{"id":932,"date":"2019-09-24T12:52:57","date_gmt":"2019-09-24T12:52:57","guid":{"rendered":"https:\/\/www.letrat.eu\/?p=932"},"modified":"2024-08-31T15:38:29","modified_gmt":"2024-08-31T14:38:29","slug":"bajroni-borxhi-i-njerezimit-ndaj-prometeut-eshte-paguar-me-apollonin","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=932","title":{"rendered":"Bajroni – “Borxhi” i njer\u00ebzimit ndaj Prometeut \u00ebsht\u00eb paguar me “Apollonin”!"},"content":{"rendered":"

S. Guraziu – Ars Poetica, M 2018<\/em><\/p>\n

(…“tabuja kulturore rreth homo-erotizmit” e koh\u00ebs son\u00eb ma kujtoi “lulushin” e thyer t\u00eb Apollonit, vall\u00eb a nuk \u00ebsht\u00eb “lulushi” i Apollonit, kurr\u00eb i riparuar dhe n\u00eb panum\u00ebr kopje tjera i mbuluar me “gjethin e turpit”, pik\u00ebrisht nj\u00eb element i “tabu-tem\u00ebs homo-erotike kulturore” : <\/strong>)<\/p>\n

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

Poeti i famsh\u00ebm i Romanticizmit, G. G. Byron, ose si\u00e7 ia themi shkurt Bajroni, n\u00eb “\u00c7ajld Haroldin” e vet fliste se si statuja e “Apollonit” e ka paguar borxhin e njer\u00ebzimit ndaj Prometeut.
\nSot ka me qindra, e me mij\u00ebra kopje-skulptura, vizatime, gravura, piktura etj. t\u00eb Apollonit, mir\u00ebpo gjith\u00e7ka sikur pati filluar nga “Apolloni i Belvedere-s\u00eb”, kopje skulpturale zbuluar gjat\u00eb Renesans\u00ebs, n\u00eb v. 1489 n\u00eb Itali.
\nApolloni qe sjellur n\u00eb Paris nga vet\u00eb Napoleoni, pas “fushat\u00ebs italiane”, m\u00eb 1796. Q\u00eb nga 1798, gjat\u00eb Perandoris\u00eb s\u00eb Par\u00eb, pati qen\u00eb pjes\u00eb e koleksionit t\u00eb Louvre. Pas r\u00ebnies s\u00eb Napoleonit m\u00eb 1815, Apolloni qe atdhesuar rishtas si “italian”, qe kthyer n\u00eb Vatikan, ku ka ngelur dhe sot e k\u00ebsaj dite.<\/p>\n

Anise Bajroni n\u00eb poem\u00ebn e vet flet vet\u00ebm p\u00ebr dhuraten “ekstra” nga Prometeu, vet\u00ebm p\u00ebr zjarrin si “borxh”, e q\u00eb dmth. simbolizon zhvillimin, p\u00ebrparimin e njer\u00ebzimit. Bajroni nuk e ka fjal\u00ebn p\u00ebr “vet\u00eb krijimin argjilor t\u00eb njeriut nga Prometeu”, si\u00e7 na e thot\u00eb m\u00eb gjer\u00ebsisht mitologjia.<\/p>\n

“Dhe n\u00ebse vjedhur prej Prometeut nga Qielli<\/em>
\nZjarri q\u00eb e trash\u00ebguam, (tashm\u00eb) \u00ebsht\u00eb paguar<\/em>
\nNga ai t\u00eb cilit iu dha energjia<\/em>
\nQ\u00eb k\u00ebt\u00eb mermer poetik (statuj\u00eb) ka krijuar<\/em>
\nMe lavdin\u00eb e p\u00ebrjetshme – dhe q\u00eb, n\u00ebse b\u00ebr\u00eb<\/em>
\nNga duart e njeriut, nuk \u00ebsht\u00eb frym\u00ebzim njer\u00ebzor<\/em>…”<\/p>\n

Dmth. mbase nj\u00eb p\u00ebrsosm\u00ebri artistike dhe bukuri e till\u00eb duhet t\u00eb ket\u00eb qen\u00eb “frym\u00ebzim hyjnor”, aludonte Bajroni.<\/p>\n

Mua sikur m\u00eb shkon buza n\u00eb gaz lidhur me ndjeshm\u00ebrin\u00eb “bajroniane” ndaj figur\u00ebs skulpturale t\u00eb Apollonit, pasi dihet q\u00eb tek Bajroni p\u00ebrve\u00e7 “dob\u00ebsis\u00eb” ndaj gjinis\u00eb s\u00eb bukur, kishte dhe “dob\u00ebsi” t\u00eb homoseksualizmit.<\/p>\n

