{"id":69351,"date":"2021-06-05T00:23:31","date_gmt":"2021-06-04T22:23:31","guid":{"rendered":"https:\/\/fjala.info\/?p=69351"},"modified":"2021-06-05T00:23:31","modified_gmt":"2021-06-04T22:23:31","slug":"vetedija-mitike-e-qenesise-dhe-e-qendreses","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/vetedija-mitike-e-qenesise-dhe-e-qendreses\/","title":{"rendered":"VET\u00cbDIJA MITIKE E QEN\u00cbSIS\u00cb DHE E Q\u00cbNDRES\u00cbS"},"content":{"rendered":"

Anton Nik\u00eb Berisha<\/strong><\/p>\n

Rreth tregimit \u201cKULLA\u201d t\u00eb Anton Pashkut<\/p><\/blockquote>\n

\"\" Asnj\u00eb antologji e tregimit shqiptar, hartuar mbi baz\u00ebn e kritereve letrare poetike, nuk do t\u00eb mund ta linte anash tregimin \u201cKulla\u201d t\u00eb Anton Pashkut. Themi k\u00ebshtu duke pasur parasysh faktin se ky tregim nuk \u00ebsht\u00eb vet\u00ebm nd\u00ebr m\u00eb artistik\u00ebt brenda krijimtaris\u00eb tregimtare t\u00eb autorit e t\u00eb proz\u00ebs tregimtare shqiptare n\u00eb p\u00ebrgjith\u00ebsi, por \u00ebsht\u00eb edhe nd\u00ebr m\u00eb komplekset si qasje e si shtjellim, si struktur\u00eb tekstore dhe si sistem i nd\u00ebrliqsh\u00ebm kuptimor, e si rrjedhoj\u00eb e gjith\u00eb k\u00ebsaj, edhe krijim me nj\u00eb kontekst poetologjik jasht\u00ebzakonisht t\u00eb pasur, p\u00ebr shum\u00eb\u00e7ka i pap\u00ebrs\u00ebritsh\u00ebm.<\/p>\n

\u00c7ka e b\u00ebn t\u00eb k\u00ebtill\u00eb k\u00ebt\u00eb tregim?<\/strong><\/h3>\n
Shqiptim artistik i mitit t\u00eb kull\u00ebs<\/strong><\/h5>\n

N\u00eb qen\u00ebsin\u00eb e vet tregimi \u201cKulla\u201d ngrihet mbi mitin p\u00ebr kull\u00ebn, q\u00eb n\u00ebnkupton mitin p\u00ebr qen\u00ebsin\u00eb, p\u00ebr ekzistenc\u00ebn dhe p\u00ebr q\u00ebndres\u00ebn e njeriut ton\u00eb n\u00eb rrjedh\u00eb t\u00eb shekujve. Mbi baz\u00ebn e p\u00ebrvoj\u00ebs historike, e cila materializohet e metaforizohet n\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb n\u00eb k\u00ebt\u00eb proz\u00eb, shqiptohet dhe interpretohet nj\u00eb bot\u00eb komplekse, realitet, q\u00eb n\u00eb esenc\u00eb \u00ebsht\u00eb vet\u00ebdije mitike e krijuar n\u00eb nj\u00eb diakroni t\u00eb pafund t\u00eb ekzistenc\u00ebs. N\u00eb tregim nuk jepet as platforma, as modeli i gjallimit, nuk jepen as p\u00ebrgjigje p\u00ebr problemet e ndryshme e as p\u00ebr shkaqet e krijimit t\u00eb mitit t\u00eb kull\u00ebs, por shqiptohet qen\u00ebsia e k\u00ebtij vet\u00ebdijesimi; n\u00eb t\u00eb nuk gjakohet e v\u00ebrteta e thjesht\u00eb historike – n\u00eb koh\u00eb e hap\u00ebsir\u00eb t\u00eb ve\u00e7ant\u00eb – pra nuk transponohet realiteti i zhveshur, por perceptohet e shprehet thell\u00ebsisht rrafshi metafizik i k\u00ebsaj ekzistence si dhe padrejt\u00ebsia metafizike, q\u00eb u manifestua n\u00eb rrjedha t\u00eb koh\u00ebs.<\/p>\n

Me fjal\u00eb t\u00eb tjera, n\u00eb k\u00ebt\u00eb proz\u00eb nuk b\u00ebhet qart\u00ebsimi i rrjedhave dhe i fakteve t\u00eb njohura historikisht, i personave e i ngjarjeve konkrete, por mbi baz\u00ebn e p\u00ebrvoj\u00ebs historike, q\u00eb lidhet sidomos me dram\u00ebn, tragjiken, me q\u00ebndres\u00ebn e me sakrificat, krijohet realiteti i ve\u00e7ant\u00eb, i cili, nxitur nga fakti historik, b\u00ebhet qen\u00ebsi, b\u00ebhet fakt i ri, fenomen i realitetit dhe i bot\u00ebs shpirt\u00ebrore.<\/p>\n

