Utopian Impulse

Symbolism and Realism were distinct but parallel literary movements that swept Europe and much of the world in the late 19th century. Social order was one of the main concerns of Symbolists and Realists, which reflects the unprecedented growth of the middle class and its values across Europe during that time period. Morality and ambition were homogenized – and, in some cases, institutionalized – to a degree never before seen in civilized society, and many intellectuals and artists saw this homogenization as a conformist social force that threatened individual perspective. Thus, Symbolists’ and Realists’ works lashed out against social institutions and values and were particularly concerned about the domestic sphere, because of its dependence on social norms and shaping effect on individual perceptions; were disturbed by the decaying effects of conformism; and were troubled by the disconnection between modern individuals. Moreover, Symbolists and Realists argue that these three themes of domesticity, decay, and disconnection are linked, a connection explored especially in the Symbolist Charles Baudelaire’s poem, “Spleen LXVIII” (1862), in the Realist Leo Tolstoy’s novella, The Death of Ivan Ilyich (1886), and in the Realist Anton Chekhov’s play, The Cherry Orchard (1903). Specifically, these authors argue that the various forms of modern domestic life lead to the ruination of substantial interpersonal connection. As long as one drowns in life’s tedium, asserts Baudelaire, the human experience and one’s connections with others decay. “Spleen LXVIII” describes a winter rain that pours “On corpses fading in the near graveyard, On foggy suburbs pours life’s tedium” (1550.II 3, 4), and, speaking of a ... ... middle of paper ... ...orms in one way or another destroy one’s connections with other human beings. Not only does such focus on forms defy the social nature of humanity, creating generations of socially approved outcasts, but also it severely restricts the individual’s perspective by forcing it to conform to preordained, rigid structures, thereby suffocating the blessing of human creativity. Such restriction does not belong to modern civilization alone, however; creativity never exists without limit, for every society upholds rules of conduct that its members are taught to obey. Therefore, contemporary conformity is not new but rather reborn and strengthened. Correspondingly, the task of the modern citizen is ancient, but difficult in its originality: to strike a balance between creativity and conformity, between pursuing our own diverse forms and following the accepted forms of society.

Born in Moscow in 1821, Dostoevsky was introduced to literature at an early age through fairy tales and legends, and through books by Russian and foreign authors. His mother died in 1837 when he was 15, and around the same time, he left school to enter the Nikolayev Military Engineering Institute. After graduating, he worked as an engineer and briefly enjoyed a lavish lifestyle, translating books to earn extra money. In the mid-1840s he wrote his first novel, Poor Folk, which gained him entry into Saint Petersburg's literary circles. Arrested in 1849 for belonging to a literary group that discussed banned books critical of Tsarist Russia, he was sentenced to death but the sentence was commuted at the last moment. He spent four years in a Siberian prison camp, followed by six years of compulsory military service in exile. In the following years, Dostoevsky worked as a journalist, publishing and editing several magazines of his own and later A Writer's Diary, a collection of his writings. He began to travel around western Europe and developed a gambling addiction, which led to financial hardship. For a time, he had to beg for money, but he eventually became one of the most widely read and highly regarded Russian writers. Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise :     Numri i llogarise:  0080677481  -  EUR - AL07202140160000000080677481     Emri i bankes : Raiffeisen Bank     Swift CODE: SGSBALTX

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T.S. Eliot, in full Thomas Stearns Eliot, (born September 26, 1888, St. Louis, Missouri, U.S.—died January 4, 1965, London, England), American-English poet, playwright, literary critic, and editor, a leader of the Modernist movement in poetry in such works as The Waste Land (1922) and Four Quartets (1943). Eliot exercised a strong influence on Anglo-American coulture from the 1920s until late in the century. His experiments in diction, style, and versification revitalized English poetry, and in a series of critical essays he shattered old orthodoxies and erected new ones. The publication of Four Quartets led to his recognition as the greatest living English poet and man of letters, and in 1948 he was awarded both the Order of Merit and the Nobel Prize for Literature. Early years Eliot was descended from a distinguished New England family that had relocated to St. Louis, Missouri. His family allowed him the widest education available in his time, with no influence from his father to be “practical” and to go into business. From Smith Academy in St. Louis he went to Milton, in Massachusetts; from Milton he entered Harvard in 1906; he received a B.A. in 1909, after three instead of the usual four years. The men who influenced him at Harvard were George Santayana, the philosopher and poet, and the critic Irving Babbitt. From Babbitt he  derived an anti-Romantic attitude that, amplified by his later reading of British philosophers F.H. Bradley and T.E. Hulme, lasted through his life. In the academic year 1909–10 he was an assistant in philosophy at Harvard. He spent the year 1910–11 in France, attending Henri Bergson’s lectures in philosophy at the Sorbonne and reading poetry with Alain-Fournier. Eliot’s study of the poetry of Dante, of the English writers John Webster and John Donne, and of the French Symbolist Jules Laforgue helped him to find his own style. From 1911 to 1914 he was back at Harvard, reading philosophy and studying Sanskrit. In 1913 he read Bradley’s Appearance and Reality; by 1916 he had finished, in Europe, a dissertation entitled “Knowledge and Experience in the Philosophy of F.H. Bradley.” But World War I had intervened, and he never returned to Harvard to take the final oral examination for the Ph.D. degree. In 1914 Eliot met and began a close association with the American poet Ezra Pound. Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise :    Numri i llogarise:  0080677481  -  EUR - AL07202140160000000080677481    Emri i bankes : Raiffeisen Bank    Swift CODE: SGSBALTX

