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Të birtë e shekullit të ri të Migjenit Shekulli i zënë i Kadaresë - një vështrim krahasues

Author(s): Shaban Sinani / Language(s): Albanian Issue: 01-02/2017

David Samoilov was the first to observe that Kadare inherited modernity from Migjeni. However, he did not provide an account whether their modernity was related to any common European tendencies. The two poets entered the Albanian literature with a challenge; each was seeking to challenge the century: Migjeni with The sons of the new century and Kadare with the poem My century. They have been qualified as ardhmnorë /futurers (futuristi), because of their influence by the futurists treaty of Marinetti. This influence, which was in the myth of the future, and the urbanization; in the belief that the new century would part, once for all, with the past; in the free verse and in the parodyzation of the rhyme; in drawings strict line with the belated romanticism and the folklorism; in the distorted language order, they both acquired indirectly through the Eastern literatures, not directly through The Manifest offuturism of Filippo Tomaso Marinetti. Just like Milos Crnjanski in the Serbian literature, Migjeni refused the poetics ofzenitism, a literary anti-European phenomenon during the 1930’s. On a similar track, Kadare wrote a poem with the same title like that of Osip Mandelstam, My century, where you can see patterns of the leftist futurism (levnij futurisam) of the Russian literature in the period between the two wars.

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RECEPTION OF SCANDERBEG'S HISTORY IN SOME ESSENTIAL WORKS IN THE WRITTEN ALBANIAN LITERATURE

Author(s): Evalda Paci / Language(s): English Issue: 01/2019

The chronology of the written Albanian literature is above all related to the patchy texts and unique works from the content point-of-view, as each initial definition and of the presence in them of some textual elements defining the particularity and also the common thematic that makes possible a generalizing classification that characterize these works.

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Nie oceniaj książki po okładce! Badania biometryczne obrazów wybranych okładek książkowych

Author(s): Katarzyna Jarzyńska / Language(s): Polish Issue: 1/2023

The article is devoted to biometric research on typographically unusual book covers. The definition of biometric research is presented, with particular emphasis on eyetracking and facetracking, and attention is paid to the course of the reading process. The following part of the text presents the results of biometric research focused on three typographically unusual covers. Eye Tracker Tobii Pro Fusion 250 Hz and iMotions Biometric Research Platform 9 software were used for the measurements. The aim of the study was to check the feelings and behaviours accompanying contact with the covers. A group of students was examined. Eye-catching fragments were determined thanks to the use of eyetracking, while facetracking made it possible to detect the emotions accompanying the reception of the covers. Book cover designers and graphic designers can use the study’s findings to determine the impact of the unusual typography on the cover’s reception by readers.

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Skënderbeu në krijime letrare të viteve ’20-’40 të shek. XX

Author(s): Laura Smaqi / Language(s): Albanian Issue: 03-04/2018

Gjergj Kastrioti - Skenderbeu is the most inspiring historical figure for Albanians, in different historical periods. This is also evident in literary creativity. In this presentation we will focus specifically on the following works: Kushtrimi i Skanderbeut (Ernest Koliqi), Trathëtia (Mehdi Frashëri), Kthimi i Skënderbeut (Llambi Dardha), Ifuntmi i Kastriotëve (Andon Frashëri). More than the artistic value, in the examined works it is of great interest that through literature, through Skanderbeg and his period, various mentality questions come to light. Skanderbeg’s figure has always given to the literature an intentional aspect. The mentioned authors have aimed to influence maximally the readers regarding important questions of the time in which they lived, addressing generally to a non-elite reader.