N\u00eb t\u00eb v\u00ebrtet\u00eb, kjo qen\u00ebsi artistike e krijuar merr funksion t\u00eb dyfisht\u00eb: shpreh qen\u00ebsin\u00eb e s\u00eb kaluar\u00ebs e t\u00eb tashmes, i b\u00ebn ato artistikisht t\u00eb p\u00ebrjetshme, por b\u00ebhet edhe vet\u00eb pjes\u00eb e pandashme e veprimit, e konkret\u00ebsis\u00eb ekzistenciale; nj\u00ebherit krijon baz\u00ebn e perspektiv\u00ebs s\u00eb t\u00eb ardhshmes. Duke shprehur dhe duke b\u00ebr\u00eb nj\u00ebsimin e koh\u00ebve – p\u00ebrmes rr\u00ebfimit – tregimi \u201cKulla\u201d, gjithnj\u00eb si projeksion artistik i vet\u00ebdijes, merr p\u00ebrmas\u00ebn e theksuar mitike. N\u00eb esenc\u00eb shqiptimi i objektit artistik, m\u00ebnyra e qasjes dhe e interpretimit t\u00eb q\u00ebndres\u00ebs s\u00eb njeriut ton\u00eb n\u00eb rrjedh\u00eb t\u00eb shekujve, nuk pohohen, nuk shprehen n\u00eb m\u00ebnyr\u00eb eksplicite, gj\u00eb q\u00eb \u00ebsht\u00eb e lidhur ngusht\u00eb me m\u00ebnyr\u00ebn e shtjellimit t\u00eb struktur\u00ebs s\u00eb tekstit e t\u00eb gjuh\u00ebs s\u00eb p\u00ebrdorur poetike.<\/p>\n

P\u00ebrkundrazi, \u201cKulla\u201d \u00ebsht\u00eb krijim q\u00eb ngrihet mbi nj\u00eb baz\u00eb q\u00eb cil\u00ebsohet me nj\u00eb sistem jasht\u00ebzakonisht t\u00eb ve\u00e7ant\u00eb t\u00eb t\u00eb shprehurit thell\u00ebsor. Po qe se k\u00ebt\u00eb e themi me termat e gramatik\u00ebs gjenerative t\u00eb \u00c7omskit, at\u00ebher\u00eb gjith\u00eb ajo q\u00eb trajtohet n\u00eb k\u00ebt\u00eb proz\u00eb, konkret\u00ebsia e metaforizuar, ngjet n\u00eb rrafshin thell\u00ebsor, ku p\u00ebrqendrohet dhe realizohet thelb\u00ebsisht gjith\u00eb proza e k\u00ebtij autori (ajo tregimtare dhe romaneske), por dhe dramat e tij. (Pik\u00ebrisht kjo thell\u00ebsi e perceptimit, e transponimit dhe e trajtimit t\u00eb \u00e7\u00ebshtjeve t\u00eb ndryshme i ka shtyr\u00eb disa studiues t\u00eb theksojn\u00eb \u201chermetizmin\u201d, \u201cmoskomunikativitetin\u201d e k\u00ebsaj proze, t\u00eb pohojn\u00eb se tregimet e tij jan\u00eb \u201cfantastike\u201d, q\u00eb shprehin bot\u00ebn obsesive t\u00eb autorit, pra jan\u00eb pa objekt konkret trajtimi, pa baz\u00eb reale!)<\/p>\n

A. Pashku mitin p\u00ebr kull\u00ebn, q\u00eb n\u00eb esenc\u00eb shpreh mitin p\u00ebr q\u00ebndres\u00ebn dhe ekzistenc\u00ebn, nuk e shpreh dhe nuk e shqipton me gjuh\u00ebn dhe me stilin q\u00eb e cil\u00ebson mitin si lloj letrar e si form\u00eb e transponimit t\u00eb fenomeneve t\u00eb bot\u00ebs metafizike. Tregimit t\u00eb vet Pashku nuk i jep p\u00ebrmas\u00ebn sakrale, me t\u00eb cil\u00ebn cil\u00ebsohet miti, por sakralitetin e z\u00ebvend\u00ebson me shum\u00ebkuptim\u00ebsin\u00eb, me krijimin e struktur\u00ebs tekstore nga e cila del mesazhi artistik dhe krijohet nj\u00eb kontekst poetologjik i pasur, q\u00eb \u00ebsht\u00eb i lidhur ngusht\u00eb me gjuh\u00ebn poetike. Pik\u00ebrisht gjuha poetike n\u00eb k\u00ebt\u00eb tregim, si dhe n\u00eb proz\u00ebn e tij n\u00eb p\u00ebrgjith\u00ebsi, merr karakter mitik n\u00eb kuptimin e forc\u00ebs shpreh\u00ebse artistike dhe amshueshm\u00ebris\u00eb s\u00eb funksionimit dhe t\u00eb ekzistenc\u00ebs s\u00eb saj.<\/p>\n

