{"id":29940,"date":"2026-03-22T17:43:52","date_gmt":"2026-03-22T16:43:52","guid":{"rendered":"https:\/\/nyje.al\/?p=29940"},"modified":"2026-03-22T17:44:02","modified_gmt":"2026-03-22T16:44:02","slug":"cifuti-dhe-antigona-sllavoj-zhizhek-iv","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/cifuti-dhe-antigona-sllavoj-zhizhek-iv\/","title":{"rendered":"\u00c7ifuti dhe Antigona – Sllavoj Zhizhek (IV)"},"content":{"rendered":"
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\u00c7ifuti dhe Antigona<\/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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K\u00ebt\u00eb \u201c<\/span>Che vuoi?<\/span><\/i>\u201d e ndeshim kudo n\u00eb fush\u00ebn politike, p\u00ebrfshir\u00eb n\u00eb luft\u00ebn zgjedhore amerikane t\u00eb vitit 1988, ku, pas sukseseve t\u00eb para t\u00eb Jesse Jackson, shtypi filloi t\u00eb pyes\u00eb: \u201c\u00c7far\u00eb d\u00ebshiron v\u00ebrtet Jackson?\u201d \u00cbsht\u00eb e leht\u00eb t\u00eb dallohen n\u00ebntonet raciste n\u00eb k\u00ebt\u00eb pyetje, sepse kjo pyetje kurr\u00eb nuk ngrihej p\u00ebr kandidat\u00ebt e tjer\u00eb. P\u00ebrfundimi se kemi t\u00eb b\u00ebjm\u00eb me raciz\u00ebm konfirmohet m\u00eb tej nga fakti se kjo \u201c<\/span>Che vuoi?<\/span><\/i>\u201d shp\u00ebrthen m\u00eb dhunsh\u00ebm n\u00eb form\u00ebn m\u00eb t\u00eb kulluar, si t\u00eb thuash t\u00eb distiluar, t\u00eb racizmit, n\u00eb anti-semitiz\u00ebm: n\u00eb perspektiv\u00ebn antisemite, \u00e7ifuti \u00ebsht\u00eb pik\u00ebrisht nj\u00eb person p\u00ebr t\u00eb cilin nuk \u00ebsht\u00eb kurr\u00eb e qart\u00eb \u201c\u00e7far\u00eb d\u00ebshiron v\u00ebrtet\u201d \u2013 pra, veprimet e tij gjithmon\u00eb dyshohen se udh\u00ebhiqen nga disa motive t\u00eb fshehta (konspiracioni \u00e7ifut, dominimi i bot\u00ebs dhe korruptimi moral i jo-\u00e7ifut\u00ebve, e k\u00ebshtu me radh\u00eb). Rasti i antisemitizmit gjithashtu ilustron n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrsosur pse Lakani vendosi, n\u00eb fund t\u00eb lakores q\u00eb sh\u00ebnon pyetjen \u201c<\/span>Che vuoi?<\/span><\/i>\u201d, formul\u00ebn e fantazis\u00eb (<\/span>$ \u25ca o<\/i><\/b>): fantazia \u00ebsht\u00eb <\/span>nj\u00eb p\u00ebrgjigje<\/span><\/i> ndaj k\u00ebsaj \u201c<\/span>Che vuoi?<\/span><\/i>\u201d; ajo \u00ebsht\u00eb nj\u00eb rrekje p\u00ebr t\u00eb mbushur boshll\u00ebkun e pyetjes me nj\u00eb p\u00ebrgjigje. N\u00eb rastin e antisemitizmit, p\u00ebrgjigja ndaj \u201c\u00c7far\u00eb d\u00ebshiron \u00e7ifuti?\u201d \u00ebsht\u00eb fantazia e \u201ckonspiracionit \u00e7ifut\u201d: nj\u00eb fuqi misterioze e \u00e7ifut\u00ebve p\u00ebr t\u00eb manipuluar ngjarjet, p\u00ebr t\u00eb t\u00ebrhequr fijet nga prapaskena. Argumenti ky\u00e7 q\u00eb duhet b\u00ebr\u00eb k\u00ebtu n\u00eb nj\u00eb nivel teorik \u00ebsht\u00eb se fantazia funksionon si nj\u00eb konstruksion, si skenar imagjinar q\u00eb mbush boshll\u00ebkun, \u00e7eljen e <\/span>d\u00ebshir\u00ebs s\u00eb Tjetrit<\/span><\/i>: Duke na dh\u00ebn\u00eb nj\u00eb p\u00ebrgjigje p\u00ebrfundimtare ndaj pyetjes \u201c\u00c7far\u00eb do Tjetri?\u201d, [fantazia] na lejon t\u00eb shmangim ng\u00ebr\u00e7in e paduruesh\u00ebm ku Tjetri k\u00ebrkon di\u00e7ka nga ne, por ne n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb jemi t\u00eb paaft\u00eb ta p\u00ebrkthejm\u00eb k\u00ebt\u00eb d\u00ebshir\u00eb t\u00eb Tjetrit n\u00eb nj\u00eb interpelim pozitiv, n\u00eb nj\u00eb mandat me t\u00eb cilin t\u00eb identifikohemi.<\/span><\/span><\/p>

Tani mund t\u00eb kuptojm\u00eb edhe p\u00ebrse ka ngjar\u00eb q\u00eb pik\u00ebrisht \u00e7ifut\u00ebt jan\u00eb p\u00ebrzgjedhur si objekti <\/span>par excellence<\/span><\/i> i racizmit: a nuk \u00ebsht\u00eb Zoti hebraik mish\u00ebrimi m\u00eb i kulluar i k\u00ebtij \u201c<\/span>Che vuoi?<\/span><\/i>\u201d, i d\u00ebshir\u00ebs s\u00eb Tjetrit n\u00eb humner\u00ebn e saj t\u00eb tmerrshme, me ndalimin formal p\u00ebr t\u00eb \u201cb\u00ebr\u00eb imazhe t\u00eb Zotit\u201d \u2013 p\u00ebr t\u00eb mbushur boshll\u00ebkun e d\u00ebshir\u00ebs s\u00eb Tjetrit me nj\u00eb skenar pozitiv fantazie? Edhe kur, si n\u00eb rastin e Abrahamit, ky Zot shpall nj\u00eb k\u00ebrkes\u00eb konkrete (duke urdh\u00ebruar Abrahamin t\u00eb ther\u00eb djalin e tij), mbetet e hapur se \u00e7far\u00eb do v\u00ebrtet nga kjo: t\u00eb thuash se me k\u00ebt\u00eb akt t\u00eb lemeritsh\u00ebm Abrahami duhet t\u00eb d\u00ebshmoj\u00eb besimin dhe p\u00ebrkushtimin e tij t\u00eb pafund ndaj Zotit \u00ebsht\u00eb nj\u00eb thjeshtim i papranuesh\u00ebm. Pozicioni baz\u00eb i nj\u00eb besimtari \u00e7ifut \u00ebsht\u00eb, at\u00ebher\u00eb, ai i Jobit: jo aq shum\u00eb vajtim sa moskuptim, hutim, madje lemeri ndaj asaj q\u00eb do Tjetri (Zoti) me serin\u00eb e gj\u00ebmave q\u00eb i dergjen atij.<\/span><\/span><\/p>

