{"id":12722,"date":"2019-05-29T20:45:41","date_gmt":"2019-05-29T18:45:41","guid":{"rendered":"http:\/\/redaktori.com\/?p=12722"},"modified":"2019-05-30T09:42:27","modified_gmt":"2019-05-30T07:42:27","slug":"intertekstualiteti-i-oh","status":"publish","type":"post","link":"https:\/\/redaktori.com\/?p=12722","title":{"rendered":"Intertekstualiteti i \u201cOh\u201d"},"content":{"rendered":"

Nga Manjola Brahaj<\/h3>\n

Artet dhe n\u00eb ve\u00e7anti let\u00ebrsin\u00eb, p\u00ebrve\u00e7 t\u00eb tjerave \u201cpalca\u201d kryesore dhe baza q\u00eb i mban gjall\u00eb nga epoka n\u00eb epok\u00eb \u00ebsht\u00eb pik\u00ebrisht komunikimi q\u00eb ato kan\u00eb mes tyre. Marr\u00ebdh\u00ebnia dhe bashk\u00ebjetesa q\u00eb ato krijojn\u00eb me nj\u00ebra \u2013 tjetr\u00ebn. Komunikimi i vazhduesh\u00ebm dhe frytdh\u00ebn\u00ebs q\u00eb ato krijojn\u00eb i ndryshon ato, duke i riform\u00ebsuar dhe rikrijuar. Komunikimi i b\u00ebn artet dhe let\u00ebrsin\u00eb t\u00eb lindin e t\u00eb rilindin vazhdimisht. Kjo dukuri q\u00eb ka ekzistuar q\u00ebkur ka ekzistuar komunikimi njer\u00ebzor na b\u00ebn q\u00eb n\u00eb nj\u00eb far\u00eb forme t\u00eb jemi t\u00eb detyruar t\u00eb pranojm\u00eb at\u00eb q\u00eb e ka pranuar edhe Eko kur flet p\u00ebr Borgesin dhe ankthin e tij t\u00eb ndikimit, duke u shprehur se: \u201c\u2026gj\u00ebja m\u00eb e r\u00ebnd\u00ebsishme \u00ebsht\u00eb q\u00eb librat flasin mes tyre.\u201d<\/p>\n

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Duke pranuar k\u00ebt\u00eb pranojm\u00eb edhe komunikimin e koh\u00ebve, t\u00eb motiveve dhe temave, t\u00eb cilat lidhen dhe bashk\u00ebjetojn\u00eb me nj\u00ebra \u2013 tjetr\u00ebn, q\u00eb nga antikiteti e deri sot. N\u00ebse ndjekim k\u00ebt\u00eb rrjedh\u00eb t\u00eb mendimit kuptohet, q\u00eb mbi t\u00eb gjitha, ne jemi t\u00eb vet\u00ebdijsh\u00ebm dhe pranojm\u00eb mendimin e Xhonit t\u00eb Salisburit, th\u00ebn\u00eb shekuj m\u00eb p\u00ebrpara n\u00eb Metalogiconin e tij, (1159) duke ju referuar atij prej t\u00eb cilit edhe m\u00ebsoi shum\u00eb, Bernardit t\u00eb Shart\u00ebs, ku thot\u00eb se: \u201cshpesh ne dim\u00eb m\u00eb shum\u00eb, jo sepse kemi ecur p\u00ebrpara vet\u00ebm fal\u00eb aft\u00ebsive tona natyrore, por sepse mb\u00ebshtetemi n\u00eb forc\u00ebn mendore t\u00eb t\u00eb tjer\u00ebve dhe zot\u00ebrojm\u00eb pasuri t\u00eb cilat i kemi trasheguar nga st\u00ebrgjysh\u00ebrit tan\u00eb. Bernardi i Shart\u00ebs e kishte zakon t\u00eb na krahasonte me xhuxh\u00eb imcak\u00eb q\u00eb rrin\u00eb mbi supe vigan\u00ebsh. Ai theksonte se ne shohim m\u00eb larg se paraardh\u00ebsit tan\u00eb, jo sepse kemi v\u00ebshtrim m\u00eb t\u00eb mpreht\u00eb, apo se jemi m\u00eb truphedhur, por sepse jemi ngjitur dhe q\u00ebndrojm\u00eb lart mbi shtatin e tyre vigan.\u201d Nisur nga kjo logjik\u00eb ne pranojm\u00eb, se secili krijim i ri \u00ebsht\u00eb i mb\u00ebshtetur n\u00eb \u201cshpatullat\u201d e nj\u00eb t\u00eb vjetri, pavar\u00ebsisht m\u00ebnyr\u00ebs s\u00eb trajtimit q\u00eb merr n\u00eb secil\u00ebn koh\u00eb dhe sipas cil\u00ebs estetik\u00eb krijohet e zhvillohet. M\u00ebnyr\u00eb kjo, e cila mund\u00ebson edhe diferencimin e vepr\u00ebs prej t\u00eb tjerave, duke krijuar origjinalitetin krijues t\u00eb autorit, ku ky i fundit, sipas k\u00ebndv\u00ebshtimit t\u00eb Horacit \u201c\u2026nuk q\u00ebndron n\u00eb risin\u00eb e argumentit, por n\u00eb proprie dicere (shprehjen e posa\u00e7me) n\u00eb njoftimin ori-gji\u00acnal, pra t\u00eb ri, me karakteristika personale.\u201d<\/p>\n

