{"id":57958,"date":"2026-09-17T13:43:16","date_gmt":"2026-09-17T11:43:16","guid":{"rendered":"https:\/\/arbrea-labs.com\/?p=57958"},"modified":"2026-09-17T22:22:25","modified_gmt":"2026-09-17T20:22:25","slug":"pacienti-qe-ka-leshuar-shpellen-e-platonit-nje-bisede-me-filozofin-prof-iacono-per-kirurgjine-estetike","status":"publish","type":"post","link":"https:\/\/arbrea-labs.com\/sq\/the-patient-who-has-left-platos-cave-a-conversation-with-philosopher-prof-iacono-on-aesthetic-surgery\/","title":{"rendered":"Pacienti q\u00eb ka l\u00ebshuar Shpell\u00ebn e Platonit. Nj\u00eb bised\u00eb me filozofin Prof. Iacono mbi kirurgjin\u00eb estetike"},"content":{"rendered":"
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A philosopher on social media, desire, and the patient who no longer sees the risk.<\/h3>\n

An interview with Prof. Maurizio Iacono<\/em>, philosopher, University of Pisa.<\/h3>\n<\/div>\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>\n\t\t
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Patients arrive with a filtered image of themselves, an expectation of speed, and little sense of what surgery actually involves. Surgeons see it daily. But the language for describing it usually comes from marketing.<\/em><\/p>\n

So we asked a philosopher instead.<\/em><\/p>\n

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People want to look in real life the way they look on Instagram. What is actually happening there?<\/strong><\/p>\n

Kjo \u00ebsht\u00eb nj\u00eb nga pyetjet e m\u00ebdha t\u00eb koh\u00ebs son\u00eb \u2014 at\u00eb q\u00eb un\u00eb e quaj humbja e korniz\u00ebs<\/em>. \u00cbsht\u00eb jeta e trillimit q\u00eb mbizot\u00ebron mbi jet\u00ebn reale.<\/p>\n

Un\u00eb nuk besoj se trillimi \u00ebsht\u00eb shpikje e past\u00ebr dhe realiteti \u00ebsht\u00eb e v\u00ebrtet\u00eb e past\u00ebr; \u00e7\u00ebshtja \u00ebsht\u00eb pafund\u00ebsisht m\u00eb e nd\u00ebrlikuar. \u201cTrillimi\u201d vjen nga pretendoj<\/em>, q\u00eb do t\u00eb thot\u00eb t\u00eb form\u00ebsosh, t\u00eb nd\u00ebrtosh. Fiktiviteti nuk \u00ebsht\u00eb g\u00ebnjesht\u00ebr. Ai b\u00ebhet i till\u00eb kur nuk paraqitet m\u00eb si fiktiv, kur nuk ka asnj\u00eb korniz\u00eb p\u00ebrmes s\u00eb cil\u00ebs nj\u00eb njeri t\u00eb mund t\u00eb dalloj\u00eb ndryshimin. Ne jetojm\u00eb n\u00eb nj\u00eb epok\u00eb n\u00eb t\u00eb cil\u00ebn kornizat po lirohen. Njer\u00ebzit nuk e v\u00ebn\u00eb re m\u00eb se kur po shikojn\u00eb nj\u00eb fiktivitet, nj\u00eb histori, dhe kur po e jetojn\u00eb at\u00eb.<\/p>\n

T\u00eb gjith\u00eb po b\u00ebhemi spektator\u00eb, gj\u00eb q\u00eb do t\u00eb thot\u00eb t\u00eb jesh i izoluar n\u00eb err\u00ebsir\u00eb, si n\u00eb kinema. Kjo prodhon at\u00eb q\u00eb sociolog\u00ebt e quajn\u00eb izolim i lidhur<\/em>sa m\u00eb t\u00eb lidhur t\u00eb jemi, aq m\u00eb t\u00eb vetmuar jemi.<\/p>\n

