{"id":3000,"date":"2013-06-10T09:15:48","date_gmt":"2013-06-10T08:15:48","guid":{"rendered":"http:\/\/fjala.info\/?p=3000"},"modified":"2013-06-10T09:15:48","modified_gmt":"2013-06-10T08:15:48","slug":"konceptimi-estetik-i-jan-mukarovskyt-ne-kuader-te-strukturalizmit-te-prages","status":"publish","type":"post","link":"https:\/\/fjala.info\/2009-2015\/konceptimi-estetik-i-jan-mukarovskyt-ne-kuader-te-strukturalizmit-te-prages\/","title":{"rendered":"KONCEPTIMI ESTETIK I JAN MUKAROVSKYT N\u00cb KUAD\u00cbR T\u00cb STRUKTURALIZMIT T\u00cb PRAG\u00cbS"},"content":{"rendered":"

ARS POETICA Nr. 1, N\u00ebntor 2007<\/em><\/p>\n

Ulrike Hoinkis<\/strong>
\n(P\u00ebrkthyer dhe p\u00ebrgatitur p\u00ebr Ars Poetica nga: Lindita Komani, publikuar n\u00eb Nr. 1, N\u00ebntor 2007<\/em>)<\/p>\n

1. Hyrje<\/strong>
\nRrethi linguistik i Prag\u00ebs luajti nj\u00eb rol udh\u00ebrr\u00ebfyes n\u00eb shkenc\u00ebn moderne t\u00eb artit. Strukturalizmi atje i p\u00ebrfaq\u00ebsuar dhe m\u00eb tej i zhvilluar ndikoi jo vet\u00ebm shkenc\u00ebn \u00e7eke t\u00eb artit, por u p\u00ebrhap dhe n\u00eb vende t\u00eb tjera evropiane. K\u00ebshtu p\u00ebr shembull strukturalizmi francez u ndikua nga ai i Prag\u00ebs.<\/p>\n

Jan Mukarovsk\u00fd luajti nj\u00eb rol dometh\u00ebn\u00ebs n\u00eb strukturalizmin \u00e7ekosllovak. Ai qe jo vet\u00ebm nd\u00ebr an\u00ebtar\u00ebt themelues t\u00eb rrethit linguistik t\u00eb Prag\u00ebs dhe nj\u00eb nd\u00ebr kokat drejtuese t\u00eb k\u00ebsaj l\u00ebvizjeje, por qe dhe p\u00ebrfaq\u00ebsuesi m\u00eb i shquar i estetik\u00ebs strukturaliste \u00e7eke. Mendimet ky\u00e7e t\u00eb estetik\u00ebs s\u00eb tij do t\u00eb paraqiten n\u00eb k\u00ebt\u00eb punim. Duke marr\u00eb parasysh madh\u00ebsin\u00eb e k\u00ebtij punimi p\u00ebr shembujt e aplikimit do t\u00eb jepet vet\u00ebm referenca n\u00eb literatur\u00eb.<\/p>\n

2. Nj\u00eb sh\u00ebnim mbi strukturalizmin<\/strong><\/p>\n

P\u00ebr strukturalizmin nuk ka asnj\u00eb pyetje n\u00eb shkenc\u00ebn e let\u00ebrsis\u00eb q\u00eb mund t\u2019i shmanget konceptimit thelb\u00ebsor t\u00eb t\u00eb t\u00ebr\u00ebsishmes dhe n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb dialektikes; k\u00ebtu mb\u00ebshtetet kompakt\u00ebsia e tij e brendshme. (Mukarovsk\u00fd 1966:23) Strukturalizmi nuk \u00ebsht\u00eb nj\u00eb sistem teorik i mbyllur, por nj\u00eb princip i p\u00ebrgjithsh\u00ebm, i hapur shkencor, i cili mund t\u00eb aplikohet n\u00eb disa fusha shkencore. (Mukarovsk\u00fd 1977:295) Ai mb\u00ebshtetet mbi shk\u00ebmbimin e vazhduesh\u00ebm mes rezultateve t\u00eb analiz\u00ebs s\u00eb materialit konkret dhe modeleve e hipotezave teorike, t\u00eb cilat sidoqoft\u00eb u sakt\u00ebsuan dhe korrigjuan sa i p\u00ebrket njohurive t\u00eb reja. U b\u00eb p\u00ebrpjekja p\u00ebr krijimin e nj\u00eb nj\u00ebsie t\u00eb re teorie dhe k\u00ebrkimi empirik. (Mukarovsk\u00fd 1977:295) Mukarovsk\u00fd p\u00ebr shembull u mor intensivisht me M\u00e1chas M\u00e1j si dhe me vepra t\u00eb tjera t\u00eb autor\u00ebve \u00e7ek\u00eb.<\/p>\n

U analizua mes t\u00eb tjerash aspekti i kuptimit t\u00eb poezis\u00eb, cil\u00ebsimi dhe struktura poetike (Mukarovsk\u00fd 1966:18f), zhvillimi imanent i struktur\u00ebs poetike dhe rregullave t\u00eb saj dhe roli i ndikimeve t\u00eb jashtme (p\u00ebr shembull edhe personaliteti i poetit). N\u00eb vitet e veta t\u00eb vona strukturalizmi iu afrua dialektik\u00ebs materialiste dhe materializmit historik. (Mukarovsk\u00fd 1977:306)<\/p>\n

