"Tjetri" në krijimtarinë e Agollit

Author(s): Anila Mullahi / Language(s): Albanian / Issue: 35/2017

In the period before the 1990s, in the context of a strong tradition of socialist realism literature, the positive heroes were placed in the center of the literary world; those that were created according to a standard model. They were developed in a linear way and often were incompatible with the internal logic. The tendency to create "social characters" caused the extinction of the particular and loss of curiosity. The characters of these works appear without any dilemmas, without great twists, without spiritual breaks, without vacillation for the life, the world or the human existence. Near the positive character are the others, who worship them or they want to resemble to the heroes; while on the other side, opposite them are the antagonists, the enemies.In Agolli's works, besides these two groups, are those characters that are seen as "weird", “irregulars” or "incorrect". They are not negative characters because they are not "enemies" but they are not even positive characters because do not resemble the standard example at all. This kind is considered as "the other", and actually this is what it is deep inside the unconscious of the author.“The other” is an individual who is perceived by the group as someone who does not belong, as different in an essential way. The group sees themselves as the norm and judges those who do not meet the norm elements. “The other” can have many forms, in the case of Agolli appears as one who is not indoctrinated. He is not interested about politics, but either he is interested in objecting it. His non-inclusion and non-ideology make him different. They reveal an essential feature that differs from others; speak openly and directly and do not have the veil of deceit in front of their eyes and they see the reality as it is, without idealizing it.In some cases at Agolli’s characters, "the other" is ultimately subjected to the group's norm, but also their existence as being different, makes Agolli's works distinct from the others. One form of "the other" can be considered Commander Rrapo in the novel "Commissar Memo" or Mato Gruda in "The Man with the Cannon".There are other cases where Agolli's "the other" it may be someone who shows great passion for life. A way to enjoy life with all the pleasures that it brings, through humor, eating, drinking, dancing, women, as it is Cute Babulja in the novel "The Ark of the Devil". Such a man with great love for life and the pleasures that life brings is not in line with the positive hero “whose character is shaped among the great difficulties". Agolli's literature work is filled with atypical characters, with special features, with individuals in conflict with the society norms, which consists in alienation from the principles of the official frame method.

"Tjetri" në modernitetin letrar

Pashku, Kadare dhe Rrahmani

Author(s): Albanë Mehmetaj / Language(s): Albanian / Issue: 35/2017

The paper titled "The ‚Other‘ in Literary Modernity (Pashku, Kadare, Rrahmani)" examines the problem of the „other“ presence in modern Albanian literature (of the second half of the twentieth century) and aims to give the frameworks of this problem to the authors used as a model and in this literary era.This paper is only an initial, since the problem of the „other" in literature is not only literary, it is also relates to the cultural and the social identity context. So, the basic method of research, is the comparative one, which also verifies the comparative origin of the "other“ in literature.The concept of the „other“, in historical terms, both in psychological and literary terms, takes on a particular character, often dramatic, and conveyed with contradictory views, so our goal is to follow this line of manifestation. Such a problem will undoubtedly be clarified with theoretical arguments.The authors chosen for this case are: Anton Pashku, Ismail Kadare and Zejnullah Rrahmanin, with the works "Tower", "Castles" and "Romani for Kosovo". Selected works are testify to the value of the authors and the ways of presenting the ctagiry of the "other " in modern literature. These authors are representatives of poetic patterns and selected styles of modern Albanian literature, while the problem of the „other“ in literature, in the works of these authors, represents some of the most important variations of his appearance in the Albanin modern literature.Realizing the theme of the „other“ in Albanian literature Pashku, Kadare and Rrahmani make it having primary concern for the Albanian identity and being guided by national motives and patriotism. In this context, the literary concept of the other of these authors, has the meaning of the conqueror, meaning the impersonator of the idea, and therefore, on this look remain foreign forever. The „other one“ in their work is shaped by the fictional world, literary characters, history as time-stamped and as probable evidence, and through literary figuration. But the perception of the other here is distinguished in the thematic plan: in the other side, it is similar to the literary works of Kadare, through historical events (but to one evil only root causes, while the other good can be bad), while to Rrahmani as a personal theme (continuation of the invader). All three of them, as modern authors, are similar to the universality of the subject, so that Albanian issues are treated as human issues and have a wery good histographic and ethnographic knowledge.

