{"id":116491,"date":"2026-08-14T13:35:37","date_gmt":"2026-08-14T10:35:37","guid":{"rendered":"https:\/\/prizrenpost.com\/al\/odiseja-ne-fund-te-qyteterimit\/"},"modified":"2026-08-14T13:35:37","modified_gmt":"2026-08-14T10:35:37","slug":"odiseja-ne-fund-te-qyteterimit","status":"publish","type":"post","link":"https:\/\/prizrenpost.com\/al\/odiseja-ne-fund-te-qyteterimit\/","title":{"rendered":"Odiseja n\u00eb fund t\u00eb Qytet\u00ebrimit"},"content":{"rendered":"
\"Odiseja<\/figure>\n

\u201cOdiseja\u201d e Christopher Nolan-it u b\u00eb sh\u00ebnjest\u00ebr e luft\u00ebrave kulturore n\u00eb internet shum\u00eb koh\u00eb p\u00ebrpara se t\u00eb dilte n\u00eb kinema. U b\u00eb zhurm\u00eb e madhe rreth sakt\u00ebsis\u00eb s\u00eb tij historike, kryesisht nga postues t\u00eb ekstremit t\u00eb djatht\u00eb n\u00eb X.<\/p>\n

\u201cOdiseja\u201d e Homerit \u00ebsht\u00eb nj\u00eb nga historit\u00eb m\u00eb t\u00eb ritreguara e m\u00eb t\u00eb ripunuara n\u00eb let\u00ebrsi, qoft\u00eb e vendosur n\u00eb hap\u00ebsir\u00ebn kozmike, qoft\u00eb n\u00eb Dublinin e vitit 1904. Versioni i Nolan-it \u00ebsht\u00eb m\u00eb shum\u00eb nj\u00eb \u201cremix\u201d sesa nj\u00eb riprodhim besnik: ai i p\u00ebrdor skenat dhe temat e poem\u00ebs gojore t\u00eb shekullit VIII p.e.s. p\u00ebr t\u00eb nd\u00ebrtuar nj\u00eb kritik\u00eb ndaj l\u00ebvizjeve fort moderne reaksionare n\u00eb politik\u00eb e kultur\u00eb dhe p\u00ebr t\u00eb paralajm\u00ebruar se shkat\u00ebrrimi i normave t\u00eb qytetaris\u00eb, sidomos ndaj emigrant\u00ebve, t\u00eb huajve dhe t\u00eb panjohurve, rrezikon nj\u00eb shembje m\u00eb t\u00eb gjer\u00eb kulturore.<\/p>\n

Sikur kritik\u00ebt e filmit para daljes s\u00eb tij, t\u00eb t\u00ebrbuar nga vendimi i Nolan-it p\u00ebr nj\u00eb kast t\u00eb larmish\u00ebm, t\u00eb kishin pritur premier\u00ebn, do t\u00eb kishin pasur rast t\u00eb zem\u00ebroheshin me temat e tij. Sepse filmi e pozicionon veten si z\u00ebdh\u00ebn\u00ebs i normave dhe qytetaris\u00eb s\u00eb atij qytet\u00ebrimi per\u00ebndimor q\u00eb ata kritik\u00eb pretendojn\u00eb se e \u00e7mojn\u00eb, por ua hedh posht\u00eb me forc\u00eb ksenofobin\u00eb dhe mashkulloritetin e nd\u00ebrtuar mbi dominimin.<\/p>\n

\u201cSakt\u00ebsia historike\u201d \u00ebsht\u00eb korniz\u00eb e v\u00ebshtir\u00eb kur b\u00ebhet fjal\u00eb p\u00ebr Homerin. Vet\u00eb poema e tij \u00ebsht\u00eb nj\u00eb p\u00ebrzierje elementesh historike t\u00eb shp\u00ebrndara p\u00ebrgjat\u00eb gati kat\u00ebr shekujsh e gjysm\u00eb, nga koha kur supozohej t\u00eb kishin ndodhur ngjarjet e deri te hartimi i saj p\u00ebrfundimtar. Homeri i p\u00ebrzien lirisht elementet e Epok\u00ebs s\u00eb Von\u00eb t\u00eb Bronzit me elemente t\u00eb koh\u00ebs s\u00eb vet, n\u00eb agimet e periudh\u00ebs arkaike, si dhe me elemente krejt fantastike, duke krijuar nj\u00eb lloj pakoh\u00ebsie pezull.<\/p>\n

