{"id":11936,"date":"2012-07-07T09:22:43","date_gmt":"2012-07-07T08:22:43","guid":{"rendered":"http:\/\/www.fjala.info\/?p=3642"},"modified":"2012-07-07T09:22:43","modified_gmt":"2012-07-07T08:22:43","slug":"poeti-ne-kopshtin-e-fshehtesive","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/poeti-ne-kopshtin-e-fshehtesive\/","title":{"rendered":"Poeti n\u00eb Kopshtin e Fsheht\u00ebsive"},"content":{"rendered":"

\"\" Ndue UKAJ<\/strong>: LIBRA POETIK\u00eb \u201cUj\u00ebvarat e metaforave\u201d (botoi \u201cm&b\u201d, Tiran\u00eb 2008) dhe \u201cGodo nuk vjen\/ Godo is not coming\/ Godo no viene\u201d (Lulu Enterpress, USA 20120)<\/em><\/p>\n

Shkruan: Prend BUZHALA<\/strong><\/p>\n

Cil\u00ebn kahe duhet ta ndjek\u00eb pas, poeti? At\u00eb t\u00eb \u00ebndrr\u00ebs son\u00eb p\u00ebr ta b\u00ebr\u00eb vetveten, atdhesin\u00eb e shenjt\u00eb, kombin, apo at\u00eb t\u00eb vet\u00ebdijes ironike p\u00ebr t\u00eb gjitha rr\u00ebgjimet tona t\u00eb brendshme, komb\u00ebtare e personale?<\/p>\n

T\u00eb duket sikur brenda k\u00ebtyre dy karakterizimeve procedimore p\u00ebrplaset edhe poeti Ndue Ukaj, tek t\u00eb dy librat e tij poetik\u00eb “”Uj\u00ebvarat e metaforave” (2008) dhe “Godo nuk vjen” 2010 (ky i fundit, me p\u00ebrkthimet anglisht dhe spanjisht nga Peter Tase). P\u00ebr t’i pajtuar k\u00ebto dy p\u00ebrplasje procedimore-tematike, t\u00eb kund\u00ebrta, poeti tashm\u00eb e ka gjetur at\u00eb postulatin e harmonis\u00eb e t\u00eb harmonizimit, me preokupimin e tij kryesor, p\u00ebr vargun poetik, p\u00ebr fjal\u00ebn artistike, p\u00ebr artin e th\u00ebnies poetike.<\/p>\n

Zaten, pos k\u00ebtyre tri punkte-caqeve q\u00eb thurin qarkun tematik e bot\u00ebn e pasur t\u00eb ideve poetike, te kjo poezi, shpesh e shpesh, hasim edhe k\u00ebng\u00ebn p\u00ebr dashurin\u00eb, lirik\u00ebn e meditimit, at\u00eb t\u00eb nj\u00eb intertekstualiteti (nj\u00eb komunikim poetik me autor\u00eb e krijime t\u00eb let\u00ebrsis\u00eb bot\u00ebrore e shqiptare, kurse gjurm\u00ebt e k\u00ebsaj lekture intelektuale, i gjem\u00eb t\u00eb rikrijuara n\u00eb frym\u00ebn poetike-meditative), me mitin e historin\u00eb… me pjes\u00ebza autopoetike e me vul\u00eb t\u00eb theksuar autobiografike personale.<\/p>\n

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E pra, poezin\u00eb e Ndue Ukajt e karakterizon nj\u00eb hap\u00ebsir\u00eb sadopak e gjer\u00eb tematike… Nga ana tjet\u00ebr, sado q\u00eb kjo “harmoni” pik\u00ebsynon pajtimin e k\u00ebtyre “dy vet\u00ebdijeve”, megjithat\u00eb, poeti, n\u00eb orkestrimin formal t\u00eb vargut, nuk ndjek rregullat klasike t\u00eb vargut, rim\u00ebn dhe melodin\u00eb, por vargun e lir\u00eb, rim\u00ebn e ritmin e dekonstruktuar, me gjat\u00ebsi t\u00eb ndryshme. \u201cHarmonia \u00ebsht\u00eb rezultat i kontrastit\u201d do t\u00eb thoshte Jakobson, mbasi bota \u00ebsht\u00eb e krijuar prej element\u00ebsh t\u00eb kund\u00ebrt. Nga k\u00ebto kund\u00ebrshti e kontraktime, edhe poezia vjel prirjet e fshehura, t\u00eb fsheht\u00ebn, magjin\u00eb dhe misterin.<\/p>\n

