{"id":13853,"date":"2014-12-03T21:38:09","date_gmt":"2014-12-03T20:38:09","guid":{"rendered":"http:\/\/www.fjala.info\/?p=2335"},"modified":"2014-12-03T21:38:09","modified_gmt":"2014-12-03T20:38:09","slug":"refuzimi-estetik","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/","title":{"rendered":"Refuzimi estetik!"},"content":{"rendered":"

\"\" Nga: Ibrahim Rugova<\/strong><\/p>\n

1. P\u00ebrkufizimi<\/strong><\/p>\n

Refuzim do t\u00eb thot\u00eb t\u00eb mos pranosh, t\u00eb mos pranosh at\u00eb q\u00eb t\u00eb imponohet, e kjo varet nga q\u00ebndrimi personal dhe nga ai i p\u00ebrgjithsh\u00ebm. Refuzimi m\u00eb real \u00ebsht\u00eb ai q\u00eb mb\u00ebshtetet n\u00eb bindjen, e bindja n\u00eb argument, apo n\u00eb tem\u00eb th\u00ebn\u00eb me terminologji antike greke. Gjithsesi do th\u00ebn\u00eb se refuzimi realizohet n\u00eb aporin\u00eb e pazgjidhshme t\u00eb raportit trikotomik imponimi-pranimi-refuzimi. Njeriu, fundamentalisht \u00ebsht\u00eb i lidhur, apo i mb\u00ebrthyer n\u00eb k\u00ebt\u00eb apori, sepse vet\u00eb jeta dhe aktet e veprimit t\u00eb tij p\u00ebrbehen nga k\u00ebta an\u00ebtar\u00eb t\u00eb raportit. Ne gjithnj\u00eb duhet t\u00eb aprovojm\u00eb apo t\u00eb refuzojm\u00eb di\u00e7ka, e n\u00eb suboardinacion k\u00ebto dalin nga imponimi. Me fjal\u00eb t\u00eb tjera, \u00e7\u00ebshtja e refuzimit mund t\u00eb shtrohet e t\u00eb kuptohet si gjest i p\u00ebrditsh\u00ebm. Dhe jeta gjithnj\u00eb zhvillohet brenda k\u00ebsaj aporie, apo k\u00ebshtu zhvillohet refuzimi n\u00eb jet\u00eb. Duke e kuptuar si gjest individual, refuzimin e gjejm\u00eb edhe n\u00eb sferat m\u00eb intime t\u00eb jet\u00ebs s\u00eb njeriut: n\u00eb g\u00ebzim, n\u00eb hidh\u00ebrim, n\u00eb dashuri.<\/p>\n

Nga ky fundus subjektiv filozofik bartet edhe n\u00eb jet\u00ebn kolektive, ku individi gjithnj\u00eb gjendet midis pranimit dhe refuzimitpersonal e kolektiv. N\u00eb procesin kolektiv vendos bindja e individit, formimi i tij familjar, shoq\u00ebror e intelektual. Si n\u00eb planin individual, e m\u00eb shum\u00eb n\u00eb at\u00eb kolektiv, imponimi \u00ebsht\u00eb nj\u00eb akt represiv, apo opresiv, sepse del nga nj\u00eb rend, sistem gj\u00ebrash, si\u00e7 konstaton. R. Jakobsoni. Dhe ne, p\u00ebrmes refuzimit, \u00e7lirohemi nga opresioni apo biem viktima t\u00eb tij, b\u00ebhemi rob\u00ebr t\u00eb tij. Njeriu n\u00eb k\u00ebt\u00eb plan ka vet\u00eb dy zgjidhje, thjesht e shkurt: po e jo, por rrug\u00ebt e realizimit dalin t\u00eb ndryshme. Refuzimi ngrihet kund\u00ebr imponimit kur ai \u00ebsht\u00eb represiv, kur insiston domosdo, pa bindje n\u00eb pranimin e nj\u00eb di\u00e7kaje. R\u00ebndom njeriut i ofrohen gj\u00ebra t\u00eb ndryshme n\u00eb planin individual dhe kolektiv: i imponohen nga grupet e ndryshme individuale, profesionale pastaj nga pushteti dhe nga sistemet e ndryshme t\u00eb bot\u00ebs moderne. K\u00ebto jan\u00eb imponime m\u00eb t\u00eb r\u00ebnda, sepse b\u00ebhen n\u00eb em\u00ebr t\u00eb nj\u00eb di\u00e7kaje t\u00eb p\u00ebrgjithshme, sepse pushteti i grupeve, i individ\u00ebve zakonisht p\u00ebrfaq\u00ebson t\u00eb p\u00ebrgjithshmen, apo popullin, po t\u00eb thuhej me zhargon politicist.<\/p>\n

Duke pasur k\u00ebto parasysh, do konstatuar se njeriu n\u00eb jet\u00ebn e tij, n\u00eb jet\u00ebn kolektive gjithmon\u00eb gjendet midis p\u00ebrfaq\u00ebsueses dhe ekzistueses. Dhe imponimi b\u00ebhet m\u00eb i nd\u00ebrlikuar kur gjendet n\u00eb kuad\u00ebr t\u00eb p\u00ebrfaq\u00ebsueses, sepse njeriut ekzistuesja i largohet p\u00ebr disa shkall\u00eb. Apo th\u00ebn\u00eb me terma m\u00eb konkret\u00eb dhe m\u00eb t\u00eb af\u00ebrm\u00eb: raporti midis t\u00eb v\u00ebrtet\u00ebs dhe t\u00eb v\u00ebrtet\u00ebs s\u00eb p\u00ebrfaq\u00ebsuar. Mbi k\u00ebto baza fundamentale ngrihet pushteti individual e kolektiv dhe kur realizohet m\u00eb mir\u00eb apo n\u00eb t\u00eb mir\u00eb t\u00eb njeriut ky raport, at\u00ebher\u00eb kemi nj\u00eb liri m\u00eb t\u00eb madhe apo th\u00ebn\u00eb me terminologji filozofike e sociale, kemi nj\u00eb demokraci. E demokracia m\u00eb e mir\u00eb \u00ebsht\u00eb ajo kur nuk e imponon p\u00ebrfaq\u00ebsuesen, po e ofron p\u00ebrfaq\u00ebsuesen dhe ekzistuesen. K\u00ebtu lind edhe nj\u00eb faktor tjet\u00ebr n\u00eb zgjidhjen e aporis\u00eb imponim-pranim-refuzim, lind problemi mjaft human i zgjidhjes s\u00eb lir\u00eb (fr. choix libre, ingl. Liberaly choice).<\/p>\n

Zgjedhja e lir\u00eb kupton p\u00ebrcaktimin e individit n\u00eb form\u00eb t\u00eb lir\u00eb, mund\u00ebsin\u00eb q\u00eb ai t\u00eb zgjedh\u00eb midis t\u00eb imponuares dhe refuzimit. E k\u00ebt\u00eb njeriu e arrin p\u00ebrmes form\u00ebs s\u00eb plebishititindividual, referendumit individual dhe kolektiv. N\u00eb planin individual ky plebishit zhvillohet n\u00eb vet\u00eb individin kurse n\u00eb at\u00eb kolektiv del m\u00eb i nd\u00ebrlikuar dhe plebishiti mbi \u00e7\u00ebshtje t\u00eb p\u00ebrgjithshme shoq\u00ebrore, historike, politike e kulturore zhvillohet n\u00eb form\u00eb m\u00eb t\u00eb nd\u00ebrlikuar: mbi individin b\u00ebhen opresione t\u00eb ndryshme nga grupet dhe nga pushteti t\u00eb pranoj\u00eb form\u00ebn e imponuar, \u00e7far\u00eb lidhen me interesa komb\u00ebtare, ideologjike, sociale, shtet\u00ebrore e t\u00eb tjera. Zakonisht, k\u00ebtu mund\u00ebsia e zgjedhjes s\u00eb lir\u00eb, thuajse gjithmon\u00eb del e manipuluar, sepse interesat e ndryshme e mbysin zgjedhjen e lir\u00eb, pra individin, e pa individin nuk ka kolektivitet stabil e t\u00eb drejt\u00eb.<\/p>\n

