{"id":13921,"date":"2015-01-06T16:49:23","date_gmt":"2015-01-06T15:49:23","guid":{"rendered":"http:\/\/www.fjala.info\/?p=2663"},"modified":"2015-01-06T16:49:23","modified_gmt":"2015-01-06T15:49:23","slug":"risite-narrative-e-strukturore-te-ridvan-dibres","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/risite-narrative-e-strukturore-te-ridvan-dibres\/","title":{"rendered":"RISIT\u00cb NARRATIVE E STRUKTURORE T\u00cb RIDVAN DIBR\u00cbS"},"content":{"rendered":"

Ismet ALIU<\/strong><\/p>\n

Ridvan Dibra \u201cLegjenda e vetmis\u00eb\u201d, bot. \u201cKoha\u201d Prishtin\u00eb 2012<\/em><\/p>\n

Mund t\u00eb pohojm\u00eb se romani \u201cLegjenda e vetmis\u00eb\u201d \u00ebsht\u00eb vep\u00ebr romanore e shkruar krejt\u00ebsisht ndryshe, q\u00eb tregon p\u00ebrkushtimin dhe guximin krijues t\u00eb autorit. N\u00ebse k\u00ebt\u00eb e ka pasur q\u00ebllim, ia ka arritur.
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\nMadje, edhe n\u00eb qoft\u00eb s\u00eb Ridvan Dibra ka bashkuar ndonj\u00eb elemente t\u00eb tekstit postromantik, modernist dhe ndonj\u00eb element shum\u00eb t\u00eb rrall\u00eb postmodern, ( lloj teksti q\u00eb ka krijuar nj\u00ebfar\u00eb klisheu n\u00eb postmoderniz\u00ebm), ai k\u00ebt\u00eb nuk e ka b\u00ebr\u00eb q\u00eb t\u00eb krijoj\u00eb nj\u00eb eklektiz\u00ebm drejtimesh a rrymash letrare, por p\u00ebrkundrazi, k\u00ebt\u00eb e ka b\u00ebr\u00eb me q\u00ebllim q\u00eb t\u00eb largohet sa m\u00eb shum\u00eb nga tri drejtimet, dhe k\u00ebshtu t\u00eb krijoj\u00eb di\u00e7ka t\u00eb re n\u00eb let\u00ebrsin\u00eb shqipe. Tekefundit nga guximi i autor\u00ebve t\u00eb ndrysh\u00ebm, n\u00eb koh\u00eb dhe hap\u00ebsira t\u00eb ndryshme, kan\u00eb lindur zhanret dhe drejtimet, rrymat letrare, por, natyrisht, edhe kryeveprat.<\/p>\n

Shkrimtari Ridvan Dibra, i njohur p\u00ebr lexuesin shqiptar me veprat: \u201cThjesht\u00eb\u201d, \u201cEklipsi shpirtit\u201d, \u201cProstituta e virgj\u00ebr\u201d, \u201cNudo\u201d, \u201cStina e ujkut\u201d, \u201cFranc Kafka i shkruan t\u00eb birit\u201d, \u201cN\u00eb k\u00ebrkim t\u00eb f\u00ebmij\u00ebris\u00eb\u201d, e sidomos me \u201cTriumfi i Gjergj Elez Alis\u00eb \u201c dhe \u201cTriumfi i dyt\u00eb i Gjergj Elez Alis\u00eb\u201d, me t\u00eb cilat, (disa nga to) ve\u00e7mas me \u201cTriumfi i dyt\u00eb i Gjergj Elez Alis\u00eb\u201d solli jo sall triumfin personal, por triumfin e postmodernes n\u00eb hap\u00ebsirat e let\u00ebrsis\u00eb shqiptare, duke e pasuruar edhe m\u00eb tej; dhe, tani s\u00eb fundi, paraqitet me romanin \u201cLegjenda e vetmis\u00eb\u201d, vep\u00ebr p\u00ebr shum\u00eb\u00e7ka interesante, materiali, brumi i s\u00eb cil\u00ebs shtrohet dhe strukturohet krejt\u00ebsisht ndryshe. Dhe ky ndryshim, q\u00eb vjen p\u00ebrmes proz\u00ebs romanore moderniste me nj\u00eb tis t\u00eb holl\u00eb ngjyrimesh postromantiste, \u00ebsht\u00eb di\u00e7ka e re jo sall n\u00eb opusin autorial, por edhe m\u00eb gjer\u00eb. Pse \u00ebsht\u00eb e ri ky roman? \u00c7far\u00eb e b\u00ebn t\u00eb re k\u00ebt\u00eb vep\u00ebr?<\/p>\n

