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DASHURIA E PLOTË E NJË LIRIKE ARBËRESHE
Review of: Zef Chiaramonte, Vulë uji -Marca d’acqua: poesie, Palermo: Nuova Ipsa, 2015
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Review of: Zef Chiaramonte, Vulë uji -Marca d’acqua: poesie, Palermo: Nuova Ipsa, 2015
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In this paper, initially delivered as a lecture, I dwell on the universal value of teaching literature at the University, drawing on my own experience as a writer and literary scholar, as well as student and professor, having studied in Kosovo, Croatia, and France, and taught in Kosovo and Albania. I advance the idea of generating a scholarship and not developing a doctrine as the province of teaching literature. The literature curriculum – and indeed the teaching of literature – is all the more significant in the Albanian literary environment, because in this culture literature has for a long time underpinned knowledge in the fields of history and the humanities in general. The teaching of literature/lecturing on literature aims at instruction on the reading and the writing of literature, that is teaching literary reading and writing. This leads to a writerly reading and a readerly writing, and ultimately generates the pleasure of lecturing on/about literature and the pleasure of writing/reading literature. I argue in the talk/paper that experienced and trained readers and lecturers of literature generate their universal and universalizing theories through the close study of masterpieces of their national literatures, e.g. the Russian scholar Mikhail Bakhtin through Dostoyevsky’s fiction, French scholars Roland Barthes and Gérard Genette through Proust (In Search of Lost Time) and other French writers, Ibrahim Rugova, anAlbanian scholar from Kosovo, through Pjetër Bogdani’s work, and his colleague Rexhep Qosja through Naim Frashëri’s oeuvre. The concluding part of the paper draws on my experience as a University professor of literature in Kosovo, including during the 1990s, when the Albanian-language University of Prishtina operated in exacting circumstances, as an underground university, in the Serbian-occupied country.
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The presentation has to do with the analysis of the artistic literary reality and the moral value in the works of Fatos Kongolli. New valuable and characteristic features are highlighted, about the language, ideological integrity and the way of expression on the moral longevity of this author’s works. In the works of Kongolli, the interior way of the conceptual and constructive way incorporate the living being of the inner world of a random human’s life and nuances of his spiritual world’s features. The time events throughout the work of such creator with moral and high consciousness are reflected through the feelings of the Albanian man as a sensitive being with values of the inner human world. This proves that many literary writers from Albania, Kosova and elsewhere have survived as such through works with aesthetic value. Fatos Kongolli says that the time is a moral value, while the creator’s life has been experienced only as a person or as a creator. The moral and artistic values in the works of Kongolli are sensitive and quite distinctive, just like the sunlight, to be distinctive by their features and timing. Some of his novels have genuinely faced with the grief and the reality of their artistic and literary values. It is noted that his prose has an inseparable moral relationship even during the time of dictatorship. The creator feels the preoccupation of the reality of the novel with the writer as a creator, especially of the moral that has accompanied him. The author remains stoic, persistent, sustainable, by going to the literary scene to act and be sacrificed as a moralist with noble sentiments and intentions. Alongside the peculiar features that he expresses, through the emotional circumstance of the inner world, he expresses himself as a moral individual. The author remains a noble, imaginary and moral idealist. The reputation of his work turns into a creative and moral value.
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Social identities are created by interacting with the others so our identity or the identity of the group (us) if formed through the process of thinking about ourselves or about “us” in relation to “the others”. It is an egocentric or ethnocentric process, where I ‘we see things from our perspective and point out who are “the others” and who are “we”. Therefore “we” are not “them” and vice versa. Dichotomies based on sexual, racial, class, religious etc. categories, like “We” the men, “the others” women (Simeone de Beauvoir, “The second sex”) and “we” normal people, others, fool people as well (Michel Foucault, The history of stupidity / madness), Natives / Strangers, Occidentals / Orientals or Muslims (Said, The Orientalism), friends / enemies, The white people / The black people (Stuard Hall), heterosexuals / homosexuals (Foucault, The history of Sexuality), Albanian / Turkish - Asiatic (Sulstarova, The escape from the east) and other discussions as well. If in the national character poetry of Naim, the Turkish/Asiatic made “the other” of the Albanian, and was the symbol of his evil and backwardness, in the religious poetry of him, “Yazid” and his family are “the others” of the Bektashi Albanian, which was the ideal Albanian of Naim as well. In this script we aim to treat the concept of “Yazid” as the concept of “the other” in the religious poetry of Naim Frasheri.
