{"id":57908,"date":"2020-07-10T18:14:26","date_gmt":"2020-07-10T16:14:26","guid":{"rendered":"https:\/\/fjala.info\/?p=57908"},"modified":"2020-07-10T18:14:26","modified_gmt":"2020-07-10T16:14:26","slug":"mjeshteria-e-transmetimit-te-mesazhit","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/mjeshteria-e-transmetimit-te-mesazhit\/","title":{"rendered":"MJESHT\u00cbRIA E TRANSMETIMIT T\u00cb MESAZHIT"},"content":{"rendered":"

\"\" Sherafedin KADRIU<\/strong><\/p>\n

(Meditim p\u00ebr romanin \u201cAta dy t\u00eb burgjeve\u201d t\u00eb shkrimtarit Ibrahim Kadriu)<\/em><\/p>\n

Ibrahim Kadriu ka nj\u00eb stil rr\u00ebfimi t\u00eb ve\u00e7ant\u00eb t\u00eb nd\u00ebrtuar n\u00ebp\u00ebr vite. Nuk jan\u00eb pak 50 vjet krijimtari letrare. Brenda k\u00ebsaj kohe \u00ebsht\u00eb paraqitur me nj\u00eb varg t\u00eb gjat\u00eb veprash n\u00eb poezi, n\u00eb proz\u00eb dhe n\u00eb dram\u00eb, nj\u00ebkoh\u00ebsisht duke qen\u00eb i p\u00ebrfaq\u00ebsuar n\u00eb antologji\u00eb letrare m\u00eb t\u00eb arrira t\u00eb Kosov\u00ebs, po dhe i p\u00ebrkthyer n\u00eb disa gjuh\u00eb t\u00eb huaja[1]<\/a>.<\/p>\n

Romani \u201cAta dy t\u00eb burgjeve\u201d (2019) \u00ebsht\u00eb p\u00ebrplot\u00ebsues i mir\u00eb i mendimit t\u00eb m\u00ebsip\u00ebrm; sjell nj\u00eb tematik\u00eb interesante, t\u00eb njohur p\u00ebr ne, se \u00ebsht\u00eb p\u00ebrditshm\u00ebria jon\u00eb, \u00ebsht\u00eb e tashmja konkrete historike, q\u00eb nuk paraqet tjet\u00ebr pos nj\u00eb teat\u00ebr absurd ku edhe idet\u00eb jan\u00eb absurde, ndaj dhe aktet shpesh p\u00ebrfundojn\u00eb si t\u00eb tilla.<\/p>\n

Autori ka aft\u00ebsin\u00eb dhe guximin intelektual e moral t\u00eb futet n\u00eb thell\u00ebsit\u00eb e jet\u00ebs, t\u00eb k\u00ebrkoj\u00eb nga ajo fsheht\u00ebsit\u00eb, duke sjell\u00eb p\u00ebrpara lexuesit nj\u00eb tematik\u00eb t\u00eb zgjeruar, t\u00eb analizuar, sintetizuar e vler\u00ebsuar si shkall\u00eb m\u00eb e lart\u00eb taksonomie. Le t\u00eb p\u00ebrmendim disa prej temave t\u00eb tilla: katrahurat e p\u00ebsuara n\u00eb burgjet jugosllave dhe n\u00eb ato t\u00eb Shqip\u00ebris\u00eb, nj\u00eb krahasim i ideve t\u00eb t\u00eb burgosurve; sisteme sigurimesh si UDB-ja dhe Sigurimi shqiptar; rritja e numrit t\u00eb veteran\u00ebve t\u00eb luft\u00ebs s\u00eb U\u00c7K-s\u00eb; shkollimi shqiptar\u00ebve n\u00eb gjuh\u00ebn shqipe n\u00eb vendet per\u00ebndimore n\u00eb raport me procesin e organizimit fetar; dep\u00ebrtimi i frym\u00ebs s\u00eb ISIS-it n\u00eb Kosov\u00eb, nj\u00eb tradit\u00eb arabe edhe n\u00eb veshje; figurat politike t\u00eb ngritura n\u00ebp\u00ebrmjet korrupsionit, vrasjeve etj. etj.<\/p>\n

