Estetika e identitetit të rigjetur
Në krijimtarinë letrare dhe jashtëletraretë Jeronim De Radës shquajnë dy dominante kuptimore dhe artistike, që janë: e para, ideja historiko-kombëtare dhe, e dyta, lirizmi.
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Në krijimtarinë letrare dhe jashtëletraretë Jeronim De Radës shquajnë dy dominante kuptimore dhe artistike, që janë: e para, ideja historiko-kombëtare dhe, e dyta, lirizmi.
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Certain moments when the author selects the certain events and facts to put them into literature marks the important definition. Literature is chosen because in this way these facts mark more than the clue.The author of the book, The Prison Book, Arshi Pipa, wanted that his volume not to be just a series of chronological facts of the life in prison. With facts, he wanted, like he writes in the preface of the book, “to give also their echo for the soul”. Because “the material, abstract fact, unclad from the psychic atmosphere, in which it used to live, can it give a faithful frame of the reality?” he raises the dilemma. Then he finds: “The spiritualization of the fact is a task for poetry”. This is the reason why Arshi Pipa chooses that the multiyear memoirs in Albanian jails to versify in poetry. To align them in verses and pieces, with a classical Albanian verse, with a chosen versification, with explanations and concrete contextualization, that he considers organic part of the poetry. Driven by these dilemmas and findings, this poetry book was chosen to be treated as a special and very interesting model. The theme proposed by this abstract will study so a poem where the data is exclusively related to poetry in a synthetic way. The study of this connection we consider to be important in its own way.
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Fact and fiction are entities of literary work and expressions of the mental states of the creative subject which have or do not have referential relationships with the real empirical world. Fact and fiction are identity categories of literary genres. But the question arises, is it possible that genre definitions can be realized only by determining the categorical identity of fact and fiction separated from each other, in the context of modern and postmodern literary culture, which is characterized by the various literary genres syncretism? In the identity determinations of fact and fiction as not only literary but also as cognitive entities, do they implicate certain cultures, or are they independent of them? In our work we will treat the fact and the fiction, through phenomenology, not as a narrow theoretical field of literary study but as a stream and philosophical method, in the field of resources that construct their reality and in the field of the effects they exert on receiver.The fact and the fiction will be treated in two directions:a) in their interdependence with the worldview structures of an era or culture, andb) in the plan of epistemic literary reality, as subjective expression of the mental states of the perceiving and receiving subject.
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This paper aims to interrogate two different national literatures/authors through the common literary procedures, topics, and style within the spectrum of Fact-Fiction interplay. Regarding the literary preoccupations since the prose writing origins,the relationshipbetween the fictional and the referential pact seems to be crucial. Many times they are opposed to each other. However, within the fictional structure, the factual power could vary. According to the context, it can interact with the plausible, with the likelihood, and depends directly from the real facts infused into diegesis.The contemporary novel is characterized by a powerful awareness of real referenceshandling within the fiction. Anton Pashku, in Albanian literature, and Jean-Marie Gustave Le Clézio, in French literature, represent two original models of handling with the fictional and factional pact in their prose writing. The novels Oh and The Desertare characterized for a complex meta-textual perplexity.This is why a comparative examination between them is important for the literary research of the relationships between fact and fiction, and for the comparative approaches between these national literatures as well.
