{"id":2149,"date":"2022-07-29T13:54:33","date_gmt":"2022-07-29T12:54:33","guid":{"rendered":"https:\/\/sbunker.org\/?p=2149"},"modified":"2023-12-12T15:31:52","modified_gmt":"2023-12-12T14:31:52","slug":"kafazi-ku-thyhen-shpirtrat-e-idealit","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/uncategorized\/kafazi-ku-thyhen-shpirtrat-e-idealit\/","title":{"rendered":"Kafazi ku thyhen shpirtrat e idealit"},"content":{"rendered":"
\n

Kritik\u00eb e shfaqjes \u201cBurgu Politik \u2013 n\u00eb kujtim t\u00eb Adem Dema\u00e7it dhe Ukshin Hotit\u201d<\/p>\n<\/div>\n

\n
\n

Prit\u00ebm n\u00eb rresht, p\u00ebr dy p\u00ebr tre, n\u00eb hap\u00ebsir\u00ebn e err\u00ebt para burgut. Edhe pse n\u00eb koh\u00eb, kishte t\u00eb tjer\u00eb q\u00eb po prisnin para meje. P\u00ebrmes p\u00ebrshp\u00ebritjes u munduam t\u00eb kalonim ankthin e leht\u00eb t\u00eb pritjes p\u00ebr t\u2019u futur n\u00eb burg. Burgu \u00ebsht\u00eb disi i ftoht\u00eb. \u00cbsht\u00eb asocim i privimit, imazh i vdekjes. Pritja para muzeut \u201cBurgu i Idealit\u201d e b\u00ebri t\u00eb vet\u00ebn. Pritja na b\u00ebri pjes\u00eb e shfaqjes.<\/p>\n

Gjat\u00eb jav\u00ebs s\u00eb 20 korrikut n\u00eb ambientet e muzeut \u201cBurgu i Idealit\u201d u dha shfaqja\u00a0\u201cBurgu Politik \u2013 n\u00eb kujtim t\u00eb Adem Dema\u00e7it dhe Ukshin Hotit\u201d<\/em> n\u00ebn organizimin e regjisor\u00ebve, Kushtrim Mehmetit, Kalt\u00ebrim Balajt dhe dramaturgut Pashtrik Brahajt. N\u00eb shfaqje luajt\u00ebn, Lorent Pacolli, Mikel Markaj, Shaban Behramaj, Fitore Jashari, Art Pasha, dhe Blendon Ahmeti. P\u00ebr muzik\u00ebn \u00ebsht\u00eb kujdesur Lulzim Lushtaku.<\/p>\n

Nj\u00eb shfaqje n\u00eb brug<\/strong><\/p>\n

Burgu, n\u00eb imagjinat\u00ebn ton\u00eb, dominohet nga imazhet filmike t\u00eb burgjeve, ashtu si\u00e7 portretizohen n\u00eb filmat e Hollywoodit, n\u00eb stilin e filmit \u201cPrison Break\u201d; burgje me hap\u00ebsira t\u00eb larta, oborre t\u00eb m\u00ebdha dhe hangare t\u00eb gj\u00ebra punuese. N\u00eb muze, qelit\u00eb qen\u00eb hap\u00ebsira t\u00eb ngushta dhe ngufat\u00ebse. Ul\u00ebse t\u00eb impovizuara e t\u00eb vjetra, mure t\u00eb ngjyrosura keq, e kund\u00ebrmimi i leht\u00eb i toaletit qen\u00eb po ashtu pjes\u00eb e sken\u00ebs \u2013 e qelis\u00eb. N\u00eb form\u00ebn e nj\u00eb siluete t\u00eb gjall\u00eb e t\u00eb shkrir\u00eb n\u00eb hijen e vet, n\u00eb murin para nesh, n\u00eb form\u00eb t\u00eb nj\u00eb personazhi statik, u shfaq nj\u00eb grua. Hana, nj\u00eb studente e rr\u00ebmbyer nga demonstratat. Ajo priti n\u00eb heshtje derisa publiku i qelis\u00eb u kaplua nga err\u00ebsira dhe u mb\u00ebrthye nga fryma e qelis\u00eb. N\u00eb shfaqje pati ve\u00e7 monologje. Monologu synonte shpalosjen e secilit subjekt si individ m\u00eb vete. \u00c7do subjekt, fillon me trupin si banor qelie, si realitet fillestar dhe p\u00ebrfundimtar; por megjithat\u00eb, zanafilla e k\u00ebtij trupi sh\u00ebnjon nj\u00eb identitet tjet\u00ebr, p\u00ebrtej burgut.<\/p>\n