"Tjetri" në tekstet letrare të Fishtës

Author(s): Bajram Kosumi / Language(s): Albanian / Issue: 35/2017

Considering that Gjergj Fishta (1871-1940) is regarded as one of the most prominent writer in Albanian Literature, especially with his epic and satire, the review of the presence and social and literature status of “The Other” in his work is significant not only for his writing but for the whole Albanian literature. The concept of “The Other” in literature has derived from cultural and sociological studies, therefore the study of this concept in literature is also a result of text analysis, in relation with cultural and sociological studies, thus the concept of “The Other” is primarily related to cultural, philosophical, ethical, political and sociological principles. From the prism of the text analysis, several models of “The Other” in Fishta’s texts are identified, however, the source of these models has two common denominators: one, the mentality of a patriarchal and closed society; and two, the moral of a society that has been forced to suffer the status of captivity for a long time.In this article, the models of “The Other” will be defined and argued by the examples from the Fishta’s texts. Based on Fishta’s literary text, conclusions will be provided about the culture of “The Other” in Albanian society of the first half of the 20th century. In this article the experience of English Cultural Studies is used for the concept of “The Other”, especially the studies of Eduard Said, Bozidar Jezernik, Cvetan Todorov, Anthony Giddens, Georg Simmel, etc.

"Vdekja e tjetrit" në shkrimet letrare të Mitrush Kutelit

Author(s): Kastriot Gjika / Language(s): Albanian / Issue: 35/2017

Death is not only one of the most universal topics, in addition to love, travel, life, beauty, etc., but is also seen as one of the most difficult to deal with, both ethically and psychologically and religiously. The most natural tendency of the last century has been to avoid death as topic, to non-rebound directly, to project it euphemistically into other areas of the individual or collective world.But Kuteli's case is somewhat specific and quite contrary to this trend. Death is so present in Kuteli's narrative prose, that he seems to have explored it with all his techniques and literary means in all of its individual, social, ethical, religious manifestations. We can affirm that he has a special interest in this subject and he's familiar with it."The Death of the Other", however, as a concept explored in his writings, but also in other paraliteratur and nonfictional writings, gives us a complete insight into his ethical, religious, philosophical and literary concepts of death and of life itself."The death of the other," is seen in confrontation and in a comparative way with "my death", in the M. Kuteli's "rrëfenja"-s, but also in other its writings.

Adem Demaçi ‐ shkrimtari për të gjitha kohët

Author(s): Rexhep Qosja / Language(s): Albanian / Issue: 46/2016

Writers League of Kosovo, in 2012, has published the set of ten literary works of Adem Demaçi. In this set of Adem Demaçi’s literary works are included all artistic writings - stories, novels, poetry and drama, with the exception of two fragments of his novel S’ka paqe ndër kasolle, seized by the police during the first arrest of the author on 19 November 1958, which were titled Maliqi and S’ka paqe ndër kasolle. In this set are not included numerous journalistic writings and conversations of Adem Demaçi, even though their number of pages and of volumes is larger than of those published. Due to full and entirely correct recognition of this literary and journalistic creativity, and of his social, cultural and political activity it is made possible to distinguish three phases in Adem Damaçi’s creativity. The first phase extends up to his first imprisonment, on 19 November 1958; the second phase up to his release from prisons on 21 April 1990, and the third phase since his release from prisons up to present. Not only by his language and style, and not only by artistic power of his characters, by the tension of their relationship, by the riches of his embodied meditations, and not only by all factualness, the novel Snakes of blood is artistically and historically scorer novel in Albanian literature. With all its linguistic - artistic value and with all of its historical – literary importance it will be able to be estimated properly and sufficiently if kept in mind that it was written and published at a time when in the state of Albania was reigning the doctrine of socialist realism and when in Kosovo was reigning party- state conformism not only in politics but also in creativity. Adem Demaçi as both, intellectual and creator is a denier of socialist realism and the party and power conformism.

