{"id":74485,"date":"2026-03-04T13:48:54","date_gmt":"2026-03-04T13:48:54","guid":{"rendered":"https:\/\/zennihost.com\/test\/2026\/03\/04\/cna-treguan-molotovet-mbi-shtepine-e-artisteve-enverit\/"},"modified":"2026-03-04T13:48:54","modified_gmt":"2026-03-04T13:48:54","slug":"cna-treguan-molotovet-mbi-shtepine-e-artisteve-enverit","status":"publish","type":"post","link":"https:\/\/zennihost.com\/test\/2026\/03\/04\/cna-treguan-molotovet-mbi-shtepine-e-artisteve-enverit\/","title":{"rendered":"\u00c7\u2019na treguan molotov\u00ebt mbi sht\u00ebpin\u00eb e (artist\u00ebve) Enverit"},"content":{"rendered":"<p><span>Nj\u00eb artiste e huaj q\u00eb ka qen\u00eb me grupin e par\u00eb t\u00eb atyre q\u00eb q\u00ebndruan n\u00eb vil\u00ebn e Enver Hoxh\u00ebs m\u00eb d\u00ebrgoi nj\u00eb mesazh, ku m\u00eb k\u00ebrkoi nj\u00eb mendim p\u00ebr \u00e7far\u00eb ndodhi gjat\u00eb protest\u00ebs s\u00eb fundit, kur mbi vil\u00ebn e Hoxh\u00ebs u hodh\u00ebn molotov\u00eb. Thelbin e p\u00ebrgjigjes q\u00eb i d\u00ebrgova po e b\u00ebj t\u00eb njohur edhe p\u00ebr publikun shqiptar, pasi mendoj se kjo ngjarje meriton nj\u00eb debat t\u00eb gjer\u00eb, ndon\u00ebse p\u00ebr fat t\u00eb keq po ndodh n\u00eb nj\u00eb moment t\u00eb pap\u00ebrshtatsh\u00ebm historik si brenda vendit, edhe n\u00eb nivel bot\u00ebror.<\/span><\/p>\n<p><span>Ajo q\u00eb i shkruaja pak a shum\u00eb ishte se molotov\u00ebt mbi vil\u00ebn e Hoxh\u00ebs ishin nj\u00eb \u201cdisplacement\u201d (zhvendosje) e zem\u00ebrimit. Pra, n\u00eb vend q\u00eb t\u00eb sulmonin autokratin e gjall\u00eb, protestuesit sulmuan nj\u00eb z\u00ebvend\u00ebsues simbolik t\u00eb tij, sht\u00ebpin\u00eb e diktatorit t\u00eb vdekur. Kjo pasi \u00ebsht\u00eb m\u00eb e leht\u00eb ose m\u00eb pak e rrezikshme t\u00eb sulmosh simbolin e nj\u00eb autokracie t\u00eb vdekur sesa autokratin e gjall\u00eb. Sigurisht, ky sulm lidhet edhe me faktin se partia e Ram\u00ebs \u00ebsht\u00eb trash\u00ebgimtare e partis\u00eb s\u00eb Hoxh\u00ebs dhe se kjo sht\u00ebpi pritjeje p\u00ebr artist\u00ebt per\u00ebndimor\u00eb, q\u00eb menaxhohet nga nj\u00eb fondacion francez me lidhje me presidentin Macron, \u00ebsht\u00eb kthyer n\u00eb nj\u00eb simbol t\u00eb pushtetit pasi i sh\u00ebrben autokratit p\u00ebr t\u00eb forcuar legjitimitetin e tij nd\u00ebrkomb\u00ebtar (p\u00ebrve\u00e7se p\u00ebr t\u00eb kooptuar artist\u00eb e intelektual\u00eb shqiptar\u00eb). (N\u00eb nj\u00eb mesazh t\u00eb dyt\u00eb, p\u00ebr t\u00eb ilustruar k\u00ebt\u00eb i d\u00ebrgova edhe nj\u00eb postim t\u00eb debatikcenter, ku thuhej nd\u00ebr t\u00eb tjera: \u201ckur Rama denoncon