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Iako Arbanasi spadaju u red najstarijih naroda na Baikanu i u Evropi, njihova je književnost relativno recentna. Ako izuzmemo prve pisane spomenike na arbanaskom — Božićno jevandjelje (XIII vek?), Formula krštenja (1462), rečnik Arnolda von Harff-a (1497) prva ozbiljnija delà pisana na arbanaskom imamo tek od sredine XVI veka -Trebnik Buzukov (1555), Dottrina Christiana Budi-ja (1618), Blankov rečnik (1635). Medjutim ni za ovu književnost se ne može reći da je prava književnost i da se prostire medju svim pokrajinama gde su živeli Arbanasi. O pravoj i opštearbanaskoj književnosti moći će se govoriti tek od perioda Nacionalnog preporoda, tj. od Prizrenske lige (1878) pa nadalje. [...]
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U promijenjenim uvjetima u kojima se znanost o književnosti našla s početka 21. stoljeća teorijsko je izučavanje prostora zauzelo jednu od centralnih uloga. Tzv. “turns”, kojima je Doris Bachmann-Medick posvetila čitavu studiju (Bachmann-Medick 2006), pomjerili su težište ispitivanja s filološkoga ka raznolikim područjima koja književnost kao ljudsku djelatnost pokušavaju ukotviti u diverzificiranim manifestacijama svijeta života što ih je nemogućno obuhvatiti klasičnim postupcima hermeneutičke ili strukturalne analize. U nizu obrata koje pod njihovim engleskim nazivljem nabraja Bachmann-Medickova jedan je od središnjih spatial turn, dakle prostorni.
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Hermann Ölberg, as an Indoeuropeanist, is interested in Albanian language mainly in the diachronic plane. He was attracted by the idea of reconstructing Albanian language of ancient times on its basic elements through the analysis of words originating from the Old Greek and Latin languages. He devoted many years of study to the Albanian language and managed to penetrate into the peculiar features of the historical development of its phonetics, grammar and vocabulary, as evidenced by his study Untersuchungen zum indogermanischen Wortschatz des Albanischen und zur diachronischen Phonologie auf Grund des Vokalsystems, as well as a range of other articles. At the same time he managed to learn to speak and write the Albanian language, became informed of the development path of the literary Albanian, of the circumstances for selection of dialectal basis and establishment of a standardized literary norm. Therefore his article titled Some thoughts on "unified language", according to Ardian Klosi the editor of the anthology Quo vadis, Shqipëri?, in which it is included, is “wonderfully written in Albanian language". For prof. H. Ölberg, who has always followed closely not only Albanian language studies but also political-social developments, it was expected that after the political turnaround of the late 1990s, the role of literary Gheg dialect to be overviewed again. The reason was the "Declaration" of the linguists of Shkodra (1992), published in the newspaper "Libertas" (3/1992, Tirana), which stated a new and different evaluation of the standard Albanian language and of the Congress of Orthography (November 1972). The insights of prof. Ölberg for the standard Albanian language expressed in his article ‘Some thoughts on "unified language"’ are of interest because, among other things, they bring similarities to German language.
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This paper deals with metaphorical names in Rexhep Qosja's novels. The aim is to highlight the contribution of R. Qosja for enrichment the semantics and stylistics of the Albanian Language with numerous meaning and with emotional and expressive coloration. R. Qosja, creator and scholar of literature, has used and created many metaphors with rare artistic abilities, which have expanded and enriched the semantics of the Albanian word, have significantly increased its meaning weight and emotional expression. Through the metaphors R. Qosja emerges various aspects of the material and human worlds, appropriate use of them unfolds numerous views, varying situations and states, proper characterizations. Nominal metaphors in R. Qosja's novels will be treated according to the main thematic fields.
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The study of Bajram Krasniqi’s “Contribution to the Typology of Contemporary Albanian Prose”, written in 1980 and initially published on the journal “Gjurmime Albanologjike” (Albanological Researches), No XI, 1982, is a scientific product of a young author who, nevertheless, greatly excels among his contemporaries for a formed theoretical-literary and historical-literary consciousness. His assessments in many regards are distinct from what commonly could be read at the time, when interpretation of literature and arts was primarily led by ideological criteria. The study at the time of publication marked a completely new approach and it was a synthesis of a long time period of Albanian prose. Beyond that, the values of this study are of great significance to the typology of Albanian prose and present valid conclusions for our contemporary literary studies. His theoretical knowledge, numerous references and proven scientific arguments render this study as a valuable written contributions by Bajram Krasniqi.