3.1. Origjina t\u00eb strukturalizmit \u00e7ek<\/strong><\/p>\n

Strukturalizmi i Prag\u00ebs pati (n\u00eb fillimet e veta) q\u00ebllimin t\u00eb zgjidhte pyetje, t\u00eb cilat nuk qen\u00eb zgjidhur ose qen\u00eb zgjidhur pjes\u00ebrisht nga rryma t\u00eb m\u00ebparshme shkencore. (Mukarovsk\u00fd 1966:10)
\nNj\u00eb rol t\u00eb r\u00ebnd\u00ebsish\u00ebm n\u00eb krijimin e strukturalizmit \u00e7ek dhe t\u00eb strukturalizmit n\u00eb p\u00ebrgjith\u00ebsi luajti gjuh\u00ebsia dhe semiotika moderne. N\u00eb nd\u00ebrrimin e shekujve u shfaq nd\u00ebr gjuh\u00ebtar\u00ebt nj\u00eb perceptim i ri mbi gjuh\u00ebn. N\u00eb m\u00ebnyr\u00eb aktive n\u00eb k\u00ebt\u00eb zhvillim u p\u00ebrfshi ve\u00e7an\u00ebrisht Ferdinand de Saussure (1857-1913). Ai e ndau gjuh\u00ebn n\u00eb langue dhe parole, n\u00eb gjuh\u00ebn si sistem dhe gjuh\u00ebn si fjal\u00eb. P\u00ebrtej k\u00ebsaj ai e kuptoi gjuh\u00ebn si sistem shenjash. K\u00ebshtu me de Saussure u krijua nj\u00eb perceptim objektiv, n\u00eb form\u00eb sistemi p\u00ebr gjuh\u00ebn. (Chvat\u00edk 11f) Ky perceptim u nd\u00ebrtua m\u00eb tej prej strukturalist\u00ebve. Edhe formalizmi rus u p\u00ebrfshi dhe u zhvillua m\u00eb tej n\u00eb strukturalizmin e Prag\u00ebs. (Mukarovsk\u00fd 1977:294)<\/p>\n

3.2. Rrethi gjuh\u00ebsor i Prag\u00ebs<\/strong><\/p>\n

Rrethi gjuh\u00ebsor i Prag\u00ebs u themelua n\u00eb vitin 1926 me iniciativ\u00ebn e Vil\u00e9m Mathesius. Gjithashtu t\u00eb p\u00ebrfshir\u00eb n\u00eb themelim qen\u00eb mes t\u00eb tjer\u00ebsh Jan Mukarovsk\u00fd dhe Roman Jakobson. Rrethi nuk p\u00ebrb\u00ebhej vet\u00ebm nga gjuh\u00ebtar\u00eb, por edhe nga shkenc\u00ebtar\u00eb t\u00eb shkencave t\u00eb natyr\u00ebs, filozof\u00eb, estet\u00eb, etj. (Chvat\u00edk 13f) Rrethi gjuh\u00ebsor i Prag\u00ebs krijoi qendr\u00ebn e nj\u00eb kuptimi \u201cfunksional-struktural t\u00eb gjuh\u00ebs\u201d (Chvat\u00edk 13), q\u00eb e mohoi kuptimin substancial t\u00eb bukuris\u00eb n\u00eb art. (Mukarovsky 1977:295)<\/p>\n

3.3. Bazat e strukturalizmit \u00e7ek<\/strong><\/p>\n

P\u00ebrfaq\u00ebsuesit e strukturalizmit \u00e7ek, q\u00eb u zhvillua n\u00eb rrethin linguistik t\u00eb Prag\u00ebs, p\u00ebrpiqeshin ta analizonin gjuh\u00ebn sipas funksioneve, t\u00eb cilat ajo \u201cp\u00ebrmbush n\u00eb kuad\u00ebr t\u00eb veprimtaris\u00eb njer\u00ebzore\u201d (Chvat\u00edk 14). Theksohej t\u00ebr\u00ebsia strukturore e gjuh\u00ebs dhe e shfaqjeve gjuh\u00ebsore. P\u00ebr ta kuptuar gjuh\u00ebn nevojitet nj\u00eb sistem, tek i cili b\u00ebn pjes\u00eb shfaqja gjuh\u00ebsore. D\u00ebshirohej k\u00ebshtu t\u2019i jepej gjuh\u00ebs nj\u00eb struktur\u00eb (shih 4.3.). Struktura e gjuh\u00ebs tek strukturalist\u00ebt e Prag\u00ebs \u00ebsht\u00eb n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb dialektike, q\u00eb do t\u00eb thot\u00eb se ekzistojn\u00eb disa marr\u00ebdh\u00ebnie shk\u00ebmbimi t\u00eb forcave mes element\u00ebve t\u00eb gjuh\u00ebs, t\u00eb cil\u00ebt jan\u00eb shpesh kontradiktore. Prej k\u00ebsaj strukturalist\u00ebt nxor\u00ebn nj\u00eb nj\u00ebsi t\u00eb struktur\u00ebs dhe procesit. (Chvat\u00edk 16)
\nNisja m\u00eb tej u b\u00eb nga nj\u00ebj\u00ebsia e sinkrones dhe diakrones dhe nga nj\u00ebj\u00ebsia e gjuh\u00ebsis\u00eb dhe poetik\u00ebs. P\u00ebr t\u00eb fundit u argumentua q\u00eb pik\u00ebrisht poezia p\u00ebrmes karakterit t\u00eb saj funksional dhe semiotik e mund\u00ebson, q\u00eb problematika gjuh\u00ebsore t\u00eb shihet n\u00eb t\u00ebr\u00ebsin\u00eb e gjuh\u00ebsis\u00eb (Chvat\u00edk 15)<\/p>\n

Analiza strukturore e gjuh\u00ebs s\u00eb poezis\u00eb dhe nd\u00ebrtimit t\u00eb vepr\u00ebs s\u00eb artit u kthye n\u00eb pik\u00eb fillestare p\u00ebr studimin e let\u00ebrsis\u00eb. Uniciteti i gjuh\u00ebs s\u00eb poetit dhe nd\u00ebrtimit t\u00eb nj\u00eb vepre arti nuk u pa n\u00eb m\u00ebnyr\u00eb individuale dhe thjesht t\u00eb rast\u00ebsishme, por u argumentua, q\u00eb p\u00ebrmes automatizimit dhe deautomatizimit, kanonizimit dhe dekanonizimit t\u00eb mjeteve t\u00eb ve\u00e7anta strukturore dhe proceseve artistike kristalizohet nj\u00eb radh\u00eb e caktuar. (Mukarovsk\u00fd 1977:304)<\/p>\n

