{"id":1394,"date":"2026-04-13T22:57:35","date_gmt":"2026-04-13T22:57:35","guid":{"rendered":"https:\/\/logbook.al\/?page_id=1394"},"modified":"2026-04-14T11:21:48","modified_gmt":"2026-04-14T11:21:48","slug":"vilson-hoti-imanenca-e-pasubjektshme","status":"publish","type":"page","link":"https:\/\/logbook.al\/?page_id=1394","title":{"rendered":"VILSON HOTI: IMANENCA E PASUBJEKTSHME"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><strong><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-cyan-bluish-gray-color\">VILSON HOTI<\/mark><\/strong><\/h4>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>IMANENCA E PASUBJEKTSHME<em><br><\/em>(Dialogu si rit i shkrirjes s\u00eb subjektit n\u00eb \u201c<em>Imanenca srca srca<\/em>\u201d e Idlir Azizaj<\/strong>)<\/h3>\n\n\n\n<h4 class=\"wp-block-heading\">\u201c<em>Imanenca srca srca<\/em>\u201d* i Azizajt \u00ebsht\u00eb nj\u00eb sekuenc\u00eb dramatike, q\u00eb n\u00ebn form\u00ebn e dialogut t\u00eb kondensuar me batuta gjuh\u00ebsore, p\u00ebrkthen n\u00eb poezi iden\u00eb deleuziane t\u00eb imanenc\u00ebs si &#8220;fush\u00eb e pasubjektshme&#8221;, ku nuk ekziston m\u00eb nj\u00eb \u201c<em>jasht\u00eb<\/em>\u201d t\u00eb mendimit ose t\u00eb qenies. Ky \u00ebsht\u00eb nj\u00eb lloj konfiguracioni dramaturgjik se si dallimi b\u00ebhet forca e vet\u00ebbrendshme e realitetit dhe jo raport midis esencash t\u00eb ndara&#8230;<\/h4>\n\n\n\n<h4 class=\"wp-block-heading\"><br><strong>&#8211; Imanenca** si brend\u00ebsi absolute<em>: <\/em><\/strong><br><em>\u201c<strong>Vendi i aksionit: hap\u00ebsira mes dy zemrave \/ Koha: momenti sa hap syt\u00eb.\u201d<\/strong><br><\/em><br>N\u00eb filozofin\u00eb e Deleuze, imanenca nuk \u00ebsht\u00eb cil\u00ebsia e di\u00e7kaje q\u00eb i p\u00ebrket nj\u00eb qenieje, por \u00ebsht\u00eb plani i vet\u00eb ekzistenc\u00ebs, \u201cplani i imanenc\u00ebs\u201d, mbi t\u00eb cilin \u00e7do subjekt, objekt, ndjenj\u00eb apo perceptim shfaqen si modalitete momentane t\u00eb s\u00eb nj\u00ebjt\u00ebs rrjedh\u00eb. N\u00eb k\u00ebt\u00eb tekst, ky plan p\u00ebrkthehet poetikisht n\u00eb hap\u00ebsir\u00ebn \u201cmes dy zemrave\u201d: nj\u00eb \u201cvend aksioni\u201d q\u00eb nuk \u00ebsht\u00eb as nj\u00ebri, as tjetri, por &#8220;dy-shi imanent&#8221;. Ky moment \u00ebsht\u00eb pa koh\u00eb dhe pa vend n\u00eb kuptimin tradicional; ai \u00ebsht\u00eb vet\u00eb kalimi (ose &#8220;kaloja&#8221;) i perceptimit, momenti kur projekti subjekt\u2013objekt shk\u00ebrmoqet. Dy \u201czemrat\u201d nuk jan\u00eb m\u00eb bart\u00ebse emocionale t\u00eb vet\u00ebdijshme, por dy p\u00ebrrenj energjish q\u00eb rrjedhin nj\u00ebra brenda tjetr\u00ebs, pa hierarki, pa distanc\u00eb&#8230; Dialogu midis Der\u00ebziut