Adem Demaçi si shkrimtar

Author(s): Agim Vinca / Language(s): Albanian / Issue: 46/2016

Adem Demaçi, is not only prominent political activist, a man who made an era, but also a creator of rare artistic talent. Adem Demaçi, author of dozens of stories and a novel (Gjarpijt e gjakut, 1958), before being jailed (1958), and after release from prison (1990) a writer of the novels: Libër për Vetmohimin (1994) Heli e Mimoza, Nëna Shegë e pesë gocat, Shkrumbnajë e dashuri, Dashuria kuantike e Filanit dhe Alb Prometeu (a cycle of five novels, written during 2007-2012, i.e. before and after the declaration of independence, speaking of the war and after war in Kosovo), of the poem Tung vargu im, the only work in verses, and of historicalpolitical drama Politika dhe pushka, unless he sacrificed his literary talent for the sake of the national cause, he would become a writer of enormous proportions, no matter how hypothetical this might seem, Kosovo’s Kadare. Adem Demaçi had all the prerequisites to become as such: the talent, imagination, observation ability of the vital phenomena, gift to create human characters, rich language, laconic style, deep knowledge of popular phraseology, mastering of the language as a system of expressive means in all its levels, and so on. Adem Demaçi, rather than postmodernist, even though in his work postmodern elements are not lacking, especially in Libër për Vet Mohimin and Dashuria kuantike e Filanit, as a writer he might be called perhaps a postrealist, proponent of a new realism, which the French philosopher Roger Garaudy called “réalisme sans rivages” (realism without shores). Literary work of Adem Demaçi is open to life, to world, to nature, and to society and invites the reader to an open communication, out of schemes and clichés that he cannot withstand.

Akademiku Shaban Demiraj – dijetar i shquar dhe me ndikim të gjerë për zhvillimin e gjuhësisë shqiptare

Author(s): Emil Lafe,Remzi Nesimi / Language(s): Albanian / Issue: 45/2015

Shaban Demiraj (1920- 2014) is one of the most well- known Albanian linguists. He is an author of a series of works from different areas of the Albanian linguistics. Demiraj was for a long time professor in the University of Tirana and the chief of the Department of the Albanian Language for 27 years (1962- 1989). His activity, as a university professor from 1955, in the first period was focused mainly on the morphology of ntemporary Albanian. His textbook about the Albanian morphology was in use for about two decades in Albania, Kosovo and Macedonia and brought forth important theoretical innovations concerning the explanation and the definition of the grammatical concepts and categories by bringing forward the characteristic aspects of the grammatical structures of the Albanian language, and thus setting aside several viewpoints borrowed from other languages. Besides, successful efforts were made in this text to better define the morphological norm of the literary Albanian, which was on the way of being crystallized in those years. The main domain of Demiraj’s activity is historical grammar of the Albanian language. After a long series of contributions on specific aspects, he wrote the synthetic work “Gramatikë historike e gjuhës shqipe” (Historical Grammar of the Albanian Language) (1986, 1166 p.), which has been highly appreciated regarding its method, its broad vision, the richness of the arguments and the personal achievements of the author. In this work, the continuity of the grammatical evolution of the Albanian language is followed and explained from its beginning up to nowadays, the linguistic and extralinguistic reasons for the loss of some inherited grammatical features and the appearance of new ones are investigated, and the evolution trends of the Albanian grammatical structure both as an Indo- European and Balkan languages are investigated. The multiple observations and the rich material collected systematically by Prof. Demiraj as a result of his research in the area of the historical grammar produced several important works, such as “Gjuha shqipe dhe historia e saj” (Albanian Language and his History) (1988; 2nd ed. 2013; an Italian version was published by the University of Calabria in 1997), “Fonologjia historike e gjuhës shqipe” (Historical Phonology of Albanian) (1996), “Gjuhësi ballkanike” (Balkan Linguistics) (Shkup, 1994; also published in Macedonian in the same year), which make up an original synthesis of the achievements of Albanian and foreign linguists in these areas. Such works as “Prejardhja e Shqiptarëve nën dritën e dëshmive të gjuhës shqipe” (1999); English version “The Origin of the Albanians (Linguistically Investigated)” (2006); “Epiri, Pellazgët, Etruskët dhe Shqiptarët” (“Epirus, Pelasgians, Etruscans and Albanians”) (2008) contain not only a reasoned summary of the actual state of art, but also the new contribution and visions of the author. His vast research and publication activity has rendered prof. Demiraj a well- known and highly appreciated scholar all over the Albanian world as well as in the international scientific world.