4.1. Zhvillimi i Mukarovsk\u00fd-t<\/strong><\/p>\n

N\u00eb vepr\u00ebn e Mukarovsk\u00fd-t sipas Chvat\u00edk (25) njihen kat\u00ebr shkall\u00eb zhvillimi. Periudha e par\u00eb zgjati q\u00eb prej 1923 deri n\u00eb 1928 dhe cil\u00ebsohet nga Mukarovsk\u00fd vet\u00eb si periudh\u00eb e \u201eobjektivizmit estetik\u201c. N\u00eb fillim t\u00eb k\u00ebsaj shkalle ai e gjen frym\u00ebzimin e tij ende n\u00eb traditat \u00e7eke dhe autor\u00ebt evropianoper\u00ebndimor\u00eb, i afrohet ama m\u00eb von\u00eb formalizmit rus. Ai u nis n\u00eb fakt nga analiza e vepr\u00ebs, megjithat\u00eb tejkaloi kufirin e formalizmit me pyetjen rreth kuptimit t\u00eb p\u00ebrgjithsh\u00ebm, lidhjes me pjes\u00ebn tjet\u00ebr t\u00eb shoq\u00ebris\u00eb, me t\u00ebr\u00ebsin\u00eb e realitetit shoq\u00ebror dhe kuptimit t\u00eb njeriut n\u00eb t\u00ebr\u00ebsi (Mukarovsk\u00fd)<\/p>\n

N\u00eb k\u00ebt\u00eb shkall\u00eb orientimi objektiv luan nj\u00eb rol primar mbi tekstin. Vepra m\u00eb dometh\u00ebn\u00ebse e k\u00ebsaj kohe \u00ebsht\u00eb Mach\u00fav M\u00e1j (1928), me t\u00eb cil\u00ebn mbaron dhe kjo periudh\u00eb. N\u00eb parath\u00ebnie ai paraqet nj\u00eb p\u00ebrcaktim detyrash t\u00eb poetik\u00ebs, q\u00eb \u00ebsht\u00eb shum\u00eb i ngjash\u00ebm me formalizmin e past\u00ebr. Nj\u00eb analiz\u00eb estetike e vepr\u00ebs duhet t\u00eb gjej\u00eb cil\u00ebsit\u00eb n\u00eb vep\u00ebr, q\u00eb \u201ee kusht\u00ebzojn\u00eb veprimin e saj estetik\u201c. Vepra duhet t\u00eb analizohet pa marr\u00eb parasysh lidhjet me autorin e saj dhe t\u00eb v\u00ebrtet\u00ebn e jashtme (Chvat\u00edk 25)<\/p>\n

N\u00eb periudh\u00ebn e dyt\u00eb (1934-1941), periudh\u00ebn e t\u00eb ashtuquajturit \u201estrukturaliz\u00ebm klasik funksional\u201c, Mukarovsk\u00fd distancohet nga formalizmi rus. Ai e p\u00ebrkufizon vepr\u00ebn e artit tani si \u201ekonkretizim t\u00eb struktur\u00ebs imateriale mbiindividuale, e cila zhvillohet n\u00eb m\u00ebnyr\u00eb t\u00eb pand\u00ebrprer\u00eb\u201c (Chvat\u00edk 25). Ai e percepton gjithashtu vepr\u00ebn si nj\u00eb struktur\u00eb shenjash dhe me dialektik\u00ebn e estetikes e vendos poetik\u00ebn mbi nj\u00eb baz\u00eb t\u00eb re strukturale-funksionale.<\/p>\n

N\u00eb faz\u00ebn prej 1941 deri n\u00eb 1948 Mukarovsk\u00fd zhvendos fokusin mbi k\u00ebrkimin e pozicioneve fillestare filozofike t\u00eb estetik\u00ebs (Chvat\u00edk 25). Shum\u00eb prej mendimeve t\u00eb lindura n\u00eb k\u00ebt\u00eb koh\u00eb u sqaruan n\u00eb m\u00ebnyr\u00eb t\u00eb pak\u00ebnaqshme. Mukarovsk\u00fd u p\u00ebrpoq nga nj\u00ebra an\u00eb p\u00ebr nj\u00eb zgjerim t\u00eb baz\u00ebs noetike t\u00eb estetik\u00ebs, nga ana tjet\u00ebr u mor me pyetje rreth universalitetit t\u00eb vepr\u00ebs estetike, me rolin e personalitetit n\u00eb art dhe kuptimin e k\u00ebndv\u00ebshtrimit mbi bot\u00ebn q\u00eb shprehet n\u00eb vep\u00ebr. K\u00ebshtu ai e mbante personalitetin e artistit si instanc\u00ebn e fundit, tek i cili mund t\u00eb dep\u00ebrtohet, n\u00ebse n\u00eb kuad\u00ebr t\u00eb zhvillimit ndiqet \u00e7asti i rast\u00ebsis\u00eb. (Mukarovsk\u00fd 1977:304)<\/p>\n

Pas 1948 Mukarovsk\u00fd iu kushtua materializmit dialektik. Ai e pa estetik\u00ebn strukturaliste si jo konsistente me k\u00ebt\u00eb dhe e braktisi vepr\u00ebn e vet. Ai mendonte, se strukturalizmi qe forma e maskuar dhe p\u00ebr k\u00ebt\u00eb arsye akoma m\u00eb e rrezikshme se ajo e idealizmit n\u00eb shkenc\u00eb. Pak koh\u00eb para vdekjes s\u00eb vet ai iu kthye pozicionit origjinar t\u00eb vepr\u00ebs s\u00eb vet. (Mukarovsk\u00fd 1966:19)<\/p>\n

4.2. Jan Mukarovsk\u00fd n\u00eb strukturalizmin e Prag\u00ebs<\/strong><\/p>\n

Mendimet e strukturalizmit t\u00eb Prag\u00ebs, q\u00eb lidhen me poetik\u00ebn dhe estetik\u00ebn, jan\u00eb pandash\u00ebm t\u00eb lidhura me vepr\u00ebn e Jan Mukarovsk\u00fdt. (Chvat\u00edk 24) Mukarovsk\u00fd u p\u00ebrqendrua para s\u00eb gjithash n\u00eb argumentimin e ri teorik t\u00eb poetik\u00ebs dhe estetik\u00ebs. N\u00eb zhvillimin dhe bazimin e teorive t\u00eb tij ai u bazua para s\u00eb gjithash n\u00eb vepr\u00ebn e autor\u00ebve \u00e7ek\u00eb t\u00eb shekullit t\u00eb 19-t\u00eb dhe 20-t\u00eb (M\u00e1cha, Erben, H\u00e1lek etj.). Poetik\u00ebn ai e zhvilloi m\u00eb tej si \u201eestetik\u00eb t\u00eb krijimit\u201c dhe pjes\u00eb p\u00ebrb\u00ebr\u00ebse t\u00eb teoris\u00eb s\u00eb p\u00ebrgjithshme t\u00eb artit. N\u00eb fakt, e reja tek Mukarovsk\u00fd nuk qe aq shum\u00eb ky konceptim, sesa m\u00eb shum\u00eb studimi i karakterit t\u00eb shenjave t\u00eb teksteve poetike. (Mukarovsk\u00fd 1966:12f)<\/p>\n