Rr\u00ebnimi – zhvendosja e konvencave<\/strong><\/h5>\n

Tregimi \u201cKulla\u201d nuk ka nj\u00eb objekt artistik t\u00eb thjesht\u00eb – tradicional, ku do t\u00eb mund t\u00eb ndiqeshin rrjedhat e gradacionit t\u00eb fabul\u00ebs (ndodhis\u00eb): fillimi, etapat e zhvillimit, mbarimi. Ai nuk \u00ebsht\u00eb i nd\u00ebrtuar mbi nj\u00eb ide qendrore, as nuk p\u00ebrdor vet\u00ebm nj\u00eb form\u00eb t\u00eb rr\u00ebfimit, t\u00eb monologut, t\u00eb dialogut etj.; objekti i tij \u00ebsht\u00eb nj\u00eb shum\u00ebsi objektesh artistike, nj\u00eb spekt\u00ebr, nj\u00eb mozaik t\u00ebr\u00ebsor, ku pjes\u00ebt nuk jan\u00eb krijuar mbi baz\u00ebn e radhitjes hierarkike, por jan\u00eb krijuar e funksionalizuar mbi baz\u00ebn e krijimit e t\u00eb forcimit t\u00eb t\u00ebr\u00ebsis\u00eb shpreh\u00ebse e kuptimore, t\u00eb t\u00ebr\u00ebsis\u00eb s\u00eb ndikimit estetik, duke u lidhur e duke u plot\u00ebsuar me nj\u00ebra tjetr\u00ebn nga rrafshe e forma t\u00eb shumta e t\u00eb ndryshme, qofshin kur ato ndodhen n\u00eb raport t\u00eb nd\u00ebrsjell\u00eb kusht\u00ebzues e determinues, qoft\u00eb kund\u00ebrv\u00ebn\u00ebs e kund\u00ebrshtues.<\/p>\n

M\u00ebnyra e perceptimit, e shtjellimit dhe e shqiptimit t\u00eb objektit artistik n\u00eb tregimin \u201cKulla\u201d n\u00eb esenc\u00eb shprehet si rr\u00ebnim i konvencave t\u00eb proz\u00ebs s\u00eb realizmit, pra n\u00eb k\u00ebt\u00eb krijim rr\u00ebnohen – zhvendosen konvencat e fabulimit dhe narracionit tradicional. N\u00eb vend t\u00eb parimit hierarkik e t\u00eb kronologjis\u00eb, me \u00e7ka cil\u00ebsohet proza tradicionale, n\u00eb tregimin \u201cKulla\u201d vendosen lidhje shum\u00ebplan\u00ebshe paradigmatike; krijohet nj\u00eb sistem kompleks paradigmatik, q\u00eb nuk ve\u00e7ohet p\u00ebr p\u00ebrshkrimin, vler\u00ebsimin, shpjegimin, pohimin, por p\u00ebr thell\u00ebsin\u00eb dhe begatin\u00eb e shprehjes, p\u00ebr krijimin e realitetit sa m\u00eb t\u00eb nd\u00ebrliqsh\u00ebm e t\u00eb pavarur artistik.<\/p>\n

Nd\u00ebrtuar mbi parime t\u00eb k\u00ebtilla \u00ebsht\u00eb krejt e natyrshme q\u00eb p\u00ebr t\u00eb dep\u00ebrtuar n\u00eb struktur\u00ebn tekstore e n\u00eb sistemin kuptimor, q\u00eb del nga struktura gjuh\u00ebsore e tregimit, k\u00ebrkohet m\u00eb shum\u00eb p\u00ebrkushtim e dije, pra perceptimi dhe receptimi i \u201cKull\u00ebs\u201d \u00ebsht\u00eb i v\u00ebshtir\u00eb. S’do mend se kjo v\u00ebshtir\u00ebsi nuk n\u00ebnkupton abstraksionin e objektit t\u00eb trajtuar n\u00eb k\u00ebt\u00eb proz\u00eb, por p\u00ebrkundrazi, nd\u00ebrliqshm\u00ebrin\u00eb, shum\u00ebshtresin\u00eb dhe pasurin\u00eb e struktur\u00ebs gjuh\u00ebsore tekstore. Pra rr\u00ebnimi i konvencave t\u00eb proz\u00ebs tradicionale nuk \u00ebsht\u00eb vlera kryesore e k\u00ebtij tregimi, por para se gjithash m\u00ebnyra origjinale e vrojtimit, e shtjellimit t\u00eb tekstit poetik, e nd\u00ebrtimit t\u00eb t\u00ebr\u00ebsis\u00eb shpreh\u00ebse e kuptimore n\u00ebp\u00ebrmjet t\u00eb pjes\u00ebve, t\u00eb cilat shprehin forc\u00ebn e tyre qen\u00ebsore n\u00eb krijimin e t\u00ebr\u00ebsis\u00eb si kohezion i p\u00ebrb\u00ebr\u00ebsve kryesor\u00eb t\u00eb krijimit letrar-artistik dhe si forc\u00eb e ndikimit estetik te marr\u00ebsi.<\/p>\n

Uniteti i rrafsheve kund\u00ebrv\u00ebn\u00ebse – kontrastike<\/strong><\/h5>\n

Proza \u201cKulla\u201d \u00ebsht\u00eb nd\u00ebrtuar mbi baz\u00ebn e dy rrafsheve t\u00eb ndryshme kund\u00ebrv\u00ebn\u00ebse, t\u00eb cilat mu n\u00eb raportin kontrastik t\u00eb tyre shprehin madh\u00ebshtin\u00eb e t\u00ebr\u00ebsis\u00eb, kohezionin e tyre. Tregimi \u00ebsht\u00eb perceptuar si nj\u00eb sistem i antitez\u00ebs poetike, jo p\u00ebr t\u00eb theksuar pavar\u00ebsin\u00eb e rrafsheve kund\u00ebrv\u00ebn\u00ebse brenda struktur\u00ebs tekstore, por p\u00ebr ta shprehur, n\u00eb nivelin sa m\u00eb t\u00eb lart\u00eb, unitetin shprehimor dhe kuptimor, q\u00eb krijojn\u00eb mikrostrukturat e krijimit artistik n\u00eb rrafshet e k\u00ebtilla kontrastike. N\u00eb k\u00ebt\u00eb proz\u00eb, si\u00e7 theksohet qysh n\u00eb faqen e par\u00eb, \u00e7do gj\u00eb q\u00eb ngjet – ndodh: fillonte prej dikah thell\u00eb n\u00eb pafund\u00ebsi dhe mbaronte diku lart, por gjithashtu thell\u00eb n\u00eb pafund\u00ebsi<\/em>.<\/p>\n