Ky hutim i lemeritur sh\u00ebnon marr\u00ebdh\u00ebnien fillestare, themeluese t\u00eb besimtarit \u00e7ifut me Zotin, paktin q\u00eb Zoti sosi me popullin hebre. Fakti q\u00eb \u00e7ifut\u00ebt e perceptojn\u00eb veten si \u201cpopulli i zgjedhur\u201d nuk ka t\u00eb b\u00ebj\u00eb fare me nj\u00eb besim n\u00eb superioritetin e tyre; ata nuk zot\u00ebrojn\u00eb ndonj\u00eb cil\u00ebsi t\u00eb ve\u00e7ant\u00eb; para paktit me Zotin ata ishin nj\u00eb popull si \u00e7do tjet\u00ebr, as m\u00eb shum\u00eb dhe as m\u00eb pak i korruptuar, duke jetuar jet\u00ebn e tyre t\u00eb zakonshme \u2013 kur papritur, si nj\u00eb shk\u00ebndij\u00eb traumatike, ata m\u00ebsuan (p\u00ebrmes Moisiut\u2026) se Tjetri i kishte zgjedhur ata. Zgjedhja pra nuk ishte n\u00eb fillim, nuk p\u00ebrcaktoi \u201ckarakterin origjinal\u201d t\u00eb \u00e7ifut\u00ebve \u2013 p\u00ebr t\u00eb p\u00ebrdorur s\u00ebrish terminologjin\u00eb e Kripkes, nuk ka t\u00eb b\u00ebj\u00eb fare me tiparet e tyre p\u00ebrshkruese. Pse u zgjodh\u00ebn ata, p\u00ebrse u gjet\u00ebn papritur duke z\u00ebn\u00eb vendin e nj\u00eb borxhliu ndaj Zotit? \u00c7far\u00eb do Zoti n\u00eb t\u00eb v\u00ebrtet\u00eb prej tyre? P\u00ebrgjigjja \u00ebsht\u00eb \u2013 p\u00ebr t\u00eb p\u00ebrs\u00ebritur formul\u00ebn paradoksale t\u00eb ndalimit t\u00eb in\u00e7estit \u2013 e pamundur dhe e ndaluar n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb.<\/span><\/p>

Me fjal\u00eb t\u00eb tjera, pozicioni hebraik mund t\u00eb p\u00ebrshkruhet si pozicion i <\/span>Zotit p\u00ebrtej \u2013 ose para \u2013 s\u00eb Shenjt\u00ebs<\/span><\/i>, n\u00eb kontrast me pohimin pagan t\u00eb s\u00eb Shenjt\u00ebs si para per\u00ebndive. Ky zot i \u00e7uditsh\u00ebm q\u00eb e err\u00ebson p\u00ebrmas\u00ebn e s\u00eb Shenjt\u00ebs nuk \u00ebsht\u00eb \u201cZoti i filozofit\u201d, menaxheri racional i universit q\u00eb e b\u00ebn t\u00eb pamundur ekstaz\u00ebn e shenjt\u00eb si mjet komunikimi me t\u00eb: ai \u00ebsht\u00eb thjesht pika e padurueshme e d\u00ebshir\u00ebs s\u00eb Tjetrit, e hendekut a boshll\u00ebkut brenda Tjetrit, i fshehur nga prania mahnit\u00ebse e s\u00eb Shenjt\u00ebs. \u00c7ifut\u00ebt persistojn\u00eb n\u00eb k\u00ebt\u00eb enigm\u00eb t\u00eb d\u00ebshir\u00ebs s\u00eb Tjetrit, n\u00eb k\u00ebt\u00eb pik\u00eb traumatike t\u00eb nj\u00eb \u201c<\/span>Che vuoi?<\/span><\/i>\u201d t\u00eb kulluar q\u00eb zgjon nj\u00eb ankth t\u00eb paduruesh\u00ebm p\u00ebr aq sa nuk mund t\u00eb simbolizohet, t\u00eb \u201czbutet\u201d, p\u00ebrmes sakrific\u00ebs ose p\u00ebrkushtimit dashuror.<\/span><\/span><\/p>

