{"id":59995,"date":"2020-09-29T20:08:07","date_gmt":"2020-09-29T18:08:07","guid":{"rendered":"https:\/\/fjala.info\/?p=59995"},"modified":"2020-09-29T20:15:42","modified_gmt":"2020-09-29T18:15:42","slug":"klasicizmi","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/","title":{"rendered":"KLASICIZMI"},"content":{"rendered":"

\"Xhelal Xhelal Zejneli<\/strong><\/p>\n

Klasicizmi \u00ebsht\u00eb drejtim letrar q\u00eb erdhi n\u00eb shprehje n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb plot\u00eb n\u00eb let\u00ebrsin\u00eb franceze n\u00eb shekullin XVII. Fjala vjen nga latinishtja classicus<\/em>. N\u00eb gjuh\u00eb t\u00eb caktuara p\u00ebrdoret edhe n\u00eb trajtat klasika, klasik<\/em>. N\u00eb shekullin XVI termin e rip\u00ebrt\u00ebriu francezi T. Sebije<\/strong>. Ky n\u00eb vepr\u00ebn e tij \u201cMbi artin poetik\u201d<\/em> dy poet\u00eb t\u00eb shquar francez\u00eb t\u00eb mesjet\u00ebs i quajti \u201cshkrimtar\u00eb t\u00eb mir\u00eb klasik\u00eb\u201d<\/em>. M\u00eb von\u00eb, me p\u00ebrdorimin e shpesht\u00eb dhe t\u00eb ndrysh\u00ebm, termi mori dometh\u00ebnie t\u00eb ndryshme. Shkrimtar\u00ebt e frym\u00ebzuar nga humanizmi<\/em> krijuan vepra n\u00eb t\u00eb cilat i imitonin modelet greke<\/em> dhe romake<\/em>. K\u00ebta shkrimtar\u00eb me koh\u00eb e fituan t\u00eb drejt\u00ebn p\u00ebr t\u2019u quajtur \u201cklasik\u00eb\u201d<\/em>, q\u00eb do t\u00eb thot\u00eb se me frym\u00ebn dhe me vlerat ishin t\u00eb af\u00ebrt me shkrimtar\u00ebt antik\u00eb, ithtar\u00eb t\u00eb denj\u00eb t\u00eb tyre.<\/p>\n

N\u00eb k\u00ebt\u00eb dometh\u00ebnie, tashm\u00eb parandihet nj\u00ebfar\u00eb orientimi letrar-stilistik<\/em>, ndon\u00ebse jo aq i p\u00ebrcaktuar, p\u00ebr arsye se n\u00eb k\u00ebt\u00eb v\u00ebshtrim jan\u00eb klasik\u00eb<\/em> Petrarka <\/strong>(Petrarca) dhe Taso <\/strong>(Tasso), Ronsari <\/strong>(Ronsard) dhe Rasini <\/strong>(Racine). M\u00eb von\u00eb edhe Klopshtoku <\/strong>(Klopstock) dhe G\u00ebte <\/strong>(Goethe), Shenie<\/strong> (<\/strong>Ch\u00e9nier) e Leopardi <\/strong>(Leopardi).<\/p>\n

Duke filluar nga shekulli XVIII, s\u00eb pari n\u00eb Gjermani, n\u00eb shkrimet e v\u00ebllez\u00ebrve Shlegel <\/strong>(Schlegel), e pas nj\u00eb kohe edhe t\u00eb autor\u00ebve t\u00eb tjer\u00eb dhe n\u00eb let\u00ebrsit\u00eb e tjera, termi klasik<\/em><\/strong> fillon t\u00eb sh\u00ebnoj\u00eb t\u00eb kund\u00ebrt\u00ebn e nocionit t\u00eb ri – romantik<\/em><\/strong>. Gjat\u00eb t\u00ebr\u00eb shekullit XIX e m\u00eb pas, kjo antitez\u00eb<\/em> paraqet baz\u00ebn m\u00eb t\u00eb r\u00ebnd\u00ebsishme p\u00ebr p\u00ebrkufizimin e t\u00eb dy nocioneve.<\/p>\n

Zonja d\u00eb Stal <\/strong>(Sta\u00ebl) u b\u00eb e njohur duke zhvilluar iden\u00eb e ndarjes letrare-gjeografike n\u00eb jugun klasik greko-romak <\/em>dhe n\u00eb veriun romantik gjerman<\/em>.<\/p>\n

N\u00eb gjysm\u00ebn e dyt\u00eb t\u00eb shekullit XIX, me paraqitjen e realizmit, natyralizmit, simbolizmit <\/em><\/strong>dhe t\u00eb drejtimeve t\u00eb tjera, u paraqit\u00ebn antiteza<\/em> t\u00eb reja n\u00eb t\u00eb cilat mbiemri<\/em> \u201cklasik\u201d<\/em><\/strong> gjithnj\u00eb m\u00eb tep\u00ebr n\u00ebnkuptonte t\u00eb kund\u00ebrt\u00ebn e modernes <\/em>dhe gjithnj\u00eb m\u00eb fort\u00eb nd\u00ebrlidhej me t\u00eb kaluar\u00ebn<\/em>, me vlerat e pakontestueshme, t\u00eb lidhura me tradit\u00ebn, t\u00eb kulturave komb\u00ebtare.<\/p>\n

Sot, asnj\u00eb nga dometh\u00ebniet e sip\u00ebrth\u00ebna, disa prej t\u00eb cilave ende jan\u00eb n\u00eb p\u00ebrdorim, nuk mund t\u00eb kontribuoj\u00eb n\u00eb konceptimin m\u00eb t\u00eb thell\u00eb, as t\u00eb doktrin\u00ebs, as t\u00eb artit t\u00eb<\/em> klasicizmit.<\/em><\/p>\n

Fjala \u201cklasik\u201d<\/em> <\/strong>s\u00eb pari u paraqit n\u00eb Itali n\u00eb vitin 1818. N\u00eb Gjermani u paraqit n\u00eb vitin 1820, n\u00eb Franc\u00eb n\u00eb vitin 1822, n\u00eb Rusi m\u00eb 1830, n\u00eb Angli m\u00eb 1831. Termi \u201cklasik\u201d<\/em> hyri n\u00eb p\u00ebrdorim t\u00eb gjer\u00eb vet\u00ebm kah fundi i shekullit XIX. Mbiemri \u201cklasik\u201d(klasicistik)<\/em> u krijua sipas shembullit \u201crealist\u201d (realistik), \u201csimbolist\u201d (simbolistik), \u201cimpresionist\u201d (impresionistik)<\/em> etj. \u00a0Termi u krijua n\u00eb trajt\u00eb mbiemri p\u00ebr t\u00eb qen\u00eb shum\u00eb m\u00eb i p\u00ebrcaktuar dhe \u00ebsht\u00eb i nj\u00eb date m\u00eb t\u00eb re. N\u00eb k\u00ebt\u00eb trajt\u00eb, termi nuk arriti t\u00eb imponohet gjithkund.<\/p>\n

Si drejtim<\/em> dhe si periudh\u00eb<\/em>, klasicizmi sh\u00ebnon n\u00eb radh\u00eb t\u00eb par\u00eb pjes\u00ebn m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb let\u00ebrsis\u00eb franceze <\/em>t\u00eb shekullit XVII: periudh\u00ebn e Korneit <\/strong>(Corneille), Dekartit <\/strong>(Descartes), Paskalit <\/strong>(Pascal), Molierit <\/strong>(Moli\u00e8re), La Fontenit <\/strong>(La Fontaine), Rasinit <\/strong>(Racine), La Bryerit <\/strong>(La Bruy\u00e8re) etj.<\/p>\n

N\u00eb let\u00ebrsit\u00eb e tjera, klasicizmi, po qe se ekziston, si epok\u00eb nuk \u00ebsht\u00eb aq e r\u00ebnd\u00ebsishme, nd\u00ebrsa ndikimi francez kudo \u00ebsht\u00eb i pranish\u00ebm, madje edhe vendimtar.<\/p>\n

Jasht\u00eb Franc\u00ebs, shkall\u00eb m\u00eb t\u00eb lart\u00eb t\u00eb vler\u00ebs artistike klasicizmi arriti n\u00eb Angli, n\u00eb gjysm\u00ebn e par\u00eb t\u00eb shekullit XVIII, pas Drajedenit <\/strong>(Dryden) dhe n\u00eb koh\u00ebn e Popit <\/strong>(Pope) e Adisonit <\/strong>(Addison).<\/p>\n