“Bajroni ishte seks-simbol mashkullor i shekullit XIX. Bukuria personale sporadike (duke u endur midis plot\u00ebsis\u00eb trupore dhe holl\u00ebsis\u00eb), stili pompoz i jet\u00ebs, aferat reale si dhe ato imagjinare me grat\u00eb, t\u00eb gjitha e kan\u00eb ushqyer imazhin p\u00ebr t\u00eb. Por jeta valentiniane e Bajronit i p\u00ebrfshinte dhe meshkujt. Biseksualiteti i tij ishte i njohur, jo vet\u00ebm brenda nj\u00eb rrethi t\u00eb ngusht\u00eb, por dhe “n\u00eb rrug\u00eb<\/em>” – shkruan John Lauritsen, n\u00eb artikullin “T\u00eb dashurit e Bajronit”, duke analizuar librin “Bajroni dhe Grat\u00eb [dhe Meshkujt]”, Cambridge Scholars Publishing, 2010, t\u00eb Peter Cochran.
\nLauritsen thot\u00eb se Cochran njihet si nj\u00eb nga specialist\u00ebt e m\u00ebdhenj “rreth” jet\u00ebs dhe vepr\u00ebs s\u00eb Bajronit, dhe (p\u00ebr dallim nga ndonj\u00eb autor tjet\u00ebr) s\u00ebpaku Cochran \u00ebsht\u00eb objektiv ose ka mir\u00ebkuptim p\u00ebr homoseksual\u00ebt.
\nGjithsesi, “ka nj\u00eb tabu kulturore kund\u00ebr njohjes s\u00eb homo-erotizmit n\u00eb jet\u00ebn dhe veprat e autor\u00ebve t\u00eb kanonizuar<\/em>…” – vazhdon Lauritsen.<\/p>\n

Sa i p\u00ebrket “tabu-tem\u00ebs homo-erotike kulturore” n\u00eb kritik\u00ebn moderne te artit dhe t\u00eb let\u00ebrsis\u00eb padyshim “fjal\u00ebt” m\u00eb adekuate mund t’na i thot\u00eb vet\u00eb Teoria “Queer”, fusha studimore e teoris\u00eb kritike post-strukturaliste. Derisa studimet p\u00ebr homoseksualizmin e lezbianizmin dikur fokusoheshin n\u00eb hetimet e “natyrores” dhe t\u00eb “jonatyrshmes” s\u00eb sjelljes (homoseksuale), teoria “Queer” e zgjeron fokusin e saj p\u00ebr t\u00eb p\u00ebrfshir\u00eb \u00e7do lloj aktiviteti seksual, apo t\u00eb gjitha identitetet q\u00eb bien n\u00eb normativin dhe n\u00ebn-kategorit\u00eb deviante.<\/p>\n

S’jam ekspert n\u00eb asnj\u00eb drejtim (kam frik\u00eb), mir\u00ebpo hi\u00e7-asfare s’kam “ekspertiz\u00eb” rreth teoris\u00eb “Queer”, k\u00ebt\u00eb e di me sigurin\u00eb e plot\u00eb : )
\nJa p\u00ebrse gj\u00ebrat q\u00eb “nd\u00ebrlidhen” k\u00ebtu n\u00eb komentin tim jan\u00eb thjesht si konkluza rrjedhimore, ose si “pik\u00ebpyetje” tematike pa t\u00eb keq. Bie fjala, “tabuja kulturore rreth homo-erotizmit” e koh\u00ebs son\u00eb se \u00e7’ma kujtoi “lulushin” e thyer t\u00eb Apollonit, tutje se \u00e7’ma kujtoi poetin e lasht\u00ebsis\u00eb, Orfeun dhe tragjiken e tij. Ironikisht, pasi t\u00eb gjitha fatkeq\u00ebsit\u00eb e Orfeut po ashtu sikur ishin t\u00eb “lidhura”, e madje deri dhe vet\u00eb fundi tragjik i tij.<\/p>\n