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Besnikëri dhe fantazi në pasqyrimin e epokës dhe figurës së Skënderbeut në letërsinë arbëreshe

Author(s): Klara Kodra / Language(s): Albanian Issue: 03-04/2018

This paper examines from a new perspective the problem of reflecting Scanderbeg era and figure in Arbëresh literature, something which has been investigated by various scholars. Under investigation here is the relationship between the reflection of historical reality in terms of mimesis (the most faithful reproduction of the reality) and artistic transformation, based on writer’s ideals. Historical hays are in themselves a composition between literature and history. Close faithfulness/loyalty to history is not indispensable, but the risk of excessive idealism or the myth of historical figures, which in today’s terms is perceived by the most professional reader, must be avoided. This study mentions great figures such as Girolamo De Rada, Gabriele Dara, Giuseppe Schird, less Giuseppe Serembe, who accepted the challenge of drawing the figure of the National Hero and drew it in a very original way. Writers not so much known as well have been taken into consideration, such as Cosmo Serembe, Bernardo Bilotta, Angelo Nociti, who approached the historical reality in their epic poems and dealt with special aspects of Scanderbeg era and figure, which were set aside by their outstanding compatriots. The paper analyses poems, lyrics and historical novels of the abovementioned authors, as well as pseudo-historical works, such as those of the incredibly prolific writer Santori. Skanderbeg’s figure has been portrayed as a leader, a statesman who defended and united Albanians, as well as a Christian knight and protector of European culture. Arbëresh literary works show the Skanderbeg’s image as a myth, consistent with the patriotic message and romantic spirit, but they also reflect a goal to discover in him the objective essence as a historical figure and as a human being.

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Rapsodi të pabotuara të F. A. Santorit: cikli “Kënka jushtërore” (Këngët e luftës)

Author(s): Merita Sauku-Bruci,Zeqirja Neziri / Language(s): Albanian Issue: 03-04/2018

This study will focus on the less known aspect of one of the leading representatives of the glorious pleiades of 19th century Arbëresh writers, Francesco Antonio Santori (1819-1894). It also aims to reevaluate his literary activity and to affirm the materials which are preserved on the archive of the Institute of Linguistics and Literature of ASA. The study is divided into three topics: a) the interest of Santori for the great Albanian period of Scanderbeg wars against the ottoman invador, b) the manuscript analysis of heroic songs c) the connection with the Albanian heroic epic. Through the three main topics, well known or partly researched aspects of this prominent figure of Arbëresh and Albanian history of literature are illuminated. At the same time, the article shows that Santori was in direct connection with the general Arbëresh, Italian and European political, cultural and literary efforts. Through the analysis of eleven of the brave songs of cycle “Kënka jushtërore”, based on the manuscript which is stored in the archive IGJL (ASA - Tirana), it is shown that the cultural and literary aspects of F. A. Santori’s songs are clearly distinguished from the publications of Jeronim de Rada. They particulary emerge in descriptive breadth (quantitative length and width of the subject), as well as in the scope and depth of raising and building the subject of song motifs, and, last but not least, in the field of the literary genre that he has pursued. At the level of the creative process Santori’s rhapsody has followed a long singed epic technique. This way songs of this manuscript are evidence of a new type of the Albanian epic singing, which has been raised and built on a prosperous several centuries old heritage.

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Kinizmat dhe kalkimet me përmbajtje kineze në letrat shqipe në romanet “Koncert në fund të dimrit” (I. Kadare) dhe “Dragoi i fildishtë” (F. Kongoli) e ndonjë tjetër

