{"id":30427,"date":"2026-10-29T18:30:06","date_gmt":"2026-10-29T17:30:06","guid":{"rendered":"https:\/\/nyje.al\/?p=30427"},"modified":"2026-10-29T12:01:57","modified_gmt":"2026-10-29T11:01:57","slug":"diptik-britma-ne-mungese-te-pasolinit","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/diptik-britma-ne-mungese-te-pasolinit\/","title":{"rendered":"Diptik: Britma n\u00eb munges\u00eb t\u00eb Pasolinit"},"content":{"rendered":"

Orgest Azizi | 29.10.2026 | nyje.al\u00a0<\/strong><\/span><\/p>\n

[Sh\u00ebnim<\/b><\/strong>\u00a0: Dallimi thelb\u00ebsor mes protest\u00ebs s\u00eb par\u00eb t\u00eb student\u00ebve, m\u00eb 2018 dhe k\u00ebsaj t\u00eb tanishmes, me gjith\u00eb Teatrin, Belind\u00ebn, Flamingot, etj, \u00ebsht\u00eb ardhja e furishme \u2013 dhe sovrane \u2013 n\u00eb sken\u00eb e <\/em>\u00c7UNAVE<\/em><\/span>, pas daljes s\u00eb par\u00eb q\u00eb pasoi vrasjen e Klodian Rash\u00ebs. Vrasje q\u00eb duhet njohur si akti i par\u00eb i racizmit social t\u00eb shtetit shqiptar. Dhe ku nuhatja e \u00e7unave, menj\u00ebher\u00eb, e kuptoi se ishin t\u00eb gjith\u00eb n\u00eb sh\u00ebnjest\u00ebr. Ardhja e <\/em>\u00c7<\/em>UNAVE<\/em><\/span>\u00a0e ndryshon radikalisht sken\u00ebn. Ajo s\u2019\u00ebsht\u00eb m\u00eb e nj\u00ebjta \u2013 dh\u00eb k\u00ebsaj here k\u00ebt\u00eb e kuptoi menj\u00ebher\u00eb intuita e shtetit. <\/em><\/span><\/p>\n

\u00c7\u00ebshtja \u00ebsht\u00eb n\u00ebse do t\u2019i lem\u00eb, edhe k\u00ebt\u00eb her\u00eb, po aq t\u00eb vetmuar sa her\u00ebn e kaluar, po aq jetim\u00eb sa \u00e7\u2019kan\u00eb qen\u00eb p\u00ebrjet\u00eb<\/em>.]<\/span><\/p>\n

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\"\u00c7UNAT
<\/span> \u00c7UNAT n\u00eb protest\u00eb para Ministris\u00eb s\u00eb Arsimit, 25 tetor 2026 (c) nyje<\/span><\/em><\/figcaption><\/figure>\n

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Britma n\u00eb munges\u00eb t\u00eb Pasolinit1<\/sup><\/b><\/strong><\/span><\/p>\n