dhe Der\u00ebbardhit, q\u00eb duket her\u00eb-loj\u00eb, her\u00eb grindje, her\u00eb gjest dashurie, por i ngjan struktur\u00ebs deleuziane t\u00eb tekstit, q\u00eb funksionon si proces i \u201cdeterritorializimit\u201d \u2014 shp\u00ebrb\u00ebrja e kufijve mes trupit, z\u00ebrit dhe mendimit. Shembujt t\u00eb till\u00eb jan\u00eb:<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201cTi je n\u00eb mua. Vet\u00eb the q\u00ebpar\u00eb, hyre nga e \u00e7ara.\u201d<br><br>\u201cJo, kjo \u00ebsht\u00eb ve\u00e7 brendia jote! Pse, p\u00ebr kaq luftova vall\u00eb?\u201d<\/p>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">K\u00ebtu brendia dhe jasht\u00ebsia shk\u00ebmbehen si funksione t\u00eb rrjedh\u00ebs, jo si kund\u00ebrv\u00ebnie ontologjike. Dy fol\u00ebsit jan\u00eb si dy \u201crryma imanente\u201d q\u00eb riartikulojn\u00eb nj\u00ebri-tjetrin. Ndaj, \u00e7do fjali n\u00eb k\u00ebt\u00eb dialog \u00ebsht\u00eb nj\u00eb pik\u00eb tranzicioni, jo nj\u00eb pohim stabil. Fjala e nj\u00ebrit (tjetrit) e lind tjetrin (nj\u00ebrin) \u2014 nj\u00eb akt deleuzian i krijimit p\u00ebrmes \u201cnd\u00ebrlidhjes\u201d dhe \u201cdiferenc\u00ebs\u201d, jo p\u00ebrmes njohjes apo reflektimit.<br><br><strong>&#8211; Dallimi si ontologji, jo p\u00ebrjashtim<\/strong><br><br>N\u00eb nj\u00eb moment ky\u00e7, tekstualisht dhe filozofikisht, personazhet reflektojn\u00eb mbi vet\u00eb nocionin e dallimit:<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201cPo aty duhet t\u00eb ishte demek dhe ajo, diferenca, dallimi dhe ndryshimi\u2026\u201d<br>\u201cPo ti kujtove se boll qe je aty dhe\u2026 Ah, \u00e7\u2019m\u00eb \u00e7ave kok\u00ebn tashti!\u201d<\/p>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">K\u00ebtu \u201cdallimi\u201d \u00ebsht\u00eb koncepti deleuzian par excellence, jo ndarje, por krijim. P\u00ebr Deleuze, gjith\u00e7ka q\u00eb ekziston \u00ebsht\u00eb dallim q\u00eb prodhon dallim, nj\u00eb proces i brendsh\u00ebm i vet\u00eb imanenc\u00ebs. N\u00eb tekst, lufta e tyre \u201cp\u00ebr dallimin\u201d \u00ebsht\u00eb n\u00eb fakt lufte p\u00ebr ekzistenc\u00eb, p\u00ebr t\u00eb mos u ngjitur n\u00eb nj\u00eb homogjenitet total q\u00eb do t\u00eb vriste \u00e7do krijim: \u201cPo k\u00ebshtu s\u2019ka dallim! P\u00ebr \u00e7a lufuam ne?\u201d<br>N\u00ebse lufta p\u00ebr dallim d\u00ebshtoka, mbetet vet\u00ebm \u201cimanenca e past\u00ebr\u201d, q\u00eb k\u00ebtu fillon t\u00eb marr\u00eb trajtat e nj\u00eb err\u00ebsire, nj\u00eb \u201cterr brenda teje, sa i hedh k\u00ebmb\u00ebt kuturu\u201d. Kjo err\u00ebsir\u00eb \u00ebsht\u00eb brendia absolute e Deleuze-it \u2013 jo negativitet, por intensitet i pafund ku \u00e7do dallim potencialisht mund t\u00eb ndodh\u00eb&#8230;<br><br><strong>&#8211; Liria si efekt i imanenc\u00ebs, jo si atribut i subjektit<\/strong><br><br>Nj\u00eb nga fijet qendrore t\u00eb dialogut \u00ebsht\u00eb ajo e \u201cliris\u00eb\u201d:<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u201cE \u00e7far\u00eb lirie \u00ebsht\u00eb kjo?