Author(s): Ruzhdi Stringa / Language(s): Albanian Issue: 03-04/2018

From the sociolinguistic point of view, both the language of literature and the language of administration have a high position that are used by the elite of society, and consequently have a lot of prestige. They become models of use by other segments of society, and in this way educate users linguistically. And exactly this could be the reading for studies, where scientific interests can be of the most varied. My interest goes towards observing the lexicon used in both contexts. Since the lexicon itself can be viewed from many angles, each of its observers starts from the subject with which it works daily, and because I currently do academic life at an University of China, the lexicon of sememes, roots, keywords: China, Chinese language, Chinese persons, as well as the lexicon with Chinese content has become, for nearly two decades, a daily look of mine becoming a priority, which, however, is related to the Albanian language. It must be said that the study select the Albanian lexicon related to my work as a teacher of the Albanian language with Chinese students of all three high levels of education. In these conditions, the observation of such a lexicon has seemed valuable to me, both for Albanians, who conceive a concept or image predetermined by this lexicon, as well as for the Chinese, whose curiosity about the Albanian language would increase more when it is a lexicon related to their country. Due to distinct features, the analysis of this lexicon in the language of literature of special Albanian authors and the same lexicon in the formal language of the Albanian media, has been done separately and this article deals with the first. The literary layer of the Albanian lexicon with Chinese subjects and content is observed mainly in two well-known authors who have in their work the Chinese theme, Ismail Kadare with the novel “Concert at the end of winter” (1988) and Fatos Kongoli with the novel “The Ivory Dragon” (1999), but also in others. Meanwhile, as above mention, the formal layer of this type of lexicon is seen separately due to its peculiarities and will be the subject of another article. The language of literature is supplied from “below” using the basic fund, as well as from “the side” by taking and using words from foreign languages, but also from “above”, where the creative fantasy of authors creates neologisms; whereas the formal language unifies forms and meanings, regulates and normalizes them, selects neologisms and borrows, and excludes the confusable forms created by foreign words. Observing the factual material related to the language and place of China in the two novels mentioned, and beyond, we distinguish words of Chinese origin or phonetic loans (kinisms) and Albanian words or expressions with Chinese content or loan translations i.e. caiques from Chinese. Albanian phonetic loans (kinisms) of Chinese words (e.g. qipao), show the need of Albanian language for the most accurate reflection of a Chinese environment, while the loan translations (caiques) from Chinese (e.g. Muri i Madh) show the author’s desire for local, temporal and cultural contextualization of semantics of Chinese structural models. These loan translations range from Chinese poetry, political quotes, and simple and compound local names. Translated into Albanian caiques are more numerous than kinisms and both of them are related to different spheres of social life.

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“Meshari” i Gjon Buzukut. Të dhëna të reja, skenare të reja

Author(s): Lucia Nadin / Language(s): Albanian Issue: 01-02/2019

My most recent investigations on Buzuku's “Meshari” led me to the conviction that, having validated the first hypotheses of P. Justin Rrota shared by Mario Roques about the printing of the book in Venice, there are two paths to follow in the future. The first tends to the precise identification of the workshop that printed it: the study of the figurative apparatus has opened up new scenarios, perhaps also providing an explanation of a withdrawal of the work from circulation not for religious reasons, but for political problems of Venice. The second track demonstrated the validity of the paradigmatic concept of text and context: Buzuku and his work are not a flower in the desert, they must be framed in the panorama of Albanian emigration to Venice, related to the desire to safeguard and promote the memory of the homeland of origin in the homeland of adoption. As with Barleti's works (in the very first years of the century), the "Meshari" must also be read within a specific five-year period (mid-century) of initiatives and events, in which, it is believed, the presence, once again, of the Angelo family (the two priests Paolo junior and Andrea, specifically) was not extraneous.

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THEORETICAL FOUNDATIONS OF UTOPIAN AND DYSTOPIAN PARABLES IN WORLD LITERATURE

Author(s): Ilaha Murvatova / Language(s): English Issue: 2/2024

What does the future hold for us? Which path will humanity take? Perhaps people will finally learn from the mistakes of past generations and build a perfect society? Or they will choose a disastrous path, making the life of an individual absolutely unbearable? Science fiction writers have repeatedly tried to find answers… Science fiction is dedicated to the two opposites of the development of civilization. When people talk about fiction of the early twentieth century, they usually mean so-called “science fiction.” The first works of fantastic literature of new varieties began to appear at the end of the 19th century, and individual works even earlier. In this case we are talking about works that combine a literary plot with scientific fragments; at the same time, the work as a whole acquires a journalistic character. At the end of the 19th and beginning of the 20th centuries, due to extra-literary factors, this form became extremely popular. Its development is influenced by the rapid growth of scientific, or more precisely, technical research, and the powerful introduction of technology into human life.

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Konferencë shkencore “Studimet letrare në proces: rezultate dhe probleme”, IV

Author(s): Laura Smaqi / Language(s): Albanian Issue: 01-02/2019

Report on the conference "Literary studies in process: results and problems" held on June 27, 2018.

