u00eb duket e p\u00eblqyeshme.<\/span><\/span><\/p>

Ky hendek arrin skajin e vet te neurotiku obsesiv: n\u00eb nivelin \u201ce themeluar\u201d, imagjinar, fenomenal, ai \u00ebsht\u00eb sigurisht i kapur n\u00eb logjik\u00ebn mazokiste t\u00eb veprimeve t\u00eb tij kompulsive, ai po e posht\u00ebron veten, po pengon suksesin e tij, po organizon d\u00ebshtimin e tij, dhe k\u00ebshtu me radh\u00eb; por pyetja thelb\u00ebsore \u00ebsht\u00eb p\u00ebrs\u00ebri si t\u00eb gjejm\u00eb v\u00ebshtrimin vicioz t\u00eb superegos p\u00ebr t\u00eb cilin ai po e posht\u00ebron veten, p\u00ebr t\u00eb cilin ky organizim obsesiv i d\u00ebshtimit i sjell k\u00ebnaq\u00ebsi. Ky hendek mund t\u00eb artikulohet m\u00eb mir\u00eb me ndihm\u00ebn e \u00e7iftit hegelian \u201cp\u00ebr-tjetrin\u201d\/\u201cp\u00ebr-veten\u201d: neurotiku histerik e p\u00ebrjeton veten si dikush q\u00eb po luan nj\u00eb rol <\/span>p\u00ebr tjetrin<\/span><\/i>, identifikimi i tij imagjinar \u00ebsht\u00eb \u201cqenia-e-tij-p\u00ebr-tjetrin\u201d dhe kthesa ky\u00e7e q\u00eb psikoanaliza duhet t\u00eb kryej\u00eb \u00ebsht\u00eb ta b\u00ebj\u00eb at\u00eb t\u00eb kuptoj\u00eb se ai <\/span>vet\u00eb<\/span><\/i> \u00ebsht\u00eb ky tjetri p\u00ebr t\u00eb cilin po luan nj\u00eb rol \u2013 si qenia-e-tij-p\u00ebr-tjetrin \u00ebsht\u00eb n\u00eb fakt qenia-e-tij-p\u00ebr-veten, sepse ai sakaq \u00ebsht\u00eb i identifikuar simbolikisht me v\u00ebshtrimin p\u00ebr t\u00eb cilin ai po luan rolin e tij.<\/span><\/span><\/p>

P\u00ebr ta b\u00ebr\u00eb t\u00eb qart\u00eb k\u00ebt\u00eb dallim mes identifikimit imagjinar dhe simbolik, le t\u00eb marrim disa shembuj jo-klinik\u00eb. N\u00eb analiz\u00ebn e tij dep\u00ebrtuese mbi Chaplinin, Eisensteini ekspozoi, si tipar ky\u00e7 t\u00eb estradave t\u00eb tij, nj\u00eb ves t\u00eb lig\u00ebsht, sadist dhe posht\u00ebrues ndaj f\u00ebmij\u00ebve: n\u00eb filmat e Chaplinit, f\u00ebmij\u00ebt nuk trajtohen me \u00ebmb\u00eblsin\u00eb e zakonshme; ata ngacmohen, tallen dhe p\u00ebrqeshen p\u00ebr d\u00ebshtimet e tyre, u shp\u00ebrndahet ushqim si t\u00eb ishin pula, dhe k\u00ebshtu me radh\u00eb. Pyetja q\u00eb duhet b\u00ebr\u00eb k\u00ebtu, ama, \u00ebsht\u00eb: nga cila pik\u00eb duhet t\u2019i shohim f\u00ebmij\u00ebt asisoj q\u00eb t\u00eb na shfaqen si objekte p\u00ebr t\u2019u ngacmuar dhe p\u00ebrqeshur e jo si krijesa t\u00eb buta q\u00eb kan\u00eb nevoj\u00eb p\u00ebr mbrojtje? P\u00ebrgjigja, sigurisht, \u00ebsht\u00eb <\/span>v\u00ebshtrimi i vet\u00eb f\u00ebmij\u00ebve<\/span><\/i> \u2013 vet\u00ebm f\u00ebmij\u00ebt vet\u00eb i trajtojn\u00eb shok\u00ebt e tyre n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb; distanca sadiste ndaj f\u00ebmij\u00ebve n\u00ebnkupton identifikimin simbolik me v\u00ebshtrimin e vet\u00eb f\u00ebmij\u00ebve.<\/span><\/span><\/p>

N\u00eb skajin e kund\u00ebrt, gjejm\u00eb admirimin dikensian p\u00ebr \u201cnjer\u00ebzit e zakonsh\u00ebm dhe t\u00eb mir\u00eb\u201d, identifikimin imagjinar me bot\u00ebn e tyre t\u00eb varf\u00ebr por t\u00eb lumtur, t\u00eb ngusht\u00eb, t\u00eb paprishur, t\u00eb lir\u00eb nga lufta e ashp\u00ebr p\u00ebr pushtet dhe para. Por (dhe pik\u00ebrisht k\u00ebtu q\u00ebndron falsiteti i Dickensit) nga ku po i sodit v\u00ebshtrimi dikensian \u201cnjer\u00ebzit e zakonsh\u00ebm dhe t\u00eb mir\u00eb\u201d asisoj q\u00eb t\u00eb duken t\u00eb p\u00eblqyesh\u00ebm; nga ku, n\u00ebse jo nga pik\u00ebpamja e bot\u00ebs s\u00eb korruptuar t\u00eb pushtetit dhe parave? E shohim t\u00eb nj\u00ebjtin hendek t\u00eb shfaqet edhe n\u00eb pikturat idilike t\u00eb Brueghelit t\u00eb von\u00eb p\u00ebr jet\u00ebn e fshatar\u00ebve (festat e vendit, kosit\u00ebsit gjat\u00eb pushimit t\u00eb mesdit\u00ebs, etj): Arnold Hauser vuri n\u00eb dukje se k\u00ebto piktura jan\u00eb shum\u00eb larg nga \u00e7do q\u00ebndrim real plebejan, nga \u00e7do p\u00ebrzierje me klasat pun\u00ebtore. V\u00ebshtrimi i tyre \u00ebsht\u00eb, p\u00ebrkundrazi, v\u00ebshtrimi i jasht\u00ebm i aristokracis\u00eb mbi idilin dhe d\u00eblir\u00ebsin\u00eb e fshatar\u00ebve dhe jo v\u00ebshtrimi i vet\u00eb fshatar\u00ebve mbi jet\u00ebn e tyre.<\/span><\/p>