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The linguistic destruction of the texts of Ali Aliu, Sabri Hamiti, Behar Gjoka, Bajram Kosumi, etc., which would enable Albanian language return to its natural course, would be the best way to see these texts in true light. Books as “Don Kishoti te shqiptarët” by Ali Aliu, “Letërsia nga burgu” by Bajram Kosumi, “Sistemi letrar piramidal” by Behar Gjoka, a couple of books by Sabri Hamiti etc. are at times pseudo-theory, and at some other times pseudo-monography, and sometime both of them. The creators of pseudo-theories are usually eclectic minds, because in their works they unnaturally unite the opposites. This doesn’t bother them at all. The incorrect, more essayistic and never conceptual language is the most suitable tool for these pseudo-writers, which helps them to create their essayist "theories", that is more closely related to postmodernist prose than to literary criticism. Ali Aliu, Sabri Hamiti, Behar Gjoka, Bajram Kosumi etc., and not just them, mainly classify (different) works and authors by introducing them into schemes that they either "borrow" from the already known theories or the ones they create themselves. Such classifications, which are given the form of monographs, would best reflect Cvetan Todorov’s opinion: “Likewise, it can be said that he who only classifies, cannot do that well, as his classification is arbitrary and unfounded in a clear theory – such as classifications of the living world before Linne, where it was not hesitant to create a category for all the best that are scratching...”.15 Such classifications, based on the scratch, are being made by Sabri Hamiti, Ali Aliu, and also by Bajram Kosumi and Behar Gjoka. Often the text of Behar Gjoka’s book, as well as that of Sabri Hamiti and Bajram Kosumi, needs “translation” in Albanian! While art from chaos creates the rule, Behar Gjoka from the rule that creates art creates chaos. His text is a text that has no tail or head, is a chaos created by a dark language, following by figurativism, without any logic. Finally, the authors of these books not only show a lack of theoretical and literary knowledge, but also, at the same time they show lack of methods of studying literature; they do not have systematic moulding or scientific culture, so instead of dealing with literary studies of literature, they continue on creating pseudo-theories, to which they give the form of monographic studies. For healing in judgement about literature, Pound suggest the vaccine “I suggest that we throw out all critics who use vague general terms. Not merely those who use vague terms because they are too ignorant to have a meaning; but the critics who use vague terms to conceal their meaning, and all critics who use terms so vaguely that the reader can think he agrees with them or assents to their statements when he doesn’t.”
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Migjeni is one of the Albanian authors who through his writings is distinguished in the Albanian literature. What makes him particular from all the rest of the Albanian writers is the way he realizes his creative talent - beyond any convention, outside of any expectation or any ideological / thematic treatment and in many cases even outside of stylistic and metric uses. His erotic poetry will be one of the best examples through which this particularity is manifested. His poetic expression will be developed in two different directions, two extremes that oppose one another, and yet paradoxically coexist with each other too. Precisely, analyzing these opposites and the way they are realized in Migjeni's erotic poetry and establishing their aesthetic-poetic positioning will be the subject of this study we are presenting.
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Topics of the Albanian environment are common to a writer like Ernest Koliqi, raised in the bosom of Shkodra's literary school. Koliqi's literary works, like "Shadow of Mountains" or "Flag Trader", treat the Albanian topics in Albanian environments, one a completely traditional environment and the other a urban, modern one. In this paper we will treate the topic of "given word” (“besa shqiptare”) regarding the hospitality and cult of the friend (“miku”) in the Albanian tradition. We encounter this topic in some of the stories of "Shadow of the Mountains", in some special forms, but as the main topic is addressed in the short story "The firend” (“Miku”). This text is the “open door” to enter to the Ernest Koliqi's stories of Albanian topics, focused on a single, simple narrative situation, which describes the ideas of a writer according to the traditional categories of behavior. This story has a simple plot: Uc Lleshi, a high-ranking officer, who expects to advance in office, while in front of him, a friend (“mikun”) in his home, a reporter from Shkodra, prossecuted politicly by Government. In another situation here is going to be a drama of handing over or not the frind to the Government people, but the Uc does not even think to hand over the friend, because the Albanian house is God's and friend's. The friend is at home and given word can not be broken by either politics or career advancements. So, we are ahead of an old code of the “Kanun” and of the Albanian life, which links its moral base to the category of traditional onesty, therefore, along with Koliqi's story, this fundamental category of traditional Albanian life should be treated in any case.