Pastaj p\u00ebr t\u00eb arritur nj\u00eb pranim m\u00eb t\u00eb aprovuesh\u00ebm, individi apo kolektiviteti deklarohet p\u00ebrmes consensusit, bashk\u00ebmendimit t\u00eb pal\u00ebve t\u00eb kund\u00ebrta e t\u00eb ndryshme. P\u00ebr t\u00eb realizuar m\u00eb mir\u00eb plebishitin, m\u00eb par\u00eb duhet dh\u00ebn\u00eb argumente t\u00eb arsyeshme p\u00ebr t\u00eb bindur apo p\u00ebr t\u00eb refuzuar kund\u00ebrshtarin si\u00e7 thoshte Ciceroni, simbas ligjeve apo artit retorik. Pos plebishitit apo referendumit ku merret parasysh mendimi i shumic\u00ebs, p\u00ebrmes consensusit arrihet nj\u00eb baraspesh\u00eb midis mendimit t\u00eb t\u00eb gjith\u00eb faktor\u00ebve t\u00eb vendosjes s\u00eb lir\u00eb, sepse ndonj\u00ebher\u00eb edhe mendimi i shumic\u00ebs, n\u00ebn faktor\u00ebt manipulues mund t\u00eb jet\u00eb i gabuesh\u00ebm. Mund\u00ebsin\u00eb m\u00eb t\u00eb madhe t\u00eb manipulimit e largon consensusi, ku v\u00ebrtetohet barazia e p\u00ebrb\u00ebr\u00ebsve t\u00eb nj\u00eb strukture, sistemi, apo kolektiviteti.<\/p>\n

2. Karakteri, natyra i\/e let\u00ebrsis\u00eb<\/strong>
\nMbas k\u00ebtyre mendimeve mbi aporin\u00eb e refuzimit n\u00eb planin e ekzistenc\u00ebs njer\u00ebzore, t\u00eb qenies s\u00eb njeriut, t\u00eb qeniesimit t\u00eb tij dhe t\u00eb formave t\u00eb vendosjes, t\u00eb p\u00ebrcaktimit n\u00eb raportet kolektive e individuale, po e shikojm\u00eb k\u00ebt\u00eb apori edhe n\u00eb planin e artit, t\u00eb let\u00ebrsis\u00eb: si e zgjidh ajo k\u00ebt\u00eb. Po s\u00eb pari t\u00eb themi di\u00e7ka p\u00ebr karakterin e let\u00ebrsis\u00eb. Me qen\u00eb se edhe let\u00ebrsia si fryt i realitetit, si\u00e7 thoshte R. Barti n\u00eb ligj\u00ebrat\u00ebn e tij inaugurale n\u00eb College de France n\u00eb janar t\u00eb vitit 1977, n\u00eb prani t\u00eb shum\u00eb intelektual\u00ebve fr\u00ebng\u00eb si M. Fuko, Klod-Levi Stros e t\u00eb tjer\u00eb gjendet n\u00eb aporin\u00eb e imponimit-refuzimit. Karakteri apo natyra e let\u00ebrsis\u00eb dihet q\u00eb prej koh\u00ebsh: ajo p\u00ebrmban n\u00eb vete dhe realizon humanitetin n\u00eb m\u00ebnyr\u00eb m\u00eb burimore, autoktone n\u00eb raport me bot\u00ebn dhe me njeriun.<\/p>\n

N\u00eb estetik\u00eb, n\u00eb filozofi dhe n\u00eb shkenc\u00ebn e let\u00ebrsis\u00eb, \u00ebsht\u00eb shfaqur teoria mbi autonomin\u00eb, mvet\u00ebsin\u00eb e let\u00ebrsis\u00eb, artit, q\u00eb ishte m\u00eb shum\u00eb aktuale n\u00eb vitet 50 dhe 60, n\u00eb koh\u00ebn e t\u00eb ashtuquajtur\u00ebs \u201cluft\u00eb e ftoht\u00eb\u201d midis fuqive t\u00eb m\u00ebdha dhe popujve t\u00eb vegj\u00ebl. M\u00eb von\u00eb shfaqen problemet e heteronimis\u00eb, me v\u00ebshtrim se let\u00ebrsia varet edhe nga raportet shoq\u00ebrore e t\u00eb tjera.
\nTeoria e autonomis\u00eb s\u00eb let\u00ebrsis\u00eb, historikisht, baz\u00ebn e ka n\u00eb teorin\u00eb mbi \u201ckull\u00ebn e fildisht\u00eb\u201d t\u00eb simbolizmit, si shenj\u00eb e ve\u00e7imit t\u00eb poetit nga jeta, nga shoq\u00ebria, q\u00eb m\u00eb von\u00eb b\u00ebhet teori e pavarur estetike. Karakteri i let\u00ebrsis\u00eb kupton realizimin e njeriut n\u00eb gjendje burimore, po k\u00ebt\u00eb e b\u00ebn me mjete t\u00eb veta. \u00c7do gj\u00eb e realizon me matjen e artit t\u00eb vet si\u00e7 jan\u00eb paraqitja, form\u00ebsimi i jet\u00ebs me gjuh\u00eb t\u00eb njeriut n\u00eb nivel artistik, pa far\u00eb imponimi, vetvetiu, let\u00ebrsia me qenien e saj i kund\u00ebrvihet imponimit t\u00eb \u00e7far\u00ebdo lloji. \u00c7\u00ebshtjen e refuzimitt\u00eb let\u00ebrsis\u00eb do shikuar n\u00eb raportin let\u00ebrsia-shoq\u00ebria apo politika.<\/p>\n

K\u00ebshtu refuzimi del si nj\u00ebri nga aktet e mundshme t\u00eb let\u00ebrsis\u00eb. Ajo jo vet\u00ebm q\u00eb i kund\u00ebrvihet imponimit, po edhe e refuzon at\u00eb, nuk e pranon at\u00eb. K\u00ebshtu kemi refuzimin me heshtje dhe refuzimin aktiv n\u00eb planin jet\u00ebsor. Let\u00ebrsia i ka k\u00ebto dy forma, po refuzimi m\u00eb i madh i saj \u00ebsht\u00eb refuzimi me qenien, me karakterin e saj, q\u00eb ne e quajt\u00ebm refuzim estetik. P\u00ebr dallim nga refuzimipolitik, ideologjik e anatemist apo relegjioz, q\u00eb ka pasoja konkrete n\u00eb praktik\u00ebn jet\u00ebsore, e q\u00eb realizohet me mjetet e pushtetit t\u00eb \u00e7far\u00ebdo forme, individual e kolektiv apo t\u00eb atij individual q\u00eb emblemohet si kolektiv thuajse gjithmon\u00eb ngjet k\u00ebshtu, refuzimi estetik realizohet me mjetet e let\u00ebrsis\u00eb.<\/p>\n

Refuzimi estetik realizohet n\u00eb form\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb me mjete letrare q\u00eb njihen prej koh\u00ebsh, si\u00e7 jan\u00eb satira, sarkazmi, grotesku apo ironia e angazhimi n\u00eb koh\u00ebn moderne, e n\u00eb form\u00eb tjet\u00ebr fundamentale realizohet, kur let\u00ebrsia me vet\u00eb pranin\u00eb e realitetit n\u00eb vete dhe t\u00eb realitetit t\u00eb vet refuzon imponimin. N\u00eb nj\u00ebfar\u00eb dore ky mund t\u00eb merret si refuzim filozofik apo ontologjik, sepse me vet\u00eb qenien e saj krijon kontemplime dhe konotime t\u00eb shumta, q\u00eb p\u00ebrgatisin vet\u00ebdijen, shpirtin dhe mendjen njer\u00ebzore n\u00eb jet\u00eb p\u00ebr \u00e7\u00ebshtje t\u00eb ndryshme. P\u00ebrmes refuzimit estetik, pa deklamim t\u00eb theksuar dhe pa mjete t\u00eb shoq\u00ebris\u00eb, politik\u00ebs, let\u00ebrsia refuzon duke ignoruar dhe forcuar dignitetin, si kategori t\u00eb p\u00ebrgjithshme.<\/p>\n