And how long can that self-deception hold?<\/strong><\/p>\n

It lasts as long as a life lasts.<\/p>\n

Jemi zhytur n\u00eb nj\u00eb shoq\u00ebri q\u00eb mohon kalimet e jet\u00ebs. Jemi adoleshent\u00eb deri n\u00eb dyzet vje\u00e7; pas dyzet vje\u00e7, ndoshta jemi t\u00eb rinj. Ne, n\u00eb m\u00ebnyr\u00eb mjaft patetike, po zhvendosim dimensionet e jet\u00ebs drejt nj\u00eb lloji vet\u00ebmashtimi p\u00ebr t\u00eb qenit t\u00eb ri \u2014 pjekuria, n\u00eb rastin m\u00eb t\u00eb mir\u00eb. Kemi frik\u00eb t\u00eb themi se dikush \u00ebsht\u00eb i vjet\u00ebr; p\u00ebrdoren fjal\u00eb t\u00eb tjera, sepse fjala p\u00ebrjetohet si negative. Do t\u00eb theksoja se n\u00eb epokat e kaluara t\u00eb qenit i vjet\u00ebr ishte nj\u00eb shenj\u00eb e men\u00e7uris\u00eb, jo e vjet\u00ebrsis\u00eb.<\/p>\n

Ky mohim i kalimeve t\u00eb jet\u00ebs prodhon nj\u00eb gjendje n\u00eb t\u00eb cil\u00ebn ne nuk edukohemi m\u00eb n\u00eb lidhjen nd\u00ebrmjet t\u00eb kaluar\u00ebs, t\u00eb tashmes dhe t\u00eb ardhmes. \u00c7do gj\u00eb b\u00ebhet nj\u00eb e tashme q\u00eb duket se rip\u00ebrt\u00ebrihet dhe n\u00eb fakt p\u00ebrs\u00ebritet. Dhe t\u00eb jetuarit n\u00eb nj\u00eb t\u00eb tashme t\u00eb p\u00ebrjetshme krijon nevoj\u00ebn p\u00ebr t\u00eb mohuar transformimet e trupit t\u00eb vet. Aft\u00ebsit\u00eb transformuese t\u00eb kirurgjis\u00eb ofrojn\u00eb nj\u00eb rrug\u00eb t\u00eb leht\u00eb p\u00ebr t\u00eb zgjidhur gremin\u00ebn midis reales dhe Fiktives.<\/p>\n

Iluzioni i rinis\u00eb s\u00eb p\u00ebrjetshme \u00ebsht\u00eb nj\u00eb avantazh i jasht\u00ebzakonsh\u00ebm, por rrezikon t\u00eb kthehet n\u00eb nj\u00eb problem \u2014 dhe e them k\u00ebt\u00eb me qet\u00ebsi. Ekziston nj\u00eb lloj deliriumi t\u00eb gjith\u00ebfuqis\u00eb, n\u00eb t\u00eb cilin duhet t\u00eb dukesh gjithmon\u00eb i ri. Dhe ka nj\u00eb aspekt t\u00eb dyt\u00eb, gjithashtu i lidhur me koh\u00ebn: sot je m\u00ebsuar gabimisht t\u00eb plot\u00ebsosh \u00e7do nevoj\u00eb menj\u00ebher\u00eb.<\/p>\n

T\u00eb gjitha k\u00ebto funksionojn\u00eb dhe kan\u00eb kuptim sepse jetojm\u00eb n\u00eb nj\u00eb shoq\u00ebri tregu, ku fuqia e d\u00ebshir\u00ebs z\u00ebvend\u00ebson k\u00ebnaqjen e nevoj\u00ebs. Ti nuk zgjedh nj\u00eb objekt sepse ke nevoj\u00eb p\u00ebr t\u00eb \u2014 nevoja \u00ebsht\u00eb substrati \u2014 por loja e v\u00ebrtet\u00eb \u00ebsht\u00eb estetike dhe e lidhur me d\u00ebshir\u00ebn. Pika \u00ebsht\u00eb se d\u00ebshirat nuk mund t\u00eb k\u00ebnaqen; nevojat mund t\u00eb k\u00ebnaqen. N\u00ebse miti \u00ebsht\u00eb Dua t\u00eb jem mjaft i fuqish\u00ebm p\u00ebr t\u00eb k\u00ebnaqur d\u00ebshir\u00ebn, dhe dua ta b\u00ebj shpejt.<\/em>, kjo \u00ebsht\u00eb nj\u00eb tragjedi, sepse ndikimi i parimit t\u00eb realitetit plagos k\u00ebt\u00eb narcisiz\u00ebm, i cili p\u00ebr fat t\u00eb keq \u00ebsht\u00eb shum\u00eb i p\u00ebrhapur sot.<\/p>\n