P\u00ebr <\/b><\/em><\/strong>\u00c7UNAT<\/b><\/em><\/strong><\/span><\/p>\n

Askush s\u2019do t\u00eb duhej t\u00eb heshtte, ose s\u00eb paku askush s\u2019do t\u00eb duhej t\u00eb mund t\u00eb strukej n\u00eb s\u2019di \u00e7far\u00eb lloj rehatie intelektuale, estetike apo politike, p\u00ebr sa koh\u00eb q\u00eb vazhdon (dhe do t\u00eb vazhdoj\u00eb), si pjell\u00eb e ndonj\u00eb organizimi t\u00eb fsheht\u00eb, mungesa e \u00e7uditshme, revoltuese dhe e hatashme e Pasolinit n\u00eb mjedisin shqiptar. Nd\u00ebrkoh\u00eb q\u00eb shqiptar\u00ebt, t\u00eb rinj ose jo, krenohen me intimitetin q\u00eb mendojn\u00eb se kan\u00eb me gjuh\u00ebn dhe kultur\u00ebn italiane (intimitet ndoshta i rrem\u00eb, dhe t\u00eb mos harrojm\u00eb se, n\u00eb nj\u00eb mas\u00eb t\u00eb mir\u00eb, vjen i filtruar nga televizioni i t\u00eb dyja brigjeve); nd\u00ebrkoh\u00eb q\u00eb emisioni m\u00eb i ndjekur i televizioneve shqiptare \u00ebsht\u00eb kopje e vet\u00ebshpallur dhe pa komplekse e \u00ab\u00a0atit\u00a0\u00bb t\u00eb vet italian (p\u00ebrbrend\u00ebsim deri edhe mishtor, mimetiz\u00ebm radikalisht efikas, aq sa edhe trupi i B. Fevziut \u00ebsht\u00eb b\u00ebr\u00eb kopje e atij t\u00eb Bruno Vespas); nd\u00ebrkoh\u00eb q\u00eb ngjarja m\u00eb e madhe komb\u00ebtare e n\u00ebntorit nuk \u00ebsht\u00eb as kremtimi i shpalljes s\u00eb pavar\u00ebsis\u00eb por hapja e nj\u00eb qendre t\u00eb re tregtare (TEG) \u2013 dhe kur masat popullore, dikur ende t\u00eb frikshme dhe t\u00eb ndara n\u00eb katunar\u00eb, malok\u00eb, \u00e7e\u00e7en\u00eb apo halabak\u00eb, arrij\u00eb t\u00eb gjejn\u00eb legjitimitetin e dukjes s\u00eb tyre publike dhe mediatike vet\u00ebm si mas\u00eb konsumatore q\u00eb hidhet e ngaz\u00ebllyer nga QTU-ja te Carrefour-i; nd\u00ebrkoh\u00eb q\u00eb \u00ab\u00a0panairi\u00a0\u00bb i librit e zbuloi me buj\u00eb, edhe p\u00ebr t\u00eb verb\u00ebrit e fundit, natyr\u00ebn e vet televizivo-tregtare, duke e futur m\u00eb n\u00eb fund edhe Shqip\u00ebrin\u00eb n\u00eb modernitetin e shum\u2019\u00ebnd\u00ebrruar ku librat shiten me po aq sukses dhe n\u00eb po at\u00eb m\u00ebnyr\u00eb si dhe patatet (duke qen\u00eb po aq pa shije); nd\u00ebrkoh\u00eb q\u00eb triumfon \u2013 vrullsh\u00ebm dhe pa alternativ\u00eb \u2013 \u00ab\u00a0njeriu i ri\u00a0\u00bb televiziv, p\u00ebrkund\u00ebr \u00e7do njeriu t\u00eb vjet\u00ebr, qoft\u00eb ky edhe shkrimtari m\u00eb i madh i historis\u00eb s\u00eb kombit; nd\u00ebrkoh\u00eb q\u00eb mbetjet e fundit arkaiko-humaniste t\u00eb Panairit, t\u00eb trembura edhe ato nga ritmi i ri i loj\u00ebs ku jan\u00eb futur (sepse s\u2019mund as t\u2019i rrinin larg, apo jo?) synojn\u00eb t\u00eb shp\u00ebtojn\u00eb nj\u00eb \u00e7ik\u00ebz kultur\u00eb borgjeze duke i dh\u00ebn\u00eb \u00e7mimin e p\u00ebrkthimit p\u00ebrkthyesit profesionist (kupto: i pun\u00ebsuar te \u00ab\u00a0Naim Frash\u00ebri\u00a0\u00bb para \u201990-\u00ebs) t\u00eb nj\u00eb libri \u00ab\u00a0t\u00eb lezetsh\u00ebm\u00a0\u00bb t\u00eb italianit Umberto Eco; nd\u00ebrkoh\u00eb kur b\u00ebhet jo vet\u00ebm i mundur, por edhe legal, i besuesh\u00ebm dhe madje prestigjioz nj\u00eb togfjal\u00ebsh i till\u00eb si: \u00ab\u00a0autori Blendi Fevziu dhe botuesi i tij Henri \u00c7ili\u00a0\u00bb\u00a0; n\u00eb t\u00ebr\u00eb k\u00ebt\u00eb bashk\u00ebkoh\u00ebsi pra, q\u00eb p\u00ebrcakton disa nga koordinatat m\u00eb themeltare t\u00eb atij dielli t\u00eb zi q\u00eb ndri\u00e7on aktualitetin e jet\u00ebve tona t\u00eb gjymtuara, t\u00eb nj\u00eb populli q\u00eb bie (teksa mendon se ngjitet), i \u00e7armatosur dhe pa mbroj\u00eb, nga prapambetja paramoderne n\u00eb furtunat e depolitizuara t\u00eb kapitalizmit mediatik; n\u00eb nj\u00eb realitet t\u00eb till\u00eb q\u00eb duket se ekziston si p\u00ebr t\u00eb qen\u00eb nj\u00eb v\u00ebrtetim hiperbolik i shqet\u00ebsimeve t\u00eb Pasolinit, pik\u00ebrisht n\u00eb t\u00eb pra, Pasolini mbetet i munguar, i path\u00ebn\u00eb, i pad\u00ebgjuar.<\/span><\/p>\n

Af\u00ebrsia ontologjike e realitetit shqiptar me Pasolinin, q\u00eb nga \u00e7unat e lagjeve, t\u00ebr\u00eb ajo pleb\u00eb mashkullore periurbane q\u00eb popullon librat dhe filmat e tij, deri te zhb\u00ebrja \u00ab\u00a0live\u00a0\u00bb e rendit t\u00eb ekzistenc\u00ebs popullore, duket sikur kusht\u00ebzon, p\u00ebr paradoks, edhe mospranin\u00eb e tij. Thua se mjedisi shqiptar nuk do (dhe paradokset e k\u00ebsaj (mos)d\u00ebshire jan\u00eb sigurisht me shum\u00eb pala) t\u00eb d\u00ebgjoj\u00eb z\u00ebrin q\u00eb i flet m\u00eb nga af\u00ebr, z\u00ebrin q\u00eb m\u00eb me dhimbje, m\u00eb me past\u00ebrti e dashuri i p\u00ebrcjell vajtimin p\u00ebr katastrof\u00ebn q\u00eb po i b\u00ebn vetes. De nobis fabula narratur.<\/span><\/p>\n

Q\u00eb dispozitivi shoq\u00ebror shqiptar, n\u00eb pothuaj t\u00ebr\u00ebsin\u00eb e mekanizmave t\u00eb tij, si prodhues aktiv i harres\u00ebs dhe verbimit publik, funksionon, me ose pa vet\u00ebdije, si makin\u00eb e p\u00ebrjashtimit t\u00eb mund\u00ebsis\u00eb p\u00ebr d\u00ebgjueshm\u00ebrin\u00eb e Pasolinit, kjo nuk \u00ebsht\u00eb, fundja, e habitshme (dhe n\u00eb k\u00ebndin e verb\u00ebr t\u00eb let\u00ebrsis\u00eb e kultur\u00ebs italiane t\u00eb paardhur, Pasolini nuk \u00ebsht\u00eb po ashtu i vet\u00ebm, por me m\u00eb t\u00eb mir\u00ebt: Gramsci, Pavese, Vittorini, Bene\u2026). Po p\u00ebrtej k\u00ebtij dispozitivi? Te t\u00ebr\u00eb ato subjekte q\u00eb jan\u00eb dhe\/ose e mendojn\u00eb veten si jasht\u00eb dhe kund\u00ebr tij, n\u00eb radh\u00ebn e shumt\u00eb (ndoshta) t\u00eb atyre q\u00eb kan\u00eb arritur t\u00eb vendosin nj\u00eb raport tjet\u00ebr me Italin\u00eb, kultur\u00ebn, Europ\u00ebn, modernitetin, kineman\u00eb, politik\u00ebn dhe angazhimin, ose edhe vet\u00ebm n\u00eb radh\u00ebn e shumt\u00eb (ndoshta) t\u00eb atyre q\u00eb thjesht nuk jan\u00eb p\u00ebr\u00e7udnuar aq sa t\u00eb mos njohin m\u00eb as situat\u00ebn e vetes dhe kumbimin e nj\u00eb z\u00ebri t\u00eb af\u00ebrt?<\/span><\/p>\n

