{"id":20878,"date":"2017-11-22T14:00:25","date_gmt":"2017-11-22T14:00:25","guid":{"rendered":"http:\/\/www.fjala.info\/?p=20878"},"modified":"2017-12-07T12:07:06","modified_gmt":"2017-12-07T12:07:06","slug":"si-na-shfaqen-vegimet-e-fundit","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/si-na-shfaqen-vegimet-e-fundit\/","title":{"rendered":"Si na shfaqen Vegimet e fundit"},"content":{"rendered":"

Nga burime konfidenciale, libri me titull “Vegimet e fundit<\/strong>” (tregime), i autorit shkodran Meritan Spahija, i shkruar n\u00eb nj\u00eb gegnishte t\u00eb past\u00ebr, ka dal\u00eb n\u00eb finalen e konkursit “Libri m\u00eb i mir\u00eb i vitit<\/em><\/strong>“, organizuar nga Ministria e Arsimit dhe e Kultur\u00ebs. Fituesi do t\u00eb shpallet n\u00eb jav\u00ebn e par\u00eb t\u00eb dhjetorit.<\/em><\/p>\n

Libri me tregime i autorit Meritan Spahija \u00ebsht\u00eb p\u00ebrzgjedhur nd\u00ebr 5 m\u00eb t\u00eb mir\u00ebt nga 8.000 libra t\u00eb botuar n\u00eb shqip, n\u00eb fush\u00ebn e proz\u00ebs dhe poezis\u00eb p\u00ebr vitin 2016. Ky \u00ebsht\u00eb nj\u00eb vler\u00ebsim tjet\u00ebr i r\u00ebnd\u00ebsish\u00ebm p\u00ebr autorin n\u00eb fjal\u00eb, pas shkrimit dhe vler\u00ebsimit, q\u00eb b\u00ebri gazetarja e Radio Vatikanit p\u00ebr p\u00ebrkthimin e Meritanit n\u00eb gegnisht t\u00eb vepr\u00ebs s\u00eb plot\u00eb t\u00eb Dante Aligerit: KOMEDIA HYJNORE<\/a>…<\/em><\/p>\n

M\u00eb posht\u00eb po japim parath\u00ebnien e librit t\u00eb shkruar nga Prof.as.dr. Vin\u00e7ens MARKU<\/em><\/p><\/blockquote>\n

Prof.as.dr. Vin\u00e7ens MARKU<\/strong>,
\nDrejtor i Departamentit t\u00eb Let\u00ebrsis\u00eb n\u00eb Universitetin “Luigj Gurakuqi”, Shkod\u00ebr<\/em><\/p>\n

Problemi i artistit dhe raporti me produktin e tij, jan\u00eb thelbi i tematik\u00ebs s\u00eb vepr\u00ebs Vegimet e fundit t\u00eb autorit Meritan Spahija. Vepra \u00ebsht\u00eb e konceptuar nga ana formale si nj\u00eb trilogji n\u00eb proz\u00eb, n\u00eb t\u00eb cil\u00ebn vegimet e shkrimtarit, n\u00eb perceptimin e realitetit t\u00eb brendsh\u00ebm dhe t\u00eb jasht\u00ebm, jan\u00eb t\u00eb pjes\u00ebzuar, si\u00e7 duket, sipas nj\u00eb rendi kronologjik t\u00eb p\u00ebrjetimit t\u00eb tyre: Vegimet e para, P\u00ebrmes vegimeve dhe Vegimet e fundit. Uniteti formal i tyre nuk mb\u00ebshtetet vet\u00ebm nga k\u00ebndv\u00ebshtrimi kronologjik, por mbi t\u00eb gjitha n\u00eb evoluimin letrar dhe konceptues t\u00eb vet\u00eb autorit.<\/p>\n

