Shkruna:
\nMemedali Jusufi<\/p>\n
Gjate diteve te shkuara patem mundesi ne emisionin me te mire rajonal \u201c Pa Kufij\u201d te diskutojme ne diten nderkombetare te librit per sfidat qe e presin ne te ardhmen librin.Ne nje pike te bisedes shtrova si dileme se si do tia dal libri ne kohen e intelegjences artificiale . Pergjigja ishte shume e thjeshte se arti cdo here do te gjeje formen per te depertuar me magjine e fjales . Me nje fjale , naracioni eshte shpikja me e madhe qe ka bere njerzimi.
\nN\u00eb lasht\u00ebsi, tregimi i historive rreth zjarrit ishte nj\u00eb rit q\u00eb i mbante njer\u00ebzit bashk\u00eb. Sot, naracioni (n\u00eb filma, romane, apo rrjete sociale) vazhdon t\u00eb jet\u00eb “enigma” q\u00eb mban shoq\u00ebrin\u00eb t\u00eb bashkuar. Ne besojm\u00eb n\u00eb naracionet e p\u00ebrbashk\u00ebta (si kombi, paraja, ose drejt\u00ebsia), t\u00eb cilat n\u00eb thelb jan\u00eb tregime t\u00eb m\u00ebdha q\u00eb ne ke mi pranuar t’i quajm\u00eb realitet.
\n\u00c7do hart\u00eb ka nevoj\u00eb p\u00ebr nj\u00eb legjend\u00eb (\u00e7el\u00ebsin e simboleve). Naracioni na jep simbolet p\u00ebr t\u00eb kuptuar bot\u00ebn. Ai na tregon se cilat “rrug\u00eb” jan\u00eb t\u00eb rrezikshme (konfliktet etike) dhe cilat \u00e7ojn\u00eb n\u00eb “destinacione” me vler\u00eb. N\u00ebse ndryshojm\u00eb naracionin, ne ndryshojm\u00eb t\u00eb gjith\u00eb hart\u00ebn ton\u00eb p\u00ebr bot\u00ebn.
\nBota moderne na bombardon me t\u00eb dh\u00ebna t\u00eb pap\u00ebrpunuara. Naracioni sh\u00ebrben si filt\u00ebr. Ai i merr pikat e shp\u00ebrndara t\u00eb informacionit dhe i lidh ato me “vija” kuptimore. Pa k\u00ebt\u00eb hart\u00eb narrative, ne do t\u00eb ishim t\u00eb humbur n\u00eb nj\u00eb det faktesh pa asnj\u00eb busull morale apo logjike.
\nSot, m\u00eb shum\u00eb se kurr\u00eb, ne e nd\u00ebrtojm\u00eb veten p\u00ebrmes tregimit. Profilet tona, karriera, dhe m\u00ebnyra si e shohim rritjen ton\u00eb personale jan\u00eb “harta narrative”. Ne nuk jemi thjesht \u00e7far\u00eb b\u00ebjm\u00eb, por historia q\u00eb i tregojm\u00eb vetes p\u00ebr at\u00eb q\u00eb b\u00ebjm\u00eb. Kjo hart\u00eb na lejon t\u00eb shohim se ku kemi qen\u00eb dhe t\u00eb projektojm\u00eb se ku duam t\u00eb shkojm\u00eb.
\nEkziston nj\u00eb magji e heshtur q\u00eb ndodh n\u00eb hap\u00ebsir\u00ebn midis autorit dhe lexuesit. Naracioni nuk \u00ebsht\u00eb i plot\u00eb derisa dikush ta lexoj\u00eb. Lexuesi sjell me vete kujtimet, dhimbjet dhe \u00ebndrrat e tij. K\u00ebshtu, tregimi b\u00ebhet nj\u00eb bashk\u00eb-krijim: fjal\u00ebt jan\u00eb t\u00eb autorit, por imazhet dhe pesha emocionale krijohen n\u00eb mendjen e lexuesit.
\nN\u00eb jet\u00ebn reale, ne b\u00ebjm\u00eb nj\u00eb zgjedhje dhe humbim t\u00eb gjitha rrug\u00ebt e tjera. N\u00eb naracion, ne mund t\u00eb eksplorojm\u00eb “po sikur?”. Ai sh\u00ebrben si nj\u00eb laborator i moralit dhe i fatit. Ne shohim \u00e7far\u00eb ndodh n\u00ebse tradhtojm\u00eb, n\u00ebse jemi heronj, ose n\u00ebse dor\u00ebzohemi, pa pasur nevoj\u00eb t\u00eb paguajm\u00eb \u00e7mimin n\u00eb jet\u00ebn ton\u00eb reale.
