{"id":13500,"date":"2014-04-07T07:40:35","date_gmt":"2014-04-07T06:40:35","guid":{"rendered":"http:\/\/www.fjala.info\/?p=937"},"modified":"2014-04-07T07:40:35","modified_gmt":"2014-04-07T06:40:35","slug":"ballsor-hoxha-arti-i-te-qenit-femije","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/ballsor-hoxha-arti-i-te-qenit-femije\/","title":{"rendered":"Ballsor HOXHA: \u201cARTI I TE QENIT F\u00cbMIJ\u00cb\u201d"},"content":{"rendered":"

\"\" (N\u00eb k\u00ebrkim t\u00eb f\u00ebmij\u00ebs s\u00eb humbur <\/strong>– Ridvan Dibra. Onufri, 2010<\/em>)<\/p>\n

\u201cPara disa vitesh, nj\u00eb i njohur i im – gjithashtu njoh\u00ebs i mir\u00eb i let\u00ebrsis\u00eb – pasi do t\u00eb lexonte nj\u00eb roman timin n\u00eb dor\u00ebshkrim, do m\u00eb b\u00ebnte disa v\u00ebrejtje \u201cp\u00ebr munges\u00ebn e nj\u00eb mesazhi t\u00eb qart\u00eb n\u00eb vep\u00ebr\u201d. Ishte krejt normale q\u00eb fill pas k\u00ebsaj v\u00ebrejtjeje, mua t\u00eb m\u00eb kujtohej historia e larg\u00ebt me balona dhe me telegram\u201d. Tregimi \u201cBalonat\u201d.
\nKy tekst i cituar m\u00eb lart nga tregimi \u201cBalonat\u201d i librit \u201cN\u00eb k\u00ebrkim t\u00eb f\u00ebmij\u00ebs s\u00eb humbur\u201d nga autori Ridvan Dibra, \u00ebsht\u00eb nj\u00eb prej shpjegimeve m\u00eb t\u00eb mira t\u00eb mundshme p\u00ebr munges\u00ebn e nj\u00eb morali n\u00eb k\u00ebt\u00eb lib\u00ebr, munges\u00eb t\u00eb paparamenduar\/sh\u00ebnuar me mesazhe gjuh\u00ebsore.<\/p>\n

N\u00ebse boshti i rr\u00ebfimit t\u00eb k\u00ebtij libri, p\u00ebrvijimi i nj\u00eb ideje, p\u00ebrqendrimi i nj\u00eb morali, apo shtjellimi i nj\u00eb strukture, tej-shkuese e t\u00ebr\u00eb materialit brenda tij mungon, kjo \u00ebsht\u00eb, mendoj, p\u00ebr shkak t\u00eb p\u00ebrkushtimit t\u00eb autorit p\u00ebr t\u00eb kapur ndodhjen e shenj\u00ebs s\u00eb k\u00ebtij libri, f\u00ebmij\u00ebris\u00eb, t\u00eb pap\u00ebrpunuar dhe t\u00eb pangjyrosur n\u00eb penelat\u00ebn e ngjyrave, sh\u00ebnjimeve, ideve artistike; pa e \u201cmveshun\u201d me trajta t\u00eb strukturuara artistikisht, p\u00ebr t\u00eb dh\u00ebn\u00eb t\u00eb p\u00ebr-kryer (literalisht) nj\u00eb ide. F\u00ebmij\u00ebria ndodh, \u00ebsht\u00eb l\u00ebvizje nga vog\u00eblsia n\u00eb madh\u00ebshti (si fizikisht dhe si mentalisht) pavar\u00ebsisht invencionit \u201ckomuniz\u00ebm t\u00eb Republik\u00ebs s\u00eb Shqip\u00ebris\u00eb\u201d, pavar\u00ebsisht pamund\u00ebsive, dhe pavar\u00ebsisht ardhm\u00ebris\u00eb. Mendoj se k\u00ebtu niset autori Ridvan Dibra, p\u00ebr ta dh\u00ebn\u00eb t\u00eb p\u00ebrkufizuar n\u00eb v\u00ebrtet\u00ebsin\u00eb e asaj q\u00eb ka ndodhur, f\u00ebmij\u00ebrin\u00eb e tij.<\/p>\n

F\u00ebmij\u00ebria \u00ebsht\u00eb zona ku filtrohen fenomenet, si ato shpirt\u00ebrore dhe ato fizike, t\u00eb jet\u00ebs son\u00eb. Aty krijohet mekanizmi i t\u00eb p\u00ebrjetuarit t\u00eb bot\u00ebs dhe t\u00eb shtrirjes s\u00eb jet\u00ebs son\u00eb. Kur ajo kalon nga e jashtmja n\u00eb brend\u00ebsi, p\u00ebrfundon, ne kemi brenda nesh k\u00ebt\u00eb mekaniz\u00ebm q\u00eb na udh\u00eb-rr\u00ebfen n\u00ebp\u00ebr t\u00eb ndodhurat e asaj pjese t\u00eb jet\u00ebs q\u00eb na ka mbetur. K\u00ebshtu \u00ebsht\u00eb i strukturuar dhe libri n\u00eb fjal\u00eb i autorit Ridvan Dibra: n\u00eb dy pjes\u00eb, ndodhia n\u00eb f\u00ebmij\u00ebri dhe shp\u00ebrfaqja e saj, tanim\u00eb e mekanizuar n\u00eb aktualen e af\u00ebrt. Ndoshta k\u00ebtu shprehja mekaniz\u00ebm do t\u00eb mund t\u00eb z\u00ebvend\u00ebsohej, her\u00eb pas here, me zon\u00eb, q\u00eb p\u00ebrmes sh\u00ebnjueshm\u00ebris\u00eb s\u00eb gj\u00ebrave q\u00eb e penetrojn\u00eb arrin skulptimin shpirt\u00ebror (semiotik) t\u00eb fenomenit, n\u00eb p\u00ebrhershm\u00ebri, dhe mu n\u00eb k\u00ebt\u00eb shprehje pra, n\u00eb p\u00ebrhershm\u00ebri, \u00ebsht\u00eb e t\u00ebr\u00eb magjia e k\u00ebtij autori. F\u00ebmij\u00ebria, e tij, nuk ka fund, p\u00ebrfundim, ajo vazhdimisht thellohet dhe ndrit\u00eb \u201crritjen\u201d e t\u00eb madhit, aktualen.<\/p>\n

