{"id":24231,"date":"2019-11-14T10:16:00","date_gmt":"2019-11-14T09:16:00","guid":{"rendered":"http:\/\/ulqini-online.com\/sajti\/?p=24231"},"modified":"2019-11-15T21:38:14","modified_gmt":"2019-11-15T20:38:14","slug":"fshati-i-heshtur-si-idiome-qe-trazon-nderdijen","status":"publish","type":"post","link":"https:\/\/ulqini-online.com\/sajti\/?p=24231","title":{"rendered":"FSHATI I HESHTUR SI IDIOM\u00cb Q\u00cb TRAZON ND\u00cbRDIJEN"},"content":{"rendered":"\n

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(V\u00ebshtrim mbi romanin “Fshati i Heshtjes”, t\u00eb autorit Mark Lucgjonaj)  <\/em><\/p>\n\n\n\n

Nga: Arg\u00ebzon SULEJMANI  <\/strong><\/p>\n\n\n\n

1.    Romani “Fshati i heshtjes” i autorit Mark Lucgjonaj, n\u00eb thelb ka vrazhd\u00ebsin\u00eb e absurdit, ekstremet dhe, nisur nga vet\u00eb kopertina e botimit t\u00eb par\u00eb, shp\u00ebrfaqjen e bot\u00ebs n\u00ebn drit\u00ebhijet bardh\u00eb e zi. Pavar\u00ebsisht q\u00eb ky \u00ebsht\u00eb romani i par\u00eb i k\u00ebtij autori, ai guxon t\u00eb luaj\u00eb p\u00ebrnj\u00ebmend me ngjarjen, me personazhet, me rrethanat, me koh\u00ebn dhe me v\u00ebshtrimtar\u00ebt e mundsh\u00ebm letrar\u00eb. Mjegullnaja semantike vjen e leht\u00ebdep\u00ebrtueshme fal\u00eb nj\u00eb rrjedhe t\u00eb natyrshme dhe stili origjinal q\u00eb respekton standardin dhe krijon standarde.       Romani nis\u00eb me nj\u00eb prolog q\u00eb p\u00ebr kryepersonazhin mund t\u00eb quhet epilog i nj\u00eb pjes\u00ebjete, kurse p\u00ebrmbyllet me epilogun q\u00eb p\u00ebr t\u00eb nj\u00ebjtin personazh mund t\u00eb \u00e7mohet edhe si hyrje n\u00eb nj\u00eb cop\u00eb t\u00eb re jete. Autori e l\u00eb lexuesin me melankolin\u00eb e njeriut t\u00eb par\u00eb t\u00eb romanit, sepse e nis\u00eb at\u00eb me dashurin\u00eb e aksidentuar p\u00ebr vdekje, kurse e p\u00ebrmbyll\u00eb pik\u00ebrisht n\u00eb \u00e7astet kur ky nis\u00eb nj\u00eb romanc\u00eb t\u00eb re. Autori me t\u00eb nisur “u hy n\u00eb hak” personazheve, lexuesit dhe vetes, p\u00ebr t\u00eb v\u00ebn\u00eb n\u00eb pah frekuencat e lumturis\u00eb njer\u00ebzore, kur n\u00eb fund personazhit kryesor i gjen\u00eb dashurin\u00eb, lexuesve ua shuan kureshtjet e disata, kurse vetes ia shpaguan guximin me romanin e realizuar.  Lucgjonaj n\u00eb qend\u00ebr t\u00eb rr\u00ebfimit v\u00eb ngjarjen, kurse personazhet dhe stilistik\u00ebn e v\u00eb n\u00eb funksion t\u00eb saj. Me t\u00eb mbaruar leximin, mund t\u00eb v\u00ebreni se si rr\u00ebfimi vazhdon t’u jap\u00eb jet\u00eb personazheve, sikurse gjuha e pasur poashtu. Romani flet dominuesh\u00ebm n\u00eb veten e tret\u00eb, kurse n\u00eb pak raste personazhi kryesor rr\u00ebfehet n\u00eb veten e par\u00eb. Kjo, mbase p\u00ebr t\u00eb na e shuar ose shtuar kureshtjen se, cilat rroba t\u00eb personazheve do t’i b\u00ebnin m\u00eb leht\u00eb autorit. Postmodernist\u00ebt cekin q\u00eb, n\u00eb fund t\u00eb fundit secili rr\u00ebfim p\u00ebrmban\u00eb brenda vetes dhe autobiografi t\u00eb narratorit. Heshtja si simbol mitik dhe karakteristik\u00eb e trojeve tona grindet n\u00eb dy kontekstet e veta, konteksti mitik e zhvler\u00ebson at\u00eb real, sikurse ai real e banalizon at\u00eb mitik. 