N\u00eb k\u00ebt\u00eb diakroni t\u00eb pakufi (skaje t\u00eb kund\u00ebrta paradigmatike) n\u00ebp\u00ebrmjet t\u00eb formave t\u00eb ndryshme t\u00eb shqiptimit, autori fut nj\u00eb varg elementesh t\u00eb shum\u00ebsis\u00eb s\u00eb objektit artistik. Dhe pik\u00ebrisht raportet e krijuara midis k\u00ebtyre elementeve, si sistem mikrostrukturash n\u00eb raport me makrostruktur\u00ebn, ve\u00e7orit\u00eb shpreh\u00ebse e kuptimore, forca q\u00eb ato marrin brenda struktur\u00ebs s\u00eb tekstit, shprehin disa nga tiparet kryesore e origjinale t\u00eb k\u00ebtij tregimi dhe t\u00eb Pashkut si prozator.<\/p>\n

Rrafshet kund\u00ebrv\u00ebn\u00ebse paradigmatike t\u00eb \u201cKull\u00ebs\u201d jan\u00eb, me nj\u00eb an\u00eb: tymi, err\u00ebsira, fillimi i nat\u00ebs, heshtja, shikimi i ngrir\u00eb, hap\u00ebsira e p\u00ebrhimt\u00eb, kjasina, r\u00ebra p\u00ebrv\u00ebluese, lot e tym, galtina, g\u00ebrmadhat, kulet, kulja e madhe fantazmagorike, psher\u00ebtima, gjaku, hejza, zapullima, thika, thika n\u00eb sy, z\u00ebri i p\u00ebrvajsh\u00ebm, pylli (q\u00eb) ka sulmuar kull\u00ebn, kasapi (si njoll\u00eb) m\u00eb e err\u00ebt si err\u00ebsira, kukuvriqi etj.,<\/em> nd\u00ebrsa n\u00eb an\u00ebn tjet\u00ebr: kulla, plaka, bardhoka, tarrabeci, kali, kreu i rr\u00ebnj\u00ebve, delta e lumit, zogjt\u00eb, k\u00ebmbora, dielli q\u00eb n\u00eb ag zinte t\u00eb flak\u00ebronte etj.<\/em><\/p>\n

K\u00ebto dy rrafshe jan\u00eb jasht\u00ebzakonisht t\u00eb lidhura e t\u00eb varura midis tyre; nga aspekti tematik dhe kuptimor ata nuk synojn\u00eb hierarkin\u00eb. N\u00eb vend t\u00eb k\u00ebtij raporti, q\u00eb shpesh e ndeshim n\u00eb krijimet tona letrare, ata var\u00ebn e kusht\u00ebzohen n\u00eb m\u00ebnyr\u00eb t\u00eb nd\u00ebrsjell\u00eb; i cil\u00ebson nj\u00eb var\u00ebsi e brendshme, qen\u00ebsore, sepse n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb e b\u00ebjn\u00eb m\u00eb t\u00eb plot\u00eb imazhin, ashtu si\u00e7 ngjet edhe me mesazhin poetik, q\u00eb del si rrjedhoj\u00eb e ballafaqimit dhe e funksionalizimit t\u00eb tablove, t\u00eb situatave e t\u00eb mendimeve brenda struktur\u00ebs s\u00eb ve\u00e7ant\u00eb tekstore.<\/p>\n

Raporti kontrastik nuk shprehet vet\u00ebm n\u00eb ballafaqimin e dy rrafsheve, q\u00eb i p\u00ebrmendem, por edhe brenda nj\u00eb rrafshi. K\u00ebshtu, fjala vjen, kjo shprehet me vdekjen dhe jet\u00ebn e plak\u00ebs, e cila \u00ebsht\u00eb kreu i rr\u00ebnj\u00ebve; p\u00ebr t\u00eb m\u00ebsojm\u00eb vet\u00ebm pas vdekjes; vet\u00ebm pas k\u00ebtij akti shpaloset esenca e veprimit dhe e simbolizimit t\u00eb saj; mbas varrimit ajo p\u00ebrt\u00ebrihet n\u00eb kujtes\u00ebn e njer\u00ebzve, sakralizohet simbolika e rrudhave, e rr\u00ebnj\u00ebve t\u00eb saj. Ngjash\u00ebm ndodh edhe me kull\u00ebn: ajo ekziston nd\u00ebrmjet q\u00ebndres\u00ebs dhe rr\u00ebnimit – shkat\u00ebrrimit; at\u00eb e mban gjall\u00eb dhe e rip\u00ebrt\u00ebrin k\u00ebmbora, e cila, p\u00ebrkund\u00ebr p\u00ebsimeve t\u00eb kull\u00ebs, \u00ebsht\u00eb e pazhdukshme, e paasgj\u00ebsueshme.<\/p>\n