Surgeons tell us their patients now arrive with no real sense of risk, pain or recovery \u2014 only the before-and-after grid. Call it the trivialization of the scalpel.<\/strong><\/p>\n

Kjo \u00ebsht\u00eb pik\u00ebrisht parimi i realitetit q\u00eb mb\u00ebrrin me dhun\u00eb.<\/p>\n

Modeli estetik i sot\u00ebm p\u00ebrcaktohet nga tregu \u2014 p\u00ebrcaktohet nga fakti se nj\u00eb mall duhet t'i paraqitet vetvetes si i bukur, t\u00ebrheq\u00ebs, intrigues. Kur blini gjalp\u00eb, shikoni se nga ka ardhur, \u00e7mimin, sigurisht; por ajo q\u00eb ka v\u00ebrtet r\u00ebnd\u00ebsi \u00ebsht\u00eb se si \u00ebsht\u00eb mb\u00ebshtjell\u00eb dhe cilat ngjyra jan\u00eb p\u00ebrdorur. Kjo \u00ebsht\u00eb loja estetike e lidhur me d\u00ebshir\u00ebn. \u00cbsht\u00eb fetishi i mallit, dhe sot ai shtrihet edhe te trupat.<\/p>\n

Nj\u00eb mall ka nj\u00eb karakteristik\u00eb t\u00eb ve\u00e7ant\u00eb: ai del n\u00eb sken\u00eb. Ai \u00ebsht\u00eb nj\u00eb aktore. Duhet t\u00eb tregoj\u00eb veten, t\u00eb t\u00eb provokoj\u00eb, t\u00eb t\u00eb ngjall\u00eb d\u00ebshir\u00eb, p\u00ebrndryshe nuk do ta shes\u00ebsh. Askush nuk di se ku \u00ebsht\u00eb prodhuar, kush e ka prodhuar, \u00e7far\u00eb pune \u00ebsht\u00eb investuar n\u00eb t\u00eb, \u00e7far\u00eb ka ndodhur n\u00eb t\u00eb v\u00ebrtet\u00eb. Ti e merr mallin t\u00eb p\u00ebrfunduar dhe t\u00eb bukur, e blen dhe largohesh. Elementi kooperativ fshihet pas atij spektakolar. Estetika, n\u00eb k\u00ebt\u00eb kuptim, b\u00ebhet nj\u00eb instrument fshehjeje \u2014 dhe me k\u00ebt\u00eb nuk dua t\u00eb them q\u00eb bukuria nuk \u00ebsht\u00eb e nevojshme n\u00eb jet\u00eb. P\u00ebrkundrazi.<\/p>\n

K\u00ebtu ka nj\u00eb faktor tjet\u00ebr, i lidhur s\u00ebrish me shoq\u00ebrin\u00eb e d\u00ebshir\u00ebs n\u00eb t\u00eb cil\u00ebn estetika ka sundim absolut: ajo propozon nj\u00eb model t\u00eb sakt\u00eb t\u00eb trupit \u2014 t\u00eb dob\u00ebt, t\u00eb ri. Kjo \u00ebsht\u00eb nj\u00eb estetik\u00eb e p\u00ebrcaktuar historikisht, jo e p\u00ebrjetshme. Deri para dyzet apo pes\u00ebdhjet\u00eb vjet\u00ebsh, gruaja e dob\u00ebt nuk konsiderohej erotike; rrudhat dhe shenjat e pjekuris\u00eb mbartnin nj\u00eb kuptim krejt\u00ebsisht t\u00eb ndrysh\u00ebm nga ai q\u00eb u \u00ebsht\u00eb caktuar atyre tani. Pjesa m\u00eb e madhe e k\u00ebsaj vjen nga nj\u00eb kultur\u00eb e estetik\u00ebs, nga ideja se ne duhet ta ndalim koh\u00ebn. Dhe jo vet\u00ebm ta ndalim, por ta ndalim n\u00eb nj\u00eb mosh\u00eb t\u00eb caktuar \u2014 gj\u00eb q\u00eb \u00ebsht\u00eb qesharake, dhe nj\u00eb stereotip mbizot\u00ebrues.<\/p>\n

You have written about “intermediate worlds.” Is social media one of them?<\/strong><\/p>\n