Pik\u00ebrisht n\u00eb k\u00ebt\u00eb nivel duhet t\u00eb lokalizojm\u00eb shk\u00ebputjen midis krishterimit dhe fes\u00eb hebraike \u2013 faktin q\u00eb, n\u00eb kontrast me fen\u00eb hebraike t\u00eb <\/span>ankthit<\/span><\/i>, krishterimi \u00ebsht\u00eb nj\u00eb fe <\/span>dashurie<\/span><\/i>. Termi \u201cdashuri\u201d duhet kuptuar k\u00ebtu si\u00e7 \u00ebsht\u00eb artikuluar n\u00eb teorin\u00eb lakaniane \u2013 dometh\u00ebn\u00eb, n\u00eb p\u00ebrmas\u00ebn e vet t\u00eb mashtrimit themelor: ne p\u00ebrpiqemi t\u00eb mbushim boshll\u00ebkun e paduruesh\u00ebm t\u00eb \u201c<\/span>Che vuoi?<\/span><\/i>\u201d, \u00e7eljen e d\u00ebshir\u00ebs s\u00eb Tjetrit, duke iu ofruar Tjetrit si objekti i d\u00ebshir\u00ebs s\u00eb tij. N\u00eb k\u00ebt\u00eb kuptim, si\u00e7 vuri n\u00eb dukje Lakan, dashuria \u00ebsht\u00eb nj\u00eb interpretim i d\u00ebshir\u00ebs s\u00eb Tjetrit: p\u00ebrgjigjja e dashuris\u00eb \u00ebsht\u00eb \u201cUn\u00eb jam ajo q\u00eb t\u00eb mungon ty; me p\u00ebrkushtimin tim ndaj teje, me sakrific\u00ebn time p\u00ebr ty, do t\u00eb t\u00eb plot\u00ebsoj, do t\u00eb t\u00eb p\u00ebrmbush.\u201d Operacioni i dashuris\u00eb \u00ebsht\u00eb, pra, i dyfisht\u00eb: subjekti mbush vet\u00eb munges\u00ebn e tij duke iu ofruar tjetrit si objekt q\u00eb plot\u00ebson munges\u00ebn n\u00eb Tjetrin \u2013 mashtrimi i dashuris\u00eb \u00ebsht\u00eb se kjo mbivendosje e dy mungesave anulon munges\u00ebn si t\u00eb till\u00eb n\u00eb nj\u00eb plot\u00ebsim t\u00eb nd\u00ebrsjell\u00eb.<\/span><\/span><\/p>

Krishterimi, pra, duhet kuptuar si p\u00ebrpjekje p\u00ebr t\u00eb \u201cgjentrifikuar\u201d apo zbutur k\u00ebt\u00eb \u201c<\/span>Che vuoi?<\/span><\/i>\u201d t\u00eb \u00e7ifut\u00ebve p\u00ebrmes aktit t\u00eb dashuris\u00eb dhe sakrific\u00ebs. Sakrifica m\u00eb e madhe e mundshme, Kryq\u00ebzimi, vdekja e birit t\u00eb Zotit, \u00ebsht\u00eb pik\u00ebrisht d\u00ebshmia p\u00ebrfundimtare se Zot-Ati na do me nj\u00eb dashuri q\u00eb p\u00ebrqafon gjith\u00e7ka, t\u00eb pafund, duke na \u00e7liruar k\u00ebshtu nga ankthi i \u201c<\/span>Che vuoi?<\/span><\/i>\u201d. Pasioni i Krishtit, ky imazh mahnit\u00ebs q\u00eb anulon t\u00eb gjitha imazhet e tjera, ky skenar fantazie q\u00eb kondenson t\u00eb gjith\u00eb ekonomin\u00eb libidinale t\u00eb fes\u00eb s\u00eb krishter\u00eb, merr kuptimin e vet vet\u00ebm n\u00eb sfondin e enigm\u00ebs s\u00eb padurueshme t\u00eb d\u00ebshir\u00ebs s\u00eb Tjetrit (Zotit).<\/span><\/span><\/p>

Sigurisht, jemi larg nga t\u00eb sugjeruarit q\u00eb krishterimi n\u00ebnkupton nj\u00eb lloj rikthimi n\u00eb marr\u00ebdh\u00ebnien pagane t\u00eb njeriut me zotin: q\u00eb kjo nuk \u00ebsht\u00eb k\u00ebshtu d\u00ebshmohet sakaq nga fakti se, p\u00ebrkund\u00ebr dukjes sip\u00ebrfaq\u00ebsore, krishterimi ndjek fen\u00eb hebraike n\u00eb err\u00ebsimin e p\u00ebrmas\u00ebs t\u00eb s\u00eb Shenjt\u00ebs. Ajo q\u00eb gjejm\u00eb n\u00eb krishterim \u00ebsht\u00eb di\u00e7ka e nj\u00eb rendi krejt tjet\u00ebr: ideja e <\/span>shenjtorit<\/span><\/i>, q\u00eb \u00ebsht\u00eb e kund\u00ebrta e p\u00ebrpikt\u00eb e <\/span>priftit<\/span><\/i> n\u00eb sh\u00ebrbim t\u00eb s\u00eb Shenjt\u00ebs. Prifti \u00ebsht\u00eb nj\u00eb \u201cfunksionar i s\u00eb Shenjt\u00ebs\u201d; nuk ka t\u00eb Shenjt\u00eb pa zyrtar\u00ebt e saj, pa makinerin\u00eb burokratike q\u00eb e mb\u00ebshtet, q\u00eb organizon ritualet e saj, nga zyrtari i sakrific\u00ebs njer\u00ebzore, tek astek\u00ebt e deri te ritualet moderne t\u00eb shtetit t\u00eb shenjt\u00eb ose t\u00eb ushtris\u00eb. Shenjtori, p\u00ebrkundrazi, z\u00eb vendin e <\/span>objet petit a<\/span><\/i>, t\u00eb objektit t\u00eb kulluar, t\u00eb dikujt q\u00eb kalon n\u00ebp\u00ebr nj\u00eb destituim e varf\u00ebrim, nj\u00eb \u00e7kushtetim radikal subjektiv. Ai nuk kryen asnj\u00eb ritual, nuk th\u00ebrret asgj\u00eb, thjesht ngulmon n\u00eb pranin\u00eb e tij inerte.<\/span><\/span><\/p>