E nj\u00ebjta gj\u00eb vlen, sigurisht, edhe p\u00ebr lart\u00ebsimin stalinist t\u00eb dinjitetit t\u00eb \u201cpopullit t\u00eb zakonsh\u00ebm pun\u00ebtor e socialist\u201d: ky imazh i idealizuar i klas\u00ebs pun\u00ebtore inskenohet p\u00ebr v\u00ebshtrimin e burokracis\u00eb sunduese t\u00eb Partis\u00eb \u2013 ajo sh\u00ebrben p\u00ebr t\u00eb legjitimuar sundimin e tyre. Pik\u00ebrisht p\u00ebr k\u00ebt\u00eb arsye filmat \u00e7ek\u00eb t\u00eb Milos Forman ishin aq subversiv\u00eb n\u00eb talljen e njer\u00ebzve t\u00eb vegj\u00ebl, t\u00eb zakonsh\u00ebm: duke treguar m\u00ebnyrat e tyre t\u00eb padinjitetshme, kot\u00ebsin\u00eb e \u00ebndrrave t\u00eb tyre… ky gjest ishte shum\u00eb m\u00eb i rreziksh\u00ebm sesa tallja me burokracin\u00eb sunduese. Formani nuk donte t\u00eb shkat\u00ebrronte identifikimin imagjinar t\u00eb burokratit; ai parap\u00eblqente me men\u00e7uri t\u00eb subvertonte identifikimin e tij simbolik duke demaskuar spektaklin e luajtur p\u00ebr v\u00ebshtrimin e tij.<\/span><\/p>

Nga i(o) te I(O)<\/i><\/b><\/span><\/p>

Ky dallim midis <\/span>i(o)<\/b> dhe <\/span>I(O)<\/b> \u2013 midis egos ideale dhe idealit t\u00eb egos \u2013 mund t\u00eb ilustrohet m\u00eb tej nga m\u00ebnyra se si funksionojn\u00eb nofkat n\u00eb kulturat amerikane dhe sovjetike. Le t\u00eb marrim dy individ\u00eb, secili prej t\u00eb cil\u00ebve p\u00ebrfaq\u00ebson arritjen m\u00eb t\u00eb lart\u00eb t\u00eb k\u00ebtyre dy kulturave: Charles \u201cLucky\u201d Luciano dhe Iosif Vissarionovich Dzhugashvili \u201cStalin\u201d. N\u00eb rastin e par\u00eb, nofka priret t\u00eb z\u00ebvend\u00ebsoj\u00eb emrin (ne zakonisht flasim thjesht p\u00ebr \u201cLucky Lucianon\u201d), nd\u00ebrsa n\u00eb t\u00eb dytin ajo zakonisht z\u00ebvend\u00ebson mbiemrin (\u201cIosif Vissarionovich Stalin\u201d). N\u00eb rastin e par\u00eb, nofka aludon p\u00ebr nj\u00eb ngjarje t\u00eb jasht\u00ebzakonshme q\u00eb ka sh\u00ebnuar individin (Charles Luciano ishte \u201cme fat\u201d, pra \u201cLucky\u201d, q\u00eb mbijetoi nga torturat e egra t\u00eb armiqve t\u00eb tij gangster\u00eb) \u2013 pra, ajo i referohet nj\u00eb tipari pozitiv e p\u00ebrshkrues q\u00eb na mahnit; ajo sh\u00ebnon di\u00e7ka q\u00eb spikat tek individi, q\u00eb bie n\u00eb sy, di\u00e7ka q\u00eb i ofrohet v\u00ebshtrimit ton\u00eb, di\u00e7ka q\u00eb shihet, jo pika nga e cila ne e vrojtojm\u00eb individin.<\/span><\/span><\/p>

Megjithat\u00eb, n\u00eb rastin e Iosif Vissarionovich, do t\u00eb ishte krejt\u00ebsisht gabim t\u00eb dilnim n\u00eb m\u00ebnyr\u00eb homologe n\u00eb p\u00ebrfundimin q\u00eb \u201cStalin\u201d (rusisht p\u00ebr \u201c[i b\u00ebr\u00eb] prej \u00e7eliku\u201d) i referohet ndonj\u00eb vetie \u00e7elikore, t\u00eb pam\u00ebshirshme t\u00eb vet\u00eb Stalinit: \u00e7ka \u00ebsht\u00eb me t\u00eb v\u00ebrtet\u00eb e pam\u00ebshirshme dhe \u00e7elikore jan\u00eb ligjet e progresit historik, domosdoshm\u00ebria e hekurt e shp\u00ebrb\u00ebrjes s\u00eb kapitalizmit dhe e kalimit n\u00eb socializ\u00ebm, n\u00eb em\u00ebr t\u00eb t\u00eb cilave Stalini, ky individ empirik, po vepron \u2013 perspektiva nga e cila ai e sheh veten dhe gjykon veprimtarin\u00eb e tij. Mund t\u00eb themi, pra, q\u00eb \u201cStalin\u201d \u00ebsht\u00eb pika ideale nga e cila \u201cIosif Vissarionovich\u201d, ky individ empirik, kjo qenie prej mishi dhe gjaku, e vrojton veten n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb duket i p\u00eblqyesh\u00ebm.<\/span><\/p>

Ne gjejm\u00eb t\u00eb nj\u00ebjt\u00ebn \u00e7arje n\u00eb nj\u00eb shkrim t\u00eb von\u00eb t\u00eb Rousseau-s\u00eb, nga koha e delirit t\u00eb tij psikotik, i titulluar \u201cJean-Jacques i gjykuar nga Rousseau\u201d. Do t\u00eb ishte e mundur q\u00eb kjo t\u00eb p\u00ebrfytyrohej si nj\u00eb draft i teoris\u00eb lakaniane t\u00eb emrit t\u00eb par\u00eb dhe mbiemrit: emri i par\u00eb p\u00ebrshenjon egon ideale, pik\u00ebn e identifikimit imagjinar, nd\u00ebrsa mbiemri vjen nga babai \u2013 ai p\u00ebrshenjon, si Emri-i-Atit, pik\u00ebn e identifikimit simbolik, agjencin\u00eb p\u00ebrmes s\u00eb cil\u00ebs ne e vrojtojm\u00eb dhe gjykojm\u00eb veten. Fakti q\u00eb nuk duhet l\u00ebn\u00eb pas dore n\u00eb k\u00ebt\u00eb dallim \u00ebsht\u00eb se <\/span>i(o)<\/i><\/b> \u00ebsht\u00eb gjithmon\u00eb sakaq i n\u00ebnrenditur ndaj <\/span>I(O)<\/b>: \u00ebsht\u00eb identifikimi simbolik (pika nga e cila ne vrojtohemi) q\u00eb dominon dhe p\u00ebrcakton imazhin, form\u00ebn imagjinare n\u00eb t\u00eb cil\u00ebn dukemi t\u00eb p\u00eblqyesh\u00ebm p\u00ebr veten ton\u00eb. N\u00eb nivelin e funksionimit formal, kjo n\u00ebnrenditje d\u00ebshmohet nga fakti q\u00eb nofka q\u00eb sh\u00ebnon <\/span>i(o)<\/span><\/i>-n\u00eb gjithashtu funksionon si nj\u00eb p\u00ebrshenjues i ngurt\u00eb, jo si nj\u00eb p\u00ebrshkrim i thjesht\u00eb.<\/span><\/span><\/p>