protestuesit e opozit\u00ebs si terrorist\u00eb t\u00eb paqytet\u00ebruar, t\u00eb pakulturuar, q\u00eb e urrejn\u00eb artin \u2013 mos harroni se ky \u00ebsht\u00eb nj\u00eb diskurs i koduar orientalist q\u00eb vjen nga nj\u00eb mashtrues fashist, i cili ka pla\u00e7kitur sistematikisht pasurin\u00eb e vendit t\u00eb tij p\u00ebr 13 vitet e fundit, duke e ofruar at\u00eb rregullisht p\u00ebr interesat e pista t\u00eb fuqive imperiale dhe neokoloniale (SHBA dhe BE), nd\u00ebrkoh\u00eb q\u00eb p\u00ebrdor artin p\u00ebr t\u00eb veshur politik\u00ebn e tij me nj\u00eb aj\u00ebr t\u00eb koduar per\u00ebndimor t\u00eb kultivimit, rafinimit dhe sofistikimit. Kjo \u00ebsht\u00eb e v\u00ebrteta e t\u00eb ashtuquajturit \u201cbashkim\u201d i artit dhe politik\u00ebs n\u00eb Shqip\u00ebri, dhe t\u00eb gjith\u00eb artist\u00ebt dhe punonj\u00ebsit e kultur\u00ebs q\u00eb respektojn\u00eb veten duhet ta analizojn\u00eb me kujdes situat\u00ebn dhe t\u00eb distancohen nga p\u00ebrpjekje t\u00eb tilla t\u00eb hapura p\u00ebr kooptim.\u201d)<\/span><\/p>\n<p><span>Gjithsesi \u2013 vazhdova n\u00eb mesazhin tim t\u00eb par\u00eb \u2013 sulmin ndaj k\u00ebsaj vile, n\u00eb nj\u00eb rrafsh m\u00eb t\u00eb thell\u00eb psikologjik, un\u00eb e shoh si nj\u00eb p\u00ebrs\u00ebritje t\u00eb traum\u00ebs, si tregues se shqiptar\u00ebt po e p\u00ebrs\u00ebrisin t\u00eb kaluar\u00ebn, sepse nuk e kan\u00eb trajtuar at\u00eb si\u00e7 do t\u00eb duhej ta kishin trajtuar.<\/span><\/p>\n<p><span>P\u00ebr t\u2019i shpjeguar \u00e7far\u00eb desha t\u00eb them i d\u00ebrgova edhe nj\u00eb reagim t\u00eb Andi Tepelen\u00ebs t\u00eb titulluar \u201cVila e Diktatorit e kamufluar me art bashk\u00ebkohor\u201d:<\/span><\/p>\n<p><span>\u201c Fantazmat e s\u00eb kaluar\u00ebs do na p\u00ebrndjekin ende si popull. Vendet e kujtes\u00ebs me ngarkesa t\u00eb forta simbolike duhet t\u00eb sh\u00ebrbejn\u00eb si mund\u00ebsi p\u00ebr t\u00eb ruajtur kujtes\u00ebn kolektive. Transformimi nga vende t\u00eb krimit n\u00eb vende t\u00eb artit, jo vet\u00ebm nuk sh\u00ebrojn\u00eb dhimbjen, por shtremb\u00ebrojn\u00eb vet\u00ebdijen dhe reflektimin. E th\u00ebn\u00eb shkurt dhe tro\u00e7, Vila e Enver Hoxh\u00ebs n\u00eb Bllok, nuk duhet t\u00eb kamuflohet me nj\u00eb vend p\u00ebr zhvillimin e artin bashk\u00ebkohor q\u00eb shikon nga e tashmja, por duhet t\u00eb kthehet n\u00eb muze t\u00eb krimeve t\u00eb komunizmit q\u00eb mos t\u00eb harrojm\u00eb nd\u00ebr breza t\u00eb kaluar\u00ebn diktatoriale.