Nj\u00eb munges\u00eb kaq e paarsye dhe sistematike ka gjasa vlen si simptom\u00eb. Na duhet ndoshta t\u2019i v\u00ebm\u00eb veshin, n\u00eb mos pamund\u00ebsis\u00eb, s\u00eb paku paaft\u00ebsis\u00eb son\u00eb p\u00ebr ta b\u00ebr\u00eb Pasolinin t\u00eb pranish\u00ebm, qoft\u00eb edhe vet\u00ebm p\u00ebr ne dhe vet\u00ebm mes nesh. Na duhet ndoshta t\u00eb shqyrtojm\u00eb rezistenc\u00ebn ton\u00eb, pasive apo aktive, ndaj Pasolinit (si pasoj\u00eb ndaj halabak\u00ebve, homoseksualitetit?)<\/span><\/p>\n

Por na duhet, nj\u00ebkoh\u00ebsisht, t\u00eb klithim p\u00ebr sa koh\u00eb q\u00eb vazhdon mungesa e Pasolinit.2<\/sup>\u00a0<\/span><\/p>\n

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\"Vep\u00ebr
Vep\u00ebr ‘in situ’ e artistit Ernest Pignon – Ernest, kortezi e autorit\/p\u00ebrkthyesit\u00a0<\/em><\/span><\/figcaption><\/figure>\n

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Pier Paolo PASOLINI<\/b><\/strong><\/span><\/p>\n

Barbaria q\u00eb vjen3<\/sup><\/b><\/strong><\/span><\/p>\n

Peizazh i shkret\u00eb me fashiz\u00ebm dhe televizion<\/em><\/span><\/p>\n

N\u00eb dit\u00ebt e sotme, n\u00eb k\u00ebto koh\u00eb kur austerity<\/i><\/em>\u00a0\u00ebsht\u00eb n\u00eb rend t\u00eb dit\u00ebs, t\u00eb shumt\u00eb jan\u00eb ata q\u00eb ankohen p\u00ebr problemet q\u00eb vijn\u00eb nga mungesa (larg qendr\u00ebs s\u00eb \u00ab\u00a0kalbur\u00a0\u00bb) e nj\u00eb organizimi t\u00eb jet\u00ebs shoq\u00ebrore dhe kulturore n\u00eb lagjet periferike me vlera t\u00eb \u00ab\u00a0sh\u00ebndosha\u00a0\u00bb (n\u00eb fakt, fjetore pa gjelb\u00ebrim, pa sh\u00ebrbime, pa autonomi, pa asnj\u00eb raport p\u00ebrnj\u00ebmend njer\u00ebzor). Retorik\u00eb boshe! N\u00ebse do t\u00eb ekzistonte ajo p\u00ebr munges\u00ebn e s\u00eb cil\u00ebs shprehen ankimet, at\u00eb prap\u00eb qendra do ta kishte organizuar; po ajo qend\u00ebr q\u00eb, n\u00eb sa pak vjet, arriti t\u00eb shkat\u00ebrroj\u00eb t\u00eb t\u00ebra kulturat periferike, t\u00eb cilat \u2013 deri vet\u00ebm pak vite m\u00eb par\u00eb \u2013 b\u00ebnin ende t\u00eb mundur ekzistenc\u00ebn e nj\u00eb jete ndryshe, nj\u00eb jete, n\u00eb thelb, t\u00eb lir\u00eb, edhe n\u00eb lagjet periferike m\u00eb t\u00eb varfra, madje edhe n\u00eb ato m\u00eb\u00a0mjeranet.<\/span><\/p>\n

Asnj\u00eb centraliz\u00ebm fashist nuk arriti t\u00eb realizoj\u00eb at\u00eb q\u00eb po arrin centralizmi i shoq\u00ebris\u00eb s\u00eb konsumit. Fashizmi v\u00ebrtet propozonte nj\u00eb model, sa reaksionar aq dhe monumental, por model q\u00eb mbetej i ngrir\u00eb dhe pa jet\u00eb. K\u00ebshtu q\u00eb kulturat e ndryshme t\u00eb ve\u00e7anta (fshatare, n\u00ebn-proletare, pun\u00ebtore) mund t\u00eb vijonin, t\u00eb patrazuara, t\u00eb identifikoheshin me modelet e tyre t\u00eb p\u00ebrhershme, sepse represioni mjaftohej vet\u00ebm me pajtimin e tyre n\u00eb fjal\u00eb. Kurse sot, p\u00ebrkundrazi, pajtimi me modelet e imponuara nga qendra \u00ebsht\u00eb total dhe pa kushte. Modeleve t\u00eb v\u00ebrteta kulturore u kthehet shpina dhe mohimi i tyre \u00ebsht\u00eb i plot\u00eb. Mund t\u00eb themi pa droj\u00eb pra, se \u00ab\u00a0toleranca\u00a0\u00bb e ideologjis\u00eb hedoniste q\u00eb ushqen pushteti i ri \u00ebsht\u00eb n\u00eb fakt represioni m\u00eb i eg\u00ebr i historis\u00eb njer\u00ebzore.<\/span><\/p>\n