S\u00eb pari, te romani \u201cLegjenda e vetmis\u00eb\u201d kemi nj\u00eb struktur\u00eb tekstore t\u00eb re, nj\u00eb sintaks\u00eb t\u00eb re t\u00eb fjalis\u00eb dhe nj\u00eb strukturim krejt\u00ebsisht t\u00eb ri t\u00eb p\u00ebrmbajtjes q\u00eb autori e p\u00ebrcjell deri te rcepienti me leht\u00ebsi e thjesht\u00ebsi, prej t\u00eb cil\u00ebs buron magjia e bukuris\u00eb artistike narrative. N\u00eb tridhjet\u00eb kapitujt e romanit kemi nj\u00eb unitet dhe harmoni t\u00eb p\u00ebrkryer tekstore, p\u00ebrmes t\u00eb cilave nd\u00ebrtohet diskursi letrar tekstor e strukturor si dhe poetika gjuh\u00ebsore q\u00eb shenj\u00ebzon dhe krijon hap\u00ebsir\u00ebn unike, t\u00eb pandashme, t\u00eb t\u00ebr\u00ebsis\u00eb narrative. Nj\u00eb tekst me petk t\u00eb ri dhe me p\u00ebrmbajtje interesante, i zhveshur nga \u00e7do lloj p\u00ebrshkrimi q\u00eb nuk lejon shp\u00ebrqendrimin e v\u00ebmendjen nga esenca. Pra, Dibra na sjell esenc\u00ebn, dhe lexuesin e fut n\u00eb esenc\u00eb p\u00ebrmes sekuencave t\u00eb esenc\u00ebs, e jo p\u00ebrmes lagjeve periferike narrative. \u00c7do kapitull nis me tri fjali t\u00eb shkurtra q\u00eb jan\u00eb nyje tekstore t\u00eb kapitullit dhe p\u00ebrfundon poashtu me tri fjali q\u00eb do t\u00eb mund t\u00eb merrej si epilog i kapitullit. Edhe ata t\u00eb fillimit t\u00eb kapitullit edhe k\u00ebto t\u00eb p\u00ebrfundimit kan\u00eb rolin e fjal\u00ebve \u00e7el\u00ebs si tek poezia.<\/p>\n

MODERNIZMI\/POSTMODERNIZMI APO DI\u00c7KA JASHT\u00cb T\u00cb DYJAVE<\/b><\/p>\n

Si duket, Dibra duke qen\u00eb p\u00ebrher\u00eb gjurmues i avangard\u00ebs risis\u00eb, e ve\u00e7mas te \u201cLegjenda e vetmis\u00eb\u201d \u00ebsht\u00eb st\u00ebrngopur me proz\u00ebn postmoderniste (p\u00ebrfaq\u00ebsuesit m\u00eb eminent t\u00eb let\u00ebrsis\u00eb shqipe: R. Qosja, B. Blushi, B. shehu, A. Apolloni, B. Hoxha, Z. Rrahmani, K. Rrahmani etj.) por edhe me proz\u00ebn moderniste (p\u00ebrfaq\u00ebsuesit m\u00eb eminent ( I. Kadare, A. Pashku, F. Arapi, D. Agolli, T. Dervishi, B. Musliu, M. Ramadani, Z. Rrahmani, M. Kraja, A. Tufa, G. Krasniqi, A. Leka, G. Aliu etj.,) prandaj dhe b\u00ebn p\u00ebrpjekje t\u00eb krijoj\u00eb di\u00e7ka t\u00eb re, krejt\u00ebsisht t\u00eb re, q\u00eb do t\u00eb ishte jasht\u00eb shablonev e sterotipeve, t\u00eb cilat, edhe pa dashje krijohen qoft\u00eb si frym\u00eb, qoft\u00eb si model, madje edhe te pjesa m\u00eb e sh\u00ebndetshme e let\u00ebrsis\u00eb. Prandaj hasim sekuenca q\u00eb tentojn\u00eb t\u00eb sjellin risi brenda opusit autorial, ose tendenc\u00eb p\u00ebr risi brenda let\u00ebrsis\u00eb, gj\u00eb t\u00eb cil\u00ebn e kemi hasur si sekuenc\u00eb edhe m\u00eb her\u00ebt t\u00eb Dibra, por te proza romanore, \u201cLegjenda e Vetmis\u00eb\u201d tani m\u00eb \u00ebsht\u00eb q\u00ebllim par\u00ebsor q\u00eb t\u00eb krijoj\u00eb di\u00e7ka te re.<\/p>\n

