{"id":5084,"date":"2024-03-03T20:12:35","date_gmt":"2024-03-03T20:12:35","guid":{"rendered":"https:\/\/www.iwabogdani.org\/?p=5084"},"modified":"2024-03-03T20:12:35","modified_gmt":"2024-03-03T20:12:35","slug":"jeton-kelmendi-laska-nachazi-sama-sebe-klara-hurkova","status":"publish","type":"post","link":"https:\/\/www.iwabogdani.org\/sq\/jeton-kelmendi-laska-nachazi-sama-sebe-klara-hurkova\/","title":{"rendered":"Jeton Kelmendi &#8220;L\u00e1ska nach\u00e1z\u00ed sama sebe&#8221; Kl\u00e1ra H\u016frkov\u00e1"},"content":{"rendered":"<p><strong>Jeton Kelmendi &#8220;L\u00e1ska nach\u00e1z\u00ed sama sebe&#8221;<\/strong><\/p>\n<p><strong>P\u0158EDMLUVA<\/strong><\/p>\n<p><strong><em>Kl\u00e1ra H\u016frkov\u00e1<\/em><\/strong><\/p>\n<p>Sb\u00edrka L\u00e1ska nach\u00e1z\u00ed sama sebe obsahuje texty z let 2015\u20132022 a je b\u00e1sn\u00edkovou osobn\u00ed zpov\u011bd\u00ed. Vypov\u00edd\u00e1 o jeho \u017eivotn\u00ed<br \/>\ncest\u011b v mnohovrstevn\u00fdch obrazech, nikoliv chronologicky, n\u00fdbr\u017e nap\u0159\u00ed\u010d zku\u0161enostmi. Jej\u00edmi miln\u00edky nejsou konkr\u00e9tn\u00ed<br \/>\nsmyslov\u00e9 pro\u017eitky \u010di p\u0159\u00edb\u011bhy, ale sp\u00ed\u0161e ideje a ide\u00e1ly. Jsou to ver\u0161e hluboce introspektivn\u00ed, v nich\u017e lyrick\u00e9 J\u00e1 \u010dasto<br \/>\nvede rozhovor samo se sebou, n\u011bkdy je lyrick\u00fd subjekt dokonce zdvojen\u00fd a vystupuje jako \u201ej\u00e1\u201c a \u201ety\u201c.<br \/>\nCentr\u00e1ln\u00edm t\u00e9matem a st\u00e1le znovu se objevuj\u00edc\u00edm motivem je \u010das. A to jak skute\u010dn\u011b pro\u017e\u00edvan\u00fd \u010das individu\u00e1ln\u00edho<br \/>\n\u017eivota, tak i jako fenom\u00e9n v b\u00e1sn\u00edkov\u00fdch p\u0159edstav\u00e1ch. Hned prvn\u00ed b\u00e1se\u0148 se zab\u00fdv\u00e1 t\u00e9matem cestov\u00e1n\u00ed \u010dasem, pocitem<br \/>\na p\u0159edstavou, \u017ee n\u00e1\u0161 \u017eivot nem\u016f\u017ee b\u00fdt omezen pouze na sou\u010dasnost, kter\u00e1 se jev\u00ed jako velmi nedokonal\u00e1. Lyrick\u00fd subjekt tou\u017e\u00ed poznat \u0161ir\u0161\u00ed dimenze, ale nenach\u00e1z\u00ed \u201edve\u0159e do jin\u00e9ho \u010dasu\/v n\u011bm\u017e bych mohl trochu l\u00e9pe milovat\/a trochu d\u00e9le z\u016fstat\u201c. Motiv touhy poznat, k\u00fdm<br \/>\nby \u010dlov\u011bk mohl b\u00fdt v jin\u00e9m \u010dase, a\u0165 ji\u017e v minulosti nebo v budoucnosti, se objevuje nap\u0159\u00edklad v b\u00e1sni C\u00edt\u00edm, \u017ee jsem<br \/>\nkdysi byl: \u201eZd\u00e1 se mi jako bych u\u017e kdysi byl \/ N\u011bkdy ve st\u0159edov\u011bku ve starov\u011bku \/ mo\u017en\u00e1 v\u010dera \/ nebo jsem to n\u011bkde \u010detl<br \/>\nv ezotern\u00edch knih\u00e1ch \/ Mo\u017en\u00e1 jsem sly\u0161el hlasy d\u00e1vn\u00fdch \u010das\u016f\/kter\u00e9 se mi ob\u010das zjevuj\u00ed \/a pron\u00e1sleduj\u00ed mne \/ mezi byt\u00edm<br \/>\na nep\u0159\u00edtomnost\u00ed\/\/ (\u2026) \u017diji v p\u0159\u00edtomnosti \u017eiji dnes \/ a p\u0159eci tu nejsem \/\/ V na\u0161em bezmezn\u00e9m sv\u011bt\u011b \/ se mi zd\u00e1 \u010das p\u0159\u00edli\u0161<br \/>\nt\u011bsn\u00fd\u201c. V\u011bt\u0161ina b\u00e1sn\u00ed se v\u0161ak vztahuje k \u010dasu konkr\u00e9tn\u011b pro\u017e\u00edvan\u00e9ho lidsk\u00e9ho \u017eivota, \u010dasu sou\u010dasnosti. I v nich nicm\u00e9n\u011b Kelmendi apeluje na \u010dlov\u011bka, aby se vymanil z p\u0159\u00edli\u0161 t\u011bsn\u00e9 p\u0159\u00edtomnosti, aby zahrnul do sv\u00fdch rozhodovan\u00ed minulost a \u017eil z\u00e1rove\u0148 i budoucnost\u00ed.