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Nga ana tjet\u00ebr k\u00ebt\u00eb gje e v\u00ebrejm\u00eb edhe po t\u2019u kthehemi dhe t\u2019i kujtojm\u00eb veprat e antikitetit si; \u201cIliada\u201d, \u201cOdisea\u201d, \u201cEdipi mbret\u201d, \u201cMedea\u201d, \u201cEneida\u201d etj q\u00eb n\u00eb optik\u00ebn ton\u00eb t\u00eb v\u00ebshtrimit na vijn\u00eb si d\u00ebshmia m\u00eb e past\u00ebr e k\u00ebsaj dukurie. Dhe duke na b\u00ebr\u00eb t\u00eb kuptojm\u00eb se edhe ato kan\u00eb \u201cpir\u00eb uj\u00eb\u201d tek nj\u00eb burim paraekzistues, q\u00eb n\u00eb rastin konkret jan\u00eb mitet. Ku k\u00ebto t\u00eb fundit ishin ve\u00e7se l\u00ebnda kryesore p\u00ebr k\u00ebto vepra. E njejta dukuri ndodh n\u00ebse kalojm\u00eb m\u00eb pas n\u00eb koh\u00eb, ku kemi veprat e mesjet\u00ebs dhe fillimit t\u00eb Rilindjes, t\u00eb cilat i shfryt\u00ebzojn\u00eb tekstet q\u00eb kan\u00eb ekzistuar para tyre, jo vet\u00ebm tekstet letrare, por edhe tekstet jo artistike, ato fetare e biblike, me figurat, personazhet dhe shpesh m\u00ebnyr\u00ebn e konceptimit. Mund t\u00eb p\u00ebrmendim k\u00ebtu rastin e Komedis\u00eb Hyjnore t\u00eb Dante Aligerit. Po k\u00ebshtu, n\u00ebse i referohemi nj\u00eb periudhe tjet\u00ebr t\u00eb let\u00ebrsis\u00eb, asaj t\u00eb klasicizmit, do v\u00ebrejm\u00eb qart\u00eb dhe haptas k\u00ebt\u00eb komunikim, ku krejt tragjedian\u00ebt e shfryt\u00ebzuan antik\u00ebn p\u00ebr tematikat, motivet e trajtimet q\u00eb realizuan n\u00eb veprat e tyre. Natyrisht, ata krijues aty mor\u00ebn l\u00ebnd\u00ebn e par\u00eb, p\u00ebr ta zhvilluar at\u00eb m\u00eb pas sipas rregullave t\u00eb klasicizmit dhe sipas origjinalitetit krijues q\u00eb arrinte t\u00eb p\u00ebrcillte secili autor, dukuri e cila mori nj\u00eb hov t\u00eb zhvillimit n\u00eb at\u00eb periudh\u00eb.<\/p>\n