\"Image\"<\/p>\n

Tortura si mjet politik\u00a0<\/strong><\/p>\n

Tortura ndaj t\u00eb burosurve \u00ebsht\u00eb elementi m\u00eb i theksuar i k\u00ebsaj shfaqjeje. Tortura \u00ebsht\u00eb instrumenti p\u00ebr prodhimin e t\u00eb v\u00ebrtet\u00ebs mbi trupin. N\u00eb burgjet e Jugosllavis\u00eb dhe t\u00eb shum\u00eb autokracive a diktaturave, tortura ka qen\u00eb mjeti kryesor i shtr\u00ebngimit dhe perversionit t\u00eb s\u00eb v\u00ebrtet\u00ebs. P\u00ebr t\u00eb \u201cd\u00ebshmuar\u201d faj\u00ebsin\u00eb, vendin e hetuesis\u00eb n\u00eb zbulimin e fajit e ka z\u00ebn\u00eb interrogimi dhe tortura n\u00eb burgje. N\u00eb rastet e montimeve politike kjo lloj praktike ka qen\u00eb evidente. P\u00ebrmes tortur\u00ebs s\u00eb ushtruar ndaj subjektit shpikej apo trillohej nj\u00eb e v\u00ebrtet\u00eb, alibi sa p\u00ebr t\u00eb arsyetuar sistemin dhe pushtetin. Regjisor\u00ebt e shfaqjes \u201cBurgu Politik\u201d, mjesht\u00ebrisht d\u00ebshmojn\u00eb se pushteti jugosllav burgoste gjithk\u00ebnd q\u00eb ishte kund\u00ebr narrativit t\u00eb \u201cbashkim vllaznimit\u201d. Ushtrimi i t\u00eb drejt\u00ebs p\u00ebr vet\u00ebvendosje ishte thjesht nj\u00eb herezi. T\u00eb menduarit politikisht ndryshe ishte herezi. Kjo v\u00ebrehet n\u00eb monologjet e t\u00eb burgosurve, t\u00eb ndryr\u00eb p\u00ebr shkak t\u00eb bindjeve politike.<\/p>\n

