{"id":64587,"date":"2021-02-13T11:34:22","date_gmt":"2021-02-13T10:34:22","guid":{"rendered":"https:\/\/fjala.info\/?p=64587"},"modified":"2021-02-13T11:34:22","modified_gmt":"2021-02-13T10:34:22","slug":"vizioni-kafkian-i-metamorfozes-se-botes","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/vizioni-kafkian-i-metamorfozes-se-botes\/","title":{"rendered":"VIZIONI KAFKIAN I METAMORFOZ\u00cbS S\u00cb BOT\u00cbS"},"content":{"rendered":"

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

Franc Kafka<\/strong>, kritiku i heshtur i t\u00eb gjitha skemave qytet\u00ebruese dhe letrare, n\u00eb letr\u00ebn e 27 janarit t\u00eb vitit 1904 shkruan se do t\u00eb duhej t\u00eb lexoheshin vet\u00ebm ata libra q\u00eb v\u00ebrsulen mbi ne, q\u00eb na shkaktojn\u00eb dhimbje dhe huti, librat q\u00eb mu si s\u00ebpata, e cop\u00ebtojn\u00eb akullin n\u00eb vet\u00ebdijen ton\u00eb.<\/p>\n

N\u00ebse piktori norvegjez Edvard Mun\u00e7 <\/strong>(Edward Munch, 1863-1944) me piktur\u00ebn e vet \u201cKlithma\u201d<\/em><\/strong> paralajm\u00ebroi artin figurativ modern, tregimtari hebraik i shprehjes gjuh\u00ebsore gjermane, Kafka, me pohimin e sip\u00ebrth\u00ebn\u00eb vizionar, paralajm\u00ebroi panik n\u00eb let\u00ebrsi n\u00eb prag t\u00eb Luft\u00ebs s\u00eb Par\u00eb Bot\u00ebrore, pik\u00ebrisht n\u00eb koh\u00ebn e botimit t\u00eb veprave t\u00eb veta \u201cMetamorfoza\u201d<\/em> (Die Verwandlung, <\/em>1915) <\/em>dhe \u201cD\u00ebnimi\u201d (Das Urteil, <\/em>1916)<\/em>.<\/p>\n

Me fjal\u00eb t\u00eb tjera, Kafka na e p\u00ebrvijoi q\u00eb pa gdhir\u00eb, n\u00eb mos dhe para kohe, labirintin e madh t\u00eb ankthit n\u00eb t\u00eb cilin do t\u00eb humbin orientimin jo vet\u00ebm nj\u00eb num\u00ebr i madh shkrimtar\u00ebsh, por edhe piktor\u00ebt, kompozitor\u00ebt, si poeti austriak \u2013 ekspresionist<\/strong>, me profesion farmacist, Georg Trakl* <\/strong>(1887-1914); poeti, tregimtari dhe eseisti francez Andre Breton* <\/strong>(Andr\u00e9 Breton, 1896-1966); krijuesi dhe dizajnuesi austriak Alfred<\/strong> Kubin <\/strong>(Alfred Leopold Isidor Kurbin, 1877-1959); poeti dhe teoricieni teatror, i varur nga opiumi, Antonin<\/strong> Arto <\/strong>(Antonin Artaud, 1896-1948); piktori dhe shkrimtari italian, zanafill\u00ebs i artit figurativ metafizik<\/em><\/strong> – Xhorxho de<\/strong> Kiriko <\/strong>(Giorgio de Chirico, Volos, Greqi, 1888 \u2013 Rom\u00eb, 1978); piktori gjerman, me komb\u00ebsi gjermane, amerikane dhe franceze Maks Ernst <\/strong>(Max Ernst, 1891-1976); piktori belg i surrealizmit Rene<\/strong> Magrit <\/strong>(Rene Fran\u00e7ois Chrislain Magritte, 1898-1967).<\/p>\n

N\u00eb k\u00ebt\u00eb koh\u00eb, piktori, grafiku dhe shkrimtari austriak me prejardhje \u00e7eke, i l\u00ebvizjes ekspresioniste <\/strong>– \u00a0Oskar Kokoshka <\/strong>(Oskar Kokoschka, 1886-1980) i shkroi let\u00ebr nj\u00eb miku t\u00eb vet skulptor: \u201cNjer\u00ebzit m\u00eb pengojn\u00eb, nd\u00ebrsa vetmia m\u00eb vret. T\u00eb lutem, ma b\u00ebj nj\u00eb statuj\u00eb njeriu, por jo t\u00eb jet\u00eb e gjall\u00eb, ngase njer\u00ebzit m\u00eb pengojn\u00eb, as e vdekur, ngase vetmia m\u00eb vret.\u201d<\/em><\/p>\n