N\u00eb Gjermani n\u00eb shekullin XVIII te Godshedi <\/strong>(Gottsched) dhe Bodmeri<\/strong> (Bodmer) klasicizmi \u00ebsht\u00eb fare i zbeht\u00eb dhe shum\u00eb pak origjinal, nd\u00ebrsa klasicizmi i Klopshtokut <\/strong>(Klopstock), Lesingut <\/strong>(Lessing), Vilandit <\/strong>(Wielland), Herderit <\/strong>(Herder), G\u00ebtes <\/strong>(Goethe) dhe Shilerit <\/strong>(Schiller) \u00ebsht\u00eb nj\u00eb dukuri m\u00eb vete, e lidhur n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb me t\u00eb kaluar\u00ebn antike<\/em> dhe me tendencat bashk\u00ebkohore romantike<\/em><\/strong>.<\/p>\n

N\u00eb let\u00ebrsit\u00eb e tjera evropiane, shkrimtar\u00ebt t\u00eb cil\u00ebt her\u00eb-her\u00eb quhen klasicist\u00eb (klasik\u00eb)<\/em>, si rregull, jan\u00eb shum\u00eb m\u00eb af\u00ebr pseudoklasicizmit <\/em><\/strong>se klasicizmit <\/em><\/strong>t\u00eb v\u00ebrtet\u00eb. Rrjedhimisht, n\u00eb p\u00ebrkufizimin e k\u00ebtij nocioni n\u00eb radh\u00eb t\u00eb par\u00eb duhet nisur nga klasicizmi <\/em>francez. Burime kryesore t\u00eb doktrin\u00ebs s\u00eb klasicizmit jan\u00eb retorikat <\/em><\/strong>dhe poetikat antike<\/em><\/strong>. Prej autor\u00ebve duhet p\u00ebrmendur sidomos Aristotelin <\/strong>dhe Horacin<\/strong>. Q\u00eb nga mesi i shekullit XVI, ndikimi i Aristotelit ishte i jasht\u00ebzakonsh\u00ebm. N\u00eb p\u00ebrhapjen dhe n\u00eb zhvillimin e ideve t\u00eb tyre, kan\u00eb luajtur nj\u00eb rol t\u00eb madh me shkrimet e veta shum\u00eb humanist\u00eb<\/em> italian\u00eb: Marko Xh.<\/strong> Vida, Danielo, Vin\u00e7enco Magji, Benedeto Varki, Robertelo, Antonio S. Minturno, Ludoviko Kastelvetro <\/strong>e t\u00eb tjer\u00eb. Xhulio Skaligero <\/strong>vepronte n\u00eb Franc\u00eb krahas poet\u00ebve t\u00eb Plead\u00ebs<\/em> <\/strong>e t\u00eb tjer\u00ebve.<\/p>\n

Por, k\u00ebtu me r\u00ebnd\u00ebsi t\u00eb ve\u00e7ant\u00eb do t\u00eb jet\u00eb brezi i doktrinar\u00ebve n\u00eb krye me Shaplenin<\/strong>, puna k\u00ebmb\u00ebngul\u00ebse e tij e plot\u00ebson t\u00ebr\u00eb \u00e7erekun e tret\u00eb t\u00eb shekullit XVII. Pas tyre vijn\u00eb apo shum\u00eb shpejt do t\u2019u kund\u00ebrvihen d\u2019Obinjak <\/strong>(d\u2019Aubignac), Kornei <\/strong>(Corneille), Nikol <\/strong>(Nicole), Ati<\/strong> Rapen <\/strong>(Rapin), <\/strong>n\u00eb fund edhe Boalo <\/strong>(Boileau) dhe shum\u00eb t\u00eb tjer\u00eb.<\/p>\n

N\u00eb dekadat e para t\u00eb shekullit XVII e m\u00eb von\u00eb g\u00ebzojn\u00eb autoritet t\u00eb madh humanisti gjerman Vosius <\/strong>(Vossius) dhe komentuesi holandez i ideve t\u00eb Aristotelit Hajnsius <\/strong>(Heinsius).<\/p>\n

Doktrinar\u00ebt duke iu mb\u00ebshtetur Aristotelit dhe autoriteteve antike t\u00eb tjera, d\u00ebshironin t\u00eb arrinin thelbin estetik t\u00eb let\u00ebrsis\u00eb klasike, t\u00eb p\u00ebrcaktojn\u00eb kodeksin e rregullave dhe t\u00eb parimeve t\u00eb cilave duhet t\u2019u p\u00ebrmbahet shkrimtari n\u00eb krijimin e vet – t\u00eb pavarur. Por, p\u00ebr shum\u00eb shkrimtar\u00eb mesatar\u00eb dhe m\u00eb pak t\u00eb talentuar kjo pashmangsh\u00ebm paraqiste theksim t\u00eb tep\u00ebrt t\u00eb r\u00ebnd\u00ebsis\u00eb s\u00eb teknik\u00ebs.<\/em> Let\u00ebrsia kuptohej m\u00eb m\u00ebnyr\u00eb tejet formaliste<\/em>. Zbatimi i p\u00ebrpikt\u00eb i rregullave b\u00ebhet kriter kryesor, shpeshher\u00eb edhe i vet\u00ebm i vler\u00ebs.<\/p>\n

Poetika e klasicizmit <\/em>p\u00ebrb\u00ebhet prej k\u00ebtyre elementeve:<\/p>\n

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  1. Frym\u00ebzimi – <\/em>Krijimi artistik \u00ebsht\u00eb i pamundur pa frym\u00ebzim, pa gjeniun<\/em><\/strong> dhe pa prirjen natyrore si parakusht q\u00eb ai t\u00eb ndjehet. Por, vet\u00ebm frym\u00ebzimi nuk \u00ebsht\u00eb i mjaftuesh\u00ebm; nevojitet edhe metoda<\/em>. M\u00eb s\u00eb miri \u00ebsht\u00eb kur artistin e stolis baraspesha e p\u00ebrkryer nd\u00ebrmjet prirjes s\u00eb madhe natyrore<\/em> dhe frym\u00ebzimit t\u00eb fuqish\u00ebm<\/em>, n\u00eb nj\u00eb an\u00eb dhe dituris\u00eb sa m\u00eb t\u00eb plot\u00eb, arsimimit teorik dhe pun\u00ebs k\u00ebmb\u00ebngul\u00ebse, n\u00eb an\u00ebn tjet\u00ebr.<\/li>\n
  2. Arsyeja –<\/em> Metoda mb\u00ebshtetet n\u00eb arsye (rezon) si mb\u00ebshtet\u00ebse kryesore p\u00ebr t\u2019iu kund\u00ebrv\u00ebn\u00eb shp\u00ebrthimeve t\u00eb tep\u00ebrta t\u00eb imagjinat\u00ebs dhe t\u00eb ndjenjave.<\/li>\n
  3. Entuziazmi – <\/em>Hovi i imagjinat\u00ebs dhe vrulli i pasionit jan\u00eb burim tejet i r\u00ebnd\u00ebsish\u00ebm i energjis\u00eb krijuese; arsyeja<\/em> hyn n\u00eb luft\u00eb me to, jo p\u00ebr t\u2019i p\u00ebrjashtuar plot\u00ebsisht nga arti, por p\u00ebr t\u2019i frenuar, p\u00ebr t\u2019i orientuar; n\u00eb aktin krijues ajo (arsyeja) paraqet parimin zgjedhjes kritike, t\u00eb vet\u00ebdijshme. Shpirti i klasicizmit t\u00eb v\u00ebrtet\u00eb pa diskutim frymon me racionalizmin<\/em><\/strong>, por assesi nuk mund t\u00eb identifikohet me t\u00eb.<\/li>\n<\/ol>\n

