{"id":5654,"date":"2025-12-27T18:15:55","date_gmt":"2025-12-27T18:15:55","guid":{"rendered":"https:\/\/www.iwabogdani.org\/?p=5654"},"modified":"2025-12-27T18:36:44","modified_gmt":"2025-12-27T18:36:44","slug":"libri-rrenjet-e-qiellit-i-jeton-kelmendit-nga-nga-yu-xia-perkthesi-nga-kinezisht","status":"publish","type":"post","link":"https:\/\/www.iwabogdani.org\/sq\/libri-rrenjet-e-qiellit-i-jeton-kelmendit-nga-nga-yu-xia-perkthesi-nga-kinezisht\/","title":{"rendered":"Libri ‘Rr\u00ebnj\u00ebt e qiellit’ i Jeton Kelmendit Nga Yu Xia, p\u00ebrkthesi nga Kinezisht"},"content":{"rendered":"

Afterword to the Translation<\/strong><\/p>\n

By Yu Xia<\/em><\/p>\n

When the morning mist of the Balkans drifts across the Kosovo Plain, and the waters of the Drin River wash over the pebbles of war and memory, an Albanian poet inscribes reflections on trauma and redemption on the page in English. These simple yet soul-stirring verses made me feel duty-bound to ferry these lines, which carry blood, tears, and philosophical contemplation, into the Chinese-speaking world. I aspire to build a trans-temporal and trans-spatial Tower of Babel\u2014between the consonant-vowel combinations of English and the tonal rhythms of Chinese, between the smoke-shrouded historical scene and the Eastern wisdom of quiet observation\u2014allowing Chinese readers to experience the exotic cultural nuances from the vortex of global conflicts and the shared empathy of humanity.<\/p>\n

This poetry collection was born amid the historical upheavals from the dissolution of the former Yugoslavia to the Russia-Ukraine conflict. The original author examines the tragic landscape of the Balkans in the late 20th century through the \u201csurvivor’s gaze.\u201d From Pristina to Tirana, and from Sarajevo to Skopje, the poet’s pen cuts through the psychological trauma left by war like a scalpel. Composed between 2021 and 2024, these poems form a miniature \u201carchive of traumatic memory,\u201d whose literary value and contemporary significance are manifested in three dimensions: As poetry of historical witness. The poet, in the capacity of an \u201con-the-spot observer,\u201d records the \u201cindividual fates forgotten by statistics.\u201d In \u201cMoonlight over Gaza,\u201d the image of \u201ca child’s eyes holding the entire shattered sky\u201d condenses geopolitical conflicts into tangible visual experiences. This \u201cmicro-historical\u201d writing style complements the macro-perception of the Balkans in the Chinese-speaking world, enabling readers to penetrate the surface of news headlines and touch the real temperature of life in the folds of war. From the unique perspective of Albanian language and culture, the original poems create paradoxically aesthetic lines such as \u201cDreams no longer dream \/ They have their passports confiscated at the border.\u201d As a distinct branch of the Indo-European language family, the agglutinative nature of Albanian endows the poetry with the possibility of layered image superimposition; meanwhile, the poet’s hybrid use of religious vocabulary (\u201cAmen,\u201d \u201choly temple\u201d) and everyday slang forms a tension field where the sacred and the secular deconstruct each other. This linguistic experimentation itself constitutes a poetic resistance to the linguistic violence of the \u201cpost-truth era\u201d\u2014when political discourse constantly sows division and antagonism, poetry attempts to restore the ability of language to refer to reality through the reweaving of words. Notably, this poetry collection occupies a special position in the genealogical lineage of Balkan literature. It not only inherits the historical pathos of Milo\u0161evi\u0107 Gruji\u0107evi\u0107 but also absorbs the surrealist techniques of Kosovska Momilovi\u0107, while integrating the fragmented characteristics of contemporary European poetry.<\/p>\n

In an era of increasingly frequent yet superficial cultural exchanges, truly valuable translation should unearth those \u201cinsufficiently illuminated literary corners,\u201d allowing the spiritual undercurrents of different civilizations to nourish each other. In the translation practice of faithfulness and reconstruction for this poetry collection, I adhere to three basic principles: the \u201canchoring-compensation\u201d mechanism in handling culture-specific items, the \u201crhythmic reconstruction\u201d principle in the transformation of poetic forms, and the \u201cpersonification transplantation\u201d method in translating abstract concepts. Translation is not a copy but a \u201clegitimate deformation\u201d of the original work in a new context (in the words of Walter Benjamin). The historical place names, political events, and religious allusions in the Balkan region constitute dense cultural codes; balancing the need for Chinese readers to understand these codes with unimpeded reading tests the translator’s ability. For example, regarding a specific historical event such as \u201cKryengritja e Memdheve\u201d (the Memdhe Uprising), I translated it as \u201cThe Uprising of Memory.\u201d This translation not only retains the rebellious connotation of \u201cKryengritja\u201d (uprising) but also transforms the historical event into a universally significant psychological experience through the word \u201cmemory,\u201d aiming to achieve a leap from \u201ccultural specificity\u201d to \u201chuman universality.\u201d This approach implicitly aligns with Andr\u00e9 Lefevere’s \u201crewriting theory.\u201d As one of the core representatives of the \u201cManipulation School\u201d in international translation studies, Andr\u00e9 Lefevere argues that translation, as a form of \u201crewriting,\u201d is inevitably constrained by both ideology and poetic norms. When dealing with sensitive political themes, I neither avoid the original work’s sharp criticism of war (e.g., \u201cThe media manufactures enemies \/ like bakers kneading dough\u201d) nor provide historical context through annotations to guide readers towards rational cognition rather than emotional outburst. This \u201cde-ideologized objective presentation\u201d is precisely the appropriate position of the translator as a cross-cultural mediator\u2014translation does not \u201cdomesticate\u201d foreign cultures into a form familiar to local readers but constructs a dialogue space where differences can be understood. The use of the Chinese-characteristic expression \u201ca community with a shared future for mankind\u201d in the translation (corresponding to the original \u201cWe are all refugees on the border\u201d) is not a simplistic political acquiescence but an attempt by the translator to find the greatest common ground among different civilizational contexts. The rhythmic reconstruction of poetic forms reflects the translator’s profound grasp of the essence of poetry.<\/p>\n

Although the original poems are in free verse, the basic attributes of stress rhythm and vowel harmony still constitute potential musicality. How to recreate this musicality in Chinese, a tonal language? My solution is \u201creplacing feet with caesuras and supplementing form with rhyme\u201d: converting stress units into Chinese \u201ccaesuras\u201d(natural pauses in recitation) and appropriately using end rhymes and internal rhymes while maintaining the flow of poetic meaning. For instance, \u201cLight passes through bullet holes \/ like God’s fingers \/ counting the list of the dead\u201d employs the rhyme between \u201cfingers\u201d (zhi) and \u201clist\u201d (dan) (both belonging to the Chinese \u201cZhongdong Rhyme Category\u201d). While preserving the cold tone of the original poem, this treatment endows Chinese readers with auditory aesthetics. This approach attempts to avoid the common prose tendency in free verse translation and strive to maintain the inherent formal tension of poetry.<\/p>\n

