Leximi kritik si domosdoshm\u00ebri<\/b><\/p>\n
Momenti i par\u00eb kur ndahemi nga sht\u00ebpia, s\u00eb paku q\u00eb e mbajm\u00eb sado-kudo n\u00eb mend, \u00ebsht\u00eb klasa e par\u00eb shkollore. Sekonda e mbylljes s\u00eb dyerve kryesore t\u00eb shkoll\u00ebs pas kokave tona \u00ebsht\u00eb monumentale, n\u00eb kuptimin e asaj q\u00eb i bashkohemi nj\u00eb institucioni p\u00ebr nj\u00eb koh\u00eb relativisht t\u00eb gjat\u00eb. Ashtu si\u00e7 n\u00eb sht\u00ebpit\u00eb tona fjala m\u00eb e shpesht\u00eb q\u00eb na thuhet \u00ebsht\u00eb \u2018mos\u2019, n\u00eb klas\u00eb nuk \u00ebsht\u00eb se nd\u00ebrron fort ai realitet. Autoriteti i prindit z\u00ebvend\u00ebsohet me at\u00eb t\u00eb m\u00ebsimdh\u00ebn\u00ebsit. Kontrolli mbi trupin dhe mendjen sa vjen e rritet. Do t\u00eb \u00e7ohesh n\u00eb k\u00ebmb\u00eb kur hyn e del m\u00ebsuesja nga klasa, do t\u00eb p\u00ebrgjigjesh n\u00eb pyetjet q\u00eb s\u2019do, do t\u00eb turp\u00ebrohesh publikisht dhe s\u2019do t\u00eb lejohesh t\u00eb dal\u00ebsh nga klasa kur ke nevoj\u00eb. Shikimi yt do kthehet kah qendra e klas\u00ebs, kah pedagogu. N\u00eb k\u00ebt\u00eb mikrokozm do t\u00eb m\u00ebsosh si t\u00eb m\u00ebsosh, si t\u00eb lexosh, t\u00eb mbash mend informata, si t\u2019i lidh\u00ebsh ato me nj\u00ebra-tjetr\u00ebn p\u00ebrmes nj\u00eb paradigme t\u00eb vetme, paradigm\u00ebn q\u00eb e p\u00ebrcakton shteti. M\u00ebsimdh\u00ebn\u00ebsi m\u00ebson si ta transmetoj\u00eb k\u00ebt\u00eb dije n\u00eb m\u00ebnyr\u00eb shum\u00eb specifike shum\u00eb m\u00eb par\u00eb se t\u2019i vij\u00eb momenti t\u00eb jap\u00eb m\u00ebsim.<\/span><\/p>\n Nd\u00ebrkaq, shkolla nuk duhet t\u00eb jet\u00eb aty t\u00eb jap\u00eb vet\u00ebm p\u00ebrgjigje t\u00eb llojit faktik-praktik, por ta kultivoj\u00eb mendimin e kund\u00ebrp\u00ebrgjigjen. Jan\u00eb disa dimensione se si arsimi mund t\u00eb ket\u00eb natyr\u00eb subversive, duke filluar nga si dhe \u00e7ka lexojm\u00eb. P\u00ebrtej kusht\u00ebzimit t\u00eb nx\u00ebn\u00ebsve t\u00eb lexojn\u00eb vet\u00ebm sasi t\u00eb m\u00ebdha t\u00eb librave, duhet t\u00eb ekzistoj\u00eb nj\u00eb hap\u00ebsir\u00eb e v\u00ebrtet\u00eb ku nx\u00ebn\u00ebsit mund ta rimendojn\u00eb e ta kund\u00ebrshtojn\u00eb at\u00eb \u00e7ka u servohet p\u00ebrpara. Nj\u00eb nga problemet m\u00eb t\u00eb m\u00ebdha q\u00eb m\u00eb kujtohet nga koha kur isha n\u00eb shkoll\u00eb fillore e t\u00eb mesme lidhet me disa nga librat q\u00eb detyroheshim t\u2019i lexonim. Besoj se \u201dVerorja\u201d nga Rexhep Hoxha ishte trauma ime e par\u00eb. Ende e mbaj mend pjes\u00ebn kur Verores ia marrin foshnjat dhe ia z\u00ebvend\u00ebsojn\u00eb me dy k\u00eblysh\u00eb.