Ka t\u00eb ngjar\u00eb q\u00eb edhe Nolan-i t\u2019i shmanget sakt\u00ebsis\u00eb s\u00eb rrept\u00eb. Ndon\u00ebse filmi merret me iden\u00eb e shembjes s\u00eb Epok\u00ebs s\u00eb Von\u00eb t\u00eb Bronzit, nj\u00eb val\u00eb shkat\u00ebrrimesh vendbanimesh dhe destabilizimesh perandorake q\u00eb ndodhi af\u00ebrsisht nga viti 1220 deri n\u00eb vitin 1170 p.e.s., ai \u00ebsht\u00eb nj\u00ebkoh\u00ebsisht, dhe n\u00eb thelb, nj\u00eb film p\u00ebr t\u00eb sotmen, dhe Nolan-i ka zgjedhur nj\u00eb stil pamor q\u00eb synon pakoh\u00ebsin\u00eb fantastike.<\/p>\n

Ndon\u00ebse nj\u00eb pjes\u00eb e vog\u00ebl e rekuizit\u00ebs \u00ebsht\u00eb autentike e Epok\u00ebs s\u00eb Bronzit, m\u00eb s\u00eb shumti disa nga arm\u00ebt n\u00eb muret e pallatit t\u00eb Odises\u00eb, shumica e elementeve pamore jan\u00eb projektuar p\u00ebr p\u00ebrshtypjen q\u00eb l\u00ebn\u00eb, jo p\u00ebr sakt\u00ebsin\u00eb. Ashtu si poema origjinale, pjesa m\u00eb e madhe e rr\u00ebfimit jepet me kthime pas n\u00eb koh\u00eb, form\u00eb q\u00eb i shkon nj\u00eb Odiseje q\u00eb ende po e p\u00ebrpunon traum\u00ebn e vet. Parzmorja e st\u00ebrmadhe e zez\u00eb e Agamemnonit, p\u00ebr shembull, ka fare pak lidhje me armaturat historike greke t\u00eb \u00e7far\u00ebdo periudhe, por shpreh karakterin e tij n\u00eb film: nj\u00eb forc\u00eb shkat\u00ebrrimi pothuajse pa fytyr\u00eb e shpesh pa z\u00eb, q\u00eb e shtyn protagonistin drejt kryerjes s\u00eb asaj q\u00eb filmi e paraqet si m\u00ebkatin fillestar q\u00eb shkat\u00ebrron qytet\u00ebrimin.<\/p>\n

Nolan-i e sinjalizon q\u00eb her\u00ebt n\u00eb film se ka nd\u00ebrmend t\u2019i largohet tekstit t\u00eb p\u00ebrpikt\u00eb t\u00eb \u201cOdises\u00eb\u201d, duke ndryshuar duksh\u00ebm mjetin e njohjes mes Odises\u00eb dhe Penelop\u00ebs, q\u00eb n\u00eb poem\u00eb sh\u00ebrben si kulmi p\u00ebrfundimtar. Q\u00ebndrimi i Odises\u00eb n\u00eb Feaki, ku takon Nausik\u00ebn dhe Alkinoin, mungon gjithashtu, elementet e tij rr\u00ebfimore jan\u00eb zhvendosur n\u00eb bisedat mes Odises\u00eb dhe Kalipsos\u00eb. Personazhet ndryshohen ose shkrihen me nj\u00ebri-tjetrin: rasti m\u00eb i duksh\u00ebm \u00ebsht\u00eb Sinoni i filmit, personazh nga \u201cEneida\u201d e Virgjilit dhe jo nga Homeri, i cili merr rolin e Elpenorit, shokut fatkeq t\u00eb Odises\u00eb n\u00eb \u201cOdisen\u00eb\u201d.<\/p>\n

Apokalipsi i bie historis\u00eb si hije. Gjat\u00eb gjith\u00eb filmit, personazhet p\u00ebrmendin me tone ogurzeza thashethemet p\u00ebr \u201cpopujt e detit\u201d, pla\u00e7kit\u00ebs q\u00eb vijn\u00eb nga deti, identiteti i t\u00eb cil\u00ebve mbetet i mjegullt deri von\u00eb n\u00eb film. Krahas k\u00ebsaj, edhe Odiseja, edhe Penelopa pyesin hapur n\u00ebse qytet\u00ebrimi i tyre po \u201cshembet\u201d; filmi mbyllet me Odisen\u00eb q\u00eb i thot\u00eb Penelop\u00ebs se brezat e ardhsh\u00ebm do t\u00eb ken\u00eb nevoj\u00eb p\u00ebr rapsod\u00eb q\u00eb t\u2019ua ruajn\u00eb historit\u00eb, sepse nuk do t\u00eb din\u00eb m\u00eb t\u00eb shkruajn\u00eb.<\/p>\n