<\/span><\/p>\n<p><span>P.S. Keqardhje p\u00ebr artist\u00ebt e huaj q\u00eb u ndodh\u00ebn aty, aq m\u00eb shum\u00eb q\u00eb nuk kan\u00eb lidhje me historin\u00eb ton\u00eb totalitare dhe nuk ndjejn\u00eb. Mund dhe t\u00eb kishin rrezikuar jet\u00ebn, nj\u00eblloj si artist\u00ebt shqiptar\u00eb q\u00eb desh gjet\u00ebn vdekjen n\u00ebn rr\u00ebnojat e Teatrit Komb\u00ebtar nga rruspa Rama &amp; Veliajt\u201d<\/span><\/p>\n<p><span>***<\/span><\/p>\n<p><span>Me kaq u mbyll shk\u00ebmbimi im me t\u00eb. M\u00eb pas iu ktheva posht\u00eb-sh\u00ebnimit t\u00eb Tepelen\u00ebs q\u00eb m\u00eb b\u00ebri t\u00eb shtroj vetmevete dy pyetje:<\/span><\/p>\n<p><span>E para, po pse duhet t\u00eb ken\u00eb kaq pak imagjinat\u00eb artist\u00ebt e huaj q\u00eb vijn\u00eb e flen\u00eb rehat atje? A nuk ishte Ernesto Sabato, nj\u00eb i huaj q\u00eb nuk pranoi t\u00eb flinte? P\u00ebr hir t\u00eb s\u00eb v\u00ebrtet\u00ebs dua t\u00eb them se artistja q\u00eb m\u00eb \u00e7oi mesazhin m\u00eb kishte th\u00ebn\u00eb q\u00eb n\u00eb Tiran\u00eb se e kishte ndjer\u00eb \u201carom\u00ebn e krimeve me gjak shqiptari n\u00eb muret e asaj godine\u201d.<\/span><\/p>\n<p><span>Por pyetja m\u00eb e r\u00ebnd\u00ebsishme q\u00eb m\u00eb lindi ishte e dyta: mir\u00eb t\u00eb huajt, q\u00eb si\u00e7 thot\u00eb Tepelena, nuk e kan\u00eb iden\u00eb se \u00e7far\u00eb ka ndodhur n\u00eb Shqip\u00ebri, por si \u00ebsht\u00eb e mundur q\u00eb nuk e ndjejn\u00eb \u201carom\u00ebn e krimeve\u201d artist\u00eb dhe intelektual\u00eb shqiptar\u00eb? A mos vall\u00eb kjo \u00ebsht\u00eb \u00e7\u00ebshtje moshe? K\u00ebt\u00eb pun\u00ebn e mosh\u00ebs e skartova menj\u00ebher\u00eb sepse fatkeq\u00ebsisht kam par\u00eb t\u00eb shkojn\u00eb atje me zell edhe artist\u00eb dhe intelektual\u00eb t\u00eb moshuar. Nd\u00ebr ta, madje, mund t\u00eb fus edhe dor\u00ebn vet\u00eb, arkitektin e k\u00ebtij projekti, i cili kur ishte artist dhe intelektual i ri shkruante: \u201cDenoncimi pa kompromis i veprimtaris\u00eb kriminale t\u00eb PPSH-s\u00eb deri n\u00eb nxjerrjen e saj jasht\u00eb ligjit \u00ebsht\u00eb i vetmi shteg nga duhet t\u00eb kaloj\u00eb PSSH-ja p\u00ebr t\u00eb fituar t\u00eb drejt\u00ebn e qytetaris\u00eb n\u00eb shoq\u00ebrin\u00eb e ardhshme shqiptare dhe e vetmja mund\u00ebsi p\u00ebr opozit\u00ebn q\u00eb atdheun e mbetur n\u00eb duart e rruga\u00e7\u00ebve t\u00eb qosheve t\u00eb err\u00ebta t\u00eb nomenklatur\u00ebs apo t\u00eb kriminel\u00ebve ordiner\u00eb t\u2019ua kthej\u00eb miliona njer\u00ebzve t\u00eb ndersh\u00ebm q\u00eb e kan\u00eb humbur besimin. P\u00ebr sa koh\u00eb PS nuk ka b\u00ebr\u00eb denoncimin e plot\u00eb t\u00eb origjin\u00ebs dhe historis\u00eb s\u00eb saj, ajo s\u2019mund ta ket\u00eb t\u00eb drejt\u00ebn