Le t\u00eb marr nj\u00eb shembull tjet\u00ebr nga bota e gangster\u00ebve: n\u00ebse nj\u00eb individ i caktuar ka nofk\u00ebn \u201cScarface\u201d (Fytyr\u00ebvrag\u00eb), kjo nuk do t\u00eb thot\u00eb vet\u00ebm faktin e thjesht\u00eb se fytyra e tij \u00ebsht\u00eb e mbushur me vraga; kjo n\u00ebnkupton nj\u00ebkoh\u00ebsisht se kemi t\u00eb b\u00ebjm\u00eb me dik\u00eb q\u00eb \u00ebsht\u00eb p\u00ebrshenjuar \u201cScarface\u201d dhe do t\u00eb mbetet i till\u00eb edhe n\u00ebse, p\u00ebr shembull, t\u00eb gjitha vragat e tij do t\u00eb hiqeshin me kirurgji plastike. P\u00ebrshenjimet ideologjike funksionojn\u00eb n\u00eb t\u00eb nj\u00ebjt\u00ebn m\u00ebnyr\u00eb: \u201cKomunizmi\u201d do t\u00eb thot\u00eb (nga perspektiva e komunistit, natyrisht) p\u00ebrparim n\u00eb demokraci dhe liri, edhe n\u00ebse \u2013 n\u00eb nivelin faktik dhe p\u00ebrshkrues \u2013 regjimi politik q\u00eb legjitimohet si \u201ckomunist\u201d prodhon dukuri skajshm\u00ebrisht shtyp\u00ebse dhe tiranike. P\u00ebr t\u00eb p\u00ebrdorur s\u00ebrish termat e Kripke-s: \u201cKomunizmi\u201d p\u00ebrshenjon n\u00eb t\u00eb gjitha bot\u00ebt e mundshme, n\u00eb t\u00eb gjitha situatat kund\u00ebrfaktuale, \u201cdemokraci-e-liri\u201d dhe p\u00ebr k\u00ebt\u00eb arsye kjo lidhje nuk mund t\u00eb rr\u00ebzohet empirikisht, duke iu referuar nj\u00eb gjendjeje faktike. Analiza e ideologjis\u00eb duhet, at\u00ebher\u00eb, t\u00eb orientoj\u00eb v\u00ebmendjen e saj kah pikat ku emrat q\u00eb, n\u00eb pamje t\u00eb par\u00eb sh\u00ebnojn\u00eb tipare p\u00ebrshkruese e pozitive, funksionojn\u00eb sakaq si \u201cp\u00ebrshenjues t\u00eb ngurt\u00eb\u201d.<\/span><\/p>

Por pse sakt\u00ebsisht ky dallim \u2013 midis m\u00ebnyr\u00ebs se si e shohim veten dhe pik\u00ebs prej s\u00eb cil\u00ebs vrojtohemi \u2013 \u00ebsht\u00eb dallimi midis imagjinares dhe simbolikes? N\u00eb nj\u00eb qasje t\u00eb par\u00eb, mund t\u00eb themi se n\u00eb identifikimin imagjinar ne imitojm\u00eb tjetrin n\u00eb nivelin e ngjashm\u00ebris\u00eb \u2013 ne identifikohemi me imazhin e tjetrit p\u00ebr aq sa jemi \u201csi ai\u201d, nd\u00ebrsa n\u00eb identifikimin simbolik ne identifikohemi me tjetrin pik\u00ebrisht n\u00eb nj\u00eb pik\u00eb ku ai \u00ebsht\u00eb i paimituesh\u00ebm, i pangjash\u00ebm, n\u00eb pik\u00ebn q\u00eb ai i shp\u00ebton ngjashm\u00ebris\u00eb. P\u00ebr t\u00eb shpjeguar k\u00ebt\u00eb dallim t\u00eb r\u00ebnd\u00ebsish\u00ebm, le t\u00eb marrim filmin e Woody Allen, <\/span>Play It Again, Sam<\/span><\/i>. Filmi fillon me sken\u00ebn e famshme p\u00ebrfundimtare nga <\/span>Casablanca<\/span><\/i>, por pak m\u00eb von\u00eb kuptojm\u00eb se kjo ishte vet\u00ebm nj\u00eb \u201cfilm brenda nj\u00eb filmi\u201d dhe se historia e v\u00ebrtet\u00eb ka t\u00eb b\u00ebj\u00eb me nj\u00eb intelektual histerik t\u00eb Nju Jorkut, jeta seksuale e t\u00eb cilit \u00ebsht\u00eb l\u00ebmsh: gruaja e tij sapo e ka l\u00ebn\u00eb; p\u00ebrgjat\u00eb filmit, nj\u00eb figur\u00eb e Humphrey Bogart i shfaqet atij: me k\u00ebshilla, duke b\u00ebr\u00eb komente ironike mbi sjelljen e tij, dhe k\u00ebshtu me radh\u00eb.\u00a0<\/span><\/span><\/p>

Fundi i filmit zgjidh marr\u00ebdh\u00ebnien e tij me figur\u00ebn e Bogart: pasi kalon nat\u00ebn me gruan e shokut t\u00eb tij t\u00eb ngusht\u00eb, heroi ka nj\u00eb takim dramatik me t\u00eb dy n\u00eb aeroport; ai heq dor\u00eb prej saj dhe e l\u00eb t\u00eb shkoj\u00eb me t\u00eb shoqin, duke p\u00ebrs\u00ebritur n\u00eb jet\u00ebn reale sken\u00ebn p\u00ebrfundimtare nga <\/span>Casablanca<\/span><\/i>, e cila hapi filmin. Kur dashnorja e tij thot\u00eb, sa i p\u00ebrket fjal\u00ebve t\u00eb tij t\u00eb ndarjes, \u201cSa bukur\u201d, ai p\u00ebrgjigjet: \u201c\u00cbsht\u00eb nga <\/span>Casablanca<\/span><\/i>. Kam pritur gjith\u00eb jet\u00ebn time p\u00ebr ta th\u00ebn\u00eb.\u201d Pas k\u00ebsaj p\u00ebrmbylljeje, figura e Bogart shfaqet p\u00ebr her\u00eb t\u00eb fundit, duke th\u00ebn\u00eb se, duke hequr dor\u00eb nga nj\u00eb grua p\u00ebr shkak t\u00eb nj\u00eb miq\u00ebsie, heroi m\u00eb n\u00eb fund \u201cmori pak stil\u201d; dhe nuk ka m\u00eb nevoj\u00eb p\u00ebr t\u00eb.<\/span><\/span><\/p>

