{"id":11669,"date":"2012-02-06T20:50:19","date_gmt":"2012-02-06T19:50:19","guid":{"rendered":"http:\/\/fjala.shkoder.net\/?p=1596"},"modified":"2012-02-06T20:50:19","modified_gmt":"2012-02-06T19:50:19","slug":"estetika-e-migracionit","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/estetika-e-migracionit\/","title":{"rendered":"Estetika e migracionit"},"content":{"rendered":"

\"\" (Pragmatiz\u00ebm teorik: Saga romaneske e Luan Starov\u00ebs<\/em>)<\/p>\n

Nga Afrim Rexhepi<\/strong> (Shkup<\/em>)<\/p>\n

Do t\u00eb filloj me nj\u00eb konstatim t\u00eb zbrazjes s\u00eb subjekt \u2013 pozicionit t\u00eb Zhan Bodrijar, \u201cjo t\u00eb arrihet n\u00eb pik\u00ebn kur dikush do t\u00eb thot un\u00eb jam, por n\u00eb pik\u00ebn kur nuk do t\u00eb jet e r\u00ebnd\u00ebsishme dikush t\u00eb thot\u00eb \u201cun\u00eb jam\u201d. Definohet subjekt pozicioni \/ jo logjik\u00eb e kufizimit vet\u00ebm me vetveten, por edhe me Tjetrin. N\u00eb kritik\u00ebn e tij postkolonijale, Spiveki definon, \u201cP\u00ebr mua pyetja: kush flet? \u00ebsht\u00eb m\u00eb pak e r\u00ebnd\u00ebsishme se pyetja, Kush nd\u00ebgjon? Un\u00eb do t\u00eb flas p\u00ebr vete si person i bot\u00ebs s\u00eb tret\u00eb. Por k\u00ebrkesa bind\u00ebse \u00ebsht\u00eb q\u00eb kur t\u00eb flas nga ky pozicion, nga tjetri duhet t\u00eb nd\u00ebgjohem seriozisht\u201d. (Deleuze \/ Guattari; 1983; 1) Implikacion: shkrimi migrativ \/ dekolonizimi i imagjinat\u00ebs. Xhojsi, Hemingueji, Rilke, respektivisht let\u00ebrsia bashk\u00ebkohore, n\u00eb mas\u00eb t\u00eb madhe \u00ebsht\u00eb let\u00ebrsi e migracionit. Nj\u00eb vler\u00eb e studimeve letrare europiane: studimet kulturologjike, interkultura dhe imagologjia.<\/p>\n

\u201cLet\u00ebrsia e shek. XX \u00ebsht\u00eb n\u00eb pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb saj \u00ebsht\u00eb let\u00ebrsi e m\u00ebrgimit, n\u00eb gjirin e s\u00eb cil\u00ebs shprehen ndjenja t\u00eb natyrshme p\u00ebrmes nj\u00eb fati t\u00eb p\u00ebrbashk\u00ebt, duke pasur si pika referimi largimin dhe humbjen. Shkrimi i shkrimtarit n\u00eb m\u00ebrgim dhe m\u00ebrgimi i shkrimtarit kah matrica baz\u00eb, \u00ebsht\u00eb nj\u00eb dukuri e dendur dhe gjithher\u00eb e m\u00eb e shpesht\u00eb. Sa m\u00eb e larg\u00ebt \u00ebsht\u00eb distanca nga matka, aq m\u00eb shum\u00eb shkrimtari afrohet me t\u00eb gjitha mjetet e disponueshme\u201d. (Top\u00e7iu; 2006; 1)<\/p>\n

Demonstrim i let\u00ebrsis\u00eb n\u00eb migracion \u00ebsht\u00eb diskursi i Armando Njishit q\u00eb definon, \u201clet\u00ebrsia n\u00eb migracion, \u00ebsht\u00eb let\u00ebrsi e re n\u00eb bot\u00eb\u201d. \u201cGjykuar nga pikv\u00ebshtrimi imagologjik, let\u00ebrsia migrative lidh fatet e popujve nga pjes\u00ebt e ndryshme t\u00eb bot\u00ebs (edhe n\u00eb Evrop\u00eb), duke mund\u00ebsuar dialog midis mua dhe tjetrit, midis ne dhe atyre. Ne jemi t\u00eb thirur t\u00eb komunikojm\u00eb dhe t\u00eb ridefinohemi, ta provojm\u00eb n\u00eb m\u00ebnyr\u00eb aktive relativitetin ton\u00eb\u201d.<\/p>\n