Refuzimi hyn n\u00eb kategorin\u00eb e estetik\u00ebs negative, si\u00e7 cil\u00ebsohet estetika filozofike e Schellingut n\u00eb kontekst tjet\u00ebr q\u00eb p\u00ebrmes dh\u00ebnies, form\u00ebsimit t\u00eb kategorive t\u00eb ndryshme, b\u00ebn mohimin, negacionin e atyre kategorive q\u00eb nuk mund t\u00eb ngriten n\u00eb dignitetin e njeriut dhe t\u00eb jet\u00ebs. Me nj\u00eb fjal\u00eb, b\u00ebn shk\u00ebputjen e kategorive p\u00ebrmes qensimit, ekzistimit t\u00eb vet. Edhe n\u00eb planin sociologjik \u00e7\u00ebshtja e refuzimit letrar merret n\u00eb form\u00eb m\u00eb prakticiste, ku k\u00ebrkohet t\u00eb d\u00ebgjohet z\u00ebri i ides\u00eb shoq\u00ebrore, de facto, t\u00eb p\u00ebrfaq\u00ebsuesit t\u00eb shoq\u00ebris\u00eb, pushtetit, n\u00eb vepr\u00ebn letrare. Ky z\u00eb, gjithnj\u00eb del i d\u00ebshtuar, sepse realizohet m\u00eb shum\u00eb me mjete shoq\u00ebrore qen\u00ebsisht, kurse me ato letrare vet\u00ebm si form\u00eb e jashtme, vet\u00ebm p\u00ebr t\u00eb k\u00ebnaqur at\u00eb.<\/p>\n

Pra k\u00ebtu do b\u00ebr\u00eb dallimin e nevojsh\u00ebm midis pushtetit, politik\u00ebs si tem\u00eb e let\u00ebrsis\u00eb dhe pushtetit e politik\u00ebs n\u00eb let\u00ebrsi, q\u00eb ndryshe quhet politizim i saj. Si tem\u00eb letrare pushteti e politika jan\u00eb mjaft frytdh\u00ebn\u00ebse p\u00ebr let\u00ebrsin\u00eb, le t\u00eb na kujtohen tragjedit\u00eb antike dhe ato t\u00eb Shekspirit, e si politik\u00eb letrare, apo let\u00ebrsi e politizuar shum\u00eb vepra t\u00eb socializimit tradicional dogmatik dhe t\u00eb shtresave primitive borgjeze t\u00eb koh\u00ebve t\u00eb m\u00ebparshme, apo t\u00eb komercializmit modern. Me afirmimin erefuzimit estetik ne nuk k\u00ebrkojm\u00eb absolutizimin e let\u00ebrsis\u00eb, artit po vet\u00ebm p\u00ebr t\u00eb forcuar nj\u00eb argument t\u00eb arsyesh\u00ebm mbi vler\u00ebn e let\u00ebrsis\u00eb dhe funksionin e saj si qen\u00ebsi e jo si let\u00ebrsi n\u00eb funksion.<\/p>\n

3. Estetika dhe Politika<\/strong>
\nZhvillimi i tez\u00ebs son\u00eb mbi refuzimin estetik na shpie te raporti i njohur arti, apo estetika dhe politika. Pak histori p\u00ebr kthjellim. Duke u nisur nga tradita letrare evropiane, pra nga antika greke, e n\u00eb form\u00eb m\u00eb doktrinare nga vepra Politeja(Qyteti, Shteti) e Platonit, do shohim m\u00eb mir\u00eb historin\u00eb e raporteve, apo t\u00eb konflikteve midis artit dhe politik\u00ebs, apo pushtetit. Etimologjia e fjal\u00ebs Politik\u00eb vjen nga kuptimi i shtetit, si form\u00eb e pushtetit. K\u00ebshtu, titullin e vepr\u00ebs s\u00eb Platonit, her\u00eb e p\u00ebrkthejn\u00eb Shtet e her\u00eb Republik\u00eb me at\u00eb latine, n\u00eb p\u00ebrkthimet moderne, pra me at\u00eb latine si res publica, si di\u00e7ka e p\u00ebrgjithshme, si gj\u00eb publike, si gj\u00eb e hapur. Pos tjerash, edhe \u00e7\u00ebshtjen e artit Platoni e merrte si res publica, si gj\u00eb publike, si \u00e7\u00ebshtje apo interes t\u00eb p\u00ebrgjithsh\u00ebm, th\u00ebn\u00eb me terminologji m\u00eb moderne. Dhe duke ia shtruar artin interesit t\u00eb gj\u00ebs\u00eb s\u00eb p\u00ebrgjithshme, n\u00eb praktik\u00ebn dhe n\u00eb teorin\u00eb estetike u ngrit\u00ebn raportet m\u00eb t\u00eb precizuara arti-politika, arti-ideologjia, apo estetika-politika n\u00eb planin teorik e filozofik.<\/p>\n

Pos n\u00eb k\u00ebt\u00eb vep\u00ebr, ku Platoni e v\u00ebnte artin n\u00eb shkall\u00eb m\u00eb t\u00eb ul\u00ebt t\u00eb bot\u00ebs s\u00eb ideve duke e lidhur me konceptin e mimesisit, ai k\u00ebt\u00eb e b\u00ebnte edhe n\u00eb dialogun p\u00ebr Ijonin, ku poetin omonim endacak nuk e \u00e7monte si njeri t\u00eb mendjes, po m\u00eb shum\u00eb t\u00eb ndjenj\u00ebs, t\u00eb ekstaz\u00ebs dhe bohemin\u00eb e tij e lidhte me vepr\u00ebn e tij, me recitimet e tij, pra me artin oral t\u00eb tij. De facto Platoni e gjykonte artin e tij n\u00eb baz\u00eb t\u00eb sjelljeve t\u00eb autorit, t\u00eb Ijonit. Mendojm\u00eb se k\u00ebtu z\u00eb fill p\u00ebrzierja e raportit autori-vepra, q\u00eb n\u00eb shoq\u00ebrin\u00eb bashk\u00ebkohore mori forma t\u00eb pazgjidhshme, deri n\u00eb koh\u00ebn ton\u00eb. K\u00ebshtu lind gjykimi i veprave p\u00ebr shkak t\u00eb autor\u00ebve apo i autor\u00ebve p\u00ebr shkak t\u00eb veprave, pra \u00e7\u00ebshtja e gjykimit t\u00eb krijuesit. Pastaj Horaci k\u00ebrkon nga arti t\u00eb ket\u00eb edhe t\u00eb k\u00ebndshmen e edhe t\u00eb dobishmen, dulcei et utilei<\/em>.<\/p>\n

\u00c7do shoq\u00ebri k\u00ebrkon iden\u00eb e vet, madje edhe artin e vet, po \u00e7do shoq\u00ebri nuk mund t\u00eb b\u00ebj\u00eb artin e vet, sepse arti krijohet n\u00eb t\u00eb gjitha shoq\u00ebrit\u00eb apo sistemet, apo n\u00eb t\u00eb gjitha politikat. Mund t\u00eb themi se \u00e7do shoq\u00ebri ka politik\u00ebn e vet, e artin e vet jo, sepse arti \u00ebsht\u00eb i t\u00eb gjitha shoq\u00ebrive, sepse ngrihet p\u00ebrmesrefuzimit dhe aprovimit estetik q\u00eb p\u00ebrmban n\u00eb vete.<\/p>\n