Ashtu shkurt, dallimi mes Bajronit dhe Orfeut mbase do ishte: Bajroni ishte nj\u00eb fatlum i madh si poet, nd\u00ebrsa Orfeu ishte poet-fatkeqi m\u00eb i madh i mitologjis\u00eb. P\u00ebr Orfeun mund t\u00eb “spekulojm\u00eb” duke u bazuar n\u00eb ca “spekulime” origjinale t\u00eb Ovidit, nd\u00ebrsa p\u00ebr Bajronin pohimet rreth homoseksualizmit t\u00eb tij (ose m\u00eb sakt\u00eb, rreth biseksualizmit) mund t\u00eb ushqehen me fakte.
\nOrfeu e pati humbur dashurin\u00eb p\u00ebrgjithmon\u00eb, gruan e vet t\u00eb bukur, Euridiken. Pas d\u00ebshtimit q\u00eb ta kthente Euridik\u00ebn nga bota e t\u00eb vdekurve, Orfeu pastaj kurr\u00eb nuk deshi t\u00eb zgjedhte nj\u00eb grua tjet\u00ebr. Qen\u00eb b\u00ebr\u00eb t\u00eb njohura “shp\u00ebrfillja”, q\u00ebndrimi i ftoht\u00eb i tij p\u00ebr femrat tjera, sado t\u00eb bukura t\u00eb ishin ato. Madje nga gra t\u00eb ndryshme konsiderohej si “tallje” ose “posht\u00ebrim” i bot\u00ebs fem\u00ebrore, m\u00eb t\u00eb zem\u00ebruarat s’mund ta kap\u00ebrdinin indiferenc\u00ebn e tij ndaj femrave. Vrasja e tij nga menadat e t\u00ebrbuara ishte pik\u00ebrisht rrjedhoj\u00eb e pezmit ndaj “indiferenc\u00ebs” s\u00eb tij. Aq shum\u00eb ishin t\u00eb pushtuara nga urrejtja sa menadat e coptuan, jo vet\u00ebm figurativisht, miti na flet se ato v\u00ebrtet e masakruan trupin e tij, e b\u00ebn\u00eb cop\u00eb-cop\u00eb.<\/p>\n

Ovidi na tregon se Orfeu kishte abstenuar totalisht nga dashuria p\u00ebr femrat, ose p\u00ebr arsyen q\u00eb gj\u00ebrat p\u00ebrfunduan keq p\u00ebr t\u00eb (vdekja e Euridikes), ose p\u00ebr shkak se ai qe betuar. Megjithat\u00eb, – vazhdon Ovidi – shum\u00eb njer\u00ebz kishin d\u00ebshir\u00ebn p\u00ebr t\u00eb qen\u00eb bashk\u00eb me poetin, n\u00eb shoq\u00ebrin\u00eb e tij, dhe p\u00ebr secilin refuzim nga ai, ndjeheshin tep\u00ebr t\u00eb hidh\u00ebruar. N\u00eb t\u00eb v\u00ebrtet\u00eb, ai ishte i pari i popullit trak q\u00eb e transferoi dashurin\u00eb e tij tek djemt\u00eb dhe rinia, dhe t\u00eb cil\u00ebt t’i g\u00ebzonin pranverat e tyre t\u00eb shkurtra, lul\u00ebzimin e hersh\u00ebm, si nj\u00eb lloj “ane” e burr\u00ebris\u00eb. Pra sipas Ovidit, Orfeu ishte “mbjell\u00ebsi” i homoseksualizmit.<\/p>\n

Nd\u00ebrsa shih sa shum\u00eb “guxim poetik-romantik” kishte Bajroni, vall\u00eb a nuk \u00ebsht\u00eb e st\u00ebrtepruar t\u00eb thuhet q\u00eb nj\u00eb statuj\u00eb e vetme e ka shlyer borxhin e njer\u00ebzimit? T\u00eb konkludosh q\u00eb statuja e “Apollonit” e ka paguar borxhin e njer\u00ebzimit ndaj Prometeut… padyshim \u00ebsht\u00eb guxim i madh poetik.<\/p>\n

Vall\u00eb a nuk \u00ebsht\u00eb “lulushi” i thyer i Apollonit, kurr\u00eb i riparuar dhe n\u00eb panum\u00ebr kopje tjera i mbuluar me “gjethin e turpit”, pik\u00ebrisht nj\u00eb element i “tabu-tem\u00ebs homo-erotike kulturore”? Vall\u00eb pse nuk u riparua kurr\u00eb “lulushi” i tij, kur dihet q\u00eb pjesa e poshtme e krahut t\u00eb djatht\u00eb dhe e dor\u00ebs s\u00eb majt\u00eb i mungonin statujes (at\u00ebher\u00eb kur qe zbuluar)? Duart i qen\u00eb rivendosur Apollonit, qen\u00eb ripunuar nga nx\u00ebn\u00ebsi i Mikelanxhelos, nga skulptori Montorsoli, mir\u00ebpo jo dhe “lulushi” : )<\/p>\n