Kjo rr\u00ebnjoset n\u00eb nj\u00eb pyetje t\u00eb v\u00ebrtet\u00eb historike. Grek\u00ebt e lasht\u00eb dhan\u00eb data t\u00eb ndryshme p\u00ebr r\u00ebnien e Troj\u00ebs, m\u00eb e famshmja ajo e Eratostenit, viti 1184 p.e.s., e cila p\u00ebrkon me provat arkeologjike t\u00eb shkat\u00ebrrimit t\u00eb nj\u00eb shtrese vendbanimi n\u00eb Hisarll\u00ebk t\u00eb Anadollit per\u00ebndimor, pjes\u00eb e shembjes m\u00eb t\u00eb gjer\u00eb t\u00eb Epok\u00ebs s\u00eb Von\u00eb t\u00eb Bronzit, e cila p\u00ebrpiu edhe pallatet mikenase t\u00eb Greqis\u00eb s\u00eb asaj epoke.<\/p>\n

Nd\u00ebrsa k\u00ebto shkat\u00ebrrime vendbanimesh u p\u00ebrhap\u00ebn val\u00eb-val\u00eb drejt lindjes (duket se nis\u00ebn n\u00eb Greqi), ato krijuan rryma pla\u00e7kit\u00ebsish t\u00eb armatosur a refugjat\u00ebsh, t\u00eb cil\u00ebt n\u00eb dokumentet egjiptiane quhen \u201cpopujt e detit\u201d. Studiuesit tashm\u00eb vler\u00ebsojn\u00eb p\u00ebrgjith\u00ebsisht se shembja nisi kur ndryshimet klimatike shkaktuan paq\u00ebndrueshm\u00ebri politike n\u00eb ekonomit\u00eb e centralizuara pallatore t\u00eb rajonit, nd\u00ebrsa shtetet m\u00eb t\u00eb brishta t\u00eb periferis\u00eb filluan t\u00eb shembeshin. Kjo i \u00e7rregulloi rrjedhat tregtare dhe krijoi konflikte e val\u00eb refugjat\u00ebsh q\u00eb i rr\u00ebzuan shtetet m\u00eb t\u00eb m\u00ebdha n\u00eb nj\u00eb shembje domino, e cila p\u00ebrfundimisht p\u00ebrpiu nj\u00eb pjes\u00eb t\u00eb madhe t\u00eb brigjeve t\u00eb Mesdheut lindor.<\/p>\n

Ky ishte ndoshta rasti kur nj\u00eb rajon i madh i \u00ebsht\u00eb afruar m\u00eb shum\u00eb se kurr\u00eb nj\u00eb ngjarjeje t\u00eb mir\u00ebfillt\u00eb \u201cfundi qytet\u00ebrimi\u201d, ndon\u00ebse shkat\u00ebrrimet nuk ishin aspak t\u00eb gjithanshme as brenda vet\u00eb Mesdheut lindor. Qytet\u00ebrimi grek i asaj periudhe u shemb aq r\u00ebnd\u00eb, saq\u00eb humbi edhe shkrimi. Kur shkrimi grek u rishfaq n\u00eb shekullin VIII p.e.s., u rishfaq me nj\u00eb alfabet t\u00eb ri, t\u00eb mb\u00ebshtetur n\u00eb shkronjat fenikase, alfabeti grek dhe tradita letrare q\u00eb njohim sot.<\/p>\n