Pra plaka vdes, por nuk vdes esenca e qen\u00ebsis\u00eb, e simbolik\u00ebs, e funksionit t\u00eb saj, nuk vdesin rr\u00ebnj\u00ebt, si\u00e7 nuk zhduket e nuk asgj\u00ebsohet kulla, po prej mbetjeve (g\u00ebrmadhave, kuleve etj.) ringjallet, vazhdon ekzistimin dhe q\u00ebndres\u00ebn. Ky ekzistim dhe kjo q\u00ebndres\u00eb n\u00eb tregimin \u201cKulla\u201d marrin nj\u00eb p\u00ebrmas\u00eb mitike, e cila b\u00ebhet pjes\u00eb e vet\u00ebdijes dhe merr tiparin sakral. Dhe sa m\u00eb shum\u00eb q\u00eb kulla (bashk\u00eb me k\u00ebt\u00eb edhe q\u00ebndresa) p\u00ebson, sa m\u00eb shum\u00eb q\u00eb ndihet prania e kuleve, e g\u00ebrmadhave, e kulprave (q\u00eb kan\u00eb veshur gati t\u00eb gjitha muret e kull\u00ebs dhe kan\u00eb z\u00ebn\u00eb t\u00eb hyjn\u00eb edhe n\u00ebp\u00ebr fr\u00ebngji), dega e rrapit (q\u00eb don t\u00eb hyj\u00eb nd\u00ebrmjet gur\u00ebve t\u00eb kull\u00ebs) etj., aq m\u00eb tep\u00ebr ajo b\u00ebhet m\u00eb e q\u00ebndrueshme, si\u00e7 b\u00ebhen m\u00eb konzistent e shenj\u00ebzues kryet e rr\u00ebnj\u00ebve, k\u00ebmbora, tarrabeci, delta etj., q\u00eb koekzistojn\u00eb fuqish\u00ebm brenda t\u00ebr\u00ebsis\u00eb; ato varen dhe i japin nj\u00ebra tjetr\u00ebs n\u00eb nivele e p\u00ebrmasa shum\u00ebplan\u00ebshe:<\/p>\n

\u201cPaj, si t\u00eb them, m\u00eb von\u00eb, disi, nuk m\u00eb p\u00eblqente ta krahasoja (plak\u00ebn) vet\u00ebm me rr\u00ebnj\u00eb\u201d.
\n<\/em>\u201cPor, rr\u00ebnj\u00ebt jan\u00eb t\u00eb bukura!\u201d.
\n<\/em>\u201cJan\u00eb, por nuk m\u00eb duket se kryet e plak\u00ebs son\u00eb mund t’i ngjante vet\u00ebm kreut t\u00eb rr\u00ebnj\u00ebve t\u00eb thella\u201d.
\n<\/em>\u201cKurse mua m\u00eb duket se mund t’i ngjante vet\u00ebm rr\u00ebnj\u00ebve q\u00eb s’ndahen dot nga thell\u00ebsit\u00eb e veta\u201d.<\/em><\/p>\n

Imazh vet\u00ebdijsor dhe koh\u00eb mitike<\/strong><\/h5>\n

\u201cKulla\u201d nuk \u00ebsht\u00eb as proz\u00eb fantastike, as e ngritur mbi baz\u00ebn e \u00ebndrr\u00ebs, as shprehje e realitetit t\u00eb mir\u00ebfillt\u00eb historik; ajo s’\u00ebsht\u00eb as realitet i modelit t\u00eb p\u00ebrrall\u00ebs, q\u00eb shprehet si kund\u00ebrv\u00ebnie e realitetit t\u00eb v\u00ebrtet\u00eb, si mohim i tij. Si\u00e7 theksuam edhe m\u00eb par\u00eb, realitetin, faktin historik ky tregim e merr vet\u00ebm si baz\u00eb, si nxitje, si motivim, si rrafsh bazor njoh\u00ebs – njohje q\u00eb nuk \u00ebsht\u00eb e rastit, si\u00e7 nuk \u00ebsht\u00eb asgj\u00eb e rastit n\u00eb k\u00ebt\u00eb proz\u00eb p\u00ebr shum\u00eb\u00e7ka komplekse.<\/p>\n

Realiteti i tregimit \u201cKulla\u201d qen\u00ebsisht lidhet me p\u00ebrvoj\u00ebn e historis\u00eb komb\u00ebtare t\u00eb popullit ton\u00eb, q\u00eb \u00ebsht\u00eb krijuar n\u00eb vet\u00ebdije si refleksion i konkret\u00ebsis\u00eb historike. Ky realitet, kjo empiri historike, shprehet n\u00ebp\u00ebrmjet nj\u00eb shum\u00ebsie \u00e7\u00ebshtjesh, veprimesh, situatash, personazhesh, objektesh, shpresash t\u00eb rr\u00ebfimit dialog\u00ebsh etj. N\u00ebp\u00ebrmjet shum\u00ebsis\u00eb s\u00eb objekteve t\u00eb trajtuara, krijohet nj\u00eb gjer\u00ebsi e thell\u00ebsi, nj\u00eb unitet i q\u00ebndruesh\u00ebm e funksional, q\u00eb e shpreh m\u00eb plotnisht realitetin, mund\u00ebson, n\u00ebp\u00ebrmjet struktur\u00ebs tekstore poetike, shqiptim dhe interpretim m\u00eb kompleks t\u00eb tij. Pra kjo shum\u00ebsi, pos tjerash, shpreh p\u00ebrshtypjet e ndryshme subjektive t\u00eb personazheve ndaj realitetit t\u00eb nj\u00ebmendt\u00eb objektiv (n\u00eb koh\u00eb t\u00eb ndryshme), q\u00eb \u00ebsht\u00eb qen\u00ebsore p\u00ebr qasje moderne, sepse n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb shmanget mund\u00ebsia e subjektivizmit t\u00eb nj\u00eb personazhi (sipas Erich Auerbach-it).<\/p>\n