Sh\u00ebnim<\/strong>: Georg Trakl ishte v\u00eblla i pianistes Margaret Trakl<\/strong>, e njohur si Grete Trakl (Margarethe Jeanne Trakl, 1891-1917).<\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sh\u00ebnim<\/strong>: Andre Bretoni \u00ebsht\u00eb poet i surrealizmit, teoricien i surrealizmit dhe hartues i programit t\u00eb surrealizmit. Gjat\u00eb studimeve t\u00eb mjek\u00ebsis\u00eb<\/em><\/strong>, tregoi interesim p\u00ebr psikopatologjin\u00eb. M\u00eb pas u interesua edhe p\u00ebr iden\u00eb mbi n\u00ebnvet\u00ebdijen<\/strong> dhe p\u00ebr interpretimin e psikologjis\u00eb s\u00eb \u00ebndrr\u00ebs, t\u00eb dijetarit, psikiatrit dhe eseistit austriak, me prejardhje hebraike Zikmund Frojd <\/strong>(1856-1-939). M\u00eb 1919 iu bashkua dadaist\u00ebve<\/strong>. Me poetin, romancierin dhe eseistin francez, f\u00ebmij\u00eb jasht\u00ebmartesor Lui Aragon<\/strong> (Louis Aragon, 1897-1982) dhe me poetin e romancierin francez Filip Supo <\/strong>(Philippe Soupault, 1897-1990) themeloi revist\u00ebn dadaiste \u201cLitt\u00e9rature\u201d<\/em>. M\u00eb 1920, bashk\u00eb me F. Supon\u00eb, botoi k\u00ebtu tekstin e njohur \u201cFushat magnetike\u201d (Les Champs Magn\u00e9tiques)<\/em>. Ishte ky i pari realizim i teknik\u00ebs surrealiste \u201ct\u00eb shkrimit automatik\u201d<\/strong>. N\u00eb fillim t\u00eb viteve \u201930 t\u00eb shekullit XX, hyri n\u00eb Partin\u00eb Komuniste t\u00eb Franc\u00ebs, por shpejt u largua prej saj. N\u00eb vitin 1924 botoi n\u00eb Paris t\u00eb parin \u201cManifest t\u00eb surrealizmit\u201d <\/em><\/strong>(Manifeste du surr\u00e9alisme). <\/em>N\u00eb vitin 1930 botoi t\u00eb dytin, nd\u00ebrsa m\u00eb 1943 \u2013 t\u00eb tretin.<\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Libri \u201cTregime dhe fragmente n\u00eb proz\u00eb\u201d <\/em>(Ocean More, 1916) i Kafk\u00ebs na m\u00ebson p\u00ebr proz\u00ebn jo aq t\u00eb njohur apo edhe t\u00eb panjohur t\u00eb autorit, t\u00eb shkruar q\u00eb n\u00eb fillim t\u00eb shekullit XX deri n\u00eb vitet \u201920 t\u00eb atij qindvje\u00e7ari. Q\u00eb at\u00ebher\u00eb, Kafka u shfaq si vizionar. Shihet se Kafka qysh n\u00eb vitin 1907 dhe 1908, n\u00eb tregimin \u201cP\u00ebrgatitjet p\u00ebr dasm\u00eb n\u00eb verim\u201d<\/em> paralajm\u00ebroi tem\u00ebn e vet t\u00eb madhe t\u00eb metamorfoz\u00ebs s\u00eb njeriut n\u00eb kafsh\u00eb dhe kuptimin absurd t\u00eb saj, deri at\u00ebher\u00eb t\u00eb papar\u00eb. Por, vet\u00eb metamorfoza nuk \u00ebsht\u00eb shokuese. Shokues \u00ebsht\u00eb fakti se llahtari i zi durohet mu n\u00eb mes t\u00eb dit\u00ebs, qet\u00eb dhe me rahati, thua ti nuk ndodh asgj\u00eb.<\/p>\n

Shokues \u00ebsht\u00eb edhe fakti se metamorfoza p\u00ebr her\u00eb t\u00eb par\u00eb shp\u00ebrtheu n\u00eb let\u00ebrsi n\u00eb nj\u00eb terren t\u00eb p\u00ebrhim\u00ebt, t\u00eb turbullt, n\u00eb mjedisin qytetar bashk\u00ebkohor, t\u00eb shk\u00ebputur nga djepi i fantazive n\u00eb t\u00eb cilin e kishin p\u00ebrkundur p\u00ebrrallat folklorike dhe shkrimtar\u00ebt \u00ebnd\u00ebrrimtar\u00eb, plot fantazi t\u00eb epok\u00ebs s\u00eb romantizmit<\/strong>. N\u00eb tregimin e sip\u00ebrth\u00ebn\u00eb, t\u00eb pap\u00ebrfunduar dhe t\u00eb botuar postum, dh\u00ebndri Eduard Raban, n\u00eb nj\u00eb koh\u00eb me shi dhe n\u00eb nj\u00eb rrug\u00eb t\u00eb err\u00ebt dhe t\u00eb zymt\u00eb, mendon p\u00ebr udh\u00ebtimin neverit\u00ebs p\u00ebr n\u00eb verim. P\u00ebrsiat\u00ebn sesi do ta \u00e7oj\u00eb atje trupin e vet t\u00eb veshur, nd\u00ebrsa ai do t\u00eb rij\u00eb i shtrir\u00eb n\u00eb shtrat, n\u00eb form\u00ebn e nj\u00eb insekti t\u00eb madh \u2013 kandre, kacadreni apo kacabuni.<\/p>\n

