![\"\"](\"http:\/\/fjala.shkoder.net\/wp-content\/uploads\/2011\/01\/martin_camaj-282x300.jpg\" "\\"Martin")
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Agron TUFA<\/strong><\/p>\n Pelini dhe mjalta e m\u00ebrgimit<\/strong><\/em><\/p>\n Atdheun duhet ta shoh\u00ebsh nga larg q\u00eb ta \u00e7mosh, t\u2019ia ndjesh p\u00ebrmasat dhe pesh\u00ebn\u2026 t\u00eb munges\u00ebs dhe t\u00eb dometh\u00ebnies. T\u00eb munges\u00ebs dhe asaj se \u00e7far\u00eb mund t\u00eb kishte qen\u00eb p\u00ebr ty, \u00e7far\u00eb mund t\u00eb kishe qen\u00eb ti e \u00e7far\u00eb mund t\u00eb kishe qen\u00eb ti n\u00eb pjes\u00ebtimin e p\u00ebrbashk\u00ebt t\u00eb fatit me t\u00eb. Kjo \u00ebsht\u00eb tortuara e gjith\u00eb intelektual\u00ebve shqiptar\u00eb t\u00eb privuar e t\u00eb p\u00ebrndjekur nga atdheu, i cili n\u00eb nj\u00eb moment t\u00eb gjat\u00eb t\u00eb historis\u00eb u shnd\u00ebrrua p\u00ebr ta thjesht n\u00eb nj\u00eb njerk\u00eb mizore, shtrig\u00eb vrastare.<\/p>\n Pamund\u00ebsia p\u00ebr t\u2019u kthyer n\u00eb vendlindje ka rezultuar tragjike p\u00ebr jet\u00ebn personale t\u00eb shkrimtarit Martin Camaj (1925 \u2013 1992), por fatlume p\u00ebr let\u00ebrsin\u00eb shqipe. Sepse at\u00eb q\u00eb nuk ka mundur t\u00eb b\u00ebj\u00eb fizikisht e ka realizuar n\u00ebp\u00ebrmjet artit t\u00eb tij.N\u00eb asnj\u00eb vep\u00ebr tjet\u00ebr t\u00eb let\u00ebrsis\u00eb shqipe nuk gjejm\u00eb kaq shum\u00eb atdhe, kaq shum\u00eb f\u00ebmij\u00ebri, kaq shum\u00eb vendlindje.Vepra e tij \u00ebsht\u00eb d\u00ebshmia m\u00eb e mir\u00eb e p\u00ebrpjekjes p\u00ebr t\u00eb mos e humbur atdheun, vendlindjen. Aty ai \u00ebsht\u00eb me t\u00eb gjitha aromat, ngjyrat, drit\u00ebhijet.<\/p>\n Emigrimi i par\u00eb i poetit nis qysh i vog\u00ebl, kur largohet nga fshati p\u00ebr t\u00eb hyr\u00eb n\u00eb kolegjin saverian t\u00eb jezuit\u00ebve n\u00eb Shkod\u00ebr. Fillimi i studimeve n\u00eb k\u00ebt\u00eb kolegj do t\u00eb p\u00ebrcaktoj\u00eb t\u00eb ardhmen e poetit n\u00eb shum\u00eb drejtime. \u00cbsht\u00eb emigrimi i par\u00eb prej t\u00eb cilit lindin dhe emigrime t\u00eb tjera dhe kjo do t\u00eb jet\u00eb p\u00ebrcaktuese p\u00ebr fatin personal t\u00eb poetit. Rruga e dij\u00ebs e \u00e7onte gjithnj\u00eb e m\u00eb larg, dhe p\u00ebr ata q\u00eb e ndjekin me ngulm k\u00ebt\u00eb rrug\u00eb kthimi \u00ebsht\u00eb vet\u00ebvrasje. Ja pse pas kolegjit saverian ai duke ndier nevoj\u00ebn e shkollimit do t\u00eb largohet nga Shqip\u00ebria p\u00ebr n\u00eb Jugosllavi ku do t\u00eb vazhdoj\u00eb studimet n\u00eb Universitetin e Beogradit studime q\u00eb do t\u2019i mbaroj\u00eb n\u00eb Rom\u00eb n\u00eb Universitetin La Sapienza ku edhe u doktorua me nj\u00eb studim p\u00ebr Mesharin e Buzukut. N\u00eb vazhd\u00ebn e k\u00ebsaj rrug\u00eb n\u00eb fillim t\u00eb vitev 60 ai zhvendoset n\u00eb Mynih, k\u00ebsaj radhe jo n\u00eb rolin e nx\u00ebn\u00ebsit por t\u00eb m\u00ebsimdh\u00ebn\u00ebsit, rrug\u00eb q\u00eb e vazhdoi deri n\u00eb fund t\u00eb jet\u00ebs. Camaj e ktheu katedr\u00ebn e albanologjis\u00eb s\u00eb Mynihut n\u00eb nj\u00eb institucion dinjitoz t\u00eb studimeve n\u00eb k\u00ebt\u00eb fush\u00eb.<\/p>\n Studimet e tij n\u00eb kolegjin saverian jan\u00eb p\u00ebrcaktuese edhe nga pik\u00ebpamja ideologjike, bindjet e tij ishin n\u00eb kund\u00ebrshtim me komunizmin dhe p\u00ebr k\u00ebt\u00eb arsye t\u00eb k\u00ebsaj mosp\u00ebrputhjeje ai do t\u00eb largohej nga Shqip\u00ebria duke k\u00ebrkuar azil politik n\u00eb vende q\u00eb kishin m\u00eb respekt p\u00ebr lirin\u00eb e fjal\u00ebs dhe t\u00eb medimit.<\/p>\n Martin Camaj \u00ebsht\u00eb ndoshta i vetmi vazhdues i madh i krijimtaris\u00eb letrare n\u00eb gegnisht, duke e reformuar thell\u00ebsisht at\u00eb, duke e b\u00ebr\u00eb m\u00eb bashk\u00ebkohore me rritjen e aft\u00ebsis\u00eb shpreh\u00ebse. Camaj do t\u00eb b\u00ebhet vazhduesi m\u00eb i denj\u00eb i vepr\u00ebs s\u00eb autor\u00ebve t\u00eb let\u00ebrsis\u00eb shqipe n\u00eb gegnisht nga Budi tek Mjeda e Koliqi, ndoshta i vetmi autor modern shqiptar i denj\u00eb p\u00ebr t\u00eb vazhduar trash\u00ebgimin\u00eb e ndritur t\u00eb tyre. E zhvilluar n\u00eb m\u00ebnyr\u00eb t\u00eb natyrshme dhe jasht\u00eb presionit t\u00eb let\u00ebrsis\u00eb dogmatike t\u00eb realizmit socialist, vepra e Camajt \u00ebsht\u00eb niveli m\u00eb i lart\u00eb i zhvillimit t\u00eb let\u00ebrsis\u00eb moderne shqipe ose m\u00eb sakt\u00eb \u00ebsht\u00eb ana tjet\u00ebr e painfektuar e saj.