Burgosja dhe torturimi i t\u00eb till\u00ebve b\u00ebhej p\u00ebr t\u2019i thyer e p\u00ebr t\u00eb tmerruar bashk\u00ebudh\u00ebtar\u00ebt e idealit. Mishel Fuko (Michel Foucault) ka b\u00ebr\u00eb nj\u00eb trajtes\u00eb t\u00eb gj\u00ebr\u00eb n\u00eb lidhje me pushtetin, nd\u00ebshkimin dhe format e tjera t\u00eb disiplinimit n\u00eb librin e tij\u00a0\u00a0\u201cDisiplin\u00eb dhe nd\u00ebshkim<\/a>\u00a0\u2013 lindja e burgut\u201d. Si\u00e7 thot\u00eb\u00a0Foucault<\/a>, nd\u00ebshkimi nuk kishte p\u00ebr q\u00ebllim vet\u00ebm trupin e t\u00eb nd\u00ebshkuarit, por edhe \u201cspektaklin traumatizues\u201d me q\u00eblllim t\u00eb terrorizimit t\u00eb masave dhe n\u00ebnshtrimit t\u00eb tyre p\u00ebrmes frik\u00ebs. Ekzekutimi z\u00ebvend\u00ebsohet me metoda m\u00eb t\u00eb efektshme t\u00eb nd\u00ebshkimit. Pra, mundimi dhe persekutimi i trupit deri n\u00eb barbari \u00ebsht\u00eb forma ku p\u00ebrmes trupit thyhet shpirti.\u00a0\u00a0P\u00ebrmes shfaqjes s\u00eb tortur\u00ebs konstante, regjisor\u00ebt kan\u00eb arritur ndjeshm\u00ebrisht t\u00eb dep\u00ebrtojn\u00eb dhe krijojn\u00eb intersubjektivitetin e dhimbjes, duke e paraqitur tortur\u00ebn si ritual politik, apo duke iu p\u00ebrafruar asaj q\u00eb sipas Fukos\u00eb shpjegohet si ceremoni ku pushteti shfaqet shtyp\u00ebs dhe vras\u00ebs i vullneteve njer\u00ebzore. Kjo lloj torture \u00ebsht\u00eb politike ngaq\u00eb p\u00ebrmes krimit, shtypjes dhe dhunimit t\u00eb trupit t\u00eb tjetrit p\u00ebrpiqet ta suspendoj\u00eb, ta hesht\u00eb dhe asgj\u00ebsoj\u00eb iden\u00eb e q\u00eb n\u00eb thelb \u00ebsht\u00eb krejt metafizike. \u00cbsht\u00eb metafizike ngaq\u00eb lidhet me lirin\u00eb. E liria \u00ebsht\u00eb produkt i nj\u00eb vullneti q\u00eb shk\u00ebrmoq \u00e7do ligj imagjinar t\u00eb kauzalitetit. Ata arrit\u00ebn t\u00eb b\u00ebjn\u00eb ndarjen midis faktit t\u00eb dh\u00ebn\u00eb dhe idealit si realitet. Ideali i tyre ishte liria, hap\u00ebsira e qytetar\u00ebve t\u00eb lir\u00eb (rex publica) dhe Shqip\u00ebria si p\u00ebrjet\u00ebsi utopike. Realja dhe Idealja ishin t\u00eb shkrira n\u00eb nj\u00ebra tjetr\u00ebn dhe ekzistonin n\u00eb nj\u00eb hap\u00ebsir\u00eb krejt transcendentale, e sh\u00ebnjuar p\u00ebrmes togfjal\u00ebshit\u00a0nana Shqip\u00ebri<\/strong>. Ky ideal ishte ngush\u00ebllimi m\u00eb i mir\u00eb p\u00ebr dhembjet dhe nj\u00ebkoh\u00ebsisht shpres\u00eb e pavdekshme p\u00ebr liri. Zb\u00ebrthimi pak m\u00eb i qart\u00eb dhe diskursiv i k\u00ebtij narrativi i ka munguar shfaqjes. Ajo \u00e7far\u00eb ka munguar n\u00eb k\u00ebt\u00eb pjes\u00eb \u00ebsht\u00eb simulimi i nj\u00eb skene torturimi psiqik, ku subjekti merret n\u00eb pyetje nga shefi i policis\u00eb, e publiku v\u00ebshtron pas xhamit t\u00eb tejduksh\u00ebm.<\/p>\n