N\u00eb vazhd\u00ebn e k\u00ebtij argumenti historik, mesjeta me ideocentralizmin e saj relegjioz, kryesisht p\u00ebrmes krishterimit e kufizoi zhvillimin e ideve dhe t\u00eb mendimit t\u00eb lir\u00eb, e madje toleroi vet\u00ebm at\u00eb tip t\u00eb let\u00ebrsis\u00eb q\u00eb i p\u00ebr\u00e7onte idet\u00eb apo ideologjin\u00eb e saj, pra vet\u00ebm let\u00ebrsin\u00eb religjioze dhe let\u00ebrsin\u00eb kalorsiake. Dominonte utopia teiste pa p\u00ebrjashtim. Renesansa me decentralizimin e saj dhe me ringjalljen e kultur\u00ebs antike e t\u00eb gjuh\u00ebve dhe popujve t\u00eb tjer\u00eb, pos latinitetit kristian, ngriti vet\u00ebdijen e koh\u00ebve moderne dhe \u00e7lirimin gradual t\u00eb ideve dhe t\u00eb artit n\u00eb p\u00ebrgjith\u00ebsi. N\u00eb frym\u00ebn e Renesans\u00ebs do shikuar edhe renesans\u00ebn n\u00eb kuptimin teologjik \u2013 reform\u00ebn e Luterit. Th\u00ebn\u00eb ndryshe Renesansa i ngriti n\u00eb nivel kulturor gjuh\u00ebt popullore n\u00eb vet\u00eb vatr\u00ebn e latinitetit, ku vepronte imperializmi i gjuh\u00ebs latine dhe n\u00eb viset e tjera t\u00eb Evrop\u00ebs.<\/p>\n

N\u00eb k\u00ebt\u00eb koh\u00eb t\u00eb Renesans\u00ebs dhe t\u00eb reformave teologjike i kemi edhe veprat e para shqiptare nga Barleti dhe Buzuku dhe nga shkrimtar\u00eb t\u00eb tjer\u00eb. Konflikti, apo mospajtimet midis artit dhe politik\u00ebs vijuan edhe n\u00eb shtetet borgjeze deri n\u00eb koh\u00ebn ton\u00eb dhe p\u00ebr k\u00ebto t\u00eb p\u00ebrmendim d\u00ebnimin e vepr\u00ebs s\u00eb Bolderit p\u00ebr shkak t\u00eb p\u00ebrmbajtjes s\u00eb saj dhe zhdukjen misterioze t\u00eb Emil Zolas, si duket p\u00ebr arsye t\u00eb mbrojtjes s\u00eb Drajfusit e raste t\u00eb tjera. N\u00eb shoq\u00ebrin\u00eb socialiste q\u00eb u konstitua pas Revolucionit t\u00eb Tetorit (1917), me d\u00ebshir\u00eb q\u00eb artin ta fus\u00eb n\u00ebn kontrollin e vet sidomos n\u00eb vitet \u201830 n\u00eb BRSS u zhduk\u00ebn dhe u d\u00ebnuan shum\u00eb vepra e shum\u00eb shkrimtar\u00eb. N\u00eb form\u00eb tjet\u00ebr t\u00eb platform\u00ebs nacionale-naziste n\u00eb Gjermanin\u00eb e Hitlerit u persekutuan shum\u00eb shkrimtar\u00eb, dijetar\u00eb e filozof\u00eb dhe u detyruan t\u00eb largohen nga vendi. Le ta p\u00ebrkujtojm\u00eb Tomas Manin me k\u00ebt\u00eb rast. Do p\u00ebrmenduar se edhe pas Luft\u00ebs s\u00eb Dyt\u00eb n\u00eb shum\u00eb vende socialiste u persekutuan autor\u00eb dhe u anatemuan vepra t\u00eb ndryshme.<\/p>\n

N\u00eb historin\u00eb e kultur\u00ebs dhe t\u00eb let\u00ebrsis\u00eb shqiptare kemi raste t\u00eb k\u00ebtij konflikti. K\u00ebshtu n\u00eb shek. XVII Budi zhduket n\u00eb m\u00ebnyr\u00eb misterioze nga Vatikani, meq\u00eb k\u00ebrkonte konstituimin e inteligjenc\u00ebs kishtare shqiptare, pastaj Nezimi zhduket nga autoritetet turke, si duket p\u00ebr popullaritetin e tij dhe p\u00ebr vepr\u00ebn q\u00eb e b\u00ebnte n\u00eb gjuh\u00eb t\u00eb vet. \u00cbsht\u00eb sunjifikativ edhe rasti i S. Frash\u00ebrit, i cili nga fundi i shekullit t\u00eb kaluar po sillte kultur\u00ebn evropiane n\u00eb Turqi, por kur e shkroi vepr\u00ebn, \u201cShqip\u00ebria \u00e7\u2019ka q\u00ebn\u00eb\u2026\u201d, u mbyll n\u00eb burg sht\u00ebpiak. K\u00ebto t\u00eb dh\u00ebna nga kultura jon\u00eb, flasin p\u00ebr konfliktin e intelektual\u00ebve shqiptar\u00eb me pushtetin pushtues.<\/p>\n

N\u00eb koh\u00ebn e Monarkis\u00eb shqiptare t\u00eb Zogut, intelektual\u00ebt shqiptar\u00eb u ndesh\u00ebn me pushtetin e brendsh\u00ebm, pra t\u00eb kombit t\u00eb vet. K\u00ebshtu nj\u00eb koh\u00eb u injoruan \u00c7ajupi, Asdreni, Grameno e t\u00eb tjer\u00eb dhe n\u00eb vitet \u201830 kemi edhe viktim\u00ebn e par\u00eb fizike t\u00eb k\u00ebtij pushteti, ekzekutimin me vdekje t\u00eb intelektualit t\u00eb ri Ismet Totos, p\u00ebr shkak t\u00eb pjes\u00ebmarrjes n\u00eb kryengritjen e Delvin\u00ebs m\u00eb 1937. P\u00ebr k\u00ebt\u00eb raport n\u00eb koh\u00ebn pas luft\u00ebs e k\u00ebndej nuk po flasim n\u00eb kultur\u00ebn shqiptare n\u00eb p\u00ebrgjith\u00ebsi, por pati raste t\u00eb mospajtimeve ideologjike dhe estetike, e n\u00eb Jugosllavi edhe vet\u00ebm p\u00ebr shkak t\u00eb ngritjes s\u00eb let\u00ebrsis\u00eb shqiptare, e cila para luft\u00ebs nuk mund t\u00eb krijohej n\u00eb gjuh\u00ebn am\u00ebtare.<\/p>\n

4. Kontrollimi i veprave<\/strong>
\nJo vet\u00ebm n\u00eb autor\u00ebt, t\u00eb cil\u00ebt si person publik\u00eb u p\u00ebrzien n\u00eb l\u00ebvizjet ideore e kulturore t\u00eb shoq\u00ebrive t\u00eb epokave t\u00eb ndryshme, po pushteti n\u00eb koh\u00eb t\u00eb ndryshme, p\u00ebrpjekjen m\u00eb t\u00eb madhe e p\u00ebrq\u00ebndroi n\u00eb kontrollimin e prodhimit shpirt\u00ebror e sidomos t\u00eb let\u00ebrsis\u00eb. K\u00ebshtu p\u00ebr k\u00ebt\u00eb q\u00ebllim ai shpiku censur\u00ebn, metod\u00ebn e kontrollimit dhe t\u00eb ndalimit t\u00eb veprave shkencore, filozofike e letrare. Shenjat e para t\u00eb censur\u00ebs n\u00eb let\u00ebrsin\u00eb evropiane i kemi q\u00eb n\u00eb antik\u00eb.<\/p>\n