Tani mund t\u00eb kuptojm\u00eb pse Lakani e shihte Antigon\u00ebn si pararend\u00ebse t\u00eb sakrific\u00ebs s\u00eb Krishtit: n\u00eb k\u00ebmb\u00ebnguljen e saj, Antigona \u00ebsht\u00eb nj\u00eb shenjtore, sigurisht q\u00eb jo prift\u00ebresh\u00eb. Kjo \u00ebsht\u00eb arsyeja pse duhet t\u00eb kund\u00ebrshtojm\u00eb \u00e7do p\u00ebrpjekje p\u00ebr ta ekonomizuar at\u00eb, p\u00ebr ta b\u00ebr\u00eb m\u00eb t\u00eb but\u00eb duke fshehur \u00e7uditshm\u00ebrin\u00eb e saj t\u00eb frikshme, \u201c\u00e7njer\u00ebzoren\u201d, karakterin <\/span>a-patik <\/span><\/i>t\u00eb figur\u00ebs s\u00eb saj dhe duke e b\u00ebr\u00eb at\u00eb nj\u00eb mbrojt\u00ebse t\u00eb but\u00eb t\u00eb familjes dhe sht\u00ebpis\u00eb q\u00eb ngjall keqardhjen ton\u00eb dhe q\u00eb vet\u00ebjepet si pik\u00eb identifikimi. N\u00eb <\/span>Antigon\u00ebn<\/span><\/i> e Sofokliut, figura me t\u00eb cil\u00ebn mund t\u00eb identifikohemi \u00ebsht\u00eb motra e saj Ismena \u2013 e mir\u00eb, e ndjeshme, e gatshme p\u00ebr t\u00eb b\u00ebr\u00eb kompromis, e ndjer\u00eb, \u201cnjer\u00ebzore\u201d, n\u00eb kontrast me Antigon\u00ebn, e cila shkon deri n\u00eb skaj, q\u00eb \u201cnuk l\u00ebshon pe nga d\u00ebshira e saj\u201d (Lakan) dhe b\u00ebhet, n\u00eb k\u00ebt\u00eb k\u00ebmb\u00ebngulje n\u00eb \u201cshtys\u00ebn e vdekjes\u201d, n\u00eb qenien-drejt-vdekjes, e pam\u00ebshirshme dhe e frikshme, jasht\u00eb rrethit t\u00eb ndjenjave dhe shqet\u00ebsimeve t\u00eb p\u00ebrditshme, pasioneve dhe frik\u00ebs. Me fjal\u00eb t\u00eb tjera, \u00ebsht\u00eb vet\u00eb Antigona ajo q\u00eb pothuaj na ngjall, neve qenieve t\u00eb ndjera dhe t\u00eb p\u00ebrditshme, pyetjen \u201c\u00c7far\u00eb d\u00ebshiron v\u00ebrtet ajo?\u201d, pyetjen q\u00eb parap\u00ebrjashton \u00e7do mund\u00ebsi identifikimi me t\u00eb.<\/span><\/span><\/p>

N\u00eb let\u00ebrsin\u00eb europiane, \u00e7ifti Antigona-Ismena p\u00ebrs\u00ebritet n\u00eb vepr\u00ebn e De Sadit, n\u00eb form\u00ebn e \u00e7iftit Zhulieta-Justina: k\u00ebtu, Justina gjithashtu \u00ebsht\u00eb nj\u00eb viktim\u00eb e ndjer\u00eb, n\u00eb kund\u00ebrshtim me Zhuliet\u00ebn, k\u00ebt\u00eb person a-patik q\u00eb gjithashtu \u201cnuk l\u00ebshon pe nga d\u00ebshira e saj\u201d. S\u00eb fundi, pse t\u00eb mos gjejm\u00eb nj\u00eb version t\u00eb tret\u00eb t\u00eb \u00e7iftit Antigona-Ismena n\u00eb filmin e Margaretha von Trotta, <\/span>The Times of Plumb<\/span><\/i>, n\u00eb \u00e7iftin e terroristes RAF (Fraksioni i Ushtris\u00eb s\u00eb Kuqe, bazuar n\u00eb modelin e Gudrun Ensslin) dhe motr\u00ebs s\u00eb saj t\u00eb ndjeshme e t\u00eb m\u00ebshirshme, q\u00eb p\u00ebrpiqet \u201cta kuptoj\u00eb at\u00eb\u201d dhe nga k\u00ebndv\u00ebshtrimi i s\u00eb cil\u00ebs rr\u00ebfehet historia. (Episodi Schloendorf n\u00eb filmin antologjik <\/span>Germany in Autumn<\/span><\/i> ishte bazuar n\u00eb paralelen midis Antigon\u00ebs dhe Gudrun Ensslin.)<\/span><\/span><\/p>

Tri figura n\u00eb pamje t\u00eb par\u00eb krejt pa p\u00ebrputhje: Antigona dinjitoze q\u00eb sakrifikon veten p\u00ebr kujtimin e v\u00ebllait t\u00eb saj; Zhulieta e shthurur q\u00eb i jepet d\u00ebfrimeve p\u00ebrtej \u00e7do skaji (pra, p\u00ebrtej kufirit ku d\u00ebfrimi ende ofron k\u00ebnaq\u00ebsi); Gudruna askete-fanatike q\u00eb d\u00ebshiron t\u00eb zgjoj\u00eb bot\u00ebn nga k\u00ebnaq\u00ebsit\u00eb dhe rutinat e saj t\u00eb p\u00ebrditshme p\u00ebrmes akteve t\u00eb saj terroriste \u2013 Lakan na mund\u00ebson t\u00eb njohim n\u00eb t\u00eb trija t\u00eb nj\u00ebjtin pozicion etik, at\u00eb t\u00eb \u201cmos l\u00ebshuarit pe nga d\u00ebshira e vet\u201d. Prandaj, t\u00eb trija provokojn\u00eb t\u00eb nj\u00ebjt\u00ebn \u201c<\/span>Che vuoi?<\/span><\/i>\u201d, t\u00eb nj\u00ebjt\u00ebn \u201c\u00c7far\u00eb duan v\u00ebrtet ato?\u201d: Antigona me k\u00ebmb\u00ebnguljen e saj t\u00eb patundur, Zhulieta me p\u00ebrdaljen e saj a-patike, Gudruna me aktet e saj terroriste \u201cpa kuptim\u201d; t\u00eb trija v\u00ebn\u00eb n\u00eb pyetje t\u00eb Mir\u00ebn e mish\u00ebruar n\u00eb Shtet dhe n\u00eb moralet e zakonshme.<\/span><\/span><\/p>

Fantazia si ekran-vello p\u00ebr d\u00ebshir\u00ebn e Tjetrit<\/i><\/b><\/span><\/p>