Burgu si nj\u00ebmend\u00ebsi<\/strong><\/p>\n

Burgu b\u00ebhet edhe jeta vet\u00eb, kurse jeta e kaluar jasht\u00eb grilave \u00ebsht\u00eb ve\u00e7 nj\u00eb dimension imagjinar dhe fiktiv. K\u00ebturapnueshm\u00ebria (Dasein<\/em>) \u00ebsht\u00eb realiteti i vet\u00ebm i momentit, historis\u00eb dhe s\u00eb ardhm\u00ebs. Kjo shpaloset mrekullisht p\u00ebrmes personazhit Hana. Nj\u00eb grua p\u00ebr t\u00eb cil\u00ebn burgu \u00ebsht\u00eb totalitet. Ajo ka m\u00ebsuar \u00e7do detaj t\u00eb burgut dhe tortura q\u00eb p\u00ebson \u00ebsht\u00eb ngacmimi seksual, por ajo \u00e7far\u00eb e thyen at\u00eb \u00ebsht\u00eb gjendja e pastortur\u00ebs e cila krijon nj\u00eb boshll\u00ebk sfilit\u00ebs n\u00eb shpirtin e saj, n\u00eb nj\u00eb hap\u00ebsir\u00eb kaq t\u00eb vog\u00ebl si qelia e burgut. Tentimi apo vet\u00ebvrasja shihet nga ajo si forma e vetme p\u00ebr arratisje drejt liris\u00eb. Vet\u00ebd\u00ebmtimi fizik \u00ebsht\u00eb nj\u00eb form\u00eb tjet\u00ebr p\u00ebr t\u2019u liruar nga diktatura e trupit dhe n\u00eb rast t\u00eb \u00e7fardo p\u00ebrdhunimi ajo t\u00eb jet\u00eb krejt e pandjeshme. P\u00ebrtej k\u00ebsaj, prania e gruas n\u00eb burg, i jep edhe nj\u00eb dimension feminin revolt\u00ebs dhe rrezistenc\u00ebs s\u00eb viteve 90-ta n\u00eb Kosov\u00eb. Prania e saj, n\u00eb fakt, nxjerr n\u00eb pah edhe p\u00ebrvet\u00ebsimin patriarkal t\u00eb rezistenc\u00ebs dhe minimizimin e rolit t\u00eb gruas n\u00eb organizimin e k\u00ebsaj rezistence.<\/p>\n

\u00a0 \u00a0 \u00a0\u00a0\"Image\"<\/div>\n

Liria<\/strong><\/p>\n

Dy personazhe, t\u00eb cil\u00ebt jan\u00eb m\u00eb t\u00eb spikatur dhe tashm\u00eb jan\u00eb figura emblematike t\u00eb liris\u00eb, jan\u00eb Ukshin Hoti dhe Adem Dema\u00e7i.\u00a0\u00a0P\u00ebr dallim nga t\u00eb burgosurit e tjer\u00eb, subjekti n\u00eb rolin e Ukshin Hotit, p\u00ebrmes simbolik\u00ebs s\u00eb drit\u00ebs fosofrizuese ndri\u00e7on burgun dhe b\u00ebhet fanar p\u00ebr t\u00eb tjer\u00ebt. Ai l\u00eb gjurm\u00eb ndri\u00e7uese n\u00eb burg pa\u00e7ka se d\u00ebnohet edhe n\u00eb err\u00ebsis\u00eb. Ai \u00ebsht\u00eb vet\u00ebndri\u00e7uesi. P\u00ebr t\u00eb gjetur drit\u00ebn e tij ai futet n\u00eb thell\u00ebsin\u00eb e err\u00ebsir\u00ebs n\u00eb burg.\u00a0Eureka<\/em>! \u2013 \u00ebsht\u00eb shp\u00ebrthimi i tij, ku b\u00ebrja (deven\u00edr) dhe vdekja renditen n\u00eb nj\u00eb paralele t\u00eb p\u00ebrbashk\u00ebt veprimi. \u201cB\u00ebje ose Vdis\u201d \u2013 referuar n\u00eb nj\u00eb shkrim dhe ligjerat\u00eb t\u00eb mbajtur nga Ukshin Hoti \u2013 \u00ebsht\u00eb rr\u00ebfim vet\u00ebsakrifikues por q\u00eb b\u00ebn thirrje p\u00ebr mbajtjen gjall\u00eb t\u00eb idealit t\u00eb demokracis\u00eb. Maksima \u201cB\u00ebje ose vdis, p\u00ebr ta vrar\u00eb vdekjen\u201d e Ukshin Hotit \u00ebsht\u00eb p\u00ebsiatje teorike e ndikuar nga praktikat budiste p\u00ebr mohimin e trupit,\u00a0satyagraha<\/em>, si form\u00eb e nj\u00eb mosbindjeje civile totale dhe pik\u00ebpamjet e Hegelit p\u00ebr shtetin, idealin dhe lirin\u00eb. Shpirt i \u00e7liruar \u00ebsht\u00eb ai q\u00eb e ka mundur vdekjen, ose frik\u00ebn nga vdekja.<\/p>\n