Por, si arriti t\u00eb ushtrohej nj\u00eb represion i till\u00eb? N\u00ebp\u00ebrmjet dy revolucionesh, q\u00eb zun\u00eb vend secili brenda kuadrit t\u00eb organizimit borgjez: revolucioni i infrastrukturave dhe ai i sistemit t\u00eb informacionit. Rrug\u00ebt, motorrizimi etj, i afruan, madje bashkuan tashm\u00eb periferit\u00eb me qendr\u00ebn, duke fshir\u00eb \u00e7do distanc\u00eb materiale. Por revolucioni i mass mediave ishte akoma m\u00eb radikal dhe vendimtar. Saj\u00eb\u00a0televizionit, qendra e p\u00ebrpiu t\u00ebr\u00eb vendin, i cili kishte qen\u00eb deri at\u00ebher\u00eb tep\u00ebr i pasur n\u00eb dallime dhe kultura origjinale. Nisi k\u00ebshtu nj\u00eb vep\u00ebr e madhe normalizimi t\u00eb mir\u00ebfillt\u00eb, e cila \u2013 si\u00e7 e thash\u00eb \u2013 imponoi kudo modelet e veta: modele t\u00eb ushqyera dhe t\u00eb nxitura nga klasa e re industriale, e cila s\u2019mund t\u00eb mjaftohet m\u00eb vet\u00ebm me ekzistenc\u00ebn e \u00ab\u00a0njeriut konsumator\u00a0\u00bb, por pretendon p\u00ebr m\u00eb tep\u00ebr se asnj\u00eb ideologji tjet\u00ebr ve\u00e7 asaj t\u00eb konsumit nuk \u00ebsht\u00eb e pranueshme. Kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb hedoniz\u00ebm neolaik, nj\u00eb lloj verbimi absolut ndaj \u00e7do vlere humaniste dhe verbim i huaj ndaj shkencave t\u00eb njeriut.<\/span><\/p>\n

Si\u00e7 dihet, ideologjia q\u00eb ushqente dhe impononte pushteti i m\u00ebparsh\u00ebm ishte feja: dhe n\u00eb fakt, katolicizmi ishte formalisht i vetmi fenomen kulturor ku \u00ab\u00a0bashkoheshin\u00a0\u00bb t\u00eb gjith\u00eb italian\u00ebt. Sot, katolicizmi \u00ebsht\u00eb b\u00ebr\u00eb konkurrent i fenomenit t\u00eb ri kulturor \u00ab\u00a0p\u00ebrbashkues\u00a0\u00bb, q\u00eb \u00ebsht\u00eb hedonizmi n\u00eb nivel mase; duke qen\u00eb k\u00ebshtu, p\u00ebr sa konkurrent, pushteti i ri ka nisur tashm\u00eb, \u00e7\u2019prej disa vitesh, ta likujdoj\u00eb. Dhe n\u00eb fakt, asgj\u00eb fetare nuk gjen dot te modeli i djalit dhe vajz\u00ebs s\u00eb re q\u00eb propozon dhe imponon televizioni. T\u00eb dyja modelet duket se e nd\u00ebrtojn\u00eb dhe p\u00ebrq\u00ebndrojn\u00eb vler\u00ebn e jet\u00ebs vet\u00ebm p\u00ebrmes t\u00eb mirave t\u00eb konsumit (dhe, sigurisht, vazhdojn\u00eb t\u00eb shkojn\u00eb n\u00eb mesh\u00eb t\u00eb dielave: me makin\u00eb am\u00e0). Italian\u00ebt e p\u00ebrqafuan me entuziaz\u00ebm t\u00eb madh modelin e ri q\u00eb u imponoi televizioni, n\u00eb p\u00ebrputhje me ato norma t\u00eb prodhimit q\u00eb sigurojn\u00eb mir\u00ebqenien (ose, m\u00eb sakt\u00eb, q\u00eb t\u00eb shp\u00ebtojn\u00eb nga mjerimi). E pranuan modelin, v\u00ebrtet, por a jan\u00eb t\u00eb aft\u00eb ta\u00a0realizojn\u00eb at\u00eb si t\u00eb till\u00eb\u00a0?<\/span><\/p>\n