p\u00ebr t\u00eb qen\u00eb nj\u00eb parti e ligjshme\u201d. \u201d Edi Rama \u201cRefleksione\u201d, fq. 184 (1991)<\/span><\/p>\n<p><span>Duke lexuar k\u00ebt\u00eb tekst e duke par\u00eb se \u00e7far\u00eb po b\u00ebn ky artist shqiptar sot n\u00eb krye t\u00eb PS edhe n\u00eb raport me kujtes\u00ebn, nuk mund t\u00eb mos ngresh pyetjen: si shpjegohet kjo pandjeshm\u00ebri e shoq\u00ebris\u00eb shqiptare ndaj shnd\u00ebrrimit nga ana e pushtetit t\u00eb sht\u00ebpis\u00eb s\u00eb diktatorit n\u00eb nj\u00eb fjetore t\u00eb rehatshme p\u00ebr artist\u00eb me gjith\u00eb er\u00ebn e kufomave q\u00eb ndjehet aty? Pa pretenduar t\u00eb shteroj problematik\u00ebn q\u00eb bart kjo pyetje, po p\u00ebrpiqem t\u00eb cek disa prej mekanizmave historik\u00eb, politik\u00eb dhe psikologjik\u00eb q\u00eb mund t\u00eb ndihmojn\u00eb n\u00eb shpjegimin e k\u00ebsaj \u00e7mendurie morale dhe intelektuale q\u00eb na ka pllakosur.<\/span><\/p>\n<p><span>Pa dyshim rasti n\u00eb fjal\u00eb ka t\u00eb b\u00ebj\u00eb me kontrollin e memories kolektive q\u00eb \u00ebsht\u00eb pun\u00eb shum\u00eb e r\u00ebnd\u00ebsishme p\u00ebr pushtetin. Po t\u00eb analizojm\u00eb se \u00e7far\u00eb ka shkruar Rama n\u00eb vitin 1991 do t\u00eb kuptojm\u00eb se ai ka synuar t\u2019u hiqej ish komunist\u00ebve legjitimiteti dhe pushteti, pik\u00ebrisht n\u00ebp\u00ebrmjet nd\u00ebrtimit t\u00eb nj\u00eb memorie kolektive tjet\u00ebr, t\u00eb bazuar mbi denoncimin e krimeve t\u00eb tyre sipas parimit \u201cv\u00ebrtet\u00ebsi dhe drejt\u00ebsi\u201d. N\u00eb ato vite nd\u00ebrtimi i k\u00ebsaj memorie kishte shanse t\u00eb triumfonte, por duhet th\u00ebn\u00eb se me ardhjen n\u00eb pushtet t\u00eb PD-s\u00eb me n\u00eb krye ish-komunistin Sali Berisha, memoria kolektive nuk u nd\u00ebrtua dot mbi v\u00ebrtet\u00ebsin\u00eb dhe drejt\u00ebsin\u00eb, por u instrumentalizua me kultur\u00ebn e trash\u00ebguar komuniste t\u00eb manipulimit dhe simulimit p\u00ebr q\u00ebllime pushteti. Shoq\u00ebria shqiptare, n\u00eb vend q\u00eb t\u00eb fillonte t\u00eb dialogonte mbi platform\u00ebn e par\u00eb t\u00eb Sali Berish\u00ebs \u201cbashk\u00ebvuajt\u00ebs dhe bashk\u00ebfajtor\u00eb\u201d (q\u00eb kishte problemin se favorizonte ish komunist\u00ebt) u nda shum\u00eb shpejt, po duke ndjekur synimet e k\u00ebtij komunisti t\u00eb kthyer n\u00eb antikomunist n\u00eb dy pole: n\u00eb \u201cviktima\u201d dhe \u201cxhelat\u00eb\u201d q\u00eb, n\u00eb em\u00ebr t\u00eb pushtetit, filluan t\u00eb konfliktojn\u00eb ve\u00e7 t\u00eb tjerash edhe p\u00ebr kontrollin e memories kolektive. Natyrisht nuk mund t\u00eb pretendohet q\u00eb