{"id":4133,"date":"2017-11-07T12:02:58","date_gmt":"2017-11-07T10:02:58","guid":{"rendered":"https:\/\/sbunker.org\/?p=4133"},"modified":"2025-01-09T12:19:09","modified_gmt":"2025-01-09T10:19:09","slug":"morendo-apo-ngulfatja-e-artit-kosovar-ne-pese-kohe","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/morendo-apo-ngulfatja-e-artit-kosovar-ne-pese-kohe\/","title":{"rendered":"Morendo! Apo ngulfatja e artit kosovar n\u00eb pes\u00eb koh\u00eb"},"content":{"rendered":"
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Pjesa e par\u00eb<\/p>\n<\/div>\n

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Prelude<\/strong><\/p>\n

Le t\u00eb fillojm\u00eb me nj\u00eb segment nga filmi \u201cNinotchka\u201d, i prodhuar nga regjisori Ernst Lubitsch, n\u00eb vitin 1939: dy protagonist\u00ebt e filmit, Ninotchka dhe L\u00e9on, t\u00eb ulur n\u00eb kafene, n\u00eb nj\u00eb bashk\u00ebbisedim jo t \u2018k\u00ebndsh\u00ebm n\u00eb mes tyre, L\u00e9on n\u00eb tentativ\u00eb e sip\u00ebr p\u00ebr ta b\u00ebr\u00eb t\u00eb qesh\u00eb Ninotchk\u00ebn, i tregon nj\u00eb barcolet\u00eb: \u201cNj\u00eb person hyn n\u00eb nj\u00eb kafene, ulet n\u00eb tavolin\u00eb dhe porosit nj\u00eb kafe pa krem. Pas pes\u00eb minutash kamerieri kthehet, dhe i p\u00ebrgjigjet: \u201cna falni por nuk na ka mbet m\u00eb krem, kemi vet\u00ebm qum\u00ebsht. A mund t\u2019ju sjell nj\u00eb kafe pa qum\u00ebsht?\u201d<\/p>\n

2. Adagio<\/strong><\/p>\n

Sipas Alain Badiou-s\u00eb, filozofia varet nga kat\u00ebr kushte: arti, dashuria, politika dhe shkenca. Secila nga k\u00ebto, n\u00eb m\u00ebnyr\u00eb t\u00eb pavarur, p\u00ebrfaq\u00ebsojn\u00eb nj\u00eb \u201cprocedur\u00eb t\u00eb s\u00eb v\u00ebrtet\u00ebs\u201d [truth procedure<\/em>]. Badiou thot\u00eb se e \u201cV\u00ebrteta \u00ebsht\u00eb nj\u00eb inovacion en acte, singular n\u00eb lokacion dhe rrethana, por universal n\u00eb adresimin e saj\u201d dhe se \u201cnj\u00eb procedur\u00eb e s\u00eb v\u00ebrtet\u00ebs e till\u00eb mund t\u00eb filloj\u00eb vet\u00ebm p\u00ebrmes nj\u00eb thyerje me situat\u00ebn e zakonshme n\u00eb t\u00eb cil\u00ebn ajo zhvillohet\u201d \u2013 apo at\u00eb q\u00eb Badiou e quan Ngjarje [Event<\/em>].<\/p>\n

K\u00ebshtu,\u00a0Ngjarja, Subjekti, e V\u00ebrteta jan\u00eb pjes\u00eb e nj\u00eb procesi t\u00eb afirmimit q\u00eb e sjell t\u00eb v\u00ebrtet\u00ebn n\u00eb ekzistenc\u00eb p\u00ebrmes subjekteve q\u00eb i mbesin besnik pasojave t\u00eb ngjarjes. K\u00ebshtu q\u00eb, e V\u00ebrteta p\u00ebr Badiou-n ngjall logjik\u00ebn e t\u00eb qenit t\u00eb v\u00ebrtet\u00eb ndaj di\u00e7kaje, e t\u00eb mbajturit t\u00eb s\u00eb v\u00ebrtet\u00ebs mbi principe, persona, apo ideale. Ta ilustrojm\u00eb me dy shembuj (t\u00eb marr\u00eb nga regjistri i Badiou-s), nj\u00ebri nga kushti i dashuris\u00eb dhe tjetri nga kushti i artit\/shkenc\u00ebs: dy t\u00eb dashuruar q\u00eb formojn\u00eb nj\u00eb Subjekt dashuror, por q\u00eb thell\u00eb n\u00eb rr\u00ebnj\u00eb i mbesin besnik takimit t\u00eb tyre q\u00eb definohet si Ngjarje. Apo, nj\u00eb artist ose shkenc\u00ebtar i mbetet besnik linj\u00ebs kreative t\u00eb hulumtimit e cila i hap horizonte p\u00ebr zbulime t\u00eb reja ose thyerje me tradit\u00ebn e zakonshme.<\/p>\n