\u201d<br>\u201cKjo \u00ebsht\u00eb liria, zem\u00ebr!\u201d<br>\u201cJo, kjo \u00ebsht\u00eb ve\u00e7 brendia jote! Pse, p\u00ebr kaq luftova vall\u00eb?\u201d<\/p>\n<\/blockquote>\n\n\n\n<h4 class=\"wp-block-heading\">P\u00ebr Deleuze-in, liria nuk \u00ebsht\u00eb zot\u00ebrimi i vetvetes, por aft\u00ebsia p\u00ebr t\u2019u b\u00ebr\u00eb \u2014 p\u00ebr t\u00eb \u201chyr\u00eb nga e \u00e7ara\u201d. Pik\u00ebrisht ashtu si personazhi q\u00eb dep\u00ebrton \u201cnga veshi\u201d, \u201cnga buz\u00ebt\u201d, \u201cnga zemra\u201d, liria k\u00ebtu ngjason me procesin e shnd\u00ebrrimit, t\u00eb \u201cn\u00ebnshkrirjes s\u00eb form\u00ebs\u201d. N\u00eb k\u00ebt\u00eb sens, t\u00eb hysh brenda tjetrit (pa jasht\u00eb) \u00ebsht\u00eb t\u00eb jesh n\u00eb imanenc\u00eb, jo t\u00eb zot\u00ebrosh. Liria \u00ebsht\u00eb p\u00ebrmbyllja e \u00e7do raporti transcendent me \u201cjasht\u00eb\u201d, dhe kthimi n\u00eb rrym\u00ebn ku \u201cpara\u201d dhe \u201cmbrapa\u201d, \u201cshkak\u201d dhe \u201cshka\u201d, jan\u00eb vet\u00ebm val\u00eb t\u00eb s\u00eb nj\u00ebjt\u00ebs fush\u00eb&#8230; ngjash\u00ebm si ai i grimcave n\u00eb fizik\u00eb.<br><br><strong>&#8211; Dallimi i pamoskuptimit dhe mosdallimi i kuptimit<br><\/strong><br>N\u00eb nj\u00eb vij\u00eb ironike q\u00eb p\u00ebrb\u00ebn thelbin m\u00eb gjuh\u00ebsor t\u00eb tekstit, Der\u00ebbardhi thot\u00eb: \u201cMarr\u00ebveshje \u00ebsht\u00eb kjo pun\u00eb, mes moskuptimit e keqkuptimit.\u201d Ky \u00ebsht\u00eb nj\u00eb moment Deleuzian, ku kuptimi nuk \u00ebsht\u00eb kurr\u00eb i dh\u00ebn\u00eb, por prodhim q\u00eb del nga moskuptimi vet\u00eb. Kuptimi, te Deleuze, shfaqet si nj\u00eb l\u00ebvizje sip\u00ebrfaq\u00ebsore e loj\u00ebs s\u00eb shenjave, jo si p\u00ebrmbajtje transcendente. Pra, ajo q\u00eb p\u00ebr personazhet duket si rr\u00ebmuj\u00eb logjike (\u201cshka \/ shkak\u201d, \u201cja \/ shka\u201d) \u00ebsht\u00eb n\u00eb fakt vet\u00eb poetika e imanenc\u00ebs, ku gjuha ngjizet &#8211; b\u00ebhet, jo si sistem&#8230;<br>Titulli \u201c<em>Imanenca srca srca<\/em>\u201d vetvetiu na vendos n\u00eb nj\u00eb univers ku d\u00ebshira, dallimi, dhe bashk\u00ebshkrirja trupore jan\u00eb forma t\u00eb t\u00eb nj\u00ebjtit akt poetik. N\u00eb k\u00ebt\u00eb \u201chap\u00ebsir\u00eb mes dy zemrave\u201d, \u00e7do kufi \u00ebsht\u00eb i tejkaluar \u2014 jo p\u00ebr t\u2019u shkrir\u00eb n\u00eb identitet, por p\u00ebr t\u2019u b\u00ebr\u00eb proces i gjall\u00eb i krijimit t\u00eb dallimit.