t\u00eb dy memoriet t\u00eb ishin t\u00eb nj\u00ebjta, por detyra e politik\u00ebs s\u00eb mir\u00eb dhe nj\u00eb elite t\u00eb pjekur do t\u00eb ishte t\u00eb mund\u00ebsonte dialogun, t\u00eb njihte kompleksitetin e traum\u00ebs, faktin se thell\u00eb thell\u00eb t\u00eb traumatizuar nuk dol\u00ebn vet\u00ebm viktimat dhe f\u00ebmij\u00ebt e tyre, por edhe xhelat\u00ebt e f\u00ebmij\u00ebt e tyre. Th\u00ebn\u00eb me fjal\u00ebt e mendimtarit Dominick LaCapra n\u00eb ato vite n\u00eb vend t\u00eb p\u00ebrpunimit t\u00eb traum\u00ebs n\u00ebp\u00ebrmjet working through \u2013 integrimit kritik t\u00eb saj n\u00eb nd\u00ebrgjegjen kolektive, shoq\u00ebria shqiptare e p\u00ebrjetoi at\u00eb n\u00ebp\u00ebrmjet acting out \u2013 duke e rijetuar at\u00eb n\u00eb m\u00ebnyr\u00eb kompulsive, \u00e7ka hodhi bazat e nj\u00eb polarizim t\u00eb ri, t\u00eb mitizimeve t\u00eb reja, t\u00eb nevoj\u00ebs p\u00ebr lider\u00eb t\u00eb rinj autoritar\u00eb.<\/span><\/p>\n<p><span>Pa u zgjatur n\u00eb histori mund t\u00eb them se pas vitit \u201897 me marrjen e pushtetit nga PS, memoria kolektive filloi t\u00eb kontrollohet gjithnj\u00eb e m\u00eb shum\u00eb nga trash\u00ebgimtar\u00ebt e Enver Hoxh\u00ebs. Edi Rama q\u00eb n\u00eb vitet \u201890 tundte flamurin e s\u00eb v\u00ebrtet\u00ebs dhe drejt\u00ebsis\u00eb, n\u00ebn etjen p\u00ebr pushtet dhe n\u00eb saj\u00eb t\u00eb pushtetit e ka \u00e7uar manipulimin e memories kolektive n\u00eb nivelet m\u00eb mbrapshta t\u00eb sofistikimit. Pjesa m\u00eb artistike e k\u00ebtyre manipulimeve jan\u00eb operacionet q\u00eb ka b\u00ebr\u00eb me ato q\u00eb sipas historianit Pierre Nora duhet t\u00eb quheshin lieux de m\u00e9moire \u2013 vende kujtese, si\u00e7 jan\u00eb edhe sht\u00ebpia e diktatorit apo piramida.<\/span><\/p>\n<p><span>Kuptohet, manipulimet q\u00eb Rama ka kryer edhe me kontributin apo heshtjen e mjaft shkrimtar\u00ebve, artist\u00ebve dhe intelektual\u00ebve, kan\u00eb nj\u00eb histori t\u00eb gjat\u00eb. Synimi i tyre ka qen\u00eb ruajtja e baz\u00ebs historike t\u00eb PS-s\u00eb dhe familjar\u00ebve t\u00eb tyre nostalgjik\u00eb, t\u00eb vjet\u00ebr dhe t\u00eb rinj \u2013 shpesh edhe bashk\u00ebpun\u00ebtor\u00eb n\u00eb krim \u2013 n\u00eb nj\u00eb shoq\u00ebri q\u00eb ka mbetur ende fisnore. P\u00ebr k\u00ebt\u00eb q\u00eb n\u00eb fillim t\u00eb marrjes s\u00eb pushtetit, PS iu fut rimodelimit t\u00eb narrativ\u00ebs s\u00eb krimeve t\u00eb komunizmit t\u00eb promovuar edhe nga Rama n\u00eb fillim vitet \u201990. Af\u00ebrmendsh ky rimodelim nuk ka synuar dhe nuk synon mohimin e krimeve t\u00eb njohura bot\u00ebrisht, por \u201cnormalizimin\u201d e tyre duke i zbutur apo harruar, duka u ulur pesh\u00ebn morale dhe mbi t\u00eb gjitha duke nxjerr\u00eb jasht\u00eb v\u00ebmendjes viktimat q\u00eb trazonin plag\u00ebn. Le t\u00eb sjell p\u00ebr k\u00ebt\u00eb shembullin e viktimave si Fadil Kokomani, Vangjel Lezho dhe Xhelal Koprencka (p\u00ebr t\u00eb mos p\u00ebrmendur shum\u00eb t\u00eb tjer\u00eb) q\u00eb jan\u00eb pushkatuar n\u00eb vitin 1979, pra vet\u00ebm 12 vjet para r\u00ebnies s\u00eb diktatur\u00ebs dhe nuk iu gjet\u00ebn eshtrat, ndon\u00ebse nj\u00eb tuf\u00eb ekzekutor\u00ebsh kan\u00eb qen\u00eb gjall\u00eb n\u00eb vitet \u201890 dhe vazhdojn\u00eb t\u00eb jen\u00eb gjall\u00eb edhe sot.<\/span><\/p>\n<p><span>Por le t\u00eb kthehemi tek vendet e kujtes\u00ebs dhe t\u00eb shohim se si shprehet n\u00eb to ky normalizim. Nd\u00ebr shembujt m\u00eb elokuent \u00ebsht\u00eb fakti se me ardhjen e PS-s\u00eb n\u00eb pushtet, burgu i Burrelit ku kan\u00eb vuajtur dhe kan\u00eb vdekur q\u00eb nga viti 1945 deri n\u00eb vitin 1990 nj\u00eb num\u00ebr shum\u00eb i madh kund\u00ebrshtar\u00ebsh politik\u00eb, nd\u00ebr t\u00eb cil\u00ebt edhe mjaft intelektual\u00eb t\u00eb shquar, u kthye (dhe vazhdon t\u00eb jet\u00eb edhe sot) nj\u00eb burg i zakonsh\u00ebm ordiner\u00ebsh. \u00cbsht\u00eb e qart\u00eb se kjo nuk u b\u00eb pasi Shqip\u00ebria nuk kishte mjaftuesh\u00ebm beton p\u00ebr t\u00eb nd\u00ebrtuar nj\u00eb burg t\u00eb ri dhe prandaj s\u2019mund ta linte at\u00eb muze si\u00e7 ishte shnd\u00ebrruar pjes\u00ebrisht sipas nj\u00eb projekti t\u00eb pap\u00ebrfunduar. Q\u00ebllimi i p\u00ebrdorimit t\u00eb tij si burg ordiner ishte q\u00eb shoq\u00ebris\u00eb t\u2019i p\u00ebr\u00e7ohej mesazhi se nuk ka ndodhur ndonj\u00eb gj\u00eb e jasht\u00ebzakonshme, se diktatori dhe diktatura kan\u00eb qen\u00eb thjesht pjes\u00eb e historis\u00eb me t\u00eb mirat dhe k\u00ebqijat e veta. Me fjal\u00eb t\u00eb tjera q\u00eb krimet t\u00eb mos konsideroheshin m\u00eb si plag\u00eb, si nj\u00eb traum\u00eb q\u00eb duhej kuruar, por q\u00eb trauma t\u00eb normalizohej, t\u00eb desakralizohej. Ky desakralizim u pa edhe n\u00eb rastin e vil\u00ebs s\u00eb Hoxh\u00ebs, ku reagimet e \u201cartist\u00ebve\u201d t\u00eb Ram\u00ebs treguan se e shenjta q\u00eb duhej ruajtur dhe respektuar atje nuk ishte trauma, por arti dhe artist\u00ebt per\u00ebndimor\u00eb. Sipas qasjes s\u00eb k\u00ebtij rimodelimi normalizues, k\u00ebto vende nuk duhen trajtuar si vende t\u00eb kujtes\u00ebs, si paralajm\u00ebrime q\u00eb e keqja t\u00eb mos p\u00ebrs\u00ebritet, por si tejkalime t\u00eb traum\u00ebs. K\u00ebshtu piramida \u00ebsht\u00eb trajtuar me shkall\u00ebt sip\u00ebr si belvedere, mbi t\u00eb cilat mund t\u00eb ngjitesh i lir\u00eb q\u00eb t\u2019i g\u00ebzohesh zhvillimit modern t\u00eb Tiran\u00ebs, brenda si simbol i t\u00eb ardhmes me teknologji dixhitale dhe rrotull me kafene e dyqane klient\u00ebsh t\u00eb pushtetit. Vet\u00ebm ndonj\u00eb mendim p\u00ebr diktatur\u00ebn dhe diktatorin nuk t\u00eb vjen dot m\u00eb aty. Edhe vende si Bunk-Art 1 dhe Bunk-Art 2, q\u00eb dikush mund t\u00eb m\u2019i sjell\u00eb si kund\u00ebrargumente, jan\u00eb konceptuar duke iu manipuluar n\u00eb fakt autenticiteti p\u00ebr t\u2019i shnd\u00ebrruar n\u00eb atraksione turistike, n\u00eb burim fitimesh financiare. Edhe \u201cSht\u00ebpia me gjethe\u201d madje nuk \u00ebsht\u00eb vend vuajtje. Nd\u00ebrkaq, vendet autentike t\u00eb vuajtjes dhe torturave si Burgu i Burrelit, apo dhe burgu i Tiran\u00ebs, brenda t\u00eb cilit p\u00ebrve\u00e7 torturave jan\u00eb b\u00ebr\u00eb edhe gjyqe historike, vazhdojn\u00eb t\u00eb punojn\u00eb si burgje ordiner\u00ebsh. Kampet fam\u00ebk\u00ebqij si Spa\u00e7i, Ballshi, Qaf\u00eb \u2013 Bari etj., etj., jan\u00eb l\u00ebn\u00eb n\u00eb rr\u00ebnim dhe harres\u00eb t\u00eb plot\u00eb.<\/span><\/p>\n<p><span>Vlen t\u00eb thuhet k\u00ebtu se teknikat e k\u00ebtij normalizimi kombinuar me ato t\u00eb simulimit sikur e kemi kap\u00ebrcyer traum\u00ebn pa mbajtur zi veprojn\u00eb n\u00eb shoq\u00ebrin\u00eb shqiptare mbi sfondin e nj\u00eb mekanizmi psikologjik mjaft efikas: nevoja q\u00eb kan\u00eb njer\u00ebzit p\u00ebr ta ndrydhur dhe minimizuar traum\u00ebn n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb largojn\u00eb ndjenj\u00ebn e fajit apo t\u00eb turpit.<\/span><\/p>\n<p><span>Dhe k\u00ebshtu trauma e pa u metabolizuar nga zija \u2013 me \u00e7\u2019kuptoj reflektimin e thell\u00eb mbi shkaqet e saj, mbi p\u00ebrgjegj\u00ebsit\u00eb, por edhe n\u00ebp\u00ebrmjet ruajtjes s\u00eb vendeve t\u00eb kujtes\u00ebs dhe vizitave t\u00eb vazhdueshme n\u00eb to \u2013 na \u00ebsht\u00eb rikthyer n\u00eb form\u00ebn e nostalgjis\u00eb dhe t\u00eb p\u00ebrs\u00ebritjes, q\u00eb n\u00eb thelb jan\u00eb dy an\u00eb t\u00eb s\u00eb nj\u00ebjt\u00ebs medalje.<\/span><\/p>\n<p><span>P\u00ebr ta mbyllur me episodin e dit\u00ebve e fundit kur pam\u00eb rip\u00ebrs\u00ebritjen e traum\u00ebs n\u00ebp\u00ebrmjet zhvendosjes s\u00eb zem\u00ebrimit ndaj autokratit t\u00eb gjall\u00eb tek sht\u00ebpia e diktatorit t\u00eb vdekur ngulmoj se, q\u00eb t\u00eb mos ndodhte k\u00ebshtu, do t\u00eb ishte dashur mes t\u00eb tjerave q\u00eb vende si sht\u00ebpia e diktatorit mes shum\u00eb vendesh t\u00eb tjera t\u00eb memories, t\u00eb ishin trajtuar:<\/span><\/p>\n<p><span>si plag\u00eb,<\/span><\/p>\n<p><span>si paralajm\u00ebrim,<\/span><\/p>\n<p><span>si muzeum.