Veprohet n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb p\u00ebr arsye se vet\u00ebdija, natyrisht edhe krijimi i vepr\u00ebs letrare mbi baz\u00ebn e funksionimit t\u00eb saj, si\u00e7 ndodh dhe n\u00eb tregimin \u201cKulla\u201d, nuk \u00ebsht\u00eb e varur nga rrjedha kronologjike (term i David Daiches), nga ndodhit\u00eb, vijim\u00ebsia e veprimit, i mendimit etj., por n\u00eb form\u00eb sistemi (zbatohet edhe paralelizmi), ajo anticipon dhe vepron n\u00eb retrospektiv\u00eb. N\u00ebp\u00ebrmjet aluzioneve dhe kund\u00ebrshtimeve t\u00eb brendshme qen\u00ebsore, krijohet n\u00eb vet\u00ebdije rrjedha e ballafaqimit t\u00eb dukurive n\u00eb raporte kund\u00ebrv\u00ebn\u00ebse e kund\u00ebrshtuese, pra krijohen t\u00eb gjitha mund\u00ebsit\u00eb p\u00ebr unifikimin maksimal t\u00eb rr\u00ebfimit, q\u00eb n\u00eb kushte t\u00eb tjera, t\u00eb shqiptimit tradicional t\u00eb realitetit objektiv (bardh-zi, mbi baz\u00ebn e var\u00ebsis\u00eb s\u00eb rrjedh\u00ebs kronologjike etj.) ose t\u00eb imitimit t\u00eb tij kjo do t\u00eb b\u00ebhej pjes\u00ebrisht ose nuk do t\u00eb mund t\u00eb b\u00ebhej fare. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb brenda vet\u00ebdijes, rrjedha e ngjarjeve, perceptimi i imazheve, shqiptimi i bot\u00ebs s\u00eb personazheve veprojn\u00eb pavar\u00ebsisht nga kategoria e koh\u00ebs dhe e hap\u00ebsir\u00ebs, pra fush\u00ebveprimi n\u00eb diakroni e sinkroni \u00ebsht\u00eb i pakufi.<\/p>\n

Personazhet n\u00eb tregimin \u201cKulla\u201d, si dhe n\u00eb gjith\u00eb proz\u00ebn e tij tregimtare madje dhe n\u00eb romanin \u201cOh\u201d, nuk jan\u00eb asgj\u00eb tjet\u00ebr pos shenja, figura n\u00eb funksion (term i Gunther Anders-it), n\u00eb t\u00eb v\u00ebrtet\u00eb jan\u00eb funksione, q\u00eb brenda struktur\u00ebs tekstore, funksionalizohet n\u00eb t\u00ebr\u00ebsin\u00eb e sistemit kuptimor, gj\u00eb q\u00eb p\u00ebr A. Pashkun gjithnj\u00eb ka r\u00ebnd\u00ebsi t\u00eb dor\u00ebs s\u00eb par\u00eb. Kjo t\u00ebr\u00ebsi si e till\u00eb pastaj do t\u00eb krijoj\u00eb nj\u00eb n\u00ebntekst t\u00eb ve\u00e7ant\u00eb q\u00eb e b\u00ebn k\u00ebt\u00eb tregim artistikisht m\u00eb konzistent. M\u00ebnyra e perceptimit dhe e shqiptimit shumindividual n\u00eb vet\u00ebdije, shprehim\u00ebsia e shum\u00ebfisht\u00eb n\u00eb vet\u00ebdije (term i Auerbach-it) nuk \u00ebsht\u00eb \u00e7\u00ebshtje e re p\u00ebr let\u00ebrsit\u00eb e tjera.<\/p>\n

Mir\u00ebpo Pashku \u00ebsht\u00eb origjinal n\u00eb k\u00ebt\u00eb tregim, sikur se n\u00eb gjith\u00eb proz\u00ebn e tij, sepse nuk ndjek e nuk imiton asnj\u00eb autor q\u00eb krijon sipas k\u00ebsaj m\u00ebnyre, edhe pse prej tyre ka m\u00ebsuar n\u00eb m\u00ebnyr\u00eb kreative. Ai ndryshon prej t\u00eb tjer\u00ebve p\u00ebr k\u00ebndv\u00ebshtrimin e problemeve, p\u00ebr kompleksitetin e var\u00ebsis\u00eb dhe t\u00eb raporteve q\u00eb i krijon n\u00eb struktur\u00ebn gjuh\u00ebsore, pastaj p\u00ebr t\u00eb \u201cfolurit e p\u00ebrjetuar\u201d, p\u00ebr \u201cmonologun e brendsh\u00ebm\u201d, p\u00ebr \u201csigurshm\u00ebrin\u00eb objektive\u201d. Pra Pashku d\u00ebshmon origjinalitetin pik\u00ebrisht p\u00ebr funksionet dhe sistemimin e p\u00ebrb\u00ebr\u00ebsve brenda t\u00ebr\u00ebsis\u00eb, brenda konceptit artistik t\u00eb krijimit, duke i par\u00eb n\u00eb drit\u00ebn e empiris\u00eb historike nacionale. (N\u00eb qoft\u00eb se, fjala vjen, p\u00ebr Kafk\u00ebn bota n\u00eb p\u00ebrgjith\u00ebsi \u00ebsht\u00eb objekt i frik\u00ebs dhe i q\u00ebllimit, n\u00eb k\u00ebt\u00eb tregim bota shqiptohet si raport i nd\u00ebrsjell\u00eb i tragjikes dhe i q\u00ebndres\u00ebs).<\/p>\n

