Parathenie<\/b><\/p>\n
MIDIS HIJES DHE DRIT\u00cbS: NJ\u00cb RRUG\u00cbTIM <\/b>POETIKE N\u00cbP\u00cbR BOT\u00cbN E COP\u00cbZUAR T\u00cb <\/b>MARILYN MONROE<\/b><\/p>\n
Nga Prof. Jeton Kelmendi PhD<\/i><\/b><\/p>\n
Libri “Bloody Mary: Filmi rrugor p\u00ebr Marilyn Monroe”<\/i> i poetit t\u00eb njohur belg Eric Brogniet \u00ebsht\u00eb nj\u00eb akt poetik i<\/p>\n
jasht\u00ebzakonsh\u00ebm, nj\u00eb odise e thell\u00eb p\u00ebrmes drit\u00ebs dhe err\u00ebsir\u00ebs, jet\u00ebs dhe vdekjes, iluzionit dhe shkat\u00ebrrimit. Me nj\u00eb mjesht\u00ebri t\u00eb holl\u00eb gjuh\u00ebsore dhe nj\u00eb ndjeshm\u00ebri t\u00eb rrall\u00eb p\u00ebr tragjizmin njer\u00ebzor, Brogniet nd\u00ebrton nj\u00eb portret t\u00eb fragmentuar dhe nj\u00ebkoh\u00ebsisht sublime t\u00eb figur\u00ebs ikonike t\u00eb Marilyn Monroe \u2013 jo vet\u00ebm si personazh publik, por si simbol i nj\u00eb bote q\u00eb konsumon, zbraz dhe p\u00ebrfundimisht shkat\u00ebrrohet nga vetja.<\/p>\n
Tematika dhe konteksti poetik<\/b><\/p>\n
N\u00eb qend\u00ebr t\u00eb k\u00ebsaj vepre q\u00ebndron ideja e dyzimit<\/i><\/b>: n\u00ebnd\u00ebrmjet realitetit dhe imazhit, jet\u00ebs s\u00eb brendshme dhe mask\u00ebs publike, rritjes s\u00eb brisht\u00eb dhe shkat\u00ebrrimit t\u00eb paracaktuar. Brogniet eksploron Marilyn-in si nj\u00eb figur\u00eb q\u00eb mish\u00ebron t\u00eb gjith\u00eb paradoksin e epok\u00ebs moderne: dashurin\u00eb dhe p\u00ebrbuzjen p\u00ebr fam\u00ebn, d\u00ebshir\u00ebn p\u00ebr t\u00eb jetuar dhe magnetizmin e vdekjes. Kjo \u00ebsht\u00eb m\u00eb shum\u00eb se nj\u00eb elegji p\u00ebr nj\u00eb ikon\u00eb t\u00eb humbur; \u00ebsht\u00eb nj\u00eb reflektim mbi nj\u00eb shoq\u00ebri q\u00eb krijon \u00ebndrra p\u00ebr t\u2019i shkat\u00ebrruar ato. Ky kontekst poetik \u00ebsht\u00eb i nd\u00ebrthurur mjesht\u00ebrisht me elemente mitike, si legjenda urbane e “Bloody Mary” dhe mitologjia personale e Marilyn Monroe. Me nj\u00eb frym\u00ebzim t\u00eb thell\u00eb nga rr\u00ebfenjat e qyteteve moderne dhe mrekullit\u00eb e trilluara t\u00eb fam\u00ebs, Brogniet e zhvendos lexuesin n\u00eb nj\u00eb territor ku hije dhe drit\u00eb, mirazhe dhe rr\u00ebnime, k\u00ebrcejn\u00eb bashk\u00eb n\u00eb k\u00ebng\u00ebn e fundit t\u00eb nj\u00eb ylli t\u00eb per\u00ebnduar.<\/p>\n
Stili dhe qasja poetike<\/b><\/p>\n
Stili i Eric Brogniet \u00ebsht\u00eb tejet vizual dhe i ngarkuar me imazhe kinematografike.<\/b> Poezia rrjedh si nj\u00eb film, ku dritat vezullojn\u00eb mbi fustanet e bardha, pasqyrat thyejn\u00eb realitetin dhe figura e Marilyn-it shfaqet e cop\u00ebzuar, her\u00eb si shenjtore, her\u00eb si viktim\u00eb, her\u00eb si hije q\u00eb endet n\u00ebp\u00ebr rrug\u00ebt e vetmis\u00eb. Gjuha \u00ebsht\u00eb e mbushur me metafora t\u00eb fuqishme, ku ndri\u00e7imi dhe err\u00ebsira nuk jan\u00eb vet\u00ebm elemente natyrore, por gjendje shpirt\u00ebrore dhe reflektime filozofike. Brogniet p\u00ebrmban nj\u00eb ton melankolik dhe nj\u00eb rit\u00ebm t\u00eb ngadalt\u00eb, thuajse meditativ, i cili \u00ebsht\u00eb thelb\u00ebsor p\u00ebr t\u00eb shprehur d\u00ebshp\u00ebrimin dhe nj\u00ebkoh\u00ebsisht hijeshin\u00eb e pashmangshme t\u00eb k\u00ebsaj