Ideja se Lufta e Troj\u00ebs sh\u00ebnonte fillimin e fundit t\u00eb nj\u00eb epoke nuk ishte aspak e huaj p\u00ebr grek\u00ebt e lasht\u00eb. Ndon\u00ebse grek\u00ebt e koh\u00ebs s\u00eb Homerit (Homeri shkroi nga mesi i shekullit VIII p.e.s.) kishin vet\u00ebm nj\u00eb kujtes\u00eb kulturore tejet t\u00eb mjegullt t\u00eb Epok\u00ebs s\u00eb Von\u00eb t\u00eb Bronzit dhe asnj\u00eb njohuri t\u00eb v\u00ebrtet\u00eb p\u00ebr shembjen e saj, ata i kuptonin luft\u00ebtar\u00ebt q\u00eb luftuan n\u00eb Troj\u00eb dhe bijt\u00eb e tyre si brezat e fundit t\u00eb nj\u00eb epoke heronjsh, para se bota t\u00eb qet\u00ebsohej n\u00eb epok\u00ebn e tyre bashk\u00ebkohore, shum\u00eb m\u00eb pak fantastike. Ka nj\u00eb ndjesi tragjedie e humbjeje te Nostoi-t \u2014 kthimet e heronjve t\u00eb Troj\u00ebs, t\u00eb cil\u00ebt n\u00eb mitologjin\u00eb greke banojn\u00eb n\u00eb nj\u00eb bot\u00eb q\u00eb po vdes.<\/p>\n

P\u00ebrqendrimi i Nolan-it te kjo tem\u00eb, megjithat\u00eb, \u00ebsht\u00eb duksh\u00ebm modern. Nd\u00ebrsa studiuesit ia atribuojn\u00eb p\u00ebrgjith\u00ebsisht shembjen historike t\u00eb Epok\u00ebs s\u00eb Von\u00eb t\u00eb Bronzit nj\u00eb vargu faktor\u00ebsh, \u00e7rregullimit klimatik, luft\u00ebrave t\u00eb p\u00ebrhershme, nd\u00ebrvar\u00ebsis\u00eb ekonomike dhe val\u00ebve t\u00eb m\u00ebdha t\u00eb refugjat\u00ebve, vizioni i Nolan-it p\u00ebrqendrohet te d\u00ebshtimi moral.<\/p>\n

Si\u00e7 ia zbulon vet\u00eb Odiseja Penelop\u00ebs n\u00eb nj\u00eb \u00e7ast zhveshjeje t\u00eb plot\u00eb shpirt\u00ebrore, popujt e detit nuk jan\u00eb ndonj\u00eb k\u00ebrc\u00ebnim i huaj, por vet\u00eb grek\u00ebt (\u00e7ka, me sa mund t\u00eb thon\u00eb studiuesit, \u00ebsht\u00eb pohim i sakt\u00eb edhe p\u00ebr popujt historik\u00eb t\u00eb detit), produkt i shkeljes prej tyre t\u00eb normave t\u00eb sjelljes s\u00eb qytet\u00ebruar gjat\u00eb shkat\u00ebrrimit t\u00eb Troj\u00ebs, t\u00eb mish\u00ebruar n\u00eb mashtrimin blasfemues t\u00eb vet\u00eb kalit t\u00eb Troj\u00ebs. Shikuesi zbulon k\u00ebshtu se trauma q\u00eb e ka munduar Odisen\u00eb gjat\u00eb gjith\u00eb filmit \u00ebsht\u00eb ndjesia se ai mban p\u00ebrgjegj\u00ebsin\u00eb p\u00ebrfundimtare p\u00ebr m\u00ebkatin fillestar, shkeljen e par\u00eb q\u00eb ka sjell\u00eb shembjen e qytet\u00ebrimit.<\/p>\n

Ky m\u00ebkat qytet\u00ebrimvras\u00ebs shprehet p\u00ebrmes motivit t\u00eb mizoris\u00eb ndaj t\u00eb huajve, i cili n\u00eb film thirret si \u201cligji i Zeusit\u201d, koncepti grek i ksenias, i mikpritjes, sipas t\u00eb cilit mikprit\u00ebsi ka p\u00ebrgjegj\u00ebsin\u00eb ta ushqej\u00eb e ta mbroj\u00eb musafirin, nd\u00ebrsa musafiri ka p\u00ebrgjegj\u00ebsi t\u00eb nj\u00ebjta ndaj mikprit\u00ebsit. M\u00ebtonj\u00ebsit e dor\u00ebs s\u00eb Penelop\u00ebs, duke abuzuar nj\u00ebkoh\u00ebsisht me mikpritjen e saj dhe me lyp\u00ebsit e t\u00eb huajt q\u00eb vijn\u00eb n\u00eb pallat si musafir\u00eb, e shkelin ksenian n\u00eb t\u00eb dyja drejtimet nj\u00ebher\u00ebsh, por nuk jan\u00eb aspak t\u00eb vetmit.<\/p>\n