<\/p>\n Gjuha e Camajt \u00ebsht\u00eb nj\u00eb shqipe letrare e gegnishtes, me nj\u00eb strukturim artistik melodioz, plot kumbe e rrjedha t\u00eb kthjellta ligj\u00ebrimi, duke krijuar nj\u00eb struktur\u00eb t\u00eb pasur e vitale me fuqin\u00eb leksikore, sa t\u00eb folklorit, aq edhe t\u00eb gjedhes letrare gege, t\u00eb cil\u00ebn e p\u00ebrpunoi, e shartoi dhe e pasuroi me erudicionin e tij t\u00eb thell\u00eb nd\u00ebr p\u00ebrvojat e huaja letrare, por edhe me konstruktet mjesht\u00ebrore vetjake, edhe si krijues, edhe si gjuh\u00ebtar.<\/p>\n Duket se Camaj m\u00ebrgimtar, n\u00eb ngjashm\u00ebri me personazhin e vet breshk\u00ebn Drande, bart mbi rrasht\u00ebn e vet gjuh\u00ebn, zakonet, ritet, doket \u2013 gjith\u00eb psiken dhe mentalitetin e bart\u00ebsve t\u00eb k\u00ebsaj gjuhe.<\/p>\n Komuniteti i vog\u00ebl i emigrant\u00ebve shqiptar\u00eb q\u00eb e ka njohur Camajn e p\u00ebrshkruan at\u00eb at\u00eb si nj\u00eb intelektual tejet t\u00eb kulturuar, t\u00eb qytet\u00ebruar, e njer\u00ebzor por t\u00eb patjet\u00ebrsuar nga t\u00eb jetuarit e gjat\u00eb n\u00eb P\u00ebr\u00ebndim. Njer\u00ebz t\u00eb af\u00ebrm t\u00eb tij tregojn\u00eb nj\u00eb detaj q\u00eb na konkretizon krenarin\u00eb e tij p\u00ebr vendin e origjin\u00ebs dhe rac\u00ebn q\u00eb p\u00ebrfaq\u00ebsonte. Nd\u00ebrsa paraqiste dokumentet p\u00ebr te filluar pun\u00eb si lektor n\u00eb Universitetin e Mynihut sekretarja duke kryer formalitetet e rastit e pyet p\u00ebr profesionin e t\u00eb atit. Bari- i p\u00ebrgjigjet Camaj dhe meq\u00eb sekretarja e p\u00ebrs\u00ebriste pyetjen duke mos u besuar vesh\u00ebve Camaj p\u00ebrs\u00ebriste p\u00ebrgjigjen i patrazuar: \u2013 Bari, -zonj\u00eb .<\/p>\n Camaj vdiq, n\u00eb mars t\u00eb vitit 1992, n\u00eb Lenggries t\u00eb Bavaris\u00eb. Erika, gruaja e tij gjermane, n\u00eb p\u00ebrmbledhjen e veprave t\u00eb tij t\u00eb botuara n\u00eb Shqip\u00ebri n\u00eb vitin 1996 nga sht\u00ebpia botuese \u201cApollonia\u201d (nd\u00ebrsa n\u00eb vitin 2010 \u201cOnufri\u201d botoi gjith\u00eb korpusin e vepr\u00ebs s\u00eb plot\u00eb letrare t\u00eb Camajt) na ka sjell\u00eb fjal\u00ebt e fundit t\u00eb poetit: \u201cT\u00eb dashun miq e v\u00ebllaz\u00ebn shqiptar\u00eb, intelektual\u00eb\u2026g\u00ebzohem pa mas\u00eb se keni vendos\u00eb t\u00eb vler\u00ebsoni vepr\u00ebn time:ky vler\u00ebsim na afron.Bat\u00eb burrnin\u00eb t\u00eb m\u00eb shtini n\u00eb rreshtin tuej.Ndon\u00ebse t\u00eb ndam\u00eb p\u00ebr nj\u00eb gjysm\u00eb shekulli, un\u00eb jam i jueji e ju jeni t\u00eb mijt\u201d.<\/p>\n Romani \u201cKarpa\u201d si bilanc i krijimtaris\u00eb s\u00eb Camajt<\/strong><\/p>\n Romani \u201cKarpa\u201d \u00ebsht\u00eb nj\u00eb vep\u00ebr p\u00ebrmbyll\u00ebse e gjith\u00eb krijimtaris\u00eb letrare t\u00eb Camajt, nj\u00eb sintez\u00eb dhe bilanc i k\u00ebrkimeve, tematikave dhe ideve q\u00eb kryq\u00ebzohen n\u00eb proz\u00ebn dhe poezin\u00eb e tij. Kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb vep\u00ebr poststscriptum n\u00eb korpusin letrar t\u00eb autorit, \u00e7ka n\u00ebnkupton shkall\u00ebn e madhe t\u00eb shum\u00ebkuptim\u00ebsis\u00eb s\u00eb romanit. Jo rast\u00ebsisht \u201cKarpa\u201d \u00ebsht\u00eb shkruar fill pas vepr\u00ebs s\u00eb tij t\u00eb famshme \u201cDranja\u201d \u2013 nj\u00eb sintez\u00eb mes poezis\u00eb dhe proz\u00ebs. R\u00ebnd\u00ebsin\u00eb artistike t\u00eb romanit e v\u00eb n\u00eb pah edhe vet\u00eb Camaj n\u00eb nj\u00eb let\u00ebr t\u00eb vitit 1989 drejtuar nj\u00eb miku t\u00eb tij: \u201cMbas krijimit t\u00eb vepr\u00ebs \u201cDranja\u201d, mora zem\u00ebr me shkue dhe nj\u00eb hap p\u00ebrpara me \u201cKarp\u00ebn\u201d: tue shkrue k\u00ebt\u00eb vep\u00ebr e kam ndie veten shpesh \u201cvirtuoz\u201d. D.m.th., jam n\u00eb gjendje t\u00eb thom shqip gjith\u00e7ka due! P.sh., n\u00eb nj\u00eb periudh\u00eb pes\u00eb rreshtash me projektue shtresa t\u00eb ndryshme domethanieje\u201d. N\u00eb proz\u00eb kam pas\u00eb mund\u00ebsi, pavet\u00ebdijsh\u00ebm, t\u00eb jem edhe struktural, ndoshta pse edhe n\u00eb gjuh\u00ebsi jam strukturalist\u201d2.<\/p>\n K\u00ebto probleme t\u00eb nd\u00ebrtimit (arkitektur\u00ebs) s\u00eb romanit jan\u00eb \u00e7\u00ebshtje t\u00eb nj\u00eb mjesht\u00ebrie e p\u00ebrvoje t\u00eb lart\u00eb, si dhe i ambicies s\u00eb pakufishme t\u00eb Camajt p\u00ebr p\u00ebrsosm\u00ebri artistike midis form\u00ebs dhe p\u00ebrmbajtjes, midis gjuh\u00ebs s\u00eb pasur e t\u00eb zhd\u00ebrvjell\u00ebt me fraza e sintakst\u00eb virtuoze dhe l\u00ebnd\u00ebs s\u00eb ngjizur prej idesh e kuptimesh t\u00eb shum\u00ebfishta.