K\u00ebshilli i qytetit t\u00eb Atin\u00ebs, vendosi ta p\u00ebrpunoj\u00eb n\u00eb shum\u00eb pjes\u00eb vepr\u00ebn e Homerit, madje t\u2019ia ndryshoj\u00eb edhe titullin. Vepra e Homerit \u201cZem\u00ebrimi i Akilit\u201d u titullua me titull t\u00eb ri \u201cIliada\u201d dhe u ndryshua koncepti themelor i saj, ku k\u00ebndohej n\u00eb t\u00eb mir\u00eb t\u00eb trojan\u00ebve e jo t\u00eb grek\u00ebve. K\u00ebto pjes\u00eb u kthyen n\u00eb t\u00eb mir\u00eb t\u00eb grek\u00ebve. Pastaj nuk u pranua q\u00eb emri i Akilit t\u00eb mbetej n\u00eb titull, meq\u00eb ky ishte nj\u00eb trim jo i past\u00ebr grek, meq\u00eb ishte nga Epiri ilir, q\u00eb po e paraqesim si tez\u00eb t\u00eb mundshme interpretimi, e q\u00eb e mb\u00ebshtesim n\u00eb t\u00eb dh\u00ebnat historike p\u00ebr origjin\u00ebn e Akilit si\u00e7 njihen n\u00eb historiografin\u00eb e antik\u00ebs. Censura vazhdoi me t\u00eb madhe n\u00eb mesjet\u00eb, sa q\u00eb u kuror\u00ebzua me inkuzicionin kishtar q\u00eb u mor edhe me djegien dhe zhdukjen e veprave t\u00eb mendimit shkencor e filozofik.<\/p>\n

K\u00ebshtu sot, n\u00eb kuad\u00ebr t\u00eb institucionit t\u00eb censur\u00ebs, inkuizicioni merret si forma m\u00eb e lart\u00eb, q\u00eb p\u00ebrfaq\u00ebsohet nga tipet e sistemeve dhe nga pushtetet e ndryshme. N\u00eb epok\u00ebn moderne, n\u00eb p\u00ebrsosjen e veprimit t\u00eb ideologjive dhe t\u00eb sistemeve shoq\u00ebrore e politike, nga veprimi i vazhduesh\u00ebm i censur\u00ebs, pra i presionit t\u00eb shtetit dhe t\u00eb pushtetit u shfaq edhe autocensura, term i Sartrit, me t\u00eb cilin kuptohet censurimi nga ana e vet\u00eb shkrimtarit. Pra ai vet\u00eb e b\u00ebn kontrollimin e mendimeve dhe t\u00eb vepr\u00ebs s\u00eb vet. Kjo, mendojn\u00eb shum\u00eb studius t\u00eb k\u00ebtij fenomeni, \u00ebsht\u00eb forma m\u00eb e d\u00ebmshme n\u00eb ngushtimin e liris\u00eb s\u00eb mendimit dhe t\u00eb vet\u00eb let\u00ebrsis\u00eb, meq\u00eb autocensura, si\u00e7 konstatojn\u00eb historian\u00ebt dhe sociolog\u00ebt e kultur\u00ebs, madje edhe psikolog\u00ebt, \u00ebsht\u00eb form\u00eb jolegale, e brendshme me nj\u00eb veprim t\u00eb pakufizuar n\u00eb person\u00ebn e autorit, krijuesit.<\/p>\n

5. Shkrimtar\u00ebt e oborrit<\/strong>
\nHistoria e kultur\u00ebs v\u00ebrteton se t\u00eb gjitha pushtetet kan\u00eb pasur d\u00ebshir\u00eb dhe kan\u00eb b\u00ebr\u00eb p\u00ebrpjekje q\u00eb shkrimtar\u00ebt dhe intelektual\u00ebt t\u2019i ken\u00eb p\u00ebr vete. K\u00ebshtu Aleksandri i Madh q\u00eb kishte nj\u00eb konsiderat\u00eb ndaj intelektual\u00ebve, se kishte qen\u00eb nx\u00ebn\u00ebs i Aristotelit, kur takohet me Diogjenin filozof, e pyeti se \u00e7\u2019d\u00ebshironte prej tij, Diogjeni vet\u00ebm iu p\u00ebrgjegj n\u00eb m\u00ebnyr\u00eb figurative \u201cMos ma z\u00eb diellin\u201d. N\u00eb mesjet\u00eb n\u00eb kish\u00eb dhe m\u00eb von\u00eb n\u00eb oborret mbret\u00ebrore mbahen shkrimtar\u00eb p\u00ebr madh\u00ebrimin e mbret\u00ebrve dhe pushtetar\u00ebve t\u00eb ndrysh\u00ebm. Por do p\u00ebrmendur nj\u00eb t\u00eb v\u00ebrtet\u00eb historike, se shum\u00eb shkrimtar\u00eb e shfryt\u00ebzuan \u201coborrin\u201d, pra pushtetin p\u00ebr t\u00eb krijuar vepra jasht\u00eb porosive.<\/p>\n

Le t\u00eb p\u00ebrkujtojm\u00eb me k\u00ebt\u00eb rast G\u00ebten, q\u00eb jetoi e veproi kryesisht n\u00eb Vajmar, pastaj piktorin Francisko Goja, i cili si piktor i par\u00eb i oborrit spanjoll n\u00eb fillim t\u00eb shekullit t\u00eb kaluar, q\u00eb porosit\u00eb i b\u00ebnte p\u00ebr t\u00eb mbrojtur artin e vet, krijoi vepra me vler\u00eb t\u00eb pakalueshme. Kjo mund t\u00eb sh\u00ebrbej\u00eb p\u00ebr nj\u00eb teori, se shkrimtar\u00ebt q\u00eb n\u00eb oborr hyn p\u00ebr hir t\u00eb oborrit apo th\u00ebn\u00eb me terminologji m\u00eb moderne, ata q\u00eb shkruajn\u00eb p\u00ebr hir t\u00eb pushtetit, mbeten shkrimtar\u00eb t\u00eb oborrit, si faktografi e jo si let\u00ebrsi, e shkrimtar\u00ebt q\u00eb jan\u00eb shkrimtar\u00eb, ata edhe n\u00eb oborr b\u00ebhen shkrimtar\u00eb. Problem q\u00eb do thelluar m\u00eb shum\u00eb.
\nPos shembullit t\u00eb Aleksandrit t\u00eb Madh n\u00eb Antik\u00eb, q\u00eb ndaj filozof\u00ebve grek\u00eb u soll me toleranc\u00eb, nga historia moderne kemi shembullin e Napoleonit, i cili, nd\u00ebrsa po pushtonte Gjermanin\u00eb n\u00eb pushtimet e tij p\u00ebr n\u00eb Lindje t\u00eb Evrop\u00ebs kishte urdh\u00ebruar q\u00eb sht\u00ebpia e kompozitorit Jozef Hajdni t\u00eb mos bombardohej dhe kishte caktuar roj\u00eb. Ai madje ishte p\u00ebrkulur para tij. Rast i rrall\u00eb.<\/p>\n

N\u00eb historin\u00eb e kultur\u00ebs shqiptare, shkrimtar\u00ebt tan\u00eb nuk pat\u00ebn mund\u00ebsi t\u00eb jen\u00eb brenda oborrit, meq\u00eb deri von\u00eb nuk e pat\u00ebn oborrin e vet, megjithat\u00eb do p\u00ebrmendur rastin e Gjergj Fisht\u00ebs, i cili gjendej me formim n\u00eb oborrin kishtar, ai arriti t\u00eb krijoj\u00eb vepra me vler\u00eb t\u00eb r\u00ebnd\u00ebsishme q\u00eb nuk p\u00ebrkojn\u00eb shum\u00eb me oborrin q\u00eb i takonte, apo Naim Frash\u00ebri, i cili, edhe pse i p\u00ebrkiste sekt\u00ebs s\u00eb bektashinjve, me vepr\u00ebn e vet u b\u00eb poet komb\u00ebtar n\u00eb koh\u00ebn e Rilindjas komb\u00ebtare, sepse vepra e tij kishte etik\u00eb edhe estetik\u00eb.<\/p>\n