T\u00eb gjitha k\u00ebtyre temave dhe jo vet\u00ebm k\u00ebtyre, u prin linja kryesore e romanit, e cila thyhet n\u00eb t\u00eb mir\u00eb t\u00eb kompozicionit. Me pak fjal\u00eb ajo duket k\u00ebshtu: Lul Bushati i kthyer nga burgjet e Shqip\u00ebris\u00eb ka gjetur miq n\u00eb lokalin \u201cOfshama\u201d, ku mblidhen t\u00eb burgosurit politik\u00eb shqiptar\u00eb q\u00eb kan\u00eb vuajtur d\u00ebnimet n\u00eb burgjet ish jugosllave. Njihet me ta, e me nj\u00ebrin prej tyre, Hesetin e Demirit, afrohet m\u00eb shum\u00eb se me t\u00eb tjer\u00ebt, edhe pse mu me t\u00eb shprehen kund\u00ebrshtit\u00eb m\u00eb t\u00eb m\u00ebdha. T\u00eb p\u00ebrbashk\u00ebt kan\u00eb burgun, nd\u00ebrsa kund\u00ebrshtit\u00eb vijn\u00eb si shp\u00ebrfaqje e q\u00ebndrimit q\u00eb kan\u00eb ndaj figur\u00ebs s\u00eb Enver Hoxh\u00ebs, nj\u00ebri pro e tjetri kund\u00ebr.<\/p>\n

Megjithat\u00eb, burgu nuk qe rezultat i pro dhe kund\u00ebr figur\u00ebs s\u00eb Enverit, por pasoj\u00eb e kund\u00ebrshtis\u00eb, nj\u00ebri ndaj pushtuesit, e tjetri ndaj pushtetit. Pra, \u00a0nuk duam ta banalizojm\u00eb burgun e tyre me nj\u00eb form\u00ebsim p\u00ebrmbledh\u00ebs kaq t\u00eb thjesht\u00eb, megjithat\u00eb, ti vendos n\u00ebse fjal\u00ebn do ta v\u00ebsh n\u00eb sh\u00ebrbim t\u00eb s\u00eb keqes, apo ta ndal\u00ebsh goj\u00ebn q\u00eb gjuha t\u00eb mos shkas\u00eb n\u00eb m\u00ebkat!<\/p>\n

P\u00ebrputhja mes materies dhe frym\u00ebs s\u00eb tekstit<\/strong><\/p>\n

P\u00ebr k\u00ebt\u00eb arsye, kujtojm\u00eb q\u00eb autori q\u00ebllimsh\u00ebm ka zhvilluar k\u00ebt\u00eb loj\u00eb me figur\u00ebn e Enverit duke e trajtuar si negacion t\u00eb meditimeve, mendimeve, veprimeve e zhg\u00ebnjimeve t\u00eb k\u00ebtyre dy personazheve, t\u00eb cil\u00ebt paraqesin dy karaktere t\u00eb rritur si idealist\u00eb t\u00eb pathyesh\u00ebm; karaktere q\u00eb nuk thyhen asnj\u00ebher\u00eb, sikur q\u00eb nuk thyhen as doktrinat politike e filozofike, ato i kan\u00eb nd\u00ebrtuar, arsyetuar e sforcuar n\u00eb kushte e\u00a0 rrethana jo njer\u00ebzore.<\/p>\n

\"\" Nuk jan\u00eb m\u00eb pak t\u00eb r\u00ebnd\u00ebsishme \u00e7\u00ebshtjet e tjera q\u00eb nd\u00ebrhyjn\u00eb n\u00eb linj\u00ebn kryesore t\u00eb zhvillimit t\u00eb romanit. Babai i Lulit, Ukshini, q\u00eb\u00a0 mban q\u00ebndrim pro ndaj figur\u00ebs s\u00eb Enverit, prandaj Luli nuk do t\u00eb rrij\u00eb n\u00eb sht\u00ebpin\u00eb e t\u00eb atit; ikja e motr\u00ebs Dea p\u00ebr Turqi, q\u00eb t\u2019i bashk\u00ebngjitet ISIS-it, letra sqaruese e saj, interesimi i Lulit p\u00ebr t\u00eb gjetur shkaktarin e vuajtjeve t\u00eb s\u00eb motr\u00ebs, kush\u00ebriri Genci dhe roli i fam\u00ebkeqit, Servet Okllapi, n\u00eb k\u00ebt\u00eb rr\u00ebmuj\u00eb etj.; dhe zgjidhja e konfliktit t\u00eb nd\u00ebrtuar krejt natyrsh\u00ebm: babai i Lulit vdes dhe varroset bashk\u00eb me foton e Enverit, Dea e ka falur Gencin, i cili ka b\u00ebr\u00eb \u00e7\u2019\u00ebsht\u00eb e mundur t\u00eb fshij\u00eb gabimin q\u00eb mbetet nj\u00eb vrim\u00eb gozhde e pa mbyllur.<\/p>\n