4.3. Struktura<\/strong><\/p>\n

Marr\u00ebdh\u00ebniet mes element\u00ebve Mukarovsk\u00fd i quan struktur\u00eb. Element\u00ebt dhe n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb dhe marr\u00ebdh\u00ebniet mes tyre koordinohen dhe n\u00ebnrenditen sipas dominantes. Dominantja \u00ebsht\u00eb karakteristike p\u00ebr struktur\u00ebn. N\u00eb hierarkin\u00eb e element\u00ebve t\u00eb pranish\u00ebm ajo q\u00ebndron m\u00eb lart dhe drejton marr\u00ebdh\u00ebniet mes element\u00ebve t\u00eb tjer\u00eb (n\u00ebn nj\u00ebri-tjetrin ose dhe me veten). K\u00ebto marr\u00ebdh\u00ebnie t\u00eb nd\u00ebrsjella ama nuk jan\u00eb krijuar m\u00eb s\u00eb pari p\u00ebrmes vepr\u00ebs, por ekzistonin nd\u00ebrkoh\u00eb n\u00eb material. Pozicioni i element\u00ebve n\u00eb radh\u00ebn e sip\u00ebrp\u00ebrmendur \u00ebsht\u00eb i ndryshuesh\u00ebm, p\u00ebr shembull nj\u00eb element mund t\u00eb nxirret n\u00eb pah. P\u00ebr k\u00ebt\u00eb duhet prishur ekuilibri i zakonsh\u00ebm i marr\u00ebdh\u00ebnieve n\u00eb t\u00eb pakt\u00ebn nj\u00eb vend (Schwarz 37f). N\u00eb poezi n\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb dhe n\u00eb art n\u00eb p\u00ebrgjith\u00ebsi, funksioni estetik \u00ebsht\u00eb dominantja, jasht\u00eb artit ajo \u00ebsht\u00eb e n\u00ebnrenditur. Dominantja p\u00ebrball\u00eb element\u00ebve nuk \u00ebsht\u00eb gjenetike, por konstruktive, duke qen\u00eb se jo vet\u00ebm dominantja vepron mbi element\u00ebt, por dhe anasjelltas (pik\u00ebrisht n\u00eb m\u00ebnyr\u00eb t\u00eb shk\u00ebmbyeshme). (Schwarz 39)<\/p>\n

Marr\u00ebdh\u00ebniet mes element\u00ebve shihen si tension n\u00eb mes tyre. P\u00ebrmes shk\u00ebmbyeshm\u00ebris\u00eb s\u00eb tyre ata jan\u00eb labil\u00eb dhe humbin me kalimin e koh\u00ebs dinamik\u00ebn e tyre, e cila krijohet p\u00ebrmes tensionit n\u00eb fjal\u00eb. Nga kjo lind nj\u00eb nevoj\u00eb p\u00ebr \u00abrigrupim\u00bb. (Schwarz 39) Jo vet\u00ebm element\u00ebt i n\u00ebnrenditen k\u00ebtij grupimi, por edhe dominantja vet\u00eb. Ajo nuk \u00ebsht\u00eb p\u00ebrjet\u00ebsisht \u00abdominantja\u00bb, por mund t\u00eb shk\u00ebmbehet n\u00eb \u00e7do koh\u00eb.<\/p>\n

Struktura p\u00ebrkufizohet n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb si nj\u00eb lloj sistemi, nj\u00eb renditje e caktuar e s\u00eb t\u00ebr\u00ebs. Ajo bazohet n\u00eb tensionin dialektik dhe n\u00eb marr\u00ebdh\u00ebniet e shk\u00ebmbimit t\u00eb komponent\u00ebve, rigrupimi i vazhduesh\u00ebm i t\u00eb cilave dhe n\u00ebnrenditja \u00ebsht\u00eb burim i dinamik\u00ebs s\u00eb zhvillimit t\u00eb strukturalizmit. (Mukarovsk\u00fd 197:295) Mukarovsk\u00fd theksonte objektivitetin e strukturave, vlefshm\u00ebrin\u00eb e tyre intersubjektive. (Mukarovsky 1977:303)<\/p>\n

Shmangiet nga norma (p.sh. gjuha, stili, ligjet e zhanrit) jan\u00eb reagime mbi nj\u00eb gjendje t\u00eb caktuar t\u00eb struktur\u00ebs estetike. (Mukarovsk\u00fd 1977:304)
\nStruktura p\u00ebrb\u00ebn nj\u00eb kategori qendrore jo vet\u00ebm n\u00eb estetik\u00ebn e Mukarovsk\u00fd-t. R\u00ebnd\u00ebsia e struktur\u00ebs p\u00ebr gjith\u00eb strukturalizmin b\u00ebhet e qart\u00eb qysh me cil\u00ebsimin strukturaliz\u00ebm. (Mukarovsk\u00fd 1977:295) Modeli i struktur\u00ebs nuk p\u00ebrdoret vet\u00ebm mbi nj\u00eb vep\u00ebr t\u00eb vetme arti, por dhe n\u00eb marr\u00ebdh\u00ebnien e artit me t\u00eb t\u00ebr\u00ebn shoq\u00ebrore.<\/p>\n

4.4. Estetika dhe estetikja<\/strong><\/p>\n

Estetika p\u00ebrkufizohet n\u00eb m\u00ebnyra shum\u00eb t\u00eb ndryshme n\u00eb shkenc\u00eb. Shum\u00eb i p\u00ebrhapur \u00ebsht\u00eb p\u00ebrkufizimi i estetik\u00ebs si \u00abshkenca e s\u00eb bukur\u00ebs\u00bb. Nj\u00eb p\u00ebrkufizim i njohur n\u00eb m\u00ebnyr\u00eb t\u00eb gjithanshme ama nuk duket se ekziston. (Schwarz 7) Tema e estetik\u00ebs strukturaliste \u00ebsht\u00eb pyetja mbi arsyen dhe qenien e artit. (Mukarovsk\u00fd 1977:306) Estetiken Mukarovsk\u00fd e p\u00ebrkufizon si q\u00ebndrimin njer\u00ebzor dhe ve\u00e7an\u00ebrisht marr\u00ebdh\u00ebnien e njeriut me bot\u00ebn. (Mukarovsky 1977:295) Ajo rrit ve\u00e7an\u00ebrisht vlerat konkrete p\u00ebrmbajtjesore t\u00eb artit, nuk \u00ebsht\u00eb nj\u00eb zbukurues formal i vepr\u00ebs, i cili mund t\u00eb lihet m\u00ebnjan\u00eb gjat\u00eb interpretimit. (Mukarovsky 1977:301) Ajo organizon dominanten e struktur\u00ebs s\u00eb vet t\u00eb brendshme dhe influencon marr\u00ebdh\u00ebnien e njeriut me bot\u00ebn. (Mukarovsk\u00fd 1977:302)<\/p>\n