1. T\u00ebr\u00ebsit\u00eb konceptuale poetike: midis empiris\u00eb dhe iluzionit <\/strong><\/p>\n

Nuk \u00ebsht\u00eb e habitshme, prandaj, pse n\u00eb thurjen e vargjeve t\u00eb tilla, hasen edhe antonime tekstore prozoide… kurse forma e till\u00eb e imponon edhe thuknin\u00eb e vargut, kund e kund fragmentaritetin, dhe gjithsesi, primesat poetike, kurse poetikja shqiptohet si kategori m\u00eb vete… Q\u00eb t\u00eb dy librat poetik\u00eb nuk ndahen n\u00eb cikle. Lexuesi e ndien edhe ndaljen \u201cn\u00eb stacione\u201d p\u00ebr t\u2019i kundruar t\u00ebr\u00ebsin\u00eb e disa poezive me bot\u00eb t\u00eb p\u00ebraf\u00ebrt ideore, tematike a motivore.<\/p>\n

E pra, ka nj\u00eb nd\u00ebrlidhje t\u00eb habitshme t\u00eb jet\u00ebs dhe vdekjes te kjo lirik\u00eb meditative e Ndout, nj\u00eb nd\u00ebrlidhje mes pohimit e mohimit, pranis\u00eb (s\u00eb qenies) dhe munges\u00ebs (s\u00eb liris\u00eb, vet\u00ebrealizimit t\u00eb qenies). Dhimbja \u00ebsht\u00eb ajo q\u00eb nd\u00ebrlidh t\u00eb kund\u00ebrtat e fenomeneve ekzistenciale…<\/p>\n

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N\u00ebse libri i par\u00eb “Uj\u00ebvara e metaforave” do t\u2019i sh\u00ebrbej\u00eb poetit si nj\u00eb vat\u00ebr poetike e impulseve programatike, t\u00eb brendshme; libri i dyt\u00eb vjen me impulse m\u00eb t\u00eb pjekura, m\u00eb t\u00eb nj\u00ebnj\u00ebshme, m\u00eb unike. Sado q\u00eb poeti m\u00eb se nj\u00ebher\u00eb e shqipton at\u00eb postulatin e mo\u00e7\u00ebm t\u00eb p\u00ebrvojave t\u00eb kryehershme si tejkoh\u00eb e gjith\u00ebkoh\u00ebsi mitike; si mitografi mbikohore; megjithat\u00eb ai preokupohet me koh\u00ebn ton\u00eb, me aktualitetin ton\u00eb; shfaq n\u00eb p\u00ebrleshje me psiko-situatat e r\u00ebnda intime e kolektive; me mjegullnajat, p\u00ebrhumbjet e tjet\u00ebrsimet e qenies, me humbjen edhe t\u00eb imazhit t\u00ebnd n\u00eb pasqyr\u00eb:<\/p>\n

Papritur tretet nga thartira q\u00eb t\u00eb qet zorr\u00ebt
\nT\u00ebhuaj\u00ebsohet mendja dhe humb imazhin n\u00eb pasqyr\u00eb <\/em><\/p><\/blockquote>\n

Dhe, s\u00eb k\u00ebndejmi, ky aktualitet revolte, i err\u00ebsir\u00ebs s\u00eb shpirtit dhe qenies, si fatalitet e ang\u00ebshti kohe e socialiteti; merr vlerat e p\u00ebrgjithshme, universale. E pra, lexuesi shquan ankthin, kot\u00ebsin\u00eb, ftoht\u00ebsin\u00eb e atmosfer\u00ebs njer\u00ebzore, ang\u00ebshtin\u00eb e vetmis\u00eb; i shquan ato gjendjet e ankthshme shpirt\u00ebrore e psiko-ezksitenciale, ato ngjethjet e neveris\u00eb e t\u00eb tmerrit social e personal… shenja lirike, k\u00ebto, q\u00eb sh\u00ebnjojn\u00eb katandisjen e koh\u00ebs, zhveshjen nga vlerat e saj, kur poeti detyrohet t\u00eb p\u00ebrhumbet plot\u00ebsisht \u201cn\u00eb lakuriq\u00ebsin\u00eb e poezis\u00eb\u2019.<\/p>\n

