Fishta dhe tradita letrare shqiptare
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Prishtinë
Brezi 81
2012
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Datensatz im Suchindex
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| adam_text | FÍSHTA
AND ALBANIAN LITERARY TRADITION
[Resume]
Comparative review of a poet s work in it s all literary tradition
and its cultural range, serves, at least, for three main reasons: first, to see
how that literature has developed several elements to the poet who is
reviewed, secondly, to see more clearly the position of that poet in its
literary complexity of his trunk and thirdly, to see the impact he has on
other poets. In our study Fisbta and Albanian literary tradition these three
study issues can be supplemented with another: the recognition of values of
Fishta s work.
Comparative review of Fishta s work with Albanian literary
tradition brings a new light not only in Fishta s work, but also many
Albanian literary relationship, the discovering of which creates a new vision
ongoing development of Albanian literature and its special elements
.
The notion of comparison in the work methodology is more
extensive as access and creates multiple opportunities than the notion of
influence. We can make comparisons between the two authors or two
literary works, without talking for the influence. Otherwise it stands the
notion influence. Only that we talked about comparisons between author
A and
В
we can even talk for influence. The issue is further complicated
because influence between A and
В
are not simple and linear, and when A
even chronological lived before B. Thus, North Albanian old authors and
Fishta have handled the myth of the Albanian language, but was Fishta
influenced by them, as is the chronological order, or through a third
author, it is difficult to know. Talking of literary effects between two
authors
Umberto
Eco
says:
However, I can not speak for the concept of influence in literature,
in philosophy, and to scientific research, unless you not put at the top of
the triangle (A and B, complement of mine, BK) an X. Should we call with
X culture, the chain of previous influence? To be coherent with our
speeches these days, let s call it rather the universe s encyclopedia. Taking
443
into account this X and never more than in the case of
Borges
it should be
taken into consideration, as well as Joyce, though in another way, he used
the universal culture, as a tool game.7
Eco
gives a great importance to the X, which is a broader range of
general or specific influences and is related both to the A, and B.
Same as
Eco
speaks of his relationship with the Joyce and
Borges
in this work we moved towards resumption in three stages:
-
Comparison of Fishta
s
work with the work of the Albanian
literary tradition, highlighting similarities and differences;
-
Setting of the impact line Fishta-tradition, of the impact degree
(coincidence, similarity, further processing, direct making etc...)»
having always in mind here the role or X in the triangle of
Eco.
Consequently, many impacts at Fishta are only identified, but
without realizing until the end how they came up to Fishta;
-
Definition of literary characteristics of Fishta in relation with
Albanian literary tradition, as a result of comparison and toward
the literature in general.
Throughout the whole review I have been faced to many questions
and dilemmas, some of which were solved but some have not developed
until the end, cause of methodological limitations. It is very important to
appreciate even those unsolved dilemmas to be part of this review, so I ll
bring up in this resume part.
The first dilemma concerns to the relationship of Fishta as an
author towards the literary work: Is Fishta a poet who writes poems about
the creation of a free nation, or a chronicler, who describes the psychology
of war and an emerging nation? The first answer could be yes to both
questions that Fishta was the poet and historian, but this gets you in a trap.
The assertion or the first question would release Fishta from the charges of
a-historic , a type of socialist realism criticism etc... (That Fishta has
written unreal or idealized things so has distorted reality), while denying of
the second question would release him from charges of a-historic type of
761
Umberto Eco,
Per
ktërsinë,
Di
turia,
2007,
pg.
118.
444
Mehdi Frashëri
etc... (That
Avdyl Frashëri
had no kilt wearing in the
League of Prizren, as it is presented in the Highland Lute)
.
The second dilemma concerns to the relationship of Fishta s work
towards the society: is Fishta s work a realistic work, dealing with the ideals
of the Albanian society, or a time out work, that treats declined ideals of
Albanian society or ideals that should be declined?
The third dilemma concerns to the relationship of Fishta and his
work with the social range: Is Fishta the Albanian national poet or a
provincial poet? Fishta is accused as a provincial poet, but actually with his
work he is the poet who sang the Albanian world in its entirety better than
any other Albanian poet.
The fourth dilemma relates with Fishta s role in elaborating of the
Albanian language and poetic language in particular. Did the reader and
the Albanian literature have benefits from dialectical language of Fishta?
On the one hand let say that there were benefits from the original Albanian
vocabulary, but on the other hand it has negatively uploaded the
communicating or his work with the reader.
The next dilemma, not the last, deals with the methodology of our
study: Is our study a review of the Fishta s literature values, in the entirety
of the Albanian literary values, or comparison of values and fundamental
literary principles of Fishta with those of Albanian literary tradition?