Fusha dinamike e estetikes, struktura e v\u00ebrtet\u00eb estetike, gjendet midis tekstit dhe individit. Kjo vepron mbi nd\u00ebrgjegjen kolektive si nj\u00eb kompleks forcash q\u00eb kalon n\u00ebp\u00ebr koh\u00eb, si eksperienc\u00eb e mbledhur nga ndeshja me vepra t\u00eb tjera, mbi baz\u00ebn e t\u00eb cilave konkretizohet vepra e re. (Mukarovsk\u00fd 1977:298) Mukarovsk\u00fd theksonte r\u00ebnd\u00ebsin\u00eb e estetikes si \u201cfaktor dometh\u00ebn\u00ebs dhe i shumansh\u00ebm i praktik\u00ebs jet\u00ebsore\u201d. (Kindler)<\/p>\n

4.5. Funksioni estetik dhe norma estetike<\/strong><\/p>\n

Mukarovsk\u00fd e plot\u00ebsoi modelin e B\u00fchler t\u00eb tre funksioneve t\u00eb gjuh\u00ebs me nj\u00eb t\u00eb kat\u00ebrt: funksionin estetik. Nj\u00eb funksion sipas Mukarovsk\u00fd-t \u00ebsht\u00eb aft\u00ebsia e t\u00eb sh\u00ebrbyerit p\u00ebr implementimin e nj\u00eb q\u00ebllimi, pra e t\u00eb qenit nj\u00eb mjet. (Mukarovsk\u00fd 1977:301) Funksioni estetik ka nj\u00eb pozicion t\u00eb ve\u00e7ant\u00eb mes funksioneve t\u00eb tjera: Ai nd\u00ebrton nj\u00eb pol t\u00eb kund\u00ebrt me funksionet e ashtuquajtura jasht\u00ebestetike dhe ka p\u00ebrball\u00eb tyre nj\u00eb funksion organizues. (Shih 4.3.) Ve\u00e7an\u00ebrisht n\u00eb krijim ai merr nj\u00eb pozicion dominant. Funksioni estetik mund t\u00eb shihet dhe si \u201emohim i funksionueses\u201c, si\u00e7 q\u00ebndron n\u00eb pasth\u00ebnien e studimeve mbi estetik\u00ebn dhe poetik\u00ebn strukturaliste (fq.301), duke qen\u00eb se ai e t\u00ebrheq v\u00ebmendjen mbi shfaqjen vet\u00eb dhe kjo n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb e kthen veten n\u00eb q\u00ebllim. (Mukarovsk\u00fd 1977:301)<\/p>\n

Funksioni estetik \u00ebsht\u00eb nj\u00eb princip transparent, q\u00eb i t\u00ebhuaj\u00ebson dhe rrit vlerat e tjera t\u00eb jet\u00ebs (Mukarovsky 1977:295). Funksionet e tjera nuk humbin p\u00ebrmes transparenc\u00ebs. Ato nuk shtyhen, por vet\u00ebm se riorganizohen. (Kindler) Sikurse u p\u00ebrmend m\u00eb par\u00eb, funksioni estetik e p\u00ebrqendron v\u00ebmendjen mbi nd\u00ebrtimin e vepr\u00ebs s\u00eb artit dhe dometh\u00ebnies s\u00eb saj. Ai i tejshkon t\u00eb gjitha fushat e jet\u00ebs, fusha e mbart\u00ebsve potencial\u00eb \u00ebsht\u00eb praktikisht e pakufizuar. (Mukarovsky 1977:295) Veprimi i tij t\u00ebhuaj\u00ebsues bazohet n\u00eb tensionin, i cili krijohet p\u00ebrmes asaj q\u00eb, ai sh\u00ebrben p\u00ebr implementimin e nj\u00eb q\u00ebllimi t\u00eb caktuar dhe nj\u00ebkoh\u00ebsisht mundet t\u00eb p\u00ebrqendroj\u00eb v\u00ebmendjen mbi nj\u00eb gj\u00eb t\u00eb caktuar. (Mukarovsk\u00fd 1977:301)<\/p>\n

N\u00eb lidhje me sociologjin\u00eb funksioni estetik \u00ebsht\u00eb nj\u00eb norm\u00eb e pozicionuar n\u00eb nd\u00ebrgjegjen kolektive. Norma estetike rregullon q\u00ebndrimin estetik t\u00eb njer\u00ebzve p\u00ebrkundrejt gj\u00ebrave. Ajo stabilizon, rregullon dhe p\u00ebrgjith\u00ebson funksionin estetik. (Chvat\u00edk 142) \u201eArti\u201c identifikohet n\u00eb t\u00eb shumt\u00ebn e rasteve p\u00ebrmes nj\u00eb plagosjeje t\u00eb normave t\u00eb zakonshme, nd\u00ebrkoh\u00eb q\u00eb n\u00eb t\u00eb kund\u00ebrt, nj\u00eb p\u00ebrmbushje e pakusht e norm\u00ebs m\u00eb s\u00eb shumti p\u00ebrfundon n\u00eb \u201eki\u00e7\u201c, pra n\u00eb asnj\u00eb m\u00ebnyr\u00eb nuk njeh vler\u00ebsim pozitiv. (Kindler) N\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb ekzistojn\u00eb (dhe konkurrojn\u00eb) vazhdimisht shum\u00eb norma estetike.<\/p>\n