Historit\u00eb e personazheve t\u00eb k\u00ebtij romani p\u00ebrmbushen dhe b\u00ebhen t\u00eb besueshme kusht\u00ebzuar nga kompozicioni i vepr\u00ebs, q\u00eb realizohet n\u00ebp\u00ebrmjet gjuh\u00ebs dhe sistemit t\u00eb t\u00eb shprehurit. Romani \u00ebsht\u00eb ngritur nga fjal\u00eb t\u00eb p\u00ebrzgjedhura, t\u00eb radhitura sipas dijes e p\u00ebrvoj\u00ebs s\u00eb autorit, pra sipas stilit t\u00eb tij. N\u00eb roman ndodh p\u00ebrputhja nd\u00ebrmjet materies dhe frym\u00ebs s\u00eb tekstit si t\u00ebr\u00ebsi.<\/p>\n

Udbash\u00ebt dhe sigurimsat z\u00ebn\u00eb nj\u00eb vend t\u00eb mir\u00eb n\u00eb roman dhe s\u2019mund t\u00eb ishte ndryshe, aty ku ka gjahtar\u00eb, patjet\u00ebr q\u00eb do t\u00eb ket\u00eb edhe zagar\u00eb. T\u00eb dy pal\u00ebt, si t\u00eb thuash, kan\u00eb b\u00ebr\u00eb t\u00eb nj\u00ebjt\u00ebn shkoll\u00eb. Din\u00eb t\u00eb t\u00eb shkaktojn\u00eb vuajtjet nga m\u00eb t\u00eb dhimbshmet, nga m\u00eb trishtueset, si n\u00eb aspektin fizik, po ashtu edhe n\u00eb at\u00eb psikologjik. Dhe, lexuesi mund t\u00eb thot\u00eb se form\u00ebsimi i m\u00ebsip\u00ebrm nuk \u00ebsht\u00eb logjik, duhej t\u00eb dukej k\u00ebshtu: si n\u00eb aspektin psikologjik, po ashtu edhe n\u00eb aspektin fizik. Duke e konsideruar nj\u00eb tortur\u00eb fizike m\u00eb t\u00eb r\u00ebnd\u00eb se tortur\u00ebn psikike. Mendoj q\u00eb \u00ebsht\u00eb e kund\u00ebrta, sepse t\u00eb t\u00eb mundin fizikisht \u00ebsht\u00eb vet\u00ebm prov\u00eb q\u00ebndrese, nd\u00ebrsa t\u00eb t\u00eb mundin psikikisht \u00ebsht\u00eb fundi i q\u00ebndrimit.<\/p>\n

Nuk del m\u00eb pak trishtuese loja me z\u00ebrin e n\u00ebn\u00ebs e t\u00eb bab\u00ebs n\u00eb qelin\u00eb me q\u00ebllim p\u00ebr mundime psikologjike t\u00eb t\u00eb burgosurve, q\u00eb po b\u00ebnte Sigurimi shqiptar me Lul Bushatin sesa \u00e7far\u00ebdo dhune tjet\u00ebr fizike. K\u00ebshtu mund t\u00eb thuhet edhe p\u00ebr loj\u00ebn q\u00eb b\u00ebjn\u00eb udbash\u00ebt me z\u00ebrin e gruas s\u00eb Suel Bitrit, sikur ajo ishte dashnore e dy politikan\u00ebve dhe po b\u00ebnte seks me ta. Trishtimi sa vjen e rritet, ani pse at\u00eb loj\u00eb po ia b\u00ebjn\u00eb njeriut t\u00eb tyre, informatorit t\u00eb tyre, i cili dikur kishte shpifur p\u00ebr shqiptar\u00ebt q\u00eb kund\u00ebrshtonin pushtetin serb n\u00eb Kosov\u00eb. Ndryshe \u00ebsht\u00eb me Servet Okllapin, vdekja e t\u00eb cilit nuk \u00ebsht\u00eb se t\u00eb vret moralisht, sikund\u00ebr nuk e kishte vrar\u00eb moralisht as ekzekutuesin e tij, Genc Bushatin.<\/p>\n