Si duhet ta interpretojm\u00eb k\u00ebt\u00eb largim t\u00eb figur\u00ebs s\u00eb Bogart? Leximi m\u00eb i duksh\u00ebm do t\u00eb ishte ai i treguar nga fjal\u00ebt p\u00ebrfundimtare t\u00eb heroit ndaj figur\u00ebs s\u00eb Bogart: \u201cMendoj se sekreti nuk \u00ebsht\u00eb t\u00eb jem ti, por t\u00eb jem un\u00eb.\u201d Me fjal\u00eb t\u00eb tjera, p\u00ebr aq koh\u00eb sa heroi \u00ebsht\u00eb nj\u00eb histerik i dob\u00ebt dhe i brisht\u00eb, ai ka nevoj\u00eb p\u00ebr nj\u00eb ego ideale me t\u00eb cil\u00ebn t\u00eb identifikohet, nj\u00eb figur\u00eb q\u00eb ta udh\u00ebzoj\u00eb; por sapo ai m\u00eb n\u00eb fund t\u00eb piqet dhe \u201cmerr pak stil\u201d, ai nuk ka m\u00eb nevoj\u00eb p\u00ebr nj\u00eb pik\u00eb t\u00eb jashtme identifikimi sepse ka arritur identitetin me veten e tij \u2013 ai \u201c\u00ebsht\u00eb b\u00ebr\u00eb vetvetja\u201d, nj\u00eb personalitet autonom. Por fjal\u00ebt q\u00eb pasojn\u00eb menj\u00ebher\u00eb e p\u00ebrmbysin nj\u00eb lexim t\u00eb till\u00eb: \u201cV\u00ebrtet, nuk je shum\u00eb i gjat\u00eb dhe je disi i sh\u00ebmtuar, por \u00e7\u2019r\u00ebnd\u00ebsi ka, un\u00eb vet\u00eb jam goxha i shkurt\u00ebr dhe i sh\u00ebmtuar p\u00ebr t\u2019ia dal\u00eb vet\u00eb.\u201d<\/span><\/p>

Me fjal\u00eb t\u00eb tjera, larg t\u00eb qenurit \u201cduke tejkaluar identifikimin me Bogartin\u201d, \u00ebsht\u00eb pik\u00ebrisht kur heroi b\u00ebhet nj\u00eb \u201cpersonalitet autonom\u201d q\u00eb ai n\u00eb t\u00eb v\u00ebrtet\u00eb identifikohet me Bogartin \u2013 m\u00eb sakt\u00eb: ai b\u00ebhet nj\u00eb \u201cpersonalitet autonom\u201d p\u00ebrmes identifikimit t\u00eb tij me Bogartin. Dallimi i vet\u00ebm \u00ebsht\u00eb se tani identifikimi nuk \u00ebsht\u00eb m\u00eb imagjinar (Bogart si model p\u00ebr t\u2019u imituar), por, t\u00eb pakt\u00ebn n\u00eb dimensionin e tij themelor, simbolik \u2013 pra, strukturor: heroi e realizon k\u00ebt\u00eb identifikim duke luajtur n\u00eb realitet rolin e Bogartit nga <\/span>Casablanca<\/span><\/i> \u2013 duke marr\u00eb nj\u00eb lloj \u201cmandati\u201d, duke z\u00ebn\u00eb nj\u00eb vend t\u00eb caktuar n\u00eb rrjetin nd\u00ebrsubjektiv simbolik (duke sakrifikuar nj\u00eb grua p\u00ebr miq\u00ebsin\u00eb, etj). Ky identifikim simbolik shp\u00ebrb\u00ebn identifikimin imagjinar (b\u00ebn q\u00eb figura e Bogartit t\u00eb zhduket) \u2013 m\u00eb sakt\u00eb: e ndryshon rr\u00ebnj\u00ebsisht p\u00ebrmbajtjen e tij [t\u00eb identifikimit imagjinar]. N\u00eb nivelin imagjinar, heroi tani mund t\u00eb identifikohet me Bogartin p\u00ebrmes tipareve q\u00eb jan\u00eb t\u00eb neveritshme: vog\u00eblsia e tij, sh\u00ebmtia e tij.<\/span><\/span><\/p>

P\u00ebrtej identifikimit\u00a0<\/b><\/span><\/p>

(Niveli i ep\u00ebrm i grafikut t\u00eb d\u00ebshir\u00ebs)<\/span><\/i><\/span><\/p>

\u201cChe vuoi?\u201d<\/i><\/b><\/span><\/p>

Ky nd\u00ebrveprim i identifikimit imagjinar dhe simbolik n\u00ebn dominimin e identifikimit simbolik p\u00ebrb\u00ebn mekanizmin p\u00ebrmes t\u00eb cilit subjekti integrohet n\u00eb nj\u00eb fush\u00eb t\u00eb caktuar socio-simbolike \u2013 m\u00ebnyra se si ai\/ajo merr p\u00ebrsip\u00ebr \u201cmandate\u201d t\u00eb caktuara, si\u00e7 ishte p\u00ebrsosm\u00ebrisht e qart\u00eb p\u00ebr vet\u00eb Lakanin:<\/span><\/p>

Lakani dinte si t\u00eb nxirrte nga teksti i Frojdit dallimin midis egos ideale, t\u00eb sh\u00ebnuar nga ai me <\/span>i<\/i><\/b>, dhe idealit t\u00eb egos, <\/span>I<\/b>. N\u00eb nivelin e <\/span>I<\/b>, mund ta prezantosh pa v\u00ebshtir\u00ebsi shoq\u00ebroren. <\/span>I<\/b> e idealit mund t\u00eb nd\u00ebrtohet n\u00eb nj\u00eb m\u00ebnyr\u00eb superiore dhe legjitime si nj\u00eb funksion shoq\u00ebror dhe ideologjik. Ishte gjithashtu vet\u00eb Lakani ai q\u00eb e b\u00ebri k\u00ebt\u00eb n\u00eb <\/span>\u00c9crits<\/span><\/i>: ai lokalizon nj\u00eb politik\u00eb t\u00eb caktuar n\u00eb vet\u00eb themelet e psikologjis\u00eb, k\u00ebshtu q\u00eb teza se gjith\u00eb psikologjia \u00ebsht\u00eb shoq\u00ebrore mund t\u00eb trajtohet si lakaniane. N\u00ebse jo n\u00eb nivelin n\u00eb t\u00eb cilin po shqyrtojm\u00eb <\/span>i<\/i><\/b>, at\u00ebher\u00eb t\u00eb pakt\u00ebn n\u00eb nivelin n\u00eb t\u00eb cilin ngulisim <\/span>I<\/b>.1<\/sup><\/span><\/span><\/p>