Bot\u00ebt e nd\u00ebrmjetme \u2014 tani t\u00eb zbatuara n\u00eb fusha si neurorehabilitimi kognitiv dhe arsimi i f\u00ebmij\u00ebris\u00eb \u2014 jan\u00eb marr\u00ebdh\u00ebnie me nj\u00eb fuqi shum\u00eb t\u00eb fort\u00eb simbolike, dhe ato lindin jo vet\u00ebm midis qenieve njer\u00ebzore, por edhe midis mamifer\u00ebve t\u00eb lart\u00eb. P\u00ebrmes k\u00ebtyre marr\u00ebdh\u00ebnieve nd\u00ebrtohen bot\u00eb, t\u00eb cilat mund t\u00eb jen\u00eb krejt\u00ebsisht fiktive. Loja \u00ebsht\u00eb nj\u00eb shembull: nj\u00eb bot\u00eb q\u00eb nd\u00ebrtoni n\u00eb m\u00ebnyr\u00eb fiktive.<\/p>\n

Loja \u00ebsht\u00eb themelore p\u00ebr f\u00ebmij\u00ebt sepse i st\u00ebrvit ata t\u00eb hyjn\u00eb dhe t\u00eb dalin nga kontekstet, t\u00eb l\u00ebvizin brenda dhe jasht\u00eb kornizave. Kur nj\u00eb vajz\u00eb e vog\u00ebl luan se \u00ebsht\u00eb n\u00ebn\u00eb me kukull\u00ebn e saj, ajo e di shum\u00eb mir\u00eb q\u00eb nuk ka nj\u00eb t\u00eb porsalindur, por nj\u00eb kukull; ajo e di q\u00eb nuk \u00ebsht\u00eb n\u00ebna, por p\u00ebrfaq\u00ebsimi i n\u00ebn\u00ebs. Ajo \u00ebsht\u00eb plot\u00ebsisht e vet\u00ebdijshme p\u00ebr loj\u00ebn. \u00cbsht\u00eb pik\u00ebrisht kjo vet\u00ebdije q\u00eb i jep asaj zot\u00ebrimin e kontekstit, sepse n\u00eb nj\u00eb moment ajo del prej tij dhe e di shum\u00eb mir\u00eb se \u00ebsht\u00eb vajza q\u00eb \u00ebsht\u00eb. F\u00ebmija q\u00eb luan ushtar \u00ebsht\u00eb i nj\u00ebjti. Loja na st\u00ebrvit n\u00eb k\u00ebt\u00eb vet\u00ebdije.<\/p>\n

N\u00eb rrjetet sociale, kjo vet\u00ebdije p\u00ebr kap\u00ebrcimin e kornizave humbet. \u00cbsht\u00eb sikur t\u00eb ishim n\u00eb nj\u00eb film t\u00eb madh n\u00eb err\u00ebsir\u00eb, dhe n\u00eb nj\u00eb moment t\u00eb caktuar filmi ngadal\u00eb shnd\u00ebrrohet n\u00eb shpell\u00ebn e Platonit. N\u00eb shpell\u00eb jan\u00eb ata q\u00eb kan\u00eb harruar, ose nuk kan\u00eb par\u00eb kurr\u00eb, bot\u00eb t\u00eb tjera, dhe q\u00eb besojn\u00eb se kjo \u00ebsht\u00eb bota e v\u00ebrtet\u00eb. Aft\u00ebsia krahasuese me bot\u00ebn tjet\u00ebr nuk ekziston m\u00eb.<\/p>\n

N\u00ebse e jeton k\u00ebshtu, humb\u00ebsh cepin e syrit t\u00ebnd \u2014 aft\u00ebsin\u00eb p\u00ebr t\u00eb jetuar realitetin dhe fikcionin nj\u00ebkoh\u00ebsisht. Merrni nj\u00eb film horror: kur keni frik\u00eb, \u00e7far\u00eb b\u00ebni? Ktheni kok\u00ebn dhe shikoni ul\u00ebset. I kujtoni vetes se ekziston nj\u00eb kontekst, nj\u00eb korniz\u00eb. Problemi nuk \u00ebsht\u00eb t\u00eb kesh nj\u00eb jet\u00eb n\u00eb Instagram dhe nj\u00eb jet\u00eb t\u00eb v\u00ebrtet\u00eb. Problemi \u00ebsht\u00eb humbja e kufijve.<\/p>\n