But the most essential question of this review, despite these
ambiguities, can be simplified thus: How did Fishta absorb the Albanian
literary tradition and how it influenced his authorial work? This is the first
question that has stood all the time on Fishta s studies. There are not even
any of Fishta researchers, who have not touched, even casually, this topic.
Our review Fishta and Albanian literary tradition has brought some
substantial answers.
Strong influence of the old authors of the North. The first
essential answer is the powerful influence of our old authors of the north at
many later authors in the Albanian literature. So far, history of Albanian
literature had not had a proper response on this issue. Mentioned
generalization facts, as for example the great love of Lasgush
Poradeci
for
Pjeter
Bogdani
(1630-1689)
and
Curieus Prophetarum
(1675-1685),
but
445
have not been reviewed and observed direct effects of old authors to the
descendants. Comparison of Fishta s work with philo-biblical literature is
impressive: Fishta, has not only known work of
Budi
and
Bogdani,
but he
was influenced by them in several directions: influence in ethical
-
aesthetic
sphere, influence of creative concepts and literary and poetical ideas, and
textual
-
literary influences.
From this density of influences must separate literary myth for the
Albanian language, initiated by the first Albanian writer Buzuku, influence
that has affected almost all Albanian poets of all literary periods. Also, the
return of Fishta and pro-classic writers of Shkodra at vocabulary of old
authors of the North and using of that vocabulary in their original works
proves powerful influence that have had fathers of the Albanian literature.
Influence are visible in the literary text itself, as is the
Bogdani
and
Fishta s eleven syllabus, the figure of
Zana
at
Budi
and its major role at
Fishta, the motif of death in two poems of
Budi
and two poems of Fishta
etc.
.
In the history of Albanian literature is always left a gap between the
authors of the North old literature and Albanian national literature, which
gap historians have tried to turgid with the poetry of Bejtexhi or
Illuminism. Review of Fishta s work in this relationship is the strongest
evidence that there is an influence connection between this literature and
the authors of nineteenth and twentieth centuries. There is no split or a
gap between these two literatures. Philo-biblical literature of the North old
authors not only has been learned in the Albanian Catholic schools all the
time, but it is absorbed well from the authors and has been fertile in its
influence to the later authors.
A literary Entity. By examining the relationships of Fishta s work
with the Franciscan and Jesuit literary group of Shkodra in the late
XIX
century and the beginning of the XX century, in one hand, and by
examining the influence that Fishta suffered from these literary groups,
whether Albanian or foreigner, on the other hand, have come up to the
conclusion that there is a wide groups of literary, that have orbited around
Shkodra and Albanian Catholic Church and their literature has much
more of the same elements close to himself than to any other different
Albanian literary branch or school, so such as should be treated, as a
446
separate
literary entity. Albanian historians of literature have noticed the
autonomy of this literature, but have never treated in this way and does not
have given a stable name. We have marked this entity as a pro-classic school
of Shkodra and this notion has two advantages: first marking theoretical
proximity of these literary groups with classicism, without completely
identified with it, leaving the door open to its relations with other
directions as romanticism and, secondly eliminates a number of other
notions, such as Franciscan school, Jesuit school, catholic school etc., used
by various historians of literature with all out literary premises.
This literature is between Philo-biblical literature and literature of
Romantism,
in terms of the principles of literary elements but not in time.
It contains elements of both these literatures, but the form and the rules of
poetry, and time by time in the poetic ideas, it is classicist.
Fishta is related with this literary group in one way. He was
influenced by this atmosphere in general literary principles, such as writing
of religious literature, satirical poetry, relationship with popular fiction and
literature of North old authors, the ethical principle Atme-Fe (Homeland-
Religion), which is the moral backbone of the work of Fishta etc... Fishta
is not influenced by this literary group in the literary text itself, which
means that the influence of this group at Fishta was not very powerful,
because it had not produced some major literary works. However, some
general principles of literature, relating to culture, religion, race, approach
to the literature and its role in society etc., anyhow have influenced Fishta.
Fishta s,
De Rada s
and Bogdani s
universalism
and synthesize.
Another influence of the North Philo-biblical literature at Fishta is the
conception of literary work by the author himself. This can prove a
powerful direct link between Fishta and
Bogdani.
Bogdani s work, either as
a whole, or only a part of it, in its essence is universal and synthesizing.