Jo. Ose e realizojn\u00eb at\u00eb pjes\u00ebrisht nga pik\u00ebpamja materiale, duke u b\u00ebr\u00eb k\u00ebshtu karikatur\u00eb e tij, ose arrijn\u00eb ta realizojn\u00eb vet\u00ebm n\u00eb nj\u00eb mas\u00eb aq t\u00eb pamjaftueshme sa b\u00ebhen viktima t\u00eb tij. Frustrimet ose d\u00ebshirat mir\u00ebfilli nevrotike jan\u00eb b\u00ebr\u00eb sot gjendje shpirt\u00ebrore kolektive. Le t\u00eb marrim nj\u00eb shembull: deri k\u00ebto koh\u00ebt e fundit, n\u00ebn-proletar\u00ebt e respektonin kultur\u00ebn dhe nj\u00ebherazi nuk kishin turp nga padija e tyre; p\u00ebrkundrazi, ishin krenar\u00eb p\u00ebr modelin e tyre popullor t\u00eb analfabetit q\u00eb arrin gjithsesi, me m\u00ebnyr\u00ebn e vet t\u00eb ve\u00e7ant\u00eb, t\u00eb kap\u00eb misteret e realitetit. Dhe \u00ab\u00a0\u00e7unat e llastuar\u00a0\u00bb, \u00ab\u00a0gjalpush\u00ebt\u00a0\u00bb apo mikro-borgjez\u00ebt ata i shihnin me nj\u00eb p\u00ebrbuzje kryelart\u00eb, duke e dalluar duksh\u00ebm veten prej tyre, edhe kur u duhej t\u2019u sh\u00ebrbenin. Kurse sot, p\u00ebrkundrazi, n\u00ebn-proletar\u00ebt kan\u00eb filluar ta p\u00ebrjetojn\u00eb padijen e tyre si di\u00e7ka t\u00eb turpshme: i kan\u00eb kthyer shpin\u00ebn modelit t\u00eb tyre kulturor (madje, m\u00eb t\u00eb rinjve as q\u00eb u kujtohet, kan\u00eb humbur \u00e7do kontakt me t\u00eb), nd\u00ebrkoh\u00eb q\u00eb modeli i ri q\u00eb duan t\u00eb imitojn\u00eb nuk parashikon as analfabetizmin, as vrazhd\u00ebsin\u00eb. Rinia n\u00ebn-proletare \u2013 e posht\u00ebruar tashm\u00eb \u2013 e fsheh me trup emrin e zanatit t\u00eb vet n\u00eb let\u00ebrnjoftime, dhe e z\u00ebvend\u00ebson at\u00eb me cil\u00ebsimin kinse t\u00eb fis\u00ebm \u00ab\u00a0student\u00a0\u00bb. Dhe natyrisht, q\u00eb nga \u00e7asti q\u00eb nis\u00ebn t\u00eb ndiejn\u00eb turp p\u00ebr padijen e tyre, nis\u00ebn po ashtu t\u00eb p\u00ebr\u00e7mojn\u00eb edhe kultur\u00ebn (karakteristik\u00eb mikro-borgjeze kjo, t\u00eb cil\u00ebn e mvesh\u00ebn menj\u00ebher\u00eb si pasoj\u00eb e mimetizmit). N\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, i riu mikro-borgjez, teksa d\u00ebshiron t\u00eb nj\u00ebsohet me modelin \u00ab\u00a0televiziv\u00a0\u00bb \u2013 model i krijuar dhe ushqyer nga klasa e vet, e pra i natyrsh\u00ebm p\u00ebr t\u00eb \u2013 nis t\u00eb shfaqet \u00e7udit\u00ebrisht i vrazhd\u00eb dhe i palumtur. N\u00ebse nga nj\u00ebra an\u00eb n\u00ebn-proletar\u00ebt u borgjezuan, borgjez\u00ebt nd\u00ebrkoh\u00eb u n\u00ebn-proletarizuan. Kultura q\u00eb ata prodhojn\u00eb, duke qen\u00eb kultur\u00eb thjesht teknike dhe rigorozisht pragmatike, e pengon t\u00eb zhvillohet \u00ab\u00a0njeriun\u00a0\u00bb e vjet\u00ebr q\u00eb gjallon ende n\u00eb ta, duke e atrofizuar krejt\u00ebsisht at\u00eb. Kjo shpjegon edhe at\u00eb deformim t\u00eb fakulteteve intelektuale e morale q\u00eb vihet re r\u00ebndom nd\u00ebr ta.<\/span><\/p>\n

P\u00ebrgjegj\u00ebsia e televizionit n\u00eb t\u00ebr\u00eb k\u00ebt\u00eb proces \u00ebsht\u00eb e pamat\u00eb, dhe kjo jo ngaq\u00eb \u00ebsht\u00eb \u00ab\u00a0mjet teknik\u00a0\u00bb, po ngaq\u00eb \u00ebsht\u00eb instrument pushteti dhe madje vet\u00eb ai pushtet. Sepse televizioni nuk \u00ebsht\u00eb thjesht nj\u00eb vend apo kanal p\u00ebr qarkullimin e mesazheve, por \u00ebsht\u00eb para s\u00eb gjithash qend\u00ebr e p\u00ebrpunimit t\u00eb mesazheve. Televizioni \u00ebsht\u00eb vendi i konkretizimit t\u00eb nj\u00eb mentaliteti q\u00eb, pa t\u00eb, nuk do t\u00eb mund t\u00eb dinte ku t\u00eb vendosej. Fryma e pushtetit\u00a0t\u00eb ri e gjen shfaqjen e saj konkrete te fryma e televizionit.<\/span><\/p>\n

S\u2019ka dyshim (si\u00e7 e v\u00ebrtetojn\u00eb rezultatet) se televizioni \u00ebsht\u00eb instrument autoritar dhe represiv m\u00eb i efektsh\u00ebm se \u00e7do lloj mjeti tjet\u00ebr informacioni m\u00eb par\u00eb n\u00eb bot\u00eb. Krahasuar me t\u00eb, gazetat fashiste dhe mbishkrimet e parullave musoliniane n\u00eb muret e fermave jan\u00eb qesharake: ashtu si\u00e7 \u00ebsht\u00eb (dhimbsh\u00ebm) e till\u00eb qerrja p\u00ebrball\u00eb traktorit. E p\u00ebrs\u00ebris: fashizmi, n\u00eb thelb, nuk arriti as ta g\u00ebrvish\u00eb n\u00eb sip\u00ebrfaqe shpirtin e popullit italian, nd\u00ebrkoh\u00eb q\u00eb fashizmi i ri, dhe fal\u00eb kryesisht mjeteve t\u00eb informacionit dhe komunikimit (para s\u00eb gjithash televizionit, pik\u00ebrisht), jo vet\u00ebm q\u00eb e ka g\u00ebrvishur, por e ka \u00e7jerr\u00eb, plagosur, dhunuar dhe f\u00eblliqur p\u00ebr jet\u00eb t\u00eb jet\u00ebve\u2026<\/span><\/p>\n

Dhjetor 1973 <\/em><\/span><\/p>\n

P\u00ebrktheu Orgest AZIZI<\/em><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0***<\/span><\/strong><\/span><\/p>\n