Autori krijon nj\u00eb tekst autorial homogjen, artistik dhe nj\u00eb poetik\u00eb krejt\u00ebsisht origjinale q\u00eb ng\u00ebrthehet brenda stilit personal, ku t\u00eb folurit poetik nd\u00ebrtohet me figura t\u00eb leht\u00ebzb\u00ebrthyeshme dhe ku fjalia e shkurt\u00ebr, e sakt\u00eb e dinamike, ndonj\u00ebher\u00eb me varg t\u00eb thyer q\u00ebllimsh\u00ebm, ka nj\u00eb fuqi dhe bukuri sintaksore dhe mjetet artistike s\u00eb bashku me mesazhin e pasazhin e sekuencat e ndryshme nd\u00ebrveprojn\u00eb p\u00ebr nd\u00ebrtimin e t\u00ebr\u00ebsis\u00eb tekstore, ngjarjes.<\/p>\n

Romanin \u201cLegjenda e vetmis\u00eb\u201d nuk mund ta definojm\u00eb thjesht\u00eb si krijim sall modern me elemente t\u00eb atyk\u00ebtueshme postmoderne, ngase shohim se autori nuk ka pasur p\u00ebr q\u00ebllim drejtimin, rrym\u00ebn letrare, por q\u00ebllimi i tij final ka qen\u00eb t\u00eb krijoj\u00eb di\u00e7ka jasht\u00eb dy rrymave, e kujtoj se ka arritur q\u00eb t\u00eb krijoj\u00eb nj\u00eb tekst romanor q\u00eb mund t\u00eb quhet thjesht\u00ebsi e bukur dhe q\u00eb frymon jasht\u00eb dy shabloneve t\u00eb m\u00ebdha, dhe s\u00eb k\u00ebndejmi ka arritur t\u2019i bashkoj\u00eb s\u00eb paku p\u00ebrafroj\u00eb lexuesit: at\u00eb model dhe lexuesin e painformuar mir\u00eb mbi let\u00ebrsin\u00eb. T\u2019i afroj\u00eb n\u00eb at\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb mos ket\u00eb polarizime e kund\u00ebrshtime t\u00eb m\u00ebdha p\u00ebr tekstin.<\/p>\n

Mahnit\u00ebse \u00ebsht\u00eb, madje p\u00ebr \u00e7far\u00ebdoqoft\u00eb kategorie lexuesish fakti se si Ridvan Dibra p\u00ebrmes nj\u00eb thjesht\u00ebsi t\u00eb papar\u00eb arrin deri te zemra e s\u00eb bukur\u00ebs. Diskursi mitik, realja dhe arealja, brenda prosedeut romanor na jepen p\u00ebrmes nj\u00eb gjuhe poetike q\u00eb v\u00eb n\u00eb spikam\u00eb relacione me gjuh\u00ebn e p\u00ebrditshm\u00ebris\u00eb. Ai shkrin proz\u00ebn narrative, proz\u00ebn poetike, (H\u00ebna \u00ebsht\u00eb e plot\u00eb dhe gjaku mbi gjoksin e atit duket si argjend i shkrir\u00eb. F.21) poezin\u00eb konkretiste dhe gjuh\u00ebn e p\u00ebrditshm\u00ebris\u00eb, dhe k\u00ebshtu krijon nj\u00eb mesazh q\u00eb n\u00eb asnj\u00eb moment, n\u00eb asnj\u00eb pjes\u00eb t\u00eb tekstit t\u00eb mos krijoj\u00eb refuzim tek recepienti.<\/p>\n