Metamorfoza \u00ebsht\u00eb tejet mbres\u00ebl\u00ebn\u00ebse edhe n\u00eb tregimin \u201cArtisti i uritur\u201d (Ein Hungerk\u00fcnstler, <\/em>1922\/1924)<\/em> po ashtu t\u00eb p\u00ebrfshir\u00eb n\u00eb lib\u00ebr. Artisti dyzet dit\u00eb rraskapitet n\u00eb kafaz, para publikut q\u00eb b\u00ebn tifo dhe me p\u00ebrvuajtje, demonstron mjesht\u00ebrin\u00eb e vet, duke u shnd\u00ebrruar n\u00eb kafsh\u00eb kockore cirku, fatkeq se e shikojn\u00eb trupin e deformuar t\u00eb tij, pa e kuptuar transformimin e shpirtit t\u00eb tij. (K\u00ebtu Kafka, me p\u00ebrshkrimet e shk\u00eblqyera t\u00eb turm\u00ebs, duket sikur paralajm\u00ebron sensacionalizmin mediatik).<\/p>\n

Metamorfozat jan\u00eb t\u00eb fuqishme edhe n\u00eb tregimin \u201cP\u00ebrshkrimi i luft\u00ebs\u201d <\/em>(1904\/1905) n\u00eb t\u00eb cilin, gjat\u00eb nj\u00eb sh\u00ebtitjeje zhvillohen nj\u00eb s\u00ebr\u00eb dialog\u00ebsh absurd\u00eb dhe ndodhin ngjarje t\u00eb pamotivuara, si\u00e7 \u00ebsht\u00eb ajo e transformimit t\u00eb njeriut n\u00eb peizazh dhe anasjelltas.<\/p>\n

Opsesioni tjet\u00ebr i Kafk\u00ebs \u2013 tmerri i bot\u00ebs si mekaniz\u00ebm i burokracis\u00eb, me t\u00eb cilin ai n\u00eb m\u00ebnyr\u00eb t\u00eb padyshimt\u00eb e ka parashikuar koh\u00ebn e sotme \u2013 \u00ebsht\u00eb tejet i fuqish\u00ebm n\u00eb tregimin \u201cN\u00eb kolonin\u00eb nd\u00ebshkimore\u201d (In der Strafkolonie, <\/em>1919),<\/em> q\u00eb b\u00ebn pjes\u00eb n\u00eb radh\u00ebn e shembujve m\u00eb t\u00eb mir\u00eb kot\u00ebsis\u00eb s\u00eb procesit, dhimbsh\u00ebm t\u00eb p\u00ebrshkruar me realiz\u00ebm, q\u00eb megjith\u00ebk\u00ebt\u00eb, pa kurrfar\u00eb shkaku dhe q\u00ebllimi, \u00ebsht\u00eb vepron n\u00eb hap\u00ebsir\u00ebn e joreales. N\u00eb ishull vjen nj\u00eb i huaj p\u00ebr t\u00eb d\u00ebshmuar p\u00ebr ekzekutimin e t\u00eb pandehurit i cili s\u2019ka kurrfar\u00eb aktgjykimi. Oficeri premtimplot e p\u00ebrshkruan n\u00eb holl\u00ebsi mekanizmin e sofistikuar t\u00eb ekzekutimit, nd\u00ebrkaq asnj\u00eb prej personazheve nuk shfaq as m\u00eb t\u00eb voglin shqet\u00ebsim t\u00eb shpirtit. Thua ti se q\u00eb t\u00eb gjith\u00eb jan\u00eb marionet\u00eb bredh\u00ebs dhe t\u00eb arnuar, n\u00eb realitetin e vrazhd\u00ebt Th\u00ebn\u00eb me gjuh\u00ebn moderne, duket sikur jan\u00eb android\u00eb t\u00eb programuar nga Big Brother, p\u00ebr ta kryer me sakt\u00ebsi detyr\u00ebn shoq\u00ebrore, \u201cp\u00ebr t\u00eb mir\u00ebn e p\u00ebrgjithshme\u201d<\/em> q\u00eb s\u2019e kuptojn\u00eb. (Pothuajse i t\u00ebr\u00eb tregimi merret me p\u00ebrshkrimin e mekanizmit t\u00eb ekzekutimit).<\/p>\n