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In this paper I present the novel The wedding (1967, 1968, 1980, 2000, 2008) and the variants of the author. I analyze the criticisms of the novel: the official criticism of socialist realism, the criticism outside Albania, the criticism in Kosovo, and the criticism after 1990. In addition, I analyze the position of the novel The wedding in Ismail Kadare's literary system and the intertextuality connection of the novel The wedding with his other works: in particular with the poem: The Industrial Dream, the novel Broken April, the novel winter of Loneliness, the essay The Autobiography of the people in verse. I give a great importance to the connection of the novel The wedding with the Poem The Industrial Dream. The analysis of the connection between these two works helps us: 1) to analyze the structure of the whole work of Ismail Kadare; 2) to better understand the connection between his works in verse and his works in prose; 3) the position of the novel The wedding in Kadare's literary system and 4) the importance of studying the variants of the author.
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In our view the topical states in fictional text are given as reading hypotheses, respectively as a dialectical interaction between the isotopic need of the reader to build, at this point, the structure, and relative ambiguity of the text. In a more complete sense, topical consciousness is an ideological order, a cultural, historical, instrument of reading, which fulfills a true poetic function. To our attention was precisely the topic - structure dialectics, conducted through the mediation of a 'Possible Reader' in Ismail Kadare's ‘Concert at the End of Winter’ (Koncert në fund të dimrit) (1988), as an opportunity to discover one of the phenomena that characterizes poetically in its entirety Albanian literary fiction – the dynamics from the so-called ‘necessary topics’, archetypal or ritual ones toward the so-called ‘possible topics’ – what we define as a ‘topical displacement’ or ritualistic, towards possible topics, what we call an anti-topical shift, in the sense of counteracting traditional topics, as deconstruction impulses, as a modernity skipping still structurally unfinished. Perhaps it may be defined as one of the most controversial features of processes occurring with Albanian literary fiction through the new ambiguity status that the 'Possible Reader' gains from the text fiction. The text ambiguity affects the reading, the reader, exactly when the latter can perform the new structure, however, impossible to be constructed.
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In Albanian literature, two of the oldest texts are related to early antiquity (testamentary / biblical texts) and late antiquity (canonical text or apocryphal testamentary text). Although one is written exclusively with literary means but in atypical realization since, especially, the New Testament text (testamental) has been revealed (kerygmatical) to the Jews by the author in Aramaic, and then the Jewish audience thinking culturally is Hebrew has universalized in the Greek, while the second canonical text has begun to be written and applied at the end of antiquity and this process has been extensively varied until the late Albanian Romanticism. How have these texts created topically?This issue, Lateral and vertical topics in the biblical and canonical texts, we will like to see through two views. The first view is called lateral, and the second is called vertical. The lateral view is neoclassical thought. This opinion proposes initials points, new thoughts, is productive, fresh and often provocative point. The vertical view is logical thinking, the thought that follows and builds on it is a selective and traditional thought. These definitions of views are according to Maltese scholar Eduard de Bono, expressed in his book “Lateral thinking - step-by-step creativity”.
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In the poetical work of Martin Camajt, man faces a moral dialect and needs to either rise above physical nature or sink under it into sin. Lighting comes through a painstaking path, full of inner-war pains to flying to the uppermost tip. ("A lot of knowledge, a lot of effort, more knowledge, just as much pain"). Man and land; man and the enemy; man and war; man and creation; man and nature; man and rebirth; man and wisdom; man and fate, man and serpent, light and darkness, creation and re-creation, pastoral images and sequences, images of the working world (and urban images that suggest a transformed human nature) - have their gravitation centers in the New Testament and Old and constitute an aspect of biblical typology that appears in the poetic cycles of Martin Camaj.These, along with: law, wisdom, prophecy, prudent advice, proverb, parabola, man's fall, sexual sin, fog of metaphors, love (against hate) will receive special attention in this paper.The Man Camaj broke the vulgar, unworthy vulgarity; he overcame the common, spontaneous, immediate, and repentant response to evil and conquered the highest morale: You have thrust me into your line. Although we have been split for half a century, I am yours and you are mine. We will see how the poet Camaj relies exactly on this transformational right to the root, which is forgotten (From the hatred of hate i want to come out as a plant in the spring). Finally, we will dwell on a very specific aspect of the Camayan religious topic: the very special melos and the tranquility of Buzuk's psalms, through which broad and profound visions are conveyed and revealed.