Fjalia n\u00eb tekst \u00ebsht\u00eb e shkurt\u00ebr e thuk\u00ebt e sakt\u00eb, ndonj\u00ebher\u00eb e rrudhur q\u00ebllimisht, figuracionale ose e path\u00ebn\u00eb q\u00eb pasqyrohet p\u00ebrmes pikave t\u00eb heshtjes, q\u00eb t\u00eb gjith\u00eb hap\u00ebsir\u00ebn tekstore e shenjon si hap\u00ebsir\u00eb t\u00eb par\u00ebndomt\u00eb vetmie tragjike t\u00eb r\u00ebnd\u00eb, ku nuk flitet shum\u00eb, pos asaj q\u00eb \u00ebsht\u00eb e domosdoshme. Edhe \u00ebndrrat, edhe kujtimet, edhe shpresat poashtu, si sh\u00ebnjues referencial t\u00eb dhembjes, na jepen p\u00ebrmes nj\u00eb gjuhe t\u00eb sakt\u00eb, t\u00eb prer\u00eb nga rrethana d\u00ebnesjesh. Teksa e lexojm\u00eb romanin \u201cLegjenda e vetmis\u00eb\u201d, po e p\u00ebrs\u00ebris edhe nj\u00ebher\u00eb, se shohim q\u00eb autori ka pasur guxim t\u00eb zbres\u00eb n\u00eb thell\u00ebsit\u00eb marramend\u00ebse t\u00eb thjesht\u00ebsis\u00eb s\u00eb bukur, dhe prej andej e ka nxjerr\u00eb t\u00eb bukur\u00ebn e madh\u00ebrishme, artistiken, si kategori estetike, t\u00eb p\u00eblqyeshme dhe t\u00eb pranueshme p\u00ebr t\u00eb gjith\u00eb, pra t\u00eb bukur\u00ebn q\u00eb m\u00ebton t\u00eb universializohet.<\/p>\n

Ridvan Dibra subjektin p\u00ebr romanin \u201cLegjenda e vetmis\u00eb\u201d e merr nga eposi i k\u00ebng\u00ebve kreshnike, gj\u00eb t\u00eb cil\u00ebn na e lajm\u00ebron n\u00eb hyrje t\u00eb romanit, duke vendosur distihun: \u201cNana djalin ka qorrue,\/me gjaks t\u2019 burrit m\u2019u martue\u201d. Vargje q\u00eb jan\u00eb shenjuese t\u00eb materies dhe prej t\u00eb cilave t\u00eb ngjethet misht. Krejt teksti romanor te \u201cLegjenda e vetmis\u00eb\u201d ka disa pika ky\u00e7e, apo nyje narrative, t\u00eb cilat nyj\u00ebtohen n\u00eb nj\u00eb pik\u00eb t\u00eb vetme dhe nd\u00ebrtojn\u00eb esenc\u00ebn romanore, p\u00ebrmes t\u00eb cil\u00ebs ne kuptojm\u00eb se deri ku mund t\u00eb arrij\u00eb err\u00ebsira njer\u00ebzore. Rrath\u00ebt referencial q\u00eb e p\u00ebrshkojn\u00eb dhe e ushqejn\u00eb esenc\u00ebn do t\u00eb ishin: a) Vrasja me paramendim, b) fshehja e krimit, c) p\u00ebrs\u00ebritja e krimit, \u00e7) dy skajet e vetmis\u00eb s\u00eb Bal\u00ebs, vetmis\u00eb q\u00eb merr p\u00ebrmasa mitike e tragjike. Dhe n\u00eb gjith\u00eb k\u00ebt\u00eb vetmi, n\u00eb qendr\u00ebn e saj t\u00eb ftoht\u00eb oqeanike ndodhet Bala tragjik.<\/p>\n