<\/span><\/p>\n Verorja \u00ebsht\u00eb vajza e cila duhet shp\u00ebtuar, \u00ebsht\u00eb vajza n\u00eb ankth (<\/span>damsel in distress)<\/span><\/i>, nj\u00eb tem\u00eb e zakonshme n\u00eb let\u00ebrsi, duke pasur parasysh se burrat okupojn\u00eb k\u00ebt\u00eb hap\u00ebsir\u00eb sociale\/artistike pothuajse ekskluzivisht. N\u00eb an\u00ebn tjet\u00ebr kemi \u201dLugjet e Verdha\u201d nga po i nj\u00ebjti autor, ku personazhi kryesor \u00ebsht\u00eb Shpendi, i biri i Bardhecit, i cili \u00ebsht\u00eb \u2019viktim\u00eb\u2019 e bes\u00ebs s\u00eb dh\u00ebn\u00eb. M\u00eb posht\u00eb do t\u2019i krahasojm\u00eb dy veprat dhe kopertinat e tyre<\/span> \u201dVerorja\u201d nga Rexhep Hoxha, botuar p\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb 1983<\/i><\/b><\/p>\n Te \u201dVerorja\u201d v\u00ebrejm\u00eb disa tregues gjinor\u00eb q\u00eb n\u00eb shikim t\u00eb par\u00eb: kopertin\u00ebn ngjyr\u00eb roz\u00eb, m\u00eb tutje kemi Veroren e ulur me shikim kah \u2019lexuesi\u2019 potencial. Prapa Verores gjinden drunjt\u00eb e hijezuar me ngjyr\u00eb kalt\u00ebr t\u00eb mbyllur, t\u00eb cil\u00ebt sh\u00ebnjojn\u00eb terrin, nj\u00eb zon\u00eb ku nuk ka vend p\u00ebr vajza. Err\u00ebsira gati se gjithmon\u00eb shihet si hap\u00ebsir\u00eb e paokupuar nga grat\u00eb. Pra, shikimi \u00ebsht\u00eb i kthyer kah ne si thirrje p\u00ebr shp\u00ebtim. Pozicioni i Verores s\u00eb ulur na d\u00ebfton se ajo \u00ebsht\u00eb duke pritur dhe se ajo nuk mundet t\u00eb b\u00ebj\u00eb asgj\u00eb, p\u00ebrve\u00e7se t\u00eb pres\u00eb shp\u00ebtimtarin e saj. N\u00eb shkrimin prapa kopertin\u00ebs kemi nj\u00eb fjali shum\u00eb t\u00eb r\u00ebnd\u00ebsishme: \u201dNj\u00eb dit\u00eb prej dit\u00ebsh Veroren ia rr\u00ebmbejn\u00eb! E Losh Bala mbetet i vetmuar n\u00eb kasollen e tij t\u00eb varf\u00ebr\u201d. Kjo fjali na kanalizon te nj\u00eb gj\u00eb thelb\u00ebsore, edhe pse Verorja llogaritet si personazhi kryesor, at\u00eb nuk e rr\u00ebmbejn\u00eb por \u201dia rr\u00ebmbejn\u00eb\u201d Loshit. Verorja si viktima e k\u00ebtij krimi nuk trajtohet si subjekt, por shohim vet\u00ebm perspektiv\u00ebn e babait t\u00eb saj t\u00eb vetmuar. Nj\u00eb trop jo i pazakont\u00eb, ku vajzat sh\u00ebrbejn\u00eb si personazhe pasive p\u00ebrball\u00eb personazheve aktive burra. Dua t\u00eb flas shkurtimisht p\u00ebr disa momente ky\u00e7e n\u00eb vepr\u00ebn \u201dVerorja\u201d, p\u00ebr rolin e babait, t\u00eb \u201dnjerk\u00ebs\u201d dhe t\u00eb Verores.<\/span><\/p>\n Babai i Verores mish\u00ebron karakterin e traditave \u2019shqiptare\u2019 t\u00eb nderit, bes\u00ebs e urt\u00ebsis\u00eb, si dhe prindit sakrifikues n\u00eb munges\u00eb bashk\u00ebshorteje. Loshit i duhet patjet\u00ebr t\u00eb rimartohet n\u00eb m\u00ebnyr\u00eb q\u00eb burr\u00ebria e tij t\u00eb mos cenohet m\u00eb tej p\u00ebrgjat\u00eb vepr\u00ebs. Martesa e tij me Grish\u00ebn, njerk\u00ebn e Verores, p\u00ebrmbush stereotipin e betonuar t\u00eb nj\u00eb gruaje t\u00eb lig\u00eb q\u00eb nuk i do f\u00ebmij\u00ebt e bashk\u00ebshortit, p\u00ebr m\u00eb tep\u00ebr emri\u00a0 \u00ebsht\u00eb n\u00eb