Albania by the end of the 17th century and relations with neighbouring nations according to archbishop Pjetër Bogdani´s work "The band of the prophets" (1685)

Author(s): Ina Arapi / Language(s): English / Issue: 15/2015

The old Albanian literature (mid-16th – mid-17th century), which includes the philosophical–theological treaty Cuneus prophetarum by Pjetër Bogdani (Padua, 1685), was born and developed as a literature mainly of religious content for the needs of the Catholic religion. Regardless of the topic, this literature was created in a certain historical, cultural and social environment, namely that of northern Albania and the Albanian population that lived there. Hence, the data provided in this book constitutes an invaluable source through which we have the possibility of learning more about the way of life and the functioning of this part of Albanian society of that time. Interesting data on the situation of the Albanian language of that time is to be found in the preface of this work. The author urges Albanians not to let their language and science degenerate, but just as other nations do, they should make efforts concerning its evolution and development. But the alarm for destructing the mother tongue is linked with author and his contemporaries’ high conscious more than with the reality. In fact, Bogdani´s work itself proves that Albanian at that time had expressive possibilities equal to those of the Italian language. Not only the expressive and lexical richness, but the syntactic structure of phrases shows a high degree of development and elaboration in the Albanian language of that time. Examining the foreword of the book, we can learn that efforts were being made to unify the language and to develop one literary variant based on the dialect of the town of Shkodra. Bogdani also tried to adjust the language of his work according to this town’s dialect. Relations with Italian and Croatian intellectuals are clearly demonstrated in dithyrambic poetry and in the dedications at the beginning of the book. In this work, we also find data on Albanian mythology. Cuneus prophetarum occupies a special place in Albanian literature, because it is the first original work of prose, unlike previous writings, which were mainly translations.

ANALIZË GJUHËSORE KRAHASUESE E NJË PËRRALLE ARBËRESHE NË DY VARIANTE DIALEKTORE

Author(s): Gianni Belluscio,Emilia Conforti / Language(s): Albanian / Issue: 36/2017

The authors propose a comparative analysis of the Italo-Albanian tale "Jugalla and orku" recorded at San Benedetto Ullano in 1967 (original version), with a new variant of the same tale recorded in San Basile in 2017 using the same text. This article aims to emphasize the differences between the two tales and the two linguistic variations by different points of view (phonetic, morphology, syntax and lexicon).