Rrezistenca p\u00ebr ideal\u00a0<\/strong><\/p>\n

Nd\u00ebrsa p\u00ebr Adem Dema\u00e7in, nj\u00eb figur\u00eb emblematike e burgut dhe e rezistenc\u00ebs , fija metafizike ku gjendet shpresa dhe motivi p\u00ebr t\u00eb jetuar quhet \u201cN\u00ebna Shqip\u00ebri\u201d. Ai k\u00ebrkon q\u00eb ninullat dhe dashnia e n\u00ebn\u00ebs t\u00eb transcendohet dhe sublimohet n\u00eb dashuri p\u00ebr n\u00ebn\u00ebn Shqip\u00ebri, mee t\u00eb mirat e t\u00eb metat e saj. Ekzistenca e p\u00ebrjetshme e Shqip\u00ebris\u00eb \u00ebsht\u00eb ngush\u00ebllim i arratisjes shpirtnore. Ukshin Hoti b\u00ebnte thirrje p\u00ebr \u00e7lirim, Adem Dema\u00e7i p\u00ebr bashkim. Dhimbja send\u00ebrtohet si mang\u00ebsi p\u00ebr \u00e7lirim, kurse \u00e7lirimi si p\u00ebrpjekje p\u00ebr bashkim.<\/p>\n

Vdekja, zgjimi dhe burgu i trupit<\/strong><\/p>\n

Me t\u00eb mbaruar shfaqja n\u00eb qeli, gardiani i dram\u00ebs na nxori nga qelit\u00eb e p\u00ebrjasht\u00eb. Kujtova se p\u00ebrfundoi shfaqja duke zbritur shkall\u00ebve teposht\u00eb, por n\u00eb fakt u transferuam n\u00eb nj\u00eb hap\u00ebsir\u00eb tjet\u00ebr. Ky qe oborri i burgut me mure t\u00eb larta dhe qiell t\u00eb hapur. Ajrin i fresk\u00ebt na p\u00ebrmendi. Qelia na kishte ngufatur. Oborri i burgut u shnd\u00ebrrua n\u00eb sken\u00eb tjet\u00ebr teatri. Na ra n\u00eb sy kontrabasisti. Ai ishte i rreshtuar para nj\u00eb sfondi t\u00eb kalt\u00ebr dhe n\u00eb duar mbante kontrabasin e kuq\u00ebrremt\u00eb.\u00a0\u00a0Me tinguj t\u00eb r\u00ebnd\u00eb paralajm\u00ebronte fillimin e fundit t\u00eb shum\u00ebpritur: vdekjen. T\u00eb gjith\u00eb t\u00eb burgosurit u rreshtuan. N\u00eb ankth duke e pritur lirin\u00eb, u p\u00ebrball\u00ebn me vdekjen. Ky \u00ebsht\u00eb momenti q\u00eb Peter Szondit do ta quante \u201cdram\u00eb brenda jet\u00ebs\u201d, p\u00ebrmbysja ku fatkeq\u00ebsia kthehet n\u00eb fatalitet, n\u00eb \u00e7lirimin p\u00ebrfundmitar: nga jeta mizore n\u00eb vdekjen eternale. \u00c7do vdekje e till\u00eb, e kuptim\u00ebsuar si flijim p\u00ebr ideal \u00ebsht\u00eb e jashtzakonshme, \u00ebsht\u00eb kushtrim p\u00ebr zgjim dhe rezistenc\u00eb, p\u00ebr dallim nga vdekjet e r\u00ebndomta q\u00eb jan\u00eb \u00e7lirim i befasish\u00ebm nga burgu i trupit.<\/p>\n