***
\nKuptohet, jo vet\u00ebm Bajroni \u00ebsht\u00eb magjepsur dikur me Apollonin, me shekuj para tij, disa artist\u00eb t\u00eb m\u00ebdhenj gjat\u00eb Renesans\u00ebs e kan\u00eb skicuar, kopjuar… ose jan\u00eb ndikuar nga skulptura e Apollonit, psh. A. D\u00fcrer (gravura e tij Adami dhe Eva, 1504), ose Mikelanxhelo (psh. figura e Krishtit n\u00eb afreskun e “Gjykimit…”, 1534-41, n\u00eb Capella Sistina), tutje jan\u00eb frym\u00ebzuar dhe mjaft artist\u00eb t\u00eb tjer\u00eb.
\nThuhet se n\u00eb dekadat e para t\u00eb shek. XV gravurat e mrekullueshme t\u00eb Marcantonio Raimondi e p\u00ebr\u00e7uan frym\u00ebn artistike dhe e p\u00ebrcoll\u00ebn imazhin e famsh\u00ebm t\u00eb “Apollonit” gjithandej, aneskaj Evrop\u00ebs. M\u00eb von\u00eb, n\u00eb v. 1801, skulptori i Neo-klasicizmit italian, Antonio Canova e pati p\u00ebrshtatur figur\u00ebn e Apollonit p\u00ebr “Perseun” e tij triumfal, me kok\u00ebn e Meduzas\u00eb.
\nN\u00eb fakt, ka me qindra e mij\u00ebra kopje-skulptura, vizatime, gravura, piktura etj. vulosur me zanafill\u00ebn e “frym\u00ebzimit” nga Apolloni.<\/p>\n

Nga neo-klasicist\u00ebt e zjarrt\u00eb (q\u00eb nga mesi i shek. XVIII) u konsiderua si skulptura m\u00eb e “madhe” e lasht\u00ebsis\u00eb. P\u00ebr shekuj me radh\u00eb, n\u00eb aren\u00ebn per\u00ebndimore t\u00eb artit ishte si nj\u00eb lloj “epitome” e p\u00ebrkryer e p\u00ebrsosm\u00ebris\u00eb estetike. Skulptura konsiderohej si nj\u00ebra nga veprat m\u00eb t\u00eb famshme t\u00eb artit n\u00eb bot\u00eb. Sipas historianit t\u00eb artit dhe arkeologut gjerman, Winckelmann, “Apolloni kishte thjesht\u00ebsin\u00eb fisnike dhe madh\u00ebshtin\u00eb e qet\u00eb…”, skulptura konsiderohej si shembulli m\u00eb i mir\u00eb i p\u00ebrsosjes s\u00eb idealit estetik grek. Apolloni qe b\u00ebr\u00eb si nj\u00eb nga dritat kryesore artistike t\u00eb neo-klasicizmit dhe si nj\u00eb ikon\u00eb e Iluminizmit. Qasja e till\u00eb ndaj “p\u00ebrsosm\u00ebris\u00eb estetike” neoklasike-iluministe dihet q\u00eb p\u00ebrkrahej dhe nga G\u00ebteja, Shilleri etj.<\/p>\n

Fotot<\/em>:<\/span>
\nApolloni i mermert\u00eb, gjetur n\u00eb v. 1489, i cili tani ndodhet n\u00eb muzeumin Pio-Clementine (n\u00eb kuad\u00ebr t\u00eb kompleksit muzeal t\u00eb Vatikanit), mendohet t\u00eb jet\u00eb kopje romake e periudh\u00ebs Hadrianike (rreth viteve 120-140), kopje e origjinalit t\u00eb humbur prej bronzi, punuar nd\u00ebrmjet 350-325 pes. nga Liokaresi, skulptor grek.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

S. Guraziu – Ars Poetica, M 2018 (…“tabuja kulturore rreth homo-erotizmit” e koh\u00ebs son\u00eb ma kujtoi “lulushin” e thyer t\u00eb Apollonit, vall\u00eb a nuk \u00ebsht\u00eb “lulushi” i Apollonit, kurr\u00eb i riparuar dhe n\u00eb panum\u00ebr kopje tjera i mbuluar me “gjethin… 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":[8,10],"tags":[],"class_list":["post-932","post","type-post","status-publish","format-standard","hentry","category-ese","category-komente"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/932","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=932"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/932\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=932"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=932"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=932"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}