KRIJIMI I PERSONAZHIT T\u00cb Q\u00cbNDRUESH\u00cbM<\/b><\/p>\n

Dibra krijon personazhin kompleks e t\u00eb q\u00ebndruesh\u00ebm, tiparet e t\u00eb cilit mund t\u2019i gjejm\u00eb te tragjedit\u00eb antike ose tek klasiku e babai i tragjedis\u00eb: Shekspiri. N\u00eb tekstin romanor, autori gjen m\u00ebnyr\u00ebn dhe mjetet e nd\u00ebrtimit t\u00eb rr\u00ebfimit, t\u00eb tilla q\u00eb p\u00ebrmes sekuencave, t\u00eb arrij\u00eb te esenca tematike e karakterologjike e heroit, t\u00eb krijoj personazhin, heroin tragjik, t\u00eb cilin nj\u00ebkoh\u00ebsisht recepienti do ta adhuroj\u00eb, m\u00ebshiroj\u00eb (adhurim p\u00ebr shkak t\u00eb m\u00ebshir\u00ebs) dhe do ta urrej\u00eb, p\u00ebr shkak se ndonj\u00ebher\u00eb ta kujton kryepersonazhin e Steinbekut, tek romani \u201cNjer\u00ebz dhe minj\u201d, q\u00eb \u00ebsht\u00eb gati identik me personazhin e Dibr\u00ebs, p\u00ebr nga papjekuria mendore. Bala, heroi tragjik i proz\u00ebs moderne romanore \u201cLegjenda e vetmis\u00eb\u201d, nuk e l\u00eb lexuesin t\u00eb q\u00ebndroj\u00eb indiferent; \u00ebsht\u00eb nj\u00eb tragjiz\u00ebm q\u00eb tek ai \u00ebsht\u00eb shfaqur q\u00eb nga f\u00ebmij\u00ebria, madje q\u00eb n\u00eb ngjizje. Bala as e ka zgjedhur k\u00ebt\u00eb, as ka ditur t\u00eb dal\u00eb nga ky tunel i mbyllur.<\/p>\n

Tragjizmi i Bal\u00ebs, tek lexuesi do t\u00eb zgjoj\u00eb iritimin dhe m\u00ebshir\u00ebn nj\u00ebkoh\u00ebsisht. Heroi tragjik te \u201cLegjend\u00ebs s\u00eb vetmis\u00eb\u201d, i vetmis\u00eb s\u00eb madhe e t\u00eb pakompromis, \u00ebsht\u00eb artist i lindur, i kredhur n\u00eb nj\u00eb ankth t\u00eb pafundm\u00eb, ku do t\u00eb humbas edhe perceptimin si artist, dhe me k\u00ebt\u00eb humbje ai shk\u00ebput t\u00eb gjitha lidhjet me realitetin, me racionalen, me bot\u00ebn q\u00eb e rrethon. Nga bota e t\u00eb gjall\u00ebve ai ka iritim t\u00eb thell\u00eb, urrejtje, sepse vet\u00eb ai realitet i pashpirt e ka mbyllur n\u00eb zindanet e vetmis\u00eb, prandaj heroi dialogon me atin e vdekur dhe me bot\u00ebn e sendeve. N\u00eb k\u00ebt\u00eb tekst, p\u00ebrve\u00e7 tjerash, ngrihet edhe problematika e artistit, ku Bala del edhe si prototip i artistit tragjik t\u00eb i fatit t\u00eb pan\u00ebnshkruar nga ai.<\/p>\n

Meq\u00eb sall i ati e ka dashur sinqerisht Bal\u00ebn, dhe e ka kuptuar sinqerisht at\u00eb, ai i drejtohet atij dhe merr p\u00ebrgjigje nga ai, ku me sa duket Bala pik\u00eb mistike e mitike, mb\u00ebshtet\u00ebse e b\u00ebn baban\u00eb, dhe n\u00eb at\u00eb vetmi hazarde, rr\u00ebnohet muri mes reales dhe ireales, krijohet nj\u00eb realitet i ri, i \u00ebnd\u00ebrrt q\u00eb p\u00ebrs\u00ebritet n\u00eb gjum\u00eb dhe zgjuar, ku kryeheroi m\u00eb s\u2019\u00ebsht\u00eb artist por qenie q\u00eb ngadal\u00eb shnd\u00ebrrohet n\u00eb hije dhe l\u00ebviz paduksh\u00ebm. Dialog\u00ebt me atin e vdekur jan\u00eb t\u00eb shkurt\u00ebr, t\u00eb cil\u00ebt si nj\u00eb \u00e7ast vet\u00ebtime shndrisin n\u00eb err\u00ebsir\u00ebn e thell\u00eb t\u00eb vetmis\u00eb. Bala tragjik, i posht\u00ebruar nga injoranca e bot\u00ebs q\u00eb e rrethon, dhe i braktisur, ka humbur orientimin n\u00eb pyllin e err\u00ebt t\u00eb fatit\/fatalitetit, prandaj dhe i shtron pyetje atit, dhe merr p\u00ebrgjigje nga ai, k\u00ebshtu bota e t\u00eb vdekurit dhe e t\u00eb gjallit komunikojn\u00eb. Kjo \u00ebsht\u00eb gjetja, me t\u00eb cil\u00ebn Bala e shmang mund\u00ebsin\u00eb e vet\u00ebvrasjes dhe \u00e7menduris\u00eb. Por edhe m\u00eb tragjike se vdekja na del vet\u00eb jeta, sepse: \u201cBala, tash, sheh ve\u00e7 terr.\/P\u00ebrjashta.\/ Edhe brenda vetes. (F. 98)<\/p>\n