Bota si nj\u00eb mekaniz\u00ebm i neveritsh\u00ebm<\/em> <\/strong>\u2013 Shembull i shk\u00eblqyer i forc\u00ebs irracionale t\u00eb burokracis\u00eb \u00ebsht\u00eb edhe tregimi \u201cBlumfeldi, beqar i moshuar\u201d<\/em> (1915). I pamartuari i zellsh\u00ebm, q\u00eb i kalon dit\u00ebt matematikisht t\u00eb sistemuara, nj\u00eb dit\u00eb v\u00ebren n\u00eb sht\u00ebpi t\u00eb vet dy topa q\u00eb k\u00ebrcejn\u00eb vet\u00eb. Megjith\u00ebk\u00ebt\u00eb, dukurin\u00eb jonormale e pranon m\u00eb se normalisht, si di\u00e7ka t\u00eb dh\u00ebn\u00eb vetvetiu. Me fjal\u00eb t\u00eb tjera, fantastikja dhe realja i q\u00ebndrojn\u00eb n\u00eb t\u00eb nj\u00ebjtin rrafsh. Madje Blumfeldi, pa ndonj\u00eb shqet\u00ebsim dhe mekanikisht, p\u00ebrpiqet ta llogaris\u00eb l\u00ebvizjen e topave, asisoj q\u00eb ata gjithmon\u00eb mbeten t\u00eb k\u00ebrcejn\u00eb pas tij, pa dal\u00eb nga rrethi i kontrollit t\u00eb tij. N\u00eb pjes\u00ebn e dyt\u00eb t\u00eb tregimit e kemi heroin, nj\u00eb mbik\u00ebqyr\u00ebs fabrike i cili pun\u00ebn e vet e llogarit n\u00eb holl\u00ebsi, duke i urryer dy ndihm\u00ebsit e rinj ngase nuk i p\u00ebrmbahen rendit t\u00eb tij q\u00eb e kishte p\u00ebrvijuar n\u00eb m\u00ebnyr\u00eb patologjike.<\/p>\n

\u00c7do tekst i Kafk\u00ebs i v\u00eb n\u00eb v\u00ebshtir\u00ebsi interpretuesit, p\u00ebr arsye se as vet\u00eb autori nuk d\u00ebshiron ta zgjidh\u00eb enigm\u00ebn. Nd\u00ebr shum\u00eb interpretime alegorike t\u00eb tregimit t\u00eb Kafk\u00ebs, topat mund t\u2019i kuptojm\u00eb si simbol t\u00eb ndihm\u00ebsve (t\u00eb pun\u00ebtor\u00ebve) t\u00eb padisiplinuar, si nj\u00eb p\u00ebrpjekje d\u00ebshp\u00ebruese e qenies s\u00eb ftoht\u00eb racionale q\u00eb n\u00eb projektin e vet burokratik t\u00eb p\u00ebrditsh\u00ebm t\u2019i n\u00ebnshtroj\u00eb edhe forcat e padukshme.<\/p>\n

N\u00eb vitin 1911, i preokupuar nga bota q\u00eb i duket si nj\u00eb makin\u00eb, n\u00eb sh\u00ebnimet e ditarit, Kafka shkruan: \u201c\u00c7do gj\u00eb m\u00eb duket si nj\u00eb konstruksion\u201d, <\/em>ose \u201cun\u00eb jam gjuetar i konstruksioneve\u201d<\/em>. A nuk i anticipon me k\u00ebt\u00eb shkenc\u00ebtar\u00ebt e sot\u00ebm, t\u00eb cil\u00ebt me iden\u00eb morbide t\u00eb klonimit, synojn\u00eb \u201ct\u00eb vrasin\u201d bot\u00ebn klasike t\u00eb sekreteve dhe t\u00eb vendosin n\u00eb tok\u00eb njeriun-Zot, duke e barazuar k\u00ebsisoj jet\u00ebn me vdekjen?<\/p>\n

Duhet theksuar se, p\u00ebr dallim nga futurist\u00ebt <\/strong>t\u00eb cil\u00ebt e l\u00ebvdonin shpejt\u00ebsin\u00eb dhe bukurin\u00eb e makin\u00ebs, ekspresionist\u00ebt<\/strong>, e sidomos ekspresionist\u00ebt gjerman\u00eb, jetonin n\u00eb ankth dhe\u00a0 tjet\u00ebrsoheshin skajsh\u00ebm nga qytet\u00ebrimi i mekanizuar. K\u00ebt\u00eb e d\u00ebshmojn\u00eb m\u00eb s\u00eb miri vizionet e mynxyrshme t\u00eb Kafk\u00ebs q\u00eb vall\u00ebzojn\u00eb n\u00eb hap\u00ebsir\u00ebn thell\u00ebsisht t\u00eb vetmuar. N\u00eb vitin 1914, te sh\u00ebnimet shkruan p\u00ebr \u201clemerin\u00eb e \u00e7do gj\u00ebje q\u00eb \u00ebsht\u00eb skem\u00eb e r\u00ebndomt\u00eb\u201d. <\/em><\/p>\n