Problemi i vet\u00ebm \u00ebsht\u00eb se kjo \u201c[b\u00ebrje] katror e rrethit\u201d t\u00eb interpelimit, kjo l\u00ebvizje rrethore midis identifikimit simbolik dhe imagjinar, nuk del kurr\u00eb pa nj\u00eb mbetje t\u00eb caktuar. Pas \u00e7do \u201ckopsitjeje\u201d t\u00eb zinxhirit t\u00eb shenjuesit q\u00eb ngulit retroaktivisht kuptimin e tij, gjithmon\u00eb mbetet nj\u00ebfar\u00eb hendeku, nj\u00eb hapje a dyzim q\u00eb jepet n\u00eb form\u00ebn e tret\u00eb t\u00eb grafikut me pyetjen e famshme \u201c<\/span>Che vuoi?<\/span><\/i>\u201d \u2013 \u201cPo m\u00eb thua k\u00ebt\u00eb, por \u00e7far\u00eb d\u00ebshiron t\u00eb thuash me t\u00eb, ku po synon t\u00eb dal\u00ebsh?\u201d<\/span><\/span><\/p>

Grafiku III<\/span><\/em><\/p>

\"\"<\/p>

Kjo pik\u00ebpyetje q\u00eb ngrihet mbi kurb\u00ebn e \u201ckopsitjes\u201d tregon k\u00ebshtu persistenc\u00ebn e nj\u00eb hendeku midis th\u00ebnies dhe shqiptimit2<\/sup><\/span> t\u00eb saj: n\u00eb nivelin e th\u00ebnies, po thua k\u00ebt\u00eb, por \u00e7far\u00eb d\u00ebshiron t\u00eb m\u00eb tregosh me t\u00eb, p\u00ebrmes saj? (N\u00eb termat e standardizuar t\u00eb teoris\u00eb s\u00eb akteve t\u00eb t\u00eb folurit, mund ta p\u00ebrshkruajm\u00eb k\u00ebt\u00eb hendek si dallimi midis <\/span>lokucionit<\/span><\/i> dhe forc\u00ebs <\/span>ilokucionare<\/span><\/i> t\u00eb nj\u00eb th\u00ebnie t\u00eb dh\u00ebn\u00eb.) Dhe \u00ebsht\u00eb pik\u00ebrisht n\u00eb k\u00ebt\u00eb vend ku lind pyetja mbi th\u00ebnien, te vendi i \u201cPse po m\u00eb thua k\u00ebt\u00eb?\u201d, ku duhet t\u00eb gjejm\u00eb <\/span>d\u00ebshir\u00ebn<\/span><\/i> (me <\/span>d<\/b> t\u00eb vog\u00ebl n\u00eb grafik) n\u00eb dallimin e saj nga k\u00ebrkesa: ti k\u00ebrkon di\u00e7ka prej meje, por \u00e7far\u00eb d\u00ebshiron v\u00ebrtet, \u00e7far\u00eb synon p\u00ebrmes k\u00ebsaj k\u00ebrkese? Kjo ndarje midis k\u00ebrkes\u00ebs dhe d\u00ebshir\u00ebs \u00ebsht\u00eb ajo q\u00eb p\u00ebrkufizon pozicionin e subjektit histerik: sipas formul\u00ebs klasike lakaniane, logjika e k\u00ebrkes\u00ebs histerike \u00ebsht\u00eb \u201cPo k\u00ebrkoj k\u00ebt\u00eb prej teje, por ajo q\u00eb v\u00ebrtet po t\u00eb k\u00ebrkoj \u00ebsht\u00eb t\u00eb refuzosh k\u00ebrkes\u00ebn time sepse kjo nuk \u00ebsht\u00eb ajo!\u201d<\/span><\/span><\/p>

\u00cbsht\u00eb kjo intuit\u00eb q\u00eb q\u00ebndron pas urt\u00ebsis\u00eb fam\u00ebkeqe t\u00eb mashkullit shovinist q\u00eb \u201cgruaja \u00ebsht\u00eb lavire\u201d: gruaja \u00ebsht\u00eb nj\u00eb lavir\u00eb sepse kurr\u00eb nuk e dim\u00eb me t\u00eb v\u00ebrtet\u00eb se \u00e7far\u00eb do ajo t\u00eb thot\u00eb \u2013 p\u00ebr shembull, ajo thot\u00eb \u201cJo!\u201d ndaj ngacmimeve tona, por kurr\u00eb nuk mund t\u00eb jemi t\u00eb sigurt q\u00eb kjo \u201cJo!\u201d nuk do t\u00eb thot\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb nj\u00eb \u201cPo!\u201d t\u00eb dyfisht\u00eb \u2013 nj\u00eb apel p\u00ebr nj\u00eb qasje edhe m\u00eb agresive; n\u00eb k\u00ebt\u00eb rast, d\u00ebshira e saj e v\u00ebrtet\u00eb \u00ebsht\u00eb bash e kund\u00ebrta e k\u00ebrkes\u00ebs s\u00eb saj. Me fjal\u00eb t\u00eb tjera, \u201cgruaja \u00ebsht\u00eb nj\u00eb lavir\u00eb\u201d \u00ebsht\u00eb nj\u00eb version vulgar i pyetjes frojdiane pa p\u00ebrgjigje \u201cWas will das Weib?\u201d (\u00c7far\u00eb d\u00ebshiron gruaja?).<\/span><\/p>

E nj\u00ebjta intuit\u00eb ndoshta q\u00ebndron pas nj\u00eb urt\u00ebsie tjet\u00ebr t\u00eb zakonshme, q\u00eb na thot\u00eb se edhe politika \u00ebsht\u00eb nj\u00eb lavir\u00eb: nuk \u00ebsht\u00eb thjesht fakti q\u00eb fusha e politik\u00ebs \u00ebsht\u00eb e korruptuar, e pabes\u00eb e k\u00ebshtu me radh\u00eb; \u00e7\u00ebshtja \u00ebsht\u00eb se \u00e7do k\u00ebrkes\u00eb politike gjithmon\u00eb kapet n\u00eb nj\u00eb dialektik\u00eb ku synon di\u00e7ka tjet\u00ebr p\u00ebrpos kuptimit t\u00eb saj t\u00eb drejtp\u00ebrdrejt\u00eb: p\u00ebr shembull, ajo mund t\u00eb funksionoj\u00eb si nj\u00eb provokim me q\u00ebllim q\u00eb t\u00eb refuzohet (n\u00eb t\u00eb cilin rast, m\u00ebnyra m\u00eb e mir\u00eb p\u00ebr ta frustruar \u00ebsht\u00eb ta pranosh at\u00eb pa rezerv\u00eb). Si\u00e7 dihet mir\u00eb, ky ishte qortimi i Lakanit p\u00ebr revolt\u00ebn studentore t\u00eb vitit 1968: q\u00eb n\u00eb thelb ishte nj\u00eb rebelim histerik q\u00eb k\u00ebrkonte nj\u00eb Mjesht\u00ebr t\u00eb ri.<\/span><\/p>