Badiou, kat\u00ebr kushtet e filozofis\u00eb i identifikon edhe si kat\u00ebr \u2018tipe\u2019 fundamentale subjektive: politike, shkencore, artistike, dhe dashurore [amoureux]. Dhe, secila nga k\u00ebto kat\u00ebr tipe\u00a0subjektive p\u00ebrfaq\u00ebson n\u00eb vetvete nj\u00eb t\u00eb\u00a0V\u00ebrtet\u00eb singulare.<\/p>\n

N\u00eb k\u00ebt\u00eb shkrim do t\u00eb merrem me Artin \u2013 apo m\u00eb mir\u00eb t\u00eb themi ngulfatjen e tij n\u00eb kontekstin e Kosov\u00ebs. Ngulfatjen\u00a0e artit n\u00eb Kosov\u00eb duhet ta shtjellojm\u00eb n\u00eb kontekstin e situat\u00ebs filozofike. \u00c7ka do t\u00eb thot\u00eb kjo? Badiou n\u00eb librin e tij \u201cPolemika\u201d e shpjegon q\u00eb situata filozofike \u00ebsht\u00eb nj\u00eb takim. Nj\u00eb takim n\u00eb\u00a0mes termave thell\u00ebsisht t\u00eb huaj. Badiou gjithashtu jep dy definicione p\u00ebr situat\u00ebn filozofike. Definicioni i par\u00eb thot\u00eb: qart\u00ebsoje zgjedhjen, vendimin. Nd\u00ebrsa, definicioni i dyt\u00eb thot\u00eb: qart\u00ebsoje distanc\u00ebn n\u00eb mes fuqis\u00eb dhe t\u00eb v\u00ebrtet\u00ebs. P\u00ebr t\u00eb ilustruar k\u00ebto, Badiou merr si shembull\u2014n\u00eb fakt nj\u00eb nd\u00ebr tre shembujt\u2014filmin e jasht\u00ebzakonsh\u00ebm t\u00eb regjisorit japonez Kenji Mizoguchi \u2013 \u201cT\u00eb Dashuruarit e Kryq\u00ebzuar\u201d [The Crucified Lovers]. Padyshim nj\u00eb nga filmat m\u00eb t\u00eb mir\u00eb p\u00ebr dashurin\u00eb t\u00eb prodhuar ndonj\u00ebher\u00eb. P\u00ebr ata q\u00eb se kan\u00eb pa filmin, duhet ta shpjegojm\u00eb shkurtimisht ngjarjen dhe p\u00ebrfundimin e filmit.<\/p>\n