N\u00eb an\u00ebn tjet\u00ebr, tema e ISIS-it q\u00eb vjen n\u00ebp\u00ebrmjet motr\u00ebs Dea, aktualizohet, analizohet e gjykohet,\u00a0 nga k\u00ebndi i dy t\u00eb burgosurve, nd\u00ebrsa mungon gjykimi i shtetit dhe i shoq\u00ebris\u00eb. Do t\u00eb ishte interesant sidomos gjykimi i shoq\u00ebris\u00eb, sepse t\u00eb burgosurit edhe ashtu p\u00ebrfaq\u00ebsojn\u00eb vet\u00ebm nj\u00eb klas\u00eb t\u00eb ve\u00e7ant\u00eb t\u00eb shoq\u00ebris\u00eb kosovare.<\/p>\n

Nj\u00eb prej personazheve, karakteri i t\u00eb cilit p\u00ebrputhet me temperamentin q\u00eb ka, \u00ebsht\u00eb Genc Bushati. Ky karakter i form\u00ebsuar t\u00eb befason k\u00ebndsh\u00ebm (sipas Erik From), me sjelljet dhe q\u00ebndrimin q\u00eb merr gjat\u00eb veprimeve t\u00eb tij. T\u00eb r\u00ebnd\u00ebsishme paraqiten ndryshimet n\u00eb karakterin e tij, por pa ndikim autorial; jan\u00eb ndryshime q\u00eb vijn\u00eb t\u00eb bazuara nga veprime t\u00eb kund\u00ebrshtarit, si proces reagimi dhe vet\u00ebdijesimi p\u00ebr t\u00eb ndrequr at\u00eb q\u00eb e kishte prishur shum\u00eb keq.<\/p>\n

P\u00ebrmendja e disa emrave t\u00eb figurave reale, Arianit \u00c7ela, Todi Lubonja e Fatos Lubonja, Ramiz Cernica, djali i tij, Raifi, bija e Enver Hoxh\u00ebs, Pranvera Hoxha, miku i shqiptar\u00ebve, francezi Jan Iv Carlen, e ndonj\u00eb tjet\u00ebr, nuk do t\u00eb thot\u00eb se romani ka elementin historik, p\u00ebrkundrazi k\u00ebto personazhe rast\u00ebsisht mbajn\u00eb ata emra. As ata, e as edhe ndonj\u00eb dat\u00eb historike e z\u00ebn\u00eb ngoje, nuk mund ta prish\u00eb bukurin\u00eb, t\u00eb v\u00ebrtet\u00ebn dhe besueshm\u00ebrin\u00eb e ides\u00eb s\u00eb romanit q\u00eb \u00ebsht\u00eb m\u00eb shum\u00eb se realiteti.<\/p>\n

Kjo frym\u00eb moderne n\u00eb trajtime t\u00eb karaktereve antonimesh, \u00ebsht\u00eb konceptuar si rezultat i pozicionimit t\u00eb figurave t\u00eb caktuara, t\u00eb cilat duket nganj\u00ebher\u00eb se jan\u00eb t\u00eb pavarura n\u00eb veprimet e tyre, p\u00ebrkund\u00ebr tendenc\u00ebs s\u00eb synuar t\u00eb autorit q\u00eb t\u00eb form\u00ebsoj\u00eb nj\u00eb substanc\u00eb t\u00eb sh\u00ebndosh\u00eb shoq\u00ebrore. Ndodh k\u00ebshtu pse bot\u00ebkuptimi filozofik, etik, estetik e letrar i Ibrahim Kadriut karakterizohet me pak\u00ebnaq\u00ebsi, q\u00eb ndonj\u00ebher\u00eb merr p\u00ebrmasa zhg\u00ebnjimi, por q\u00eb gjithsesi nuk \u00ebsht\u00eb se e ka humbur shpres\u00ebn. Shpresa \u00ebsht\u00eb n\u00eb frym\u00ebn e veprimit dhe t\u00eb shfaqjes s\u00eb ides\u00eb, jo vet\u00ebm pse mund t\u00eb mbahet \u00e7far\u00ebdo q\u00ebndrimi, por pse nuk i jep llogari askujt. \u00c7\u00ebshtje tjet\u00ebr \u00ebsht\u00eb n\u00ebse kritiku letrar a, sidomos lexuesi, pajtohet ose jo me iden\u00eb autoriale, e cila fatmir\u00ebsisht n\u00eb k\u00ebt\u00eb roman nuk merr tipare t\u00eb tendenc\u00ebs.<\/p>\n