\nNaracioni \u00ebsht\u00eb, n\u00eb fund t\u00eb fundit, frym\u00ebmarrja e kultur\u00ebs. Pa t\u00eb, ne do t\u00eb ishim t\u00eb burgosur n\u00eb “tashm\u00ebn” e ngusht\u00eb, pa t\u00eb shkuar dhe pa vizion p\u00ebr t\u00eb ardhmen.
\nTregimi nuk p\u00ebrshkruan vet\u00ebm bot\u00ebn e jashtme, ai krijon nj\u00eb hart\u00eb t\u00eb asaj q\u00eb ndodh brenda nesh. Nj\u00eb naracion i fuqish\u00ebm p\u00ebrdor objektet si pasqyra: nj\u00eb dritare e thyer n\u00eb tregim nuk \u00ebsht\u00eb thjesht xham i thyer, por nj\u00eb thyerje n\u00eb shpirtin e personazhit. Kjo quhet “korrelativi objektiv” \u2013 ku gj\u00ebrat fizike shnd\u00ebrrohen n\u00eb gjendje emocionale.
\nMrekullia m\u00eb e madhe e naracionit \u00ebsht\u00eb se ai thot\u00eb t\u00eb v\u00ebrtet\u00ebn p\u00ebrmes shpikjes. Si\u00e7 thoshte Albert Camus: “Fiktiviteti \u00ebsht\u00eb g\u00ebnjeshtra p\u00ebrmes s\u00eb cil\u00ebs ne themi t\u00eb v\u00ebrtet\u00ebn.” Nj\u00eb tregim mund t\u00eb jet\u00eb i shpikur, por emocionet q\u00eb ai ngjall te lexuesi jan\u00eb 100% reale. Ky \u00ebsht\u00eb nj\u00eb shnd\u00ebrrim tjet\u00ebr alkimik: nga e paqena (fantazia) te e v\u00ebrteta (ndjenja).
\nKoha n\u00eb jet\u00eb \u00ebsht\u00eb lineare dhe e pam\u00ebshirshme. Por n\u00eb naracion, autori \u00ebsht\u00eb zot i koh\u00ebs. Ai mund t\u00eb ngadal\u00ebsoj\u00eb nj\u00eb sekond\u00eb (p\u00ebrmes p\u00ebrshkrimit t\u00eb detajuar) duke e b\u00ebr\u00eb t\u00eb duket si nj\u00eb or\u00eb, ose mund t\u00eb kap\u00ebrcej\u00eb vite brenda nj\u00eb fjalie. Kjo aft\u00ebsi p\u00ebr t\u00eb manipuluar koh\u00ebn i jep naracionit nj\u00eb dimension hyjnor, duke na lejuar t\u00eb shohim jet\u00ebn nga nj\u00eb perspektiv\u00eb q\u00eb nuk e kemi dot n\u00eb p\u00ebrditshm\u00ebri.
\nNarracioni nuk pasqyron thjesht jet\u00ebn; ai nd\u00ebrton nj\u00eb realitet t\u00eb ri. Lexuesi q\u00eb hyn n\u00eb “uj\u00ebrat e naracionit” nuk del kurr\u00eb i nj\u00ebjt\u00eb n\u00eb bregun tjet\u00ebr. Ky ndryshim i brendsh\u00ebm tek lexuesi \u00ebsht\u00eb mrekullia e v\u00ebrtet\u00eb alkimike e let\u00ebrsis\u00eb.
\nNarracioni na lejon t\u00eb jetojm\u00eb mij\u00ebra jet\u00eb brenda nj\u00ebr\u00ebs. P\u00ebrmes tij, ne kalojm\u00eb barrierat e koh\u00ebs dhe hap\u00ebsir\u00ebs. Kur lexojm\u00eb ose d\u00ebgjojm\u00eb nj\u00eb tregim, truri yn\u00eb aktivizon t\u00eb nj\u00ebjtat zona sikur t’i p\u00ebrjetonim ato ngjarje vet\u00eb. Kjo \u00ebsht\u00eb mrekullia biologjike e tij: ai \u00ebsht\u00eb nj\u00eb simulim i realitetit q\u00eb na p\u00ebrgatit p\u00ebr jet\u00ebn pa na kushtuar asgj\u00eb.
\n“Mrekullia e naracionit” q\u00ebndron n\u00eb aft\u00ebsin\u00eb e tij p\u00ebr t\u00eb shnd\u00ebrruar faktet e thjeshta n\u00eb p\u00ebrvoja t\u00eb gjalla shpirt\u00ebrore, duke e ftuar lexuesin t\u00eb b\u00ebhet pjes\u00ebmarr\u00ebs aktiv n\u00eb bot\u00ebn e tregimit. N\u00eb nj\u00eb tregim t\u00eb mir\u00ebfillt\u00eb, narrativi nuk \u00ebsht\u00eb thjesht nj\u00eb mjet informues, por nj\u00eb forc\u00eb transformuese q\u00eb lidh mendjen logjike me qendrat emocionale t\u00eb njeriut.
