Sevdail Zejnullahu
\nPOETIKA E FURTUN\u00cbS: ND\u00cbRMJET TENSIONIT (DHE) MUNGES\u00cbS
\nNj\u00eb v\u00ebshtrim p\u00ebr v\u00ebllimin poetik \u201dZog n\u00eb furtun\u00eb\u201d t\u00eb Rizah Sheqirit<\/p>\n
Poezia hyr\u00ebse e v\u00ebllimit q\u00eb mban t\u00eb nj\u00ebjtin titull, Zog n\u00eb furtun\u00eb nuk funksionon si parath\u00ebnie n\u00eb kuptimin tradicional; ajo shfaqet si nj\u00eb artikulim i brisht\u00eb i qenies, nj\u00eb akt diskursiv q\u00eb e vendos subjektin n\u00eb nj\u00eb hap\u00ebsir\u00eb ku identiteti nuk mund t\u00eb fiksohet. Q\u00eb n\u00eb vargjet e para- \u201cas i zgjuar as n\u00eb gjum\u00eb\u201d, \u201cas n\u00eb tok\u00eb as n\u00eb qiell\u201d\u2014ai p\u00ebrjashtohet nga \u00e7do koordinat\u00eb e q\u00ebndrueshme, duke sinjalizuar nj\u00eb gjendje ontologjike pezullimi, ku qenia nuk \u00ebsht\u00eb nj\u00ebsi e plot\u00eb, por l\u00ebvizje nd\u00ebrmjet skajeve t\u00eb papajtueshme.
\nN\u00eb k\u00ebt\u00eb rrafsh, teksti hap nj\u00eb dimension metafizik: nuk p\u00ebrfaq\u00ebson bot\u00ebn, por v\u00eb n\u00eb kriz\u00eb vet\u00eb mund\u00ebsin\u00eb e t\u00eb qenit n\u00eb t\u00eb. Subjekti shfaqet si
\nnd\u00ebrmjet\u00ebsi e brisht\u00eb midis dukjes dhe zhdukjes, nd\u00ebrsa poezia b\u00ebhet prov\u00eb e qenies n\u00eb kufijt\u00eb e saj- aty ku identiteti rr\u00ebshqet dhe kuptimi mbetet n\u00eb k\u00ebrkim.
\nFigura e zogut zhvendoset nga simbol i liris\u00eb n\u00eb trup t\u00eb ekspozuar ndaj furtun\u00ebs- nj\u00eb forc\u00eb historike dhe ekzistenciale. Ai nuk fluturon p\u00ebr t\u00eb
\nikur, por p\u00ebr t\u00eb q\u00ebndruar, duke e kthyer poezin\u00eb n\u00eb akt q\u00ebndrese. N\u00eb k\u00ebt\u00eb univers, dashuria dhe urrejtja nd\u00ebrthuren si struktura tensioni, dhe kur subjekti pohon \u201cK\u00ebtu jam un\u00eb \/ Zog n\u00eb furtun\u00eb\u201d, ai nuk p\u00ebrkufizohet, por shp\u00ebrndahet n\u00eb figur\u00eb.
\nK\u00ebshtu, poezia nuk e hap vet\u00ebm librin; ajo e vendos lexuesin n\u00eb nj\u00eb regjim p\u00ebrvoje q\u00eb p\u00ebrshkon gjith\u00eb v\u00ebllimin.
\nCikli i par\u00eb zhvillohet si nj\u00eb topografi e nj\u00eb bote t\u00eb shtypur, por jo t\u00eb shuar. N\u00eb poezin\u00eb si \u201cLagja ime\u201d, realiteti paraqitet i k\u00ebrrusur, i deformuar nga historia, por brenda tij vazhdon t\u00eb pulsoj\u00eb nj\u00eb tepric\u00eb e heshtur dashurie, nj\u00eb premtim i vonuar drite. Historia nuk ec\u00ebn drejt; ajo zvarritet
\nmbi trupin e njeriut, duke e b\u00ebr\u00eb ekzistenc\u00ebn nj\u00eb p\u00ebrvoj\u00eb t\u00eb r\u00ebnduar.