    \u00e7. Natyra:<\/em> Raporti midis artit<\/em> dhe realitetit<\/em>. Artisti \u00ebsht\u00eb detyruar t\u00eb krijoj\u00eb sipas natyr\u00ebs, por vepra n\u00eb asnj\u00eb m\u00ebnyr\u00eb nuk kopje e realitetit, por transformim specifik i tij. Arti nuk \u00ebsht\u00eb dhe nuk duhet t\u00eb jet\u00eb imitim<\/em> i thjesht\u00eb; ai duhet t\u00eb jet\u00eb krijim i bot\u00ebs autonome t\u00eb nj\u00eb realiteti fiktiv. Klasicistit n\u00eb natyr\u00eb<\/em> m\u00eb s\u00eb shumti i intereson njeriu dhe fati i tij, madje jo njeriu\u00a0\u00a0 q\u00eb dallohet p\u00ebr jet\u00ebn e \u00e7uditshme dhe t\u00eb pazakonshme, por ai q\u00eb ng\u00ebrthen n\u00eb vet njer\u00ebzi t\u00eb thell\u00eb, e p\u00ebrbashk\u00ebt p\u00ebr shum\u00eb t\u00eb tjer\u00eb. Prandaj, q\u00ebllimi \u00ebsht\u00eb shprehja e fuqishme e s\u00eb v\u00ebrtet\u00ebs s\u00eb ve\u00e7ant\u00eb, por duke e \u00e7liruar nga holl\u00ebsit\u00eb e tep\u00ebrta dhe duke k\u00ebrkuar n\u00eb t\u00eb b\u00ebrtham\u00ebn e s\u00eb v\u00ebrtet\u00ebs s\u00eb p\u00ebrgjithshme; t\u00eb pasqyrohet personi, individin plot\u00ebsisht t\u00eb ve\u00e7uar dhe thell\u00ebsisht t\u00eb z\u00ebn\u00eb, por duke par\u00eb n\u00eb t\u00eb edhe nj\u00eb pjes\u00eb t\u00eb njer\u00ebzimit, duke qen\u00eb i t\u00ebrhequr nga rrethana, ngjarje, fate, individ\u00eb, te t\u00eb cil\u00ebt takohen kund\u00ebrshtit\u00eb, te t\u00eb cil\u00ebt realizohet sinteza e t\u00eb ve\u00e7ant\u00ebs dhe\u00a0 universales, e konkretes dhe abstraktes, e bashk\u00ebkohores dhe e p\u00ebrhershmes.<\/p>\n

      \n
    1. Kulti i antik\u00ebs:<\/em> Imitimi dhe origjinaliteti. Adhurimi i jasht\u00ebzakonsh\u00ebm i t\u00eb lasht\u00ebve. Imitimi i modeleve t\u00eb tyre vlejn\u00eb vet\u00ebm at\u00ebher\u00eb kur kan\u00eb dometh\u00ebnie gare krijuese me ta, kur nxisin krijimin e veprave burimore. Ndalimi i rrept\u00eb i t\u00eb shprehurit t\u00eb drejtp\u00ebrdrejt\u00eb t\u00eb unit vetjak dhe t\u00eb p\u00ebrjetimeve personale assesi nuk e p\u00ebrjashton pranin\u00eb e fsheht\u00eb t\u00eb individualitetit t\u00eb autorit dhe t\u00eb bot\u00ebs s\u00eb tij t\u00eb brendshme. Pa nj\u00eb prani t\u00eb till\u00eb nuk do t\u00eb mund t\u00eb paramendohej shnd\u00ebrrimi i paarritsh\u00ebm i nj\u00eb origjinali n\u00eb tjet\u00ebr; imitimi i natyr\u00ebs do t\u00eb ishte pasqyrim i thjesht\u00eb dhe jo kreativitet, nd\u00ebrsa respekti i thell\u00eb ndaj antik\u00ebs do t\u00eb b\u00ebhej burim steriliteti.<\/li>\n
    2. Q\u00ebllimi i artit: <\/em>Raporti midis t\u00eb dobishme<\/em> dhe t\u00eb bukur\u00ebs.<\/em> N\u00eb thelbin e k\u00ebtyre pik\u00ebpamjeve mbizot\u00ebron pohimi i Horacit <\/strong>sipas t\u00eb cilit e dobishmja <\/em>duhet t\u00eb bashkohet me t\u00eb bukur\u00ebn<\/em> (docere et delectare)<\/em><\/strong>. N\u00eb k\u00ebt\u00eb bashkim, dobia morale<\/em> q\u00eb ofron vepra dhe pa t\u00eb cil\u00ebn p\u00ebr asnj\u00eb klasicist nuk ka art t\u00eb v\u00ebrtet\u00eb – i n\u00ebnshtrohet t\u00eb bukur\u00ebs<\/em>. Ajo \u00ebsht\u00eb kusht i thell\u00ebsis\u00eb s\u00eb saj, i vler\u00ebs s\u00eb saj, ajo e fisnik\u00ebron: E dobishmja i sh\u00ebrben artit, por jo edhe anasjelltas. Utilitarizmi <\/em>n\u00eb poetik\u00ebn e klasicizmit<\/em> mb\u00ebshtetet n\u00eb bindjen se e dobishmja<\/em> n\u00eb art \u00ebsht\u00eb e pandashme nga e bukura<\/em>. Moralja e vepr\u00ebs nuk duhet t\u00eb reduktohet n\u00eb ndonj\u00eb k\u00ebshill\u00eb t\u00eb saj, p\u00ebr arsye se shkrimtari nuk \u00ebsht\u00eb edukator i cili na m\u00ebson sesi duhet t\u00eb jet\u00eb njeriu dhe si duhet t\u00eb jetoj\u00eb, por artist i cili n\u00eb kategorit\u00eb e larta dhe mbar\u00ebnjer\u00ebzore mendon p\u00ebr njeriun dhe fatin e tij. Mendimet e tilla jan\u00eb q\u00ebndisur n\u00eb poezi e cila u jep kuptim t\u00eb ri, forc\u00eb dhe shk\u00eblqim.<\/li>\n
    3. Rregullat \u2013 <\/em>Karakteristike p\u00ebr klasicizmin \u00ebsht\u00eb kulti i rregullave, <\/em>konceptimi i p\u00ebrpikt\u00eb dhe respektimi edhe m\u00eb i p\u00ebrpikt\u00eb, si i parimeve t\u00eb p\u00ebrgjithshme t\u00eb gjas\u00ebs, t\u00eb domosdoshm\u00ebris\u00eb, t\u00eb p\u00ebrshtatshm\u00ebris\u00eb, ashtu edhe i rregullave q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb kryesisht me gjini t\u00eb ve\u00e7anta, midis t\u00eb cilave duhet ve\u00e7uar sidomos rregullin e njohur t\u00eb tri nj\u00ebsive<\/em><\/strong> t\u00eb dram\u00ebs (koha, vendi dhe veprimi)<\/em> – i p\u00ebrhapur dhe i r\u00ebnd\u00ebsish\u00ebm Por, nocionin e klasicizmit<\/em> nuk duhet barazuar plot\u00ebsisht me nocionin e rregullsis\u00eb<\/em>. Thelbin estetik<\/em> t\u00eb rregullave duhet k\u00ebrkuar n\u00eb bindjen se ato duhet t\u00eb marrin pjes\u00eb n\u00eb procesin e krijimit, <\/em>se ato jan\u00eb mb\u00ebshtet\u00ebsi kryesor i metod\u00ebs s\u00eb krijuesit artistik, i arsyes (rezonit) s\u00eb tij, n\u00eb p\u00ebrpjekjen p\u00ebr ta frenuar v\u00ebrshimin e pakontrolluar t\u00eb frym\u00ebzimit krijues. T\u00eb n\u00ebnshtruarit llojeve t\u00eb form\u00ebs, t\u00eb p\u00ebrcaktuara paraprakisht, b\u00ebhet k\u00ebsisoj faktor disipline. Pa k\u00ebt\u00eb, respektimi i rregullave do t\u00eb kishte humbur kuptimin e tij t\u00eb thell\u00eb, arsyetimin estetik t\u00eb tij, p\u00ebr arsye se \u00e7do konceptim past\u00ebr formalist i rregullave, \u00ebsht\u00eb n\u00eb kund\u00ebrshti me frym\u00ebn e klasicizmit<\/em>.<\/li>\n<\/ol>\n

      \u00eb. \u00c7\u00ebshtjet e stilit – <\/em>\u00a0V\u00ebrtet\u00ebsia, natyrshm\u00ebria, qart\u00ebsia, past\u00ebrtia e shprehjes, e madh\u00ebrishmja, thjesht\u00ebsia, ndjenja e mas\u00ebs, t\u00eb qen\u00ebt konciz, p\u00ebrsosm\u00ebria, llojllojshm\u00ebria e tonit, harmonia, korrekt\u00ebsia, lidhshm\u00ebria e p\u00ebrkryer e pjes\u00ebve n\u00eb t\u00ebr\u00ebsi \u2013 nuk jan\u00eb vet\u00ebm karakteristika t\u00eb stilit t\u00eb mir\u00eb klasik, por edhe t\u00eb artit t\u00eb klasicizmit. Racionalizmi, besnik\u00ebria ndaj natyr\u00ebs, t\u00eb bazuarit te t\u00eb vjetrit<\/em>, rregullsia etj. nuk jan\u00eb vetvetiu vler\u00eb, por jan\u00eb vet\u00ebm m\u00ebnyra t\u00eb sigurta p\u00ebr t\u2019u arritur vlerat estetike t\u00eb mir\u00ebfillta. pa ide t\u00eb k\u00ebtilla p\u00ebr stilin doktrina e brezave t\u00eb par\u00eb t\u00eb teoricien\u00ebve t\u00eb klasicizmit ka qen\u00eb tep\u00ebr formalist.<\/p>\n