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  1. Ky diptik u pat\u2019 menduar fillimisht si montazh anakronik, pik\u00ebrisht p\u00ebr ta sjell\u00eb tekstin e Pasolinit n\u00eb nj\u00eb kontekst tjet\u00ebr nga ai fillestar i veti, p\u00ebr t\u00eb testuar shk\u00ebndijimin e mundsh\u00ebm t\u00eb k\u00ebtij takimi \u2013 dhe u botua si i till\u00eb, n\u00eb nj\u00eb koh\u00eb kur njer\u00ebz t\u00eb dal\u00eb nga MJAFT-i puqeshin ende me njer\u00ebz si Arlind Qori, krijonin \u00ab\u00a0qendra sociale\u00a0\u00bb n\u00ebp\u00ebr Tiran\u00eb, dhe nxirrnin nj\u00eb gazet\u00eb (me titull Gazeta<\/i><\/em>), si mjet aktiv p\u00ebr nd\u00ebrhyrje n\u00eb realitet. Pak dit\u00eb m\u00eb von\u00eb (6 dhjetor 2011), doli edhe n\u00eb faqen e kultur\u00ebs (drejtuar nga Elsa Demo) tek e p\u00ebrditshmja Shekulli<\/i><\/em>, nd\u00ebrkoh\u00eb e humbur pa gjurm\u00eb, n\u00eb let\u00ebr dhe n\u00eb rrjet. I them k\u00ebto jo vet\u00ebm si nj\u00eb cop\u00eb d\u00ebshmie arkeologjike p\u00ebr \u2018brezin e ri\u2019, teksa koha e pam\u00ebshirshme t\u00eb v\u00eb, dashur padashur, n\u00eb pozit\u00ebn e t\u00eb moshuarit. Por p\u00ebr t\u00eb dh\u00ebn\u00eb koordinatat fillestare \u2013 dhe tentuar, k\u00ebsisoj, ta b\u00ebj t\u00eb matshme distanc\u00ebn, dhe t\u00eb lexueshme, disi, situat\u00ebn ku jemi. Autonomia e tekstit m\u00eb duket nd\u00ebrkoh\u00eb aq e madhe, sa ta shk\u00ebpus nga konteksti i par\u00eb, ku nuk kishte akoma thirrje p\u00ebr \u00ab bojkotim t\u00eb mediave \u00bb, p\u00ebr ta eksperimentuar n\u00eb k\u00ebt\u00eb t\u00eb sotmin, t\u00eb rinis\u00eb s\u00eb shesheve me maska dhe gur\u00eb.<\/span><\/li>\n
  2. Q\u00eb nga botimi i par\u00eb i k\u00eatij shkrimi, disa tekste t\u00ea Pasolinit jan\u00eb botuar n\u00eb shqip: dy romane rinore dhe nj\u00eb v\u00ebllim me poezi, si dhe nj\u00eb novel\u00eb e Paveses. Fletoret<\/i><\/em>\u00a0e Gramscit pritet t\u00eb vijn\u00eb, tani q\u00eb KM i ka shpallur luft\u00eb \u2018antif\u00ebs\u2019 si armiku i ri i brendsh\u00ebm. Secili mund t\u00eb gjykoj\u00eb vler\u00ebn e k\u00ebtyre \u00ab\u00a0fakteve\u00a0\u00bb dhe deri n\u00eb \u00e7\u2019pik\u00eb e hedhin posht\u00eb diagnoz\u00ebn.<\/span><\/li>\n
  3. It.\u00a0: Acculturazione dell\u2019acculturazione. <\/i><\/em>Si\u00e7 thuhet n\u00eb gazetat dhe revistat serioze\u00a0: \u00ab\u00a0titulli \u00ebsht\u00eb i redaksis\u00eb\u00a0\u00bb, gj\u00eb q\u00eb k\u00ebtu do t\u00eb thot\u00eb: i p\u00ebrkthyesit. <\/span><\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Orgest Azizi | 29.10.2026 | nyje.al\u00a0 [Sh\u00ebnim\u00a0: Dallimi thelb\u00ebsor mes protest\u00ebs s\u00eb par\u00eb t\u00eb student\u00ebve, m\u00eb 2018 dhe k\u00ebsaj t\u00eb tanishmes, me gjith\u00eb Teatrin, Belind\u00ebn, Flamingot, etj, \u00ebsht\u00eb ardhja e furishme \u2013 dhe sovrane \u2013 n\u00eb sken\u00eb e \u00c7UNAVE, pas daljes s\u00eb par\u00eb q\u00eb pasoi vrasjen e Klodian Rash\u00ebs. Vrasje q\u00eb duhet njohur si akti i par\u00eb i racizmit social t\u00eb shtetit shqiptar. Dhe ku nuhatja e \u00e7unave, menj\u00ebher\u00eb, e kuptoi se ishin t\u00eb gjith\u00eb n\u00eb sh\u00ebnjest\u00ebr. Ardhja e \u00c7UNAVE\u00a0e ndryshon radikalisht sken\u00ebn. Ajo s\u2019\u00ebsht\u00eb m\u00eb e nj\u00ebjta \u2013 dh\u00eb k\u00ebsaj here k\u00ebt\u00eb e kuptoi menj\u00ebher\u00eb intuita e shtetit. \u00c7\u00ebshtja \u00ebsht\u00eb n\u00ebse do t\u2019i lem\u00eb, edhe k\u00ebt\u00eb her\u00eb, po aq t\u00eb vetmuar sa her\u00ebn e kaluar, po aq jetim\u00eb sa \u00e7\u2019kan\u00eb qen\u00eb p\u00ebrjet\u00eb.]     