6. Prij\u00ebs i popullit<\/strong>
\nTe popujt dhe kombet m\u00eb t\u00eb vogla q\u00eb pavar\u00ebsin\u00eb dhe lirin\u00eb komb\u00ebtare e fituan n\u00eb koh\u00eb m\u00eb t\u00eb reja, sidomos brenda shekullit XIX dhe m\u00eb von\u00eb, q\u00eb quhen periudha t\u00eb rilindjes s\u00eb tyre komb\u00ebtare, shum\u00eb poet\u00eb t\u00eb stilit romantik u b\u00ebn prij\u00ebs t\u00eb popullit n\u00eb ato momente, e kjo ngjau me t\u00eb madhe te popujt e Ballkanit, si\u00e7 v\u00ebrente \u00c7abej, m\u00eb 1938. V\u00ebrtet ata u b\u00ebn\u00eb prij\u00ebs t\u00eb popullit, po mbet\u00ebn shkrimtar\u00eb t\u00eb m\u00ebdhenj edhe m\u00eb pastaj vet\u00ebm ata q\u00eb pat\u00ebn edhe mjaftestetik\u00eb n\u00eb vep\u00ebr. Mund t\u00eb themi se me romantizmin n\u00eb let\u00ebrsin\u00eb evropiane u afirmua m\u00eb shum\u00eb roli i shkrimtarit, e sidomos i poetit, si\u00e7 ishin Hugoja n\u00eb Franc\u00eb, apo Bajroni e Shelli n\u00eb Angli, G\u00ebte e Shileri n\u00eb Gjermani, e te popujt e vegj\u00ebl, q\u00eb luftonin p\u00ebr \u00e7lirimin komb\u00ebtar dhe p\u00ebr formimin e identitetit komb\u00ebtar, historik e kulturor, roli i poet\u00ebve u b\u00eb m\u00eb i madh dhe m\u00eb aktual.<\/p>\n

Kjo ngjau k\u00ebshtu, sepse te k\u00ebta popuj shkrimtar\u00ebt ishin intelektual\u00ebt e par\u00eb q\u00eb p\u00ebrgatitnin platform\u00ebn p\u00ebr \u00e7lirim me veprat e tyre, meq\u00eb ishin t\u00eb pak\u00ebt apo mungonin fare intelektual\u00ebt e profileve t\u00eb tjera si dijetar\u00ebt, shkenc\u00ebtar\u00ebt apo filozof\u00ebt. K\u00ebshtu do p\u00ebrmendur n\u00eb k\u00ebt\u00eb drejtim Mickijevi\u00e7in te polak\u00ebt, P\u00ebtefin te hungarez\u00ebt, Emineskun te rumun\u00ebt, Preshernin te slloven\u00ebt, Kranj\u00e7evi\u00e7in te kroat\u00ebt, Zmajin te serb\u00ebt e t\u00eb tjer\u00eb. Nd\u00ebrsa n\u00eb let\u00ebrsin\u00eb shqiptare k\u00ebt\u00eb rol e barti n\u00eb mas\u00eb m\u00eb t\u00eb madhe thuajse kryesore Naim Frash\u00ebri, pastaj De Rada e t\u00eb tjer\u00eb. Do theksuar se te popujt e vegj\u00ebl edhe pas rilindjes komb\u00ebtare, mbeti ideali i shkrimtarit si prij\u00ebs i popullit, ku let\u00ebrsia dhe politika p\u00ebrziheshin, apo p\u00ebrkraheshin e ndihmoheshin n\u00eb mas\u00eb t\u00eb madhe.<\/p>\n

Duke pasur k\u00ebt\u00eb parasysh n\u00eb historin\u00eb e mendimit kritik shqiptar, \u00e7\u00ebshtjen e raportit let\u00ebrsia-politika e shtruan edhe disa shkrimtar\u00eb e kritik\u00eb si Faik Konica, Asdreni e t\u00eb tjer\u00eb. Konica nuk e pranonte vler\u00ebsimin alternativ t\u00eb k\u00ebtyre kategorive, kurse Asdreni ishte m\u00eb fleksibil dhe m\u00eb i arsyesh\u00ebm, i cili konstatonte se n\u00eb momente t\u00eb caktuara, p\u00ebr nevoja praktike let\u00ebrsia dhe politika bashk\u00ebpunojn\u00eb kurse n\u00eb situata normale ato zhvillohen pavar\u00ebsisht, simbas qen\u00ebsive t\u00eb tyre.<\/p>\n

7. Shkrimtari i angazhuar \u2013 let\u00ebrsia e angazhuar<\/strong>
\nN\u00eb bot\u00ebn moderne, e sidomos mbas lindjes s\u00eb socializmit, u aktualizua \u00e7\u00ebshtja e funksionit t\u00eb shkrimtarit n\u00eb shoq\u00ebri dhe n\u00eb politik\u00eb. N\u00eb fillim kjo u b\u00ebn\u00eb forma mjaft prakticiste dhe e tjet\u00ebrsoi let\u00ebrsin\u00eb dhe shkrimtarin. Mbas Luft\u00ebs s\u00eb Dyt\u00eb ky problem u aktualizua edhe n\u00eb Per\u00ebndim e sidomos n\u00eb Franc\u00eb, q\u00eb \u00ebsht\u00eb e njohur p\u00ebr zhvillimin e ideve sociale dhe kulturore. K\u00ebshtu Sartri me nj\u00eb koncept m\u00eb t\u00eb zgjedhur k\u00ebrkonte q\u00eb shkrimtari t\u00eb angazhohej n\u00eb jet\u00ebn e p\u00ebrditshme edhe si intelektual dhe t\u00eb b\u00ebnte nj\u00eb let\u00ebrsi t\u00eb angazhuar n\u00eb kuptim m\u00eb shum\u00eb filozofik e shpirt\u00ebror se sa praktik social. Ky koncept si duket e pasuroi k\u00ebt\u00eb \u00e7\u00ebshtje. Pra angazhimi modern i shkrimtarit dhe i let\u00ebrsis\u00eb mendojm\u00eb se i heq fillimet q\u00eb nga romantizmi evropian sa q\u00eb sot \u00ebsht\u00eb b\u00ebr\u00eb nj\u00eb problem i p\u00ebrgjithsh\u00ebm. P\u00ebrkund\u00ebr k\u00ebsaj n\u00eb koh\u00eb t\u00eb fundit sikur \u00ebsht\u00eb b\u00ebr\u00eb legjitim mendimi se shkrimtar\u00ebt duhet t\u00eb angazhohen n\u00eb zgjidhjen e problemeve t\u00eb p\u00ebrgjithshme dhe t\u00eb mos mbeten indiferent\u00eb ndaj koh\u00ebs s\u00eb vet. M\u00eb shum\u00eb k\u00ebrkohet angazhimi intelektual i shkrimtar\u00ebve se prakticizmi i tyre.<\/p>\n