Stanca
of
Bogdani,
called Earth creating, has only eight verses eleven
syllabus, but it is universal because it talks about earth creating and
synthesizing because it involves the entire process of creating Earth within
those eight verses. Even the works of
Bogdani
Cuneus Prophetarum
(1675-
1685)
is universal, because it involves comprehensive matter literary,
447
scientific, religious, moral etc... and it is synthesize, because are gathered
in a wonderful set of knowledge and vision for the topics which examines
.
After
Bogdani,
but uninfluenced by him,
De Rada
is universalistic
and synthesizer of literature. He is universal, because his work represents
one Albanian century, aiming to recreate preottoman Albanian world,
while synthesizer, because in this work he integrated the entire Albanian
literary heritage that was known by him.
Fishta is the third large synthesizer and
universalist
in Albanian
literary tradition. He was influenced more by
Bogdani
than
De Rada. He
has conceived the Highland Lute same as
Bogdani
his work. Highland Lute
is a universal work, because it involves the general fate of a nation, its
history and vision and is a synthesis, because it involves all the history,
culture, morality, religion, language, myths and traditions of that nation.
Even if we had invited Fishta himself to tell us what is the novelty of his
work, the unseen, whether in the sphere of poetic ideas, namely in the
sphere of topics, forms of poetry, verse, structure, construction, character,
etc., he would not be possible to mention even one element. Fishta s role
in literature is in the fact that he has restored the previous elements,
according to his assessment in a new order, thus creating his literary world.
Thus, rightly Fishta can be called an archivist of Albanian literature.
This conceptual approach to literary work makes
Bogdani,
De
Rada
and Fishta the greatest synthesizers and
universalists
in the Albanian
traditional literature.
Fishta s classicism and
romantism.
In the use of poetic forms
and poetic verse Fishta is one of the richest Albanian poets. In these poetic
forms and metric he is a disciplined classicist. Even the use of Albanian
popular octosyllable he is a disciplined classicist. Fishta was designated as a
master of verse. He shines, especially, with satirical elevensyllablle, as at the
ottava rima
to Palok
Cuca.
Can not be found in the history of Albanian
literature a rhythmic flow as the epic story as in epic poem Palok
Cuca.
In
the field of literary genres Fishta is also classicist: he writes the lyrics, epic
poem, satire and drama, four favorite genres of classicists. Unlike what
might be expected from such a disciplined classicist, in the poetic ideas
Fishta is romantic: he turns to the folk literature,
Geg
sub dialect, literary
448
romantic
myths and concepts, things quite contrary to these classicist
principles. This common world romantic and classicist at Fishta is always
present throughout his work. The most notable examples are Ifigenija
η
Aulli, a completely classicist tragedy in theme and poetic ideas, and
Juda
Makabe, wholly romantic tragedy, in theme and poetic ideas. The same
literary phenomenon can be seen even within his work, such as the lyric
drama Jerina, or The Queen of flowers.
Although it seems contradictory classicist forms and romantic ideas
are harmonized in Fishta s work, getting his work a step out the boundaries
of classicism and
romantism,
and so it has got the stamp of literary
autonomy.
The traditionalist and the innovator (Fishta and Nairn). Fishta
writes in traditional forms of literature and literary writing, as in poetic
forms, as in metric and in literary themes. He has brought in the Albanian
literature new topics (as age-long Albanian Slavic conflict), but new poetry
forms, experiment with verses and forms are completely strange to him.
The only experiment of Fishta is his special relationship with folk fiction,
or respectively getting of folk literary texts and their embodiment in the
Highland Lute, but this experiment is not entirely original. On the other
hand, Nairn
Frashëri,
romantic poet, a human generation older than
Fishta, is largest experimenter of Albanian literary tradition. Fishta and
Nairn are two totally different worlds in this aspect. While Nairn, only
within a poem uses different forms of poetry,
different
metric verses,
different poetic rhythm etc., Fishta risks legibility of the poetic text time
by time, for the sake of the classical metric rules. Figuratively, Nairn can be
symbolized by the outbreak of bud, while Fishta with work of bee. Nairn
brings everything new in the Albanian literature: from verse to poetic
forms and poetic ideas. Fishta brings perfect forms and ideas of earlier
poetic and earlier literary topics.
Issue of Fishta s brings. Historians of literature by studying
authors separately tend always to give an answer to the question of what a
certain author brings his literary and cultural area? Also Fishta s work is
reviewed in relation to this question. Fishta brings in Albanian literature:
449
-
Pure epic discourse (not just in the Highland Lute, in
Palokë
Cuca
and other epic poems, but also in lyric and drama);
-
culmination ode;
-
gives Albanian spirit to elevensyllable:
-
creates satirical discourse;
-
brings new topics (world of Albanian highlander, Albanian Slavic
war, the civic topic, etc..)
