{"id":2315,"date":"2019-10-01T13:56:03","date_gmt":"2019-10-01T13:56:03","guid":{"rendered":"https:\/\/www.letrat.eu\/?p=2315"},"modified":"2024-04-17T16:53:44","modified_gmt":"2024-04-17T15:53:44","slug":"gjuha-dhe-faktori-kohe-ne-narrativen-pikturale","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=2315","title":{"rendered":"Gjuha dhe Faktori “Koh\u00eb” n\u00eb Narrativen Pikturale!"},"content":{"rendered":"

S. Guraziu – Ars Poetica, Sh 2017 (P\u00ebrsiatje…)<\/em><\/p>\n

(Ajnshtajni dikur qe shprehur: “e vetmja arsye p\u00ebr koh\u00ebn t\u00eb ekzistoj\u00eb, \u00ebsht\u00eb q\u00eb gj\u00ebrat t’mos ndodhin n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb”. Sidoqoft\u00eb, realisht shprehja s’na thot\u00eb asgj\u00eb t\u00eb re sa i p\u00ebrket hamend\u00ebsis\u00eb: \u00e7’\u00ebsht\u00eb koha? Nga ana tjet\u00ebr men\u00e7urit\u00eb e Ajnshtajnit na flasin q\u00eb n\u00ebse di\u00e7 t\u00eb p\u00ebrshpejtohej deri n\u00eb “konstant\u00ebn” universale t\u00eb drit\u00ebs, at\u00ebher\u00eb koha do ndalej, do stoponte<\/strong>… )<\/p>\n

***
\nAutori Howard Oakley, n\u00eb nj\u00eb grumbull artikujsh e sjell n\u00eb pah faktin se gjat\u00eb historis\u00eb edhe mediumi narrativ piktural i ka zhvilluar disa “mjete” p\u00ebr ta kornizuar elementin e koh\u00ebs, por megjithat\u00eb, krahasuar me mjetet e narratives gojore dhe t\u00eb shkruar, ato mjete ngelin m\u00eb t\u00eb kufizuara. Ka tre aspekte t\u00eb koh\u00ebs t\u00eb cilat, zakonisht, jan\u00eb t\u00eb nevojshme n\u00eb narrativen pikturale – thote ai. M\u00eb baziket jan\u00eb disa mjete p\u00ebr t’i treguar vrojtuesit se kur ka ndodhur ngjarja e p\u00ebrshkruar n\u00eb piktur\u00eb. Gjithashtu me r\u00ebnd\u00ebsi p\u00ebr shumic\u00ebn e pikturave (narrative) \u00ebsht\u00eb aft\u00ebsia p\u00ebr t’iu referuar ngjarjeve q\u00eb kan\u00eb ndodhur n\u00eb zinxhirin narrativ (para ose pas ngjarjes s\u00eb kaptuar n\u00eb piktur\u00eb). K\u00ebrkesa e fundit dhe ndoshta pak\u00ebz m\u00eb e rrall\u00eb \u00ebsht\u00eb q\u00eb piktura t’jet\u00eb n\u00eb gjendje p\u00ebr t’iu referuar koh\u00ebs si koncept, duke e v\u00ebn\u00eb k\u00ebt\u00eb aft\u00ebsi n\u00eb dukje me ndihm\u00ebn e “fjalorit” t\u00eb piktorit.<\/p>\n

N\u00eb form\u00ebn m\u00eb t\u00eb thuktuar blloku konkluziv i H. Oakley do ishte:
\nRetorika \/ apo, Semiotika pikturale \u00ebsht\u00eb e ndryshme me ato t\u00eb gjuh\u00ebs. P\u00ebr arsye t\u00eb munges\u00ebs s\u00eb tropeve vizuale, gjuha e pikturave, e sidomos e pikturave t\u00eb modernizmit dhe e atyre kontemporane \u00ebsht\u00eb drastikisht shum\u00eb m\u00eb e varf\u00ebr! S\u00eb k\u00ebndejmi dhe mjetet pikturale p\u00ebr ta kornizuar elementin “koh\u00eb” jan\u00eb mjaft t\u00eb kufizuara.<\/p>\n