        \n
      1. Teoria e gjinive letrare <\/em>\u2013 Qysh n\u00eb poetikat antike, me kodifikimin e praktik\u00ebs, me k\u00ebt\u00eb edhe me ndikimin teorik n\u00eb krijimin e m\u00ebtutjesh\u00ebm, \u00ebsht\u00eb formuluar parimi se elementet q\u00eb jan\u00eb karakteristike p\u00ebr nj\u00eb gjini, si rregull nuk duhet t\u00eb shfaqen te gjinit\u00eb q\u00eb p\u00ebr nga p\u00ebrkufizimi dallohen, e sidomos q\u00eb jan\u00eb t\u00eb kund\u00ebrta. P\u00ebr Horacin <\/strong>p\u00ebrzierja e till\u00eb e elementeve jo vet\u00ebm q\u00eb \u00ebsht\u00eb e palejueshme, por edhe akt i sh\u00ebmtuar. Ndarja e p\u00ebrpikt\u00eb e gjinive bazohet n\u00eb parimin e unitetit t\u00eb t\u00ebr\u00ebsis\u00eb, unitetit t\u00eb tonit n\u00eb vep\u00ebr. Ky unitete arrihet n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrgjith\u00ebsuar duke respektuar ndarjen themelore t\u00eb poezis\u00eb n\u00eb poezi lirike, epike <\/em>dhe dramatike<\/em>, por edhe m\u00eb tep\u00ebr dhe n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb p\u00ebrcaktuar, me p\u00ebrdorimin pa kusht t\u00eb rregullave q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb me gjini t\u00eb ve\u00e7anta. P\u00ebrpos rregullave t\u00eb p\u00ebrgjithshme ekzistojn\u00eb edhe rregulla q\u00eb e p\u00ebrcaktojn\u00eb karakterin e nj\u00eb gjinie t\u00eb vetme apo t\u00eb nj\u00eb grupi t\u00eb vog\u00ebl zhanresh q\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyre jan\u00eb t\u00eb ngjashme. M\u00eb t\u00eb r\u00ebnd\u00ebsish\u00ebm dhe m\u00eb mir\u00eb t\u00eb p\u00ebrkufizuar jan\u00eb tre zhanre t\u00eb m\u00ebdha t\u00eb let\u00ebrsis\u00eb klasike: tragjedia, epopeja <\/em>dhe komedia.<\/em> Por, teoricien\u00ebt shpesh dhe me po aq rigorozitet e kan\u00eb caktuar karakterin dhe i kan\u00eb p\u00ebrcaktuar rregullat edhe p\u00ebr nj\u00eb varg zhanresh poetike m\u00eb t\u00eb vogla: elegjin\u00eb, idilin, pastoralen, oden, epistul\u00ebn <\/em>etj. si dhe p\u00ebr ting\u00ebllim\u00ebn<\/em> (sonetin)<\/em> t\u00eb cil\u00ebn klasicizmi<\/em> e mori nga poezia e renesanc\u00ebs<\/em> dhe e futi n\u00eb radh\u00ebt e zhanreve antike.<\/li>\n<\/ol>\n

        \u00cbsht\u00eb e v\u00ebrtet\u00eb se poetika e klasicizmit <\/em>p\u00ebrshkohet nga dogmatizmi, se bazohet n\u00eb bindjen e pal\u00ebkundshme p\u00ebr vler\u00ebn absolute dhe t\u00eb p\u00ebrhershme t\u00eb nj\u00eb sistemi parimesh dhe rregullash t\u00eb p\u00ebrcaktuar rrept\u00eb. Por, t\u00eb gjith\u00eb krijuesit e mir\u00ebfillt\u00eb, p\u00ebrfshi edhe Bualon\u00eb <\/strong>(Boileau) si teoricien, kan\u00eb d\u00ebshmuar se e ndjejn\u00eb dhe e din\u00eb se nga parimet dhe nga rregullat\u00a0 nuk duhet t\u00eb nxjerr\u00ebsh skem\u00ebn e gatshme t\u00eb vepr\u00ebs artistike, por n\u00eb to duhet k\u00ebrkuar dhe \u00e7doher\u00eb s\u00ebrish duhet zbuluar – thelbin estetik<\/em>, iden\u00eb e s\u00eb bukur\u00ebs, p\u00ebrsosm\u00ebris\u00eb t\u00eb s\u00eb cil\u00ebs i afrohen vet\u00ebm artist\u00ebt e m\u00ebdhenj, e pik\u00ebrisht n\u00eb \u00e7astet e frym\u00ebzimit krijues. P\u00ebr sa tek ai dob\u00ebsohet impulsi krijues dhe mbizot\u00ebron formalizmi<\/em> pedant, p\u00ebr aq klasicizmi<\/em> bie dhe shnd\u00ebrrohet n\u00eb akademiz\u00ebm*<\/em><\/strong> dhe n\u00eb pseudoklasiciz\u00ebm<\/em><\/strong>.<\/p>\n

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

        Klasicizmi<\/em> pra \u00ebsht\u00eb tendenc\u00eb e shpesht\u00eb n\u00eb let\u00ebrsi, sidomos n\u00eb shekullin XVII n\u00eb Itali dhe n\u00eb Franc\u00eb, p\u00ebr imitimin e artit, t\u00eb arkitektur\u00ebs dhe t\u00eb let\u00ebrsis\u00eb antike greke dhe romake p\u00ebr t\u00eb marr\u00eb idealet letrare t\u00eb tyre, p\u00ebrkat\u00ebsisht poetik\u00ebn e tyre. P\u00ebrkthehen shkrimtar\u00ebt antik\u00eb grek\u00eb dhe romak\u00eb, por edhe imitohen n\u00eb krijimtarin\u00eb letrare.<\/p>\n

        Tendenca p\u00ebr t\u2019i imituar shkrimtar\u00ebt antik\u00eb sukses m\u00eb t\u00eb madh arriti n\u00eb Franc\u00eb: n\u00eb shekullin XVII u zhvillua drama klasiciste<\/em>. P\u00ebrpjekjet q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb me rim\u00ebk\u00ebmbjen e idealeve antike quhen edhe pseudoklasiciz\u00ebm<\/em>, q\u00eb p\u00ebr dallim nga klasicizimi <\/em>fillestar, burimor \u00ebsht\u00eb klasiciz\u00ebm <\/em>i pav\u00ebrtet\u00eb apo i shtremb\u00ebt.<\/p>\n

        Gjall\u00ebrimi i bot\u00ebs antike greke dhe romake dhe afrimi i pik\u00ebpamjeve t\u00eb tyre mbi bot\u00ebn dhe jet\u00ebn n\u00eb forma, tema dhe motive<\/em> t\u00eb pasura, n\u00eb shum\u00eb raste ka qen\u00eb e dobishme dhe stimuluese. Dobi m\u00eb e madhe ishte zgjerimi dhe begatimi i gam\u00ebs s\u00eb v\u00ebshtrimeve dhe t\u00eb informatave p\u00ebr shoq\u00ebrin\u00eb dhe jet\u00ebn e panjohur, por edhe t\u00eb \u00e7uditshme e t\u00eb pasur. Vet\u00eb p\u00ebrngjasimi i idealit antik dhe krijimi sipas sh\u00ebmb\u00ebllimit t\u00eb tij nuk dha rezultate t\u00eb m\u00ebdha. P\u00ebr \u00e7dok\u00ebnd p\u00ebrngjasimi n\u00eb thelb \u00ebsht\u00eb nj\u00eb tymnaj\u00eb racionale dhe pedagogjike. Ai e frenon\u00a0 potencialin e lir\u00eb, spontan dhe kreativ n\u00eb krijimin e vepr\u00ebs letrare dhe artistike n\u00eb p\u00ebrgjith\u00ebsi.<\/p>\n