\u00a0 \u00a0 \u00a0\"Image\"<\/div>\n

Porosia e munguar sociale<\/strong><\/p>\n

Shfaqja, normalisht, ka edhe porosi politike, por t\u00eb sublimuar dhe n\u00ebnshtruar brenda tutel\u00ebs s\u00eb dhimbjes si p\u00ebrkujtim empatik. Ajo \u00e7far\u00eb e b\u00ebn t\u00eb ve\u00e7ant\u00eb dhe krejt origjinale k\u00ebt\u00eb shfaqje \u00ebsht\u00eb mizanskena. Ajo zhvillohet n\u00eb nj\u00eb ambient burgu ku kushtet p\u00ebr realizim dhe akomodimi i tyre duhet t\u00eb ket\u00eb qen\u00eb i v\u00ebshtir\u00eb. Megjithat\u00eb, p\u00ebrthekimi i publikut brenda nj\u00eb presioni psiqik p\u00ebr t\u00eb v\u00ebshtruar e d\u00ebgjuar p\u00ebrjetimet e torturimit fizik, britmat; simulimi i gjakimit dhe lemeria konstante e torturimit, ka l\u00ebn\u00eb n\u00ebn hije aspektet e tjera t\u00eb raporteve nd\u00ebrnjer\u00ebzore brenda burgut. Burgu, p\u00ebrkund\u00ebr torturimit, ka momente solidariteti, bashk\u00ebbisedime e takime me vizitor\u00eb e familjar\u00eb. Aspektet sociale t\u00eb jet\u00ebs n\u00eb burg mungojn\u00eb t\u00ebr\u00ebsisht. Shfaqja mund t\u00eb krijoj\u00eb nj\u00eb imazh t\u00eb nj\u00eb burgu ku njer\u00ebzit vuajn\u00eb vet\u00ebm brenda nj\u00eb presioni dhe torturimi konstant fizik. Mb\u00ebshtet\u00ebsi m\u00eb i madh i nj\u00eb t\u00eb burgosuri ka qen\u00eb i burgosuri, libri dhe shpresa e takimit me familjar\u00ebt.<\/p>\n

\u00c7lirimi dhe bashkimi si mesazh politik<\/strong><\/p>\n

Regjisor\u00ebt kan\u00eb d\u00ebrguar edhe mesazhe politike me shfaqjen. Burgu, p\u00ebrkund\u00ebr metodave t\u00eb persekutimit dhe torturimit, megjithat\u00eb ka qen\u00eb vat\u00ebr ku njer\u00ebzit e idealit jan\u00eb kalitur edhe m\u00eb shum\u00eb me idealet e tyre. Ajo q\u00eb nuk i ka vrar\u00eb i ka b\u00ebr\u00eb edhe m\u00eb t\u00eb fuqish\u00ebm, do t\u00eb thoshte, Ni\u00e7e. Ideal nuk \u00ebsht\u00eb ve\u00e7 \u00e7lirimi, por edhe realizimi i nj\u00eb projekti politik. N\u00eb pyetjen se \u00e7far\u00eb porosie dhe imazh t\u00eb koduar synon regjisori p\u00ebrmes p\u00ebrkujtimit t\u00eb idealit, regjisori Kushtrim Mehmeti u shpreh se:\u00a0\u201c\u00cbsht\u00eb e v\u00ebshtir\u00eb t\u00eb ndash vuajtjet, tortur\u00ebn dhe q\u00ebndres\u00ebn nga burimi i saj, Ideali. Harresa e nj\u00ebr\u00ebs a tjetr\u00ebs na shpie drejt humner\u00ebs. Gjith\u00eb nd\u00ebrtimi i shfaqjes, \u00e7do here mundohet ve\u00e7 tjerash, t\u00eb p\u00ebr\u00e7oj\u00eb mesazhin e ri-kujtes\u00ebs, ta fshij\u00eb pluhurin e harres\u00ebs dhe t\u00eb b\u00ebj\u00eb kushtrim p\u00ebr idealin e idealist\u00ebt. E thot\u00eb Adem Dema\u00e7i: \u201cN\u00eb burg \u00ebsht\u00eb vendi ku shkat\u00ebrrohet trupi dhe vihet n\u00eb prov\u00eb shpirti. Q\u00eb t\u00eb dyja nuk t\u00eb takojn\u00eb. Zgjidh! N\u00ebse do trupin, harroje shpirtin! N\u00ebse do shpirtin, harroje trupin!\u201d.\u201d<\/em>\u00a0Regjisori tjet\u00ebr Kaltrim Balaj tha se:\u00a0Shfaqja \u00ebsht\u00eb ideuar q\u00eb t\u00eb jet\u00eb nj\u00eb z\u00eb, nj\u00eb figur\u00eb, nj\u00eb imazh e bile edhe nje skulptur\u00eb p\u00ebr Muzeun \u201cBurgu i Idealit\u201d! T\u00eb q\u00ebndrosh n\u00eb burgjet e asaj kohe ku torturat kan\u00eb qen\u00eb \u00e7njer\u00ebzore, ose \u00ebsht\u00eb dashur t\u00eb kalosh n\u00eb nj\u00eb gjendje tjet\u00ebr (jo n\u00eb \u00e7menduri!), ose ke qen\u00eb Mbinjeri! Un\u00eb besoj tek e dyta!\u201d.\u00a0<\/em>Sipas interpretimit t\u00eb regjisor\u00ebve, ideali i k\u00ebtyre t\u00eb burgosurve ka qen\u00eb thell\u00ebsisht njer\u00ebzor. Ideali i tyre ishte ruajtja e njer\u00ebzores brenda vetes, es\u00ebllia dhe shmangia e \u00e7do lloj \u00e7mendurie.<\/p>\n