(Mol, 1999; 223) Idea e komunikimit, ndjenja p\u00ebr Tjetrin, \u00ebsht\u00eb interaksion. Autenticiteti \u00ebsht\u00eb komponent\u00eb esenciale e shkrimit migrativ, e let\u00ebrsis\u00eb n\u00eb migracion. \u00c7\u2019 rr\u00ebnjimi, zhdukja, shkat\u00ebrrimi, fitorja, triumfi apsolut n\u00eb bot\u00ebn e librave, jan\u00eb binomi q\u00eb e karakterizojn\u00eb fiksionin artistik t\u00eb shekullit XX. Autenticiteti \/ shpirti autentik, ndodhet n\u00eb bot\u00ebn introverte t\u00eb sociemit familja, b\u00ebrthama strukturore e sag\u00ebs romaneske t\u00eb Luan Starov\u00ebs.<\/p>\n

Nj\u00ebsit\u00eb narrative t\u00eb figur\u00ebs Babai: k\u00ebrkonte dalje p\u00ebr familjen nga labirinthi historik i ballkanit; – emigrant, jopartiak, i mbeti besnik gjuh\u00ebs shqipe; – i ringjallte kujtimet e t\u00eb par\u00ebve; – nuk e kishte ndjenj\u00ebn q\u00eb deri n\u00eb fund \u00ebsht\u00eb i lidhur p\u00ebr ndonj\u00eb vend, gjuh\u00eb dhe besim; – ishte i kryq\u00ebzuar midis Lindjes dhe Per\u00ebndimit etj. (Starova; 1993)<\/p>\n

N\u00eb esenc\u00eb, let\u00ebrsia sag\u00eb e Starov\u00ebs nuk e rr\u00ebfen historin\u00eb e ndonj\u00eb familje por rr\u00ebfen m\u00ebnyr\u00ebn si nj\u00eb familje e b\u00ebn historin\u00eb e vet. N\u00eb sag\u00ebn romaneske, kontakti kulturor \u00ebsht\u00eb proces i zgjatur interaktiv midis grupacioneve t\u00eb kulturave t\u00eb ndryshme: vendas \/ emigrant. Saga romaneske nuk \u00ebsht\u00eb sfer\u00eb estetike e kultur\u00ebs s\u00eb rrezikuar nga Tjetri. Imazhet e saj narrative nuk karakterizohen p\u00ebrmes konotacioneve pozitive \u2013 imazhi i Tjetrit, stigmatizimi i Tjetrit, hegjemonizmi kulturor, por p\u00ebrmes pozicionit t\u00eb Redfild \u201ckontakt pa konflikt\u201d, apo si\u00e7 shkruan Starova, \u201cAtdheu i njer\u00ebzve \u00ebsht\u00eb jeta vet\u201d apo \u201cNjer\u00ebzit e mi, jan\u00eb ata me t\u00eb cil\u00ebt jetoj\u201d. Nj\u00ebsit\u00eb narrative implikojn\u00eb zgjidhje ekzistenciale \u2013 kontaktin dhe p\u00ebrballjen me Tjetrin.<\/p>\n