<br \/>\n\u201e\u017dij u\u017e te\u010f p\u0159ed dne\u0161kem \/ aby ses z\u00edtra mohl s\u00e1m sob\u011b pod\u00edvat do o\u010d\u00ed\u201c, \u0159\u00edk\u00e1 se v b\u00e1sni M\u00e1 zpr\u00e1va, kter\u00e1 nese podtitul<br \/>\nZ\u00e1v\u011b\u0165 pro Noida a je v\u011bnov\u00e1na b\u00e1sn\u00edkovu synovi. V jin\u00fdch b\u00e1sn\u00edch je t\u00e9matem zapomn\u011bn\u00ed, vyhlazen\u00ed z pam\u011bti \u010dasu,<br \/>\nkter\u00e9 b\u00fdv\u00e1 \u00fad\u011blem spisovatel\u016f a v\u0161ech um\u011blc\u016f v autoritativn\u00edch re\u017eimech:<br \/>\n\u201eDne\u0161n\u00ed \u010das nem\u00e1 \u010das \/ ani na m\u00e9 p\u00edsn\u011b \/ ani na sv\u00e9 vlastn\u00ed ritu\u00e1ly (\u2026) Kdykoliv l\u00e1ska vystoup\u00ed na vrchol mo\u017enost\u00ed\/ zapom\u00edn\u00e1 smysl na autora \/ Auto\u0159i jsou pak ozna\u010deni \/ za vyklada\u010de svobody\u201c (Moje zem\u011b m\u00e1 zlozvyk). Nebo: \u201eSchv\u00e1ln\u011b mne ignoruje\u0161 \/\u017eivote v m\u00e9 vlasti \/zat\u00edmco \u017eiji na svobod\u011b \/ obklopuje mne zapomn\u011bn\u00ed (\u017divot v zapomn\u011bn\u00ed).<br \/>\nOp\u011bt v jin\u00fdch textech popisuje Kelmendi pocit, jako by se ocitl \u201emimo \u010das\u201c, v tom smyslu, \u017ee doba je podivn\u00e1 a \u010dlov\u011bk se<br \/>\ndo n\u00ed nehod\u00ed: \u201eV jak\u00e9m \u010dase pro\u017e\u00edv\u00e1me \/ jak\u00e9 no\u010dn\u00ed m\u016fry \/ zat\u00edmco zaost\u00e1v\u00e1me sami za sebou\u201c (\u017dijeme mimo \u010das v t\u011bchto dnech). V\u011bt\u0161ina t\u011bchto b\u00e1sn\u00ed m\u00e1 politick\u00fd podtext, kter\u00fd je z\u0159ejm\u00fd z explicitn\u00edho osloven\u00ed vlasti b\u00e1sn\u00edkem. Zku\u0161enost z v\u00e1lky v Kosovu, j\u00ed\u017e se Jeton Kelmendi<br \/>\nz\u00fa\u010dastnil, je p\u0159\u00edtomna ve v\u011bt\u0161in\u011b jeho text\u016f, i kdy\u017e je jen v\u00fdjime\u010dn\u011b zmi\u0148ov\u00e1na p\u0159\u00edmo. \u010clov\u011bk, na jeho\u017e bedra jsou nalo\u017eeny velk\u00e9 \u00fakoly a on c\u00edt\u00ed t\u00edhu zodpov\u011bdnosti, bojuje se strachem a pochybnostmi, ale p\u0159esto se vyd\u00e1v\u00e1 na cestu, je hlavn\u00ed postavou mnoh\u00fdch b\u00e1sn\u00ed t\u00e9to<br \/>\nsb\u00edrky. V jin\u00fdch lyrick\u00fd subjekt vyjad\u0159uje sv\u00e9 zklam\u00e1n\u00ed z v\u00fdvoje v zemi a sv\u00e9 v\u017edy znovu vystupuj\u00edc\u00ed nad\u011bje i zklam\u00e1n\u00ed.<br \/>\nTak\u00e9 v b\u00e1sn\u00edch t\u00fdkaj\u00edc\u00edch se glob\u00e1ln\u00ed zku\u0161enosti pandemie covidu hraje \u010das jednu z hlavn\u00edch rol\u00ed. Tak v b\u00e1sn\u00ed P\u0159\u00e1<\/p>\n<p>P\u0159\u00e1 telstv\u00ed v dob\u011b pandemie jedn\u00e1 \u010das jako \u017eiv\u00e1 bytost: \u201e\u010cas tam sed\u00ed ve sv\u00e9 vlastn\u00ed posteli \/ Jak ho jen probudit \/ Nebo i \u010das se lek\u00e1 \/ pandemie covidu?