Merre teatrin. Un\u00eb blej nj\u00eb bilet\u00eb, pres q\u00eb dritat t\u00eb ulen tri her\u00eb, sepse kam b\u00ebr\u00eb nj\u00eb pakt me regjisorin dhe aktor\u00ebt, dhe ky pakt \u00ebsht\u00eb i vet\u00ebdijsh\u00ebm. \u00cbsht\u00eb nj\u00eb akt v\u00ebrtet\u00ebsie: se ti, spektatori, po pezullon \u2014 si\u00e7 thot\u00eb Coleridge \u2014 mosbesimin, p\u00ebrkoh\u00ebsisht dhe me vet\u00ebdije. Ose si\u00e7 u shpreh Bateson: \u201cPa kontekst, nuk ka kuptim.\u201d<\/p>\n<\/div>\n\n\n\n\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>\n\t\t

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\u201cFiksioni nuk \u00ebsht\u00eb g\u00ebnjesht\u00ebr. Ai b\u00ebhet i till\u00eb kur nuk paraqitet m\u00eb si fiksion, kur nuk ka asnj\u00eb korniz\u00eb p\u00ebrmes s\u00eb cil\u00ebs nj\u00eb person mund t\u00eb b\u00ebj\u00eb dallimin.\u201d <\/p>Prof. Maurizio Iacono<\/span>Filozof, Universiteti i Piz\u00ebs<\/span><\/span><\/div><\/blockquote>\n\t\t<\/div> \n\t<\/div>\n\t<\/div> \n<\/div><\/div>\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>\n\t\t

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A profile is really just a way of narrating yourself. And at some point we start believing the narration.<\/strong><\/p>\n

Kjo \u00ebsht\u00eb absolutisht e v\u00ebrtet\u00eb, por hap nj\u00eb problem: a \u00ebsht\u00eb rr\u00ebfim i v\u00ebrtet\u00eb? \u00c7far\u00eb \u00ebsht\u00eb rr\u00ebfimi?<\/p>\n

Mund t\u00eb hapet nj\u00eb diskutim i gjat\u00eb k\u00ebtu, sepse narracioni nuk \u00ebsht\u00eb k\u00ebnaq\u00ebsia narcistike e ekspozimit t\u00eb egos personale. N\u00ebse di\u00e7ka, \u00ebsht\u00eb krejt e kund\u00ebrta. Kur e v\u00eb egon time n\u00eb loj\u00eb n\u00eb narracion, e sjell at\u00eb n\u00eb nj\u00ebkoh\u00ebsi q\u00eb nuk \u00ebsht\u00eb e menj\u00ebhershme. Pra ndoshta ke t\u00eb drejt\u00eb: pyetja e v\u00ebrtet\u00eb \u00ebsht\u00eb t\u00eb rihapet diskutimi mbi narracionin.<\/p>\n

Rr\u00ebfimi do t\u00eb thot\u00eb t\u00eb p\u00ebrdor\u00ebsh nj\u00eb gjuh\u00eb \u2013 fotografike, t\u00eb shkruar, t\u00eb folur \u2013 q\u00eb ka nj\u00eb koh\u00eb dhe ka rregulla; q\u00eb ka nj\u00eb gramatik\u00eb dhe nj\u00eb sintaks\u00eb. Duke qen\u00eb t\u00eb vdeksh\u00ebm, jeta jon\u00eb \u00ebsht\u00eb nj\u00eb nd\u00ebrveprim i vazhduesh\u00ebm midis kufizimeve, normave, ligjeve dhe l\u00ebvizjes. N\u00ebse m\u00eb duhet t\u00eb nd\u00ebrtoj nj\u00eb rr\u00ebfim, p\u00ebrfshir\u00eb edhe at\u00eb t\u00eb vetvetes sime, duhet ta nd\u00ebrtoj at\u00eb n\u00eb koh\u00eb: ai duhet t\u00eb ket\u00eb nj\u00eb t\u00eb kaluar, nj\u00eb t\u00eb tashme dhe nj\u00eb t\u00eb ardhme.<\/p>\n