Duke e ridefinuar maksim\u00ebn e Dekartit \u201cUn\u00eb mendoj prandaj ekzistoj\u201d, n\u00eb maksim\u00ebn \u201cUn\u00eb shoh prandaj ekzistoj\u201d, n\u00eb kuptimin t\u00eb jesh do t\u00eb thot\u00eb t\u00eb jesh i percipuar, teoricieni i kultur\u00ebs Mike Bal definon koncepcionin e saj p\u00ebr estetik\u00eb migrative si nj\u00eb estetik\u00eb relacioniste interkulturore. Sipas Mike Bal, p\u00ebrballja q\u00eb n\u00ebnkupton nj\u00eb vler\u00eb specifike t\u00eb fytyr\u00ebs p\u00ebrmbledh tre akte: kontakti \u00ebsht\u00eb akti i shikimit t\u00eb Tjetrit n\u00eb fytyr\u00eb; kontakti do t\u00eb thot\u00eb t\u00eb hysh n\u00eb mar\u00ebdh\u00ebnie p\u00ebrmes perceptit, me dik\u00eb q\u00eb nuk mund t\u00eb lihet anash dhe t\u00eb margjinalizohet; kontakti do t\u00eb thot\u00eb akti i lidhjes \/ interaksionit ndaj Tjetrit dhe pranimi i nevoj\u00ebs q\u00eb del nga kontakti, thjesht si kusht q\u00eb t\u00eb ekzistosh.<\/p>\n

\u201cKontakti implikon q\u00eb \u201ct\u00eb shikoj (ty), do t\u00eb thot\u00eb q\u00eb (ne) ekzistojm\u00eb\u201d. (Baal; 7). Estetika migrative ka t\u00eb b\u00ebj\u00eb me shembuj specifik t\u00eb lidhjeve q\u00eb realizohen p\u00ebrmes shqisave. Ri\u00e7ard Rashton definon, \u201cKur ndodhem para Tjetrit, ndodhem n\u00eb fush\u00ebn e mund\u00ebsive, t\u00eb lidhjeve t\u00eb mundshme, kontakteve, konfrontimeve, pritjeve, kreacioneve, shkurt ndodhem n\u00eb mund\u00ebsin\u00eb p\u00ebr vete. Nj\u00eb mund\u00ebsi e pafund\u00eb \u00ebsht\u00eb e ndr\u00ebprer\u00eb nga mund\u00ebsit\u00eb e caktuara q\u00eb i posedoj\u00eb, kur ndodhem para Tjetrit\u201d. (Spivak, 22). Intersubjektiviteti bazohet n\u00eb trurin dialogjik q\u00eb pranon Tjetrin, qofsht ai i ngjash\u00ebm apo i ndrysh\u00ebm, duke k\u00ebshtu i dh\u00ebn\u00eb hap\u00ebsir\u00eb ndjenj\u00ebs s\u00eb mallit, dashuris\u00eb, urretjes dhe shpres\u00ebs.<\/p>\n

N\u00eb Sag\u00ebn romaneske, intersubjektiviteti realizohet p\u00ebrmes raporteve komplementare t\u00eb personazheve Babai \u2013 \u00c7anga: – u b\u00ebn\u00eb miq t\u00eb ngusht\u00eb, t\u00eb pandash\u00ebm; – sinqeritet t\u00eb nd\u00ebrsjellt\u00eb; – ishin t\u00eb fascinuar nga historia mistike e kalas\u00eb; – Babai mir\u00eb e njihte shpirtin e madh t\u00eb \u00c7ang\u00ebs, apo raportet komplementare Babai \u2013 Igor Lozinskij: – t\u00eb dy ishin emigrant, t\u00eb ardhur nga an\u00ebt e kund\u00ebrta t\u00eb rrjedh\u00ebs s\u00eb lumit; – p\u00ebr her\u00eb t\u00eb par\u00eb i tregonin motivet pse u e ndjeknin rrug\u00ebn e njalave; – thell\u00eb e ndjente paralelen q\u00eb b\u00ebnte Babai midis rrug\u00ebs s\u00eb njalave dhe rrug\u00ebs s\u00eb njer\u00ebzve; – t\u00eb dy ishin emigrant thell\u00eb t\u00eb zhytur n\u00eb l\u00ebvizjet migruese t\u00eb shpend\u00ebve dhe t\u00eb peshqive t\u00eb liqenit, duke proektuar loj\u00ebn dialektike.<\/p>\n