Analizë krahasuese e dy versioneve të përkthimit të poezisë së Hajnrih Hajnes "Lorelaja" në gjuhën shqipe

Author(s): Naim Kryeziu / Language(s): Albanian / Issue: 23/2018

This comparative analysis of two Albanian translated versions of the famous poem "Loreley" by the prominent German lyrical poet Heinrich Heine has been carried out considering the basic principles of the translation of a poetic work. It is self-evident that the translator of poetry faces more difficulties than the translator of prose, due to his work with the poetic form, style, the number of lines, versification, euphony, rhythm and rhyme, figures and symbols, wordplay and the play with sound, etc. Nevertheless, the translator of poetry must aim at a translated version that gives the impression of sounding as the original, first and foremost, and then that his translation be appropriate to the aesthetic values of the original form. The tale of Loreley, an oral folk figure of the Rhine River, a nymph that is as charming as she is fatal, remains Heine's most famous poem. Its distant origin, and the musical composition of the well-known German composer Friedrich Silcher since 1837, made possible that "Lorelei" be sung in the nineteenth century generally as a folksong, that continues to be referred to, outside Germany, as "a German folk song". Thus, this poem is related, first and foremost, with two events: with Silcher's composition, and with the fate it had during Nazism when a ridiculous decision was made to publish it under the note "unknown author". These events are a very intricate relationship due to the fact that this poem, when it was turned into music, pierced so deeply into the national consciousness that its author could not be erased from the minds of the people although in such a time he was declared a persona non grata and the publication of his works strictly forbidden. As a consequence, the Nazi failed to vaproize Heine's "Loreley", succeeding only in erasing hte name of the author. This poem, which must have been written aroung the end of 1823 and which was published without a title when the author was alive, is the second poem in the poetic collection titles "The Homecoming", a cycle of poems that was included in the renowned work "Book of Songs", published in 1827.

Ardian Klosi (1957‒2012)

Author(s): Konrad Clewing / Language(s): German / Issue: 71/2012

In memoriam: Ardian Klosi (1957‒2012)

Arketipi folklorik në romane bashkëkohore

Author(s): Adil Olluri / Language(s): Albanian / Issue: 45/2015

From the very beginning of its existence literary narration developed thematic substance, subjects and characters from folklore, transforming them in many cases. At other times, those elements were left the way they were found in oral history. In our case, we shall deal with two forms of transposition of oral narration in written form, but only referring to thematic transformations and stylistic and explicit usage of this literature by Albanian novelists, that is, by the most renowned ones like Ismail Kadare, Rexhep Qosja and Anton Pashku. These are the authors who use folkloric archetype in their novels on three levels; as thematic reiteration (I. Kadare - “The Three- Arched Bridge” and “Doruntine”), as folkloric discourse (A. Pashku - “Oh”) and as explicit and cited regeneration of folklore (R. Qosja - “Death Comes to Me From Such Eyes” and “One Love and Seven Sins”).

ARKITEKTURA REALE DHE AJO FIKSIONALE E GJIROKASTRËS TE KADAREJA

Author(s): Adem Jakllari,Silvester Manaj / Language(s): Albanian / Issue: 36/2017

The object of this paper is the analysis of three main novels of Ismail Kadare: Chronicle in Stone, Questions of Lunacy and The Fall of the Stone City, where the references to this city’s cartography, as well as to its citizen’s are explicitly obvious. Based on a wide theoretical set since the Antiquity to the present days, which reviews the boundaries between the real and the fictive, we are looking into shedding light on the amalgamation of these planes in Kadare’s novelistic poetics. The main focus of our study is the way in which a unique universe of anthropological signs and symbols, architectural coordinates, and of the psyche of this city’s citizen are transformed into an artistic matter and structure. The intensive relation that this great author creates with his birthplace in an anthropological and symbolic level, feeds a same relationship in the linguistic idiom. So, the topos of this city, which can easily be identified in the real world, is not only the product of some references to lived experiences, but also of the linguistic material used to build the linguistic discourse. It will also be argued the ways in which this mimetic world that is present in Kadare’s work does not infringe on the character of the artistic narrative.