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Fact/Occurrence is distinct from Fiction/ Creation. The Fact may accuse to realize the fiction in literature, but on the other hand, we should not expect that the first (fact), and second (fiction), to be equaled, because for sure, the function/functions of fiction isn’t/aren’t those of revealing the fact/the truth, on the contrary, it can happen, as it had, that one fact has created the fiction of literary work which has resulted completely deviated from the initial fact. Meanwhile, literary work through fiction brings its own truth for the reader, a self-sufficient truth and independent of the extra literary circumstances. Our work will have as its object the long prose of Faik Konica, “Dr. Gjëlpëra zbulon rrënjët e dramës së Mamurrasit”, ( Dr. Needle reveals the roots of the drama of Mamurras”). We chose to treat this prose as we can analyze a distinct relationship between Fact and Fiction. As is known, “Dr. Gjëlpëra…” was published with parts (feuilleton) at Dielli (newspaper), when the tragedy of the killing of two American merchants occurred in Albania, respectively in Mamurras (province), an event for which Konica wrote direct denunciation articles. But also Konica brings to the readers a literary work “Dr. Gjëlpëra…” which promise to reveal the roots of this happening. How much does fiction, namely literary work, reach this promise of the empirical author? If we start from the title it is completely a confirmative answer, avoiding any hesitation. This for one simply textual reason, the geographical referent, (Mamurras), at the same time historical referent (drama of Mamurras), is part of the title of the work, is part of an indicative sentence, the language category that essentially affirms an event, an action, a phenomenon, and moreover, preceded by the verb reveals, also a verb at the present time of the indicative mode. All these language indicators transmit to the reader confirmation and insure that the indented purpose can only be accomplished during texturing.If we refer to the plot of the work we conclude that there is no mention of Mamurras Drama, or less for the discovery of this drama, which must be performed by the hero of the work, Dr. Gjëlpëra.How then is this relationship in this literary work? What does discover Dr. Gjëlpëra in his visit in Albania? How much does he discover from the drama (and not tragedy!) that happens or has happened in Albania? Are we talking for the same fact that happened in Mamurras or do we have a new literary fact? How is structured the discovery of Dr. Gjëlpëra into text? These questions are our guide into the textual analysis of Konica's text to conclude in the "truths" that the text will reveal to us.
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Based on this context, we bring the symbolism of women, as the real reflection of human circumstances. Reality is replaced by the illusion, which refers to an imagination, where dreams and hopes strike with a good desire not to be extinguished and lost. Illusion replaces reality, when it comes tough, painful. As the author claims to descend on a terrestrial level, the text structure remains decoded in the symbol. As Bendeto Kroce ascertains, "the symbol is created unconnected with the author's intuition, it is a synonym of that intuition that has the signs of the ideal." For this, the author, along with the heroine, experience the illusion of another, tired, helpless to overcome this human reality.It is not by accident that the symbol of the woman appears in Koliqi’s, Migjeni’s, Spasse's work, always "in search of a dream, and in these women's searches carries the cross of suffering, the symbol of pain and hope", provoking a life situation in a person's dialogue with his reader. Females become the symbol of helplessness, imprinted in both the family and the society. It is alienated in the face of moral code. Interest in the world's perception of the world, feelings and imaginative fantasies prompt the authors to treat the female figure very carefully through the literary character. Its rich and secretive world is distinguished by the authors of pride, bravery, wit and beauty. The three authors reveal to the reader the appearance of feminine symbolism. Their common feature lies in the point of view of the action scene and the perception of the character, where, based on the relationships between the inner world and the surrounding mentality, a pain or a human desire arises. "Deep melancholy overwhelms human souls; at every turn, the dark sides and the shortcomings of life are seen; death, loneliness, alienation, and judgment over something distant for an unknown world that ran away from the daily" dislodged the woman from falling into the sorrows of melancholy, but since social reality did not offer this, she began to cry in despair of a the incurable soul of a city blasphemy.
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In this analyze are identified 33 figures to see how Ismail Kadare remained a poet even when he wrote novel. The purpose has been to evidence the figures,considering the proposal of Gérard Genette’s of the narrowing the stylistics in figuratique, through which will be analyzed the figurative functionality of this novel, the validity of which of course it can never be judged by the reference value, but from the figurative importance. The illustration of the essential elements of this novel is made possible by these 33 figures, through which is filtered the narration for the Calvary of the general,who is presented to us with a holy mission as a comic Christ.
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In the early ’60s the truthful distinction between literary fiction and fiction as a genre was considered as a necessity for authors, literary critics and readers. The literary fiction plot dives into deeper psychological emotions, in contrary fiction itself is believed to have a purely entertaining purpose. Dramatic situations filled with fictional moments, as well as set forth from the reality of the characters, using fantasy, are basic elements of these creations. In literary works the little fictive world of the character undergoes a clash between these two elements, new views and understanding of reality come to surface. When compared to other genres, literary fiction’s more demanding nature conveys an approach towards the more intellectual and elite level. Some of the well know authors to have tackled such elements of this genre are: George Orwell with his dystopian novel “1984”, Scott Fitzgerald with “Great Gatsby” and Cervantes with “Don Quixote”. Often set in imaginary worlds and settings, the elements of fiction are almost as true as the reality itself. Drama “Katër Epoletat” by Mulliqi demonstrates that pure fiction coming from the author’s imagination, can in fact mirror and describe a reality of some other time and place. The drama “Katër Epoletat” written in 1993 can be considered as a prequel of the events that followed in 1999.