Nj\u00ebsite narrative pararend\u00ebse , esencializojn\u00eb empatin\u00eb, aft\u00ebsin\u00eb e individit t\u00eb mund t\u00eb kuptoj\u00eb pozit\u00ebn interaktive nga perspektiva e Tjetrit dhe ta kontrolloj\u00eb veprimin e vet duke e pasur parasysh pikv\u00ebshtrimin e Tjetrit. T\u00eb jetosh me Tjetrin, t\u00eb jetosh si tjetri n\u00eb Tjetrin, kjo \u00ebsht\u00eb detyra fundamentale e njeriut sot. N\u00eb fakt, interaktivat Babai \u2013 Igor Lozinski dhe Babai \u2013 \u00c7anga jan\u00eb transaktive, sepse personazhet ndodhen n\u00eb situat\u00eb t\u00eb varur nga nj\u00ebri \u2013 tjetri: perceptim pozitiv interaksional, pranim i dyansh\u00ebm, intergrim i identiteteve funksionale, interesa t\u00eb p\u00ebrbashk\u00ebta etj. N\u00eb sag\u00ebn romaneske, n\u00eb baz\u00eb t\u00eb transaksionit \/ natyra afektive (estetike) realizohet \u201ce drejta e dallimeve\u201d. Komunikimi \u00ebsht\u00eb proces dinamik. Romani hap mund\u00ebsit\u00eb e ekzistenc\u00ebs, sepse logjika e saj \u00ebsht\u00eb gjasa, \u00ebsht\u00eb mund\u00ebsia vet.<\/p>\n

Memoria e nj\u00eb kulture, del nga specifika e shkrimit t\u00eb siguroj\u00eb kontinuitetin e nj\u00eb mesazhi t\u00eb kodizuar dhe se saga romaneske \u00ebsht\u00eb shkrim i zgjeruar ku si t\u00eb thuash tejkalohen edhe kufijt\u00eb e gjuh\u00ebs. Nj\u00ebsia narrative ku figura Babai pran\u00eb vdekjes sipas logjik\u00ebs s\u00eb etosit nacional, drejton shikimin kah dielli apo pasqyra e n\u00ebn\u00ebs dhe \u00e7el\u00ebsat e sht\u00ebpis\u00eb, jan\u00eb materiale memorizuese m\u00eb shum\u00eb se shkrimi. \u00cbsht\u00eb funksional nocioni i Deridas\u00eb \u201cgjurma\u201d. \u201cGjurma\u201d \u00ebsht\u00eb pra \u2013 fenomen i kujtes\u00ebs por edhe i t\u00eb kaluar\u00ebs q\u00eb kurr\u00eb nuk p\u00ebrjetohet n\u00eb form\u00ebn e saj t\u00eb par\u00eb.<\/p>\n

N\u00eb kontekst, n\u00eb pajtim me Deridan\u00eb p\u00ebr prezenc\u00ebn metafizike \u00ebsht\u00eb edhe nocioni rekolekcioni i Aleida Asman me ndihm\u00ebn e imagjinat\u00ebs q\u00eb sumon gjurm\u00ebt, krijon suplementin \/ shtojc\u00ebn p\u00ebr at\u00eb q\u00eb ka kaluar. \u201cAt\u00eb q\u00eb memoria e humb n\u00eb autenticitet, e krijon n\u00eb konstruktivitet\u201d. (Assmann, 2000; 103) P\u00ebrmes interpretimit t\u00eb gjurm\u00ebve, Luan Starova krijon arheologji t\u00eb komunikimit letrar \u2013 sistematizimin ahistorik q\u00eb logjizohet n\u00eb procesin – narrativi i kombit. Analogji funksionale, definimi q\u00eb \u201cLet\u00ebrsia shqiptare duhet t\u00eb jet e p\u00ebrgaditur p\u00ebr t\u00eb pranuar k\u00ebt\u00eb \u201cprodukt atipik\u201d. (Top\u00e7iu; 1)<\/p>\n

Shkrimi migrativ \/ ekzili n\u00eb shkrim (si\u00e7 e definojm\u00eb Sag\u00ebn romaneske t\u00eb Luan Starov\u00ebs) \u00ebsht\u00eb demonstrim i poetik\u00ebs s\u00eb migracionit \/ estetik\u00ebs migrative, \u00ebsht\u00eb procedim shum\u00eb funksional dhe i dobish\u00ebm p\u00ebr kultur\u00ebn migrative sot, p\u00ebr kuptimin e loj\u00ebs globale kulturore Lindje \u2013 Per\u00ebndim, thell\u00eb e inkorporuar n\u00eb gadishullin ballkanik. N\u00eb funksion nj\u00eb paradigm\u00eb interpretative e Sag\u00ebs romaneske: t\u00eb kuptohet ballkani do t\u00eb thot\u00eb t\u00eb kuptohet bota sot.<\/p>\n