fakt personifikimi i qenies s\u00eb saj. M\u00eb pas, kur Veroren e rr\u00ebmbejn\u00eb dhe p\u00ebr t\u00eb kujdesen dy gra t\u00eb tjera t\u00eb cilat po ashtu portretizohen n\u00eb m\u00ebnyr\u00ebn kriminale, v\u00ebrejm\u00eb se n\u00eb fakt gati se t\u00eb gjitha personazhet negative n\u00eb k\u00ebt\u00eb lib\u00ebr jan\u00eb gra. Verorja vazhdon t\u00eb ket\u00eb rol \u2019pasiv\u2019 p\u00ebrgjat\u00eb librit dhe nga gj\u00ebrat q\u00eb p\u00ebrmenden m\u00eb s\u00eb shumti n\u00eb raport me personalitetin dhe karakterin e saj jan\u00eb bukuria dhe urt\u00ebsia. N\u00eb fakt, nga momentet e pakta aktive t\u00eb saj jan\u00eb shtatz\u00ebnia dhe lindja, nj\u00eb tjet\u00ebr ide e ngulitur her\u00ebt n\u00eb f\u00ebmij\u00ebrit\u00eb tona mbi rolin e gruas n\u00eb bot\u00eb: t\u00eb p\u00ebrmbush\u00eb misionin e riprodhimit.<\/span> \u201dLugjet e Verdha\u201d nga Rexhep Hoxha, botuar p\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb vitin 1959<\/i><\/b><\/p>\n Edhe n\u00eb k\u00ebt\u00eb kopertin\u00eb v\u00ebrejm\u00eb ngjashm\u00ebri sa u p\u00ebrket sh\u00ebnjuesve gjinor\u00eb, kopertina \u00ebsht\u00eb e kalt\u00ebr, nj\u00eb zakonshm\u00ebri tjet\u00ebr p\u00ebr t\u2019i dalluar gjinit\u00eb n\u00eb nivel sip\u00ebrfaq\u00ebsor binar. N\u00eb k\u00ebt\u00eb kopertin\u00eb shohim burrin i cili shikon drejt pyllit, drejt aventur\u00ebs dhe heroizmit. Q\u00ebndrimi i tij na bind p\u00ebr trim\u00ebri dhe veshja e tij tradicionale na kujton normat kulturore t\u00eb cilat duhet t\u2019i respektojm\u00eb. Burri n\u00eb fotografi n\u00eb k\u00ebt\u00eb rast nuk ka nevoj\u00eb p\u00ebr ne, se mund t\u2019i b\u00ebj\u00eb t\u00eb gjitha vet\u00eb.<\/span><\/p>\n Shpendi, i biri i Bardhecit, sapo t\u00eb lind\u00eb, duhet t\u2019i dor\u00ebzohet ujkut delengr\u00ebn\u00ebs si rezultat i nj\u00eb bese t\u00eb dh\u00ebn\u00eb nga babai i tij. Shpendi \u00ebsht\u00eb djali i par\u00eb pas motrave t\u00eb tij dhe \u00ebsht\u00eb sakrifica e dhimbshme q\u00eb babai i Shpendit duhet t\u00eb b\u00ebj\u00eb n\u00eb m\u00ebnyr\u00eb q\u00eb ta mbroj\u00eb nderin dhe \u2019bes\u00ebn\u2019 e shqiptarit. Shpendi n\u00eb an\u00ebn tjet\u00ebr detyrohet t\u00eb jetoj\u00eb n\u00eb pyll deri n\u00eb mosh\u00ebn pes\u00ebmb\u00ebdhjet\u00eb vje\u00e7are me Plak\u00ebn Ugurzez\u00eb, e cila e trajton at\u00eb mizorisht. Ashtu si n\u00eb rastin e Verores, personazhet negative n\u00eb lib\u00ebr jan\u00eb gra. Kur Shpendi arrin t\u00eb ik\u00eb nga pylli, takon nj\u00eb drenush\u00eb e cila shnd\u00ebrrohet n\u00eb vajz\u00eb p\u00ebr t\u2019u dashuruar n\u00eb Shpendin, t\u00eb b\u00ebj\u00eb f\u00ebmij\u00eb me t\u00eb dhe m\u00eb pas shnd\u00ebrrohet prap\u00eb n\u00eb nj\u00eb drenush\u00eb. Edhe k\u00ebtu mund t\u00eb shohim rolin e vajz\u00ebs si person i cili ekziston p\u00ebrmes burrit, pra p\u00ebr t\u00eb. N\u00eb m\u00ebnyr\u00eb q\u00eb t\u2019i sh\u00ebrbej\u00eb Shpendit, ndodh nj\u00eb transformim speciesh, ndon\u00ebse p\u00ebrrallat p\u00ebr f\u00ebmij\u00eb dhe magjit\u00eb mund t\u00eb ken\u00eb tjet\u00ebr kuptim, ky mund t\u00eb jet\u00eb nj\u00ebri nga shpjegimet.