        P\u00ebrvojat dhe rezultatet lidhur me gjall\u00ebrimin e antik\u00ebs, edhe n\u00eb rrethana bashk\u00ebkohore japin nj\u00eb m\u00ebsim t\u00eb \u00e7muesh\u00ebm: prej epokave t\u00eb kaluara dhe prej stileve letrare t\u00eb realizuara mund t\u00eb merren informata t\u00eb dobishme p\u00ebr preokupimet e periudh\u00ebs s\u00eb m\u00ebhershme, por p\u00ebr t\u00eb send\u00ebrtuar arritje t\u00eb reja artistike, gjithmon\u00eb dhe medoemos duhet shkuar rrug\u00ebve t\u00eb reja, deri at\u00ebher\u00eb t\u00eb panjohura.<\/p>\n

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

        Tragjedia franceze e periudh\u00ebs s\u00eb klasicizmit <\/em><\/strong>– N\u00eb periudh\u00ebn e madhe t\u00eb klasicizmit francez t\u00eb shekullit XVII tragjedia <\/em>nxori vepra t\u00eb m\u00ebdha. Themeluesi tragjedis\u00eb klasiciste (klasike) franceze konsiderohet dramaturgu dhe avokati francez Pjer Kornej <\/strong>(Corneille). veprimtarin\u00eb letrare e filloi me komedi, por sukses m\u00eb t\u00eb madh arriti me tragjedin\u00eb \u201cSidi\u201d (Le Cid, <\/em>1636)<\/em> e cila \u00ebsht\u00eb nj\u00eb prej dukurive dramatike dhe skenike m\u00eb t\u00eb r\u00ebnd\u00ebsishme n\u00eb historin\u00eb e teatrit. ka pes\u00eb akte, \u00ebsht\u00eb shkruar n\u00eb vargje; n\u00eb t\u00eb jan\u00eb realizuar t\u00eb ashtuquajturat tri nj\u00ebsi <\/em><\/strong>t\u00eb Aristotelit<\/strong> (vendi, koha, veprimi), jan\u00eb theksuar sidomos personazhet kryesore. Megjith\u00ebk\u00ebt\u00eb, n\u00eb kompozimin e tragjedis\u00eb Kornei veproi n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb lir\u00eb dhe m\u00eb individuale. Mb\u00ebshtetet n\u00eb teatrin e vjet\u00ebr spanjoll, n\u00eb legjendat heroike dhe n\u00eb romanca. personazhet Rodrig (Rodrigue) dhe Shimer (Chim\u00e8re) jan\u00eb n\u00eb konflikt midis instinktit dhe ndjenj\u00ebs<\/em>, nga nj\u00eb an\u00eb dhe synimit p\u00ebr p\u00ebrkryerje morale<\/em>, n\u00eb an\u00ebn tjet\u00ebr.<\/p>\n

        Dramaturgu i shquar francez i shekullit XVII Zhan Rasin <\/strong>(Racine), n\u00eb tragjedit\u00eb e veta\u00a0 i trajtonte sidomos personazhet femra<\/em>: Tebaida, Andromaka, Britanika (Britanic), Ifigjenia, Fedra. Rasini me p\u00ebrpik\u00ebri dhe deri n\u00eb fund e respektonte parimin e tri nj\u00ebsive<\/em><\/strong> (koh\u00ebs, vendit dhe veprimit). <\/em>N\u00eb tragjedit\u00eb e tij vendi nuk nd\u00ebrrohet<\/em> d.m.th. nuk ndryshon<\/em>; e t\u00ebr\u00eb drama \u00ebsht\u00eb n\u00eb monologun<\/em> e heroit me kund\u00ebrshtit\u00eb e veta, nuk ka peripeci<\/em> dhe zgjidhje<\/em>. P\u00ebr k\u00ebt\u00eb arsye v\u00ebmendja kryesore i \u00ebsht\u00eb kushtuar ravij\u00ebzimit psikologjik t\u00eb nuancuar t\u00eb personazheve q\u00eb paraqesin dy bot\u00eb t\u00eb kund\u00ebrta: bot\u00ebn e ambicieve t\u00eb shfrenuara, t\u00eb interesave dhe t\u00eb pasioneve shurdhuese<\/em> p\u00ebrball\u00eb bot\u00ebs s\u00eb idealeve dhe parimeve morale<\/em>. Fedra, nj\u00eb prej personazheve m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb Rasinit, zhvillon nj\u00eb luft\u00eb t\u00eb r\u00ebnd\u00eb nd\u00ebrmjet dashuris\u00eb s\u00eb marr\u00eb ndaj thjeshtrit t\u00eb saj dhe detyrimeve morale ndaj babait t\u00eb tij, p\u00ebrkat\u00ebsisht burrit t\u00eb saj.<\/p>\n

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

        Komedia franceze e periudh\u00ebs s\u00eb klasicizmit <\/em><\/strong>\u2013 Em\u00ebr m\u00eb i madh n\u00eb l\u00ebmin e komedis\u00eb \u00ebsht\u00eb komediografi francez Zhan-Batist Molieri<\/strong>. nxitjet dhe motivet i gjen n\u00eb commedia dell\u2019arte<\/em><\/strong>, te Plauti<\/strong>, Terenci <\/strong>dhe kudo tjet\u00ebr. Por gjithmon\u00eb mbeti komediograf i pakap\u00ebrcyesh\u00ebm, burimor dhe autonom. Edhe sot \u00ebsht\u00eb komediografi m\u00eb i shfaqur. Molieri e ngriti komiken prej nj\u00eb k\u00ebndv\u00ebshtrimi t\u00eb her\u00ebpashersh\u00ebm dhe t\u00eb b\u00ebr\u00eb kalimthi deri n\u00eb nj\u00eb k\u00ebndv\u00ebshtrim filozofik t\u00eb gjithansh\u00ebm ndaj njer\u00ebzve dhe jet\u00ebs. P\u00ebr k\u00ebt\u00eb arsye veprat e tij \u201cPreciozet qesharake\u201d, \u201cTartufi\u201d, \u201cDon Zhuani\u201d, \u201cMizantropi\u201d, \u201cBorgjezi fisnik\u201d, \u201cZhorzh Dandeni\u201d, \u201cKoprraci\u201d, \u201cNgat\u00ebrresat e Skapinit\u201d, \u201cI s\u00ebmuri imagjinar\u201d<\/em> jan\u00eb b\u00ebr\u00eb pron\u00eb e mbar\u00eb njer\u00ebzimit.\u00a0 <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em>\u00a0<\/strong><\/p>\n

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

        Sh\u00ebnim<\/strong>: Nocioni klasik <\/em><\/strong>p\u00ebrdoret n\u00eb disa kontekste: 1. Si em\u00ebrtim p\u00ebr t\u00ebr\u00eb let\u00ebrsin\u00eb dhe artin antik grek dhe romak; 2. Si em\u00ebrtim p\u00ebr shkrimtar\u00ebt me vler\u00eb t\u00eb ve\u00e7ant\u00eb, t\u00eb njohur nga t\u00eb gjith\u00eb, t\u00eb ndonj\u00eb periudhe; 3. Si em\u00ebrtim p\u00ebr krijuesit e shquar n\u00eb fusha artistike dhe shkencore t\u00eb tjera, po qe se veprat e tyre shquhen n\u00eb ve\u00e7anti dhe p\u00ebrmbajn\u00eb vler\u00eb afatgjat\u00eb.<\/p>\n

        Edhe nocioni \u201cklasika\u201d<\/em><\/strong> p\u00ebrdoret n\u00eb disa kontekste: 1. Si em\u00ebrtim p\u00ebr t\u00ebr\u00eb let\u00ebrsin\u00eb antike greke dhe romake; 2. Si em\u00ebrtim p\u00ebr arritjet m\u00eb t\u00eb mira dhe m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb nj\u00eb epoke<\/em>, t\u00eb nj\u00eb periudhe letrare<\/em> apo t\u00eb nj\u00eb let\u00ebrsie komb\u00ebtare<\/em>; 3. Let\u00ebrsit\u00eb komb\u00ebtare t\u00eb ve\u00e7anta mund ta ken\u00eb epok\u00ebn e vet klasike, p. sh. Greqia n\u00eb periudh\u00ebn e Periklit <\/strong>(495? – 429 para K.), Roma n\u00eb periudh\u00ebn e perandorit August <\/strong>(63 para K. – 14 pas K.), Italia n\u00eb kap\u00ebrcyell nga shekulli XV n\u00eb shekullin XVI, Spanja n\u00eb periudh\u00ebn e Kalderonit <\/strong>(Calderon, 1600-1681), Anglia n\u00eb periudh\u00ebn elizabetiane* <\/em><\/strong>dhe n\u00eb periudh\u00ebn e Shekspirit <\/strong>(Shakespeare, 1564-1616), Franca n\u00eb periudh\u00ebn e Luigjit XIV <\/strong>(1638-1715), Gjermania n\u00eb periudh\u00ebn e G\u00ebtes <\/strong>(Goethe, 1749-1832) etj.<\/p>\n