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In this article, I tempt to treat fiction as a tool for expressing the transcendental experiences in the mystical literature and the poetry of Nezim Frakulla as the main successor of this school in the Albanian literature. For mystics, conventional language is not enough to express transcendental experiences, therefore some of them ëere often forced to break the language codifications and therefore they became an object to persecutions and physical eliminations. But most of them, known as poets mystics or mystical poets, in order to narrate their transcendental reality used fictional genres. Therefore, through breaking the lingual conventionality and fictional genres, they achieved to create a rich and influenced literature. The most worthy representative of the Islamic mystical literature, Nezim Frakulla, in many places in his poetry collection in the Albanian language, expresses his statements on the poetry and on what he wants to narrate to the reader with his poetic creativity. In this script, firstly we will discuss the poetry and the role of language and fiction in the Islamic mystical tradition, and later we will analyze Nazim's ideas on poetry and its purpose.
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Regardless of providing a significance which derives from the personal, social, historic, religious and ideological “fact”, of the superiority of human freedom against dictatorship, the various plans of narration aim at creating a “poetic” of “the intermediary mood”, as the author himself has defined it, by openly challenging the cult of correspondence between the fact and literature in socio-realism. In the novel Epika e yjeve të mëngjesit R. Erebara brings sketches and pieces of a frightening tableau of the personal and collective fate in the dictatorship period, which are artistically erected as a memorial of our fresh national memory
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The article presents an overview of the current state of Albanian textual philology, with a focus on older Albanian texts (XVI-XVIII centuries). In the first part of the article, after briefly explaining the denotations of the term philology in Albanian linguistics, the study takes a historical look at the beginnings of Albanian philology with the discovery of the first book written in Albanian, Gjon Buzuku’s Missale (1555), by archbishop Gjon Nikollë Kazazi (1743). A contemplation of the publishing activity of old texts in the years '30-'40 is then presented, followed by later work in the '50s, ending with the rich publishing activity of recent years in the field of textual philology of Albanian texts. In the second part of the article, the author focuses on the implementation of scientific philological methods in recent critical editions, which are created according to the principles of modern philology and the ecdotic method, implemented by the Albanian linguist Eqrem Çabej in his critical edition of Buzuku’s Missale.
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Ymer Shkreli is one of the best novelists of contemporary Albanian literature. But, unfortunately, his novels are very little known and studied. So, the analysis of his novelistic work is at first a research on values of an author who was unjustly neglected by Albanian researchers and critics. He is the author of a series of novels with the formal and stylistic variety and with numerous ideas and thematic layers. His novels have distinct specifications in relation to the works of this kind in Albanian literature. In addition, narrative particularity of this author is that each of his novels is different from the other, as in plan of style and form, also in terms of ideas and world-conception.
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In the Central State Archive (AQSH), in the amount of personal funds, are also preserved manuscripts by Franqis Anton Santori which after processing are collected in the file nr. 161. This folder contains, among other things, manuscripts of over 100 tales translated or processed by Santori. It is a notebook, covered with a 21 cm x 14 cm thin cardboard cap. The cover letter is thick, dark gray, stained, folded in two, sewn with 5 knots, at a distance of 3 cm from each other.
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What do we call Fact? Can we agree on what produces it, on its state as an object? If yes, is a Fictional State of Fact possible and does it make sense talking about it? On what degree the meaning of literary text made through the reading is affected by our experience about the Fact? In our paper we answer these relevant questions accordingly to our outlook on the existence of a Dominant Meaning Matrix (DMM) in a given period, constructed by respective readers despite the literary nature of the texts, through a time interval with different diversity peaks. This Dominant Meaning Matrix (DMM) as “will and practice” of a given, definable community of reading in the shape of the Possible Reader, appeals as an Integral, relatively temporary in relation with a category of permanent facts as i.e. notion of ‘Death’ in literary texts. We explore the indication level of this relationship on different texts of Ismail Kadare, on corresponding structures and meanings, trying to formulate the contours of a possible process and its typology.