Ndikimi, frymzimi dhe marrja nga antikiteti ka qen\u00eb, \u00ebsht\u00eb dhe do t\u00eb mbetet nj\u00eb rrug\u00eb dhe vat\u00ebr referuese p\u00ebr secil\u00ebn prej periudhave t\u00eb let\u00ebrsis\u00eb. Kjo pasi aty kemi kulmet e let\u00ebrsis\u00eb dhe krijimtaris\u00eb artistike njer\u00ebzore. Aty lindin modelet dhe me ato shkrimtar\u00ebt shpesh krahasojn\u00eb dhe gjykojn\u00eb veten, \u00ebsht\u00eb nj\u00eb proces ballafaqimi me krijimin dhe arritjet personale q\u00eb b\u00ebn shkrimtari. \u00cbsht\u00eb nj\u00eb lloj reference e pashmangshme nd\u00ebrmjet modelit q\u00eb ke dhe atij q\u00eb tenton t\u00eb krijosh.<\/p>\n

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Kur vijm\u00eb aty ku dhe ne na intereson, aty ku dhe e kemi objektin e k\u00ebrkimit ton\u00eb, n\u00eb moderniz\u00ebm dhe n\u00eb postmoderniz\u00ebm. T\u00eb par\u00ebt e vazhduan k\u00ebt\u00eb rrug\u00eb t\u00eb shfryt\u00ebzimit, lidhjes dhe t\u00eb komunikimit mes teksteve n\u00eb sh\u00ebrbim t\u00eb teksteve t\u00eb reja, t\u00eb krijimeve aq sa mund t\u00eb quhen \u201corigjinale\u201d, n\u00eb moderniz\u00ebm si pjes\u00eb integrale e krijimtaris\u00eb n\u00eb p\u00ebrgjith\u00ebsi, kurse t\u00eb dyt\u00ebt, n\u00eb postmoderniz\u00ebm, si tipar dallues t\u00eb tyre. Kjo, p\u00ebr vet\u00eb faktin se n\u00eb postmoderniz\u00ebm kemi vet\u00ebdij\u00ebsimin p\u00ebr k\u00ebt\u00eb dukuri, pasi bota tashm\u00eb ka arritur n\u00eb nj\u00eb pik\u00eb ku mund t\u00eb arrijm\u00eb n\u00eb p\u00ebrfundimin e th\u00ebn\u00eb nga kulturologu rus Sergej Averincjev: \u201cNe jemi n\u00eb nj\u00eb epok\u00eb ku t\u00eb gjitha fjal\u00ebt tashm\u00eb jan\u00eb th\u00ebn\u00eb\u201d Duke mos harruar se n\u00eb k\u00ebt\u00eb periudh\u00eb nuk ndodh ndonj\u00eb gj\u00eb ekstra e re, thjesht i jepet p\u00ebrpar\u00ebsi k\u00ebtij efekti, duke u rifunksionalizuar, gj\u00eb e cila e b\u00ebn diferenc\u00ebn. P\u00ebrve\u00e7 dominanc\u00ebs s\u00eb saj, n\u00eb sh\u00ebrbim t\u00eb estetik\u00ebs postmoderniste, e cila e p\u00ebrvet\u00ebson si cil\u00ebsi t\u00eb saj. K\u00ebshtu pra, e kemi t\u00eb qart\u00eb se n\u00eb secil\u00ebn vep\u00ebr t\u00eb secil\u00ebs epok\u00eb mund t\u00eb gjejm\u00eb dukuri t\u00eb komunikimit mes teksteve, me procedime si; analogjia, ironia, parodia etj. Ku nuk duhet t\u00eb harrojm\u00eb se prania e nj\u00ebr\u00ebs apo tjetr\u00ebs prej k\u00ebtyre procedimeve apo m\u00ebnyrave t\u00eb riaktivizimit dhe komunikimit q\u00eb ndodh mes teksteve, nuk do t\u00eb thot\u00eb domosdoshm\u00ebrisht q\u00eb vepr\u00ebn mund ta klasifikojm\u00eb si postmoderniste. P\u00ebr shkak se p\u00ebr t\u00eb qen\u00eb e till\u00eb, duhet t\u00eb ket\u00eb edhe koh\u00ebn kur shkruhet si e till\u00eb, edhe dominanc\u00ebn e shumic\u00ebs s\u00eb element\u00ebve dhe tipareve q\u00eb jan\u00eb konsideruar si postmodern\u00eb. Sepse p\u00ebr postmodernist\u00ebt, si\u00e7 shprehet studiuesja Julia Kristeva: \u201cTeksti \u00ebsht\u00eb nj\u00eb kombinatore, vendi i nj\u00eb shk\u00ebmbimi t\u00eb vazhduesh\u00ebm nd\u00ebr\u00acmjet cop\u00ebzash q\u00eb shkrimi i rishp\u00ebrndan duke nd\u00ebrtuar nj\u00eb tekst t\u00eb ri nga tekste t\u00eb m\u00ebparshme, tekste k\u00ebto t\u00eb shkat\u00ebrruara, mohuara, rimarra.\u201d<\/p>\n