Pra kjo p\u00ebraf\u00ebrsisht si p\u00ebrmbledhje e mendimit t\u00eb H. Oakley, sa i p\u00ebrket elementit kohor dhe gjuh\u00ebs pikturale. Me t\u00eb cilin mendim s’kemi asnj\u00eb arsye p\u00ebr “mospajtime”. Ose m\u00eb sakt\u00eb, n\u00eb kuad\u00ebr t\u00eb k\u00ebtij shkrimi, persiatja jon\u00eb s’ka t\u00eb b\u00ebj\u00eb fare me pajtime a mospajtime…<\/p>\n

\/ Tropet Retorike Tekstuale<\/strong>… \/<\/p>\n

Gjuha e shkruar i ka mekanizmat e vet mjaft t\u00eb fuqish\u00ebm p\u00ebr t’u marr\u00eb me faktorin e koh\u00ebs. Por pra (si\u00e7 e v\u00ebrejm\u00eb dhe n\u00eb mendimet e H. Oakley), s’mund t\u00eb thuhet e nj\u00ebjta p\u00ebr mediumin narrativ piktural, ose p\u00ebr gjuh\u00ebn e piktur\u00ebs. Me gjuh\u00ebn e brushave piktor\u00ebt sikur jan\u00eb m\u00eb t\u00eb kufizuar, n\u00eb krahasim me mjetet q\u00eb i ofrojn\u00eb “brushat” e fjal\u00ebve. Piktura \u00ebsht\u00eb m\u00eb e “varf\u00ebr” sa i p\u00ebrket p\u00ebrcaktimit kohor “brenda” nd\u00ebrtimit t\u00eb narratives.<\/p>\n

Dy elementet themelore nd\u00ebrtuese t\u00eb narratives jan\u00eb 1- ndodhit\u00eb (ngjarjet) dhe 2-koha. K\u00ebto jan\u00eb t\u00eb r\u00ebnd\u00ebsishme n\u00eb cilindo tregim a rr\u00ebfim letrar, q\u00eb nga skicat, tregimet e shkurta e deri tek “rr\u00ebfimet” romaneske voluminoze t\u00eb stilit “lufta dhe paqja”. T\u00eb nj\u00ebjtat elemente “nd\u00ebrtimore” i p\u00ebrdor edhe arti vizual; qoft\u00eb piktura, arti filmik, e madje dhe zhanri m\u00eb i ri i rr\u00ebfimtaris\u00eb, loj\u00ebrat kompjuterike ose “videogames”.<\/p>\n

Asnj\u00ebri nga mediumet narrative sikur s’do ia “dilte” ta kap\u00ebrthente di\u00e7 mir\u00ebfilli pa faktorin e ngjarjeve dhe at\u00eb t\u00eb koh\u00ebs. Mjetet gjuh\u00ebsore t\u00eb shkrimit ofrojn\u00eb nj\u00eb gam\u00eb t\u00eb pasur dhe t\u00eb sakt\u00eb p\u00ebr t’i definuar e shprehur segmentet kohore t\u00eb “stories”. Gjuha ia mund\u00ebson shkrimtarit t\u00eb p\u00ebrmbledh, t\u00eb rrumbullak\u00ebsoj\u00eb, t\u00eb detajizoj\u00eb, t\u00eb specifikoj\u00eb, t\u00eb sqaroj\u00eb sakt\u00ebsisht se kur, n\u00eb \u00e7’koh\u00eb (di\u00e7 ka ndodhur), sa koh\u00eb (duhej, nevojitej p\u00ebr t\u00eb ndodhur), sa shpesh (di\u00e7 ka ndodhur, ose mund t\u00eb ndodh\u00eb) etj. etj. Mjetet gjuh\u00ebsore ia mund\u00ebsojn\u00eb shkrimtarit p\u00ebr ta “tjerrur perin e koh\u00ebs narrative” me leht\u00ebsi, pa patur nevoj\u00eb p\u00ebr ndonj\u00eb lidhje direkte me datat e sakta, dhe ose madje as me informacione specifike t\u00eb jashtme.<\/p>\n

N\u00eb t\u00eb kaluar\u00ebn, n\u00eb dy-tre raste e pata marr\u00eb si shembull mjesht\u00ebrin\u00eb narrative t\u00eb Balzakut:
\n“…i njohur \u00ebsht\u00eb fakti q\u00eb Balzaku, si lakadredhues i pashoq i pen\u00ebs q\u00eb ishte, dhe vet\u00ebm p\u00ebr k\u00ebputjen e nj\u00eb gjethi fatkeq, p\u00ebr r\u00ebnien e nj\u00eb gjethi t\u00eb vet\u00ebm, mund t’i mbushte shtat\u00ebdhjet\u00eb e shtat\u00eb faqe. Dhe at\u00eb pa l\u00ebvizur fare vendit, as pa u shtangur (n\u00eb form\u00ebn mjaft problematike t\u00eb “shtangies” s\u00eb shkrimtar\u00ebve, t\u00eb shkronj\u00ebs Z)! Lexuesi vet\u00eb le ta imagjinoj\u00eb sa gjethe mund t’i ket\u00eb nj\u00eb lis i t\u00ebr\u00eb, nj\u00eb rrap shekullor me kuror\u00ebn marramend\u00ebse…”<\/p>\n