<\/p>\n Ne nuk e dim\u00eb pse e titulloi Camaj romanin e tij pik\u00ebrisht \u201cKarpa\u201d. Dhe titulli i nj\u00eb vepre, \u00ebsht\u00eb i pandash\u00ebm nga \u00e7\u00ebl\u00ebsi i tij kuptimor. Karp\u00eb, \u00ebsht\u00eb nj\u00eb fjal\u00eb shqipe e substratit latin, q\u00eb n\u00eb arealet e gegnishtes ka shum\u00eb kuptime, nd\u00ebr t\u00eb cilat \u2013 shkrep, shk\u00ebmb i madh, shkall\u00eb dhe kullos\u00eb, ara me shk\u00ebmbinj, faqe shk\u00ebmbore3.<\/p>\n Emri Karp\u00eb, n\u00eb plan t\u00eb par\u00eb, sh\u00ebnon vendin, t\u00eb cilin autori e krijon p\u00ebr t\u2019i shtrir\u00eb personazhet e ngjarjet n\u00eb thurjen e tekstit. Q\u00eb n\u00eb fillim kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb aludim me nj\u00eb \u201cvend shk\u00ebmbor\u201d ku ndodhin ngjarjet dhe aludimi n\u00ebp\u00ebrmjet shum\u00eb epiteteve krenare dhe patetike, p\u00ebr nj\u00eb vend t\u00eb mbyllur e t\u00eb izoluar, t\u00eb rrethuar me armiq, kuptohet s\u00eb \u00ebsht\u00eb Shqip\u00ebria e koh\u00ebs s\u00eb diktatur\u00ebs komuniste. Nga nj\u00eb flet\u00eb dor\u00ebshkrimi n\u00eb gjermanisht, q\u00eb ka gjetur n\u00eb arkivin e Camajt studiuesi Hans Joachim-Lanksch, gjejm\u00eb t\u00eb vetmin shpjegim p\u00ebr natyr\u00ebn kuptimore ambivalente t\u00eb em\u00ebrtimit \u201cKarpa\u201d. Sh\u00ebnimi i Camajt, sipas p\u00ebrkthimit t\u00eb z. Lanksch, \u00ebsht\u00eb ky:<\/p>\n Karpa si kontrafaktur\u00eb e nji bote, ndam\u00eb n\u00eb dy aspekte:<\/p>\n a) si bot\u00eb shqiptare Ka dhe di\u00e7ka prej parodie:<\/p>\n \u201c- Na jetonim si pauperi in spiritu n\u00eb nji vend n\u00eb t\u00eb cilin kishte njer\u00ebz q\u00eb e ndjenin veten lakuriq, n\u00ebse s\u2019kishin ndonji titull; Si\u00e7 shihet nga k\u00ebto pak sh\u00ebnime n\u00eb gjermanisht kemi t\u00eb b\u00ebjm\u00eb, ndoshta, me far\u00ebn e par\u00eb embrionale t\u00eb vepr\u00ebs, t\u00eb menduar, q\u00eb n\u00eb zanafill\u00eb, si alegori mbi nj\u00eb vend paradoksal e absurd si Shqip\u00ebria n\u00eb koh\u00ebn e diktatur\u00ebs. Vet\u00eb Gjyshi, nj\u00eb tiran plak, q\u00eb e ka p\u00ebrqendruar pushtetin e tij n\u00eb duart e veta dhe s\u00eb bij\u00ebs vejush\u00eb, t\u00eb cil\u00ebs ia ka vrar\u00eb burrin. Si bot\u00eb shqiptare dhe vep\u00ebr letrare shqiptare romani \u201cKarpa\u201d shprehet n\u00eb \u201cburim\u00ebsin\u00eb e vet: izolimi i Shqip\u00ebris\u00eb dhe drama e njer\u00ebzve t\u00eb saj n\u00eb sistemin monist, dhuna mbi personalitetin fizik dhe mendor t\u00eb individit, sedra e fyer, pengesa e l\u00ebvizjeve t\u00eb lira dhe mungesa e komunikimit gjith\u00ebkomb\u00ebtar\u00eb, ndarja e trojeve shqiptare me \u201cmur t\u00eb hekurt\u201d dhe \u201cvet\u00ebdija e fjetur\u201d e atyre q\u00eb udh\u00ebhoq\u00ebn, pastaj hara\u00e7i i shmangies s\u00eb rrug\u00ebs nga qytet\u00ebrimi i v\u00ebrtet\u00eb\u201d 4.<\/p>\n Romani i p\u00ebrket zhanrit t\u00eb let\u00ebrsis\u00eb fantastike, q\u00eb quhet antiutopi5 dhe nj\u00eb rast t\u00eb ngjash\u00ebm n\u00eb let\u00ebrsin\u00eb shqipe kemi me romanin \u201cOh\u201d t\u00eb Anton Pashkut. Element\u00ebt fantastik\u00eb n\u00eb letr\u00ebsin\u00eb shqipe para Camajt kan\u00eb nj\u00eb tradit\u00eb, jo aq t\u00eb dendur, por nd\u00ebr to mund t\u00eb p\u00ebrmendim nj\u00eb shtres\u00eb t\u00eb veprimit fantastik n\u00eb poem\u00ebn \u201cLahuta e Malcis\u201d t\u00eb Fisht\u00ebs, novel\u00ebn \u201cE madhe \u00ebsht\u00eb gj\u00ebma e m\u00ebkatit\u201d apo tregimin \u201cN\u00eb val\u00ebt e koh\u00ebs\u201d t\u00eb Mitrush Kutelit dhe disa element\u00eb fantastik\u00eb n\u00eb tregimet dhe novelat e Ernest Koliqit. Por element\u00ebt fantastik\u00eb, simbolik\u00eb, mitologjik\u00eb e demonologjik\u00eb tek Camaj i mbivendosen rrashit t\u00eb antiutopis\u00eb apo utopis\u00eb s\u00eb keqe, p\u00ebr t\u00eb krijuar shtresa e nyja kuptimore, q\u00eb k\u00ebrkojn\u00eb p\u00ebrpos nj\u00eb leximi t\u00eb v\u00ebmendsh\u00ebm, edhe nj\u00eb kulture dhe njohjeje vetiake leximore. Jo m\u00eb kot Camaj shprehet n\u00eb \u201cSh\u00ebnime t\u00eb p\u00ebrgjithshme mbi nj\u00eb varg librash letrar\u00eb\u201d, se \u201cRryma letrare asht\u00eb e llojllojshme, simbas land\u00ebs q\u00eb kam trajtue.