Lu Xun stated in \u201cJie Ting Za Wen Er Ji \u00b7 Ti Wei Ding Cao\u201d (Jie Ting Essays Second Series \u00b7 Unfinished Drafts with Unsettled Titles): \u201cIn any translation, one must take into account two aspects: on the one hand, strive to make it intelligible; on the other hand, preserve the original’s demeanor.\u201d Appropriate foreignization is the best way to maximize the retention of the original poem’s charm and beauty. The English version of the poetry collection still retains the \u201cimage superimposition\u201d characteristic of Albanian poetry, such as \u201cA mother’s tears are unexploded bombs \/ buried in the backyard of childhood.\u201d The direct juxtaposition of two strong visual images generates tremendous emotional impact. In translation, I not only retained the core images but also enhanced the tension between them through the unique \u201cparatactic\u201d advantage of Chinese\u2014revising the original \u201cA mother’s tears are like unexploded bombs; they are buried in the backyard of childhood\u201d into \u201cA mother’s tears are unexploded bombs \/ buried in the backyard of childhood,\u201d deleting the conjunctions \u201clike\u201d and \u201cthey,\u201d so that the two images form a more intense collision at the line break. This \u201csubtractive translation\u201d reflects the translator’s profound understanding of Chinese poetic aesthetics\u2014as Feng Wenbing, a renowned modern Chinese writer and poet, noted: \u201cThe content of poetry is the form of poetry.\u201d When the linguistic form itself becomes part of the meaning, the formal transformation in translation constitutes a recreation of the content.<\/p>\n

The personification transplantation of abstract concepts constitutes the most creative translation strategy of the translated poetry collection. The original poems extensively use personified expressions such as \u201cMadam Reason\u201d and \u201cFreedom is reading me,\u201d transforming abstract concepts into subjects with agency. The poetic value of such expressions needs to be fully preserved in translation and their dramatic tension enhanced through the expressive characteristics of Chinese. For example, translating \u201cReason\u201d as \u201cMadam Reason\u201d rather than the neutral \u201creason\u201d endows the concept with gender characteristics and social identity through the address \u201cMadam,\u201d which not only echoes the original poem’s gendered critique of enlightenment rationality but also implicitly aligns with the \u201cpersonification\u201d thinking tradition in Chinese culture (e.g., \u201cHeavenly Lord,\u201d \u201cYue Lao, the Matchmaker\u201d). The treatment of \u201cFreedom is reading me\u201d\u2014the translator renders it as \u201cFreedom is reading me\u201d\u2014creates a sense of defamiliarization through word order inversion, which compels readers to rethink the relationship between freedom and the individual: when freedom becomes the observer and humans the observed, what kind of freedom are we pursuing? This translation strategy can be examined within the framework of Roman Jakobson’s \u201cthree types of translation.\u201d Jakobson divides translation into intralingual translation, interlingual translation, and intersemiotic translation. The strategy achieves semantic conversion at the linguistic level (interlingual translation), completes image reconstruction at the cultural level (intersemiotic translation), and echoes the exploration of modern Chinese poetry at the poetic tradition level (intralingual translation).<\/p>\n

Lefevere points out that translation is always a \u201crewriting\u201d carried out under the influence of specific ideological and poetic norms, and translators inevitably \u201cmanipulate\u201d the original work to a certain extent to align it with the dominant values of the target culture. Inspired by this theory, at the ideological level, I have focused on strengthening the themes of \u201cpeace\u201d and \u201canti-war\u201d in the original work, while correspondingly downplaying specific political references that may cause controversy. This choice not only echoes China’s diplomatic philosophy of \u201ca community with a shared future for mankind\u201d but also makes the work more widely acceptable; at the poetic level, I have adopted a linguistic style between misty poetry and spoken word poetry, which not only preserves the avant-garde nature of the original work but also approximates the poetic tone familiar to Chinese readers, such as that of Beidao and Duo Duo. This \u201cmanipulation\u201d is not a simplistic cultural adaptation, but a highly selective creative transformation. When the translator renders \u201cEurope has forgotten its own name\u201d as \u201cEurope has lost its ID card amid the refugee crisis,\u201d I attempt to reflect the translator’s response to the contemporary European refugee crisis\u2014by adding the specific context of \u201cthe refugee crisis,\u201d the abstract reflections in the original work gain new realistic relevance. This \u201ccontextual reconstruction\u201d embodies the initiative of the translator as a cultural mediator: translation is not only about transmitting information, but also about participating in global dialogue and transforming exotic literary resources into a mirror for local cultural reflection.<\/p>\n

The perspective of postcolonial translation theory adds a critical dimension to the translated poetry collection. Gayatri Chakravorty Spivak emphasizes in The Politics of Translation that translation is a field of power struggle between \u201cmarginalized cultures\u201d and \u201cdominant cultures,\u201d and translators should consciously \u201cgive voice to the margins.\u201d My choice to translate this \u201cnon-mainstream\u201d literature is itself a complement to the Eurocentric translation paradigm\u2014for a long time, foreign literature translation in China has been overly concentrated on major languages such as English, French, German, and Russian, with severely insufficient attention paid to literature from minor languages. This situation not only limits the literary horizon but also implicitly reinforces the cultural hierarchy. The original intention of translating this poetry collection is to allow Chinese readers tohear the voice from the Balkans; though faint, this voice carries half of humanity’s sufferings and hopes. By choosing to translate a poetry collection themed on war trauma, the translator attempts to closely connect literary translation with human destiny. With this awareness of translation ethics, the translator strives to make the translated poetry collection not only an aesthetic object but also a carrier of ethical reflection.<\/p>\n

In this era of information explosion yet meaning scarcity, truly valuable translation should be such an \u201cart of slow reading\u201d: it requires the translator to delve into the texture of the original work, listen to the heartbeat behind the words, and then reweave this rhythm of life in another language. When the \u201cwar memories\u201d of Albanian poets become the \u201cshared memories\u201d of Chinese readers through translation, and when the \u201csufferings of the Balkans\u201d are transformed into the \u201cshared experiences of humanity,\u201d what we see is precisely the ideal form of Goethe\u2019s concept of \u201cWeltliteratur\u201d (world literature)\u2014not a cultural melting pot that eliminates differences, but an orchestra where different voices resonate harmoniously. Even in this era full of division and antagonism, words still possess the power to cross borders, poetry can still be the ark of the soul, and translators are those who redraw the map of the soul amid the constellation of words.<\/p>\n

Pasth\u00ebnie p\u00ebr P\u00ebrkthimin<\/strong>

\nNga Yu Xia
\n<\/strong><\/p>\n

Kur mjegulla e m\u00ebngjesit e Ballkanit shtrihet mbi Fush\u00ebn e Kosov\u00ebs dhe uj\u00ebrat e Drinit lajn\u00eb guralec\u00ebt e luft\u00ebs dhe t\u00eb kujtes\u00ebs, nj\u00eb poet shqiptar gdhend n\u00eb anglisht reflektime mbi traum\u00ebn dhe sh\u00eblbimin. K\u00ebto vargje t\u00eb thjeshta, por thell\u00ebsisht prek\u00ebse, m\u00eb b\u00ebn\u00eb t\u00eb ndihesha e detyruar t\u2019i bart k\u00ebto rreshta q\u00eb mbajn\u00eb gjak, lot dhe soditje filozofike drejt bot\u00ebs q\u00eb flet kinezisht. Synimi im \u00ebsht\u00eb t\u00eb nd\u00ebrtoj nj\u00eb Kull\u00eb t\u00eb Babelit nd\u00ebr-kohore dhe nd\u00ebr-hap\u00ebsinore: mes kombinimeve bashk\u00ebting\u00ebllore-zanore t\u00eb anglishtes dhe ritmeve tonale t\u00eb kinez\u00e7es; mes sken\u00ebs historike t\u00eb mbuluar me tym dhe urt\u00ebsis\u00eb lindore t\u00eb v\u00ebzhgimit t\u00eb qet\u00eb, duke u mund\u00ebsuar lexuesve kinez\u00eb t\u00eb p\u00ebrjetojn\u00eb nuancat kulturore ekzotike nga vorbulla e konflikteve globale dhe nga empatia e p\u00ebrbashk\u00ebt njer\u00ebzore.<\/p>\n