Jung ishte ai q\u00eb e kishte p\u00ebrkufizuar f\u00ebmij\u00ebrin\u00eb si nj\u00eb mekaniz\u00ebm shpirt\u00ebror, duke e quajtur – f\u00ebmi i brendsh\u00ebm – dhe duke e marr\u00eb si shtres\u00ebn m\u00eb t\u00eb thell\u00eb t\u00eb psik\u00ebs son\u00eb. Njeriu pa t\u00eb, sipas k\u00ebtij psikanalisti, \u00ebsht\u00eb i vdekur shpirt\u00ebrisht, dhe pa komunikim me at\u00eb \u00ebsht\u00eb i shk\u00ebputur nga jeta. Por Dibra nuk e ka k\u00ebt\u00eb problem, ai n\u00eb \u00e7do kontakt, sidomos me t\u00eb ren\u00eb si\u00e7 jan\u00eb \u201cporno sitet\u201d, interneti ,e gj\u00ebra t\u00eb tjera n\u00eb aktualitet, ka dhe zon\u00ebn filtruese t\u00eb fenomenit, zon\u00ebn d\u00ebftuese t\u00eb fenomenit t\u00eb cilin e provon. F\u00ebmija brenda tij ngjallet n\u00eb \u00e7do moment t\u00eb shnd\u00ebrrimit t\u00eb bot\u00ebs, kalimit prej nj\u00eb gjendje n\u00eb tjet\u00ebr, prej nj\u00eb zbulimi n\u00eb tjet\u00ebr. At\u00ebher\u00eb, cili \u00ebsht\u00eb k\u00ebrkimi i tij? \u00c7ka k\u00ebrkon autori me k\u00ebt\u00eb lib\u00ebr? Ndoshta \u00ebsht\u00eb t\u00eb krijuarit – zbuluarit, shtrirjes s\u00eb nj\u00eb modeli, nj\u00eb strukture t\u00eb fenomenit, p\u00ebr njeriun, p\u00ebr veten dhe p\u00ebr lexuesin. Dhe p\u00ebr t\u00eb gjith\u00eb ata q\u00eb harrohen n\u00eb pushtetin e t\u00eb madhit.
\nDhe ndoshta nga k\u00ebtu do t\u00eb dilte m\u00eb e mpreht\u00eb mungesa e q\u00ebllimt\u00eb e boshtit tej p\u00ebrshkues t\u00eb t\u00eb gjitha rr\u00ebfimeve brenda k\u00ebtij libri, p\u00ebrkufizimi i nj\u00eb t\u00eb v\u00ebrtete si ka ndodhur e jo si e shpjegojm\u00eb, apo shpjegon autori.<\/p>\n

Shp\u00ebrfaqjet<\/strong>.<\/p>\n

Dy zonat, ajo e aktuales s\u00eb af\u00ebrt q\u00eb p\u00ebrmbyll secilin tregim n\u00eb k\u00ebt\u00eb lib\u00ebr, dhe ajo e f\u00ebmij\u00ebris\u00eb q\u00eb \u00ebsht\u00eb masa e librit, sikur ndeshen psiqikisht, si dy shtjella (dhe jo n\u00eb kuptimin negativ) p\u00ebr t\u00eb shtrir\u00eb p\u00ebrjetimin e autorit, narratorit, n\u00ebp\u00ebr fenomenet e jet\u00ebs. Dhe n\u00eb ndeshjen e tyre arrihet shp\u00ebrfaqja e njohjes. Ridi di t\u00eb njoh t\u00eb ren\u00eb, at\u00eb q\u00eb i ndodh, vet\u00ebm p\u00ebrmes zon\u00ebs s\u00eb f\u00ebmij\u00ebris\u00eb, q\u00eb shp\u00ebrfaqet si nj\u00eblloj mbrojtje dhe filtrimi i saj.<\/p>\n

N\u00ebse k\u00ebto tregime lexohen logjikisht, p\u00ebrkund\u00ebr thurjes s\u00eb tyre q\u00eb fillon nga f\u00ebmij\u00ebria n\u00eb aktualen e af\u00ebrt, ato n\u00eb t\u00eb v\u00ebrtet\u00eb s\u00eb pari iniciohen n\u00eb aktuale dhe pastaj autori zhytet n\u00ebp\u00ebr zonat shpirt\u00ebrore apo m\u00eb sakt\u00ebsisht kontekstet form\u00ebsuese shpirt\u00ebrore, p\u00ebr t\u00eb zbuluar nj\u00eb t\u00eb v\u00ebrtet\u00eb. Dhe e v\u00ebrteta nuk \u00ebsht\u00eb nj\u00eb kuptim konkret, shpeshher\u00eb, \u00ebsht\u00eb m\u00eb shum\u00eb nj\u00eb p\u00ebrndritje \u00e7asti apo \u00e7astesh. Dhe aty, thell\u00eb, n\u00eb t\u00eb v\u00ebrtet\u00ebn e jet\u00ebs ai ka t\u00ebr\u00eb konstelacionin e t\u00eb ndodhurit q\u00eb zakonisht krijojn\u00eb apo mbajn\u00eb t\u00eb arritshme t\u00eb v\u00ebrtet\u00ebn.<\/p>\n