\nN\u00eb poezit\u00eb si \u201cHija\u201d dhe \u201cPlag\u00ebve t\u00eb mia u duhet diell\u201d, kjo p\u00ebrplasje b\u00ebhet m\u00eb intime. Subjekti ec\u00ebn mbi nj\u00eb vij\u00eb t\u00eb mpreht\u00eb, \u201cn\u00ebp\u00ebr teh t\u00eb
\nshpat\u00ebs\u201d, duke mbajtur brenda nj\u00eb k\u00ebng\u00eb q\u00eb nuk mund t\u00eb shp\u00ebrthej\u00eb plot\u00ebsisht. Plaga k\u00ebtu nuk \u00ebsht\u00eb vet\u00ebm dhimbje; ajo \u00ebsht\u00eb vendi ku k\u00ebrkohet drita, nj\u00eb hapje q\u00eb e b\u00ebn t\u00eb mundur vazhdimin.
\nNd\u00ebrkoh\u00eb, n\u00eb \u201cKronik\u00eb\u201d dhe \u201cKoh\u00eb t\u00eb lehurash\u201d, kjo kriz\u00eb e brendshme shtrihet n\u00eb nj\u00eb dimension kolektiv: gjuha shp\u00ebrb\u00ebhet, fjala humb funksionin e saj, dhe komunikimi rr\u00ebshqet drejt instinktit.
\nNjeriu nuk flet m\u00eb- ai leh. Kjo \u00ebsht\u00eb nj\u00eb bot\u00eb ku kuptimi nuk mungon, por \u00ebsht\u00eb b\u00ebr\u00eb i paarritsh\u00ebm.
\nN\u00eb ciklin e dyt\u00eb, p\u00ebrplasja me bot\u00ebn e jashtme zhvendoset brenda vetes dhe shnd\u00ebrrohet \u00eb nj\u00eb nyj\u00eb t\u00eb brendshme t\u00eb qenies.. Poezi si \u201cSa
\nv\u00ebshtir\u00eb\u201d dhe \u201cHimn jete\u201d e paraqesin ekzistenc\u00ebn si nj\u00eb p\u00ebrvoj\u00eb t\u00eb p\u00ebr\u00e7ar\u00eb, ku njeriu nuk arrin m\u00eb t\u00eb p\u00ebrputhet me bot\u00ebn apo me vetveten. T\u00eb jetosh do t\u00eb thot\u00eb t\u00eb humb\u00ebsh vazhdimisht di\u00e7ka nga vetja; jeta nuk \u00ebsht\u00eb vazhdim\u00ebsi e past\u00ebr, por nj\u00eb proces i p\u00ebrhersh\u00ebm zhveshjeje. N\u00eb \u201cNyja e jet\u00ebs\u201d, kjo ide merr form\u00eb t\u00eb qart\u00eb: ekzistenca \u00ebsht\u00eb nj\u00eb lidhje q\u00eb nuk zgjidhet leht\u00eb, nj\u00eb struktur\u00eb ku mbushja dhe zbrazja, prania dhe mungesa bashk\u00ebjetojn\u00eb n\u00eb tension.
\nFigura t\u00eb tilla si \u201cGurishta\u201d dhe \u201cShk\u00ebmbi\u201d e zhvendosin subjektin drejt nj\u00eb q\u00ebndrueshm\u00ebrie q\u00eb nuk \u00ebsht\u00eb qet\u00ebsi, por rezistenc\u00eb. Njeriu b\u00ebhet pjes\u00eb e nj\u00eb materiali q\u00eb p\u00ebrballon p\u00ebrplasjet pa u zhdukur. Por edhe k\u00ebtu, konflikti mbetet i brendsh\u00ebm: n\u00eb poezi si \u201cKrimbi i smir\u00ebs\u201d apo
\n\u201cDashuria dhe urrejtja\u201d, e keqja dhe e mira nuk jan\u00eb forca t\u00eb jashtme, por procese q\u00eb ndodhin brenda vet\u00eb qenies.