<\/span><\/p>\n N\u00eb t\u00eb dy veprat mund t\u00eb v\u00ebrejm\u00eb se nj\u00eb nga temat kryesore \u00ebsht\u00eb mir\u00ebmbajtja e traditave shqiptare me p\u00ebrqendrim te nocioni i \u201dbes\u00ebs\u201d. Roli i burrit \u00ebsht\u00eb ta \u00e7oj\u00eb p\u00ebrpara k\u00ebt\u00eb mision duke mish\u00ebruar tiparet e burr\u00ebris\u00eb q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb me nderin, urt\u00ebsin\u00eb e t\u00eb qen\u00ebt pun\u00ebtor. Nd\u00ebrkaq, roli i gruas \u00ebsht\u00eb t\u00eb jet\u00eb bashk\u00ebshorte, bij\u00eb, e bukur dhe e urt\u00eb. T\u00eb gjitha k\u00ebto koncepte patjet\u00ebr q\u00eb duhen sfiduar vazhdimisht.<\/span><\/p>\n Kultivimi i leximit kritik<\/b><\/p>\n K\u00ebto dy vepra t\u00eb cilat i kam p\u00ebrzgjedhur si fokus t\u00eb analiz\u00ebs jan\u00eb vet\u00ebm shembuj t\u00eb cil\u00ebt ilustrojn\u00eb m\u00ebnyr\u00ebn problematike t\u00eb trajtimit t\u00eb relacioneve gjinore dhe t\u00eb pushtetit. Pra, nuk \u00ebsht\u00eb qend\u00ebr t\u00eb v\u00ebmendjes stili apo p\u00ebrdorimi i ndrysh\u00ebm i figurave letrare. M\u00eb tutje, p\u00ebrtej marr\u00ebdh\u00ebnieve q\u00eb ekzistojn\u00eb brenda k\u00ebtyre dy veprave, duhet t\u00eb p\u00ebrmendim di\u00e7ka jasht\u00ebzakonisht t\u00eb r\u00ebnd\u00ebsishme, duhet t\u00eb flitet p\u00ebr ata t\u00eb cil\u00ebt nuk ekzistojn\u00eb fare brenda k\u00ebtyre marr\u00ebdh\u00ebnieve, e q\u00eb \u00ebsht\u00eb nj\u00eb num\u00ebr i madh i njer\u00ebzve: personat me identitete seksuale, gjinore, racore e etnike t\u00eb ndryshme. Insistimi i futjes s\u00eb normave heteroseksuale si norma t\u00eb vetme t\u00eb mundshme n\u00eb realitetin shoq\u00ebror si dhe p\u00ebrqendrimi te vet\u00ebm nj\u00eb grup \u2018etnik\u2019 brenda librave q\u00eb lexojm\u00eb; p\u00ebrjashton nj\u00eb p\u00ebrqindje tejet t\u00eb lart\u00eb t\u00eb njer\u00ebzve jo vet\u00ebm nga diskutimi, por edhe te k\u00ebnaq\u00ebsia q\u00eb mund t\u00eb p\u00ebrjetohet gjat\u00eb leximit.<\/span><\/p>\n Mendoj se \u00ebsht\u00eb e r\u00ebnd\u00ebsishme t\u00eb ikim nga \u2018\u2019referati\u2019\u2019 si form\u00eb e vetme t\u00eb kritik\u00ebs. Ani pse mund t\u00eb jet\u00eb e r\u00ebnd\u00ebsishme q\u00eb nx\u00ebn\u00ebsit t\u00eb m\u00ebsojn\u00eb stil, zhan\u00ebr etj., ky nuk duhet t\u00eb jet\u00eb lloji i vet\u00ebm i diskutimit. Referati mund t\u00eb ndihmoj\u00eb n\u00eb m\u00ebsimin e t\u00eb menduarit kronologjikisht dhe t\u00eb analizoj\u00eb mes rreshtave \u00e7far\u00eb autori ka dashur t\u00eb thot\u00eb, por \u00ebsht\u00eb e r\u00ebnd\u00ebsishme q\u00eb brenda atyre rreshtave t\u00eb zbulojm\u00eb dukuri t\u00eb tjera.