Tregimet e \u201cN\u00eb k\u00ebrkim t\u00eb f\u00ebmij\u00ebris\u00eb s\u00eb humbur\u201d fillojn\u00eb aty ku ka ndodhur shnd\u00ebrrimi i bot\u00ebs, kalimi nga nj\u00eb realitet n\u00eb nj\u00eb m\u00eb t\u00eb ri, si\u00e7 \u00ebsht\u00eb ballafaqimi me internetin (si fenomen) p.sh., dhe kjo inicion t\u00ebr\u00eb mekanizmin, i cili pastaj krijon zon\u00ebn e sh\u00ebnjueshm\u00ebris\u00eb s\u00eb p\u00ebrhershme, f\u00ebmij\u00ebrin\u00eb. Tregimet p\u00ebr f\u00ebmij\u00ebrin\u00eb jan\u00eb si liqe, si shtjella shpirti, q\u00eb ruajn\u00eb, apo th\u00ebn\u00eb m\u00eb sakt\u00ebsisht form\u00ebsojn\u00eb t\u00eb v\u00ebrtet\u00ebn p\u00ebr t\u00eb pasur kuptim aktualja. M\u00eb 1993, autori ka takuar nj\u00eb regjisor francez, ashtu si e jep libri – dhe un\u00eb do ta marr at\u00eb si t\u00eb v\u00ebrtet\u00eb – dhe n\u00eb at\u00eb takim – n\u00eb ndeshjen e p\u00ebrvoj\u00ebs s\u00eb kaluar me t\u00eb ren\u00eb – Shqip\u00ebria dhe bashk\u00eb me at\u00eb Ridvani i \u201cN\u00eb k\u00ebrkim t\u00eb f\u00ebmij\u00ebris\u00eb s\u00eb humbur\u201d, ndoshta kurr\u00eb nuk kan\u00eb takuar nj\u00eb francez m\u00eb her\u00ebt. Dhe ajo q\u00eb sjell takimi \u00ebsht\u00eb nj\u00eb p\u00ebrvoj\u00eb e re, dhe ajo q\u00eb b\u00ebn Ridi tanim\u00eb i rritur, \u00ebsht\u00eb t\u00eb p\u00ebrkujtoj e t\u00eb nxjerr\u00eb esenc\u00ebn e f\u00ebmij\u00ebris\u00eb s\u00eb tij. N\u00eb k\u00ebt\u00eb rast ajo \u00ebsht\u00eb drama e t\u00eb lexuarit, t\u00eb qenit i pushtuar nga magjia e let\u00ebrsis\u00eb, q\u00eb arrin t\u00eb shpjegoj di\u00e7ka edhe m\u00eb t\u00eb thell\u00eb se vet\u00eb ajo: di\u00e7ka p\u00ebr t\u00eb cil\u00ebn 25 vje\u00e7ari francez dhe t\u00ebr\u00eb gjenerata e mileniumit nuk e kan\u00eb: pasionin p\u00ebr t\u00eb njohur bot\u00ebn p\u00ebrreth.<\/p>\n

N\u00ebse lexohet me kujdes, v\u00ebrehet se autori zhytet me kujdesin m\u00eb t\u00eb madh n\u00eb k\u00ebto zona, duke dashur t\u00eb ruaj t\u00ebr\u00eb kujtimin n\u00eb esenc\u00ebn e tij primare (primal, Ang) p\u00ebr t\u00eb prodhuar k\u00ebshtu esenc\u00ebn shpirt\u00ebrore e cila e mban\u00eb at\u00eb si njeri. T\u00eb gjitha tregimet jan\u00eb t\u00eb zhvilluara ashtu q\u00eb t\u00eb duken si t\u00eb treguara nga e para dhe pa pasur nj\u00eb plan, pa pasur nj\u00eb paramendim, pa pasur nj\u00eb moral. Autori p\u00ebrcjell ngjarjen n\u00eb k\u00ebto episode shpirt\u00ebrore; k\u00ebshtu, duke ringjallur esenc\u00ebn shpirt\u00ebrore, duke p\u00ebrkufizuar at\u00eb n\u00eb nj\u00eb kontekst, ai krijon sh\u00ebnjuesin e pandash\u00ebm nga konteksti, q\u00eb n\u00eb ndeshjen e kalimit t\u00eb realitetit prej atij fizik me at\u00eb shpirt\u00ebror (me ballafaqimin me t\u00eb ren\u00eb) prodhon ose shp\u00ebrfaqet si e v\u00ebrtet\u00eb e pamohueshme. T\u00eb zhytesh n\u00eb k\u00ebto thell\u00ebsi, p\u00ebr autorin Ridvan Dibra \u00ebsht\u00eb t\u00eb krijuarit e nj\u00eb zone, shtrese q\u00eb ruan t\u00eb v\u00ebrtet\u00ebn.<\/p>\n