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Prandaj, n\u00eb k\u00ebso rastesh, nuk ka se \u00e7ka t\u00eb k\u00ebrkoj\u00eb metafora n\u00eb fark\u00eb e krijim-leximit e t\u00eb ligj\u00ebrimit t\u00eb till\u00eb poetik! T\u00eb duket sikur poeti na e b\u00ebn nj\u00eb kurthim t\u00eb leximit, kur librin na e v\u00eb p\u00ebrpara me titullin \u201cUj\u00ebvara e metaforave\u201d! N\u00eb k\u00ebso momentesh, edhe diskursi poetik merr pamje e an\u00eb kah shqiptimi i nj\u00eb th\u00ebnieje eseistike-meditative; merr pamjen e nj\u00eb nd\u00ebrthurjeje formale e formalizuese gjuh\u00ebsore.<\/p>\n

Prandaj, poeti p\u00ebrpiqet q\u00eb t\u00eb gjitha gj\u00ebrat\/idet\u00eb q\u00eb p\u00ebrfshihe brenda struktur\u00ebs s\u00eb nj\u00eb poezie; t\u00eb em\u00ebrtohen formalisht e me precizitet ligj\u00ebrimor, t\u00eb ken\u00eb vler\u00ebn e tyre ligj\u00ebrimore-em\u00ebrtuese. Mandej poeti zbret n\u00eb tryez\u00ebn e p\u00ebrsiatjeve e t\u00eb poetik\u00ebs vetanake t\u00eb fjal\u00ebs, t\u00eb metapoezis\u00eb (\u201cGjyqi p\u00ebr vjersh\u00ebn time\u201d, \u201cAlfabet im\u201d, \u201cIluzionet e fjal\u00ebs\u201d e shume t\u00eb t\u00eb tjera) ku poeti e vendos th\u00ebnien e tij mbi principin e deshifrimit tep\u00ebr t\u00eb v\u00ebshtir\u00eb t\u00eb figurave t\u00eb pakuptimta t\u00eb jet\u00ebs e t\u00eb fragmenteve t\u00eb cop\u00ebzimit t\u00eb qenies :<\/p>\n

shkronjat si gur\u00eb zbresin
\nn\u00eb alfabetin me figura t\u00eb pakuptimta <\/em><\/p><\/blockquote>\n

N\u00eb k\u00ebt\u00eb tryez\u00eb t\u00eb meditimit metapoetik, lind iluzioni i fjal\u00ebs (poezia \u201cIluzioni i fjal\u00ebs\u201d), nj\u00eb shk\u00ebputje e harres\u00eb nga thelbet e realitetit…<\/p>\n

2. Ritmi i dekonstruktuar poetik <\/strong><\/p>\n

N\u00eb k\u00ebt\u00eb vazhd\u00eb, p\u00ebrgjat\u00eb dy librave poetik\u00eb, poeti preokupohet me fjal\u00ebn. Ky iluzion ng\u00ebrthen shtresime t\u00eb gjata kohore; shfaqet si shajni e mo\u00e7me, si perceptim i shtremb\u00ebruar, q\u00eb t\u2019i imponojn\u00eb rrethanat nga jasht\u00eb. Dhe kur na shfaqet ajo empiria e k\u00ebtij iluzioni, at\u00ebher\u00eb poeti e sheh psiko-situat\u00ebn, n\u00eb t\u00eb cil\u00ebn ndodhet fol\u00ebsi i tij lirik: ekzaltimi i dikursh\u00ebm i dashurive ka humbur, realiteti i iluzioneve \u00ebsht\u00eb dekonstruktuar, kurse zgjimi i brendsh\u00ebm e detyron ta k\u00ebndoj\u00eb vet\u00ebdijen e shp\u00ebtimit:<\/p>\n