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Përrallëzat “e Santorit” - përkthim/ krijimtari/ përshtatje - motive dhe burime

Author(s): Arian Leka / Language(s): Albanian Issue: 03-04/2019

Starting from the evaluation of those scholars who consider Francesco A. Santori as one of the earliest and most original authors in translating, remodeling, and creating fables in Albanian literature, the article aims to look at, evaluate and define the fables of this writer within structural and typological relations. The classification according to addressing references requires the division of this work into: Aesop’s fables, which at the centre of the narrative have human relations; Fables that develop narration through zoomorphic characters; Fables that develop through floral and bioworld themes; Fables with elements and characters intertwined. This creativity of Santori is seen as part of a wider catalogue of sources and motives, picking up religious, social and political themes, historical themes, or motifs-fables that have served as an ethical guide. The paper aims to explore Santori’s fables versus the Perry Index, which classifies Aesop’s fables, examining them not only directly related to the original model, but also investigating some of their deviations, re-creations, remodels, and adaptations that, if not independent authorship, distinguish the tendency towards creativity and autonomous art.

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Metafizika poetike - Refleksione për poezinë e Sabri Hamitit

Author(s): Nysret Krasniqi / Language(s): Albanian Issue: 03-04/2019

In this article we discussed the poetic Sabri Hamiti’s work, tracking its evolution curve, with a focus on its metaphysical being. Also, as a preparation to interpret this type of poetry, we discussed the relationship between the poetry and metaphysics and the high culture, or poetry of imagination and realization thereof, in the Albanian poetic canon. Gradually, in detecting the concepts of poetic metaphysics, high culture, canon and its models in the tradition of the Albanian poetry, we reached the fundamental part, namely the reflections on Sabri Hamiti’s metaphysical poetry. Reflections on Sabri Hamiti’s poetry integrate the hermeneutic approach, where the analysis of the poetic verse i.e., the meaning thereof, becomes fundamental and does not intend to be a final or arbitrary denotation. We found that the phenomenon of poetic mystery is also motivated by the immanence of uniting author's emotion and thought with the mysteries of metaphysics, which emerge in the verses of his poems in complex forms. This is the power of a poetic systematics, of Sabri Hamiti’s work, which is a monument of Albanian literary culture.

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Letërsia e vjetër shqipe në dritën e vëzhgimeve historiografike. Kontribute dhe qasje studimore

Author(s): Evalda Paci / Language(s): Albanian Issue: 01-02/2020

This article will focus on the value and contributions of a literature with a genuine religious and didactic character and different perspectives on the period labeled as old Albanian literature and its special authors. Some of main the topics are: - Textual and content features of the works of this literature and the impetus for further observations on the period and its historical context; - The access to archival documentation that deals with this period and the actual realizations and publications on this particular time division; -Contributions about elements of the biography of the authors of old Albanian literature; - Historiographical observations and enrichment of the treatment of the socioliterary panorama related to the old Albanian literature. This commentary also draws attention to the methodology of research on authors and works in the study tradition of Arbëresh areas, as an orientation perspective, the philological research on doctrinal texts in the compilations of Arbëresh scholars and the essential approach to the developments in the northern Albanian area (XVI-XVIII centuries).

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Konceptimet e “tjetrit” në poezinë e Naim Frashërit