K\u00ebshtu Sartri, duke folur p\u00ebr tipet e intelektualit bashk\u00ebkohor flet p\u00ebr dy kategori intelektual\u00ebsh: intelektual\u00ebt e rastit (intellectuels par accident) dhe intelektual\u00ebt burimor\u00eb (intellectuels pas essence). N\u00eb grupin e par\u00eb i fut intelektual\u00ebt q\u00eb vijn\u00eb nga fusha e specializimeve si nga shkenca dhe nga teknika, t\u00eb cil\u00ebt n\u00eb nj\u00eb moment t\u00eb caktuar z\u00ebn\u00eb t\u00eb mendojn\u00eb p\u00ebr \u00e7\u00ebshtjen e p\u00ebrgjithsheme humane. K\u00ebt\u00eb e ilustron me faktin se nj\u00eb shkenc\u00ebtar q\u00eb prodhon bomb\u00ebn atomike, \u00ebsht\u00eb shkenc\u00ebtar, por kur fillon t\u00eb mendoj\u00eb p\u00ebr q\u00ebllimin dhe pasojat e p\u00ebrdorimit t\u00eb saj at\u00ebher\u00eb kap\u00ebrcen n\u00eb fush\u00ebn e intelektualit. Shkrimtar\u00ebt i merr si intelektual\u00eb burimor\u00eb, meq\u00eb ata gjithnj\u00eb merren me q\u00ebllimin dhe k\u00ebrkes\u00ebn e me dh\u00ebnien e jet\u00ebs dhe t\u00eb problemeve t\u00eb njeriut. Prandaj n\u00eb bot\u00ebn moderne t\u00eb specializimit dhe t\u00eb p\u00ebrsosjes s\u00eb shoq\u00ebrive e t\u00eb sistemeve shoq\u00ebrore, dominon mendimi i p\u00ebrgjithsh\u00ebm se shkrimtar\u00ebt dhe intelektual\u00ebt n\u00eb ndarjen e pun\u00ebs brenda kombit apo shoq\u00ebris\u00eb s\u00eb caktuar kan\u00eb vendin dhe z\u00ebrin e vet, q\u00eb e realizojn\u00eb me mjete t\u00eb vepr\u00ebs s\u00eb tyre.<\/p>\n

8. Qen\u00ebsia estetike<\/strong>
\nV\u00ebshtrimi i \u00e7\u00ebshtjes s\u00eb refuzimit estetik na detyroi ta v\u00ebshtrojm\u00eb k\u00ebt\u00eb \u00e7\u00ebshtje n\u00eb plan m\u00eb t\u00eb gjer\u00eb, me t\u00eb gjith\u00eb ata faktor\u00eb q\u00eb nd\u00ebrlidhen me artin, me let\u00ebrsin\u00eb. Nga kjo del se let\u00ebrsia gjat\u00eb koh\u00ebve vazhdimisht \u00ebsht\u00eb p\u00ebrpjekur t\u00eb ruaj\u00eb karakterin e vet dhe k\u00ebt\u00eb e ka b\u00ebr\u00eb p\u00ebrmes dy formash: p\u00ebrmes subjektit krijues, vet\u00eb shkrimtarit, q\u00eb hyn n\u00eb historin\u00eb e jet\u00ebs letrare e kulturore t\u00eb nj\u00eb kohe dhe p\u00ebrmes vepr\u00ebs si form\u00eb konkrete e saj. Vendimtare n\u00eb t\u00eb gjitha k\u00ebto raporte mendojm\u00eb se ka qen\u00eb vepra dhe esenca e saj, qen\u00ebsia estetike e saj. K\u00ebshtu veprat q\u00eb nuk kan\u00eb pasur qen\u00ebsi t\u00eb mjaftueshme estetike, edhe kan\u00eb ndikuar m\u00eb pak e edhe autor\u00ebve t\u00eb tyre, pra shkrimtar\u00ebve u ka dh\u00ebn\u00eb m\u00eb pak mund\u00ebsi t\u00eb ndikojn\u00eb n\u00eb rrjedha e \u00e7\u00ebshtje, prandaj kan\u00eb mbetur an\u00ebsor\u00eb. Kurse ato vepra dhe ata autor\u00eb q\u00eb jan\u00eb bazuar n\u00eb qen\u00ebsin\u00eb estetike e filozofike t\u00eb veprave t\u00eb tyre, kan\u00eb ndikuar m\u00eb shum\u00eb.<\/p>\n

Duke pasur k\u00ebt\u00eb parasysh, po shtojm\u00eb se n\u00eb baz\u00eb t\u00eb p\u00ebrvoj\u00ebs midis raportit arti-politika, apo pushteti, n\u00eb vet\u00eb politik\u00ebn e koh\u00ebs kan\u00eb ndikuar m\u00eb shum\u00eb veprat me mvet\u00ebsin\u00eb e tyre estetike dhe autor\u00ebt e tyre, e madje do th\u00ebn\u00eb se duke ditur k\u00ebt\u00eb, pushteti i koh\u00ebve t\u00eb ndryshme edhe \u00ebsht\u00eb konfrontuar me ato vepra dhe me ata autor\u00eb, sepse nuk ka mundur t\u00eb manipuloj\u00eb me ato dhe me ata. Qen\u00ebsia estetike \u00ebsht\u00eb fryt i karakterit t\u00eb lir\u00eb e t\u00eb gjer\u00eb t\u00eb let\u00ebrsis\u00eb dhe garanci p\u00ebr veprimin m\u00eb t\u00eb madh dhe jet\u00ebn m\u00eb t\u00eb gjat\u00eb t\u00eb nj\u00eb vepre. P\u00ebr shembull ndikimi i veprimit praktik i De Rad\u00ebs do t\u00eb ishte m\u00eb i vog\u00ebl n\u00eb opinionin e Rilindjes komb\u00ebtare, sikur vepra e tij t\u00eb mos kishte qen\u00ebsi t\u00eb thell\u00ebestetike, apo ndikimi i Naim Frash\u00ebrit. Por ndikimi i tyre, me qen\u00ebsin\u00eb e tyre, \u00ebsht\u00eb i pranish\u00ebm edhe sot n\u00eb kontekste dhe n\u00eb momente t\u00eb ndryshme. Shkrimtar\u00ebt e tjer\u00eb t\u00eb Rilindjes, t\u00eb cil\u00ebt n\u00eb veprat e tyre e pat\u00ebn qen\u00ebsin\u00ebestetike m\u00eb t\u00eb dob\u00ebt, ishin aktual\u00eb, po kishin ndikim m\u00eb t\u00eb vog\u00ebl, e edhe p\u00ebr koh\u00ebt e m\u00ebpastajme mbeten vet\u00ebm si d\u00ebshmi veprimi brenda aktualitetit t\u00eb nj\u00eb kohe.<\/p>\n

9. P\u00ebrfundime<\/strong>
\nQen\u00ebsia estetika e vepr\u00ebs letrare apo e let\u00ebrsis\u00eb \u00ebsht\u00eb imanenc\u00eb e vet\u00eb let\u00ebrsis\u00eb, e q\u00eb n\u00eb rastet e imponimit t\u00eb jasht\u00ebm, ajo e realizon k\u00ebt\u00eb p\u00ebrmesrefuzimit. Nj\u00ebher\u00ebsh edhe refuzimin estetik e konsiderojm\u00eb si imanenc\u00eb t\u00eb let\u00ebrsis\u00eb, sepse sipas ligjeve t\u00eb natyr\u00ebs, e madje edhe t\u00eb atyre sociale, \u00e7do gj\u00eb q\u00eb krijohet duhet edhe t\u00eb mbrohet dhe t\u00eb mbahet n\u00eb jet\u00eb. N\u00eb momentet e \u00e7rregullimeve t\u00eb caktuara sociale e sistemore brenda nj\u00eb kombi a shoq\u00ebrie, funksioni m\u00eb i mir\u00eb i let\u00ebrsis\u00eb, pos angazhimit t\u00eb saj t\u00eb drejtp\u00ebrdrejt\u00eb, po m\u00eb pak, realizohet p\u00ebrmes refuzimit estetik, si m\u00eb efikas dhe m\u00eb burimor. P\u00ebrmesrefuzimit estetik let\u00ebrsia ndikon n\u00eb vet\u00ebdijen kulturore t\u00eb koh\u00ebs, e kjo n\u00eb vet\u00ebdijen dhe n\u00eb aksionin politik, apo t\u00eb pushtetit, duke krijuar inferioritetin e tij ndaj saj.<\/p>\n