N\u00eb fakt, k\u00ebt\u00eb lloj komunikimi mes veprave as vet\u00eb autor\u00ebt nuk e shmangin dot, ndaj k\u00ebt\u00eb nj\u00eb lloj shk\u00ebmbimi t\u00eb vazhduesh\u00ebm mes veprave t\u00eb ndryshme dhe teksteve artistike dhe jo t\u00eb tilla, do ta hasim p\u00ebrher\u00eb n\u00eb let\u00ebrsi. Th\u00ebn\u00eb ndryshe, let\u00ebrsia dhe n\u00eb ve\u00e7anti romani, mund t\u00eb p\u00ebrfshij\u00eb dhe t\u00eb p\u00ebrziej\u00eb nj\u00eb shum\u00ebsi informacionesh, bot\u00ebsh dhe dijesh t\u00eb fushave nga m\u00eb t\u00eb ndryshmet. Me k\u00ebt\u00eb duam t\u00eb specifikojm\u00eb dhe sqarojm\u00eb se tek secila vep\u00ebr e secil\u00ebs periudh\u00eb mund t\u00eb ket\u00eb komunikim, qoft\u00eb ajo romantike, klasiciste, realiste apo moderniste. Do t\u00eb ket\u00eb prani t\u00eb nj\u00eb burimi q\u00eb mund t\u00eb ket\u00eb sh\u00ebrbyer si origjin\u00eb, brum ose l\u00ebnd\u00eb p\u00ebr tekstin p\u00ebrfundimtar, ku k\u00ebtij t\u00eb fundit, natyrisht q\u00eb nuk i mungon origjinaliteti. Nj\u00eb dukuri t\u00eb till\u00eb e kan\u00eb pranuar edhe vet\u00eb shkrimtar\u00ebt dhe poet\u00ebt, p\u00ebr shkak se teknika t\u00eb ndryshme, l\u00ebnd\u00eb n\u00eb dukje t\u00eb huaja, po q\u00eb arketipi i tyre i bashkon, jan\u00eb ato q\u00eb na e pohojn\u00eb dhe nj\u00ebher\u00eb dukurin\u00eb e intertekstualitetit (nd\u00ebrtekstor\u00ebsis\u00eb) dhe se veprat letrare n\u00eb p\u00ebrgjithsi jan\u00eb n\u00eb nj\u00eb komunikim t\u00eb p\u00ebrhersh\u00ebm me nj\u00ebra \u2013 tjetr\u00ebn. Duke b\u00ebr\u00eb q\u00eb ato t\u00eb rejat t\u00eb lindin nga brumi i t\u00eb vjetrave, si\u00e7 ka th\u00ebn\u00eb dhe poeti Lasgush Poradeci \u201cKRIJIM I RI RELEVON poeti! Krijim i ri, prej l\u00ebnd\u00ebs s\u00eb vjet\u00ebr\u2026 \u201d<\/p>\n

