{"id":37686,"date":"2024-07-13T10:39:38","date_gmt":"2024-07-13T08:39:38","guid":{"rendered":"https:\/\/ulqini-online.com\/sajti\/?p=37686"},"modified":"2024-07-13T10:48:50","modified_gmt":"2024-07-13T08:48:50","slug":"njevjetori-i-ikjes-ne-amshim-te-gjeniut-letrare-millan-kundera","status":"publish","type":"post","link":"https:\/\/ulqini-online.com\/sajti\/?p=37686","title":{"rendered":"Nj\u00ebvjetori i ikjes n\u00eb amshim t\u00eb gjeniut letrar\u00eb Millan Kundera"},"content":{"rendered":"\n
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\"Featured<\/figure>\n\n\n\n

Nga Bernard \u00c7obaj<\/strong><\/p>\n\n\n\n

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Kunder-era dhe Era\u00ad<\/strong><\/em><\/a><\/ins><\/p>\n\n\n\n

Vitin e kaluar, kah fundi i qershorit, shikova filmin dokumentar Milan Kundera: From the Joke to Insignificance, prodhim i HBO mbi jet\u00ebn misterioze dhe vepr\u00ebn e autorit t\u00eb madh bot\u00ebror. Gjat\u00eb shikimit t\u00eb dokumentarit vajza ime Era l\u00ebvizte v\u00ebrdall\u00eb n\u00ebp\u00ebr dhom\u00eb dhe me kureshtje f\u00ebmij\u00ebrore pyeste p\u00ebr personin me kapel\u00eb. U mundova t\u2019ia sqaroja, aq sa mundet nj\u00eb i rritur t\u2019ia shuaj kureshtjen nj\u00eb vajze 8 vje\u00e7are.<\/p>\n\n\n\n

M\u00eb 11 korrik t\u00eb vitit t\u00eb kaluar, n\u00eb dit\u00eblindjen e Er\u00ebs, Kundera kaloi n\u00eb amshim. Kur e pyeta Er\u00ebn, se a din kush ka vdekur sot, menj\u00ebher\u00eb u p\u00ebrgjigj, ai me kapel\u00eb, Millani!<\/p>\n\n\n\n

P\u00ebrgjigjja e Er\u00ebs ishte nj\u00eb shenj\u00eb se duhet t\u00eb shkruaj di\u00e7 p\u00ebr Kunder\u00ebn. Si\u00e7 thot\u00eb kryeprotagonisti, Tomashi, n\u00eb vep\u00ebr, duke aluduar te vepra e Bethovenit, \u201cEs muss sein<\/em>!\u201d <\/strong>(Duhet t\u00eb b\u00ebhet).<\/strong><\/ins><\/p>\n\n\n\n

Po ashtu gjat\u00eb ver\u00ebs s\u00eb vitit t\u00eb kaluar, vizitova nj\u00eb mikun tim n\u00eb Frankfurt  \u2013 n\u00eb dhom\u00ebn e fjetjes, mbi shtrat\u00eb, ishte kopja e vepr\u00ebs s\u00eb Kunder\u00ebs n\u00eb gjuh\u00ebn angleze \u201cThe Unbearable Lightness of Being\u201d<\/em>, sinjali i radh\u00ebs i es muss sein-it<\/em> tim. Fillova ta lexoja ato dit\u00eb n\u00eb Frankfurt dhe Darmstadt, sa prisja q\u00eb djali Dini t\u00eb p\u00ebrmbyllte trajnimin n\u00eb kampin veror\u00eb t\u00eb klubit t\u00eb futbollit Darmstadt<\/em>.<\/p>\n\n\n\n

Nj\u00eb nga dit\u00ebt i vizitoi Klaus Gjasula, futbollist po n\u00eb at\u00eb klub dhe ia firmosi kapel\u00ebn djalit tim. Po, do t\u00eb jet\u00eb Klausi, k\u00ebt\u00eb ver\u00eb, q\u00eb do na sjell\u00eb k\u00ebnaq\u00ebsin e padurueshme t\u00eb sh\u00ebnimit t\u00eb golit.   <\/em>    <\/p>\n\n\n\n

Kryevepra e Kunder\u00ebs \u201cLeht\u00ebsia e padurueshme e qenies\u201d \u00ebsht\u00eb nj\u00eb nd\u00ebr librat e rralla q\u00eb e kam lexuar n\u00eb tri gjuh\u00eb t\u00eb ndryshme dhe \u00e7doher\u00eb kam pasur k\u00ebnaq\u00ebsin\u00eb sikur ta lexoja p\u00ebr t\u00eb par\u00ebn her\u00eb. Libri \u00ebsht\u00eb botuar n\u00eb vitin 1984, romani i gjasht\u00eb i Kunder\u00ebs \u2013 nd\u00ebrsa citimet n\u00eb shkrim jan\u00eb nga p\u00ebrkthimi i Severina Pashos.<\/p>\n\n\n\n