N\u00eb tregimin n\u00eb \u201cN\u00eb bregun tjet\u00ebr\u201d autori ka takuar shokun e tij t\u00eb pandash\u00ebm t\u00eb t\u00ebr\u00eb k\u00ebtyre episodeve, Ilin, Ilirin, dhe ai k\u00ebrkon nga autori kalimin edhe nj\u00eb her\u00eb t\u00eb lumit Buna ashtu si jan\u00eb, me Ridin tanim\u00eb q\u00eb ka disa libra n\u00eb shpin\u00ebn e vet. Por autori e refuzon k\u00ebt\u00eb, i dal\u00eb n\u00eb bregun tjet\u00ebr nj\u00ebher\u00eb, me arsyetimin se \u201cnuk kalohet dy her\u00eb i nj\u00ebjti lum\u201d. K\u00ebtu nuk ka tendenc\u00eb, s\u00eb paku me shkrim, p\u00ebr t\u00eb asociuar n\u00eb filozofin\u00eb e \u201ct\u00eb kaluarit\u201d n\u00eb bregun tjet\u00ebr, por k\u00ebputet rr\u00ebfimi mu aty kur p\u00ebrfundon e t\u00ebr\u00eb ajo q\u00eb ka ndodhur. Por n\u00ebse ndeshim titullin \u201cn\u00eb bregun tjet\u00ebr\u201d me mohimin e lart-cekur, ajo megjithat\u00eb krijon nj\u00eb kuptim, nj\u00eb t\u00eb v\u00ebrtet\u00eb q\u00eb buron nga kjo zon\u00eb e krijuar mjesht\u00ebrisht nga rr\u00ebfimi i autorit p\u00ebr kalimin e Bun\u00ebs n\u00eb f\u00ebmij\u00ebrin\u00eb e tij.<\/p>\n

N\u00eb t\u00eb v\u00ebrtet\u00eb gjat\u00eb tregimit, ata t\u00eb dy Ridi dhe Ili, dy personazhet e tregimit arrijn\u00eb ta kalojn\u00eb lumin t\u00eb tmerruar nga frika e rrjetave p\u00ebrreth ishullit, \u201cDajlanit\u201d si\u00e7 e quajn\u00eb. T\u00eb gjitha jan\u00eb shenja q\u00eb thurin s\u00eb bashku nj\u00eb tregim t\u00eb p\u00ebrkryer me t\u00eb sh\u00ebnjuarit e \u201crritjes\u201d, dikush do t\u00eb mund ta quante rritjes n\u00eb Shqip\u00ebrin\u00eb komuniste, dikush t\u00eb rritjes n\u00eb af\u00ebrsi t\u00eb nj\u00eb lumi t\u00eb madh si Buna; n\u00eb t\u00eb v\u00ebrtet\u00eb secili lexues do t\u00eb mund ta quante n\u00eb kuptimin e tij, dhe mu k\u00ebtu q\u00ebndron forca e k\u00ebtyre tregimeve, t\u00eb l\u00ebna p\u00ebr t\u2019u plot\u00ebsuar nga p\u00ebrvoja apo k\u00ebndv\u00ebshtrimi i lexuesit.<\/p>\n

Ajo q\u00eb b\u00ebn autori n\u00eb k\u00ebto tregime \u00ebsht\u00eb se krijon skeletin e nj\u00eb \u201crritjeje\u201d universale, t\u00eb s\u00eb v\u00ebrtet\u00ebs mbar\u00eb-njer\u00ebzore me q\u00ebllim t\u00eb mos kufizimit t\u00eb tyre n\u00eb tendenca t\u00eb cekura m\u00eb lart, si disidenc\u00eb, revolt\u00eb apo neveri ndaj t\u00eb kaluar\u00ebs s\u00eb v\u00ebshtir\u00eb. Ai nuk ia lejon vetes t\u00eb kufizohet n\u00eb nj\u00eb tendenc\u00eb artistike, e tregon rr\u00ebfimin ashtu si ka ndodhur dhe e prodhon esenc\u00ebn e f\u00ebmij\u00ebris\u00eb si sh\u00ebnjues i p\u00ebrhersh\u00ebm i zon\u00ebs psikike (shpirt\u00ebrore), dhe nga aty krijon pist\u00ebn e lexuesit p\u00ebr t\u00eb arritur f\u00ebmij\u00ebrin\u00eb e vet. Apo, ndoshta, ky \u00ebsht\u00eb nj\u00eb lexim tep\u00ebr naiv?<\/p>\n

\u201cLojna me akrepa\u201d – fundosja n\u00eb helmin personal.<\/strong><\/p>\n

Kur i t\u00ebr\u00eb universi i Shqip\u00ebris\u00eb digjej m\u00eb 1997, kur kishte p\u00ebrfunduar edhe fija e fundit e shpres\u00ebs p\u00ebr nj\u00eb jet\u00eb normale, si\u00e7 na tregon autori, ai ishte zhytur n\u00eb shkrim, p\u00ebr ta injoruar k\u00ebt\u00eb. N\u00eb tregimin \u201cLojna me akrepa\u201d, Ridi zbulon, nj\u00eb her\u00eb n\u00eb lib\u00ebr dhe pastaj n\u00eb praktik\u00eb, aft\u00ebsin\u00eb e akrepave p\u00ebr t\u00eb shuar jet\u00ebn e tyre n\u00eb gjendje rreziku, m\u00eb sakt\u00ebsisht p\u00ebr helmuar veten e tyre si shp\u00ebtim nga e pashmangshmja vdekje. K\u00ebshtu b\u00ebn shkrimtari Ridvan Dibra, kur Shqip\u00ebria ka kaluar t\u00eb gjith\u00eb rrath\u00ebt e realitetit dhe \u00ebsht\u00eb fundosur n\u00eb kaos gjith\u00ebp\u00ebrfshir\u00ebs: zhytet n\u00eb helmin e vet. Por ai nuk ka vdekur si\u00e7 b\u00ebjn\u00eb akrepat, ai ka vazhduar pun\u00ebn n\u00eb nj\u00eb rit\u00ebm dhe arritje artistike kulmore t\u00eb let\u00ebrsis\u00eb shqipe. Dhe p\u00ebr m\u00eb shum\u00eb, \u201chelmi i tij\u201d \u00ebsht\u00eb prodhimi i historive q\u00eb ruajn\u00eb dhe shtrijn\u00eb p\u00ebrvoj\u00ebn e t\u00eb qenit shqiptar, edhe n\u00eb k\u00ebt\u00eb periudh\u00eb t\u00eb kaosit si\u00e7 ishte viti 1997.<\/p>\n