<\/span><\/p>\n<p><span>Nd\u00ebrsa ne, me regjin\u00eb e autokratit t\u00eb radh\u00ebs, i kemi trajtuar si skena t\u00eb m\u00eb t\u00eb sh\u00ebmtuar\u00ebs shoq\u00ebri t\u00eb spektaklit. Dhe p\u00ebr pasoj\u00eb pas tridhjet\u00eb vjet\u00ebsh e kusur jemi n\u00eb kushtet kur na duket e pamundur nd\u00ebrprerja e ciklit tragjik, kur traumat e vjetra na riprodhojn\u00eb autokrat\u00eb t\u00eb rinj dhe k\u00ebta na rip\u00ebrs\u00ebrisin traumat e vjetra.<\/span><\/p>\n<p><a class=\"linkbrenda\" href=\"https:\/\/www.reporter.al\/2026\/03\/04\/molotovet-mbi-vilen-e-diktatorit-si-zhvendosje-e-zemerimit-dhe-si-perseritje-e-traumes\/\"><strong>FATOS LUBONJA PER BIRN<\/strong><\/a><\/p>\n<p>The post <a href=\"https:\/\/lapsi.al\/2026\/03\/04\/lubonja-cna-treguan-molotovet-mbi-shtepine-e-artisteve-enverit\/\">\u00c7\u2019na treguan molotov\u00ebt mbi sht\u00ebpin\u00eb e (artist\u00ebve) Enverit<\/a> appeared first on <a href=\"https:\/\/lapsi.al\/\">Lapsi.al<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"<p>Nj\u00eb artiste e huaj q\u00eb ka qen\u00eb me grupin e par\u00eb t\u00eb atyre q\u00eb q\u00ebndruan n\u00eb vil\u00ebn e Enver Hoxh\u00ebs m\u00eb d\u00ebrgoi nj\u00eb mesazh, ku m\u00eb k\u00ebrkoi nj\u00eb mendim p\u00ebr \u00e7far\u00eb ndodhi gjat\u00eb protest\u00ebs s\u00eb fundit, kur mbi vil\u00ebn e Hoxh\u00ebs u hodh\u00ebn molotov\u00eb. Thelbin e p\u00ebrgjigjes q\u00eb i d\u00ebrgova po e b\u00ebj t\u00eb njohur [&hellip;]<\/p>\n","protected":false},"author":0,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-74485","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/zennihost.com\/test\/wp-json\/wp\/v2\/posts\/74485","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zennihost.com\/test\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/zennihost.com\/test\/wp-json\/wp\/v2\/types\/post"}],"replies":[{"embeddable":true,"href":"https:\/\/zennihost.com\/test\/wp-json\/wp\/v2\/comments?post=74485"}],"version-history":[{"count":0,"href":"https:\/\/zennihost.com\/test\/wp-json\/wp\/v2\/posts\/74485\/revisions"}],"wp:attachment":[{"href":"https:\/\/zennihost.com\/test\/wp-json\/wp\/v2\/media?parent=74485"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/zennihost.com\/test\/wp-json\/wp\/v2\/categories?post=74485"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/zennihost.com\/test\/wp-json\/wp\/v2\/tags?post=74485"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}