<\/p>\n N\u00eb t\u00eb gjitha veprat theksohet simbolizmi q\u00eb shprehet n\u00eb proz\u00eb si n\u00eb poezi me mjete autoktone gjuh\u00ebsore (thanje e frazeologji shqipe popullore) e p\u00ebrftyrime t\u00eb kultur\u00ebs popullore shqiptare, si jan\u00eb fytyrat e besimet mitologjike. Kuptimi i veprave t\u00eb mia v\u00ebshtir\u00ebsohet edhe nga rrethana se lexuesit shpesh nuk e njohin k\u00ebt\u00eb kultur\u00eb apo paj\u00eb shpirtnore shqiptare. U muer vesh se n\u00eb k\u00ebt\u00eb simbolik\u00eb analogjia, aluzioni, p\u00ebrkujtimet e pavet\u00ebdijshme shtrihen p\u00ebrtej skajeve t\u00eb bot\u00ebs shqiptare dhe nd\u00ebrlidhen me let\u00ebrsin\u00eb e lasht\u00eb e t\u00eb re botnore. Meqen\u00ebse nisem prej p\u00ebrvoj\u00ebs jet\u00ebsore time, pejzazhi i vendlindjes asht\u00eb zgjanue n\u00eb koh\u00eb, por si baz\u00eb mbeten viset jugore. Bjeshk\u00eb e vrri shnd\u00ebrrohen ma von\u00eb n\u00eb jug e veri 6.<\/p>\n Subjekti i romanit \u201cKarpa\u201d<\/strong><\/p>\n Ngjarjet e romanit \u201cKarpa\u201d jan\u00eb vendosur gati tre shekuj n\u00eb t\u00eb ardhmen \u2013 n\u00eb vitin 2338. Subjekti apo fabula e romanit \u00ebsht\u00eb v\u00ebshtir\u00eb t\u00eb p\u00ebrmblidhet reduktuesh\u00ebm. Meqen\u00ebse aktet e personazheve jan\u00eb rrept\u00ebsisht t\u00eb kusht\u00ebzuara nga zbatimi i p\u00ebrpikt\u00eb i dokeve zakonore t\u00eb tradit\u00ebs s\u00eb ngulitur t\u00eb vendeve ku jan\u00eb rritur e jetojn\u00eb, ata nuk mund t\u00eb konfrontohen me k\u00ebto regulla dhe jan\u00eb t\u00eb varur prej tyre, n\u00ebse nuk duan t\u00eb hyjn\u00eb n\u00eb konflikt me autoritetet q\u00eb i mbikqyrin. K\u00ebshtu Voni, nj\u00eb barnatar i ri dhe letrar nga qyteti i Agrip\u00ebs s\u00eb Koboj\u00ebs (krahina fqinje matan\u00eb lumit Drin), d\u00ebbohet nga vendlindja p\u00ebr t\u2019u martuar, sipas dokes, n\u00eb Karp\u00eb. Si\u00e7 pritet edhe nga karpasit, ai do t\u00eb pritet matan\u00eb lumit dhe do t\u2019i caktojn\u00eb nj\u00eb tutor, i cili do ta pres\u00eb e shoq\u00ebroj\u00eb dh\u00ebndrrin, derisa t\u00eb vendosin t\u2019i gjejn\u00eb nj\u00eb nuse dhe ta b\u00ebjn\u00eb pjes\u00ebtar\u00eb t\u00eb bashk\u00ebsis\u00eb s\u00eb Karp\u00ebs.<\/p>\n \u00a0Tutori dhe shoq\u00ebruesi i Vonit barbatar, \u00ebsht\u00eb caktuar kronisti i Karp\u00ebs, Shkriba, nj\u00eb dijetar i p\u00ebrshtatur me koniuktur\u00ebn autoritare t\u00eb Karp\u00ebs. Ai \u00ebsht\u00eb nj\u00ebfar\u00eb Virgjili q\u00eb i prin Vonit, barnatar dhe letrar i ri n\u00ebp\u00ebr rrath\u00ebt dantesk\u00eb t\u00eb Karp\u00ebs. N\u00eb k\u00ebt\u00eb pik\u00ebpamje romani \u201cKarpa\u201d mund t\u00eb kundrohet edhe si roman-labirint. Nis k\u00ebshtu udh\u00ebtimi i Vonit, por ky \u00ebsht\u00eb nj\u00eb udh\u00ebtim n\u00ebp\u00ebr katakombet e historis\u00eb, nj\u00eb e shkuar plot me shtresa dhune, q\u00eb shtrihen nga bashk\u00ebkoh\u00ebsia deri n\u00eb n\u00eb lasht\u00ebsine ilire t\u00eb neolitit. Piknisja e udh\u00ebtimit t\u00eb Vonit, shkon n\u00eb t\u00eb p\u00ebrkund\u00ebrt me shtrirjen horizontale t\u00eb ngjarjeve. Nd\u00ebrsa n\u00eb qytetin e karp\u00ebs vdes Gjyshi (udh\u00ebheq\u00ebsi diktator), vendi kridhet n\u00eb nj\u00eb luft\u00eb civile midis popullsis\u00eb fiseve t\u00eb malit dhe qytez\u00ebs.<\/p>\n Gj\u00ebllojn\u00eb intrigat dhe skenat e p\u00ebrgjakshme v\u00ebllavras\u00ebse, t\u00eb nxitura nga e bija e diktatorit, p\u00ebr t\u00eb marr\u00eb pushtetin. Simbas dokeve t\u00eb Karp\u00ebs, Vonin e fshehin, duke e l\u00ebshuar me litar brenda nj\u00eb shpelle n\u00eb faqen e shk\u00ebmbit, p\u00ebr ta mbrojtur nga vdekja e sigurt\u00eb gjat\u00eb luft\u00ebs, me q\u00ebllim q\u00eb t\u00eb p\u00ebrmbushnin premtimin e karapsve p\u00ebr ta martuar me Bor\u00ebn. Bora \u00ebsht\u00eb st\u00ebrmbesa e diktatorit, nj\u00eb fem\u00ebr me bukuri t\u00eb rrall\u00eb, gjithashtu nj\u00eb personazh ambivalent; p\u00ebrve\u00e7 emrit Bora, q\u00eb e p\u00ebrdor n\u00eb qytet, ajo mban edhe nj\u00eb em\u00ebr t\u00eb dyt\u00eb, Judita, t\u00eb cilin ajo e p\u00ebrdor vet\u00ebm n\u00eb Katund. Derisa n\u00eb Qytez\u00eb vazhdon lufta civile, Voni \u00ebsht\u00eb i detyruar t\u00eb mbijetoj\u00eb brenda shpell\u00ebs me muaj t\u00eb t\u00ebr\u00eb, nga tetori deri n\u00eb mars. Gjat\u00eb peripecive p\u00ebr mbijetes\u00eb dhe gjetjes s\u00eb nj\u00eb shtegdaljeje nga shpella me an\u00eb g\u00ebrmimesh, Voni ndesh n\u00eb shtresa qytet\u00ebrimesh t\u00eb lashta, n\u00eb eshtra, vegla, stoli e fragmente en\u00ebsh nga banor\u00ebt e lasht\u00eb.