Tregime t\u00eb k\u00ebtij libri ofrojn\u00eb dhe nj\u00eb perspektiv\u00eb tjet\u00ebr t\u00eb leximit, at\u00eb t\u00eb paraliz\u00ebs shpirt\u00ebrore t\u00eb kolektivit ku ai \u00ebsht\u00eb rritur. Babai dhe n\u00ebna e tij, n\u00eb nj\u00ebrin prej tregimeve, zgjohen p\u00ebr \u00e7do dit\u00eb n\u00eb or\u00ebn gjasht\u00eb e gjysm\u00eb p\u00ebr t\u00eb shkuar n\u00eb pun\u00eb, shkojn\u00eb edhe t\u00eb shtunave; pastaj babai i Ridit gjithher\u00eb dit\u00ebve kur pranon pag\u00ebn mb\u00ebshtjell\u00eb kok\u00ebn e tij me duar, gj\u00eb q\u00eb na tregon p\u00ebr vuajtjen e tij. Pastaj jan\u00eb shok\u00ebt e tij q\u00eb vuajn\u00eb gjithashtu, nuk kan\u00eb as nj\u00eb top pes\u00ebdhjet\u00eb lek\u00ebsh p\u00ebr t\u00eb luajtur futboll. Por ajo q\u00eb arrin deri n\u00eb grotesk \u00ebsht\u00eb t\u00eb shnd\u00ebrruarit n\u00eb problem komb\u00ebtar t\u00eb t\u00eb shkruarit me dor\u00eb t\u00eb majt\u00eb nga Ridi n\u00eb tregimin \u201cMe dor\u00ebn e majt\u00eb\u201d. \u00cbsht\u00eb absurde e t\u00ebr\u00eb ngjarja, trauma e Ridit dhe lufta aspak heroike e babait t\u00eb tij. Dhe ajo nuk \u00ebsht\u00eb heroike sepse nuk ka heroiz\u00ebm n\u00eb luft\u00eb ndaj absurdit, gj\u00ebja e par\u00eb q\u00eb b\u00ebn absurdi, dhe me k\u00ebt\u00eb rast komunizmi n\u00eb Shqip\u00ebri, \u00ebsht\u00eb t\u00eb rr\u00ebnuarit e \u00e7far\u00ebdo logjike p\u00ebrpos asaj t\u00eb Kryetarit.<\/p>\n

Gjithashtu, n\u00eb k\u00ebt\u00eb zon\u00eb t\u00eb shp\u00ebrfaqjes s\u00eb komunizmit n\u00eb absurditetin dhe groteskun e vet \u00ebsht\u00eb edhe tregimi p\u00ebr kampin, \u201cN\u00eb kamp\u201d. Aty zgjidhen dhe shkojn\u00eb vet\u00ebm m\u00eb t\u00eb mir\u00ebt dhe n\u00ebn sh\u00ebrbimin e shtetit n\u00ebnshtrohen p\u00ebrjet\u00eb. Por Ridi, duke qen\u00eb nj\u00eb f\u00ebmij\u00eb i mbrujtur nga p\u00ebrvoja e realitetit dhe jo nga idealizmat (g\u00ebnjeshtrat) e sistemit, vuan t\u00ebr\u00eb k\u00ebt\u00eb proces.
\nPastaj dhe n\u00eb tregimin \u201cTri vjersha me nga tri strofa\u201d, shfaqet fabrikimi i komunist\u00ebve: nj\u00eb nga vjershat e tij, megjith\u00ebse t\u00eb zgjedhura fituese, nj\u00eb prej tyre \u00ebsht\u00eb nd\u00ebrruar, ka p\u00ebsuar shnd\u00ebrrim n\u00eb favor t\u00eb sistemit.<\/p>\n

Por ky lexim i k\u00ebtyre tregimeve nuk \u00ebsht\u00eb i plot\u00eb, ai k\u00ebrkon dhe m\u00eb shum\u00eb nga lexuesi, \u00ebsht\u00eb nj\u00eb zon\u00eb m\u00eb e thell\u00eb q\u00eb shtjell\u00ebzohet: kur Ridi i tregon t\u00eb atit t\u00eb tij q\u00eb \u00ebsht\u00eb i t\u00ebri i \u201cmbushur gjithandej me fije zdrukthi\u201d , babai \u201cm\u00eb sheh prap\u00eb me dyshim e mosbesim dhe kur pres q\u00eb, t\u00eb pakt\u00ebn, t\u00eb g\u00ebzohet e t\u00eb lumturohet po aq sa un\u00eb, m\u00eb b\u00ebn pyetjen e p\u00ebrditshme:<\/p>\n

\u201cE ke vjel\u2019 shport\u00ebn e fiqve?\u201d
\napo n\u00ebna e tij kur e ka kuptuar se ai ka fituar n\u00eb konkursin e gazet\u00ebs, i thot\u00eb:
\n\u201cT\u00eb keqen nana!\u201d
\n\u201cVet\u00ebm kaq. Edhe puthjen e zakonshme, t\u00eb cil\u00ebn ma jep sa her\u00eb q\u00eb kthehet nga puna. Asgj\u00eb m\u00eb tep\u00ebr:
\nAs urime.
\nAs p\u00ebrg\u00ebzime.
\nAs lek\u00eb…\u201d<\/p>\n