\u00a0\u00a0<\/span><\/p>\n Ndon\u00ebse sistemet arsimore zakonisht zotohen se mendimi kritik \u00ebsht\u00eb prioritet ku b\u00ebhet fjal\u00eb p\u00ebr konstruktimin e kurrikulave, gj\u00eb q\u00eb vlen edhe p\u00ebr Kosov\u00ebn, ku n\u00eb kurrikul\u00ebn e re \u201dmendimi kritik\u201d z\u00eb nj\u00eb vend jo t\u00eb vog\u00ebl. N\u00eb realitet shohim se pak b\u00ebhet n\u00eb k\u00ebt\u00eb drejtim. Kjo gj\u00eb natyrisht se nuk mund t\u2019u faturohet vet\u00ebm m\u00ebsuesve si praktikues t\u00eb profesionit t\u00eb tyre, por natyr\u00ebs s\u00eb pedagogjis\u00eb n\u00eb p\u00ebrgjith\u00ebsi. Kurrikulat, ndon\u00ebse kan\u00eb shpeshher\u00eb karakter normativ, ato jan\u00eb p\u00ebrgjegj\u00ebse p\u00ebr m\u00ebnyr\u00ebn se si m\u00ebsimdh\u00ebn\u00ebsit transferojn\u00eb dijen n\u00eb klas\u00eb. Jam e vet\u00ebdijshme se librat q\u00eb kam marr\u00eb si shembull jan\u00eb libra q\u00eb p\u00ebrgjith\u00ebsisht lexohen n\u00eb shkoll\u00eb fillore dhe krijimi i hap\u00ebsir\u00ebs p\u00ebr kritik\u00eb normalisht q\u00eb nd\u00ebrron form\u00ebn e saj duke pasur parasysh mosh\u00ebn e nx\u00ebn\u00ebsve. Pavar\u00ebsisht k\u00ebsaj, nuk duhet ta minojm\u00eb kapacitetin e nx\u00ebn\u00ebsve p\u00ebr t\u00eb p\u00ebrbrend\u00ebsuar koncepte t\u00eb caktuara t\u00eb cilat ndikojn\u00eb n\u00eb nd\u00ebrtimin e identiteteve t\u00eb tyre p\u00ebrmes shkollimit dhe n\u00eb k\u00ebt\u00eb rast leximit. Pra, diskutimi \u00ebsht\u00eb i domosdosh\u00ebm q\u00eb nga klasa e par\u00eb e tutje. Rol t\u00eb madh k\u00ebtu luajn\u00eb m\u00ebsimdh\u00ebn\u00ebsit si individ\u00eb\u00a0 q\u00eb prodhojn\u00eb e riprodhojn\u00eb praktikat e tyre pedagogjike.\u00a0\u00a0<\/span><\/p>\n Nj\u00ebkoh\u00ebsisht p\u00ebrgjegj\u00ebse jan\u00eb organet vendimmarr\u00ebse q\u00eb p\u00ebrcaktojn\u00eb llojin e titujve q\u00eb nx\u00ebn\u00ebsit jan\u00eb t\u00eb detyruar t\u2019i lexojn\u00eb p\u00ebrgjat\u00eb vijimit t\u00eb m\u00ebsimeve, sidomos n\u00eb shkoll\u00ebn fillore. S\u00eb pari, \u2019obligimi\u2019 si koncept \u00ebsht\u00eb i rreziksh\u00ebm dhe sistematizimi i leximeve n\u00eb nivel nacional p\u00ebr t\u00eb ruajtur nj\u00eb set idesh po b\u00ebhet gjithmon\u00eb e m\u00eb problematik. S\u00eb dyti, llojet e titujve q\u00eb lexohen n\u00eb shkoll\u00eb duhen rishikuar gjithsesi dhe s\u00eb treti duhet medoemos q\u00eb nx\u00ebn\u00ebsve q\u00eb lexojn\u00eb librat e parapar\u00eb t\u2019u ofrohet hap\u00ebsira e sinqert\u00eb p\u00ebr t\u00eb diskutuar p\u00ebr fenomenet shoq\u00ebrore t\u00eb cilat trajtohen n\u00eb ato vepra.<\/span><\/p>\n Bibliografi<\/b> Gerd\u00e9n, M. L.\u00a0 \u201cJourneys into the Night: Othering Figures, Figurations of Otherness\u201d, lambda nordica, 23(1-2),\u00a0 pp. 167-181 2018.