N\u00ebp\u00ebr horizonte t\u00eb papara shtrydhen ndjenjat si n\u00eb bronz
\nN\u00eb shtratin e \u00e7elur varr\u00eb
\nS\u2019num\u00ebrohen regjistrat e pafundme t\u00eb dashurive
\nVet\u00ebm fjal\u00ebt lidhen p\u00ebr iluzione marr\u00ebzisht<\/em><\/p><\/blockquote>\n

Fol\u00ebsi lirik m\u00eb nuk pranon ta g\u00ebnjej\u00eb veten, t\u00eb nanuriset n\u00ebp\u00ebr boshll\u00ebkun e shpresave, n\u00ebp\u00ebr zbraz\u00ebtin\u00eb e \u00ebndrrave. Ai e ka kuptuar se gjith\u00eb ky horizont i till\u00eb, na \u00ebsht\u00eb i stisur, pra nj\u00eb p\u00ebrrall\u00eb (poezia \u201cP\u00ebrralla e mo\u00e7me\u201d). Sikur \u2018p\u00ebrralla\u201d dhe \u201ciluzioni\u201d na u b\u00ebn\u00eb nj\u00eb \u201csistem\u201d shoq\u00ebror\u201d, nj\u00eb \u201crregull\u201d jetese. Prandaj poeti jepet pas nj\u00eb k\u00ebrkimi tjet\u00ebr: atij t\u00eb \u00e7lirimit. Pas rendit t\u00eb s\u00eb v\u00ebrtet\u00ebs.<\/p>\n

Si flamur disfatash e aren\u00eb kujtimesh
\nT\u00eb gjej\u00eb gjurm\u00ebt e t\u2019v\u00ebrtet\u00ebs n\u00eb ngrehinat prej lot\u00ebsh<\/em><\/p><\/blockquote>\n

Nd\u00ebrkaq, ky k\u00ebrkim e ka edhe mblat\u00ebn e vet t\u00eb bukur (\u201cMe k\u00ebrkue \u00ebsht\u00eb art si me puth\u00eb diellin\u201d). Duke ndjekur dy udh\u00eb: udh\u00ebt e t\u00eb v\u00ebrtet\u00ebs, t\u00eb mbuluara me bashkat e mjegull\u00ebs, iluzioneve, p\u00ebrrallave, nga nj\u00ebra an\u00eb; dhe duke ndjekur udh\u00ebt e k\u00ebrkimin n\u00eb art, nga ana tjet\u00ebr; poeti ndalet p\u00ebr ta zhdrivilluar koh\u00ebn shum\u00ebngjyr\u00ebshe. Kjo nuk na \u00ebsht\u00eb as koh\u00eb e Virgjilit, as e Jud\u00ebs me Krishtin,as e lumit t\u00eb Heraklitit. Madje, subjektit poetik i ndodh dy her\u00eb t\u00eb lahet n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb! (\u201cnj\u00ebher\u00eb me zjarr p\u00ebrv\u00eblues\/ Pastaj me artin e heshtjes dhe ujin e urat\u00ebs\u201d). Kaq e lasht\u00eb kjo tok\u00eb, por e goditur nga antikoha! N\u00ebse \u00ebsht\u00eb n\u00eb natyr\u00ebn e poetit t\u00eb k\u00ebrkoj\u00eb uj\u00ebt e urat\u00ebs dhe artin e heshtjes; kundruall humbjeve e p\u00ebsimeve shpirt\u00ebrore; nuk \u00ebsht\u00eb e habitshme pse krijuesi njeh k\u00ebt\u00eb rend gj\u00ebrash: t\u00eb bukur\u00ebn n\u00eb art, por krizat, humbjet, vuajtjet e dhembjet e pafund n\u00eb hapin e qitur tek realiteti q\u00eb e rrethon.<\/p>\n