K\u00ebtu do t’shtoja dhe vet\u00ebm “aludimin” – Balzaku n\u00eb rr\u00ebfimin p\u00ebr k\u00ebputjen dhe r\u00ebnien e atij gjethi t\u00eb kalamendur do ta inkuadronte dhe elementin kohor, pa qen\u00eb i kufizuar nga asgj\u00eb. Ai do t’mund ta rr\u00ebfente “frame by frame” (korniz\u00eb pas kornize) ecejaken ajrore t\u00eb gjethit, q\u00eb nga shk\u00ebputja deri tek palosja p\u00ebrdhe. Dhe lexuesi do ta kishte sakt\u00ebsisht iden\u00eb e faktorit kohor, qofshin n\u00eb pyetje dhe vet\u00ebm disa sekonda si “korniza t\u00eb ndodhis\u00eb”.<\/p>\n

Gjuha p\u00ebrb\u00ebhet nga nj\u00eb num\u00ebr i kufizuar fjal\u00ebsh, p\u00ebr t\u00eb mbuluar nj\u00eb shum\u00ebllojshm\u00ebri t\u00eb pafund t\u00eb kuptimeve – thot\u00eb H. Oakley. K\u00ebshtu q\u00eb gjuha i p\u00ebrdor truket p\u00ebr ta zgjeruar fjalorin dhe p\u00ebr t’i shtuar nuancat. K\u00ebto truke p\u00ebrfshijn\u00eb trope t\u00eb tilla si metafora, metonimia, sinekdota. Gjuha po ashtu i p\u00ebrdor simbolet mjaft shum\u00eb, por dhe ato jan\u00eb vet\u00ebm nj\u00eb pjes\u00eb e gam\u00ebs s\u00eb gjer\u00eb “mashtrimtare”.<\/p>\n

\/ Tropet Retorike Pikturale<\/strong>… \/<\/p>\n

Sa i p\u00ebrket “gjuh\u00ebs pikturale”, m\u00eb s\u00eb miri do ishte ta p\u00ebrkufizojm\u00eb baz\u00ebn e konkluzioneve t\u00eb Howard Oakley – t\u00eb cilat konkluzione jan\u00eb dhe si pasqyrim i “kund\u00ebrshtis\u00eb” s\u00eb tij me mendimet e disa teoricien\u00ebve, t\u00eb s\u00eb kaluar\u00ebs dhe atyre bashk\u00ebkoh\u00ebs. Oakley nuk pajtohet me “p\u00ebrgjith\u00ebsimet” retorike t\u00eb linguist\u00ebve, t\u00eb kritik\u00ebve t\u00eb artit, t\u00eb teoricien\u00ebve t\u00eb let\u00ebrsis\u00eb etj. si psh. t\u00eb Jakobson, Bal, Ryland, Littlemore etj. Gjeneralizimet e tyre i quan t\u00eb pabaza dhe t\u00eb ekzagjeruara.<\/p>\n

H. Oakley argumenton rreth tropeve metaforike e metonimike, rreth sinekdot\u00ebs pikturale n\u00eb pikturat klasike dhe ato moderne e kontemporane, duke mbajtur n\u00eb dor\u00eb “\u00e7el\u00ebsin” ky\u00e7 t\u00eb diskursit tematik, studimin m\u00eb t\u00eb ri p\u00ebrmbledh\u00ebs, librin e Jeannette Littlemore, “Metonimia – Rutat m\u00eb t\u00eb shkurtra fshehur n\u00eb Gjuh\u00eb, Mendim, Komunikim”, publikuar n\u00eb serin\u00eb universitare t\u00eb Cambridge, “Studime n\u00eb Linguistik\u00ebn Njoh\u00ebse”, 2014.<\/p>\n