\u201c Takov\u00e1to personifikace abstraktn\u00edch pojm\u016f je jedn\u00edm z hlavn\u00edch rys\u016f Kelmendiho poezie: \u010cas, odvaha, l\u00e1ska, nad\u011bje, svoboda, strach a podobn\u011b jsou \u010dast\u00fdmi obyvateli jeho text\u016f. Nevystupuj\u00ed v\u0161ak v ot\u0159epan\u00fdch fr\u00e1z\u00edch \u010di mlhav\u00fdch tvrzen\u00edch, jak tomu \u010dasto b\u00fdv\u00e1, kdy\u017e b\u00e1sn\u00edk opust\u00ed konkr\u00e9tn\u00ed obrazy a s\u00e1hne k abstrakt\u016fm. V Kelmendiho textech se tyto pojmy chovaj\u00ed jako \u017eiv\u00e9<br \/>\nbytosti \u010di objekty, kter\u00e9 aktivn\u011b jednaj\u00ed nebo pro\u017e\u00edvaj\u00ed r\u016fzn\u00e9 p\u0159\u00edb\u011bhy: \u201eDnes ve\u010der odvaha spolkla m\u00e9 ml\u010den\u00ed (P\u016fvod odvahy)\u201c; \u201eA \u010das, ostrov obydlen\u00fd bez\u010das\u00edm \/ d\u00e1v\u00e1 \u010das t\u011bm kdo jsou bez \u010dasu (M\u00e1m v\u00e1m co \u0159\u00edci); \u201ePros\u00edm trp\u011blivost o s\u00edlu \/ aby svoboda zm\u011bnila pl\u00e1n\u201c (V t\u00e9to zemi m\u00e1\u0161 jen devades\u00e1t minut svobody); \u201eMo\u017en\u00e1 \/ mi l\u00e1ska m\u016f\u017ee poslat \/ novou pozv\u00e1nku k probuzen\u00ed\u201c (Stopa \u017eivota).<br \/>\nFormulace n\u011bkter\u00fdch ver\u0161\u016f p\u0159esto zn\u011bj\u00ed z\u00e1hadn\u011b, neur\u010dit\u011b, tak\u017ee je nen\u00ed mo\u017eno zcela proniknout rozumem. Av\u0161ak tato zd\u00e1nliv\u00e1 neur\u010ditost vytv\u00e1\u0159\u00ed vlastn\u00ed atmosf\u00e9ru, kter\u00e1 d\u00e1v\u00e1 b\u00e1sn\u00edm poselstv\u00ed.<br \/>\nJe nutno \u010d\u00edst mezi \u0159\u00e1dky a vn\u00edmat skryt\u00e9 bolesti a du\u0161evn\u00ed boje vyj\u00e1d\u0159en\u00e9 pouze v n\u00e1znac\u00edch.<br \/>\nJin\u00fdm typick\u00fdm rysem je z\u00e1liba v paradoxn\u00edch vyj\u00e1d\u0159en\u00edch: \u201ePravda l\u00e1mala sny \/ a\u017e smysl ztratil smysl\u201c, \u201e\u010cas nepravdiv\u00e9 pravdy \/ a n\u011bm\u00fdch slov\u201c (Sed\u011bl jsem na za\u010d\u00e1tku sebe); \u201eJ\u00edme a pijeme minulost dne\u0161n\u00edho dne\u201c (Klepat u vchodu v\u00fdchod\u016f); \u201eJsem odtamtud \/<br \/>\nkde jsem nikdy nebyl (V\u0161echno jde daleko). Tento stylistick\u00fd prvek m\u016f\u017ee op\u011bt souviset s t\u00e9matem ne\u0159e\u0161iteln\u00fdch situac\u00ed, ale sp\u00ed\u0161e ne\u017e dojem rezignace vyvol\u00e1v\u00e1 dojem tajemstv\u00ed, je\u017e je ned\u00edlnou sou\u010d\u00e1st\u00ed \u017eivota a nem\u016f\u017ee b\u00fdt nikdy pln\u011b rozlu\u0161t\u011bno.