<br><br>N\u00eb frym\u00ebn m\u00eb t\u00eb past\u00ebr deleuziane, I. Azizaj p\u00ebrtej t\u00eb filozofuarit si komentator, synon q\u00eb p\u00ebrmes gjuh\u00ebs t\u00eb shpik\u00eb nj\u00eb fush\u00eb, mund\u00ebsisht, t\u00eb re p\u00ebr ndjesin\u00eb. Imanenca, k\u00ebtu, \u00ebsht\u00eb rrjedha e jet\u00ebs vet\u00eb, n\u00eb t\u00eb cil\u00ebn \u00e7do zem\u00ebr \u00ebsht\u00eb nj\u00eb \u201cmbetje aktive e dallimit\u201d, nj\u00eb nyje e vog\u00ebl ku e brendshmja dhe e jashtmja ndodhin pa pushim&#8230;<\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><strong>Sh\u00ebnim i autorit:<\/strong><br>*N\u00ebnvizojm\u00eb k\u00ebtu ironin\u00eb e Azizaj, sepse enkas aludon mbi k\u00ebng\u00ebn sllave, \u201cIma nesto od srca do srca\u201d, e njohur sidomos nga publiku i viteve 1980t\u00eb. Dhe loj\u00ebn e fjal\u00ebve, nga \u201cima nesto\u201d n\u00eb \u201cimanenc\u00eb\u201d, duke ndryshuar totalisht t\u00eb shenjuarin.<br><br>**Imanenca, koncept filozofik, q\u00ea n\u00ebnukupton at\u00eb \u201c\u00e7ka mbetet brenda\u201d, \u201crri n\u00eb brend\u00ebsi t\u00eb nj\u00eb qenieje apo nj\u00eb mendimi\u201d. Koncept i kund\u00ebrt me Transhendec\u00ebn\u201d, m\u00eb religjioz ky. Filozofi i mir\u00ebnjohur Gilles Deleuze iu kthye k\u00ebtij koncepti, duke theksuar se heqja dor\u00eb nga subjekti dhe finaliteti, justifikon vendosjen \u201cn\u00eb t\u00eb nj\u00ebjtin plan immanence\u201d t\u00eb \u00e7do koncepti apo vlere, duke I lidhur ato \u201chorizontalisht\u201d n\u00eb nj\u00eb rrjet mendimesh, e jo m\u00eb t\u00eb themeluara vertikalisht.<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\"><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-cyan-bluish-gray-color\">14.4.2026<\/mark><\/h3>\n","protected":false},"excerpt":{"rendered":"<p>VILSON HOTI IMANENCA E PASUBJEKTSHME(Dialogu si rit i shkrirjes s\u00eb subjektit n\u00eb \u201cImanenca srca srca\u201d e Idlir Azizaj) \u201cImanenca srca srca\u201d* i Azizajt \u00ebsht\u00eb nj\u00eb sekuenc\u00eb dramatike, q\u00eb n\u00ebn form\u00ebn &#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1394","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/1394","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/logbook.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1394"}],"version-history":[{"count":19,"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/1394\/revisions"}],"predecessor-version":[{"id":1420,"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/1394\/revisions\/1420"}],"wp:attachment":[{"href":"https:\/\/logbook.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1394"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}