\u201cBurgu Politik\u201d synon t\u00eb na p\u00ebrkujtoj\u00eb se njeriu \u00ebsht\u00eb qenie q\u00eb harron. Shfaqja n\u00eb vete \u00ebsht\u00eb p\u00ebrkujtim i dhembsh\u00ebm. Njeriu \u00ebsht\u00eb i d\u00ebnuar t\u00eb kujtoj\u00eb, por falja e b\u00ebn at\u00eb madh\u00ebshtor. Injoranti \u00ebsht\u00eb personi q\u00eb fal dhe harron, kurse i dituri madh\u00ebshtor \u00ebsht\u00eb ai q\u00eb fal, po nuk harron. Popujt q\u00eb harrojn\u00eb jan\u00eb t\u00eb prir\u00eb t\u00eb vuajn\u00eb gjithmon\u00eb. Prandaj nuk do t\u00eb harrojm\u00eb.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Kritik\u00eb e shfaqjes \u201cBurgu Politik \u2013 n\u00eb kujtim t\u00eb Adem Dema\u00e7it dhe Ukshin Hotit\u201d Prit\u00ebm n\u00eb rresht, p\u00ebr dy p\u00ebr tre, n\u00eb hap\u00ebsir\u00ebn e err\u00ebt para burgut. Edhe pse n\u00eb koh\u00eb, kishte t\u00eb tjer\u00eb q\u00eb po prisnin para meje. P\u00ebrmes p\u00ebrshp\u00ebritjes u munduam t\u00eb kalonim ankthin e leht\u00eb t\u00eb pritjes p\u00ebr t\u2019u futur n\u00eb burg. […]<\/p>","protected":false},"author":6,"featured_media":2151,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,1],"tags":[887,695,855],"ppma_author":[815],"class_list":["post-2149","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","category-uncategorized","tag-museum-of-political-prisoners","tag-philosophy","tag-theatre"],"authors":[{"term_id":815,"user_id":6,"is_guest":0,"slug":"latif","display_name":"Latif Mustafa","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/75bf9886ebbad0184227938353c5200b6bed39b901d675b93e7d8952233a1bc5?s=96&d=mm&r=g","user_url":"","last_name":"Mustafa","first_name":"Latif","description":""}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2149","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=2149"}],"version-history":[{"count":2,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2149\/revisions"}],"predecessor-version":[{"id":2152,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2149\/revisions\/2152"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/2151"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=2149"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=2149"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=2149"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=2149"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}