4.6. Vlera estetike n\u00eb art dhe p\u00ebrtej tij<\/strong><\/p>\n

Problemi i vler\u00ebsimit dhe vlerave n\u00eb shkenc\u00ebn e let\u00ebrsis\u00eb nuk u zgjidh prej Mukarovsk\u00fd-t n\u00eb m\u00ebnyr\u00eb t\u00eb plot\u00eb. (Mukarovsk\u00fd 1966:24) Qasjet mbi tem\u00ebn le t\u00eb paraqiten k\u00ebtu. P\u00ebrtej artit norma \u00ebsht\u00eb vlera estetike. Brenda artit n\u00eb vend t\u00eb aplikimit t\u00eb norm\u00ebs hyn di\u00e7ka, q\u00eb Mukarovsky e cil\u00ebson si p\u00ebrjetim estetik. N\u00eb princip p\u00ebrjetimi dhe normimi jan\u00eb e nj\u00ebjta gj\u00eb. Vet\u00ebm automatizimi i t\u00ebr\u00ebsish\u00ebm i aktit ndryshon normimin nga p\u00ebrjetimi estetik (Schwarz 21) Vlera estetike e nj\u00eb vepre arti nuk \u00ebsht\u00eb substanca e vepr\u00ebs, tek e cila m\u00eb pas do t\u00eb shtohen vlerat jasht\u00ebestetike, por cil\u00ebsia strukturore e vepr\u00ebs. Ajo \u00ebsht\u00eb, ashtu sikurse funksioni estetik, transparente, dhe krijohet p\u00ebrmes integrimit dialektik t\u00eb vlerave jasht\u00ebestetike, pra nuk \u00ebsht\u00eb e m\u00ebvet\u00ebsishme.<\/p>\n

Ajo \u00ebsht\u00eb m\u00eb tep\u00ebr \u00abcil\u00ebsimi shumator i t\u00ebr\u00ebsis\u00eb dinamike t\u00eb [vlerave t\u00eb saj jasht\u00ebestetike] marr\u00ebdh\u00ebnieve t\u00eb nd\u00ebrsjella t\u00eb saj\u00bb (Mukarovsk\u00fd 1977:301f) Vepra e artit vet\u00eb nuk \u00ebsht\u00eb objekti i v\u00ebrtet\u00eb i vler\u00ebsimit. M\u00eb tep\u00ebr vler\u00ebsohet objekti estetik. Vlera objektive e nj\u00eb vepre arti \u00ebsht\u00eb aq m\u00eb e lart\u00eb, \u00absa m\u00eb e shumt\u00eb n\u00eb num\u00ebr \u00ebsht\u00eb t\u00ebr\u00ebsia e vlerave jo estetike, t\u00eb cilat struktura mund t\u2019i lidh\u00eb pas vetes, dhe sa m\u00eb shum\u00eb t\u2019ia arrij\u00eb ajo, t\u00eb dinamizoj\u00eb marr\u00ebdh\u00ebnien e tyre t\u00eb nd\u00ebrsjell\u00ebt.\u00bb Vlerat i n\u00ebnshtrohen ashtu si normat nj\u00eb ndryshimi historik. (Kindler)<\/p>\n

4.7. Objekti estetik<\/strong><\/p>\n

Nj\u00eb tekst letrar nuk shihet m\u00eb nga Mukarovsk\u00fd si nj\u00eb e dh\u00ebn\u00eb faktike joproblematike, por p\u00ebrb\u00ebn nj\u00eb pik\u00eb fillestare p\u00ebr procesin e leximit, n\u00eb zhvillim t\u00eb t\u00eb cilit vepra do t\u00eb konkretizohet n\u00eb objekt estetik nga lexuesi. Nj\u00eb vep\u00ebr arti mund t\u00eb konkretizohet n\u00eb objekte t\u00eb ndryshme estetike, t\u00eb cilat nd\u00ebrtohen mbi elemente t\u00eb ndrysh\u00ebm dhe cil\u00ebsi t\u00eb ndryshme t\u00eb vepr\u00ebs s\u00eb artit. (Schwarz 22)<\/p>\n

Objekti estetik nuk konstituohet n\u00eb nd\u00ebrgjegjen subjektive t\u00eb individit, por n\u00eb rrafshin mbi individual dhe intersubjektiv t\u00eb nd\u00ebrgjegjes shoq\u00ebrore (Mukarovsk\u00fd 1977:298) dhe mund\u00ebson n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, q\u00eb principi i vler\u00ebs estetike t\u00eb \u00e7lirohet nga var\u00ebsia e vet prej arbitraritetit subjektiv.<\/p>\n

4.8. P\u00ebrjetimi dhe shenjat<\/strong><\/p>\n

Mukarovsk\u00fd doli kund\u00ebr asaj q\u00eb nj\u00eb p\u00ebrjetim, pra nj\u00eb fakt jete jasht\u00ebletrar, q\u00eb duhet t\u00eb sqaroj\u00eb vepr\u00ebn, n\u00eb t\u00eb shumt\u00ebn e rasteve t\u00eb derivohet pik\u00ebrisht nga vepra. Ai nuk e mohon p\u00ebrjetimin si nj\u00eb burim i mundsh\u00ebm i vepr\u00ebs, si\u00e7 quhet shpeshher\u00eb, por vet\u00ebm se e refuzon, q\u00eb ta derivoj\u00eb k\u00ebt\u00eb p\u00ebrjetim nga vepra vet\u00eb, n\u00eb struktur\u00ebn e s\u00eb cil\u00ebs ai \u00ebsht\u00eb ndryshuar dhe kodifikuar shum\u00eb her\u00eb, k\u00ebshtu q\u00eb forma e tij e v\u00ebrtet\u00eb pa ditar\u00eb dhe gj\u00ebra t\u00eb tjera t\u00eb ngjashme nuk mund t\u00eb gjendet m\u00eb.<\/p>\n