tragjedie moderne. Teksti i tij \u00ebsht\u00eb si nj\u00eb rr\u00ebfim psikanalitik, ku poetika b\u00ebhet mjet eksplorimi i plag\u00ebve t\u00eb padukshme t\u00eb shpirtit. K\u00ebsi soji autori nd\u00ebrton tekstet e shkurtra me p\u00ebrmbushje kuptimore, pa e tepruar n\u00eb asnj\u00eb moment, por duke plot\u00ebsuar me plot\u00ebsisht mendimet me q\u00ebllimet q\u00eb i ka p\u00ebr tekstet poetike. \u00c7do pasazh i Brogniet \u00ebsht\u00eb i ngarkuar me nj\u00eb kujdes t\u00eb thell\u00eb kuptimor. Ai nuk n\u00ebnvler\u00ebson asnj\u00eb element t\u00eb jet\u00ebs s\u00eb Monroe-s: as vetmin\u00eb, as dhimbjen, as iluzionet e fam\u00ebs. P\u00ebrkundrazi, \u00e7do fragment i jet\u00ebs s\u00eb saj shfaqet si nj\u00eb drit\u00eb dhe nj\u00eb hije q\u00eb ndri\u00e7ojn\u00eb tragjedin\u00eb universale t\u00eb njeriut modern. Eric Brogniet \u00ebsht\u00eb gjithashtu i kujdessh\u00ebm n\u00eb respektin ndaj figur\u00ebs s\u00eb Marilyn Monroe: ai nuk bie n\u00eb grack\u00ebn e thjesht\u00ebsimit ose shfryt\u00ebzimit melodramatik. Figura e saj, n\u00eb vend q\u00eb t\u00eb p\u00ebrkthehet n\u00eb nj\u00eb objekt mall\u00ebngjyes ose erotik, transformohet n\u00eb nj\u00eb ikon\u00eb t\u00eb tragjizmit universal.<\/p>\n
Estetika e dekadenc\u00ebs dhe shpresa e d\u00ebshtuar<\/b><\/p>\n
Brogniet e paraqet Marilyn-in si simbol t\u00eb nj\u00eb dekadence t\u00eb njohur dhe t\u00eb pranuar: nj\u00eb bot\u00eb ku bukuria \u00ebsht\u00eb nj\u00eb mall konsumi dhe ku nd\u00ebrrimi i vlerave \u00ebsht\u00eb i pashmangsh\u00ebm. Brenda k\u00ebtij peizazhi dekadent, shpresa shfaqet si nj\u00eb flak\u00eb e shuar q\u00eb vezullon p\u00ebr nj\u00eb \u00e7ast vet\u00ebm p\u00ebr t\u2019u zhdukur. Poezit\u00eb mbajn\u00eb n\u00eb vetvete nuancat e nj\u00eb epoke t\u00eb shkat\u00ebrrimit estetik, ku gjith\u00e7ka \u2013 qoft\u00eb e bukur apo e trishtuar – shnd\u00ebrrohet n\u00eb zbraz\u00ebti dhe harres\u00eb.<\/p>\n
Miti personal si struktur\u00eb narrative<\/b><\/p>\n
N\u00eb universin poetik t\u00eb Eric Brogniet, Marilyn Monroe nuk paraqitet thjesht si nj\u00eb figur\u00eb ikonike e kultur\u00ebs popullore, por si nj\u00eb mit personal i thelluar dhe i shum\u00ebdimensionuar. Si Norma Jeane Mortenson, ajo \u00ebsht\u00eb paraqitur jo vet\u00ebm si viktim\u00eb e fam\u00ebs, por edhe si nj\u00eb simbol i p\u00ebrpjekjes s\u00eb p\u00ebrjetshme p\u00ebr t\u00eb gjetur identitetin dhe dashurin\u00eb n\u00eb nj\u00eb bot\u00eb q\u00eb vazhdimisht e deformon dhe e konsumon individin. N\u00eb vargjet e Brogniet, historia individuale e Monroe-s nd\u00ebrtohet si nj\u00eb struktur\u00eb narrative, mbi t\u00eb cil\u00ebn ngrihet miti modern i r\u00ebnies, i \u00ebndrrave t\u00eb pamundura dhe i luft\u00ebs s\u00eb kot\u00eb p\u00ebr vet\u00eb-shp\u00ebtim. Poeti e trajton Marilyn-in si nj\u00eb heroin\u00eb tragjike t\u00eb koh\u00ebve tona, ku bukuria, n\u00eb vend q\u00eb t\u00eb shp\u00ebrblej\u00eb, b\u00ebhet burim izolimi dhe vetmie. Ajo kalon nga nj\u00eb \u00ebnd\u00ebrr e ndritshme n\u00eb nj\u00eb makth t\u00eb zymt\u00eb, ku identiteti i v\u00ebrtet\u00eb humbet n\u00ebn shtresat e roleve t\u00eb imponuara dhe t\u00eb imazheve t\u00eb fabrikimit kolektiv. \u00c7do moment i jet\u00ebs s\u00eb saj poetizohet si nj\u00eb hap drejt nj\u00eb fundi t\u00eb pashmangsh\u00ebm, duke theksuar se rr\u00ebnimi i saj nuk ishte vet\u00ebm personal, por nj\u00eb pasqyr\u00eb e dekadenc\u00ebs dhe brutalitetit t\u00eb nj\u00eb shoq\u00ebrie t\u00eb t\u00ebr\u00eb. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, Brogniet nuk na jep thjesht nj\u00eb histori mbi nj\u00eb grua t\u00eb njohur; ai na sjell nj\u00eb mit t\u00eb ri p\u00ebr koh\u00ebn ton\u00eb, ku figura e Marilyn-it b\u00ebhet metafor\u00eb e ekzistenc\u00ebs s\u00eb njeriut bashk\u00ebkohor: e bukur, e vetmuar, e zhg\u00ebnjyer dhe, n\u00eb fund, e mposhtur. Poezia e tij, p\u00ebrmes k\u00ebtij miti personal, i jep nj\u00eb p\u00ebrmas\u00eb t\u00eb thell\u00eb njer\u00ebzore dhe filozofike jet\u00ebs s\u00eb saj, duke e shnd\u00ebrruar at\u00eb n\u00eb nj\u00eb rr\u00ebfim universal p\u00ebr tragjedin\u00eb e njeriut q\u00eb k\u00ebrkon drit\u00eb n\u00eb nj\u00eb bot\u00eb q\u00eb shkat\u00ebrron gjith\u00e7ka q\u00eb ndri\u00e7on.<\/p>\n
Fjala poetike si akt shpengimi<\/b><\/p>\n
Poetika e Brogniet nuk \u00ebsht\u00eb thjesht rr\u00ebfim \u2013 ajo \u00ebsht\u00eb nj\u00eb akt shpengimi. N\u00eb nj\u00eb bot\u00eb ku \u00e7do imazh konsumohet, harrohet dhe z\u00ebvend\u00ebsohet, fjala poetike vjen si nj\u00eb form\u00eb rebelimi kund\u00ebr k\u00ebsaj harrese t\u00eb pashpirt. Eric Brogniet, n\u00eb “Bloody Mary”<\/i>, nuk thjesht p\u00ebrshkruan rrug\u00ebtimin e r\u00ebnies s\u00eb Marilyn Monroe; ai e rikthen at\u00eb n\u00eb nj\u00eb dimension t\u00eb shenjt\u00eb, ku dhimbja, bukuria dhe tragjedia fitojn\u00eb nj\u00eb kuptim t\u00eb ri p\u00ebrtej p\u00ebrdorimit t\u00eb tyre t\u00eb zakonsh\u00ebm mediatik. N\u00eb vargjet e tij, fjala b\u00ebhet nj\u00eb akt i ngjash\u00ebm me nj\u00eb rit shp\u00ebtimi: ajo p\u00ebrpiqet t\u00eb kap\u00eb dhe t\u00eb ruaj\u00eb fragmentet e shpirtit t\u00eb cop\u00ebzuar t\u00eb nj\u00eb qenieje t\u00eb brisht\u00eb, t\u00eb p\u00ebrdorur dhe t\u00eb keqkuptuar. N\u00eb k\u00ebt\u00eb p\u00ebrpjekje, Brogniet arrin t\u00eb krijoj\u00eb nj\u00eb hap\u00ebsir\u00eb ku Marilyn – dhe n\u00ebp\u00ebrmjet saj, \u00e7do qenie e plagosur nga koha dhe shoq\u00ebria – mund t\u00eb marr\u00eb form\u00eb t\u00eb re, t\u00eb \u00e7liruar nga stereotipat, nga shfryt\u00ebzimi dhe nga heshtja. Fjala poetike, n\u00eb k\u00ebt\u00eb kontekst, nuk \u00ebsht\u00eb as mburoj\u00eb dhe as thjesht dokumentim. Ajo \u00ebsht\u00eb nj\u00eb mjet nd\u00ebrmjet\u00ebsimi midis asaj q\u00eb \u00ebsht\u00eb humbur dhe asaj q\u00eb mund t\u00eb shp\u00ebtohet. \u00cbsht\u00eb nj\u00eb dor\u00eb e shtrir\u00eb drejt nj\u00eb shpirti n\u00eb ikje, nj\u00eb p\u00ebrpjekje p\u00ebr t\u00eb ruajtur esenc\u00ebn njer\u00ebzore q\u00eb q\u00ebndron p\u00ebrtej fam\u00ebs, p\u00ebrtej projeksioneve kolektive dhe p\u00ebrtej tragjedis\u00eb s\u00eb shp\u00ebrfaqur n\u00eb skenat publike. N\u00eb duart e Brogniet, poezia merr rolin e nj\u00eb Orfeu modern, q\u00eb zbrit n\u00eb err\u00ebsir\u00ebn e harres\u00ebs p\u00ebr t\u00eb rikthyer nj\u00eb pasuri t\u00eb \u00e7muar: jo trupin e Monroe-s, as