M\u00ebnyra komplekse e perceptimit t\u00eb bot\u00ebs e t\u00eb dukurive t\u00eb saj d\u00ebshmohet n\u00eb k\u00ebt\u00eb tregim edhe me p\u00ebrdorimin e kategoris\u00eb s\u00eb koh\u00ebs. N\u00eb esenc\u00eb koha e proz\u00ebs \u201cKulla\u201d \u00ebsht\u00eb koh\u00eb q\u00eb ngjet n\u00eb vet\u00ebdije; \u00ebsht\u00eb pjes\u00eb e vet\u00ebdijes, prandaj ajo \u00ebsht\u00eb e pakufi; i p\u00ebrket t\u00eb kaluar\u00ebs, t\u00eb tashmes dhe t\u00eb ardhshmes. Kjo m\u00ebnyr\u00eb e perceptimit t\u00eb koh\u00ebs i jep asaj p\u00ebrmas\u00ebn mitike, por nj\u00ebherit edhe p\u00ebrmas\u00ebn e objektivimit. N\u00ebp\u00ebrmjet t\u00eb koh\u00ebs s\u00eb \u201cjashtme\u201d dhe koh\u00ebs s\u00eb \u201cbrendshme\u201d, koh\u00ebs \u201creale\u201d dhe koh\u00ebs \u201csubjektive\u201d zgjerohet mund\u00ebsia e perceptimit thell\u00ebsor e kompleks, e integrimit t\u00eb shum\u00ebsive shpreh\u00ebse e kuptimore, e shpalimit t\u00eb shum\u00ebsis\u00eb s\u00eb shtresave t\u00eb vet\u00ebdijes historike, por edhe t\u00eb vet\u00ebdijes transcendentale, metafizike.<\/p>\n

Duke p\u00ebrdorur koh\u00ebn n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb krijohet mund\u00ebsia p\u00ebr t’u thelluar e p\u00ebr ta kuptuar m\u00eb thell\u00ebsisht realitetin ekzistues, por edhe t\u00eb perspektiv\u00ebs s\u00eb koh\u00ebs dhe t\u00eb simbolik\u00ebs gjith\u00ebpranuese t\u00eb ndodhive (sipas E. Aurbach-it). Kjo form\u00eb krijon mund\u00ebsin\u00eb e projeksionit t\u00eb t\u00eb folurit mitik, i cili n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb e krijon realitetin e ri; nga rrafshi i empiris\u00eb historike kalon n\u00eb vet\u00ebdije e prej aty, n\u00ebp\u00ebrmjet t\u00eb artit t\u00eb fjal\u00ebs, e pasuron at\u00eb realitet n\u00ebp\u00ebrmjet rr\u00ebfimit q\u00eb shnd\u00ebrrohet n\u00eb shenja dhe si i till\u00eb funksionon n\u00eb form\u00eb t\u00eb m\u00ebvet\u00ebsishme. K\u00ebshtu, plaka, kasapi, tarabeci etj., jan\u00eb refleksione t\u00eb realitetit historik, por nga realiteti \u201creal\u201d jan\u00eb transponuar n\u00eb realitetin \u201csubjektiv\u201d i cili n\u00eb tregim funksionon si i pavarur dhe i m\u00ebvet\u00ebsish\u00ebm, si p\u00ebrvoj\u00eb e re.<\/p>\n