Metonimia, metafora e sinekdota jan\u00eb relativisht t\u00eb pazakonshme n\u00eb pikturat e sfer\u00ebs artistike Per\u00ebndimore para shek. XX. Mir\u00ebpo simbolet hasen m\u00eb shpesh – thekson Oakley. Nd\u00ebr veprat m\u00eb moderne t\u00eb cituara n\u00eb ato studime (si psh. t\u00eb J. Littlemore) – vazhdon ai – t\u00eb cilat pretendojn\u00eb se Metonimia \u00ebsht\u00eb e r\u00ebnd\u00ebsishme dhe e zakonshme n\u00eb pikturat, jan\u00eb ato t\u00eb Kubizmit dhe t\u00eb l\u00ebvizjes derivative nga Kubizmi, Orfizmit (autori merr si shembuj piktura t\u00eb llojit Barnett Newman, Mark Rothko, “aksion-pikturat” e Jackson Pollock etj.). P\u00ebr shum\u00eb studiues e teoricien\u00eb, pikturat e m\u00ebvonshme jan\u00eb si p\u00ebrfaq\u00ebsim i epitomacis\u00eb pikturale t\u00eb mes-shekullit XX – shkruan Oakley.<\/p>\n

Ai thekson se lingo-strukturalisti Roman Jakobson e b\u00ebri pohimin e guximsh\u00ebm q\u00eb Kubizmi ishte metonimik, nd\u00ebrsa Surrealizmi ishte metaforik. Kjo do t\u00eb bazohej n\u00eb qasjen se Kubizmi fokusohet n\u00eb at\u00eb q\u00eb nuk \u00ebsht\u00eb brenda piktur\u00ebs, k\u00ebshtusoj duke p\u00ebrshfaqur pik\u00ebrisht t\u00eb kund\u00ebrt\u00ebn e asaj q\u00eb \u00ebsht\u00eb prezente – supozim ky q\u00eb duket i pazakonsh\u00ebm dhe paradoksal, sipas Oakley.<\/p>\n

Si kontrast i k\u00ebsaj tashm\u00eb, arti Surrealist, pretendon t\u00eb b\u00ebj\u00eb krahasime mes objekteve t\u00eb p\u00ebrditshm\u00ebris\u00eb me ndihm\u00ebn e metaforave. Por sa q\u00ebndron dhe kjo? – sikur pyet autori Oakley pa e shtruar fare pyetjen, ose dmth. mes rreshtash.<\/p>\n

Ndersa Ryland i p\u00ebrmend (te njejtit shembuj) pa i analizuar veprat e rrym\u00ebs s\u00eb Ekspresionizmit Abstrakt dhe t\u00eb n\u00ebn-rrymave (si jan\u00eb psh. Fusha e Ngjyr\u00ebs dhe Aksion-pikturimi). Duke qen\u00eb jasht\u00ebzakonisht t\u00eb ndryshme n\u00eb dukje, e v\u00ebshtir\u00eb p\u00ebr t\u00eb zhvilluar ndonj\u00eb konsensus, por – vazhdon Oakley – un\u00eb s’kam qen\u00eb n\u00eb gjendje p\u00ebr t\u00eb zbuluar asnj\u00eb rrym\u00eb arti apo n\u00ebn-rrym\u00eb q\u00eb e ka p\u00ebrdorur Metafor\u00ebn. D\u00ebshmi shum\u00eb e rrall\u00eb \u00ebsht\u00eb dhe p\u00ebrdorimi i Metonimis\u00eb e Sinekdot\u00ebs. N\u00eb shumic\u00ebn e veprave mungojn\u00eb objektet e njohura, gj\u00eb q\u00eb e b\u00ebn p\u00ebrdorimin e drejtp\u00ebrdrejt\u00eb t\u00eb tropeve vizuale t\u00eb pamundur… Sa m\u00eb i njohur t\u00eb jet\u00eb imazhi p\u00ebrmbajt\u00ebsor n\u00eb piktur\u00eb, nj\u00ebjt\u00eb si dhe n\u00eb fotografi, n\u00eb reklamat, dhe n\u00eb dizajnin grafik, aq m\u00eb i mundsh\u00ebm do jet\u00eb p\u00ebrdorimi i tropeve retorike… Shumica e artit t\u00eb shek. XX nuk ishte n\u00eb gjendje ta p\u00ebrdor retorik\u00ebn vizuale. N\u00ebse veprat i ngjanin m\u00eb shum\u00eb dizajnit grafik, si n\u00eb rastin e “Pop Art” t\u00eb Roy Lichtenstein apo Andy Warhol, ata dhe e kan\u00eb p\u00ebrdorur Metafor\u00ebn e Metonimin\u00eb m\u00eb shum\u00eb. \u00c7udit\u00ebrisht kjo nuk \u00ebsht\u00eb v\u00ebrejtur as nga Littlemore as nga Ryland.<\/p>\n