Kjo \u201c<\/span>Che vuoi?<\/span><\/i>\u201d ndoshta ilustrohet m\u00eb s\u00eb miri nga fillimi i filmit t\u00eb Hitchcock-ut <\/span>North by Northwest<\/span><\/i>. P\u00ebr t\u00eb mashtruar agjent\u00ebt rus\u00eb, CIA shpik nj\u00eb agjent inekzistent t\u00eb quajtur George Kaplan. Rezervohen dhoma p\u00ebr t\u00eb n\u00eb hotele, b\u00ebhen telefonata n\u00eb emrin e tij, blihen bileta avioni dhe k\u00ebshtu me radh\u00eb \u2013 e gjitha kjo p\u00ebr t\u00eb bindur agjent\u00ebt rus\u00eb se Kaplan ekziston v\u00ebrtet, kur n\u00eb realitet ai \u00ebsht\u00eb thjesht nj\u00eb bosh, nj\u00eb em\u00ebr pa bart\u00ebs. N\u00eb fillim t\u00eb filmit, heroi, nj\u00eb amerikan i zakonsh\u00ebm i quajtur Roger O. Thornhill, gjendet n\u00eb sall\u00ebn e nj\u00eb hoteli n\u00ebn v\u00ebzhgimin e rus\u00ebve sepse Kaplani misterioz supozohet t\u00eb jet\u00eb atje. Nj\u00eb sh\u00ebrbyes hoteli hyn n\u00eb sall\u00eb dhe thot\u00eb: \u201ctelefonat\u00eb p\u00ebr zotin Kaplan. A \u00ebsht\u00eb k\u00ebtu zoti Kaplan?\u201d Pik\u00ebrisht n\u00eb at\u00eb moment, krejt rast\u00ebsisht, Thornhill i b\u00ebn nj\u00eb shenj\u00eb k\u00ebtij sh\u00ebrbyesi, duke dashur t\u00eb d\u00ebrgoj\u00eb nj\u00eb telegram n\u00ebn\u00ebs s\u00eb tij. Rus\u00ebt, q\u00eb po v\u00ebzhgojn\u00eb sken\u00ebn, e ngat\u00ebrrojn\u00eb at\u00eb me Kaplanin. Kur ai d\u00ebshiron t\u00eb largohet nga hoteli, ata e rr\u00ebmbejn\u00eb, e \u00e7ojn\u00eb n\u00eb nj\u00eb vil\u00eb t\u00eb vetmuar dhe i k\u00ebrkojn\u00eb t\u2019u tregoj\u00eb gjith\u00e7ka rreth pun\u00ebs s\u00eb tij t\u00eb spiunazhit. Sigurisht, Thornhill nuk di asgj\u00eb p\u00ebr k\u00ebt\u00eb, por deklaratat e tij t\u00eb pafaj\u00ebsis\u00eb perceptohen si nj\u00eb loj\u00eb e dyfisht\u00eb.<\/span><\/span><\/p>

Ku q\u00ebndron natyra \u2013 q\u00eb dikush do mund ta quaj\u00eb \u2013 psikologjikisht bind\u00ebse e k\u00ebsaj skene, e cila bazohet gjithsesi n\u00eb nj\u00eb koincidenc\u00eb pothuajse t\u00eb pabesueshme? Situata e Thornhillit p\u00ebrkon me nj\u00eb situat\u00eb themelore t\u00eb qenies njer\u00ebzore si qenie e gjuh\u00ebs (<\/span>parl\u00eatre<\/span><\/i>, p\u00ebr t\u00eb p\u00ebrdorur shprehjen e kondensuar t\u00eb Lakanit). Subjekti gjithmon\u00eb fashitet, fiksohet, pas nj\u00eb shenjuesi q\u00eb e p\u00ebrfaq\u00ebson at\u00eb p\u00ebr tjetrin dhe p\u00ebrmes k\u00ebsaj fashitjeje, ai ngarkohet me nj\u00eb mandat simbolik, i jepet nj\u00eb vend n\u00eb rrjetin nd\u00ebrsubjektiv t\u00eb marr\u00ebdh\u00ebnieve simbolike. Argumenti \u00ebsht\u00eb se ky mandat mbetet tek e fundit gjithnj\u00eb arbitrar: duke qen\u00eb se natyra e tij \u00ebsht\u00eb performative, nuk mund t\u00eb shpjegohet me referenc\u00eb ndaj vetive dhe kapaciteteve \u201creale\u201d t\u00eb subjektit. K\u00ebshtu, i ngarkuar me k\u00ebt\u00eb mandat, subjekti automatikisht p\u00ebrballet me nj\u00eb \u201c<\/span>Che vuoi?<\/span><\/i>\u201d t\u00eb caktuar, me nj\u00eb pyetje nga Tjetri. Tjetri i drejtohet atij sikur vet\u00eb subjekti t\u00eb ket\u00eb p\u00ebrgjigjen p\u00ebr pyetjen pse ai e ka k\u00ebt\u00eb mandat; por pyetjes, sigurisht, nuk i p\u00ebrgjigjesh dot. Subjekti nuk e di pse po z\u00eb k\u00ebt\u00eb vend n\u00eb rrjetin simbolik. P\u00ebrgjigjja e tij e vetme ndaj k\u00ebsaj \u201c<\/span>Che vuoi?<\/span><\/i>\u201d t\u00eb Tjetrit mund t\u00eb jet\u00eb pyetja histerike: \u201cPse jam un\u00eb \u00e7ka supozohet t\u00eb jem, pse kam un\u00eb k\u00ebt\u00eb mandat? Pse jam un\u00eb (m\u00ebsues, zot\u00ebri, mbret… ose George Kaplan)?\u201d Shkurt: \u201c<\/span>Pse jam un\u00eb \u00e7ka ti (Tjetri i madh) po thua se un\u00eb jam?<\/span><\/i>\u201d<\/span><\/span><\/p>