Fantazia shfaqet, at\u00ebher\u00eb, si p\u00ebrgjigje ndaj \u201c<\/span>Che vuoi?<\/span><\/i>\u201d, ndaj enigm\u00ebs s\u00eb padurueshme t\u00eb d\u00ebshir\u00ebs s\u00eb Tjetrit, t\u00eb munges\u00ebs n\u00eb Tjetrin, por nj\u00ebkoh\u00ebsisht, \u00ebsht\u00eb vet\u00eb fantazia, si t\u00eb thuash, q\u00eb ofron koordinatat e d\u00ebshir\u00ebs son\u00eb \u2013 q\u00eb nd\u00ebrton korniz\u00ebn q\u00eb na mund\u00ebson t\u00eb d\u00ebshirojm\u00eb di\u00e7ka. P\u00ebrkufizimi i zakonsh\u00ebm i fantazis\u00eb (\u201cnj\u00eb skenar i imagjinuar q\u00eb p\u00ebrfytyron realizimin e d\u00ebshir\u00ebs\u201d) \u00ebsht\u00eb p\u00ebr rrjedhoj\u00eb disi mashtrues, ose t\u00eb pakt\u00ebn ambig: n\u00eb sken\u00ebn e fantazis\u00eb, d\u00ebshira nuk p\u00ebrmbushet, nuk \u201ck\u00ebnaqet\u201d, por themelohet (pajiset me objektet e saj, etj.) \u2013 <\/span>p\u00ebrmes fantazis\u00eb, ne m\u00ebsojm\u00eb \u201csi t\u00eb d\u00ebshirojm\u00eb\u201d<\/span><\/i>. N\u00eb k\u00ebt\u00eb pozicion t\u00eb nd\u00ebrmjet\u00ebm q\u00ebndron paradoksi i fantazis\u00eb: ajo \u00ebsht\u00eb korniza q\u00eb koordinon d\u00ebshir\u00ebn ton\u00eb, por n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb \u00ebsht\u00eb edhe mbrojtje kund\u00ebr \u201c<\/span>Che vuoi?<\/span><\/i>\u201d, nj\u00eb ekran q\u00eb hedh vello mbi boshll\u00ebkun, fsheh humner\u00ebn e d\u00ebshir\u00ebs s\u00eb Tjetrit. P\u00ebr ta mprehur paradoksin deri n\u00eb skaj \u2013 n\u00eb tautologji \u2013 mund t\u00eb themi se <\/span>vet\u00eb d\u00ebshira \u00ebsht\u00eb nj\u00eb mbrojtje kund\u00ebr d\u00ebshir\u00ebs<\/span><\/i>: d\u00ebshira e strukturuar p\u00ebrmes fantazis\u00eb \u00ebsht\u00eb nj\u00eb mbrojtje kund\u00ebr d\u00ebshir\u00ebs s\u00eb Tjetrit, kund\u00ebr k\u00ebsaj d\u00ebshire \u201ct\u00eb kulluar\u201d, p\u00ebrtej fantazis\u00eb (pra, ndaj \u201cshtys\u00ebs s\u00eb vdekjes\u201d n\u00eb form\u00ebn e saj t\u00eb kulluar).<\/span><\/span><\/p>

Tani mund t\u00eb kuptojm\u00eb pse maksima e etik\u00ebs psikoanalitike, si\u00e7 e formuloi Lakan (\u201ct\u00eb mos l\u00ebshosh pe nga d\u00ebshira jote\u201d), p\u00ebrkon me momentin p\u00ebrfundimtar t\u00eb procesit psikoanalitik, \u201ckalimin p\u00ebrmes fantazis\u00eb\u201d: d\u00ebshira n\u00eb lidhje me t\u00eb cil\u00ebn nuk duhet t\u00eb \u201cl\u00ebshojm\u00eb pe\u201d nuk \u00ebsht\u00eb d\u00ebshira e mb\u00ebshtetur nga fantazia, por d\u00ebshira e Tjetrit p\u00ebrtej fantazis\u00eb. \u201cT\u00eb mos l\u00ebshosh pe nga d\u00ebshira\u201d n\u00ebnkupton nj\u00eb heqje dor\u00eb radikale nga t\u00eb gjitha pasurit\u00eb e d\u00ebshirave t\u00eb bazuara mbi skenaret e fantazis\u00eb. N\u00eb procesin psikoanalitik, kjo d\u00ebshir\u00eb e Tjetrit merr form\u00ebn e d\u00ebshir\u00ebs s\u00eb analistit: analizandi p\u00ebrpiqet fillimisht t\u00eb shmang\u00eb humner\u00ebn e saj me an\u00eb t\u00eb transferenc\u00ebs \u2013 q\u00eb do t\u00eb thot\u00eb, p\u00ebrmes ofrimit t\u00eb vetes si objekt i dashuris\u00eb s\u00eb analistit; \u201cshp\u00ebrb\u00ebrja e transferenc\u00ebs\u201d ndodh kur analizandi heq dor\u00eb nga mbushja e boshll\u00ebkut, e munges\u00ebs s\u00eb Tjetrit. (Gjejm\u00eb nj\u00eb logjik\u00eb homologe me paradoksin e d\u00ebshir\u00ebs si mbrojtje kund\u00ebr d\u00ebshir\u00ebs n\u00eb tez\u00ebn lakaniane, se shkaku \u00ebsht\u00eb gjithmon\u00eb shkak i di\u00e7kaje q\u00eb shkon keq, q\u00eb nuk shkon (\u201c\u00e7a cloche\u201d-ja e fr\u00ebngjishtes: di\u00e7 \u00e7alon); mund t\u00eb thuhet se shkak\u00ebsia \u2013 zinxhiri i zakonsh\u00ebm, \u201cnormal\u201d e linear i shkaqeve \u2013 \u00ebsht\u00eb nj\u00eb mbrojtje kund\u00ebr shkakut me t\u00eb cilin merremi n\u00eb psikoanaliz\u00eb; ky shkak shfaqet pik\u00ebrisht aty ku shkak\u00ebsia \u201cnormale\u201d d\u00ebshton, ngec, nuk ec\u00ebn m\u00eb. P\u00ebr shembull, kur kemi nj\u00eb rr\u00ebshqitje n\u00eb t\u00eb folur, kur themi di\u00e7ka ndryshe nga ajo q\u00eb synuam t\u00eb themi \u2013 pra, kur zinxhiri i shkaqeve q\u00eb rregullon aktivitetin ton\u00eb \u201cnormal\u201d t\u00eb t\u00eb folurit prishet \u2013 n\u00eb at\u00eb pik\u00eb na imponohet pyetja mbi shkakun: \u201cPse ndodhi kjo?\u201d)<\/span><\/p>