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

        Sh\u00ebnim<\/strong>: Pseudoklasicizmi<\/em><\/strong> \u00ebsht\u00eb drejtim n\u00eb let\u00ebrsi q\u00eb u p\u00ebrhap pas lul\u00ebzimit t\u00eb klasicizmit dhe n\u00ebn ndikimin e tij, duke paraqitur vazhdimin e rrejsh\u00ebm t\u00eb tij, n\u00eb t\u00eb v\u00ebrtet\u00eb negacionin thelb\u00ebsor t\u00eb tij. Pseudoklasicizmi pa frym\u00ebzim krijues t\u00eb v\u00ebrtet\u00eb, n\u00eb pik\u00ebpamje epigoni, thjesht formaliste dhe zanati <\/em>mbetet i lidhur me parimet themelore dhe me rregullat e poetik\u00ebs s\u00eb klasicizmit. Konflikti i njohur nd\u00ebrmjet romantik\u00ebve <\/em><\/strong>dhe klasik\u00ebve<\/em><\/strong> n\u00eb fillim t\u00eb shekullit XIX n\u00eb let\u00ebrsit\u00eb evropiane, i kuptuar si konflikt nd\u00ebrmjet \u00e7do gj\u00ebje t\u00eb re, moderne, kreative<\/em> dhe nj\u00eb tradicionalizmi tanim\u00eb tejet steril<\/em>, n\u00eb realitet \u00ebsht\u00eb konflikt nd\u00ebrmjet romantizmit <\/em><\/strong>dhe pseudoklasicizmit<\/em><\/strong>, p\u00ebr arsye se klasicizmi <\/em><\/strong>i v\u00ebrtet\u00eb pushoi t\u00eb ekzistoj\u00eb shum\u00eb koh\u00eb para paraqitjes s\u00eb romantizmit<\/em><\/strong>. Klasicizmi i Godshedit <\/strong>dhe i Bodmerit <\/strong>n\u00eb Gjermani, i Kantemirit, <\/strong>i Tredjakovskit <\/strong>dhe i Sumarokovit<\/strong>\u00b8n\u00eb mas\u00eb t\u00eb vog\u00ebl apo t\u00eb madhe, i ka t\u00eb gjitha format e pseudoklasicizmit<\/em>. \u00a0\u00a0<\/strong><\/p>\n

        Sh\u00ebnim<\/strong>: Plejada <\/em><\/strong>(Pl\u00e9iade)<\/em> \u00ebsht\u00eb shkoll\u00eb poetike n\u00eb let\u00ebrsin\u00eb franceze. U paraqit rreth vitit 1550. Grupi prej shtat\u00eb poet\u00ebve, midis t\u00eb cil\u00ebve edhe Ronsari <\/strong>dhe Dy Bele <\/strong>(Du Bellay) m\u00eb par\u00eb\u00a0 quhej \u201cBrigad\u00eb\u201d<\/em>. M\u00eb von\u00eb, meq\u00eb ishin shtat\u00eb, sipas shembullit t\u00eb shkoll\u00ebs aleksandrine<\/em><\/strong>, mori emrin e grupit t\u00eb yjeve – Plejad\u00eb<\/em>. Manifestin teorik, doktrin\u00ebn e plot\u00eb t\u00eb k\u00ebsaj shkolle e p\u00ebrmban n\u00eb mas\u00ebn m\u00eb t\u00eb madhe shkrimi i Dy Beles <\/strong>(Du Bellay) \u201cMbrojtja dhe lart\u00ebsimi i gjuh\u00ebs fr\u00ebnge\u201d (Defense et illustration de la langue fran\u00e7aise, <\/em>1549)<\/em>. K\u00ebtij shkrim mund t\u2019i shtohen disa parath\u00ebnie dhe trakte t\u00eb Ronsarit<\/strong>. N\u00eb frym\u00ebn e pik\u00ebpamjeve t\u00eb renesanc\u00ebs<\/em>, poet\u00ebt e plejad\u00ebs<\/em> ngren\u00eb nj\u00eb varg \u00e7\u00ebshtjesh estetike<\/em> p\u00ebr rolin e poezis\u00eb dhe t\u00eb poet\u00ebve, p\u00ebr imitimin, p\u00ebr gjuh\u00ebn, p\u00ebr stilin dhe versifikimin (varg\u00ebzimin), p\u00ebr gjinit\u00eb letrare. Duke u frym\u00ebzuar nga legjendat e lashta p\u00ebr prejardhjen hyjnore t\u00eb poezis\u00eb, p\u00ebr ndikimin e saj t\u00eb \u00e7uditsh\u00ebm mbi t\u00ebr\u00eb bot\u00ebn e gjall\u00eb dhe jo t\u00eb gjall\u00eb, p\u00ebr poetin si orakull<\/em>, plejada <\/em>nd\u00ebrton kultin e v\u00ebrtet\u00eb t\u00eb poezis\u00eb dhe t\u00eb poetit. Por, p\u00ebrkund\u00ebr theksimit t\u00eb<\/em><\/strong> irracionales<\/em><\/strong>, misterit t\u00eb shenjt\u00eb t\u00eb frym\u00ebzimit, poet\u00ebt e plejad\u00ebs <\/em>jan\u00eb t\u00eb vet\u00ebdijsh\u00ebm edhe p\u00ebr r\u00ebnd\u00ebsin\u00eb e disiplin\u00ebs krijuese, t\u00eb pun\u00ebs dhe t\u00eb dituris\u00eb. Krahas poeta vates <\/em><\/strong>(poet orakull) <\/em>duhet t\u00eb ekzistoj\u00eb edhe poeta faber <\/em><\/strong>(poet njoh\u00ebs)<\/em>.\u00a0 \u00a0<\/em>\u00a0\u00a0<\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>\u00a0<\/em>\u00a0\u00a0\u00a0\u00a0<\/em><\/p>\n

        Sh\u00ebnim<\/strong>: Akademizmi <\/em><\/strong>\u2013 Akademia e Platonit; Respektimi me verb\u00ebri i pik\u00ebpamjeve estetike q\u00eb i ka kodifikuar ndonj\u00eb akademi artistike. N\u00eb kuptim t\u00eb gjer\u00eb, akademiz\u00ebm<\/em> do t\u00eb thot\u00eb t\u00eb respektosh verb\u00ebrisht tradit\u00ebn, doktrin\u00ebn estetike zyrtare, format artistike t\u00eb p\u00ebrcaktuara me rigorozitet; do t\u00eb thot\u00eb munges\u00eb origjinaliteti, imitim modelesh klasike standarde. P\u00ebr shembull, epoka e klasicizmit<\/em> karakterizohet me sundimin e akademizmit<\/em>. Shum\u00eb drejtime letrare jan\u00eb ngritur kund\u00ebr akademizmit<\/em>, si: romantizmi, realizmi, secesioni*, ekspresionizmi<\/em>.<\/p>\n

        Secesioni \u2013 <\/em>\u00cbsht\u00eb em\u00ebrtim i p\u00ebrdorur n\u00eb hap\u00ebsirat gjermane p\u00ebr grupe t\u00eb ve\u00e7anta krijuesish artistik\u00eb t\u00eb cil\u00ebt kah fundi i shekullit XIX, duke i shk\u00ebputur lidhjet me tradit\u00ebn e akademizmit<\/em> dhe pa ndonj\u00eb koncept t\u00eb caktuar, jan\u00eb ndar\u00eb prej grupeve artistike ekzistuese dhe kan\u00eb formuar shoqata t\u00eb ve\u00e7anta. Secesione <\/em>kryesor\u00eb jan\u00eb: i Munihut, i Vjen\u00ebs dhe i Berlinit. Kjo ndarje u manifestua edhe formalisht n\u00eb zgjedhjen e temave<\/em>, shpesh t\u00eb marra edhe prej veprave letrare, si dhe n\u00eb stil<\/em>, t\u00eb karakterizuar nga simetria, nga vija e lakuar dhe ornamentika e stilizuar. I ngjash\u00ebm me k\u00ebt\u00eb stil \u00ebsht\u00eb edhe i ashtuquajturi \u201cstil rinor\u201d<\/em> (Jugendstil)<\/em><\/strong> q\u00eb e mori emrin m\u00eb 1896 nga revista artistike e Munihut \u201cDie Jugend\u201d<\/em> q\u00eb paraqitet n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb.<\/p>\n