Por, deformimet nuk jan\u00eb vet\u00ebm fiksion i Kafk\u00ebs. Ato jan\u00eb edhe vizion i tij p\u00ebr vet\u00ebdijen e ardhshme njer\u00ebzore. N\u00eb vepr\u00ebn \u201cBiseda me Kafk\u00ebn\u201d (Gespr\u00e4che mit Kafka \u2013 Conversation with Kafka, <\/em>1951), poeti \u00e7ek Gustav Janush <\/strong>(Gustav Janouch, Maribor, Slloveni, 1903 \u2013 Prag\u00eb, 1968) shkruan p\u00ebr reagimet e Kafk\u00ebs lidhur me piktorin, skulptorin dhe dizajnuesin spanjoll Pablo Pikaso <\/strong>(Pablo Picasso, 1881-1973) n\u00eb nj\u00eb ekspozit\u00eb arti figurativ bashk\u00ebkohor. Ndaj konstatimit t\u00eb Janushit se Pikasoja i shtremb\u00ebron objektet, Kafka p\u00ebrgjigjet: \u201cNuk mendoj t\u00eb jet\u00eb ashtu. Ai i paraqet vet\u00ebm deformimet t\u00eb cilat ende nuk kan\u00eb dep\u00ebrtuar n\u00eb vet\u00ebdijen ton\u00eb.\u201d<\/em> N\u00eb vijim, artin e krahason me pasqyr\u00ebn t\u00eb cil\u00ebs i duhet \u201ct\u00eb nxitoj\u00eb, t\u00eb zgjohet her\u00ebt\u201d<\/em> mu si ora.<\/p>\n

Gustav Janushi 17-vje\u00e7ar e ka takuar Kafk\u00ebn n\u00eb vitin 1920. Ia kishte dor\u00ebzuar Kafk\u00ebs disa poezi t\u00eb veta dhe kishte k\u00ebrkuar prej tij t\u00eb jap\u00eb vler\u00ebsim p\u00ebr to.<\/p>\n

Kafka, filmi pa z\u00eb dhe surrealizmi <\/strong>\u2013 Literatura e shumt\u00eb p\u00ebr Kafk\u00ebn enigmatike, e tejkalon sa s\u2019b\u00ebhet opusin e tij relativisht modest, q\u00eb do t\u00eb kishte qen\u00eb akoma m\u00eb modest, sikur Maks Brodi t\u2019ia kishte plot\u00ebsuar porosin\u00eb p\u00ebr t\u2019ia djegur dor\u00ebshkrimet e krijimeve letrare t\u00eb tij. N\u00eb t\u00eb gjall\u00eb t\u00eb shkrimtarit u botuan vet\u00ebm disa p\u00ebrmbledhje tregimesh dhe skicash \u2013 \u201cMetamorfoza\u201d <\/em>(1915), \u201cD\u00ebnimi\u201d <\/em>(1916), \u201cN\u00eb kolonin\u00eb nd\u00ebshkimore\u201d <\/em>(1919), \u201cMjeku i fshatit\u201d <\/em>(1919) dhe \u201cArtisti i uritur\u201d <\/em>(1924). Pjesa m\u00eb e madhe e veprave t\u00eb tij iu botuan postum, d.m.th. pas vdekjes s\u00eb autorit, si shum\u00eb tregime, ditar\u00ebt, romanet e famshme \u201cProcesi\u201d <\/em>(1925), \u201cK\u00ebshtjella\u201d <\/em>(1926), \u201cAmerika\u201d <\/em>(titulli burimor \u201cNjeriu q\u00eb humbi pa gjurm\u00eb, <\/em>1927). <\/em><\/p>\n

Kafk\u00ebs i jan\u00eb qasur nga t\u00eb gjitha an\u00ebt \u2013 qasje marksiste<\/em><\/strong> (tjet\u00ebrsimi n\u00eb kapitaliz\u00ebm), qasje ekzistencialiste<\/em><\/strong> (ekzistimi i njeriut n\u00eb nj\u00eb bot\u00eb pa Zotin), qasje frojdiste-psikanalitike <\/em><\/strong>(raportet midis Kafk\u00ebs dhe babait t\u00eb tij, interpretuar sipas kompleksit t\u00eb Edipit), qasja mistike-religjioze <\/em><\/strong>(k\u00ebrkimi i ethsh\u00ebm i kuptimit m\u00eb t\u00eb lart\u00eb t\u00eb bot\u00ebs, p\u00ebrkat\u00ebsisht k\u00ebrkimi i kuptimit t\u00eb Zotit). Por, n\u00eb laramanin\u00eb e qasjeve, teoricieni i let\u00ebrsis\u00eb, gjermanisti, muzikologu, letrari, professor emeritus <\/em>n\u00eb Fakultetin Filozofik t\u00eb Zagrebit, akademiku kroat Viktor Zhmega\u00e7 <\/strong>(1929 – ) n\u00eb librin \u201cPasioni dhe konstruktivizmi i shpirtit (L\u00ebvizjet artistike themelore t\u00eb shekullit t\u00eb 20-t\u00eb) – Strast i konstruktivizam duha (Temeljni umjetni\u010dki pokreti 20. stolje\u0107a\u00a0<\/em>(Matica hrvatska, 2016), \u00ebsht\u00eb nd\u00ebr t\u00eb par\u00ebt q\u00eb i qaset nj\u00eb krahasimi interesant t\u00eb Kafk\u00ebs dhe teknik\u00ebs s\u00eb filmit bardh\u00eb e zi, q\u00eb aso kohe ishte avangarde.<\/p>\n