imazhin e saj, por at\u00eb ndjeshm\u00ebri t\u00eb brendshme q\u00eb e b\u00ebri at\u00eb njer\u00ebzore dhe universale. Dhe ndon\u00ebse shpengimi nuk \u00ebsht\u00eb i plot\u00eb \u2013 sepse vdekja dhe harresa jan\u00eb gjithmon\u00eb pran\u00eb \u2013 akti vet\u00eb i p\u00ebrpjekjes p\u00ebr t\u00eb shp\u00ebtuar p\u00ebrmes fjal\u00ebs b\u00ebhet nj\u00eb d\u00ebshmi e fuqis\u00eb s\u00eb artit: q\u00eb t’i jap\u00eb z\u00eb t\u00eb pafundmes brenda t\u00eb p\u00ebrkohshmes. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, “Bloody Mary”<\/i> nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb homazh p\u00ebr nj\u00eb yll t\u00eb r\u00ebn\u00eb, por nj\u00eb akt poetik q\u00eb mbron t\u00eb pambrojtshmen, q\u00eb ndri\u00e7on at\u00eb q\u00eb koha p\u00ebrpiqet t\u00eb zhduk\u00eb.<\/p>\n
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Prishtin\u00eb me 15 prill 2025.<\/i><\/p>","protected":false},"excerpt":{"rendered":"
Eric Brogniet<\/i><\/b> est n\u00e9 \u00e0 Ciney (Belgique) en 1956. Il a<\/i><\/p>\n
publi\u00e9 une vingtaine de livres de po\u00e9sie, des essais et<\/i><\/p>\n
de nombreux textes critiques. Il a fond\u00e9 et dirig\u00e9 la<\/i><\/p>\n
revue Sources (Namur, 1987-2014). Il a \u00e9t\u00e9 \u00e9lu \u00e0<\/i><\/p>\n
l\u2019Acad\u00e9mie Royale de Langue et de Litt\u00e9rature<\/i><\/p>\n
fran\u00e7aises de Belgique en 2010 : il y succ\u00e8de au po\u00e8te<\/i><\/p>\n
Fernand Verhesen.<\/i><\/p>\n
Eric Brogniet<\/i><\/b> u lind n\u00eb Ciney (Belgjik\u00eb) n\u00eb vitin 1956.<\/i><\/p>\n
Ai ka publikuar rreth nj\u00ebzet libra poezie, ese dhe shum\u00eb<\/i><\/p>\n
tekste kritike. Ai ka themeluar dhe drejtuar revist\u00ebn<\/i><\/p>\n
Sources (Namur, 1987-2014). N\u00eb vitin 2010, ai u<\/i><\/p>\n
zgjodh n\u00eb Akademin\u00eb Mbret\u00ebrore t\u00eb Gjuh\u00ebs dhe<\/i><\/p>\n
Let\u00ebrsis\u00eb Fr\u00ebnge t\u00eb Belgjik\u00ebs, ku pasoi poetin Fernand<\/i><\/p>\n
Verhesen.<\/i><\/p>","protected":false},"featured_media":5521,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0},"product_cat":[82],"product_tag":[257],"book_author":[289,226],"book_publisher":[186],"acf":[],"_links":{"self":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/product\/5519"}],"collection":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/comments?post=5519"}],"version-history":[{"count":1,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/product\/5519\/revisions"}],"predecessor-version":[{"id":5523,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/product\/5519\/revisions\/5523"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media\/5521"}],"wp:attachment":[{"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/media?parent=5519"}],"wp:term":[{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/product_cat?post=5519"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/product_tag?post=5519"},{"taxonomy":"book_author","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_author?post=5519"},{"taxonomy":"book_publisher","embeddable":true,"href":"https:\/\/www.iwabogdani.org\/sq\/wp-json\/wp\/v2\/book_publisher?post=5519"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}