Author(s): Abdulla Rexhepi / Language(s): Albanian Issue: 01-02/2020

“The other” is a main factor for knowing oneself by the man has long ago begun to take a considerable place in social studies and knowledge. “The other” has been perceived as an object through which an individual knows and understands / perceives himself. In this tradition of thinking “self’ and “the other” stand opposite to each other. The aim of this writing is to identify and analyse conceptions ofNaim Frasheri regarding to “the other”. The presence of “the other” in the literary work of an author results with knowing and identifying “himself’. This presence becomes even denser when the other consciously aims to structure social identities. Therefore, social identities have been constructed in interaction with “the others” and our identity or the identity of the group (“we”) is formed through the process of thinking of ourselves or “us” in relation to “the other”. In the poetry of Naim Frasheri” depending on the literary genre are outlined three main conceptions that mark “the other” of an author. In his poems of national character, “the Turkish / Asian” constitutes “the other” of the Albanian and is the symbol of the evil and regression. While in his religious poetry, Yezid and his family are “the other” of the Bektashian Albanian. As soon as bektashism was politically detached of the Ottoman Sunni Empire, as in the theological field it was detached early ago, for Albanians of this sect is was much easier to think about the establishment of the independent Albanian nation / country and Naim, better than any other Albanian Bektashian articulated his religious / national ideas and conceptions which were in contradiction to the central Ottoman reign. Also, Naim in his mystical creativity has created an “other” at whom he wants to vanish and become “clay and dust”. The mystical hermeneutics doesn’t aim marking, understanding or adoption of “other”\God but instead vanishing on it, loving and sacrificing for him. This way, Para modern epistemologies were structured not on the basis of “the other”, marked by the subject but in relation to “The great Other”, “The God” that is distanced from the earth. This way of perception of “the other” and the understanding of “self’ in relation with him” can imply totally different ontological epistemology. This mystical hermeneutics is somehow different to the philosophical hermeneutics, according to whom, each time we say that we have “understood” something, maybe this way we are adopting something else (or something that belongs to someone else).

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Nga linguistika te estetika e politika (Romantiku i parë shqiptar, Jeronim De Rada, në studimet e Arshi Pipës)

Author(s): Agron Y. Gashi / Language(s): Albanian Issue: 01-02/2020

In this research paper we will analyze the concepts and opinions of the well-known scholar Arshi Pipa about the first Albanian romantic writer, Jeronim De Rada. Our paper is based on of Arshi Pipa’s trilogy study, Trilogia Albanica II, Hieronymus De Rada (1978), an analysis that extends from linguistics (lexicon, morphology, syntax) to aesthetics and politics. We will try to highlight the main issues raised in this study, such as: language, prosody, ideology, style and other aspects that are discussed between literature and linguistics. Throughout this metacritical writing, we discuss the manuscripts of the first romantic in front of his scholar, focusing specifically on the language, metrics and stylistic pronunciation, right to the poetics of romanticism, in order to break down literary and extraliterary phenomena. The review we are focusing on will be based on the research method, from philosophical interpretations, comparative, sociolinguistic and social perspectives, to the critique and philological analysis of the text. Whereas, the literary context lays through the romanticism in Albanian literature to extend to the European romanticism, specifically to the Arbëresh of Italy, as an authentic spirit and as a universal form, with all the premises of European romamicism. Therefore, in this study we will stay on the ground of immanent research, both critical and metacritical at the same time, investigating issues and literary, Hnguistic and political phenomena, all of which, researcher Arshi Pipa has supported on European theoretical linguistics and modern literary theories.

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Roli i letërsisë në formimin e imagjinarit të një vendi: Rasti i letërsisë shqipe në Itali