<\/p>\n T\u00eb gjitha shenjat e gjetura flasin p\u00ebr nj\u00eb dhun\u00eb t\u00eb lasht\u00eb mbi banor\u00ebt e shpell\u00ebs dhe dalja nga shp\u00eblla-labirint ndodh duke ndjekur fragmentet e nj\u00eb masakre, m\u00eb sakt\u00eb pozicionet e ik\u00ebsve drejt nj\u00eb shtegdaljeje. Voni del nga shpella-labirint e gistoris\u00eb, n\u00eb nj\u00eb vend piktoresk e t\u00eb shenjt\u00eb t\u00eb lumit, n\u00eb ujrat e t\u00eb cil\u00ebve vinin t\u00eb vajtonin grat\u00eb, p\u00ebr burrat e t\u00eb af\u00ebrmit e tyre t\u00eb humbur n\u00eb luft\u00eb. Duke d\u00ebgjuar vajtimin e tyre, Voni merr vesh mbi fatin e luft\u00ebs dhe t\u00eb personazheve t\u00eb tjer\u00eb me t\u00eb cil\u00ebt ka qen\u00eb i lidhur. S\u00eb mbrami Voni kthehet n\u00eb qytet, duke u bashkuar s\u00ebrish me rrafshin horizontal t\u00eb ngjarjeve, por me nj\u00eb sekret q\u00eb e zot\u00ebron tashm\u00eb: ai ka b\u00ebr\u00eb zbulime personale n\u00eb shpell\u00eb mbi ekzistenc\u00ebn e nj\u00eb cope t\u00eb Iliris\u00eb. Kthimi i Vonit n\u00eb qytet shoq\u00ebrohet me p\u00ebrmbushjen e premtimit: diktatura ka r\u00ebn\u00eb dhe tani n\u00eb liri ai mund t\u00eb martohet me Bor\u00ebn, q\u00eb tash, pas r\u00ebnies s\u00eb siktatur\u00ebs, quhet Judita.<\/p>\n Me kalimin e viteve e shohim Vonin-barnatar t\u00eb ushtroj\u00eb edhe zejen e mbledhjes s\u00eb barnave, edhe angazhimin p\u00ebr rip\u00ebrt\u00ebritjen kulturore e artistike t\u00eb Karp\u00ebs s\u00eb lir\u00eb. Duke udh\u00ebhequr fushat\u00ebn p\u00ebr mbledhjen e koleksioneve t\u00eb antikuar\u00ebve nga e kaluara, Voni ndesh me nj\u00eb lib\u00ebr t\u00eb mrekulluesh\u00ebm, t\u00eb cilin e ka trash\u00ebguar Lejda, nj\u00eb bij\u00eb e fsheht\u00eb e ardhur nga jasht\u00eb n\u00eb Karp\u00eb. Ajo \u00ebsht\u00eb poliglote dhe poete. Nuk kuptohet kush e t\u00ebrheq m\u00eb shum\u00eb Vonin: libri i mrekulluesh\u00ebm mbi orkiden\u00eb e eg\u00ebr apo vajza e re, po aq magjike sa lulja. Pasioni i ri e b\u00ebn Vonin t\u00eb mbyllet n\u00eb vetvete dhe t\u00eb t\u00ebrhiqet se bashku me Lejd\u00ebn n\u00eb male, duke u rikthyer s\u00ebrish n\u00eb shpell\u00ebn prehistorike bashk\u00eb me vajz\u00ebn e bukur. Ai \u00e7on nj\u00eb jet\u00eb prej heremiti, duke mbledhur rr\u00ebnj\u00eb e lule dhe e ka gjetur harmonin\u00eb jasht\u00eb familjes, n\u00eb bashk\u00ebjetes\u00ebn me Lejd\u00ebn p\u00ebrrallore n\u00eb shpell\u00eb.<\/p>\n Kjo \u00ebsht\u00eb fabula lineare e rr\u00ebfimit. Por romani b\u00ebn nj\u00eb surpriz\u00eb n\u00eb kuadrin p\u00ebrmbyll\u00ebs. E gjith\u00eb ngjarja e treguar, del se \u00ebsht\u00eb leximi i nj\u00eb kronike t\u00eb lasht\u00eb, e shkruar midis viteve 1975-1980 dhe se Voni, s\u00eb bashku me personazhet e tjer\u00eb, jan\u00eb thelbe t\u00eb m\u00ebparshme t\u00eb personazheve t\u00eb nj\u00eb tjet\u00ebr kohe. Voni i v\u00ebrtet\u00eb dhe p\u00ebrsonazhet e v\u00ebrtet\u00eb t\u00eb ngjarjes n\u00eb realitet jan\u00eb t\u00eb tjer\u00eb. Gjyshi ose diktatori nj\u00ebjt\u00ebsohet me autorin e kronik\u00ebs dhe se gjith\u00e7ka ka qen\u00eb thjesht nj\u00eb ndodhi e hershme e shkruar n\u00eb trajt\u00eb imagjinare. Voni-barnatar q\u00eb ka ardh\u00eb si dh\u00ebnd\u00ebr n\u00eb Karp\u00eb martohet n\u00eb at\u00eb sht\u00ebpi-muze (Sht\u00ebpia e Pem\u00ebve t\u00eb Thata) me nj\u00eb Bor\u00eb-Judit\u00eb tjet\u00ebr, reale, gjithashtu nj\u00eb bukuroshe e re, bij\u00eb e Ajkun\u00ebs dhe Romancierit. Edhe Lejda \u00ebsht\u00eb nj\u00eb tjet\u00ebr Lejd\u00eb reale, e cila p\u00ebrb\u00ebn nj\u00eb thelb t\u00eb p\u00ebrs\u00ebritur, dyjar, t\u00eb kronik\u00ebs, nj\u00eb vajz\u00eb-\u00ebnd\u00ebrr. Dy versionet e ngjarjes jan\u00eb t\u00eb shkrira pahetuesh\u00ebm dhe ato i sqaron nd\u00ebrtimi kompozicional i romanit.<\/p>\n Kompozicioni i romanit<\/strong><\/p>\n Ka nj\u00eb pasazh n\u00eb romanin karpa kur Kronisti i ri, Romancieri, flet me barnatarin letrar, Vonin. Fjala \u00ebsht\u00eb p\u00ebr strukturimin e realitetit n\u00eb art. Pasazhi \u00ebsht\u00eb mjaft shpreh\u00ebs dhe aludon p\u00ebr tranfigurimin e realitetit n\u00eb art: \u201cRomancierit s\u2019i shkonte nd\u00ebr mend se plaku ma i vjetri i bashk\u00ebsis\u00eb jetonte n\u00eb nj\u00eb bot\u00eb t\u00eb pakoh\u00eb, nda k\u00ebso jete, mbrenda nj\u00eb rrethi. Dhe rrethi p\u00ebrmbante mbrenda vetes nj\u00eb katedrale gotike, ngarkue me mija statuja. Dhe statujat vet\u00eb ishin stolis\u00eb me mija gjymtyr\u00eb dhe imt\u00ebsi me p\u00ebrmbajtje simbolesh me i plas\u00eb rrashta atij q\u00eb i delte p\u00ebrball\u00eb katedrales dhe p\u00ebrpiqej ta kuptonte pa njohjen e rregulave t\u00eb arktektur\u00ebs s\u00eb saj.