M\u00ebnyra se si funksionon fantazia mund t\u00eb shpjegohet n\u00ebp\u00ebrmjet referenc\u00ebs ndaj <\/span>Kritik\u00ebs s\u00eb arsyes s\u00eb kulluar<\/span><\/i> t\u00eb Kantit: roli i fantazis\u00eb n\u00eb ekonomin\u00eb e d\u00ebshir\u00ebs \u00ebsht\u00eb homolog me at\u00eb t\u00eb skematizmit transhendental n\u00eb procesin e dijes.1<\/sup><\/span> Te Kanti, skematizmi transhendental \u00ebsht\u00eb nj\u00eb nd\u00ebrmjet\u00ebs, nj\u00eb agjenci e nd\u00ebrmjetme midis p\u00ebrmbajtjes empirike (objekteve t\u00eb p\u00ebrvoj\u00ebs kontingjente, t\u00eb brenda-botshme) dhe rrjetit t\u00eb kategorive transhendentale: ai [skematizmi] \u00ebsht\u00eb emri i mekanizmit p\u00ebrmes t\u00eb cilit objektet empirike p\u00ebrfshihen n\u00eb rrjetin e kategorive transhendentale q\u00eb p\u00ebrcakton m\u00ebnyr\u00ebn se si i perceptojm\u00eb dhe i konceptojm\u00eb ato (si l\u00ebnd\u00eb me veti, t\u00eb n\u00ebnshtruara ndaj lidhjeve shkak\u00ebsore, etj). Nj\u00eb mekaniz\u00ebm homolog funksionon me fantazin\u00eb: si shnd\u00ebrrohet nj\u00eb objekt empirik, i dh\u00ebn\u00eb pozitivisht, n\u00eb objekt d\u00ebshire; si fillon t\u00eb p\u00ebrmbaj\u00eb nj\u00eb X, nj\u00eb cil\u00ebsi t\u00eb panjohur, di\u00e7ka q\u00eb \u00ebsht\u00eb \u201cn\u00eb t\u00eb m\u00eb shum\u00eb se vetvetja\u201d dhe q\u00eb e b\u00ebn t\u00eb denj\u00eb p\u00ebr d\u00ebshir\u00ebn ton\u00eb? Duke hyr\u00eb n\u00eb korniz\u00ebn e fantazis\u00eb, duke u p\u00ebrfshir\u00eb n\u00eb nj\u00eb sken\u00eb fantazie q\u00eb i jep konsistenc\u00eb d\u00ebshir\u00ebs s\u00eb subjektit.<\/span><\/span><\/p>

Le t\u00eb marrim filmin <\/span>Rear Window<\/span><\/i> t\u00eb Hitchcockut: dritarja p\u00ebrmes s\u00eb cil\u00ebs James Stewart, i gjymtuar dhe ngujuar n\u00eb nj\u00eb karrige me rrota, v\u00ebshtron vazhdimisht \u00ebsht\u00eb qart\u00ebsisht nj\u00eb dritare fantazie \u2013 d\u00ebshira e tij mahnitet nga \u00e7ka mund t\u00eb shoh\u00eb p\u00ebrmes dritares. Dhe problemi i fatkeqes Grace Kelly \u00ebsht\u00eb se duke i propozuar atij, ajo vepron si penges\u00eb, nj\u00eb njoll\u00eb q\u00eb i turbullon pamjen e tij p\u00ebrmes dritares, n\u00eb vend q\u00eb ta magjeps\u00eb at\u00eb me bukurin\u00eb e saj. Si arrin ajo, m\u00eb n\u00eb fund, t\u00eb b\u00ebhet e denj\u00eb p\u00ebr d\u00ebshir\u00ebn e tij? Duke hyr\u00eb fjal\u00eb p\u00ebr fjal\u00eb n\u00eb korniz\u00ebn e fantazis\u00eb s\u00eb tij; duke kaluar n\u00eb oborr dhe duke u shfaqur \u201cn\u00eb an\u00ebn tjet\u00ebr\u201d, ku ai mund ta shoh\u00eb at\u00eb <\/span>p\u00ebrmes dritares<\/span><\/i>. Kur Stewart e sheh at\u00eb n\u00eb apartamentin e vras\u00ebsit, v\u00ebshtrimi i tij magjepset p\u00ebrnj\u00ebher\u00eb, b\u00ebhet lakmitar, plot d\u00ebshir\u00eb p\u00ebr t\u00eb: ajo ka gjetur vendin e saj n\u00eb hap\u00ebsir\u00ebn e fantazis\u00eb s\u00eb tij. Ky do t\u00eb ishte m\u00ebsimi \u201cshovinist mashkullor\u201d i Lakanit: burri mund t\u00eb raportohet me gruan vet\u00ebm p\u00ebr aq sa ajo hyn n\u00eb korniz\u00ebn e fantazis\u00eb s\u00eb tij.<\/span><\/span><\/p>