Britma n\u00eb munges\u00eb t\u00eb Pasolinit1 P\u00ebr \u00c7UNAT Askush s\u2019do t\u00eb duhej t\u00eb heshtte, ose s\u00eb paku askush s\u2019do t\u00eb duhej t\u00eb mund t\u00eb strukej n\u00eb s\u2019di \u00e7far\u00eb lloj rehatie intelektuale, estetike apo politike, p\u00ebr sa koh\u00eb q\u00eb vazhdon (dhe do t\u00eb vazhdoj\u00eb), si pjell\u00eb e ndonj\u00eb organizimi t\u00eb fsheht\u00eb, mungesa e \u00e7uditshme, revoltuese dhe e hatashme e Pasolinit n\u00eb mjedisin shqiptar. Nd\u00ebrkoh\u00eb q\u00eb shqiptar\u00ebt, t\u00eb rinj ose jo, krenohen me intimitetin q\u00eb mendojn\u00eb se kan\u00eb me gjuh\u00ebn dhe kultur\u00ebn italiane (intimitet ndoshta i rrem\u00eb, dhe t\u00eb mos harrojm\u00eb se, n\u00eb nj\u00eb mas\u00eb t\u00eb mir\u00eb, vjen i filtruar nga televizioni i t\u00eb dyja brigjeve); nd\u00ebrkoh\u00eb q\u00eb emisioni m\u00eb i ndjekur i televizioneve shqiptare \u00ebsht\u00eb kopje e vet\u00ebshpallur dhe pa komplekse e \u00ab\u00a0atit\u00a0\u00bb t\u00eb vet italian (p\u00ebrbrend\u00ebsim deri edhe mishtor, mimetiz\u00ebm radikalisht efikas, aq sa edhe trupi i B. Fevziut \u00ebsht\u00eb b\u00ebr\u00eb kopje e atij t\u00eb Bruno Vespas); nd\u00ebrkoh\u00eb q\u00eb ngjarja m\u00eb e madhe komb\u00ebtare e n\u00ebntorit nuk \u00ebsht\u00eb as kremtimi i shpalljes s\u00eb pavar\u00ebsis\u00eb por hapja e nj\u00eb qendre t\u00eb re tregtare (TEG) \u2013 dhe kur masat popullore, dikur ende t\u00eb frikshme dhe t\u00eb ndara n\u00eb katunar\u00eb, malok\u00eb, \u00e7e\u00e7en\u00eb apo halabak\u00eb, arrij\u00eb t\u00eb gjejn\u00eb legjitimitetin e dukjes s\u00eb tyre publike dhe mediatike vet\u00ebm si mas\u00eb konsumatore q\u00eb hidhet e ngaz\u00ebllyer nga QTU-ja te Carrefour-i; nd\u00ebrkoh\u00eb q\u00eb \u00ab\u00a0panairi\u00a0\u00bb i librit e zbuloi me buj\u00eb, edhe p\u00ebr t\u00eb verb\u00ebrit e fundit, natyr\u00ebn e vet televizivo-tregtare, duke e futur m\u00eb n\u00eb fund edhe Shqip\u00ebrin\u00eb n\u00eb modernitetin e shum\u2019\u00ebnd\u00ebrruar ku librat shiten me po aq sukses dhe n\u00eb po at\u00eb m\u00ebnyr\u00eb si dhe patatet (duke qen\u00eb po aq pa shije); nd\u00ebrkoh\u00eb q\u00eb triumfon \u2013 vrullsh\u00ebm dhe pa alternativ\u00eb \u2013 \u00ab\u00a0njeriu i ri\u00a0\u00bb televiziv, p\u00ebrkund\u00ebr \u00e7do njeriu t\u00eb vjet\u00ebr, qoft\u00eb ky edhe shkrimtari m\u00eb i madh i historis\u00eb s\u00eb kombit; nd\u00ebrkoh\u00eb q\u00eb mbetjet e fundit arkaiko-humaniste t\u00eb Panairit, t\u00eb trembura edhe ato nga ritmi i ri i loj\u00ebs ku jan\u00eb futur (sepse s\u2019mund as t\u2019i rrinin larg, apo jo?) synojn\u00eb t\u00eb shp\u00ebtojn\u00eb nj\u00eb \u00e7ik\u00ebz kultur\u00eb borgjeze duke i dh\u00ebn\u00eb \u00e7mimin e p\u00ebrkthimit p\u00ebrkthyesit profesionist (kupto: i pun\u00ebsuar te \u00ab\u00a0Naim Frash\u00ebri\u00a0\u00bb para \u201990-\u00ebs) t\u00eb nj\u00eb libri \u00ab\u00a0t\u00eb lezetsh\u00ebm\u00a0\u00bb t\u00eb italianit Umberto Eco; nd\u00ebrkoh\u00eb kur b\u00ebhet jo vet\u00ebm i mundur, por edhe legal, i besuesh\u00ebm dhe madje prestigjioz nj\u00eb togfjal\u00ebsh i till\u00eb si: \u00ab\u00a0autori Blendi Fevziu dhe botuesi i tij Henri \u00c7ili\u00a0\u00bb\u00a0; n\u00eb t\u00ebr\u00eb k\u00ebt\u00eb bashk\u00ebkoh\u00ebsi pra, q\u00eb p\u00ebrcakton disa nga koordinatat m\u00eb themeltare t\u00eb atij dielli t\u00eb zi q\u00eb ndri\u00e7on aktualitetin e jet\u00ebve tona t\u00eb gjymtuara, t\u00eb nj\u00eb populli q\u00eb bie (teksa mendon se ngjitet), i \u00e7armatosur dhe pa mbroj\u00eb, nga prapambetja paramoderne n\u00eb furtunat e depolitizuara t\u00eb kapitalizmit mediatik; n\u00eb nj\u00eb realitet t\u00eb till\u00eb q\u00eb duket se ekziston si p\u00ebr t\u00eb qen\u00eb nj\u00eb v\u00ebrtetim hiperbolik i shqet\u00ebsimeve t\u00eb Pasolinit, pik\u00ebrisht n\u00eb t\u00eb pra, Pasolini mbetet i munguar, i path\u00ebn\u00eb, i pad\u00ebgjuar. Af\u00ebrsia ontologjike e realitetit shqiptar me Pasolinin, q\u00eb nga \u00e7unat e lagjeve, t\u00ebr\u00eb ajo pleb\u00eb mashkullore periurbane q\u00eb popullon librat dhe filmat e tij, deri te zhb\u00ebrja \u00ab\u00a0live\u00a0\u00bb e rendit t\u00eb ekzistenc\u00ebs popullore, duket sikur kusht\u00ebzon, p\u00ebr paradoks, edhe mospranin\u00eb e tij. Thua se mjedisi shqiptar nuk do (dhe paradokset e k\u00ebsaj (mos)d\u00ebshire jan\u00eb sigurisht me shum\u00eb pala) t\u00eb d\u00ebgjoj\u00eb z\u00ebrin q\u00eb i flet m\u00eb nga af\u00ebr, z\u00ebrin