James Joyce, in full James Augustine Aloysius Joyce, (born February 2, 1882, Dublin, Ireland—died January 13, 1941, Zurych, Switzerland), Irish novelist noted for his experimental use of language and exploration of new literary methods in such large works of fiction as Ulysses (1922) and Finnegans Wake (1939). Joyce, the eldest of 10 children in his family to survive infancy, was sent at age six to Clongowes Wood College, a Jesuit boarding school that has been described as “the Eton of Ireland.” But his father was not the man to stay affluent for long; he drank, neglected his affairs, and borrowed money from his office, and his family sank deeper and deeper into poverty, the children becoming accustomed to conditions of increasing sordidness. Joyce did not return to Clongowes in 1891; instead he stayed at home for the next two years and tried to educate himself, asking his mother to check his work. In April 1893 he and his brother Stanislaus were admitted, without fees, to Belvedere College, a Jesuit grammar school in Dublin. Joyce did well there academically and was twice elected president of the Marian Society, a position virtually that of head boy. He left, however, under a cloud, as it was thought (correctly) that he had lost his Roman Catholic faith. He entered University College, Dublin, which was then staffed by Jesuit priests. There he studied languages and reserved his energies for extracurricular activities, reading widely—particularly in books not recommended by the Jesuits—and taking an active part in the college’s Literary and Historical Society. Greatly admiring Henrik Ibsen, he learned Dano-Norwegian to read the original and had an article, “Ibsen’s New Drama”—a review of the play When We Dead Waken—published in the London Fortnightly Review in 1900 just after his 18th birthday. This early success confirmed Joyce in his resolution to become a writer and persuaded his family, friends, and teachers that the resolution was justified. In October 1901 he published an essay, “The Day of the Rabblement,” attacking the Irish Literary Theatre (later the Abbey Theatre, in Dublin) for catering to popular taste. Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise :   Numri i llogarise:  0080677481  - EUR - AL07202140160000000080677481   Emri i bankes : Raiffeisen Bank   Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes. Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast.  Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise :  Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481  Emri i bankes : Raiffeisen Bank  Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes. Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast.  Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise :  Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481  Emri i bankes : Raiffeisen Bank  Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes. Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast.  Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise :  Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481  Emri i bankes : Raiffeisen Bank  Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes. Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast. Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise : Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481 Emri i bankes : Raiffeisen Bank Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes.     Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast.   Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise :   Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481   Emri i bankes : Raiffeisen Bank    Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes.    Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast.  Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise :  Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481  Emri i bankes : Raiffeisen Bank   Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes.    Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast. Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise : Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481 Emri i bankes : Raiffeisen Bank  Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes.    Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast. Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise : Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481 Emri i bankes : Raiffeisen Bank  Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes.   Ju ftoj te nese podcastet e mia ju ofroje kenaqesi dhe ju afrojne me gjuhen, artin dhe letersine  shqipe te dhuronit shuma simbolike te cilaT do te perdoren per mirmbajtjen e podcast. Kush deshiron te beje DONACION mundet te dhuroje ne nr e llogarise : Numri i llogarise:  0080677481 - EUR - AL07202140160000000080677481 Emri i bankes : Raiffeisen Bank  Swift CODE: SGSBALTX

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes.

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes.

Bija e fatit është historia prekëse e Eliza Somersit,një gruaje të re që jeton midis dy kulturave dhe i hyn një rruge plot aventura.Si fëmijë i gjetur kilian,e rritur nën mrojtjen e një familjeje angleze në Valparaizo ,ende pa mbushur mirë të shtatëmbëdhjetat,përplaset me të papriturat e një bote të pamëshirshme.Kërkimet për të dashurin,i cili nuk i rezistoi dot tundimit të dehjes nga ri kaliforian ,e kthejnë vajzën e papërvojë në një grua të vetëdijshme dhe në fund të odisesë,Eliza është fare pranë vetvetes.

"Të mësuarit për të jetuar së bashku" është një sfidë dhe prioritet, duke pasur parasysh procesin e integrimit drejt Bashkimit Evropian në të cilin synon të luajë një rol aktiv. Kjo nënkupton promovimin e vlerave dhe praktikave që lidhen me përfshirjen, vizionin ndërkulturor, qytetarinë demokratike dhe të drejtat e njeriut në kontekstin e jetës publike, profesionale dhe private. (Ministria Arsimit , 2016, Korniza Kurikulare e Kosoves) Në fund e rëndësishme është që individi të kuptojë vetveten, ambjentin, mjedisin social, të përqafojë ndryshimin i cili ndodh në mënyrë konstante gjatë gjithë procesit të të mësuarit dhe reflektohet në mënyrë të vazhdueshme në sjelljet e tij në rraport me faktorët që e rrethojë. Të gabojë dhe të lexojë në gabimet e tij duke mësuar prej tyre e duke forcuar vlerat e tij. Në këtë formë duke cuar drejt progresit social shoqërinë.

Jeta triumfoi mbi vdekjen dhe njerezit qe nga ajo dite jetojne e punojne te lumtur.