Shkelja e ksenias dhe pasojat e saj jan\u00eb nj\u00eb nga shqet\u00ebsimet qendrore t\u00eb \u201cOdises\u00eb\u201d s\u00eb Homerit; por, nd\u00ebrsa Homeri e trajton k\u00ebt\u00eb shkelje kryesisht si m\u00ebkat vetjak, Nolan-i e shnd\u00ebrron n\u00eb m\u00ebkat qytet\u00ebrimor.<\/p>\n

\u00cbsht\u00eb pik\u00ebrisht mizoria ndaj t\u00eb huajve ajo q\u00eb i dallon p\u00ebrbind\u00ebshat \u00e7njer\u00ebzor\u00eb, ciklopin, lestrigon\u00ebt dhe Kirk\u00ebn, q\u00eb Odiseja ndesh n\u00eb udh\u00ebtimet e tij. E megjithat\u00eb, k\u00ebto akte \u00e7njer\u00ebzore pasqyrohen n\u00eb rr\u00ebfim nga mizoria e vet\u00eb grek\u00ebve ndaj t\u00eb huajve: trajtimi sadist q\u00eb m\u00ebtonj\u00ebsit u b\u00ebjn\u00eb musafir\u00ebve n\u00eb pallatin e Odises\u00eb, pla\u00e7kitjet lakmitare t\u00eb njer\u00ebzve t\u00eb vet\u00eb Odises\u00eb dhe, sigurisht, rr\u00ebnimi brutal i Troj\u00ebs. Pretendimi i Kirk\u00ebs se trajta njer\u00ebzore e grek\u00ebve \u00ebsht\u00eb form\u00eb e rreme, se trajta e tyre e v\u00ebrtet\u00eb \u00ebsht\u00eb ajo e derrave t\u00eb sunduar nga lakmia e oreksi, duket n\u00eb fillim i nj\u00ebansh\u00ebm, derisa Odiseja, n\u00eb mbyllje t\u00eb filmit, rr\u00ebfen tmerret e r\u00ebnies s\u00eb Troj\u00ebs dhe shikuesi kupton se Kirka kishte pasur, n\u00eb thelb, t\u00eb drejt\u00eb.<\/p>\n

Vet\u00eb Odiseja e mbyll pastaj rrethin e tem\u00ebs, duke kuptuar p\u00ebrball\u00eb Penelop\u00ebs, kur m\u00eb n\u00eb fund ribashkohen, se popujt e detit ishin vet\u00eb grek\u00ebt, se me rr\u00ebnimin barbar t\u00eb Troj\u00ebs ata thyen lidhjet e drejta mes njer\u00ebzve, \u00e7ka e ka ndjekur Odisen\u00eb gjat\u00eb gjith\u00eb filmit. Odiseja parashikon, nga ana e tij, se efektet ngjit\u00ebse t\u00eb k\u00ebtyre veprimeve do t\u00eb p\u00ebrhapen derisa t\u00eb shembet i gjith\u00eb qytet\u00ebrimi i tyre.<\/p>\n

Nolan-i paraqet k\u00ebshtu nj\u00eb vizion shembjeje qytet\u00ebrimore t\u00eb shkaktuar nga shembja e normave shoq\u00ebrore t\u00eb mikpritjes, mir\u00ebsis\u00eb dhe m\u00ebshir\u00ebs. Ndon\u00ebse n\u00eb fund t\u00eb filmit Odiseja ia ngarkon vetes pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb fajit p\u00ebr k\u00ebt\u00eb thyerje dhe shkon n\u00eb m\u00ebrgim si nj\u00eb lloj shlyerjeje e fajit, filmi n\u00eb t\u00ebr\u00ebsi gjen edhe figura t\u00eb tjera p\u00ebr t\u00eb faj\u00ebsuar. M\u00eb i dukshmi \u00ebsht\u00eb Agamemnoni, prij\u00ebsi i grek\u00ebve, i cili shfaqet n\u00eb film si nj\u00eb forc\u00eb k\u00ebrc\u00ebnimi gati e heshtur, pothuajse gati si stihi, autori i v\u00ebrtet\u00eb i shembjes s\u00eb qytet\u00ebrimit.<\/p>\n