<\/p>\n Gjith\u00e7ka mbrenda nj\u00eb rrethi, trajta ma e p\u00ebrkryeme e t\u00eb gjitha trajtave. S\u2019ia pritte mendja Romancierit se nj\u00eb bot\u00eb e till\u00eb ishte mbrenda nj\u00eb vetje, aty para tij, q\u00eb bante vet\u00ebm hije mbi trollin e kasolles\u201d7. Ky pasazh si dhe nd\u00ebrmendje t\u00eb tjera t\u00eb ngjashme n\u00eb tekst n\u00eb b\u00ebjn\u00eb me dije mbi karakterin plural t\u00eb interpretimit t\u00eb vepr\u00ebs, mbi karakterin parabolik e alegorik t\u00eb romanit dhe se idet\u00eb e vepr\u00ebs artistike, jan\u00eb \u00e7\u00ebshtje q\u00eb nuk lypin nj\u00eb kuptim t\u00eb drejt\u00ebp\u00ebrdrejt\u00eb.<\/p>\n Fabula e k\u00ebtij romani her\u00eb-her\u00eb del e nd\u00ebrtuar me struktur\u00eb unazore, pa ikur nga elementi i fantastik\u00ebs magjike, trash\u00ebguar nga p\u00ebrrallat e mitet tona. K\u00ebshtu, n\u00eb k\u00ebt\u00eb rast del n\u00eb sken\u00eb struktura paralele e dy fabulave q\u00eb zhvillohen n\u00eb koh\u00eb t\u00eb ndryshme, por n\u00eb t\u00eb nj\u00ebjtin vend e po me ato toponime q\u00eb edhe nd\u00ebrrohen nga \u00e7asti n\u00eb \u00e7ast. Fabula zhvillohet n\u00eb nj\u00eb hap\u00ebsir\u00eb t\u00eb mbyllur q\u00eb bazohet n\u00eb funksionimin e shenjave intime, egoiste etj. At\u00ebher\u00eb kur vihet n\u00eb sprov\u00eb t\u00eb romanit, fabula narrative zbeh intrig\u00ebn e dashuris\u00eb e t\u00eb krimit, q\u00eb n\u00eb roman jan\u00eb inde kryesore t\u00eb ekzistenc\u00ebs s\u00eb fabul\u00ebs, me nj\u00eb mori ngjarjesh t\u00eb brendshme, q\u00eb ndryshe cil\u00ebsohen si motive t\u00eb p\u00ebrshkrimit, t\u00eb peizazhit t\u00eb pashkelur n\u00eb Karp\u00eb. Pastaj, k\u00ebto motive deg\u00ebzohen dhe paraqesin shum\u00eb episode n\u00eb fabul\u00eb q\u00eb l\u00eb p\u00ebrshtypje sikur ec\u00ebn n\u00eb nj\u00eb linj\u00eb me rr\u00ebfyesin.<\/p>\n Dhe k\u00ebshtu shfaqet modelimi i retradimit n\u00eb proz\u00eb dhe mu p\u00ebr k\u00ebt\u00eb romani duket sikur nd\u00ebrtohet sipas k\u00ebrcimit t\u00eb kalit, (si\u00e7 pohon Shkllovski) dhe n\u00eb m\u00ebmyr\u00eb t\u00eb nd\u00ebrprer\u00eb arrin n\u00eb cak. Autori zbulon paragjykimet, dhimbjet, fat\u00ebkeq\u00ebsit\u00eb e nj\u00eb shoq\u00ebrie, q\u00eb jan\u00eb tekste t\u00eb shkruara me stile t\u00eb ndryshme dhe k\u00ebshtu marrin funksion psikologjik. Teksti i till\u00eb letrar del i fokusuar me elemente sociale, politike etj. N\u00eb k\u00ebt\u00eb tematik\u00eb shfaqet edhe dimensioni i tejduksh\u00ebm artistik, si: alegoria, ironia, sarkazmi, q\u00eb aludohet n\u00eb nj\u00eb koh\u00eb t\u00eb hershme ku edhe b\u00ebhet lufta mes shmirjak\u00ebve dhe qytetar\u00ebve. K\u00ebshtu, nga ky moment romani nis e merr nj\u00eb orientim a zhan\u00ebr fantastik. Struktura e romanit u n\u00ebnshtrohet rregullave t\u00eb k\u00ebrkimeve shkencore, ashtu si e kan\u00eb zbatuar M. Bullgakovi te romani \u201dMjeshtrit dhe Margarita\u201d, dhe H.L Borhes n\u00eb tregimet e tij brilante, q\u00eb hulumtojn\u00eb n\u00eb hap\u00ebsir\u00ebn tok\u00ebsore e n\u00ebntok\u00ebsore8.<\/p>\n Element tjet\u00ebr i r\u00ebnd\u00ebsish\u00ebm i k\u00ebtij romani \u00ebsht\u00eb kronika a ditari i shkruar nga kronist\u00eb t\u00eb ndrysh\u00ebm, q\u00eb shquhen nga stile a versione t\u00eb dallueshme. Gjetjet e rralla ilire hyjn\u00eb n\u00eb korpusin e gj\u00ebrave me interes p\u00ebr historin\u00eb. Mes faqeve hetohet interesimi i mang\u00ebt p\u00ebr gjenealogjin\u00eb ton\u00eb ku t\u00eb futurit n\u00eb labirinte s\u2019\u00ebsht\u00eb i rast\u00ebsish\u00ebm. Krimbi p\u00ebr\u00e7ar\u00ebs punon n\u00eb tok\u00eb e mbi tok\u00eb, e keqja, gabimet, fatkeq\u00ebsit\u00eb e ndryshme jan\u00eb ushqim i urrejtjes e i kryengritjes9.