Has n\u00eb pengje, drama, kompromise, n\u00eb koh\u00eb teknike, n\u00eb kujtime t\u00eb mermerta, n\u00eb vjesht\u00eb t\u00eb shpirtit, i duhet t\u00eb k\u00ebndoj\u00eb balada p\u00ebr poet\u00ebt vetmitar\u00eb \u2013 q\u00eb t\u00eb gjitha k\u00ebto nj\u00ebsi semantike mbajn\u00eb edhe titujt e poezive. S\u2019ka se si t\u00eb mos jepet, n\u00eb k\u00ebso gjendjesh, pas krijimit (Zoti \u201cpoet\u00ebt i futi n\u00eb Kopshtin e Fsheht\u00ebsis\u00eb\u201d). E at\u00ebher\u00eb, si t\u2019i pajtosh k\u00ebto dy bot\u00eb kaq t\u00eb kund\u00ebrta? Kur realiteti mohon artin (\u201cS\u201dka vend p\u00ebr art, sa trishtuesh\u00ebm, s\u2019ka vend p\u00ebr poezi\u201d), at\u00ebher\u00eb \u00e7\u2019i mbetet poetit, \u00e7\u2019i mbetet poezis\u00eb? Iu mbeten Fjala dhe Dashuria (poezia \u201cThirrje\u201d). Kjo \u00ebsht\u00eb \u201calternativa\u201d e krijuesit, kundruall dergjjes s\u00eb shpirtit, kundruall nj\u00eb realiteti q\u00eb ia z\u00eb frympn poezis\u00eb (poezia \u201cN\u00eb koh\u00ebn teknike\u201d) dhe ku p\u00ebrmasat e tjet\u00ebrsimit jan\u00eb tragjikisht t\u00eb r\u00ebnda.<\/p>\n

Nuk \u00ebsht\u00eb e rastit, prandaj, pse n\u00eb vazhdim na vijn\u00eb dy poezi q\u00eb marrin form\u00ebn e poem\u00ebs: \u201cK\u00ebnga e drit\u00ebs\u201d dhe \u201cVet\u00ebm heshtje\u201d \u2013 p\u00ebr ta k\u00ebrkuar qet\u00ebsin\u00eb vetanake, prehjen e shpirtit. Te e para – p\u00ebr ta k\u00ebrkuar Fjal\u00ebn, lumturin\u00eb e t\u00eb shkruarit dhe te e dyta Dashurin\u00eb, krah\u00ebt e heshtjes. Poeti shpesh e shpesh preokupohet dhe mahnitet nga fenomeni mes heshtjes dhe fjal\u00ebs, gjuh\u00ebs dhe vdekjes, fjal\u00ebs dhe bot\u00ebs shpirt\u00ebror\u00eb… S\u00eb k\u00ebndejmi, hap\u00ebsirat e Fjal\u00ebs na shfaqen e shqiptohen n\u00eb thell\u00ebsit\u00eb q\u00eb ng\u00ebrthen gjuha lirike. N\u00eb k\u00ebso rastesh, poeti ndien di\u00e7ka t\u00eb re, t\u00eb mistershme aq sa edhe konkrete, t\u00eb gjall\u00eb aq sa edhe t\u00eb amshueshme, t\u00eb mahnitshme aq sa edhe drith\u00ebruese. Fjala shfaqet e lakohet poetikisht n\u00eb shum\u00eb trajta t\u00eb saj.<\/p>\n

3. Jehonat intertekstuale <\/strong><\/p>\n

Lirika intertekstuale jepet n\u00eb k\u00ebrkim t\u00eb fenomenologjis\u00eb s\u00eb zonave kohore e mbi-kohore t\u00eb s\u00eb sotmes. N\u00eb k\u00ebrkim edhe t\u00eb nj\u00eb fenomenologjie vetanake. Poezit\u00eb \u201cPoet me u ba\u201d, \u201cTek k\u00ebshtjella e Hamletit\u201d, hyjn\u00eb n\u00eb kuadrin e nj\u00eb t\u00ebr\u00ebsie konceptuale tekstore, kurse t\u00eb p\u00ebraf\u00ebrta jan\u00eb edhe peonit e tipi natura naturata, q\u00eb dialogojn\u00eb (me jehona t\u00eb tilla intertekstuale) ose q\u00eb iu kushtohen Pjet\u00ebr Bogdanit, At Gje\u00ebrgj Fisht\u00ebs, N\u00ebn\u00ebs tereze, Anyton Pashkut, Ibrahim Rugov\u00ebs, apo Rifat Kukajt. N\u00eb k\u00ebso rastesh, teksti poetik b\u00ebhet intertekst artistik.<\/p>\n