Trashëgimia letrar e e Kutelit paraqitet e gjerë dhe e pasur, origjinale dhe përherë e freskët. Ajo është e gatuar me historinë dhe jetën e gjallë të popullit, sidomos me dertet e gazet e fshatarësisë, me frymën e një psikologjie e mendësie thjesht shqiptare, me indin dhe nervin e fjalës autentike shqiptare. Veçanërisht, proza i ngjan një rrëfimi të përmallshëm për vendlindjen dhe njerëzit e saj, për karakterin dhe virtytet e bashkatdhetarëve, për visaret e kombit. Mitrush Kuteli, që është pseudonimi letrar i Dhimitër Paskos (të cilin ai e krijoi nga trajta e shkurtuar e emrit dhe mbiemrit të vjetër të familjes) u lind më 13 shtator 1907 në Pogradec. Në këtë qytet të vogël piktoresk, në mes pyjeve të gështenjave dhe ujërave të liqenit, ai do të kalonte fëmijërinë. Vendlindja i derdhi në shpirt që për së vogëli bukurinë e natyrës së saj të mrekullueshme, i foli në gjuhën e butë të trevës së vet, e mëkoi me këngë e zakone shqiptare, i rrëfeu histori të moçme. Pleqtë dhe plakat e mëhallës, gjyshja dhe nëna e mbi të gjitha, i ati, Pandi Pasko Kuteli, u bënë mësuesit e parë të shkrimtarit të ardhshëm. Babai, rrobaqepës shajaku e murator, bojaxhi e zograf, që jeta e detyroi të mërgonte sa e sa vjet në Rumani, mbeti për Mitrushin shëmbëlltyra e njeriut të ndershëm të punës dhe e shqiptarit atdhetar. Prej tij mësoi së pari të lexonte e të shkruante shqip, dëgjoi të flitej për lëvizjen patriotike e për N. Naçon. Në dyqanin e vogël, që i ati e hapi sapo u kthye në atdhe, duke u bërë ndërlidhës i patriotëve dhe përhapës i librave e gazetave shqip, djali i vogël i Kutelëve përjetoi atmosferën e lëvizjes kombëtare. Në këtë kohë do të shikonte të bastisej dyqani e të burgosej i ati nga pushtuesit. Në shtëpinë e Pandi Shqiptarit, si njihej ai në Pogradec, do të hynin e dilnin luftëtarë me zë, Dervish Hima e Mihal Grameno, Themistokli Gërmenji e Abdyl Ypi. Prej tyre do të dëgjonte, mes të tjerave, rrëfimet tronditëse për Gjokë Shqiptarin, këtë korrier trim të rilindasve, që vente e vinte nga Sofja e Bukureshti gjersa e vranë në pabesi agallarët e Trebinjës. Tërë vitet e fëmijërisë i kaluan nëpër Pogradecin dhe Mokrën e ndezur nga lufta për çlirimin dhe mbrojtjen e atdheut. I dhënë në rradhë të parë pas përkthimeve, Kuteli gjatë këtyre viteve, sidomos dhjetë vjetët e fundit, do të vazhdojë të merret dhe me krijimtari letrare. Do të merret me rrëfimet, duke i përpunuar e pasuruar, po më shumë do të jepet pas prozës së gjatë, dhe fryt i kësaj është botimi i disa kapitujve të romanit, “Në një cep të Ilirisë së Poshtme”, i pjesës së parë të një romani tjetër “Mërgim e kthim”. Në të njëjtën kohë, duke i qëndruar besnik prirjeve të brendshme, po dhe njohjes së gjithanshme të folkorit, ai i vihet punës për t’i ritreguar brezit të ri legjendat e baladat e popullit duke botuar vëllimet “Tregime të moçme shqiptare” dhe “Xinxifilloja”. Me këtë frymë autori shkruan dhe novelën përrallë “Netë me përralla në Fshatin e Qepëve”. Ndjeshmërinë poetike dhe përtëritjen e përhershme të artistit, Kuteli do ta tregojë dhe në vjershat e ndryshme që do të botojë kohë pas kohe e sidomos me poemën “Pylli i gështenjave”. Me vepra gj ithnjë nëpër duar, me plane të aferta e të largëta, me një angazhim të vazhdueshëm krijues do t’i kalojnë shkrimtarit vitet. Por koha dhe puna sfilitëse e mjeshtrit të hollë të Qalës nuk mbetën pa pasoja për shëndetin e tij. Megjithë lodhjen dhe sëmundjet e herëpashershme, Kuteli nuk dinte të pushonte, Përkundrazi, mendonte që pasi të kryente romanin ilir, të shkruante trilogjinë “Njerëz nëpër jetë”, me temë nga vendlindja dhe të hartonte një histori të Bankës Kombëtare Shqiptare, si kështjellë e kapitalit italian, etj. Mirëpo puna kolosale që kish dashur të përballonte, mundimi fisnik i fjalës, betejat shumëvjeçare në tavolinë e kishin lodhur e rraskapitur. Duke gdhirë 4 maj i vitit 1967, disa maj para se të mbushte të 60-tat, zemra e shkrimtarit pushoi përgjithnjë.