(…) Dashuria \u00ebsht\u00eb gj\u00ebja m\u00eb e past\u00ebr q\u00eb njeriu mund t\u00eb ket\u00eb dhe t\u00eb p\u00ebrjetoj\u00eb  gjat\u00eb jet\u00ebs s\u00eb tij. Ajo vjen si ndjesi e pashpjegueshme. Ngandonj\u00ebher\u00eb e dim\u00eb se nuk \u00ebsht\u00eb n\u00eb t\u00eb mir\u00ebn ton\u00eb, porse ndjenja \u00ebsht\u00eb aq deh\u00ebse, aq hipnotizuese sa q\u00eb njeriu mpihet. Nuk mund ta kund\u00ebrshtoj\u00eb at\u00eb afsh, at\u00eb pasion t\u00eb zjarrt\u00eb q\u00eb e pushton si nj\u00eb pik\u00eb helm damar\u00ebt e njom\u00eb t\u00eb nj\u00eb f\u00ebmije. Nd\u00ebrsa me buz\u00ebqeshje n\u00eb goj\u00eb, bie n\u00eb gjum\u00eb dhe leht\u00eb, pa ditur se \u00e7far\u00eb po ndodh n\u00eb trupin dhe zemr\u00ebn e tij, vdes n\u00eb paqe. Por vdekja fizike \u00ebsht\u00eb shum\u00eb e bukur, kundrejt vdekjes s\u00eb brend\u00ebsis\u00eb s\u00eb njeriut. \u00cbsht\u00eb m\u00eb mir\u00eb kur zemra t\u00eb pushon s\u00eb rrahuri dhe njeriu nj\u00ebsohet me dheun e ftoht\u00eb t\u00eb natyr\u00ebs, sesa kur ta kesh zemr\u00ebn e gjall\u00eb dhe ta urresh pse vazhdon t\u00eb punoj\u00eb. (…) fq. 5. <\/p>\n\n\n\n

2.     “Fshati i heshtjes” v\u00eb n\u00eb pah kontrastet, kund\u00ebrth\u00ebnjet, n\u00eb t\u00eb gjitha planet. Aty takohen: e jetuara me t\u00eb tashmen, lindja e per\u00ebndimi, mesjeta e bashk\u00ebkoh\u00ebsia, rrethanor\u00ebsia dhe teknologjia, mir\u00ebsia e lig\u00ebsia, bes\u00ebtytnia e parim\u00ebsia, kodeksia e ligj\u00ebsia, vdekja e dashuria, rinia e pleq\u00ebria, lart\u00ebsia e thell\u00ebsia, marria dhe dija, tradh\u00ebtia e besnik\u00ebria, heshtja e alltia, qet\u00ebsia e \u00e7menduria, altruizmi e egoizmi, rakia e kthjellt\u00ebsia, ftoht\u00ebsia e zjarrmia, bardh\u00ebsia e korb\u00ebsia. Do t\u00eb mjaftonte kaq. \u00cbsht\u00eb kaq e mjaftueshme p\u00ebr t\u00eb kuptuar se sa \u00ebsht\u00eb kjo vep\u00ebr e lexueshme. Enumeracioni gjithnj\u00eb m\u00eb kujton nj\u00eb nd\u00ebr emrat m\u00eb t\u00eb medhenj t\u00eb let\u00ebrsis\u00eb shqipe, Rexhep Qosjen, kurse “Fshati i Heshtjes” gjithashtu m\u00eb nd\u00ebrkujton qytetin Vajazan nga vepra m\u00eb e lakuar e tij “Vdekja m\u00eb vjen prej syve t\u00eb till\u00eb. Mungojn\u00eb ve\u00e7 lakuriq\u00ebt tek “Fshati…”, ose as ata, meqen\u00ebse ngjarja vjen tek lexuesi pa doreza, krejt lakuriq. Vdekja vjen e shkon si n\u00eb sht\u00ebpi t\u00eb vet, ose vdekja luan valle n\u00ebn vajet e heshtjan\u00ebve dhe mbi eshtrat e tyre. 