Kur lexojm\u00eb ndonj\u00eb lib\u00ebr, gjithsesi q\u00eb k\u00ebrkojm\u00eb kuptimet e tyre, shtresat semantike q\u00eb ng\u00ebrthejn\u00eb ato. S\u00eb k\u00ebndejmi, kritika e sotme nuk del nga kuadri i dikursh\u00ebm i leximit: t\u00eb nxjerr\u00ebsh kuptimet nga nj\u00eb tekst, p\u00ebrb\u00ebn nj\u00eb interpretim, nj\u00eb lexim letrar. Akti i leximit na zhyt n\u00eb rrjetin e marr\u00ebdh\u00ebnieve tekstuale, kurse “leximi \u00ebsht\u00eb proces q\u00eb l\u00ebviz n\u00eb mes teksteve” (Graham Allen). Edhe tek kjo t\u00ebr\u00ebsi konceptuale poetike e Ndue Ukajt, hasim kuptimet e nd\u00ebrmjetvetshme n\u00eb mes tekstit t\u00eb thurur lirik dhe korrespondimit me autor\u00eb e tekste t\u00eb kodeve, sistemeve e t\u00eb tradit\u00ebs letrare shqiptare e bot\u00ebrore.<\/p>\n

Stilin e till\u00eb procedimor artistik (me origjin\u00eb nga linguistika e Sosyrit, si dhe nga veprat studimore t\u00eb strukturalist\u00ebve e poststrukuralist\u00ebve), shum\u00eb studiues e kritik\u00eb letrar\u00eb e p\u00ebrkufizojn\u00eb me nocionin postmoderniz\u00ebm q\u00eb nga fundvitet \u201870, nd\u00ebrkaq, dihet se termin intertekst, e para e p\u00ebrdori Julia Kristeva ((vepra \u201cFjal\u00eb, dialog, dhe roman\u201d), ajo q\u00eb Bahtin e quan imagjinat\u00eb dialogjike, dialogjiz\u00ebm, kronotopi dhe heterotopi. Porse ky nocion haset edhe n\u00eb shqyrtimet e fushave tjera t\u00eb kultur\u00ebs dhe arteve, n\u00eb film e n\u00eb piktur\u00eb, etj. Tekstet e tilla poetike nd\u00ebrthurin nj\u00eb vizion t\u00eb ri, nj\u00eb mbitekst poetik. Te poezia Tek k\u00ebshtjella e Hamletit\u201d, vizioni poetik buron nga njohja e vepr\u00ebs s\u00eb Shekspirit e nga vizita q\u00eb i b\u00ebhet k\u00ebsaj k\u00ebshtjelle, nga nj\u00ebra an\u00eb; porse ajo ng\u00ebrthen edhe paradigm\u00ebn e nj\u00eb dialogimi me tekste t\u00eb ngjashme poetike t\u00eb tradit\u00ebs son\u00eb (bie fjala, me nj\u00eb poezi t\u00eb till\u00eb t\u00eb Kadares\u00eb).<\/p>\n

Jehona e till\u00eb intertekstuale, bartet edhe te libri i dyt\u00eb \u201cGodo nuk vjen\u201d, sidomos tek poezit\u00eb q\u00eb kan\u00eb em\u00ebr-shenj\u00ebn e p\u00ebrbashk\u00ebt \u201cGodo\u201d (figur\u00eb asociative e personazhit t\u00eb Beketit, q\u00eb sugjeron paradoksin alegorik t\u00eb pritjes, nj\u00eb humner\u00eb t\u00eb boshll\u00ebkut, asgj\u00ebs\u00eb). Madje, libri i dyt\u00eb sh\u00ebnjon nj\u00eb shkall\u00eb m\u00eb t\u00eb ngritur poetike, nj\u00eb hap\u00ebsir\u00eb e re, e ardhur si jehon\u00eb nga libri i par\u00eb. \u201cKufijt\u00eb e librit asnj\u00ebher\u00eb nuk jan\u00eb t\u00eb qart\u00eb: ata gjenden edhe jasht\u00eb nj\u00eb titulli, jasht\u00eb linj\u00ebs s\u00eb par\u00eb, jaht\u00eb konfigurimit t\u00eb tij t\u00eb brendsh\u00ebm e trajt\u00ebs s\u00eb tij t\u00eb pavarur, tek p\u00ebrfshihet n\u00eb struktur\u00ebn e referencave t\u00eb linrit t\u00eb dyt\u00eb, t\u00eb teksteve tjera, t\u00eb th\u00ebnieve tjera. Kjo \u00ebsht\u00eb nj\u00eb nyj\u00eb n\u00eb nj\u00eb rrjet.\u201d (Michel Foucault). N\u00eb fakt, ajo q\u00eb m\u00eb pare quhej metapoezi, metafikcion, tani quhet postmoderniz\u00ebm. Shtresat e tilla (metapoetike) shtrihen n\u00eb t\u00eb dy librat e poezive. Borhesi do ta quante fikcion edhe realitetin konkret! Prandaj, edhe pritja e \u201cGodos\u00eb\u201d merr dometh\u00ebnien e nj\u00eb realiteti fiktiv.<\/p>\n