Author(s): Majlinda Bregasi / Language(s): Albanian Issue: 01-02/2020

As several studies have stressed the importance of a comparative analysis of national dishes employed in different literatures this article will outline unexplored problems of this complex process relating to Albanian authors who write in Italian. Literature plays an important role in historic memory, and myths created by writers can play also a significant political role. Taking into account the habits of individuals and groups to project undesirable phenomena on members of minority groups and particularly on foreigners, many books and articles have examined the use of negative cliches and have considered the custom of assessing everything that is unfamiliar from an ethnocentric position, a habit that favors the emergence and use of stereotypes (Zacharasiewicz, W., 2010:21). What can be said about the cultural images that represent Albania today in Italy? Except the dominant image of the migrant who leaves on a boat towards the promise land, and the extremely masculine society that oppresses women, can we find other images in the literary critics of migrant writers? Can we talk about migrant literature of Albanian authors as a postcolonial literature? What does the reading and the reception of Albanian authors mean for the Italian public, and what historical and dynamic identity this creates? If we observe the studies that focus on Albanian authors in Italy we can notice a significant number of research on migrant authors and only a few, if any, of studies that treat other Albanian non migrant authors. There is also a significant lack of comparison between them. This comparison is very important for our research to fully understand mental images that are created in contemporary Albanian literature. We notice there is a lack of investigation on stereotypes and self-stereotypes in literary texts of Albanian migrant authors as well as an adherence to a set of preconceived schemas. If, due to a pre existing scheme we are bound to treat only writings that satisfy such a scheme while neglecting other writings and authors with literaiy values, we, not only, provide a limited or distorted image of cultural identity of a country, but also compromise the vision of readers. Building a discourse and rhetorical means on others are in fact closely coupled with narration and myths of our own collective cultural identity, and from a comparative viewpoint, literature takes a central role in the long process of defining, creating reciprocal visions, accelerating ideas, images, and stereotypes. It can be considered as an incubator of visions and unknown scenarios. Terms like postcolonial literature, colonizer, colonized, hegemony and subalternity which are often used to classify migrant authors create such a confusion that one cannot avoid thinking that there are two different literature’s stemming from one country. One that carries on the literature tradition, and the other for export as per market demands.

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E shkuara traumatike dhe mjegulla utopike (poezia e romantizmit shqiptar midis kujtesës dhe vizioneve prospektive)

Author(s): Osman Gashi / Language(s): Albanian Issue: 01-02/2020

This study deals with romantic literature, first of all the poetry of European romanticism and that of Albanian romanticism, mainly in the context of its two substantial components: the attempt to regenerate, revise or restore the past and on the other hand between visions, dreams or perceptions about the future, the unknown, the expected, the desired. Among the most common features that distinguish romantic poets and romantic poetry from those of other periods are rebellion, which gives rise to opposition and protest as well as utopia, the dream of a better future and a more perfect place. If the romantic rebellion, in many cases, has failed because it was wrapped in the veil of extreme individualism and even egoism (romantic ego), what was left but escape. The escape, the abandonment of public life, the frequent confinement in the ivory tower, produced in many romantic poets such as Novalis, Hoelderlin, Byron, Shelley, Keats, Lamartin, the poetry of nature, exoticism, the avoidance of rationalism and the rest in the lap of antiquity especially of Greek myths, but often also the flight to unknown utopian and futuristic spheres.

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Krijimtaria dhe kritika letrare binom i pandalshëm, i domosdoshëm dhe me ndërveprim reciprok

Author(s): Spiro Gjoni / Language(s): Albanian Issue: 01-02/2020

Goliku is not only a well-known writer. His activity, is spread in the field of journalism and criticism, too. There are a lot of articles, connected with different problems of literature and creativity, published in a number of newspapers and literary magazines. On the other side he has taken part with his speeches, lectures and debates about the problems of literature and especially thy problems of literature of children and youth, organized in Albania and abroad. The subjects of his writings and discussions, principally lights such problems, as: the education of children, the level of creativity and literature about the children, the conditions of libraries and the use of books from children and youth. Among all these problems, Goliku underlines one that is connected with the quality of literature that is published during these last years. The new time, that has come after years of dictatorship, both with the freedom, has brought a new situation which puts new duties to the writers and creators. This is very important to Goliku who advises the writers to be careful and exacting in their work to bring always good works, modern in shape and content. One of his well know ways to treat the days problems in the field of literature and especially in the field of criticism, are for Goliku his interviews. He likes this kind of activity because it gives him the possibility to open the debate, beyond the questions of journalist and so, to express his opinions on other problems, too. His interviews treat a lot of contemporary problems of literature. Seeing only a number of their titles we can believe on this (“Do the children read and what do they read?” “Children literature needs critique” “The critics of silence”, ect.) In his critics and interviews, Goliku not only criticizes but he also, gives the ways how to get out of this situation. Another question which Goliku brings to his writings or about which he speaks in his debates, in different activities is connected with good models and examples of our literature in the field of critics. To express this, he brings to our mind the names of our great writers, from reborn to the writers, of our days, who have given their contribute in the field of critics (De Rada, Naim Frashëri, Çajupi, Mjeda, Fishta, Kuteli..., Kadare, Spahiu, Ballanca, ect) There are many problems that interest to Goliku, but we touched only a part of them, to tell his activity in field of literature in general and specially in the field of critics.