<\/p>\n Romani \u201cKarpa\u201d ka nj\u00eb struktur\u00eb n\u00eb form\u00eb rrethi. Vepra fillon me dy kapituj t\u00eb Kuadrit t\u00eb par\u00eb, mandej fillon Pjesa e Par\u00eb me kapitujt p\u00ebrkat\u00ebs dhe Pjesa e Dyt\u00eb \u2013 pik\u00ebrisht historia baz\u00eb e romanit q\u00eb e pandehim p\u00ebr t\u00eb v\u00ebrtet\u00eb, por q\u00eb na del n\u00eb Kuadrin e dyt\u00eb dhe p\u00ebrmbyll\u00ebs ve\u00e7se nj\u00eb zhytje e Vonit n\u00eb leximin e Kronik\u00ebs s\u00eb lasht\u00eb. Gjyshi q\u00eb identifikohet me kronik\u00ebn i drejtohet nj\u00ebrit prej personazheve: \u201cDuhet t\u00eb nxam\u00eb me pyet\u00eb\u2026 Qit\u00eb k\u00ebt\u00eb pyetje e t\u00eb p\u00ebrgjigjem\u201d. Dhe p\u00ebrgjigja i vjen: \u201cP\u00ebr shembull, t\u00eb gjith\u00eb jemi skllav\u00eb t\u00eb simboleve\u201d.<\/p>\n Truku me rr\u00ebfimin dhe loja me dometh\u00ebniet<\/strong><\/p>\n Kompozicioni rrotullar i romanit na nd\u00ebrmend edhe nj\u00eb procedim tjet\u00ebr t\u00eb ngjash\u00ebm t\u00eb Camajt \u2013 romanin \u201cRrath\u00eb\u201d, q\u00eb gjithashtu shtjellon marr\u00ebdh\u00ebniet e njeriut dhe identitetin e tij n\u00eb vorbull\u00ebn e Koh\u00ebs. Por struktura kompozicionale rrethore e romanit i p\u00ebrgjigjet m\u00eb s\u00eb miri nd\u00ebrfutjes s\u00eb tekstit n\u00eb tekst. Tekstit i nd\u00ebrfuten flet\u00ebt e kronik\u00ebs, t\u00eb cilat b\u00ebjn\u00eb pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb romanit. Kjo loj\u00eb e tekstit brenda tekstit q\u00eb nd\u00ebrlidhet me Vonin, krijon n\u00eb vend t\u00eb p\u00ebrfundimit logjik, befasin\u00eb. P\u00ebr t\u2019u njohur me vendin atij i duhet t\u00eb lexoj\u00eb kronik\u00ebn. Kronika ka dy pjes\u00eb.<\/p>\n Mir\u00ebpo hilja konsiston n\u00eb faktin q\u00eb, gjith\u00eb at\u00eb koh\u00eb q\u00eb ne e shohim n\u00eb veprim, ai s\u2019ka b\u00ebr\u00eb gj\u00eb tjet\u00ebr, ve\u00e7se ka lexuar. Lexuesi mashtrohet hipotetikisht. Ai vet\u00ebdij\u00ebsohet dhe e kupton trukun vet\u00ebm n\u00eb fund. Pra, personazhi ka lexuar bashk\u00eb me lexuesin, n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb. K\u00ebsisoj b\u00ebhen dy lexues, q\u00eb lexojn\u00eb kronik\u00ebn dhe q\u00eb mashtrohen nj\u00ebkoh\u00ebsisht. Voni ose Barnatari, duke e par\u00eb veten n\u00eb funksionim ende pa filluar, e lexon veten e tij t\u00eb shnd\u00ebrruar n\u00eb personazh, ashtu si lexuesi, i cili vet\u00ebm n\u00eb fund zbulon se edhe ai paska lexuar nj\u00eb tekst \u201ct\u00eb kurdisur\u201d. Kur p\u00ebrfundon romani, aty vet\u00ebm sa fillon ndoshia \u201ce v\u00ebrtet\u00eb\u201d. N\u00eb fakt, boshtin e romanit e p\u00ebrb\u00ebn teksti i kronik\u00ebs, nd\u00ebrsa pjes\u00ebt an\u00ebsore e plot\u00ebsojn\u00eb10.<\/p>\n Kronika krijon Karp\u00ebn. Karpa funksionon si nj\u00eb t\u00ebr\u00ebsi. Gj\u00ebrat q\u00eb e karakterizojn\u00eb jan\u00eb t\u00eb \u00e7uditshme, dhe krijohen p\u00ebr ta ve\u00e7uar. Funksioni arrihet me kthimin kok\u00eb posht\u00eb t\u00eb dukurive t\u00eb p\u00ebrshkruara. Karpa \u00ebsht\u00eb nj\u00eb monedh\u00eb q\u00eb ka dy faqe. Secili vendbanim ka dy faqe: si e shohin t\u00eb tjer\u00ebt dhe si \u00ebsht\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb. Dy faqet mund t\u2019i konsiderojm\u00eb: si e jashtmja dhe brendshmja. An\u00ebn e brendshme e p\u00ebrb\u00ebjn\u00eb nd\u00ebrtesat, njer\u00ebzit dhe ngjarjet. Karpa ka, p\u00ebr shembull, Kopshtin Zoologjik. Aty mbahen kafsh\u00ebt e buta, t\u00eb dikurshme, sht\u00ebpiake. Normalja thyhet menj\u00ebher\u00eb.<\/p>\n Fillon shtrirjen paradoksi q\u00eb ka si q\u00ebllim shenjimin (kujtoni: Voni vjen dh\u00ebnd\u00ebr n\u00eb Karp\u00eb. Por n\u00eb tradit\u00ebn shqiptare, zakonisht nuset udh\u00ebtojn\u00eb p\u00ebr tek dh\u00ebndri, jo e kund\u00ebrta). N\u00eb k\u00ebt\u00eb Kopsht Zoologjik (nj\u00eb metafor\u00eb e zgjeruar e zooparkut p\u00ebr shoq\u00ebrin\u00eb socialist\u00eb) eg\u00ebrsohen kafsh\u00ebt e buta dhe p\u00ebrzihen me shtaz\u00ebt e egra tradicionale, kryq\u00ebzohet \u201cqeni me ujk, macja me dhelp\u00ebr\u2026 rosa me shqiponj\u00ebn etj\u201d. Ky shartim krijon nj\u00eb kafsh\u00eb t\u00eb re, nj\u00eb lloj derri thuhet (parodi absurde e :njeriut t\u00eb ri\u201d t\u00eb socializmit). Vendi sa vjen e izolohet n\u00eb \u00e7do hap. \u201cKarpa\u201d e Martin Camajt gjat\u00eb gjith\u00eb koh\u00ebs paraqet vendin ku paradoksaliteti ishte shnd\u00ebrruar n\u00eb norm\u00eb. N\u00eb krye t\u00eb krejt vendit q\u00ebndron \u201cterrori, skeleti i plakut\u201d, i cili shkruan dhe kronik\u00ebn e vendit si t\u2019ia doj\u00eb qejfi.