   “Fshati i heshtjes”, n\u00eb fakt \u00ebsht\u00eb fshati i mendjes ose i \u00e7mendjes. Nuk \u00ebsht\u00eb nj\u00eb fshat idiot, autori ka durimin ta shpjegoj\u00eb faqe m\u00eb faqe nj\u00eb gj\u00eb t\u00eb till\u00eb. Heshtja n\u00eb \u00e7do koh\u00eb k\u00ebrkon psikanaliz\u00ebn, t\u00eb cil\u00ebn autori rreket ta th\u00ebrras\u00eb n\u00eb ndihm\u00eb her\u00eb pas here. Ballkani \u00ebsht\u00eb i mbushur me vajazan\u00eb e fshatra t\u00eb heshtjes, si\u00e7 \u00ebsht\u00eb po kaq i pasur me topik\u00eb ose topose debile dhe t\u00eb liga. Fshatrat ku flitet gjuha jon\u00eb, fatmir\u00ebsisht, n\u00eb asnj\u00eb rast nuk i kan\u00eb merituar p\u00ebrcaktor\u00ebt e fundit. 
   Ngjarja hapet me nj\u00eb paranisje. Personazhi kryesor n\u00eb fshatin egocentrik ose t\u00eb heshtjes, ku secila kafk\u00eb p\u00ebrb\u00ebn kryesi m\u00eb vete, Ludvig Nop\u00e7a, n\u00eb k\u00ebt\u00eb paranisje humb\u00eb t\u00eb dashur\u00ebn e jet\u00ebs, Ilon\u00ebn, n\u00eb nj\u00eb aksident automobilistik. Tre minutat e fundit t\u00eb jet\u00ebs s\u00eb saj num\u00ebrojn\u00eb sekuencat e ngjarjeve q\u00eb kan\u00eb l\u00ebn\u00eb gjurm\u00eb n\u00eb jet\u00ebn e pand\u00ebrruar. N\u00ebse Nop\u00e7a nuk do t\u00eb arrij\u00eb asnj\u00ebher\u00eb t\u00eb b\u00ebhet kryepersonazh i romanit ose fshatit, nj\u00eb gj\u00eb \u00ebsht\u00eb m\u00eb se e sigurt, ai kishte qen\u00eb personazh i par\u00eb i jet\u00ebs s\u00eb shkurt\u00ebr t\u00eb Ilon\u00ebs. N\u00eb dhjet\u00eb kapitujt e romanit, studiuesi i trash\u00ebgimis\u00eb kulturore, Ludvig von Nop\u00e7a, do t\u00eb rropatej Fshatit t\u00eb Heshtjes, pa Ilon\u00ebn, si p\u00ebr t\u00eb p\u00ebrmbushur nj\u00eb amanet t\u00eb dashuris\u00eb s\u00eb tyre, pik\u00ebnisjes s\u00eb saj, rafteve t\u00eb libraris\u00eb, “Ferrit” t\u00eb Dantes. Karli nj\u00ebherit p\u00ebrb\u00ebn homazh t\u00eb dhjet\u00ebra e qindra albanolog\u00ebve t\u00eb huaj q\u00eb jan\u00eb lidhur shpirt\u00ebrisht dhe intelektualisht me gjuh\u00ebn dhe kultur\u00ebn ton\u00eb. Ai \u00ebsht\u00eb me komb\u00ebsi austriake dhe rast\u00ebsisht do t\u00eb gjendej n\u00eb bujtin\u00ebn “Tradita” t\u00eb vendasit Kras Jung dhe t\u00eb shoqes s\u00eb tij Berta. Fillimisht, fshati i vizituar do t\u00eb shfaqej si fshati i territ, “Bota e Tret\u00eb” n\u00eb gjuh\u00ebn e kryepersonazhit, meqen\u00ebse me t\u00eb hyr\u00eb rrug\u00ebve t\u00eb tij do t\u00eb shk\u00ebputej elektrifikimi nga nj\u00eb shkrepje qielli. N\u00eb m\u00ebngjes fshati do t\u00eb b\u00ebhej i ftoht\u00eb dhe i friksh\u00ebm, kur pronari i bujtin\u00ebs do t\u00eb krahonte arm\u00ebn e trash\u00ebguar, kurse plaku i fshatit do t\u00eb zbrazte ironin\u00eb q\u00eb i karakterizon fshatrat e l\u00ebna n\u00eb harres\u00eb. Diku m\u00eb von\u00eb, Ludvigu dhe lexuesi do t\u00eb m\u00ebsojn\u00eb p\u00ebr heshtjen e fshatit q\u00eb e ka kthyer n\u00eb Fshat Heshtjeje. Heshtja kishte t\u00eb b\u00ebnte me bes\u00ebn, me sakrific\u00ebn, me flijimin.  