ARNAVUT KÜLTÜR VE EDEBİYATINDA MEVLİD YAZMA GELENEĞİ

Author(s): MERAL JAJHAI / Language(s): Turkish / Issue: 2/2015

Similar to other Muslim communities, mawlid occurs as the expression of love for our Prophet in the Albanian community. Recently, it has gained a wider place in cultural life as the written work or celebration ceremony.Mawlid is used to revive the religious life and in individual plans as signification tool for changes in all stages of life. In the beginning, it was performed in Turkish. In the passage of time, it started to be performed in Albanian which contributed to the accumulation of mawlids among the Albanians. Besides its educational character, mawlid is also a source of hope to gain intercession from Hz. Muhammed (s.a.v.), keep his name alive and commemorating him. This is one of the main motives behind survival and popularity of mawlid among the Albanian Muslims.In the light of texts of mawlids and latest research related with it, this study aims to focus on the development of mawlid as a part of the Albanian culture.

ARTI I ARKIVAVE

Romani Gurit të varrit ia rrëfej i Agron Tufës

Author(s): Ag Apolloni / Language(s): Albanian / Issue: 36/2017

The novel I confess to the tombstone of Agron Tufa, as a fictional hypertext written on documentary hypotexts, is a novel with two narrative lines that contain stories by and about two raped women in two systems: communism and democracy. The story of the novel narrated by the female perspective turns the narrative into gynocentric discourse. The stories of raped females are given as facts, documents and recordings, as they are also taken from real files and then modified by the author.Agron Tufa with this novel turns the confessions founded in archive into a thrilling art that penetrates deep into the psychology of abusers and victims. The novel can also be read as a complaint and as a tribute: as a complaint of two women about their fates in two political systems and as an author’s tribute for the victims. The novel I confess to the tombstone of Agron Tufa combines the documents with the fabrications and the individual anamnesis with the collective amnesia, to articulate an aesthetic denunciation which is not meant to lynch, but to make a national catharsis.

Autobiografia diskursive e Kadaresë

Author(s): Agron Gashi / Language(s): Albanian / Issue: 46/2016

Discursive Autobiographies are type of texts in which life experiences are written about tempted creations. Discursive Autobiographies are metadiegetic analepsis 'lands' that disclose personal experience of the process of creation, where communication occurs also the form of metacommunication, above all, the text as autometatext. In such cases, the authors, while talking about their work and creation process, create a kind of autobiographical prose more or less essayistic with autometatext status, text where even the deeper cogitation interpretation and criticism, empirical practice keeps the genre of autobiography. As proven, this prose model is written only at the end literary creation, especially when the author becomes authority in literature. Such temptation was proved in two discursive autobiographies of Kadare: Invitation in studio and Mornings in Cafe Le Rosand, where literature talks about literature. Diptych in question, apart from the author’s revelation the work, we are faced with the re-examination of relationship between authorial literature and of universal literature, sometimes as reading experience, sometimes as writing experience with variety of literary interferences.

BALADA POPULLORE ARBËRESHE NË VEPRËN FOLKLORIKE TË JERONIM DE RADËS

Author(s): Sadri Fetiu / Language(s): Albanian / Issue: 44/2014

Jeronim de Rada (1814 – 1903) është shkrimtari më i shquar i romantizmit shqiptar, i cili që në fillet e krijimtarisë së tij poetike është interesuar për folklorin e arbëreshëve të Italisë. Për përmbledhjen e këngëve popullore arbëreshe Rapsodi të një poeme shqiptare të botuar më 18661, të ribotuar me titull të ndryshuar Rapsodi kombëtare – këngë popullore2, që nga periudha kur bëhej përgatitja e saj për botim3 e deri në kohën tonë4 janë dhënë mendime dhe vlerësime të shumta. Janë çmuar në mënyrë të veçantë vlerat artistike të këtyre këngëve, është dëshmuar angazhimi dhe përkushtimi i madh i De Radës për mbledhjen e redaktimin e tyre5 dhe është theksuar sidomos se ai, duke menduar se këngët ishin pjesë e një poeme të madhe kombëtare, ishte përpjekur që ato t’i radhiste e madje edhe kishte vënë dorë në to, duke i plotësuar për ta realizuar tërësinë e saj.