Kjo p\u00ebrmbledhje poetike lindi mes tronditjeve historike q\u00eb shkojn\u00eb nga shp\u00ebrb\u00ebrja e ish-Jugosllavis\u00eb deri te konflikti Rusi-Ukrain\u00eb. Autori origjinal shqyrton peizazhin tragjik t\u00eb Ballkanit t\u00eb fund-shekullit XX p\u00ebrmes \u201cv\u00ebshtrimit t\u00eb t\u00eb mbijetuarit\u201d. Nga Prishtina n\u00eb Tiran\u00eb, e nga Sarajeva n\u00eb Shkup, pena e poetit pret traum\u00ebn psikologjike t\u00eb l\u00ebn\u00eb nga lufta si nj\u00eb bisturi. T\u00eb shkruara nd\u00ebrmjet viteve 2021 dhe 2024, k\u00ebto poezi formojn\u00eb nj\u00eb \u201carkiv miniatur\u00eb t\u00eb kujtes\u00ebs traumatike\u201d, vlera letrare dhe dometh\u00ebnia bashk\u00ebkohore e t\u00eb cilit shfaqen n\u00eb tri p\u00ebrmasa:<\/p>\n

S\u00eb pari, si poezi e d\u00ebshmis\u00eb historike.<\/strong> Poeti, n\u00eb rolin e \u201cv\u00ebzhguesit n\u00eb terren\u201d, regjistron \u201cfatet individuale t\u00eb harruara nga statistikat\u201d. N\u00eb \u201cDrit\u00eb h\u00ebne mbi Gaz\u00eb\u201d, imazhi i \u201csyve t\u00eb nj\u00eb f\u00ebmije q\u00eb mbajn\u00eb gjith\u00eb qiellin e cop\u00ebtuar\u201d p\u00ebrmbledh konfliktet gjeopolitike n\u00eb p\u00ebrvoja vizuale t\u00eb prekshme. Ky stil \u201cmikro-historik\u201d e plot\u00ebson perceptimin makro t\u00eb Ballkanit n\u00eb bot\u00ebn kineze, duke u lejuar lexuesve t\u00eb dep\u00ebrtojn\u00eb p\u00ebrtej titujve t\u00eb lajmeve dhe t\u00eb prekin temperatur\u00ebn reale t\u00eb jet\u00ebs n\u00eb rrudhat e luft\u00ebs.<\/p>\n

S\u00eb dyti, si eksperiment gjuh\u00ebsor dhe estetik.<\/strong> Nga perspektiva unike e gjuh\u00ebs dhe kultur\u00ebs shqiptare, poezit\u00eb krijojn\u00eb vargje paradoksale si: \u201c\u00cbndrrat s\u2019\u00ebnd\u00ebrrojn\u00eb m\u00eb \/ u konfiskohet pasaporta n\u00eb kufi\u201d. Si deg\u00eb e ve\u00e7ant\u00eb e familjes indoevropiane, natyra aglutinative e shqipes i jep poezis\u00eb mund\u00ebsin\u00eb e mbivendosjes shtresore t\u00eb imazheve; nd\u00ebrkoh\u00eb, p\u00ebrdorimi hibrid i fjalorit fetar (\u201cAmen\u201d, \u201ctempull i shenjt\u00eb\u201d) dhe i zhargonit t\u00eb p\u00ebrditsh\u00ebm formon nj\u00eb fush\u00eb tensioni ku e shenjta dhe profania e zb\u00ebrthejn\u00eb nj\u00ebra-tjetr\u00ebn. Ky eksperimentim gjuh\u00ebsor p\u00ebrb\u00ebn vet\u00eb nj\u00eb rezistenc\u00eb poetike ndaj dhun\u00ebs gjuh\u00ebsore t\u00eb \u201cepok\u00ebs post-t\u00eb-v\u00ebrtet\u00ebs\u201d, kur diskursi politik mbjell vazhdimisht ndarje dhe antagonizma, poezia p\u00ebrpiqet t\u2019i rikthej\u00eb gjuh\u00ebs aft\u00ebsin\u00eb p\u00ebr t\u2019iu referuar realitetit p\u00ebrmes rig\u00ebrshetimit t\u00eb fjal\u00ebve. Vlen t\u00eb theksohet se kjo p\u00ebrmbledhje z\u00eb nj\u00eb vend t\u00eb ve\u00e7ant\u00eb n\u00eb gjenealogjin\u00eb e let\u00ebrsis\u00eb ballkanike: ajo trash\u00ebgon patosin historik t\u00eb Milo\u0161evi\u0107 Gruji\u0107evi\u0107-it, p\u00ebrthith teknikat surrealiste t\u00eb Kosovska Momilovi\u0107-it dhe integron tiparet fragmentare t\u00eb poezis\u00eb bashk\u00ebkohore evropiane.<\/p>\n

N\u00eb nj\u00eb epok\u00eb shk\u00ebmbimesh kulturore gjithnj\u00eb e m\u00eb t\u00eb shpeshta, por sip\u00ebrfaq\u00ebsore, p\u00ebrkthimi me vler\u00eb duhet t\u00eb nxjerr\u00eb n\u00eb drit\u00eb \u201cqoshet letrare t\u00eb pamjaftuesh\u00ebm t\u00eb ndri\u00e7uara\u201d, q\u00eb rrymat shpirt\u00ebrore t\u00eb qytet\u00ebrimeve t\u00eb ndryshme t\u00eb ushqejn\u00eb nj\u00ebra-tjetr\u00ebn. N\u00eb praktik\u00ebn e p\u00ebrkthimit mes besnik\u00ebris\u00eb dhe rind\u00ebrtimit p\u00ebr k\u00ebt\u00eb p\u00ebrmbledhje poetike, u mbajta n\u00eb tri parime themelore: mekanizmi i \u201cankorimit-kompensimit\u201d p\u00ebr elementet kulturore specifike; parimi i \u201crind\u00ebrtimit ritmik\u201d n\u00eb transformimin e form\u00ebs poetike; dhe metoda e \u201ctransplantimit t\u00eb personifikimit\u201d n\u00eb p\u00ebrkthimin e koncepteve abstrakte. P\u00ebrkthimi nuk \u00ebsht\u00eb kopjim, por nj\u00eb \u201cdeformim i ligjsh\u00ebm\u201d i vepr\u00ebs origjinale n\u00eb nj\u00eb kontekst t\u00eb ri (sipas fjal\u00ebve t\u00eb Walter Benjamin-it).<\/p>\n

Toponimet historike, ngjarjet politike dhe aludimet fetare t\u00eb rajonit ballkanik p\u00ebrb\u00ebjn\u00eb kode kulturore t\u00eb dendura; balancimi mes nevoj\u00ebs s\u00eb lexuesit kinez p\u00ebr t\u2019i kuptuar k\u00ebto kode dhe rrjedhshm\u00ebris\u00eb s\u00eb leximit v\u00eb n\u00eb prov\u00eb aft\u00ebsin\u00eb e p\u00ebrkthyesit. P\u00ebr shembull, p\u00ebr nj\u00eb ngjarje historike si \u201cKryengritja e Memdheve\u201d, e p\u00ebrktheva si \u201cKryengritja e Kujtes\u00ebs\u201d. Ky p\u00ebrkthim ruan ngarkes\u00ebn rebeluese t\u00eb fjal\u00ebs \u201ckryengritje\u201d, por nj\u00ebkoh\u00ebsisht e shnd\u00ebrron ngjarjen n\u00eb nj\u00eb p\u00ebrvoj\u00eb psikologjike me dometh\u00ebnie universale p\u00ebrmes \u201ckujtes\u00ebs\u201d, duke synuar kalimin nga \u201cspecifika kulturore\u201d te \u201cuniversaliteti njer\u00ebzor\u201d. Kjo qasje p\u00ebrputhet n\u00eb m\u00ebnyr\u00eb implicite me \u201cteorin\u00eb e rishkrimit\u201d t\u00eb Andr\u00e9 Lefevere-it. Sipas tij, p\u00ebrkthimi, si form\u00eb \u201crishkrimi\u201d, kusht\u00ebzohet pashmangsh\u00ebm nga ideologjia dhe normat poetike.<\/p>\n