Si rrumbullak\u00ebsim<\/strong><\/p>\n

Romani \u201cAta dy t\u00eb burgjeve\u201d cil\u00ebsohet me kompozicionin q\u00eb \u00ebsht\u00eb n\u00eb funksion t\u00eb ides\u00eb s\u00eb karaktereve,\u00a0 m\u00eb p\u00ebrpara sesa t\u00eb konfliktit q\u00eb vjen e p\u00ebrmbushet n\u00eb m\u00ebnyr\u00eb t\u00eb natyrshme,\u00a0 si burim i nj\u00eb visore dukurish t\u00eb temave t\u00eb realitetit. Angazhimi i I. Kadriut n\u00eb k\u00ebt\u00eb aspekt mbetet si nj\u00eb pik\u00eb reference p\u00ebr filozofin\u00eb dhe psikologjin\u00eb e personazheve.<\/p>\n

P\u00ebr stilin e autorit,\u00a0 t\u00eb r\u00ebnd\u00ebsishme duhet konsideruar edhe letrat, dy prej tyre t\u00eb motr\u00ebs Dea: Letra p\u00ebr identitetin e ndryshuar dhe Letra nga Parisi, Letra d\u00ebrguar Servet Okllapit nga Lul Bushati dhe nj\u00eb mesazh celulari nga Genc Bushati p\u00ebr kush\u00ebririn, Lulin. N\u00eb k\u00ebto letra e mesazhesh personazhet e caktuara shprehin bot\u00ebn e tyre t\u00eb brendshme dyshimet p\u00ebr problemet q\u00eb tashm\u00eb jan\u00eb aktualizuar, interesimin p\u00ebr zgjidhjen e tyre,\u00a0 guximin p\u00ebr t\u2019u p\u00ebrballur me t\u00eb keqen, dashurin\u00eb p\u00ebr njer\u00ebzit e af\u00ebrm etj.<\/p>\n

Me k\u00ebt\u00eb roman shkrimtari, Ibrahim Kadriu, e ka funksionalizuar nj\u00eb rr\u00ebfim gjall\u00ebrik dhe veprues nj\u00ebkoh\u00ebsisht, i cili \u00ebsht\u00eb ndar\u00eb n\u00eb pjes\u00eb t\u00eb ve\u00e7anta, t\u00eb titulluara, pa qen\u00eb t\u00eb shk\u00ebputur nj\u00ebri prej tjetrit, p\u00ebrkundrazi secili prej tyre lidhet me tregimin paraardh\u00ebs dhe pasardh\u00ebs.<\/p>\n

Ky lib\u00ebr \u00ebsht\u00eb nga ato romanet q\u00eb e k\u00ebnaq lexuesin, i cili nuk mund ta nd\u00ebrpres\u00eb leximin p\u00ebr ndonj\u00eb arsye, p\u00ebr arsye se ai t\u00eb t\u00ebrheq deri n\u00eb fund; teknika e rr\u00ebfimit nuk \u00ebsht\u00eb hermetike, prandaj edhe situatat dhe zgjidhja e konflikteve n\u00eb situata konkrete, karakterizohen nga thjesht\u00ebsia dhe thell\u00ebsia e karaktereve t\u00eb ndryshme n\u00eb raport me ngjarjet, n\u00eb t\u00eb cilat jan\u00eb \u201ct\u00eb d\u00ebnuar\u201d t\u00eb jen\u00eb pjes\u00ebmarr\u00ebs aktiv\u00eb dhe kontribuues serioz\u00eb t\u00eb tyre.<\/p>\n