-
contentious discourse etc.
..
However, Fishta is not an innovator poet, not an experimenter like
Nairn. As we proved, he is traditionalist in matters of poetic forms, the
figuration, the discourse forms, poetic ideas, etc.. He is, still, universalistic
and synthesizer of previous literature values. Every action, every part of his
work is a synthesis of previous values. Being an innovator or traditionalist,
or synthesizer in the original literature does not prejudice the literary value
of work of the author, not only in literature but in all humanistic fields.
Same with the two great ancient philosophers: it is never given a final trial
for supremacy against each other, the original and innovator Plato and to
the traditionalist,
universalist
and synthesizer Aristotle. Regardless the new
brings in the Albanian literature, the largest work of Fishta is the syntheses
of the all era of the folk epic with the ideals of a fundamental century for
the Albanian history.
The Albanian world (Fishta
)
and the Albanian soul (Nairn).
Fishta, as universalistic and great synthesizer of Albanian literature, with
his work has shown the whole Albanian world. He doesn t explore in
feelings, infinite thoughts and emotions of personage. The personage and
his character serve only to present the fate of the collectivity, in this case
ethnicity. Everything that is general, that has to do with ethnicity,
language, myths, beliefs, the nation, religion, ideals, and state, are more
important than the cries, the thoughts, the desires and the worries of the
personage. Therefore Fishta s work more resembles a general Albanian
history or an encyclopedia or a Bible, than a poem, a drama or an epic. As
earlier
De Rada,
but in another direction, toward the future, Fishta has
aimed to present in his work Albanian real world, or what should be the
ideal Albanian world. Unlike Fishta another Albanian great poet Nairn
450
Frashëri,
also focuses on the most intimate personage feelings, wishes, in
pain, in loves etc., that in all relates to the personage s inner world, the
soul of Albanian. Nairn even when he writes about the external Albanian
world, as the nature, agriculture and livestock of the Albanians, again
preoccupies with the interjection of lamb away from the flock. These two
literary trends, to both poets, appear explicitly through two figures:
hyperbole and litotes. Hyperbole is the most characteristic figures of Fishta
and he shows things larger than actual size, expressed great majesty and
Albanian world. Litotes is the most characteristic figures of Nairn and he
shows things smaller than their actual size, expresses the inner world, inner
world of the individual, and expresses the Albanian soul.
The father of satire. In the history of Albanian literature Fishta,
along with A. Z.
Çajupi,
remains satire s father. Fishta s satirical work
published in
1907
and Anzat
e Parnasit,
the first in the Albanian literature.
It should be noted that his satire is one more element that distinguishes
Fishta with the romantics. Except that is initiator of satire Fishta arrives
successfully to create models of writing satire: civic satire and political
satire, which will influence the later satirical poets, straight or indirectly. In
the epic poem Highland Lute Fishta will not influence the later poets, but
will conclude a century of efforts to other poets, as
De Rada,
Jr. Gavrill
Dara,
Nairn
Frashëri
and Zef Skiroi, to write the Albanian national epic
poem. Fishta is the latest European poet who wrote the national epic
poem, a poetic form which also in the time when Fishta wrote the
Highland Lute belong a history. What is not reached with his masterpiece,
the influence of subsequent poets, Fishta achieves with his satire.
Pabkë
Cuca,
comic epic poem we should consider for ever as an unfinished work,
otherwise in no other work does not appear as here Fishta s poetic artistry.
Independent Fishta. Definition of Fishta s work in terms of
directions or literary schools has been to all his scholars not only a
challenge but also a fabulous trap. Researchers have tried to connect Fishta
with one or another school or literary movement. He is very close to
classicist, but is also connected with the romantics, while Boalo and Hugo
are two different worlds. He writes classicist drama as Efigenija n Aulli but
451
literature? To all these questions and many others we can not give an
original answer, but just answers based on the stories learned from the
books of European literature. Albanian literature, as will be influenced by
European literature, even the fact that is part of the literary European
trunk, it does not go on the road that determines the various European
poetic. Albanian literature has not much of this contradiction, because its
development is moving in a original way. If for the Italian literature the
epic periods ends with
Taso in
the XVI-nth century, for the Albanian
literature the epic period Albanian literature has not been completed up to
the Fishta. If in the French literature the romantic poetry of Hygo is
opposed to the details with the classicist poetic of Boalo in XlX-nth
century Albanian literature have cohabited for at least four areas of literary
schools: enlightenment
+
classicism
+
romanticism
+
symbolism. If in the
opinion of the European Christian literature could any other religious
concept, every other pagan ideas in Albanian literature are loudly
developed up to the second half of the twentieth century
pre
Christian
cults in one, and is developed to the dominance of any other ethnic cult
ideology, known as the cult of Ancestors (blood, language and traditions),
on the other side.