Balada si Mjet për Njohje Ndërkulturore

Author(s): Lumnije Kadriu / Language(s): Albanian / Issue: 44/2014

In the age of great mobility recognized as an age of globalization, and ascertained as postmodern condition, phenomena are intertwined in very interesting and often un-foreseen ways. Very often we see the past and the present being reorganized in most amazing ways. In this paper I will try to describe how a novel “Kush e solli Dorunt-inën” written by famous Albanian writer Ismail Kadare, based on Albanian folk ballad on Konstandin and Doruntina is used by theater troops of New York and Prishtina, and brought into a play, as a means of intercultural acquaintances and understanding. The ballad has to do with the kept brother’s promise to his sister even after death, a concept of “besa - a given word - a promise” being among Albanians as quite peculiar and rec-ognizable cultural feature and also presented as such to “others”. If, according to Raymond Williams, “work of cultural analyses should be the ‘clarifica-tion of the meanings and values implicit and explicit in a particular way of life, a particu-lar culture’”, then this is certainly one way to do so.

BARLETI: KUJTESA E RRËFYEME

Author(s): Vehbi Miftari / Language(s): Albanian / Issue: 36/2017

Art and litterature can help the writting of the history, as far as the history can stimulate the immaginative acts or fiction. “Telling” the collective “epical honor” in a discourse which is more literary than historical it is a metter of collective sensivity and of the ways how this collective sensitivity is expressed. Examples of this type of partcipation of literature in a process of writtng the history are well known from the ancian world to the nowdays, So far, Achilus has been known from the Omerus’ work. The Albanian national hero, Gjergj Kastrioti, so called Skanderbeg, has become well known by the Barleti’s work: History of Skanderbeg, more than from any other medieval cronics. Further, literary characters of Gjergj Fishta’s Lahuta e Malcis have a strong relationship with a real life. This relationship of fiction with the facts, institutionalised in the osianic songs, has been carried in the contemporary literature.Our lecture analyzes this relationship between fiction and history in the work of albanian humanist: Marinus Barletius (Marin Barleti), History of Skanderbeg. The text has been written based on the “oral narrative” of the people who lived in the Skanderbeg’s epoche and it is the first book in Albanian culture which was written based in the memory of the people. . Barletius faces the facts (which has been tolld by those who were part of the ethnic pride) and fiction (which is authorial part of creating a literary discours in a text which aims to be nonfictional text). Formally, The History of Skanderbeg is chategorised as a history (even nominally), but being written based on the memory (memoire) of the people who lived in the Skanderbeg’s epoche and connecting facts with this “aral narrative”, the texts has been often identified as a text which connects the facts with the literary diescourse in a text with a dual character: hsitorical and literary.

Bektashizmi në veprën e Sami Frashërit

Author(s): Alban Dobruna / Language(s): Albanian / Issue: 46/2016

Sami Frasheri is one of the most prominent figures of the Albanian National Renaissance period. With the diversity and multidimensionality of his works, Sami Frasheri indicated cultural and intellectual universality. He was a great scientist that contributed to the progress of many scientific fields (natural and social) and art fields. One of the complex issues of the Balkan peoples and especially for Albanians with which he dealt more, is the beginning of the spread of Islam, which was embraced in Albanian lands, not only in its main variant, Sunni, but also in the form of different orders (tarikate), as Bektashi, Halveti, Melami, Kaderi, Sadi, Rufai, Nakshibendi, Shazeli, Mevlevi etc. In this study we tried, though concisely, to present his thoughts and views on the Bektashi tariqa, tariqah best known in Albanian lands, which found more support from Christian population than in other countries of the Ottoman Empire. By browsing, studying and analyzing the collection of the works of Sami Frasheri, we have attempted to disassociate in inductive and deductive approach and content of their submission, to draw conclusions, coming through a critical perspective, without prejudice and without prior constructions, but with conclusions that flow naturally as a result of its author's views on this tarikat.