Kjo doemos t\u00eb fut m\u00eb thell\u00eb n\u00eb psik\u00ebn e k\u00ebtij personazhi, n\u00eb vetmin\u00eb e tij, n\u00eb moskuptimin apo mosarritjen e tjetrit n\u00eb t\u00eb qenit \u201cshkrimtar\u201d. Nj\u00ebra an\u00eb, \u00ebsht\u00eb sigurisht e qart\u00eb se ka t\u00eb b\u00ebj\u00eb me rrezikun e t\u00eb qenit shkrimtar n\u00eb Shqip\u00ebrin\u00eb komuniste, por nuk \u00ebsht\u00eb e plot\u00eb dhe nuk tregon t\u00eb t\u00ebr\u00ebn, \u00ebsht\u00eb edhe vetmia e t\u00eb qenit \u201cakrep\u201d, k\u00ebrkues i t\u00eb v\u00ebrtet\u00ebs me aft\u00ebsin\u00eb e t\u00eb rr\u00ebfyerit, treguarit.<\/p>\n

Andaj ai, autori, ka shum\u00eb kujdes kur q\u00ebmton mas\u00ebn e kujtimeve, p\u00ebr t\u00eb k\u00ebrkuar psik\u00ebn (shpirtin) e tij, sepse e di q\u00eb edhe tendenca m\u00eb e vog\u00ebl qoft\u00eb p\u00ebr motive artistike qoft\u00eb p\u00ebr motive humaniste, do t\u00eb shnd\u00ebrronte t\u00ebr\u00eb esenc\u00ebn e t\u00eb v\u00ebrtet\u00ebs s\u00eb tij, si\u00e7 e njeh ai dhe si\u00e7 do t\u2019i sh\u00ebrbente m\u00eb s\u00eb miri lexuesit.<\/p>\n

\u201cShenjat e m\u00ebkatit\u201d – shenjat e zon\u00ebs q\u00eb e quajm\u00eb shpirt.<\/strong><\/p>\n

Duket sikur n\u00eb k\u00ebt\u00eb tregim, \u201cShenjat e m\u00ebkatit\u201d, Ridvan Dibra zbulon krejt n\u00eb m\u00ebnyr\u00eb periferike nj\u00eblloj morali t\u00eb librit t\u00eb tij. Ai n\u00eb k\u00ebrkim t\u00eb njohuris\u00eb s\u00eb \u201cre\u201d teorike, n\u00eb lexim t\u00eb semiotistit t\u00eb njohur Umberto Eco \u00ebsht\u00eb i humbur dhe nuk kupton. Dhe krejt si shtjell\u00eb, shtres\u00eb zone t\u00eb harruar i shfaqet f\u00ebmij\u00ebria, apo m\u00eb sakt\u00ebsisht episodi, i dokumentuar n\u00eb k\u00ebt\u00eb lib\u00ebr, i m\u00ebkatimit, t\u00eb qenit i zbuluar dhe fshehjes s\u00eb tij. \u00cbsht\u00eb nj\u00eb tregim shum\u00eb \u201cdrejt\u201d i treguar p\u00ebr t\u00eb qen\u00eb vet\u00ebm nj\u00eb episod. N\u00eb llojin e k\u00ebtyre tregimeve zakonisht hasim n\u00eb kthesa dhe shp\u00ebrthime dhe p\u00ebrhumbje psikologjike apo t\u00eb psikologjizuara artistikisht, p\u00ebr t\u00eb krijuar ndjenj\u00ebn e m\u00ebkatit, p\u00ebr t\u00eb v\u00ebrtet\u00ebsuar m\u00ebkatin.<\/p>\n

Por autori i k\u00ebtij tregimi, si n\u00eb tregimet tjera t\u00eb k\u00ebtij libri, tregon drejt at\u00eb q\u00eb ka ndodhur, dhe arritja n\u00eb liqenin e eskavatorit \u00ebsht\u00eb m\u00eb e r\u00ebnd\u00ebsishme se \u00e7do gj\u00eb tjet\u00ebr. Autori mu k\u00ebtu k\u00ebrkon, mu k\u00ebtu arrin edhe nj\u00ebher\u00eb, dhe mu k\u00ebtu krijon\/zbulon at\u00eb esenc\u00ebn, zon\u00ebn e f\u00ebmij\u00ebris\u00eb; duke arritur dhe duke notuar, dhe duke ndjer\u00eb brek\u00ebt e lagura nga turpi p\u00ebr t\u2019u lar\u00eb lakuriq, arrin n\u00eb gjendjen tej m\u00ebkatit, dhe kur them arrin mendoj nga perspektiva e Profesorit (q\u00eb Ridvan Dibra \u00ebsht\u00eb n\u00eb realitet) me librin e Eco-s n\u00eb duar. Tej m\u00ebkatit, aty ku buron esenca f\u00ebmij\u00ebrore. Dhe ndoshta mu p\u00ebr k\u00ebt\u00eb arsye \u00ebsht\u00eb aq e leht\u00eb p\u00ebr t\u00eb \u201cmadhin\u201d t\u00eb kuptoj shenjat dhe anti shenjat.<\/p>\n