N\u00ebse te pjesa e par\u00eb kemi n\u00eb p\u00ebrgjith\u00ebsi ndonj\u00eb luhatje p\u00ebr njohjen e vetes s\u00eb tij si artist i letrave, te e dyta vet\u00ebdija p\u00ebr nj\u00eb gj\u00eb t\u00eb till\u00eb \u00ebsht\u00eb m\u00eb e plot\u00eb, nd\u00ebrsa tek e treta pjekuria \u00ebsht\u00eb m\u00eb e madhe dhe ndihet thell\u00ebsisht i shenjt\u00ebruar si i till\u00eb. Madje te tregimet e pjes\u00ebs tret\u00eb kemi trilogjin\u00eb me tregime Lulet e kumbull\u00ebs, p\u00ebrb\u00ebr\u00eb nga tregimet: Lulet e kumbull\u00ebs, Shkarpat dhe Odat, q\u00eb n\u00eb unitetin e tyre formal q\u00ebndrojn\u00eb si nj\u00eb e t\u00ebr\u00eb, sepse trajtojn\u00eb nj\u00eb subjekt t\u00eb vet\u00ebm.<\/p>\n

Te pjesa e dyt\u00eb P\u00ebrmes vegimeve jan\u00eb vendosur cop\u00ebza nga prozat tashm\u00eb t\u00eb botuara n\u00eb veprat e m\u00ebparshme, q\u00eb megjithat\u00eb rrin\u00eb mir\u00eb n\u00eb t\u00ebr\u00ebsin\u00eb e vepr\u00ebs, pa c\u00ebnuar aspak harmonin\u00eb e saj. Digresionet e mundshme jan\u00eb t\u00eb gjitha funksionale n\u00eb shtjellimin e tem\u00ebs s\u00eb p\u00ebrgjithshme dhe t\u00eb q\u00ebndrimit t\u00eb vet\u00eb autorit p\u00ebr bot\u00ebn, e cila kapet pik\u00ebrisht n\u00eb pikat m\u00eb t\u00eb r\u00ebnd\u00ebsishme p\u00ebr njeriun-artist, s\u00eb pari n\u00eb identifikimin e dhuntis\u00eb, s\u00eb dyti n\u00eb trajtimin e temave universale, si dashuria, jeta dhe vdekja. Si rrjedhim, duket e drejt\u00eb t\u00eb themi se uniteti i vepr\u00ebs \u00ebsht\u00eb siguruar m\u00eb shum\u00eb sesa nga nj\u00eb ndarje e q\u00ebllimshme, nga fryma artistike dhe p\u00ebmbajt\u00ebsore e librit.<\/p>\n

Realizimi artistik i k\u00ebsaj vepre \u00ebsht\u00eb arritur p\u00ebrmes nj\u00eb debati t\u00eb p\u00ebrhersh\u00ebm t\u00eb autorit me shqet\u00ebsimet e natyr\u00ebs s\u00eb tij prej artisti. N\u00eb asnj\u00eb vend t\u00eb librit nuk shohim ndonj\u00eb kujdesje t\u00eb tepruar p\u00ebr kuptimshm\u00ebrin\u00eb e produktit t\u00eb tij nga publiku. P\u00ebrkundrazi ai, i z\u00ebn\u00eb rob nga frym\u00ebzimi mbyt\u00ebs, \u00ebsht\u00eb kujdesur t\u00eb hedh\u00eb n\u00eb let\u00ebr ngacmimin e gjetjes, q\u00eb n\u00eb shum\u00eb raste jan\u00eb p\u00ebrjetime, q\u00eb e b\u00ebjn\u00eb at\u00eb t\u00eb ndrysh\u00ebm, t\u00eb huaj, dhe mosreagues ndaj mjedisit, n\u00eb t\u00eb cilin ai jeton.<\/p>\n