Megjithat\u00eb, kjo prani p\u00ebr t\u00eb cil\u00ebn po flasim, ky ko\u00acmu\u00acnikim i vazhduesh\u00ebm, i cili duke qen\u00eb mes veprash, \u00ebsht\u00eb nj\u00ebkoh\u00ebsisht mes koh\u00ebsh dhe ngjarjesh, na b\u00ebn t\u00eb mb\u00ebshtesim mendimin dhe interpretimin q\u00eb ka dh\u00ebn\u00eb Nathalie P. Gros n\u00eb lidhje me intertekstualitetin dhe t\u00eb identifikohemi n\u00eb k\u00ebt\u00eb rast me iden\u00eb e saj q\u00eb \u201cintertekstualiteti \u00ebsht\u00eb t\u00ebr\u00ebsisht i varur nga leximi; n\u00ebse nuk \u00ebsht\u00eb pikasur, ai kthehet n\u00eb nj\u00eb let\u00ebr t\u00eb vdekur\u201d Kjo \u00ebsht\u00eb leht\u00ebsisht e pranueshme dhe e kuptueshme, pasi n\u00ebse ne nuk dim\u00eb t\u00eb kuptojm\u00eb analogjin\u00eb ose ironin\u00eb q\u00eb realizon nj\u00eb autor i caktuar, i mb\u00ebshtetur tek nj\u00eb ngjarje, ide arketipale apo tekst tjet\u00ebr nuk do e kuptojm\u00eb, nj\u00eb ngjarje, e cila mund t\u00eb jet\u00eb trajtuar n\u00eb ndonj\u00eb tekst pasardh\u00ebs.N\u00ebse nuk e njohim tekstin me t\u00eb cilin ironizon, luan dhe e riaktivizon autori n\u00eb tekstin e tij, ne do e p\u00ebrkapim vet\u00ebm sip\u00ebrfaq\u00ebsisht iden\u00eb, duke mos e arritur thelbin, rrjedhimisht, duke e zhdukur n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb intertekstualitetin, duke e b\u00ebr\u00eb at\u00eb inekzistent. Ndaj k\u00ebto lloj tekstesh k\u00ebrkojn\u00eb nj\u00eb lexues t\u00eb kultivuar dhe t\u00eb pajisur me aft\u00ebsit\u00eb dekodifikuese, jo vet\u00ebm t\u00eb mesazheve dhe ideve komunikuese, por edhe t\u00eb teknikave dhe procedimeve q\u00eb p\u00ebrdoren p\u00ebr realizimin funksional t\u00eb tyre. Procedime t\u00eb cilat, nga ana e tyre, shtres\u00ebzohen brenda t\u00eb njejt\u00ebs vep\u00ebr, po shpesh i kalojn\u00eb edhe kufinjt\u00eb e saj.<\/p>\n

N\u00ebse ndalemi tek autori q\u00eb ne kemi marr\u00eb p\u00ebr v\u00ebzhgim, do t\u00eb gjejm\u00eb dukuri t\u00eb tilla t\u00eb intertekstualitetit, q\u00eb bashk\u00ebekzistojn\u00eb brenda t\u00eb njejt\u00ebs vep\u00ebr, q\u00eb b\u00ebjn\u00eb t\u00eb mundur komunikimin mes, koh\u00ebve, veprave dhe teksteve t\u00eb ndryshme letrare dhe jo letrare. Konkretisht n\u00eb romanin Oh do t\u00eb dallojm\u00eb dukuri dhe procedime si;<\/p>\n