        Sh\u00ebnim<\/strong>: Drama elizabetiane <\/em><\/strong>\u2013 Dram\u00eb e renesanc\u00ebs e lindur n\u00eb periudh\u00ebn e sundimit\u00a0 t\u00eb Elizabet\u00ebs I <\/strong>(1558-1603).<\/p>\n

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

        T\u00eb dh\u00ebna themelore p\u00ebr poet\u00ebt dhe p\u00ebr teoricien\u00ebt letrar\u00eb<\/strong><\/p>\n

        Adison, Jozef <\/strong>(Joseph Addison, 1672-1719) eseist, dramaturg dhe poet anglez; studioi n\u00eb Oksford; ekspert i pranuar i kultur\u00ebs antike; n\u00eb vitet 1699-1704 udh\u00ebtoi n\u00ebp\u00ebr Evrop\u00eb;<\/p>\n

        Aristoteli <\/strong>(384-322 para K.) filozof grek dhe teoricien let\u00ebrsie nga Stagira e Maqedonis\u00eb antike;<\/p>\n

        Augusti <\/strong>(Gaius Iulius Caesar Octavianus Augustus, 63 para K. – 14 pas K.) i pari perandor romak; qeverisi prej vitit 27 para K. deri n\u010d vitin 14 pas K.;<\/p>\n

        Boalo-Depro, Nikola\u00a0 <\/strong>(Nicolas Boileau-Despreaux, 1636-1711) poet dhe kritik letrar francez, bashk\u00ebkoh\u00ebs i Molierit, Rasinit dhe i La Fontenit;<\/p>\n

        Bodmer, Johan Jakob <\/strong>(Johann Jakob Bodmer, 1698-1783) shkrimtar dhe kritik zviceran;<\/p>\n

        Danielo <\/strong>\u2013 humanist italian;<\/p>\n

        Dekart, Rene <\/strong>(Ren\u00e9 Descartes, 1596-1650) filozof, matematikan dhe fizikan francez; nj\u00eb koh\u00eb t\u00eb gjat\u00eb jetoi n\u00eb Holand\u00eb; me ftes\u00eb t\u00eb mbret\u00ebresh\u00ebs Kristin\u00eb <\/strong>t\u00eb Suedis\u00eb, shkon n\u00eb Stokholm ku edhe vdes;<\/p>\n

        D\u00eb Stal, Zonja <\/strong>(Madame de Sta\u00ebl ose Germaine de Sta\u00ebl, emri i v\u00ebrtet\u00eb Germaine Necker, 1766-1817) shkrimtare gjermane;<\/p>\n

        D\u2019Obinjak, Fransua Hedelin <\/strong>(Fran\u00e7oi H\u00e9delin d\u2019Aubignac, 1604- 1676) dramaturg dhe teoricien letrar francez;<\/p>\n

        Drajeden, Xhon <\/strong>(John Dryden, 1631-1700) dramaturg dhe kritik anglez;<\/p>\n

        Dy Bele, Zhoakim <\/strong>(Joachim Du Bellay, 1522-1560)poet francez;<\/p>\n

        Ezopi <\/strong>(shekulli VI para K.) fabulist antik grek; me vepr\u00ebn \u201cP\u00ebrmbledhje<\/em> fabulash\u201d <\/em>i dha fabul\u00ebs form\u00eb klasike; u ruajt\u00ebn n\u00eb p\u00ebrpunimin e shkrimtarit romak Fedra<\/strong>;<\/p>\n

        Fedra <\/strong>(shekulli I pas K.) shkrimtar romak;<\/p>\n

        G\u00ebte, Johan Volfgang <\/strong>(Johann Wolfgang Goethe, 1749-1832) shkrimtar gjerman;<\/p>\n

        Godshed, Johan Kristof <\/strong>(Johann Christoph Gottsched, 1700-1766) filozof, shkrimtar dhe kritik gjerman;<\/p>\n

        Hajnsius, Daniel <\/strong>(Daniel Heinsius, 1580-1655) studiues holandez i periudh\u00ebs s\u00eb klasicizmit; komentues i ideve t\u00eb Aristotelit<\/strong>; \u00a0\u00a0<\/strong>\u00a0\u00a0\u00a0<\/strong><\/p>\n

        Herder, Johan Gotfrid <\/strong>(Johann Gottfried Herder, 1744-1803) shkrimtar dhe filozof gjerman, p\u00ebrfaq\u00ebsues i gjithansh\u00ebm i tendencave kulturore n\u00eb gjysm\u00ebn e dyt\u00eb t\u00eb shekullit XVIII; \u00a0<\/strong><\/p>\n

        Horaci, Kuin Flak <\/strong>(Quintus Horatius Flaccus, 65-8 para K.) poet romak; u shkollua n\u00eb Rom\u00eb dhe n\u00eb Athin\u00eb;<\/p>\n

        Kalderon, Pedro K. de la Barka <\/strong>(Pedro Calderon de la Barca, 1600-1681) poet dhe dramaturg spanjoll, bashk\u00ebkoh\u00ebs i Servantesit <\/strong>(Cervantes) dhe i Shekspirit <\/strong>(Shakespeare);<\/p>\n

        Kantemir, Antioh Dimitrijevi\u00e7 <\/strong>(Stamboll, 1708 \u2013 Paris, 1744) satirik rus; diplomat me prejardhje moldave;<\/p>\n

        Kastelvetro, Ludoviko <\/strong>(Ludovico Castelvetro, 1505-1571) kritik letrar italian;<\/p>\n

        Klopshtok, Fridrih Gotlib <\/strong>(Friedrich Gottlieb Klopstock, 1724-1803) port gjerman;\u00a0\u00a0 <\/strong><\/p>\n

        Kornej, Pjer <\/strong>(Pierre Corneille, 1606-1684) dramaturg francez<\/p>\n

        La Bryer, Zhan d\u00eb <\/strong>(Jean de La Bruy\u00e8re, 1645-1696) moralist francez;<\/p>\n

        Krilov, Ivan Andrejevi\u00e7 <\/strong>(1768-1844) fabulist rus; shkroi \u201cletra\u201d<\/em> satirike dhe komedi, por u popullarizua me fabulat;<\/em>\u00a0 \u00a0\u00a0<\/strong><\/p>\n

        La Fonten, Zhan d\u00eb <\/strong>(Jean de La Fontaine, 1621-1695) tregimtar dhe poet francez;<\/p>\n

        Leopardi, Xhakomo <\/strong>(Giacomo leopardi, 1798-1837) poet dhe prozator italian;<\/p>\n

        Lesing, Efraim Gothold <\/strong>(Ephraim Gotthold Lessing, 1729-1781) dramaturg dhe kritik gjerman; i nj\u00eb familjeje evangjeliste;\u00a0 \u00a0<\/strong><\/p>\n

        Luigji XIV <\/strong>(Louis XIV, 1638-1715) mbret i Franc\u00ebs; njihej si Luigji i Madh (Louis le Grand) ose si Mbreti i Diellit (le Roi Soleil); mbret\u00ebroi n\u00eb vitet 1643-1715 (72 vjet e 110 dit\u00eb) si asnj\u00eb monark tjet\u00ebr n\u00eb historin\u00eb e Evrop\u00ebs;<\/p>\n

        Magji, Vin\u00e7enco <\/strong>(Vincenzo Maggi, 1498-1564) filozof dhe humanist italian;<\/p>\n

        Minturno, Antonio Sebastiani <\/strong>(1500-1574) poet, humanist dhe kritik letrar italian;<\/p>\n

        Molier, Zhan-Batist <\/strong>(Jean-Baptiste Poquelin Moli\u00e8re, 1622-1673) komediograf francez; \u00a0<\/strong><\/p>\n

        Nikol, Pjer <\/strong>(Pierre Nicole, 1625-1695) teolog, autor, moralist francez;<\/p>\n