Me fjal\u00eb t\u00eb tjera, Kafka n\u00eb ditar\u00ebt e vet flet p\u00ebr mbresa t\u00eb ndryshme p\u00ebr filmin q\u00eb e ka impresionuar me t\u00eb folmen e vet n\u00ebp\u00ebrmjet fotografive. Zhmega\u00e7 sqaron se romanet dhe tekstet e shkurtra n\u00eb proz\u00eb t\u00eb Kafk\u00ebs, n\u00eb pik\u00ebpamje vizuale jan\u00eb t\u00eb ngjashme me filmat bardh\u00eb e zi. Me nj\u00eb fjal\u00eb, edhe proza e Kafk\u00ebs \u00ebsht\u00eb bardh\u00eb e zi, p\u00ebr arsye se n\u00eb stilin e autorit mungojn\u00eb ngjyrat<\/em>: rrobat jan\u00eb rroba, ato nuk jan\u00eb as ngjyre g\u00ebshtenje, as t\u00eb verdha, madje as t\u00eb murrme; qielli \u00ebsht\u00eb di\u00e7ka q\u00eb ndodhet lart\u00eb mbi ne; nuk e ndjem\u00eb n\u00eb \u00ebsht\u00eb i kalt\u00ebr, i hirt\u00eb apo ngjyre tr\u00ebndafili. Por, thot\u00eb Zhmega\u00e7, te Kafka ka efekte drite<\/em>. N\u00eb p\u00ebrshkrimet e tij di\u00e7ka ndri\u00e7ohet<\/em>, di\u00e7ka tjet\u00ebr err\u00ebsohet<\/em>, q\u00eb nd\u00ebrlidhet me hijezimin, me fenomenin optik t\u00eb incizimit bardh\u00eb e zi.<\/p>\n

\u00cbsht\u00eb interesant krahasimi i filmave t\u00eb regjisorit spanjoll, meksikan i natyralizuar,Luis Bu\u00f1uel Portol\u00e9s <\/strong>(1900-1983) n\u00eb t\u00eb cil\u00ebt realizmi fantastik <\/em><\/strong>\u00ebsht\u00eb mjaft i ngjash\u00ebm me \u201cProcesin\u201d <\/em>dhe me \u201cMetamorfoz\u00ebn\u201d<\/em>. Ashtu si njeriu i Kafk\u00ebs transformohet n\u00eb insekt apo n\u00eb kand\u00ebr, gj\u00eb q\u00eb familja e pranon qet\u00ebsisht, po k\u00ebshtu n\u00eb filmin \u201cKoha e art\u00eb\u201d<\/em> t\u00eb Bu\u00f1uelit<\/strong>, n\u00eb sallonin qytetar, pa kurrfar\u00eb motivi hyn karroca, por askush nga familja nuk \u00e7an\u00eb kok\u00ebn p\u00ebr k\u00ebt\u00eb.<\/p>\n

Edhe pse Kafka p\u00ebr shkak t\u00eb ndodhive fantastike, groteskut, ekstremit vihet n\u00eb bot\u00ebn e ekspresionist\u00ebve<\/em><\/strong>, me gjuh\u00ebn asketike t\u00eb p\u00ebrmbajtur, n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb largohet nga let\u00ebrsia ekspresioniste<\/em> q\u00eb v\u00ebrshon me ngritjet figurative, metaforike. Kafka largohet edhe nga arti figurativ<\/em> ekspresionist<\/em><\/strong> dhe fovist*<\/em><\/strong> q\u00eb p\u00ebrc\u00ebllon prej ngjyrave, q\u00eb fare nuk p\u00ebrkon me konstruksionin e tij, kryesisht bardh\u00eb e zi t\u00eb, bot\u00ebs absurde.<\/p>\n