<\/span> Leximi kritik si domosdoshm\u00ebri Momenti i par\u00eb kur ndahemi nga sht\u00ebpia, s\u00eb paku q\u00eb e mbajm\u00eb sado-kudo n\u00eb mend, \u00ebsht\u00eb klasa e par\u00eb shkollore. Sekonda e mbylljes s\u00eb dyerve kryesore t\u00eb shkoll\u00ebs pas kokave tona \u00ebsht\u00eb monumentale, n\u00eb kuptimin e asaj q\u00eb i bashkohemi nj\u00eb institucioni p\u00ebr nj\u00eb koh\u00eb relativisht t\u00eb gjat\u00eb. Ashtu si\u00e7 n\u00eb […]<\/p>","protected":false},"author":36,"featured_media":7565,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[1130,1101,1139],"ppma_author":[46],"class_list":["post-7585","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analize","tag-cmesime","tag-letersi","tag-leximi-kritik"],"authors":[{"term_id":46,"user_id":36,"is_guest":0,"slug":"adea-batusha","display_name":"Adea Batusha","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/12\/adea.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/12\/adea.jpg"},"user_url":"","last_name":"Batusha","first_name":"Adea","description":"Adea Batusha ka p\u00ebrfunduar studimet Bachelor n\u00eb Universitetin e Prishtin\u00ebs p\u00ebr Filozofi, dhe tani po vazhdon studimet Master n\u00eb Universitetin e Uppsal\u00ebs p\u00ebr Sociologji t\u00eb Arsimit. Si aktiviste politike ka qen\u00eb aktive nga viti 2010, s\u00eb pari n\u00eb L\u00ebvizjen VET\u00cbVENDOSJE! dhe m\u00eb pas n\u00eb Partin\u00eb Socialdemokrate ku \u00ebsht\u00eb p\u00ebrq\u00ebndruar n\u00eb forumin per politika, specifikisht n\u00eb departamentin e arsimit.\r\n"}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/7585","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\/36"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=7585"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/7585\/revisions"}],"predecessor-version":[{"id":7586,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/7585\/revisions\/7586"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/7565"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=7585"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=7585"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=7585"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=7585"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/span><\/p>\n
\n<\/span><\/p>\n
\n<\/b>
\n<\/span>Felski, R . <\/span>Literature After Feminism<\/span><\/i>. Chicago & London, The University of Chicago Press, 2003.<\/span><\/a><\/p>\n
\n<\/span><\/a>Mulvey, L.\u00a0 “Visual Pleasure and Narrative Cinema.”. in <\/span>Screen<\/span><\/i>, 16, 1975, 6-18.<\/span>
\n<\/span><\/a>Lista e lektyrave n\u00eb nivelin e shkollave fillore dhe t\u00eb mesme t\u00eb ul\u00ebta n\u00eb Kosov\u00eb<\/span><\/i>: <\/span>https:\/\/abetare-<\/span>
\n<\/span>ks.com\/lektyra.html<\/span>
\n<\/span><\/a>Ahmeti, V. \u201cRexhep Hoxha \u2013 Proze\u201d, Gjakove, UNIVERSITETI I GJAKOV\u00cbS \u201cFEHMI AGANI\u201d, 2018<\/span><\/a><\/p>","protected":false},"excerpt":{"rendered":"