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The author of the Albanian national epic ‘Lahuta e Malcís’ [The Highland Lute in Albanian], Father Gjergj Fishta, is one of the most prominent names of the Albanian school of the first half of the 20th century. Even back in 1899, Fishta cooperated with Preng Doçi (1846-1917), Dom Ndoc Nikaj (1864-1951) and folklorist Pashko Bardhi (1870-1948) to establish the Shkodra literary society called Bashkimi [The Union in Albanian], which embarked on resolving the pressing issue of Albanian alphabet. Fishta, a leading figure of public and cultural life in northern Albania, especially in Shkodra, was in 1902 appointed as Secretary of the Commissariat of the General Secretariat of the Franciscan Mission in Albania and Leader of Franciscan School in Shkodra, which ‘was the first school in Shkodra where lessons started to be given in Albanian language’. Yet, Gjergj Fishta's overall activity culminated with his participation in the Congress of Monastir (1908), where he represented the Bashkimi literary society. In 1913, Fishta founded the monthly Hylli i Dritës [The Star of Light in Albanian] magazine, which published literary, folklore, political and historical texts. In 1916, he returned to Shkodra, at the time of Austrian rule, and took over the Albanian edition of Posta e Shqypnies [Albanian Post] newspaper. In the meantime, together with Luigj Gurakuqi, Ndre Mjeda, Mati Logoreci and others, he started to work on the organization of the Shkodra Literary Commission, who engaged in bettering the spelling and unification of Albanian language.The Commission decided to use the central dialect of Elbasan as a neutral compromise for the language standard. However, that decision was at odds with Gjergj Fishta's wishes, who hoped that the northern Albanian koine would soon serve as a literary norm for the whole country, just as Dante's language had served as a guide for the standard Italian.
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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 reflects linguistic elements in general, in some of the works of contemporary Albanian authors, including the works of Helena Kadare, Diana Çuli, Mira Meksi, Hida Halimi, Elvira Dones and Flutura Açka. Studying these elements is an opportunity to get to know as closely as possible the prose of each author in particular. Through the language, the authors realize original monuments, where their works represent life in its natural complexity. The man of the new century, the revolutionary man is deeply reflected in these works. What is characteristic of the use of language by authors is linguistic freedom, where it can no longer be said that a division between the language used by male authors and female authors exist. So the language of works marks a completely new phase for the general literature flow, in fact it is an act of emancipation in contemporary literature. The comparative linguistic aspect of the works of contemporary Albanian authors requires a special treatment, but it is important what direction our study is oriented in. However, the approach within this paper is conditioned by the characteristics of literary texts.
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Studiuesi dhe kritiku letrar Bajram Krasniqi, për fat të keq jetëshkurtër, ka lënë veprën e tij shkencore që, edhe pas 25 vjetësh, zë vend të çmuar në shkencën tonë letrare. Paraqitja e tij si emër shumë premtues në fund të viteve ’70 dhe gjatë viteve ’80, kur në Kosovë po konsolidoheshin jo vetëm studimet letrare po edhe studimet e fushave të tjera albanologjike, Bajram Krasniqi do t’u bëhet krah i fortë këtyre studimeve dhe studiuesve ende të pakët të cilët do të mbajnë peshën e këtyre zhvillimeve e do t’i hullizojnë ato. Idetë e konceptet e Bajram Krasniqit ashtu si edhe gjithë krijimtaria e tij shkencore nuk mund të vështrohen ndaras dhe pa pasur parasysh kontekstin kohor e hapësinor.
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This paper tries to address the subject of hierogamy, or its tracks that can be detected within the content of some Albanian tales. It is known that the classical hierogamy means the sacred marriage between deities with opposite principles, namely between the male who is identified with Heaven, and female identified with Earth. A hierogamy of this nature, in treated tales is realized between the sun and the moon as adequate substitutes of Heaven and Earth. The sun, but also the moon is presented in the role of a married couple who communicate sexually between them and as a re-sult of this action affect childbearing by human couples who have problems in having descendants. These children, because they are the fruit of an extraordinary birth, re-spectively of the impact of the sun and the moon at their birth, are meant to possess superhuman traits.
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