If Fishta in his work is the romantic and classicist, even if writes
the national epic in the early twentieth century, if it glorifies and mocks
Albania, when is a priest and writes about pagan themes, all these
contradictions and paradoxes are original developments of Albanian
literature and Albanian culture, while Fishta has also transferred his work.
These contradictions and paradoxes not alter, Fishta but prove that he is
an original Albanian poet and not a libresk poet (not created by books, but
the nature itself) not slave of this or that poetic.
Fishta s heritage issues. Is endangered Fishta s work today?
Yes. Not by political pressures, but from himself. The difficulties
of reading and understanding risks Fishta s work. Since its birth in this
work is faced with this problem. No one researcher or his reader is not
clear why Fishta has written in a dialect that creates dialectical difficulties
in understanding! One other great Albanian poet, Asdreni, complains that
was hard to understand the Highland Lute. The well known actor Reshat
454
Arbana
said to me that Fishta is better when is recited than when is read.
But in this case can not be given a choice, besides learning to read Fishta.
in conclusion of this review we favored the more interesting
findings, the most necessary and so far unknown. However, it is certain
that we have not managed to find all the links of Fishta s work in Albanian
literary tradition. Even in the future remains to continue deliberations in
this regard. It is interesting, such a review between Fishta and his
contemporaries. Only after such an exhaustive review of the great Albanian
poets relations with Albanian and world literary tradition could be written
a more complete history and more accurate in the Albanian literature.
Prishtinë
2006-2008
[Translated by
Anila
Tusha]
455
PERM BÁJTJA
FISHTA DHE
TRADITA
LETRARE SHQIPTARE
Parathënie
[15]
H
YR
J E
[23]
Kr
eu
i
pare
FISHTA DHE AUTO
RET
E
VJETËR
TE VERIUT
I.
RRETHANAT E LINDJES
SE LETËRSISË SË
SHKRUAR SHQIPE
[30]
I.
1.
Autorët
e
vjetër të letërsisë
shqipe
dhe rrethanat kulturorc
e
letrare në të cilat vepruan
ata
[35]
I.
2.
Autorët
e
vjetër dhe
elita e inteligjencies
[38]
І.
3.
Çështje të përkufizimit dhe të nocionit për letërsinë
e
autorëve të vjetër të
Veri ut
[41]
I.
4.
Autorët
e
vjetër dhe ndikimi
і
tyre
në rrjedhën
e
letërsisë
shqipe
[43]
[Shekujt
XVII
dhe
XVIII.
Shkollat
e
vjetra
shqipe. Shekujt
XIX
dhe
XX.
Paralajmëruesit
e Rilindjes
Kombëtare.]
IL NDIKIMET
E SHKRIMTARËVE
TË VJETËR TË
VERIUT NË VEPRËRE FISHTËS
[51]
II.
1.
Njohja
e
Fishtës me letërsinë
e
shkrimtarëve të vjetër të
Veriut
[52]
II.
2.
Ndikimet
e
letërsisë se shkrimtarëve të vjetër të Veriut në
veprën
e
Fishtës
[53]
II.
2.
a. Ndikime të sferës estetike-etike
[54]
[Konceptet
estetike
e fìlozofìke
të
Bogdanit
e të
Fishtës.
Atme
e
Fe.]
II.
2.
b.
Ndikime
të
koncepteve krijuese dhe
të
ideve letrare
e
poetike
[59]
[Kulri për Gjuhën
Shqipe.
Motivimi
і
letërsisë. Marrëdhënia
me
letërsinë populiore. Letërsia
rerare.
Letërsia kryengnrëse.
Ligjërimi prediknes.
Uni
versal
¡zmi
і
veprös se Bogdánit dhe
universalizmi
і
vêpres se Fishtë.s.]
II.
2.
с.
Ndikime tekstorc-letrare
[66]
[Njëmbëdhjetëri okësWi:
varavi
і
Fishtës dhe
vargu i
Bogdanit.
Gegnishtja
letrare
e
autorëve
té
vjetër dhe rrudhja dialektote
e
poetëve shkodranë të shekullit
XX.
Fjalësi ne letërsinë
e
vjetër
të Veriut dhe fjalësi
і
Fishtës.
Dy
poezitë
e
Budit dhe
dy
të
Fishtës për vdekjen.