Márquez, (born March 6, 1927, Aracataca, Colombia—died April 17, 2014, Mexico City, Mexico), Colombian novelist and one of the greatest writers of the 20th century, who was awarded the Nobel Prize for Literature in 1982, mostly for his masterpiece Cien años de soledad (1967; One Hundred Years of Solitude). He was the fourth Latin American to be so honoured, having been preceded by Chilean poets Mistral  in 1945 and Pablo Neruda in 1971 and by Guatemalan novelist Miguel Angel Asurias in 1967. With Jorge Luis Borges, García Márquez is the best-known Latin American writer in history. In addition to his masterly approach to the novel, he was a superb crafter of short stories and an accomplished journalist. In both his shorter and longer fictions, García Márquez achieved the rare feat of being accessible to the common reader while satisfying the most demanding of sophisticated critics. Life Born in the sleepy provincial town of Aracataca, Colombia, García Márquez and his parents spent the first eight years of his life with his maternal grandparents, Colonel Nicolás Márquez (a veteran of the War of a Thousand Days [1899–1903]) and Tranquilina Iguarán Cotes de Márquez. After Nicolás’s death, they moved to Barranquila, a river port. He received a better-than-average education but claimed as an adult that his most important literary sources were the stories about Aracataca and his family that Nicolás had told him. Although he studied law, García Márquez became a journalist, the trade at which he earned his living before attaining literary fame. As a correspondent in Paris during the 1950s, he expanded his education, reading a great deal of American Literature, some of it in French translation. In the late 1950s and early ’60s, he worked in Bogota, Colombia, and then in New York City for Prensa Latina, the news service created by the regime of Cuban leader Fidel Kastro. Later he moved to Mexico City, where he wrote the novel that brought him fame and wealth. From 1967 to 1975 he lived in Spain. Subsequently he kept a house in Mexico City and an apartment in Paris, but he also spent much time in Havana, where Castro (whom García Márquez supported) provided him with a mansion.

Franz Kafka's Letter to His Father is one of the greatest examples in world literature of memory of a traumatic childhood. In it, the author takes a retrospective journey through his life, recollecting and analyzing the reasons for the estrangement and hostility between a father and a son. This essay considers Letter to His Father in the light of current knowledge about autobiographical memory. The essay first sets forth basic aspects of Kafka's life in order to place Letter to His Father in the context of Kafka's biography, and then presents Kafka's relevance to the literature and thought of the twentieth and twenty-first centuries. The essay then considers the different forms of childhood abuse and their consequences in light of evidence from neurodevelopmental psychology. We present evidence about the relationship between trauma and the construction of self-image. Furthermore, we discuss the subjectivity of Kafka's recollections from the perspective of recent advances in neurobiology. Memory is shown to be dynamic, selective, inherently malleable and dependent on perception, which is a subjective construction, in which the brain interprets and gives coherence to experienced stimuli. We consider the inaccuracy of memory, which is related to neuroplastic changes in the brain that take place over time: consolidation, reconsolidation and transformation. Finally, the relationship between literature and autobiography in the Kafkaesque universe is considered.

Franz Kafka's Letter to His Father is one of the greatest examples in world literature of memory of a traumatic childhood. In it, the author takes a retrospective journey through his life, recollecting and analyzing the reasons for the estrangement and hostility between a father and a son. This essay considers Letter to His Father in the light of current knowledge about autobiographical memory. The essay first sets forth basic aspects of Kafka's life in order to place Letter to His Father in the context of Kafka's biography, and then presents Kafka's relevance to the literature and thought of the twentieth and twenty-first centuries. The essay then considers the different forms of childhood abuse and their consequences in light of evidence from neurodevelopmental psychology. We present evidence about the relationship between trauma and the construction of self-image. Furthermore, we discuss the subjectivity of Kafka's recollections from the perspective of recent advances in neurobiology. Memory is shown to be dynamic, selective, inherently malleable and dependent on perception, which is a subjective construction, in which the brain interprets and gives coherence to experienced stimuli. We consider the inaccuracy of memory, which is related to neuroplastic changes in the brain that take place over time: consolidation, reconsolidation and transformation. Finally, the relationship between literature and autobiography in the Kafkaesque universe is considered.

Franz Kafka's Letter to His Father is one of the greatest examples in world literature of memory of a traumatic childhood. In it, the author takes a retrospective journey through his life, recollecting and analyzing the reasons for the estrangement and hostility between a father and a son. This essay considers Letter to His Father in the light of current knowledge about autobiographical memory. The essay first sets forth basic aspects of Kafka's life in order to place Letter to His Father in the context of Kafka's biography, and then presents Kafka's relevance to the literature and thought of the twentieth and twenty-first centuries. The essay then considers the different forms of childhood abuse and their consequences in light of evidence from neurodevelopmental psychology. We present evidence about the relationship between trauma and the construction of self-image. Furthermore, we discuss the subjectivity of Kafka's recollections from the perspective of recent advances in neurobiology. Memory is shown to be dynamic, selective, inherently malleable and dependent on perception, which is a subjective construction, in which the brain interprets and gives coherence to experienced stimuli. We consider the inaccuracy of memory, which is related to neuroplastic changes in the brain that take place over time: consolidation, reconsolidation and transformation. Finally, the relationship between literature and autobiography in the Kafkaesque universe is considered.

Franz Kafka's Letter to His Father is one of the greatest examples in world literature of memory of a traumatic childhood. In it, the author takes a retrospective journey through his life, recollecting and analyzing the reasons for the estrangement and hostility between a father and a son. This essay considers Letter to His Father in the light of current knowledge about autobiographical memory. The essay first sets forth basic aspects of Kafka's life in order to place Letter to His Father in the context of Kafka's biography, and then presents Kafka's relevance to the literature and thought of the twentieth and twenty-first centuries. The essay then considers the different forms of childhood abuse and their consequences in light of evidence from neurodevelopmental psychology. We present evidence about the relationship between trauma and the construction of self-image. Furthermore, we discuss the subjectivity of Kafka's recollections from the perspective of recent advances in neurobiology. Memory is shown to be dynamic, selective, inherently malleable and dependent on perception, which is a subjective construction, in which the brain interprets and gives coherence to experienced stimuli. We consider the inaccuracy of memory, which is related to neuroplastic changes in the brain that take place over time: consolidation, reconsolidation and transformation. Finally, the relationship between literature and autobiography in the Kafkaesque universe is considered.