Kur trajtova tema politike t\u00eb ndjeshme, as nuk shmanga kritik\u00ebn e mpreht\u00eb t\u00eb luft\u00ebs n\u00eb tekstin origjinal (p.sh. \u201cMedia prodhon armiq \/ si buk\u00ebpjek\u00ebsit q\u00eb ngjeshin brumin\u201d), as nuk hezitova t\u00eb ofroj kontekst historik p\u00ebrmes sh\u00ebnimeve, p\u00ebr t\u2019i udh\u00ebhequr lexuesit drejt nj\u00eb njohjeje racionale, jo shp\u00ebrthimi emocional. Kjo \u201cparaqitje objektive e de-ideologjizuar\u201d \u00ebsht\u00eb pozicioni i duhur i p\u00ebrkthyesit si nd\u00ebrmjet\u00ebs nd\u00ebrkulturor, p\u00ebrkthimi nuk \u201czbut\u201d kulturat e huaja sipas shijeve lokale, por nd\u00ebrton nj\u00eb hap\u00ebsir\u00eb dialogu ku dallimet kuptohen. P\u00ebrdorimi i shprehjes karakteristike kineze \u201cbashk\u00ebsi me t\u00eb ardhme t\u00eb p\u00ebrbashk\u00ebt p\u00ebr njer\u00ebzimin\u201d (q\u00eb korrespondon me origjinalin \u201cNe jemi t\u00eb gjith\u00eb refugjat\u00eb n\u00eb kufi\u201d) nuk \u00ebsht\u00eb n\u00ebnshtrim politik, por p\u00ebrpjekje p\u00ebr t\u00eb gjetur pik\u00ebn m\u00eb t\u00eb gjer\u00eb t\u00eb p\u00ebrbashk\u00ebt nd\u00ebrmjet konteksteve qytet\u00ebruese.<\/p>\n

Rind\u00ebrtimi ritmik i form\u00ebs poetike pasqyron kuptimin e thell\u00eb t\u00eb thelbit t\u00eb poezis\u00eb. Edhe pse poezit\u00eb origjinale jan\u00eb n\u00eb varg t\u00eb lir\u00eb, ritmi i theksit dhe harmonia e zanoreve krijojn\u00eb nj\u00eb muzikalitet t\u00eb fsheht\u00eb. Si ta rikrijosh k\u00ebt\u00eb n\u00eb kinez\u00e7e, nj\u00eb gjuh\u00eb tonale? Zgjidhja ime ishte \u201cz\u00ebvend\u00ebsimi i metr\u00ebs me cezura dhe plot\u00ebsimi i form\u00ebs me rim\u00eb\u201d: shnd\u00ebrrimi i nj\u00ebsive t\u00eb theksit n\u00eb \u201ccezura\u201d kineze (pauza natyrore n\u00eb recitim) dhe p\u00ebrdorimi i matur i rimave fundore e t\u00eb brendshme, duke ruajtur rrjedh\u00ebn e kuptimit. K\u00ebshtu shmanget prirja prozaike e p\u00ebrkthimit t\u00eb vargut t\u00eb lir\u00eb dhe ruhet tensioni formal i poezis\u00eb.<\/p>\n

Lu Xun shkruante se \u00e7do p\u00ebrkthim duhet nj\u00ebkoh\u00ebsisht t\u00eb jet\u00eb i kuptuesh\u00ebm dhe t\u00eb ruaj\u00eb \u201cq\u00ebndrimin\u201d e origjinalit. Nj\u00eb huaj\u00ebsim i arsyesh\u00ebm \u00ebsht\u00eb rruga m\u00eb e mir\u00eb p\u00ebr t\u00eb ruajtur hijeshin\u00eb dhe bukurin\u00eb e poem\u00ebs. P.sh., \u201cLot\u00ebt e nj\u00eb n\u00ebne jan\u00eb bomba t\u00eb pashp\u00ebrthyera \/ t\u00eb varrosura n\u00eb oborrin e f\u00ebmij\u00ebris\u00eb\u201d ruan p\u00ebrplasjen e fort\u00eb t\u00eb imazheve duke hequr lidh\u00ebzat, q\u00eb tensioni t\u00eb rritet n\u00eb thyerjen e vargut. Ky \u201cp\u00ebrkthim zbrit\u00ebs\u201d pasqyron estetik\u00ebn poetike kineze, si\u00e7 thoshte Feng Wenbing: \u201cP\u00ebrmbajtja e poezis\u00eb \u00ebsht\u00eb forma e poezis\u00eb\u201d.<\/p>\n

Transplantimi i personifikimit t\u00eb koncepteve abstrakte \u00ebsht\u00eb strategjia m\u00eb krijuese e k\u00ebtij p\u00ebrkthimi. Shprehje si \u201cZonja Arsye\u201d apo \u201cLiria po m\u00eb lexon\u201d ruajn\u00eb vler\u00ebn poetike duke i kthyer abstraktet n\u00eb subjekte me veprim. Kjo krijon nj\u00eb efekt \u00e7udit\u00ebsimi q\u00eb e detyron lexuesin t\u00eb rishqyrtoj\u00eb marr\u00ebdh\u00ebnien mes njeriut dhe liris\u00eb. Strategjia mund t\u00eb lexohet n\u00eb drit\u00ebn e ndarjes s\u00eb Roman Jakobson-it p\u00ebr p\u00ebrkthimin: brenda-gjuh\u00ebsor, nd\u00ebr-gjuh\u00ebsor dhe nd\u00ebr-semiotik.<\/p>\n

Sipas Lefevere-it, p\u00ebrkthimi \u00ebsht\u00eb gjithnj\u00eb nj\u00eb \u201crishkrim\u201d i ndikuar nga norma ideologjike e poetike. I frym\u00ebzuar prej k\u00ebsaj, n\u00eb nivel ideologjik kam forcuar temat e paqes dhe kund\u00ebr-luft\u00ebs, nd\u00ebrsa kam zbutur referencat specifike q\u00eb mund t\u00eb shkaktonin polemika; n\u00eb nivel poetik kam zgjedhur nj\u00eb stil mes poezis\u00eb s\u00eb mjegullt dhe asaj t\u00eb fjal\u00ebs s\u00eb folur, af\u00ebr shijeve t\u00eb lexuesit kinez. Kjo \u201cmanipulim\u201d nuk \u00ebsht\u00eb p\u00ebrshtatje e thjesht\u00eb kulturore, por transformim krijues i p\u00ebrzgjedhur me kujdes.<\/p>\n

Teoria postkoloniale e p\u00ebrkthimit shton nj\u00eb dimension kritik: p\u00ebrkthimi \u00ebsht\u00eb fush\u00eb pushteti mes kulturave \u201cmargjinale\u201d dhe atyre \u201cdominuese\u201d. Zgjedhja p\u00ebr t\u00eb p\u00ebrkthyer k\u00ebt\u00eb let\u00ebrsi jo-kryesore \u00ebsht\u00eb vet\u00eb nj\u00eb kund\u00ebrpesh\u00eb ndaj eurocentrizmit. Q\u00ebllimi im ishte t\u2019u jepet lexuesve kinez\u00eb z\u00ebri i Ballkanit\u2014i zbeht\u00eb, por q\u00eb mbart gjysm\u00ebn e vuajtjeve dhe shpresave t\u00eb njer\u00ebzimit. Me k\u00ebt\u00eb etik\u00eb, p\u00ebrmbledhja e p\u00ebrkthyer synon t\u00eb jet\u00eb jo vet\u00ebm objekt estetik, por edhe bart\u00ebse reflektimi etik.<\/p>\n