Dhe \u00e7asti p\u00ebrfundimtar i procesit psikoanalitik \u00ebsht\u00eb, p\u00ebr analizandin \u2013 p\u00ebr subjektin q\u00eb i n\u00ebnshtrohet analiz\u00ebs \u2013 pik\u00ebrisht kur ai shp\u00ebton nga kjo pyetje: dometh\u00ebn\u00eb, kur e pranon qenien e tij si t\u00eb <\/span>pa-justifikuar nga Tjetri i madh<\/span><\/i>. Kjo \u00ebsht\u00eb arsyeja pse psikoanaliza filloi me interpretimin e simptomave histerike, pse \u201ctoka e saj am\u00eb\u201d ishte p\u00ebrvoja e histeris\u00eb fem\u00ebrore: n\u00eb analiz\u00eb t\u00eb fundit, \u00e7far\u00eb \u00ebsht\u00eb histeria n\u00eb mos pik\u00ebrisht efekti dhe d\u00ebshmia e nj\u00eb interpelimi t\u00eb d\u00ebshtuar? \u00c7far\u00eb \u00ebsht\u00eb pyetja histerike, n\u00ebse jo nj\u00eb artikulim i paaft\u00ebsis\u00eb s\u00eb subjektit p\u00ebr t\u00eb p\u00ebrmbushur identifikimin simbolik, p\u00ebr t\u00eb marr\u00eb plot\u00ebsisht dhe pa hezitim mandatin simbolik? Lakani e formulon pyetjen histerike si nj\u00ebfar\u00eb \u201cPse jam ajo q\u00eb po m\u00eb thoni se jam?\u201d \u2013 pra, cili \u00ebsht\u00eb ai objekt q\u00eb mbetet tep\u00ebr n\u00eb mua, q\u00eb e shtiu a shkaktoi Tjetrin t\u00eb m\u00eb interpelonte, t\u00eb m\u00eb \u201cth\u00ebrriste\u201d si… (mbret, mjesht\u00ebr, grua…)?3<\/sup><\/span> Pyetja histerike hap hendekun e asaj q\u00eb \u00ebsht\u00eb \u201cm\u00eb shum\u00eb se subjekti brenda subjektit\u201d, t\u00eb <\/span>objektit n\u00eb subjekt<\/span><\/i> q\u00eb i reziston interpelimit \u2013 n\u00ebnrenditjes t\u00eb subjektit, p\u00ebrfshirjes s\u00eb tij n\u00eb rrjetin simbolik.<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Ndoshta paraqitja m\u00eb e fuqishme artistike e k\u00ebtij momenti t\u00eb histerizimit \u00ebsht\u00eb piktura e famshme e Rossetti-t <\/span>Ecce Ancilla Domini<\/span><\/i>4<\/sup><\/span> q\u00eb tregon Marian bash n\u00eb momentin e interpelimit \u2013 kur Kryeengj\u00eblli Gabriel i zbulon asaj misionin: t\u00eb ngjiz\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb pap\u00ebrlyer dhe t\u00eb lind\u00eb birin e Zotit. Si reagon Maria ndaj k\u00ebtij mesazhi shtang\u00ebs, ndaj k\u00ebsaj \u201cP\u00ebrsh\u00ebndetje Mari\u201d zanafillore? Piktura e tregon at\u00eb t\u00eb frik\u00ebsuar, me brejtje nd\u00ebrgjegjeje, e t\u00ebrhequr n\u00eb qoshk\u00eb nga kryeengj\u00eblli, sikur t\u00eb pyes\u00eb veten: \u201cPse u zgjodha un\u00eb p\u00ebr k\u00ebt\u00eb mision t\u00eb pakuptimt\u00eb? Pse un\u00eb? \u00c7far\u00eb d\u00ebshiron v\u00ebrtet kjo fantazm\u00eb e neveritshme prej meje?\u201d Fytyra e saj e kapitur, e zbeht\u00eb dhe syt\u00eb e err\u00ebt jan\u00eb mjaft tregues: p\u00ebrball\u00eb nesh \u00ebsht\u00eb nj\u00eb grua me nj\u00eb jet\u00eb seksuale t\u00eb trazuar, nj\u00eb m\u00ebkatare e shthurur \u2013 shkurt, nj\u00eb figur\u00eb si Eva; dhe piktura paraqet \u201cEv\u00ebn e interpeluar n\u00eb Mari\u201d, reagimin e saj histerik ndaj k\u00ebsaj thirrjeje.<\/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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Dante Gabriel Rosseti - Ecce ancilla Domini\n<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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Filmi i Martin Scorseses <\/span>The Last Temptation of Christ<\/span><\/i> shkon nj\u00eb hap m\u00eb tej n\u00eb k\u00ebt\u00eb drejtim: tema e tij \u00ebsht\u00eb thjesht <\/span>histerizimi i vet\u00eb Jezu Krishtit<\/span><\/i>; filmi na tregon nj\u00eb njeri t\u00eb zakonsh\u00ebm, prej mishi, plot pasion, q\u00eb gradualisht, me magjepsje dhe tmerr, zbulon se \u00ebsht\u00eb biri i Zotit, mbart\u00ebs i misionit t\u00eb tmerrsh\u00ebm, por t\u00eb mrekulluesh\u00ebm, p\u00ebr t\u00eb sh\u00eblbyer njer\u00ebzimin p\u00ebrmes sakrific\u00ebs s\u00eb tij. Problemi \u00ebsht\u00eb se ai nuk mund t\u00eb pajtohet me k\u00ebt\u00eb interpelim: kuptimi i \u201ctundimeve\u201d t\u00eb tij q\u00ebndron pik\u00ebrisht n\u00eb rezistenc\u00ebn histerike ndaj mandatit t\u00eb tij, n\u00eb dyshimet e tij p\u00ebr t\u00eb, n\u00eb p\u00ebrpjekjet p\u00ebr ta shmangur edhe kur tashm\u00eb \u00ebsht\u00eb gozhduar n\u00eb kryq.5<\/sup><\/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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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\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
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1. <\/span><\/span><\/span>Jacques-Alain Miller, \u201cLes R\u00e9ponses du reel\u201d, te <\/span>Aspects du malaise dans la civilisation<\/span><\/i>, Paris: Navarin, 1987, f. 21.<\/span>
<\/span><\/span><\/span><\/p>

2.<\/span><\/span>\u00a0N\u00eb teorin\u00eb e Jacques Lakan-it, <\/span>\u00e9nonc\u00e9<\/span><\/i> i referohet p\u00ebrmbajtjes s\u00eb th\u00ebn\u00eb, vet\u00eb deklarat\u00ebs apo shprehjes gjuh\u00ebsore, nd\u00ebrsa <\/span>\u00e9nonciation<\/span><\/i> i referohet aktit t\u00eb t\u00eb folurit, procesit dhe pozicionit subjektiv q\u00eb e prodhon at\u00eb deklarat\u00eb. Ky dallim thekson se kuptimi i gjuh\u00ebs nuk q\u00ebndron vet\u00ebm n\u00eb at\u00eb q\u00eb thuhet, por edhe n\u00eb m\u00ebnyr\u00ebn dhe kontekstin n\u00eb t\u00eb cilin thuhet, duke zbuluar aspekte t\u00eb pavet\u00ebdijshme t\u00eb subjektit. (Shih Jacques Lakan, <\/span>\u00c9crits<\/span><\/i>, 1966). [Sh\u00ebn. i p\u00ebrkth.]<\/span><\/span><\/p>