Koha \u201creale\u201d, e \u201cthjesht\u00eb\u201d n\u00eb proz\u00ebn \u201cKulla\u201d \u00ebsht\u00eb fare e shkurt\u00ebr: nis me f\u00ebllimin e nat\u00ebs e mbaron po ashtu me f\u00ebllimin e asaj nate. Ndryshimi midis fillimit dhe mbarimit t\u00eb k\u00ebsaj kohe ekziston. N\u00eb fund t\u00eb tregimit thuhet: \u201c[…] dhe f\u00ebllimi i nat\u00ebs, q\u00eb p\u00ebrvidhej n\u00ebp\u00ebr fr\u00ebngji. M\u00eb duket se \u00ebsht\u00eb afruar agu\u201d.<\/em> Koha \u201cfiktive\u201d, \u201csubjektive\u201d, e \u201cbrendshme\u201d \u00ebsht\u00eb e pakufishme (diakroni e pafund). N\u00eb esenc\u00eb gjith\u00eb koha – koh\u00ebsisht shum\u00eb e gjat\u00eb – e tregimit \u201cKulla\u201d zgjat n\u00eb vet\u00ebdije, si\u00e7 ngjet edhe n\u00eb romanin \u201cOh\u201d, por dhe n\u00eb disa proza t\u00eb tjera t\u00eb k\u00ebtij autori. Kjo koh\u00eb preferohet, p\u00ebrfillet e p\u00ebrdoret nga Pashku p\u00ebr arsye t\u00eb krijimit t\u00eb hap\u00ebsir\u00ebs sa m\u00eb t\u00eb madhe, t\u00eb pakufishme p\u00ebr shtrirjen e rr\u00ebfimit, unifikimit t\u00eb shtresave t\u00eb tij, p\u00ebr t\u00eb shqiptuar probleme komplekse t\u00eb realitetit jet\u00ebsor, q\u00eb manifestohen e koekzistojn\u00eb n\u00eb form\u00eb tjet\u00ebr n\u00eb vet\u00ebdijen e njeriut, n\u00eb vet\u00ebdijen si qen\u00ebsi sintetike aktive. Pik\u00ebrisht shprehim\u00ebsia e shum\u00ebfisht\u00eb e vet\u00ebdijes ndonj\u00ebher\u00eb shkakton hutimin e lexuesit t\u00eb k\u00ebtij tregimi ose krijon p\u00ebrshtypjen se ai \u00ebsht\u00eb abstrakt, tejet i \u201cngarkuar\u201d, s\u00eb k\u00ebndejmi i v\u00ebshtir\u00eb p\u00ebr kuptim.<\/p>\n

Kjo ngjet p\u00ebr shkak se Pashku n\u00eb k\u00ebt\u00eb proz\u00eb e thyen konceptin e kronologjis\u00eb s\u00eb ngjarjes, rr\u00ebfimit, veprimit, t\u00eb shqiptimit t\u00eb karaktereve, t\u00eb situatave. Ai me q\u00ebllim e p\u00ebrqendron v\u00ebmendjen n\u00eb detaje t\u00eb \u201cpar\u00ebnd\u00ebsishme\u201d, por q\u00eb sugjerojn\u00eb dhe krijojn\u00eb kontekst kompleks qen\u00ebsor, n\u00ebp\u00ebrmjet t\u00eb t\u00eb cil\u00ebve n\u00eb m\u00ebnyr\u00eb t\u00eb pabesueshme, shprehet dhe v\u00ebrehet pasuria e realitetit dhe thell\u00ebsia e secilit \u00e7ast q\u00eb i jepemi pa q\u00ebllim (Auerbach). Mbi baz\u00ebn e perceptimit t\u00eb k\u00ebtill\u00eb t\u00eb \u00e7\u00ebshtjeve e t\u00eb dukurive t\u00eb ndryshme nga qen\u00ebsia e p\u00ebrvoj\u00ebs s\u00eb historis\u00eb son\u00eb, Pashku krijon nj\u00eb realitet artistik t\u00eb pap\u00ebrs\u00ebritsh\u00ebm. Dhe po qe se n\u00eb tregimin \u201cKulla\u201d ka di\u00e7ka q\u00eb ngrihet mbi t\u00eb tjerat, q\u00eb synon t\u00eb mitizohet n\u00eb m\u00ebnyr\u00eb konzistente, at\u00ebher\u00eb ky mitizim shprehet para se gjithash n\u00eb rrafshin e th\u00ebnies artistike, si vler\u00eb gjith\u00ebkohor. N\u00ebse n\u00eb k\u00ebt\u00eb kontekst mund t\u00eb b\u00ebhet fjal\u00eb p\u00ebr krijimin e mitit t\u00eb proz\u00ebs shqipe si art, si vet\u00ebdije artistike, at\u00ebher\u00eb Pashku me tregimin \u201cKulla\u201d i ka dh\u00ebn\u00eb nj\u00eb nga p\u00ebrmasat m\u00eb t\u00eb thella, ka arritur nj\u00ebr\u00ebn nd\u00ebr pikat m\u00eb t\u00eb larta.<\/p>\n","protected":false},"excerpt":{"rendered":"

Anton Nik\u00eb Berisha Rreth tregimit \u201cKULLA\u201d t\u00eb Anton Pashkut Asnj\u00eb antologji e tregimit shqiptar, hartuar mbi baz\u00ebn e kritereve letrare poetike, nuk do t\u00eb mund ta linte anash tregimin \u201cKulla\u201d t\u00eb Anton Pashkut. Themi k\u00ebshtu duke pasur parasysh faktin se ky tregim nuk \u00ebsht\u00eb vet\u00ebm nd\u00ebr m\u00eb artistik\u00ebt brenda krijimtaris\u00eb tregimtare t\u00eb autorit e t\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":69353,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,35,8],"tags":[],"class_list":["post-69351","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori","category-kulture","category-letersi"],"yoast_head":"\nVET\u00cbDIJA MITIKE E QEN\u00cbSIS\u00cb DHE E Q\u00cbNDRES\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\/vetedija-mitike-e-qenesise-dhe-e-qendreses\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"VET\u00cbDIJA MITIKE E QEN\u00cbSIS\u00cb DHE E Q\u00cbNDRES\u00cbS - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Anton Nik\u00eb Berisha Rreth tregimit \u201cKULLA\u201d t\u00eb Anton Pashkut Asnj\u00eb antologji e tregimit shqiptar, hartuar mbi baz\u00ebn e kritereve letrare poetike, nuk do t\u00eb mund ta linte anash tregimin \u201cKulla\u201d t\u00eb Anton Pashkut. 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