<br \/>\nVedle introspekce b\u00e1sn\u00edkova \u017eivota na pozad\u00ed ud\u00e1lost\u00ed, jich\u017e byl p\u0159\u00edm\u00fdm \u00fa\u010dastn\u00edkem, je v\u00fdrazn\u00fdm t\u00e9matem b\u00e1sn\u00ed tak\u00e9 l\u00e1ska v r\u016fzn\u00fdch podob\u00e1ch: napln\u011bn\u00e1 i nenapln\u011bn\u00e1, sou\u010dasn\u00e1 i minul\u00e1, skute\u010dn\u00e1 i snov\u00e1. Ob\u010das se vyno\u0159\u00ed konkr\u00e9tn\u00ed obrazy: slunce nad vrcholky hor<br \/>\nu jezera Como, tajn\u00e9 setk\u00e1n\u00ed s milenkou v dob\u011b pandemie (\u201eV takov\u00fdch dob\u00e1ch je i l\u00e1ska ileg\u00e1ln\u00ed\u201c), vzpom\u00ednka na krajinu kolem Rugovy. Obzvl\u00e1\u0161t\u011b izolace v dob\u011b covidu probouz\u00ed touhu a tvo\u0159\u00ed siln\u00e9 b\u00e1snick\u00e9 obrazy: \u201eJednoho dne \/ a\u017e tv\u016fj obli\u010dej ze\u0161\u00edl\u00ed \/ mou nep\u0159\u00edtomnost\u00ed \/ sep\u00ed\u0161u \u010das rozhodnut\u00ed \/ v jin\u00e9m \u010dase v na\u0161\u00ed l\u00e1sce\u201c (Den, kdy se nud\u00edm).<br \/>\nV\u011bt\u0161ina b\u00e1sn\u00ed ve sb\u00edrce je ozna\u010dena konkr\u00e9tn\u00edm datem a m\u00edstem vzniku. P\u0159esto texty nejsou se\u0159azeny chronologicky, nebo\u0165 \u010dasov\u00e1 posloupnost v nich nehraje roli. Jeton Kelmendi n\u00e1m d\u00e1v\u00e1 nahl\u00e9dnout do sv\u00e9 poetick\u00e9 vize v bez\u010das\u00ed, ve vrstv\u00e1ch, v nich\u017e se t\u00e9mata p\u0159ekr\u00fdvaj\u00ed, znovu vracej\u00ed a prohlubuj\u00ed. Sb\u00edrka, kter\u00e1 poprv\u00e9 vych\u00e1z\u00ed v \u010desk\u00e9m jazyce, je reprezentativn\u00ed uk\u00e1zkou sou\u010dasn\u00e9 b\u00e1snick\u00e9 tvorby tohoto osobit\u00e9ho evropsk\u00e9ho autora.<\/p>","protected":false},"excerpt":{"rendered":"<p>Jeton Kelmendi &#8220;L\u00e1ska nach\u00e1z\u00ed sama sebe&#8221; P\u0158EDMLUVA Kl\u00e1ra H\u016frkov\u00e1 Sb\u00edrka L\u00e1ska nach\u00e1z\u00ed sama sebe obsahuje texty z let 2015\u20132022 a je b\u00e1sn\u00edkovou osobn\u00ed zpov\u011bd\u00ed. Vypov\u00edd\u00e1 o jeho \u017eivotn\u00ed cest\u011b v mnohovrstevn\u00fdch obrazech, nikoliv chronologicky, n\u00fdbr\u017e nap\u0159\u00ed\u010d zku\u0161enostmi. Jej\u00edmi miln\u00edky nejsou konkr\u00e9tn\u00ed smyslov\u00e9 pro\u017eitky \u010di p\u0159\u00edb\u011bhy, ale sp\u00ed\u0161e ideje a ide\u00e1ly. Jsou to ver\u0161e hluboce introspektivn\u00ed, [&hellip;]<\/p>","protected":false},"author":8,"featured_media":5085,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[171],"tags":[],"book_author":[],"book_publisher":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/5084"}],"collection":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/comments?post=5084"}],"version-history":[{"count":1,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/5084\/revisions"}],"predecessor-version":[{"id":5086,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/5084\/revisions\/5086"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media\/5085"}],"wp:attachment":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media?parent=5084"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/categories?post=5084"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/tags?post=5084"},{"taxonomy":"book_author","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_author?post=5084"},{"taxonomy":"book_publisher","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_publisher?post=5084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}