Kur Herakliti thot\u00eb \u201cUn\u00eb kam k\u00ebrkuar veten time,\u201d ai do t\u00eb thot\u00eb se un\u00eb kam gjurmuar veten time; dhe duke gjurmuar jet\u00ebn time, p\u00ebrfshir\u00eb edhe p\u00ebrmes rr\u00ebfimit t\u00eb saj, kam gjetur di\u00e7ka q\u00eb \u00ebsht\u00eb e ndryshme nga un\u00eb \u2014 sepse un\u00eb kam kryer operacionin e t\u00eb menduarit se ajo q\u00eb \u00ebsht\u00eb ndryshe-nga-un\u00eb, myja ime, \u00ebsht\u00eb tjet\u00ebr, \u00ebsht\u00eb nj\u00eb alteritet. N\u00ebse nuk e b\u00ebni at\u00eb plag\u00eb t\u00eb alteritetit kund\u00ebr s\u00eb cil\u00ebs matni veten, ju p\u00ebrfundoni ose duke njohur vet\u00ebm fantizm\u00ebn e egos tuaj, ose duke u derdhur n\u00eb \u00e7menduri.<\/p>\n

Pse ka sot nj\u00eb paaft\u00ebsi kaq t\u00eb p\u00ebrhapur p\u00ebr t\u00eb shkruar? Nuk besoj se kjo varet nga shkollat. \u00cbsht\u00eb paaft\u00ebsia p\u00ebr t\u00eb pritur dhe p\u00ebr ta lidhur mendjen me sintaks\u00ebn. T\u00eb mos diturish se si t\u00eb trajtosh sintaks\u00ebn \u00ebsht\u00eb nj\u00eb fakt mendor: gjuha \u00ebsht\u00eb koh\u00eb dhe ajo nd\u00ebrtohet mbi kufizime. Kreativiteti duhet t\u00eb ket\u00eb kufizime brenda t\u00eb cilave t\u00eb zhvillohet. Krijimtaria duhet t\u00eb ket\u00eb rregulla, p\u00ebrndryshe ajo b\u00ebhet \u00e7menduri, delir \u2014 hyn n\u00eb patologjik. \u00c7far\u00eb e dallon imagjinat\u00ebn nga deliri? Pik\u00ebrisht ndjenja e kufirit.<\/p>\n

Do t\u00eb k\u00ebmb\u00ebngulja n\u00eb k\u00ebt\u00eb problem t\u00eb rr\u00ebfimit, sepse sot duhet t\u00eb luftojm\u00eb fort p\u00ebr ta mbrojtur at\u00eb. Nuk \u00ebsht\u00eb e v\u00ebrtet\u00eb se rr\u00ebfimi \u00ebsht\u00eb zhdukur. \u00cbsht\u00eb se k\u00ebto forma t\u00eb reja sociale t\u00eb rr\u00ebfimit duhet t\u00eb n\u00ebnkuptojn\u00eb nj\u00eb edukim n\u00eb elementin narrativ. Ekspozimi i vazhduesh\u00ebm i egos ndaj vetvetes \u00ebsht\u00eb nj\u00eb form\u00eb e narcisizmit t\u00eb pakontrolluar.<\/p>\n

What changes when the reference point is no longer a mirror, but an altered image?<\/strong><\/p>\n

Ka nj\u00eb problem: imazhet e modifikuara t\u00eb b\u00ebjn\u00eb t\u00eb harrosh trupin. Sa m\u00eb shum\u00eb q\u00eb imazhet t\u00eb tregojn\u00eb trupin, aq m\u00eb tep\u00ebr ai trup b\u00ebhet n\u00eb imagjinat\u00eb z\u00ebvend\u00ebsues i trupit t\u00eb v\u00ebrtet\u00eb \u2014 nj\u00eb trup q\u00eb merr frym\u00eb, q\u00eb djersitet, q\u00eb jeton.<\/p>\n