Shikuar logjikisht, t\u00ebr\u00eb tregimi \u00ebsht\u00eb i nd\u00ebrtuar mjesht\u00ebrisht, p\u00ebr t\u00eb arritur n\u00eb shenj\u00ebn e m\u00ebkatit, m\u00ebkatit t\u00eb \u00ebmb\u00ebl, m\u00ebkatit t\u00eb arritjes tej kordonit prind\u00ebror, tej kordonit t\u00eb paraliz\u00ebs komuniste, n\u00eb madh\u00ebshtin\u00eb e v\u00ebrtet\u00eb, at\u00eb t\u00eb jet\u00ebs s\u00eb plot\u00eb. Dhe ndoshta prej k\u00ebtu, n\u00ebse nuk \u00ebsht\u00eb e tep\u00ebrt, do t\u00eb mund t\u00eb shihej jeta dhe m\u00ebkati si dy kahe t\u00eb kund\u00ebrta, nj\u00ebra duke ndaluar tjetr\u00ebn, nj\u00ebra duke kufizuar tjetr\u00ebn; jan\u00eb shenjat e nd\u00ebrtimit t\u00eb m\u00ebkatit q\u00eb form\u00ebsojn\u00eb nj\u00eb shenj\u00eb t\u00eb re, jet\u00ebn, dhe jeta, apo arritja e Ridit dhe shokut t\u00eb tij, prapa sh\u00ebnjojn\u00eb f\u00ebmij\u00ebrin\u00eb, f\u00ebmij\u00ebn. Ujitja e luleve, vjelja e fikut, t\u00eb shkruarit nj\u00ebqind her\u00eb t\u00eb fjal\u00ebs atdhe, jan\u00eb anti shenjat e jet\u00ebs, f\u00ebmij\u00ebs, dhe \u00e7do fshehje e tij, me mjesht\u00ebrin\u00eb e m\u00ebkatuesit t\u00eb nj\u00eb m\u00ebkati t\u00eb \u00ebmb\u00ebl si f\u00ebmij\u00ebria, jan\u00eb shenjat q\u00eb e mundojn\u00eb Ridin e madh, q\u00eb nuk mund t\u2019i ndaj\u00eb derisa \u00ebsht\u00eb i fundosur n\u00eb bot\u00ebn e t\u00eb m\u00ebdhenjve.<\/p>\n

Gjyshja e shp\u00ebrb\u00ebr\u00eb n\u00eb esenc\u00eb shpirt\u00ebrore<\/strong>.<\/p>\n

Ridi, tanim\u00eb i madh, i pa-fshehur n\u00eb b\u00ebmat e f\u00ebmij\u00ebris\u00eb, ka nj\u00eb dilem\u00eb t\u00eb madhe: t\u00eb b\u00ebj\u00eb tregim p\u00ebr gjyshen apo jo. Por ajo nuk \u00ebsht\u00eb e prekshme n\u00eb k\u00ebrkimin e tij, as edhe me ndihm\u00ebn e nj\u00eb fotoje. Ajo \u00ebsht\u00eb diku tej, e paarritshme. Gjat\u00eb tregimit, t\u00eb fundit, at\u00eb p\u00ebr gjyshen, apo p\u00ebr mos prezenc\u00ebn artistike t\u00eb gjyshes n\u00eb k\u00ebt\u00eb lib\u00ebr, kuptojm\u00eb se ajo ka vdekur n\u00eb mosh\u00ebn shtat\u00eb vje\u00e7are t\u00eb Ridit.<\/p>\n

N\u00cb jet\u00ebn f\u00ebmij\u00ebrore, apo edhe gjat\u00eb t\u00ebr\u00eb jet\u00ebs, gj\u00ebrat si vdekja dhe t\u00eb tjerat traumatike q\u00eb lidhen me fundin e jet\u00ebs, fshihen nga e prekshmja dhe kalojn\u00eb n\u00eb zona t\u00eb tjera t\u00eb psik\u00ebs son\u00eb – tek t\u00eb cilat nuk kemi qasje t\u00eb vullnetshme: jan\u00eb tep\u00ebr traumatike p\u00ebr t\u00eb mundur t\u2019i arrijm\u00eb. Jan\u00eb ato kujtimet e err\u00ebsuara, q\u00eb na tmerrojn\u00eb deri n\u00eb harrim.<\/p>\n

Por me gjith\u00eb dilem\u00ebn e Ridit, ne e hasim prezenc\u00ebn e saj n\u00eb t\u00eb vetmen fjali q\u00eb i kujtohet atij, n\u00eb t\u00eb vetmen esenc\u00eb t\u00eb mbetur t\u00eb saj, dhe n\u00eb kujtimet e babait. Ajo \u00ebsht\u00eb jeta e kaluar, jo historikisht apo metaforikisht, por nj\u00eb perde q\u00eb mban\u00eb t\u00eb gjall\u00eb bot\u00ebn ku jemi. \u00cbsht\u00eb hija e t\u00eb b\u00ebmave t\u00eb Ridit dhe Ilit, n\u00ebn t\u00eb cil\u00ebn ata kan\u00eb shp\u00ebrthyer tej shpirt\u00ebrores n\u00eb jet\u00ebn e t\u00eb madhit. N\u00eb t\u00eb v\u00ebrtet\u00eb, fytyra e padukshme, e paprekshme e gjyshes n\u00eb memorien e Ridit, err\u00ebsira q\u00eb mbetet n\u00eb munges\u00ebn e saj, krijon perden, kufirin e k\u00ebsaj jete, t\u00eb cil\u00ebn Ridi e ka p\u00ebrjetuar n\u00eb maksimum edhe n\u00eb paraliz\u00ebn shpirt\u00ebrore dhe fizike t\u00eb komunizmit t\u00eb Shqip\u00ebris\u00eb. Ajo rri si roje dhe kufi e t\u00ebr\u00eb p\u00ebrvoj\u00ebs s\u00eb tij f\u00ebmij\u00ebrore p\u00ebr t\u2019i dh\u00ebn\u00eb mund\u00ebsi shnd\u00ebrrimi n\u00eb esenc\u00eb t\u00eb f\u00ebmij\u00ebris\u00eb s\u00eb tij – tanim\u00eb kur ai \u00ebsht\u00eb b\u00ebr\u00eb i madh.<\/p>\n

Dhe krejt n\u00eb fund, \u00e7ka n\u00eb t\u00eb v\u00ebrtet\u00eb kemi lexuar n\u00eb k\u00ebt\u00eb lib\u00ebr?<\/strong><\/p>\n