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This article reviews one of the main topics of Albanian Literature that was created and is still created in Montenegro, as an integral part of the Albanian literature corpus.After we have considered what we think that is the most representative part of this literature, both in prose and poetry, we have come to see how the central topic, or rather, as a speaker, appears as the homeland, which is expressed through some other topics such as: history / historical figures, myths, legends, religion, traditions, toponymy, phraseology, and finaly death.Almost all stories relate to the homeland, the characters want to die there, they leave their last will to return, whether dead, to their birthplace.The historical topics and toponymes are part of the these narrations that tells both the past and in the present, sometimes in the form of memories or historical sites such as Bratila, Zharnica Bridge, Ulcinj Castle, Gjerana etc.The religion and the traditions, on the other hand, are a strong form and also a way to be distinguished from the other.The realistic toponymes such as Malësia, Dinosha, Traboini etc. are real places that take a literary function and they construct the homeland topic.All these issues are and build the corpus of Albanian literature in Montenegro, and they also express an extra literary phenomena such as the cultural pressure on the individual and the attempt to preserve the linguistic and cultural identity.
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Mythology, in the poetry of Kadare, is quite present. It is presented as a special theme, which reveals the not only poetic but also philosophical ideas of Kadare. As such, mythical topography in Kadare's poetry is not only presented in various forms, but it is also presented with numerous mythological figures, especially from ancient Greek mythology, but also from Albanian mythology. Being present in poetry of Kadare, mythical topics are always in the function of comparing with contemporarily, taking the examples of mythological figures and heroes, but also their places, not rarely implied as influential or comparable elements: mythical heroes with personalities from contemporary; their actions with the events and actions of modernity, and the ancient places with today's countries, either as patriotic or enemy countries.The Trojan War is one of the greatest events of the ancient history of antiquity, which Kadare exploits to create in most cases the historical parallels that they use to create a new artistic reality that is always in function, not only human and humanistic, but also historic and national. Almost all of the figures from antiquity, Kadare introduces them to the present. Troy prevails, as a topical, a sign, as a motif, as a symbol and as a figure, in these segments of his poetry. Troy also comes out as a war, as a confrontation, as a resistance, as a fall, as a love, as a betrayal. With all its mythical heroes and antiheroes, whose deeds Ismail Kadare builds his poetry, respectively, in this case the topical lyric.
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In this paper“The autopsy of the policy-making among Albanians” will be reviewed Demon’s Diner– a political drama (written since 1993), focusing on the politico-ethical topic, the dramatic characters and the Albanian political theatre. The purpose of this drama is the examination / autopsies of policy-making among Albanians, through the portrayal of political figures/actors - presenting them as “mental products” of the old politics, wandering in “political thinking” vs. “acts in politics”. The other side of the analysis is, first and foremost, identify elements that are characteristic of this dramatic genre,we study the focusing peculiarities of the Demon’s Diner, such as:a faithful picture of the political situation/historical facts, consequences of politicians, major political problems in Kosovo, social solidarity, national aspirations, the international factor, political and territorial contraction. I will be interested to see how the author E. Kryeziu sets forth the mentality of the characters / politicians - they psychics, the discourse (declarative, and yowl), the use of antipode concepts and antonymic relations, and the force of dialogue, dramatic tension, and controversy.The burlesque of the title, as a show of political vulgarity (the dinner prepared by politicians/ demon diner), forms of this dinner (official dinner, rally, diplomatic emissary), time in drama/ the action in a play (diner - meals during which a meeting between the Albanian and the international representation, and dinner / reception as a dramatic tension), as well as the place (the venue is a restaurant/ a meeting place where “repressed” political machinations) are other issues which will be dealt with.
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Religious symbolism in Albanian short story, began with the M.Kuteli’s work. His tradition was interrupted until 1990, in Albania. The “absence of spirit”, as Z.Çela called it, was replaced with ideology, propaganda, that promoted hate for religious symbols and clerics, in ideological short stories. In other hand, in the same period , the religion was present in the writing pieces of Kosovo and Diaspora’s authors. A.Pashku’s and T.Dervishi’s symbols, allegories, analogies are related with Old Testament. Descriptions techniques of arbëresh writer Francesco Solano (Dushko Vetmo), are similar to Genesis book. Life style of his characters and events goes through byzantine rites. K.Mehmeti and T.Keko integrates the image of prophet, a spiritual mentor that appear in difficult social situation, to give perspective and hope to peoples. M.Meksi and Z.Çela, after 1990, began to use the epiphany as: the manifestation of Christ and belief, also as narration technique, a moment of sudden and great revelation or realization. All the authors, that we make references, present religious symbolism, as narrative technique, image, figure, to treat universal themes, concerns and conflicts.
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