K\u00ebto tregime jan\u00eb n\u00eb p\u00ebrgjith\u00ebsi fryt i p\u00ebrjetimeve rreth nj\u00eb dekade e gjysm\u00eb t\u00eb koh\u00ebve t\u00eb fundit, pra jan\u00eb mjaft t\u00eb fresk\u00ebta. Individi i gjendur i paralizuar n\u00eb rrjet\u00ebn e institucioneve t\u00eb shprishura dhe n\u00eb nj\u00eb kaos vlerash, ndihet i paaft\u00eb t\u00eb reagoj\u00eb ndaj tyre. \u00c7on nj\u00eb jet\u00eb pasive. \u00cbsht\u00eb i paorientuar n\u00eb rendin e ri shoq\u00ebror, i cili n\u00eb rrug\u00ebn e tij kalimtare e vendos individin n\u00eb nj\u00eb situat\u00eb absurde dhe t\u00eb pakuptimt\u00eb.<\/p>\n

Nj\u00eb gj\u00eb e till\u00eb trajtohet p\u00ebrmes tregimit t\u00eb shk\u00ebl-qyesh\u00ebm Flet\u00ebt e nj\u00eb ditari t\u00eb humbun, q\u00eb \u00ebsht\u00eb vendosur n\u00eb fillim t\u00eb librit. Tregimi fillon me p\u00ebrgatitjen e lexuesit p\u00ebr ditarin e pritsh\u00ebm, i cili gjehet rastsisht n\u00eb nj\u00eb rrug\u00eb t\u00eb qytetit dhe zgjon kureshtjen e mpreht\u00eb t\u00eb personazhit-artist, i cili me padurim pret kthimin n\u00eb sht\u00ebpi p\u00ebr ta lexuar dhe p\u00ebr ta shfryt\u00ebzuar si l\u00ebnd\u00eb p\u00ebr artin e tij. Pasi e lexon, sheh t\u00eb udh\u00ebs t\u00eb mos nd\u00ebrhyj\u00eb n\u00eb t\u00eb, por t\u00eb na e paraqet ashtu si\u00e7 \u00ebsht\u00eb n\u00eb ato flet\u00eb t\u00eb humbura.<\/p>\n

N\u00eb ditar autori flet n\u00eb vet\u00eb t\u00eb par\u00eb ashtu si n\u00eb shum\u00eb tregime t\u00eb tjera. N\u00eb k\u00ebt\u00eb tregim rr\u00ebfehet duke u nisur nga ai q\u00eb shkruan (autori i tregimit), pastaj kalohet (p\u00ebrs\u00ebri n\u00eb vet\u00eb t\u00eb par\u00eb) tek ai q\u00eb shkruan ditarin dhe, s\u00eb fundi, objekti i shkrimit t\u00eb ditarit, personazhi i \u00e7uditsh\u00ebm q\u00eb shkon e blen nj\u00eb varr. Drama e identitetit t\u00eb humbur, preket dhimbsh\u00ebm, duke filluar nga personazhi i \u00e7uditsh\u00ebm e q\u00eb p\u00ebrshkon edhe t\u00eb tjer\u00ebt (shkruesin e ditarit dhe shkruesin e tregimit), duke na l\u00ebn\u00eb n\u00eb m\u00ebdyshje edhe t\u00eb vet\u00eb tregimtarit:<\/p>\n

\u201cKush asht ky e \u00e7\u2019ka bahet? \u00c7ka jan\u00eb k\u00ebto flet\u00eb? A asht me t\u00eb v\u00ebrtet\u00eb nj\u00eb ditar? Apo nj\u00eb sajim i rastsish\u00ebm. Fort dyshojm\u00eb. Kush t\u2019i ket\u00eb shkrue k\u00ebto rreshta? Pse ai i marri q\u00eb takova, shkonte tue k\u00ebrkue rrug\u00ebs? N\u00eb at\u00eb q\u00eb, un\u00eb, sapo \u201cdi\u00e7ka\u201d gjeta. A thue nj\u00eb i marr\u00eb shkruen p\u00ebr nj\u00eb t\u00eb marr\u00eb tjet\u00ebr? Apo p\u00ebr vetveten? Nuk e di.\u201d<\/p>\n