(…) Rruga pran\u00eb malit \u00ebsht\u00eb nd\u00ebrtuar nga perandoria jote, nga perandoria Austro-Hungareze, – vazhdoi  plaku, – kurse kjo q\u00eb po ngjitemi lart, nga nj\u00eb perandori tjet\u00ebr. K\u00ebtu kan\u00eb ardhur shum\u00eb perandori, por t\u00eb gjitha jan\u00eb larguar si\u00e7 kan\u00eb ardhur.  Mali p\u00ebrbehet nga dy maja: maja e vog\u00ebl ku thuhet se ka qen\u00eb nj\u00eb burg i madh dhe maja e madhe, ku gjendet nj\u00eb masiv i madh varrezash t\u00eb disa periudhave. (…) Fq. 61. 
   Fshatin e p\u00ebrfaq\u00ebson plaku, plaka, vajza dhe burrat. P\u00ebrfaq\u00ebsimi ndjek\u00eb plot\u00ebsisht logjik\u00ebn e derisotme shqiptare, e cila vazhdon t\u00eb jet\u00eb dominuesh\u00ebm patriarkale dhe konservatore. Plaku, q\u00eb b\u00ebhet ciceron i mysafirit \u00ebsht\u00eb i sert\u00eb dhe parimor. Plaka \u00ebsht\u00eb sa n\u00ebn\u00eb sa shtrig\u00eb, meqen\u00ebse e ndjek\u00eb kumti i humbjes s\u00eb t\u00eb gjith\u00eb f\u00ebmij\u00ebve n\u00eb foshnj\u00ebri. Vajza \u00ebsht\u00eb sa vejush\u00eb sa grua, meqen\u00ebse \u00ebsht\u00eb e sh\u00ebnjuar pas ndarjes nga i dashuri. Burrat jan\u00eb patriot\u00eb dhe pijanec\u00eb meq\u00eb din\u00eb t\u00eb vrasin e flasin, por jo edhe t\u00eb mendojn\u00eb.  K\u00ebshtu, Ludvigu thyen heshtjen e fshatit p\u00ebrmes rr\u00ebfimeve t\u00eb plakut, merr k\u00ebshilla jete p\u00ebrmes kob\u00ebsis\u00eb s\u00eb plak\u00ebs, marroset e xhindoset nga gatishm\u00ebria p\u00ebr t\u00eb vrar\u00eb e burrave, kurse plot\u00ebsohet nga vajza q\u00eb pranon t\u00eb b\u00ebj\u00eb jet\u00ebn nj\u00eb me t\u00eb. N\u00eb fund, heshtjen e thyen Simfonia e 7 e Bethovenit, kurse fshatin nisin ta mbulojn\u00eb flet\u00ebzat bardh\u00eb e zi t\u00eb kujtes\u00ebs. 
(…) Ke gjetur pik\u00ebrisht vendin e duhur p\u00ebr k\u00ebt\u00eb, por jo pa marr\u00eb edhe hallet tona, brengat tona e gjakun ton\u00eb. Pastaj do t\u00eb mund t\u00eb lesh edhe hallin t\u00ebnd k\u00ebtu, n\u00eb varret tona pa em\u00ebr. Ama mbaj mend se kush kalon n\u00ebp\u00ebr k\u00ebt\u00eb fshat e nuk ndalet, nuk e di se \u00e7\u2019\u00ebsht\u00eb vuajtja. Nd\u00ebrsa ai q\u00eb vendos t\u00eb ndalet, fillimisht ndihet i humbur e m\u00eb pas do ta doj\u00eb jet\u00ebn m\u00eb shum\u00eb. Ai do t\u00eb rilind\u00eb… Ke p\u00ebr ta harruar, – foli plaka. (…)  Fq. 70.  <\/p>\n\n\n\n

3.     Heshtja, m\u00eb par\u00eb se t\u00eb jet\u00eb simbolik\u00eb, metanarrativ\u00eb a \u00e7ka do tjet\u00ebr, ajo \u00ebsht\u00eb gjendje, \u00ebsht\u00eb psik\u00eb. Ashtu e trajton edhe autori n\u00eb librin e tij. Ku e th\u00ebrret Frojdin n\u00eb ndihm\u00eb, ku jet\u00ebn si shkoll\u00eb m\u00eb vete. “Fshati i Heshtjes”, n\u00eb fakt, p\u00ebr gjith\u00e7ka b\u00ebhet e ditur p\u00ebrmes rr\u00ebfimit \u00ebsht\u00eb fshati i bu\u00e7itjes. Q\u00ebllimsh\u00ebm autori ka b\u00ebr\u00eb k\u00ebt\u00eb trazim, si p\u00ebr t\u00eb dashur sheshazi ta b\u00ebj\u00eb t\u00eb qart\u00eb bipolaritetin e njeriut t\u00eb k\u00ebtij fshati. 