Zana e
Lukë
Bogdanit dhe
Zana e
Fishtës.
Invokacioni. Proza shkencore,
morale
dhe
fetare.
Kulti për
rjalët e
vjetra
dhe burimore shqipe. Tetërrokëshi popullor.]
PËRFUNDIME
[79]
Kreu
i dyťé
FISHTA DHE SHKOLLA PROKLASIKE SHKODRANE
I.
ETËRSIA E VJETËR E VERIUT DHE
FRANÇESKANËT
[82]
1.
1.
Përkufizimi dhe Periodizimi
[82]
II.
2.
Trajtimi i
Letërsisë si Urë Lidhëse dhe Letërsi Më Vete
[84]
II.
FISHTA DHE SHKOLLA PROKLASIKE SHKODRANE
(MARRJET)
[91]
II.
1.
Metrika
Llasiciste
[95]
II.
2.
Poezia
Satirike
[98]
II.
3.
Poezia
Fetare
[102]
IL
4.
Zbulimi
і
Letërsisë
Populiore
[105]
II.
5.
Temat
e Përjetshme
[111]
II.
6.
Fryma Patriotike
e
Artit
[112]
II.
7.
Atë
Leonardo
De Martino dhe
Atë
Gjergj Fishta
[116]
II.
8.
Miti
për Fishtën
[120]
III.FISHTADHEPASUESIT
[122]
PËRFUNDIME
[125]
Kreu
і
trete
FISHTA
DHE ROMANTIZMI
HYRJE
I. MISIONI
I
LETËRSISË
[132]
1.1. Ngjashmëritë
e
Fishtës
me roxrtantizrnin
[132]
I.
La. Letërsia
dhe ideali
nacional
[132]
I.l.b.
Karakteri arsimor dhe edukativ i
letërsisë [l4l]
I.
I.e.
iMarrëdhënia
e
letërsisë
së shkruar
me letërsinë popullore ne
periudhën
e romantizmit
shqiptar
[145]
1.2.
Dallimet
e
Fishtës nga romantikët
[149]
1.2.a.
Karakteri
kritikues i
letërsisë së Fishtës
[149]
1.2.
b. Fryma
klerikale
e
letërsisë së Fishtës
[153]
IL
TEMATIKA
DHE
MOTIVET
[159]
ИЛ.
Ngjashmëritë
e
Fishtës me romantikët
[159]
II.2. Dallimet
e
Fishtës nga romantikët
[166]
[Mungesa e
temës së dashurisë. Mungesa
e
natyrè s dhe
e
peizazhit ne
veprën
e
Fishtës.
Tema e
jetës së malësorit shqiptar.
Tema e
konfliktit
shqiptaro-sllav. Motive të
reja
patriotike: motivi
і
dëshpërimit me
atdheun dhe parodia,
motivi
і
tradhtisë.
Tema e
qytetarisë.
Tema
të
moskuptimeve fetare brendashqiptare.]
III. FORMAT
POETIKE,
FIGURACIONI
POETIK DHE
MODELI I SHKRIMIT
[186]
III.
1.
Format
poetike
[186]
III.
2.
Figuración!
poetik
[191]
[Areali
i
figures së Fishtës. Figura
personale e
Fishtës. Fishta
e
Naimi:
hiperbola
dhe
litota. Antiteza.
Çështje të figures dhe të
tekstit letrare.]
III.
3.
Modeli i
shkrimit-çështje të gjinisë letrare
[207]
III.
3.
a. Epika:
tradita e
epit
në letërsinë shqipe
[208]
III.
3.
b. Satira:
rruga fìshtiane
[213]
[Epi
satirik
Palokë
Cuca.
Comari
i
Babarasit:
vepéY
polemiste
apo
roma»
në vargje. J
III.
3.
с.
Tekstet dramatike-dy
modele
të
dy
shkollave letrare
[225]
Juda
Makabe.
Ifìgenija n Aulli.
]
III.
3.
d.
Lirika
[228]
PËRPUNDIME
[230]
Kreu
í
katërt
FISHTA
DHE LETËRSIA
POPULLORE
HYRJE
[234]
I. VEPRA
E
FISHTËS
DHE EPIKA POPULLORE
SHQIPTARE
[244]
1.1.
Ndikimet
e letërsisë popuUore në letërsinë e shkruar
[245]
I.
2.
Eposi historik.
Lindja e epikës
historike popullore
[253]
I.
3.
Problemi
і
shpifur
і
mohimit
të Fishtës ndaj origjinalitetin
shqiptar të Eposit të Kreshnikëve
[258]
I.
4.