N\u00eb nj\u00eb nivel t\u00eb caktuar naiv, kjo nuk \u00ebsht\u00eb e panjohur p\u00ebr doks\u00ebn psikoanalitike, e cila pretendon se \u00e7do burr\u00eb k\u00ebrkon, n\u00eb nj\u00eb grua q\u00eb zgjedh si partnere seksuale, nj\u00eb z\u00ebvend\u00ebsim t\u00eb n\u00ebn\u00ebs s\u00eb tij: nj\u00eb burr\u00eb bie n\u00eb dashuri me nj\u00eb grua kur ndonj\u00eb tipar i saj ia kujton n\u00ebn\u00ebn e tij. E vetmja gj\u00eb q\u00eb Lakan shton n\u00eb k\u00ebt\u00eb pik\u00ebpamje tradicionale \u00ebsht\u00eb theksimi i p\u00ebrmas\u00ebs <\/span>negative<\/span><\/i> t\u00eb saj, q\u00eb shpesh neglizhohet: n\u00eb fantazi, n\u00ebna <\/span>reduktohet<\/span><\/i> n\u00eb nj\u00eb bashk\u00ebsi t\u00eb kufizuar tiparesh (simbolike); sapo nj\u00eb objekt q\u00eb \u00ebsht\u00eb <\/span>tep\u00ebr af\u00ebr<\/span><\/i> Gj\u00ebs\u00eb-N\u00ebn\u00eb \u2013 nj\u00eb objekt q\u00eb nuk lidhet me Gj\u00ebn\u00eb am\u00ebsore vet\u00ebm p\u00ebrmes disa tipareve t\u00eb reduktuara, por q\u00eb i p\u00ebrngjitet menj\u00ebher\u00eb asaj \u2013 shfaqet n\u00eb korniz\u00ebn e fantazis\u00eb, d\u00ebshira mbytet n\u00eb klaustrofobi in\u00e7estore. K\u00ebtu hasemi s\u00ebrish me rolin paradoksal t\u00eb nd\u00ebrmjet\u00ebm t\u00eb fantazis\u00eb: ajo \u00ebsht\u00eb nj\u00eb konstrukt q\u00eb na mund\u00ebson t\u00eb k\u00ebrkojm\u00eb z\u00ebvend\u00ebsime am\u00ebsore, por nj\u00ebkoh\u00ebsisht edhe nj\u00eb ekran q\u00eb na mbron nga afrimi i tep\u00ebrt me Gj\u00ebn\u00eb am\u00ebsore \u2013 na mban n\u00eb nj\u00ebfar\u00eb larg\u00ebsie prej saj. Kjo \u00ebsht\u00eb arsyeja pse do t\u00eb ishte e gabuar t\u00eb dilnim n\u00eb p\u00ebrfundimin se \u00e7far\u00ebdo objekti empirik, i dh\u00ebn\u00eb pozitivisht, mund t\u00eb z\u00ebr\u00eb vendin e vet n\u00eb korniz\u00ebn e fantazis\u00eb dhe t\u00eb filloj\u00eb k\u00ebsisoj t\u00eb funksionoj\u00eb si objekt d\u00ebshire: disa objekte (ato q\u00eb jan\u00eb shum\u00eb af\u00ebr Gj\u00ebs\u00eb traumatizuese) sigurisht q\u00eb p\u00ebrjashtohen prej saj; n\u00ebse, rast\u00ebsisht, ato nd\u00ebrfuten n\u00eb hap\u00ebsir\u00ebn e fantazis\u00eb, efekti \u00ebsht\u00eb jasht\u00ebzakonisht trazues dhe i p\u00ebshtir\u00eb: fantazia humbet fuqin\u00eb e saj magjeps\u00ebse dhe shnd\u00ebrrohet n\u00eb nj\u00eb objekt t\u00eb neveritsh\u00ebm.<\/span><\/span><\/p>

Hitchcocku p\u00ebrs\u00ebri, k\u00ebt\u00eb her\u00eb n\u00eb <\/span>Vertigo<\/span><\/i>, na ofron nj\u00eb shembull t\u00eb nj\u00eb transformimi t\u00eb till\u00eb: heroi \u2013 p\u00ebrs\u00ebri James Stewart \u2013 \u00ebsht\u00eb i dashuruar plot pasion me Madelein\u00ebn dhe e ndjek at\u00eb n\u00eb nj\u00eb muze ku ajo admiron portretin e Charlotte-s, nj\u00eb gruaje t\u00eb vdekur prej koh\u00ebsh me t\u00eb cil\u00ebn Madeleine identifikohet: p\u00ebr t\u2019i b\u00ebr\u00eb rreng atij, shoqja e tij am\u00ebsore dhe e p\u00ebrditshme, nj\u00eb piktore amatore, i p\u00ebrgatit nj\u00eb surpriz\u00eb t\u00eb pak\u00ebndshme: ajo pikturon nj\u00eb kopje t\u00eb sakt\u00eb t\u00eb portretit t\u00eb Charlotte-s me fustanin e bardh\u00eb me dantella, nj\u00eb buqet\u00eb lulesh t\u00eb kuqe n\u00eb prehrin e saj, e k\u00ebshtu me radh\u00eb, por n\u00eb vend t\u00eb fytyr\u00ebs fatalisht t\u00eb bukur t\u00eb Charlotte-s, ajo vendos fytyr\u00ebn e saj t\u00eb zakonshme me syze… efekti \u00ebsht\u00eb tmerrues: depresiv, i thyer dhe i neveritur, Stewart largohet prej saj. \u2013 (Gjejm\u00eb t\u00eb nj\u00ebjt\u00ebn procedur\u00eb n\u00eb filmin <\/span>Rebecca<\/span><\/i> t\u00eb Hitchcockut, ku Joan Fontaine \u2013 p\u00ebr t\u00eb joshur burrin e saj, q\u00eb ajo mendon se \u00ebsht\u00eb ende i dashuruar me gruan e tij t\u00eb ndjer\u00eb, Rebek\u00ebn \u2013 shfaqet n\u00eb nj\u00eb pritje formale me nj\u00eb fustan q\u00eb Rebeka kishte veshur dikur n\u00eb nj\u00eb rast t\u00eb ngjash\u00ebm \u2013 efekti \u00ebsht\u00eb s\u00ebrish grotesk dhe burri e largon at\u00eb furish\u00ebm\u2026)<\/span><\/span><\/p>