Kjo madje mund t\u00eb p\u00ebrfundoj\u00eb n\u00eb perversitet, sepse mund t\u00eb arrini t'i preferoni trupat q\u00eb jan\u00eb plot\u00ebsisht t\u00eb transformuar. Mendoni p\u00ebr mang\u00ebn n\u00eb regjistrin pornografik. Manga, megjith\u00ebse e stilizuar, lejon intensitete ekspresive erotike q\u00eb tejkalojn\u00eb kufijt\u00eb e \u00e7do trup\u00ebsie, nd\u00ebrkoh\u00eb q\u00eb p\u00ebrfaq\u00ebson ende aktivitetin trupor. Trupi \u00ebsht\u00eb nj\u00eb trup metabolik: ai jeton, merr frym\u00eb, mban er\u00eb. \u00cbsht\u00eb di\u00e7ka krejt\u00ebsisht e ndryshme nga k\u00ebto modele t\u00eb pastra, me shk\u00eblqim, t\u00eb p\u00ebrsosura. Kjo \u00ebsht\u00eb nj\u00eb form\u00eb feti\u0161izmi, dhe feti\u0161izmi nuk \u00ebsht\u00eb gj\u00eb tjet\u00ebr ve\u00e7se nj\u00eb z\u00ebvend\u00ebsim. Ju arrini ta preferoni fiksionin dhe t\u00eb d\u00ebshironi q\u00eb trupi juaj t'i p\u00ebrshtatet atij modeli. \u00cbsht\u00eb nj\u00eb p\u00ebrfaq\u00ebsim i trupit q\u00eb z\u00eb vendin e vet\u00eb trupit.<\/p>\n

S\u00eb dyti, ekziston problemi i imazheve. Imazhet jan\u00eb gjithmon\u00eb t\u00eb p\u00ebrcaktuara historikisht dhe mund t\u00eb lexohen p\u00ebrmes shoq\u00ebris\u00eb q\u00eb i prodhon ato. N\u00eb shoq\u00ebrit\u00eb e varfra, sh\u00ebndosha ishte e bukur dhe rrumbullak\u00ebsia ishte e mrekullueshme; n\u00eb shoq\u00ebrit\u00eb e pasura, dhjami \u00ebsht\u00eb di\u00e7ka p\u00ebr t'u refuzuar, nj\u00eb shenj\u00eb varf\u00ebrie. Mendoni p\u00ebr modelet e mod\u00ebs \u2014 francez\u00ebt i quajn\u00eb ata manikin\u00eb<\/em>, i cili mbart nj\u00eb kuptim mjaft t\u00eb fort\u00eb. Trupi b\u00ebhet nj\u00eb mjet p\u00ebr t\u00eb mbajtur rrobat, e jo anasjelltas. Ekziston nj\u00eb p\u00ebrmbysje e mjeteve dhe q\u00ebllimeve: rrobat nuk e p\u00ebrmir\u00ebsojn\u00eb m\u00eb trupin, trupi p\u00ebrmir\u00ebson rrobat. Dhe sot dob\u00ebsia, ky stilizim absolut, k\u00ebrkon nj\u00eb ushtrim shum\u00eb t\u00eb fort\u00eb t\u00eb vullnetit.<\/p>\n

Demand for labiaplasty has surged worldwide. Why, in a society supposedly free of sexual taboos, are so many people embarrassed by how their own bodies look?<\/strong><\/p>\n

\u00cbsht\u00eb nj\u00eb form\u00eb homogenizimi konformist. Modeli pornografik \u00ebsht\u00eb b\u00ebr\u00eb vendi i t\u00eb m\u00ebsuarit p\u00ebr grat\u00eb e reja dhe burrat e rinj. Pyetja ime \u00ebsht\u00eb: \u00e7far\u00eb b\u00ebhet me erotizmin? Nuk do t\u00eb thosha se \u00ebsht\u00eb parimi i v\u00ebzhguesit fshehurazi (voyeur), por \u00ebsht\u00eb af\u00ebr. Duhet t\u00eb shoh\u00ebsh \u2014 dhe at\u00ebher\u00eb trup\u00ebsia nuk ka m\u00eb r\u00ebnd\u00ebsi. \u00cbsht\u00eb nj\u00eb tepri e modelit t\u00eb dukjes.<\/p>\n