Triniteti n\u00ebn\u00eb-djal\u00eb-bab\u00eb nuk \u00ebsht\u00eb shp\u00ebrb\u00ebr\u00eb as me vdekjen e babait, as me martes\u00ebn e n\u00ebn\u00ebs me gjaksin e burrit, por ai trinitet i shenjt\u00eb nuk ka ekzistuar, dhe nga mungesa e k\u00ebtij triniteti Bala shnd\u00ebrrohet n\u00eb personazhin m\u00eb tragjik n\u00eb let\u00ebrsin\u00eb shqipe.<\/p>\n

Nj\u00eb risi tjet\u00ebr q\u00eb do ta hasim \u00ebsht\u00eb se autori n\u00eb asnj\u00eb moment nuk \u00ebsht\u00eb pjes\u00eb e ngjarjes, dhe ngjarja nd\u00ebrthuret pa nd\u00ebrhyrjen emocionale t\u00eb narratorit autor, t\u00eb narratorit komentues, t\u00eb narratorit personazh etj. Pra, autori faktikisht, fizikisht dhe emocionalisht \u00ebsht\u00eb jasht\u00eb ngrehin\u00ebs tekstore t\u00eb romanit, prandaj tekstin e karakterizon nj\u00eb ftoht\u00ebsi dhe indiferentiz\u00ebm i \u00e7uditsh\u00ebm. Edhe pse gjith\u00e7ka, ndaj gjith\u00e7kaje sillet n\u00eb nj\u00eb rreth t\u00eb mbyllur indiference e ftoht\u00ebsie t\u00eb padurueshme, kurrkund brenda tekstit aq g\u00ebrryes nuk shfaqen shenja t\u00eb pesimizmit e nihilizmit, me t\u00eb cilat \u00ebsht\u00eb tejngopur let\u00ebrsia bashk\u00ebkohore edhe modern, edhe postmoderne.<\/p>\n

I gjith\u00eb rr\u00ebfimi i dram\u00ebs, (tragjedis\u00eb) q\u00eb ndodh n\u00eb Egobok\u00eb, topik\u00eb tanim\u00eb e njohur nga \u201cTriumfi\u2026\u201d dhe \u201cTriumfi i dyt\u00eb i Gjergj Elez Alis\u00eb\u201d etj., kap nj\u00eb periudh\u00eb pak m\u00eb shum\u00eb se 10 vje\u00e7e. Drama, p\u00ebrve\u00e7 nd\u00ebrfutjeve t\u00eb rralla t\u00eb retrospekcionit, q\u00eb kapin fare pak hap\u00ebsir\u00eb tekstore, kryesisht me ndonj\u00eb fjali, gjithnj\u00eb \u00ebsht\u00eb narracion perspektiv me sintaks\u00eb t\u00eb zgjedhur dhe t\u00eb fuqishme narrative. Risi n\u00eb k\u00ebt\u00eb tekst romanor na shfaqet edhe ajo se autori as nuk na e tregon ngjarjen, as nuk jep komente mbi ngjarjet, ndodhit\u00eb, b\u00ebmat. Ky segment, pra kur autori \u00ebsht\u00eb krejt jasht\u00eb tekstit, thurjes s\u00eb rrjetit t\u00eb tekstur\u00ebs narrative, haset koh\u00ebve t\u00eb fundit n\u00eb let\u00ebrsin\u00eb bashk\u00ebkohore evropiane, por s\u2019e kam hasur n\u00eb let\u00ebrsin\u00eb shqipe, p\u00ebrve\u00e7se tejet fragmentarisht.<\/p>\n