q\u00eb m\u00eb me dhimbje, m\u00eb me past\u00ebrti e dashuri i p\u00ebrcjell vajtimin p\u00ebr katastrof\u00ebn q\u00eb po i b\u00ebn vetes. De nobis fabula narratur. Q\u00eb dispozitivi shoq\u00ebror shqiptar, n\u00eb pothuaj t\u00ebr\u00ebsin\u00eb e mekanizmave t\u00eb tij, si prodhues aktiv i harres\u00ebs dhe verbimit publik, funksionon, me ose pa vet\u00ebdije, si makin\u00eb e p\u00ebrjashtimit t\u00eb mund\u00ebsis\u00eb p\u00ebr d\u00ebgjueshm\u00ebrin\u00eb e Pasolinit, kjo nuk \u00ebsht\u00eb, fundja, e habitshme (dhe n\u00eb k\u00ebndin e verb\u00ebr t\u00eb let\u00ebrsis\u00eb e kultur\u00ebs italiane t\u00eb paardhur, Pasolini nuk \u00ebsht\u00eb po ashtu i vet\u00ebm, por me m\u00eb t\u00eb mir\u00ebt: Gramsci, Pavese, Vittorini, Bene\u2026). Po p\u00ebrtej k\u00ebtij dispozitivi? Te t\u00ebr\u00eb ato subjekte q\u00eb jan\u00eb dhe\/ose e mendojn\u00eb veten si jasht\u00eb dhe kund\u00ebr tij, n\u00eb radh\u00ebn e shumt\u00eb (ndoshta) t\u00eb atyre q\u00eb kan\u00eb arritur t\u00eb vendosin nj\u00eb raport tjet\u00ebr me Italin\u00eb, kultur\u00ebn, Europ\u00ebn, modernitetin, kineman\u00eb, politik\u00ebn dhe angazhimin, ose edhe vet\u00ebm n\u00eb radh\u00ebn e shumt\u00eb (ndoshta) t\u00eb atyre q\u00eb thjesht nuk jan\u00eb p\u00ebr\u00e7udnuar aq sa t\u00eb mos njohin m\u00eb as situat\u00ebn e vetes dhe kumbimin e nj\u00eb z\u00ebri t\u00eb af\u00ebrt? Nj\u00eb munges\u00eb kaq e paarsye dhe sistematike ka gjasa vlen si simptom\u00eb. Na duhet ndoshta t\u2019i v\u00ebm\u00eb veshin, n\u00eb mos pamund\u00ebsis\u00eb, s\u00eb paku paaft\u00ebsis\u00eb son\u00eb p\u00ebr ta b\u00ebr\u00eb Pasolinin t\u00eb pranish\u00ebm, qoft\u00eb edhe vet\u00ebm p\u00ebr ne dhe vet\u00ebm mes nesh. Na duhet ndoshta t\u00eb shqyrtojm\u00eb rezistenc\u00ebn ton\u00eb, pasive apo aktive, ndaj Pasolinit (si pasoj\u00eb ndaj halabak\u00ebve, homoseksualitetit?) Por na duhet, nj\u00ebkoh\u00ebsisht, t\u00eb klithim p\u00ebr sa koh\u00eb q\u00eb vazhdon mungesa e Pasolinit.2\u00a0     Pier Paolo PASOLINI Barbaria q\u00eb vjen3 Peizazh i shkret\u00eb me fashiz\u00ebm dhe televizion N\u00eb dit\u00ebt e sotme, n\u00eb k\u00ebto koh\u00eb kur austerity\u00a0\u00ebsht\u00eb n\u00eb rend t\u00eb dit\u00ebs, t\u00eb shumt\u00eb jan\u00eb ata q\u00eb ankohen p\u00ebr problemet q\u00eb vijn\u00eb nga mungesa (larg qendr\u00ebs s\u00eb \u00ab\u00a0kalbur\u00a0\u00bb) e nj\u00eb organizimi t\u00eb jet\u00ebs shoq\u00ebrore dhe kulturore n\u00eb lagjet periferike me vlera t\u00eb \u00ab\u00a0sh\u00ebndosha\u00a0\u00bb (n\u00eb fakt, fjetore pa gjelb\u00ebrim, pa sh\u00ebrbime, pa autonomi, pa asnj\u00eb raport p\u00ebrnj\u00ebmend njer\u00ebzor). Retorik\u00eb boshe! N\u00ebse do t\u00eb ekzistonte ajo p\u00ebr munges\u00ebn e s\u00eb cil\u00ebs shprehen ankimet, at\u00eb prap\u00eb qendra do ta kishte organizuar; po ajo qend\u00ebr q\u00eb, n\u00eb sa pak vjet, arriti t\u00eb<\/p>\n","protected":false},"author":2,"featured_media":30429,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","ocean_front_end_style_editor":"no","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":[4,829],"tags":[1268,1188,1269,1263,1236],"class_list":["post-30427","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kryenyje","category-perkthime","tag-cunat","tag-orgest-azizi","tag-revolta-e-cunave","tag-revoltat-studentore","tag-revolucioni-flamingo","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/30427","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=30427"}],"version-history":[{"count":4,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/30427\/revisions"}],"predecessor-version":[{"id":30433,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/30427\/revisions\/30433"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/30429"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=30427"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/categories?post=30427"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/tags?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