Nj\u00eb grua e re \u00ebsht\u00eb martuar me pronarin e nj\u00eb dyqani artizanal t\u00eb vog\u00ebl, nj\u00eb njeri i ndersh\u00ebm q\u00eb jeton n\u00eb begati. Atij gjithashtu i p\u00eblqen q\u00eb t\u00eb pij\u00eb alkool dhe t’i v\u00ebzhgoj\u00eb grat\u00eb tjera, jo domosdoshm\u00ebrisht n\u00eb m\u00ebnyr\u00eb amorale; por, ajo [gruaja e re] nuk e dashuron at\u00eb, nuk e d\u00ebshiron. N\u00eb sken\u00eb futet nj\u00eb djal\u00eb i ri, i pun\u00ebsuar n\u00eb dyqanin e vog\u00ebl, n\u00eb t\u00eb cilin ajo dashurohet. Sigurisht, se n\u00eb koh\u00ebn klasike ku Mizoguchi e vendos\u00eb filmin, gruaja e cila tradhton d\u00ebnohet me kryq\u00ebzim. Dy t\u00eb dashuruarit e ri, gruaja e martuar s\u00eb bashku me pun\u00ebtorin e ri, vendosin q\u00eb t\u00eb ikin n\u00eb fshat. Kjo sekuenc\u00eb, q\u00eb p\u00ebrshkruan udh\u00ebtimin e tyre n\u00eb pyje, n\u00eb sht\u00ebpiza, liqeje dhe anije, \u00ebsht\u00eb e jasht\u00ebzakonshme. Edhe pse burri i ndersh\u00ebm mundohet q\u00eb t’i mbroj\u00eb ata dy, n\u00eb fund burrat jan\u00eb t\u00eb obliguar q\u00eb t\u00eb denoncojn\u00eb tradhtit\u00eb bashk\u00ebshortore, p\u00ebrndryshe ata vet do t\u00eb japin p\u00ebrgjegj\u00ebsi duke u konsideruar pjes\u00eb e asaj tradhtie. Gjithsesi, burri, dhe kjo \u00ebsht\u00eb nj\u00eb prov\u00eb q\u00eb ai ende e dashuron gruan e vet, mundohet q\u00eb t\u00eb fitoj\u00eb koh\u00eb. Ai madje thot\u00eb se ajo ka shkuar tek prind\u00ebrit e saj n\u00eb fshat\u2026 Ai n\u00eb t\u00eb v\u00ebrtet\u00eb \u00ebsht\u00eb burr\u00eb i mir\u00eb. Ai \u00ebsht\u00eb nj\u00eb karakter shum\u00eb i bukur i filmit, nj\u00eb mediokritet i ngjeshur. M\u00eb n\u00eb fund t\u00eb dashuruarit denoncohen dhe kapen. Ata merren p\u00ebr t\u2019u torturuar.<\/p>\n

N\u00eb fund, ne i\u00a0shohim sekuencat p\u00ebrfundimtare t\u00eb filmit: dy t\u00eb dashuruarit jan\u00eb t\u00eb lidhur mbrapa nj\u00eb gomari, nd\u00ebrsa kamera i p\u00ebrcjell\u00eb ata duke ecur drejt vdekjes s\u00eb eg\u00ebr; fytyrat e tyre kan\u00eb thjesht nj\u00eb shenj\u00eb buz\u00ebqeshjeje, nj\u00eb lloj fortifikimi n\u00eb buz\u00ebqeshje. Ky imazh i fundit, shkruan Badiou, p\u00ebrkundrazi na thot\u00eb: dashuria \u00ebsht\u00eb ajo q\u00eb i reziston vdekjes.<\/p>\n

N\u00eb konferenc\u00ebn \u201cLa Femis\u201d, organizuar me 1987, Gilles Deleuze gjat\u00eb nd\u00ebrhyrjes s\u00eb tij, citon Andr\u00e9 Malraux, duke than\u00eb se \u201carti asht di\u00e7ka e till\u00eb q\u00eb i reziston vdekjes.\u201d. Pik\u00ebrisht n\u00eb k\u00ebt\u00eb sens, n\u00eb ato pamjet mahnit\u00ebse, arti i Mizoguchit jo vet\u00ebm i reziston vdekjes por na ndihmon q\u00eb t\u00eb kuptojm\u00eb se dashuria gjithashtu i reziston vdekjes. M\u00eb tej, Deleuze flet mbi informacionin si nj\u00eb sistem t\u00eb kontrolluar t\u00eb \u2018urdh\u00ebr-fjal\u00ebve\u2019, q\u00eb p\u00ebrdoren n\u00eb \u00e7do shoq\u00ebri. Megjithat\u00eb, p\u00ebrve\u00e7 informacionit kemi edhe \u2018kund\u00ebr-informacionin\u2019 [counter-information]. P\u00ebr shembull, kemi shtete q\u00eb jan\u00eb n\u00ebn regjime t\u00eb egra diktatoriale ku, megjithat\u00eb, ekziston kund\u00ebr-informacioni. N\u00eb koh\u00ebn e Hitlerit, hebrenjt\u00eb q\u00eb iknin nga Gjermania n\u00eb shtetet tjera, ishin t\u00eb par\u00ebt q\u00eb tregonin p\u00ebr kampet e shfarosjes n\u00eb Gjermani, nj\u00ebkoh\u00ebsisht ata ishin edhe prodhuesit e k\u00ebtij kund\u00ebr-informacioni. Por, kund\u00ebr-informacioni nuk \u00ebsht\u00eb asnj\u00ebher\u00eb i mjaftuesh\u00ebm p\u00ebr t\u00eb b\u00ebr\u00eb apo p\u00ebr t\u00eb arritur di\u00e7ka. Asnj\u00eb kund\u00ebr-informacion nuk e ka trazuar kurr\u00eb Hitlerin, p\u00ebrve\u00e7 nj\u00ebher\u00eb:\u00a0kur kund\u00ebr-informacioni shnd\u00ebrrohet n\u00eb m\u00ebnyr\u00eb efektive n\u00eb akt t\u00eb rezistenc\u00ebs. Akti i rezistenc\u00ebs, vazhdon Delezue, nuk \u00ebsht\u00eb as informacion e as kund\u00ebr-informacion. Kund\u00ebr-informacioni nuk \u00ebsht\u00eb efektiv\u00a0n\u00ebse nuk b\u00ebhet akt i rezistenc\u00ebs, por, ekziston nj\u00eb afinitet thelb\u00ebsor\u00a0nd\u00ebrmjet pun\u00ebs artistike dhe aktit t\u00eb rezistenc\u00ebs.<\/p>\n