Libri i dyt\u00eb ka nj\u00eb shtrije hap\u00ebsirash emocionale e ekzistenciale t\u00eb gjer\u00eb: ai i k\u00ebndon emigrantit, gruas, dashuris\u00eb, poezis\u00eb, historis\u00eb, jepen refleksione mbi koh\u00ebn, kurse ky reflektim shpesh e shpesh shnd\u00ebrrohet n\u00eb ndjeshm\u00ebri evokuese.: ku njeriu \u00ebsht\u00eb nj\u00eb pla\u00e7k\u00eb e gjuajtur dhe e p\u00ebrbuzur, kurse atdheu i tij si nj\u00eb leck\u00eb q\u00eb p\u00ebrbuzet, si guack\u00eb moderne apo qytet i dhimbjeve. Porse tekstet e tilla thuren edhe mbi mitet (\u201cOdiseu modern\u201d), mbi shenjat e nj\u00eb aventure e Itake t\u00eb re. Nuk \u00ebsht\u00eb e habitshme, pse n\u00eb t\u00eb dy librat Ndue Ukaj k\u00ebrkon past\u00ebrtin\u00eb e qenies identitare, qenies shpirt\u00ebrore-komb\u00ebtare, t\u00eb cil\u00ebn shpesh e njollosin krimba dhe gjarp\u00ebrinj.<\/p>\n

Poeti gjendet gjithmon\u00eb n\u00eb an\u00ebn e t\u00eb l\u00ebnduarve, me revolt\u00ebn e tij poetike-jet\u00ebsore e me verbin e tij rebelues.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ndue UKAJ: LIBRA POETIK\u00eb \u201cUj\u00ebvarat e metaforave\u201d (botoi \u201cm&b\u201d, Tiran\u00eb 2008) dhe \u201cGodo nuk vjen\/ Godo is not coming\/ Godo no viene\u201d (Lulu Enterpress, USA 20120) Shkruan: Prend BUZHALA Cil\u00ebn kahe duhet ta ndjek\u00eb pas, poeti? At\u00eb t\u00eb \u00ebndrr\u00ebs son\u00eb p\u00ebr ta b\u00ebr\u00eb vetveten, atdhesin\u00eb e shenjt\u00eb, kombin, apo at\u00eb t\u00eb vet\u00ebdijes ironike p\u00ebr t\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,7,9],"tags":[],"yoast_head":"\nPoeti n\u00eb Kopshtin e Fsheht\u00ebsive - 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\/poeti-ne-kopshtin-e-fshehtesive\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Poeti n\u00eb Kopshtin e Fsheht\u00ebsive - FjALA e LIR\u00cb - Arkivi\" \/>\n<meta property=\"og:description\" content=\"Ndue UKAJ: LIBRA POETIK\u00eb \u201cUj\u00ebvarat e metaforave\u201d (botoi \u201cm&b\u201d, Tiran\u00eb 2008) dhe \u201cGodo nuk vjen\/ Godo is not coming\/ Godo no viene\u201d (Lulu Enterpress, USA 20120) Shkruan: Prend BUZHALA Cil\u00ebn kahe duhet ta ndjek\u00eb pas, poeti? 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