(…) E \u00e7uditshme, – u p\u00ebrgjigj Ludvigu, – un\u00eb nuk po ndihem mir\u00eb, sepse sot n\u00eb fshat pash\u00eb shum\u00eb f\u00ebmij\u00eb, pash\u00eb gra teksa shkonin n\u00eb kish\u00eb, pash\u00eb disa barinj n\u00eb mal q\u00eb po l\u00ebshonin delet. K\u00ebto nuk i kisha par\u00eb asnj\u00eb dit\u00eb tjet\u00ebr. Sot madje, Jungu m\u00eb solli materialet p\u00ebr t\u00eb cilat kam ardhur. Por isha duke u kthyer duarbosh, sikur t\u00eb mos q\u00ebndroja deri k\u00ebt\u00eb m\u00ebngjes. Gjat\u00eb gjith\u00eb koh\u00ebs kam menduar se jam n\u00eb vendin e gabuar, por isha pik\u00ebrisht n\u00eb vendin e duhur. Jerina qeshi. T\u00eb gjitha do t\u2019i kishe gjetur menj\u00ebher\u00eb, thjesht \u00ebsht\u00eb dashur q\u00eb t\u00eb jesh i vendosur, her\u00ebn e par\u00eb kur je nisur t\u00eb mos ishe kthyer. T\u00eb jesh i bindur se do t\u00eb kishe gjetur akoma m\u00eb shum\u00eb, por edhe k\u00ebshtu mir\u00eb ke dal\u00eb. (…) Fq. 134. 
   Secilit lexues, pik\u00ebs\u00ebpari, fshati do t’i asocioj\u00eb me ndonj\u00eb banim shqiptar. Kurse, lexuesit t\u00eb huaj, do t’i kujtoj\u00eb Ballkanin si t\u00ebr\u00ebsi konvergjencash t\u00eb realiteteve empirike.  Bujtin\u00ebs, ku studiuesi i huaj i trash\u00ebgimis\u00eb kulturore, Ludvig Nop\u00e7a, do t\u00eb stacionohej, autori i ka v\u00ebn\u00eb emrin “Tradita”, si p\u00ebr t\u00eb na e b\u00ebr\u00eb t\u00eb qart\u00eb se njeriu i atysh\u00ebm i \u00ebsht\u00eb v\u00ebn\u00eb n\u00eb funksion nj\u00eb kuazi tradite q\u00eb vet\u00eb e ka shpallur t\u00eb shenjt\u00eb. N\u00eb bujtin\u00ebn e cekur, p\u00ebr hir t\u00eb zakonit, nikoqirja Berta sh\u00ebrben me \u00e7aj t\u00eb nxeht\u00eb, por edhe me \u00e7aste t\u00eb nxehta. Njeriu i Fshatit, i cili ka kaluar n\u00ebp\u00ebr nj\u00eb proces t\u00eb sert\u00eb traditifikimi, ka prodhuar personazhe q\u00eb kan\u00eb humbur \u00e7do lidhje reale me t\u00eb kaluar\u00ebn dhe mohojn\u00eb \u00e7do lidhje me t\u00eb sotmen, po n\u00eb em\u00ebr t\u00eb tradit\u00ebs.     Bipolariteti \u00ebsht\u00eb pasoj\u00eb kanunore, n\u00eb vendin ku thuajse secili \u00ebsht\u00eb kanun m\u00eb vete. K\u00ebshtu, tema mbi patriotizmin n\u00eb kafene, n\u00eb nj\u00eb dit\u00eb me diell \u00e7on n\u00eb vrasjen e nj\u00eb bashk\u00ebfshatari. D\u00ebshmitar\u00ebt real zhduken me t\u00eb mb\u00ebrritur nj\u00ebsiti policor. Rasti do t\u00eb procedohej si\u00e7 e do tradita, jo si\u00e7 e njeh ligji.     