Sh\u00ebnim<\/strong>: Fovizmi<\/strong> \u00ebsht\u00eb stil pikture q\u00eb mb\u00ebshtetet n\u00eb p\u00ebrdorim ngjyrash tep\u00ebr t\u00eb gjalla jonatyraliste. \u00cbsht\u00eb e para nga rrymat e m\u00ebdha t\u00eb avangard\u00ebs q\u00eb ia nd\u00ebrroi faqen artit evropian n\u00eb periudh\u00ebn nga fillimi i shekullit deri n\u00eb Luft\u00ebn I Bot\u00ebrore. Emri \u201cFauves\u201d<\/em> (fr\u00ebngjisht: shtaz\u00eb t\u00eb egra)<\/em> iu dha piktor\u00ebve q\u00eb pikturonin me k\u00ebt\u00eb stil p\u00ebr shkak t\u00eb p\u00ebrdorimit t\u00eb pazakont\u00eb t\u00eb ngjyr\u00ebs jasht\u00eb rolit t\u00eb saj p\u00ebrshkrues tradicional. Fovizmi arriti pik\u00ebn m\u00eb t\u00eb lart\u00eb n\u00eb vitet 1905-1906. ndon\u00ebse jet\u00ebshkurt\u00ebr, pati ndikim t\u00eb madh sidomos te ekspresionizmi gjerman.<\/p>\n

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

Me analizat e veta krahasuese, Zhmega\u00e7i e v\u00eb Kafk\u00ebn n\u00eb kontekstin e artit figurativ surrealist<\/strong>, ku piktori lidh me nj\u00ebra-tjetr\u00ebn ato q\u00eb s\u2019lidhen<\/em>. Kjo \u00ebsht\u00eb tejet e ngjashme me ankthin pa arsyetim<\/em> t\u00eb Kafk\u00ebs. N\u00eb kolazhet e Maks Ernstit <\/strong>(Max Ernst) mbizot\u00ebrojn\u00eb kafsh\u00ebt e eg\u00ebrsuara me tipare njer\u00ebzore. N\u00eb shum\u00eb piktura t\u00eb Rene Magritit <\/strong>(Ren\u00e9 Magritte) grotesku \u00ebsht\u00eb paraqitur gati si n\u00eb fotografi. Kjo qasje \u00ebsht\u00eb mjaft e ngjashme me at\u00eb t\u00eb Kafk\u00ebs: Tmerrin e absurdit mund ta thelloj\u00eb akoma m\u00eb shum\u00eb vet\u00ebm nj\u00eb stil – n\u00eb dukje realist<\/em><\/strong>. Piktura \u201cBallkoni i Manetit\u201d<\/em> e Magritit (Magritte), n\u00eb ballkonin e paraqitur me besnik\u00ebri na jep nj\u00eb sken\u00eb morbide me arkivole ngjyr\u00ebg\u00ebshtenje, t\u00eb pikturuara me aq p\u00ebrpik\u00ebri saq\u00eb vdekja nuk shkakton vuajtje apo dhembshuri. Aty vdekja shkakton nj\u00eb pajtim pothuajse racional me sken\u00ebn, thua ti se b\u00ebhet fjal\u00eb p\u00ebr p\u00ebrgatitjet p\u00ebr varrim. P\u00ebrs\u00ebri rr\u00ebqethje, lebeti, llahtari kafkiane me nj\u00eb pik\u00eb t\u00eb zakonshme, t\u00eb vrazhd\u00ebt n\u00eb fund, q\u00eb s\u2019l\u00eb vend p\u00ebr pik\u00ebpyetje t\u00eb m\u00ebdha.<\/p>\n

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

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Profecia e Kafk\u00ebs \u2013 Vlen t\u00eb p\u00ebrmenden edhe pikturat e Xhorxho de Kirikos <\/strong>(Giorgio de Chirico), pararend\u00ebsit t\u00eb surrealist\u00ebve<\/strong>, t\u00eb cilat paraqesin mjedisin inpersonal t\u00eb ekzistenc\u00ebs<\/em><\/strong>, p\u00ebrkat\u00ebsisht bot\u00ebn e cila, nj\u00ebsoj si te Kafka, \u00ebsht\u00eb ndalur, \u00ebsht\u00eb ngurt\u00ebsuar.<\/p>\n

Por, pikturat nuk p\u00ebrkthehen. Ato jan\u00eb p\u00ebr t\u2019i par\u00eb. Nd\u00ebrkaq gjuha e kursyer dhe e p\u00ebrpikt\u00eb me t\u00eb cil\u00ebn Kafka e p\u00ebrcjell imagjinat\u00ebn e vet t\u00eb rr\u00ebmbyeshme, gjithmon\u00eb ka paraqitur sfid\u00eb p\u00ebr p\u00ebrkthyesit. N\u00eb vepr\u00ebn e p\u00ebrbashk\u00ebt \u201cKafka \u2013 kah let\u00ebrsia e vog\u00ebl\u201d<\/em>, filozofi francez Zhil D\u00eblez <\/strong>(Gilles Deleuze, 1925-1995) dhe psikanalisti, filozofi, semiotiku dhe skenaristi francez Pjer\u00eb Feliks Guatari <\/strong>(Pierre F\u00e9lix Guattari, 1930-1992) pohojn\u00eb se Kafka fare s\u2019ka shkruar aq neveritsh\u00ebm dhe me p\u00ebrvuajtje si\u00e7 kemi m\u00ebsuar prej interpretimeve shkollore t\u00eb \u201cMetamorfoz\u00ebs\u201d <\/em>apo t\u00eb \u201cProcesit\u201d<\/em>. P\u00ebrkundrazi, Kafka ka qen\u00eb i kthjell\u00ebt, mjaft i prir\u00eb p\u00ebr humor, natyrisht, p\u00ebr humor t\u00eb zi<\/em><\/strong> dhe mazohist<\/em><\/strong>.<\/p>\n