Franz Kafka's Letter to His Father is one of the greatest examples in world literature of memory of a traumatic childhood. In it, the author takes a retrospective journey through his life, recollecting and analyzing the reasons for the estrangement and hostility between a father and a son. This essay considers Letter to His Father in the light of current knowledge about autobiographical memory. The essay first sets forth basic aspects of Kafka's life in order to place Letter to His Father in the context of Kafka's biography, and then presents Kafka's relevance to the literature and thought of the twentieth and twenty-first centuries. The essay then considers the different forms of childhood abuse and their consequences in light of evidence from neurodevelopmental psychology. We present evidence about the relationship between trauma and the construction of self-image. Furthermore, we discuss the subjectivity of Kafka's recollections from the perspective of recent advances in neurobiology. Memory is shown to be dynamic, selective, inherently malleable and dependent on perception, which is a subjective construction, in which the brain interprets and gives coherence to experienced stimuli. We consider the inaccuracy of memory, which is related to neuroplastic changes in the brain that take place over time: consolidation, reconsolidation and transformation. Finally, the relationship between literature and autobiography in the Kafkaesque universe is considered.

The main character of this Series is Greg Heffley. The new school year Greg Heffley finds himself thrust into middle school, where he undersized weaklings share the hallways with other kids who are taller than him, meaner and already shaving. The Hazards of growing up before you are ready are revealed through words and drawings as Greg records them in his diary. In book 1 of this series, Greg seems to be happy to have Rowley the best friend of Greg, his sidekick, along for the ride. But actually, when Rowley’s star starts to rise, Greg tries to use his best friend’s newfound popularity to his own advantage:), kicking off a chain of events which will test the friendship of them in the Ridiculous way. Jeff Kinney the author and the illustrator of this story recalls the growing pains which mostly occur during school life and he tries to introduce a new kind of hero who epitomizes the challenges of being a kid. As Greg Heffley says in his diary, “Just don’t expect me to be all ‘Dear Diary’ this and ‘Dear Diary’ that.” Luckily for us, what Greg Heffley said he would not do and what he actually does are two very different things.

Franz Kafka, (born July 3, 1883, Prague in Czech Republic]—died June 3, 1924, Kierling, near Vienna, Austria), German-language writer of visionary fiction whose works—especially the novel Der Prozess (1925; The Trial) and the story Die Verwandlung (1915; The Metamorphosos)—express the anxieties and alienation felt by many in 20th-century Europe and North America Life Franz Kafka, the son of Julie Löwy and Hermann Kafka, a merchant, was born into a prosperous middle-class Jewish family. After two brothers died in infancy, he became the eldest child and remained, for the rest of his life, conscious of his role as elder brother; Ottla, the youngest of his three sisters, became the family member closest to him. Kafka strongly identified with his maternal ancestors because of their spirituality, intellectual distinction, piety, rabbinical learning, melancholy disposition, and delicate physical and mental constitution. He was not, however, particularly close to his mother. Subservient to her overwhelming ill-tempered husband and his exacting business, she shared with her spouse a lack of comprehension of their son’s unprofitable and, they feared, unhealthy dedication to the literary “recording of [his]…dreamlike inner life.” Kafka and his father The figure of Kafka’s father overshadowed his work as well as his existence. The figure is, in fact, one of his most impressive creations. In his imagination this coarse, practical, and domineering shopkeeper and patriarch who worshipped nothing but material success and social advancement belonged to a race of giants and was an awesome, admirable, but repulsive tyrant. In Kafka’s most important attempt at autobiography, Brief an den Vater (written 1919; Letter to Father), a letter that never reached the addressee, Kafka attributed his failure to live, to cut loose from parental ties and establish himself in marriage and fatherhood, as well as his escape into literature, to the prohibitive father figure, which instilled in him the sense of his own impotence. He felt his will had been broken by his father. The conflict with the father is reflected directly in Kafka’s story Das Urteil (1913; The Judgment). It is projected on a grander scale in Kafka’s novels, which portray in lucid, deceptively simple prose a man’s desperate struggle with an overwhelming power, one that may persecute its victim (as in The Trial) or one that may be sought after and begged in vain for approval (as in Das Schloss [1926; The Castle]). Yet the roots of Kafka’s anxiety and despair go deeper than his relationship with his father and family, with whom he chose to live in close and cramped proximity for the major part of his adult life. The source of Kafka’s despair lies in a sense of ultimate isolation from true communion with all human beings—the friends he cherished, the women he loved, the job he detested, the society he lived in—and with God, or, as he put it, with true indestructible Being. Works of Franz Kafka Sought out by leading avant-garde publishers, Kafka reluctantly published a few of his writings during his lifetime. These publications include two sections (1909) from Beschreibung eines Kampfes (1936; Description of a Struggle) and Betrachtung (1913; Meditation), a collection of short prose pieces. They also include other works representative of Kafka’s maturity as an artist:

The main character of this Series is Greg Heffley. The new school year Greg Heffley finds himself thrust into middle school, where he undersized weaklings share the hallways with other kids who are taller than him, meaner and already shaving. The Hazards of growing up before you are ready are revealed through words and drawings as Greg records them in his diary. In book 1 of this series, Greg seems to be happy to have Rowley the best friend of Greg, his sidekick, along for the ride. But actually, when Rowley’s star starts to rise, Greg tries to use his best friend’s newfound popularity to his own advantage:), kicking off a chain of events which will test the friendship of them in the Ridiculous way. Jeff Kinney the author and the illustrator of this story recalls the growing pains which mostly occur during school life and he tries to introduce a new kind of hero who epitomizes the challenges of being a kid. As Greg Heffley says in his diary, “Just don’t expect me to be all ‘Dear Diary’ this and ‘Dear Diary’ that.” Luckily for us, what Greg Heffley said he would not do and what he actually does are two very different things.

“Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas." So, famously, opens Albert Camus's 1942 novel L'Etranger, but it's intriguing to see how differently those two sentences have been translated, despite the simplicity of Camus's construction. In Joseph Laredo's terse, widely read 1982 translation, he renders the opening as: "Mother died today. Or maybe yesterday, I don't know." In Sandra Smith's new translation, she inserts a possessive pronoun: "My mother died today. Or maybe yesterday, I don't know", thereby restoring Camus's protagonist, Meursault, to a dislocating state of shock rather than the cold indifference of Laredo's version. Smith, a Cambridge University don and translator of Irène Némirovsky's Suite Francaise  has emphasised the absurdist fault lines of Camus's novel through a less laconic, more expansive translation than Laredo's. Camus's Algiers-set tale – of the office worker Meursault gunning down an Arab on the beach and subsequently being sentenced to death by the Franco-Algerian state for refusing to express regret – is partly a philosophical exploration of what Camus called "the tender indifference of the world", but it's equally a humanist paean to Meursault's everyday epicureanism. In this spirit, Smith is particularly sensitive when constructing Meursault's memories of Algiers and of "a life which offered… the most subtle but most persistent of joys: the scent of summer, the neighbourhood that I loved, a certain type of sky at night". Camus called Meursault "a man who… agrees to die for the truth" and characterised him as "the only Christ that we deserve". Smith fortifies the novel's biblical resonances by translating the final sentence as "So that it might be finished, so that I might feel less alone, I could only hope that there would be many, many spectators on the day of my execution and that they would greet me with cries of hatred", playing on Jesus's last words in the King James Bible ("It is finished"), to which Camus's original referred but which becomes lost if translated literally. Vladimir Nabokov wrote that "neither learning nor diligence can replace imagination or style" in the art of translation, but Smith's version of L'Etranger is both erudite and agile. It deserves to become the standard translation of Camus's masterpiece.

“Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas." So, famously, opens Albert Camus's 1942 novel L'Etranger, but it's intriguing to see how differently those two sentences have been translated, despite the simplicity of Camus's construction. In Joseph Laredo's terse, widely read 1982 translation, he renders the opening as: "Mother died today. Or maybe yesterday, I don't know." In Sandra Smith's new translation, she inserts a possessive pronoun: "My mother died today. Or maybe yesterday, I don't know", thereby restoring Camus's protagonist, Meursault, to a dislocating state of shock rather than the cold indifference of Laredo's version. Smith, a Cambridge University don and translator of Irène Némirovsky's Suite Francaise  has emphasised the absurdist fault lines of Camus's novel through a less laconic, more expansive translation than Laredo's. Camus's Algiers-set tale – of the office worker Meursault gunning down an Arab on the beach and subsequently being sentenced to death by the Franco-Algerian state for refusing to express regret – is partly a philosophical exploration of what Camus called "the tender indifference of the world", but it's equally a humanist paean to Meursault's everyday epicureanism. In this spirit, Smith is particularly sensitive when constructing Meursault's memories of Algiers and of "a life which offered… the most subtle but most persistent of joys: the scent of summer, the neighbourhood that I loved, a certain type of sky at night". Camus called Meursault "a man who… agrees to die for the truth" and characterised him as "the only Christ that we deserve". Smith fortifies the novel's biblical resonances by translating the final sentence as "So that it might be finished, so that I might feel less alone, I could only hope that there would be many, many spectators on the day of my execution and that they would greet me with cries of hatred", playing on Jesus's last words in the King James Bible ("It is finished"), to which Camus's original referred but which becomes lost if translated literally. Vladimir Nabokov wrote that "neither learning nor diligence can replace imagination or style" in the art of translation, but Smith's version of L'Etranger is both erudite and agile. It deserves to become the standard translation of Camus's masterpiece.

“Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas." So, famously, opens Albert Camus's 1942 novel L'Etranger, but it's intriguing to see how differently those two sentences have been translated, despite the simplicity of Camus's construction. In Joseph Laredo's terse, widely read 1982 translation, he renders the opening as: "Mother died today. Or maybe yesterday, I don't know." In Sandra Smith's new translation, she inserts a possessive pronoun: "My mother died today. Or maybe yesterday, I don't know", thereby restoring Camus's protagonist, Meursault, to a dislocating state of shock rather than the cold indifference of Laredo's version. Smith, a Cambridge University don and translator of Irène Némirovsky's Suite Francaise  has emphasised the absurdist fault lines of Camus's novel through a less laconic, more expansive translation than Laredo's. Camus's Algiers-set tale – of the office worker Meursault gunning down an Arab on the beach and subsequently being sentenced to death by the Franco-Algerian state for refusing to express regret – is partly a philosophical exploration of what Camus called "the tender indifference of the world", but it's equally a humanist paean to Meursault's everyday epicureanism. In this spirit, Smith is particularly sensitive when constructing Meursault's memories of Algiers and of "a life which offered… the most subtle but most persistent of joys: the scent of summer, the neighbourhood that I loved, a certain type of sky at night". Camus called Meursault "a man who… agrees to die for the truth" and characterised him as "the only Christ that we deserve". Smith fortifies the novel's biblical resonances by translating the final sentence as "So that it might be finished, so that I might feel less alone, I could only hope that there would be many, many spectators on the day of my execution and that they would greet me with cries of hatred", playing on Jesus's last words in the King James Bible ("It is finished"), to which Camus's original referred but which becomes lost if translated literally. Vladimir Nabokov wrote that "neither learning nor diligence can replace imagination or style" in the art of translation, but Smith's version of L'Etranger is both erudite and agile. It deserves to become the standard translation of Camus's masterpiece.

Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas." So, famously, opens Albert Camus's 1942 novel L'Etranger, but it's intriguing to see how differently those two sentences have been translated, despite the simplicity of Camus's construction. In Joseph Laredo's terse, widely read 1982 translation, he renders the opening as: "Mother died today. Or maybe yesterday, I don't know." In Sandra Smith's new translation, she inserts a possessive pronoun: "My mother died today. Or maybe yesterday, I don't know", thereby restoring Camus's protagonist, Meursault, to a dislocating state of shock rather than the cold indifference of Laredo's version. Smith, a Cambridge University don and translator of Irène Némirovsky's Suite Francaise  has emphasised the absurdist fault lines of Camus's novel through a less laconic, more expansive translation than Laredo's. Camus's Algiers-set tale – of the office worker Meursault gunning down an Arab on the beach and subsequently being sentenced to death by the Franco-Algerian state for refusing to express regret – is partly a philosophical exploration of what Camus called "the tender indifference of the world", but it's equally a humanist paean to Meursault's everyday epicureanism. In this spirit, Smith is particularly sensitive when constructing Meursault's memories of Algiers and of "a life which offered… the most subtle but most persistent of joys: the scent of summer, the neighbourhood that I loved, a certain type of sky at night". Camus called Meursault "a man who… agrees to die for the truth" and characterised him as "the only Christ that we deserve". Smith fortifies the novel's biblical resonances by translating the final sentence as "So that it might be finished, so that I might feel less alone, I could only hope that there would be many, many spectators on the day of my execution and that they would greet me with cries of hatred", playing on Jesus's last words in the King James Bible ("It is finished"), to which Camus's original referred but which becomes lost if translated literally. Vladimir Nabokov wrote that "neither learning nor diligence can replace imagination or style" in the art of translation, but Smith's version of L'Etranger is both erudite and agile. It deserves to become the standard translation of Camus's masterpiece.

“Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas." So, famously, opens Albert Camus's 1942 novel L'Etranger, but it's intriguing to see how differently those two sentences have been translated, despite the simplicity of Camus's construction. In Joseph Laredo's terse, widely read 1982 translation, he renders the opening as: "Mother died today. Or maybe yesterday, I don't know." In Sandra Smith's new translation, she inserts a possessive pronoun: "My mother died today. Or maybe yesterday, I don't know", thereby restoring Camus's protagonist, Meursault, to a dislocating state of shock rather than the cold indifference of Laredo's version. Smith, a Cambridge University don and translator of Irène Némirovsky's Suite Francaise  has emphasised the absurdist fault lines of Camus's novel through a less laconic, more expansive translation than Laredo's. Camus's Algiers-set tale – of the office worker Meursault gunning down an Arab on the beach and subsequently being sentenced to death by the Franco-Algerian state for refusing to express regret – is partly a philosophical exploration of what Camus called "the tender indifference of the world", but it's equally a humanist paean to Meursault's everyday epicureanism. In this spirit, Smith is particularly sensitive when constructing Meursault's memories of Algiers and of "a life which offered… the most subtle but most persistent of joys: the scent of summer, the neighbourhood that I loved, a certain type of sky at night". Camus called Meursault "a man who… agrees to die for the truth" and characterised him as "the only Christ that we deserve". Smith fortifies the novel's biblical resonances by translating the final sentence as "So that it might be finished, so that I might feel less alone, I could only hope that there would be many, many spectators on the day of my execution and that they would greet me with cries of hatred", playing on Jesus's last words in the King James Bible ("It is finished"), to which Camus's original referred but which becomes lost if translated literally. Vladimir Nabokov wrote that "neither learning nor diligence can replace imagination or style" in the art of translation, but Smith's version of L'Etranger is both erudite and agile. It deserves to become the standard translation of Camus's masterpiece.

“Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas." So, famously, opens Albert Camus's 1942 novel L'Etranger, but it's intriguing to see how differently those two sentences have been translated, despite the simplicity of Camus's construction. In Joseph Laredo's terse, widely read 1982 translation, he renders the opening as: "Mother died today. Or maybe yesterday, I don't know." In Sandra Smith's new translation, she inserts a possessive pronoun: "My mother died today. Or maybe yesterday, I don't know", thereby restoring Camus's protagonist, Meursault, to a dislocating state of shock rather than the cold indifference of Laredo's version. Smith, a Cambridge University don and translator of Irène Némirovsky's Suite Francaise  has emphasised the absurdist fault lines of Camus's novel through a less laconic, more expansive translation than Laredo's. Camus's Algiers-set tale – of the office worker Meursault gunning down an Arab on the beach and subsequently being sentenced to death by the Franco-Algerian state for refusing to express regret – is partly a philosophical exploration of what Camus called "the tender indifference of the world", but it's equally a humanist paean to Meursault's everyday epicureanism. In this spirit, Smith is particularly sensitive when constructing Meursault's memories of Algiers and of "a life which offered… the most subtle but most persistent of joys: the scent of summer, the neighbourhood that I loved, a certain type of sky at night". Camus called Meursault "a man who… agrees to die for the truth" and characterised him as "the only Christ that we deserve". Smith fortifies the novel's biblical resonances by translating the final sentence as "So that it might be finished, so that I might feel less alone, I could only hope that there would be many, many spectators on the day of my execution and that they would greet me with cries of hatred", playing on Jesus's last words in the King James Bible ("It is finished"), to which Camus's original referred but which becomes lost if translated literally. Vladimir Nabokov wrote that "neither learning nor diligence can replace imagination or style" in the art of translation, but Smith's version of L'Etranger is both erudite and agile. It deserves to become the standard translation of Camus's masterpiece.

“Aujourd'hui, maman est morte. Ou peut-être hier, je ne sais pas." So, famously, opens Albert Camus's 1942 novel L'Etranger, but it's intriguing to see how differently those two sentences have been translated, despite the simplicity of Camus's construction. In Joseph Laredo's terse, widely read 1982 translation, he renders the opening as: "Mother died today. Or maybe yesterday, I don't know." In Sandra Smith's new translation, she inserts a possessive pronoun: "My mother died today. Or maybe yesterday, I don't know", thereby restoring Camus's protagonist, Meursault, to a dislocating state of shock rather than the cold indifference of Laredo's version. Smith, a Cambridge University don and translator of Irène Némirovsky's Suite Francaise  has emphasised the absurdist fault lines of Camus's novel through a less laconic, more expansive translation than Laredo's. Camus's Algiers-set tale – of the office worker Meursault gunning down an Arab on the beach and subsequently being sentenced to death by the Franco-Algerian state for refusing to express regret – is partly a philosophical exploration of what Camus called "the tender indifference of the world", but it's equally a humanist paean to Meursault's everyday epicureanism. In this spirit, Smith is particularly sensitive when constructing Meursault's memories of Algiers and of "a life which offered… the most subtle but most persistent of joys: the scent of summer, the neighbourhood that I loved, a certain type of sky at night". Camus called Meursault "a man who… agrees to die for the truth" and characterised him as "the only Christ that we deserve". Smith fortifies the novel's biblical resonances by translating the final sentence as "So that it might be finished, so that I might feel less alone, I could only hope that there would be many, many spectators on the day of my execution and that they would greet me with cries of hatred", playing on Jesus's last words in the King James Bible ("It is finished"), to which Camus's original referred but which becomes lost if translated literally. Vladimir Nabokov wrote that "neither learning nor diligence can replace imagination or style" in the art of translation, but Smith's version of L'Etranger is both erudite and agile. It deserves to become the standard translation of Camus's masterpiece.

Alber Kamy u lind me 7 nentor 1913. U afirmua qysh ne veprat e para  si nje nga shkrimtaret me te fuqishem te shekullit XX. Ne vepren e tij nderthuren  arti i hijshem me mendimin e thelle , teknikat e sofistikuara te tekstit me ceshtjet themelore te qenies. Per te kuptuar Kamyne duhet kaluar nga letersia greke  e romake, neper historine e feve  e te filozofise. Rasti i Kamyre tregon se sot askush nuk behet shkrimtar i madh  pa pervetesuar thelbin e qenesishem  te pervojes letrare boterore.

Zonja "Z" eshte nje liber protestues , nje ze rrevolte e indinjate per shoqerine  shqiptare te perbere kryesisht nga femra te shtypura e meshkuj te tredhur. Dy shpirtra binjake kerkohen, gjenden, dhe,  te kapur dore per dore , perballen me paragjykimet dhe tabute e shoqesire shqiptare. Kjo eshte Beteja e shume te tjereve dhe perfundimi i trishte i kesaj historie tingellon si nje kembane alarmi.

Zonja "Z" eshte nje liber protestues , nje ze rrevolte e indinjate per shoqerine  shqiptare te perbere kryesisht nga femra te shtypura e meshkuj te tredhur. Dy shpirtra binjake kerkohen, gjenden, dhe,  te kapur dore per dore , perballen me paragjykimet dhe tabute e shoqesire shqiptare. Kjo eshte Beteja e shume te tjereve dhe perfundimi i trishte i kesaj historie tingellon si nje kembane alarmi.

Zonja "Z" eshte nje liber protestues , nje ze rrevolte e indinjate per shoqerine  shqiptare te perbere kryesisht nga femra te shtypura e meshkuj te tredhur. Dy shpirtra binjake kerkohen, gjenden, dhe,  te kapur dore per dore , perballen me paragjykimet dhe tabute e shoqesire shqiptare. Kjo eshte Beteja e shume te tjereve dhe perfundimi i trishte i kesaj historie tingellon si nje kembane alarmi.