Mukarovsk\u00fd donte m\u00eb shum\u00eb q\u00eb ta studionte vepr\u00ebn letrare bashk\u00eb me vepra t\u00eb tjera letrare, t\u00eb cilat kishin pasoja t\u00eb r\u00ebnd\u00ebsishme n\u00eb shoq\u00ebrin\u00eb letrare n\u00eb fjal\u00eb. (Mukarovsk\u00fd 1966:10) P\u00ebr Mukarovsk\u00fd-n \u00e7\u00ebshtja e p\u00ebrjetimit si filles\u00eb e vepr\u00ebs nuk ka relevanc\u00eb p\u00ebr vler\u00ebn letrare t\u00eb saj. Nj\u00eb vep\u00ebr letrare nuk \u00ebsht\u00eb nj\u00eb shfaqje direkte e gjendjes shpirt\u00ebrore t\u00eb autorit, por para s\u00eb gjithash nj\u00eb fakt letrar, q\u00eb krijohet n\u00eb nj\u00eb kontekst t\u00eb caktuar letrar dhe q\u00eb interpretohet si shenj\u00eb. Nj\u00eb shenj\u00eb sipas Mukarovsk\u00fd-t \u00ebsht\u00eb nj\u00eb dukuri mbi individuale sociale, vlefshm\u00ebria e s\u00eb cil\u00ebs \u00ebsht\u00eb e nj\u00eb natyre shum\u00eb m\u00eb t\u00eb p\u00ebrgjithshme. (Mukarovsk\u00fd 1977:296)<\/p>\n

4.9. Gjeste semantike<\/strong><\/p>\n

Nj\u00eb gjest semantik \u00ebsht\u00eb nj\u00ebsia e form\u00ebs dhe kuptimit t\u00eb vepr\u00ebs. Ai \u00ebsht\u00eb nj\u00eb udh\u00ebzues kuptimor dhe nj\u00eb kategori qendrore e interpretimit strukturor t\u00eb kuptimit t\u00eb teksteve letrare. Gjesti semantik thot\u00eb n\u00eb pak fjal\u00eb, q\u00eb \u00e7do element i gjuh\u00ebs krijuese duhet par\u00eb me t\u00eb nj\u00ebjt\u00ebn t\u00eb drejt\u00eb si mbart\u00ebs kuptimi. Mukarovsk\u00fd u p\u00ebrpoq n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, q\u00eb t\u2019i p\u00ebrmblidhte t\u00eb gjith\u00eb element\u00ebt n\u00eb nj\u00eb em\u00ebr, at\u00eb t\u00eb kuptimit. N\u00eb rastin e gjestit semantik b\u00ebhet fjal\u00eb para s\u00eb gjithash \u201cp\u00ebr rind\u00ebrtimin e atyre gjesteve jo t\u00eb specifikuar nga ana e p\u00ebrmbajtjes, … me t\u00eb cilat krijuesi ka zgjedhur pjes\u00ebt e vepr\u00ebs s\u00eb vet dhe i ka bashkuar n\u00eb nj\u00eb nj\u00ebsi t\u00eb kuptimt\u00eb.\u201d<\/p>\n

Gjesti semantik n\u00ebnvizon kuptimin e vepr\u00ebs s\u00eb p\u00ebrgjithshme semantike t\u00eb nj\u00eb autori t\u00eb posa\u00e7\u00ebm dhe implikon si kategori t\u00eb n\u00ebnrenditura stilin individual t\u00eb autorit dhe n\u00ebnshkrimin autorial. (Kindler) Ajo \u201chap vepr\u00ebn e artit n\u00eb drejtim t\u00eb prit\u00ebsit dhe aktivitetit t\u00eb tij si lexues\u201d. (Mukarovsk\u00fd 1966:13) Mukarovsk\u00fd e tejkaloi k\u00ebtu ndarjen e zakonshme n\u00eb dy pjes\u00eb t\u00eb p\u00ebrmbajtjes dhe form\u00ebs p\u00ebrmes p\u00ebrkufizimit dinamik t\u00eb Sinngeschehen (~ ngjarje e kuptimit) t\u00eb vepr\u00ebs s\u00eb artit gjat\u00eb procesit t\u00eb prodhimit t\u00eb dhe recepsionit t\u00eb saj. (Mukarovsk\u00fd 1966:13)<\/p>\n

4.10. Kuptimi<\/strong><\/p>\n

Gjith\u00e7ka n\u00eb vep\u00ebr \u00ebsht\u00eb kuptim. (Mukarovsk\u00fd 1977:298) Kuptimi \u00ebsht\u00eb prezantimi i s\u00eb v\u00ebrtet\u00ebs. P\u00ebrmes saj jepet nj\u00eb sugjerim p\u00ebr kuptimin, q\u00eb n\u00ebnkupton shenj\u00ebn. Ajo krijohet p\u00ebrmes lidhjes s\u00eb shenj\u00ebs me procesin historik, n\u00eb t\u00eb cilin stabilizohet kuptimi i tij. (Mukarovsk\u00fd 1977:300) Pika fillestare e kuptimit \u00ebsht\u00eb q\u00ebndrimi t\u00ebr\u00ebsor i njeriut mbi bot\u00ebn dhe drejtimi i ndrysh\u00ebm i funksionit estetik mbi aspekte t\u00eb ndrysh\u00ebm t\u00eb lidhjes mes njeriut dhe bot\u00ebs. Lloji dhe m\u00ebnyra, n\u00eb t\u00eb cil\u00ebn nj\u00eb send (vepra e artit) strukturohet, i jep pamjes mbi t\u00eb v\u00ebrtet\u00ebn nj\u00eb drejtim t\u00eb caktuar. (Mukarovsk\u00fd 1966:27)<\/p>\n

4.11. Vepra e artit<\/strong><\/p>\n

Vepra \u00ebsht\u00eb nj\u00eb kompleks shenjash, t\u00eb cilat mbajn\u00eb kuptime, dhe q\u00eb n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb nuk jan\u00eb shprehja direkte e jet\u00ebs shpirt\u00ebrore t\u00eb autorit dhe biografis\u00eb s\u00eb tij. (Mukarovsk\u00fd 1977:298, 1966:39) Kompleksi i shenjave \u00ebsht\u00eb nj\u00eb proces dinamik i Sinngeschehen (~ ngjarje e kuptimit) dhe nj\u00eb stabilizim i kuptimit. Vepra e artit nd\u00ebrmjet\u00ebson mes d\u00ebrguesit (artistit) dhe prit\u00ebsit (lexuesit etj.) me ndihm\u00ebn e shenjave. (Mukarovsk\u00fd 1966:39)<\/p>\n