\nN\u00eb ciklin e tret\u00eb, kjo nyj\u00eb shp\u00ebrndahet n\u00eb nj\u00eb hap\u00ebsir\u00eb m\u00eb t\u00eb gjer\u00eb: at\u00eb t\u00eb m\u00ebrgimit dhe t\u00eb dashuris\u00eb. N\u00eb \u201cFaqe ditari e nj\u00eb m\u00ebrgimtari\u201d dhe
\n\u201cNd\u00ebrrim motesh\u201d, atdheu nuk \u00ebsht\u00eb m\u00eb nj\u00eb vend i preksh\u00ebm, por nj\u00eb struktur\u00eb mungese q\u00eb organizon kujtes\u00ebn dhe gjuh\u00ebn. Ai \u00ebsht\u00eb nj\u00ebkoh\u00ebsisht af\u00ebr dhe i paarritsh\u00ebm, duke e b\u00ebr\u00eb subjektin t\u00eb jetoj\u00eb n\u00eb nj\u00eb gjendje t\u00eb dyfisht\u00eb- t\u00eb pranish\u00ebm dhe t\u00eb zhvendosur nj\u00ebkoh\u00ebsisht.
\nEdhe dashuria, n\u00eb k\u00ebt\u00eb univers, nuk arrin t\u00eb b\u00ebhet streh\u00eb. N\u00eb poezi si \u201cUn\u00eb e ti\u201d, \u201cZemra zemr\u00ebs\u201d dhe \u201cDashurojm\u00eb\u201d, ajo nuk prodhon unitet, por tension. Marr\u00ebdh\u00ebnia mbetet nj\u00eb p\u00ebrpjekje e vazhdueshme p\u00ebr afrim, q\u00eb kurr\u00eb nuk e zhduk plot\u00ebsisht distanc\u00ebn. Nd\u00ebrsa n\u00eb \u201cI mb\u00ebshtjell\u00eb nga urrejtja k\u00ebndoj p\u00ebr dashuri\u201d, dashuria shfaqet si nj\u00eb form\u00eb q\u00ebndrese- jo p\u00ebrtej konfliktit, por brenda tij. Ajo nuk \u00ebsht\u00eb harmoni, por nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb mbijetuar n\u00eb nj\u00eb bot\u00eb q\u00eb e k\u00ebrc\u00ebnon vazhdimisht.
\nN\u00eb fund, ky v\u00ebllim nuk k\u00ebrkon p\u00ebrgjigje dhe as nuk ofron qet\u00ebsi iluzore; ai e mban bot\u00ebn poetike n\u00eb nj\u00eb l\u00ebkundje t\u00eb p\u00ebrhershme. Kuptimi
\nnuk stabilizohet, por zhvendoset dhe rind\u00ebrtohet n\u00eb \u00e7do lexim. Forc.
\n\u200bK\u00ebtu, njeriu- si nj\u00eb zog n\u00eb furtun\u00eb- nuk gjen streh\u00eb p\u00ebrfundimtare, por mbetet midis rrezikut dhe shpres\u00ebs, duke k\u00ebrkuar pa reshtur.
\nSevdail Zejnullahu<\/p>\n","protected":false},"excerpt":{"rendered":"
Sevdail Zejnullahu POETIKA E FURTUN\u00cbS: ND\u00cbRMJET TENSIONIT (DHE) MUNGES\u00cbS Nj\u00eb v\u00ebshtrim p\u00ebr v\u00ebllimin poetik \u201dZog n\u00eb furtun\u00eb\u201d t\u00eb Rizah Sheqirit Poezia hyr\u00ebse e v\u00ebllimit q\u00eb mban t\u00eb nj\u00ebjtin titull, Zog n\u00eb furtun\u00eb nuk funksionon si parath\u00ebnie n\u00eb kuptimin tradicional; ajo shfaqet si nj\u00eb artikulim i brisht\u00eb i qenies, nj\u00eb akt diskursiv q\u00eb e vendos subjektin […]<\/p>\n","protected":false},"author":3,"featured_media":3128,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-4180","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-botime-te-reja"],"_links":{"self":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4180","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/comments?post=4180"}],"version-history":[{"count":1,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4180\/revisions"}],"predecessor-version":[{"id":4181,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/posts\/4180\/revisions\/4181"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/media\/3128"}],"wp:attachment":[{"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/media?parent=4180"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/categories?post=4180"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/migjeni.se\/index.php\/wp-json\/wp\/v2\/tags?post=4180"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}