Dhe ka kontradikta, sepse mosfunksionimi erektil, p\u00ebr shembull, \u00ebsht\u00eb jasht\u00ebzakonisht i p\u00ebrhapur, n\u00eb nivele t\u00eb gjera. Nga nj\u00eb an\u00eb ekziston d\u00ebshira e burrit p\u00ebr nj\u00eb penis madh\u00ebshtor; nga ana tjet\u00ebr, kjo gjendje q\u00eb duket se prek \u00e7do brez. Njeriu duhet t\u00eb pyes\u00eb se \u00e7far\u00eb lloj erotizmi \u00ebsht\u00eb n\u00eb veprim k\u00ebtu. Nj\u00eb takim i mir\u00eb seksual \u00ebsht\u00eb nj\u00eb takim shkrirjeje, n\u00eb t\u00eb cilin njer\u00ebzit e pranojn\u00eb nj\u00ebri-tjetrin. Nuk jan\u00eb dy t\u00eb panjohur q\u00eb kryejn\u00eb nj\u00eb operacion mekanik. Mekanikiteti nuk \u00ebsht\u00eb nj\u00eb dimension erotik, ai \u00ebsht\u00eb nj\u00eb dimension performues. Dhe kjo sjell me vete nj\u00eb s\u00ebr\u00eb problemesh: t\u00eb mosjeqit n\u00eb lart\u00ebsin\u00eb e duhur, detyrimi p\u00ebr t'iu p\u00ebrshtatur normave \u2014 nj\u00eb s\u00ebr\u00eb problemesh t\u00eb r\u00ebnda.<\/p>\n

Aesthetic surgery and philosophy met today, perhaps for the first time. Was it necessary?<\/strong><\/p>\n

Ishte e nevojshme, sepse fenomene historike, sociale dhe kulturore t\u00eb k\u00ebtij lloji duhet t\u00eb p\u00ebrballen. Nuk \u00ebsht\u00eb e mendueshme q\u00eb ne filozof\u00ebt t\u00eb merremi me bioetik\u00eb dhe jo me kirurgjin\u00eb estetike.<\/p>\n

Was it enough?<\/strong><\/p>\n

Nuk mjaftonte. Absolutisht jo.<\/p>\n<\/div>\n\n\n\n\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>\n\t\t

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\n \n \"Prof.\n <\/a>\n <\/div>\n <\/div>\n \n <\/div>\n <\/div>\n\t\t<\/div> \n\t<\/div>\n\t<\/div> \n\n\t
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Rreth Prof. Maurizio Iacono<\/strong><\/h2>\n<\/div>

Alfonso Maurizio Iacono \u00ebsht\u00eb nj\u00eb filozof italian dhe Profesor i Historia e Filozofis\u00eb<\/strong> n\u00eb Universiteti i Piz\u00ebs<\/strong>. Pjesa m\u00eb e madhe e pun\u00ebs s\u00eb tij ka t\u00eb b\u00ebj\u00eb me feti\u00e7izmin dhe mekanizmat me an\u00eb t\u00eb t\u00eb cil\u00ebve nj\u00eb p\u00ebrfaq\u00ebsim vjen p\u00ebr t\u00eb z\u00ebvend\u00ebsuar gjuh\u00ebsisht at\u00eb q\u00eb p\u00ebrfaq\u00ebson \u2014 nj\u00eb pyetje q\u00eb ai e ka ndjekur p\u00ebrgjat\u00eb historis\u00eb s\u00eb filozofis\u00eb, antropologjis\u00eb dhe teoris\u00eb sociale. Ai njihet gjithashtu p\u00ebr konceptin e tij t\u00eb \u201cbot\u00ebve t\u00eb nd\u00ebrmjetme\u201d: marr\u00ebdh\u00ebniet e ngarkuara simbolikisht p\u00ebrmes t\u00eb cilave ne nd\u00ebrtojm\u00eb realitete t\u00eb p\u00ebrbashk\u00ebta, dhe ndonj\u00ebher\u00eb fiktive. Shkrimet e tij mbi autonomin\u00eb, shikueshm\u00ebrin\u00eb dhe humbjen e kontekstit kan\u00eb gjetur zbatim n\u00eb fusha aq t\u00eb ndryshme sa rehabilitimi njoh\u00ebs dhe arsimi.<\/p>\n<\/div>\n\t\t<\/div> \n\t<\/div>\n\t<\/div> \n<\/div><\/div>\n\t\t\t<\/div> \n\t\t<\/div>\n\t<\/div> \n<\/div><\/div>","protected":false},"excerpt":{"rendered":"A philosopher on social media, desire, and the patient who no longer sees the risk. An interview with Prof. Maurizio Iacono, philosopher, University of Pisa....","protected":false},"author":3,"featured_media":57959,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,711],"tags":[],"class_list":["post-57958","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arbrea-blog","category-second-opinion"],"yoast_head":"\nThe Patient Who Has Left Plato's Cave. 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