N\u00eb k\u00ebt\u00eb epok\u00eb shp\u00ebrthimi informacioni e varf\u00ebrie kuptimi, p\u00ebrkthimi me vler\u00eb \u00ebsht\u00eb nj\u00eb \u201cart i leximit t\u00eb ngadalsh\u00ebm\u201d: zhytje n\u00eb tekstur\u00ebn e vepr\u00ebs, d\u00ebgjim i rrahjeve t\u00eb zemr\u00ebs pas fjal\u00ebve dhe rig\u00ebrshetim i k\u00ebtij ritmi jete n\u00eb nj\u00eb gjuh\u00eb tjet\u00ebr. Kur \u201ckujtesat e luft\u00ebs\u201d t\u00eb poet\u00ebve shqiptar\u00eb shnd\u00ebrrohen n\u00eb \u201ckujtes\u00eb t\u00eb p\u00ebrbashk\u00ebt\u201d p\u00ebr lexuesit kinez\u00eb, dhe kur \u201cvuajtjet e Ballkanit\u201d b\u00ebhen \u201cp\u00ebrvoja t\u00eb p\u00ebrbashk\u00ebta t\u00eb njer\u00ebzimit\u201d, realizohet ideali i Weltliteratur<\/strong>-\u00ebs s\u00eb Goethe-s: jo nj\u00eb kazan shkrir\u00ebs q\u00eb zhduk dallimet, por nj\u00eb orkest\u00ebr ku z\u00ebra t\u00eb ndrysh\u00ebm ting\u00ebllojn\u00eb n\u00eb harmoni. Edhe n\u00eb k\u00ebt\u00eb koh\u00eb ndarjesh, fjala ka ende fuqin\u00eb t\u00eb kaloj\u00eb kufijt\u00eb; poezia mund t\u00eb jet\u00eb ende arka e shpirtit; dhe p\u00ebrkthyesit jan\u00eb ata q\u00eb, mes yj\u00ebsive t\u00eb fjal\u00ebve, rivizatojn\u00eb hart\u00ebn e shpirtit.<\/p>\n

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\u8bd1\u540e\u8bb0<\/p>\n

\u5f53\u5df4\u5c14\u5e72\u534a\u5c9b\u7684\u6668\u96fe\u63a0\u8fc7\u79d1\u7d22\u6c83\u5e73\u539f\uff0c\u5f53\u7b2c\u7eb3\u5c14\u6cb3\u7684\u6d41\u6c34\u51b2\u5237\u7740\u6218\u4e89\u4e0e\u8bb0\u5fc6\u7684\u5375\u77f3\uff0c\u4e00\u4f4d\u963f\u5c14\u5df4\u5c3c\u4e9a\u8bd7<\/p>\n

\u4eba\u7528\u82f1\u8bed\u5728\u7eb8\u9875\u4e0a\u523b\u4e0b\u5173\u4e8e\u521b\u4f24\u4e0e\u6551\u8d4e\u7684\u6c89\u601d\u7684\u65f6\u5019\uff0c\u8fd9\u4e9b\u5e73\u5b9e\u5374\u53c8\u9707\u64bc\u5fc3\u7075\u5f97\u8bd7\u53e5\u8ba9\u6211\u89c9\u5f97\u6211\u6709\u8d23\u4efb\u5c06\u8fd9<\/p>\n

\u4e9b\u627f\u8f7d\u7740\u8840\u6cea\u4e0e\u54f2\u601d\u7684\u8bd7\u53e5\u5f15\u6e21\u81f3\u4e2d\u6587\u4e16\u754c\u3002\u6211\u60f3\u642d\u5efa\u4e00\u5ea7\u8de8\u8d8a\u65f6\u7a7a\u7684\u5df4\u522b\u5854\u2014\u2014<\/span>\u5728\u82f1\u8bed\u8f85\u5143\u97f3\u642d\u914d\u548c\u6c49\u8bed<\/p>\n

\u7684\u5e73\u4ec4\u97f5\u5f8b\u4e4b\u95f4\uff0c\u5728\u785d\u70df\u5f25\u6f2b\u7684\u5386\u53f2\u73b0\u573a\u4e0e\u4e1c\u65b9\u7684\u9759\u89c2\u667a\u6167\u4e4b\u95f4\uff0c\u8ba9\u4e2d\u6587\u8bfb\u8005\u611f\u53d7\u6765\u81ea\u5730\u7403\u51b2\u7a81\u65cb\u6da1\u4e2d\u5f02\u57df<\/p>\n

\u6587\u5316\u4f53\u9a8c\u548c\u4eba\u7c7b\u5171\u60c5\u3002<\/p>\n

\u8fd9\u90e8\u8bd7\u96c6\u8bde\u751f\u4e8e\u540e\u5357\u65af\u62c9\u592b\u89e3\u4f53\u76f4\u81f3\u4fc4\u4e4c\u51b2\u7a81\u7684\u5386\u53f2\u52a8\u8361\u4e2d\u3002\u539f\u4f5c\u8005\u4ee5\u201c\u5e78\u5b58\u8005\u7684\u51dd\u89c6\u201d\uff08survivor’s<\/span><\/p>\n

gaze<\/span>\uff09\u5ba1\u89c6\u7740\u4e8c\u5341\u4e16\u7eaa\u672b\u5df4\u5c14\u5e72\u534a\u5c9b\u7684\u82e6\u96be\u56fe\u666f\u3002\u4ece\u666e\u91cc\u4ec0\u8482\u7eb3\u5230\u5730\u62c9\u90a3\uff0c\u4ece\u8428\u62c9\u70ed\u7a9d\u5230\u65af\u79d1\u666e\u91cc\uff0c\u8bd7\u4eba\u7684\u7b14<\/p>\n

\u950b\u5982\u624b\u672f\u5200\u822c\u5256\u5f00\u6218\u4e89\u7559\u4e0b\u7684\u7cbe\u795e\u521b\u4f24\u3002\u8fd9\u4e9b\u521b\u4f5c\u4e8e 2021-2024 <\/span>\u5e74\u95f4\u7684\u8bd7\u7bc7\uff0c\u6784\u6210\u4e86\u4e00\u90e8\u5fae\u578b\u7684\u201c\u521b\u4f24\u8bb0\u5fc6\u6863<\/p>\n

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\u800c\u8bd7\u4eba\u5bf9\u5b97\u6559\u8bed\u6c47\uff08\u201c\u963f\u95e8\u201d<\/p>\n

\u3001<\/p>\n

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\u5361\u00b7\u83ab\u7c73\u6d1b\u7ef4\u5947\uff08Kosovska Momilovi\u0107<\/span>\uff09\u7684\u8d85\u73b0\u5b9e\u4e3b\u4e49\u624b\u6cd5\uff0c\u66f4\u878d\u5165\u4e86\u5f53\u4ee3\u6b27\u6d32\u8bd7\u6b4c\u7684\u788e\u7247\u5316\u7279\u5f81\u3002<\/p>\n

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\u89d2\u843d\u201d\uff0c\u8ba9\u4e0d\u540c\u6587\u660e\u7684\u7cbe\u795e\u6697\u6cb3\u5f97\u4ee5\u76f8\u4e92\u6ecb\u517b\u3002\u5728\u672c\u8bd7\u96c6\u5fe0\u5b9e\u4e0e\u91cd\u6784\u7684\u7ffb\u8bd1\u5b9e\u8df5\u4e2d\uff0c\u6211\u606a\u5b88\u4e09\u4e2a\u57fa\u672c\u539f\u5219\uff1a<\/p>\n