N\u00eb k\u00ebt\u00eb tregim, loja mes jet\u00ebs dhe vdekjes, normales dhe anormales (t\u00eb cilat k\u00ebmbejn\u00eb rolet n\u00eb var\u00ebsi t\u00eb k\u00ebndv\u00ebshtrimit, duke l\u00ebn\u00eb t\u00eb lir\u00eb lexuesin, jo vet\u00ebm p\u00ebr nj\u00eb q\u00ebndrim subjektiv, por edhe p\u00ebr shkak t\u00eb k\u00ebsaj, edhe meditativ), apo njeriut dhe \u201chumbjes s\u00eb identitetit\u201d, na shfaqet tragjikisht me k\u00ebt\u00eb \u201cpersonazh\u201d t\u00eb trazuar e q\u00eb fare mir\u00eb mund t\u00eb jet\u00eb secili prej nesh i p\u00ebrfshir\u00eb, qoft\u00eb edhe pjes\u00ebrisht, sepse t\u00eb gjith\u00eb vuajm\u00eb nga humbja e aft\u00ebsis\u00eb s\u00eb matjes s\u00eb vlerave, meq\u00eb \u201cvler\u00eb\u201d, p\u00ebr shkak t\u00eb munges\u00ebs s\u00eb \u201cmodelit\u201d, shpesh quhet antivlera dhe mediokriteti, saq\u00eb njeriu (i \u00e7uditshmi, q\u00eb n\u00eb kushte t\u00eb tjera mund t\u00eb ishte nj\u00eb njeri krejt tjet\u00ebr, n\u00eb pozicionin e tij meritues), vendos t\u00eb v\u00ebr\u00eb nj\u00eb kapak vlerave t\u00eb veta t\u00eb pavler\u00ebsuara (p\u00ebr shkak t\u00eb munges\u00ebs s\u00eb etalonit), mbi t\u00eb cilin shkruan edhe nj\u00eb epitaf…<\/p>\n

\u201cK\u00ebtu prehet nj\u00eb llamb\u00eb e vog\u00ebl q\u00eb desht me ndri\u00e7ue n\u00eb k\u00ebt\u00eb bot\u00eb, e cila, e mulueme terrinash, e shuejti at\u00eb.\u201d<\/p>\n

Beteja e lasht\u00eb me t\u00eb cil\u00ebn \u00ebsht\u00eb p\u00ebrballuar njeriu: vlera dhe antivlera, normalja dhe anormalja, jeta dhe vdekja t\u00eb p\u00ebrziera. Nuk dihet filli i nj\u00ebr\u00ebs dhe fundi i tjetr\u00ebs; nuk dihet ku mbaron jeta dhe ku fillon vdekja. Loj\u00eb e lasht\u00eb tragjikomike dhe gjithashtu edhe e njeriut modern, pa nj\u00eb pik\u00eb reference, pa nj\u00eb bosht etik t\u00eb q\u00ebndruesh\u00ebm. Individi q\u00eb ka humbur arsyen e t\u00eb jetuarit e ndihet i vdekur, sepse atij i \u00ebsht\u00eb shuar shpresa, i jan\u00eb shuar motivet, vlerat q\u00eb mbajn\u00eb n\u00eb jet\u00eb ekzistenc\u00ebn e tij. Trondit\u00ebs \u00ebsht\u00eb fati i qytetarit q\u00eb duhet t\u2019i p\u00ebrshtatet k\u00ebtij realiteti me vlera diametralisht t\u00eb kund\u00ebrta. Ai sheh diferencat, por nuk mund ta b\u00ebj\u00eb p\u00ebrmbysjen q\u00eb n\u00eb origjin\u00eb e tyre, sepse ajo q\u00eb p\u00ebr t\u00eb \u00ebsht\u00eb nj\u00eb etik\u00eb universale e vet\u00ebrealizimit t\u00eb tij, tashm\u00eb \u00ebsht\u00eb kthyer n\u00eb antivler\u00eb, si rrjedhim i gjendjes kaotike, n\u00eb t\u00eb cil\u00ebn i duhet t\u00eb jetoj\u00eb.<\/p>\n