Cil\u00ebsi e romanit \u00ebsht\u00eb mjesht\u00ebria p\u00ebr t\u00eb transmetuar mesazhin e artistit n\u00eb nj\u00eb m\u00ebnyr\u00eb shum\u00eb t\u00eb thjesht\u00eb e t\u00eb qart\u00eb (parafrazim i nj\u00eb citati), si at\u00ebher\u00eb kur b\u00ebn p\u00ebrshkrimin e ambientit, zakonisht me pak fjal\u00eb, duke i lejuar imagjinat\u00ebs q\u00eb ta nd\u00ebrtoj\u00eb vet\u00eb t\u00eb tillin ambient (shemb. 1), si kur p\u00ebrshkruan psikologjin\u00eb e personazhit (shemb. 2),\u00a0 ose kur ndodhet n\u00eb rolin e medituesit (shemb. 3), apo kur p\u00ebrshkruan dialog\u00eb dramatik\u00eb (shemb. 4).<\/p>\n

N\u00eb rolin e p\u00ebrshkruesit t\u00eb ambientit<\/strong>:<\/p>\n

Zyra-kabinet ishte akustike, me dy dritare t\u00eb mbuluara me roleta, kurse dera e zyr\u00ebs ishte e mbuluar me saftjan. Kuptohej se p\u00ebrve\u00e7 atyre q\u00eb ishin brenda, askush tjet\u00ebr nuk mund t\u00eb d\u00ebgjonte se \u00e7far\u00eb transmetohej. F. 123. <\/em><\/p>\n

N\u00eb rolin e rr\u00ebfimtarit<\/strong><\/p>\n

Shum\u00eb von\u00eb e kishte kuptuar filozofin\u00eb e jet\u00ebs t\u00eb cil\u00ebn e ushqente vet\u00ebm me sinqeritet. Por von\u00eb e kishte kuptuar se sinqeriteti n\u00eb shoq\u00ebri t\u00eb t\u00eb pasinqert\u00ebve, nuk ishte tjet\u00ebr, ve\u00e7 nj\u00eb debak\u00ebl shpirti. K\u00ebso debakli kishte p\u00ebrjetuar pand\u00ebrprer\u00eb gjat\u00eb gjith\u00eb koh\u00ebs n\u00eb burgje, gjat\u00eb gjith\u00eb asaj kohe kur mendonte se, t\u00eb jesh n\u00eb liri, do t\u00eb lirohesh nga hipokrizit\u00eb. Me t\u00eb dal\u00eb nga ajo sk\u00ebterr\u00eb, ishte bindur, se jasht\u00eb grilave, kishte idiotizma edhe m\u00eb t\u00eb m\u00ebdha, dinak\u00ebri edhe m\u00eb t\u00eb avancuara, manipulime m\u00eb ordinere, dyfytyr\u00ebsi m\u00eb t\u00eb rryer, arroganc\u00eb m\u00eb t\u00eb p\u00ebrfillur, kishte t\u00eb papritura e t\u00eb pa imagjinuara, t\u00eb ardhura si nga qielli p\u00ebr fatkeq\u00ebsi t\u00eb t\u00eb tjer\u00ebve. F. 79-80.\u00a0\u00a0\u00a0 <\/em><\/p>\n

N\u00eb rolin e medituesit<\/strong><\/p>\n

\u00a0\u201cT\u00eb gjith\u00eb ne futemi n\u00eb shtigje q\u00eb nuk e dim\u00eb se ku dalin, n\u00eb udh\u00eb q\u00eb nuk e dim\u00eb ku \u00e7ojn\u00eb. Ecim p\u00ebrpara n\u00ebp\u00ebr jet\u00eb pa e ditur se ku na shpie ajo v\u00ebrtet. Paksa si n\u00eb nj\u00eb lib\u00ebr, tregimi i t\u00eb cilit na merr e na bart pa e ditur n\u00eb nisje p\u00ebrfundimin e rr\u00ebfimit…\u201d\u00a0\u00a0 f. 60<\/em><\/p>\n

Dhe nj\u00eb dialog dramatik<\/strong><\/p>\n