\u5728\u6587\u5316\u4e13\u6709\u9879\u5904\u7406\u4e0a\u7684\u201c\u951a\u5b9a-\u8865\u507f\u201d\u673a\u5236\uff0c\u5728\u8bd7\u6b4c\u5f62\u5f0f\u8f6c\u6362\u4e2d\u7684\u201c\u97f5\u5f8b\u518d\u9020\u201d\u539f\u5219\uff0c\u4ee5\u53ca\u5728\u62bd\u8c61\u6982\u5ff5\u4f20\u8bd1\u65f6<\/p>\n

\u7684\u201c\u4eba\u683c\u5316\u79fb\u690d\u201d\u65b9\u6cd5\u3002\u7ffb\u8bd1\u4e0d\u662f\u590d\u5236\u54c1\uff0c\u800c\u662f\u539f\u4f5c\u5728\u65b0\u8bed\u5883\u4e2d\u7684\u201c\u5408\u6cd5\u53d8\u5f62\u201d\uff08\u74e6\u5c14\u7279\u00b7\u672c\u96c5\u660e Walter<\/span><\/p>\n

Benjamin <\/span>\u8bed\uff09\u3002\u5df4\u5c14\u5e72\u5730\u533a\u7684\u5386\u53f2\u5730\u540d\u3001\u653f\u6cbb\u4e8b\u4ef6\u3001\u5b97\u6559\u5178\u6545\u6784\u6210\u4e86\u5bc6\u96c6\u7684\u6587\u5316\u5bc6\u7801\uff0c\u5982\u4f55\u8ba9\u4e2d\u6587\u8bfb\u8005\u65e2\u7406<\/p>\n

\u89e3\u8fd9\u4e9b\u5bc6\u7801\u53c8\u4e0d\u5931\u9605\u8bfb\u6d41\u7545\u6027\uff0c\u8003\u9a8c\u7740\u8bd1\u8005\u7684\u5e73\u8861\u80fd\u529b\u3002\u6bd4\u5982\u5bf9\u4e8e\u201cKryengritja e Memdheve<\/span>\u201d\uff08\u6885\u59c6\u5fb7\u54c8\u8d77<\/p>\n

\u4e49\uff09\u8fd9\u7c7b\u7279\u5b9a\u5386\u53f2\u4e8b\u4ef6\uff0c\u6211\u5c06\u5176\u8bd1\u4e3a\u201c\u8bb0\u5fc6\u7684\u66b4\u52a8\u201d\uff0c\u65e2\u4fdd\u7559\u201cKryengritja<\/span>\u201d\uff08\u8d77\u4e49\uff09\u7684\u53cd\u6297\u610f\u5473\uff0c\u53c8\u901a\u8fc7<\/p>\n

\u201c\u8bb0\u5fc6\u201d\u4e00\u8bcd\u5c06\u5386\u53f2\u4e8b\u4ef6\u8f6c\u5316\u4e3a\u5177\u6709\u666e\u904d\u610f\u4e49\u7684\u5fc3\u7406\u4f53\u9a8c\uff0c\u4ee5\u671f\u5b9e\u73b0\u4ece\u201c\u6587\u5316\u7279\u6307\u201d\u5230\u201c\u4eba\u7c7b\u5171\u901a\u201d\u7684\u8dc3\u5347\u3002<\/p>\n

\u8fd9\u79cd\u5904\u7406\u65b9\u5f0f\u6697\u5408\u4e86\u5b89\u5fb7\u70c8\u00b7\u52d2\u83f2\u5f17\u5c14\u7684\u201c\u6539\u5199\u7406\u8bba\u201d<\/p>\n

\u3002\u56fd\u9645\u7ffb\u8bd1\u7814\u7a76\u9886\u57df\u201c\u64cd\u7eb5\u5b66\u6d3e\u201d\u6838\u5fc3\u4ee3\u8868\u4eba\u7269\u4e4b\u4e00<\/p>\n

\u5b89\u5fb7\u70c8\u00b7\u52d2\u83f2\u5f17\u5c14\uff08Andr\u00e9 Lefevere<\/span>\uff09\u8ba4\u4e3a\uff0c\u7ffb\u8bd1\u4f5c\u4e3a\u4e00\u79cd\u201c\u6539\u5199\u201d\uff0c\u5fc5\u7136\u53d7\u5230\u610f\u8bc6\u5f62\u6001\u548c\u8bd7\u5b66\u89c4\u8303\u7684\u53cc\u91cd\u5236<\/p>\n

\u7ea6\u3002\u5728\u5904\u7406\u654f\u611f\u653f\u6cbb\u8bae\u9898\u65f6\uff0c\u65e2\u4e0d\u56de\u907f\u539f\u4f5c\u5bf9\u6218\u4e89\u7684\u5c16\u9510\u6279\u5224\uff08\u5982\u201c\u5a92\u4f53\u5728\u5236\u9020\u654c\u4eba\/\u5c31\u50cf\u9762\u5305\u5e08\u63c9\u5236\u9762<\/p>\n

\u56e2\u201d\uff09\uff0c\u53c8\u901a\u8fc7\u6ce8\u91ca\u4f9b\u5386\u53f2\u80cc\u666f\uff0c\u5f15\u5bfc\u8bfb\u8005\u8fdb\u884c\u7406\u6027\u8ba4\u77e5\u800c\u975e\u60c5\u7eea\u5ba3\u6cc4\u3002\u8fd9\u79cd\u201c\u53bb\u610f\u8bc6\u5f62\u6001\u5316\u7684\u5ba2\u89c2\u5448<\/p>\n

\u73b0\u201d\uff0c\u6b63\u662f\u8bd1\u8005\u4f5c\u4e3a\u8de8\u6587\u5316\u4e2d\u4ecb\u8005\u7684\u6070\u5f53\u5b9a\u4f4d\u2014\u2014<\/span>\u7ffb\u8bd1\u4e0d\u662f\u5c06\u5f02\u8d28\u6587\u5316\u201c\u9a6f\u5316\u201d\u4e3a\u672c\u571f\u8bfb\u8005\u719f\u6089\u7684\u6a21\u6837\uff0c\u800c<\/p>\n

\u662f\u642d\u5efa\u4e00\u4e2a\u8ba9\u5dee\u5f02\u5f97\u4ee5\u88ab\u7406\u89e3\u7684\u5bf9\u8bdd\u7a7a\u95f4\u3002\u8bd1\u6587\u4e2d\u4f7f\u7528\u201c\u4eba\u7c7b\u547d\u8fd0\u5171\u540c\u4f53\u201d\u8fd9\u4e00\u5177\u6709\u4e2d\u56fd\u7279\u8272\u7684\u8868\u8ff0\uff08\u5bf9\u5e94<\/p>\n

\u539f\u6587\u201c\u6211\u4eec\u90fd\u662f\u8fb9\u5883\u7ebf\u4e0a\u7684\u96be\u6c11\u201d\uff09\uff0c\u8fd9\u4e0d\u662f\u7b80\u5355\u7684\u653f\u6cbb\u9644\u548c\uff0c\u800c\u662f\u8bd1\u8005\u8bd5\u56fe\u5728\u4e0d\u540c\u6587\u660e\u8bed\u5883\u4e2d\u5bfb\u627e\u6700\u5927\u516c<\/p>\n

\u7ea6\u6570\u7684\u4e00\u79cd\u5c1d\u8bd5\u3002<\/p>\n

\u8bd7\u6b4c\u5f62\u5f0f\u7684\u97f5\u5f8b\u518d\u9020\u4f53\u73b0\u4e86\u8bd1\u8005\u5bf9\u8bd7\u6b4c\u672c\u8d28\u7684\u6df1\u523b\u628a\u63e1\u3002\u539f\u8bd7\u867d\u4e3a\u81ea\u7531\u8bd7\u4f53\uff0c\u4f46\u91cd\u97f3\u8282\u594f\u548c\u5143\u97f3\u548c\u8c10\u7684<\/p>\n