Kjo \u00ebsht\u00eb nj\u00eb kritik\u00eb e veshur me petkun e nj\u00eb shembjeje t\u00eb lasht\u00eb, por thell\u00ebsisht e ngulitur n\u00eb t\u00eb tashmen. P\u00ebrmendjet e p\u00ebrs\u00ebritura t\u00eb ligjit t\u00eb Zeusit p\u00ebr mir\u00ebsin\u00eb ndaj t\u00eb huajve jan\u00eb menduar, pa dyshim, t\u00eb lexohen n\u00ebn drit\u00ebn e q\u00ebndrimit tronditsh\u00ebm \u00e7njer\u00ebzor t\u00eb administrat\u00ebs Trump ndaj emigrant\u00ebve dhe t\u00eb huajve n\u00eb Shtetet e Bashkuara.<\/p>\n

M\u00eb gjer\u00eb, morali i filmit e hedh posht\u00eb si thell\u00ebsisht kund\u00ebrprodhues mashkulloritetin e nd\u00ebrtuar mbi dominimin e forc\u00ebn t\u00eb mbret\u00ebrve grek\u00eb, nj\u00eb jehon\u00eb e machismo-s bashk\u00ebkohore t\u00eb l\u00ebvizjes MAGA, e cila shpesh e merr qytet\u00ebrimin grek e romak si frym\u00ebzim t\u00eb shtremb\u00ebruar. Disa personazhe, n\u00eb radh\u00eb t\u00eb par\u00eb Menelau, pyesin vazhdimisht se kush do t\u2019i ngrej\u00eb ushtrit\u00eb e Itak\u00ebs p\u00ebr t\u2019u mbrojtur nga popujt e detit q\u00eb po afrohen, por del, natyrisht, se popujt e detit jan\u00eb vet\u00eb ushtrit\u00eb e Itak\u00ebs: ngritja e nj\u00eb ushtrie grek\u00ebsh nga mbret\u00ebrit e tyre luft\u00ebtar\u00eb \u00ebsht\u00eb vet\u00eb shkaku i problemit, jo zgjidhja.<\/p>\n

Nolan-i, megjithat\u00eb, nuk e hedh posht\u00eb vet\u00eb qytet\u00ebrimin. Kritika p\u00ebr k\u00ebt\u00eb shoq\u00ebri ai i ka, pa dyshim: Penelopa v\u00eb n\u00eb dukje padrejt\u00ebsin\u00eb e brendaqen\u00ebsishme q\u00eb, ndon\u00ebse e ka qeverisur Itak\u00ebn p\u00ebr nj\u00ebzet vjet, si grua nuk mund t\u00eb jet\u00eb sundimtarja e saj zyrtare dhe, p\u00ebrkundrazi, i b\u00ebhet trysni t\u00eb gjej\u00eb nj\u00eb burr\u00eb; nd\u00ebrsa Nolan-i fut edhe nj\u00eb kritik\u00eb ndaj pasuris\u00eb, duke e b\u00ebr\u00eb m\u00ebtonj\u00ebsin e pasur e t\u00eb neveritsh\u00ebm Antinoi ta p\u00ebrdor\u00eb pasurin\u00eb p\u00ebr t\u2019i shp\u00ebtuar Luft\u00ebs s\u00eb Troj\u00ebs, n\u00eb kurriz t\u00eb Sinonit t\u00eb varf\u00ebr e t\u00eb \u00e7ilt\u00ebr.<\/p>\n

Megjithat\u00eb, vet\u00eb qytet\u00ebrimi paraqitet si nj\u00eb e mir\u00eb e mir\u00ebfillt\u00eb, r\u00ebnia e s\u00eb cil\u00ebs \u00ebsht\u00eb katastrof\u00eb. Lufta dhe m\u00ebtonj\u00ebsit e \u00e7rregullojn\u00eb nj\u00eb shoq\u00ebri n\u00eb Itak\u00eb q\u00eb paraqitet si kryesisht e sh\u00ebndosh\u00eb dhe e mir\u00eb, nd\u00ebrsa vet\u00eb Odiseja nxiton t\u2019i paraqes\u00eb shkrimin e k\u00ebng\u00ebn si arte q\u00eb e ruajn\u00eb urt\u00ebsin\u00eb duke ruajtur kujtes\u00ebn e gabimeve t\u00eb s\u00eb shkuar\u00ebs. Rezultati \u00ebsht\u00eb nj\u00eb kritik\u00eb n\u00eb thelb konservatore, gati sipas frym\u00ebs s\u00eb Edmund Burke-ut: \u00e7far\u00ebdo problemesh strukturore t\u00eb ket\u00eb shoq\u00ebria, shembja e saj katastrofike nuk vjen nga ato probleme strukturore, por nga shkelja e normave t\u00eb hershme t\u00eb sjelljes. Kali i Odises\u00eb nuk theu vet\u00ebm portat e Troj\u00ebs, por edhe \u201cgardhin e Chesterton-it\u201d \u2014 parimin se nj\u00eb norm\u00eb a penges\u00eb e trash\u00ebguar nuk duhet rr\u00ebzuar pa e kuptuar m\u00eb par\u00eb pse \u00ebsht\u00eb ngritur.<\/p>\n