Polarizimi i radh\u00ebs vihet re tek standardet e dyfishta t\u00eb njeriut t\u00eb “Fshatit…” ndaj t\u00eb tijve dhe ndaj t\u00eb huajve. “Fshati i Heshtjes” \u00ebsht\u00eb nj\u00eb makth p\u00ebr njeriun e vet, kurse nj\u00eb p\u00ebrrall\u00eb interesante p\u00ebr mysafirin. Ai \u00ebsht\u00eb vendi ku siguria dhe liria relativizohet p\u00ebr vendasit, kurse prek\u00eb zenitin p\u00ebr secilin turist apo studiues te huaj. “Fshati i Heshtjes” \u00ebsht\u00eb nj\u00eb vend tmerr\u00ebsisht i v\u00ebshtir\u00eb p\u00ebr t\u00eb jetuar, kurse tmerr\u00ebsisht interesant p\u00ebr t’u vizituar. Si\u00e7 secili fshat e qytet yni, si\u00e7 thuajse i gjith\u00eb gadishulli yn\u00eb hijer\u00ebnd\u00eb.  Tre minuta i mjaftojn\u00eb Ilon\u00ebs p\u00ebr t\u00eb \u00e7uar nd\u00ebrmend gjith\u00e7ka t\u00eb jetuar, para se t\u00eb kaloj\u00eb n\u00eb amshim. Kurse, nj\u00ebsis\u00eb jetuese heshtjanase t\u00eb “Fshatit…” i nevojiten vite e koh\u00eb p\u00ebr t\u00eb kaluar majat e vogla e t\u00eb m\u00ebdha malore, drejt horizonteve t\u00eb reja ku tradit\u00ebn e ruajn\u00eb simfonit\u00eb dhe tempujt e studimit.  <\/p>\n\n\n\n

4.     Me vepr\u00ebn “Fshati i Heshtjes”, Lucgjonaj ka goditur n\u00eb bosht heshtjen e paarsyeshme dhe t\u00eb paarsyeshmen q\u00eb nuk hesht\u00eb. Pena e tij, nuk mund t\u00eb quhet m\u00eb premtuese, meq\u00eb \u00ebsht\u00eb sfiduese, prandaj do duhej p\u00ebrkrahur e motivuar n\u00eb m\u00ebnyr\u00eb q\u00eb, simbolikisht, fshatrave tan\u00eb, t’ua shtoj\u00eb edhe elementin letrar. Kur \u00e7donj\u00ebri nga ju t\u00eb ket\u00eb p\u00ebrfunduar s\u00eb lexuari romanin “Fshati i Heshtjes”, secili “katund i heshtur” do t’ju vij\u00eb si idiom\u00eb q\u00eb ju l\u00eb pa fjal\u00eb dhe “ju fton n\u00eb krim”. 
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(V\u00ebshtrim mbi romanin “Fshati i Heshtjes”, t\u00eb autorit Mark Lucgjonaj)  Nga: Arg\u00ebzon SULEJMANI  1.    Romani “Fshati i heshtjes” i autorit Mark Lucgjonaj, n\u00eb thelb ka vrazhd\u00ebsin\u00eb e absurdit, ekstremet dhe, nisur nga vet\u00eb kopertina e botimit t\u00eb par\u00eb, shp\u00ebrfaqjen e bot\u00ebs n\u00ebn drit\u00ebhijet bardh\u00eb e zi. Pavar\u00ebsisht q\u00eb ky \u00ebsht\u00eb romani i par\u00eb i […]<\/p>\n","protected":false},"author":1,"featured_media":24232,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-24231","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/24231","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=24231"}],"version-history":[{"count":2,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/24231\/revisions"}],"predecessor-version":[{"id":24234,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/24231\/revisions\/24234"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/media\/24232"}],"wp:attachment":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=24231"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=24231"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=24231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}