Ері і
shkruar shqip dhe marrëdhënia e tij me letërsinë
popullore
[264]
П. КОНА,
BOTA
DHE HERONJTË
II.
1. Botet
paralele
në epikën
populíore dhe
në epin e Fishtës
[268]
[Eposi
і
Kreshnikëve.
Eposi
historik.
Lanuta e
Maleis e Fishtës.
Funksionaliteti dhe
jo
funksionaiiteti
і
botëve
paralele
në veprën e
Fishtës.
Botet
paralele-koncept për
zgjerimin
e mundësisë
absorbuese dhe sintetizuese të Fishtës nga
tradita letrare
popullore.]
II.
2.
Heronjtë
e
Fishtës dhe heronjtë
є
traditës letrare
[278]
[Heronjrë
e
botes mitologjike
e
legjendare shqiptare. Heronjtë
e
botes
antike
greke dhe romake. Heronjtë
e
botes
biblike e
krishtere. Heronjtë
historike
shqiptare dhe heronj të tjerë
imagjinarë. Heronjtë
e
Eposit
historik.
Permasa
morale
e
heronjve
të Fishtës-heroi
tradicional
shqiptar.]
III. POETIKA
E
FISHTËS DHE
POETIKA
POPULLORE
[301]
III.
1.
Gjinia letrare, tema dhe forma
poetike
[301]
III.
2.
Teknika krijuese e
Fishtës
dhe teknika krijuese ne
epikën
popullore
[302]
[Hyrja ne tekstin
poetik
dhe invokacioni.
Përfundimi
i tekstit
poetik. Mjedisi dhe natyra ku zhviilohen ngjarjet. Dialogu.
Formulat
poetike.
Fjalë të
urta.
Shprehjet
e
ngulitura gjuhësore
dhe ŕrazeologjia popullore.
Ndërhyrja
e
rrëfimtarit. Mënyra e
rrëfirnit
të
ngjarjeve
e
jo
vetë ngjarja.]
III.
3.
Vargu
tetërrokësh
i
Fishtës dhe
tetërrokëshi popullor
[319]
[Pragmatizmi
apo bukuria e
tetërrokëshit.]
[323]
III.
4.
Figura popullore dhe
figura e
Fishtës
[325]
[Pyetja
epike antiteze. Krahasimi. Gradacioni. Hiperbola.]
IV.
MARRJE
E
DHËNIE TË VEPRES SE FISHTËS ME
LETËRSINË POPULLORE
[333]
IV.
1.
Vepra
e
Fishtës dhe
Eposi i
Kreshnikëve (marrje)
[333]
IV.
La. iVIarrja
e
vargjeve
[333]
IV.
1.
b.
Marrje të strukturës së
konfìiktit (syzheu) nga Eposi
і
Kreshnikëve
[334]
IV.
1.
с.
Marrja
e
motiveve
dhe e
strukturave
te
gjera motivore
nga Eposi i
Kreshnikëve
[336]
IV.
2.
Vepra
e
Fishtës
dhe Eposi
historik
(marrje)
[343]
IV.
2.
a. Marrja e vargjeve nga Eposi
historik
[343]
IV.
2.
b.
Marrja e motiveve dhe e strukturave
të mëdha
tekstore nga Eposi
historik
[346]
IV.
2.
с.
Perbálija
e
një teksti
poetik
të Fishtës me një këngë
epike popullore
[355]
IV.
3.
Vepra
e
Fishtës dhe
lirika
popullore (marrje)
[360]
IV.
4.
Vepra
e
Fishtës dhe letërsia popullore (dhënia)
[362]
IV.
5.
Ndikim
apo
marrje?
Çështja
e
origjinalitetit të Fishtës
[364]
V.
MITET NE VEPRËN
E
FISHTËS DHE MITOLOGJIA
SHQIPTARE
[369]
V.
1.
Miti i
luftës së Dragonjve me Kulshedrën
[371]
V.
2.
Zanat
shqiptare dhe
vilat sllave
[373]
V.
3.
Tri
mite të mëdha të Fishtës.
Miti
i ť
Parve ose miti
і
origjinës
e
і
races
[374]
PËRFUNDIME
[390]
Kreu
i pesťé
KONCEPTET
ESTETIKE
TË FISHTËS DHE
TRADITA
E MENDIMIT ESTETIK SHQIPTAR
HYRJE
[398]
I.
SHKRIMI
ESTETIK I
FISHTËS
[402]
I.
1.
Konceptet
estetike
të Fishtës
[404]
I.
1.
a.
E
bukura dhe
e mira
ne natyrë
[404]
10
I.