\u201cOdiseja\u201d e Nolan-it, ashtu si poema origjinale, \u00ebsht\u00eb e vet\u00ebdijshme p\u00ebr rolin e vet n\u00eb kultur\u00eb: hapet me nj\u00eb rapsod q\u00eb nis t\u00eb k\u00ebndoj\u00eb historin\u00eb e Odises\u00eb n\u00eb pallatin e tij. Nolan-i ngre k\u00ebshtu nj\u00eb kritik\u00eb konservatore ndaj \u00e7astit aktual, duke e p\u00ebrdorur historin\u00eb e Homerit p\u00ebr ta pozicionuar veten si z\u00ebdh\u00ebn\u00ebs i qytet\u00ebrimit per\u00ebndimor dhe i vet\u00eb kanonit letrar per\u00ebndimor.<\/p>\n

Filmi shpall se, larg s\u00eb qeni shp\u00ebtimtari i qytet\u00ebrimit per\u00ebndimor, mashkulloriteti q\u00eb k\u00ebnaqet me mizorin\u00eb ndaj t\u00eb jashtm\u00ebve e t\u00eb huajve, ai q\u00eb \u00e7mon pam\u00ebshirshm\u00ebrin\u00eb e pandjeshm\u00ebrin\u00eb stoike t\u00eb Agamemnonit apo dinak\u00ebrin\u00eb e eg\u00ebr t\u00eb vet\u00eb Odises\u00eb, \u00ebsht\u00eb pik\u00ebrisht ajo q\u00eb po shkakton nj\u00eb shembje qytet\u00ebrimore bashk\u00ebkohore, duke i k\u00ebputur lidhjet mes njer\u00ebzve. Popujt e detit jemi ne, q\u00eb, me \u00e7njer\u00ebzin\u00eb dhe lakmin\u00eb ton\u00eb grabitqare, jemi b\u00ebr\u00eb barbar\u00ebt p\u00ebrpara portave tona.<\/p>\n

Origjinali \u00ebsht\u00eb publikuar n\u00eb anglisht n\u00eb Foreign Policy. Solli n\u00eb shqip Tesheshi.com.<\/p>\n

Bret Devereaux \u00ebsht\u00eb istorian i specializuar n\u00eb ekonomin\u00eb dhe ushtrin\u00eb romake<\/p>\n

\n

Burimi: tesheshi<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cOdiseja\u201d e Christopher Nolan-it u b\u00eb sh\u00ebnjest\u00ebr e luft\u00ebrave kulturore n\u00eb internet shum\u00eb koh\u00eb p\u00ebrpara se t\u00eb dilte n\u00eb kinema. U b\u00eb zhurm\u00eb e madhe rreth sakt\u00ebsis\u00eb s\u00eb tij historike, kryesisht nga postues t\u00eb ekstremit t\u00eb djatht\u00eb n\u00eb X. \u201cOdiseja\u201d e Homerit \u00ebsht\u00eb nj\u00eb nga historit\u00eb m\u00eb t\u00eb ritreguara e m\u00eb t\u00eb ripunuara n\u00eb let\u00ebrsi, […]<\/p>\n","protected":false},"author":1,"featured_media":116490,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-116491","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulture"],"_links":{"self":[{"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/posts\/116491","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/comments?post=116491"}],"version-history":[{"count":0,"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/posts\/116491\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/media\/116490"}],"wp:attachment":[{"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/media?parent=116491"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/categories?post=116491"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/prizrenpost.com\/al\/wp-json\/wp\/v2\/tags?post=116491"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}