N\u00eb kopertin\u00eb ky lib\u00ebr quhet roman, n\u00eb faqen titullore ai quhet proz\u00eb, dhe n\u00eb t\u00ebr\u00ebsin\u00eb e tij \u00ebsht\u00eb i p\u00ebrb\u00ebr\u00eb nga tregime krejt\u00ebsisht t\u00eb pavarura nga nj\u00ebri tjetri. Nuk ka nj\u00eb p\u00ebrvijim linear kohor, nuk ka nj\u00eb fabul p\u00ebrvijuese t\u00eb t\u00eb gjitha tregimeve, dhe as nuk ka nj\u00eb ngjarje po ashtu p\u00ebrshkuese t\u00eb gjitha k\u00ebtyre. P\u00ebr m\u00eb shum\u00eb, kur personazhet p\u00ebrs\u00ebriten dhe kur vendet po ashtu p\u00ebrs\u00ebriten, autori merr mundin t\u2019i p\u00ebrs\u00ebris shpjegimet krejt\u00ebsisht n\u00eb pavar\u00ebsi nga t\u00eb qenit p\u00ebrs\u00ebritje e tregimeve t\u00eb m\u00ebhershme t\u00eb k\u00ebtyre fakteve.<\/p>\n

N\u00eb an\u00eb tjet\u00ebr, kemi personazhet e nj\u00ebjta, kemi vendin e nj\u00ebjt\u00eb, kemi edhe stin\u00ebt e nj\u00ebjta pranver\u00eb dhe ver\u00eb, kemi dhe vendet e nj\u00ebjta q\u00eb n\u00eb fush\u00ebn asociative mbajn\u00eb lexuesin t\u00eb v\u00ebmendsh\u00ebm p\u00ebr t\u00ebr\u00eb at\u00eb q\u00eb ndodh si t\u00eb qenit i udh\u00ebrr\u00ebfyes nga nj\u00eb ngjarje e vetme me nj\u00eb p\u00ebrvijim fabulativ dhe me nj\u00eb p\u00ebrvijim kohor.<\/p>\n

Autori, p\u00ebrpos q\u00eb n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb thyen form\u00ebsimet zhan\u00ebrore dhe krijon nj\u00eb rr\u00ebfim t\u00ebr\u00ebsisht origjinal, gjithashtu provon t\u2019i tregoj\u00eb k\u00ebto tregime si ri-p\u00ebrjetime t\u00eb f\u00ebmij\u00ebris\u00eb s\u00eb tij n\u00eb m\u00ebnyr\u00eb t\u00eb pavarur nga ndonj\u00eb p\u00ebrvijim forme t\u00eb t\u00ebr\u00eb librit. Ai ri-zbulon dhe ri-krijon t\u00ebr\u00eb k\u00ebto episode f\u00ebmij\u00ebrie p\u00ebr t\u00eb p\u00ebrjetuar dhe p\u00ebr t\u00eb ruajtur f\u00ebmij\u00ebrin\u00eb e tij, dhe mjesht\u00ebrisht ruan v\u00ebrtet\u00ebsin\u00eb e tyre. N\u00eb t\u00eb v\u00ebrtet\u00eb, k\u00ebto tregime m\u00eb shum\u00eb ngjajn\u00eb n\u00eb dokumentarizim t\u00eb nj\u00eb arti, artit t\u00eb t\u00eb qenit f\u00ebmij\u00eb; p\u00ebr m\u00eb shum\u00eb ka nj\u00eb th\u00ebnie popullore nd\u00ebrkomb\u00ebtare q\u00eb thot\u00eb \u201ct\u00eb qenit f\u00ebmij\u00eb \u00ebsht\u00eb art n\u00eb vete\u201d.<\/p>\n

Ridi, Ridvani, Ritvan Dibra, Ridvan Dibra-autori dhe shum\u00eb t\u00eb tjer\u00eb, jan\u00eb t\u00eb gjith\u00eb pjes\u00eb e k\u00ebtij tregimi f\u00ebmij\u00ebrie. Jan\u00eb shum\u00eb dhe jan\u00eb t\u00eb huajtur nga realiteti, p\u00ebr t\u00eb marr\u00eb pjes\u00eb n\u00eb k\u00ebt\u00eb lib\u00ebr si personazhe dhe p\u00ebr t\u00eb ngjallur dhe, m\u00eb shum\u00eb, p\u00ebr t\u00eb dokumentuar se \u00ebsht\u00eb e mundshme:
\nt\u00eb qenit f\u00ebmij\u00eb.<\/p>\n","protected":false},"excerpt":{"rendered":"

(N\u00eb k\u00ebrkim t\u00eb f\u00ebmij\u00ebs s\u00eb humbur – Ridvan Dibra. Onufri, 2010) \u201cPara disa vitesh, nj\u00eb i njohur i im – gjithashtu njoh\u00ebs i mir\u00eb i let\u00ebrsis\u00eb – pasi do t\u00eb lexonte nj\u00eb roman timin n\u00eb dor\u00ebshkrim, do m\u00eb b\u00ebnte disa v\u00ebrejtje \u201cp\u00ebr munges\u00ebn e nj\u00eb mesazhi t\u00eb qart\u00eb n\u00eb vep\u00ebr\u201d. Ishte krejt normale q\u00eb fill […]<\/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":[],"yoast_head":"\nBallsor HOXHA: \u201cARTI I TE QENIT F\u00cbMIJ\u00cb\u201d - 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\/ballsor-hoxha-arti-i-te-qenit-femije\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ballsor HOXHA: \u201cARTI I TE QENIT F\u00cbMIJ\u00cb\u201d - FjALA e LIR\u00cb - Arkivi\" \/>\n<meta property=\"og:description\" content=\"(N\u00eb k\u00ebrkim t\u00eb f\u00ebmij\u00ebs s\u00eb humbur – Ridvan Dibra. 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