\u57fa\u672c\u5c5e\u6027\u4ecd\u6784\u6210\u4e86\u6f5c\u5728\u7684\u97f3\u4e50\u6027\u3002\u5982\u4f55\u5728\u6c49\u8bed\u8fd9\u79cd\u58f0\u8c03\u8bed\u8a00\u4e2d\u91cd\u73b0\u8fd9\u79cd\u97f3\u4e50\u6027\uff1f\u6211\u7684\u89e3\u51b3\u65b9\u6848\u662f\u201c\u4ee5\u987f\u4ee3\u6b65\uff0c<\/p>\n

\u4ee5\u97f5\u8865\u5f62\u201d\uff1a\u5c06\u91cd\u97f3\u5355\u4f4d\u8f6c\u5316\u4e3a\u6c49\u8bed\u7684\u201c\u987f\u201d\uff08\u8bf5\u8bfb\u65f6\u7684\u81ea\u7136\u505c\u987f\uff09\uff0c\u540c\u65f6\u5728\u4fdd\u6301\u8bd7\u610f\u6d41\u52a8\u7684\u524d\u4e0b\uff0c\u9002\u5ea6<\/p>\n

\u8fd0\u7528\u5c3e\u97f5\u548c\u5185\u97f5\u3002\u5982\u201c\u5149\u7a7f\u8fc7\u5f39\u5b54\/\u50cf\u4e0a\u5e1d\u7684\u624b\u6307\/\u5728\u6e05\u70b9\u6b7b\u8005\u540d\u5355\u201d\uff0c\u901a\u8fc7\u201c\u6307\u201d\u4e0e\u201c\u5355\u201d\u7684\u62bc\u97f5\uff08\u5747\u5c5e\u6c49<\/p>\n

\u8bed\u201c\u4e2d\u4e1c\u8f99\u201d\uff09\uff0c\u5728\u4e0d\u7834\u574f\u539f\u8bd7\u51b7\u5cfb\u8bed\u8c03\u7684\u540c\u65f6\uff0c\u8d4b\u4e88\u4e2d\u6587\u8bfb\u8005\u4ee5\u542c\u89c9\u7f8e\u611f\u3002\u8fd9\u79cd\u5904\u7406\u8bd5\u56fe\u907f\u514d\u81ea\u7531\u8bd7\u7ffb\u8bd1<\/p>\n

\u4e2d\u5e38\u89c1\u7684\u6563\u6587\u5316\u503e\u5411\uff0c\u5c3d\u91cf\u4f7f\u8bd1\u8bd7\u4fdd\u6301\u8bd7\u6b4c\u5e94\u6709\u7684\u5f62\u5f0f\u5f20\u529b\u3002<\/p>\n

\u9c81\u8fc5\u5728\u300a\u4e14\u4ecb\u4ead\u6742\u6587\u4e8c\u96c6\u00b7\u9898\u672a\u5b9a\u8349\u300b\u4e2d\u8bf4\u8fc7\uff1a\u201c\u51e1\u662f\u7ffb\u8bd1\uff0c\u5fc5\u987b\u517c\u987e\u7740\u4e24\u9762\uff0c\u4e00\u5f53\u5c3d\u529b\u6c42\u5176\u6613\u89e3\uff0c\u4e00<\/p>\n

\u5219\u4fdd\u5b58\u7740\u539f\u4f5c\u7684\u4e30\u59ff\u201d\u3002\u6070\u5f53\u7684\u5f02\u5316\u662f\u6700\u5927\u5316\u4fdd\u7559\u539f\u8bd7\u97f5\u5473\u4e0e\u7f8e\u611f\u7684\u6700\u597d\u65b9\u6cd5\u3002\u82f1\u6587\u7248\u672c\u7684\u8bd7\u96c6\u4e2d\u4ecd\u4fdd\u7559\u4e86<\/p>\n

\u963f\u5c14\u5df4\u5c3c\u4e9a\u8bed\u8bd7\u6b4c\u4e2d\u201c\u610f\u8c61\u53e0\u52a0\u201d\u7684\u7279\u5f81\uff0c\u5982\u201c\u6bcd\u4eb2\u7684\u773c\u6cea\u662f\u672a\u7206\u5f39\/\u57cb\u5728\u7ae5\u5e74\u7684\u540e\u9662\u201d\uff0c\u4e24\u4e2a\u5f3a\u89c6\u89c9\u610f\u8c61\u7684<\/p>\n

\u76f4\u63a5\u5e76\u7f6e\u4ea7\u751f\u5de8\u5927\u60c5\u611f\u51b2\u51fb\u529b\u3002\u6211\u5728\u7ffb\u8bd1\u65f6\uff0c\u4e0d\u4ec5\u4fdd\u7559\u4e86\u6838\u5fc3\u610f\u8c61\uff0c\u66f4\u901a\u8fc7\u6c49\u8bed\u7279\u6709\u7684\u201c\u610f\u5408\u201d\u4f18\u52bf\u5f3a\u5316\u4e86<\/p>\n

\u610f\u8c61\u95f4\u7684\u5f20\u529b\u2014\u2014<\/span>\u5c06\u539f\u6587\u7684\u201c\u6bcd\u4eb2\u7684\u773c\u6cea\u50cf\u672a\u7206\u5f39\uff0c\u5b83\u88ab\u57cb\u5728\u7ae5\u5e74\u7684\u540e\u9662\u201d\u8bd1\u4e3a\u201c\u6bcd\u4eb2\u7684\u773c\u6cea\u662f\u672a\u7206\u5f39\/\u57cb\u5728<\/p>\n

\u7ae5\u5e74\u7684\u540e\u9662\u201d\uff0c\u5220\u9664\u8fde\u63a5\u8bcd\u201c\u50cf\u201d\u548c\u201c\u5b83\u201d\uff0c\u4f7f\u4e24\u4e2a\u610f\u8c61\u5728\u8bd7\u884c\u65ad\u88c2\u5904\u5f62\u6210\u66f4\u5f3a\u70c8\u7684\u78b0\u649e\u3002\u8fd9\u79cd\u201c\u51cf\u6cd5\u7ffb\u8bd1\u201d<\/p>\n

\u4f53\u73b0\u8bd1\u8005\u5bf9\u6c49\u8bed\u8bd7\u6b4c\u7f8e\u5b66\u7684\u6df1\u523b\u7406\u89e3\u2014\u2014<\/span>\u6b63\u5982\u4e2d\u56fd\u73b0\u4ee3\u8457\u540d\u4f5c\u5bb6\u3001\u8bd7\u4eba\u51af\u6587\u70b3\u6240\u8a00\uff1a\u201c\u8bd7\u7684\u5185\u5bb9\u5c31\u662f\u8bd7\u7684\u5f62<\/p>\n

\u5f0f\u201d\uff0c\u5f53\u8bed\u8a00\u5f62\u5f0f\u672c\u8eab\u6210\u4e3a\u610f\u4e49\u7684\u4e00\u90e8\u5206\u65f6\uff0c\u7ffb\u8bd1\u4e2d\u7684\u5f62\u5f0f\u8f6c\u6362\u5373\u662f\u5185\u5bb9\u7684\u518d\u521b\u9020\u3002\u62bd\u8c61\u6982\u5ff5\u7684\u4eba\u683c\u5316\u79fb\u690d<\/p>\n