Leht\u00ebsia e padurueshme e qenies<\/strong><\/p>\n\n\n\n

N\u00eb 100 vjetorin e lindjes s\u00eb Kafk\u00ebs dhe botimit t\u00eb \u201cBregut Magjik<\/em>\u201d t\u00eb Tomas Manit, sh\u00ebnohet nj\u00ebvjetori i vdekjes s\u00eb shkrimtarit Milan Kundera. Me Kafk\u00ebn i lidh Praga, po ashtu Kafka citohet n\u00eb vep\u00ebr.<\/p>\n\n\n\n

\u201c<\/strong>T\u00eb jetosh me t\u00eb v\u00ebrtet\u00ebn \u2013 kjo \u00ebsht\u00eb nj\u00eb shprehje q\u00eb Kafka e ka p\u00ebrdorur n\u00eb nj\u00eb ditar apo nj\u00eb let\u00ebr<\/em>.\u201d<\/strong><\/p>\n\n\n\n

Kurse, nj\u00eb nga protagonist\u00ebt e romanit, Teresa, lexon Tomas Manin, dhe k\u00ebtu krijohet nd\u00ebrlidhja tekstuale mes veprave \u2013 element tipik postmodern letrar. Po ashtu, Tereza, \u00e7do kund me vete mban Ana Karenin\u00ebn e Tolstojit (ajo ta \u00e7on mallin te Lexuesja nga kryevepra e Italo Kalvinos \u201cN\u00ebse nj\u00eb nat\u00eb dimri nj\u00eb udh\u00ebtar<\/em>\u201d) duke krijuar nj\u00eb lloj loje intertekstuale n\u00eb aspektin e dy \u00e7ifteve q\u00eb shfaqen n\u00eb k\u00ebto vepra, por krejt\u00ebsisht t\u00eb ndrysh\u00ebm. Padyshim, libri i Tolstojit sh\u00ebnjon nj\u00eb rrafsh m\u00eb t\u00eb thell\u00eb semantik: p\u00ebr t\u00eb n\u00ebnvizuar dallimin e artit t\u00eb madh me gjeopolitik\u00ebn. N\u00eb momentin kur Rusia e invadon \u00c7ekin\u00eb, Tolstoji \u00ebsht\u00eb rikujtim p\u00ebr v\u00ebllaz\u00ebrin\u00eb e fsheht\u00eb t\u00eb shkrimtar\u00ebve\/librave.  <\/p>\n\n\n\n

\u201c<\/em><\/strong>Qysh nga f\u00ebmij\u00ebria, ajo shihte te libri shenj\u00ebn e nj\u00eb v\u00ebllaz\u00ebrie t\u00eb fsheht\u00eb\u201d.<\/em><\/p>\n\n\n\n

\u201cBrenda saj ul\u00ebrinte idealizmi naiv  i dashuris\u00eb q\u00eb donte t\u00eb fshinte t\u00eb gjitha kontradiktat, t\u00eb fshinte dualitetin e trupit dhe shpirtit dhe ndoshta t\u00eb fshinte edhe koh\u00ebn<\/em>\u201d.<\/em><\/strong>   <\/em><\/p>\n\n\n\n

Libri p\u00ebr Terez\u00ebn \u00ebsht\u00eb bileta p\u00ebr tu futur n\u00eb universin e t\u00eb dashurit t\u00eb saj Tomasit \u2013 libri \u00ebsht\u00eb rruga e dashuris\u00eb, dashuria \u00ebsht\u00eb lib\u00ebrleximi.<\/p>\n\n\n\n

\u201c<\/em><\/strong>T\u00eb nes\u00ebrmen e la valixhen te bagazhet e stacionit hekurudhor dhe u sorollat gjith\u00eb dit\u00ebn rrug\u00ebve t\u00eb Prag\u00ebs me Ana Karenin\u00ebn n\u00ebn sqetull. N\u00eb mbr\u00ebmje, i ra ziles, ai hapi der\u00ebn: ajo nuk e l\u00ebshonte librin. Si t\u00eb ishte bileta p\u00ebr t\u00eb hyr\u00eb n\u00eb bot\u00ebn e Tomasit.<\/em><\/p>\n\n\n\n

Jeta jon\u00eb e p\u00ebrditshme bombardohet me rast\u00ebsi, ose m\u00eb sakt\u00eb me takime t\u00eb rast\u00ebsishme midis njer\u00ebzve dhe ngjarjeve, me ato q\u00eb i quajm\u00eb rast\u00ebsi: Tomasi shfaqet n\u00eb restorant n\u00eb \u00e7astin kur radioja jep muzik\u00ebn e  Betovenit. N\u00eb shumic\u00ebn e tyre t\u00eb pafundme k\u00ebto rast\u00ebsi kalojn\u00eb pa u v\u00ebn\u00eb re fare. Por dashuria q\u00eb po lindte, e mprehu tek ajo ndjenj\u00ebn e s\u00eb bukur\u00ebs dhe ajo nuk do ta harroj\u00eb kurr\u00eb k\u00ebt\u00eb muzik\u00eb. Sa her\u00eb do ta d\u00ebgjoj\u00eb, do t\u00eb mall\u00ebngjehet. Gjith\u00e7ka q\u00eb do t\u00eb ndodh\u00eb rreth saj k\u00ebtij \u00e7asti, do t\u00eb rrethohet me breroren e shk\u00eblqimit t\u00eb k\u00ebsaj muzike dhe do t\u00eb jet\u00eb e bukur.\u201d<\/em><\/p>\n\n\n\n