Delezue gjat\u00eb p\u00ebrmbylljes s\u00eb nd\u00ebrhyrjes s\u00eb tij n\u00eb konferenc\u00ebn \u201cLa Femis\u201d, thot se: \u201carti reziston, \u00ebsht\u00eb ai \u00e7ka reziston, edhe pse nuk \u00ebsht\u00eb e vetmja gj\u00eb q\u00eb reziston, por reziston. Dhe prandaj kemi k\u00ebt\u00eb lidhje t\u00eb ngusht\u00eb nd\u00ebrmjet aktit t\u00eb rezistenc\u00ebs dhe pun\u00ebs artistike. \u00c7do akt i rezistenc\u00ebs nuk \u00ebsht\u00eb pun\u00eb artistike, edhe pse n\u00eb nj\u00ebfar\u00eb m\u00ebnyre \u00ebsht\u00eb. \u00c7do pun\u00eb artistike nuk \u00ebsht\u00eb akt i rezistenc\u00ebs, dhe prap\u00eb, n\u00eb nj\u00ebfar\u00eb m\u00ebnyre \u00ebsht\u00eb. Akti i rezistenc\u00ebs, si\u00e7 duket, i ka dy fytyra: \u00ebsht\u00eb njer\u00ebzor\u00a0(human) dhe, gjithashtu, \u00ebsht\u00eb akt artistik. Vet\u00ebm akti i rezistenc\u00ebs i mbijeton vdekjes, qoft\u00eb p\u00ebrmes form\u00ebs s\u00eb pun\u00ebs artistike, ose p\u00ebrmes form\u00ebs s\u00eb luft\u00ebs njer\u00ebzore (humane).\u201d.<\/p>\n

________<\/p>\n

Artikulli vazhdon n\u00eb pjes\u00ebn e dyt\u00eb\u00a0<\/em><\/p>\n<\/div>\n

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Pjesa e par\u00eb Prelude Le t\u00eb fillojm\u00eb me nj\u00eb segment nga filmi \u201cNinotchka\u201d, i prodhuar nga regjisori Ernst Lubitsch, n\u00eb vitin 1939: dy protagonist\u00ebt e filmit, Ninotchka dhe L\u00e9on, t\u00eb ulur n\u00eb kafene, n\u00eb nj\u00eb bashk\u00ebbisedim jo t \u2018k\u00ebndsh\u00ebm n\u00eb mes tyre, L\u00e9on n\u00eb tentativ\u00eb e sip\u00ebr p\u00ebr ta b\u00ebr\u00eb t\u00eb qesh\u00eb Ninotchk\u00ebn, i tregon […]<\/p>","protected":false},"author":175,"featured_media":11786,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[2052,972,1322],"ppma_author":[204],"class_list":["post-4133","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-arti","tag-kosove","tag-kritike"],"authors":[{"term_id":204,"user_id":175,"is_guest":0,"slug":"ron-salaj","display_name":"Ron Salaj","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-3-10.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-3-10.jpg"},"user_url":"","last_name":"Salaj","first_name":"Ron","description":"Ron Salaj \u00ebsht\u00eb aktivist dhe hulumtues nd\u00ebrdisplinor mbi t\u00eb drejtat e njeriut, media dhe teknologji, kritik\u00eb teorike, dhe politik\u00eb. "}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4133","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/users\/175"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=4133"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4133\/revisions"}],"predecessor-version":[{"id":11777,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4133\/revisions\/11777"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/11786"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=4133"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4133"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4133"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}