\u6784\u6210\u4e86\u8bd1\u8bd7\u96c6\u6700\u5177\u521b\u9020\u6027\u7684\u7ffb\u8bd1\u7b56\u7565\u3002\u539f\u8bd7\u5927\u91cf\u4f7f\u7528\u201c\u7406\u6027\u592b\u4eba\u201d<\/p>\n

\u3001<\/p>\n

\u201c\u81ea\u7531\u5728\u8bfb\u6211\u201d\u8fd9\u7c7b\u62df\u4eba\u5316\u8868\u8fbe\uff0c\u5c06\u62bd<\/p>\n

\u8c61\u6982\u5ff5\u8f6c\u5316\u4e3a\u5177\u6709\u884c\u52a8\u80fd\u529b\u7684\u4e3b\u4f53\uff0c\u8fd9\u79cd\u8868\u8fbe\u7684\u8bd7\u5b66\u4ef7\u503c\uff0c\u9700\u8981\u5728\u7ffb\u8bd1\u4e2d\u5b8c\u6574\u4fdd\u7559\uff0c\u5e76\u901a\u8fc7\u6c49\u8bed\u7684\u8868\u8fbe\u7279\u6027<\/p>\n

\u5f3a\u5316\u5176\u620f\u5267\u5f20\u529b\u3002\u5982\u5c06\u201cReason<\/span>\u201d\u8bd1\u4e3a\u201c\u7406\u6027\u592b\u4eba\u201d\u800c\u975e\u4e2d\u6027\u7684\u201c\u7406\u6027\u201d\uff0c\u901a\u8fc7\u201c\u592b\u4eba\u201d\u8fd9\u4e00\u79f0\u547c\u8d4b\u4e88\u6982\u5ff5<\/p>\n

\u4ee5\u6027\u522b\u7279\u5f81\u548c\u793e\u4f1a\u8eab\u4efd\uff0c\u65e2\u547c\u5e94\u539f\u8bd7\u5bf9\u542f\u8499\u7406\u6027\u7684\u6027\u522b\u5316\u6279\u5224\uff0c\u53c8\u53ef\u6697\u5408\u6c49\u8bed\u6587\u5316\u4e2d\u201c\u62df\u4eba\u5316\u201d\u7684\u601d\u7ef4\u4f20\u7edf\uff08\u5982\u201c\u5929\u516c\u201d<\/p>\n

\u3001<\/p>\n

\u201c\u6708\u8001\u201d\uff09\u3002\u201cFreedom is reading me<\/span>\u201d\u7684\u5904\u7406\u2014\u2014<\/span>\u8bd1\u8005\u5c06\u5176\u8bd1\u4e3a\u201c\u81ea\u7531\u5728\u8bfb\u6211\u201d\uff0c\u901a\u8fc7\u8bed\u5e8f<\/p>\n

\u98a0\u5012\u5236\u9020\u51fa\u4e3b\u5ba2\u6613\u4f4d\u7684\u964c\u751f\u611f\uff0c\u8fd9\u79cd\u964c\u751f\u5316\u5904\u7406\u8feb\u4f7f\u8bfb\u8005\u91cd\u65b0\u601d\u8003\u81ea\u7531\u4e0e\u4e2a\u4f53\u7684\u5173\u7cfb\uff1a\u5f53\u81ea\u7531\u6210\u4e3a\u5ba1\u89c6\u8005\u800c<\/p>\n

\u4eba\u6210\u4e3a\u88ab\u5ba1\u89c6\u5bf9\u8c61\u65f6\uff0c\u6211\u4eec\u6240\u8ffd\u6c42\u7684\u7a76\u7adf\u662f\u4f55\u79cd\u81ea\u7531\uff1f\u8fd9\u79cd\u7ffb\u8bd1\u7b56\u7565\u53ef\u4ee5\u7f6e\u4e8e\u7f57\u66fc\u00b7\u96c5\u53ef\u5e03\u68ee\uff08Roman<\/span><\/p>\n

Jakobson<\/span>\uff09\u7684\u201c\u7ffb\u8bd1\u4e09\u5206\u6cd5\u201d\u6846\u67b6\u4e0b\u5ba1\u89c6\u3002\u96c5\u53ef\u5e03\u68ee\u5c06\u7ffb\u8bd1\u5206\u4e3a\u8bed\u5185\u7ffb\u8bd1\u3001\u8bed\u9645\u7ffb\u8bd1\u548c\u7b26\u9645\u7ffb\u8bd1\uff0c\u5728\u8bed\u8a00\u5c42\u9762<\/p>\n

\uff08\u8bed\u9645\u7ffb\u8bd1\uff09\u5b9e\u73b0\u8bed\u4e49\u8f6c\u6362\uff0c\u5728\u6587\u5316\u5c42\u9762\uff08\u7b26\u9645\u7ffb\u8bd1\uff09\u5b8c\u6210\u610f\u8c61\u91cd\u6784\uff0c\u5728\u8bd7\u6b4c\u4f20\u7edf\u5c42\u9762\uff08\u8bed\u5185\u7ffb\u8bd1\uff09\u547c\u5e94\u4e2d<\/p>\n

\u56fd\u73b0\u4ee3\u8bd7\u6b4c\u7684\u63a2\u7d22\u3002<\/p>\n

\u52d2\u83f2\u5f17\u5c14\u6307\u51fa\uff0c\u7ffb\u8bd1\u603b\u662f\u5728\u7279\u5b9a\u7684\u610f\u8bc6\u5f62\u6001\u548c\u8bd7\u5b66\u89c4\u8303\u5f71\u54cd\u4e0b\u8fdb\u884c\u7684\u201c\u6539\u5199\u201d\uff0c\u8bd1\u8005\u4e0d\u53ef\u907f\u514d\u5730\u4f1a\u5bf9\u539f<\/p>\n

\u4f5c\u8fdb\u884c\u79cd\u7a0b\u5ea6\u7684\u201c\u64cd\u7eb5\u201d\u4ee5\u4f7f\u5176\u7b26\u5408\u76ee\u6807\u6587\u5316\u7684\u4e3b\u6d41\u4ef7\u503c\u89c2\u3002\u53d7\u5230\u8fd9\u4e00\u7406\u8bba\u7684\u542f\u53d1\uff0c\u5728\u610f\u8bc6\u5f62\u6001\u5c42\u9762\uff0c\u6211<\/p>\n

\u6ce8\u610f\u5f3a\u5316\u539f\u4f5c\u4e2d\u7684\u201c\u548c\u5e73\u201d<\/p>\n

\u3001<\/p>\n

\u201c\u53cd\u6218\u201d\u4e3b\u9898\uff0c\u76f8\u5e94\u5730\uff0c\u5f31\u5316\u53ef\u80fd\u5f15\u8d77\u4e89\u8bae\u7684\u5177\u4f53\u653f\u6cbb\u6307\u6d89\uff0c\u8fd9\u79cd\u9009\u62e9\u65e2\u547c\u5e94<\/p>\n

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\u955c\u9274\u3002<\/p>\n

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Afterword to the Translation By Yu Xia When the morning mist of the Balkans drifts across the Kosovo Plain, and the waters of the Drin River wash over the pebbles of war and memory, an Albanian poet inscribes reflections on trauma and redemption on the page in English. These simple yet soul-stirring verses made me […]<\/p>","protected":false},"author":8,"featured_media":5655,"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":[171,166],"tags":[327,263,326],"book_author":[],"book_publisher":[325],"acf":[],"_links":{"self":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/5654"}],"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=5654"}],"version-history":[{"count":4,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/5654\/revisions"}],"predecessor-version":[{"id":5659,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/posts\/5654\/revisions\/5659"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media\/5655"}],"wp:attachment":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media?parent=5654"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/categories?post=5654"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/tags?post=5654"},{"taxonomy":"book_author","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_author?post=5654"},{"taxonomy":"book_publisher","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_publisher?post=5654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}