Raporti me Ana Karenin\u00ebn \u00ebsht\u00eb n\u00eb rrafshin e p\u00ebrshkrimit t\u00eb jet\u00ebve t\u00eb dy \u00e7ifteve (tek Kundera po ashtu t\u00eb trek\u00ebnd\u00ebshit t\u00eb dashnor\u00ebve), ku raportet e tyre n\u00eb t\u00eb dy romanet zhvillohen paralelisht,  por te Kundera  pa antagonizmin e fateve t\u00eb lumtura\/t\u00eb palumtura, por n\u00eb nj\u00eb udh\u00ebtim rrethor ku t\u00eb gjith\u00eb mundohen t\u00eb gjejn\u00eb kuptim\u00ebsin\u00eb e jet\u00ebs duke e testuar kontekstin e leht\u00ebsis\u00eb<\/em> dhe t\u00eb r\u00ebndes\u00ebs<\/em>. <\/p>\n\n\n\n

\u201c<\/em><\/strong>N\u00eb fillim t\u00eb romanit q\u00eb Tereza mbante n\u00ebn sqetull dit\u00ebn kur erdhi te Tomasi, Ana takon Vronskin n\u00eb rrethana t\u00eb \u00e7uditshme. Ata jan\u00eb n\u00eb platform\u00ebn e stacionit, kur treni sapo shtyp nj\u00eb njeri. N\u00eb fund t\u00eb romanit, \u00ebsht\u00eb Ana q\u00eb hidhet n\u00ebn rrotat e trenit. Ky kompozim simetrik, ku i nj\u00ebjti motiv del n\u00eb fillim dhe n\u00eb fund, mund t\u00eb duket \u2018shum\u00eb romanesk\u2019. Po,e pranoj, por vet\u00ebm me kusht q\u00eb romanesk nuk do t\u00eb thot\u00eb p\u00ebr ju nj\u00eb gj\u00eb \u2018e shpikur\u2019, \u2018e sajuar\u2019, pa ngjashm\u00ebri me jet\u00ebn. Pasi k\u00ebshtu jan\u00eb nd\u00ebrtuar v\u00ebrtet jet\u00ebt njer\u00ebzore.<\/em><\/p>\n\n\n\n

Ato jan\u00eb nd\u00ebrtuar si nj\u00eb partitur\u00eb muzikore. Njeriu i udh\u00ebhequr nga ndjenja e bukuris\u00eb, e shnd\u00ebrron ngjarjen e rast\u00ebsishme (nj\u00eb muzik\u00eb e Bethovenit, nj\u00eb vdekje n\u00eb stacionin e trenit) n\u00eb nj\u00eb motiv q\u00eb do t\u00eb shkruhet m\u00eb pas n\u00eb partitur\u00ebn e jet\u00ebs s\u00eb tij. Ai do t i kthehet, do ta p\u00ebrs\u00ebris\u00eb, do ta ndryshoj\u00eb, do ta zhvilloj\u00eb ashtu si b\u00ebn kompozitori me tem\u00ebn e sonat\u00ebs s\u00eb tij. Ana mund t\u2019i kishte dh\u00ebn\u00eb fund jet\u00ebs s\u00eb saj n\u00eb m\u00ebnyr\u00eb krejt tjet\u00ebr. Por motivi i stacionit t\u00eb trenit dhe i vdekjes, ky motiv i paharruesh\u00ebm, i lidhur me lindjen e dashuris\u00eb, e t\u00ebrhiqte n\u00eb \u00e7astin e d\u00ebshp\u00ebrimit me bukurin\u00eb e tij t\u00eb kobshme. Njeriu, pa e ditur, e nd\u00ebrton jet\u00ebn sipas ligjeve t\u00eb s\u00eb bukur\u00ebs edhe n\u00eb \u00e7astet e d\u00ebshp\u00ebrimit m\u00eb t\u00eb thell\u00eb.<\/em><\/p>\n\n\n\n

Pra, nuk mund ta qortojm\u00eb romanin se \u00ebsht\u00eb magjepsur nga takimet e mistershme t\u00eb rast\u00ebsive (si p\u00ebr shembull takimi mes Vronskit, An\u00ebs, stacionit dhe vdekjes, ose takimi mes Bethovenit, Tomasit, Terez\u00ebs dhe got\u00ebs s\u00eb konjakut), por me t\u00eb drejt\u00eb mund ta qortojm\u00eb njeriun se \u00ebsht\u00eb i verb\u00ebr ndaj k\u00ebtyre rast\u00ebsive dhe se i heq k\u00ebshtu jet\u00ebs dimensionin e saj t\u00eb bukuris\u00eb\u201d.<\/em> Vazhdon\u2026<\/p>\n<\/blockquote>\n\n\n\n

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