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I parilemi në tragjedinë Abeli të E. Haxhiademit: vëllavrasës prej fatit apo prej fajit adamah

Author(s): Shaban Sinani / Language(s): Albanian Issue: 03-04/2020

The status of the firstborn in the ethno-legal tradition and in medieval folk songs (the epos of the brave men and the ballads) is fixed as a legal status (including inheritance-testamentary rights), as an ethical status (in the code of conduct) and as a lordship status. These statuses are superimposed on the status of the firstborn in the Scriptures. Could Ethem Haxhiademi change the relationship between Abel the firstborn and the second brother Cain towards this conditional canon? Moverover, taking into consideration the fact that the gallery of Abels and Cains in European literature and art was so complete and timeless that one could hardly think of another like them and dissimilar to them? In his tragedy, Haxhiademi aims to transform the tragic fate that is prewritten in the Scriptures and reconfirmed in the Albanian tradition into a tragic guilt and to transfer it to the injustice in the family, to the unequal treatment of children. In this work Abel foretells the philosophy of the Redeemer in the quality of humanity, while Cain symbolizes the man who revolts because of injustice. But injustice itself, unlike the doctrinal and canonical meaning, does not come from heavenly curse and original sin, but from the crooked order in the first family in history according to the book of Genesis. Is this because of a new unit in its first test as a family, or philosophically because of the archetypal anthropological opposition between agriculture and livestock, migrants and dwellers, or does the conflict descend to the human level? Haxhiadem's tragedy Abel conveys the message that God is love, evils cannot be explained by divine will (even when a reference can be found in the Scriptures), but by human relationships built on injustice.

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Etëhem Haxhiademi vëzhguar përmes Parathanëjeve të tij

Author(s): Arian Leka / Language(s): Albanian Issue: 03-04/2020

Etëhem Haxhiademi is one of the rare Albanian authors, who equips all his literary works with introductionary Prefaces (Parathanëje). In addition to his tragic hepatology, the translation of Virgil’s “Bucolics” and his only poetic collection “Lyra”, are also provided with preceding texts. The fact of equipping each work of Etëhem Haxhiademi with a special Preface is presented as an exceptional case in Albanian literature. More than a simple formal act, we consider the presence of Prefaces a matter of artistic and cultural awareness of this author. From this perspective we can interpret that, Haxhiadem’s literary heritage begins to be read under the poetics of paratexts, originally suggested by Gerard Genette and in the enlightenment of modern theories, being treated as peritexual and epitaxial elements. Etëhem Haxhiademi’s forewords also attract attention because through them the author fulfils two goals: the substantive and practical nature of the texts, contributing to the culture of epigraphic writing of literary contexts and epithets. Thanks to these interpretations, which originate and derive from the theory of paratextuality, phenomena such as the interaction between the “central text” and the “external texts” can be traced back to Etëhem Haxhiademi’s literary work. These intertexts also offer subjects for observations of a philological character, such as the cognitive aspects of the poetics of the text, the historical study of literary creativity, the observation of the poetics of the literary text of tragedies and issue poems, of the typology of the genre in the face of classical or neoclassical dramaturgy. Through his Prefaces, Etëhem Haxhiademi systematizes the chronology of his works, listing them both according to the time of writing (the manuscript) and according to the time of publication (the typography). Also, through the Prefaces, the author creates the thematic order of his works, dividing them according to sources (mythological, ancient history, national history and biblical themes). His Prefaces also reveal data of special interest in terms of writing techniques, authorial style, the horizon of reception of his dramatic works in the Albanian context of the 30s, or other data of high interest for the study of culture and history of literature.

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