Referenca:
\nDeleuze \/ Guattari, On the line, n\u00eb Semiotext, New York, 1983.
\nLuan Top\u00e7iu, Migrimi, dygjuh\u00ebsia dhe rr\u00ebnj\u00ebt e identitetit ballkanik (Sprov\u00eb mbi proz\u00ebn e Luan Starov\u00ebs), Shekulli, 2. 12. 2006.
\nNora Moll, Immagini dellaltro: Imagologia e studi interculturali. Introduzione alla letteratura comparata. Ed. Armando Gnisci. Milano: Mondadori, 1999.
\nLuan Starova, Librat e babait, Shkup, 1992.
\nLuan Starova, Koha e dhive, Shkup, 1993.
\nLuan Starova, Rruga e njalave, Shkup, 2000.
\nBaall, Mike, Poetics of migration, Amsterdam, 2007.
\nAleida Assmann, Erinnerungsraume, Munchen, 2000.<\/p>\n","protected":false},"excerpt":{"rendered":"

(Pragmatiz\u00ebm teorik: Saga romaneske e Luan Starov\u00ebs) Nga Afrim Rexhepi (Shkup) Do t\u00eb filloj me nj\u00eb konstatim t\u00eb zbrazjes s\u00eb subjekt \u2013 pozicionit t\u00eb Zhan Bodrijar, \u201cjo t\u00eb arrihet n\u00eb pik\u00ebn kur dikush do t\u00eb thot un\u00eb jam, por n\u00eb pik\u00ebn kur nuk do t\u00eb jet e r\u00ebnd\u00ebsishme dikush t\u00eb thot\u00eb \u201cun\u00eb jam\u201d. Definohet subjekt […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,7],"tags":[],"class_list":{"0":"post-11669","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-artikuj","7":"category-letersi"},"yoast_head":"\nEstetika e migracionit - FjALA e LIR\u00cb - Arkivi<\/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:\/\/fjala.info\/2009-2015\/estetika-e-migracionit\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Estetika e migracionit - FjALA e LIR\u00cb - Arkivi\" \/>\n<meta property=\"og:description\" content=\"(Pragmatiz\u00ebm teorik: Saga romaneske e Luan Starov\u00ebs) Nga Afrim Rexhepi (Shkup) Do t\u00eb filloj me nj\u00eb konstatim t\u00eb zbrazjes s\u00eb subjekt \u2013 pozicionit t\u00eb Zhan Bodrijar, \u201cjo t\u00eb arrihet n\u00eb pik\u00ebn kur dikush do t\u00eb thot un\u00eb jam, por n\u00eb pik\u00ebn kur nuk do t\u00eb jet e r\u00ebnd\u00ebsishme dikush t\u00eb thot\u00eb \u201cun\u00eb jam\u201d. 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FjALA e LIR\u00cb - Arkivi","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/fjala.info\/2009-2015\/estetika-e-migracionit\/","og_locale":"sq_AL","og_type":"article","og_title":"Estetika e migracionit - FjALA e LIR\u00cb - Arkivi","og_description":"(Pragmatiz\u00ebm teorik: Saga romaneske e Luan Starov\u00ebs) Nga Afrim Rexhepi (Shkup) Do t\u00eb filloj me nj\u00eb konstatim t\u00eb zbrazjes s\u00eb subjekt \u2013 pozicionit t\u00eb Zhan Bodrijar, \u201cjo t\u00eb arrihet n\u00eb pik\u00ebn kur dikush do t\u00eb thot un\u00eb jam, por n\u00eb pik\u00ebn kur nuk do t\u00eb jet e r\u00ebnd\u00ebsishme dikush t\u00eb thot\u00eb \u201cun\u00eb jam\u201d. 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