\nNarrativi ne Tregim , M\u00ebnyr\u00ebn se si ngjarjet “rrjedhin” nga nj\u00ebra te tjetra, duke krijuar nj\u00eb p\u00ebrvoj\u00eb koherente p\u00ebr lexuesin.P\u00ebrdorimin e gjuh\u00ebs si nj\u00eb mjet q\u00eb “mbart” lexuesin p\u00ebrmes temave dhe motiveve t\u00eb ndryshme, shpesh i krahasuar me l\u00ebvizjen e ujit (her\u00eb i qet\u00eb, her\u00eb i trazuar). Eksplorimin e teknikave si k\u00ebndv\u00ebshtrimi, koha narrative dhe z\u00ebri i rr\u00ebfyesit q\u00eb form\u00ebsojn\u00eb “uj\u00ebrat” ku zhytet lexuesi.
\nN\u00eb tregim, akti i em\u00ebrtimit t\u00eb nj\u00eb ndjenje apo i p\u00ebrshkrimit t\u00eb nj\u00eb peizazhi \u00ebsht\u00eb nj\u00eb akt krijimi. Kur nj\u00eb autor p\u00ebrshkruan nj\u00eb melankoli, ai nuk po raporton thjesht p\u00ebr t\u00eb, ai po e skulpturon at\u00eb. Naracioni i jep form\u00eb asaj q\u00eb \u00ebsht\u00eb e paform\u00eb. Ashtu si alkimisti q\u00eb p\u00ebrdor simbolet, narratori p\u00ebrdor fjal\u00ebt p\u00ebr t\u00eb ngurt\u00ebsuar idet\u00eb abstrakte.
\n\u00c7do naracion i mir\u00eb p\u00ebrmban nj\u00eb element shp\u00ebtimi (redemption). Edhe n\u00eb tragjedi, fakti q\u00eb dikush po e tregon historin\u00eb do t\u00eb thot\u00eb se nga vuajtja ka mbetur nj\u00eb m\u00ebsim. Ky \u00ebsht\u00eb shnd\u00ebrrimi i fundit alkimik: shnd\u00ebrrimi i dhimbjes n\u00eb drit\u00eb\/njohje. Tregimi nuk e fshin vuajtjen, por e b\u00ebn at\u00eb t\u00eb durueshme duke i dh\u00ebn\u00eb nj\u00eb vend n\u00eb historin\u00eb njer\u00ebzore.
\nMrekullia ka edhe an\u00ebn e saj “magjike” ose mashtruese. Nj\u00eb tregimtar i zoti di \u00e7far\u00eb t\u00eb tregoj\u00eb dhe, mbi t\u00eb gjitha, \u00e7far\u00eb t\u00eb fsheh\u00eb. Heshtja n\u00eb naracion (ajo q\u00eb lihet pa u th\u00ebn\u00eb) \u00ebsht\u00eb po aq e fuqishme sa fjal\u00ebt. Kjo krijon hap\u00ebsir\u00ebn ku lexuesi fut imagjinat\u00ebn e tij, duke e b\u00ebr\u00eb tregimin t\u00eb vetin.
\nHarta mendore e naracionit na ndihmon t\u00eb lokalizojm\u00eb emocionet tona. Kur lexojm\u00eb p\u00ebr ankthin ose triumfin e nj\u00eb personazhi, ne gjejm\u00eb “emrin” e vendit ku ndodhemi emocionalisht. Ai sh\u00ebrben si nj\u00eb mjet p\u00ebr t\u00eb kuptuar territorin e panjohur t\u00eb psikologjis\u00eb son\u00eb, duke e b\u00ebr\u00eb t\u00eb huaj\u00ebn t\u00eb njohur.
\nNaracioni modern ngjan me nj\u00eb hart\u00eb digjitale (si Google Maps) ku mund t\u00eb b\u00ebsh “zoom” te nj\u00eb detaj ose t\u00eb shoh\u00ebsh t\u00eb gjith\u00eb globin. Ai nuk \u00ebsht\u00eb m\u00eb linear; ai ka deg\u00ebzime, prapakthehu (flashbacks) dhe shtresa t\u00eb ndryshme realiteti. Kjo pasqyron m\u00ebnyr\u00ebn se si funksionon truri yn\u00eb sot: duke kaluar nga nj\u00eb ide te tjetra n\u00eb m\u00ebnyr\u00eb asociative.