Tregimet me tem\u00eb dashurin\u00eb japin ndijimin e artistit\/letrar n\u00eb lidhje me personin q\u00eb ai dashuron. B\u00ebhet nj\u00eb hetim i holl\u00ebsish\u00ebm i ndjenj\u00ebs s\u00eb natyrshme p\u00ebr femr\u00ebn. Ajo, femra, madje jepet si motivi kryesor i poetit p\u00ebr t\u00eb shkruar, n\u00ebse nuk ka se kujt t\u2019i shkruaj ai nuk gjen dot as arsyen p\u00ebr t\u00eb shkruar. Kjo trajtohet p\u00ebrmes tregimit Kristali i nj\u00eb gote t\u00eb thyeme, ku autori p\u00ebrpiqet t\u00eb evokoj\u00eb koh\u00ebt e puthjeve t\u00eb vjedhura. Shoq\u00ebrit\u00eb e pastra e t\u00eb g\u00ebzuara, q\u00eb japin shkas t\u00eb lindin ndjenja t\u00eb fuqishme. M\u00eb e ndjeshme b\u00ebhet situata, kur pjes\u00ebtar i k\u00ebtyre grupeve \u00ebsht\u00eb nj\u00eb artist. Pik\u00ebpamja estetike e autorit p\u00ebr trajtimin e tematik\u00ebs s\u00eb dashuris\u00eb \u00ebsht\u00eb se, t\u00eb jesh poet i dashuris\u00eb, nuk mjafton t\u00eb jesh artist, por duhet t\u00eb jesh i dashuruar.<\/p>\n

Te tregimi Ndarje autori luan me dhimbjen e thell\u00eb t\u00eb ndarjes dhe e trajton at\u00eb t\u00eb nj\u00ebkahshme. Nuk marrim vesh se \u00e7far\u00eb p\u00ebrjeton gruaja, t\u00eb cil\u00ebn dashuron artisti, por rip\u00ebrjetojm\u00eb thell\u00ebsisht dhimbjen e humbjes q\u00eb ndien ai. Humbje q\u00eb vendoset n\u00eb koh\u00eb mes t\u00eb shkuar\u00ebs, s\u00eb tashmes dhe s\u00eb ardhmes. Dhimbja breng\u00ebl\u00ebn\u00ebse e dashuris\u00eb q\u00eb nuk i p\u00ebrgjigjet nj\u00ebri kah, ka nj\u00eb ton elegjiak filozofik te ky tregim, i cili p\u00ebr nga ana teknike \u00ebsht\u00eb mb\u00ebshtetur te p\u00ebrsiatja racionale\/irracionale e \u00e7astit t\u00eb ndarjes.<\/p>\n

\u201cAjo \u00e7ka rreth meje ekzistonte, ngjante me nj\u00eb mas\u00eb t\u00eb qull\u00ebt dhe t\u00eb rrjedhshme. Un\u00eb, n\u00eb mesin e saj. Pa rrjedh\u00eb. Po, ve\u00e7, sa fillue. Nuk isha i sigurt\u00eb se, kur, at\u00eb grue, e kisha takue: n\u00eb t\u00eb shkuemen, apo n\u00eb t\u00eb ardhmen time.\u201d<\/p>\n

P\u00ebrgjith\u00ebsisht, tek t\u00eb gjith\u00eb tregimet, fjala \u00ebsht\u00eb vendosur mir\u00eb n\u00eb rrjedh\u00ebn e ligj\u00ebrimit t\u00eb brendsh\u00ebm, pa krijuar k\u00ebrcitje formale, emocionale dhe ideore. Ndjenja dhe mendimi, posa\u00e7\u00ebrisht te tregimet me tem\u00eb dashurin\u00eb, ruajn\u00eb nj\u00eb harmoni t\u00eb natyrshme pa pasur dominimin e nj\u00ebr\u00ebs mbi tjetrin apo anasjelltas.<\/p>\n