P\u00ebrmes nj\u00eb vepre shfaqet nj\u00eb e v\u00ebrtet\u00eb, e cila nuk ishte e pranishme si nj\u00eb e v\u00ebrtet\u00eb e gatshme dhe q\u00eb p\u00ebrtej struktur\u00ebs konkrete unike dhe realitetit t\u00eb vepr\u00ebs nuk mund t\u00eb perceptohet. (Mukarovsk\u00fd 1977:300) Shenjat n\u00eb vepr\u00ebn e artit e zhvendosin v\u00ebmendjen mbi nd\u00ebrtimin e vet\u00eb vepr\u00ebs. (Mukarovsk\u00fd 1977:299)
\nSi shenj\u00eb artistike vepra synon nj\u00eb veprim t\u00eb caktuar estetik, i cili krijohet si nj\u00eb reaksion mbi nj\u00eb tradit\u00eb t\u00eb caktuar formale, stilistike ose zhanri. Teksti ia fal\u00ebnderon struktur\u00ebn e vet konkrete letrare m\u00eb shum\u00eb teksteve t\u00eb tjer\u00eb sesa cil\u00ebsive subjektive t\u00eb autorit. (Mukarovsk\u00fd 1966:39) Vepra e artit \u00ebsht\u00eb m\u00eb tej mbart\u00ebs i nj\u00eb numri t\u00eb madh vlerash dhe funksionesh jashtestetike. (Mukarovsk\u00fd 1977:301) N\u00eb kund\u00ebrshtim me estet\u00eb t\u00eb tjer\u00eb Mukarovsky n\u00eb p\u00ebrkufizimin e vet t\u00eb vepr\u00ebs s\u00eb artit e p\u00ebrfshiu q\u00ebllimin brenda: \u201cArtefakti [=vepra si send] krijohet, p\u00ebr t\u00eb nxjerr\u00eb n\u00eb drit\u00eb nj\u00eb sjellje estetike q\u00eb bazohet n\u00eb t\u00eb (sjellja estetike).\u201d (Schwarz 10)<\/p>\n

5. P\u00ebrfundim<\/strong><\/p>\n

\u201cDestruksioni i estetik\u00ebs tradicionale\u201d i Mukarovsk\u00fd-t (Mukarovsk\u00fd 1977:295) nuk u zhvillua, sikurse mund t\u00eb mendohet, p\u00ebrmes heqjes dor\u00eb nga qasja estetike ndaj artit, por vet\u00ebm p\u00ebrmes t\u00eb menduarit deri n\u00eb fund t\u00eb principeve ekzistuese estetike. (Mukarovsk\u00fd 1977:295) Mendimet e tij mbi estetik\u00ebn dhe poetik\u00ebn ndikuan mbi bashk\u00ebkoh\u00ebsit e tij n\u00eb m\u00ebnyr\u00eb t\u00eb q\u00ebndrueshme. \u00cbsht\u00eb e v\u00ebrtet\u00eb q\u00eb puna e tij u kufizua n\u00eb fushat e p\u00ebrmendura \u2013 nj\u00eb teori mbi proz\u00ebn dhe kategorit\u00eb letrare u zhvillua vet\u00ebm n\u00eb koncept \u2013 megjithat\u00eb pik\u00ebrisht aty ai realizoi di\u00e7ka t\u00eb mrekullueshme.<\/p>\n

Tre aspektet e tij t\u00eb estetikes, – funksioni estetik, norma dhe vlera estetike \u2013 ndikuan shkenc\u00ebtar\u00eb t\u00eb m\u00ebvonsh\u00ebm t\u00eb artit dhe let\u00ebrsis\u00eb.
\nMegjithat\u00eb nuk qen\u00eb vet\u00ebm strukturalist\u00ebt ata q\u00eb kritikuan idet\u00eb e paraardh\u00ebsve t\u00eb tyre, edhe ata vet\u00eb u kritikuan: Ata u akuzuan, q\u00eb p\u00ebrmes m\u00ebnyr\u00ebs s\u00eb tyre sistematike t\u00eb t\u00eb v\u00ebshtruarit, ata injorojn\u00eb personalitetin e artistit dhe unicitetin e tij ashtu sikurse injorojn\u00eb dhe problematik\u00ebn e k\u00ebndv\u00ebshtrimit mbi bot\u00ebn (Mukarovsk\u00fd 1966:24)<\/p>\n

Literatura<\/strong>:
\nChvat\u00edk, Kvetoslav (1981). Tschechoslwakischer Strukturalismus: Theorie und Geschichte. M\u00fcnchen: Fink.
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\nMukarovsk\u00fd, Jan (1966). Kapitel aus der \u00c4sthetik. Frankfurt\/Main.
\nMukarovsk\u00fd, Jan (1977). Studien zur strukturalistischen \u00c4sthetik und Poetik. Frankfurt\/Main: Ullstein.
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P\u00ebrktheu dhe p\u00ebrgatiti p\u00ebr Ars Poetica: Lindita Komani<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

ARS POETICA Nr. 1, N\u00ebntor 2007 Ulrike Hoinkis (P\u00ebrkthyer dhe p\u00ebrgatitur p\u00ebr Ars Poetica nga: Lindita Komani, publikuar n\u00eb Nr. 1, N\u00ebntor 2007) 1. Hyrje Rrethi linguistik i Prag\u00ebs luajti nj\u00eb rol udh\u00ebrr\u00ebfyes n\u00eb shkenc\u00ebn moderne t\u00eb artit. Strukturalizmi atje i p\u00ebrfaq\u00ebsuar dhe m\u00eb tej i zhvilluar ndikoi jo vet\u00ebm shkenc\u00ebn \u00e7eke t\u00eb artit, por […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,9],"tags":[],"yoast_head":"\nKONCEPTIMI ESTETIK I JAN MUKAROVSKYT N\u00cb KUAD\u00cbR T\u00cb STRUKTURALIZMIT T\u00cb PRAG\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\/konceptimi-estetik-i-jan-mukarovskyt-ne-kuader-te-strukturalizmit-te-prages\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"KONCEPTIMI ESTETIK I JAN MUKAROVSKYT N\u00cb KUAD\u00cbR T\u00cb STRUKTURALIZMIT T\u00cb PRAG\u00cbS - FjALA e LIR\u00cb - Arkivi\" \/>\n<meta property=\"og:description\" content=\"ARS POETICA Nr. 1, N\u00ebntor 2007 Ulrike Hoinkis (P\u00ebrkthyer dhe p\u00ebrgatitur p\u00ebr Ars Poetica nga: Lindita Komani, publikuar n\u00eb Nr. 1, N\u00ebntor 2007) 1. 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