\u2013 Hipertekstualiteti
\n\u2013 Rimarrja
\n\u2013 Aluzioni<\/p>\n

K\u00ebto t\u00eb tre raste t\u00eb komunikimit jan\u00eb ato q\u00eb mbizot\u00ebrojn\u00eb n\u00eb romanin e Pashkut. Kjo do t\u00eb kuptohet pas analizimit t\u00eb tyre, por edhe duke kuptuar stilin dhe teknikat e shkrimit t\u00eb k\u00ebtij shkrimtari. Shihet shum\u00eb qart\u00eb q\u00eb n\u00eb secilin rast ka nj\u00eb metod\u00eb t\u00eb ndryshme t\u00eb \u201cshfryt\u00ebzimit\u201d t\u00eb k\u00ebtyre teksteve. E gjith\u00eb kjo n\u00eb m\u00ebnyr\u00eb q\u00eb gjithnj\u00eb komunikimi t\u00eb jet\u00eb n\u00eb sh\u00ebrbim t\u00eb tekstit t\u00eb tij dhe t\u00eb ideve, q\u00eb autori synon t\u00eb theksoj\u00eb, n\u00ebp\u00ebrmjet nj\u00eb riaktivizimi dhe rifunksionalizimi, tashm\u00eb n\u00eb nj\u00eb kontekst tjet\u00ebr. Kontekst, i cili nuk \u00ebsht\u00eb vet\u00ebm tekstor, por edhe historik, gj\u00eb q\u00eb flet p\u00ebr nj\u00eb intertekstualitet t\u00eb vet\u00ebdijsh\u00ebm, jo t\u00eb rast\u00ebsish\u00ebm, as t\u00eb detyruar.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nga Manjola Brahaj Artet dhe n\u00eb ve\u00e7anti let\u00ebrsin\u00eb, p\u00ebrve\u00e7 t\u00eb tjerave \u201cpalca\u201d kryesore dhe baza q\u00eb i mban gjall\u00eb nga epoka n\u00eb epok\u00eb \u00ebsht\u00eb pik\u00ebrisht komunikimi q\u00eb ato kan\u00eb mes tyre. Marr\u00ebdh\u00ebnia dhe bashk\u00ebjetesa q\u00eb ato krijojn\u00eb me nj\u00ebra \u2013 tjetr\u00ebn. Komunikimi i vazhduesh\u00ebm dhe frytdh\u00ebn\u00ebs q\u00eb ato krijojn\u00eb i ndryshon ato, duke i riform\u00ebsuar […]<\/p>\n","protected":false},"author":1,"featured_media":12763,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"footnotes":""},"categories":[11,3,14,15],"tags":[],"yoast_head":"\nIntertekstualiteti i \u201cOh\u201d - Informohu qart\u00ebsisht!<\/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:\/\/redaktori.com\/?p=12722\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Intertekstualiteti i \u201cOh\u201d - Informohu qart\u00ebsisht!\" \/>\n<meta property=\"og:description\" content=\"Nga Manjola Brahaj Artet dhe n\u00eb ve\u00e7anti let\u00ebrsin\u00eb, p\u00ebrve\u00e7 t\u00eb tjerave \u201cpalca\u201d kryesore dhe baza q\u00eb i mban gjall\u00eb nga epoka n\u00eb epok\u00eb \u00ebsht\u00eb pik\u00ebrisht komunikimi q\u00eb ato kan\u00eb mes tyre. Marr\u00ebdh\u00ebnia dhe bashk\u00ebjetesa q\u00eb ato krijojn\u00eb me nj\u00ebra \u2013 tjetr\u00ebn. 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