Trilogjia te tregimeve Lulet e kumbull\u00ebs, Shkarpat dhe Odat trajton jet\u00ebn e artistit n\u00eb mjedisin familjar, i cili si i d\u00ebnuar i p\u00ebrjetsh\u00ebm p\u00ebr t\u00eb v\u00ebzhguar \u00e7do gj\u00eb q\u00eb ndodh rreth tij, s\u2019resht s\u00eb medituari p\u00ebr gjith\u00e7ka. N\u00eb nj\u00eb mosh\u00eb rinie t\u00eb pacaktuar i ndodh t\u00eb takohet me humbjen e njeriut t\u00eb af\u00ebrt. Elementi tragjik, q\u00eb e shoq\u00ebron k\u00ebt\u00eb ngjarje \u00ebsht\u00eb p\u00ebrshkruar si nj\u00eb efekt i ngjarjes tek artisti, i cili ndihet m\u00eb tep\u00ebr sesa pjes\u00ebmarrja aktive n\u00eb ngjarje, nj\u00eb perceptues i paduksh\u00ebm i saj. Edhe k\u00ebtu si n\u00eb shum\u00eb tregime t\u00eb tjera, ndodhia jepet si p\u00ebrjetim i artistit dhe jo si nj\u00eb p\u00ebrshkrim i ndodhis\u00eb. Institucionet q\u00eb n\u00eb p\u00ebrgjith\u00ebsi jan\u00eb rregulluese t\u00eb mbar\u00ebvajtjes s\u00eb jet\u00ebs s\u00eb zakonshme, k\u00ebtu paraqiten si kufizime paralitike t\u00eb individit t\u00eb z\u00ebn\u00eb ngusht\u00eb nga disa rregulla, t\u00eb cilat, n\u00eb vend q\u00eb t\u00eb kryejn\u00eb rolin e tyre brenda familjes, b\u00ebhen penges\u00eb p\u00ebr t\u00eb.<\/p>\n

Tek Odat, riti i pritjes s\u00eb vizitave, si nj\u00eb detyrim i qytetarit ndaj qytetarit, por q\u00eb n\u00eb zbraz\u00ebtin\u00eb e tij ka humbur funksionin e vet, gj\u00eb q\u00eb e kthen at\u00eb n\u00eb nj\u00eb zakon fosil, ngarkuar me efekte zakonore t\u00eb pakuptimshme, shihet nga personazhi\/artist si nj\u00eb heqje lirie dhe si penges\u00eb. Njeriu artist dallon nga ai i zakonshmi edhe brenda familjes, sepse ai nuk \u00ebsht\u00eb i zakonsh\u00ebm p\u00ebr t\u00eb zakonshmen. Edhe pse dhimbja \u00ebsht\u00eb e fort\u00eb edhe p\u00ebr t\u00eb, triumfi i dashuris\u00eb p\u00ebr jet\u00ebn dhe t\u00eb jetuarit intensiv t\u00eb saj jan\u00eb m\u00eb t\u00eb forta tek artisti, i cili nuk don t\u2019i mungoj\u00eb d\u00ebshmimit p\u00ebr t\u00eb cilin \u00ebsht\u00eb i thirrur.<\/p>\n