N\u00eb vitin 1921 Kafka shkruan n\u00eb ditar se edhe p\u00ebr shkak t\u00eb metaforave \u201csillet d\u00ebshp\u00ebruesh\u00ebm n\u00eb let\u00ebrsi\u201d<\/em>, nd\u00ebrsa me absurdin ka luajtur mu si nj\u00eb surrealist<\/em><\/strong>. T\u00eb rikujtojm\u00eb se te \u201cProcesi\u201d,<\/em> per\u00ebndesha e drejt\u00ebsis\u00eb mban n\u00eb dor\u00eb peshore, nd\u00ebrsa te syt\u00eb \u2013 shami, e krah\u00ebt i ka te thembrat. Me fjal\u00eb t\u00eb tjera, drejt\u00ebsia \u00ebsht\u00eb e verb\u00ebt, nd\u00ebrsa krah\u00ebt gjithmon\u00eb na frik\u00ebsojn\u00eb se do t\u00eb fluturojn\u00eb n\u00eb drejtim t\u00eb panjohur. Per\u00ebndesha e drejt\u00ebsi edhe sot nuk na p\u00ebrgjigjet pyetjeve: Nga buron tjet\u00ebrsimi n\u00eb bot\u00ebn e urryer? Si \u00ebsht\u00eb e mundur q\u00eb n\u00eb renditjen e lir\u00eb t\u00eb miliarda informatave, t\u00eb jetojm\u00eb me ndjenj\u00ebn e t\u00eb qenit t\u00eb painformuar? Si ndodh q\u00eb n\u00eb bot\u00ebn virtuale t\u00eb kemi ndjenj\u00ebn e reales?<\/p>\n

Por, nd\u00ebr absurdet e qytet\u00ebrimit t\u00eb sot\u00ebm, b\u00ebn pjes\u00eb mbase pasqyra m\u00eb absurde, m\u00eb kafkiane: i ngulim syt\u00eb n\u00eb ekrane, e aktivizojm\u00eb \u201ctrurin\u201d, plot\u00ebsisht e l\u00ebm\u00eb pas dore trupin dhe nj\u00eb dit\u00eb t\u00eb gjith\u00eb shnd\u00ebrrohemi n\u00eb njer\u00ebz statik\u00eb me koka t\u00eb m\u00ebdha dhe me gjymtyr\u00eb t\u00eb vogla t\u00eb atrofizuara. Pothuajse plot\u00ebsisht shnd\u00ebrrohemi n\u00eb kandra kafkiane. A thua at\u00ebher\u00eb \u201cMetamorfoz\u00ebn\u201d<\/em> do ta lexojm\u00eb si nj\u00eb proz\u00eb kryek\u00ebput realiste?<\/p>\n","protected":false},"excerpt":{"rendered":"

Xhelal Zejneli Franc Kafka, kritiku i heshtur i t\u00eb gjitha skemave qytet\u00ebruese dhe letrare, n\u00eb letr\u00ebn e 27 janarit t\u00eb vitit 1904 shkruan se do t\u00eb duhej t\u00eb lexoheshin vet\u00ebm ata libra q\u00eb v\u00ebrsulen mbi ne, q\u00eb na shkaktojn\u00eb dhimbje dhe huti, librat q\u00eb mu si s\u00ebpata, e cop\u00ebtojn\u00eb akullin n\u00eb vet\u00ebdijen ton\u00eb. N\u00ebse piktori […]<\/p>\n","protected":false},"author":1,"featured_media":44986,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,35],"tags":[],"class_list":["post-64587","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori","category-kulture"],"yoast_head":"\nVIZIONI KAFKIAN I METAMORFOZ\u00cbS S\u00cb BOT\u00cbS - 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\/vizioni-kafkian-i-metamorfozes-se-botes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"VIZIONI KAFKIAN I METAMORFOZ\u00cbS S\u00cb BOT\u00cbS - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Xhelal Zejneli Franc Kafka, kritiku i heshtur i t\u00eb gjitha skemave qytet\u00ebruese dhe letrare, n\u00eb letr\u00ebn e 27 janarit t\u00eb vitit 1904 shkruan se do t\u00eb duhej t\u00eb lexoheshin vet\u00ebm ata libra q\u00eb v\u00ebrsulen mbi ne, q\u00eb na shkaktojn\u00eb dhimbje dhe huti, librat q\u00eb mu si s\u00ebpata, e cop\u00ebtojn\u00eb akullin n\u00eb vet\u00ebdijen ton\u00eb. 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