Dhe, n\u00eb fund, p\u00ebr romanin \u201cLegjenda e vetmis\u00eb\u201d nuk mund t\u00eb themi se \u00ebsht\u00eb kryevep\u00ebr e Ridvan Dibr\u00ebs, madje nuk guxojm\u00eb t\u00eb themi pa nj\u00eb studim serioz t\u00eb t\u00eb gjith\u00eb opusit, por pa hezitim, mund t\u00eb pohojm\u00eb se romani \u201cLegjenda e vetmis\u00eb\u201d \u00ebsht\u00eb vep\u00ebr romanore e shkruar krejt\u00ebsisht ndryshe, q\u00eb tregon p\u00ebrkushtimin dhe guximin krijues t\u00eb autorit. N\u00ebse autori k\u00ebt\u00eb e ka pasur q\u00ebllim, padyshim q\u00eb ia ka arritur. Madje, edhe n\u00eb qoft\u00eb s\u00eb Ridvan Dibra ka bashkuar ndonj\u00eb elemente t\u00eb tekstit postromantik, modernist dhe ndonj\u00eb element shum\u00eb t\u00eb rrall\u00eb postmodern, (lloj tekst q\u00eb ka krijuar nj\u00ebfar\u00eb klisheu n\u00eb postmoderniz\u00ebm, sidomos kur kemi t\u00eb b\u00ebjm\u00eb me eklektiz\u00ebm zhanresh) ai k\u00ebt\u00eb nuk e ka b\u00ebr\u00eb q\u00eb t\u00eb krijoj\u00eb nj\u00eb eklektiz\u00ebm drejtimesh a rrymash letrare, por p\u00ebrkundrazi, k\u00ebt\u00eb e ka b\u00ebr\u00eb me q\u00ebllim q\u00eb t\u00eb largohet sa m\u00eb shum\u00eb nga tri drejtimet, dhe k\u00ebshtu t\u00eb krijoj\u00eb di\u00e7ka t\u00eb re n\u00eb let\u00ebrsin\u00eb shqipe. Tekefundit nga guximi i autor\u00ebve t\u00eb ndrysh\u00ebm, n\u00eb koh\u00eb dhe hap\u00ebsira t\u00eb ndryshme, kan\u00eb lindur zhanret dhe drejtimet, rrymat letrare, por, natyrisht, edhe kryeveprat.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ismet ALIU Ridvan Dibra \u201cLegjenda e vetmis\u00eb\u201d, bot. \u201cKoha\u201d Prishtin\u00eb 2012 Mund t\u00eb pohojm\u00eb se romani \u201cLegjenda e vetmis\u00eb\u201d \u00ebsht\u00eb vep\u00ebr romanore e shkruar krejt\u00ebsisht ndryshe, q\u00eb tregon p\u00ebrkushtimin dhe guximin krijues t\u00eb autorit. N\u00ebse k\u00ebt\u00eb e ka pasur q\u00ebllim, ia ka arritur. Madje, edhe n\u00eb qoft\u00eb s\u00eb Ridvan Dibra ka bashkuar ndonj\u00eb elemente 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":[2,7,10],"tags":[],"yoast_head":"\nRISIT\u00cb NARRATIVE E STRUKTURORE T\u00cb RIDVAN DIBR\u00cbS - 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\/risite-narrative-e-strukturore-te-ridvan-dibres\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"RISIT\u00cb NARRATIVE E STRUKTURORE T\u00cb RIDVAN DIBR\u00cbS - FjALA e LIR\u00cb - Arkivi\" \/>\n<meta property=\"og:description\" content=\"Ismet ALIU Ridvan Dibra \u201cLegjenda e vetmis\u00eb\u201d, bot. \u201cKoha\u201d Prishtin\u00eb 2012 Mund t\u00eb pohojm\u00eb se romani \u201cLegjenda e vetmis\u00eb\u201d \u00ebsht\u00eb vep\u00ebr romanore e shkruar krejt\u00ebsisht ndryshe, q\u00eb tregon p\u00ebrkushtimin dhe guximin krijues t\u00eb autorit. 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