Littlemore dhe t\u00eb tjer\u00ebt, t\u00eb prirur p\u00ebr t\u00eb pohuar q\u00eb proceset njoh\u00ebse ose kognitive si themele t\u00eb Metonimis\u00eb shkojn\u00eb m\u00eb tej sesa vet\u00ebm gjuha, d\u00ebshtojn\u00eb t’i japin pesh\u00eb t\u00eb mjaftueshme arsyeve pse k\u00ebto trope substanciale jan\u00eb kaq t\u00eb p\u00ebrhapura dhe t\u00eb zakonshme n\u00eb gjuh\u00ebn – konkludon Oakley<\/p>\n

Tropet vizuale vijn\u00eb n\u00eb fuqin\u00eb e tyre t\u00eb plot\u00eb at\u00ebher\u00eb kur jan\u00eb t\u00eb kufizuara n\u00eb at\u00eb q\u00eb mund ta p\u00ebrshfaqin, si psh. n\u00eb reklamat. Dhe Oakley i merr si shembull ve\u00e7an\u00ebrisht reklamat t\u00eb cilat jan\u00eb t\u00eb paracaktuara nga organet zyrtare, t\u00eb tilla si reklamat p\u00ebr produktet e duhanit, n\u00eb t\u00eb cilat s’mund t\u00eb ket\u00eb gj\u00ebra p\u00ebrjashta rregullores.<\/p>\n

Do ishte e d\u00ebshirueshme p\u00ebr t\u00eb deklaruar se Metonimia, Metafora, Sinekdota jan\u00eb “substancat” universale, si n\u00eb mediumet verbale po ashtu dhe n\u00eb ato vizuale. Ka arsye t\u00eb mira pse ato jan\u00eb kryesisht gojore e shkrimore, si dhe arsye t\u00eb mira pse ato s’kan\u00eb “gjetur” p\u00ebrdorim n\u00eb pikturat. Kam frik\u00eb se p\u00ebrgjith\u00ebsimet retorike t\u00eb Jakobson, Bal, Ryland, Littlemore dhe t\u00eb t\u00eb tjer\u00ebve, jan\u00eb t\u00eb pabaza dhe t\u00eb ekzagjeruara – p\u00ebrfundon Oakley.<\/p>\n

***
\nNd\u00ebrsa sa i p\u00ebrket vet\u00eb librit t\u00eb J. Littlemore, dhe lidhur me subjektin e Metonimis\u00eb, bie fjala Gerard Steen (Universiteti i Amsterdamit) thot\u00eb:
\nP\u00ebr nj\u00eb koh\u00eb t\u00eb gjat\u00eb Metonimia pati ngelur si nj\u00eb mot\u00ebr binjake e Metafor\u00ebs, e l\u00ebn\u00eb pas dore. Por Littlemore n\u00eb m\u00ebnyr\u00eb elegante na tregon p\u00ebr at\u00eb q\u00eb na mungonte. Ky lib\u00ebr ofron nj\u00eb pasqyr\u00eb p\u00ebrfshir\u00ebse dhe t\u00eb kulluar t\u00eb asaj q\u00eb studiuesit bashk\u00ebkohor\u00eb duhet t\u00eb marrin parasysh kur flasin p\u00ebr Metonimin\u00eb si mjet thelb\u00ebsor i gjuh\u00ebs, mendimit, dhe i komunikimit. V\u00ebshtrimi q\u00eb ofron Littlemore godet ekuilibrin shum\u00eb t\u00eb nevojsh\u00ebm mes teoris\u00eb, t\u00eb dh\u00ebnave dhe raportit p\u00ebr p\u00ebrdorimin e Metonimis\u00eb n\u00eb bot\u00ebn reale, dhe mund t\u00eb veproj\u00eb mir\u00ebfilli si korniz\u00eb programatike p\u00ebr hulumtimet e ardhshme”.<\/p>\n

Si alegori p\u00ebr “koh\u00ebn”, bashk\u00ebngjitur disa piktura t\u00eb artit klasik<\/em>:
\n– Walter Crane (1845-1915) – Ura e Jet\u00ebs<\/strong>, 1884<\/p>\n