Si do q\u00eb ta marr\u00ebsh edhe n\u00eb baz\u00eb t\u00eb argumentit historik t\u00eb raportit arti-politika, e edhe n\u00eb baz\u00eb t\u00eb teoris\u00eb si rezultat i k\u00ebtij argumenti dhe si rezultat i t\u00eb menduarit mbi mund\u00ebsit\u00eb e realizimit, let\u00ebrsia apo arti dhe politika jan\u00eb dy karaktere apo dy fusha t\u00eb kund\u00ebrta, t\u00eb ndara, sepse ndryshojn\u00eb mjetet e formimit dhe t\u00eb veprimit. Dhe sa her\u00eb q\u00eb politika e kufizon let\u00ebrsin\u00eb, ajo p\u00ebrmes refuzimit estetik dhe realizimit t\u00eb qen\u00ebsis\u00eb s\u00eb vet, e refuzon politik\u00ebn. Dhe gjithmon\u00eb politik\u00eb apo pushtet m\u00eb i mir\u00eb ka dal\u00eb ai pushtet q\u00eb nuk e ka kufizuar dhe nuk i \u00ebsht\u00eb mbiv\u00ebn\u00eb let\u00ebrsis\u00eb, sepse dihet se let\u00ebrsia, p\u00ebr nga natyra e vet, ka vler\u00eb mbijetuese e politika vler\u00eb aktuale dhe merret si d\u00ebshmi e veprimit n\u00eb momente t\u00eb caktuara historike.<\/p>\n

Edhe nj\u00eb \u00e7\u00ebshtje praktike: te kombet e m\u00ebdha, ku rreziku politik \u00ebsht\u00eb m\u00eb i vog\u00ebl, apo nuk \u00ebsht\u00eb i pranish\u00ebm fare, refuzimi estetik i let\u00ebrsis\u00eb \u00ebsht\u00eb m\u00eb i madh, m\u00eb autonom dhe m\u00eb veprues. Zat\u00ebn k\u00ebto kombe jan\u00eb \u00e7liruar m\u00eb par\u00eb nga kompleksi i rrezikut nga let\u00ebrsia dhe arti. Kurse te kombet e vogla, ku rreziku politik i jasht\u00ebm \u00ebsht\u00eb m\u00eb i madh dhe ku b\u00ebhet identifikimi i t\u00eb gjitha potencialeve kulturore me pushtetin, mund\u00ebsia e refuzimit estetik del m\u00eb e vog\u00ebl, por n\u00eb epok\u00ebn moderne, kjo mund\u00ebsi \u00ebsht\u00eb ngritur m\u00eb shum\u00eb te ata popuj q\u00eb e kan\u00eb siguruar ekzistenc\u00ebn e vet m\u00eb stabile. N\u00eb shtetet shum\u00ebnacionale shfaqet rreziku tjet\u00ebr, q\u00eb nga apetiti i dominimit nacional t\u00eb dalin tendenca t\u00eb eleminimit t\u00eb kulturave dhe t\u00eb let\u00ebrsive t\u00eb tjera, sepse mb\u00ebshteten n\u00eb teorit\u00eb e kap\u00ebrcyera t\u00eb shekullit t\u00eb kaluar mbi kombin shtet\u00ebror: nj\u00eb komb nj\u00eb shtet. N\u00eb bot\u00ebn bashk\u00ebkohore ku dominon vet\u00ebdija e t\u00eb drejt\u00ebs s\u00eb zhvillimit kulturor e ekonomik t\u00eb kombeve e t\u00eb komb\u00ebsive, kulturat e komb\u00ebsive mbajn\u00eb integritetin e vet kulturor e nacional brenda kombit.<\/p>\n

Do th\u00ebn\u00eb, se edhe n\u00eb kulturat e m\u00ebdha, e edhe n\u00eb ato m\u00eb t\u00eb vogla, sot \u00ebsht\u00eb b\u00ebr\u00eb legjitime vet\u00ebdija se imponimit t\u00eb jasht\u00ebm q\u00eb i b\u00ebhet artit dhe let\u00ebrsis\u00eb duhet kund\u00ebrv\u00ebn\u00eb me refuzimin estetik. Pra duhet krijuar let\u00ebrsi t\u00eb mir\u00eb, t\u00eb q\u00ebndrueshme me qen\u00ebsi t\u00eb fort\u00eb estetike, n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb mbahet zhvillimi i saj, se ky \u00ebsht\u00eb rezultat m\u00eb i r\u00ebnd\u00ebsish\u00ebm n\u00eb aktualitetin e nj\u00eb kohe dhe n\u00eb rendin historik kulturor. Ky do t\u00eb ishte efekti praktik i refuzimit estetik kund\u00ebr \u00e7do veprimi dhe diskursi represiv. Vet\u00ebm k\u00ebshtu let\u00ebrsia mbetet let\u00ebrsi dhe ndikon n\u00eb pushtet dhe n\u00eb shoq\u00ebri. \u00c7do form\u00eb tjet\u00ebr mbetet di\u00e7ka tjet\u00ebr, me veprim tjet\u00ebr.<\/p>\n

Prishtin\u00eb, shkurt 1987<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Nga: Ibrahim Rugova 1. P\u00ebrkufizimi Refuzim do t\u00eb thot\u00eb t\u00eb mos pranosh, t\u00eb mos pranosh at\u00eb q\u00eb t\u00eb imponohet, e kjo varet nga q\u00ebndrimi personal dhe nga ai i p\u00ebrgjithsh\u00ebm. Refuzimi m\u00eb real \u00ebsht\u00eb ai q\u00eb mb\u00ebshtetet n\u00eb bindjen, e bindja n\u00eb argument, apo n\u00eb tem\u00eb th\u00ebn\u00eb me terminologji antike greke. Gjithsesi do th\u00ebn\u00eb se […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,3,7],"tags":[],"yoast_head":"\nRefuzimi estetik! - 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\/refuzimi-estetik\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Refuzimi estetik! - FjALA e LIR\u00cb - Arkivi\" \/>\n<meta property=\"og:description\" content=\"Nga: Ibrahim Rugova 1. P\u00ebrkufizimi Refuzim do t\u00eb thot\u00eb t\u00eb mos pranosh, t\u00eb mos pranosh at\u00eb q\u00eb t\u00eb imponohet, e kjo varet nga q\u00ebndrimi personal dhe nga ai i p\u00ebrgjithsh\u00ebm. 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P\u00ebrkufizimi Refuzim do t\u00eb thot\u00eb t\u00eb mos pranosh, t\u00eb mos pranosh at\u00eb q\u00eb t\u00eb imponohet, e kjo varet nga q\u00ebndrimi personal dhe nga ai i p\u00ebrgjithsh\u00ebm. Refuzimi m\u00eb real \u00ebsht\u00eb ai q\u00eb mb\u00ebshtetet n\u00eb bindjen, e bindja n\u00eb argument, apo n\u00eb tem\u00eb th\u00ebn\u00eb me terminologji antike greke. Gjithsesi do th\u00ebn\u00eb se […]","og_url":"https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/","og_site_name":"FjALA e LIR\u00cb - Arkivi","article_published_time":"2014-12-03T20:38:09+00:00","og_image":[{"url":"http:\/\/www.fjala.info\/2014\/ibrahim_rugova.jpg"}],"author":"admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"admin","Est. reading time":"27 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/#article","isPartOf":{"@id":"https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/"},"author":{"name":"admin","@id":"https:\/\/fjala.info\/2009-2015\/#\/schema\/person\/3aa1163ef05469c496fc94e77611ada2"},"headline":"Refuzimi estetik!","datePublished":"2014-12-03T20:38:09+00:00","dateModified":"2014-12-03T20:38:09+00:00","mainEntityOfPage":{"@id":"https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/"},"wordCount":5452,"commentCount":0,"publisher":{"@id":"https:\/\/fjala.info\/2009-2015\/#organization"},"image":{"@id":"https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/#primaryimage"},"thumbnailUrl":"http:\/\/www.fjala.info\/2014\/ibrahim_rugova.jpg","articleSection":["Artikuj","Histori","Let\u00ebrsi"],"inLanguage":"sq-AL","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/","url":"https:\/\/fjala.info\/2009-2015\/refuzimi-estetik\/","name":"Refuzimi estetik! 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