\u201cDora q\u0451 vazhdonte me mb\u0451rthye krahun tim m\u0451 tregonte se duhej t\u0451 tregoja ma shum\u0451 durim e t\u0451 p\u0451rballoja vuejtjen, ashtu si\u00e7 ma k\u0451rkonte detyra. Qysh i vog\u0451l i isha bind\u0451 pa diskutim, sikur t\u0451 mos ishte v\u0451llai im i madh, por shum\u0451 ma tep\u0451r. M\u0451 erdhi ta p\u0451rqafoja e q\u0451 shfreja me lot n\u0451 supin e tij, ashtu si\u00e7 bajsha dikur. U mb\u0451shteta n\u0451 shpinoren e poltronit tim dhe p\u0451rfundimisht u dor\u0451zova.\u201d<\/p>\n

Dhimbjen nuk e sheh si fillimi i nj\u00eb dhimbjeje, por si fillimi i nj\u00eb rifillimi a shprese, e cila do t\u00eb shkaktoj\u00eb d\u00ebshir\u00ebn p\u00ebr vazhdimin e rrjedh\u00ebs s\u00eb saj duke p\u00ebrjetuar tashm\u00eb \u00e7astet e tjera t\u00eb jet\u00ebs q\u00eb duhet t\u00eb g\u00ebzohen prej tij.<\/p>\n

Si\u00e7 \u00ebsht\u00eb shprehur m\u00eb sip\u00ebr, mund t\u00eb themi se tregimet e vepr\u00ebs Vegimet e fundit kan\u00eb n\u00eb qend\u00ebr t\u00eb tyre tematik\u00ebn e njeriut\/artist n\u00eb nj\u00eb bot\u00eb kaotike dhe paralizuese, e cila e ka kthyer artistin anonim ose i ka dh\u00ebn\u00eb atij tashm\u00eb nj\u00eb rol dyt\u00ebsor a di\u00e7ka m\u00eb pak. Artisti, i ndier si i marr\u00eb peng nga institucionet e bot\u00ebs moderne, k\u00ebrkon t\u00eb fitoj\u00eb lirin\u00eb p\u00ebrmes hap\u00ebsirave t\u00eb tyre. Tani, ai nuk synon t\u00eb b\u00ebj\u00eb z\u00ebdh\u00ebn\u00ebsin e t\u00eb tjer\u00ebve por vet\u00ebm z\u00ebdh\u00ebn\u00ebsin e vetvetes, duke u marr\u00eb me nj\u00eb hetim t\u00eb thell\u00eb t\u00eb bot\u00ebs s\u00eb tij dhe duke k\u00ebrkuar shkaqet e shqet\u00ebsimeve. Temat e m\u00ebdha universale t\u00eb shpeshrrahura nga artist\u00ebt shfaqen k\u00ebtu si nj\u00eb pasoj\u00eb e ndodhis\u00eb sesa si ndodhi n\u00eb vetvete.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nga burime konfidenciale, libri me titull “Vegimet e fundit” (tregime), i autorit shkodran Meritan Spahija, i shkruar n\u00eb nj\u00eb gegnishte t\u00eb past\u00ebr, ka dal\u00eb n\u00eb finalen e konkursit “Libri m\u00eb i mir\u00eb i vitit“, organizuar nga Ministria e Arsimit dhe e Kultur\u00ebs. Fituesi do t\u00eb shpallet n\u00eb jav\u00ebn e par\u00eb t\u00eb dhjetorit. Libri me tregime […]<\/p>\n","protected":false},"author":1,"featured_media":20879,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,8,11],"tags":[],"class_list":["post-20878","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-letersi","category-roman"],"yoast_head":"\nSi na shfaqen Vegimet e fundit - FJALA e LIR\u00cb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jehonashqiptare.al\/fjala\/si-na-shfaqen-vegimet-e-fundit\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Si na shfaqen Vegimet e fundit - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Nga burime konfidenciale, libri me titull “Vegimet e fundit” (tregime), i autorit shkodran Meritan Spahija, i shkruar n\u00eb nj\u00eb gegnishte t\u00eb past\u00ebr, ka dal\u00eb n\u00eb finalen e konkursit “Libri m\u00eb i mir\u00eb i vitit“, organizuar nga Ministria e Arsimit dhe e Kultur\u00ebs. 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