1.
b. E Bukura
dhe e
Pëlqyeshmja
[406]
I.
1.
с.
E Bukura
që ngjallitë
artin [407]
í.
1.
d.
Arti
nuk
është imitim
[408]
I. I.e.
Vepra
artistike-botë më
vete
[409]
I.
1. f.
Teoria e
dy Rruzullimeve
[410]
II.
KRAHASIME
PËRGJITHËSUESE TË FISHTËS
ME
MENDIME
ТЁ
TJERA
ESTETIKE-KRITIKE
[413]
II.
1.
Krahasime
përgjirhësuese të Fishtës
me Pjetër
Bogdanin
[413]
II.
2.
Krahasime
përgjithësuese të Fishtës
me
Jeronim
De Raden
[413]
II.
3.
Fishta dhe
kritika
letrare e Konicës
[417]
II.
3.
a. Metoda
e gjykimit: hapja e letërsisë shqipe ndaj letërsisë
botërore
[420]
II.
3.
b. Letërsia dhe Atdheu
[421]
II.
3.
с
Kritika
himnizuese dhe kritika
vlerësuese
[423]
II.
3.
d.
Metoda
e kritikës letrare-kritika moderne si mohim
і
kritikës biografiste
[425]
PËRFUNDIME
[426]
PËRFUNDIMET E PËRGJITHSHME: Fishta dhe
tradita
letrare
shqiptare
[429]
Resume
[443]
SHTOJCË
GJERGJ FISHTA
[1871-1940]
pasqyrë kronologjike e jetës dhe veprës
së Fishtës
[457]
Bibliografìa
kryesore e Gjergj Fishtës e konsultuar
për këtë
punim
[470]
Bibliografìa
tjetër
[474]
11
Koleksioni
і
HYLLIT TË DRITËS
i hulumtuar
në
Biblioteken
Kombëtare dhe
Universitare
të Kosovës
[490]
TREGUESI
I
EMRAVE
[504]
12
|
| any_adam_object | 1 |
| author | Kosumi, Bajram 1960- |
| author_GND | (DE-588)132970430 |
| author_facet | Kosumi, Bajram 1960- |
| author_role | aut |
| author_sort | Kosumi, Bajram 1960- |
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| building | Verbundindex |
| bvnumber | BV040153497 |
| ctrlnum | (OCoLC)796244083 (DE-599)BVBBV040153497 |
| format | Book |
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| id | DE-604.BV040153497 |
| illustrated | Not Illustrated |
| indexdate | 2024-12-24T02:42:01Z |
| institution | BVB |
| isbn | 9789951424394 |
| language | Albanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025010176 |
| oclc_num | 796244083 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 509 S. |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Brezi 81 |
| record_format | marc |
| spellingShingle | Kosumi, Bajram 1960- Fishta dhe tradita letrare shqiptare Fishta, Gjergj 1871-1940 (DE-588)118683764 gnd Rezeption (DE-588)4049716-1 gnd Literatur (DE-588)4035964-5 gnd Albanisch (DE-588)4112482-0 gnd Volksliteratur (DE-588)4135284-1 gnd Poetik (DE-588)4046449-0 gnd |
| subject_GND | (DE-588)118683764 (DE-588)4049716-1 (DE-588)4035964-5 (DE-588)4112482-0 (DE-588)4135284-1 (DE-588)4046449-0 |
| title | Fishta dhe tradita letrare shqiptare |
| title_alt | Fishta and Albanian literary tradition |
| title_auth | Fishta dhe tradita letrare shqiptare |
| title_exact_search | Fishta dhe tradita letrare shqiptare |
| title_full | Fishta dhe tradita letrare shqiptare Bajram Kosumi |
| title_fullStr | Fishta dhe tradita letrare shqiptare Bajram Kosumi |
| title_full_unstemmed | Fishta dhe tradita letrare shqiptare Bajram Kosumi |
| title_short | Fishta dhe tradita letrare shqiptare |
| title_sort | fishta dhe tradita letrare shqiptare |
| topic | Fishta, Gjergj 1871-1940 (DE-588)118683764 gnd Rezeption (DE-588)4049716-1 gnd Literatur (DE-588)4035964-5 gnd Albanisch (DE-588)4112482-0 gnd Volksliteratur (DE-588)4135284-1 gnd Poetik (DE-588)4046449-0 gnd |
| topic_facet | Fishta, Gjergj 1871-1940 Rezeption Literatur Albanisch Volksliteratur Poetik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025010176&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025010176&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT kosumibajram fishtadhetraditaletrareshqiptare AT kosumibajram fishtaandalbanianliterarytradition |