<\/p>\n Alegoria arsyeton ekzistenc\u00ebn e secil\u00ebs pjes\u00eb n\u00eb roman. Karpa shenjon vendin e mbylljes e t\u00eb diktatur\u00ebs. Autori rr\u00ebfen e p\u00ebrshkruan gj\u00ebrat, por m\u00eb shpesh i l\u00eb t\u00eb vet\u00ebzbulohen. Nganj\u00ebher\u00eb edhe gjykon. Kur gjykon diktatorin e v\u00eb n\u00eb barazpesh\u00eb me poetin: \u201cPo qe se vdes nj\u00eb poet, mbushen zemrat me ndjesi dhe i jet p\u00ebrmbas fjala artistike dhe i harrohet shpesh jeta me imt\u00ebsit\u00eb e njeriut t\u00eb vog\u00ebl. Por \u00e7ka len p\u00ebrmbas zhdukjes nj\u00eb diktator?\u201d, pyetet ai: \u201cKy le gjith\u00e7ka mbas vetes, por sidomos pasigurin\u00eb dhe nj\u00eb mori problemesh q\u00eb mendohej si ka zgjidh\u00eb\u201d.<\/p>\n Fjalia e fundit, p\u00ebrve\u00e7se p\u00ebrkufizuese, \u00ebsht\u00eb dhe parashikuese. Kjo ishte ana e Brendshme e Karp\u00ebs, sepse e Jashtmja reflektonte \u201cbukuri\u201d. \u201cDuka e jashtme\u2026 ka qen\u00eb prore e rrejshme nd\u00ebr ne\u201d, thot\u00eb Shkriba (nj\u00ebri nga personazhet ky\u00e7 t\u00eb romanit), \u201cedhe sot ata q\u00eb kundrojn\u00eb katundin ton\u00eb p\u00ebr s\u00eb largu, kujtojn\u00eb se kan\u00eb parasysh nj\u00eb qytet t\u00eb p\u00ebrparuem me pallate, bile! Djalli i nat\u00ebs, del shenjt n\u00eb drit\u00eb\u201d.<\/p>\n Romani \u201cKarpa\u201d i Camajt krijon vendin e \u201cdjallit\u201d, p\u00ebrmes nj\u00eb mjesht\u00ebrie artistike. Struktura e romanit mban gjall\u00eb interesimin p\u00ebr ngjarjen. Kurse skenat rr\u00ebfehen e p\u00ebrshkruhen si t\u00eb ishin normale. Kjo e shp\u00ebton artin e let\u00ebrsis\u00eb prej deklerativ\u00ebs dhe ideologjis\u00eb. Vendin e tyre e z\u00eb n\u00ebnkuptimi. N\u00ebnkuptimi n\u00eb let\u00ebrsi krijohet nga shenjueshm\u00ebria, e cila jep artin universal. T\u00eb pranuesh\u00ebm p\u00ebr \u00e7do lexues, n\u00eb \u00e7do koh\u00eb.<\/p>\n ______________________________________________________________________________<\/p>\n 1 Mark Marku \u201cMbi Martin Camajn\u201d, Fjala, 2004, nr 168. 2011-01-07<\/em><\/p>\n Ky shkrim asht marre prej faqes gazetastart.com<\/p>\n Copyright 2009 \u00a9 GazetaStart.com<\/p>\n","protected":false},"excerpt":{"rendered":" Agron TUFA Pelini dhe mjalta e m\u00ebrgimit Atdheun duhet ta shoh\u00ebsh nga larg q\u00eb ta \u00e7mosh, t\u2019ia ndjesh p\u00ebrmasat dhe pesh\u00ebn\u2026 t\u00eb munges\u00ebs dhe t\u00eb dometh\u00ebnies. T\u00eb munges\u00ebs dhe asaj se \u00e7far\u00eb mund t\u00eb kishte qen\u00eb p\u00ebr ty, \u00e7far\u00eb mund t\u00eb kishe qen\u00eb ti e \u00e7far\u00eb mund t\u00eb kishe qen\u00eb ti n\u00eb pjes\u00ebtimin e p\u00ebrbashk\u00ebt […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,7],"tags":[],"yoast_head":"\n
\nb) si vep\u00ebr letrare shqiptare<\/p>\n
\n– Na jetonim n\u00eb nji vend n\u00eb t\u00eb cilin nuk kishim kurrfar\u00eb mund\u00ebsiet pa bilet\u00eb hymjeje n\u00eb xhep;
\n– Na jetonim n\u00eb nji vend ku gjindja pa kart\u00eb \u00e7eqesh ishin fukara, nd\u00ebrsa ne ishim shum\u00eb t\u00eb pasun pa pas\u00eb gja\u201d.<\/p>\n
\n2 Martin Camaj \u201cLet\u00ebr mbi stilin\u201d (Munchen, 22.8.1989), botuar n\u00eb \u201cAlbanika\u201d, nr 3-4, fq. 172, \u00cbashington, DC, 20024
\n3 Qemal Murati \u201cFjalor i fjal\u00ebve shqipe n\u00eb maqedonishten dhe idiomatik\u00eb shqiptaro-maqedonase\u201d, fq. 16. Logos-A, Shkup, 2004
\n4 \u201cJeta e re\u201d \u2013 Revist\u00eb letrare, Prishtin\u00eb, 1996, f.121
\n5 Antiutopia (angl. dystopia) \u2013 drejtim i let\u00ebrsis\u00eb artistike dhe kinemas\u00eb; n\u00eb nj\u00eb kuptim t\u00eb ngusht\u00eb antiutopia p\u00ebrshkruan nj\u00eb shtet apo shoq\u00ebri totalitare, n\u00eb nj\u00eb kuptim m\u00eb t\u00eb gjer\u00eb \u2013 \u00e7do shoq\u00ebri, n\u00eb t\u00eb cil\u00ebn mbizot\u00ebrojn\u00eb tendenca t\u00eb zhvillimeve negative. N\u00eb let\u00ebrsi, nj\u00eb ilustrim klasik paraqesin romanet e George Or\u00ebell \u201cFerma e kafsh\u00ebve\u201d dhe \u201c1984\u2033.
\n6 Martin Camaj: \u201cSh\u00ebnime t\u00eb p\u00ebrgjithshme \u2018mbi nj\u00eb varg librash letrar\u00eb\u201d, nj\u00eb tekst prej 6 faqesh, i p\u00ebrgatitur prej autorit p\u00ebr t\u00eb shoq\u00ebruar botimin e veprave t\u00eb plota.
\n7 Martin Camaj \u201cKarpa\u201d, f.199, \u201cCamaj-Pipa\u201d, Shkod\u00ebr 2003.
\n8 Yrjet Berisha \u201cKategorit\u00eb dhe bota e personazheve t\u00eb Camajt\u201d, \u201cFjala\u201d, 2005
\n9 Yrjet Berisha, po aty.
\n10 Zahrie Kapllanaj \u201cRomanet e Martin Camajt\u201d, Seminari Nderkomb\u00ebtar p\u00ebr Gjuh\u00ebn, Let\u00ebrsin\u00eb dhe Kultur\u00ebn shqiptare\u201d 28\/2, Prishtin\u00eb 2009, f. 376<\/p>\n