        Paskal, Blez<\/strong> (Blaise Pascal, 1623-1662) eseist francez; qysh si f\u00ebmij\u00eb tregoi veti t\u00eb mendjes befasuese p\u00ebr matematik\u00eb; si i ri, arriti rezultate shkencore t\u00eb jasht\u00ebzakonshme n\u00eb l\u00ebmin e akustik\u00ebs, t\u00eb makinave llogarit\u00ebse, t\u00eb matjes s\u00eb trysnis\u00eb atmosferike, etj. N\u00eb rini u shoq\u00ebrua me libertin\u00ebt<\/em><\/strong>; m\u00eb von\u00eb, si jansenist<\/em><\/strong>, u p\u00ebrpoq t\u2019ua tregoj\u00eb atyre rrug\u00ebt e fes\u00eb krishtere<\/em>; kah fundi i jet\u00ebs punoi p\u00ebr apologjin\u00eb e krishterimit n\u00eb frym\u00ebn e agustinizmit<\/em> jansenist<\/em>; nuk e konsideronte veten letrar, megjith\u00ebk\u00ebt\u00eb kritik\u00ebt i siguruar vend edhe n\u00eb historin\u00eb e let\u00ebrsis\u00eb;\u00a0\u00a0\u00a0 \u00a0<\/strong><\/p>\n

        Perikli <\/strong>(Pericles, 495? – 429 para K.) burr\u00eb shteti antik grek, orator dhe prij\u00ebs ushtarak;<\/p>\n

        Petrarka, Fran\u00e7esko <\/strong>(Francesco Petrarca, 1304-1374) poet dhe humanist italian;<\/p>\n

        P\u00ebup, Aleksand\u00ebr <\/strong>(Alexander Pope, 1688-1744, poet dhe kritik anglez; duke qen\u00eb katolik, i duhej t\u00eb shkollohej privatisht; \u00a0<\/strong><\/p>\n

        Platoni <\/strong>(427-347 para K.) filozof grek, themelues i shkoll\u00ebs filozofike \u2013 Akademis\u00eb; \u00a0<\/strong><\/p>\n

        Rapen, Rene <\/strong>(Ren\u00e9 Rapin, i quajtur P\u00e8re Rapin, 1620-1687) poet, teolog dhe historian francez;<\/p>\n

        Rasin, Zhan <\/strong>(Jean Racene, 1639-1699) dramaturg francez;<\/p>\n

        Robertelo <\/strong>\u2013 humanist italian;<\/p>\n

        Ronsar, Pjer <\/strong>(Pierre Ronsard, 1524-1585) poet francez;<\/p>\n

        Skaligero, Xhulio Cesare <\/strong>(Giulio Cesare Scaligero, emri i v\u00ebrtet\u00eb Giulio Bordone, 1484-1558) humanist dhe kritik letrar italian; \u00a0<\/strong><\/p>\n

        Sumarokov, Aleksand\u00ebr Petrovi\u00e7 <\/strong>(Wilmanstrand, Finland\u00eb, 1718 \u2013 Mosk\u00eb, 1777) poet dhe dramaturg rus;<\/p>\n

        Shekspir, Uillj\u00ebm <\/strong>(Wiliam Shakespeare, 1564-1616) poet dhe dramaturg m\u00eb i madh anglez; figur\u00eb qendrore e dramaturgjis\u00eb bot\u00ebrore;<\/p>\n

        Shenie, Andre-Mari <\/strong>(Andr\u00e9-Marie Ch\u00e9nier, 1762-1794) poet dhe eseist francez;<\/p>\n

        Shiler, Fridrih <\/strong>(Friedrich Schiller, 1759-1805) dramaturg, poet deh eseist gjerman;<\/p>\n

        Shlegel, August Vilhelm <\/strong>(August Wilhelm Schlegel, 1767-1845) kritik, p\u00ebrkthyes dhe poet gjerman; ishte erudit<\/em>; si shoq\u00ebruese e Zonj\u00ebs d\u00eb Stal <\/strong>sh\u00ebtiti n\u00eb shum\u00eb vende; v\u00eblla i Fridrih Shlegelit;<\/p>\n

        Shlegel, Fridrih <\/strong>(Friedrich Schlegel, 1772-1829) kritik, historian i let\u00ebrsis\u00eb dhe shkrimtar\u00a0 gjerman; nj\u00eb prej nism\u00ebtar\u00ebve t\u00eb romantizmit<\/em><\/strong> gjerman; v\u00eblla i August Vilhelm Shlegelit;<\/p>\n

        Taso, Torkuato <\/strong>(Torquaro Tasso, 1544-1595) poet italian; \u00a0<\/strong><\/p>\n

        Tredjakovski, Vasilii Kirilovi\u00e7 <\/strong>(1703-1768) filolog rus; shum\u00eb para Krilovit <\/strong>botoi ritregimin e fabulave t\u00eb Ezopit<\/strong>; \u00a0<\/strong><\/p>\n

        Varki, Benedeto <\/strong>(Benedetto Varchi, 1503-1565) shkrimtar dhe historian italian; \u00a0<\/strong><\/p>\n

        Vida, Marko Girolamo <\/strong>(Marco Xhirolamo Vida, 1485-1566) shkrimtar dhe humanist italian;<\/p>\n

        Viland, Kristof Martin <\/strong>(Christoph Martin Wieland, 1733-1813) tregimtar gjerman;<\/p>\n

        Vosius, Gerit Johan <\/strong>(Gerrit Johan Vossius, emri latin Gerardus Vossius, 1577-1649) studiues dhe teolog gjerman i periudh\u00ebs s\u00eb klasicizmit;<\/p>\n","protected":false},"excerpt":{"rendered":"

        Xhelal Zejneli Klasicizmi \u00ebsht\u00eb drejtim letrar q\u00eb erdhi n\u00eb shprehje n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb plot\u00eb n\u00eb let\u00ebrsin\u00eb franceze n\u00eb shekullin XVII. Fjala vjen nga latinishtja classicus. N\u00eb gjuh\u00eb t\u00eb caktuara p\u00ebrdoret edhe n\u00eb trajtat klasika, klasik. N\u00eb shekullin XVI termin e rip\u00ebrt\u00ebriu francezi T. Sebije. Ky n\u00eb vepr\u00ebn e tij \u201cMbi artin poetik\u201d dy poet\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":59996,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,35],"tags":[],"class_list":["post-59995","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori","category-kulture"],"yoast_head":"\nKLASICIZMI - 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\/klasicizmi\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"KLASICIZMI - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Xhelal Zejneli Klasicizmi \u00ebsht\u00eb drejtim letrar q\u00eb erdhi n\u00eb shprehje n\u00eb m\u00ebnyr\u00eb m\u00eb t\u00eb plot\u00eb n\u00eb let\u00ebrsin\u00eb franceze n\u00eb shekullin XVII. Fjala vjen nga latinishtja classicus. N\u00eb gjuh\u00eb t\u00eb caktuara p\u00ebrdoret edhe n\u00eb trajtat klasika, klasik. N\u00eb shekullin XVI termin e rip\u00ebrt\u00ebriu francezi T. Sebije. 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Ky n\u00eb vepr\u00ebn e tij \u201cMbi artin poetik\u201d dy poet\u00eb […]","og_url":"https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/","og_site_name":"FJALA e LIR\u00cb","article_publisher":"https:\/\/facebook.com\/fjala.info\/","article_author":"https:\/\/facebook.com\/shkoder.net\/","article_published_time":"2020-09-29T18:08:07+00:00","article_modified_time":"2020-09-29T18:15:42+00:00","og_image":[{"width":450,"height":600,"url":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/09\/The_river-god_Ganges_by_Gianlorenzo_Bernini_1651_from_the_Fontana_dei_Quattro_Fiumi_in_Rome.jpg","type":"image\/jpeg"}],"author":"admin","twitter_card":"summary_large_image","twitter_creator":"@https:\/\/twitter.com\/acokaj","twitter_site":"@acokaj","twitter_misc":{"Written by":"admin","Est. reading time":"25 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/#article","isPartOf":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/"},"author":{"name":"admin","@id":"https:\/\/jehonashqiptare.al\/fjala\/#\/schema\/person\/9c9fccf4f6449d25e258607d9b4275cb"},"headline":"KLASICIZMI","datePublished":"2020-09-29T18:08:07+00:00","dateModified":"2020-09-29T18:15:42+00:00","mainEntityOfPage":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/"},"wordCount":5062,"commentCount":0,"image":{"@id":"https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/#primaryimage"},"thumbnailUrl":"https:\/\/jehonashqiptare.al\/fjala\/wp-content\/uploads\/2020\/09\/The_river-god_Ganges_by_Gianlorenzo_Bernini_1651_from_the_Fontana_dei_Quattro_Fiumi_in_Rome.jpg","articleSection":["Artikuj","Histori","Kultur\u00eb"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/","url":"https:\/\/jehonashqiptare.al\/fjala\/klasicizmi\/","name":"KLASICIZMI - 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