\u00cbsht\u00eb e qart\u00eb, pra, pse Lakani e shtjelloi grafikun e d\u00ebshir\u00ebs me rastin e <\/span>Hamletit<\/span><\/i> t\u00eb Shekspirit: a nuk \u00ebsht\u00eb <\/span>Hamleti<\/span><\/i>, n\u00eb analiz\u00ebn e fundit, nj\u00eb dram\u00eb e <\/span>interpelimit t\u00eb d\u00ebshtuar<\/span><\/i>? N\u00eb fillim kemi interpelimin, thirrjen n\u00eb form\u00ebn e saj t\u00eb kulluar: fantazma e babait-mbret interpelon Hamletin-individ duke e thirrur n\u00eb subjekt \u2013 pra, Hamleti e njeh veten si marr\u00ebsin e mandatit ose misionit t\u00eb imponuar (p\u00ebr t\u2019u hakmarr\u00eb ndaj vrasjes s\u00eb t\u00eb atit); por fantazma e babait i shton n\u00eb m\u00ebnyr\u00eb enigmatike urdhrit t\u00eb tij nj\u00eb k\u00ebrkes\u00eb q\u00eb Hamleti t\u00eb mos i b\u00ebj\u00eb d\u00ebm n\u00eb asnj\u00eb m\u00ebnyr\u00eb n\u00ebn\u00ebs s\u00eb tij. Dhe \u00e7ka e pengon Hamletin t\u00eb veproj\u00eb, t\u00eb kryej\u00eb hakmarrjen e imponuar, \u00ebsht\u00eb pik\u00ebrisht ballafaqimi me k\u00ebt\u00eb \u201c<\/span>Che vuoi?<\/span><\/i>\u201d t\u00eb d\u00ebshir\u00ebs s\u00eb Tjetrit: skena ky\u00e7e e t\u00eb gjith\u00eb dram\u00ebs \u00ebsht\u00eb dialogu i gjat\u00eb midis Hamletit dhe n\u00ebn\u00ebs s\u00eb tij, n\u00eb t\u00eb cilin ai kaplohet nga dyshimi p\u00ebr d\u00ebshir\u00ebn e saj \u2013 \u00e7far\u00eb d\u00ebshiron ajo me t\u00eb v\u00ebrtet\u00eb? Po sikur ajo t\u00eb <\/span>shijoj\u00eb<\/span><\/i> me t\u00eb v\u00ebrtet\u00eb marr\u00ebdh\u00ebnien e saj t\u00eb ndyr\u00eb, t\u00eb shthurur me xhaxhain e tij? Prandaj, Hamletin nuk e pengon nj\u00eb pavendosm\u00ebri p\u00ebr d\u00ebshir\u00ebn e tij; nuk \u00ebsht\u00eb se \u201cai nuk e di \u00e7far\u00eb d\u00ebshiron me t\u00eb v\u00ebrtet\u00eb\u201d \u2013 ai e di k\u00ebt\u00eb shum\u00eb qart\u00eb: ai d\u00ebshiron t\u00eb marr\u00eb hak p\u00ebr babain e tij \u2013 \u00e7ka e pengon \u00ebsht\u00eb dyshimi n\u00eb lidhje me <\/span>d\u00ebshir\u00ebn e tjetrit<\/span><\/i>, p\u00ebrballja me nj\u00ebfar\u00eb \u201c<\/span>Che vuoi?<\/span><\/i>\u201d q\u00eb shpall humner\u00ebn e nj\u00eb qejfi t\u00eb lemeritsh\u00ebm, t\u00eb nj\u00eb d\u00ebfrimi t\u00eb ndyr\u00eb. N\u00ebse Emri-i-Atit funksionon si agjenci e interpelimit, e identifikimit simbolik, d\u00ebshira e n\u00ebn\u00ebs, me \u201c<\/span>Che vuoi?<\/span><\/i>\u201d-n e saj t\u00eb pap\u00ebrfytyrueshme, sh\u00ebnon nj\u00eb kufi t\u00eb caktuar ku \u00e7do interpelanc\u00eb medoemos d\u00ebshton.<\/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>\u00a0Bernard Baas, \u201cLes d\u00e9sir pur\u201d, <\/span>Ornicar?<\/span><\/i> 43, 1987.<\/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 pest\u00eb<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

Tjetri inkonsistent i jouissance-s<\/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>","protected":false},"excerpt":{"rendered":"

K\u00ebt\u00eb \u201cChe vuoi?\u201d e ndeshim kudo n\u00eb fush\u00ebn politike, p\u00ebrfshir\u00eb n\u00eb luft\u00ebn zgjedhore amerikane t\u00eb vitit 1988, ku, pas sukseseve t\u00eb para t\u00eb Jesse Jackson, shtypi filloi t\u00eb pyes\u00eb: \u201c\u00c7far\u00eb d\u00ebshiron v\u00ebrtet Jackson?\u201d \u00cbsht\u00eb e leht\u00eb t\u00eb dallohen n\u00ebntonet raciste n\u00eb k\u00ebt\u00eb pyetje, sepse kjo pyetje kurr\u00eb nuk ngrihej p\u00ebr kandidat\u00ebt e tjer\u00eb. P\u00ebrfundimi se kemi t\u00eb b\u00ebjm\u00eb me raciz\u00ebm konfirmohet m\u00eb tej nga fakti se kjo \u201cChe vuoi?\u201d shp\u00ebrthen m\u00eb dhunsh\u00ebm n\u00eb form\u00ebn m\u00eb t\u00eb kulluar, si t\u00eb thuash t\u00eb distiluar, t\u00eb racizmit, n\u00eb anti-semitiz\u00ebm: n\u00eb perspektiv\u00ebn antisemite, \u00e7ifuti \u00ebsht\u00eb pik\u00ebrisht nj\u00eb person p\u00ebr t\u00eb cilin nuk \u00ebsht\u00eb kurr\u00eb e qart\u00eb \u201c\u00e7far\u00eb d\u00ebshiron v\u00ebrtet\u201d \u2013 pra, veprimet e tij gjithmon\u00eb dyshohen se udh\u00ebhiqen nga disa motive t\u00eb fshehta (konspiracioni \u00e7ifut, dominimi i bot\u00ebs dhe korruptimi moral i jo-\u00e7ifut\u00ebve, e k\u00ebshtu me radh\u00eb). Rasti i antisemitizmit gjithashtu ilustron n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrsosur pse Lakani vendosi, n\u00eb fund t\u00eb lakores q\u00eb sh\u00ebnon pyetjen \u201cChe vuoi?\u201d, formul\u00ebn e fantazis\u00eb ($ \u25ca o): fantazia \u00ebsht\u00eb nj\u00eb p\u00ebrgjigje ndaj k\u00ebsaj \u201cChe vuoi?\u201d; ajo \u00ebsht\u00eb nj\u00eb rrekje p\u00ebr t\u00eb mbushur boshll\u00ebkun e pyetjes me nj\u00eb p\u00ebrgjigje.<\/p>","protected":false},"author":2,"featured_media":29941,"comment_status":"open","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"episode_type":"","audio_file":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","date_recorded":"","explicit":"","block":"","filesize_raw":"","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":[1180,529,237,305,1176],"class_list":["post-29940","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulture","category-perkthime","tag-cifuti-dhe-antigona","tag-genc-shehu","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\/29940","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=29940"}],"version-history":[{"count":14,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/29940\/revisions"}],"predecessor-version":[{"id":30032,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/29940\/revisions\/30032"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/29941"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=29940"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=29940"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/tags?post=29940"}],"curies":[{"name":"wp","href":"ht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