3.<\/span><\/span>\u00a0Jacques Lakan, <\/span>Le S\u00e9minaire III Les psychoses<\/span><\/i>, Paris: Seuil, 1981, f. 315. <\/span><\/span><\/p>

4. Piktura e Rossetti-t, Ecce Ancilla Domini <\/i><\/span><\/span><\/p>

5. <\/i><\/span><\/span>Arritja tjet\u00ebr e filmit \u00ebsht\u00eb rehabilitimi p\u00ebrfundimtar i Jud\u00ebs si heroi i v\u00ebrtet\u00eb tragjik i k\u00ebsaj historie: ai ishte ai q\u00eb kishte dashurin\u00eb m\u00eb t\u00eb madhe p\u00ebr Krishtin dhe p\u00ebr k\u00ebt\u00eb arsye Krishti e konsideroi at\u00eb mjaftuesh\u00ebm t\u00eb fort\u00eb p\u00ebr t\u00eb p\u00ebrmbushur misionin e tmerrsh\u00ebm t\u00eb tradhtis\u00eb, duke siguruar k\u00ebshtu p\u00ebrmbushjen e fatit t\u00eb Krishtit (Kryq\u00ebzimin). Tragjedia e Jud\u00ebs ishte se, n\u00eb em\u00ebr t\u00eb p\u00ebrkushtimit t\u00eb tij ndaj Kauz\u00ebs, ai ishte i p\u00ebrgatitur t\u00eb rrezikonte jo vet\u00ebm jet\u00ebn e tij, por edhe \u201cjet\u00ebn e tij t\u00eb dyt\u00eb\u201d, emrin e tij t\u00eb mir\u00eb pas vdekjes: ai e dinte shum\u00eb mir\u00eb se do t\u00eb hynte n\u00eb histori si ai q\u00eb tradhtoi Shp\u00ebtimtarin ton\u00eb dhe ishte i gatsh\u00ebm t\u00eb duronte edhe k\u00ebt\u00eb p\u00ebr p\u00ebrmbushjen e misionit t\u00eb Zotit. Jezusi e p\u00ebrdori Jud\u00ebn si nj\u00eb mjet p\u00ebr t\u00eb arritur q\u00ebllimin e tij, duke e ditur mir\u00eb se vet\u00eb vuajtjet e tij do t\u00eb shnd\u00ebrroheshin n\u00eb nj\u00eb model p\u00ebr t\u2019u imituar nga miliona (<\/span>imitatio Christi<\/span><\/i>), nd\u00ebrsa sakrifica e Jud\u00ebs \u00ebsht\u00eb nj\u00eb humbje e kulluar pa asnj\u00eb p\u00ebrfitim narcisist. Ndoshta ai \u00ebsht\u00eb pak i ngjash\u00ebm me viktimat besnike t\u00eb gjyqeve t\u00eb p\u00ebrbindshme staliniste q\u00eb rr\u00ebfenin faj\u00ebsin\u00eb e tyre, shpallnin veten pleh t\u00eb mjer\u00eb, duke e ditur se duke vepruar k\u00ebshtu ata po p\u00ebrmbushnin sh\u00ebrbimin e fundit dhe m\u00eb t\u00eb lart\u00eb p\u00ebr Kauz\u00ebn e Revolucionit.<\/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

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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tPjesa e kat\u00ebrt<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

\u00c7ifuti dhe Antigona<\/span><\/span><\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tTeksti i plot\u00eb<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Che vuoi, grafiku i d\u00ebshir\u00ebs (I plot\u00eb)<\/span><\/span><\/a><\/h2><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\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
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Imazhi i ballin\u00ebs<\/strong><\/em><\/span>:<\/span> Alexander Lunyov n\u00eb<\/span>\u00a0Unsplash<\/a><\/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":"

Marr\u00ebdh\u00ebnia midis identifikimit imagjinar dhe simbolik \u2013 midis egos ideale (Idealich) dhe idealit t\u00eb egos (Ich-Ideal) \u2013 \u00ebsht\u00eb, duke p\u00ebrdorur dallimin e b\u00ebr\u00eb nga Jacques-Alain Miller (n\u00eb Seminarin e tij t\u00eb pabotuar), ajo mes identifikimit t\u00eb \u201cthemeluar\u201d dhe identifikimit \u201cthemelues\u201d: p\u00ebr ta th\u00ebn\u00eb thjesht, identifikimi imagjinar \u00ebsht\u00eb identifikimi me imazhin n\u00eb t\u00eb cilin dukemi t\u00eb p\u00eblqyesh\u00ebm p\u00ebr veten, me imazhin q\u00eb p\u00ebrfaq\u00ebson \u201cat\u00eb q\u00eb do t\u00eb donim t\u00eb ishim\u201d, nd\u00ebrsa identifikimi simbolik \u00ebsht\u00eb identifikimi me vet\u00eb vendin nga ku po na vrojtojn\u00eb, nga ku ne shikojm\u00eb veten q\u00eb t\u00eb dukemi t\u00eb p\u00eblqyesh\u00ebm p\u00ebr veten, t\u00eb denj\u00eb p\u00ebr dashuri. Ideja jon\u00eb mbizot\u00ebruese dhe spontane e identifikimit \u00ebsht\u00eb ajo e imitimit t\u00eb modeleve, idealeve, krijuesve t\u00eb imazhit: zakonisht vihet re (nga perspektiva \u201ce pjekur\u201d p\u00ebr\u00e7muese) se si t\u00eb rinjt\u00eb identifikohen me heronjt\u00eb popullor\u00eb, k\u00ebng\u00ebtar\u00ebt pop, yjet e filmit, sportist\u00ebt… Kjo ide spontane \u00ebsht\u00eb dy her\u00eb gabim. S\u00eb pari, ve\u00e7oria, tipari mbi baz\u00ebn e t\u00eb cilit ne identifikohemi me dik\u00eb, zakonisht \u00ebsht\u00eb i fshehur \u2013 nuk \u00ebsht\u00eb medoemos nj\u00eb tipar magjeps\u00ebs a t\u00ebrheq\u00ebs.<\/p>","protected":false},"author":2,"featured_media":29921,"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":"","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":0,"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":[5,829],"tags":[529,1179,237,305,1176],"class_list":["post-29920","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulture","category-perkthime","tag-genc-shehu","tag-imazh-dhe-veshtrim","tag-perkthim","tag-sllavoj-zhizhek","tag-the-sublime-object-of-ideology","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/29920","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=29920"}],"version-history":[{"count":29,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/29920\/revisions"}],"predecessor-version":[{"id":30031,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/29920\/revisions\/30031"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/29921"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=29920"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=29920"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/ta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