\nN\u00eb fizik\u00ebn kuantike thuhet se v\u00ebzhguesi ndikon mbi at\u00eb q\u00eb v\u00ebzhgon. N\u00eb jet\u00eb, naracioni \u00ebsht\u00eb v\u00ebzhguesi yn\u00eb i brendsh\u00ebm. M\u00ebnyra se si e “tregojm\u00eb” nj\u00eb ngjarje (si tragjedi apo si mund\u00ebsi) ndryshon faktin fizik. K\u00ebtu naracioni b\u00ebhet shnd\u00ebrrues (alkimik): ai nuk po p\u00ebrshkruan nj\u00eb realitet ekzistues, ai po e voton at\u00eb n\u00eb ekzistenc\u00eb. Ne e jetojm\u00eb historin\u00eb q\u00eb kemi guximin t\u00eb tregojm\u00eb.
\nShkenca tregon se ne nuk i kujtojm\u00eb ngjarjet ashtu si\u00e7 kan\u00eb ndodhur, por kujtojm\u00eb her\u00ebn e fundit q\u00eb i kemi treguar ato. Ky \u00ebsht\u00eb nj\u00eb proces i past\u00ebr narrativ. Memoria jon\u00eb nuk \u00ebsht\u00eb nj\u00eb arkiv videosh, por nj\u00eb skenarist i palodhur q\u00eb rregullon dritat, shton muzik\u00ebn dhe ndryshon dialog\u00ebt p\u00ebr t’iu p\u00ebrshtatur hart\u00ebs son\u00eb aktuale mendore. Ne jemi nj\u00eb tregim q\u00eb po rishkruhet vazhdimisht.
\nMrekullia e naracionit prek edhe trupin. Nj\u00eb tregim i mir\u00eb mund t\u00eb rris\u00eb rrahjet e zemr\u00ebs, t\u00eb shkaktoj\u00eb lot apo t\u00eb prodhoj\u00eb dopamin\u00eb. Naracioni \u00ebsht\u00eb ura ku ideja abstrakte b\u00ebhet reaksion kimik. Kjo v\u00ebrteton se harta mendore nuk q\u00ebndron vet\u00ebm n\u00eb tru, por shtrihet n\u00eb t\u00eb gjith\u00eb sistemin ton\u00eb nervor. Ne “ndiejm\u00eb” n\u00ebp\u00ebrmjet struktur\u00ebs narrative.
\nNjeriu \u00ebsht\u00eb e vetmja qenie q\u00eb e di fundin e tij. Naracioni \u00ebsht\u00eb m\u00ebnyra jon\u00eb p\u00ebr t\u00eb sfiduar fundshm\u00ebrin\u00eb. Duke krijuar tregime q\u00eb na mbijetojn\u00eb, ne l\u00ebm\u00eb pas koordinatat tona n\u00eb hart\u00ebn e madhe t\u00eb njer\u00ebzimit. Nj\u00eb tregim i mir\u00eb \u00ebsht\u00eb nj\u00eb “p\u00ebrjet\u00ebsi e vog\u00ebl” e mbyllur n\u00eb fjal\u00eb. Ai e kthen koh\u00ebn lineare (q\u00eb na konsumon) n\u00eb koh\u00eb ciklike (q\u00eb na rilind).
\nN\u00eb epok\u00ebn moderne, hartat tona narrative po nd\u00ebrthuren. Ne po jetojm\u00eb n\u00eb nj\u00eb “naracion global” ku historit\u00eb tona individuale jan\u00eb si fije t\u00eb nj\u00eb p\u00eblhure gjigante. Ky rrjet\u00ebzim i tregimeve krijon nj\u00eb lloj nd\u00ebrgjegjeje kolektive. Mrekullia k\u00ebtu \u00ebsht\u00eb se, megjith\u00ebse jemi miliarda tregime t\u00eb ndryshme, ekzistojn\u00eb arketipe (harta baz\u00eb) q\u00eb na b\u00ebjn\u00eb t\u00eb kuptojm\u00eb vuajtjen e dikujt n\u00eb an\u00ebn tjet\u00ebr t\u00eb bot\u00ebs.
\nNaracioni \u00ebsht\u00eb teknologjia m\u00eb e fuqishme q\u00eb ka shpikur njeriu\u2014m\u00eb e fuqishme se zjarri apo inteligjenca artificiale\u2014sepse \u00ebsht\u00eb e vetmja q\u00eb mund t\u00eb na tregoj\u00eb pse jemi k\u00ebtu dhe jo vet\u00ebm si t\u00eb mbijetojm\u00eb.<\/p>\n","protected":false},"excerpt":{"rendered":"
Shkruna: Memedali Jusufi Gjate diteve te shkuara patem mundesi ne emisionin me te mire rajonal…<\/p>\n","protected":false},"author":1,"featured_media":3205,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-6304","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-op-ed"],"_links":{"self":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/6304","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6304"}],"version-history":[{"count":1,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/6304\/revisions"}],"predecessor-version":[{"id":6310,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/6304\/revisions\/6310"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/media\/3205"}],"wp:attachment":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6304"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6304"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6304"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}