\"\"<\/a><\/p>\n

Figurativisht, gjat\u00eb historis\u00eb alegoria m\u00eb e zakonshme p\u00ebr paraqitjen e koh\u00ebs ishte nj\u00eb burr\u00eb i vjet\u00ebr e i dob\u00ebt, pothuajse lakuriq, me nj\u00eb pelerin\u00eb blu, mjek\u00ebrbardh\u00eb e flok\u00ebbardhosh po ashtu, me flatra si\u00e7 i kan\u00eb dhe engj\u00ebjt, e q\u00eb flatrat p\u00ebrfaq\u00ebsojn\u00eb shpejt\u00ebsin\u00eb e rrjedhjes s\u00eb koh\u00ebs, plaku-xhufurraku ose “babai i koh\u00ebs” ndonj\u00ebher\u00eb mban nj\u00eb kos\u00eb ose dhe or\u00eb r\u00ebre, simboli i par\u00eb n\u00ebnkupton fuqin\u00eb shkat\u00ebrruese t\u00eb koh\u00ebs, dhe simboli i dyt\u00eb (ora) n\u00ebnkupton rrjedhjen e vazhdueshme t\u00eb viteve. Gjithsesi, koha \u00ebsht\u00eb p\u00ebrfaq\u00ebsuar dhe me alegori tjera t\u00eb ndryshme, si psh. e njohur \u00ebsht\u00eb alegoria e gjarprit i cili e kafshon bishtin e vet, duke n\u00ebnkuptuar ciklin e p\u00ebrjetsh\u00ebm t\u00eb viteve si dhe po ashtu ciklin e pafund t\u00eb ekzistenc\u00ebs; ose alegoria e p\u00ebrbind\u00ebshit me tre krer\u00eb, ujku (e kaluara), luani (e tashmja) dhe qeni (e ardhmja); ose njihet dhe alegoria e drurit t\u00eb plepit, gjethet e t\u00eb cilit jan\u00eb t\u00eb bardha n\u00eb nj\u00ebr\u00ebn an\u00eb dhe ngjyr\u00eb kafe n\u00eb an\u00ebn tjet\u00ebr, l\u00ebvizja e vazhdueshme e gjetheve t\u00eb plepit do duhej t\u00eb n\u00ebnkuptonte nd\u00ebrrimin e vazhduesh\u00ebm t\u00eb dit\u00eb-nat\u00ebs… etj.<\/p>\n

– Nicolas Poussin (1594-1665) – Duke vall\u00ebzuar n\u00ebn Muzik\u00ebn e Koh\u00ebs<\/strong>, 1634-6
\n\"\"<\/a><\/p>\n

– Pompeo G. Batoni (1708-1787) – Koha e detyron Mosh\u00ebn p\u00ebr ta rr\u00ebnuar (prishur) Bukurin\u00eb<\/strong>, 1746
\n– Donato Barcaglia (1849-1930) – Bukuria (Rinia) duke tentuar ta ndal\u00eb koh\u00ebn<\/strong>, 1884
\n\"\"<\/a><\/p>\n

– Pierre Mignard (1610-1695) – Koha duke i prer\u00eb krah\u00ebt Kupidonit<\/strong>, 1694
\n– Pompeo G. Batoni (1708-1787) – Koha duke i prer\u00eb krah\u00ebt Kupidonit<\/strong><\/span><\/span>
\n\"\"<\/a><\/p>\n

[ shih po ashtu dhe: Vizualja dhe Faktori “Koh\u00eb” n\u00eb Narrati<\/strong>ven Filmike!<\/strong> <\/a>]<\/p>\n","protected":false},"excerpt":{"rendered":"

S. Guraziu – Ars Poetica, Sh 2017 (P\u00ebrsiatje…) (Ajnshtajni dikur qe shprehur: “e vetmja arsye p\u00ebr koh\u00ebn t\u00eb ekzistoj\u00eb, \u00ebsht\u00eb q\u00eb gj\u00ebrat t’mos ndodhin n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb”. Sidoqoft\u00eb, realisht shprehja s’na thot\u00eb asgj\u00eb t\u00eb re sa i p\u00ebrket hamend\u00ebsis\u00eb:… Lexo →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,8,10],"tags":[],"class_list":["post-2315","post","type-post","status-publish","format-standard","hentry","category-classic","category-ese","category-komente"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/2315","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2315"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/2315\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2315"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}